RANCES

AUCKLAND FESTIVAL OF THE ARTS HOBC

JUNE 1954 i IE K

AUCKLAND CITY ART GALLERY < me i FRANCES HODGKINS AND HER CIRCLE

An Exhibition arranged by the AUCKLAND CITY ART GALLERY on the occasion of the AUCKLAND FESTIVAL OF THE ARTS 1954 uc ART GALL! 9-9 HG3 Ace

THE PELORUS PRESS - AUCKLAND - FOREWORD

HEN LAST YEAR the Library .iiul Ait Gallery Committee laid down the Woutlines of the Gallery's future poli.v. MIC decision \\.is ol outstanding importance. Tim uas that a truly represent.iti\e collection of the works ol Frances Hodgkins should be built up so that for the hrst lime in Ncu Zealand this artist could be studied fully in a public gallery ami furthei research on her lile and work undertaken. With the recent acquisition ol thirteen new works by the artist, the first part of this policy has now been put into opeiati.in, and tlu second will become possible with the publication In the Gallery later this year of the book Works of Frances Hodgkins in New Zealand. written by Mr H. H. McCormick. As the leading authority on this artist. Mr MeConnick's kiv>wleci'_;e and ad\ ice are indis- pensable and without him this present exhibition \\mild ha\c IHVII impossible. It is therefore our pleasure to thank him in particular for his introduction and notes in this catalogue, and in general for the many other sen ic.cs which he has given to us. At the same time, such an exhibition as this cannot be cieated without truly rcprcscmathe works, and ue must therefore express our gratitude to all those public institutions and pii\.ite owners listed lx-low u ho have made1 possible the loan of the paintings and drawings for which we asked. While our thanks are extended to all these people, we feel that it would be wrong if we did not express our special gratitude to Mrs A. ('•. Pearse, Curator of the Public Art Gallery, and Mr Stcu in Maclennan. Director of the National Art Gallery, , as well as to those members of the Ilodgkins and Field families who were unsparing in information and who made the lull resources of their collections available to us. Finally, we must think Mr Nelson Thompson lor the design of this catalogue, and the members of the City Art Gallery stall who have loyally engaged in what has been a considerable undertaking. The aim of this exhibition has been primarily to place Frances Hodgkins in her context, but in doing so we have realised the great individual qualities of some of her associates and contemporaries. These artists can be represented here only by small groups of selected w:orks, but it is hojx-d that they will be done fuller justice in the future by the presentation of exhibitions devoted to them alone. The 1954 Festival of the Arts promises to be an event of outstanding quality and is made particularly rich by the participation of New Zealand artists of all kinds. It is therefore appropriate that our most distinguished modern painter and some of those who have made the history of art in New Zealand should take their rightful place alongside them. E.W. CONTENTS

