William Ferdinand Charles Ohly (1883-1955)
Identifier
130.0000
Title
William Ferdinand Charles Ohly (1883-1955)
Type
person
Subject
Ohly, William, 1883-1955
Contributor
Sheridan Palmer and Jane Eckett
Birth Date
31 August 1883
Birthplace
Kingston upon Hull, East Yorkshire, UK
Death Date
22 July 1955
Place of death
London, UK
Occupation
Sculptor, ethnographic art collector, and owner of the Berkeley Galleries and Abbey Art Centre and Museum.
Biography
A British born ethnographic art collector and gallery owner, whose Berkeley Galleries and Abbey Art Centre and Museum were important features of the mid-20th century London art scene.
William Ferdinand Charles Ohly was born in Kingston upon Hull, East Yorkshire, the youngest of four children born to Carl Englebert Viktor Ohlÿ (1847–1900) and Pauline Luise Ohlÿ (née Strauss) (1847–1916). His mother was Jewish, from the well-known Strauss/Straus family of Otterberg in the Rhineland-Palatinate of Germany; her second cousin was Isidor Straus, co-owner of Macy's department store in New York, who died on the Titanic (information re the Srauss/Straus family courtesy Joachim Specht, Grünstadt, 9 Nov. 2023).
At age fourteen Ohly moved with his family to Frankfurt am Main where, reputedly on the advice of sculptor Alfred Gilbert, he and his older brother Ernst (born 18 March 1877 in Milan, Italy) attended the Städelschule. William was subsequently apprenticed to the German sculptor Hugo Lederer in Berlin, circa 1904. He had a studio around this time near Berlin's Tiergarten at Siegmunds Hof 11, where he befriended fellow residents Gordon Craig and Isadora Duncan. In Berlin, on 7 January 1908, he married London-born Florence Annie Kurtzhals née Lloyd (born 23 May 1878, daughter of James Lloyd, mechanical draftsman, and Emma Ann Lloyd; elsewhere Florence's surname is given as Loyd).
Ohly worked as an architectural sculptor in Germany, first in Cologne and later Frankfurt, until the death of his brother Ernst (or Ernest) in 1916. Extant examples include a large fountain topped with cornucopia and a vase set within an octagonal limestone pool for Frankfurt’s main cemetery, c. 1910, and four groups of putti for the façade of the art nouveau headquarters of the Frankfurter General-Anzeiger newspaper at Schillerstraße 19-25 (architects Adam Heinrich Assmann and Ludwig Bernoully, 1912). Two carved figures and decorative reliefs of putti and animals for the main entrance of the Helmholtzschule gymnasium at Habsburgerallee 57-59, Frankfurt, were destroyed during the first major British-American air attack on 4 October 1943 (1912; these are just visible in this archival photograph, c. 1939; the damage to the building is visible in this photograph, taken 4 October 1943). The Ohly name is not currently attached to any of these works yet their authorship is documented in a profile of the brothers in Moderne Bauformen in 1913.
During the First World War he served with a Munich battalion of mine throwers, 1915-1919. At the time of enlistment his address was Eschersheimer Landstraße 152, Frankfurt, and he was recorded as being married to Florence Loyd [sic] with no children. His brother Ernst (Ernest) served in the Reserve Infantry Regiment 208 and died at the Battle of the Somme, France, 14 October 1916 (with thanks to Joachim Specht, historian, Grünstadt, for information on William Ohly's brother).
William and Florence divorced in Munich, 6 June 1919 (again thanks to Joachim Specht, Grünstadt, for sharing genealogical records). Ohly remarried in the same year: this time to Gertrud Scharvogel (1888-1951). Gertrud was the daughter of renowned ceramicist, manufacturer and lecturer Professor Jakob Julius Scharvogel, who had been director of the Grossherzogliche Keramische Manufaktur in Darmstadt, 1906-13, and a founding member of the Deutsche Werkbund in 1907. Scharvogel’s Jugendstil or art nouveau style ‘Scharvogel stoneware’, with its distinct Japanese influences, is represented in many major collections including the British Museum and the Victoria & Albert Museum. William and Gertrud had two sons: Ernst (later Ernest) Jacob Felix Ohly (1920-2008), who would later take over management of the Berkeley Galleries after William Ohly’s death, and a child who died in infancy in 1925.
