8 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/221639b76696cf5daa36252d325513c6.jpg 43685864cc13fe088534df1ab2b9df31 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Cheltenham, Melbourne, Victoria, 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]. By descent from the artist 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. Courtesy the artist’s family Date submitted Date object first catalogued: [day] [month] [year] 28 December 2020 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 129.0002 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1936 Title A name given to the resource Untitled (Newton family home in the grounds of the Melbourne Benevolent Asylum, Cheltenham), c. 1936, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour over pencil; dimensions unknown Source A related resource from which the described resource is derived Private collection, Melbourne, Victoria, Australia Description An account of the resource No visible signature. Rights Information about rights held in and over the resource © Max Newton Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contributor An entity responsible for making contributions to the resource Jane Eckett Australian landscape Benevolent Asylum Cheltenham Federation architecture Max Newton Melbourne art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/69b6e6ac296d94e75b9e605237619c4e.jpg 9196e28eac092f29f02b8658b221358c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK [?] Melbourne, Victoria, 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]. By descent from the artist 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. Probably a student work or a work of juvenilia. 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 Date submitted Date object first catalogued: [day] [month] [year] 18 January 2020 Date modified Date record modified: [day] [month] [year] 21 November 2020 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 129.0001 Creator An entity primarily responsible for making the resource Max Newton (1919-1975) Date A point or period of time associated with an event in the lifecycle of the resource c. 1930s Title A name given to the resource Untitled (still life, chrysanthemums), c. 1930s, by Max Newton Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource oil on Reeves & Co London canvas; 35.5 x 22.5 cm Source A related resource from which the described resource is derived Private collection, Melbourne, Victoria, Australia Description An account of the resource Signed with monogram lower left, recto: ‘M’ ; also signed in full lower left, recto, but overpainted: ‘M. T. Newton’. Subject The topic of the resource Flowers in art. Still-life painting. Rights Information about rights held in and over the resource © Max Newton Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contributor An entity responsible for making contributions to the resource Jane Eckett flower painting Max Newton still life student art https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/021268e3a822c87baca0a789b0426e92.pdf 253306c72927e9266bc2d4865e2ba95c 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 London, England Text Any textual data included in the document. Use this element to transcribe exact contents of text. 'Nearly two years ago William Ohly, an art connoisseur and the owner of a gallery, bought the Abbey at New Barnet, founding there an artist's colony where youthful painters and sculptors--mostly Australians--now work, eat, sleep and paint. Some of the work being achieved at the Abbey is of a high standard, and Derek King, of Sydney, is one of its most promising artists. He has just left for Porquenelles, off the south coast of France, where he will spend a year engaged in painting[.]'. Photograph captions: 'Artists from Australia have made this a home away from home: The Abbey, New Barnet, has been converted from a religious institution into an artist's colony and now has a fine array of studios'. 'Derek King in his studio: An artist from New South Wales putting the finishing touches to one of his pictures'. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data newspaper article Collection Don't use this element. Give collection details in source instead. British Newspaper Archive, Findmypast in partnership with the British Library <a href="https://www.britishnewspaperarchive.co.uk/">https://www.britishnewspaperarchive.co.uk/</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. The Sphere (London, England) Date submitted Date object first catalogued: [day] [month] [year] 18 August 2020 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. Little has been hitherto recorded of the Australian artist Derek King who is featured in this article. For a biography see <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1066#?c=0&m=0&s=0&cv=0">147.0000, Derek Vernon Morris King (1924–)</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 800.0015 Title A name given to the resource 'History in stone: houses, ancient and modern in the news. ... An Abbey Art Colony', The Sphere, London, 18 September 1948, p. 375 Date A point or period of time associated with an event in the lifecycle of the resource 1948 September 18 Creator An entity primarily responsible for making the resource The Sphere (London, England) Format The file format, physical medium, or