7 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/16a82990d5a715d298306ea8c3715d25.jpeg 52e51750cc92994e89bc64f500493ab6 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/540f3119ff8b31cf918fbf14d9289ca6.png 0bb1aba2754de81e0e7e38b6a38a087d https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/9bb4eaf27aa7b5384e4822e5a1991471.jpg 67f1fbc7b4a03c935983ae60d63ae450 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] 3 January 1897 Birthplace Leipzig, Germany Death Date [day] [month] [year] 12 June 1972 Place of death Full address is known; else city and country. 17 Gerald Road, London SW1, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) sculptor, painter, printmaker, watercolourist Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 Bibliography Ernest Fooks, '<a href="http://nla.gov.au/nla.news-article263089836">Margret Kroch-Frishman Exhibition</a>', The Australian Jewish News, Melbourne, 17 August 1945, p. 7. Alan McCulloch, '<a href="http://nla.gov.au/nla.news-article965726">Art Exhibitions Reviewed ... Magaraet [sic] Kroch-Frishman</a>', The Argus, Melbourne, 21 August 1945, p. 4. '<a href="http://nla.gov.au/nla.news-article263090096">Margret Kroch-Frishman Exhibition</a>', The Australian Jewish News, Melbourne, 24 August 1945, p. 7 (including photograph of her portrait of violinist and cellist Issy Spivakovsky, exhibited at Kozminsky Galleries). Alan McCulloch, '<a href="http://nla.gov.au/nla.news-article22248792">Art Exhibitions Reviewed: Flower Paintings</a>', The Argus, Melbourne, 30 April 1946, p. 8. '<a href="http://nla.gov.au/nla.news-article261389884">Preview of Art Festival</a>', The Australian Jewish News, Melbourne, 11 June 1948, p. 8. F.F. [Frank Fitzgerald], '<a href="http://nla.gov.au/nla.news-article22552914">Exhibition of Jewish Art</a>', The Argus, Melbourne, 17 June 1948, p. 6. '<a href="http://nla.gov.au/nla.news-article22679848">The Life of Melbourne</a>', The Argus, Melbourne, 21 September 1948, p. 7. <a href="http://nla.gov.au/nla.news-article279532623">George Bell, "Kroch-Frishman," The Sun News, Melbourne, 2 October 1948, p. 11.</a> '<a href="http://nla.gov.au/nla.news-article261377939">Mrs. Emmy Monash</a>' [obituary for Margret Kroch-Frishman's sister with family biographical detail], The Australian Jewish News, Melbourne, 6 January 1950, p. 3. '<a href="http://nla.gov.au/nla.news-article261418907">Family returned last week to Holland</a>', The Australian Jewish News, Melbourne, 16 March 1951, p. 2. Ann M. Mitchell, "Monasches and the Holocaust: Family Stories Part 1," <a href="https://collections.ajhs.com.au/Detail/objects/48620">Australian Jewish Historical Society Journal, 22, 3 (2015):395-449/</a> Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020. Date modified Date record modified: [day] [month] [year] 13 March 2026 Biography Margret Kroch, known to friends and family as Grete, was one of seven children born in Leipzig to Martin Samuel (Schmaryahu) Kroch (1853–1926) and Hermine Marion (Hendele) Kroch (née Risch, 1857–1929). The Krochs were a prominent Jewish family in Leipzig, Margret's grandfather being the renowned Talmudic scholar <a href="https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/kroch-jacob-leib-ben-shemaiah">Jankev Leib Kroch (1819–1898)</a>. She studied printmaking at the Hochschule für Grafik und Buchkunst in Leipzig under <a href="https://de.wikipedia.org/wiki/Walter_Tiemann">Walter Tiemann</a> followed by printmaking and painting at the Berlin Academy of Fine Arts under <a href="https://www.lbi.org/griffinger/record/246958">Hans Meid</a> and <a href="https://en.wikipedia.org/wiki/Karl_Hofer">Karl Hofer</a>. There she also met <a href="https://en.wikipedia.org/wiki/Oskar_Kokoschka">Oskar Kokoschka</a> and her future husband, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1345">Marcel Frishman</a>, who she married 10 August 1923. During her student years in Berlin, she reportedly supported herself by working as a trapeze artist at the Circus Busch (Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020). She also began contributing illustrations to German periodicals including Die Dame, Berliner Illustrierte and Die Jugend. In 1933, with the advent of National Socialism, the Frishmans and their then one-year-old son Martin (born 19 July 1932) left Germany to work initially in Paris, then Copenhagen, and by 1934 Brussels, where they lived for a period at an arts centre for refugees at Berchem-Sainte-Agathe. In Brussels Marcel Frishman worked with <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/911">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. In 1938 the Belgian authorities rejected the Frishmans' visa renewal, compelling them to return to Berlin where they experienced the trauma of Kristallnacht in November 1938. Hastily assembling exit papers, they escaped Germany 48 hours later possibly through Switzerland where one of Margret's uncles lived and the Kroch family had long holidayed (see Anne M. Mitchell, "<a href="https://collections.ajhs.com.au/Detail/objects/53941">Monasches and the Holocaust: Family Stories Part 1</a>," Australian Jewish Historical Society Journal, 22, 3 (2015), p. 402). Their exit was enabled through securing visas to Australia where they were sponsored by one of Margret's unmarried 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>). Margret's registration papers give her occupation as photographer and her address on arrival as 1a Dickens Street, St Kilda (National Archives of Australia: series <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=4013462&isAv=N">B6531</a>, NATURALISED/1946 - 1947/POLISH/FRISHMAN MARGRET). This was an art-deco three-storey block of flats, known as "La Rochelle," built in 1936 to the design of W. H. Merritt (<a