9 10 84 https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/63fd4c5755156e56b6dff974357471c9.png c9e80b0c6a517ba758dedfe82b2a617f Physical object An inanimate, three-dimensional object or substance. 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 Victoriaschule, Kurfürstenplatz 1, 45138 Essen, Germany 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. Victoriaschule, Kurfürstenplatz 1, 45138 Essen, Germany 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. Bildhauer Ernst Und William, Frankfurt A.M. U. Köln A.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst XII, no. 6 (June 1913): illustrated p. 300 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. Architect: "Stadtbaurat Erbe, Essen". Albert Erbe (1868–1922) of the State Building Authority designed the Victoria Gymnasium. Building began in the autumn of 1912 and was completed on 23 April 1914. It was named after Victoria Luise of Prussia. <a href="https://historischesportal.essen.de/startseite_7/ereignisse_1/jubilaeum/viktoriaschule_1.de.html">During World War II the building was badly damaged in bombing raids</a>. It has not yet been established whether the Ohly brothers' work survived. One of the oldest still existing high schools in the city of Essen, the building has been listed since 1989. 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. Moderne Bauformen: Monatshefte für Architektur und Raumkunst, 1913 Date submitted Date object first catalogued: [day] [month] [year] 08 December 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 130.0030 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) and Ernst Ohly (1877–1916) Date A point or period of time associated with an event in the lifecycle of the resource c. 1912–13 Title A name given to the resource Architektur-Plastiken am Viktoriaschule, Essen (Architectural sculptures at the Viktoria Gymnasium, Essen), c. 1912–13, by Ernst and William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Bildhauer Ernst Und William, Frankfurt A.M. U. Köln A.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst XII, no. 6 (June 1913): illustrated p. 300 Description An account of the resource Carved stone architectural decorative relief sculptures. It is not known which elements depicted here are from the <a href="https://de.wikipedia.org/wiki/Viktoria-Gymnasium">Viktoriaschle</a>, Essen, and which are from the Kreishaus zu Düren (Düren town hall). However, the inclusion of an owl (symbolic of wisdom) in one of the pair of carved columns, to the right, suggest these were done for the school. A pair of seahorses and a child can also be seen in this same pair of carved ornaments. The mask at the lower left is similar to that found on the base of the <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1298">Gänsereiterbrunnen, Essen (Goose rider fountain, Essen)</a>. Subject The topic of the resource Sculpture, German -- 20th century. Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1298">130.0020, Gänsereiterbrunnen, Essen (Goose rider fountain, Essen)</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1309">130.0031 Architektur-Plastiken am Kreishaus zu Düren (Architectural sculptures at the district hall in Düren)</a> Contributor An entity responsible for making contributions to the resource Jane Eckett architectural sculpture Ernst Ohly German sculpture schools William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/add646857527c86232a5cf1b6f8757de.png c9e80b0c6a517ba758dedfe82b2a617f Physical object An inanimate, three-dimensional object or substance. 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 Düren, Cologne District, North Rhine-Westphalia, Germany 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. Kreishaus zu Düren (Düren town hall), Bismarckstraße, Düren, Cologne District, North Rhine-Westphalia, Germany 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. Bildhauer Ernst Und William, Frankfurt A.M. U. Köln A.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst XII, no. 6 (June 1913): illustrated p. 300 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. Architect: "Stadtbaurat Dauer, Düren" (City planning officer Dauer, Düren). Heinrich Dauer (1871–1952) was Düren's city architect, designing many prominent buildings in the city including the municipal hospital on Roonstraße in 1909 and the District Hall (Kreishaus zu Düren) in 1913. The Kreishaus was destroyed in World War II. The Ohly brothers' works are thought to have been lost at this time. 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. Moderne Bauformen: Monatshefte für Architektur und Raumkunst, 1913 Date submitted Date object first catalogued: [day] [month] [year] 08 December 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 130.0031 Creator An entity primarily responsible for making the resource William F. C. Ohly (1883–1955) and Ernst Ohly (1877–1916) Date A point or period of time associated with an event in the lifecycle of the resource 1912 Title A name given to the resource Architektur-Plastiken am Kreishaus zu Düren (Architectural sculptures at the district hall in Düren), 1912, by Ernst and William F. C. Ohly Type The nature or genre of the resource physical object Format The file format, physical medium, or dimensions of the resource stone relief Source A related resource from which the described resource is derived Bildhauer Ernst Und William, Frankfurt A.M. U. Köln A.Rh. - Verschiedene Architektur-Plastiken', Moderne Bauformen: Monatshefte für Architektur und Raumkunst XII, no. 6 (June 1913): illustrated p. 300 Subject The topic of the resource Sculpture, German -- 20th century. Rights Information about rights held in and over the resource © Estate of William Ohly. