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.

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

As Penleigh Boyd wrote in his obituary to his mother: "In 1988, Patricia was appointed a Member of the Order of Australia for her service to opera involving many years of voluntary work on the Board of the Australian Opera - work which she greatly enjoyed involving travel, music and meeting many interesting and entertaining people. She was also a Life Member and former President of the National Gallery of Victoria Women's Association." The Walsh Street Archive also holds the medal associated with this honour (item F126).Certificate on a presentation board with 4 corners holding it in place, contained in a envelope with Mrs Dorothea Patricia Davies, AM.The Order of Australia (Signed) Ninian Stephen Governor-General of Commonwealth of Australia and Chancellor of the Order of Australia. To Dorothea Patricia Davies Greeting. Whereas with the approval of Her Majesty Queen Elizabeth The second, Queen of Australia and Sovereign of the Order of Australia, I have been pleased to appoint you to be a Member in the General Division of the Order of Australia. I do by these Presents appoint you to be a Member in the General Division of the said Order and authorise you to hold and enjoy the dignity of such appointment together with Membership in the said Order and all privileges thereunto appertaining. Given at Government House, Canberra, under the seal of the Order of Australia this thirteenth day of June 1988. By His excellency's Command. (Signed) David I Smith Secretary of the Order of Australia.

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

A portrait in oils or acrylic of Mrs Susan St. Leon, Size 1380mm x 900mm. Janet Dawson trained at the National Gallery School, Melbourne, and won a NGV Travelling Scholarship to study painting, lithography and etching at the Slade School and the Central School in London. Since then she has had numerous exhibitions, and is represented in all major public collections of Australia. She won the Archibald Prize in 1973 for one of her portraits. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Mrs Susan St. Leon Headmistress Mrs Susan St.Leon Headmistress 1973-1982

Josh MUIR (1991-05 February 2022) Yorta Yorta/Gunditjmara/Barkinjl Born Ballarat, Victoria Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on Aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. He was also a Telstra National Indigenous and Torres Strait Islander Youth Art Award winner. The Koorie Heritage Trust, the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of the Northern Territory and Federation University Australia all own his work. Digital output on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Penleigh Boyd wrote this in The Age obituary to Dorothea Patricia Davies AM (3 Jan 1921-5 Nov 2009). "In 1988, Patricia was appointed a Member of the Order of Australia for her service to opera involving many years of voluntary work on the board of the Australian Opera - work which she greatly enjoyed involving travel, music and meeting many interesting and entertaining people. She was also a life member and former president of the National Gallery of Victoria Women's Association." The Walsh Street Archive also holds the Certificate associated with this honour (item D502).awards, honours, robin boyd, walsh st

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Gives the background to the establishment of Metcard ticket design, standard designs, tickets for events, food series, Millenium series, Comedy Festival, Architecture series, Soccer, AFL clubs, AFT Fair, UITP Conference, Fares Guide, Centenary of Federation, Melbourne Festival, Flower show, 2002 World Masters Games, Federation Square, National Gallery, Student passes and Adult Yearly. Gives examples of tickets between 1999 and 2002. Robert O'Regan the compiler passed away in 2021. He had a very large website that was taken offline in late 2020.Gives detailed information about Metcard tickets late 1990s and early 2000s.Folder, heavy plastic partly opaque front cover, deep blue plastic rear cover, 43 plastic sleeves each with two printed in colour, A4 sheetsmetcard, tickets, students, collections

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera. As Penleigh Boyd wrote in his obituary to his mother: "In 1988, Patricia was appointed a Member of the Order of Australia for her service to opera involving many years of voluntary work on the Board of the Australian Opera - work which she greatly enjoyed involving travel, music and meeting many interesting and entertaining people. She was also a Life Member and former President of the National Gallery of Victoria Women's Association." Maria Callas sings great arias from French operas. LP 33RPM vinyl, Catalogue Number: SAXO-2410, Record cover, Plastic sleeve, 1 vinyl disk. Cover notes, Andrew Porter. Cover photo: Luc Fournol, Jours de France. Maria Callas. Conductor: Georges Petre, Orchestra National de la RTFlp, sound recording, opera, ohm2022, ohm2022_9

Photos of the official opening of the 50th Anniversary Legacy Conference, at National Gallery of Victoria in 1973. 00460.1 shows The Governor, Sir Rohan Delacombe speaking in the Stained Glass Hall. Other photos include the official party sitting behind the speakers, including Lady Delacombe, the President Geoff Handbury and his wife, Helen. Photos came from an envelope marked P1 Federal Conference 1973 / 50 Year anniversary / 1983 Morewell / 1973 Legacy March ANZAC Day, 50 yr celebration, inclusion in ANZAC Day March authority of RSL". See items 00451,00452,00453, 00454, 00391. A record of a Conference Opening to mark the 50th anniversary of Legacy during the Golden Jubilee year 1973.Black and white photo x 6 of the opening of the 50th Anniversary Conference.All stamped "This Photograph is the compliments of the Ministry of Tourism, Government of Victoria. Please acknowledge Michael Cheshire" in grey ink. 00454.1 Label on front says "Official Opening of Conference - His Excellency The Governor".golden jubilee, governor of victoria, conference