Foreword Page 3

The Exhibition 5

The Catalogue

I Forerunners 7

II The Hodgkins Familv 9

III Dunedin Elders and Contemporaries 11

IV European Teachers 15

V Frances Hodgkins -The Dunedin Years. 1890-1901 17

VI New Zealand Artists Met in Europe 19

VII Frances Hodgkins — Europe and New Zealand, 1901 - 1913 22

VIII The Later Years 24

Brief Chronology of Frances Hodgkins 29

List of Sources 29

Index to Lenders 30

Index to Artists 30 THH EXHIBITION

KE ANY OTHER ARTIST for whom large claims are made, Frances Ilodgkins must L in the end be judged on the score of her achievement. The romantic interest or her life, with its harsh struggles and long-deferred success, her integrity of character, her wit and personal charm, her special importance to New Zealand as a symbolic, almost mythical figure —all these will avail nothing when the time arrives to assess her place as a British and European painter. That time has not yet come, nor will it until the effort is made to collect and display the best examples of her immense output now scattered through two hemispheres. One would like to think that New Zealand might undertake this difficult and costly enterprise — that her own country might one day sponsor the first fully representative exhibition of Frances Hodgkins. Meanwhile, in both hemispheres, we must make do with lesser displays. The piesent exhibition, frankly historical and biographical — even anecdotal —in its interests, has been arranged to illustrate in the most concrete way some of the original sources of Frances Hodgkins as a painter and, within the limits of the material a\.iilable, the course of her development through more than half a century. It attempts to put her in the setting of her place and time, to suggest possible influences and analogues, and, for comparative purposes, to range her beside a number oi her i\cw Zealand contemporaries. A proviso must necessarily be made: owing to practical difficulties, not every artist is represented by his best work; and of the numerous drawings and paintings by Frances Hodgkins now assembled, perhaps only I lundful will find a place in the ultimate, strictly selected canon on which IIe lies in the opjKMtunities lor reassessment and illumination provided by an exhibition such as this.

May 1954. E.H.M.

MeaMire.nea? , '.I' pictures arc given in inehe'., height I • width. The\ .ur sight measurements, i.e. tin- M/C nt ,i picture as seen within the frame or mimnt. THE CATALOGUE

i. Forerunners FRANCES HODGKINS was born in Duneclin in 1869, only a couple of decades alter the Inundation of the Otago Settlement. During the turbulent years of pioneering and gold-discovery, though it had not established a local tradition, Dunedin was already the home of artists. In this section of the exhibition are assembled works by the more gifted of these men and by two others, John Gully and J. C. Richmond, who were both closely associated with Dunedin and the llodgkins family through their friend- ship with W. M. Hodgkins. All these men were born in Great Britain, all were amateurs, all were landscape painters, all worked mainly in water-colour, and, with only one notable exception, all could be fairly described as romantic painters of the English school. In general, they represent an early (but not the earliest) phase in the history of New Zealand painting —the attempt of cultivated exiles to imprison the New Zealand landscape within formulas derived from the study of J. M. W. Turner (in the original or in reproduction) and from the eloquent precepts of John Ruskin. The water-colours of the Gully school, with their delicate charm and pensive evocations, exerted a powerful — and not always salutary — influence on later New Zealand painting. But this is not an influence to be seriously reckoned with in the i lopment of Frances Hodgkins. As will be seen, her youthful talent took her in a different direction.

