DOCSLIB.ORG

(September 1974)Broadsheet-1974

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(September 1974)Broadsheet-1974 WOMEN IN THE ARTS registered at post office headquarters Wellington as a manning santerriw 1Q74 fronting up - broadsheet the magazine for women the workers' report who are learning to be liberated to the readers Broadsheet needs advertising to survive. The rates are very reasonable e.g. $50 for a full page. If there is any­ one in the Auckland area who could help us pursue potential advertisers (sorry we can’t pay you, it will have to be for love) please contact Sandra Coney, phone phone 764 893 urgently. Without advertising we cannot continue in this format. Also if any of you have any influence with firms placing advertising please put in a good word for us. Other ways you can help us survive financially are: — send a donation to P.O. Box 47261, Auckland — take out a subscription - send $4 to 48 St Andrews Rd, Epsom, Auckland. — take out a gift subscription for a friend — send us large envelopes for re-cycling (just fold them all in half, put inside another one with a 3c stamp on Send for a set of 7different and send to the subscription address — encourage your local bookseller to order Broadsheet back issues for if she/he does not already do so (either from us $ 1.00 directly or from Gordon & Gotch) — use our classified advertisements - only $1 per column inch to:48 St Andrews Rd., — send us any photos or drawings of women which might be suitable for illustrations — if you work in an art department save the thrown- Auckland 3 out Letraset sheets and send them to us - we can Future issues of Broadsheet will be on: always find bits to use, like lines and numbers - the October Local Body Politics The image of same goes for any other discarded art material Women in Advertising — if you can write or would like to work on Broadsheet November Older Women in some capacity, phone Sandra Coney 764 893 or write to P.O. Box 47261 Auckland for further details. December Women and Religion We would welcome any articles on these topics, We’d like to thank all those who so far have given dona- although articles on any subjects are welcomed. tions. This has helped our finances enormously._________ Manuscripts should be typed, double spaced on one side of paper only. If you want your manu­ scripts returned please include a stamped and Women and the Law self-addressed envelope. Women law students and law lectu­ Margaret Wilson, lecturer in Indust­ tain it directly, but also to communit rers at Auckland University are cur­ rial Law, and Kaye Turner, senior advice bureaux, legal referral centres rently engaged in the preparation of law student, are sharing the overall and all other social work agencies. a booklet called “Women and the organization of the project. Margaret The material will be clearly, simply Law in New Zealand”. This book­ will be assisted in her supervisory and attractively presented. Detailed let will present a factual account of role by Pauline Vaver, lecturer in accounts will be kept, open to inspec the various legislative provisions di­ Family Law. Kaye is responsible tion, and all financial contributors wi rectly applicable to women in this for the technical production of the receive acknowledgement in the bool country, supplemented by extensive booklet. let itself. information detailing how women They plan to produce 2 0 0 0 copies should go about dealing with judicial of the booklet for national distribu­ Send contributions to: and quasi-judicial bodies. tion in late 1974. Total production costs should not exceed $1000, as Kaye Turner Family law, the law relating to em­ all the work except typesetting and Co-ordinator “Women and the Law ii ployment, the law relating to social printing is voluntary. New Zealand” welfare and the law and commercial They are appealing for financial assis­ C/- Auckland University Students’ transactions will be covered in four Association tance with this project. The booklet comprehensive sections. A large num­ Private Bag will collect together new and useful ber of smaller miscellaneous topics AUCKLAND information and will be an invaluable will also be included. aid, not only to the women who ob­ contents Letters 2 Feminist Diary 3 Behind the News 4 Follow Up 8 Editorial Frances Hodgkins’ Legacy 10 Riemke Ensing on Women Writers 11 Una Platts on Women Artists 12 The Divine Ms M 14 Jan Kemp - Poet 16 Robin White - Painter 18 20 Artists 20 Women at Downstage Theatre 27 Susan Holmes - Fabric Painter 28 How to Succeed in Publishing by Really Trying 30 Printmakers 32 The Man Who Loved Children 34 The Feminist Eye 36 Multi Media 37 Kicking Against the Pricks 38 Hogwash 39 New Broom 40 p e o p le Broadsheet is published by Auckland Women’s Tnese people