dimensions of the resource newspaper article Publisher An entity responsible for making the resource available London: Illustrated Newspapers Description An account of the resource Illustrated feature article on the Abbey Art Centre. One photograph depicts the front of the main house, seen from a garden along a row of raised borders and through an archway covering in flowering vines. The second photograph depicts an artist from Sydney, Derek King, painting in his studio on the top floor of the main house. Subject The topic of the resource Artist colonies -- England. Artists, Australian -- England -- London. Artists -- Australia -- New South Wales -- Biography. King, Derek, 1924-. Language A language of the resource English 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/516">Inge King and an unidentified man, probably Derek Vernon King, in her studio at the Abbey Art Centre, 1948</a> <div class="element-text"><a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/536">Robert Klippel and friends with a carving from William Ohly's collection at the Abbey Art Centre in London, 1947</a></div> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/536"></a> Type The nature or genre of the resource text Source A related resource from which the described resource is derived <a href="https://www.britishnewspaperarchive.co.uk">British Newspaper Archive</a> Rights Information about rights held in and over the resource © Illustrated London News Ltd / Mary Evans Picture Library. 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 Australian artists in London Derek King Derek Vernon King Derek Vernon Morris King Porquenelles William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/8439141d197f2a2d39e49424a20e63e0.pdf aff2f177b54344982942b0e42031057a 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 Berkeley Galleries, 20 Davies Street, Mayfair, London W.1, UK Physical Dimensions The actual physical size of the original image in cm Dimensions unknown Collection Don't use this element. Give collection details in source instead. Private collection, UK 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] 9 August 2020 Date modified Date record modified: [day] [month] [year] 9 August 2020 Text Any textual data included in the document. Use this element to transcribe exact contents of text. 'Australian art at the Berkeley Galleries: Mr E. McCarthy, Acting Deputy High Commissioner for Australia, opened the exhibition at the Berkeley Galleries in Davies Street. He is seen going around the exhibition with Australian artist James Cant (right)'. 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 102.8006 Title A name given to the resource 'Australian art at the Berkeley Galleries: Mr E. McCarthy with Australian artist James Cant (right)', The Sphere, London, 18 March 1950 Date A point or period of time associated with an event in the lifecycle of the resource 18 March 1950 Creator An entity primarily responsible for making the resource The Sphere, London Format The file format, physical medium, or dimensions of the resource newspaper clipping Publisher An entity responsible for making the resource available Illustrated Newspapers London Source A related resource from which the described resource is derived Berkeley Galleries scrapbook, private collection, UK Description An account of the resource Illustrated Newspapers press clipping of a photograph taken at the exhibition opening of Australian Aboriginal Art: Paintings by James Cant after the original cave paintings recently discovered by Charles Mountford in the Arnhem Land Plateau, at the Berkeley Galleries, London, which opened 7 March 1950. Language A language of the resource English Contributor An entity responsible for making contributions to the resource Sheridan Palmer Type The nature or genre of the resource text Subject The topic of the resource Cant, James, 1911–1982 -- Exhibitions. Rights Information about rights held in and over the resource © Illustrated London News Ltd / Mary Evans Picture Library. 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. Aboriginal Art Berkeley Galleries indigenous art James Cant https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/e94ae83a0c163cddff4cad0f36c5282b.jpg 95e5246066d7465c98ce0efec09955c8 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] 31 August 1883 Birthplace Kingston upon Hull, East Yorkshire, UK Death Date [day] [month] [year] 22 July 1955 Place of death Full address is known; else city and country. London, UK Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) Sculptor, ethnographic art collector, and owner of the Berkeley Galleries and Abbey Art Centre and Museum. Date submitted Date object first catalogued: [day] [month] [year] 8 August 2020 Date modified Date record modified: [day] [month] [year] 3 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. William Ohly at the Abbey Art Centre, c. 1950. Photo: Picture Post. Reproduced: Memorial Exhibition of Painting and Sculpture by William Ohly, London: Berkeley Galleries, 1955. Biography A British born ethnographic art collector and gallery owner, whose Berkeley Galleries and Abbey Art Centre and Museum were important features of the mid-20th century London art scene. William Ferdinand Charles Ohly was born in Kingston upon Hull, East Yorkshire, the youngest of four children born to <a