JOHN BUCHANAN, 1819-1898 the Museum's basement by Dr H. D. Skinner, who deposited them in the Hocken The senior Dunediii painter, Buchanan u:is Library- The best of the collection is 'Mil- in his own day the most neglected. Indeed, ford Sound', one of the few indisputable it is unlikely that either he or his work was masterpieces of New Zealand art, painted six known to the small circle of artists and art- years before Frances Hodgkins was born and lovers presided over by W. M. Hodgkins. almost certainly quite unknown to her. Born in Scotland, where he worked as a pattern designer, Buchanan emigrated to 1. MILFOHD SOUND Otago in 1849, and in 1862 found employ- Water-colour. 8| x 19j. ment as a draughtsman - botanist. During No signature or date. [1863]. exploratory trips in Central and Western / nil by the Hocken Library, Dunedin, Otago from 1862 to 1864, he produced a University' of Otago. handful of water-colours, but apparently did not paint again. The water -colours were JOHN GULLY, 1819-1888 found amongst his papers at the time of his From early childhood. Frances line!.! death, given to the Otago Museum, and must have been famili.ir with Gully's Ian.I nearly forty years later were retrieved from scapes hanging on the crowded walls of the Hodgkins drawing room with other examples Otago Art Society. \e\etthcless, he "as. ol British and colonial art. As a young i:ng to family tradition, a sketching n, she report*, without that ' \\'. M. Ilodgkins, and a small her father had refused to allow her brother water colour in the exhibition was found in Percy to borrow a Gully for i iient one ot 1 lud.gkins's portfolios. of his SIM '".. I ludgkins and Gully '.ipanicd each other on sketching i-xpcdi 3. DUNhDIN FROM TlIE JUNCTION colour. 27i x 40j. lions and, in the manner of the time, exchanged facetious illustrated letters. In his d and dated 'George O'Brien 1869' nativi- Bath, Gully worked as draught ught. and clerk, and took lessons in landscape /•> tin- Otago Early Settlers' Assocw painting, lie migrated to New Zealand in lion, Dunedin. 1852, living in Taranaki until the 4. GRtEN ISLAND of war, when he settled in Nelson. II, , colour. 9i x 12i. ng master at Nelson College ami la'i r \o -ignature nr date. worked under J. G. Richmond as surv Lent ]>) Mr I'. D. Hodgkins, Auckland. and draughtsman. Gully has l>ccn described as 'New / i id Turner', a title whuli certainly indicates the major sour [AMES <- I'.OWL RICHMOND, numerous works. 1822-1898 1 ngiiuer. fanner, administrator, parliamentar 2. LANDSCAPE i.in. •• •. holar, amateur painter of talent, Huh Water colour. 23$ x 19J. mond was the most versatile and the most Signed and dated 'John Gully 187V lower cultivated of the circle which included Gully left. and llodi;kins. In I/melon, his birthplace, he In the National Art Gallery, Wcllii:: a'.tenJed University College, training • I engineer. On reaching New Zea- (.1-ORC.E O'BRIEN, 1821-1888 land 1:1 1851, he settled in Taranaki, when- until, with the outbreak of Maori The reputation of O'Brien has, und. \\ar, h I. like Gully, to Nelson. His 1 to i-xtend far he>nnd Dunedin; h e diversified by a long inter- painter ol ni". loeal interest lude in I in rope, commemorated in many inal stature. He was 1> irn at ! :ntl water colours. Resembling his nnty ( lare, Ireland. h son crisis in this respect. thcrs, of Admiral Robert O'I'rien, R.N.. and i Hicbmond was largely self-taught. 1 le ex- grandson of Sir Lucius O'Brien, Bart. He is hibited in Dunedin, corresponded with said to have been at Rugby and Oxford, hut I luilgkins, and on visits to the city attended at the age <;f eighteen he was in Australia. tat '•! the Art flub founded by Hodg- cc he cro kins. I le i . associated with the Hodgkins drawn there by tlv 1 • I inther link: he was the father practised in Dunedin as draught . Richmond, friend of Frances eiu'inrer anil. Hodgkins and her companion dining the hrst vivial habits a'> ' •. ivit to Europe. .,i ilu- , .:• baiacti ns, O'Brii 5. inll.ua IN' AMMAN, SCOTLAND ,'tahlr figure in Dunedin's arti1-!!'' i U'.iter colour. 13 ^ X 20J. he seems to have exhibited rarely and to have No signature or date. taken only a small part in the affairs of the Lent In Mr II. M. \V. Atkinson, Wellington.