worked on this issue: Liberation, P.O. Box 47261, Auckland and Elizabeth Dowling, Val Cole, Robin Mack, Sandra Coney, printed by Wanganui Newspapers Ltd, 2 0 Sharyn Cederman, Anne Parsons, Angela Preece, Ed Haysom Drews Ave, Wanganui. Shona Abernethy, Julie Thompson, Sandi Hall, Cheri Apple-’ ton, Lorraine McArthur, Rosemary Ronald, Kate Jason- Permission must be sought before articles may Smith, Mane Hamer, Liz Sadler, Shirley, Sharon Alston, be reprinted. Gail Montgomery. Cover: Kate Jason-Smith Illustrations: Page 10 - Barbara Stanish Pages 1 and 11 Vanya Lowry. Photos: Page33 Christine Drummond Page 14 Alexander Turnbull Library Page 27, 32 Kate Jason-Smith Page 22 of Bronwynne Cornish Thursday magazine 1 letters Dear Broadsheet, I want to let the Broadsheet Collective know that one of encouraging to see N.Z. women moving in the same direct* the silent body of Broadsheet readers is impressed with ion - we certainly need in our magazine racks this viable the fantastic effort that Sandra Coney and the others alternative to current women’s magazines. Hopefully, have put into producing Broadsheet for the last couple Broadsheet will become for more and more women a of years. The effort is all the more impressive because of “breath of sanity”. the apparent lessening of enthusiasm in the Women’s Ruthie Beaglehole Liberation Movement. Wellington. Often I felt critical of the quality of the writing and would personally have liked a more radical feminist Dear Broadsheet, line to have been taken (but feel that I should have put The way the Kirk family has been going, I am momentarily the effort into contributing too). expecting a press statement from little Robyn Kirk announ­ However, the latest issue “Women and Violence” is ex­ cing her support of corporal punishment in schools and the cellent. The quality of the articles is great and the pre­ continuation of the prefect system. sentation really effective. On the eve of my departure for England, I want to Nellie Catt encourage your great work. Auckland _______ _____ Fern Mercier Dear Broadsheet, Dear Broadsheet, I’m greatly impressed by the new format of your publication and particularly admire your choice of graphics for the Sandi Hall’s note on “The Hidden Crimes of Women” poetry section. misquotes me. It was not one quarter of complainants but three quarters who, in Mary Schumacher’s research, However I’m dismayed and angry too, that you are making had provoked their own rape. use of “supportive males”. I think a feminist publication Sandi missed my point that interspousal withholding of should be the work of feminists, i.e. women not men. affection is itself a violent crime - perhaps because as a I can never believe that a man, however understanding he feminist she regards war as the proper form of inter­ thinks he is, could be truly feminist in his actions or his course between the sexes. thinking. Men are not women, whether they cut oft their Again, Sandi can’t see the need for a wider recognition genitals, grew breasts and wear women’s clothing or not. of female criminality. The point is that programmes to Nothing they can do will make them a woman, even by reduce crime must include female offending. And in a proxy. country where only 10% of the crimes prosecuted are If they want to help the feminist cause let them enlighten those of women, we must begin by identifying the un­ their brothers, put out their own enlightened publication, prosecuted areas of female offending. let them picket Parliament, write to the Prime Minister! Did I was cheered by Sandi’s complaint that I lacked com­ Ed Haysom, Murray Ball (forgive me if they’re women) or passion for female offenders. Professor Taylor’s review any of the other supportive males go to the sessions of the of my “Child’s Guide to Crime” complained that my Select Committee on Women’s Rights? Were they angry at the Labour Party Conference for not giving consideration in compassion for women offenders did not also encom­ full to women’s affairs, and if so, who did they tell? pass men! Condemned alike by feminists and their opponents I must have my values right. What is so good about the cover that it couldn’t have been Yours for ever, done by a woman? Why do we have to smile at Stanley (is his nose supposed to be phallic?) when we have Peanuts, Allan J. Nixon Bristow, Wizard, Phantom, Jeeves, Andy Capp, Injun Joe, Briggs and Eric Heath? Dear Broadsheet, Where are Super Ms, Wonder Woman, Clitora L Orgasm and I’ve just received your latest new-format edition and am Lezzie Lon? delighted with it - the new layout looks much more pro­ fessional than the old and the articles were uniformly good. As long as the sexist society exists, men are still our Am enclosing $1.50 to cover rise in subscription costs - oppressors.