href="https://gw.geneanet.org/bkaston?n=ohly&oc=&p=carl+engelbert+victor">Carl Englebert Viktor Ohlÿ</a> (1847–1900) and <a href="https://gw.geneanet.org/bkaston?lang=en&p=louise+pauline&n=strauss">Pauline Luise Ohlÿ (née Strauss)</a> (1847–1916). His mother was Jewish, from the well-known Strauss/Straus family of Otterberg in the Rhineland-Palatinate of Germany; her second cousin is believed to have been <a href="https://en.wikipedia.org/wiki/Isidor_Straus">Isidor Straus</a>, co-owner of Macy's department store in New York, who died on the Titanic (information re the Srauss/Straus family courtesy Joachim Specht, Grünstadt, 9 Nov. 2023). In 1897, at age fourteen, Ohly moved with his family to Frankfurt am Main where, reputedly on the advice of sculptor Alfred Gilbert, he and his older brother Ernst (later Ernst, born 18 March 1877 in Milan, Italy) attended the famous Städelschule für Bildende Künste. In August 1903 William created his earliest recorded work: a memorial plaque in marble honouring the late Kaiserin Friedrich—eldest daughter of Queen Victoria, wife of Kaiser Frederich III and mother of the last German Emperor, Wilhelm II—for the English Church in Bad Homburg, while at the same time, the nineteen-year old Ohly presented the church in Bad Homburg a set of reliefs of four Evangelists (Badischer Presse, 18 August 1903, cited in Katherine Quinlan-Flatter, '<a href="https://www.facebook.com/100054380026627/videos/pcb.1069766581512666/1053248479406167">Gratwanderung mit St. Georg – Die unglaubliche Geschichte des Bildhauers Ohly</a>', Die Rheinpfalz, Wochenendbeilage, no. 215, 14 Sept 2024). William was subsequently apprenticed to the German sculptor Hugo Lederer in Berlin, circa 1904. He had a studio around this time near Berlin's Tiergarten at Siegmunds Hof 11, where he befriended fellow residents Gordon Craig and Isadora Duncan. In Berlin, on 7 January 1908, he married London-born Florence Annie Kurtzhals née Lloyd (born 23 May 1878, daughter of James Lloyd, mechanical draftsman, and Emma Ann Lloyd; elsewhere Florence's surname is given as Loyd). In the early years of his marriage, he seems to have been a member of the <a href="https://www.artist-info.com/users/artsitpublicpagewithoutportfoilo/325759">Deutschen Künstlerbundes Darmstadt (German Artists' Association Darmstadt), exhibiting one work with them in 1910</a>. With his brother Ernest, Ohly worked as an architectural sculptor in Germany — at first in Cologne and later in the Rhineland-Palatinate, until Ernest's death in 1916. Extant examples of their joint work include a large fountain topped with cornucopia and a vase set within an <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1304">octagonal limestone pool for Frankfurt’s main cemetery</a>, c. 1910, and four groups of putti for the<a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1307"> façade of the art nouveau headquarters of the Frankfurter General-Anzeiger</a> newspaper at Schillerstraße 19-25 (architects Adam Heinrich Assmann and Ludwig Bernoully, 1912). Two carved figures and decorative reliefs of putti and animals for the main entrance of the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1305">Helmholtzschule gymnasium</a> at Habsburgerallee 57-59, Frankfurt (c. 1908-13), were destroyed during the first major British-American air attack on <a href="https://commons.wikimedia.org/wiki/File:Helmholtzschule_frankfurt_hesse_germany.png">4 October 1943</a> (1912; these are just visible in <a href="https://www.frankfurt1933-1945.de/uploads/tx_frankfurt3345/hm_lkhelmholtz1.jpg">this archival photograph</a>, c. 1939; the damage to the building is visible in <a href="https://www.frankfurt1933-1945.de/uploads/tx_frankfurt3345/hm_lkhelmholtz2.jpg">this photograph</a>, taken 4 October 1943). The Ohly name is not currently attached to any of these works yet their authorship is documented in a profile of the brothers in Moderne Bauformen in 1913. Other architectural sculptures of this period include two carved supraportals for the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1306">hospital in Elberfeld (c. 1908-13)</a>. One depicts a naked infant boy, or putti, holding a bird, set within a shell-like grotto surrounded by furled vegetable elements. The other depicts a young child wearing only a fluted cape, which streams behind him, as he sits astride a leaping billy goat, holding the animal by the horns. Below are some curling fronds of vegetation and a small lizard-like creature. Both supraportes are set within shallow recessed demi-lunes over external doorways flanked by carved classical columns. Ohly also supplied architectural relief sculptures for the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1309">District Hall, Düren (1912)</a> and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1308">Victoriaschule, Essen (1912–13)</a>, including an owl, symbolic of wisdom, and a pair of seahorses. His best-known pre-WW1 work was the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1298">Gänsereiterbrunnen (Goose rider fountain)</a> for the public square behind the Apostles Church in Essen (1913), designed in conjunction with the Hagen architect Ewald Wachenfeld in a late Art Nouveau style. The fountain originally had a central bronze element by Ohly: a sculpture of a rider reaching for a goose (the practice of goose