Official invitation to Miss L J Parry from The Council of the Royal Historical Society of Victoria. A large cream coloured card printed with the Royal Historical Society emblem in gold in the upper section and printed with the following words in black script: In the distinguished presence of His Excellency Major-General Sir Rohan Delacombe Governor of Victoria and Lady Delacombe, The President Mrs E W Tipping and the Council of the Royal Historical Society of Victoria in association with the Matthew Flinders Bicentenary Citizens Council invites Miss L J Parry to the Matthew Flinders Oration by Professor Joseph Burke, "The Enlightenment: Foundations of Australian Art and Science" on Tuesday 19 March 1974 at 8:00pm in the Great Hall, National Gallery of Victoria St Kilda Rd Melbourne. In the lower left hand corner is printed RSVP 8th March The Director RHSV 459 Collins St 3000 and in the lower right hand corner Please present this card at door Admits two persons.event, official

Official invitation to Bendigo Historical Society from The Council of the Royal Historical Society of Victoria. A large cream coloured card printed with the Royal Historical Society emblem in gold in the upper section and printed with the following words in black script: In the distinguished presence of His Excellency Major-General Sir Rohan Delacombe Governor of Victoria and Lady Delacombe, The President Mrs E W Tipping and the Council of the Royal Historical Society of Victoria in association with the Matthew Flinders Bicentenary Citizens Council invites Bendigo Historical Society to the Matthew Flinders Oration by Professor Joseph Burke, "The Enlightenment: Foundations of Australian Art and Science" on Tuesday 19 March 1974 at 8:00pm in the Great Hall, National Gallery of Victoria St Kilda Rd Melbourne. In the lower left hand corner is printed RSVP 8th March The Director RHSV 459 Collins St 3000 and in the lower right hand corner Please present this card at door Admits two persons.event, official

Six photos of the 50th Anniversary Conference opening, at National Gallery of Victoria in 1973. 00461.1 shows The Governor, Sir Rohan Delacombe, Lady Delacombe, the Legacy President Geoff Handbury and his wife, Helen. Other photos include the Helen Handbury walking with the Governor. 000461.4 is Sir Edmund Herring and his wife Mary. Photos came from an envelope marked P1 Federal Conference 1973 / 50 Year anniversary / 1983 Morewell / 1973 Legacy March ANZAC Day, 50 yr celebration, inclusion in ANZAC Day March authority of RSL". See items 00451,00452,00453, 00454, 00391, 01418 to 01420. A record of a Conference Opening to mark the 50th anniversary of Legacy during the Golden Jubilee year 1973.Black and white photo x 6 of the official opening of the 50th Anniversary conference.All stamped "This Photograph is with the compliments of the Ministry of Tourism, Government of Victoria. Please acknowledge Michael Cheshire" in grey ink. 00454.1 Label on front says "Official Opening of Conference - His Excellency The Governor".golden jubilee, governor of victoria, conference

Max MIDDLETON (1922-2013) Born Melbourne In a career spanning 60 years, Max Middleton is known as a 'plein air' landscape painter the artist loved to paint sunrises, aiming to capture what he saw on the spot in paint. Capturing the light was crucial to his artworks. Max Middleton studied Drawing at the National Gallery School under William Rowell in 1938, and painting under Harold Septimus Power in 1940. The first of Middleton's 68 professional exhibitions took place in 1946. 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 oil painting of a landscape near Tallangatta.art, artwork, max middleton, landscape, tallangatta, available, middleton, oil on canvas

"Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement."Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting

The portrait was commissioned after Higinbotham's death in 1893. A committee was appointed to investigate the making of a portrait and they appointed Mr L Bernard Hall, instructor and later director of the National Gallery of Victoria. George Higinbotham (1826-1892) had a distinguished career as a newspaper editor and politican before becoming a Judge of the Supreme Court in 1880 and the third Chief Justice in 1886. Higinbotham was a long serving attorney-general in the 1860s colonial administration. Higinbotham was active in the education, land and constitutional debates of his time. He played a prominent role through his chairmanship of the of the Royal Commission into Public Instruction with regard to the introduction of the free and secular primary school education.The portrait of George Higinbotham is of historic significance as the depiction of an important public figure in 19th Century Victoria. The painting is also of interest as an early example of L Bernard Hall's Australian works. Portrait in Oils of George Higinbotham. Higinbotham is seated at his desk, pen in hand. He is dressed in his judicial robes, ready for Court.Signed Lower right B Hall 95. Plaque on frame : The Hon. George Higinbotham Judge of the Supreme Court 1880-1886 Chief Justice of the Supreme Court 1866-1892supreme court, higinbotham george, hall bernard