With the advent of National Socialism, Ohly was unable to practice as a sculptor. His British birth enabled him to move to England in 1933 while Ernest was sent to school in Geneva, where he remained throughout the next war. Gertrud, who was half-Jewish, remained in Munich where she survived the war but many of her family including her mother Sophia Scharvogel (nee Vohsen) perished in concentration camps in Terezin and Gurz (see the Ohly family correspondence, 1941-1947, The Wiener Holocaust Library, London, WL 1136; see also Munich Gendenkbuch Personeliste entry for Sophia Scharvogel). One of Gertrude's sisters, known to William Ohly's children as 'Tante Bob', survived and emigrated to New York (email communication from F. Lettman to S. Palmer, 1 November 2021).
Ohly joined James Fitton's evening class in lithography at the Central School of Arts and Crafts in Southampton Row, around 1933. Fellow members of the class included the Communists Pearl 'Polly' Binder (later Lady Elwyn-Jones, 1904–1990), New Zealander James Boswell (1906–1971), folk singer-journalist-artist Albert Lancaster Lloyd (then recently returned from a stint on an Australian sheep station; 1908–1982), as well as James Holland (1905–1996) and renowned illustrator Edward Ardizzone RA (1900-1979). 'The stimulating political discussions and the general cameraderie were as an important part of the proceedings as the classes' (Dave Arthur, Bert: The Life and Times of A. L. Lloyd, London: Pluto Press, 2012, p. 46). With this group, Ohly helped established the Marxist agit-prop Artists' International Association (AIA; see Arthur, op. cit., pp. 47-8, 111). While only a small handful were card-carrying Communists, they were all determinedly anti-fascist and pro-working-class. Many of the group produced lithographs of London's urban poor around this time, Ohly included.
The move to England marked the end of his marriage to Gertrud. Ohly had met in Germany a young sculpture student, Charlotte Maria Adam (1913–2005), known as 'Lottie' or 'Lotchen', who was part of the underground anti-fascist resistance. She followed Ohly to England and they married in Chelsea, 23 October 1935, setting up home at 8a Netherton Court, Chelsea (London Metropolitan Archives; London, England; 1935 Electoral Register). Both were very active in London's émigré support network. By 1936 they were living at 41 Maida Vale, London, remaining there until 1939 when they appear in the England and Wales Register as living at 11 Sydney Close, Kensington – also known as 11 Avenue Studios, Sydney Close. Ohly is recorded as ‘artist and painter’ while Charlotte is listed as a dressmaker. Charlotte was by then using her understanding of the figure from her sculptural training, as well as her 'impeccable taste', to work as a seamstress in the high-end dress shop, Robell in Baker Street, run by Sigmund Freud's daughter Mathilde Hollitscher and elegantly fitted out by Mathilde's brother Ernst Ludwig Freud (father of Lucian Freud; see Arthur, op. cit., p. 112).
Later that year, in December 1939, Ohly held his first one-man exhibition in the studio at Kensington, titled Impressions of London: Dockland, East End, West End; watercolours and drawings. Ohly’s interest in everyday people and subjects and his sympathy for the poorer migrant communities in these areas are evident in his works of the late 1930s. These attracted some interest and were included in various group exhibitions such as the one organised by the British Institute for Adult Education on behalf of CEMA (Council for Encouragement of Music and Art) that toured Northumberland venues such as the Miners’ Welfare Institute in Ashington in early 1943.
