A leaflet about the history and location of the William Ricketts Sanctuary at Mt. Dandenong. Is administered by The Forests Commission Victoria. C 1964 mapplace, public gardens, willilam ricketts sanctuary, mt. da, lydia chancellor, collection, tourism, geography, travel, map, the william ricketts sanctuary, dandenong, recreation, victoria, exploration, history, place

This medical / hospital instrument was used in the Tawonga District General Hospital which was built in the 1950s specifically for the increase in population due to the Kiewa Hydro Scheme.Historical: Shows the development of scientific hospital equipment. Provenance: Used in the Tawonga District General Hospital which was remote and therefore required good equipment.Used to look into the rectum. Part 1 fits into a hollow cylinder of part 2. 1. Plastic brown handle - round and shaped at end with 4 slices to form square shape for easy grip. attached to steel with protective plate long thin rod & then cylinder with covered shaped ends. 2. All steel - spoon shaped handle on angle to hollow cylinder wider and shaped into hollow cylinder - bottom cut cross section on angle.11AQ - on part 1. on steel between protective plate and wooden handle 11AQ - on part 2. across tip of handle DOWNS DA-001-01-Y length ways on handlemedical instrument. hospital equipment. mt beauty. tawonga. rectum.

Comments on this book made by Raphael Beh of the Golden Dragon Museum, Bendigo, are available.Book with cream cover, stitched spine, and chinese calligraphy depicting birds. Text is in running script.mei ling xing ye feng, china, calligraphy, birds

Small red card package containing 15 photographs of Milan. The red card packaging has an oval cutout at the frontFront: MILANO at top, 20 Views of the city 20 at bottom. Verso: Cecamephotographs, milan, milano, basilica di s. ambrogio, church of saint ambrogio, storza's castle, piazza del duomo, church of santa maria delle grazie, central station, the last supper, leonardo da vinci, la scala, arch of peace, fountain of saint francis

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.