riding having been practiced in Frohnhausen until the end of the nineteenth century), which was lost during WW2 when the fountain was buried under rubble. During WW1 Ohly served with a trench mortar batallion, 1915-1919. At the time of enlistment his address was Eschersheimer Landstraße 152, Frankfurt, and he was recorded as being married to Florence Loyd [sic] with no children. His brother Ernest served in the Reserve Infantry Regiment 208 and died at the Battle of the Somme, France, 14 October 1916 (with thanks to Joachim Specht, historian, Grünstadt, for information on William Ohly's brother). William and Florence divorced in Munich, 6 June 1919 (again thanks to Joachim Specht, Grünstadt, for sharing genealogical records). Ohly remarried in the same year: this time to Gertrud Scharvogel (1888-1951). Gertrud was the daughter of renowned ceramicist, manufacturer and lecturer Professor Jakob Julius Scharvogel, who had been director of the <a href="https://www.britishmuseum.org/collection/term/BIOG166244">Grossherzogliche Keramische Manufaktur </a>(Grand Ducal Ceramic Manufactury) in Darmstadt, 1906-13, and a founding member of the Deutsche Werkbund in 1907. Scharvogel’s Jugendstil or art nouveau style ‘Scharvogel stoneware’, with its distinct Japanese influences, is represented in many major collections including the British Museum and the Victoria & Albert Museum. William and Gertrud had two sons: Ernst (later Ernest) Jacob Felix Ohly (1920-2008), who would later take over management of the Berkeley Galleries after William Ohly’s death, and a child who died in infancy in 1925. Throughout the 1920s Ohly executed several church commissions and war memorials in Germany. In October 1920 his designs for a series of Stations of the Cross for Frankfurt Cathedral's cloister were unveiled; a photograph of one such, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/622">The Crucifixion</a>, is housed among the Kineton Parkes collection in the V&A, London; the stations' unveiling was reported in the Frankfurter Zeitung und Handelsblatt (cited in Katherine Quinlan-Flatter, '<a href="https://www.facebook.com/100054380026627/videos/pcb.1069766581512666/1053248479406167">Gratwanderung mit St. Georg – Die unglaubliche Geschichte des Bildhauers Ohly</a>', Die Rheinpfalz, Wochenendbeilage, no. 215, 14 Sept 2024). Other known memorials include a larger-than-life-size figure group featuring a female allegorical figure shielding six fallen soldiers with her cloak, designed with architect Johannes Reuter for <a href="https://global.museum-digital.org/object/2543">Bitterfelder Binnengärtenpark</a> (Bitterfeld Inner Garden Park, 1926) and featuring the names of 516 war dead (demolished in 1969 to make way for a new East German department store); a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1294">Plaque for the fallen for St. Martin's Church, Grünstadt</a> (1927), with its figure of Christ sporting distinctly Jewish sidelocks; and a <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1295">memorial relief for the Hall of Honour for those who fell in the First World War (1933) in Forst an der Weinstrasse</a> showing the risen Christ between two resurrected soldiers dressed in contemporary military uniforms, carved in sandstone relief. The Forst relief shares features in common with a series of <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1297">decorative relief carvings for the main portal of the Ludwigshafen-Friesenheim cemetery chapel</a> (c. 1926–7) as well as a bronze <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1296">St Francis fountain</a> (1927), for the same cemetry gardens, which is today one of Ohly's best-known works thanks to the bronze <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1303">St Francis maquette</a> that Ohly took with him to London and which featured in the 1955 memorial catalogue. As Katherine Quinlan-Flatter stresses, most of Ohly's war memorials in the Pfalz eschewed symbols of victory—appropriately, given Germany's defeat—with many instead employing the figure of St George slaying the dragon. The double symbolism—St George being associated with both Britain and Germany—was likely of significance to Ohly with his divided loyalties. This is seen, for instance, in the <a href="https://de.wikipedia.org/wiki/Alter_Friedhof_%28Waldfischbach%29">old Waldfischbach cemetry war memorial</a>, designed by architect Paul Klostermann and executed by Ohly, showing a heroic bare-chested St George standing over the dragon, his cloak billowing behind him like a scalloped shell, a small shield held aloft in his left hand, as well as in a mounted St George slaying the dragon <a href="http://www.denkmalprojekt.org/2020/mussbach_neustadt-a-d-weinstrasse_wk1_rp.html">war memorial for Neustadt-Mußbach</a> (1929) designed by architects Willy Schönwetter and Otto Schaltenbrand from Neustadt/Haardt. St George also features in Ohly's best known war memorial: the copper-gilded bronze <a href="https://ukniwm.wordpress.com/2013/07/18/apologising-for-a-war-memorial/">St. Georgs-Brunnen</a> (St George's fountain) (1930) at Speyer, designed by architect Karl Latteyer, depicting St George standing over the hapless dragon atop an obelisk set within a fluted metal bowl that sits within a larger stone basin, which carries several reliefs by Ohly and a series