2 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/e9666683035202ff97d8c97793a8ef96.jpg d73df5ba7df899ad0fdba064ef04b800 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'). Port in Connemara (later known as Haven) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on paper laid on Masonite Physical Dimensions The actual physical size of the original image in cm image: 51 x 74.3; board: 52.8 x 75.9 cm Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. Helen Marshall, Phillip Martin: Peintures, Collages, Gouaches, Oeuvres Jointes - 1950-1966, Palais des Beaux-Arts de Bruxelles, 14-26 April 1966, catalogue no. 41 (as Port in Connemara, oil on paper). 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. Depicts boat, houses, mountains, light house. Possibly based on the lighthouse at Roundstone. In an unpublished monograph on Marshall, Phillip Martin referred to this work as 'Haven'. Date modified Date record modified: [day] [month] [year] 7 September 2019 Date submitted Date object first catalogued: [day] [month] [year] 1 July 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 Connemara, 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 127.0143 Title A name given to the resource Port in Connemara (later known as Haven), July 1952, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource July 1952 Format The file format, physical medium, or dimensions of the resource oil on paper laid on Masonite; image: 51 x 74.3; board: 52.8 x 75.9 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 oil paint recto lower right: ‘7/52’; inscribed and dated in black marker by Phillip Martin verso: ‘40 [scratched out and replaced with 4] / Helen Marshall / Port in Connemara / 7/1952 / 74 1/2 x 50 / Huile / Colln de l’Artiste’" 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/63f72a52228a8718e3ec7767e1bc2418.jpg faf577f318d3402823c61856b7bb6647 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'). Shadows of Still More Shadowy Things Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium tempera (or acrylic?) on paper laid on plywood Physical Dimensions The actual physical size of the original image in cm 100.5 x 65.5 cm Date modified Date record modified: [day] [month] [year] 10 September 2019 Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. Irish Exhibition of Living Art, Dublin, 1960, catalogue no. 109 (£70 0 0). 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. Framing label verso of the Dawson Gallery, Dublin. 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 Paris, France Date submitted Date object first catalogued: [day] [month] [year] 3 July 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 127.0153 Title A name given to the resource Shadows of Still More Shadowy Things, 1959, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1959 Format The file format, physical medium, or dimensions of the resource tempera (or acrylic?) on paper laid on plywood; 100.5 x 65.5 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 Signed and dated in black marker pen lower right, but painted out: ‘Marshall 59’. Inscribed in black marker pen lower centre recto: 'Shadows of Still More Shadowy Things'; inscribed in black paint verso: ‘H. Marshall (painted over) / Paris 1959 / colln de l’artiste’ and in black marker pen verso: ‘101 x 66’; also in black crayon verso: ‘4’; inscribed in white chalk (upside down) verso: ‘H MARSHALL’; also numbered in pencil verso: ‘109’. 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/3d9b91234f5dad86d0ec71531a92fec3.jpg 8b21587cae7eaebba69a635538174633 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'). Untitled (black goddess in shrine with grinding wheel) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium gouache ink and crayon on lightly textured medium thick beige hand towel paper Physical Dimensions The actual physical size of the original image in cm sheet: 12.0 x 16.7 cm (irregular) 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 a Fabriano ‘geometrico’ sketchbook, inscribed by Phillip Martin in blue crayon: ‘Helen Marshall / Watercolours, gouaches / Positano - Ischia / 1953-1954’. Date submitted Date object first catalogued: [day] [month] [year] 5 July 2019 Date modified Date record modified: [day] [month] [year] 5 July 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 Ischia, Italy 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 127.0215 Title A name given to the resource Untitled (black goddess in shrine with grinding wheel), c. 1953-1954, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource c. 1953-1954 Format The file format, physical medium, or dimensions of the resource gouache ink and crayon on lightly textured medium thick beige hand towel paper; sheet: 12.0 x 16.7 cm (irregular) 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. Not inscribed or dated. 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/ef964e312804fc89f474cce6ccae55bc.jpg 5f8a05d39c5cf80c195e5574e86d5dfd 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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; probably in the flat above the Berkeley Galleries, 20 Davies Street, London W1Y 1LH, England. 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]. Presented by the Estate of Katerina Wilczynski through the good offices of Martin Kauffmann, on behalf of the descendants of Arthur and Tamara Kauffmann, 2024. Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. <a href="https://benuri.org/exhibitions/87-cosmopolis-the-impact-of-refugee-art-dealers-in-london/overview/"><em>Cosmopolis: The Impact of Refugee Art Dealers in London</em></a>, Ben Uri Gallery &amp; Museum, London, 26 June to 6 September 2024. 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. Ben Uri Gallery, London Date submitted Date object first catalogued: [day] [month] [year] 15 December 2025 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. Wilczynski's sketch captures the exotic jumble of Ohly's flat above the Berkley Galleries at 20 Davies Street, showing what looks to be an Aboriginal carved shield and a hand-drum hung over the fireplace amid a string of onions, and an aquarium and assorted bottles on the mantle-piece, flanked by a carved Madonna and child on the left and a Tibetan goddess on the right and with an American Indian dream-catcher hanging below. 