4 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/501888c3bccb88d985e8559c4a56c6e0.jpg 2d023b1dceeb1c2176ca2d3868933b3f 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/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 5 March 1921 Birthplace Ballarat, Victoria, Australia Death Date [day] [month] [year] 2002 Place of death Full address is known; else city and country. Castlemaine, Victoria, Australia Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, draughstman Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 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. Douglas Green in Inge King's room at the Abbey Art Centre, with Grahame King's artworks on the wall, 1950; photo attributed to Picture Post, courtesy the artist's estate Date modified Date record modified: [day] [month] [year] 14 March 2023 Biography Douglas Allan Green studied at the Melbourne Technical College (MTC, later renamed RMIT) under watercolourist John Rowell (1894–1973) and printmaker Murray Griffin before WW2. Green worked as a cartographer in the AIF during World War 2. In March 1941, at age 20, he enlisted at Royal Park in the AHQ (Army Headquarters) Cartographic Company. His occupation was given as commercial artist and he had by then completed six years of study at the 'School of Applied Art' [Working Man's College, Melbourne, now RMIT, 1937–41]. Throughout 1941 he was in camp in Melbourne and Caulfield. In December that year he was transferred the 2/1 Corps Field Survey Company and sent to Echuca, on the New South Wales border. He was back in Melbourne in January, before being transferred in April 1942 north to Darwin. He arrived two months after the Japanese first bombed Darwin in the largest single air raid in Australia's history and was present during subsequent smaller air raids on Darwin including that of 16 June 1942, when ships in Darwin Harbour were destroyed. Leaving Darwin in June 1943, he was initially sent south to New South Wales before joining the 2nd/1st Australian Army Topographical Survey Company in Queensland in September 1943. For fifteen months he was stationed in north Queensland. Portrait sketches of Indigenous people from Atherton and a VADs nurse near Kuranda exist from this time. With the Topographical Survey Company he sailed in December 1944 on the SS Jean-Pierre Chouteau from Townsville to Hollandia, near Jayapura, in what was then known as Dutch New Guinea (now Papua, Indonesia). A series of sketches from the army camp at Lake Sentani, near Jayapura, exist from this time and are in the collections of AWM and MAGNT. Promoted to the rank of Corporal, he transferred in June 1945 to the 1st Australian Mobile Lithographic Section at Morotai. As Charles Green later wrote: 'Along with a group of other young Australian artists, he moved from island to island with General McArthur’s command, just behind the front line, making the maps each night that bombers used next day' (artist's statement, Gagprojects, Kent Town, South Australia, 2010). After eight months in Papua New Guinea he was flown to Manila, for two months, just after the US had liberated the Philippine capital. In October 1945 he returned by plane to Melbourne, where he joined the Design Division in East Malvern. There he met fellow artist Grahame King, with whom he would later share a studio at the Abbey and travel with through England and France. He was discharged from the army in April 1946. Back in Melbourne, he studied under George Bell, 1946–47, and enrolled at the National Gallery School with the returned serviceman’s stipend that assisted many artist-returned soldiers into art schools at that time. At the completion of that Diploma, during which he shared studios with John Brack, he entered and won the famous Murdoch Travelling Fellowship; this was very controversial since Melbourne’s realist/tonalist community was enraged (the other finalist was tonalist AME Bale). Green’s winning work was the first modernist painting to win this award; it reflected both his close study of worked in the NGV collection, and in particular the recently acquired unfinished large painting by Veronese. Green departed Melbourne 10 June 1948 on the Fort Cologne, a cargo boat operated by McIlwraith McEacharn Ltd. One of the partners in the firm, the Scotsman Captain Neil McEacharn, had a substantial collection of Australian modern art (notably the work of Dobel), amassed during the war. Green carried a letter of introduction to McEacharn and would later visit McEacharn at his renowned Villa Taranto, on the shores of Lake Maggiore, with his wife Helen in 1950, a short stay at which McEacharn’s friend, painter Donald Friend, was also present, working on a commission to document the flowering of a rare plant for the magnate. In London he settled at the Abbey Art Centre, where his Melbourne friends Max Newton, Grahame King, and Peter Graham were already resident. From mid-1948 until 1950 he studied under Bernard Meninsky at the London City Council School of Arts and Crafts (later called the Central School of Arts and Crafts). In his travels across ruined Europe, accompanied by different friends, he encountered the great Romanesque cathedrals of France and Italy, which had a transformative and galvanising effect on him. He was also deeply affected by his encounters with Irish modernist Gerard Dillon, whom he and Helen visited in Ireland. He maintained close friendships with several artists from The Abbey circle, including artists who were not resident but whose stay in London coincided with his, for the rest of his life, including the Kings, Grahame and Inge, and Michael Shannon (who he had met around the time of his National Gallery studies), and Peter Graham. On returning to Australia, the Greens moved into Helen’s parent’s beachouse at 2 Newington Lane, Chelsea (a then completely undeveloped string of semi-isolated beach-shacks) and he worked in advertising and design, in a partnership with Grahame King. During this period he was commissioned to create a mosaic for a new, modernist church in Balwyn. When the new Bonbeach High School opened in 1957 [or 1958?], he decided to retrain as a secondary school teacher. First he needed to upgrade his qualifications, so he gained his Diploma of Art at RMIT in 1960 with a folio of drawings completed at RMIT as well as a group of new paintings he had commenced in 1959 including the Schoolyard painting now in the NGV collection. He joined the Victorian Education Department as a part-time art teacher at the new Bonbeach High School (c. 1957/58), where Helen Green was already working fulltime (she gained her teaching qualifications after graduating with an Honours degree at Melbourne University during wartime; she worked in small rural schools up until she sailed to the UK to join Douglas; when she returned to teaching in the later 1950s, Douglas became the carer for their three young children). Later solo exhibitions include Meditations on a blue-gum (coloured pen drawings, Murphy Street Print Room, South Yarra, Vic., 8–24 April 1975), marking his return to an intensive studio practice. He exhibited twice at the legendary Pinacotheca Gallery, Richmond, introduced to gallerist Bruce Pollard by his son Charles Green, an exhibiting artist at the gallery; these shows were The Ten Thousand Heavenly Clouds, or Sunset and the You Yangs: watercolours by Douglas Green, Pinacotheca, Richmond, Vic., 22–28 June 1986 (a tribute to framer Les Hawkins, who loaned Green his books on JMW Turner just the day before his death; these paintings in an elongated horizontal scroll format drew on close observation of the sunset skies throughout the year from his Chelsea residence, which he had recently moved from at the time of the Pinacotheca show); and A Solstice Cycle: The Ten Thousand Heavenly Clouds & The Ten Thousand Earthly Trees, Pinacotheca, Richmond, Vic., 14 June – 1 July 1989 (a series of twelve gouache vertical scroll-like works on paper, each representing a different month of the year, and each taking as its motif Mount Alexander and its foothills observed from the outskirts of Castlemaine, where he had recently settled after his wife Helen retired; they had been resident in Bendigo from 1977 to 1985). The Lyttleton Gallery, North Melbourne, held a survey of his early works from the 1940s and 1950s, including war time works on paper and postwar travel observations, in 1994. Green also took part in several group shows, particularly at the Castlemaine Art Gallery including their 9x5 Centenary Exhibition (5–27 August 1989) and then at the Ballarat Regional Art Gallery, for Ten Regional Artists(13 October – 3 November 1991). He was awarded the Dominique Segan Drawing Prize at the Castlemaine Art Gallery in the 1990s. Bibliography Canberra: National Archives of Australia, service record for GREEN DOUGLAS ALLAN : Service Number - VX66819 : Date of birth - 05 Mar 1921 : Place of birth - BALLARAT VIC : Place of enlistment - ROYAL PARK VIC : Next of Kin - GREEN BERT. Douglas Green: oil paintings and works on paper from 1942 to 1962, North Melbourne: Lyttleton Gallery, 30 July –18 August 1994. Christopher Heathcote, 'A post-war rebel without a cause', The Age, Melbourne, 3 August 1994, p. 22; Christopher Heathcote, A Quiet Revolution: The Rise of Australian Art 1946–1968, Melbourne: Text Publishing, 1995, pp. 10–12, plate 1. 