6 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b00c10d30634bef668eb1a43717facf3.jpg 6d0f97b95a8fffb29a17f08b4681d975 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 21 May 1917 Birthplace Adelaide, South Australia, Australia Death Date [day] [month] [year] 17 July 1999 Place of death Full address is known; else city and country. Melbourne, Victoria, Australia Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) artist (draughtsman), artist (printmaker), artist (painter) Biography Born in Adelaide to Marion Dove Wigley (née Dale) and Henry (Harry) Vandeleur Wigley, James Wigley’s father died in 1927 and the family thrown into financial stress. James’s maternal grandfather, James Ernest Dale, an Anglican priest, facilitated his attendance at Poultney Street School (later Poultney Grammar School) as a fee-exempt student. There Wigley befriended fellow student and future anthropologist Ronald Berndt. Both Wigley and Berndt disliked school and left at an early age—Berndt, at fourteen, to study bookkeeping and business correspondence, and Wigley, who dreamt of joining the circus, at fifteen (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). Their friendship, however, would prove important. Berndt’s father, a jeweller who collected Aboriginal artefacts, awakened an interest in Indigenous cultural material in both Berndt and Wigley, who began collecting from an early age (Geoffrey Gray, ‘‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007). In 1937 Wigley enrolled at the School of Fine Arts in Tynte Street, North Adelaide, where his Slade-trained art instructor, F. Millward Grey (1899–1957), considered drawing more important than painting, resulting in an emphasis on life classes and commercial art. While at art school, c. 1937-38, Wigley began to draw local Adelaide people as well as undertaking cartooning work under the nom de theatre of ‘Creigh’ (‘<a href="http://nla.gov.au/nla.news-article131989669">Fine work by students</a>’, News, Adelaide, 12 December 1939, p. 11). He was invited to take part in group exhibitions in Adelaide around this time, including the Royal Society of Arts where, in June 1937, he was shown alongside such established artists as Dorrit Black, Ivor Hele and Hans Heysen (‘<a href="http://nla.gov.au/nla.news-article74199371">Student Artist Invited to Exhibition</a>’, The Advertiser, Adelaide, 30 June 1937, p. 18). In February 1938, with the support of Heysen, Wigley held a private exhibition of his work at the Mount Lofty home of Mrs Mellis Napier (Heysen’s role in helping arrange the exhibition is recounted in ‘<a href="http://nla.gov.au/nla.news-article47807945">Artist's studio among Aborigines</a>’, The Australian Women's Weekly, 23 September 1964, p. 13). An Adelaide arts commentator, signing themselves ‘Palette’, reported that ‘people from every part of Australia saw the potentialities of this young South Australian, and eagerly bought up what was shown’ (Palette, ‘<a href="http://nla.gov.au/nla.news-article131902287">Young S.A. Artist in Sydney Studio. James Wigley’s Prospects</a>’, The News, Adelaide, 17 February 1938, p. 8). The same commentator described Wigley’s work as ‘a compound of that of the late Will Dyson and the Englishman Stanley Spencer’ and the artist as a ‘sensitive shy dreamer’ ‘of whom great things are expected’. Shortly afterwards Wigley moved to Sydney and took a studio on George Street in the city. At the end of the year, in November 1938, he joined a group of young contemporary artists exhibiting at Preece’s Gallery in Adelaide. His co-exhibitors were Mary Elizabeth Bell, Dora Cant, Nora Young, Geoffrey Francis, J. Rosemund Stokes and his future wife Molly Burden. One reviewer praised Wigley’s exhibit, Suburban Ladies, for its ‘delightful balance between irony and gentle satire, somewhat in the manner of Daumier’ (‘<a href="http://nla.gov.au/nla.news-article36593434">Students Show Courage and Promise</a>’, The Advertiser, Adelaide, 18 November 1938, p. 9). In 1939 he saw Keith Murdoch’s Herald exhibition of French and British modern art when it began its touring itinerary in August at the Art Gallery of South Australia (AGSA). However, with his Slade-influenced training and its emphasis on drawing, painting remained a mystery. Moreover, the AGSA was ‘overweighed by British nineteenth-century art’ and held little to no appeal to the young student (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). With Ronald Berndt—who was then still untrained in anthropology—Wigley spent time at Murray Bridge (76 km north of Adelaide) from November 1939 to February 1940. There he produced a series of sensitive portraits of Indigenous people (reproduced in Ronald M. Berndt and Catherine H. Berndt with John H. Stanton, A world that was: the Yaraldi of the Murray River and the Lakes, South Australia, Melbourne: MUP, 1993, plates 3, 4 and 10). This was Berndt’s ‘first anthropological field experience with living people’ (A world that was, 1993, p. 94) and Wigley’s first series in which Indigenous Australians took centre place. After the outbreak of war, Wigley enlisted in the 2nd Survey Regiment R.A.A.(M) at Southwark, South Australia, in August 1940 (Canberra: National Archives of Australia, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">series B884, WIGLEY James, service number V110218</a>). Barely two months later, on 8 October 1940, he married Molly Burden at St Columba’s, Hawthorn, Adelaide, and left shortly afterwards for Melbourne—then considered the place for figurative artists (‘<a href="http://nla.gov.au/nla.news-article55760524">Artists to marry</a>’, The Mail, Adelaide, 5 October 1940, p. 10). They settled on the eastern outskirts of Melbourne at ‘the picturesque artists’ colony of Warrandyte’ (Palette, ‘<a href="http://nla.gov.au/nla.news-article131432458">Local artist moves to colony in Victoria</a>’, The News, Adelaide, 8 February 1941, p. 2). In Melbourne Wigley began meeting painters such as Albert Tucker, who lived in an old flat in Powlett Street, East Melbourne, with Joy Hester—a vital person who, in Wigley’s opinion, was overshadowed by Tucker. Photographs by Tucker of <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_VOYAGER1812325">James Wigley</a> and <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_VOYAGER1812244">Molly Wigley</a> from this period exist in the State Library Victoria. Through Tucker they met Yosl Bergner, Danila Vassilief, John and Sunday Reed, and the Koornong School people at Warrandyte. Molly taught at the Koornong school and James found work there as a maintenance man. Vassillief taught blacksmithing and building; he was then constructing his own home Stonygrad. The Wigleys rented a little cottage from Connie Smith who had bought Penleigh Boyd’s studio, where she held open house parties for actors and artists. When Sidney Nolan came up to Warrandyte to meet Adrian Lawlor, Wigley found Nolan aloof. Wigley’s mother, Dove, also moved from West Croydon, Adelaide, to Warrandyte and rented another small cottage from Connie Smith. Wigley joined the newly formed Victorian branch of the Contemporary Art Society (CAS), where he met and befriended Noel Counihan, but he was never affected by the factionalism raging within the society. He met Vic O’Connor at Gino Nibbi’s Leonardo Art shop, thereby forming friendships with the Melbourne social realists. In December 1942 Wigley contributed three works to <a href="http://search.slv.vic.gov.au/permalink/f/1cl35st/SLV_ROSETTAIE2423585">The Contemporary Art Society of Australia Anti-Fascist Exhibition</a> at the Athenaeum Gallery. He attended the George Bell school once but didn’t fit in due, he said, to his ‘Slade