7 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a90e9a82560ebd1540900636614e986f.jpg fe526cf751ab965e7b03f7b16f2854cc Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK The Berkeley Galleries, 20 Davies Street, London W1, England Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Ernest Ohly (1920-2008); Gift from his Estate to the present owner Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Several of the artists were Abbey Art Centre residents including sculptors Peter King and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1316">Gudrun Krüger</a> and painter Lilian Colbourn. Dated 1954 on the basis of the opening date being given as Thursday 9th December (the 9th December in 1954 falling on a Thursday), as well as the correlation with a <a href="https://www.alamy.com/dec-09-1954-german-born-woman-artist-hold-exhibition-at-berkeley-galleries-image69292201.html">press photograph of the German sculptor Gudrun Krüger examing one of her small sculptures</a> and captioned: 'Dec. 09, 1954 - German-Born Woman Artist Hold Exhibition At Berkeley Galleries. 33-year-old German-born woman artist, Gudrun Kruger, held an exhibition of her work at the Berkeley Galleries, Dover-Street [sic], today. Her graphic art is anew and intensely personal expression inspired by the growth forms of plants and sea creatures. Photo Shows:- Gudrun Kruger seen with some of her exhibits of horses in bronze at the exhibition today.' (Keystone Pictures USA/ZUMAPRESS). <a href="https://www.vads.ac.uk/digital/collection/PKA/id/403/rec/1">Another copy of this invitation is housed in the Peter King archive at London Metropolitan University</a>, whose online record shows the reverse side of the invitation. The reverse illustrates John Prince's self portrait and two works in wood and metal by Peter King. The self-portrait seems to be the work of <a href="https://www.al.com/entertainment/2013/08/prince_of_dauphin_island.html">John Prince (1933–2008)</a>, an American artist who as a teenager studied at the Boston Museum School, where Oskar Kokoschka gave guest lectures. Kokoschka reputedly encouraged Prince to further his studies in London, where Prince accordingly went in 1951. Later that same year he was sent to Korea with the US Air Force and suffered a hand injury. He returned to Europe and spent 20 years, meeting his wife Ursula in Heidelberg, Germany, before returning to the US in 1974 and settling at Dauphin Island, Alabama. Medium printed card Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Sheridan Palmer Date submitted Date object first catalogued: [day] [month] [year] 19 October 2021 Date modified Date record modified: [day] [month] [year] 14 March 2026 Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. 10 December 2025 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 800.0035 Title A name given to the resource Christmas Exhibition at the Berkeley Galleries, Thursday 9th December [1954] Date A point or period of time associated with an event in the lifecycle of the resource 9 December [1954] Creator An entity primarily responsible for making the resource William Ohly (1883-1955); Berkeley Galleries Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource exhibition invitation card Publisher An entity responsible for making the resource available London: Berkeley Galleries Source A related resource from which the described resource is derived Berkeley Galleries scrapbook, private collection, UK Description An account of the resource Exhibition invitation card, printed in black on white and red background. Four groups of works are listed on the right hand side: 'Pictures by Henry Moore, Ceri Richards, Lilian Colbourn and others' / 'Small Sculptures by P. King, R. Jones, G. Kruger and others' / 'Small Chinese Paintings / Objects from India and The Far East' / 'Native Jewellery and Sculptures by Primitive People'. Subject The topic of the resource Berkeley Galleries. Art galleries, Commercial -- England -- London -- Exhibitions. Art galleries, Commercial -- England -- London -- History. <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1316">Krüger, Gudrun Juliane, 1922-2004</a>. Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Berkeley Galleries Ceri Richards Chinese art Christmas exhibition Gudrun Krüger Henry Moore India Indian art invitations jewellery John Prince Lilian Colbourn Peter King primitive art William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/76a010adcc3d42cc5ae4656c527c5a27.pdf bdbc800bb68b9452ae86721ab6e4d0fb Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Abbey Art Centre, 89 Park Road, New Barnet, England Text Any textual data included in the document. Use this element to transcribe exact contents of text. [p. 2] 'THE ABBEY MUSEUM The Museum represents the private collection of the late William F.C. Ohly, F.R.A.I., sculptor and art connoisseur. His aim in founding the Museum and Art Centre in 1946, was to provide a stimulating and satisfying place of study for the artists from home and overseas he intended should live and work there. The measure of success in his