href="https://www.portphillip.vic.gov.au/media/hlilz4e2/10-7-attachment-2b-ho7-review-stage-2-rba-report-appendices-g-and-h.pdf">City of Port Phillip Heritage Review, draft report</a>). By the following year they had moved to nearby 108 Acland Street. The family changed the spelling of their surname from Frishmann to Frishman by deedpoll on 28 June 1939. In Melbourne they joined another of Margret's recently arrived sisters, Emilie (known as Emmy) Monash, who was also a painter and whose husband, Leipzig patents lawyer Dr Bertholde Monash, was a first cousin of the Australian WWI general <a href="https://en.wikipedia.org/wiki/John_Monash">Sir John Monash</a>. Bertholde Monash likewise sponsored many of his and his wife's family to come to Australia in 1938-39 (see Anne M. Mitchell, "Monasches and the Holocaust: Family Stories Part 1," <a href="https://collections.ajhs.com.au/Detail/objects/48620">Australian Jewish Historical Society Journal, 22, 3 (2015):395-449</a>). The Frishmans soon established a photography business called Studio Marcel, working from their flat at 108 Acland Street in St Kilda. They offered 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 Athol Shmith (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), and Margret's work was mentioned as comprising "outdoor photographs" ("<a href="http://nla.gov.au/nla.news-article231200880">Sue sees Sydney</a>," The Sun, Sydney, 17 March 1941, p. 7). Her <a href="http://nla.gov.au/nla.obj-451317110">Head of an eagle</a>, exhibited at the Victorian Salon of Photography, was reproduced in The Australasian Photo-Review 48, no. 4 (April 1941): 128). Kroch-Frishman held her first solo exhibition in Melbourne in the basement of Kozminsky Galleries in December 1943. Opened by sculptor Ola Cohn, it comprised 16 paintings of Australian and French subjects, 4 sculptures, and 8 etchings and watercolours. The catalogue (held in the State Library of Victoria AAA file for Kroch-Frishman) reveals a range of subjects from landscapes in Elwood (including "Caenwood" of Tennyson Street, Elwood, which was then until recently the home of 103-year-old <a href="%20http%3A//nla.gov.au/nla.news-article245953138">Elizabeth Harriet Booth, whose death was reported in March that year</a>), Toulon and Provence, including Olive Trees (Provence), loaned by Mrs M. Kaufman (likely another Leipzig connection, Marianne Kaufman née Monasch), as well as still life compositions of flowers and numerous portraits, including those of Collins Street photographer <a href="https://adb.anu.edu.au/biography/shmith-louis-athol-15802">Athol Shmith</a> and his sister <a href="https://www.ngv.vic.gov.au/explore/collection/work/13341/">Verna Lydia Shmith</a>. She also exhibited etchings and watercolours. The exhibition received mixed press. <a href="https://adb.anu.edu.au/biography/lawlor-adrian-7112">Adrian Lawlor</a> found the paintings suffered a little from too many different influences (Van Gogh, the Expressionists, and Bonnard), whereas the sculpture he found more traditional and "tasteful" (A. L. [Adrian Lawlor], "<a href="http://nla.gov.au/nla.news-article245802838">Three Art Shows Open Tomorrow</a>," The Herald, Melbourne, 6 December 1943, p. 6), while <a href="https://adb.anu.edu.au/biography/herbert-harold-brocklebank-6647">Harold Herbert</a> was not enamoured of the textures of either the paintings or the sculptures though admitted Frishman (as she was known) had "a full sense of design and composition" (Harold Herbert, "<a href="http://nla.gov.au/nla.news-article11791290">Art Exhibitions</a>," The Argus, Melbourne, p. 9). <a href="https://adb.anu.edu.au/biography/bell-george-frederick-henry-5192">George Bell</a> on the other hand was impressed, finding the work vital and demonstrating "a full command of form" (George Bell, "<a href="http://nla.gov.au/nla.news-article279370708">Three Art Shows</a>," The Sun-News Pictorial, Melbourne, 7 December 1943, p. 11). In August 1945 Kroch-Frishman's second solo exhibition of paintings and sculptures at <a href="https://www.printsandprintmaking.gov.au/galleries/365/history/">Kozminsky Galleries</a> was opened by <a href="https://adb.anu.edu.au/biography/chisholm-alan-rowland-12315">Professor of French A.R. Chisholm</a>. It was reviewed it in highly favourable terms by the eminent Viennese architect <a href="https://en.wikipedia.org/wiki/Ernest_Fooks">Ernest Fooks</a>, whose comments indicate the range of exhibits: "Whatever subject chosen, be it the expressive face of the mature man, or the soft features of the child, the human body or a small Street in South Yarra, crabs, flowers, or the desolate remnants of human habitation, Mrs K.F. [sic] contrives to suggest their innermost meaning, and is not satisfied with imitating nature as such" (Dr Ernest Fooks, "<a href="http://nla.gov.au/nla.news-article263089836">Margret Kroch-Frishman Exhibition</a>", The Australian Jewish News, Melbourne, 17 August 1945, p. 7). The exhibition included Kroch-Frishman's portrait of violinist and cellist <a href="https://adb.anu.edu.au/biography/spivakovsky-jascha-11745">Issy Spivakovsky</a>, which was soon afterwards illustrated in the same journal ("<a href="http://nla.gov.au/nla.news-article263090096">Margret Kroch-Frishman Exhibition</a>," The Australian Jewish News, Melbourne, 24 August 1945, p. 7). <a href="https://adb.anu.edu.au/biography/mcculloch-alan-mcleod-16351">Alan McCulloch</a> found the works "show the benefit of the artist's Continental background and training. She is at her best, I feel, in her sensitive and well designed drawings and well realised sculptures. Her watercolours also are fresh and vigorous, and more convincing than her oils, which, although capably painted, are sometimes a little too broad in treatment" (Alan McCulloch, '"<a