• 6. A LUNCHEON ALFRESCO, RATANUI, TAHA- scapes that found imitators in the next and NAkl, 1851 succeeding generations, hut the looser, mmc U'.IUT colour. 8i x 111. usly 'poetic' compositions of Cully. Signed and dated 'J.C.R. 185 1* lower right. I loyte may not have been known in the Lent by Mrs M. R. Champion, Te llodgkins household, for there is no reference to him in the family's voluminous records. 7. WA1MAKAR1KI He seems to have stood apart from the ruling r-colour. 7} x 13J. triumvirate — Gully, Hodgkins, Richmond — No signature or date. ami he is included here mainly on the score Lent In Air //. M. W. Atkinson, Wellington. of his superb 'Lower Harbour, Otago', show- ing the site of 'Fern Lea' School, once 8. LAKE ROTOROA, UPPER BULLER attended by Isabel and Frances Hodgkins. Pencil. 7i x 10i. 9. THE LOWER HARBOUB, OTAGO, 1876 No signature or date but inscribed 'L. Roto- roa, Upper Buller.' Water-colour. 19| x 37i. Signed and dated '}. C. Hoyte 1876' lower Lent by Mr H. M. W. Atkinson, Wellington. right. / cut by the Public Art Gallery, Dunedin. IOIIN CLARK HOYTE, c. 1833-1912 JO. LANDSCAPE WITH GEYSER Water-colour. C^val mount.) 14 x 19. Little is known of Hoyte, and most of what Signed and dated 'J. C. Hoyte, 1878" lower is on record could be deduced from his own right. paintings: he was a prolific water-colourist, Lent by Mr F. G. PIK/HO , Auckland. he lived in Dunedin and Auckland, he was one of the 'fathers of New Zealand art*. The 11. AKAROA HARBOUR chronicler might also have added that he left Water-colour. Ill x 18. behind him no artistic progeny. It \v;is not Signed 'J. C. Hoyte' lower left. Undated. Hoyte's vernally fresh, carefully stylised land- Lent by the National Art Gallery, Wellington.

ii. The Hodgkins Family THAT THE CENTRAL FIGURE of this exhibition was a member of the I loclgkins family does not, of course, explain why she became a distinguished artist nor even why she adopted painting as a career. But it does go far to explain certain of her characteristics as a painter —her preference for the water-colour medium, for example, and perhaps the strong and persistent romantic strain in her work. And at a deeper level, there can be little doubt that the influence of her father and her sister was of cardinal importance in her early life and continued far into adulthood. More than once Frances Hodgkins states quite explicitly that the purpose of her life lay in the fulfil- ment of her father's talent, and even in her last years, despite perpetual travels and innumerable changes of residence, she still kept with her a collection of his sketches. Her relations with her sister were perhaps less profund but rather more complex: her position was first that of an admiring junior awed by her sister's superior talent; this attitude was followed by one of strenuous emulation, succeeded in the later years by a benign tolerance always mingled with deep personal affection. WILLIAM \l Mill \V HOIK .KINS, 15. Tilt DOME PASS, LAKE WAKATIPU 1833-1898 Water colour. 154 * 28*. No signature or dale. Like most of his contemporaries, i Lent by the Public Art Gallery, Dunedin. to have had little or no formal training in the graphic arts anil to have graduated t i 16. SUNSET ON HILL landscape painting from some branch of Water colour. H>i x 7. dmgbtmndrfp. He was born in I.ixcrpool, d 'W.II.' lower right. Undated. worked for the Patents Office and Watcrl'.n Lent by Mr and Mrs Peter field, Waikanae. and Sons, and lived for a time in Paris. As 17. Till; TAIERI IUVIR .1 \oung man he acquired his intimate know Water colour. 20J X 34J. ledge of the collections and his pro- found reverence for the paintings of Turner Signed and dated '\\'. M. Ilodgkins 97' and In 1859 he left England for Melbourne and in>cril>ed ' "And light still lingers, though the in the InUiiuing year crossed over to Dun- sun be gone" ' lower right. edin. his home for the remainder of his life. Mr and Mrs Peter i'ichl, Waikanae. I !r practised in Dunedin as a barrister and tor, but was best known as the city's ISABEL JAM noncKiNS artistic leader. He formed a private Art Cluli. (Mrs VV. II. Field), 1867-1950 was one of the founders of the Otago A is ;v and its president for seventeen years, In their early years it was Isabel Hodgkins. and organised the building of Duncdin's first i yarded by Dunedin gallery. He was no mere platform artist, how authorities as the promising painter, the ever, but a prolific landscape painter whose inheritor of her father's talent. This opinion work was known throughout New Zealand was prolvbly '•himl }••• W. M. Hodgkins, for and Australia. I ike his voiingcr daughter, he he gave Isabel lessons, took her with him on painted with undiminishcd vigour almost In sketching OS, and introduced her to the end. His last unfinished landscape is the Art Club. While still a girl she began to included in the present exhibition. exhibit, and by the age of twenty her flower pieces and landscapes had won for her a

