9 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/3338b52f3153771476dce58a5c829715.jpg e2905a1b89dc0094fa71f68f890a5bf6 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] 1925 Birthplace Vienna, Austria Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) sculptor, painter, mural artist Date submitted Date object first catalogued: [day] [month] [year] 12 August 2021 Bibliography <a href="http://www.kunstschau.at/angela-varga/avbio.html">Iby-Jolande Varga, Angela Varga website</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. Angela Varga with a young thrush she rescued from a cat, at the Abbey Art Centre, c. 1950–53, courtesy the artist Date modified Date record modified: [day] [month] [year] 13 January 2026 Biography Born in Vienna in 1925, the daughter of Hugó Varga and ceramic sculptor and portrait artist <a href="http://www.kunstschau.at/keramik-varga/ida.html">Ida Móricz Varga (1894–1987)</a>, and niece of novelist <a href="https://en.wikipedia.org/wiki/Zsigmond_M%C3%B3ricz">Zsigmond Móricz</a>, Angela Varga's family were of Hungarian origins—part of the then recently dissolved Habsburgs Empire. She was just fourteen years old at the outbreak of WW2, when she enrolled at the Wiener Kunstgewerbeschule (Vienna School of Applied Art), studying jewellery and sculpture there under Eugen Mayer. This renowned pioneering school had strong ties with the Wiener Werkstätte; for an account of the school's ceramic studio see Emmanuel Cooper, Lucie Rie: modernist potter (Yale, 2012), 36–47. After the war she progressed to the Academy of Fine Arts in Vienna, 1945–46, studying sculpture with Prof. <a href="https://www.belvedere.at/en/wotruba-international#Biography">Fritz Wotruba</a>, life drawing with <a href="https://de.wikipedia.org/wiki/Herbert_Boeckl">Herbert Boeckl</a>, and painting with <a href="https://en.wikipedia.org/wiki/Sergius_Pauser">Sergius Pauser</a>. Following this, she went to Paris in 1947 to study painting with Jean Dupas at the École des Beaux Arts. Between periods of formal study, she worked from Wotruba's studio on Böcklinstrasse, Vienna. In early 1950 Varga travelled to England, via Switzerland, to join her sister Kate, who was then working in London as a nurse and would later marry Abbey sculptor Peter King, and friend <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/991">Helen Grünwald</a>. During this period she stayed with Grünwald at the Abbey for a few months. In March that year, the private secretary to <a href="https://en.wikipedia.org/wiki/Kenneth_Clark">Sir Kenneth Clark</a> gave Grünwald and Varga a private tour of his collection, Clark being away at the time. Grünwald afterwards invited Clark to the Abbey, specifically to view Varga’s work, describing Varga as "a very gifted young painter-sculptor" who "only narrowly escaped being transported by the Nazis during the war" and who, since the end of the war, "has firmly established herself as one of the foremost artists in her country" (Grünwald to Clark, 17 May 1950, TGA 8812/1/2/2696). Varga was due to return to Vienna in the first week of June, and Grünwald hoped Clark might write a reference for her to support her return to England to study at "one of the London Schools of Art, or possibly, the Slade" (Grunwald to Clark, 17 May 1950, TGA 8812/1/2/2696). Clark accepted Grünwald’s invitation, writing in advance to Ohly that "Miss Grunwald is very anxious for me to see the work of a girl named Angela Varga, who is a student at the Abbey" and proposing a mutually convenient date (Clark to Ohly, 18 May 1950, TGA 8812/1/2/4850). The visit eventuated in the late afternoon of 26 May 1950. Clark soon afterwards provided the much-needed reference for "Miss Weiss-Varga," commenting to Grünwald that "it must be lovely for you to find someone with a talent so akin to your own, because, although there are naturally differences in your work, the vision and sympathies are very much the same" (Clark to Grünwald, 30 May 1950, TGA 8812/1/2/2698). A week later, Varga was accepted at the Slade (Grünwald to Clark, 7 June 1949, TGA 8812/1/2/2699). Varga was back in London by mid-October 1950 to commence study at the Slade, specialising in painting and printmaking. She also studied mural painting and ceramics at the Central School of Fine Arts. During this time she lived at the Abbey Art Centre. <a href="http://www.kunstschau.at/angela-varga/skizzenb.html">Varga's London sketchbooks</a> include rapid pencil sketches drawn on the spot at Billingsgate Fish Market (also a favoured subject of Grünwald's), Smithfield Meat Market, and Covent Garden. Her Paris sketchbook of the early 1950s was unfortunately stolen, though she afterwards sketched Les Halles from memory. Varga returned to Vienna in 1953, working there independently and exhibiting with