href="http://nla.gov.au/nla.news-article965726">Art Exhibitions Reviewed ... Magaraet [sic] Kroch-Frishman</a>", The Argus, Melbourne, 21 August 1945, p. 4). Kroch-Frishman also took part in several group exhibitions in Melbourne, including <a href="https://www.daao.org.au/bio/event/flower-paintings/">Flower Paintings by Well-Known Artists</a> at the Myer Gallery (May 1946) and a Jewish art festival (June 1948) where she again showed the portrait of Issy Spivakovsky. In August 1946 she also applied for copyright to two literary works, Conquerer and Fox Hunt, attesting to both her adeptness in writing in a new language and the breadth of her artistic skills (National Archives of Australia, series A1336, control symbol <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=4013462&isAv=N">43308</a> and <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=4013462&isAv=N">43309</a>). Both Frishmans applied to become naturalised British subjects in November 1946; this was granted in 1947 (NAA, series A715, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=203366387&isAv=N">control symbol 9/3019</a>). In September 1948 Margret Kroch-Frishman held a joint show with Marcel Frishman at the Velasquez Gallery, where she was billed as a "Parisian painter and sculptor." Despite the couple's financial hardships (their property in Germany having been confiscated and sold by the Nazis), the proceeds from the sale of catalogues were donated to the Free Kindergarten Union. <a href="https://adb.anu.edu.au/biography/dale-john-5864">Dr John Dale</a> opened the exhibition, which included his portrait by Kroch-Frishman along with portraits of Professor Chisholm, <a href="https://find.slv.vic.gov.au/permalink/61SLV_INST/1dukq3j/alma9919828633607636">John Yule</a>, and Barbara Hockey (later Prof. of Sociology, Barbara Hocky Kaplan), and 15 other paintings including landscapes. She also showed 4 watercolours (including Avoca Street and Port Fairy) and 6 sculptures, which, as the titles indicate, were all portraits, including <a href="https://en.wikipedia.org/wiki/C._R._Rangachari">J.R. Rangachary (Indian Test Cricket Team)</a>, Mary Patterson, John Atisayam (possibly John Athisayam, who was then an Indian medical student in Melbourne and vice-president of the India Australia Society), Miss C. Tandler (possibly the same person of this name who sailed on the Ormonde from Naples to Melbourne in 1939), and "a young dancer". George Bell extolled the merits of the paintings as "virile statements in heavy impasto, of flowers and portraiture" with an "almost sculptural texture" that he found "agreeable in effect," and commended the portrait sculptures that demonstrated Kroch-Frishman's "feeling for form." (<a href="http://nla.gov.au/nla.news-article279532623">George Bell, "Kroch-Frishman," The Sun News, Melbourne, 2 October 1948, p. 11</a>). Marcel Frishman showed 20 drawings in lithographic chalk of street scenes in Melbourne and France. Their son Martin Frishman was also mentioned in the review as having artistic inclinations and preparing to soon exhibit with his mother, though he later instead became an architect. Following the death of Emmy Monash (30 December 1949), the Frishmans returned to Europe sailing from Sydney in March 1951, bound for Holland, and arriving in Liverpool 9 April 1951. The decision to come to London possibly involved Erwin Fabian, a fellow Berliner, sculptor and printmaker who, as a so-called “enemy alien,” was deported from England in 1940 on the notoriously overcrowded Dunera and had befriended the Frishmans in Melbourne before returning to London in 1949. Fabian may have learnt of the Abbey through his close friend and fellow artist-internee Klaus Friedeberger, who befriended Oliffe Richmond after the war at the East Sydney Tech shortly before Richmond’s residency at the Abbey in 1948–49. The Frishmans may additionally have heard of the Abbey through fellow Jewish artist Yosl Bergner whose good friend James Wigley showed at Velasquez Galleries a year before the Frishmans and in 1949 lived at the Abbey with his wife and son, or through Max Newton or Grahame and Inge King who left the Abbey and were in Melbourne prior to the Frishmans’ departure. Further, they may have known of Ohly through Kokoschka or Wilczynski, the latter having studied in Leipzig and Berlin around the same time as the Frishmans and later a regular visitor at the Frishamans’ home in London. Regardless of the precise connection, the Frishmans’ journey to the Abbey was the most circuitous of all the Abbey’s residents. The Frishmans likely arrived at the Abbey Art Centre in 1951. By the end of 1951, Kroch-Frishman had begun exhibiting in London, showing two works at the <a href="https://www.benuricollection.org.uk/exhibition_downloads/5.pdf">Autumn Exhibition of Paintings, Sculptures and Drawings by Contemporary Jewish Artists</a> at the Ben Uri Gallery (4 November - 2 December 1951): Drawbridge at Oudekerk (no. 27) and Forget-me-nots (no. 28). The following year, in December 1952, she was included in an <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/545">Exhibition of Work by Artists of the Abbey Art Centr</a>e, at William Ohly's Berkeley Galleries. Her lithographed portrait of Black American contralto Marian Anderson was illustrated on the invitation and in <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1082">an accompanying review</a>. Marcel died at the Abbey on 28 December 1952. Some time later, Kroch-Frishman moved with her son Martin to 17 Gerald Road, Belgravia, where, according to the <a href="https://www.buru.org.uk/contributor/margret-krochfrishman">BURU</a>, "regular notable guests included historian Eric Hobsbawm, composer Thea Musgrave, painters Peter de Francia