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 117.0000 Title A name given to the resource Douglas Allan Green (1921–2002) Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett and Charles Green 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/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) author, historian, research assistant, translator Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 Birth Date [day] [month] [year] 3 March 1915 Birthplace Streatham Hill, London, England, UK Death Date [day] [month] [year] January 1989 Place of death Full address is known; else city and country. Melbourne, Victoria, Australia Bibliography Bernard Smith, A Pavane For Another Time, South Yarra, Vic.: Macmillan Art Publishing, 2002, pp. 11–5, 27. 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 103.0000 Title A name given to the resource Kate Beatrice Hartley Challis (1915–1989) (also known as Ruth Adeney and Kate Smith) Type The nature or genre of the resource person 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/590">Bernard William Smith (1916–2011)</a> https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b00c10d30634bef668eb1a43717facf3.jpg 6d0f97b95a8fffb29a17f08b4681d975 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/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 21 May 1917 Birthplace Adelaide, South Australia, Australia Death Date [day] [month] [year] 17 July 1999 Place of death Full address is known; else city and country. Melbourne, Victoria, Australia Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) artist (draughtsman), artist (printmaker), artist (painter) Biography Born in Adelaide to Marion Dove Wigley (née Dale) and Henry (Harry) Vandeleur Wigley, James Wigley’s father died in 1927 and the family thrown into financial stress. James’s maternal grandfather, James Ernest Dale, an Anglican priest, facilitated his attendance at Poultney Street School (later Poultney Grammar School) as a fee-exempt student. There Wigley befriended fellow student and future anthropologist Ronald Berndt. Both Wigley and Berndt disliked school and left at an early age—Berndt, at fourteen, to study bookkeeping and business correspondence, and Wigley, who dreamt of joining the circus, at fifteen (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). Their friendship, however, would prove important. Berndt’s father, a jeweller who collected Aboriginal artefacts, awakened an interest in Indigenous cultural material in both Berndt and Wigley, who began collecting from an early age (Geoffrey Gray, ‘‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007). In 1937 Wigley enrolled at the School of Fine Arts in Tynte Street, North Adelaide, where his Slade-trained art instructor, F. Millward Grey (1899–1957), considered drawing more important than painting, resulting in an emphasis on life classes and commercial art. While at art school, c. 1937-38, Wigley began to draw local Adelaide people as well as undertaking cartooning work under the nom de theatre of ‘Creigh’ (‘<a href="http://nla.gov.au/nla.news-article131989669">Fine work by students</a>’, News, Adelaide, 12 December 1939, p. 11). He was invited to take part in group exhibitions in Adelaide around this time, including the Royal Society of Arts where, in June 1937, he was shown alongside such established artists as Dorrit Black, Ivor Hele and Hans Heysen (‘<a href="http://nla.gov.au/nla.news-article74199371">Student Artist Invited to Exhibition</a>’, The Advertiser, Adelaide, 30 June 1937, p. 18). In February 1938, with the support of Heysen, Wigley held a private exhibition of his work at the Mount Lofty home of Mrs Mellis Napier (Heysen’s role in helping arrange the exhibition is recounted in ‘<a href="http://nla.gov.au/nla.news-article47807945">Artist's studio among Aborigines</a>’, The Australian Women's Weekly, 23 September 1964, p. 13). An Adelaide arts commentator, signing themselves ‘Palette’, reported that ‘people from every part of Australia saw the potentialities of this young South Australian, and eagerly bought up what was shown’ (Palette, ‘<a href="http://nla.gov.au/nla.news-article131902287">Young S.A. Artist in Sydney Studio. James Wigley’s Prospects</a>’, The News, Adelaide, 17 February 1938, p. 8). The same commentator described Wigley’s work as ‘a compound of that of the late Will Dyson and the Englishman Stanley Spencer’ and the artist as a ‘sensitive shy dreamer’ ‘of whom great things are expected’. Shortly afterwards Wigley moved to Sydney and took a studio on George Street in the city. At the end of the year, in November 1938, he joined a group of young contemporary artists exhibiting at Preece’s Gallery in Adelaide. His co-exhibitors were Mary Elizabeth Bell, Dora Cant, Nora Young, Geoffrey Francis, J. Rosemund Stokes and his future wife Molly Burden. One reviewer praised Wigley’s exhibit, Suburban Ladies, for its ‘delightful balance between irony and gentle satire, somewhat in the manner of Daumier’ (‘<a href="http://nla.gov.au/nla.news-article36593434">Students Show Courage and Promise</a>’, The Advertiser, Adelaide, 18 November 1938, p. 9). In 1939 he saw Keith Murdoch’s Herald exhibition of French and British modern art when it began its touring itinerary in August at the Art Gallery of South Australia (AGSA). However, with his Slade-influenced training and its emphasis on drawing, painting remained a mystery. Moreover, the AGSA was ‘overweighed by British nineteenth-century art’ and held little to no appeal to the young student (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). With Ronald Berndt—who was then still untrained in anthropology—Wigley spent time at Murray Bridge (76 km north of Adelaide) from November 1939 to February 1940. There he produced a series of sensitive portraits of Indigenous people (reproduced in Ronald M. Berndt and Catherine H. Berndt with John H. Stanton, A world that was: the Yaraldi of the Murray River and the Lakes, South Australia, Melbourne: MUP, 1993, plates 3, 4 and 10). This was Berndt’s ‘first anthropological field experience with living people’ (A world that was, 1993, p. 94) and Wigley’s first series in which Indigenous Australians took centre place. After the outbreak of war, Wigley enlisted in the 2nd Survey Regiment R.A.A.