12. THK SOUTHERN ALPS, NEW ZEALAND reputation i ; tended beyond Dunedin. Water-colour. 22j x 39J. When, in 1893, she married and went to livj 1 and dated "VV. M. H, dAins 1885' in Wellington, she diverted her great ahilirv :'

14. AN AiiM i ii; rr ANAU 18. WALLFLOWTHS i ur. 8i x W.,HT .olonr. 17J X 10?-...... «Igkins' lower left. I:i i 'I. J. Hodgkins 88' lower : d ' "An Arm of Te Anau" f Art Club left. h) W. M. HodvLm ,.' lower right. Mr Grnfircy FirU, \Vaikanae, frnm J>,v Afr /'. D. Hoiigfeins, ,./ l/ie Ltte Mrs W. U. Field.

10 19. LANDSCAPE Lent I'y Mrs 1. II. Preston-Thomas, Welling- Water-colour. 28i x 19J. ton. Signed and dated 'I. Field 99' lower left. 21. THE LAKE WITH KAPITI ISLAND IN Lent by Miss K. McLean, Dunedin. BACKGROUND \\.ucrcolour. 13J x 13^. 20. NORTHERN END OF TITAHI BAY (Plate 4) ! and dated 'I. Field 06' lower right. Water-colour. 21 f x 21$. Lc;:i by Air Geoffrey Field, Waikanae, from Signed and dated 'I. Field 1902" lower left. the Estate of the late Mrs W. II. FicU.

in. Dunedin Elders and Contemporaries BY THE TIME Frances Hodgkins began to exhibit, in 1890, Dunedin, though scarcely a Medici Florence, was the most vigorous art centre in New Zealand. At the annual exhibition of the Otago Art Society, held each November, were displayed works by numerous amateur artists, most of them members of the middle-class circle to wlnYh the Hodgkins family belonged. W. M. I lodgkins, J. H. Scott, Jane Wimperis, and other older painters continued to show their water-colour landscapes, and this tradition (if it can be so described) was continued by younger disciples, notably Alfred Walsh, Samuel I lales, Isabel I lodgkins. But other members of the new generation were beginning to branch out in fresh directions: A. II. O'KccfFc was showing genre and portraits in oils, Grace Joel was also showing figure studies and ^cnrc, while Augustus I lamiltnn exhibited his Maori reconstructions. As the decade progressed, a further tendency could be discerned: A. H. O'Keeffe and Margaret Fitchett left Dunedin for Paris and returned to paint and teach. Samuel I lales also left, but failed to return. The exodus to Europe had begun.

FRANCES MARY WIMPERIS, visiting London, hut also reports, with no 1840-1925 expression of regret, that she was 'out'. Miss 'Fanny' Wimperis and her sisters, Mrs 22. A SON OF THE SOIL Joachim and Miss Jenny Wimperis, were Pastel. 17J x I2i. members of the cultivated Dunedin circle or. Signed and dated T.M.W. 28th October whom W. M. Hodgkins was the presiding 1893' lower right. spirit. Miss Fanny was born in Chester, Eng- Lent by Mrs Edgar Elliott, Auckland. land, and was trained at the Slade School under Poynter and Legros. She came to JANE WIMPERIS, 184M927 Dunedin, presumably with Mrs Joachim, and fur fifteen years was art teacher at the Girls' Jane Wimperis (or 'Miss Jenny', as she was High School. She exhibited with the Otago termed by her familiars) is a somcwh.i: Art Society, mostly, to jud^e by newspaper touching figure who passes wraith - like notices, studies of old men and women. through i! 'dence of Frances Hi •! Frances Hodgkins appears to have had littl.- kin1; for :i peri d o1' nearly thirty years. S! in common with Miss Fanny except her two was l»rn i:i Iv,viand, reputedly trained in Christian names. In 1902, she reports having Munich and Antwerp, and settled for n : 'called' on her while Miss Wimperis was in Dunedin. There she attempted to impart