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1298">130.0020, Gänsereiterbrunnen, Essen (Goose rider fountain, Essen)</a> <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1308">130.0030, Architektur-Plastiken am Viktoriaschule, Essen (Architectural sculptures at the Victoria Gymnasium, Essen)</a> Contributor An entity responsible for making contributions to the resource Jane Eckett Description An account of the resource Carved stone architectural decorative relief sculptures. It is not known which elements depicted here are from the Viktoriaschle, Essen, and which are from the Kreishaus zu Düren (Düren town hall). However, the inclusion of an owl (symbolic of wisdom) in one of the pair of carved columns, to the right, suggest these were done for the school. A pair of seahorses and a child can also be seen in this same pair of carved ornaments. The mask at the lower left is similar to that found on the base of the Gänsereiterbrunnen, Essen (Goose rider fountain, Essen). architectural sculpture Ernst Ohly German sculpture town halls William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/ef964e312804fc89f474cce6ccae55bc.jpg 5f8a05d39c5cf80c195e5574e86d5dfd 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 London, England; probably in the flat above the Berkeley Galleries, 20 Davies Street, London W1Y 1LH, 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]. Presented by the Estate of Katerina Wilczynski through the good offices of Martin Kauffmann, on behalf of the descendants of Arthur and Tamara Kauffmann, 2024. 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. <a href="https://benuri.org/exhibitions/87-cosmopolis-the-impact-of-refugee-art-dealers-in-london/overview/">Cosmopolis: The Impact of Refugee Art Dealers in London</a>, Ben Uri Gallery & Museum, London, 26 June to 6 September 2024. 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. Ben Uri Gallery, London Date submitted Date object first catalogued: [day] [month] [year] 15 December 2025 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. Wilczynski's sketch captures the exotic jumble of Ohly's flat above the Berkley Galleries at 20 Davies Street, showing what looks to be an Aboriginal carved shield and a hand-drum hung over the fireplace amid a string of onions, and an aquarium and assorted bottles on the mantle-piece, flanked by a carved Madonna and child on the left and a Tibetan goddess on the right and with an American Indian dream-catcher hanging below. 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 326.0004 Title A name given to the resource Ohly's Kitchen, c. 1942–46, by Katerina Wilczynski Date A point or period of time associated with an event in the lifecycle of the resource c. 1942–46 Creator An entity primarily responsible for making the resource Katerina Wilczynski (1894–1978) Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource watercolour and ink on paper; 35.4 x 40 cm Source A related resource from which the described resource is derived <a href="https://benuri.org/artists/437-katerina-wilczynski/works/2657-katerina-wilczynski-ohly-s-kitchen-c.-1940s/">Ben Uri Gallery, London, accession no. 2024-07</a> Description An account of the resource Inscribed in pencil lower right recto: "Ohly's kitchen." Subject The topic of the resource Ohly, William, 183–1955. Wilczynski, Katerina, 1894–1978. Rights Information about rights held in and over the resource © Katerina Wilczynski 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). Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1010">326.0001, Homage à William Ohly: Artist’s Hope and Help, by Katerina Wilczynski, [December 1943]</a>. <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/1315">326.0003, Untitled (Ohly's kitchen), c. 1942–46, by Katerina Wilczynski</a>. Contributor An entity responsible for making contributions to the resource Jane Eckett Berkeley Galleries chimneys Goddesses kitchen mantle piece William Ohly https://omeka.cloud.unimelb.edu.au/abbey-art-centre/files/original/bc8d87cf978c5e66f5379018ce78d0d2.png c573d184e44f7b478ea694b24f83be8c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey residents Date A point or period of time associated with an event in the lifecycle of the resource 1946–1956 Type The nature or genre of the resource Person Contributor An entity responsible for making contributions to the resource Jane Eckett and Sheridan Palmer Person Abbey resident (and dates of residence if known) OR visitor to the resident OR satellite artist. Birth Date [day] [month] [year] 2 August 1900 Birthplace Łódź, Congress Kingdom of Poland, Russian Empire (now Poland) Death Date [day] [month] [year] 1952 Place of death Full address is known; else city and country. London, England Occupation Be as precise as possible; follow DAAO standards if possible. eg. painter, potter, photographer (rather than simply artist) draughtsman, illustrator, cartoonist Bibliography John Berger, Marcel Frishman (Bruno Cassirer, Oxford, 1957). Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020. "Marcel Frishman artist," Ben Uri Research Unit, https://www.buru.org.uk/contributor/marcel-frishman Date submitted Date object first catalogued: [day] [month] [year] 15 January 2026 Biography Born in Łódź in 1900 to a Jewish family, the Russian pogroms of 1904 caused Frishman's family to flee west into Germany. Settling in Berlin he attended school at the Fichtegymnasium, enjoying Latin and Greek. His aptitude for art was recognised by his teacher, <a href="https://de.wikipedia.org/wiki/Alfred_Thon">Alfred Thon</a>, who gathered Frishman into a small group of talented students, including Peter von Hamm (who would later work as a translator), <a href="https://en.wikipedia.org/wiki/G%C3%BCnther_Franke">Günther Franke</a> (who became a prominent if controversial Munich gallerist who was later accused of having profitted from the Nazi's purge of modern art), and <a href="https://www.stolpersteine-berlin.de/de/motzstr/51/walter-herzberg">Walter Herzberg</a> (who, like Frishman, would become a satirical cartoonist and who Frishman tried in vain to help escape the Nazis; he was murdered at Auschwitz in 1943). The group shared art books and magazines with each other and remained close friends until 1938 when National Socialism forced their dispersal. After completing school, Frishman's parents arranged an apprenticeship for him in the metal industry in Mannheim. However, Mannheim's art gallery proved more interesting to him. Realising he wanted to pursue art, he abandoned the apprenticeship and returned to Berlin to study at the <a href="https://de.wikipedia.org/wiki/Unterrichtsanstalt_des_Kunstgewerbemuseums_Berlin">Unterrichtsanstalt des Kunstgewerbemuseums Berlin </a>(Teaching Institute of the Museum of Decorative Arts Berlin), on Prinz-Albrecht-Straße, under renowned graphic artist <a href="https://en.wikipedia.org/wiki/Emil_Orl%C3%ADk">Professor Emil Orlík</a>. From there he progressed to the Berlin Academy, studying with impressionist graphic artist <a href="https://www.lbi.org/griffinger/record/246958">Hans Meid</a>. At the Berlin Academy, he met his future wife, <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/998">Margret Kroch-Frishman.</a> They bonded over their shared interest in modern art, particularly German Expressionism, and took long walks around Berlin and down by the ports, which were always a favoured location for him. The pair married in 1923. Frishman began selling illustrations to German periodicals, including Die Jugend, Berliner Tageblatt, Der Querschnitt and Uhu. As a result, in 1926 he was offered employment in Munich with the leading political and satirical magazine <a href="https://en.wikipedia.org/wiki/Simplicissimus">Simplicissimus</a>. As one of their youngest artists on staff, Frishman produced hundreds of illustrations for Simplicissimus until 1933, when the National Socialists clamped down on the formerly liberal magazine. As his friend <a href="https://en.wikipedia.org/wiki/Gustav_Regler">Gustav Regler</a> recalled, Frishman's drawings were characterised by "minimal lines, clarity of form and self-assurance of composition, with themes of everyday life, not recorded naturalistically, but represented in a new form with psychological insight" (Regler, typescript notes on Frishman, estate of Marcel Frishman). These were usually drawn in the privacy of the studio, from memory of figures encountered previously in the street. Regler also recalled Frishman's talent as a musician (he was related to the German-Polish Jewish pianist and composer <a href="https://en.wikipedia.org/wiki/Moritz_Moszkowski">Moritz Moszkoski</a>) and his voracious appetite for books. In English his taste ran to George Bernard Shaw, Hemingway and DH Lawrence, but his passion was for the Russians: Gogol, Turgenev, and Pushkin. In 1933, when the National Socialists tooks over Simplicissimus, Frishman was faced with an ultimatum: collaborate with the Nazis or leave Germany within 24 hours. He chose the latter, fleeing to France with Margret and their one-year-old son Martin. In Paris Frishman worked with Lucian Vogel in an attempt to revive the magazine Assiette au beurre. When the project failed after only one issue, the family moved on to Copenhagen, where Frishman worked as a freelance illustrator (his reputation from Simplicissimus having preceded him). In 1934 they moved to Brussels, and lived for a period at an arts centre for refugees at <a href="https://www.buru.org.uk/contributor/marcel-frishman">Berchem-Sainte-Agathe</a>. In Brussels Frishman worked with <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/911#?c=0&m=">Lotte Reiniger</a> and <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/997">Carl Koch</a> on an animated film, Dream Circus (1936/37), inspired by Stravinsky’s Pulcinella though never finished owing to the outbreak of war. The Frishmans are believed to have later encouraged Reiniger and Koch to settle at the Abbey Art Centre. Marcel visited Berlin briefly at the end of 1937 to collect his cameras and other materials needed for the Brussels work, and while there realised the imminent dangers for Jewish people. However, in 1938 the Belgian authorities rejected the Frishman family's visa renewals, compelling them to return to Berlin where they experienced the trauma of Kristallnacht in November. Hastily assembling exit papers, they escaped Germany 48 hours later. Their exit was enabled through securing visas to Australia, organised by Margret's elder sister, Emilie (known as Emmy) Monash, who was married to a cousin of Sir John Monash, and sponsored