In London Ohy established himself too as an art dealer, mainly in so-called African 'tribal art', Chinese antiquities and medieval sculpture and paintings. In 1941 he established the Berkeley Galleries in Davies Street, off Berkeley Square, London. As a highly respected dealer in ancient and ethnographic objects, both African and Oceanic, Ohly also exhibited modern works of art, including work by Frances Hodgkins, Duncan Grant, Vanessa Bell, Oscar Kokoschka, Jack B. Yeats, Henry Moore, Fred Uhlman, Lucie Rie and Hans Coper’s modernist ceramics, as well as presenting group exhibitions showing works by some of the Abbey artists. The Berkeley Galleries became something of a social centre during the war years, when Ohly, who was of 'a philanthropic nature', 'organised social events with musical recitals, tea and buns at his gallery, as a distraction from the bleakness and blackouts of wartime London' (Arthur, op. cit., pp. 111-2).
Ohly's marriage with Charlotte broke down in the later years of the war. Through the film director Uri Weiss, Charlotte had met Bert Lloyd (Ohly's friend from the Central School lithography class) and by 1945 their affair was an open secret. After Lloyd's wife's suicide in December 1945, he married Charlotte Ohly in early 1946, though William Ohly remained friendly with both (Arthur, op. cit., p. 111). It is likely through Bert Lloyd, who was then a regular contributor to Picture Post, that the series of Abbey Art Centre photographs reproduced in Bernard Smith's autobiography came to be taken.
In 1946, Ohly purchased a three-acre property at 89 Park Road, New Barnet from Father J. S.M. Ward, a collector of ethnographic and religious objects. In 1934 Father Ward established a ‘utopian’ religious order, the Brotherhood and Sisterhood of Antioch, based on religious teachings descended from a church founded before the Greek Orthodox Church. The main house at the Abbey was one of the first private houses constructed of concrete in 1870, while a reassembled fourteenth-century tithe barn from Birchington near Margate, Kent, was used as a chapel. Ward also created a museum and folk park, with some thirty salvaged buildings including a Congo Hut, a Dinka hut, a Chinese Temple and other exotic attractions. Both Ohly and Ward had a passion for collecting glass, porcelain, and medieval works of art, and often met at auctions. The clock tower building contained three flats, and an old school building and numerous outhouses formed thirteen studios. Other rooms in the main house were also rented to residents including the pioneer animator Lotte Reiniger and her husband the German film producer Carl Koch; James Gleeson in 1947-8; Robert Klippel 1947-9 and Mary Webb 1947-49; the Australian art historian Bernard Smith and his family in 1949-50 and Sali Herman, 1953. Ohly’s intention from the outset was to turn the Abbey into a not-for-profit artist’s colony. Other resident artists included the Berliner Inge Winter (née Neufeld), who married the Australian artist Graham King at the Abbey; Noel Counihan and his family, the Scottish painter Alan Davie and his wife Billie; Peter King and Angela Varga. The scholar of Chinese and South East Asian history, Maurice Collis, remarked that the Abbey ‘was in no sense an institution, but undoubtedly provided extraordinary inspiration for the artists who lived and work there’.
In March 1950, four years after purchasing the Abbey, Ohly established the Abbey Art Museum in the old tithe barn, which was open to the public on Saturdays. He nominated Cottie Burland, an assistant in the Ethnographic Department at the British Museum, as the museum’s honorary curator. In 1953 Ohly’s son Ernest married Mary Ashthorpe and the pair settled at the Abbey. Their two children, Francesca (born 1955), and Martin J. Ohly (born 1957), were both born at the Abbey. Ernest and his young family moved out from the Abbey after the birth of Martin, moving to South London.