11 In tli> : ranees iln :r.uv appointed art m i i, r at the Perth School of il one. .1. Art in ISdS, lour years later (in tl liaililions Mill iiirrcnt in the south. In tin- I ii'dnkiiis's birth) accepted the nine:, : .nt master in ('• iis with Principal ol the Dunedin School Jenny at Puketeraki, a seaside resort and \rt until his death. Mai: 'it near Dunedin. Their next KI II encounter. iher a ha; as at 25. *> " "F DAVID I lUVARI) HUTTON i- ON HU: MIIP 'CHIII 1906. After this tl' until in 1919 and 1920 Frances, then in ! 1 with black and brown chalk. 8J x don. re, ords iv -. with \li-s I ll|. 'a pathetic little figure . . . with a loving d and dated 'D. C . Hutton 1869' lower warm heart fur all her old friend-'. right

23. Nl W /> M AND IHTSII lliitton, Auckland. Water c. Inur. 19 x 15. 26. SKI TCHING CLASS I dated '[. Witnperis 1883' lower , llj x 171. left. -d and dated 'D. C. Hutton 1872' lower . (/!,• Piil'Iic Art Gallery, Duncilin. ri«ht. 24. DUNEDIN FROM ' ;';.- /fwfci'ii / ihrary, Dunedin, \Jn\- 26. i Olago. Sii>n 'rd 'I. VViinprris 1885' lower 27. I'AVIII I DWAHD HUM 'V OF left. DAVID »ON inn (Plate n ' i tin- Public Art Gallery, Dunedin. >ur. 36 x 26J. nature or date. !) Win CON HUTTON, Mitttnn. Auckland.

1843-1910 28. TIAROA liEAHI • •Ider Hutton has a secure, if minor, 11| X 171. 1 painting t). C I Intton' lower riylit. Undated. •'Ao realms: he founded the i Dunedin, Uni- :.rst institution of its kind 'I Olago. in the counrr a time he taught Frances Hodgkins. Only recently JOHN MAI I IP AY SCOTT, r that In- has a further an i 1851 1914 greater claim t painter. His own in explain Hut- J. II. Scott is another painter wh ton's loni; eclij I • n e, he re than the Imal reputation lie • ithdr.iwn from the Otai;o Art has ! I le \\a ceased exhibiting. ' in Edinburgh, educated at the Edinburi-h ironk-iil to reflect that in Hutton, cmilii nti'.n and the Uni\, ,1 in 1877 ived it, Frances Hixlijliins mit{ht d Facultv 1 ' and Profe . I iloi;v and lie herself acquired only after S D alter li'- inmmiera' il in I )n In li.ne srruKKlc. Hutton's life has some of the f< rmexl the close friendship with \V. M. simplicity of his painting*: he was born in I lod^kins .mi] his I ir.nK .\hi! li Dundee, attended its -ehool 'f to the end of his lit' ;npanied 1 :