school’ training in Adelaide; he also felt ‘swamped’ by the expressionists Percival, Boyd and Vassilieff (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). He found a studio in Brunswick and discovered the importance of books, especially Tolstoy and Dostoyevsky—‘a heady mix for the dark times’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). In April 1941 Wigley enlisted in an army survey regiment at Noble Park racecourse, a unit that made relief maps and model planes used in training officers. Camp training was at Balcombe and Watsonia. In 1942–3 he applied unsuccessfully for the post of Official War artist. In 1943, just after his son Julian was born, Wigley was transferred to Sydney. The waiting around ‘in mobs’ to be sent here or there wore him down and he went AWOL, for which he was fined, and a warrant was issued for his arrest in October 1943. He was sent to Caufield where the records state: ‘Discharged NOT on account of Misconduct/or Discreditable Service’, but because he was ‘considered unsuitable for any further military service’. He was formally discharged 23 November 1943 with five days’ pay (National Archives of Australia, Canberra, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">series B884, Wigley James, service number V110218</a>). Back in Warrandyte the Viennese émigré architect Fritz Janeba designed for James and Molly Wigley The Stone House (1943), with Australia’s first butterfly roof (Philip Goad, ‘‘Austria in Australia’: Fritz and Kathe Janeba in Warrandyte’, in Bauhaus Diaspora and Beyond: transforming education through art, design and architecture, Carlton, Vic.: Miegunyah Press, 2019, p. 226). Janeba also designed the Dove and Bill Wigley House, for James’s mother and brother, just down the hill, in 1948 (Wynne Scott, ‘<a href="http://nla.gov.au/nla.obj-2981835728">Planned economy</a>’, The Australian Home Beautiful, July 1949, pp. 34-5, 37). According to Wigley’s second wife, Eugenie Knox, both houses were built with Molly’s money (Eugenie Knox, Indelible Memories: Into the mouth of the tiger!, 2010, p. 75). Marion Dove Wigley would remain at Warrandyte until her death, aged 94, in 1984. In late 1945, at the invitation of Ronald Berndt, Wigley travelled to the Northern Territory and spent several months at Daly River where A.P. Elkin had sent Ronald and Catherine Berndt to work as liaison and welfare officers for Vestey Brothers while researching labour conditions on Vestey’s cattle stations (Geoffrey Gray, ‘‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007). Berndt thought Wigley should come and see ‘the real Australia, the real subject’, and, like ‘two outcasts’—the artist and the anthropologist—they settled amongst a group of white ‘combos’ (‘whitefellas gone native’) who had taken up land and employed Indigenous people from mixed tribes (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). More officially, Berndt advised E.W.P. Chinnery, director of the Northern Territory Native Affairs Branch, that Wigley would collect and document ‘examples of native art—such as drawings, basket work and other handcrafts (these of course will go to the Dept. Anthropology, together with series of his own drawings). Also he is to act as an observer, so that later his work should form a basis for our own’ (Ronald Berndt, letter to E.W.P. Chinnery, 28 October 1945, Chinnery Papers, National Library of Australia, MS 766, cited in Geoffrey Gray, ‘“He has not followed the usual sequence”: Ronald M. Berndt’s Secrets’, Journal of Historical Biography, no. 16, Autumn 2014, p. 70). While Berndt lobbied Vestey’s to improve their workers’ labour conditions, Wigley sat around the camp sketching and absorbing the vitality of the Aborigines in their own environment. He found the experience wonderful but said that the Aborigines ‘can disappear in front of your eyes if they want to, [and] you cannot see the landscape through their eyes’ (<a href="NLA,%20https%3A//nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987). Wigley found it hard to convince the old men, who had been initiated, to talk; ‘they don’t care much for us’, he said. In Darwin, which was still occupied by the military, he found racism rife but during this period he produced hundreds of drawings of outback camp life. On his return to Melbourne, Wigley attended the National Gallery art school for two years, funded through the Commonweath Rehabilitation Training Scheme, c. 1946-48. William Dargie, who was then head of the school, had his special students and didn’t bother about the ‘expressionists’ who had moved to the basement. He reportedly ‘tried to sack Wigley on the grounds he had been a practicing artist before the war’, but Wigley stayed on for the duration of the course (Philip Jones, ‘Painter found inspiration among the oppressed’, The Australian, Sydney, 29 July 1999, p. 9). Wanting to digest his Northern Territory experience, Wigley joined the students in the basement where he and Yosl Bergner painted the dispossessed. In May 1947 Wigley held his first solo exhibition at the Velasquez Galleries at Tye’s (later known as Tye’s Gallery) in Melbourne. Sir John Barry QC opened it and was photographed at the opening with Wigley and Bill Onus, president of the Australian Aborigines League (‘<a href="http://nla.gov.au/nla.news-article206022137)">Aboriginal Life</a>’, The Age, Melbourne, 7 May 1947, p. 2. The work, nearly all drawn from his experiences at Daly River, and comprising both paintings and drawings, sold well and was critically acclaimed (Clive Turnbull, ‘<a href="http://nla.gov.au/nla.news-article245584229">Social value in artist’s work on Aborigines</a>’, The Herald, Melbourne, 5 May 1947, p. 14). A few months later he exhibited Tobacco Hand-Out with the Studio of Realist Art (SORA) at the David Jones Gallery in Sydney, but the exhibited was disparaged by the Sydney critics (‘<a href="http://nla.gov.au/nla.news-article18040299">Exhibition by Studio of Realist Art</a>’, Sydney Morning Herald, 21 August 1947, p. 7). With the proceeds of the Velasquez Galleries exhibition he accepted Yosl Bergner’s invitation to travel to Paris with himself and his sister, the dancer <a href="https://www.smh.com.au/national/possessed-with-a-passion-for-the-art-of-dance-20210808-p58gwd.html">Ruth Bergner (1917–2021)</a>. Wigley had by then begun an affair with Ruth, which would continue sporadically throughout his two marriages and indeed for the remainder of his life (<a href="http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER3239429)">Rhonda Senbergs’ 1990 slide photograph</a> of the pair—with only Wigley identified—is now in the State Library Victoria). They sailed via Perth, Colombo and Aden to Marseilles (Julian Wigley interview, 2 July 2020), possibly on the Orient Line ship, The Tidewater, which departed Melbourne in late January 1948 (‘<a href="http://nla.gov.au/nla.news-article206875721">Shipping</a>’, The Age, Melbourne, 12 January 1948, p. 6). Ruth sailed separately on the Stratheden under her married name, Blima Pilley (having married in 1942 CAS member George Pilley, who would later marry Erica McGilchrist), arriving at Tilbury Docks, London, on 30 December 1947, and giving as her intended destination an address in Paris. Wigley found Paris magical, even after the German occupation, ‘full of bullet holes and flowers’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). The three lived frugally in the Marais, which even after the war remained the Jewish quarter. One of Wigley’s letters home was addressed from the Hotel d’Anvers, 11 Rue des Quatre-Fils (Wigley family collection), while Counihan described Yosl and Ruth Bergner living ‘in a humble hotel