and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1009">Katerina Wilczynski</a>, as well as writers Jakov Lind and John Berger and designer Yolanda Sonnabend, among others." She later moved to Steeles Road, Belsize Park, in 1968. In 1956 Kroch-Frishman held a solo exhibition in Paris at the Galerie Marcel Bernhein (the long-running dealers in Impressionist art), while in 1957 she showed three works at the third and final Australian Artists' Association exhibition, held at the Imperial Institute, London, alongside Erwin Fabian. The two exhibitions demonstrated the breadth of her transnational connections. Her exhibition of new etchings was held at The Everyman, Hampstead, in November to December 1960. The following year her work was included among nine contemporary British painters at Wildenstein Galleries, February 1961, the other exhibitors being Roderic Barrett, Brian Crouch, Geoffrey Genever, Roman Black, Garrick Palmer, Connie Fenn, Edward Wakeford, and the Duchess of Leeds (The Queen, London, 16/2/61, p. 6). Two further solo shows were held: at the Galerie André Weil, Paris, 18 September - 1 October 1963; and at Tib Lane Gallery, Manchester, 1967. She also exhibited alongside Italian late-Futurist painters at Galleria d'Arte Giraldo, Treviso, 1966. Editions Alecto published nine of her etchings in 1965. Examples of these are found in the Government Art Collection, UK. Jane Eckett 16 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. Margret Kroch-Frishman, c. 1950s, courtesy the artist's estate. Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Margret Kroch-Frishman, identity photograph accompanying her 1946 naturalisation application, Australia (National Archives of Australia, <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=6570821&isAv=N">series B6531, NATURALISED 1946 1947 POLISH FRISHMAN MARGRET</a>). Margret Kroch-Frishman in Berlin. Photograph courtesy the artist's estate, via the <a href="https://www.buru.org.uk/contributor/margret-krochfrishman">Ben Uri Research Unit</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 126.0000 Title A name given to the resource Margret Kroch-Frishman (1897–1972) Type The nature or genre of the resource person Subject The topic of the resource Kroch-Frishman, Margret Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1345">Marcel Frishman (1900–1952)</a> Contributor An entity responsible for making contributions to the resource Jane Eckett https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/cfdc47fc2bc65c5a5b0fc9a773769dab.jpeg 5216d3a5d291bddf619dd6aae6d067cf https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/127af259c5cdcede102000c1faf568df.jpg 1080b4bc2ef98ecb1c39ebbd91f680b2 Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Sculptural relief for the Hall of Honor for those who fell in the First World War, 1920s, located at the forecourt of the parish church. Architects W. Schönwetter and O. Schaltenbrand; sculptor William Ohly. Expanded after 1945. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Friedrich Haag Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK 69 Weinstraße, 67147 Forst an der Weinstrasse, Rhineland-Palatinate, Germany Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0017 Title A name given to the resource Memorial relief for Hall of Honour for those who fell in the First World War, Forst an der Weinstrasse, 1920s, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> Hall of Honour, 69 Weinstraße, 67147 Forst an der Weinstrasse, Rhineland-Palatinate, Germany Subject The topic of the resource War memorials -- Germany. Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource 1920s Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Large stone relief sculpture of Christ blessing two kneeling soldiers. German sculpture war memorials William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/13cdc00f2a72ec9e4cf2285c412f494a.jpg 7dec2289f9b6824b16ba5a0da1d4f41a 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'). My Land Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil and wax crayon on thick dark brown wove paper Physical Dimensions The actual physical size of the original image in cm 38.2 x 25.5 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’. With an unfinished work in crayon verso. Date modified Date record modified: [day] [month] [year] 30 June 2019 Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Thames Ditton, London, UK 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 127.0057 Title A name given to the resource My Land, 1951, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1951 Format The file format, physical medium, or dimensions of the resource oil and wax crayon on thick dark brown wove paper; 38.2 x 25.5 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Inscribed and dated in black ink recto beneath image: ‘My Land. oil & wax crayon on paper / 38 x 26 / London 1951 / Thames Ditton’. 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/b0ac6fe8826486abaa0a2c10aaefc092.jpg b57171196d6dcfe879cd45e7d708ec2e 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] 1 June 1927 Birthplace Essex, England Death Date [day] [month] [year] 23 November 2014 Place of death Full address is known; else city and country. Glebe, Sydney, New South Wales, Australia Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, sculptor, collage artist Biography Of Irish heritage, Phillip Martin was an artist who believed the image transcended and transformed worldly meaning and materialism. An introverted and only child from a middle-class family, the son of a bank director, Martin spent much of his childhood and young life at the Felsted boarding school in North Essex. When war was declared he spent three years in the national service in the British Navy and in 1948 on discharge, briefly moved