Meanwhile, also in 1953, Ohly married his housekeeper, Käthe H. Davidson (née Bodey, 1905-1998), known as Kate, who cooked communal meals for many of the resident artists. Kate arrived at the Abbey in late 1947, having been referred through Ohly's former wife, Charlotte and her second husband Bert Lloyd. Kate had worked for the Lloyds minding their young daughter Caroline, who remembered regular visits and holidays spent at the Abbey, where she and her older half-brother Joseph were allowed to 'dress up in grass skirts and other exciting costumes' (Arthur, op. cit., p. 112). Like Charlotte, Kate was a communist with links to Berlin’s radical left. She had escaped Berlin in 1938/39 through the Red Cross and had an arranged marriage in Switzerland to the News Chronical journalist Michael Davidson in order to obtain a British visa (email from Bienchen Ohly to Sheridan Palmer, 2 September 2021). In London she met up with Hans Otto Alfred Schwalm, otherwise known by his pen-name Jan Petersen, author of Our Street: A Chronicle Written in the Heart of Fascist Germany (Gollancz, 1938) with whom she had a child, Bienchen, in 1942. Ohly formally adopted Bienchen (then known as Barbara) at the time of his marriage to Kate. Bienchen and her sons still live at the Abbey and it continues to function as an artists’ centre.
Sheridan Palmer and Jane Eckett
October 2020
William Ferdinand Charles Ohly was born in Kingston upon Hull, East Yorkshire, the youngest of four children born to Carl Englebert Viktor Ohlÿ (1847–1900) and Pauline Luise Ohlÿ (née Strauss) (1847–1916). His mother was Jewish, from the well-known Strauss/Straus family of Otterberg in the Rhineland-Palatinate of Germany; her second cousin was Isidor Straus, co-owner of Macy's department store in New York, who died on the Titanic (information re the Srauss/Straus family courtesy Joachim Specht, Grünstadt, 9 Nov. 2023).
At age fourteen Ohly moved with his family to Frankfurt am Main where, reputedly on the advice of sculptor Alfred Gilbert, he and his older brother Ernst (born 18 March 1877 in Milan, Italy) attended the Städelschule. William was subsequently apprenticed to the German sculptor Hugo Lederer in Berlin, circa 1904. He had a studio around this time near Berlin's Tiergarten at Siegmunds Hof 11, where he befriended fellow residents Gordon Craig and Isadora Duncan. In Berlin, on 7 January 1908, he married London-born Florence Annie Kurtzhals née Lloyd (born 23 May 1878, daughter of James Lloyd, mechanical draftsman, and Emma Ann Lloyd; elsewhere Florence's surname is given as Loyd).
Ohly worked as an architectural sculptor in Germany, first in Cologne and later Frankfurt, until the death of his brother Ernst (or Ernest) in 1916. Extant examples include a large fountain topped with cornucopia and a vase set within an octagonal limestone pool for Frankfurt’s main cemetery, c. 1910, and four groups of putti for the façade of the art nouveau headquarters of the Frankfurter General-Anzeiger newspaper at Schillerstraße 19-25 (architects Adam Heinrich Assmann and Ludwig Bernoully, 1912). Two carved figures and decorative reliefs of putti and animals for the main entrance of the Helmholtzschule gymnasium at Habsburgerallee 57-59, Frankfurt, were destroyed during the first major British-American air attack on 4 October 1943 (1912; these are just visible in this archival photograph, c. 1939; the damage to the building is visible in this photograph, taken 4 October 1943). The Ohly name is not currently attached to any of these works yet their authorship is documented in a profile of the brothers in Moderne Bauformen in 1913.
During the First World War he served with a Munich battalion of mine throwers, 1915-1919. At the time of enlistment his address was Eschersheimer Landstraße 152, Frankfurt, and he was recorded as being married to Florence Loyd [sic] with no children. His brother Ernst (Ernest) served in the Reserve Infantry Regiment 208 and died at the Battle of the Somme, France, 14 October 1916 (with thanks to Joachim Specht, historian, Grünstadt, for information on William Ohly's brother).
