5 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ed65452cf56ddeb0f8ad59ebd115d6fc.jpg 8f7379dbc6871d65f568de51dadd2290 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Between Benevenue and the Strand (girl with donkey, white cottage beyond) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image in cm 19.5 x 50.0 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Medium Ripolin enamel on thick cream wove paper Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Schruns, Austria Date modified Date record modified: [day] [month] [year] 2 July 2019 Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in a Spirax Sketch Book No. 532 inscribed by Phillip Martin in black marker pen on front cover: ‘H.M. Austria (Schruns) 9/51-11/51’. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0085 Title A name given to the resource Between Benevenue and the Strand (girl with donkey, white cottage beyond), 1951, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource Ripolin enamel on thick cream wove paper; 19.5 x 50.0 cm Description An account of the resource Signed lower right in black ink: 'HM'. Inscribed and dated in blue biro lower right recto: ‘H 1951’; inscribed in black marker verso: ‘Between Benevenue and the Strand / 50 x 19 1/2 / Shruns 1951 / oil on paper’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a90e9a82560ebd1540900636614e986f.jpg fe526cf751ab965e7b03f7b16f2854cc Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK The Berkeley Galleries, 20 Davies Street, London W1, 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]. Ernest Ohly (1920-2008); Gift from his Estate 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. Several of the artists were Abbey Art Centre residents including sculptors Peter King and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1316">Gudrun Krüger</a> and painter Lilian Colbourn. Dated 1954 on the basis of the opening date being given as Thursday 9th December (the 9th December in 1954 falling on a Thursday), as well as the correlation with a <a href="https://www.alamy.com/dec-09-1954-german-born-woman-artist-hold-exhibition-at-berkeley-galleries-image69292201.html">press photograph of the German sculptor Gudrun Krüger examing one of her small sculptures</a> and captioned: 'Dec. 09, 1954 - German-Born Woman Artist Hold Exhibition At Berkeley Galleries. 33-year-old German-born woman artist, Gudrun Kruger, held an exhibition of her work at the Berkeley Galleries, Dover-Street [sic], today. Her graphic art is anew and intensely personal expression inspired by the growth forms of plants and sea creatures. Photo Shows:- Gudrun Kruger seen with some of her exhibits of horses in bronze at the exhibition today.' (Keystone Pictures USA/ZUMAPRESS). Medium printed card Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Sheridan Palmer Date submitted Date object first catalogued: [day] [month] [year] 19 October 2021 Date modified Date record modified: [day] [month] [year] 12 May 2026 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. 10 December 2025 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0035 Title A name given to the resource Christmas Exhibition at the Berkeley Galleries, Thursday 9th December [1954] Date A point or period of time associated with an event in the lifecycle of the resource 9 December [1954] Creator An entity primarily responsible for making the resource William Ohly (1883-1955); Berkeley Galleries Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource exhibition invitation card Publisher An entity responsible for making the resource available London: Berkeley Galleries Source A related resource from which the described resource is derived Berkeley Galleries scrapbook, private collection, UK Description An account of the resource Exhibition invitation card, printed in black on white and red background. Four groups of works are listed on the right hand side: 'Pictures by Henry Moore, Ceri Richards, Lilian Colbourn and others' / 'Small Sculptures by P. King, R. Jones, G. Kruger and others' / 'Small Chinese Paintings / Objects from India and The Far East' / 'Native Jewellery and Sculptures by Primitive People'. Subject The topic of the resource Berkeley Galleries. Art galleries, Commercial -- England -- London -- Exhibitions. Art galleries, Commercial -- England -- London -- History. <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1316">Krüger, Gudrun Juliane, 1922-2004</a>. Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Berkeley Galleries Ceri Richards Chinese art Christmas exhibition Gudrun Krüger Henry Moore India Indian art invitations jewellery John Prince Lilian Colbourn Peter King primitive art William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/200ef02af22527f7477a269e6c0f2084.jpg 5f558d5145247c0ae4df875d51e25525 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 Morotai Island, Netherlands East Indies 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. 91 (as Cook-House, watercolour July 1945, Constructed mainly of scrap materials, the cookhouse of No. 82 Wing Headquarters, Morotai, was an interesting example of wartime island architecture). 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. RAAF War Paintings Exhibition, Canberra: Royal Australian Air Force, 1946, illustrated p. 15 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. Royal Australian Air Force 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 129.0022 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 July Title A name given to the resource Cook-House, 1945 July, 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 pencil and ink on paper; dimensions unknown Source A related resource from which the described resource is derived Whereabouts unknown; photograph scanned from RAAF War Paintings Exhibition catalogue, 1946, p. 15 Description An account of the resource Signed and dated in black pen lower right, 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 © 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 cooking kitchen Max Newton Morotai Island Netherlands East Indies RAAF Royal Australian Air Force war 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/69d82ee3e7414f7c77f4e6036f6e8a2f.jpg 26772a7c06ed9dc32d37dcd23e2d81d9 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/618504a4287315f2360811ae945586d5.jpg 6a61533c944bf532e31aed7a0668ed8a https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b5a0c50594de61063a2cadc7719db802.jpg fb3db0ee59ec278ff41f80f0937537d5 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a410c71f037acd12dbc389d332941331.jpg 6e0c3f3ab9f4a8cd5193e00717b8c7f9 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/4239bef380f5b7da27e52dfa1af02735.jpg a8a298a580e13d4b4491fbbbe74fc05d https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b1c2b4370b5858513496ee49b120671f.jpg 88bda69d0a3d850ee74fc3fc8b1523cb https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/f512c93d4add52c222cb399dc59eafb2.jpg b32e1a1ab5b684dbfb0b64074f705f5e https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/88056aa8a9c572d60b9b5887dd945e76.jpg 4eff2163657df89443f589e6b3a9e913 Physical object An inanimate, three-dimensional object or substance. 