of inscriptions from the German national anthem. With the advent of National Socialism, Ohly found it increasingly difficult to practice as a sculptor. His British birth enabled him to move to England at some point between 1933 and 1935 (sources differ as to the date). Ernest was sent to a progressive school in Geneva, the École d’Humanité, run by Paul Gaheeb and his wife, Edith née Cassirer (cousin of art dealers and publishers Paul and Bruno Cassirer), and remained there for the war, and his mother Gertrude found work there too as school matron (see Ines Schlenker, Milein Cosman: Capturing Time, Prestel, 2019, 16–19). Those of Gertrude's family who remained in Munich, including her mother Sophia Scharvogel (nee Vohsen), perished in concentration camps in Terezin and Gurz (see the Ohly family correspondence, 1941-1947, The Wiener Holocaust Library, London, WL 1136; see also <a href="https://gedenkbuch.muenchen.de/index.php?id=personenliste&tx_mucstadtarchiv_stadtarchivkey%5Bopferid%5D=9830&tx_mucstadtarchiv_stadtarchivkey%5Baction%5D=showopfer&tx_mucstadtarchiv_stadtarchivkey%5Bcontroller%5D=Archiv&cHash=06eace674a57d90cb342d50afa3231e9">Munich Gendenkbuch Personeliste entry for Sophia Scharvogel</a>), while one of her sisters, known to William Ohly's children as 'Tante Bob', survived and emigrated to New York (email communication from F. Lettman to S. Palmer, 1 November 2021). Ohly joined James Fitton's evening class in lithography at the Central School of Arts and Crafts in Southampton Row, around 1933. Fellow members of the class included the Communists Pearl 'Polly' Binder (later Lady Elwyn-Jones, 1904–1990), New Zealander <a href="http://www.jboswell.org.uk/index.php">James Boswell</a> (1906–1971), folk singer-journalist-artist Albert Lancaster Lloyd (then recently returned from a stint on an Australian sheep station; 1908–1982), as well as James Holland (1905–1996) and renowned illustrator Edward Ardizzone RA (1900-1979). 'The stimulating political discussions and the general cameraderie were as an important part of the proceedings as the classes' (Dave Arthur, Bert: The Life and Times of A. L. Lloyd, London: Pluto Press, 2012, p. 46). With this group, Ohly helped established the Marxist agit-prop Artists' International Association (AIA; see Arthur, op. cit., pp. 47-8, 111). While only a small handful were card-carrying Communists, they were all determinedly anti-fascist and pro-working-class. Many of the group produced lithographs of London's urban poor around this time, Ohly included. The move to England marked the end of his marriage to Gertrud. Ohly had met in Germany a young sculpture student, Charlotte Maria Adam (1913–2005), known as 'Lottie' or 'Lotchen', who was part of the underground anti-fascist resistance. She followed Ohly to England and they married in Chelsea, 23 October 1935, setting up home at 8a Netherton Court, Chelsea (London Metropolitan Archives; London, England; 1935 Electoral Register). Both were very active in London's émigré support network. By 1936 they were living at 141 Maida Vale, London W9, remaining there until 1939 when they appear in the England and Wales Register as living at 11 Sydney Close, Kensington – also known as 11 Avenue Studios, Sydney Close. Ohly is recorded as ‘artist and painter’ while Charlotte is listed as a dressmaker. Charlotte was by then using her understanding of the figure from her sculptural training, as well as her 'impeccable taste', to work as a seamstress in the high-end dress shop, Robell in Baker Street, run by Sigmund Freud's daughter Mathilde Hollitscher and elegantly fitted out by Mathilde's brother Ernst Ludwig Freud (father of Lucian Freud; see Arthur, op. cit., p. 112). Ohly exhibited at the Royal Academy (RA) in 1935, showing the bronze statuette of <a href="https://chronicle250.com/1935#catalogue=william+f.+c.+ohly">St Francis of Assisi (catalogue no. 1717</a>). He showed there again over the following two years: a statuette titled <a href="https://chronicle250.com/1936#catalogue=william+f.+c.+ohly">Speed (catalogue no. 1524)</a> in 1936 and an untitled <a href="https://chronicle250.com/1937#catalogue=william+f.+c.+ohly">bronze statuette (catalogue no. 1488)</a> in 1937. In December 1939 Ohly held his first one-man exhibition in his studio-home at Kensington, titled Impressions of London: Dockland, East End, West End; watercolours and drawings. Ohly’s interest in everyday people and subjects and his sympathy for the poorer migrant communities in these areas are evident in his works of the late 1930s. These attracted some interest and were included in various group exhibitions such as the one organised by the British Institute for Adult Education on behalf of CEMA (Council for Encouragement of Music and Art) that toured Northumberland venues such as the Miners’ Welfare Institute in Ashington in early 1943. In London Ohy established himself too as an art dealer, mainly in so-called African 'tribal art', Chinese antiquities and medieval sculpture and paintings. In 1941 he established the Berkeley Galleries in Davies Street, off Berkeley Square, London. As a highly respected dealer in ancient and ethnographic objects, both African and Oceanic, Ohly also exhibited modern works of art, including work by Frances Hodgkins, Duncan Grant, Vanessa Bell, Oscar Kokoschka, Jack B. Yeats, Henry