William and Florence divorced in Munich, 6 June 1919 (again thanks to Joachim Specht, Grünstadt, for sharing genealogical records). Ohly remarried in the same year: this time to Gertrud Scharvogel (1888-1951). Gertrud was the daughter of renowned ceramicist, manufacturer and lecturer Professor Jakob Julius Scharvogel, who had been director of the Grossherzogliche Keramische Manufaktur in Darmstadt, 1906-13, and a founding member of the Deutsche Werkbund in 1907. Scharvogel’s Jugendstil or art nouveau style ‘Scharvogel stoneware’, with its distinct Japanese influences, is represented in many major collections including the British Museum and the Victoria & Albert Museum. William and Gertrud had two sons: Ernst (later Ernest) Jacob Felix Ohly (1920-2008), who would later take over management of the Berkeley Galleries after William Ohly’s death, and a child who died in infancy in 1925.
With the advent of National Socialism, Ohly was unable to practice as a sculptor. His British birth enabled him to move to England in 1933 while Ernest was sent to school in Geneva, where he remained throughout the next war. Gertrud, who was half-Jewish, remained in Munich where she survived the war but many of her family including her mother Sophia Scharvogel (nee Vohsen) perished in concentration camps in Terezin and Gurz (see the Ohly family correspondence, 1941-1947, The Wiener Holocaust Library, London, WL 1136; see also Munich Gendenkbuch Personeliste entry for Sophia Scharvogel). One of Gertrude's sisters, known to William Ohly's children as 'Tante Bob', survived and emigrated to New York (email communication from F. Lettman to S. Palmer, 1 November 2021).
Ohly joined James Fitton's evening class in lithography at the Central School of Arts and Crafts in Southampton Row, around 1933. Fellow members of the class included the Communists Pearl 'Polly' Binder (later Lady Elwyn-Jones, 1904–1990), New Zealander James Boswell (1906–1971), folk singer-journalist-artist Albert Lancaster Lloyd (then recently returned from a stint on an Australian sheep station; 1908–1982), as well as James Holland (1905–1996) and renowned illustrator Edward Ardizzone RA (1900-1979). 'The stimulating political discussions and the general cameraderie were as an important part of the proceedings as the classes' (Dave Arthur, Bert: The Life and Times of A. L. Lloyd, London: Pluto Press, 2012, p. 46). With this group, Ohly helped established the Marxist agit-prop Artists' International Association (AIA; see Arthur, op. cit., pp. 47-8, 111). While only a small handful were card-carrying Communists, they were all determinedly anti-fascist and pro-working-class. Many of the group produced lithographs of London's urban poor around this time, Ohly included.
The move to England marked the end of his marriage to Gertrud. Ohly had met in Germany a young sculpture student, Charlotte Maria Adam (1913–2005), known as 'Lottie' or 'Lotchen', who was part of the underground anti-fascist resistance. She followed Ohly to England and they married in Chelsea, 23 October 1935, setting up home at 8a Netherton Court, Chelsea (London Metropolitan Archives; London, England; 1935 Electoral Register). Both were very active in London's émigré support network. By 1936 they were living at 41 Maida Vale, London, remaining there until 1939 when they appear in the England and Wales Register as living at 11 Sydney Close, Kensington – also known as 11 Avenue Studios, Sydney Close. Ohly is recorded as ‘artist and painter’ while Charlotte is listed as a dressmaker. Charlotte was by then using her understanding of the figure from her sculptural training, as well as her 'impeccable taste', to work as a seamstress in the high-end dress shop, Robell in Baker Street, run by Sigmund Freud's daughter Mathilde Hollitscher and elegantly fitted out by Mathilde's brother Ernst Ludwig Freud (father of Lucian Freud; see Arthur, op. cit., p. 112).
Later that year, in December 1939, Ohly held his first one-man exhibition in the studio at Kensington, titled Impressions of London: Dockland, East End, West End; watercolours and drawings. Ohly’s interest in everyday people and subjects and his sympathy for the poorer migrant communities in these areas are evident in his works of the late 1930s. These attracted some interest and were included in various group exhibitions such as the one organised by the British Institute for Adult Education on behalf of CEMA (Council for Encouragement of Music and Art) that toured Northumberland venues such as the Miners’ Welfare Institute in Ashington in early 1943.
