6 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/53742a69fb4d36f4b1173323530e0bb7.jpeg b0d6ea8d8354e9540043ffe208a827af Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK The Abbey Art Centre, 89 Park Road, New Barnet, Herts, 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]. Collection of the Counihan Estate Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. <a href="https://www.facebook.com/AbbeyArtCentre/photos/pb.100054380026627.-2207520000./2861075230812195/?type=3">Another copy of this photograph</a> exists at the Abbey Art Centre and was uploaded to their Facebook page, 19 February 2021, captioned: 'A classic photo of The Abbey Art Centre, from our early years!' Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Photographer unknown, courtesy Michael Counihan Date submitted Date object first catalogued: [day] [month] [year] 21 July 2022 Date modified Date record modified: [day] [month] [year] 9 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 800.0070 Title A name given to the resource Photograph of a Royal Mail van parked outside the Abbey Art Centre gates, 1950 Date A point or period of time associated with an event in the lifecycle of the resource 1950 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource silver gelatin print Source A related resource from which the described resource is derived Courtesy of Michael Counihan Description An account of the resource Photograph showing the Royal Mail van at the gates of the Abbey Art Centre, New Barnet. The van is marked 'Barnet' on the door. A sign reading 'Abbey Art Centre' is mounted on the vine-covered wall to the left while the street number '89' is just visible on the gate post behind the parked van. Photograph inscribed verso: 'Mail boys were frightened to go up the drive -' / The Abbey had a bad reputation'. Subject The topic of the resource Artist colonies -- England. Postal service -- England. Rights Information about rights held in and over the resource © Michael Counihan and the Counihan 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). Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer, Victoria Perin, and Jane Eckett Abbey Art Centre postal service Royal Mail transport https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/31289b9d404c7b9e7bae60d4da7fa655.jpg d19b5f410caa5c856766c5ebdf3c57b5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Abbey Art Centre, 89 Park Road, New Barnet, Hertfordshire, England Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Lotte Reiniger Estate Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Primrose Productions, courtesy Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://collections.library.yale.edu/catalog/16917632">The Films of Lotte Reiniger produced by Primrose Productions</a>, London: Contemporary Films, n.d., reproduced p. 4 [pamphlet held Beinecke Rare Book and Manuscript Library, Yale, New Haven, CT, among the Bryher papers, General Collection, series IV subject files, box 129, 4531-4532, folder 189]. Date modified Date record modified: [day] [month] [year] 21 October 2021 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 131.8003 Title A name given to the resource Lotte Reiniger working at a table outdoors in the garden of the Abbey Art Centre, c. 1952-63 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-63 Creator An entity primarily responsible for making the resource Primrose Productions Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Shadow-puppet-maker and animator Lotte Reiniger is seen working at a table, outdoors in the garden, at the Abbey Art Centre, New Barnet. She is seen cutting out a figure in black paper. A small, hand-painted toy theatre stands on a low brick wall to her right. Papers, scissors and wire are strewn across the table before her. Reiniger wears her trademark turban, glasses, open-necked shirt and long skirt. Subject The topic of the resource Reiniger, Lotte, 1899-1981. Animators. Animated films. Shadow shows. Artist colonies -- England. Rights Information about rights held in and over the resource This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/901">131.8004, Details of Lotte Reiniger's hands drawing in white pencil on black paper the head of a boy in feathered cap, c. 1952-63</a>. Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre animation animators film Lotte Reiniger shadow puppets https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/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/bc8d87cf978c5e66f5379018ce78d0d2.png c573d184e44f7b478ea694b24f83be8c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 2 August 1900 Birthplace Łódź, Congress Kingdom of Poland, Russian Empire (now Poland) Death Date [day] [month] [year] 1952 Place of death Full address is known; else city and country. London, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) draughtsman, illustrator, cartoonist Bibliography John Berger, Marcel Frishman (Bruno Cassirer, Oxford, 1957). Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020. "Marcel Frishman artist," Ben Uri Research Unit, https://www.buru.org.uk/contributor/marcel-frishman Date submitted Date object first catalogued: [day] [month] [year] 15 January 2026 Biography Born in Łódź in 1900 to a Jewish family, the Russian pogroms of 1904 caused Frishman's family to flee west into Germany. Settling in Berlin he attended school at the Fichtegymnasium, enjoying Latin and Greek. His aptitude for art was recognised by his teacher, <a href="https://de.wikipedia.org/wiki/Alfred_Thon">Alfred Thon</a>, who gathered Frishman into a small group of talented students, including Peter von Hamm (who would later work as a translator), <a href="https://en.wikipedia.org/wiki/G%C3%BCnther_Franke">Günther Franke</a> (who became a prominent if controversial Munich gallerist who was later accused of having profitted from the Nazi's purge of modern art), and <a href="https://www.stolpersteine-berlin.de/de/motzstr/51/walter-herzberg">Walter Herzberg</a> (who, like Frishman, would become a satirical cartoonist and who Frishman tried in vain to help escape the Nazis; he was murdered at Auschwitz in 1943). The group shared art books and magazines with each other and remained close friends until 1938 when National Socialism forced their dispersal. After completing school, Frishman's parents arranged an apprenticeship for him in the metal industry in Mannheim. However, Mannheim's art gallery proved more interesting to him. Realising he wanted to pursue art, he abandoned the apprenticeship and returned to Berlin to study at the <a href="https://de.wikipedia.org/wiki/Unterrichtsanstalt_des_Kunstgewerbemuseums_Berlin">Unterrichtsanstalt des Kunstgewerbemuseums Berlin </a>(Teaching Institute of the Museum of Decorative Arts Berlin), on Prinz-Albrecht-Straße, under renowned graphic artist <a href="https://en.wikipedia.org/wiki/Emil_Orl%C3%ADk">Professor Emil Orlík</a>. From there he progressed to the Berlin Academy, studying with impressionist graphic artist <a href="https://www.lbi.org/griffinger/record/246958">Hans Meid</a>. At the Berlin Academy, he met his future wife, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/998">Margret Kroch-Frishman.</a> They bonded over their shared interest in modern art, particularly German Expressionism, and took long walks around Berlin and down by the ports, which were always a favoured location for him. The pair married in 1923. Frishman began selling illustrations to German periodicals, including Die Jugend, Berliner Tageblatt, Der Querschnitt and Uhu. As a result, in 1926 he was offered employment in Munich with the leading political and satirical magazine <a href="https://en.wikipedia.org/wiki/Simplicissimus">Simplicissimus</a>. As one of their youngest artists on staff, Frishman produced hundreds of illustrations for Simplicissimus until 1933, when the National Socialists clamped down on the formerly liberal magazine. As his friend <a href="https://en.wikipedia.org/wiki/Gustav_Regler">Gustav Regler</a> recalled, Frishman's drawings were characterised by "minimal lines, clarity of form and self-assurance of composition, with themes of everyday life, not recorded naturalistically, but represented in a new form with psychological insight" (Regler, typescript notes on Frishman, estate of Marcel Frishman). These were usually drawn in the privacy of the studio, from memory of figures encountered previously in the street. Regler also recalled Frishman's talent as a musician (he was related to the German-Polish Jewish pianist and composer <a href="https://en.wikipedia.org/wiki/Moritz_Moszkowski">Moritz Moszkoski</a>) and his voracious appetite for books. In English his taste ran to George Bernard Shaw, Hemingway and DH Lawrence, but his passion was for the Russians: Gogol, Turgenev, and Pushkin. In 1933, when the National Socialists tooks over Simplicissimus, Frishman was faced with an ultimatum: collaborate with the Nazis or leave Germany within 24 hours. He chose the latter, fleeing to France with Margret and their one-year-old son Martin. In Paris Frishman worked with Lucian Vogel in an attempt to revive the magazine Assiette au beurre. When the project failed after only one issue, the family moved on to Copenhagen, where Frishman worked as a freelance illustrator (his reputation from Simplicissimus having preceded him). In 1934 they moved to Brussels, and lived for a period at an arts centre for refugees at <a href="https://www.buru.org.uk/contributor/marcel-frishman">Berchem-Sainte-Agathe</a>. In Brussels Frishman worked with <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/911#?c=0&m=">Lotte Reiniger</a> and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/997">Carl Koch</a> on an animated film, Dream Circus (1936/37), inspired by Stravinsky’s Pulcinella though never finished owing to the outbreak of war. The Frishmans are believed to have later encouraged Reiniger and Koch to settle at the Abbey Art Centre. Marcel visited Berlin briefly at the end of 1937 to collect his cameras and other materials needed for the Brussels work, and while there realised the imminent dangers for Jewish people. However, in 1938 the Belgian authorities rejected the Frishman family's visa renewals, compelling them to return to Berlin where they experienced the trauma of Kristallnacht in November. Hastily assembling exit papers, they escaped Germany 48 hours later. Their exit was enabled through securing visas to Australia, organised by Margret's elder sister, Emilie (known as Emmy) Monash, who was married to a cousin of Sir John Monash, and sponsored by another of her sisters, Fanny Louise (Liese) Kroch (National