Load more

Recommended publications
  • Chapter 13: Drama and Theatre in and for Schools:
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Commons@Waikato http://waikato.researchgateway.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. Drama and Theatre in and for Schools: Referencing the nature of theatre in contemporary New Zealand A thesis submitted in partial fulfilment of the requirements for the degree of Degree Master of Arts in Theatre Studies) at The University of Waikato by Jane Isobel Luton _________ The University of Waikato 2010 Abstract This thesis considers the nature of drama and theatre in and for schools and references the nature of theatre in contemporary New Zealand. Drama in schools in New Zealand has developed from the earliest school productions in the 1800's, through its perceived role to enrich lives, to becoming a discrete Arts subject within the New Zealand educational curriculum in 1999.
    [Show full text]
  • Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object
    Outside the square: A considered approach to the treatment of a three-dimensional paper object Ute Larsen and Camilla Baskcomb ABSTRACT Three-dimensional paper objects can cause quandaries for paper conservators who are accustomed to dealing with two- dimensional works, their structural aspect often requiring the collaboration of conservators and museum professionals from other disciplines. This paper describes the process of conserving a rare inflatable terrestrial paper globe and explores possible methods of displaying such an object. The early 19th-century globe is part of the Voyager New Zealand Maritime Museum’s (VNZMM) collection. Preliminary research has revealed that none of the few remaining examples of this type of globe held in international collections have been conserved to date. The unusual functional nature of this three-dimensional object and how this challenges the conservators’ conventional working methods will be explored. KEYWORDS globe, inflatable, paper, Pocock INTRODUCTION In 2001, during an impromptu tidy-up in the paper conservation studio at the Auckland Art Gallery Toi o Tãmaki (AAG), a box labelled ‘Handle like raw eggs’ came to light and sparked our interest. What was this folded, crumpled and torn work made from ultrathin tissue? After carefully unpacking it, we knew that we were looking at a map of the world in a rather unusual format and in a very poor state (see Figure 1). 2010 almost detached bamboo ring and several loose pieces. All components had been kept in an old cardboard box (see Figure 2). AI CC M B OO Figure 2 The bamboo ring and the South Pole before treatment.
    [Show full text]
  • Here She Had Left Off, Although Her Limited Finances Kept Her Away from Paris
    FIGURE 2.10 lead the society into closer relationship with avant-garde developments centring Alfred Wallis, The Steamer, c. 1930 on Paris. That same year, 1926, his wife, Winifred Nicholson (1893–1981), gained FIGURE 2.11 membership and it is she who first helped the society generate a more pronounced Christopher Wood, The Sloop Inn, St Ives, 1926 character. In her wake Cedric Morris and Christopher Wood (1901–1930) arrived at the Seven & Five in 1927, and David Jones (1895–1974) the following year. By 1929, when Frances Hodgkins achieved membership after being proposed by Morris, the society had become associated with a painterly lyricism, rooted in a combination of the romantic and the real. The desire for directness and simplicity encouraged a faux-naïve ingredient which, in the case of Ben Nicholson and Christopher Wood, had been partly encouraged by their discovery in St Ives of Alfred Wallis (1855–1942), a self-taught painter and former fisherman. In 1927 Ben Nicholson had asked the Tate Gallery curator H. S. (Jim) Ede, with whom he shared certain aesthetic interests, to write an introduction which would identify the new freedom which Seven & Five art promoted. Ede wrote: The line of the Seven and Five is, I think, to break quite clearly from the representa- tional in its photographic sense though not like the cubists to abandon known shapes. It is to use everyday objects, but with such a swing and flow that they become living things, they fall into rhythm in the same sort of way that music does, but their vitality comes through colour and form instead of sound and time.