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 326.0004 Title A name given to the resource <em>Ohly's Kitchen</em>, c. 1942–46, by Katerina Wilczynski Date A point or period of time associated with an event in the lifecycle of the resource c. 1942–46 Creator An entity primarily responsible for making the resource Katerina Wilczynski (1894–1978) Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour and ink on paper; 35.4 x 40 cm Source A related resource from which the described resource is derived <a href="https://benuri.org/artists/437-katerina-wilczynski/works/2657-katerina-wilczynski-ohly-s-kitchen-c.-1940s/">Ben Uri Gallery, London, accession no. 2024-07</a> Description An account of the resource Inscribed in pencil lower right recto: "Ohly's kitchen." Subject The topic of the resource Ohly, William, 183–1955. <br />Wilczynski, Katerina, 1894–1978. Rights Information about rights held in and over the resource © Katerina Wilczynski 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). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1010">326.0001, Homage à William Ohly: Artist’s Hope and Help, by Katerina Wilczynski, [December 1943]</a>.<br /><a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1315">326.0003, Untitled (Ohly's kitchen), c. 1942–46, by Katerina Wilczynski</a>. Contributor An entity responsible for making contributions to the resource Jane Eckett Berkeley Galleries chimneys Goddesses kitchen mantle piece William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/69b6e6ac296d94e75b9e605237619c4e.jpg 9196e28eac092f29f02b8658b221358c 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 [?] Melbourne, Victoria, 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]. By descent from the artist to the present owner 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. Probably a student work or a work of juvenilia. 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 Date submitted Date object first catalogued: [day] [month] [year] 18 January 2020 Date modified Date record modified: [day] [month] [year] 21 November 2020 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 129.0001 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1930s Title A name given to the resource Untitled (still life, chrysanthemums), c. 1930s, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource oil on Reeves & Co London canvas; 35.5 x 22.5 cm Source A related resource from which the described resource is derived Private collection, Melbourne, Victoria, Australia Description An account of the resource Signed with monogram lower left, recto: ‘M’ ; also signed in full lower left, recto, but overpainted: ‘M. T. Newton’. Subject The topic of the resource Flowers in art. Still-life painting. Rights Information about rights held in and over the resource © Max Newton 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). Contributor An entity responsible for making contributions to the resource Jane Eckett flower painting Max Newton still life student art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/221639b76696cf5daa36252d325513c6.jpg 43685864cc13fe088534df1ab2b9df31 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 Cheltenham, Melbourne, Victoria, 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]. By descent from the artist 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. Courtesy the artist’s family Date submitted Date object first catalogued: [day] [month] [year] 28 December 2020 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 129.0002 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1936 Title A name given to the resource Untitled (Newton family home in the grounds of the Melbourne Benevolent Asylum, Cheltenham), c. 1936, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour over pencil; dimensions unknown Source A related resource from which the described resource is derived Private collection, Melbourne, Victoria, Australia Description An account of the resource No visible signature. Rights Information about rights held in and over the resource © Max Newton 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). Contributor An entity responsible for making contributions to the resource Jane Eckett Australian landscape Benevolent Asylum Cheltenham Federation architecture Max Newton Melbourne art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/cc8adf67727c9305270a149dc625a140.jpg c8fd8e2970badbfb613cb83296329a84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/41011ca213bbf43a53d7e6b633f958c7.jpg 811aa937838c92034af2489a5f8de137 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 Elwood, Melbourne, Victoria, 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]. By descent from the artist 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. Jane Eckett 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 Date submitted Date object first catalogued: [day] [month] [year] 18 January 2020 Date modified Date record modified: [day] [month] [year] 28 December 2020 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 129.0003 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1940s Title A name given to the resource Untitled (streetscape with tram, Elwood; with an unfinished scene of figures on a jetty looking at bay and yacht verso), c. 1940s, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour over pencil on paper mounted on board; 38 x 61 cm Source A related resource from which the described resource is derived Private collection, Melbourne, Victoria, Australia Description An account of the resource Not signed. Not inscribed or dated. Rights Information about rights held in and over the resource © Max Newton 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). Contributor An entity responsible for making contributions to the resource Jane Eckett Elwood jetty Max Newton Melbourne art Port Phillip trams urban landscape https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/325638ed82755afa90165c025c5ee515.tif 4932e32d08ecabf095e88543523b84fd 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 Victoria, 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]. Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. (?) RAAF War Paintings Exhibition [Harold Freedman, Eric Thake, Max Newton], Canberra: Royal Australian Air Force; exhibition toured Melbourne: National Gallery of Victoria; Sydney: National Art Gallery of New South Wales; Brisbane: Queensland National Ar 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. Photographer unknown; scan of photograph courtesy Tony Lee and the Newton family Date submitted Date object first catalogued: [day] [month] [year] 29 December 2020 Date modified Date record modified: [day] [month] [year] 29 December 2020 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 129.0005 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource 1944 Title A name given to the resource Title unknown (bush cottage with rain water tank), 1944, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour on paper; dimensions unknown Source A related resource from which the described resource is derived Photograph of work held in the Max Newton papers, private collection, Melbourne, Victoria, Australia Description An account of the resource Signed and dated in black pen lower right, recto: ‘Max Newton 44'. Subject The topic of the resource Landscape painting -- 20th century -- Australia. Rights Information about rights held in and over the resource © Max Newton 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). Contributor An entity responsible for making contributions to the resource Jane Eckett Australian landscape Australian rural life bush Max Newton https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/72df0f578afc55cdd18015445927f39a.jpg 0adca3eb0d3612f9c985c22886951c27 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 Melbourne, Victoria, Australia Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. Design Division Art Group, Athenaeum Galleries, Melbourne, 21 March - 1 April 1944, catalogue no. 49 (as Towards the Dandenongs, 12 gns) 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. 'Australian Soldier Artists Exhibit Their Work; Spare Time Art Reveals Talent', <em>The Australasian</em>, Melbourne, 1 April 1944, illustrated p. 7. 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. <em>The Australasian</em> Date submitted Date object first catalogued: [day] [month] [year] 29 December 2020 Date modified Date record modified: [day] [month] [year] 29 December 2020 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 129.0006 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1944 Title A name given to the resource Towards the Dandenongs, c. 1944, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour on paper; dimensions unknown Source A related resource from which the described resource is derived Whereabouts unknown; photograph scanned from <em>The Australasian</em>, 1 April 1944, p. 7 Subject The topic of the resource Landscape painting -- 20th century -- Australia. Rights Information about rights held in and over the resource © Max Newton 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). Contributor An entity responsible for making contributions to the resource Jane Eckett Australian landscape Dandenongs Design Division Max Newton war https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/aef47d7812f2115a645e04b7cc060537.tif 801674d15173ae80298c369ad636168c 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting 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 Labuan, Malaysia 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]. Commissioned 1945. Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. RAAF War Paintings Exhibition [Harold Freedman, Eric Thake, Max Newton], Canberra: Royal Australian Air Force; exhibition toured Melbourne: National Gallery of Victoria; Sydney: National Art Gallery of New South Wales; Brisbane: Queensland National Art Gallery; Adelaide: National Gallery of South Australia; Perth: Public Library, Museum and Art Gallery of Western Australia; Hobart: The Tasmanian Museum and Art Gallery, touring exhibition, 1946, catalogue no. 98 (as Church Service, drawing, August 1945, Sunday Church Service as 1st T.A.F. Labaun). 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. <a href="https://www.awm.gov.au/collection/C176894">The AWM describe this work as follows</a>: ‘Depicts a large tent set up to function as a church with benches and an altar at the front with crosses. A priest stands at the front of the church tent delivering a sermon. Max (Thomas Maxwell) Newton enlisted with the AIF. He was seconded to the RAAF War History Section as an Official War Artist in 1945. He travelled to Labuan and Morotai as part of his appointment, where he recorded aspects of the RAAF involvement in the Pacific during the Second World War.’ 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. Photographer unknown; scan of photograph courtesy Tony Lee and the Newton family Date submitted Date object first catalogued: [day] [month] [year] 29 December 2020 Date modified Date record modified: [day] [month] [year] 29 December 2020 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 129.0018 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource 1945 August Title A name given to the resource Sunday church service at 1st TAF, Labuan, 1945 August, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour with ink on paper; 28.8 x 35.2 cm (image) Source A related resource from which the described resource is derived <a href="https://www.awm.gov.au/collection/C176894">Australian War Memorial, Canberra, accession no. ART26807</a>; photograph held among the Max Newton papers, private collection, Melbourne, Victoria, Australia Description An account of the resource Signed and dated in black pen lower left, recto: ‘Max Newton 45'. Subject The topic of the resource War artists -- Australia -- 20th century. Australia -- History, Military. War in art. World War, 1939-1945 -- Art and the war. World War, 1939-1945 -- Malaysia. Rights Information about rights held in and over the resource <a href="https://creativecommons.org/publicdomain/mark/1.0/">Copyright expired - public domain. Public Domain Mark 1.0 </a> Contributor An entity responsible for making contributions to the resource Jane Eckett Labuan Malaysia Max Newton RAAF religious services Royal Australian Air Force war