in the Jewish quarter’ (<a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=12213862">Noel Counihan to Pat Counihan, 24 April 1949</a>, Canberra: National Archives of Australia: A6119, 179/REFERENCE COPY pages 153-155 of 206). Wigley gave English lessons and attended life classes at the Académie Julian and the Atelier Fernand Léger, in the 18th Arrondissement, but found these packed with American and British students. He visited the Louvre often, as well as Delacroix’s house and Rodin’s garden, and felt he could have stayed in Paris forever. While in Paris he briefly rendezvoused with artist friends from Melbourne; Max Newton would later tell a reporter from The Argus that in Paris ‘there was a reunion between [Grahame] King and [Max] Newton from Italy, [Peter] Graham and [Doug] Green from London, [James] Wigley and [Yosl] Bergner from Marseilles, and Dot and Laurie Phillips from London’ (‘<a href="http://nla.gov.au/nla.news-article22781141">Melbourne Artist On World Tour</a>’, The Argus, Melbourne, 24 September 1949, p. 12). This was most likely in October 1948, when King and Newton returned from Italy. Towards the end of the year Wigley exhibited with Yosl Bergner at the Galerie Gentilhommiere (67 Boulevard Raspail), where just one work sold. They drank the proceeds. However, French critics noticed the exhibition; Wigley sent the clippings home to his mother Dove on 22 December 1948 (Wigley family collection). Bergner had by then met up with former National Gallery School student Audrey Keller, with whom he travelled to New York and Montreal in 1950 before returning to Paris, where they married, and thence onto Israel, where they settled. In early 1949 Wigley flew to London to meet Molly and Julian, who had arrived on The Straithaird on the 16th January. King, Newton, Graham and Green—the so-called ‘bush boys’—had probably told Wigley of the Abbey Art Centre, when they had met in Paris the previous year. By March 6th the Wigleys were living at the Abbey in a large room in the main house, with plans to travel to Paris then Italy the next month (letter from James Wigley to his mother, 6 March 1949, Wigley family collection). The family were in Paris in mid-April (Julian recalls seeing the shop windows decorated for Easter), but Italy never transpired—possibly owing to the difficulties of travelling with their five-year-old son. On returning to the Abbey, Wigley rented Inge King’s studio while she, in turn, spent six months in Paris from April to September 1949 (Inge King, conversation with Jane Eckett, 19 June 2012). Julian, who attended a nearby school, remembers there was a travellers’ camp in the field next to the Abbey. He also recalls the kitchen and dining room at the Abbey, with its large table and many chairs, where communal meals were had, as well as talk of poltergeists and paintings coming off the walls and down the stairs (Julian Wigley, ‘<a href="https://www.wigley.com.au/the-abbey/">The Abbey</a>’, 17 May 2019; and Julian Wigley interview, 2 July 2020). In the garden he played in the thatched roofed huts with Bienchen Ohly, who was two years older. However, by October 1949 Molly and Julian had left the Abbey and were living at 8 Hampstead Grove. They set sail for Melbourne on The Otranto on 20 October 1949. Wigley was back in Paris by February 1950, which is when his French identity card was stamped (Wigley family collection), but soon returned to London with Ruth Bergner. Together they lived in a half-bombed shop in Whitechapel. Wigley took rough jobs at factories and as a dishwasher at the Lyons Corner House café on Coventry Street, Piccadilly, where the German-born artist Eva Frankfurther (1930–1959) also worked. Wigley greatly admired Frankfurther’s work. They shared a common feeling for the working class and the socially marginalised, as reflected in their respective studies of the Lyons staff, who hailed from all corners of the British Commonwealth (see Sarah MacDougall, Ben Uri Gallery, <a href="https://evafrankfurther.benuricollection.org.uk/lyons.php">catalogue of Frankfurther’s Lyons Corner House series</a>). Wigley also painted the patrons of various Jewish teashops in Whitechapel and several scenes inside the Grey Eagle Pub at 52 Grey Eagle Street in the Spitalfields. His final known address in London was 47 Quaker Street, which was directly opposite the Grey Eagle (UK and Ireland, Outward Passenger Lists, 1890-1960, record for James Vandeleur Wigley, 1952). He and Bergner (who travelled under her married name Ruth Blima Pilley) both returned to Melbourne in February 1952 on board the P&O Steamship Mooltan. A small collection of Frankfurther’s work, entrusted to them, was destroyed on the voyage; Wigley blamed himself for not having packed them more securely. In Melbourne he lived for a time with Molly and Julian at Warrandyte. Wigley found Melbourne like ‘an outback town—a ramshackle culture, a sort of thinness after the deep ingrained history of Paris and London’ (<a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 1987, NLA). He was unable to settle down and in late 1952 or early 1953 left for north Queensland, where he stopped en route at an artists’ camp outside Cairns. He wanted to look at the bush again, but only got as far as Port Douglas, where he produced the cane cutters’ series. Again, he found racism rife. He was living in Port Douglas in February 1953, when ‘Mr and Mrs James Wigley, of Port Douglas’, were reported to be holidaying in Brisbane, and still there in April, when ‘Mr James Wigley, of Port Douglas, was in Mossman’, a short distance inland from Port Douglas, for a couple of days (‘<a href="http://nla.gov.au/nla.news-article62478584">Southern Letter</a>’, Townsville Daily Bulletin, 19 February 1953, p. 6, and ‘<a href="http://nla.gov.au/nla.news-article42785121">Mossman Notes</a>’, Cairns Post, 4 April 1953, p. 8). Later that year he returned to Melbourne and lived with Ruth Bergner, visiting Molly and Julian at weekends. Wigley joined with his old social realist comrades Noel Counihan and Vic O'Connor for a joint exhibition at Tye’s Gallery in October 1953, showing mainly Paris and London subjects. Despite the emergning Cold War politics, when social realism was deemed suspect in the United States, in Melbourne they were critically well received. Alan McCulloch described the work as romantic and perceived Wigley’s close identification with his subjects: the downtrodden slum dweller and tavern customer (Alan McCulloch, '<a href="http://nla.gov.au/nla.news-article245029657">Theme of realism has variety</a>', The Herald, Melbourne, 6 October 1953, illus. p. 14). Similarly, The Age art critic, Arthur Vollens Cook, found ‘James Wigley’s studies of the boisterous vulgarity of life in London slums … keenly observed and, on occasions, brilliantly interpreted’ and commended the absence of ‘propaganda’ (‘<a href="http://nla.gov.au/nla.news-article206462922">Painting outgrows politics</a>’, The Age, Melbourne, 6 October 1953, p. 2). The same critic later recalled the exhibition as one of the most important shows of the year in Melbourne (‘<a href="http://nla.gov.au/nla.news-article206917591">In the world of art</a>’, The Age, Melbourne, 26 December 1953, p. 14). Wigley’s alliance with Counihan was reflected the following year when Counihan showed his portrait of Wigley in an exhibition of drawings at the Peter Bray Gallery, alongside another of Albert Namatjira (‘<a href="http://nla.gov.au/nla.news-article205711768">Art Notes</a>’, The Age, Melbourne, 24 March 1954, p. 2). Aside from painting, Wigley worked as a wood machinist for a year, and as a temporary teacher at South Melbourne Technical School but resigned after a year. He also worked with Hymie Slade, making puppet heads for theatre and television (Julian Wigley, ‘<a href="https://wigley.com.au/jim-wigley-at-work/">Jim Wigley at work</a>’, 16 April 2016). Molly sold the Stone House at Warrandyte and moved to Erin Street, Richmond, where Wigley stayed. Visitors during this period included Brian Fitzpatrick, Peter Miller, David Armfield, James Flett and Vancer Palmer. By 1955, however, his marriage to Molly had ended. He was then working closely with Ruth Bergner, who, throughout the 1950s, was teaching, performing and choreographing for the Melbourne Ballet Guild. Bergner’s ballet, The Wedding, inspired by a painting of Breughel’s, premiered in 1956, with stage decor designed by Wigley ('<a href="http://nla.gov.au/nla.news-article71654013">[Melbourne Ballet Guild...]