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]. Gifted to Ferens Art Gallery, Kingston upon Hull, 2005 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. <a href="https://artuk.org/discover/artworks/diana-296163">Art UK</a> 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. <a href="https://artuk.org/discover/artworks/diana-296163">Art UK</a> Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 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 Munich, Germany (?) 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 130.0024 Title A name given to the resource Diana, 1930, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource bronze sculpture Source A related resource from which the described resource is derived <a href="http://museumcollections.hullcc.gov.uk/collections/search-results/display.php?irn=1036&keywordsorig=&titleorig=&personorig=&placeorig=&dateorig=&materialorig=&accessionnumberorig=&collectionorig=&museumorig=&keywords=Ohly&SearchSubmit_x=0&SearchSubmit_y=0&title=&person=&place=&date=&material=&accessionnumber=&collectionall=all&museumall=all&location=any&Sender=List&Page=">Ferens Art Gallery, Kingston upon Hull, Yorkshire, UK, accession no. KINCM:2005.6344</a> Subject The topic of the resource Equestrian statues -- Germany. Rights Information about rights held in and over the resource © Estate of William Ohly. 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 Date A point or period of time associated with an event in the lifecycle of the resource 1930 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource A solid bronze cast of a female figure with a bow in her right arm, riding a horse that is standing on a textured naturalistic base representing the ground. 58.42 cm high by 54.61 cm deep. Signed with initials and dated 1930 underneath. bronze Diana equestrian sculpture German sculpture William Ohly 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) art student Biography Geoffrey Purser lived at the Abbey Art Centre while a student at the Sir John Cass Institute, c. 1947–49. According to fellow Cass student, Trata Maria Drescher, Purser had "been in the army and got the usual 2-year grant; there were a great many of them in that situation at the Cass (Sir John Cass Institute). The Cass was full of Poles. Geoff was unusual in that he wasn’t Polish!" (Trata Drescher, telephone interview with Jane Eckett, 23 Feb. 2021). Purser is recorded as still living at the Abbey in the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/521">electoral register for 1949</a>. He is also seen in a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/912">photograph of residents sketching at the Abbey, including Noel Counihan</a>, taken in the summer of 1950. Date submitted Date object first catalogued: [day] [month] [year] 31 March 2023 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 148.0000 Title A name given to the resource Geoffrey Purser (fl. 1940s-1950s) Date A point or period of time associated with an event in the lifecycle of the resource c. 1947–50 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/912">attributed to Picture Post, “Noel Counihan drawing Geoffrey Purser in the Abbey garden. At left Pat Counihan prepares vegetables next to Elizabeth (Betsy) Smith and Mick and Terry Counihan, summer 1950,” The Abbey Art Centre Digital Repository</a> https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/23aeb9b1df41a36fa6b7be139f1e7980.jpeg a46740b0c53cb8ab41794b904c1de854 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/febc6615d6c9544071051355449364fe.jpeg 159ec2dd5e6cf1b8359d8db314a1b716 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/55dd693e42db1baf19576af80a3e05aa.jpeg fe34d13f2c3a47fa35f807ea120de330 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/afac7726d3613ba9e589d7cc0bd3a46d.jpeg eb1caa55f8c36971c40036e397d0894c https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/01095a278f3bad69bb01042d7d6b5cf5.jpeg c689e56c12d6c9402f23584746523332 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/25b9ace21c6cb063dd80c94fb9b171d6.jpg bdc8667833df258636bd2fc7bbb8cb65 Physical object An inanimate, three-dimensional object or substance. 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. Christopher Hämmelmann, 'Das Geheimnis des Denkmals [The secret of the memorial]', Die Rheinpfalz, Ludwigshafen am Rhein, no. 274, 25 Nov. 2023, Grünstadt local issue 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. St Martin's Church was badly damaged during Allied bombing on the evening of 6 December 1942. Only the outside walls survived, including Ohly's memorial relief. With thanks to Joachim Specht, Grünstadt, for photographs and details. Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 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 Martinskirche (St Martin's Church), Obergasse 3-5, 67269 Grünstadt, Germany 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. Joachim Specht, Grünstadt 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. Joachim Specht, Grünstadt 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 130.0016 Title A name given to the resource Grünstadt war memorial: Plaque for the fallen, St. Martin's Church, 1927, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Martinskirche (St Martin's Church), Grünstadt, Rhineland-Palatinate, Germany Subject The topic of the resource War memorials -- Germany. Rights Information about rights held in and over the resource © Estate of William Ohly. 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 Date A point or period of time associated with an event in the lifecycle of the resource 1927 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Depicts Christ kneeling to support the limp body of a fallen German soldier in a pieta type composition. Christ notably has ringlets either side of his face, akin to Orthodox Jewish payots. Christ German sculpture Jewish life relief religious art war memorials William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/76ac37bc237475c034037317decb1a94.jpg 3a60ad99bd3489170887a3d1e0659ea4 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] 27 May 1925 Birthplace Vienna, Austria Death Date [day] [month] [year] 21 June 1988 Place of death Full address is known; else city and country. St Mary's Hospital, Praed St, Westminster, London W2 1NY, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, muralist, printmaker, art teacher 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. Helen Grünwald in the Abbey Cottage, c. 1950, attributed to Picture Post, private collection, England Date modified Date record modified: [day] [month] [year] 28 January 2026 Biography Helen Mary Therese Grunwald was born in Vienna, as Helene Lillith Grunwald, and educated there at the Rudolf Steiner School. Her father, Robert Grunwald (1896–1951), was a concert violinist who reputedly worked with Bertolt Brecht, though would later give his occupation variously as teacher and writer, while her mother, Lillian Gladys Grunwald (1901–1982), ran a nursery school in Vienna and was later a kindergarten teacher in London (see <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwiajoTK-Ij4AhXc9zgGHRW7BKwQFnoECBcQAQ&url=https%3A%2F%2Fwww.thegazette.co.uk%2FLondon%2Fissue%2F38541%2Fpage%2F873%2Fdata.pdf&usg=AOvVaw0YOfCC8eUzdtYt6xsgDnqt">‘Naturalisation: Grunwald, Helene Lillith’, The London Gazette, no. 38541, 18 February 1949, p. 873</a>; <a href="https://ajr.org.uk/search-journal/?journal_exact_search=Yes&swpquery=&journal_year=1982&journal_month=04&submit=search">‘Obituary: Lillian Gladys Grunwald’, ARJ Information, Association of Jewish Refugees in Great Britain, vol. XXXVII, no. 4, April 1982, p. 10</a>). In July 1939 Grunwald and her parents fled Vienna for Britain. Robert and Lillian Grunwald found temporary employment as wardens at ‘Loxleigh’—a hostel at Ilkley in West Yorkshire established by local Quakers and the Ilkley Committee of Jewish Refugees to accommodate teenaged boys arriving on the Kindertransport (see Caroline Brown, Ilkley at War, Cheltenham, UK: The History Press, 2006). Helen, then fourteen years of age, was billeted some twenty-seven kilometres away with a family by the name of Dickonson at 20 Kensington Terrace, Leeds (The National Archives, UK, 1939 Register, reference RG 101/3458A and RG 101/3670J). Her parents faced internment trials in October 1939 and, despite being initially exempted, were soon afterwards interned when the national policy towards ‘enemy aliens’ was tightened. Robert Grunwald was released from internment (location unknown) in September 1940 while his wife Lillian was released from the Isle of Man in February 1941 (The National Archives, UK, WW2 Internees (Aliens) Index Cards 1939–1947, reference HO 396/175). Lillian’s address prior to internment was given as 50 Northfield Road, N16, indicating the family had moved to Stoke Newington, in North London, by early 1940. From 1941 to 1944 Helen Grunwald studied full-time at Beckenham School of Art, initially under official war artist <a href="https://www.royalacademy.org.uk/art-artists/name/henry-carr-ra">Henry Carr RA RP RBA</a> (1894–1970) before he was deployed to Algeria and Italy in 1942. Grunwald obtained her senior drawing certificate from the Kent Education Committee in May 1943 and proceeded to the Slade but did not continue owing to war conditions. Throughout the second half of the 1940s she continued to paint, whenever possible, from her parents’ lodgings at 11 Fairfax Road, NW6 (Swiss Cottage), exhibiting in group shows at the Leicester Galleries, Leger’s, the Royal Society of British Artists (RBA) and the Artists International Association (AIA). From September 1945 to August 1948, she worked for a firm of religious art publishers—Pax House in Westminster—painting plaster saints. Despite her Jewish origins, Grunwald was, according to family friend Käthe Deutsch, ‘a passionate Christian, [and] an almost mystical believer’ (communication with the author, 2 June 2022). Certainly, Christian subjects were in evidence as early as 1946. When Grunwald’s Descent from the cross was exhibited, alongside the work of Mona Moore, a twenty-year-old Bryan Robertson—future curator of the Whitechapel Gallery—commended it as being ‘subdued in feeling and colour, full of thoughtful painting, well conceived and executed’ (Bryan Robertson, ‘The Younger British Artists’, The Studio, vol. 131, no. 636, March 1946, p. 75). The same painting was soon afterwards incorporated into a war memorial at St Andrew’s parish church in Croydon, where it was inscribed ‘A tribute to the fortitude of my people from 1940–1945’ (‘St. Andrew’s Memorial unveiled by Sir Ernest Cowell’, Croydon Times, London, 16 November 1946, p. 5). The work's present whereabouts are unknown (email from Lesley Carr, St Andrew's Church administrator, 17 June 2022). Sir Kenneth Clark first saw her work at an AIA exhibition at Pall Mall, in 1945, and commented favourably. Clark’s comments were conveyed to Grunwald some three years later by <a href="https://www.royalacademy.org.uk/art-artists/name/carel-weight-ra">Carel Weight CH CBE RA</a> (1908–1997), in response to which Grunwald wrote to Clark on 10 May 1948—the first in a four decades’ long correspondence now preserved among Clark’s papers in the Tate Gallery Archives (TGA). Grunwald’s meticulously hand-written letters and Clark’s duplicate typescript replies reveal Clark’s willingness to assist a relatively unknown artist as he repeatedly provided letters of recommendation for Grunwald, assisting her whenever possible and occasionally purchasing her work. Indeed, on Clark’s first visit to Grunwald’s Fairfax Road studio, on 19 May 1948, he purchased her painting Victoria Station. Grunwald held her first solo exhibition at <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/485">William Ohly’s</a> Berkeley Galleries, Mayfair, in July 1948. The modest exhibition comprised ten ‘atmospheric paintings of London’ (Our Time, vol. 7, no. 1 [or vol. 8, no. 14?], July 1948, p. 165) including Victoria Station, which Clark loaned for the occasion, and ‘quite a number of drawings’ (Grunwald to Clark, 27 June 1948, TGA 8812.1.2.2679). Ohly wrote to Clark, while the exhibition was on view, to ask his advice about Grunwald whom he believed was ‘very talented’, adding, ‘I should very much like to discuss with you what possibilities there would be to help this young lady, and to enable her to leave the factory work she is doing’ (Ohly to Clarke, 23 July 1948, TGA 8812/1/2/4847). This ‘factory work’ was the painting of plaster saints, which Grunwald found ‘uncongenial’, admitting to a loss of self-respect ‘working at this wretched job’ (Grunwald to Clark, 10 May 1948, and 27 June 1948, TGA, 8812.1.2.2675 and 2679). The exhibition was, in Grunwald’s view, ‘rather a success’, with the sale of ‘quite a number of paintings and drawings, which was a pleasant surprise’ (Grunwald to Clark, 1 August 1948, TGA, 8812.1.2.2681). The exhibition at the Berkeley Galleries led to Grunwald moving soon afterwards to the Abbey Art Centre. A fortnight after the exhibition closed, Clark wrote to Grunwald: ‘Someone told me that you are working in Mr. Ohly’s monastery at Barnet, which I hope is true’ (Clark to Grunwald, 25 August 1948, TGA 8812.1.2.2682/1). The letter, however, was addressed to Fairfax Road, suggesting Grunwald may have initially only worked in a studio at the Abbey rather than taking up living quarters. By November 1948, when Grunwald applied for admission to the Royal College of Art (RCA), she gave her address for correspondence as that of the Abbey’s—89 Park Road, New Barnet, Herts (Helen Grunwald student file, registration forms, RCA, 26 November 1948). At the same time, Ohly again wrote to Clark that ‘Miss Grünewald [sic] is now at the Abbey & I hope she will be doing some good work’ (Ohly to Clark, 24 November 1948, TGA 8812/1/2/4848). The move, however, seems not to have been permanent for the following year she was back ‘in lodgings’ at 11 Fairfax Road (Helen Grunwald student file, registration forms, RCA, 29 September 1949), though in December 1949 she was listed among the Abbey’s residents in the electoral register (Electoral register record for 89 Park Road, Barnet East, London, 20 November 1949, London