Moore, Fred Uhlman, Lucie Rie and Hans Coper’s modernist ceramics, as well as presenting group exhibitions showing works by some of the Abbey artists. The Berkeley Galleries became something of a social centre during the war years, when Ohly, who was of 'a philanthropic nature', 'organised social events with musical recitals, tea and buns at his gallery, as a distraction from the bleakness and blackouts of wartime London' (Arthur, op. cit., pp. 111-2). The 'Critic' for The New Statesman and Nation later recalled Ohly's hospitality one "noisy night—I think it must have been in the fly-bomb period—when we ate jugged hare (he was very proud of his jugging) in a basement of the Berkeley Galleries hung with strings of onion, and crowded with boxes of priceless Chinese art" (Critic [possibly Kingsley Martin], “London Diary,” New Statesman and Nation 50, no. 1280, 17 September 1955, 318). Ohly's marriage with Charlotte broke down in the later years of the war. Through the film director Uri Weiss, Charlotte had met Bert Lloyd (Ohly's friend from the Central School lithography class) and by 1945 their affair was an open secret. After Lloyd's wife's suicide in December 1945, he married Charlotte Ohly in early 1946, though William Ohly remained friendly with both (Arthur, op. cit., p. 111). It is likely through Bert Lloyd, who was then a regular contributor to Picture Post, that the series of Abbey Art Centre photographs reproduced in Bernard Smith's autobiography came to be taken. In 1946, Ohly purchased a three-acre property at 89 Park Road, New Barnet from Father J. S.M. Ward, a collector of ethnographic and religious objects. In 1934 Father Ward established a ‘utopian’ religious order, the Brotherhood and Sisterhood of Antioch, based on religious teachings descended from a church founded before the Greek Orthodox Church. The main house at the Abbey was one of the first private houses constructed of concrete in 1870, while a reassembled fourteenth-century tithe barn from Birchington near Margate, Kent, was used as a chapel. Ward also created a museum and folk park, with some thirty salvaged buildings including a Congo Hut, a Dinka hut, a Chinese Temple and other exotic attractions. Both Ohly and Ward had a passion for collecting glass, porcelain, and medieval works of art, and often met at auctions. The clock tower building contained three flats, and an old school building and numerous outhouses formed thirteen studios. Other rooms in the main house were also rented to residents including the pioneer animator Lotte Reiniger and her husband the German film producer Carl Koch; James Gleeson in 1947-8; Robert Klippel 1947-9 and Mary Webb 1947-49; the Australian art historian Bernard Smith and his family in 1949-50 and Sali Herman, 1953. Ohly’s intention from the outset was to turn the Abbey into a not-for-profit artist’s colony. Other resident artists included the Berliner Inge Winter (née Neufeld), who married the Australian artist Graham King at the Abbey; Noel Counihan and his family, the Scottish painter Alan Davie and his wife Billie; Peter King and Angela Varga. The scholar of Chinese and South East Asian history, Maurice Collis, remarked that the Abbey ‘was in no sense an institution, but undoubtedly provided extraordinary inspiration for the artists who lived and work there’. In March 1950, four years after purchasing the Abbey, Ohly established the Abbey Art Museum in the old tithe barn, which was open to the public on Saturdays. He nominated Cottie Burland, an assistant in the Ethnographic Department at the British Museum, as the museum’s honorary curator. In 1953 Ohly’s son Ernest married Mary Ashthorpe and the pair settled at the Abbey. Their two children, Francesca (born 1955), and Martin J. Ohly (born 1957), were both born at the Abbey. Ernest and his young family moved out from the Abbey after the birth of Martin, moving to South London. Meanwhile, also in 1953, Ohly married his housekeeper, Käthe H. Davidson (née Bodey, 1905-1998), known as Kate, who cooked communal meals for many of the resident artists. Kate arrived at the Abbey in late 1947, having been referred through Ohly's former wife, Charlotte and her second husband Bert Lloyd. Kate had worked for the Lloyds minding their young daughter Caroline, who remembered regular visits and holidays spent at the Abbey, where she and her older half-brother Joseph were allowed to 'dress up in grass skirts and other exciting costumes' (Arthur, op. cit., p. 112). Like Charlotte, Kate was a communist with links to Berlin’s radical left. She had escaped Berlin in 1938/39 through the Red Cross and had an arranged marriage in Switzerland to the News Chronical journalist Michael Davidson in order to obtain a British visa (email from Bienchen Ohly to Sheridan Palmer, 2 September 2021). In London she met up with Hans Otto Alfred Schwalm, otherwise known by his pen-name Jan Petersen, author of Our Street: A Chronicle Written in the Heart of Fascist Germany (Gollancz, 1938) with whom she had a child, Bienchen, in 1942. Ohly formally adopted Bienchen (then known as Barbara) at the time of his marriage to Kate. Bienchen and her sons still live at the Abbey and it continues to function as an artists’ centre. Sheridan Palmer and Jane Eckett October 2020 (updated April 2025) Bibliography Marriage certificate for William F. C. Ohly and Florence Annie Kurtzhals, Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Heiratsregister; Laufendenummer: 469, certificate no. 15. Ancestry.com. Berlin, Germany, Marriages, 1874-1936 [database on-line]. Julius Hülsen, ‘<a href="https://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00087545&pimage=325&v=100&nav=&l=de">Bildhauerarbeiten der Brüder Ernest und Wilhelm Ohly</a>’, Dekorative Kunst, 1912, pp. 271–73. 