</a>', The Argus, Melbourne, 25 August 1956, p. 13), and Wigley designed the sets and décor for the Jewish ballet, Bontche Shvaig, choreographed by Bergner and performed at the Kadimah in St Kilda in 1955 (‘<a href="http://nla.gov.au/nla.news-article262441041">”SKIF”: Concert “with a difference”</a>’, The Australian Jewish News, Melbourne, 4 November 1955, p. 9). In 1957 Wigley wrote to Don McLeod who, in 1946, had helped organise 800 Aborigines to walk out on strike from the pastoral stations at Port Hedland and Marble Bay regions of the Pilbara, demanding higher wages. McLeod had been arrested for inciting unrest. This struck a deep chord with Wigley, who held serious concerns about racism and oppression. By 1955 Pindan Pty Ltd, an Aboriginal-owned mining co-operative, had been established with McLeod’s help. In December 1957 Wigley travelled north-west to the Pilbara, where McLeod sent him to help mine beryl at Roebourne and work with the Pindan people on the coast, helping construct fibreglass boats for their pearling operations (Bain Attwood and Anne Scrimgeour, '<a href="https://www.pilbarastrike.org/content/timeline">Timeline</a>', The Pilbara Aboriginal Strike, website, Melbourne: Monash University, 2018). Wigley’s drawings of the Pindan people, made during the three months he camped with them, formed the basis of a series of oils that would be exhibited with Counihan and his social realist associates in Moscow and Prague in 1960 and 1962, and comprised his first solo exhibition with Australian Galleries, Melbourne, in July 1959. Tam and Anne Purves of the Australian Galleries began showing Wigley’s work in 1957, in their first anniversary exhibition, and successfully promoted it particularly among their corporate clientele. One of Wigley’s Queensland paintings, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/942">Burning Cane</a>, c. 1958, entered the ICI collection after Daryl Lindsay selected it from Australian Galleries for the chemicals industry giant; the same work had also been awarded first prize by Eric Westbrook in the May Day exhibition that Counihan had helped organise at Melbourne’s Town Hall in 1958. The 1959 exhibition was a commercial success and heralded a fruitful decade with Australian Galleries, with a further three solo shows to follow. In June 1960 Wigley’s painting <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/936">Refugees</a> was chosen for the front cover of the gallery’s gala fundraising event, an Exhibition of Australian Art by Victorian, Interstate and Expatriate Artists for World Refugee Year. Three years later, when the Purves were asked to assemble the <a href="https://collection.maas.museum/object/415264#&gid=1&pid=8">Viscount Collection</a> of work by seven leading Australian artists, for tobacco manufacturers Godfrey Phillips International to present to the six state galleries and nascent National Gallery, Wigley was selected alongside Arthur Boyd, Russell Drysdale, Sidney Nolan, John Olsen, Albert Tucker, and Fred Williams. His inclusion drew criticism from some quarters, but the event created considerable publicity and Godfrey Phillips presented his <a href="https://collection.artgallery.wa.gov.au/objects/1148/government-reserve-roebourne">Government Reserve, Roebourne</a>, 1963 to the Art Gallery of Western Australia (for a full account, see Caroline Field, Australian Galleries: The Purves Family Business, The First Four Decades 1956-1999, Collingwood, Vic.: Australian Galleries, 2019, pp. 97, 103-8). In March 1961 Wigley married the nineteen-year-old dancer Eugenie Knox (known as Janie), protégé of Ruth Bergner and daughter of Eltham landscape architect Alistair Knox, at the Melbourne Registry Office. For the next six months they lived with Don McLeod’s mob at Port Hedland—Wigley sketching by day and Janie teaching English and reading and writing. They returned to Melbourne for the birth of their first daughter, Jasmine, living in a bungalow at the back of the Knox property (see ‘<a href="http://search.slv.vic.gov.au/permalink/f/1o9hq1f/SLV_VOYAGER1782047">James Wigley and his wife and baby daughter</a>’, c. 1962, Herald and Weekly Times Limited portrait collection, State Library Victoria, Melbourne, H38849/4915). Christabel was born the following year. In July 1963 the young family left Melbourne, driving north in a jeep with a custom-built caravan to Queensland via Mount Isa then on to Broome and Port Hedland, where they stayed in a broken-down station. Janie and the children flew home and by 1964 the marriage had ended. Ruth Bergner, who had left for New York in 1964, to join her father, returned to Sydney in 1967. Wigley met her in Sydney and they lived together in Glebe from 1967-8. However, he found it hard to break into the Sydney scene and they both soon returned to Melbourne. In 1969 a letter from Don McLeod, who was ill, prompted Wigley to again return to Port Hedland. There he became closely involved with the McLeod-led Aboriginal workers' co-operative, Nomads Pty Ltd, which purchased Strelley sheep station and lobbied for federal funding to build there a school and suitable housing for teachers. His son, Julian, joined him in 1973 and designed ‘experimental homes’ for the group (Julian J. Wigley, <a href="https://trove.nla.gov.au/work/35377277">Report to the Australian Nomads Research Foundation on the proposed experimental homes for the nomad group of Aborigines</a>, [North Melbourne, Vic.]: Australian Nomads Research Foundation, September 1973). The Strelley Community School opened at Port Hedland in 1976. Still in existence, it is the oldest continually operative independent Aboriginal community school in Australia. Wigley established a literature centre at the Strelley school, installing an offset press on which he printed books that he designed and illustrated. They were written in Nyangumarta with English alongside (for a sample, see <a href="https://catalogue.nla.gov.au/Record/3625226">Original illustrations by James Wigley for Waljamarri Marrngu</a>, 1977, and other books [picture] / James Wigley, National Library of Australia, Canberra). Wigley returned to Melbourne in 1979, ‘to digest, reflect and paint again’ (James Wigley: Survey 1936–1992, Richmond, Vic.: Niagara Galleries, 1992, p. [2]). His first wife Molly died that same year [check]. While in Melbourne, in January 1980, Cyclone Amy hit Port Hedland and destroyed much of the Strelley settlement (‘<a href="http://nla.gov.au/nla.news-article137008816">Settlement ‘shattered’ by cyclone</a>’, The Canberra Times, 16 January 1980, p. 11). Wigley lost his caravan and all his belongings including sketchbooks and many paintings. He never returned. In Melbourne he resumed painting and began pulling his own prints on an Enjay printing press he had installed in his home studio in Elwood. Rachell Howley organised his first retrospective