This book could be described as the summing up of a theory of physical appearances, devised by a painter and demonstrated by paint. The foundation of this theory was laid down first in Paris by Max Meldrum early 1900s. A review calls the book "the most outstanding book on the craft of painting yet published in any language. Max Meldrum was born in Edinburgh, Scotland on 03 December 1875. His family arrived in Australia and Max Meldrum attended the National Gallery School, winning the Victorian Travelling Scholarship in 1899. It was deaccessioned and transferred from the Ballarat School of Mines library so would have been used by students and staff of the Ballarat Technical Art School, a division of the Ballarat School of Mines. Red fabric hard covered book of 298pp, includes colour plates that have been pasted into the book. The book inlcudes 11 colour prints and 11 line and tone diagrams. These diagrams in clude Major and Minor Dark and liLight Disturbances; Speed Values and Form; Complex Light Disturbance; Experiments in Definition and Inclination; Apparatus for the Analysus of Visual Phenomena by Distance; Set of Patches; Modern and Obsolete Methods of Approach, Tonal Analysis on "St John's Parad"'; Chromatic Analysis of "St John's Parade". This book was part of the Ballarat Technical Art School LibraryA review has been pasted in the front..max meldrum school, max meldrum, art, science of appearances, appearances, color plates, tonalism, ballarat school of mines library, ballarat technical art school

This cocktail cabinet is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A beautifully hand carved ornate wooden cocktail cabinet featuring two female carved busts, carved mythical beasts on the front, sides and two doors of the cabinet underneath the drop down mirrored shelf. The shelf is attached by two gold linked chains screwed onto the sides. Two drawers at the top are elaborately decorated. The cupboard doors at the bottom open to show a shelf inside. This cabinet is part of a special bequest to the Mont De Lancey Museum of handcarved items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection.On the top shelf, carved into the relief panels at the back is 'WELL BEFALL' and 'HEARTH HALL'bar equipment, cocktail cabinets, cabinets, furniture

This card table is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A handmade square wooden card table featuring an ornately patterned inlaid top of lighter coloured woods. It has a beautifully carved four legged base with a shelf at the bottom above the four clawed feet. The top lifts up to reveal a storage box below which is attached with screws to the base. The lid is attached with brass hinges and screws.furnitue, tables, card tables

This magazine holder is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A highly decorated wooden hand carved rectangular magazine holder. The back of it is plain. functional objects, magazines, magazine holders

Rev. Richard Fletcher (1800 - 1861), born in Newcastle-upon-Tyne, was agent of the Colonial Missionary Society and came to Australia with his wife and five children after the discovery of gold in Australia. The original of this engraving is in the Scottish National Portrait Gallery (Print Room).Black and white portrait print of engraving of the head and shoulders of Rev. Richard Fletcher with an inscription. He is wearing Regency clothing, looking to his left and is holding a paper. The print appears to be taken from a book and tipped onto a piece of brown paper."Revd. Richard Fletcher Manchester"colonial missionary society, rev richard fletcher independent minister

Murray WALKER (1937- ) Born Ballarat, Victoria Described as one of Melbourne's Figurative Expressionists Murray Walker educated at the Ballarat Technical Art School (a division of the Ballarat School of Mines) in 1952 and 1953, followed by the National Gallery School and RMIT Art school, Melbourne between 1858 and 1859. He studied at the Slade School of Fine Art (London) from 1960 to 1962, with a Summer School at the Academia della Belle Arti, Perugia, Italy in 1961. Myth, narrative and people form an important place in the work of Murray Walker, and he has worked in many mediums including printmaking, painting, collage, assemblage, ceramics and tapestry design. Humour and storytelling are a feature of his work Figurative ExpressionismGift of Dr Graeme Williams OAMFramed hand coloured pen drawing of a number of life modelsavailable, alumni, life models, nude, life drawing

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An elaborately carved wooden framed mirror with two carved kookaburras, one with a lizard in its beak as well as some Australian flora - eucalyptus leaves, flowers and gumnuts around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A rectangular beautifully carved wooden framed mirror featuring a gold painted carved lion head at the top and gold painted crest shaped ornamentation around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An ornately hand carved rectangular wooden framed mirror with a shelf at the bottom and a carved ancient Egyptian style head in the middle of the frame at the top. There are two carved gargoyles on each top side. The mirror glass is shaped.mirrors, functional objects, wall mirrors, objects