(M) at Southwark, South Australia, in August 1940 (Canberra: National Archives of Australia, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">series B884, WIGLEY James, service number V110218</a>). Barely two months later, on 8 October 1940, he married Molly Burden at St Columba’s, Hawthorn, Adelaide, and left shortly afterwards for Melbourne—then considered the place for figurative artists (‘<a href="http://nla.gov.au/nla.news-article55760524">Artists to marry</a>’, The Mail, Adelaide, 5 October 1940, p. 10). They settled on the eastern outskirts of Melbourne at ‘the picturesque artists’ colony of Warrandyte’ (Palette, ‘<a href="http://nla.gov.au/nla.news-article131432458">Local artist moves to colony in Victoria</a>’, The News, Adelaide, 8 February 1941, p. 2). In Melbourne Wigley began meeting painters such as Albert Tucker, who lived in an old flat in Powlett Street, East Melbourne, with Joy Hester—a vital person who, in Wigley’s opinion, was overshadowed by Tucker. Photographs by Tucker of <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_VOYAGER1812325">James Wigley</a> and <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_VOYAGER1812244">Molly Wigley</a> from this period exist in the State Library Victoria. Through Tucker they met Yosl Bergner, Danila Vassilief, John and Sunday Reed, and the Koornong School people at Warrandyte. Molly taught at the Koornong school and James found work there as a maintenance man. Vassillief taught blacksmithing and building; he was then constructing his own home Stonygrad. The Wigleys rented a little cottage from Connie Smith who had bought Penleigh Boyd’s studio, where she held open house parties for actors and artists. When Sidney Nolan came up to Warrandyte to meet Adrian Lawlor, Wigley found Nolan aloof. Wigley’s mother, Dove, also moved from West Croydon, Adelaide, to Warrandyte and rented another small cottage from Connie Smith. Wigley joined the newly formed Victorian branch of the Contemporary Art Society (CAS), where he met and befriended Noel Counihan, but he was never affected by the factionalism raging within the society. He met Vic O’Connor at Gino Nibbi’s Leonardo Art shop, thereby forming friendships with the Melbourne social realists. In December 1942 Wigley contributed three works to <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_ROSETTAIE2423585">The Contemporary Art Society of Australia Anti-Fascist Exhibition</a> at the Athenaeum Gallery. He attended the George Bell school once but didn’t fit in due, he said, to his ‘Slade school’ training in Adelaide; he also felt ‘swamped’ by the expressionists Percival, Boyd and Vassilieff (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). He found a studio in Brunswick and discovered the importance of books, especially Tolstoy and Dostoyevsky—‘a heady mix for the dark times’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). In April 1941 Wigley enlisted in an army survey regiment at Noble Park racecourse, a unit that made relief maps and model planes used in training officers. Camp training was at Balcombe and Watsonia. In 1942–3 he applied unsuccessfully for the post of Official War artist. In 1943, just after his son Julian was born, Wigley was transferred to Sydney. The waiting around ‘in mobs’ to be sent here or there wore him down and he went AWOL, for which he was fined, and a warrant was issued for his arrest in October 1943. He was sent to Caufield where the records state: ‘Discharged NOT on account of Misconduct/or Discreditable Service’, but because he was ‘considered unsuitable for any further military service’. He was formally discharged 23 November 1943 with five days’ pay (National Archives of Australia, Canberra, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">series B884, Wigley James, service number V110218</a>). Back in Warrandyte the Viennese émigré architect Fritz Janeba designed for James and Molly Wigley The Stone House (1943), with Australia’s first butterfly roof (Philip Goad, ‘‘Austria in Australia’: Fritz and Kathe Janeba in Warrandyte’, in Bauhaus Diaspora and Beyond: transforming education through art, design and architecture, Carlton, Vic.: Miegunyah Press, 2019, p. 226). Janeba also designed the Dove and Bill Wigley House, for James’s mother and brother, just down the hill, in 1948 (Wynne Scott, ‘<a href="http://nla.gov.au/nla.obj-2981835728">Planned economy</a>’, The Australian Home Beautiful, July 1949, pp. 34-5, 37). According to Wigley’s second wife, Eugenie Knox, both houses were built with Molly’s money (Eugenie Knox, Indelible Memories: Into the mouth of the tiger!, 2010, p. 75). Marion Dove Wigley would remain at Warrandyte until her death, aged 94, in 1984. In late 1945, at the invitation of Ronald Berndt, Wigley travelled to the Northern Territory and spent several months at Daly River where A.P. Elkin had sent Ronald and Catherine Berndt to work as liaison and welfare officers for Vestey Brothers while researching labour conditions on Vestey’s cattle stations (Geoffrey Gray, ‘‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007). Berndt thought Wigley should come and see ‘the real Australia, the real subject’, and, like ‘two outcasts’—the artist and the anthropologist—they settled amongst a group of white ‘combos’ (‘whitefellas gone native’) who had taken up land and employed Indigenous people from mixed tribes (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). More officially, Berndt advised E.W.P. Chinnery, director of the Northern Territory Native Affairs Branch, that Wigley would collect and document ‘examples of native art—such as drawings, basket work and other handcrafts (these of course will go to the Dept. Anthropology, together with series of his own drawings). Also he is to act as an observer, so that later his work should form a basis for our own’ (Ronald Berndt, letter to E.W.P. Chinnery, 28 October 1945, Chinnery Papers, National Library of Australia, MS 766, cited in Geoffrey Gray, ‘“He has not followed the usual sequence”: Ronald M. Berndt’s Secrets’, Journal of Historical Biography, no. 16, Autumn 2014, p. 70). While Berndt lobbied Vestey’s to improve their workers’ labour conditions, Wigley sat around the camp sketching and absorbing the vitality of the Aborigines in their own environment. He found the experience wonderful but said that the Aborigines ‘can disappear in front of your eyes if they want to, [and] you cannot see the landscape through their eyes’ (<a href="NLA,%20https%3A//nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987). Wigley found it hard to convince the old men, who had been initiated, to talk; ‘they don’t care much for us’, he said. In Darwin, which was still occupied by the military, he found racism rife but during this period he produced hundreds of drawings of outback camp life. On his return to Melbourne, Wigley attended the National Gallery art school for two years, funded through the Commonweath Rehabilitation Training Scheme, c. 1946-48. William Dargie, who was then head of the school, had his special students and didn’t bother about the ‘expressionists’ who had moved to the basement. He reportedly ‘tried to sack Wigley on the grounds he had been a practicing artist before the war’, but Wigley stayed on for the duration of the course (Philip Jones, ‘Painter found inspiration among the oppressed’, The Australian, Sydney, 29 July 1999, p. 9). Wanting to digest his Northern Territory experience, Wigley joined the students in the basement where he and Yosl Bergner painted the dispossessed. In May 1947 Wigley held his first solo exhibition at the Velasquez Galleries at Tye’s (later known as Tye’s Gallery) in Melbourne. Sir John Barry QC opened it and was photographed at the opening with Wigley and Bill Onus, president of the Australian Aborigines League (‘<a href="http://nla.gov.au/nla.news-article206022137)">Aboriginal Life</a>’, The Age, Melbourne, 7 May 1947, p. 2. The work, nearly all drawn from his experiences at Daly River, and comprising both paintings and drawings, sold well and was critically acclaimed (Clive Turnbull, ‘<a href="http://nla.gov.au/nla.news-article245584229">Social value in artist’s work on Aborigines</a>’, The Herald, Melbourne, 5 May 1947, p. 14). A few months later he exhibited Tobacco Hand-Out with the Studio of Realist Art (SORA) at the David Jones Gallery in Sydney, but the exhibited was disparaged by the Sydney critics (‘<a href="http://nla.gov.au/nla.news-article18040299">Exhibition by Studio of Realist Art</a>’, Sydney Morning Herald, 21 August 1947, p. 7). With the proceeds of the Velasquez Galleries exhibition he accepted Yosl Bergner’s invitation to travel to Paris with himself and his sister, the dancer <a href="https://www.smh.com.au/national/possessed-with-a-passion-for-the-art-of-dance-20210808-p58gwd.html">Ruth Bergner (1917–2021)</a>. Wigley had by then begun an affair with Ruth, which would continue sporadically throughout his two marriages and indeed for the remainder of his life (<a href="http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER3239429)">Rhonda Senbergs’ 1990 slide photograph</a> of the pair—with only Wigley identified—is now in the State Library Victoria). They sailed via Perth, Colombo and Aden to Marseilles (Julian Wigley interview, 2 July 2020), possibly on the Orient Line ship, The Tidewater, which departed Melbourne in late January 1948 (‘<a href="http://nla.gov.au/nla.news-article206875721">Shipping</a>’, The