achieving this object may be judged by the great number of artists and students, from all over the world, who have come and gone, and benefitted from this Art Centre, and from his personal contribution as friend and patron. While being a small museum by some standards, the collection consists of a wide selection from the arts of primitive peoples, carefully chosen for its high artistic merit, rather than for its antiquity alone. This approach was characteristic of a collector who was both connoisseur and artist, and who arranged each case to form an aethetically satisfying group. In consequence, though exhibits are grouped mainly under their place of origin, pieces may be found that would otherwise be differently located. The Museum contains an important collection of primitive and oriental art, primarily including objects from Africa, Ancient America, and Oceania. There are also many exhibits from China, Egypt, and Tibet. [p. 3 ff] The great variety of objects to be found range from an African medicine-man's divining set, to a totem pole, and relics from Captain Cook's voyages in the Pacific. There is finely decorated Tibetan metalware, African basket and bead-work, and pottery figurines and vessels from the Aztec and other Pre-Columbian civilizations. Additional interest, and colour, is given by the housing of the whole collection in a 14th Century tithe-barn, which is scheduled under the Act for the preservation of Buildings of Special Architectural or Historic Interest (1947), and stands in pleasant woodland in Park Road, New Barnet, Hertfordshire (Map overleaf). [p. 4 ff] THE ART CENTRE The Abbey Museum forms part of the Abbey Art Centre, founded to provide domestic and professional accommodation for practicing artists. Since 1946, many sculptors and painters from all parts of the world have lived and worked here in residential studios. Present occupants include a distinguished creator of silhouette films, painters, sculptors, and art teachers. There is also a Pottery in the grounds, with oil burning kiln, where a potter produces modern ware for home and overseas markets'. 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. Peter S. Lindsay A.T.D. was announced as the new Honorary Curator of the Abbey Art Centre, succeeding Cottie Burland, in a 1957 issue of <a href="https://books.google.com.au/books?id=XdLRAAAAMAAJ&q=Peter+S.+Lindsay+A.T.D&dq=Peter+S.+Lindsay+A.T.D&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwi4wJey_uTzAhU44jgGHQn0CwgQ6AF6BAgDEAI">Museums Journal, vol. 56, p. 177</a>. The photographer Francis J. Forty was almost certainly <a href="https://www.londonremembers.com/subjects/francis-john-forty-obe">Francis John Forty OBE (1900–1990)</a>, City Engineer, City of London (1959 to 1963), and prominent architect of postwar reconstruction in London. Forty—like William Ohly—was originally from Hull, Yorkshire. He was also almost certainly the father-in-law of the curator Peter Lindsay. Vital records reveal a Peter A.S. Lindsay who married Frances A. Forty in Ealing in 1952 (General Register Office; United Kingdom; Volume: 5e; Page: 71). Two years earlier, in 1950, Frances A. Forty was registered as living at 9 Kent Avenue, Ealing, with her parents Francis J. Forty and Doris M. Forty. By 1958 Peter and Frances Lindsay were living at 69 Queens Gate, SW7. 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]. By descent to the present owner 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. Simon Pierse Date submitted Date object first catalogued: [day] [month] [year] 25 October 2021 Date modified Date record modified: [day] [month] [year] 1 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 800.0046 Title A name given to the resource The Abbey Art Centre and Museum, Founded by William F. C. Ohly … P.S. Lindsay, A.T.D. (Lond.), Hon. Curator, c. 1957 Date A point or period of time associated with an event in the lifecycle of the resource c. 1957 Creator An entity primarily responsible for making the resource Abbey Art Centre Museum; Peter S. Lindsay A.T.D. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pamphlet, single sheet, folded to make four pages, printed in black Publisher An entity responsible for making the resource available New Barnet, Herts., UK: Abbey Art Centre and Museum Source A related resource from which the described resource is derived Private collection, England Description An account of the resource Publicity brochure advertising the Abbey Art Centre Museum, open Saturday afternoon, 2:30-5pm, or by appointment. Illustrated on the front cover with a photograph of the tithe barn as seen from the driveway towards the Abbey Art Centre, with the wishing well in the foreground, credited to Francis J. Forty. Inside is a second photograph, also by Francis J. Forty, showing three objects from the museum's collection and identified, left to right, as: 'Pottery Tobacco Pipe (Upper Nile), Wooden Mask (Sierra Leone), [and] Chinese Vase (Tang)'. On the reverse, below further text regarding the Abbey Art Centre, is a map of how to reach the Abbey by public transport (the same map as used in <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1091">800.0045 The Abbey Art Centre Museum ... Curator C.A. Burland, c. 1952</a>). Subject The topic of the resource Abbey Art Centre. Art Art Centre Museum, New Barnet. Lindsay, Peter S. Forty, Francis J., 1900–1990. Art, primitive. Art, primitive -- Africa. Art, Primitive -- Exhibitions. Art, Chinese. Art, Egyptian. Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1091">800.0045, The Abbey Art Centre Museum ... Curator C.A. Burland, c. 1952</a> Language A language of the resource English Contributor An entity responsible for making contributions to the resource Simon Pierse and Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available., display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Abbey Art Centre Abbey Art Museum African art artist colonies baskets beadwork Captain Cook Chinese art Cottie Burland Egyptian antiquities ethnographic art Frances Forty Francis J. Forty Oceanic art Peter S. Lindsay pottery pre-Colombian art primitive art Tibetan art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ee7d70d3de1e130d514fdb4a99e9c212.pdf 8b1b73e3522c0cdb7d602244ecc90df8 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK 20 Davies Street, Mayfair, London, England 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. Katerina Wilczynski was born in Poznan. / After studying in Paris and Berlin she travelled in Spain and France. In 1930 she was awarded the Prix de Rome and remained in Rome until 1939. She was commissioned to paint and draw those ancient buildings where destruction was required by replanning of the city. / In London throughout the "Blitz" she has painted and drawn many of London's damaged buildings and monuments; her painting of Gresham Street was purchased by the Ministry of Information and exhibited at the War Artists Exhibition (National Gallery). / From October 1941 till July 1942, she stayed at Oxford where she executed the architectural drawings and a series of well-known Oxford personalities shown in this Exhibition. / In June 1942, an Exhibition of her work was arranged by the Principal of Somerville College'. 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. exhibition catalogue Date submitted Date object first catalogued: [day] [month] [year] 24-March-2022 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. Jane Eckett 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 800.0049 Title A name given to the resource Drawings and Water-Colours by Katerina Wilczynski, October — November 1942 Date A point or period of time associated with an event in the lifecycle of the resource 1942 October — November Creator An entity primarily responsible for making the resource Berkeley Galleries Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource exhibition catalogue Publisher An entity responsible for making the resource available London: Berkeley Galleries Source A related resource from which the described resource is derived <a href="https://nal-vam.on.worldcat.org/oclc/913361461">National Art Library, Victoria & Albert Museum, London, 200.B.19 1942</a> Description An account of the resource Single sheet, folded, printed in black and white on cream wove paper, with an illustration by Katerina Wilczynski on the front cover showing [check which building], Oxford, and signed within the image 'WILS / OXFORD / 1942'. Inside is a biographical note about the artist followed the catalogue listing of 50 works, divided into four sections: 1928–1938, London 1939–1940, Oxford 1942, and Arkadian [sic] Fantasia 1942. In addition to the 50 listed works, the catalogue refers to Portfolios Nos. I, II, and III. Subject The topic of the resource Wilczynski, Katerina. Berkeley Galleries. Contributor An entity responsible for making contributions to the resource Jane Eckett Rights Information about rights held in and over the resource This Work has been digitized in a public-private partnership. As part of this partnership, the partners have agreed to limit commercial uses of this digital representation of the Work by third parties. You can, without permission, copy, modify, distribute, display, or perform the Item, for non-commercial uses. For any other permissible uses, please review the terms and conditions of the organization that has made the Item available. Berkeley Galleries 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) art student Biography Geoffrey Purser lived at the Abbey Art Centre while a student at the Sir John Cass Institute, c. 1947–49. According to fellow Cass student, Trata Maria Drescher, Purser had "been in the army and got the usual 2-year grant; there were a great many of them in that situation at the Cass (Sir John Cass Institute). The Cass was full of Poles. Geoff was unusual in that he wasn’t Polish!" (Trata Drescher, telephone interview with Jane Eckett, 23 Feb. 2021). Purser is recorded as still living at the Abbey in the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/521">electoral register for 1949</a>. He is also seen in a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/912">photograph