exhibition at Acland Street Galleries in St Kilda (June 1981). He was included in two major group shows: <a href="https://trove.nla.gov.au/work/22109521">Aspects of Australian Figurative Painting, 1942–1962: Dreams, Fears and Desires</a> at the S.H. Erwin Gallery for the Fifth Biennale of Sydney (1984) and <a href="https://trove.nla.gov.au/work/18296417%20">Art and Social Commitment: An End to the City of Dreams 1931–1948</a>, which toured all state galleries (1984–5). Throughout the 1980s he exhibited successfully with Niagara Galleries, in Richmond, and in 1992 had a large survey exhibition there. Wigley died in Melbourne in 1999. Sheridan Palmer and Jane Eckett 9 August 2021 Bibliography Wigley mobilisation papers, 1940-43: Canberra: National Archives of Australia, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=6275724">B884, V110218</a>. John Hetherington, ‘James Wigley: City Painter Found His Destiny Outback’, The Age, Melbourne, 30 June 1962, p. 18. ‘<a href="http://nla.gov.au/nla.news-article47807945">Artist’s studio among Aborigines</a>’, The Australian Women's Weekly, 23 September 1964, p. 13. <a href="https://catalogue.nla.gov.au/Record/3625226">Original illustrations by James Wigley for Waljamarri Marrngu</a>, 1977, and other books [picture] / James Wigley, National Library of Australia, Canberra. Christine Dixon and Terry Smith, <a href="https://trove.nla.gov.au/work/22109521">Aspects of Australian Figurative Painting, 1942–1962: Dreams, Fears and Desires</a>, Sydney: Power Institute of Fine Arts, University of Sydney in association with the Biennale of Sydney, 1984. Charles Merewether, <a href="https://trove.nla.gov.au/work/18296417%20">Art and Social Commitment: An End to the City of Dreams 1931–1948</a>, Sydney: Art Gallery of New South Wales, 1984, pp. 113, 130, 158-9, 165. <a href="https://nla.gov.au/nla.obj-199167683/listen">James Wigley interviewed by Barbara Blackman</a>, 22-23 September 1987, c. 303 minutes, National Library of Australia, 1987. James Wigley: Survey 1936–1992, Richmond, Vic.: Niagara Galleries, 1992. Ronald M. Berndt and Catherine H. Berndt with John H. Stanton, A world that was: the Yaraldi of the Murray River and the Lakes, South Australia, Melbourne: Melbourne University Press, 1993, plates 3, 4 and 10. Philip Jones, ‘Painter found inspiration among the oppressed’, The Australian, Sydney, 29 July 1999, p. 9. Geoffrey Gray, ‘<a href="https://recollections.nma.gov.au/issues/vol_2_no2/papers/cluttering_up_the_department#nav">‘Cluttering up the department’, Ronald Berndt and the distribution of the University of Sydney ethnographic collection</a>’, reCollections: Journal of the National Museum of Australia, vol. 2, no. 2, September 2007. Eugenie Knox, Indelible memories: into the mouth of the tiger!, Bloomington, Indiana: Xlibris Corporation, 2010. Geoffrey Gray, ‘“He has not followed the usual sequence”: Ronald M. Berndt’s Secrets’, Journal of Historical Biography, no. 16, Autumn 2014, pp. 61-92. Julian Wigley, ‘<a href="https://www.wigley.com.au/4748-2/">Me and Danila</a>’, 30 March 2016, (accessed 1 May 2021). Julian Wigley, ‘<a href="https://wigley.com.au/jim-wigley-at-work/">Jim Wigley at work</a>’, 16 April 2016, (accessed 1 May 2021). Julian Wigley, ‘<a href="https://www.wigley.com.au/the-abbey/">The Abbey</a>’, 17 May 2019 (accessed 1 May 2021). Caroline Field, Australian Galleries: The Purves Family Business, The First Four Decades 1956-1999, Collingwood, Vic.: Australian Galleries, 2019, pp. 87-9, 97, 103-8. Julian Wigley correspondence with Sheridan Palmer, June 2020. Julian Wigley interview with Jane Eckett and Sheridan Palmer, 2 July 2020. Date submitted Date object first catalogued: [day] [month] [year] 9 August 2021 Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Passport photograph from James Wigley's 1950 Paris Carte Valable (family collection) Date modified Date record modified: [day] [month] [year] 2 May 2024 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 143.0000 Title A name given to the resource James Vandeluer Wigley (1917–1999) Type The nature or genre of the resource person Subject The topic of the resource Wigley, James, 1918-1999. Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre Aboriginal people Académie Julian Adelaide artists Albert Tucker Australian Galleries ballet Daly River Danila Vassilief Don McLeod Eugenie Knox Eva Frankfurther Fernand Léger Fritz Janeba indigenous Australians Julian Wigley Koornong School Millward Grey Molly Burden Murray Bridge National Gallery School Noel Counihan Northern Territory Paris Pilbara strikes Port Douglas Port Hedland Ronald Berndt Ruth Bergner social realism social realist painting South Australia Strelley Community School Tye’s Gallery Velasquez Gallery Vestey Brothers Vic O'Connor Viscount Collection Warrandyte Western Australia Yosl Bergner https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/d474bc8b4db998120ff72d4515ca31ff.jpg e104a8f6d1d527b0c9cd03b0dcae329b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Abbey Art Centre, 89 Park Road, New Barnet, Hertfordshire, England Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Lotte Reiniger Estate. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Courtesy Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Date modified Date record modified: [day] [month] [year] 21 October 2021 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 131.8001 Title A name given to the resource Jean Renoir's visit to Lotte Reiniger and Carl Koch at the Abbey Art Centre, c. 1952-57 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-57 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Group photograph at the Abbey Art Centre, New Barnet, left to right: Carl Koch, Dido Freire, unidentified seated woman (possibly Dido Freire's mother?), Jean Renoir, Lotte Reiniger, British sculptor Peter King (seated at front). Subject The topic of the resource Reiniger, Lotte, 1899-1981. Koch, Carl, 1892-1963. Renoir, Jean, 1894-1979. Freire, Dido, 1907-1990. King, Peter, 1928-1957. Artist colonies -- England. Rights Information about rights held in and over the resource This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/899">131.8002, Lotte Reiniger greeting Dido Freire during a visit of Jean Renoir and Freire to the Abbey Art Centre, c. 1949-1957</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/928">800.0027, Peter King, Carl Koch and Jean Renoir at the Abbey Art Centre, c. 1952-57</a> Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre animation Carl Koch Dido Freire Dido Renoir film Jean Renoir Lotte Reiniger Peter King Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) author, historian, research assistant, translator Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 Birth Date [day] [month] [year] 3 March 1915 Birthplace Streatham Hill, London, England, UK Death Date [day] [month] [year] January 1989 Place of death Full address is known; else city and country. Melbourne, Victoria, Australia Bibliography Bernard Smith, A Pavane For Another Time, South Yarra, Vic.: Macmillan Art Publishing, 2002, pp. 11–5, 27. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 103.0000 Title A name given to the resource Kate Beatrice Hartley Challis (1915–1989) (also known as Ruth Adeney and Kate Smith) Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/590">Bernard William Smith (1916–2011)</a> https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a1a2c041eded2539c2239281effe70d7.jpg a65a74a0672b09687c56ffcbb4fa80db Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 7 July 1894 Birthplace Poznań, Poland Death Date [day] [month] [year] October 1978 Place of death Full address is known; else city and country. 