by another of her sisters, Fanny Louise (Liese) Kroch (National Archives of Australia: series <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=203366387&isAv=N">B4064, control symbol SCHEDULE 10/V271</a>). The Frishmans subsequently sailed from Toulon on the Orient Line RMS Ormonde, arriving in Fremantle on 25 April and disembarking in Melbourne on 1 May 1939 (see passenger arrivals list, National Archives of Australia: <a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=12078256">series</a><a href="https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=12078256"> K269, 25 APR 1939 ORMONDE</a>). Year later, Martin Frishman's wife, Federica Frishman, recounted the family's dramaric journey: "The exit from Germany to Toulon by train was traumatic. At the border between Germany and France, the train was stopped by a very drunk top SS Commander who mistook Marcel for an old school friend and invited him for more drinks, leaving Margret and Martin waiting on the train, fearing that this was the end. Fortunately Marcel was a very good clown and for one hour he pretended to be this Nazi’s old friend, laughing and drinking together. He returned no worse for the experience. The train was allowed to continue and Toulon was reached. They embarqued on the last trip of the Orient Line RMS Ormonde going to Melbourne. This was a 6 weeks voyage and Martin was the only happy member of the family: being on the boat was a new and exciting adventure for him" (Federica Frishman, unpublished notes on her husband Martin Julius Frishman (1932–2016), 8 August 2020). The Frishmans soon established a photography business called Studio Marcel, working from their flat at 108 Acland Street in St Kilda, and offering not only commerical photographic services but also reproduction and "artistic colouring" services (see their <a href="http://nla.gov.au/nla.news-article261414327">advertisement</a>, The Australian Jewish Herald, 17 October 1940, p. 9). Both Frishmans donated specimens of their photography to an exhibition held to raise funds for the Red Cross, showing alongside another noted Jewish photographer <a href="https://adb.anu.edu.au/biography/shmith-louis-athol-15802">Athol Shmith</a> (see H.S., "<a href="http://nla.gov.au/nla.news-article261414984">For Red Cross: Exhibition of Photographs</a>," The Australian Jewish Herald, November 28 1940, p. 3). The exhibition toured to Sydney the following year (see "<a href="http://nla.gov.au/nla.news-article247568458">Governor's Family All Keen Photographers</a>" The Daily Telegraph, Sydney, 18 March 1941, p. 10). However, photography was not enough to live on and Marcel struggled to find employment in Melbourne as an illustrator. He was compelled instead to take work in a steel factory, and also served from 1942 with the Royal Australian Air Force (RAAF). In 1948 the Frishmans held a joint exhibition at Velasquez Galleries, though the Melbourne press gave it scant notice. Altogether the pair spent thirteen years in Australia, struggling financially (their house and property in Germany having been confiscated by the Nazis and sold) and with little recognition. Marcel's health consequently suffered. The family returned to Europe, sailing from Sydney on the Cameronia and arriving in Liverpool on 9 April 1951. They appear in passenger arrival records as: Marcel Frishman, photographer, age 50; Margaret Frishman, sculptor, age 55; and Martin Frishman, student, age 18, latterly of Australia, bound for Holland and with a nominated address of Poste Restante, Zutra Post, Amsterdam (nos. 345, 346 and 347 on the shipping list). They settled immediately at the Abbey Art Centre, from where Frishman began supplying illustrations to the Swiss satirical magazine Nebelfpalter. However, his health did not improve and he died of a heart attack at the Abbey in 1952. A commemorative book was issued in 1957 by Bruno Cassirer with a selection of Frishman's drawings and texts by John Berger and George Besson. Two retrospectives were held the following year at Upper Grosvenor Galleries and Marlborough Fine Art, the latter showing fifty of his drawings. Date modified Date record modified: [day] [month] [year] 29 January 2026 Photograph (i) Who owns the copyright of the photograph (as opposed to the artwork)? Do not use the © symbol here. Just state the name of the photo credit. e.g. Leonard Joel, Melbourne PLUS we need to credit the owner of the photo if the photo is in private ownership or part of an institutional repository. If part of an institutional collection, need to also include any identifiers (accession numbers etc). e.g. Mark Strizic, courtesy Marcus Zikaras e.g. Mark Strizic, courtesy State Library Victoria, H2008.142/4 No full stop at end. Marcel Frishman, 1930s, courtesy the Frishman estate Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 151.0000 Title A name given to the resource Marcel Frishman (1900–1952) Type The nature or genre of the resource person Subject The topic of the resource Frishman, Marcel, 1900–1952. Caricatures and cartoons. Contributor An entity responsible for making contributions to the resource Jane Eckett Relation A related resource <a href="https://omeka.cloud.unimelb.edu.au/abbey-art-centre/items/show/998">Margret Kroch-Frishman (1897–1972)</a> Creator An entity primarily responsible for making the resource Variant spellings: Marcel Boleslaw Frishman, Marcel Frishmann, Marcel Fishmann, Marcel Frischmann