Age, Melbourne, 12 January 1948, p. 6). Ruth sailed separately on the Stratheden under her married name, Blima Pilley (having married in 1942 CAS member George Pilley, who would later marry Erica McGilchrist), arriving at Tilbury Docks, London, on 30 December 1947, and giving as her intended destination an address in Paris. Wigley found Paris magical, even after the German occupation, ‘full of bullet holes and flowers’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). The three lived frugally in the Marais, which even after the war remained the Jewish quarter. One of Wigley’s letters home was addressed from the Hotel d’Anvers, 11 Rue des Quatre-Fils (Wigley family collection), while Counihan described Yosl and Ruth Bergner living ‘in a humble hotel in the Jewish quarter’ (<a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=12213862">Noel Counihan to Pat Counihan, 24 April 1949</a>, Canberra: National Archives of Australia: A6119, 179/REFERENCE COPY pages 153-155 of 206). Wigley gave English lessons and attended life classes at the Académie Julian and the Atelier Fernand Léger, in the 18th Arrondissement, but found these packed with American and British students. He visited the Louvre often, as well as Delacroix’s house and Rodin’s garden, and felt he could have stayed in Paris forever. While in Paris he briefly rendezvoused with artist friends from Melbourne; Max Newton would later tell a reporter from The Argus that in Paris ‘there was a reunion between [Grahame] King and [Max] Newton from Italy, [Peter] Graham and [Doug] Green from London, [James] Wigley and [Yosl] Bergner from Marseilles, and Dot and Laurie Phillips from London’ (‘<a href="http://nla.gov.au/nla.news-article22781141">Melbourne Artist On World Tour</a>’, The Argus, Melbourne, 24 September 1949, p. 12). This was most likely in October 1948, when King and Newton returned from Italy. Towards the end of the year Wigley exhibited with Yosl Bergner at the Galerie Gentilhommiere (67 Boulevard Raspail), where just one work sold. They drank the proceeds. However, French critics noticed the exhibition; Wigley sent the clippings home to his mother Dove on 22 December 1948 (Wigley family collection). Bergner had by then met up with former National Gallery School student Audrey Keller, with whom he travelled to New York and Montreal in 1950 before returning to Paris, where they married, and thence onto Israel, where they settled. In early 1949 Wigley flew to London to meet Molly and Julian, who had arrived on The Straithaird on the 16th January. King, Newton, Graham and Green—the so-called ‘bush boys’—had probably told Wigley of the Abbey Art Centre, when they had met in Paris the previous year. By March 6th the Wigleys were living at the Abbey in a large room in the main house, with plans to travel to Paris then Italy the next month (letter from James Wigley to his mother, 6 March 1949, Wigley family collection). The family were in Paris in mid-April (Julian recalls seeing the shop windows decorated for Easter), but Italy never transpired—possibly owing to the difficulties of travelling with their five-year-old son. On returning to the Abbey, Wigley rented Inge King’s studio while she, in turn, spent six months in Paris from April to September 1949 (Inge King, conversation with Jane Eckett, 19 June 2012). Julian, who attended a nearby school, remembers there was a travellers’ camp in the field next to the Abbey. He also recalls the kitchen and dining room at the Abbey, with its large table and many chairs, where communal meals were had, as well as talk of poltergeists and paintings coming off the walls and down the stairs (Julian Wigley, ‘<a href="https://www.wigley.com.au/the-abbey/">The Abbey</a>’, 17 May 2019; and Julian Wigley interview, 2 July 2020). In the garden he played in the thatched roofed huts with Bienchen Ohly, who was two years older. However, by October 1949 Molly and Julian had left the Abbey and were living at 8 Hampstead Grove. They set sail for Melbourne on The Otranto on 20 October 1949. Wigley was back in Paris by February 1950, which is when his French identity card was stamped (Wigley family collection), but soon returned to London with Ruth Bergner. Together they lived in a half-bombed shop in Whitechapel. Wigley took rough jobs at factories and as a dishwasher at the Lyons Corner House café on Coventry Street, Piccadilly, where the German-born artist Eva Frankfurther (1930–1959) also worked. Wigley greatly admired Frankfurther’s work. They shared a common feeling for the working class and the socially marginalised, as reflected in their respective studies of the Lyons staff, who hailed from all corners of the British Commonwealth (see Sarah MacDougall, Ben Uri Gallery, <a href="https://evafrankfurther.benuricollection.org.uk/lyons.php">catalogue of Frankfurther’s Lyons Corner House series</a>). Wigley also painted the patrons of various Jewish teashops in Whitechapel and several scenes inside the Grey Eagle Pub at 52 Grey Eagle Street in the Spitalfields. His final known address in London was 47 Quaker Street, which was directly opposite the Grey Eagle (UK and Ireland, Outward Passenger Lists, 1890-1960, record for James Vandeleur Wigley, 1952). He and Bergner (who travelled under her married name Ruth Blima Pilley) both returned to Melbourne in February 1952 on board the P&O Steamship Mooltan. A small collection of Frankfurther’s work, entrusted to them, was destroyed on the voyage; Wigley blamed himself for not having packed them more securely. In Melbourne he lived for a time with Molly and Julian at Warrandyte. Wigley found Melbourne like ‘an outback town—a ramshackle culture, a sort of thinness after the deep ingrained history of Paris and London’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). He was unable to settle down and in late 1952 or early 1953 left for north Queensland, where he stopped en route at an artists’ camp outside Cairns. He wanted to look at the bush again, but only got as far as Port Douglas, where he produced the cane cutters’ series. Again, he found racism rife. He was living in Port Douglas in February 1953, when ‘Mr and Mrs James Wigley, of Port Douglas’, were reported to be holidaying in Brisbane, and still there in April, when ‘Mr James Wigley, of Port Douglas, was in Mossman’, a short distance inland from Port Douglas, for a couple of days (‘<a href="http://nla.gov.au/nla.news-article62478584">Southern Letter</a>’, Townsville Daily Bulletin, 19 February 1953, p. 6, and ‘<a href="http://nla.gov.au/nla.news-article42785121">Mossman Notes</a>’, Cairns Post, 4 April 1953, p. 8). Later that year he returned to Melbourne and lived with Ruth Bergner, visiting Molly and Julian at weekends. Wigley joined with his old social realist comrades Noel Counihan and Vic O'Connor for a joint exhibition at Tye’s Gallery in October 1953, showing mainly Paris and London subjects. Despite the emergning Cold War politics, when social realism was deemed suspect in the United States, in Melbourne they were critically well received. Alan McCulloch described the work as romantic and perceived Wigley’s close identification with his subjects: the downtrodden slum dweller and tavern customer (Alan McCulloch, '<a href="http://nla.gov.au/nla.news-article245029657">Theme of realism has variety</a>', The Herald, Melbourne, 6 October 1953, illus. p. 14). Similarly, The Age art critic, Arthur Vollens Cook, found ‘James Wigley’s studies of the boisterous vulgarity of life in London slums … keenly observed and, on occasions, brilliantly interpreted’ and commended the absence of ‘propaganda’ (‘<a href="http://nla.gov.au/nla.news-article206462922">Painting outgrows politics</a>’, The Age, Melbourne, 6 October 1953, p. 2). The same critic later recalled the exhibition as one of the most important shows of the year in Melbourne (‘<a href="http://nla.gov.au/nla.news-article206917591">In the world of art</a>’, The Age, Melbourne, 26 December 1953, p. 14). Wigley’s alliance with Counihan was reflected the following year when Counihan showed his portrait of Wigley in an exhibition of drawings at the Peter Bray Gallery, alongside another of Albert Namatjira (‘<a href="http://nla.gov.au/nla.news-article205711768">Art Notes</a>’, The Age, Melbourne, 24 March 1954, p. 2). Aside from painting, Wigley worked as a wood machinist for a year, and as a temporary teacher at South Melbourne Technical School but resigned after a year. He also worked with Hymie Slade, making puppet heads for theatre and television (Julian Wigley, ‘<a href="https://wigley.com.au/jim-wigley-at-work/">Jim Wigley at work</a>’, 16 April 2016). Molly sold the Stone House at Warrandyte and moved to Erin Street, Richmond, where Wigley stayed. Visitors during this period included Brian Fitzpatrick, Peter Miller, David Armfield, James Flett and Vancer Palmer. By 1955, however, his marriage to Molly had ended. He was then working closely with Ruth Bergner, who, throughout the 1950s, was teaching, performing and choreographing for the Melbourne Ballet Guild. Bergner’s ballet, The Wedding, inspired by a painting of Breughel’s, premiered in 1956, with stage decor designed by Wigley ('<a href="http://nla.gov.au/nla.news-article71654013">[Melbourne Ballet Guild...]