12 Bedford Gardens, Kensington, London, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, graphic artist, illustrator, etcher, printmaker Date submitted Date object first catalogued: [day] [month] [year] 12 August 2021 Biography Katerina Ulricke Wilczynski was born in Poznań, Poland, and educated in Germany. After studying at the Berlin School for Arts and Crafts, the Academy of Fine Arts in Berlin, and the Leipzig Academy for Graphic Arts, she worked as an illustrator in Germany in the 1920s. Awarded the Prix de Rome in 1930, she studied at the Accademia Tedesca Villa Massimo for one year on a scholarship and throughout the 1930s lived in Rome, where she was commissioned 'to draw and paint many ancient buildings, where demolition was required by replanning of the city'; these were published in book form shortly after the war, in 1946 (Katerina Wilczynski, Rome, London, Nicholson & Watson [1946], text from publisher's blurb on book jacket). A selection of her drawings of <a href="https://collections.vam.ac.uk/item/O40494/roma-drawing-wilczynski-katerina/">Rome</a>, <a href="https://collections.vam.ac.uk/item/O40491/venezia-drawing-wilczynski-katerina/">Venice</a> and <a href="https://collections.vam.ac.uk/item/O40495/verona-1936-drawing-wilczynski-katerina/">Verona</a>, from 1934–1936, are now in the V&A collection. Fleeing Italy for England in 1938, her name appears in the 1939 England and Wales Register, living at Redgates, Cannington, Devon, and listed as an 'artist (painter)' (The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/6850C). During the war she gained permission from the Central Institute of Art and Design (CIAD) to paint views of bombed churches in London. Five of these were offered to the Imperial War Museum, of which one was purchased for 5 guineas in February 1941 (Imperial War Museum, London, war artist archive, file on Miss Kaete Wilczynski, <a href="https://www.iwm.org.uk/collections/item/object/1050000933">ART/WA2/03/143</a>). Another watercolour of bombed buildings in East London, <a href="http://heritage.southwark.gov.uk/objects/478/gresham-street?ctx=6891e655-fe6f-4f82-8052-0661e7732282&idx=0">Gresham Street, 1941</a>, is now in the collection of Southwark Heritage Centre and Walworth Library. She also produced during the war years a portrait series called Oxford Figures, depicting English and European emigré intellectuals such as pyschoanalyst and translator and editor of Jung <a href="https://collections.ashmolean.org/object/94774">Dr Gerhard Adler</a>, German-British art historian and East-Asian specialist <a href="https://collections.ashmolean.org/object/94691">Dr William Cohn</a>, historian <a href="https://collections.ashmolean.org/object/94775">Lord David Cecil</a>, literary scholar <a href="https://collections.ashmolean.org/object/95188">Nevill Coghill</a>, art critic <a href="https://collections.ashmolean.org/object/95378">Denys Sutton</a>, composer <a href="https://collections.ashmolean.org/object/95379">Egon Wellesz</a>, and the Australian-born British classical scholar <a href="https://collections.ashmolean.org/object/94771">Professor Gilbert Murray</a>. These are now all in the collection of the Ashmoleon Museum, Oxford. William Ohly gave her two solo exhibitions at the Berkley Galleries: <a href="http://www.worldcat.org/oclc/913361461">Drawings and Watercolours</a>, in October to November 1942, and again in 1944. The connection was possibly made through William Cohn, who wrote several catalogue essays for Ohly. Wilczynski's gently comical Christmas card to Ohly from December 1943, headed <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1010">Homage à William Ohly: Artist’s Hope and Help</a>, depicts Ohly receiving a queue of artists–folios under their arms–and various vignettes inscribed 'sehr gescheit [very nice] / Poor Papache / but even without words / not on speaking terms'. She signed it 'Kat. Wilczynski – the grateful'. At the time of the December 1939 'alien internees' tribunal, she was living at 77 Bedford Gardens, Kensington (The National Archives; Kew, London, England; HO 396 WW2 Internees (Aliens) Index Cards 1939-1947; Reference Number: HO 396/102), and by 1949 she was registered in the electoral rolls at 12 Bedford Gardens, Kensington, at which address she was still living at the time of her death some three decades later. She appears not to have ever lived at the Abbey but was a friend of former Abbey-resident, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/998">Margret Kroch-Frishman</a>—possibly through Ohly's introduction (see Ben Uri Research Unit, '<a href="https://www.buru.org.uk/record.php?id=828">Margret Kroch-Frishman, artist</a>'). Throughout the 1940s she was included in several group shows of contemporary Jewish artists at the Ben Uri Gallery. She also held an <a href="http://www.worldcat.org/oclc/502119886">exhibition of architectural drawings</a> at Roland, Browse & Delbanco in 1946, and, at the same gallery, in 1949, a series she called '<a href="http://www.worldcat.org/oclc/82612365">Mediterranean Fantasies</a>'. After the war she resumed travelling through Europe, staying in Paris, Spain and Greece, and producing numerous illustrated books including travel books. An early example of such, An artist's diary in pictures; pen and ink drawings of a continental journey (The Hague: A.A.M. Stols; Oxford: Bruno Cassirer, 1949), carried a preface by the influential British art critic Eric Newton. She had supplied drawings to influential emigre publisher Bruno Cassirer since 1946, illustrating works on architecture and Ovid (Bruno Cassirer Publishers Ltd. Oxford 1940–1990: An Annotated Bibliography with Essays, ed. Jutta Weber and Rahel E. Feilchenfeldt, V&R Unipress, 2016, pp. 100–2). A <a href="http://www.worldcat.org/oclc/43223444">retrospective</a> of her work was held at the New Art Centre, Chelsea, in 1980. Jane Eckett 13 August 2021 Bibliography Gretel Wagner (ed.), Katerina Wilczynski, exh. cat., Berlin: Kunstbibliothek der staatlichen Museen, Preussischer Kulturbesitz, 1975. Jutta Vinzent, Identity and Image: refugee artists from Nazi Germany in Britain (1933-1945), Kromsdorf/Weimar: VDG Verlag (Schriften der Guernica-Gesellschaft, 16), 2006, p. 31. Jutta Weber and Rahel E. Feilchenfeldt (eds), Bruno Cassirer Publishers Ltd. Oxford 1940–1990: An Annotated Bibliography with Essays, V&R Unipress, 2016, pp. 100–2. <a href="https://www.npg.org.uk/collections/search/person/mp07733/katerina-wilczynski">'Katerina Wilczynski (1894-1978), Artist', National Portrait Gallery, London.</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. Katerina Wilczynski, author photograph from the cover of Homage to Greece, London: Macmillan and Co., 1964 Date modified Date record modified: [day] [month] [year] 3 June 2022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 326.0000 Title A name given to the resource Katerina Wilczynski (also known as Kathé, Kaete and Kate Wilczynski) (1894–1978) 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/a415f9f65c5d72aa76e8a2763f71a1a4.jpg b9070e3ec04ec8d9d79694794ce0ba6b 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'). Lennamore, Bellarena (N. Ireland) 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 21.3 x 29.5 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. 