Archives of Australia: series <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=203366387&isAv=N">B4064, control symbol SCHEDULE 10/V271</a>). The Frishmans subsequently sailed from Toulon on the Orient Line RMS Ormonde, arriving in Fremantle on 25 April and disembarking in Melbourne on 1 May 1939 (see passenger arrivals list, National Archives of Australia: <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=12078256">series</a><a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=12078256"> K269, 25 APR 1939 ORMONDE</a>). Year later, Martin Frishman's wife, Federica Frishman, recounted the family's dramaric journey: "The exit from Germany to Toulon by train was traumatic. At the border between Germany and France, the train was stopped by a very drunk top SS Commander who mistook Marcel for an old school friend and invited him for more drinks, leaving Margret and Martin waiting on the train, fearing that this was the end. Fortunately Marcel was a very good clown and for one hour he pretended to be this Nazi’s old friend, laughing and drinking together. He returned no worse for the experience. The train was allowed to continue and Toulon was reached. They embarqued on the last trip of the Orient Line RMS Ormonde going to Melbourne. This was a 6 weeks voyage and Martin was the only happy member of the family: being on the boat was a new and exciting adventure for him" (Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020). The Frishmans soon established a photography business called Studio Marcel, working from their flat at 108 Acland Street in St Kilda, and offering not only commerical photographic services but also reproduction and "artistic colouring" services (see their <a href="http://nla.gov.au/nla.news-article261414327">advertisement</a>, The Australian Jewish Herald, 17 October 1940, p. 9). Both Frishmans donated specimens of their photography to an exhibition held to raise funds for the Red Cross, showing alongside another noted Jewish photographer <a href="https://adb.anu.edu.au/biography/shmith-louis-athol-15802">Athol Shmith</a> (see H.S., "<a href="http://nla.gov.au/nla.news-article261414984">For Red Cross: Exhibition of Photographs</a>," The Australian Jewish Herald, November 28 1940, p. 3). The exhibition toured to Sydney the following year (see "<a href="http://nla.gov.au/nla.news-article247568458">Governor's Family All Keen Photographers</a>" The Daily Telegraph, Sydney, 18 March 1941, p. 10). However, photography was not enough to live on and Marcel struggled to find employment in Melbourne as an illustrator. He was compelled instead to take work in a steel factory, and also served from 1942 with the Royal Australian Air Force (RAAF). In 1948 the Frishmans held a joint exhibition at Velasquez Galleries, though the Melbourne press gave it scant notice. Altogether the pair spent thirteen years in Australia, struggling financially (their house and property in Germany having been confiscated by the Nazis and sold) and with little recognition. Marcel's health consequently suffered. The family returned to Europe, sailing from Sydney on the Cameronia and arriving in Liverpool on 9 April 1951. They appear in passenger arrival records as: Marcel Frishman, photographer, age 50; Margaret Frishman, sculptor, age 55; and Martin Frishman, student, age 18, latterly of Australia, bound for Holland and with a nominated address of Poste Restante, Zutra Post, Amsterdam (nos. 345, 346 and 347 on the shipping list). They settled immediately at the Abbey Art Centre, from where Frishman began supplying illustrations to the Swiss satirical magazine Nebelfpalter. However, his health did not improve and he died of a heart attack at the Abbey in 1952. A commemorative book was issued in 1957 by Bruno Cassirer with a selection of Frishman's drawings and texts by John Berger and George Besson. Two retrospectives were held the following year at Upper Grosvenor Galleries and Marlborough Fine Art, the latter showing fifty of his drawings. Date modified Date record modified: [day] [month] [year] 29 January 2026 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. Marcel Frishman, 1930s, courtesy the Frishman estate 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 151.0000 Title A name given to the resource Marcel Frishman (1900–1952) Type The nature or genre of the resource person Subject The topic of the resource Frishman, Marcel, 1900–1952. Caricatures and cartoons. 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/998">Margret Kroch-Frishman (1897–1972)</a> Creator An entity primarily responsible for making the resource Variant spellings: Marcel Boleslaw Frishman, Marcel Frishmann, Marcel Fishmann, Marcel Frischmann 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/cfdc47fc2bc65c5a5b0fc9a773769dab.jpeg 5216d3a5d291bddf619dd6aae6d067cf https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/127af259c5cdcede102000c1faf568df.jpg 1080b4bc2ef98ecb1c39ebbd91f680b2 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. <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> 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. Sculptural relief for the Hall of Honor for those who fell in the First World War, 1920s, located at the forecourt of the parish church. Architects W. Schönwetter and O. Schaltenbrand; sculptor William Ohly. Expanded after 1945. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht 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. Friedrich Haag 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 69 Weinstraße, 67147 Forst an der Weinstrasse, Rhineland-Palatinate, 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 130.0017 Title A name given to the resource Memorial relief for Hall of Honour for those who fell in the First World War, Forst an der Weinstrasse, 1920s, 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 <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> Hall of Honour, 69 Weinstraße, 67147 Forst an der Weinstrasse, 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 1920s Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Large stone relief sculpture of Christ blessing two kneeling soldiers. German sculpture war memorials William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ac1ac295b97486d43e283fe36fae3bac.jpg 50b08243b0c6a4b3fa1410c42d9b5392 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bab2ad3f255ea68c80a40ebac7403ebb.jpg cc4002a0fd3e541aa368806c85625139 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. <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</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 Kopernikusstraße, 67063 Ludwigshafen am Rhein, Germany 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. The maquette for the St Francis fountain was among Ohly's possessions at the Abbey Art Centre. Inge King recalled it was the only work of Ohly's she ever saw. It featured on the cover of the 1955 memorial exhibition catalogue at the Berkeley Galleries. 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 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 courtesy <a href="https://upload.wikimedia.org/wikipedia/commons/5/52/Ohly_Friesenheim_Brunnen.jpg">Wikimedia Commons</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0018 Title A name given to the resource St. Franziskusbrunnen, Friedhof Ludwigshafen-Friesenheim (St Francis fountain, Ludwigshafen-Friesenheim cemetery), 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 bronze and stone fountain Source A related resource from which the described resource is derived <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#cite_note-2">German Wikipedia entry for the Friedhofskapelle (Ludwigshafen-Friesenheim)</a> 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). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1297">130.0019, Relief, Hauptportal Friedhofshalle Friesenheim (Reliefs, main portal, Friesenheim cemetery hall) by William F. C. Ohly</a>; <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1303">130.0025, St Francis (maquette for fountain), c. 1927, by William F. C. Ohly</a> 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 Fountain comprising a full-length figure in bronze of St Francis, arms outstretched, standing on a bronze orb with birds at his feet, set within a stone bowl. Subject The topic of the resource Fountains -- Germany. fountains German sculpture religious art St Francis William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b74418e141bcc34cc4fae4aae2d91f6a.jpg 9e83104d81eb0c4d998b0383f0f06668 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bdc073888a3356e771aac4652e21c690.jpg 3cefa45fe0f612e86b8d92eb9a217ce4 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/62761ccad281045c985b042124e57638.jpg 56bffdd92a06044eb07645d2629c0f8a https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/fdba1c06f22a9ef884a8720e6dbec0ad.jpg 22094f9917767ddbc536d98ee531920a 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. <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</a>; <a href="https://www.ludwigshafen.de/lebenswert/im-gruenen/friedhoefe/friesenheim">Friedhof Friesenheim, Ludwigshafen, Stadt am Rhein</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 Kopernikusstraße, 67063 Ludwigshafen am Rhein, Germany 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. Above the main portal of the cemetery chapel is a <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Friesenheim_Friedhofskapelle_Auferstehungsrelief_Hauck.jpg">large resurrection relief by Theobald Hauck</a>. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, courtesy <a href="https://commons.wikimedia.org/wiki/File:Ohly_Friesenheim_1.jpg">Wikimedia Commons</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. Joachim Specht, courtesy <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Ohly_Friesenheim_2.jpg">Wikimedia Commons</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0019 Title A name given to the resource Relief, Hauptportal Friedhofshalle Friesenheim (Reliefs, main portal, Friesenheim cemetery hall), c. 1926–27, 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 Cemetery chapel, Friedhofshalle Friesenheim 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). Relation A related resource 130.0018, St. Franziskusbrunnen, Friedhof Ludwigshafen-Friesenheim (St Francis fountain, Ludwigshafen-Friesenheim cemetery) by William F. C. Ohly 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 c. 1926–27 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Stone relief carvings for either side of the main portal of the cemetery chapel, depicting a classically-robed man in a ploughed