'Bildhauer Ernst und William Ohly, Frankfurt a.M. u. Köln a.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst, vol. XII, no. 6, June 1913, pp. 296-300. Bayerisches Hauptstaatsarchiv; München; Abteilung IV Kriegsarchiv. Kriegstammrollen, 1914-1918; Volume: 17059. Kriegsstammrolle: Bd. 1, Ancestry.com. Bavaria, Germany, World War I Personnel Rosters, 1914-1918 [database on-line]. William F C Ohly in the 1939 England and Wales Register, 29 September 1939, The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/308I, Ancestry.com. 1939 England and Wales Register [database on-line]. Impressions of London: Dockland, East End, West End; watercolours and drawings by William F. C. Ohly, 11 Avenue Studios, Sydney Close, 76 Fulham Road, S.W.3, 10 December [1939], <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/544">https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/544</a>. Electoral register record for 89 Park Road, Barnet East, London, 20 November 1949, London Metropolitan Archives; London, England; Electoral Registers, ref. no. MR/PER/C/1275, Ancestry.com. London, England, Electoral Registers, 1832-1965 [database on-line]. Berkeley Galleries, London, Exhibition of Work by Artists of the Abbey Art Centre, New Barnet, Herts., Berkeley Galleries, Mayfair, 2 December 1952 to 3 January 1953, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/545">https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/545</a>. C. A. Burland, Memorial Exhibition of Painting and Sculpture by William Ohly, London: Berkeley Galleries, 21 September – 3 October 1955, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/503">https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/503</a>. ‘Scenes of a vanished East End: William Ohly’s pictures', The Times, London, 21 September 1955, p. 3, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/admin/items/show/542">https://omeka.cloud.unimelb.edu.au/abbey-art-centre/admin/items/show/542</a>. Hermione Waterfield, ‘William Ohly 31 August 1883 - 22 July 1955' in H. Waterfield and J. C. H. King, Provenance: Twelve Collectors of Ethnographic Art in England, 1760–1990, London: Paul Holberton Publishing, 2009, pp. 104-109. François de Ricqlès Lionel Gosset, Art Africain et Océanien Collection William Ohly, exh. cat., Paris: Christies, 3 December 2011. Francesca Letterman interviewed by Sheridan Palmer, London, 2013. ‘Name: Scharvogel, Johann Julius’, V&A collections search, London: Victoria and Albert Museum, URL: <a href="http://collections.vam.ac.uk/name/scharvogel-johann-julius/A20416/">http://collections.vam.ac.uk/name/scharvogel-johann-julius/A20416/</a> (accessed 22.9.2020). ‘Jakob Julius Scharvogel’, biographic entry stub, British Museum, London, URL: <a href="https://www.britishmuseum.org/collection/term/BIOG166242">https://www.britishmuseum.org/collection/term/BIOG166242</a> (accessed 22 September 2020). Abbey Museum of Art and Archaeology, ‘JSM Ward and the History of the Abbey Museum’, URL: <a href="https://abbeymuseum.com.au/history/">https://abbeymuseum.com.au/history/</a> (accessed 20 June 2020). <a href="https://de.wikipedia.org/wiki/William_Ohly#">German Wikipedia entry for William Ohly</a>. Email correspondence from Bienchen Ohly to Sheridan Palmer, 13 August 2020. Email correspondence from Joachim Specht to Sheridan Palmer and Jane Eckett, November – December 2023. Katherine Quinlan-Flatter, '<a href="https://www.facebook.com/100054380026627/videos/pcb.1069766581512666/1053248479406167">Gratwanderung mit St. Georg – Die unglaubliche Geschichte des Bildhauers Ohly</a>', Die Rheinpfalz, Wochenendbeilage, no. 215, 14 Sept 2024. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Ferdinand Charles Ohly (1883-1955) Subject The topic of the resource Ohly, William, 1883-1955 Identifier An unambiguous reference to the resource within a given context 130.0000 Contributor An entity responsible for making contributions to the resource Sheridan Palmer and Jane Eckett Type The nature or genre of the resource person https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/3d9b91234f5dad86d0ec71531a92fec3.jpg 8b21587cae7eaebba69a635538174633 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'). Untitled (black goddess in shrine with grinding wheel) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium gouache ink and crayon on lightly textured medium thick beige hand towel paper Physical Dimensions The actual physical size of the original image in cm sheet: 12.0 x 16.7 cm (irregular) 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 a Fabriano ‘geometrico’ sketchbook, inscribed by Phillip Martin in blue crayon: ‘Helen Marshall / Watercolours, gouaches / Positano - Ischia / 1953-1954’. Date submitted Date object first catalogued: [day] [month] [year] 5 July 2019 Date modified Date record modified: [day] [month] [year] 5 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 Ischia, Italy 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 127.0215 Title A name given to the resource Untitled (black goddess in shrine with grinding wheel), c. 1953-1954, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource c. 1953-1954 Format The file format, physical medium, or dimensions of the resource gouache ink and crayon on lightly textured medium thick beige hand towel paper; sheet: 12.0 x 16.7 cm (irregular) 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. Not inscribed or dated. 