Metropolitan Archives). <a href="https://www.britishmuseum.org/collection/term/BIOG223949">Alice Mary Fitzpayne</a>, who first met Grunwald when sitting the RCA entrance exams, in February 1949, believes Grunwald only moved permanently to the Abbey after her father’s death in 1951 (correspondence from Alice Mary Fitzpayne, 22 March 2021). Nevertheless, Grunwald was evidently in residence in mid-1950, as was her newly arrived schoolfriend from Vienna, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1007">Angela Varga</a>, when, at Grunwald’s invitation, Clark visited them both at the Abbey on 26 May 1950 (Clark to Ohly, 18 May 1950, TGA 8812/1/2/4850). A love of baroque music attracted her to choirs and orchestras, which she regularly sketched in rehearsal. In August 1948 she attended the Three Choirs Festival in Worcester, where, in addition to sketching during performances of the London Philharmonic Orchestra, she drew portraits of such renowned composers and musicians as Sir Ivor Atkins (1869–1953), Zoltan Kádaly (1882–1967), Sir George Dyson (1883–1964) and Edmund Rubbra (1901–1986) as well as painting a portrait of contralto Kathleen Ferrier CBE (1912–1953), who gave her two sittings (Grunwald to Clark, 18 September 1948, TGA 8812/1/2/2684). Grunwald held a second exhibition at the Berkeley Galleries in May 1949. This time she showed thirty-five paintings, all made at the Abbey over the previous six months (Grunwald to Clarke, 16 May 1949, TGA 8812/1/2/2687) and described on the invitation as ‘Impressions and paintings of London: The churches, markets, life of the city’. In addition to her work, visitors to the gallery that month could also see that of Swiss dramatist, painter, and illustrator <a href="https://www.zhdk.ch/en/researchproject/estate-georgette-boner-426796">Georgette Boner</a> (1903–1998), who exhibited her illustrations to the Chinese classic, Monkey (which she also transcribed into German), sculptor <a href="https://www.redfern-gallery.com/artists/70-george-kennethson/biography/">Arthur Mackenzie</a> (who later changed his name to George Kennethson, 1910–1994), and drawings by German émigré <a href="https://www.cosmankellertrust.org/milein-cosman/milein-cosman-centenary-2021/">Milein Cosman</a> (who had attended the same Swiss school as Ohly’s son Ernest during the war). The combined invitation to all four shows billed Grunwald and Cosman as ‘Two Young Artists of Promise’ being ‘presented’ by the Abbey Art Centre (despite Cosman not being an Abbey resident). A quote from one of Clark’s references for Grunwald was used on the invitation: ‘Thoughtful and independent. A remarkable combination of the poetical and the concrete’ (see <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1080">Invitation to four exhibitions at the Berkeley Galleries, London: Georgette Boner, Milein Cosman, Helen Grunwald, and Arthur Mackenzie, opening 6 May 1949</a>). The exhibition was a success, with Clark purchasing from it several more works of Grunwald’s and Eric Newton personally congratulating her (as conveyed by Grunwald to Clark, 24 May 1949, TGA 8812/1/2/2688/2). In July 1949 Ohly included Grunwald in a group exhibition at the Berkley Galleries, this time alongside several Abbey residents: <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/636">James Gleeson</a>, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/897">Peter Graham</a>, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/993">Grahame King</a>, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/586">Robert Klippel</a>, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1002">Max Newton</a>, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1008">Mary Webb</a>, and Inge Winter (who would become <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/994">Inge King</a> the following year); see ‘<a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/589">Exhibition of small paintings & sculpture during July, Berkeley Galleries, 20 Davies St, London, July [1949]</a>’). In addition to these Australian expatriates from the Abbey, the exhibition included the usual eclectic array of cosmopolitan émigré and refugee artists such as Karin Jonzen, Uli Nimptsch, Anthony Levett Prinsep, and Fred Uhlman, as well as Belfast-man Gerard Dillon, and sculptor Henry Moore, whose work effectively underwrote the risk of showing lesser-known artists from central Europe and the former British dominions. Grunwald sat the three-day entrance exams for admission to the RCA in February 1949 and commenced the Diploma course in September 1949, with the hope that the course would qualify her to teach art therapy. Over the preceding summer she doubted the financial feasibility of studying, writing to Clark she might need to stop painting and instead take up work with the Land Army (‘I prefer cows to chimney pots + smoke’), but a special scholarship from the College was arranged, putting an end to this drastic move (Grunwald to Clark, 24 May 1949, TGA 8812/1/2/2688/2). Clark also supported her applications to various local authorities for financial assistance; one reference from him described Grunwald as an artist of ‘exceptional promise’ who had surmounted ‘a number of very serious difficulties in order to keep on with her painting’, showing herself to be ‘conscientious, determined and independent’, and noting that while her painting was occasionally uneven, with ‘wooliness of handling’, this was compensated for by ‘real quality and imagination’ (Clark, reference for Grunwald, 17 October 1949, TGA 8812/1/2/2692). Carel Weight, who had first encouraged Grunwald to apply, in late-1948, oversaw her three-year course of studies. Comments (presumably Weight’s) on her student record include: ‘produces interesting work on a very small scale’ and ‘interesting personal work’ (RCA, Progress reports during college course, Special Collections, RCA, 1950/51 and 1951/52). Grunwald confided in Alice Mary Fitzpayne, whom she first met at the RCA, ‘that she felt sure she was to be as fine an artist as Rembrandt, or, if that was not the case, she would have 20 children!’ For her part, Fitzpayne acknowledged Grunwald’s ‘tremendous artistic gifts’ while also recalling an occasion when Sir Kenneth Clark was about to give a talk to the RCA students and Grunwald ‘appeared in front of him with a board she had prepared for him, the paint glistening with oily wetness, he attempting to receive the present without getting his hands and clothes covered in oil paint’ (Alice Mary Fitzpayne, London, written responses, March 2021). She also recalled Grunwald had always ‘yearned for an artistic circle’ and ‘the Abbey Art Centre certainly fulfilled this need’. Grunwald was joined at the Abbey in early 1950 by her Viennese schoolfriend: fellow artist <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1007">Angela Varga</a> (whose sister Kate Varga was then working in England as a nurse; Kate would later marry Abbey sculptor <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/589">Peter King</a>, whom she met at the Abbey). In March that year, Clark’s secretary gave Grunwald and Varga a private tour of his collection, Clark being away at the time. Writing to thank him for the privilege, Grunwald invited Clark to the Abbey: ‘I don’t think you have ever been to the Art Centre, and I don’t think it would be wasting your time if you could manage to come and see everything out here. The place itself is quite fascinating, so it would not merely mean bothering you on account of my work. The Abbey is not a very great distance from Hampstead [where Clark lived, at Upper Terrace House], so I hope I am not suggesting something impossible. Incidentally, there are other “Artists at work” here, whose work might interest you, so I am very much hoping you would care to come’ (Grunwald to Clark, 24 May 1949, TGA 8812/1/2/2693). A second letter followed, asking him specifically to view the work of Angela Varga, who ‘only narrowly escaped being transported by the Nazis during the war’; Varga was due to return to Vienna in June, and Grunwald hoped Clark might write a reference for her to support her return to England to study at ‘one of the London Schools of Art, or possibly, the Slade’ (Grunwald to Clark, 24 May 1949, TGA 8812/1/2/2696). Clark accepted Grunwald’s invitation, writing in advance to Ohly that ‘Miss Grunwald is very anxious for me to see the work of a girl named Angela Varga, who is a student at the Abbey’ and proposing a mutually convenient date (Clark to Ohly, 18 May 1950, TGA 8812/1/2/4850). The visit eventuated in the late afternoon of 26 May 1950. Ohly introduced Clark to the Abbey’s residents, including <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/985">Alan Davie</a> (whose jewellery Clark saw, and was impressed with, but whose paintings he had not time to see), and new arrivals <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/590">Bernard Smith</a> and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/981">Kate Smith</a>, later apologising ‘for introducing so many people but they would have been so disappointed’ (Ohly to Clark, 6 June 1950, TGA 8812/1/2/4852, and Davie to Clark, 10 January 1951, TGA 8812/1/2/1730). Clark soon afterwards provided the much-needed reference for ‘Miss Weiss-Varga’, commenting to Grunwald that ‘it must be lovely for you to find someone with a talent so akin to your own, because, although there are naturally differences in your work, the vision and sympathies are very much the same’ (Clark to Grunwald, 30 May 1950, TGA 8812/1/2/2698). A week later, Varga was accepted at the Slade (Grunwald to Clark, 7 June 1949, TGA 8812/1/2/2699) and by mid-October had returned to the Abbey to embark on her studies at the Slade. Grunwald holidayed in France in the summer of 1950, writing afterwards to Clark: ‘I have been to France and since then my colour has lightened, and I hope there is an improvement generally. I may exhibit a number of works in December’ (Grunwald to Clark, 16 October 1950, TGA 8812/1/2/2700). Clark was in Italy for much of 1951, but on his return to London at the end of the year invited Grunwald and Varga to bring ‘some specimens’ of their recent work to his home in Hampstead (Clark to Grunwald, 17 December 1951, TGA 8812/1/2/2705). As a result of the visit, Clark purchased two small works of Varga’s: 'Paris Meat Market [which] was marked 12 gns at the Exhibition’ and The Fish, which were not priced at all but for Grunwald suggested 4 or 5 guineas given its small size (Grunwald to Clark, 5 January 1951 [sic, should be 1952], TGA 8812/1/2/2707, and Clark to Grunwald, 16 January 1952, TGA 8812/1/2/2708). Grunwald’s father Robert died in October 1951. At the time of Robert’s death, Grunwald’s parents were living a short walk south of the Abbey Art Centre at 18 Bohun Road, East Barnet. Grunwald’s mother Lillian now joined Helen at the Abbey. Whether Lillian continued teaching at the Hampstead Garden Suburb Jewish Kindergarten (attached to the synagogue in Norrice Lea, Lyttlelton Road, N2), which she had assisted Miriam Bornstein in establishing in 1949, is unknown (‘Hampstead Garden Synagogue. Jewish Kindergarten Opened’, The Jewish Chronicle, London, 20 May 1949, p. 20; ‘Naturalisation: Lillian Gladys Grunwald', The London Gazette, no. 40232, 16 July 1954, p. 4166, both articles courtesy Ben Uri Research Unit / BURU). However, by May 1952 Grunwald confided in Clark that her mother was in ‘a mental home’, suffering from a nervous breakdown, adding that the experience of looking after her mother during the upheavals of her mother’s ‘frequent illness’ had led Grunwald to consider a career in art therapy (Grunwald to Clark, 19 May 1952 and 23 June 1952, TGA 8812/1/2/2708/1 and 8812/1/2/2709). In the lead-up to her RCA Diploma Exhibition, 9–15 June 1952, Grunwald warned Clark that ‘it is rather a “restrained” output, for although I feel I have learned a great deal [about] drawing and constructive thinking, I have not been influenced by “modern” trends of thought or technique’ (Grunwald to Clark, 19 May 1952, TGA 8812/1/2/2708/1). She graduated ARCA Diploma in Painting in 1952 with a disappointing ‘Pass’ (the grading of Diplomas as first, second and pass being then a recent development). Grunwald again wrote to Clark: chagrined that her work should have been hung in college exhibitions and even awarded (with two other students) a drawing prize, yet the ‘the spirit of my work was not altogether pleasing to some of the people concerned in this matter’. She reported that Carel Weight tried to intercede on her behalf but had advised her it was ‘not sufficiently colourful and “modern”’ (Grunwald to Clark, 23 June 1952, TGA 8812/1/2/2709). Clark responded sympathetically and pragmatically: writing he was ‘more than ever shocked that you did not receive a higher diploma’, purchasing another of her works for £25, and offering advice re the massing of light and dark areas in a way that the subject can be easily grasped—suggesting she look to Sickert in this regard (Clark to Grunwald, 10 July 1952, TGA 8812/1/2/2710). Grunwald spent that summer working at a National Union of Students (NUS) camp at Catfield, Norfolk, picking fruit and sketching landscapes in her spare time, afterwards painting landscapes at Essex and Suffolk (Grunwald to Clark, 17 July 1952 and 22 August 1952, TGA 8812/1/2/2711 and 8812/1/2/2713). She commenced teaching in February 1953, initially at a private school—possibly Ashby Secondary Modern Girls’ School at Scunthorpe, Lincolnshire, for which Clark agreed to supply a written reference while hoping she would secure a more sympathetic post (Clark to Grunwald, 17 December 1952, TGA 8812/1/2/2717). After six months she moved, in September 1953, to Fort Pitt Technical School at Chatham in Kent, where she found the art department facilities to be excellent though she struggled to find sufficient time to paint (Grunwald to Clark, 22 November 1953, TGA 8812/1/2/2718). During the 1960s and 1970s Grunwald taught art at Paddington and Maida Vale High School (originally an all-girls school, it amalgamated with North Paddington School in 1972 to become the mixed-sex Paddington School; see T F T Baker, Diane K Bolton and Patricia E C Croot, ‘Paddington: Education’, in A History of the County