In London Ohy established himself too as an art dealer, mainly in so-called African 'tribal art', Chinese antiquities and medieval sculpture and paintings. In 1941 he established the Berkeley Galleries in Davies Street, off Berkeley Square, London. As a highly respected dealer in ancient and ethnographic objects, both African and Oceanic, Ohly also exhibited modern works of art, including work by Frances Hodgkins, Duncan Grant, Vanessa Bell, Oscar Kokoschka, Jack B. Yeats, Henry Moore, Fred Uhlman, Lucie Rie and Hans Coper’s modernist ceramics, as well as presenting group exhibitions showing works by some of the Abbey artists. The Berkeley Galleries became something of a social centre during the war years, when Ohly, who was of 'a philanthropic nature', 'organised social events with musical recitals, tea and buns at his gallery, as a distraction from the bleakness and blackouts of wartime London' (Arthur, op. cit., pp. 111-2).
Ohly's marriage with Charlotte broke down in the later years of the war. Through the film director Uri Weiss, Charlotte had met Bert Lloyd (Ohly's friend from the Central School lithography class) and by 1945 their affair was an open secret. After Lloyd's wife's suicide in December 1945, he married Charlotte Ohly in early 1946, though William Ohly remained friendly with both (Arthur, op. cit., p. 111). It is likely through Bert Lloyd, who was then a regular contributor to Picture Post, that the series of Abbey Art Centre photographs reproduced in Bernard Smith's autobiography came to be taken.
In 1946, Ohly purchased a three-acre property at 89 Park Road, New Barnet from Father J. S.M. Ward, a collector of ethnographic and religious objects. In 1934 Father Ward established a ‘utopian’ religious order, the Brotherhood and Sisterhood of Antioch, based on religious teachings descended from a church founded before the Greek Orthodox Church. The main house at the Abbey was one of the first private houses constructed of concrete in 1870, while a reassembled fourteenth-century tithe barn from Birchington near Margate, Kent, was used as a chapel. Ward also created a museum and folk park, with some thirty salvaged buildings including a Congo Hut, a Dinka hut, a Chinese Temple and other exotic attractions. Both Ohly and Ward had a passion for collecting glass, porcelain, and medieval works of art, and often met at auctions. The clock tower building contained three flats, and an old school building and numerous outhouses formed thirteen studios. Other rooms in the main house were also rented to residents including the pioneer animator Lotte Reiniger and her husband the German film producer Carl Koch; James Gleeson in 1947-8; Robert Klippel 1947-9 and Mary Webb 1947-49; the Australian art historian Bernard Smith and his family in 1949-50 and Sali Herman, 1953. Ohly’s intention from the outset was to turn the Abbey into a not-for-profit artist’s colony. Other resident artists included the Berliner Inge Winter (née Neufeld), who married the Australian artist Graham King at the Abbey; Noel Counihan and his family, the Scottish painter Alan Davie and his wife Billie; Peter King and Angela Varga. The scholar of Chinese and South East Asian history, Maurice Collis, remarked that the Abbey ‘was in no sense an institution, but undoubtedly provided extraordinary inspiration for the artists who lived and work there’.
In March 1950, four years after purchasing the Abbey, Ohly established the Abbey Art Museum in the old tithe barn, which was open to the public on Saturdays. He nominated Cottie Burland, an assistant in the Ethnographic Department at the British Museum, as the museum’s honorary curator. In 1953 Ohly’s son Ernest married Mary Ashthorpe and the pair settled at the Abbey. Their two children, Francesca (born 1955), and Martin J. Ohly (born 1957), were both born at the Abbey. Ernest and his young family moved out from the Abbey after the birth of Martin, moving to South London.