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 white sketchbook inscribed on front: ‘Helen Marshall / Ireland 1950 /Thames Ditton (England) / 1951 / Private Collection’. Date submitted Date object first catalogued: [day] [month] [year] 29 June 2019 Date modified Date record modified: [day] [month] [year] 30 June 2019 Medium Ripolin enamel on laid brown wrapping paper 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 Bellarena, Northern Ireland Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0043 Title A name given to the resource Lennamore, Bellarena (N. Ireland), 1950, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1950 Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Dated in black biro lower left recto: ‘1950’; numbered in black biro lower right recto: ‘156’. Format The file format, physical medium, or dimensions of the resource Ripolin enamel on laid brown wrapping paper; 21.3 x 29.5 cm 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/eae3161870f069e56eccfd1b636eb36d.jpg 1787a2667d168e0a78105b6872987604 Physical object An inanimate, three-dimensional object or substance. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). East End, London, 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]. Purchased by the British Museum (tbc) from an exhibition at the Miners' Welfare Institute, Ashington, Northumberland, organised by the British Institute for Adult Education on behalf of CEMA 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. Miners' Welfare Institute, Ashington, Northumberland, exhibition organised by the British Institute for Adult Education on behalf of CEMA 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. Art exhibition: contemporary paintings at Ashington', The Morpeth Herald and Reporter, 26 February 1943, p. 2 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. Limehouse Causeway in London's East End was originally London's Chinatown but was largely destroyed by bombing in WWII. Date submitted Date object first catalogued: [day] [month] [year] 31 October 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 130.0015 Title A name given to the resource Limehouse Causeway, c. 1942-43, by William F. C. Ohly Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource probably colour lithograph Source A related resource from which the described resource is derived British Museum, London (to be confirmed). Details from the British Newspaper Archive, Findmypast in partnership with the British Library, https://www.britishnewspaperarchive.co.uk/ Subject The topic of the resource East End (London, England). 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 Art exhibition: contemporary paintings at Ashington', The Morpeth Herald and Reporter, 26 February 1943, p. 2, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/543 Contributor An entity responsible for making contributions to the resource Jane Eckett https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ae0bb5283861872f211b482b4847ac74.jpg d19b5f410caa5c856766c5ebdf3c57b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 2 June 1899 Birthplace Berlin-Charlottenburg, Germany Death Date [day] [month] [year] 19 June 1981 Place of death Full address is known; else city and country. Dettenhausen, Tübingen, Germany Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) Pioneer film maker, film director, animator, puppeteer, book illustrator Biography Born Charlotte Eleonore Elisabeth Reiniger in Berlin in 1899. As a child she learned scherenschnitte, the art of cutting paper designs with scissors (Reiniger, 1936, p. 13; Sterritt, 2020, p. 399). Later she became deeply involved in the cultural and intellectual avant-garde world of pre-World War II Berlin, and her earliest films were made at the Institut für Kulturforschung (Institute for Cultural Research) in Berlin. Her friends included Bertolt Brecht and Fritz Lang and she worked with prominent young intellectuals such as Berthold Bartosch, a collaborator on many of her films during the 1920s, and Carl Koch, who had studied art history and philosophy and was involved in producing educational films and documentaries for the Institute (Guerin and Mebold, 2016). Koch was interested in the technical aspects of filmmaking and experimenting with animation and was a perfect collaborator with Reiniger. Reiniger and Koch were married in the Berlin-Schonberg registrar office on 6 December 1921 (Grace, 2017, chapter 2). Reiniger and Koch’s early films ranged from brief shorts to Die Abenteuer des Prinzen Achmed (The Adventures of Prince Achmed) (1923-6), which is widely claimed as the first full-length animated feature film and considered a milestone of cinema history. One of Reiniger’s most important innovations was the multiplane camera, which she called a tricktisch (trick table), explaining its use as follows: ‘Figures and backgrounds are laid out on a glass table. A strong light from underneath makes the wire hinges disappear and throws up the black figures in relief. The camera hangs above … looking down at the picture arranged below’ (Reiniger, 1936, p. 14). Reiniger wrote screenplays for her films and worked as a major contributor on several of Koch’s live action films, including wartime Italian productions of Tosca (1941, co-directed by Koch and Jean Renoir) and La Signora dell’Ovest (The Lady of the West) (1941-2) (Guerin and Mebold, 2016). Having studied traditional silhouette representation of the human figure, supplemented by her knowledge of ancient Eastern and Oriental performance traditions, Reiniger also designed costumes and sets for theatre and opera, staged puppet shows and shadow plays, illustrated books, newspapers, and magazines. She was an accomplished artist in ink and watercolor as well as a writer and a poet, and she gave public lectures on animation and experimental film history. Classical music was an important aspect of her films and she collaborated with composers Kurt Weill, Paul Dessau, Benjamin Britten and Peter Gellhorn (Guerin and Mebold, 2016). Although not Jewish, Reiniger and Koch had many Jewish friends and closely identified with leftist politics, making life in Germany under the Nazi regime difficult (Sterritt, 2020, p. 399). In November 1935 they left for England and over the next four years lived variously in London, Paris and Rome. In England Reiniger made short films for the GPO Film Unit. At the outbreak of war, in September 1939, Reiniger re-joined Koch in Rome, where he was working with Jean Renoir on Tosca. In September 1943, with the situation in Italy worsening, they were advised by the embassy to leave without delay, and moved from Rome to Venice, then back to Berlin, where Reiniger’s ill mother was living alone. In Berlin, Reiniger unexpectedly received a film commission, Die Goldene Gans (1944-7), which provided an income, but food and power shortages made living difficult. In September 1948 she and Koch visited Alexander Kardan (with whom they had earlier collaborated on Prinzen Achmed), staying with him in London until November, when Reiniger had to return to Berlin. Reiniger left Germany permanently on 31 January 1949, re-joining Koch in London where they lived for some months at 236 Latimer Court, Hammersmith, W6, before moving in late 1949 to Wilton Cottage, Kings Road, Chalfont St Giles, Buckinghamshire (Happ, 2004, p. 67). In London they received further commissions from the GPO Film Unit (renamed after the war the Crown Film Unit, part of the Central Office of Information), making many advertising films for them such as Post Early for Christmas (1950). Other promotional films included The Dancing Fleece (also known as Wool Ballet), for the English Department of Labor, and Grain Harvest (1950) for the Ministry of Agriculture. In 1952 they established their own company Primrose Productions, with Viviana Milroy as producer and the financial backing of Louis Hagen Junior. Primrose Productions was primarily concerned with producing animated silhouette fairy tale films for children. Between 1953 and 