the Neuer Hagenbunde (established in 1948 by Rudolf Richly and Cary Hauser). In 1954 she founded the <a href="http://www.kunstschau.at/keramik-varga/">Keramik Varga</a> workshop, which operated until 1972. She held her first solo show in 1955, at the <a href="https://de.wikipedia.org/wiki/Galerie_n%C3%A4chst_St._Stephan">Neue Galerie Grünangergasse, </a>following which she began receiving commissions for wall designs, executed, from 1956 onwards, from her studio in Modenapark. Further exhibitions were held in 1958 at the Galerie Gurlitt in Munich, Wuppertal Museum, and London's New Art Center. In November 1965 she exhibited sculpture (bronze reliefs), jewellery and paintings at the Molton Gallery, London. The Illustrated London News reviewed it positively, describing her as "a painter and printmaker who is better known on the continent than in England" and "a master of line as her delightful small etchings, priced at only 15 guineas, show" ("Pieces for collectors," ILN, 27 November 1965, p. 53). In the same year she also exhibited at the Österreichisches Museum für Angewandte Kunst (Austrian Museum for Applied Arts, now MAK) and was was awarded both the Theodor Körner Preis and the Preis des Wiener Kunstfonds (Vienna Art Fund Prize), winning the latter again in 1966. <div class="VIpgJd-yAWNEb-hvhgNd-k77Iif"> In 1966 she exhibited at the Institut für Kulturelle Beziehungen in Budapest as part of a retrospective for her mother Ida Móricz Varga. Her work was exhibited at Galerie 1640 in concert with the Montreal Expo of 1967; Haus Irene Koch, Reken, 1968; Galerie Clasing, Münster, 1969; Nancy Pool Gallery, Toronto, 1972; Goethe Institute, Brussels, 1976; Mattersburg Kulturzentrum, 1980; Galerie am Edelhof, Großhöflein, 1993; and Caestecker Fine Arts Gallery, Wisconsin, 1999, which hosted a retrospective titled "Three women, three generations: Ida Móricz Varga, Angela Varga, and Iby-Jolande Varga". Jane Eckett 13 January 2026 </div> 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 140.0000 Title A name given to the resource Angela Varga (1925–) Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/a1a2c041eded2539c2239281effe70d7.jpg a65a74a0672b09687c56ffcbb4fa80db Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 7 July 1894 Birthplace Poznań, Poland Death Date [day] [month] [year] October 1978 Place of death Full address is known; else city and country. 12 Bedford Gardens, Kensington, London, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) painter, graphic artist, illustrator, etcher, printmaker Date submitted Date object first catalogued: [day] [month] [year] 12 August 2021 Biography Katerina Ulricke Wilczynski was born in Poznań, Poland, and educated in Germany. After studying at the Berlin School for Arts and Crafts, the Academy of Fine Arts in Berlin, and the Leipzig Academy for Graphic Arts, she worked as an illustrator in Germany in the 1920s. Awarded the Prix de Rome in 1930, she studied at the Accademia Tedesca Villa Massimo for one year on a scholarship and throughout the 1930s lived in Rome, where she was commissioned 'to draw and paint many ancient buildings, where demolition was required by replanning of the city'; these were published in book form shortly after the war, in 1946 (Katerina Wilczynski, Rome, London, Nicholson & Watson [1946], text from publisher's blurb on book jacket). A selection of her drawings of <a href="https://collections.vam.ac.uk/item/O40494/roma-drawing-wilczynski-katerina/">Rome</a>, <a href="https://collections.vam.ac.uk/item/O40491/venezia-drawing-wilczynski-katerina/">Venice</a> and <a href="https://collections.vam.ac.uk/item/O40495/verona-1936-drawing-wilczynski-katerina/">Verona</a>, from 1934–1936, are now in the V&A collection. Fleeing Italy for England in 1938, her name appears in the 1939 England and Wales Register, living at Redgates, Cannington, Devon, and listed as an 'artist (painter)' (The National Archives; Kew, London, England; 1939 Register; Reference: RG 101/6850C). During the war she gained permission from the Central Institute of Art and Design (CIAD) to paint views of bombed churches in London. Five of these were offered to the Imperial War Museum, of which one was purchased for 5 guineas in February 1941 (Imperial War Museum, London, war artist archive, file on Miss Kaete Wilczynski, <a href="https://www.iwm.org.uk/collections/item/object/1050000933">ART/WA2/03/143</a>). Another watercolour of bombed buildings in East London, <a href="http://heritage.southwark.gov.uk/objects/478/gresham-street?ctx=6891e655-fe6f-4f82-8052-0661e7732282&idx=0">Gresham Street, 1941</a>, is now in the collection of Southwark Heritage Centre and Walworth Library. She also produced during the war years a portrait series called Oxford Figures, depicting English and European