field, on one side sowing seed and on the other side reaping the harvest with a small scythe. Above him are symbols of a sand-timer and a P with an X (possibly referring to 'pax' or peace). At the base of each carving is a carved vase of flowers. Subject The topic of the resource Doorways -- Germany. architectural sculpture cemeteraries doorways German sculpture portal religious art William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/4d0d240914e7fc525cbf0623d05e4a68.jpg ba06299a59db7d8ae844eb60c8355d39 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a76dfc2dd009987282158cc450530e53.jpg 3054021a1eebda87fdb7ed1cf45efa7a https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/15322a993f40eb3ff0804721b0170e6d.jpg 2829781c642bd938a084905ef246b1cf https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/30c5cc1595cee1b36b9f72d1d1181cf6.jpg 0214fd03dac0ab1d6f894cf1ae08ef4e 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. Robert Wezel, 'Wie Frohnhausen zum Gänsereiter kam. Ästhetische Gesichtspunkte der Essener Stadtplanung am Beispiel eines Brunnens' (How Frohnhausen came to be a goose rider. Aesthetic aspects of Essen city planning using the example of a fountain'), in Essener Beiträge, Beiträge zur Geschichte von Stadt und Stift Essen, Band 115 (Essen contributions, contributions to the history of the city and monastery of Essen, vol. 115), 2003 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. Designed by the Hagen architect Ewald Wachenfeld with sculptor William Ohly in a late late Art Nouveau style. The fountain originally had a central bronze element by Ohly: a sculpture of a rider reaching for a goose. The practice of goose riding was practiced in Frohnhausen until the end of the 19th century. However, the bronze element has been missing since WW2, when the fountain was buried under rubble from the nearby Apostles Church. Located in the square behind the Apostles Church, Essen, surrounded by benches and linden trees. The cost of the Gänsereiter fountain was shared between the Essen Beautification Association and the city of Essen, which is still the owner today. The fountain was fully restored in 2008–2010, with the dolphins heads replaced as they were so severely damaged from environmental impacts. 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://commons.wikimedia.org/wiki/File:G%C3%A4nsereiterbrunnen.JPG?uselang=de">Wikimedia, Wiki05</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 Bonner Strasse, Frohnhausen, Essen, 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 130.0020 Title A name given to the resource Gänsereiterbrunnen, Essen (Goose rider fountain, Essen), 1913, 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 fountain (formerly with bronze element, which was destroyed in WW2) Source A related resource from which the described resource is derived <a href="https://de.wikipedia.org/wiki/G%C3%A4nsereiterbrunnen">German Wikipedia entry for Gänsereiterbrunnen</a>, Bonner Strasse, Frohnhausen, Essen, 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 1913 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Fountain with spherical stone element, surrounded by four dolphins from whose mouths water spills into an upper bowl that in turn connects with a lower bowl below. A series of small Art Nouveau masks adorn the lower bowl. Subject The topic of the resource Fountains -- Germany. fountains geese German sculpture William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/c00ed02bc933663feb593aab0789eaf7.png 33f47930a6452b447b245af571fe6e4e 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. Julius Hülsen, ‘<a href="https://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00087545&pimage=325&v=100&nav=&l=de">Bildhauerarbeiten der Brüder Ernest und Wilhelm Ohly</a>’, Dekorative Kunst, 1912, illustrated p. 271, discussed p. 273 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. Commissioned by architect Franz Thyriot (1869–1934) who designed the Schillerschule in Franfurt-Fechenheim in 1907–08, on which basis the work has been dated. The Schillerschule was destroyed in the air raids on Frankfurt am Main in 1944 and was rebuilt after the war. The relief is believed to have destroyed during the war. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. <a href="https://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00087545&pimage=325&v=100&nav=&l=de">Dekorative Kunst</a>, 1912, p. 271 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 Schillerschule, Bodenseestraße, Fechenheim, Frankfurt am Main, 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 130.0021 Title A name given to the resource Heimkehrende Schnitterfamilie (Returning harvest family), Schillerschule, Fechenheim, Frankfurt am Main, c. 1907–08, 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 limestone relief Source A related resource from which the described resource is derived Julius Hülsen, ‘<a href="https://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00087545&pimage=325&v=100&nav=&l=de">Bildhauerarbeiten der Brüder Ernest und Wilhelm Ohly</a>’, Dekorative Kunst, 1912, p. 271 (illustrated) 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 c. 1907–08 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) agriculture family life German sculpture harvest relief schools William Ohly