    [Show full text]
  • 2Nd Project Funding Round 2002/2003
    Creative New Zealand Funding SECOND PROJECT FUNDING ROUND 2002/2003 This is a complete list of project grants offered in the second funding round for the 2002/2003 year. Grants are listed within artforms under Creative New Zealand funding programmes. In this round, 258 project grants totalling more than $3.3 million were offered to artists and arts organisations. More than $13.7 million was requested from 849 applications. National Dance Archive of New Zealand: Pacific Arts Association: towards the 7th Arts Board: Creative and towards archiving New Zealand dance International Symposium in Christchurch Professional Development $14,230 $11,000 CRAF T/OBJECT ART Guy Ryan: towards attendance at Impulstanz, Lynn Taylor: towards undertaking a printmaking Vienna residency in Korea Steve Fullmer: to research the construction of $3,400 $5,000 paper clay sculpture $12,000 Spinning Sun Ltd: towards research and LITERATURE development of a dance film University of Canterbury: towards a conference Objectspace: towards curatorial research for an $8,310 celebrating creative writing in New Zealand exhibition called “The Secret Life of Things” $10,000 $10,000 Throw - Disposable Choreography: towards research and development into dance MOVING IMAGE Damian Skinner and Moyra Elliot: to improvisation undertake research on New Zealand’s anglo- $7,000 Lissa Mitchell: towards undertaking a film oriental studio pottery history preservation internship in the United States $15,000 Alexa Wilson: towards a choreographic $5,000 development workshop DANCE $12,400 MOVING
    [Show full text]
  • David Ezekiel Benjamin, Later Known As David Edward Theomin, Was Born in Bristol, Gloucestershire, England, on 25 April 1852. Hi
    David Ezekiel Benjamin, later known as David Edward Theomin, was born in Bristol, Gloucestershire, England, on 25 April 1852. His father, Joseph Benjamin, a Jewish minister, had emigrated from Prussia earlier in the nineteenth century and discontinued the name of Theomin. His mother, Esther Braham, was Joseph's second wife, and he had two half-brothers, one half-sister, and one sister. David was educated at Wharton's School in Queen's Square and then, from January 1862 to December 1864, at Bristol Grammar School. After serving an apprenticeship in the hardware trade, he worked for three years for Platnauer Brothers, merchants. In 1874 he sailed for Melbourne, Australia, where his half-brother, Abraham Benjamin, lived. There he worked for P. Falkand Company, wholesale jewellers. David Benjamin first visited New Zealand in 1878. On 29 November he was shipwrecked near Tauranga on the steamer Taranaki , but no lives were lost. By 1879 he was back in Melbourne, and on 21 January he married Mary Ann (known as Marie) Michaelis, eldest daughter of the successful businessman Moritz Michaelis. The couple were to have two children, Edward and Dorothy. On his return to Dunedin David Benjamin helped his father-in-law to develop a tannery business in Sawyers Bay. The firm Michaelis, Hallenstein and Farquhar (later incorporated as Glendermid Limited) was established in Dunedin in 1879. By 1880 the firm of D. Benjamin and Company had opened for business in Princes Street as wholesalers and general importers, and by 1881 David Benjamin owned a house in Royal Terrace. In 1885 David Ezekiel Benjamin resumed the surname his father had used in Prussia and by deed poll became known as David Edward Theomin.