back to his family home. When his father caught him drawing in an abstract manner and admonished him for wanting to be an artist, Martin walked out and became estranged from them. Unsure of his direction in life, he entered a Franciscan monastery, but as his spiritual philosophy differed from the brotherhood, he left the order and a period of destitution followed. Living amongst the Soho poor, he slept rough, ate in refuge centres and wandered the London streets where his loneliness took on a hallucinatory dimension. He discovered a language of beauty and truth in the open streets and, in a city largely ruined from bombing, with its graffitied, scarred walls, discarded detritus, Martin felt that, ‘all phenomena assumed an equal importance in themselves’, and ‘being compelled to use things that other people rejected … [and] living so close to this material in the street, I began to listen to its language and watch its formations’ (Martin, 1961). This close reading of rejected materialism and evidence of peoples’ daily passage, whether a bus ticket, fragment of newsprint, a lolly wrapper, a trodden matchbox, randomly dropped until the strolling fossiker collected and turned it into an aesthetic placard, or a visual symphony of Merzbau, chimed with the collages of exiled avant-garde artist Kurt Schwitters, whose art Martin encountered at this time. By 1949 Phillip Martin was living at the Abbey Art Centre, New Barnet, an artists’ colony on the outskirts of London. As a cultural hub, the Abbey’s religious, ancient and primitive artefacts provided an environment that traversed national and temporal boundaries within a single location and encouraged cross-cultural dialogues with other resident artists. It was here that Martin established an important friendship with the Scottish artist <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/985">Alan Davie</a>, whose considerable influence on Martin is evident in his ‘small black and white monotypes and dense tachist, gestural oils’ made during 1949-50 (Jane Eckett, 'Helen Marshall: Return to Beginning', Artist Profile, no. 49, November 2019). Davie had already travelled throughout Europe and seen the first post-war Venice Biennale in 1948, where he met Peggy Guggenheim and was introduced to her major collection of avant-garde art. A strong similarity to Jean Arp’s papier déchirés, or torn paper works is also evident in Martin’s art at this time, which he may have seen in catalogues. The title of one of Martin’s collages, Required: World Interpreter, 1951, captures his existentialist approach, in which he believed ‘the artist has assumed the role of a kind of spiritual archaeologist’ (Philip Martin, letter to Pierre Matisse, Ischia, Italy, September 1954, in Phillip Martin papers, private collection). While at the Abbey Martin also met the Australian sculptor <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/586">Robert Klippel</a> and the Berlin sculptor <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/994">Inge Winter</a> (King), and in 1950 the Irish Australian painter <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/999">Helen Marshall</a>, with whom he formed a life-long relationship. Martin and Marshall left the Abbey in the spring of 1951, and from March to May lived at Camden Town. They then moved to a disused barge, The Sheila, at Thames Ditton, where they collaborated on paintings and collages. Martin was also included in group shows at Gimpel Fils and the Redfern Gallery, London. His first paintings were bought by an Austrian painter and admirer of Picasso, <a href="https://de.wikipedia.org/wiki/Hugo-Damian_Sch%C3%B6nborn">Hugo-Damian Schönborn</a> (1916-1979), who went by the title of Count Schönborn. In 1951 Schönborn invited Martin and Marshall to join him and his wife, Eleonore Baroness von Doblhoff, at their castle in Schruns in the Montafon<a href="https://de-m-wikipedia-org.translate.goog/wiki/Montafon?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=ajax,sc,elem,se" title="Montafon"></a> in Vorarlberg, Austria. While staying with Schönborn, September to November 1951, a fire destroyed Martin and Marshall's barge on the Thames. Most of their belongings were lost. This triggered a nomadic existence for the next decade, as they restlessly travelled between Florence, Venice, Milan and Genoa, often living in impoverished conditions. They settled temporarily at Vence, in southern France, where they exhibited at Galerie Les Mages and were befriended by Marc Chagall, who reportedly advised the gallery owner to purchase the entire exhibition. They made Positano in southern Italy their base but continued travelling to Paris, Bern, Basle, Florence, Majorca, Aix en-Provence, Connemara in Ireland and Zurich. In Venice, 1954, they were introduced to Peggy Guggenheim at her villa, and in Paris they mingled with some of Europe’s most notable avant-garde artists and writers, establishing firm friendships with the American writer Henry Miller in Paris, the writer Alan Sillitoe in Spain, the French art critic and poet Alain Jouffroy, Roberto Matta, Andre Masson, Karel Appel, Pierre Alechinsky and Mark Tobey. The decade of the 1950s was significant for Martin and Marshall. In 1952, Michel Tapié included Phillip Martin in his <a href="http://www.worldcat.org/oclc/1110556">Un Art Autre</a>, a publication on the free-expressive, anti-compositional artists associated with the Art Informel movement, which included Appel, Burri, Dubuffet, Ossorio, Pollock, Riopelle and Tobey. Martin was placed next to Pierre Soulages. Post-war trends in art, such as action painting, art brut, Tachism, with an emphasis on spontaneity, gestural automatism and dynamic spatiality reflected the unsettled state the post-war world as its sought cultural