of Middlesex: Volume 9, Hampstead, Paddington, ed. C R Elrington (London, 1989), pp. 265-271. <a href="http://www.british-history.ac.uk/vch/middx/vol9/pp265-271">British History Online</a>). There her students included the future Turner Prize winner <a href="https://lubainahimid.uk/">Lubaina Himid</a> (information from Louise Shalev née Gordon via Monica Bohm-Duchen, 11 May 2022). Among the many student exhibitions that she organised for the school was People to People, ‘which set out to create mutual understanding and interest among different peoples’ (‘People to People Art’, Marylebone Mercury, London, 1 December 1967, p. 4). While she later referred to this aspect of her work as ‘the dreaded teaching’, she appreciated its ‘beneficial side — simplifying ideas, formulating and observing things which one had perhaps neglected as a student’ (Grunwald to Clark, 11 October 1976, TGA 8812/1/3/1235/1). She remained as art mistress at Paddington School until the late 1970s. In addition to teaching, Grunwald also painted murals. An extension to St Thomas of Canterbury Church in Canterbury, Kent, in 1963, saw the construction of a new chapel on the north side of the church, for which Grunwald received her first major commission. The Canterbury Saints depicts Christ surrounded by a dozen saints, including St Augustine of Canterbury (founder of the Christian church in southern England) and Pope Gregory, as well as nuns and monks, all set within a trompe l’oeil architectural structure. Grunwald later glimpsed her mural on television, which prompted her to think further about ‘the three fold unity of the sound, structure of building + drawing’ and resulted in a new series of work that she exhibited in 1975 (Grunwald to Clark, 10 March 1975, TGA 8812/1/3/1234). She also painted murals for the Americana club in Croydon, London, c. 1975 (as mentioned briefly in The Stage and Television Today, 18 September 1975, p. 6). Helen and Lillian Grunwald eventually left the Abbey in the mid-1970s, moving to a flat at 48 Blomfield Road, Little Venice, where they remained for the rest of their lives (their presence at the Abbey as late as 1965 is documented in the London Metropolitan Archives, Electoral Registers, Barnet, England, LCC/PER/B/2986). They continued to live together until Lillian’s death in 1982. Mother and daughter shared many of the same interests, both becoming adherents of the esoteric philosophy group centred about George Gurdjieff (who died in Paris in 1949) and his London followers, particularly the group centred around the Jungian psychoanalyst Maurice Nicholl (1884–1953). Another friend of Grunwald's and Fitzpayne's, also associated with the Nicholl group, was Dorothy King who headed the South London Art Gallery. Mary Alice Fitzpayne sketched Helen and Lillian performing what she referred to as ‘Grecian’ dancing, in long robes, to the sounds of an accompanying gramaphone; the sketches remain in Fitzpayne’s possession. The dancing was likely inspired by Gurdjieff's 'sacred movements' or Rudolf Steiner's 'Eurythy', which is taught at Waldorf schools worldwide. Lillian died in January 1982; Helen would survive her by only six years (General Register Office, UK, vol. 15, pp. 1479, 2323). Grunwald’s love of music—particularly Bach—drew her to the Tilford Choir and Orchestra, which she regularly sketched throughout the 1960s and ‘70s. In June 1975 she exhibited these pen and ink sketches along with large, abstracted paintings in the porch and baptistry of St George’s Church, Hanover Square, W1, coinciding with the Tilford Bach Festival Choir and Orchestra’s third annual week of Bach in London (Janet Watts, ‘Colouring Bach’, The Guardian, 25 June 1975, p. 11, article courtesy BURU). She also executed a number of what she termed ‘decorations’ for the Tilford Bach Choir, which were used, for instance, for their 1976–77 season program. Clark thought them ‘beautifully drawn, but … You are best at drawings of living people, like the Orchestra, and the Tilford Bach Choir, and they do not gain by being made into decorations’, suggesting again she consider going into book illustration (Clark to Grunwald, 14 October 1976, TGA, 8812.1.3.1236). She again exhibited at St George’s, Hanover Square, for the third London Handel Festival (27 April to 4 May 1980). In the month before the exhibition, Sir Ernst Grombrich visited Grunwald at her Blomfield Road studio to inspect the work—about which he had agreed to write for the festival program. Grunwald reported Gombrich’s visit to Clark: ‘Sir Ernst says Ruskin would have liked my work—& that I could do stained glass design’ (Grunwald to Clark, 27 March 1980, TGA, 8812.1.3.1237). In May 1985 she exhibited new paintings and drawings under the title ‘Bach in Splendour’ at St Anne and St Agnes on Gresham Street in the city of London (The Times, London, 16 April 1985, p. 36). The canal-side scenes and streets of old houses around Little Venice became an increasing focus for her work in the 1970s and she became well-known in local artistic circles, even initiating ‘an experimental “group” about once every four weeks, when a few artists and musicians meet, to paint, or write together, or make music, or even just relax!’ (Grunwald to Fitzpayne, 8 October 1976, private collection). She also experimented with lithography and linocut printmaking at this time. In 1978 the Marylebone Local History Room acquired forty-two of drawings and lithographs of north Westminster scenes and exhibited them at Marylebone Library (Westminister City Libraries, Annual Report of the City Librarian, 1978-79, p. 7). In November 1980 she held a second exhibition of drawings of Marylebone, Mayfair and Paddington at Marylebone Library. Studies of old houses—including Handel’s home in Brock Street—were interspersed with market studies (Noreen Caffrey, ‘Historic scenes captured in local exhibition’, Marylebone Mercury, London, 28 November 1980, p. 11, illustrated). An exhibition in the visitor’s gallery of the Stock Exchange, in 1984, was titled Helen Mary Grunwald: the changing, changeless city; drawings, paintings, prints, indicating her preoccupations with her physical environs. A vignette drawing of the Saint Mary Magdalene Church, with canal boats moored in the foreground, near to her home in Blomfield Road, would constitute her personal letterhead in the 1980s. Her final major commission, received in 1985 and part-funded by Westminster Council, was to paint a series of Byzantine-style murals for the apse of a 130-year-old Russian Chapel at 32 Welbeck Street, Marylebone (‘A Russian Chapel in Marylebone’, Ecclesiological Society Newsletter, no. 16, April 1985, p. 11). The chapel had been unused for many years and the building’s then tenants, the Variety Club of Great Britain, who had applied without success to alter the building, accepted the council’s offer to meet half the cost of restoring the chapel. Grunwald’s commission formed part of the restoration process. Local newspapers compared Grunwald to Michelangelo, as she worked on scaffolding for six months to complete the work. ‘The main theme of the murals’, she initially told a reporter, ‘is