    [Show full text]
  • Hera Dunleavy. Height 169 Cm
    Actor Biography Hera Dunleavy. Height 169 cm Awards. 2011 Winner of the Short Film Silver Bear Award-Berlin Film Festival-Manurewa 2004 Winner of 'Best Dramatic Production'for the Radio Play'The Outsiders' 2002 Chapman Tripp Theatre Awards Nomination - Best Supporting Actress - Who 's Afraid of Virginia Woolf 1994 Chapman Tripp Theatre Awards - Winner Most Promising Newcomer - Beautiful Thing Feature Film. 2015 Inland Road Lyndie TIR Ltd (Guest) 2010 Bloodlines Pharmacist Screentime NZ Limited - Tele Feature Film (Support) Dir. Peter Burger 2009 After the Waterfall Maddie Paraffin Productions (Guest) Dir. Somone Horrocks 2007 Waiting for You Dube Film Production NZ Dir. Shyam S. R Upadhyay 2001 For Good Mel New Zealand Film Commission (Support) Dir. Stuart McKenzie 2000 Blessed Theresa Rachel Douglas Productions, NZ (Lead) Dir. Rachel Douglas 1999 A Small Life Social Worker Dir. Michael Heath Short Film. 2016 Parasites Kathryn Dir. Michael Cannon Miller PO Box 78340, Grey Lynn, www.johnsonlaird.com Tel +64 9 376 0882 Auckland 1245, NewZealand. www.johnsonlaird.co.nz Fax +64 9 378 0881 Hera Dunleavy. Page 2 Short continued... 2009 Manurewa Clancy Robbers Dog Films Dir. Sam Peacocke 2009 Amadi Della Frame Up Films 1996 O Tamaiti Various Roles Paewai Productions 1995 Permanent Wave Jane Fiona Bartlett Productions Television. 2012 Shortland Street Nellie Afeaki South Pacific Pictures Limited (Guest) Dir. Various 2010 Bliss - Telefeature/TVNZ Henrietta MF Films Limited (Support) Dir. Fiona Samuel 2006 Rude Awakenings Series 1 Dara M F Films (Regular Recurring) 2005 Interrogation Series 1 Megan South Pacific Pictures Dir. Murray Keane 2005 Korero Mai Series 4 - 5 Trish Dir.
    [Show full text]
  • THEATRE 2020 Master Builder , 'Solness' Auckland Theatre Company, Dir: Colin Mccoll
    Andrew Grainger Hair Brown - Light Eyes Green Height 6'2'' / 188 cm DOB 1965 Notes: British accent. FEATURE FILM 2018 Meg, 'Morris's Lawyer' Warner Bros, Dir: Jon Turteltaub 2017 The Breakerer Upperers, 'Peter Stallone' Piki Films, Dir: Jackie Van Beek/Madeleine Sami 2015 6 Days, 'Ray Tucker' GFC Ltd, Dir: Toa Fraser 2014 25 April, 'Edmund Bowler' GFC Ltd, Dir: Leanne Pooley 2014 The Dark Horse, 'Clive' Four Knights Film, Dir: James Napier Robertson 2008 The Lovely Bones, 'Foreman' Dreamworks, Dir: Peter Jackson 2007 Kiss Me Deadly, 'Detective' ApolloProMovie & Co/Filmproduktion, Dir: Ron Oliver 2001 In the Beginning, 'Esau' NBC, Dir: Kevin Conner 2001 Mean Machine, 'Ketch' SKA, Dir: Barry Skolnick 2001 Spy Game, 'Andrew Unger' Zaltman Films Ltd, Dir: Tony Scott 2000 Large, 'Norman Gates' Film Four, Dir: Justin Edgar 1998 Parting Shots, 'Best Man' Michael Winner Ltd, Dir: Michael Winner TELEVISION 2019 The Brokenwood Mysteries: season VI, 'Alden' South Pacific Pictures, Dir: Various 2019 The letter for the King, 'Pox Faced Captain' Netflix, Dir: Various 2018 The Bad Seed , 'John Stevens' South Pacific Pictures, Dir: Various 2018 Straight Forward, 'Des Patterson' Screentime Productions, Dir: Charlie Haskell & Ric Pellizzeri 2018 Westside: Series IV, 'Declan' South Pacific Pictures , Dir: Various 2017 The Shannara Chronicles , 'Cogline (recurring)' MTV, Dir: Various 2015 The Making of the Mob 2: Chicago, 'Big Bill Thompson' AMC, Dir: John Ealer 2015 Ash vs Evil Dead, 'Lt. Boyle' Starz Evil Dead NZ Ltd, Dir: Various directors 2014 When We
    [Show full text]
  • Major New Exhibition and Publication Celebrate the Life and Work of 20Th
    PRESS RELEASE THURSDAY 14 FEBRUARY 2019 Major new exhibition and publication celebrate the life and work of 20th-century trailblazer Frances Hodgkins Frances Hodgkins: European Journeys opens at Auckland Art Gallery Toi o Tāmaki, marking the 150th anniversary of the artist’s birth. Left Frances Hodgkins Wings over Water 1931–32 Leeds Art Gallery, Leeds Museums and Galleries, gift from the Contemporary Art Society, 1940 Photo: Leeds Museum and Galleries (Leeds Art Gallery) U.K. / Bridgeman Image Auckland Art Gallery Toi o Tāmaki presents Frances Hodgkins: European Journeys, a major exhibition of work by one of New Zealand’s most influential artists, opening Saturday 4 May. Frances Hodgkins: European Journeys is the culmination of a significant international project to bring together artworks from New Zealand and around the globe to explore the artist’s place in 20th-century art. The exhibition traces Frances Hodgkins’ creative and peripatetic life through France, Morocco and Spain to her final days in England, examining the influence of location on her development as a modernist painter and the notion of travel and journeying as a source of artistic inspiration. Born in Dunedin, Frances Hodgkins (1869–1947) left for Europe in 1901 and, by the late 1920s, had become an important figure within British Modernism, exhibiting with avant-garde artists such as Ben Nicholson, Barbara Hepworth and Henry Moore. With a professional life that spanned almost six decades, the two World Wars, and periods of massive social and cultural change, Hodgkins caught the spirit of a new age. Today, she is celebrated as one of New Zealand’s most successful expatriate artists of the 20th century, and has an ongoing legacy in both Europe and this country.
