1 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/021268e3a822c87baca0a789b0426e92.pdf 253306c72927e9266bc2d4865e2ba95c Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK London, England Text Any textual data included in the document. Use this element to transcribe exact contents of text. 'Nearly two years ago William Ohly, an art connoisseur and the owner of a gallery, bought the Abbey at New Barnet, founding there an artist's colony where youthful painters and sculptors--mostly Australians--now work, eat, sleep and paint. Some of the work being achieved at the Abbey is of a high standard, and Derek King, of Sydney, is one of its most promising artists. He has just left for Porquenelles, off the south coast of France, where he will spend a year engaged in painting[.]'. Photograph captions: 'Artists from Australia have made this a home away from home: The Abbey, New Barnet, has been converted from a religious institution into an artist's colony and now has a fine array of studios'. 'Derek King in his studio: An artist from New South Wales putting the finishing touches to one of his pictures'. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data newspaper article Collection Don't use this element. Give collection details in source instead. British Newspaper Archive, Findmypast in partnership with the British Library <a href="https://www.britishnewspaperarchive.co.uk/">https://www.britishnewspaperarchive.co.uk/</a> Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. The Sphere (London, England) Date submitted Date object first catalogued: [day] [month] [year] 18 August 2020 Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Little has been hitherto recorded of the Australian artist Derek King who is featured in this article. For a biography see <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1066#?c=0&m=0&s=0&cv=0">147.0000, Derek Vernon Morris King (1924–)</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0015 Title A name given to the resource 'History in stone: houses, ancient and modern in the news. ... An Abbey Art Colony', The Sphere, London, 18 September 1948, p. 375 Date A point or period of time associated with an event in the lifecycle of the resource 1948 September 18 Creator An entity primarily responsible for making the resource The Sphere (London, England) Format The file format, physical medium, or dimensions of the resource newspaper article Publisher An entity responsible for making the resource available London: Illustrated Newspapers Description An account of the resource Illustrated feature article on the Abbey Art Centre. One photograph depicts the front of the main house, seen from a garden along a row of raised borders and through an archway covering in flowering vines. The second photograph depicts an artist from Sydney, Derek King, painting in his studio on the top floor of the main house. Subject The topic of the resource Artist colonies -- England. Artists, Australian -- England -- London. Artists -- Australia -- New South Wales -- Biography. King, Derek, 1924-. Language A language of the resource English Contributor An entity responsible for making contributions to the resource Jane Eckett Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/516">Inge King and an unidentified man, probably Derek Vernon King, in her studio at the Abbey Art Centre, 1948</a> <div class="element-text"><a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/536">Robert Klippel and friends with a carving from William Ohly's collection at the Abbey Art Centre in London, 1947</a></div> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/536"></a> Type The nature or genre of the resource text Source A related resource from which the described resource is derived <a href="https://www.britishnewspaperarchive.co.uk">British Newspaper Archive</a> Rights Information about rights held in and over the resource © Illustrated London News Ltd / Mary Evans Picture Library. This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Abbey Art Centre Australian artists in London Derek King Derek Vernon King Derek Vernon Morris King Porquenelles William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/8439141d197f2a2d39e49424a20e63e0.pdf aff2f177b54344982942b0e42031057a Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Berkeley Galleries, 20 Davies Street, Mayfair, London W.1, UK Physical Dimensions The actual physical size of the original image in cm Dimensions unknown Collection Don't use this element. Give collection details in source instead. Private collection, UK Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Sheridan Palmer Date submitted Date object first catalogued: [day] [month] [year] 9 August 2020 Date modified Date record modified: [day] [month] [year] 9 August 2020 Text Any textual data included in the document. Use this element to transcribe exact contents of text. 'Australian art at the Berkeley Galleries: Mr E. McCarthy, Acting Deputy High Commissioner for Australia, opened the exhibition at the Berkeley Galleries in Davies Street. He is seen going around the exhibition with Australian artist James Cant (right)'. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 102.8006 Title A name given to the resource 'Australian art at the Berkeley Galleries: Mr E. McCarthy with Australian artist James Cant (right)', The Sphere, London, 18 March 1950 Date A point or period of time associated with an event in the lifecycle of the resource 18 March 1950 Creator An entity primarily responsible for making the resource The Sphere, London Format The file format, physical medium, or dimensions of the resource newspaper clipping Publisher An entity responsible for making the resource available Illustrated Newspapers London Source A related resource from which the described resource is derived Berkeley Galleries scrapbook, private collection, UK Description An account of the resource Illustrated Newspapers press clipping of a photograph taken at the exhibition opening of Australian Aboriginal Art: Paintings by James Cant after the original cave paintings recently discovered by Charles Mountford in the Arnhem Land Plateau, at the Berkeley Galleries, London, which opened 7 March 1950. Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer Type The nature or genre of the resource text Subject The topic of the resource Cant, James, 1911–1982 -- Exhibitions. Rights Information about rights held in and over the resource © Illustrated London News Ltd / Mary Evans Picture Library. This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Aboriginal Art Berkeley Galleries indigenous art James Cant https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/76a010adcc3d42cc5ae4656c527c5a27.pdf bdbc800bb68b9452ae86721ab6e4d0fb Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Abbey Art Centre, 89 Park Road, New Barnet, England Text Any textual data included in the document. Use this element to transcribe exact contents of text. [p. 2] 'THE ABBEY MUSEUM The Museum represents the private collection of the late William F.C. Ohly, F.R.A.I., sculptor and art connoisseur. His aim in founding the Museum and Art Centre in 1946, was to provide a stimulating and satisfying place of study for the artists from home and overseas he intended should live and work there. The measure of success in his achieving this object may be judged by the great number of artists and students, from all over the world, who have come and gone, and benefitted from this Art Centre, and from his personal contribution as friend and patron. While being a small museum by some standards, the collection consists of a wide selection from the arts of primitive peoples, carefully chosen for its high artistic merit, rather than for its antiquity alone. This approach was characteristic of a collector who was both connoisseur and artist, and who arranged each case to form an aethetically satisfying group. In consequence, though exhibits are grouped mainly under their place of origin, pieces may be found that would otherwise be differently located. The Museum contains an important collection of primitive and oriental art, primarily including objects from Africa, Ancient America, and Oceania. There are also many exhibits from China, Egypt, and Tibet. [p. 3 ff] The great variety of objects to be found range from an African medicine-man's divining set, to a totem pole, and relics from Captain Cook's voyages in the Pacific. There is finely decorated Tibetan metalware, African basket and bead-work, and pottery figurines and vessels from the Aztec and other Pre-Columbian civilizations. Additional interest, and colour, is given by the housing of the whole collection in a 14th Century tithe-barn, which is scheduled under the Act for the preservation of Buildings of Special Architectural or Historic Interest (1947), and stands in pleasant woodland in Park Road, New Barnet, Hertfordshire (Map overleaf). [p. 4 ff] THE ART CENTRE The Abbey Museum forms part of the Abbey Art Centre, founded to provide domestic and professional accommodation for practicing artists. Since 1946, many sculptors and painters from all parts of the world have lived and worked here in residential studios. Present occupants include a distinguished creator of silhouette films, painters, sculptors, and art teachers. There is also a Pottery in the grounds, with oil burning kiln, where a potter produces modern ware for home and overseas markets'. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Peter S. Lindsay A.T.D. was announced as the new Honorary Curator of the Abbey Art Centre, succeeding Cottie Burland, in a 1957 issue of <a href="https://books.google.com.au/books?id=XdLRAAAAMAAJ&q=Peter+S.+Lindsay+A.T.D&dq=Peter+S.+Lindsay+A.T.D&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi4wJey_uTzAhU44jgGHQn0CwgQ6AF6BAgDEAI">Museums Journal, vol. 56, p. 177</a>. The photographer Francis J. Forty was almost certainly <a href="https://www.londonremembers.com/subjects/francis-john-forty-obe">Francis John Forty OBE (1900–1990)</a>, City Engineer, City of London (1959 to 1963), and prominent architect of postwar reconstruction in London. Forty—like William Ohly—was originally from Hull, Yorkshire. He was also almost certainly the father-in-law of the curator Peter Lindsay. Vital records reveal a Peter A.S. Lindsay who married Frances A. Forty in Ealing in 1952 (General Register Office; United Kingdom; Volume: 5e; Page: 71). Two years earlier, in 1950, Frances A. Forty was registered as living at 9 Kent Avenue, Ealing, with her parents Francis J. Forty and Doris M. Forty. By 1958 Peter and Frances Lindsay were living at 69 Queens Gate, SW7. Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. By descent to the present owner Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Simon Pierse Date submitted Date object first catalogued: [day] [month] [year] 25 October 2021 Date modified Date record modified: [day] [month] [year] 1 June 2022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0046 Title A name given to the resource The Abbey Art Centre and Museum, Founded by William F. C. Ohly … P.S. Lindsay, A.T.D. (Lond.), Hon. Curator, c. 1957 Date A point or period of time associated with an event in the lifecycle of the resource c. 1957 Creator An entity primarily responsible for making the resource Abbey Art Centre Museum; Peter S. Lindsay A.T.D. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pamphlet, single sheet, folded to make four pages, printed in black Publisher An entity responsible for making the resource available New Barnet, Herts., UK: Abbey Art Centre and Museum Source A related resource from which the described resource is derived Private collection, England Description An account of the resource Publicity brochure advertising the Abbey Art Centre Museum, open Saturday afternoon, 2:30-5pm, or by appointment. Illustrated on the front cover with a photograph of the tithe barn as seen from the driveway towards the Abbey Art Centre, with the wishing well in the foreground, credited to Francis J. Forty. Inside is a second photograph, also by Francis J. Forty, showing three objects from the museum's collection and identified, left to right, as: 'Pottery Tobacco Pipe (Upper Nile), Wooden Mask (Sierra Leone), [and] Chinese Vase (Tang)'. On the reverse, below further text regarding the Abbey Art Centre, is a map of how to reach the Abbey by public transport (the same map as used in <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1091">800.0045 The Abbey Art Centre Museum ... Curator C.A. Burland, c. 1952</a>). Subject The topic of the resource Abbey Art Centre. Art Art Centre Museum, New Barnet. Lindsay, Peter S. Forty, Francis J., 1900–1990. Art, primitive. Art, primitive -- Africa. Art, Primitive -- Exhibitions. Art, Chinese. Art, Egyptian. Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1091">800.0045, The Abbey Art Centre Museum ... Curator C.A. Burland, c. 1952</a> Language A language of the resource English Contributor An entity responsible for making contributions to the resource Simon Pierse and Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Abbey Art Centre Abbey Art Museum African art artist colonies baskets beadwork Captain Cook Chinese art Cottie Burland Egyptian antiquities ethnographic art Frances Forty Francis J. Forty Oceanic art Peter S. Lindsay pottery pre-Colombian art primitive art Tibetan art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ee7d70d3de1e130d514fdb4a99e9c212.pdf 8b1b73e3522c0cdb7d602244ecc90df8 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK 20 Davies Street, Mayfair, London, England Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. Katerina Wilczynski was born in Poznan. / After studying in Paris and Berlin she travelled in Spain and France. In 1930 she was awarded the Prix de Rome and remained in Rome until 1939. She was commissioned to paint and draw those ancient buildings where destruction was required by replanning of the city. / In London throughout the "Blitz" she has painted and drawn many of London's damaged buildings and monuments; her painting of Gresham Street was purchased by the Ministry of Information and exhibited at the War Artists Exhibition (National Gallery). / From October 1941 till July 1942, she stayed at Oxford where she executed the architectural drawings and a series of well-known Oxford personalities shown in this Exhibition. / In June 1942, an Exhibition of her work was arranged by the Principal of Somerville College'. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. exhibition catalogue Date submitted Date object first catalogued: [day] [month] [year] 24-March-2022 Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0049 Title A name given to the resource Drawings and Water-Colours by Katerina Wilczynski, October — November 1942 Date A point or period of time associated with an event in the lifecycle of the resource 1942 October — November Creator An entity primarily responsible for making the resource Berkeley Galleries Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource exhibition catalogue Publisher An entity responsible for making the resource available London: Berkeley Galleries Source A related resource from which the described resource is derived <a href="https://nal-vam.on.worldcat.org/oclc/913361461">National Art Library, Victoria & Albert Museum, London, 200.B.19 1942</a> Description An account of the resource Single sheet, folded, printed in black and white on cream wove paper, with an illustration by Katerina Wilczynski on the front cover showing [check which building], Oxford, and signed within the image 'WILS / OXFORD / 1942'. Inside is a biographical note about the artist followed the catalogue listing of 50 works, divided into four sections: 1928–1938, London 1939–1940, Oxford 1942, and Arkadian [sic] Fantasia 1942. In addition to the 50 listed works, the catalogue refers to Portfolios Nos. I, II, and III. Subject The topic of the resource Wilczynski, Katerina. Berkeley Galleries. Contributor An entity responsible for making contributions to the resource Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Berkeley Galleries https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/1161457ac540d0b84435cb6f7fc79579.jpg 9c0d5280106d1f128270359ed3dc9abf Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Shrine and Protectors Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on paper Physical Dimensions The actual physical size of the original image in cm 148.0 x 99.0 cm Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK "Sesto Fiorentino, near Florence, Italy" Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Sesto Fiorentino, near Florence, Italy. Multiple closed tears. Unframed. Rolled: H55-59. Date submitted Date object first catalogued: [day] [month] [year] 29 June 2019 Date modified Date record modified: [day] [month] [year] 14 October 2019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0032 Title A name given to the resource Shrine and Protectors, January 1955, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource January 1955 Format The file format, physical medium, or dimensions of the resource oil on paper; 148.0 x 99.0 cm Description An account of the resource Signed with initials on reverse: ‘HM’. Inscribed by Phillip Martin with black marker lower right: ‘Sesto 1/55’. Inscribed with black marker verso: ‘Shrine and Protectors oil on paper 1955 100 x 149’; inscribed again in black verso: ‘Pos/Sesto 1955’; and again in black verso: ‘H M Sesto’. Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a415f9f65c5d72aa76e8a2763f71a1a4.jpg b9070e3ec04ec8d9d79694794ce0ba6b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Lennamore, Bellarena (N. Ireland) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image in cm 21.3 x 29.5 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in white sketchbook inscribed on front: ‘Helen Marshall / Ireland 1950 /Thames Ditton (England) / 1951 / Private Collection’. Date submitted Date object first catalogued: [day] [month] [year] 29 June 2019 Date modified Date record modified: [day] [month] [year] 30 June 2019 Medium Ripolin enamel on laid brown wrapping paper Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Bellarena, Northern Ireland Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0043 Title A name given to the resource Lennamore, Bellarena (N. Ireland), 1950, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1950 Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Dated in black biro lower left recto: ‘1950’; numbered in black biro lower right recto: ‘156’. Format The file format, physical medium, or dimensions of the resource Ripolin enamel on laid brown wrapping paper; 21.3 x 29.5 cm Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/add743eb4f569beaefd9a1f96d1fcfb9.jpg 78ace402ba4cb6d6eb8c0b7cdc100d12 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Rooster Original Format The type of object, such as painting, sculpture, paper, photo, and additional data work on paper Medium gouache on medium smooth tinted brown paper Physical Dimensions The actual physical size of the original image in cm 21.5 x 29.5 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in white sketchbook inscribed on front: ‘Helen Marshall / Ireland 1950 /Thames Ditton (England) / 1951 / Private Collection’. Date modified Date record modified: [day] [month] [year] 30 June 2019 Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Bellarena (?), Northern Ireland Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.005 Title A name given to the resource Rooster, 1950, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource gouache on medium smooth tinted brown paper; 21.5 x 29.5 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Inscribed in black pen below image on sketchbook page lower left: ’Rooster’; inscribed again and dated lower right below image: ‘1950 / 29 1/2 x 21 1/2’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/13cdc00f2a72ec9e4cf2285c412f494a.jpg 7dec2289f9b6824b16ba5a0da1d4f41a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). My Land Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil and wax crayon on thick dark brown wove paper Physical Dimensions The actual physical size of the original image in cm 38.2 x 25.5 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in white sketchbook inscribed on front: ‘Helen Marshall / Ireland 1950 /Thames Ditton (England) / 1951 / Private Collection’. With an unfinished work in crayon verso. Date modified Date record modified: [day] [month] [year] 30 June 2019 Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Thames Ditton, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0057 Title A name given to the resource My Land, 1951, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1951 Format The file format, physical medium, or dimensions of the resource oil and wax crayon on thick dark brown wove paper; 38.2 x 25.5 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Inscribed and dated in black ink recto beneath image: ‘My Land. oil & wax crayon on paper / 38 x 26 / London 1951 / Thames Ditton’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/5b31846bdf1d78bc39a0478fcd9fb5fb.jpg e83755cb1fb886bcae5a93cacd14e02f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). The Reaper, Bellarena Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on three ply wood Physical Dimensions The actual physical size of the original image in cm 37.0 x 27.0 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in white sketchbook inscribed on front: ‘Helen Marshall / Ireland 1950 /Thames Ditton (England) / 1951 / Private Collection’. Title is from the HM monograph compiled by Phillip Martin. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Bellarena, Northern Ireland Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Date modified Date record modified: [day] [month] [year] 22 July 2019 Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. Phillip Martin (compiled by), 'Helen Marshall', unpublished monograph, c. 1996, illustrated. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0059 Title A name given to the resource The Reaper, Bellarena, 1950, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource oil on three ply wood; 37.0 x 27.0 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Dated in pencil lower centre recto: ‘1950’; inscribed by Phillip Martin in black marker pen verso: ‘154 / Bellarena / 1950 / oil on 3/ply / 37 x 27’; also with remain of stamp on reverse: ‘INSPEC...’ (probably a Customs inspection stamp). Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ed65452cf56ddeb0f8ad59ebd115d6fc.jpg 8f7379dbc6871d65f568de51dadd2290 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Between Benevenue and the Strand (girl with donkey, white cottage beyond) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image in cm 19.5 x 50.0 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Medium Ripolin enamel on thick cream wove paper Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Schruns, Austria Date modified Date record modified: [day] [month] [year] 2 July 2019 Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in a Spirax Sketch Book No. 532 inscribed by Phillip Martin in black marker pen on front cover: ‘H.M. Austria (Schruns) 9/51-11/51’. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0085 Title A name given to the resource Between Benevenue and the Strand (girl with donkey, white cottage beyond), 1951, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource Ripolin enamel on thick cream wove paper; 19.5 x 50.0 cm Description An account of the resource Signed lower right in black ink: 'HM'. Inscribed and dated in blue biro lower right recto: ‘H 1951’; inscribed in black marker verso: ‘Between Benevenue and the Strand / 50 x 19 1/2 / Shruns 1951 / oil on paper’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996)