1954 twelve such were produced and the 1950s would represent a highwater mark in Reiniger’s long career. These were made on a tricktisch that Hagen bought for Reiniger, and which was installed at the Abbey Art Centre, New Barnet, where Reiniger and Koch moved to in 1952. Whitney Grace writes that ‘Reiniger and Koch were welcomed at the Abbey Arts Centre, finding that being around fellow artists helped inspire their own work’ (Grace, 2017, chapter 7). Reiniger later told Alfred Happ that the Abbey Art Center residents ‘… live in their separate households, but close enough to inspire one another. The museum provided me with a number of artworks from different parts of the world, it’s not only ideas, but a widening creative atmosphere’ (Reiniger cited in Happ, 2004, p. 82). When William Ohly, the founder of the Abbey, died in 1955, Reiniger painted a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1342#?c=0&m=">memorial window of St Francis of Assisi</a> for the Abbey tithe barn, where it remains to this day. Reiniger became a mentor to a younger Abbey resident, the English-born sculptor Peter King, whose experimental animated film, <a href="http://www.peterkingsculptor.org/PEKFilm.htm">13 Cantos of Hell (1955)</a>, was made using Reiniger’s shadow puppet techniques. Reiniger and Koch were also godparents to King’s first two children, Michael and Janet, born at the Abbey in 1953 and 1954 respectively. New Zealander Daryl Hill, who worked as assistant to Henry Moore during the mid-1950s alongside Lenton Parr and who was a probable visitor to the Abbey, became interested in film at this time through Reiniger and Koch, later citing their influence on his own experimental filmmaking in Australia in the 1960s (Laurie Thomas, ‘Those who are alone’ [interview with Daryl Hill], The Australian, 22 July 1967, p. 8). Given that Reiniger and Koch were two of the Abbey’s longest term residents—Koch lived there up until his death in 1963 while Reiniger remained until 1980—it is likely that other Abbey residents also came within their circle of influence. After Koch’s death, Reiniger retired from film making but continued lecturing at film festivals and workshops in Europe and Canada during the 1970s. Her tricktisch lay disassembled in parts in her room at the Abbey until early 1980, when the director of the Düsseldorf Stadtmuseum, Hartmut W. Redottėe, wrote to Reiniger and asked to purchase it for the museum. After agreeing on a price, he flew to England to oversee the table’s packaging and removal from the Abbey and while there, observing Reiniger’s sadness, spontaneously invited her to come to Düsseldorf and make a film on the table at the museum as part of an exhibition he was organising for that September. The result, Düsselchen und die vier Jahreszeiten (Düsselchen and the Four Seasons), would be her final film. Reiniger left the Abbey permanently that year, moving to Germany where she lived her final year with the Happ family at Dettanhausen, Tübingen. Sheridan Palmer Bibliography Lotte Reiniger, ‘Scissors Make Films’, Sight and Sound, vol. 5, no. 17, 1936, pp. 13–5. <a href="https://www.awn.com/animationworld/lotte-reiniger">William Moritz, ‘Lotte Reiniger’, Animation World Network, vol. 1, no. 3, 1 June 1996 </a>(accessed June 2021). <a href="https://www.stadtmuseum-tuebingen.de/wp-content/uploads/2024/06/Lotte-Reiniger.pdf">Alfred Happ, Lotte Reiniger: 1899–1981 Schöpferin Einer Neuen Silhouettenkunst, Tübingen: Kulturamt, 2004</a>. <a href="https://wfpp.columbia.edu/pioneer/lotte-reiniger/">Frances Guerin and Anke Mebold, ‘Lotte Reiniger’, in Women Film Pioneers Project, Jane Gaines, Radha Vatsal, and Monica Dall’Asta (eds), New York, NY: Columbia University Libraries, 2016</a> (accessed June 2021). Whitney Grace, Lotte Reiniger: Pioneer of Film Animation, Jefferson, North Carolina: McFarland and Company, 2017. <a href="https://ff2media.com/blog/2020/09/09/lotte-reiniger-was-a-talented-and-inventive-pioneer-in-animation">Nicole Ackman, ‘Lotte Reiniger Was a Talented and Inventive Pioneer in Animation’, FF2 Media, 9 September 2020</a> (accessed June 2021). David Sterritt, ‘The Animated Adventures of Lotte Reiniger’, in Quarterly Review of Film and Video, vol. 37, no. 4, 2020, pp. 398–401. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Lotte Reiniger working at a table outdoors in the garden of the Abbey Art Centre, c. 1952-63, courtesy Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany Date modified Date record modified: [day] [month] [year] 15 January 2026 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 131.000 Title A name given to the resource Lotte Reiniger (1899–1982) Type The nature or genre of the resource person Subject The topic of the resource Reiniger, Lotte, 1899–1982. Koch, Carl, 1892–1963. Contributor An entity responsible for making contributions to the resource Sheridan Palmer Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/997">Carl Koch (1892–1963)</a> Abbey Art Centre animation animators Carl Koch Daryl Hill émigré artists fairy tales film German artists in England Jean Renoir Lotte Reiniger Louis Hagen Jr Peter King Primrose Productions shadow puppets Viviana Milroy William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/5a9e483bc7703fdf34ac8e53dbdc0672.jpg e37ee622080ad6b6f90eb34e090444ee Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Abbey Art Centre, 89 Park Road, New Barnet, Hertfordshire, England Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Lotte Reiniger Estate Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Courtesy Stadtmuseum Tübingen, Germany Date submitted Date object first catalogued: [day] [month] [year] 9 June 2021 Date modified Date record modified: [day] [month] [year] 21 October 2021 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 131.8002 Title A name given to the resource Lotte Reiniger greeting Dido Freire during a visit of Jean Renoir and Freire to the Abbey Art Centre, c. 1952-57 Date A point or period of time associated with an event in the lifecycle of the resource c. 1952-57 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource gelatin silver print Source A related resource from which the described resource is derived <a href="https://www.tuebingen.de/stadtmuseum/14816.html">Lotte Reiniger Estate Collection, Stadtmuseum Tübingen, Germany</a> Description An account of the resource Informal group photograph at the Abbey Art Centre. Jean Renoir stands closest to the camera, back turned, looking on as his second wife Dido Freire is greeted by Lotte Reiniger (who wears a long string of beads); the car (possibly a taxi cab) by which they have arrived can just be seen behind them. To the right are Carl Koch, also with back turned, talking with sculptor Peter King. Reinger and Koch were godparents to King's two children, Janet and Mike King. Subject The topic of the resource Reiniger, Lotte, 1899-1981. Koch, Carl, 1892-1963. Renoir, Jean, 1894-1979. Freire, Dido, 1907-1990. King, Peter, 1928-1957. Artist colonies -- England. Rights Information about rights held in and over the resource This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/898">131.8001, Jean Renoir's visit to Lotte Reiniger and Carl Koch at the Abbey Art Centre, c. 1949-1957</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/928">800.0027, Peter King, Carl Koch and Jean Renoir at the Abbey Art Centre, c. 1952-57</a> Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Abbey Art Centre Carl Koch Dido Freire Jean Renoir Lotte Reiniger Peter King https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/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/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