healing the sick because Variety Club do a lot of charitable work in this field especially with children’ (Graham James, ‘Restored to glory’, Paddington Mercury, London, 24 January 1986, p. 24, illustrated). However, the Association of Jewish Refugees in Britain later reported that Grunwald chose the theme of human suffering and resurrection, with many parallels to Nazi persecution and racial intolerance, and a depiction of the gas chambers (<a href="https://ajr.org.uk/search-journal-index/?journal_exact_search=Yes&swpquery=&journal_year=1986&journal_month=12&submit=search">C.A. ‘Helen Grunwald's Murals’, ARJ Information, vol. XLI, no. 12, Dec 1986, p. 6</a>). When unveiled in mid-1986, the Variety Club reportedly ‘reacted in horror’, claiming Grunwald ‘had got carried away with her own enthusiasm’ and that the religious atmosphere was not ‘conducive to work’ (‘‘Niet, niet’, to work of art’, Marylebone Mercury, London, 14 August 1986, p. 1). Despite the work being praised by Canon David, Bishop of Norwich Cathedral and chairman of Art in Churches, the tenants erected screens to block the view of the murals, which were eventually painted over (Barlett School of Architecture, University College London, Survey of London: vols. 51 and 52, South-East Marylebone, London: UCL, 2017, chapter 14, p. 23 of draft version, check page ref for printed publication). Helen Grunwald died of a cerebral infarction and vasultis, 21 June 1988, aged 63, at St Mary's Hospital, Westminster (General Register Office, UK, 1988, vol. 15, p. 1479, and Death certificate, registered City of Wesminster, 14 June 1988, application no. 12179018/1, QBDAC 347492). She was buried in Kensal Green Cemetery. Her will requested she be buried according to the rites of the Church of England, but with the service shared with a Catholic priest, a Buddhist, and a Rabbi. While she left no next-of-kin, she made generous provision for the care of her cat and left her flat to a friend, Miss Marjorie Wardle. The remainder of her estate was split between various named charities and her artworks sold. The final paragraph of her will read: "May religion cease to be a cause of division and may our trickle of endeavour and love penetrate the chemical waste land of inner and outer destruction and desolation" (information kindly supplied by Catherine Hill, The National Archives, Kew, 24 April 2023). Jane Eckett 31 May 2022 (updated 25 April 2023) 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 118.0000 Title A name given to the resource Helen Grünwald ARCA (1925–1988) Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/9871efd9f38b66c104dd8ac015f64850.tif 8acc6fdb7149e23b348824fb70594659 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] 14 March 1908 Birthplace Drumavally, Bellarena, Co. Londonderry, Northern Ireland Death Date [day] [month] [year] March 1996 Place of death Full address is known; else city and country. Glebe, Sydney, New South Wales, Australia Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, textile artist Bibliography Arnold Rüdlinger, Vieira da Silva, Phillip Martin, Helen Marshall, Bern, Switzerland: Kunsthalle Bern, 7 February – 8 March 1953. Alain Jouffroy, Helen Marshall, Phillip Martin: peintures, collages, gouaches, oeuvres jointes, 1950-1966, Brussels, Belgium: Palais des beaux-arts de Bruxelles, 14–26 April 1966. Nevill Drury, New art five: profiles in contemporary Australian art, Roseville East, NSW: Craftsman House, 1991. Felicity St. John Moore, Classical modernism: the George Bell circle, Melbourne: National Gallery of Victoria, 1992. Felicity St John Moore, 'Artist drew on innocent dreams [obituary of Helen Marshall]', The Australian, 24 April 1996, p. 10. Phillip Martin, unpublished synopsis of the life and career of Helen Marshall (1918–1996), two-page manuscript, c. 1996, Sydney: estate of Phillip Martin and Helen Marshall. Jane Eckett, '<a href="https://www.scribd.com/article/433885750/Helen-Marshall-Return-To-Beginning">Helen Marshall: Return to Beginning</a>', Artist Profile, no. 49, November 2019, pp. 136-9. Biography Born Helen Marshall Allen, in Drumavally, Magilligan, in the Bellarena district of Northern Ireland, she was the eldest of nine children born to Bessie and James Allen. Her mother hailed from Govan in Scotland while her father, some twenty years older, worked variously as a fisherman and stonemason. James Allen had three young children from a previous marriage, and he and Bessie also adopted two neighbouring children. Family stories credit the over-crowded household as being the chief reason for Marshall’s emigration in September 1926 to Australia, alone, at the age of eighteen, on the migrant ship the Baradine (though an aunt already in Melbourne probably encouraged the move). Two years later Marshall married Stephen Carlisle Walton, a sign-writer by trade, and with him had three children. Between 1928 and 1950 they lived at various addresses around Brighton and Blackrock along Port Phillip Bay. According to Phillip Martin’s unpublished notes, during these years, in addition to raising a family, she worked in landscape gardening and lectured in child psychology. In 1947, on Alan Warren’s recommendation, Marshall joined George Bell’s Sunday morning painting classes (Felicity St John Moore, 'Artist drew on innocent dreams', The Australian, 24 April 1996, p. 10). Her earliest extant works are three oils of gardens and coastal heathlands, dating to 1948-50, painted in an energetic post-impressionist mode (<a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/376">Our Back Garden</a>, 1948; <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/374">Blackrock Foreshore</a>, 1949; <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/375">Untitled (landscape with three trees and track)</a>, c. 1948-1950). In the catalogue to the exhibition Classical Modernism: The George Bell Circle, Felicity St John-Moore noted Marshall’s ‘conspicuous exuberance’ and ‘tendency towards personal expression’. Through the George Bell circle she befriended Arthur Boyd, John Perceval, Danila Vassilieff (who reputedly referred to her as ‘my woman’) and Stacha Halpern with whom she worked on ceramics. She also regularly visited John and Sunday Reed at Heide. Marshall returned to Bellarena with her youngest child Stephen Walton (then aged two), sailing on the Otranto and arriving at London on 24 July 1950. She gave their intended address as her parents' address: Lenamore, Bellarena, Co. Derry, Northern Ireland. The trip precipitated a dramatic shift in her painting both in subject and style. Henceforth she channelled a child-like and deeply personal vision of cottages, farm implements, donkeys, birds, fish, boats, church spires and pagan shrines, painted with expressionistic vigour in rich hallucinatory colours. A handful of works from this visit, such as <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/287">Lennamore, Bellarena</a>, 1950, include a hand-cranked grinding stone that became a recurrent motif—a talismanic memory of her Northern Irish childhood. Soon afterwards Marshall arrived at the Abbey Art Centre, New Barnet, on London’s