emigré intellectuals such as pyschoanalyst and translator and editor of Jung <a href="https://collections.ashmolean.org/object/94774">Dr Gerhard Adler</a>, German-British art historian and East-Asian specialist <a href="https://collections.ashmolean.org/object/94691">Dr William Cohn</a>, historian <a href="https://collections.ashmolean.org/object/94775">Lord David Cecil</a>, literary scholar <a href="https://collections.ashmolean.org/object/95188">Nevill Coghill</a>, art critic <a href="https://collections.ashmolean.org/object/95378">Denys Sutton</a>, composer <a href="https://collections.ashmolean.org/object/95379">Egon Wellesz</a>, and the Australian-born British classical scholar <a href="https://collections.ashmolean.org/object/94771">Professor Gilbert Murray</a>. These are now all in the collection of the Ashmoleon Museum, Oxford. William Ohly gave her two solo exhibitions at the Berkley Galleries: <a href="http://www.worldcat.org/oclc/913361461">Drawings and Watercolours</a>, in October to November 1942, and again in 1944. The connection was possibly made through William Cohn, who wrote several catalogue essays for Ohly. Wilczynski's gently comical Christmas card to Ohly from December 1943, headed <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1010">Homage à William Ohly: Artist’s Hope and Help</a>, depicts Ohly receiving a queue of artists–folios under their arms–and various vignettes inscribed 'sehr gescheit [very nice] / Poor Papache / but even without words / not on speaking terms'. She signed it 'Kat. Wilczynski – the grateful'. At the time of the December 1939 'alien internees' tribunal, she was living at 77 Bedford Gardens, Kensington (The National Archives; Kew, London, England; HO 396 WW2 Internees (Aliens) Index Cards 1939-1947; Reference Number: HO 396/102), and by 1949 she was registered in the electoral rolls at 12 Bedford Gardens, Kensington, at which address she was still living at the time of her death some three decades later. She appears not to have ever lived at the Abbey but was a friend of former Abbey-resident, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/998">Margret Kroch-Frishman</a>—possibly through Ohly's introduction (see Ben Uri Research Unit, '<a href="https://www.buru.org.uk/record.php?id=828">Margret Kroch-Frishman, artist</a>'). Throughout the 1940s she was included in several group shows of contemporary Jewish artists at the Ben Uri Gallery. She also held an <a href="http://www.worldcat.org/oclc/502119886">exhibition of architectural drawings</a> at Roland, Browse & Delbanco in 1946, and, at the same gallery, in 1949, a series she called '<a href="http://www.worldcat.org/oclc/82612365">Mediterranean Fantasies</a>'. After the war she resumed travelling through Europe, staying in Paris, Spain and Greece, and producing numerous illustrated books including travel books. An early example of such, An artist's diary in pictures; pen and ink drawings of a continental journey (The Hague: A.A.M. Stols; Oxford: Bruno Cassirer, 1949), carried a preface by the influential British art critic Eric Newton. She had supplied drawings to influential emigre publisher Bruno Cassirer since 1946, illustrating works on architecture and Ovid (Bruno Cassirer Publishers Ltd. Oxford 1940–1990: An Annotated Bibliography with Essays, ed. Jutta Weber and Rahel E. Feilchenfeldt, V&R Unipress, 2016, pp. 100–2). A <a href="http://www.worldcat.org/oclc/43223444">retrospective</a> of her work was held at the New Art Centre, Chelsea, in 1980. Jane Eckett 13 August 2021 Bibliography Gretel Wagner (ed.), Katerina Wilczynski, exh. cat., Berlin: Kunstbibliothek der staatlichen Museen, Preussischer Kulturbesitz, 1975. Jutta Vinzent, Identity and Image: refugee artists from Nazi Germany in Britain (1933-1945), Kromsdorf/Weimar: VDG Verlag (Schriften der Guernica-Gesellschaft, 16), 2006, p. 31. Jutta Weber and Rahel E. Feilchenfeldt (eds), Bruno Cassirer Publishers Ltd. Oxford 1940–1990: An Annotated Bibliography with Essays, V&R Unipress, 2016, pp. 100–2. <a href="https://www.npg.org.uk/collections/search/person/mp07733/katerina-wilczynski">'Katerina Wilczynski (1894-1978), Artist', National Portrait Gallery, London.</a> Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Katerina Wilczynski, author photograph from the cover of Homage to Greece, London: Macmillan and Co., 1964 Date modified Date record modified: [day] [month] [year] 3 June 2022 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 326.0000 Title A name given to the resource Katerina Wilczynski (also known as Kathé, Kaete and Kate Wilczynski) (1894–1978) Type The nature or genre of the resource person Contributor An entity responsible for making contributions to the resource Jane Eckett 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