</a>', The Argus, Melbourne, 25 August 1956, p. 13), and Wigley designed the sets and décor for the Jewish ballet, Bontche Shvaig, choreographed by Bergner and performed at the Kadimah in St Kilda in 1955 (‘<a href="http://nla.gov.au/nla.news-article262441041">”SKIF”: Concert “with a difference”</a>’, The Australian Jewish News, Melbourne, 4 November 1955, p. 9). In 1957 Wigley wrote to Don McLeod who, in 1946, had helped organise 800 Aborigines to walk out on strike from the pastoral stations at Port Hedland and Marble Bay regions of the Pilbara, demanding higher wages. McLeod had been arrested for inciting unrest. This struck a deep chord with Wigley, who held serious concerns about racism and oppression. By 1955 Pindan Pty Ltd, an Aboriginal-owned mining co-operative, had been established with McLeod’s help. In December 1957 Wigley travelled north-west to the Pilbara, where McLeod sent him to help mine beryl at Roebourne and work with the Pindan people on the coast, helping construct fibreglass boats for their pearling operations (Bain Attwood and Anne Scrimgeour, '<a href="https://www.pilbarastrike.org/content/timeline">Timeline</a>', The Pilbara Aboriginal Strike, website, Melbourne: Monash University, 2018). Wigley’s drawings of the Pindan people, made during the three months he camped with them, formed the basis of a series of oils that would be exhibited with Counihan and his social realist associates in Moscow and Prague in 1960 and 1962, and comprised his first solo exhibition with Australian Galleries, Melbourne, in July 1959. Tam and Anne Purves of the Australian Galleries began showing Wigley’s work in 1957, in their first anniversary exhibition, and successfully promoted it particularly among their corporate clientele. One of Wigley’s Queensland paintings, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/942">Burning Cane</a>, c. 1958, entered the ICI collection after Daryl Lindsay selected it from Australian Galleries for the chemicals industry giant; the same work had also been awarded first prize by Eric Westbrook in the May Day exhibition that Counihan had helped organise at Melbourne’s Town Hall in 1958. The 1959 exhibition was a commercial success and heralded a fruitful decade with Australian Galleries, with a further three solo shows to follow. In June 1960 Wigley’s painting <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/936">Refugees</a> was chosen for the front cover of the gallery’s gala fundraising event, an Exhibition of Australian Art by Victorian, Interstate and Expatriate Artists for World Refugee Year. Three years later, when the Purves were asked to assemble the <a href="https://collection.maas.museum/object/415264#&gid=1&pid=8">Viscount Collection</a> of work by seven leading Australian artists, for tobacco manufacturers Godfrey Phillips International to present to the six state galleries and nascent National Gallery, Wigley was selected alongside Arthur Boyd, Russell Drysdale, Sidney Nolan, John Olsen, Albert Tucker, and Fred Williams. His inclusion drew criticism from some quarters, but the event created considerable publicity and Godfrey Phillips presented his <a href="https://collection.artgallery.wa.gov.au/objects/1148/government-reserve-roebourne">Government Reserve, Roebourne</a>, 1963 to the Art Gallery of Western Australia (for a full account, see Caroline Field, Australian Galleries: The Purves Family Business, The First Four Decades 1956-1999, Collingwood, Vic.: Australian Galleries, 2019, pp. 97, 103-8). In March 1961 Wigley married the nineteen-year-old dancer Eugenie Knox (known as Janie), protégé of Ruth Bergner and daughter of Eltham landscape architect Alistair Knox, at the Melbourne Registry Office. For the next six months they lived with Don McLeod’s mob at Port Hedland—Wigley sketching by day and Janie teaching English and reading and writing. They returned to Melbourne for the birth of their first daughter, Jasmine, living in a bungalow at the back of the Knox property (see ‘<a href="http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER1782047">James Wigley and his wife and baby daughter</a>’, c. 1962, Herald and Weekly Times Limited portrait collection, State Library Victoria, Melbourne, H38849/4915). Christabel was born the following year. In July 1963 the young family left Melbourne, driving north in a jeep with a custom-built caravan to Queensland via Mount Isa then on to Broome and Port Hedland, where they stayed in a broken-down station. Janie and the children flew home and by 1964 the marriage had ended. Ruth Bergner, who had left for New York in 1964, to join her father, returned to Sydney in 1967. Wigley met her in Sydney and they lived together in Glebe from 1967-8. However, he found it hard to break into the Sydney scene and they both soon returned to Melbourne. In 1969 a letter from Don McLeod, who was ill, prompted Wigley to again return to Port Hedland. There he became closely involved with the McLeod-led Aboriginal workers' co-operative, Nomads Pty Ltd, which purchased Strelley sheep station and lobbied for federal funding to build there a school and suitable housing for teachers. His son, Julian, joined him in 1973 and designed ‘experimental homes’ for the group (Julian J. Wigley, <a href="https://trove.nla.gov.au/work/35377277">Report to the Australian Nomads Research Foundation on the proposed experimental homes for the nomad group of Aborigines</a>, [North Melbourne, Vic.]: Australian Nomads Research Foundation, September 1973). The Strelley Community School opened at Port Hedland in 1976. Still in existence, it is the oldest continually operative independent Aboriginal community school in Australia. Wigley established a literature centre at the Strelley school, installing an offset press on which he printed books that he designed and illustrated. They were written in Nyangumarta with English alongside (for a sample, see <a href="https://catalogue.nla.gov.au/Record/3625226">Original illustrations by James Wigley for Waljamarri Marrngu</a>, 1977, and other books [picture] / James Wigley, National Library of Australia, Canberra). Wigley returned to Melbourne in 1979, ‘to digest, reflect and paint again’ (James Wigley: Survey 1936–1992, Richmond, Vic.: Niagara Galleries, 1992, p. [2]). His first wife Molly died that same year [check]. While in Melbourne, in January 1980, Cyclone Amy hit Port Hedland and destroyed much of the Strelley settlement (‘<a href="http://nla.gov.au/nla.news-article137008816">Settlement ‘shattered’ by cyclone</a>’, The Canberra Times, 16 January 1980, p. 11). Wigley lost his caravan and all his belongings including sketchbooks and many paintings. He never returned. In Melbourne he resumed painting and began pulling his own prints on an Enjay printing press he had installed in his home studio in Elwood. Rachell Howley organised his first retrospective exhibition at Acland Street Galleries in St Kilda (June 1981). He was included in two major group shows: <a href="https://trove.nla.gov.au/work/22109521">Aspects of Australian Figurative Painting, 1942–1962: Dreams, Fears and Desires</a> at the S.H. Erwin Gallery for the Fifth Biennale of Sydney (1984) and <a href="https://trove.nla.gov.au/work/18296417%20">Art and Social Commitment: An End to the City of Dreams 1931–1948</a>, which toured all state galleries (1984–5). Throughout the 1980s he exhibited successfully with Niagara Galleries, in Richmond, and