Meanwhile, also in 1953, Ohly married his housekeeper, Käthe H. Davidson (née Bodey, 1905-1998), known as Kate, who cooked communal meals for many of the resident artists. Kate arrived at the Abbey in late 1947, having been referred through Ohly's former wife, Charlotte and her second husband Bert Lloyd. Kate had worked for the Lloyds minding their young daughter Caroline, who remembered regular visits and holidays spent at the Abbey, where she and her older half-brother Joseph were allowed to 'dress up in grass skirts and other exciting costumes' (Arthur, op. cit., p. 112). Like Charlotte, Kate was a communist with links to Berlin’s radical left. She had escaped Berlin in 1938/39 through the Red Cross and had an arranged marriage in Switzerland to the News Chronical journalist Michael Davidson in order to obtain a British visa (email from Bienchen Ohly to Sheridan Palmer, 2 September 2021). In London she met up with Hans Otto Alfred Schwalm, otherwise known by his pen-name Jan Petersen, author of Our Street: A Chronicle Written in the Heart of Fascist Germany (Gollancz, 1938) with whom she had a child, Bienchen, in 1942. Ohly formally adopted Bienchen (then known as Barbara) at the time of his marriage to Kate. Bienchen and her sons still live at the Abbey and it continues to function as an artists’ centre.
Sheridan Palmer and Jane Eckett
October 2020
Bibliography
Marriage certificate for William F. C. Ohly and Florence Annie Kurtzhals, Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Heiratsregister; Laufendenummer: 469, certificate no. 15. Ancestry.com. Berlin, Germany, Marriages, 1874-1936 [database on-line].
Bayerisches Hauptstaatsarchiv; München; Abteilung IV Kriegsarchiv. Kriegstammrollen, 1914-1918; Volume: 17059. Kriegsstammrolle: Bd. 1, Ancestry.com. Bavaria, Germany, World War I Personnel Rosters, 1914-1918 [database on-line].
William F C Ohly in the 1939 England and Wales Register, 29 September 1939, The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/308I, Ancestry.com. 1939 England and Wales Register [database on-line].
Impressions of London: Dockland, East End, West End; watercolours and drawings by William F. C. Ohly, 11 Avenue Studios, Sydney Close, 76 Fulham Road, S.W.3, 10 December [1939], https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/544.
Electoral register record for 89 Park Road, Barnet East, London, 20 November 1949, London Metropolitan Archives; London, England; Electoral Registers, ref. no. MR/PER/C/1275, Ancestry.com. London, England, Electoral Registers, 1832-1965 [database on-line].
Berkeley Galleries, London, Exhibition of Work by Artists of the Abbey Art Centre, New Barnet, Herts., Berkeley Galleries, Mayfair, 2 December 1952 to 3 January 1953, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/545.
C. A. Burland, Memorial Exhibition of Painting and Sculpture by William Ohly, London: Berkeley Galleries, 21 September – 3 October 1955, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/503.
‘Scenes of a vanished East End: William Ohly’s pictures', The Times, London, 21 September 1955, p. 3, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/admin/items/show/542.
Hermione Waterfield, ‘William Ohly 31 August 1883 - 22 July 1955' in H. Waterfield and J. C. H. King, Provenance: Twelve Collectors of Ethnographic Art in England, 1760–1990, London: Paul Holberton Publishing, 2009, pp. 104-109.
François de Ricqlès Lionel Gosset, Art Africain et Océanien Collection William Ohly, exh. cat., Paris: Christies, 3 December 2011.
Francesca Letterman interviewed by Sheridan Palmer, London, 2013.
‘Name: Scharvogel, Johann Julius’, V&A collections search, London: Victoria and Albert Museum, URL: http://collections.vam.ac.uk/name/scharvogel-johann-julius/A20416/ (accessed 22.9.2020).
‘Jakob Julius Scharvogel’, biographic entry stub, British Museum, London, URL: https://www.britishmuseum.org/collection/term/BIOG166242 (accessed 22 September 2020).