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/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/ed65452cf56ddeb0f8ad59ebd115d6fc.jpg 8f7379dbc6871d65f568de51dadd2290 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Title of artwork Artwork title only (distinct from 'Title' which is 'artwork title, date created, by creator'). Between Benevenue and the Strand (girl with donkey, white cottage beyond) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image in cm 19.5 x 50.0 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. Medium Ripolin enamel on thick cream wove paper Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Where created Provide as much information as known in the format of: [Place name], [street number and street if known], [suburb], [town], [state or county], [post code], [Country] e.g. Abbey Arts Centre, 89 Park Road, New Barnet, London, Hertfordshire, EN4 9QX, UK Schruns, Austria Date modified Date record modified: [day] [month] [year] 2 July 2019 Notes This is a discursive field that enables us to add further information. Ideally every work has a descriptive entry here. Other items of information that could go here include: Details of any series that the work belongs to. How does the work relate to the artist’s oeuvre? Is it typical or unusual of their work at that specific time? Is it a particularly significant work and, if so, by what criteria? Where a work is not clearly dated, how has the approximate date range been determined? Differences of opinion re title, date, medium etc as recorded in different texts listed in the literature and/or provenance fields. Full stop at end. Mounted in a Spirax Sketch Book No. 532 inscribed by Phillip Martin in black marker pen on front cover: ‘H.M. Austria (Schruns) 9/51-11/51’. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 127.0085 Title A name given to the resource Between Benevenue and the Strand (girl with donkey, white cottage beyond), 1951, by Helen Marshall Date A point or period of time associated with an event in the lifecycle of the resource 1951 Rights Information about rights held in and over the resource © Helen Marshall Estate. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource Ripolin enamel on thick cream wove paper; 19.5 x 50.0 cm Description An account of the resource Signed lower right in black ink: 'HM'. Inscribed and dated in blue biro lower right recto: ‘H 1951’; inscribed in black marker verso: ‘Between Benevenue and the Strand / 50 x 19 1/2 / Shruns 1951 / oil on paper’. Source A related resource from which the described resource is derived Private collection, Australia Type The nature or genre of the resource still image Creator An entity primarily responsible for making the resource Helen Marshall (1918–1996) https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/5b31846bdf1d78bc39a0478fcd9fb5fb.jpg e83755cb1fb886bcae5a93cacd14e02f 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'). The Reaper, Bellarena Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting Medium oil on three ply wood Physical Dimensions The actual physical size of the original image in cm 37.0 x 27.0 cm Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Jane Eckett Collection Don't use this element. Give collection details in source instead. Private collection, Australia Provenance For institutional collections, state when purchased or when and how gifted. Use the exact wording supplied by the institution. e.g. Purchased 1947. e.g. Allan R. Henderson Donation, 1947. If offered for sale by a commercial gallery or auction house, provide as much as possible of the following information: [Auction house], [suburb or town], [state], [name of sale if known], [date of sale], [lot number], [estimate], [price realized]. Collection of Phillip Martin and Helen Marshall, thence by descent. 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’. Title is from the HM monograph compiled by Phillip Martin. 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 Date submitted Date object first catalogued: [day] [month] [year] 30 June 2019 Date modified Date record modified: [day] [month] [year] 22 July 2019 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. Phillip Martin (compiled by), 'Helen Marshall', unpublished monograph, c. 1996, illustrated. 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 127.0059 Title A name given to the resource The Reaper, Bellarena, 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 oil on three ply wood; 37.0 x 27.0 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 pencil lower centre recto: ‘1950’; inscribed by Phillip Martin in black marker pen verso: ‘154 / Bellarena / 1950 / oil on 3/ply / 37 x 27’; also with remain of stamp on reverse: ‘INSPEC...’ (probably a Customs inspection stamp). 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)