in 1992 had a large survey exhibition there. Wigley died in Melbourne in 1999. Sheridan Palmer and Jane Eckett 9 August 2021 Bibliography Wigley mobilisation papers, 1940-43: Canberra: National Archives of Australia, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">B884, V110218</a>. John Hetherington, ‘James Wigley: City Painter Found His Destiny Outback’, The Age, Melbourne, 30 June 1962, p. 18. ‘<a href="http://nla.gov.au/nla.news-article47807945">Artist’s studio among Aborigines</a>’, The Australian Women's Weekly, 23 September 1964, p. 13. <a href="https://catalogue.nla.gov.au/Record/3625226">Original illustrations by James Wigley for Waljamarri Marrngu</a>, 1977, and other books [picture] / James Wigley, National Library of Australia, Canberra. Christine Dixon and Terry Smith, <a href="https://trove.nla.gov.au/work/22109521">Aspects of Australian Figurative Painting, 1942–1962: Dreams, Fears and Desires</a>, Sydney: Power Institute of Fine Arts, University of Sydney in association with the Biennale of Sydney, 1984. Charles Merewether, <a href="https://trove.nla.gov.au/work/18296417%20">Art and Social Commitment: An End to the City of Dreams 1931–1948</a>, Sydney: Art Gallery of New South Wales, 1984, pp. 113, 130, 158-9, 165. <a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 22-23 September 1987, c. 303 minutes, National Library of Australia, 1987. James Wigley: Survey 1936–1992, Richmond, Vic.: Niagara Galleries, 1992. Ronald M. Berndt and Catherine H. Berndt with John H. Stanton, A world that was: the Yaraldi of the Murray River and the Lakes, South Australia, Melbourne: Melbourne University Press, 1993, plates 3, 4 and 10. Philip Jones, ‘Painter found inspiration among the oppressed’, The Australian, Sydney, 29 July 1999, p. 9. Geoffrey Gray, ‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">‘Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007. Eugenie Knox, Indelible memories: into the mouth of the tiger!, Bloomington, Indiana: Xlibris Corporation, 2010. Geoffrey Gray, ‘“He has not followed the usual sequence”: Ronald M. Berndt’s Secrets’, Journal of Historical Biography, no. 16, Autumn 2014, pp. 61-92. Julian Wigley, ‘<a href="https://www.wigley.com.au/4748-2/">Me and Danila</a>’, 30 March 2016, (accessed 1 May 2021). Julian Wigley, ‘<a href="https://wigley.com.au/jim-wigley-at-work/">Jim Wigley at work</a>’, 16 April 2016, (accessed 1 May 2021). Julian Wigley, ‘<a href="https://www.wigley.com.au/the-abbey/">The Abbey</a>’, 17 May 2019 (accessed 1 May 2021). Caroline Field, Australian Galleries: The Purves Family Business, The First Four Decades 1956-1999, Collingwood, Vic.: Australian Galleries, 2019, pp. 87-9, 97, 103-8. Julian Wigley correspondence with Sheridan Palmer, June 2020. Julian Wigley interview with Jane Eckett and Sheridan Palmer, 2 July 2020. Date submitted Date object first catalogued: [day] [month] [year] 9 August 2021 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. Passport photograph from James Wigley's 1950 Paris Carte Valable (family collection) Date modified Date record modified: [day] [month] [year] 2 May 2024 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 143.0000 Title A name given to the resource James Vandeluer Wigley (1917–1999) Type The nature or genre of the resource person Subject The topic of the resource Wigley, James, 1918-1999. Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre Aboriginal people Académie Julian Adelaide artists Albert Tucker Australian Galleries ballet Daly River Danila Vassilief Don McLeod Eugenie Knox Eva Frankfurther Fernand Léger Fritz Janeba indigenous Australians Julian Wigley Koornong School Millward Grey Molly Burden Murray Bridge National Gallery School Noel Counihan Northern Territory Paris Pilbara strikes Port Douglas Port Hedland Ronald Berndt Ruth Bergner social realism social realist painting South Australia Strelley Community School Tye’s Gallery Velasquez Gallery Vestey Brothers Vic O'Connor Viscount Collection Warrandyte Western Australia Yosl Bergner https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ae0bb5283861872f211b482b4847ac74.jpg d19b5f410caa5c856766c5ebdf3c57b5 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/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 2 June 1899 Birthplace Berlin-Charlottenburg, Germany Death Date [day] [month] [year] 19 June 1981 Place of death Full address is known; else city and country. Dettenhausen, Tübingen, Germany Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) Pioneer film maker, film director, animator, puppeteer, book illustrator Biography Born Charlotte Eleonore Elisabeth Reiniger in Berlin in 1899. As a child she learned scherenschnitte, the art of cutting paper designs with scissors (Reiniger, 1936, p. 13; Sterritt, 2020, p. 399). Later she became deeply involved in the cultural and intellectual avant-garde world of pre-World War II Berlin, and her earliest films were made at the Institut für Kulturforschung (Institute for Cultural Research) in Berlin. Her friends included Bertolt Brecht and Fritz Lang and she worked with prominent young intellectuals such as Berthold Bartosch, a collaborator on many of her films during the 1920s, and Carl Koch, who had studied art history and philosophy and was involved in producing educational films and documentaries for the Institute (Guerin and Mebold, 2016). Koch was interested in the technical aspects of filmmaking and experimenting with animation and was a perfect collaborator with Reiniger. Reiniger and Koch were married in the Berlin-Schonberg registrar office on 6 December 1921 (Grace, 2017, chapter 2). Reiniger and Koch’s early films ranged from brief shorts to Die Abenteuer des Prinzen Achmed (The Adventures of Prince Achmed) (1923-6), which is widely claimed as the first full-length animated feature film and considered a milestone of cinema history. One of Reiniger’s most important innovations was the multiplane camera, which she called a tricktisch (trick table), explaining its use as follows: ‘Figures and backgrounds are laid out on a glass table. A strong light from underneath makes the wire hinges disappear and throws up the black figures in relief. The camera hangs above … looking down at the picture arranged below’ (Reiniger, 1936, p. 14). Reiniger wrote screenplays for her films and worked as a major contributor on several of Koch’s live action films, including wartime Italian productions of Tosca (1941, co-directed by Koch and Jean Renoir) and La Signora dell’Ovest (The Lady of the West) (1941-2) (Guerin and Mebold, 2016). Having studied traditional silhouette representation of the human figure, supplemented by her knowledge of ancient Eastern and Oriental performance traditions, Reiniger also designed costumes and sets for theatre and opera, staged puppet shows and shadow plays, illustrated books, newspapers, and magazines. She was an accomplished artist in ink and watercolor as well as a writer and a poet, and she gave public lectures on animation and experimental film history. Classical music was an important aspect of her films and she collaborated with composers Kurt Weill, Paul Dessau, Benjamin Britten and Peter Gellhorn (Guerin and Mebold, 2016). Although not Jewish, Reiniger and Koch had many Jewish friends and closely identified with leftist politics, making life in Germany under the Nazi regime difficult (Sterritt, 2020, p. 399). In November 1935 they left for England and over the next four years lived variously in London, Paris and Rome. In England Reiniger made short films for the GPO Film Unit. At the outbreak of war, in September 1939, Reiniger re-joined Koch in Rome, where he was working with Jean Renoir on Tosca. In September 1943, with the situation in Italy worsening, they were advised by the embassy to leave without delay, and moved from Rome to Venice, then back to Berlin, where Reiniger’s ill mother was living alone. In Berlin, Reiniger unexpectedly received a film commission, Die Goldene Gans (1944-7), which provided an income, but food and power shortages made living difficult. In September 1948 she and Koch visited Alexander Kardan (with whom they had earlier collaborated on Prinzen Achmed), staying with him in London until November, when Reiniger had to return to Berlin. Reiniger left Germany permanently on 31 January 1949, re-joining Koch in London where