renewal. In 1953 the couple were given a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1011">significant exhibition alongside Viera da Silva at the Kunsthalle Bern</a> in Switzerland, and in 1955 Martin began exhibiting at the <a href="http://www.worldcat.org/oclc/81817299">Pierre Matisse Gallery</a> in New York. In 1956 he was included in a Kunsthalle Basel exhibition <a href="http://www.worldcat.org/oclc/501573540">Japanische Kalligraphie</a>, alongside Tobey, Miro, Hartung, Klee and Kandinsky, and in 1957 he exhibited at <a href="http://www.worldcat.org/oclc/1184558885">Galerie du Dragon</a>, famous for its support of young poets and artists such as Roberto Matta and Alain Jouffroy. An aesthetic and spiritual affiliation developed between Martin and Mark Tobey; both artists were extremely reserved and avoided contemporary trends and were drawn together through a mystical approach to the cityscape. Tobey showed work at the 1948 Venice Biennale and in Paris in 1954, when the ‘high tide of tachism’, was flooding galleries throughout Europe (Wieland Schmied, Mark Tobey: A wandering mystic, London: Thames and Hudson, 1966, p. 9). Martin also showed collages at the Galerie Suzanne Bollag in Zurich with Max Ernst, Henri Matisse, L. Moholy-Nagy, Picasso, Schwitters, Viera de Silva, and Sonoia Sekula, and in 1959 was included in a group exhibition at the Galerie Craven in Paris with Arp, Delauney, Dubuffet, Ernst, Kandinsky, Klee, Matta, Mondrian and Schwitters, to name just some. As is evident from these exhibitions and associations with major cultural figures, the couple were of international significance, yet their constant movement has rendered them invisible to nationalist and global art histories. In 1960 the normally pacifist couple were involved with the Anti-Procés collective in Paris and Milan, a movement organised by Alain Jouffroy and the anarchic Jean-Jaques Lebel in opposition to French military aggression during the Algerian insurrection. Martin exhibited in three separate Anti-Procés exhibitions while, at the Galerie des Quatre Saisons, a manifesto was signed by 121 artists and intellectuals including Martin and Marshall. As the politicised 1960s progressed, the couple, always ready to pack up and travel, departed in 1962 with their children—Seraphina Martin and Stephen Walton, Helen's youngest child from her first marriage—for India, where they spent the next five years at an ashram in Pondicherry. They returned to London and Europe for exhibitions, including a joint exhibition at the Palais de Beaux Arts in Paris in 1966, and also to Australia, 1969-70, where Helen was reunited with her family who had since emigrated from Ireland. Phillip Martin held an exhibition at Georges Mora’s Tolarno Gallery while in Sydney they both held a critically acclaimed exhibition of over 200 works to inaugurate Gisella Scheinberg’s Holdsworth Gallery. On returning to Italy they spent a productive and settled period of three years at Lake Como. In 1979, Phillip Martin and Helen Marshall relocated permanently to Glebe in Sydney, though they continued to exhibit regularly in Europe. They held several exhibitions in Sydney, but Phillip found it difficult ‘to penetrate the local art scene’ (St. John Moore). Helen Marshall died in 1996, aged 88, and Phillip Martin devoted much of the next eighteen years to documenting her career before his own death in 2014. A complex man with a Blakean spiritualism, Phillip Martin found subtle connections and creative narratives in infinite juxtapositions of symbols, an alphabet of signs, and a poetic affirmation of the timelessness of all things. In Martin’s words, ‘It is what is left unsaid that is the mystery of a painting which can only be a substitute for the reality that lies beyond it and that is indefinable and belongs to the realm of magic. It is left to the commentators to dissect the corpse’ (Martin to Pierre Matisse, Ischia, September 1954). Sheridan Palmer 20 November 2020 Bibliography Arnold Rüdlinger, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1011">Vieira da Silva, Phillip Martin, Helen Marshall</a>, Bern, Switzerland: Kunsthalle Bern, 7 February – 8 March 1953. Phillip Martin, 'Affiche', X Magazine: Quarterly Review, ed. David Wright and Patrick Swift, vol. 2, no. 2, August 1961, pp. 127-8. Alain Jouffroy, Phillip Martin: éclatement spirituel de l’Image-Symbole, Paris: Galerie H. Le Gendre, 1963. Alain Jouffroy, Helen Marshall, Phillip Martin: peintures, collages, gouaches, oeuvres jointes, 1950-1966, Brussells: Palais des beaux-arts de Bruxelles, 14–26 April 1966. Alain Jouffroy, ‘<a href="http://www.worldcat.org/oclc/888255587">Phillip Martin et l’illumination</a>’, Quadrum: Association pour la Diffusion Artistique et Culturelle, no. 20, 1966, pp. 103-12. Alain Jouffroy, Le Cartoline di Phillip Martin, Milan: Edizioni L'Uomo e l'Arte, 1971. Phillip Martin papers, private collection, Australia. Date modified Date record modified: [day] [month] [year] 16 August 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://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/917">Philip Martin in his studio at the Abbey Art Centre</a>, c. 1949–51 (detail); photo attributed to Picture Post; scanned and digitally repaired by Simon Pierse Date submitted Date object first catalogued: [day] [month] [year] 10 August 2021 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 128.0000 Title A name given to the resource Phillip Martin (1927–2014) Type The nature or genre of the resource person Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/999">Helen Marshall</a> (1909–1996) Contributor An entity responsible for making contributions to the resource Sheridan Palmer abstract expressionism affiche Alain Jouffroy Alan Davie Alan Sillitoe Andre Masson Anti-Procés collage Count Schönborn graffiti Helen Marshall Henry Miller India Jean Arp Jean-Jaques Lebel Karel Appel Kurt Schwitters Marc Chagall Mark Tobey Michel Tapié Peggy Guggenheim Philip Martin Pierre Alechinsky Pierre Matisse Gallery Pierre Soulages Pondicherry Roberto Matta tachisme Un Art Autre https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/53742a69fb4d36f4b1173323530e0bb7.jpeg b0d6ea8d8354e9540043ffe208a827af Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photograph Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK The Abbey Art Centre, 89 Park Road, New Barnet, Herts, England. Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of the Counihan Estate Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. <a href="https://www.facebook.com/AbbeyArtCentre/photos/pb.100054380026627.-2207520000./2861075230812195/?type=3">Another copy of this photograph</a> exists at the Abbey Art Centre and was uploaded to their Facebook page, 19 February 2021, captioned: 'A classic photo of The Abbey Art Centre, from our early years!' Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Photographer unknown, courtesy Michael Counihan Date submitted Date object first catalogued: [day] [month] [year] 21 July 2022 Date modified Date record modified: [day] [month] [year] 9 March 2023 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0070 Title A name given to the resource Photograph of a Royal Mail van parked outside the Abbey Art Centre gates, 1950 Date A point or period of time associated with an event in the lifecycle of the resource 1950 Creator An entity primarily responsible for making the resource Photographer unknown Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource silver gelatin print Source A related resource from which the described resource is derived Courtesy of Michael Counihan Description An account of the resource Photograph showing the Royal Mail van at the gates of the Abbey Art Centre, New Barnet. The van is marked 'Barnet' on the door. A sign reading 'Abbey Art Centre' is mounted on the vine-covered wall to the left while the street number '89' is just visible on the gate post behind the parked van. Photograph inscribed verso: 'Mail boys were frightened to go up the drive -' / The Abbey had a bad reputation'. Subject The topic of the resource Artist colonies -- England. Postal service -- England. Rights Information about rights held in and over the resource © Michael Counihan and the Counihan Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer, Victoria Perin, and Jane Eckett Abbey Art Centre postal service Royal Mail transport https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/e9666683035202ff97d8c97793a8ef96.jpg d73df5ba7df899ad0fdba064ef04b800 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Port in Connemara (later known as Haven) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on paper laid on Masonite Physical Dimensions The actual physical size of the original image in cm image: 51 x 74.3; board: 52.8 x 75.9 cm Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. Helen Marshall, Phillip Martin: Peintures, Collages, Gouaches, Oeuvres Jointes - 1950-1966, Palais des Beaux-Arts de Bruxelles, 14-26 April 1966, catalogue no. 41 (as Port in Connemara, oil on paper). Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Depicts boat, houses, mountains, light house. Possibly based on the lighthouse at Roundstone. In an unpublished monograph on Marshall, Phillip Martin referred to this work as 'Haven'. Date modified Date record modified: [day] [month] [year] 7 September 2019 Date submitted Date object first catalogued: [day] [month] [year] 1 July 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Connemara, Ireland Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0143 Title A name given to the resource Port in Connemara (later known as Haven), July 1952, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource July 1952 Format The file format, physical medium, or dimensions of the resource oil on paper laid on Masonite; image: 51 x 74.3; board: 52.8 x 75.9 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Dated in oil paint recto lower right: ‘7/52’; inscribed and dated in black marker by Phillip Martin verso: ‘40 [scratched out and replaced with 4] / Helen Marshall / Port in Connemara / 7/1952 / 74 1/2 x 50 / Huile / Colln de l’Artiste’" Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b74418e141bcc34cc4fae4aae2d91f6a.jpg 9e83104d81eb0c4d998b0383f0f06668 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bdc073888a3356e771aac4652e21c690.jpg 3cefa45fe0f612e86b8d92eb9a217ce4 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/62761ccad281045c985b042124e57638.jpg 56bffdd92a06044eb07645d2629c0f8a https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/fdba1c06f22a9ef884a8720e6dbec0ad.jpg 22094f9917767ddbc536d98ee531920a Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</a>; <a href="https://www.ludwigshafen.de/lebenswert/im-gruenen/friedhoefe/friesenheim">Friedhof Friesenheim, Ludwigshafen, Stadt am Rhein</a> Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Kopernikusstraße, 67063 Ludwigshafen am Rhein, Germany Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Above the main portal of the cemetery chapel is a <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Friesenheim_Friedhofskapelle_Auferstehungsrelief_Hauck.jpg">large resurrection relief by Theobald Hauck</a>. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, courtesy <a href="https://commons.wikimedia.org/wiki/File:Ohly_Friesenheim_1.jpg">Wikimedia Commons</a> Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, courtesy <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Ohly_Friesenheim_2.jpg">Wikimedia Commons</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0019 Title A name given to the resource Relief, Hauptportal Friedhofshalle Friesenheim (Reliefs, main portal, Friesenheim cemetery hall), c. 1926–27, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Cemetery chapel, Friedhofshalle Friesenheim Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Relation A related resource 130.0018, St. Franziskusbrunnen, Friedhof Ludwigshafen-Friesenheim (St Francis fountain, Ludwigshafen-Friesenheim cemetery) by William F. C. Ohly Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource c. 1926–27 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Stone relief carvings for either side of the main portal of the cemetery chapel, depicting a classically-robed man in a ploughed field, on one side sowing seed and on the other side reaping the harvest with a small scythe. Above him are symbols of a sand-timer and a P with an X (possibly referring to 'pax' or peace). At the base of each carving is a carved vase of flowers. Subject The topic of the resource Doorways -- Germany. architectural sculpture cemeteraries doorways German sculpture portal religious art William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/add743eb4f569beaefd9a1f96d1fcfb9.jpg 78ace402ba4cb6d6eb8c0b7cdc100d12 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'). Rooster Original Format The type of object, such as painting, sculpture, paper, photo, and additional data work on paper Medium gouache on medium smooth tinted brown paper Physical Dimensions The actual physical size of the original image in cm 21.5 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 modified Date record modified: [day] [month] [year] 30 June 2019 Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK 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 127.005 Title A name given to the resource Rooster, 1950, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource gouache on medium smooth tinted brown paper; 21.5 x 29.5 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Unsigned. Inscribed in black pen below image on sketchbook page lower left: ’Rooster’; inscribed again and dated lower right below image: ‘1950 / 29 1/2 x 21 1/2’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/63f72a52228a8718e3ec7767e1bc2418.jpg faf577f318d3402823c61856b7bb6647 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Shadows of Still More Shadowy Things Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium tempera (or acrylic?) on paper laid on plywood Physical Dimensions The actual physical size of the original image in cm 100.5 x 65.5 cm Date modified Date record modified: [day] [month] [year] 10 September 2019 Exhibited Express as follows: Title of exhibition [in italics], gallery, location, date range [use en-dashes and no spaces for two dates in the same month, or an m-dash with a space either side for dates in different months], catalogue number [expressed as cat. no.]. If the details of the work, such as medium or date, are substantially different to that already stated, then give this information too. Different exhibitions are separated by semi-colons rather than line breaks. Irish Exhibition of Living Art, Dublin, 1960, catalogue no. 109 (£70 0 0). Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Framing label verso of the Dawson Gallery, Dublin. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Paris, France Date submitted Date object first catalogued: [day] [month] [year] 3 July 2019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0153 Title A name given to the resource Shadows of Still More Shadowy Things, 1959, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1959 Format The file format, physical medium, or dimensions of the resource tempera (or acrylic?) on paper laid on plywood; 100.5 x 65.5 cm Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Description An account of the resource Signed and dated in black marker pen lower right, but painted out: ‘Marshall 59’. Inscribed in black marker pen lower centre recto: 'Shadows of Still More Shadowy Things'; inscribed in black paint verso: ‘H. Marshall (painted over) / Paris 1959 / colln de l’artiste’ and in black marker pen verso: ‘101 x 66’; also in black crayon verso: ‘4’; inscribed in white chalk (upside down) verso: ‘H MARSHALL’; also numbered in pencil verso: ‘109’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/1161457ac540d0b84435cb6f7fc79579.jpg 9c0d5280106d1f128270359ed3dc9abf 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'). Shrine and Protectors Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on paper Physical Dimensions The actual physical size of the original image in cm 148.0 x 99.0 cm 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 "Sesto Fiorentino, near Florence, Italy" 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. Sesto Fiorentino, near Florence, Italy. Multiple closed tears. Unframed. Rolled: H55-59. Date submitted Date object first catalogued: [day] [month] [year] 29 June 2019 Date modified Date record modified: [day] [month] [year] 14 October 2019 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0032 Title A name given to the resource Shrine and Protectors, January 1955, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource January 1955 Format The file format, physical medium, or dimensions of the resource oil on paper; 148.0 x 99.0 cm Description An account of the resource Signed with initials on reverse: ‘HM’. Inscribed by Phillip Martin with black marker lower right: ‘Sesto 1/55’. Inscribed with black marker verso: ‘Shrine and Protectors oil on paper 1955 100 x 149’; inscribed again in black verso: ‘Pos/Sesto 1955’; and again in black verso: ‘H M Sesto’. 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). 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)