    [Show full text]
  • FRANCES HODGKINS Paintings and Drawings
    THI II I \ VIOK FRANCES HODGKINS paintings and drawings AUCKLAND CITY ART GALLERY AUCKLAND CITY ART GALLERY the paintings and drawings by FRANCES HODGKINS The Pelorus Press Limited, Auckland, New Zealand, 1959 HIS CATALOGUE, which has been prepared by the Keeper, Mr Colin McCahon, Twill accompany the Frances Hodgkins Collection on a New Zealand tour and also provide a handbook for the Collection in Auckland. Although it depends heavily on E. H. McCormick's exhaustive Works of Frances Hodgkins in New Zealand, 1954, it does include works acquired since that book was published, and also contains further material in the catalogue entries. We are also very grateful to Mr MoCormick for further information. The Auckland City Council's decision, on Mr Eric Westbrook's initiative, to form a collection of Frances Hodgkins's painting deserves nothing but praise, for if she received little recognition in this country during her lifetime, this collection will be a permanent token of the esteem in which her art is now held in New Zealand. P.A.T. April, 1959 FRANCES HODGKINS A BRIEF BIOGRAPHY RANCES HODGKINS was born in Dunedin, New Zealand, in 1869. In 1890 she Fexhibited for the first time at Dunedin and Christchurch; in 1893 she attended art classes given by G. P. Nerli and from 1895 to 1896 studied at the Dunedin School of Art. In 1901 she left for Europe, visiting England, France, Holland and Morocco. She returned to Wellington in 1903, remaining there until she once more left for Europe in 1906. Her first 'one man' exhibition was held in London in 1907.
    [Show full text]
  • IN083 Calig Brochurev2
    Tonight we are proud to bring you the New Zealand professional premiere production of this European theatre classic by renowned French-Algerian writer Albert Camus. The piece has always appealed to me, combining as it does, cool almost casual existential argument with outrageous theatricality. As a character in Camus’ novel La Chute (The Fall) says, ‘The French have two passions: having opinions and having sex.’ English–speaking productions of the play have been rather stymied by stilted translations, but, by a happy coincidence, Oliver Driver emailed me last year about this brisk new translation by Scottish playwright David Greig which he had just seen at London’s Donmar Warehouse. The production was a sellout success. Suddenly Mr Camus’ play was ‘fashionable’ again. Certainly with tales of tyrants masked and unmasked filling our newspapers and TV programming, it is an appropriate time to revisit the piece. I leave it for you to decide what the play is about: the story of an intelligent tyrant whose motives seem both strange and profound; an account of a hideous social experiment where bizarre thoughts become a reality; or an extraordinary fugue on grief and the lengths to which pain of loss will drive us. But there is no denying the logic of Camus’ argument, the out and out theatricality and the finely observed characters. It is at the same time both very Roman and very French. My thanks to the cast and creative team – and a big welcome to Auckland Theatre Company’s mainbill to Peter Daube and David Van Horn. On a personal level thanks also to my son Willie, who was a classics scholar, French linguist, actor, poet, party animal and frequent visitor to Rome.