they lived for some months at 236 Latimer Court, Hammersmith, W6, before moving in late 1949 to Wilton Cottage, Kings Road, Chalfont St Giles, Buckinghamshire (Happ, 2004, p. 67). In London they received further commissions from the GPO Film Unit (renamed after the war the Crown Film Unit, part of the Central Office of Information), making many advertising films for them such as Post Early for Christmas (1950). Other promotional films included The Dancing Fleece (also known as Wool Ballet), for the English Department of Labor, and Grain Harvest (1950) for the Ministry of Agriculture. In 1952 they established their own company Primrose Productions, with Viviana Milroy as producer and the financial backing of Louis Hagen Junior. Primrose Productions was primarily concerned with producing animated silhouette fairy tale films for children. Between 1953 and 1954 twelve such were produced and the 1950s would represent a highwater mark in Reiniger’s long career. These were made on a tricktisch that Hagen bought for Reiniger, and which was installed at the Abbey Art Centre, New Barnet, where Reiniger and Koch moved to in 1952. Whitney Grace writes that ‘Reiniger and Koch were welcomed at the Abbey Arts Centre, finding that being around fellow artists helped inspire their own work’ (Grace, 2017, chapter 7). Reiniger later told Alfred Happ that the Abbey Art Center residents ‘… live in their separate households, but close enough to inspire one another. The museum provided me with a number of artworks from different parts of the world, it’s not only ideas, but a widening creative atmosphere’ (Reiniger cited in Happ, 2004, p. 82). When William Ohly, the founder of the Abbey, died in 1955, Reiniger painted a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1342#?c=0&m=">memorial window of St Francis of Assisi</a> for the Abbey tithe barn, where it remains to this day. Reiniger became a mentor to a younger Abbey resident, the English-born sculptor Peter King, whose experimental animated film, <a href="http://www.peterkingsculptor.org/PEKFilm.htm">13 Cantos of Hell (1955)</a>, was made using Reiniger’s shadow puppet techniques. Reiniger and Koch were also godparents to King’s first two children, Michael and Janet, born at the Abbey in 1953 and 1954 respectively. New Zealander Daryl Hill, who worked as assistant to Henry Moore during the mid-1950s alongside Lenton Parr and who was a probable visitor to the Abbey, became interested in film at this time through Reiniger and Koch, later citing their influence on his own experimental filmmaking in Australia in the 1960s (Laurie Thomas, ‘Those who are alone’ [interview with Daryl Hill], The Australian, 22 July 1967, p. 8). Given that Reiniger and Koch were two of the Abbey’s longest term residents—Koch lived there up until his death in 1963 while Reiniger remained until 1980—it is likely that other Abbey residents also came within their circle of influence. After Koch’s death, Reiniger retired from film making but continued lecturing at film festivals and workshops in Europe and Canada during the 1970s. Her tricktisch lay disassembled in parts in her room at the Abbey until early 1980, when the director of the Düsseldorf Stadtmuseum, Hartmut W. Redottėe, wrote to Reiniger and asked to purchase it for the museum. After agreeing on a price, he flew to England to oversee the table’s packaging and removal from the Abbey and while there, observing Reiniger’s sadness, spontaneously invited her to come to Düsseldorf and make a film on the table at the museum as part of an exhibition he was organising for that September. The result, Düsselchen und die vier Jahreszeiten (Düsselchen and the Four Seasons), would be her final film. Reiniger left the Abbey permanently that year, moving to Germany where she lived her final year with the Happ family at Dettanhausen, Tübingen. Sheridan Palmer Bibliography Lotte Reiniger, ‘Scissors Make Films’, Sight and Sound, vol. 5, no. 17, 1936, pp. 13–5. <a href="https://www.awn.com/animationworld/lotte-reiniger">William Moritz, ‘Lotte Reiniger’, Animation World Network, vol. 1, no. 3, 1 June 1996 </a>(accessed June 2021). <a href="https://www.stadtmuseum-tuebingen.de/wp-content/uploads/2024/06/Lotte-Reiniger.pdf">Alfred Happ, Lotte Reiniger: 1899–1981 Schöpferin Einer Neuen Silhouettenkunst, Tübingen: Kulturamt, 2004</a>. <a href="https://wfpp.columbia.edu/pioneer/lotte-reiniger/">Frances Guerin and Anke Mebold, ‘Lotte Reiniger’, in Women Film Pioneers Project, Jane Gaines, Radha Vatsal, and Monica Dall’Asta (eds), New York, NY: Columbia University Libraries, 2016</a> (accessed June 2021). Whitney Grace, Lotte Reiniger: Pioneer of Film Animation, Jefferson, North Carolina: McFarland and Company, 2017. <a href="https://ff2media.com/blog/2020/09/09/lotte-reiniger-was-a-talented-and-inventive-pioneer-in-animation">Nicole Ackman, ‘Lotte Reiniger Was a Talented and Inventive Pioneer in Animation’, FF2 Media, 9 September 2020</a> (accessed June 2021). David Sterritt, ‘The Animated Adventures of Lotte Reiniger’, in Quarterly Review of Film and Video, vol. 37, no. 4, 2020, pp. 398–401. 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. Lotte Reiniger working at a table outdoors in the garden of the Abbey Art Centre, c. 1952-63, courtesy Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany Date modified Date record modified: [day] [month] [year] 15 January 2026 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 131.000 Title A name given to the resource Lotte Reiniger (1899–1982) Type The nature or genre of the resource person Subject The topic of the resource Reiniger, Lotte, 1899–1982. Koch, Carl, 1892–1963. Contributor An entity responsible for making contributions to the resource Sheridan Palmer Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/997">Carl Koch (1892–1963)</a> Abbey Art Centre animation animators Carl Koch Daryl Hill émigré artists fairy tales film German artists in England Jean Renoir Lotte Reiniger Louis Hagen Jr Peter King Primrose Productions shadow puppets Viviana Milroy William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/d6dd2bc84fc72879623c0f88292ee426.jpg ce5e93fe095504c84fac145cfe4967ee https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/6ede84737acb25130f55c53543682d68.jpg 4c06017ee70753b2b0d3cfdf2af8c8ec 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 photographs (2) 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, Hertfordshire, England 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. Primrose Productions, courtesy Stadtmuseum Tübingen, Germany 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. Courtesy Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Date modified Date record modified: [day] [month] [year] 21 October 2021 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 131.8004 Title A name given to the resource Details of Lotte Reiniger's hands drawing in white pencil on black paper the head of a boy in feathered cap, c. 1952-63 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-63 Creator An entity primarily responsible for making the resource Primrose Productions Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver prints (2) Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource The hands of shadow-puppet-maker and animator Lotte Reiniger are seen drawing in white pencil on black paper the head of a boy in feathered cap. Reiniger works at a table, outdoors in the garden, at the Abbey Art Centre, New Barnet. Subject The topic of the resource Reiniger, Lotte, 1899-1981. Animators. Animated films. Shadow shows. Artist colonies -- England. Rights Information about rights held in and over the resource 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. In addition, no permission is required from the rights-holder(s) for educational uses. 