Abbey Museum of Art and Archaeology, ‘JSM Ward and the History of the Abbey Museum’, URL: https://abbeymuseum.com.au/history/ (accessed 20 June 2020).
German Wikipedia entry from William Ohly.
Email correspondence from Bienchen Ohly to Sheridan Palmer, 13 August 2020.
Email correspondence from Joachim Specht to Sheridan Palmer and Jane Eckett, November – December 2023.
Julius Hülsen, ‘Bildhauerarbeiten der Brüder Ernest und Wilhelm Ohly’, Dekorative Kunst, 1912, pp. 271–73.
'Bildhauer Ernst und William Ohly, Frankfurt a.M. u. Köln a.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst, vol. XII, no. 6, June 1913, pp. 296-300.Bayerisches Hauptstaatsarchiv; München; Abteilung IV Kriegsarchiv. Kriegstammrollen, 1914-1918; Volume: 17059. Kriegsstammrolle: Bd. 1, Ancestry.com. Bavaria, Germany, World War I Personnel Rosters, 1914-1918 [database on-line].
William F C Ohly in the 1939 England and Wales Register, 29 September 1939, The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/308I, Ancestry.com. 1939 England and Wales Register [database on-line].
Impressions of London: Dockland, East End, West End; watercolours and drawings by William F. C. Ohly, 11 Avenue Studios, Sydney Close, 76 Fulham Road, S.W.3, 10 December [1939], https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/544.
Electoral register record for 89 Park Road, Barnet East, London, 20 November 1949, London Metropolitan Archives; London, England; Electoral Registers, ref. no. MR/PER/C/1275, Ancestry.com. London, England, Electoral Registers, 1832-1965 [database on-line].
Berkeley Galleries, London, Exhibition of Work by Artists of the Abbey Art Centre, New Barnet, Herts., Berkeley Galleries, Mayfair, 2 December 1952 to 3 January 1953, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/545.
C. A. Burland, Memorial Exhibition of Painting and Sculpture by William Ohly, London: Berkeley Galleries, 21 September – 3 October 1955, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/503.
‘Scenes of a vanished East End: William Ohly’s pictures', The Times, London, 21 September 1955, p. 3, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/admin/items/show/542.
Hermione Waterfield, ‘William Ohly 31 August 1883 - 22 July 1955' in H. Waterfield and J. C. H. King, Provenance: Twelve Collectors of Ethnographic Art in England, 1760–1990, London: Paul Holberton Publishing, 2009, pp. 104-109.
François de Ricqlès Lionel Gosset, Art Africain et Océanien Collection William Ohly, exh. cat., Paris: Christies, 3 December 2011.
Francesca Letterman interviewed by Sheridan Palmer, London, 2013.
‘Name: Scharvogel, Johann Julius’, V&A collections search, London: Victoria and Albert Museum, URL: http://collections.vam.ac.uk/name/scharvogel-johann-julius/A20416/ (accessed 22.9.2020).
‘Jakob Julius Scharvogel’, biographic entry stub, British Museum, London, URL: https://www.britishmuseum.org/collection/term/BIOG166242 (accessed 22 September 2020).
Abbey Museum of Art and Archaeology, ‘JSM Ward and the History of the Abbey Museum’, URL: https://abbeymuseum.com.au/history/ (accessed 20 June 2020).
German Wikipedia entry from William Ohly.
Email correspondence from Bienchen Ohly to Sheridan Palmer, 13 August 2020.
Email correspondence from Joachim Specht to Sheridan Palmer and Jane Eckett, November – December 2023.
Photograph (i)
William Ohly at the Abbey Art Centre, c. 1950. Photo: Picture Post. Reproduced: Memorial Exhibition of Painting and Sculpture by William Ohly, London: Berkeley Galleries, 1955.
Date submitted
8 August 2020
Date modified
7 December 2023
Collection
Citation
“William Ferdinand Charles Ohly (1883-1955),” The Abbey Art Centre Digital Repository, accessed May 6, 2024, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/485.