of residents sketching at the Abbey, including Noel Counihan</a>, taken in the summer of 1950. Date submitted Date object first catalogued: [day] [month] [year] 31 March 2023 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 148.0000 Title A name given to the resource Geoffrey Purser (fl. 1940s-1950s) Date A point or period of time associated with an event in the lifecycle of the resource c. 1947–50 Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/912">attributed to Picture Post, “Noel Counihan drawing Geoffrey Purser in the Abbey garden. At left Pat Counihan prepares vegetables next to Elizabeth (Betsy) Smith and Mick and Terry Counihan, summer 1950,” The Abbey Art Centre Digital Repository</a> https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/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/23aeb9b1df41a36fa6b7be139f1e7980.jpeg a46740b0c53cb8ab41794b904c1de854 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/febc6615d6c9544071051355449364fe.jpeg 159ec2dd5e6cf1b8359d8db314a1b716 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/55dd693e42db1baf19576af80a3e05aa.jpeg fe34d13f2c3a47fa35f807ea120de330 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/afac7726d3613ba9e589d7cc0bd3a46d.jpeg eb1caa55f8c36971c40036e397d0894c https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/01095a278f3bad69bb01042d7d6b5cf5.jpeg c689e56c12d6c9402f23584746523332 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/25b9ace21c6cb063dd80c94fb9b171d6.jpg bdc8667833df258636bd2fc7bbb8cb65 Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. Christopher Hämmelmann, 'Das Geheimnis des Denkmals [The secret of the memorial]', Die Rheinpfalz, Ludwigshafen am Rhein, no. 274, 25 Nov. 2023, Grünstadt local issue Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. St Martin's Church was badly damaged during Allied bombing on the evening of 6 December 1942. Only the outside walls survived, including Ohly's memorial relief. With thanks to Joachim Specht, Grünstadt, for photographs and details. Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Martinskirche (St Martin's Church), Obergasse 3-5, 67269 Grünstadt, Germany Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, Grünstadt Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, Grünstadt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0016 Title A name given to the resource Grünstadt war memorial: Plaque for the fallen, St. Martin's Church, 1927, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Martinskirche (St Martin's Church), Grünstadt, Rhineland-Palatinate, Germany Subject The topic of the resource War memorials -- Germany. Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource 1927 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Depicts Christ kneeling to support the limp body of a fallen German soldier in a pieta type composition. Christ notably has ringlets either side of his face, akin to Orthodox Jewish payots. Christ German sculpture Jewish life relief religious art war memorials William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/cfdc47fc2bc65c5a5b0fc9a773769dab.jpeg 5216d3a5d291bddf619dd6aae6d067cf https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/127af259c5cdcede102000c1faf568df.jpg 1080b4bc2ef98ecb1c39ebbd91f680b2 Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Sculptural relief for the Hall of Honor for those who fell in the First World War, 1920s, located at the forecourt of the parish church. Architects W. Schönwetter and O. Schaltenbrand; sculptor William Ohly. Expanded after 1945. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Friedrich Haag Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK 69 Weinstraße, 67147 Forst an der Weinstrasse, Rhineland-Palatinate, Germany Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0017 Title A name given to the resource Memorial relief for Hall of Honour for those who fell in the First World War, Forst an der Weinstrasse, 1920s, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived <a href="https://de.wikipedia.org/wiki/Liste_der_Kulturdenkm%C3%A4ler_in_Forst_an_der_Weinstra%C3%9Fe%20(accessed%207%20Dec.%202023)">Liste der Kulturdenkmäler in Forst an der Weinstraße (List of cultural monuments in Forst an der Weinstrasse)</a> Hall of Honour, 69 Weinstraße, 67147 Forst an der Weinstrasse, Rhineland-Palatinate, Germany Subject The topic of the resource War memorials -- Germany. Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource 1920s Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Large stone relief sculpture of Christ blessing two kneeling soldiers. German sculpture war memorials William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ac1ac295b97486d43e283fe36fae3bac.jpg 50b08243b0c6a4b3fa1410c42d9b5392 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bab2ad3f255ea68c80a40ebac7403ebb.jpg cc4002a0fd3e541aa368806c85625139 Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</a> Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Kopernikusstraße, 67063 Ludwigshafen am Rhein, Germany Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. The maquette for the St Francis fountain was among Ohly's possessions at the Abbey Art Centre. Inge King recalled it was the only work of Ohly's she ever saw. It featured on the cover of the 1955 memorial exhibition catalogue at the Berkeley Galleries. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht courtesy <a href="https://upload.wikimedia.org/wikipedia/commons/5/52/Ohly_Friesenheim_Brunnen.jpg">Wikimedia Commons</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0018 Title A name given to the resource St. Franziskusbrunnen, Friedhof Ludwigshafen-Friesenheim (St Francis fountain, Ludwigshafen-Friesenheim cemetery), 1927, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource bronze and stone fountain Source A related resource from which the described resource is derived <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#cite_note-2">German Wikipedia entry for the Friedhofskapelle (Ludwigshafen-Friesenheim)</a> Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1297">130.0019, Relief, Hauptportal Friedhofshalle Friesenheim (Reliefs, main portal, Friesenheim cemetery hall) by William F. C. Ohly</a>; <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1303">130.0025, St Francis (maquette for fountain), c. 1927, by William F. C. Ohly</a> Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource 1927 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Fountain comprising a full-length figure in bronze of St Francis, arms outstretched, standing on a bronze orb with birds at his feet, set within a stone bowl. Subject The topic of the resource Fountains -- Germany. fountains German sculpture religious art St Francis William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/b74418e141bcc34cc4fae4aae2d91f6a.jpg 9e83104d81eb0c4d998b0383f0f06668 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bdc073888a3356e771aac4652e21c690.jpg 3cefa45fe0f612e86b8d92eb9a217ce4 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/62761ccad281045c985b042124e57638.jpg 56bffdd92a06044eb07645d2629c0f8a https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/fdba1c06f22a9ef884a8720e6dbec0ad.jpg 22094f9917767ddbc536d98ee531920a Physical object An inanimate, three-dimensional object or substance. Bibliographic citation List all citations referring specifically to that work of art (not to just the series that it belong to, or the artist in general). Different citations are separated by semi-colons rather than line breaks. Give in order of earliest to latest citation. Use same style as used for the DP throughout [to be decided; for now using Cambridge for Art History style but without the labels]. Full stop at end. <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</a>; <a href="https://www.ludwigshafen.de/lebenswert/im-gruenen/friedhoefe/friesenheim">Friedhof Friesenheim, Ludwigshafen, Stadt am Rhein</a> Date submitted Date object first catalogued: [day] [month] [year] 07 December 2023 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Kopernikusstraße, 67063 Ludwigshafen am Rhein, Germany Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Above the main portal of the cemetery chapel is a <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Friesenheim_Friedhofskapelle_Auferstehungsrelief_Hauck.jpg">large resurrection relief by Theobald Hauck</a>. Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, courtesy <a href="https://commons.wikimedia.org/wiki/File:Ohly_Friesenheim_1.jpg">Wikimedia Commons</a> Photograph (ii) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Joachim Specht, courtesy <a href="https://de.wikipedia.org/wiki/Friedhofskapelle_(Ludwigshafen-Friesenheim)#/media/Datei:Ohly_Friesenheim_2.jpg">Wikimedia Commons</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 130.0019 Title A name given to the resource Relief, Hauptportal Friedhofshalle Friesenheim (Reliefs, main portal, Friesenheim cemetery hall), c. 1926–27, by William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Cemetery chapel, Friedhofshalle Friesenheim Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Relation A related resource 130.0018, St. Franziskusbrunnen, Friedhof Ludwigshafen-Friesenheim (St Francis fountain, Ludwigshafen-Friesenheim cemetery) by William F. C. Ohly Contributor An entity responsible for making contributions to the resource Jane Eckett Date A point or period of time associated with an event in the lifecycle of the resource c. 1926–27 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) Description An account of the resource Stone relief carvings for either side of the main portal of the cemetery chapel, depicting a classically-robed man in a ploughed field, on one side sowing seed and on the other side reaping the harvest with a small scythe. Above him are symbols of a sand-timer and a P with an X (possibly referring to 'pax' or peace). At the base of each carving is a carved vase of flowers. Subject The topic of the resource Doorways -- Germany. architectural sculpture cemeteraries doorways German sculpture portal religious art William Ohly