outskirts. There she met the young Tachiste painter, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1001">Phillip Martin</a>, who, with the encouragement of another Abbey resident, the Scottish painter <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/985">Alan Davie</a>, was then making small black and white monotypes, and dense gestural oils and collages. No works from her time at the Abbey have been traced. Early in 1951 Marshall and Martin left the Abbey and by May were living on a disused barge, The Sheila, at Thames Ditton. They began there a series of joint works in marine paints and collage, united in their visionary poetics, which would continue for the rest of their lives. In August 1951 the pair travelled to Paris then on to Schruns (Austria), Genova and Florence, where they held their first joint exhibition at Galeria Numero. Many of Marshall’s watercolours from this time are painted on crepe-paper hand towel from train station restrooms, the paint bleeding into its crevices like blotting paper. In Florence they learnt their houseboat in London had burnt, destroying all their work (hence the absence of any Abbey works, for Marshall at least). A period of extreme hardship ensued. Retreating to Tourettes-sur-Loup for the winter, they met Alphonse Chave of Galerie Les Mages, in Vence, who gave them an exhibition and, reputedly on the recommendation of Marc Chagall, purchased all of Marshall’s exhibits. Throughout the 1950s Marshall and Martin orbited with astonishing frequency between Paris, Positano, Forio d’Ischia (off Naples, where their daughter, printmaker Seraphina Martin, was born in 1954), Florence, Aix-en-Provence, Mallorca, Alicante and Formentera, as well as a summer in Connemara. Along the way they befriended the likes of Alan Sillitoe in Spain and Roberto Matta, Andre Masson, Karel Appel and Pierre Alechinsky in Paris. Mixing in Surrealist and Art Informel circles, Marshall experimented with frottage: placing cardboard cut-outs under a thin sheet of paper, which was rubbed with crayon to produce a ghostly trace. Her visual storehouse also grew: fishing harbours, a salt train engine, and an enigmatic black goddess joined Marshall’s pervading Irish imagery and memories of ‘her land’—Bellarena. Among the curators and critics who respected Marshall’s deeply personal lexicon was Arnold Rüdlinger, director of the Kunsthalle Bern, who gave Marshall and Martin a significant exhibition in 1953 alongside Viera da Silva. In the catalogue Rüdlinger attributed the childlike quality of Marshall’s work to their origins in ‘fantasy, which is located in the world of dreams, fairy tales and legends.’ He might have added that this fantasy was rooted in Irish folklore. Alain Jouffroy was another supporter. He and Jean-Jacques Lebel included Marshall and Martin in the first Anti-Procès ‘manifestation collective’ (an exhibition, a happening and a manifesto), in 1960, alongside César, Hundertwasser, Wifredo Lam and Matta among others. Marshall’s evasion of neat nationalist categories, her lack of materialism or concern for the commercial art world’s social mores, and her pacifism were consistent with the Anti-Procès group’s philosophy and their condemnation of French state violence in Algeria. In 1962 Marshall and Martin, along with the children Stephen and Seraphina, travelled to India to join the Sri Aurobindo ashram in Pondicherry. Marshall’s work registered this new beginning: her palette brightened and her compositions grew more elaborate, with overlapping elements occupying the entire surface. Offering to Savitri, 1964, with its collaged scraps of Indian wrapping paper, foil and paper doilies, and <a href="https://www.ngv.vic.gov.au/explore/collection/work/5905/">To Awakening</a>, 1965, in the National Gallery of Victoria collection, indicate this new direction. India represented for Marshall the twin pole of Ireland in terms of sustaining her visual and spiritual storehouse. For the next seven years she and Martin spent part of each year at Pondicherry, returning either to Paris, London or Brussels, where they spent nearly two years and had a major joint retrospective at the Palais des Beaux-Arts in 1966. In 1968, they attended the inauguration of Auroville, a utopian ‘universal city’ based on the vision of Sri Aurobindo and The Mother, commemorating the occasion with an exhibition at the Jehangir Gallery—Mumbai’s foremost modern gallery. After India they briefly return to Australia, 1969-70, to reunite with Marshall’s family who had since emigrated from Ireland. In Sydney a critically acclaimed exhibition of over 200 of Martin and Marshall’s works inaugurated Gisella Scheinberg’s Holdsworth Gallery (see Ruth Faerber's review, '<a href="http://nla.gov.au/nla.news-article263157125">Art. Coherent exhuberance</a>', The Australian Jewish Times, Sydney, 2 October 1969, p. 4), while in Melbourne Georges Mora of Tolarno was supportive (for six months they lived next door to Mirka Mora in St Kilda). But Europe drew them back: first to Milan, in 1971, and then Bellagio on Lake Como where they acquired their first home in exchange for a large collection of Martin’s paintings. Over the next six years they continued to travel—spending months at a time in Paris, Milan, Roscoff, Brittany and Gstaad, Switzerland. In 1979 they returned to Sydney permanently, purchasing a Victorian terrace-house in Glebe, which quickly filled with their paintings, relief sculptures and Marshall’s hand-stitched ‘banners’ or wall hangings. Even still they continued to exhibit in Europe, Marshall having solo shows with Galerie Gammel Strand, Copenhagen, in 1980, and Galerie Riedel, Paris, in 1987, while in Sydney she had further solo exhibitions at the Art of Man Gallery, 1980 (see Ruth Faerber's <a href="http://nla.gov.au/nla.news-article263287134">review</a>, The Australian Jewish Times, Sydney, 22 May 1980, p. 16); <a href="https://trove.nla.gov.au/work/21437399">Beasts and other animals </a>at the Irving Sculpture Gallery, 1985; Richard King Gallery, 1987; and Coventry Gallery, 1991 and 1994. Elwyn Lynn, among others, appreciated Marshall’s ‘spritely, playful … presentation of people, birds and flowers all in ecstatic togetherness’ (Elwyn Lynn, The Weekend Australian, 20-21 June 1987). Marshall died in 1996, aged 88, and Martin devoted much of the next eighteen years to documenting her career before his own death in 2014. Jane Eckett November 2019 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. Helen Marshall, identity photograph pasted in her British passport, issued in France c. 1951–55, courtesy artist's estate Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 Date modified Date record modified: [day] [month] [year] 16 August 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 127.0000 Title A name given to the resource Helen Marshall (1908–1996) Type The nature or genre of the resource person Subject The topic of the resource Marshall, Helen, 1908–1996. Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1001#?c=0&m=0&s=0&cv=0">Phillip Martin (1927–2014)</a> Contributor An entity responsible for making contributions to the resource Jane Eckett