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/900">131.8003, Lotte Reiniger working at a table outdoors in the garden of the Abbey Art Centre, c. 1952-63</a> Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre animation animators film Lotte Reiniger shadow puppets https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/31289b9d404c7b9e7bae60d4da7fa655.jpg d19b5f410caa5c856766c5ebdf3c57b5 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 photograph 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, Hertfordshire, 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]. Lotte Reiniger Estate 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. Primrose Productions, courtesy Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 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. <a href="https://collections.library.yale.edu/catalog/16917632">The Films of Lotte Reiniger produced by Primrose Productions</a>, London: Contemporary Films, n.d., reproduced p. 4 [pamphlet held Beinecke Rare Book and Manuscript Library, Yale, New Haven, CT, among the Bryher papers, General Collection, series IV subject files, box 129, 4531-4532, folder 189]. Date modified Date record modified: [day] [month] [year] 21 October 2021 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 131.8003 Title A name given to the resource Lotte Reiniger working at a table outdoors in the garden of the Abbey Art Centre, c. 1952-63 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-63 Creator An entity primarily responsible for making the resource Primrose Productions Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Shadow-puppet-maker and animator Lotte Reiniger is seen working at a table, outdoors in the garden, at the Abbey Art Centre, New Barnet. She is seen cutting out a figure in black paper. A small, hand-painted toy theatre stands on a low brick wall to her right. Papers, scissors and wire are strewn across the table before her. Reiniger wears her trademark turban, glasses, open-necked shirt and long skirt. Subject The topic of the resource Reiniger, Lotte, 1899-1981. Animators. Animated films. Shadow shows. Artist colonies -- England. Rights Information about rights held in and over the resource 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. In addition, no permission is required from the rights-holder(s) for educational uses. 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/901">131.8004, Details of Lotte Reiniger's hands drawing in white pencil on black paper the head of a boy in feathered cap, c. 1952-63</a>. Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre animation animators film Lotte Reiniger shadow puppets https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/5a9e483bc7703fdf34ac8e53dbdc0672.jpg e37ee622080ad6b6f90eb34e090444ee 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 photograph 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, Hertfordshire, 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]. Lotte Reiniger Estate 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 Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Date modified Date record modified: [day] [month] [year] 21 October 2021 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 131.8002 Title A name given to the resource Lotte Reiniger greeting Dido Freire during a visit of Jean Renoir and Freire to the Abbey Art Centre, c. 1952-57 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-57 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Informal group photograph at the Abbey Art Centre. Jean Renoir stands closest to the camera, back turned, looking on as his second wife Dido Freire is greeted by Lotte Reiniger (who wears a long string of beads); the car (possibly a taxi cab) by which they have arrived can just be seen behind them. To the right are Carl Koch, also with back turned, talking with sculptor Peter King. Reinger and Koch were godparents to King's two children, Janet and Mike King. Subject The topic of the resource Reiniger, Lotte, 1899-1981. Koch, Carl, 1892-1963. Renoir, Jean, 1894-1979. Freire, Dido, 1907-1990. King, Peter, 1928-1957. Artist colonies -- England. Rights Information about rights held in and over the resource 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. In addition, no permission is required from the rights-holder(s) for educational uses. 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/898">131.8001, Jean Renoir's visit to Lotte Reiniger and Carl Koch at the Abbey Art Centre, c. 1949-1957</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/928">800.0027, Peter King, Carl Koch and Jean Renoir at the Abbey Art Centre, c. 1952-57</a> Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre Carl Koch Dido Freire Jean Renoir Lotte Reiniger Peter King https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/d474bc8b4db998120ff72d4515ca31ff.jpg e104a8f6d1d527b0c9cd03b0dcae329b 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 photograph 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, Hertfordshire, 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]. Lotte Reiniger Estate. 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 Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Date modified Date record modified: [day] [month] [year] 21 October 2021 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 131.8001 Title A name given to the resource Jean Renoir's visit to Lotte Reiniger and Carl Koch at the Abbey Art Centre, c. 1952-57 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-57 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Group photograph at the Abbey Art Centre, New Barnet, left to right: Carl Koch, Dido Freire, unidentified seated woman (possibly Dido Freire's mother?), Jean Renoir, Lotte Reiniger, British sculptor Peter King (seated at front). Subject The topic of the resource Reiniger, Lotte, 1899-1981. Koch, Carl, 1892-1963. Renoir, Jean, 1894-1979. Freire, Dido, 1907-1990. King, Peter, 1928-1957. Artist colonies -- England. Rights Information about rights held in and over the resource 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. In addition, no permission is required from the rights-holder(s) for educational uses. 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/899">131.8002, Lotte Reiniger greeting Dido Freire during a visit of Jean Renoir and Freire to the Abbey Art Centre, c. 1949-1957</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/928">800.0027, Peter King, Carl Koch and Jean Renoir at the Abbey Art Centre, c. 1952-57</a> Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre animation Carl Koch Dido Freire Dido Renoir film Jean Renoir Lotte Reiniger Peter King https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/484a579563c8c17ada0633597e6874ab.tif 9ec4cef14c95dd7109d2c092a96768d7 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 drawing 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. 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 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 129.0055 Title A name given to the resource LCM at Labuan, 1945 September, by Max Newton Date A point or period of time associated with an event in the lifecycle of the resource 1945 September Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource ink on paper; dimensions unknown Source A related resource from which the described resource is derived Whereabouts unknown; photograph held among the Max Newton papers, private collection, Melbourne, Victoria, Australia 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 © 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 Labuan landing craft landing ship Malaysia Max Newton war https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/5890b0b14662bb9462924afba1da1537.jpg b1e1daecbd0475e03c5ec810f2dcd9b8 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 166 Gympie Terrace, Noosaville, Queensland, 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]. Gift from the artist's estate to the present owner, 1975 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. Griffiths Studios, Tewantin, Queensland, courtesy the artist’s 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 129.0053 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. 1969-75 Title A name given to the resource Title unknown (Michaeleem at the piano, Noosaville), c. 1969-75, 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 board; dimensions unknown Source A related resource from which the described resource is derived Private collection, Noosaville, Queensland, Australia; photograph scanned from the Max Newton memorial album, private collection, Melbourne, Australia. Description An account of the resource Signed in black upper left recto: ‘MAX NEWTON'. Subject The topic of the resource Portrait painting -- 20th century. 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 Max Newton music Noosa piano