    [Show full text]
  • Elizabeth Mcrae. Height 164 Cm
    Actor Biography Elizabeth McRae. Height 164 cm Awards. 2006 Appointment as an Officer of The New Zealand Order of Merit Film. 2020 Mothers of the Revolution Eunice GFC Films (Guest) Dir. Briar March Prd. Matthew Metcalfe&Leela Menon Feature Film. 2010 Rest For The Wicked Lillian Lippy Pictures (Lead) Dir. Simon Pattison Prd. Maile Daugherty 2006 30 Days of Night Helen Munson Ghost House Pictures (Support) Dir. David Slade 1999 Jubilee Agnes Morrison South Pacific Pictures (Support) Dir. Michael Hurst 1998 Wild Blue Myra Daybreak Pictures Dir. Dale Bradley 1990 An Angel at My Table Nurse Hibiscus Films (Support) Dir. Jane Campion 1988 Never Say Die Daisy Everard Films (Support) Dir. Geoff Murphy 1982 The Scarecrow Mrs Peacock Oasis Films (Support) Dir. Sam Pillsbury PO Box 78340, Grey Lynn, www.johnsonlaird.com Tel +64 9 376 0882 Auckland 1245, NewZealand. www.johnsonlaird.co.nz Fax +64 9 378 0881 Elizabeth McRae. Page 2 Short Film. 2019 Stella Stella Dir. Alison Titulaer (Lead) Prd. Emma Mortimer 2011 Checkout Dir. Wayne Tourell Prd. Peter Mockry 2008 Journey To Ihipa Gladys Journey To Ihipa Ltd (Lead) Dir. Nancy Brunning 2004 Eating Sausage Joyce Dir. Zia Madviwalla 2004 The Father's Shoes Mother Dir. Sam Scott 2002 D.O.T Matrix Betty God Zone Pictures (Lead) Dir. Reuben Pollock Prd. Liz DiFiore Television. 2019 The Brokenwood Mysteries Series 6 Mrs Marlowe South Pacific Pictures Ltd Dir. Various 2018 The Brokenwood Mysteries Series 5 Mr Marlowe South Pacific Pictures Dir. Various Prd. Tara Landry 2017 Shortland Street - 25th Anniversary Marjorie Brasch South Pacific Pictures (Returning Guest) Dir.
    [Show full text]
  • Download PDF Catalogue
    Front and back covers: Shane Cotton, lots 31 – 34 ART + OBJECT Art+Object 3 Abbey Street Newton Auckland PO Box 68345 Wellesley Street Auckland 1141 Tel +64 9 354 4646 Free 0 800 80 60 01 Fax +64 9 354 4645 [email protected] www.artandobject.co.nz instagram: @artandobject facebook: Art+Object youtube: ArtandObject Photography: Sam Hartnett 24.09.19 Design: Fount–via Print: Graeme Brazier EXHIBITING QUALITY LANDSCAPES NEW ZEALAND'S FINEST LUXURY PROPERTIES PAIHIA ROAD BAY OF ISLANDS This significant Bay of Islands property comprises of a substantial home on approximately 2.62 hectares, with a predominant northerly aspect and an elevated outlook. The property’s location commands views from Opua through to Russell, Waitangi and beyond the Black Rocks to Mataka Station. Designed by the highly respected architect, Ron Sang, the home exhibits superior features and a quality build. Regard to the aspect and location is evident throughout. The unusual curved design ensures outstanding views from every room. luxuryrealestate.co.nz/NT149 445 MOONEY ROAD QUEENSTOWN An elevated, private and sunny 3.5 hectares with expansive views is the setting for this substantial family home of 457 square metres designed for easy living and entertaining. Six bedrooms including master with ensuite and walk in wardrobe, main bathroom with full bath, and guest room with private ensuite, two living rooms, a serious cooks kitchen with scullery, an office and three car garaging complete the contemporary floor-plan. Canadian cedar cladding outside and high quality walnut joinery inside give a sophisticated alpine feel. luxuryrealestate.co.nz/QN47 636 HUNTER ROAD QUEENSTOWN Located in the golden circle of country homes 58 Hunter Road is one of Queenstown's most secluded estates set in a very private and unique environment.
    [Show full text]