12 kins on sketching expeditions, acted as secre- 1 lamilton was Director of the Dominion tary of the Art Society, attended meetings of Museum and Frances Hodgkins was living the Art Club, and filled the rule of mentor in Wellington. Hamilton's major work was and critic to the two I lodgkins sisters. His his monumental Maori Art. Unfortunately, was unquestionably one of the strongest per- none of his paintings has been traced. sonal lorces in the early life of Frances Hodg- kins; her letters of the nineties and early 32. TEA SET WITH MAORI RAFTER PATTERN nineteen-hundreds contain scores of references (in table case} to him. When news of his death reached Lent by Miss P. Hamilton, Wellington. her, she wrote in the course of a deeply felt tribute, 'He really has been a big influence ALFRED HENRY O'KEEFFE, in our lives and I owe him much.' Looking 1858-1941 hack thirty years later, she saw this event O'Keeffe was one of the many citizens oi as a turning point in her relations with New Dunedin (including W. M. Hodgkins) who Zealand. were carried there in the stream of migrants 29. TREE STUDY, WOOD1IAUCH GARDENS, to the Otago goldfields. Born in Bendigo, DUNEDIN (Plate 2) Australia, he came to Dunedin with his Water-colour. 19± x 13J. parents in 1862. In the early nineties he was Signed and dated 'J.H.S. 84' lower left. a regular exhibitor with the Otago Art Society Lent by Mr C. W. Sandford Cox, Auckland. and in 1894 left to study at the Academic Julian in Paris, where he was a fellow- 30. MOEHAKI BOULDERS student of C. F. Goldie's. The following Water-colour. 17i x 31±. year Frances Hodgkins reports that he has Signed and dated 'J. H. Scott 1889' lower returned and 'is shocking the proprieties by left. exhibiting a number of nude studies.' She Lent by the Public Art Gallery, Dunedin. continues, 'Father won't let me go and see

31. FARM HOUSE them. Boo hoo!' O'Keeffe taught for some Oil. 5x8. years at the School of Art, and afterwards Signed 'J. H. Scott' lower left. Undated. in his own studio. In later life his vener- Lent by Mr P. D. Hodgkins, Auckland. able figure was both exemplar and warn- ing to aspiring young painters. A monument AUGUSTUS HAMILTON, of disinterested devotion to art, he was like- wise a silent witness to the rewards of artistic 1853-1913 integrity in New Zealand.

Hamilton was born at Poole, Dorset, and 33. SELF PORTRAIT educated at Dorset County College and Oil. 25k X 16J. Fpsom College. He came to New Zealand Signed and dated 'A. H. O'Keeffe 1922' in 1875 and, after teaching in the North lc ucr right. Island, was appointed Registrar of the Uni- Lent by the Public Art Gallery, Dunedin. versity of Otago in 1890. The same year he exhibited with the Otago Art Society a ALFRED WILSON WALSH, study of a Maori chief, painted, as a news- paper remarked, 'with fidelity'. He continued 1859-1916 to exhibit, and it may have been through Walsh is one of the few notable artists of his example that Frances Hodgkins beqan the nineties and early nineteen hundreds ivho painting Maoris in the middle nineties. They followed on from the previous generation of served together on the Society's Council and New Zealand painters. He, too, was a land- resumed their friendship during 1904-5, when scape painter in watcrcolour and, like many

13 oi his forerunners, be^an his career as a his career, as compared with hers, offers some draughtsman. He was born in Kyneton, Vic- instructive parallels and contrasts. Also the toria, and as a child came to Duncdin with child of an artist, he was, unlike her, some- his parents (who most probably belonged to thing of a youthful prodigy, a great winner die bcneficient army of gold-seekersj. While 1 medals and : I examinations, 'the employed in the Public Works Department, lirst male in New Zealand to gain a full Art he took classes under David Con Hutton, and Masters' Certificate from South Kensington'. in 1886 was appointed to the staff of the early paintings indicate, he pos- School of Art, where he taught sessed a fresh and pleasing talent. But, except for twenty years. Apparently he continued l'ir the one period of European travel and to visit Dunedin, for 'Mr Walsh' is occa- study, he passed the whole of his adult life sionally referred to and quoted by Frances in New Zealand. Hodgkins during the nineties. Walsh has a unique distinction: he is the only artist repre- 37. BROAD BAY, OTAC.O HARBOUR sented in this exhibition who does not seem Oil. 171 x 25}. to have travelled abroad in his adult years. d and dated 'D. K. Hutton 1888' lower right. 34. HOUSES BY THE AVON, CIIRISTCHURCH 'Broad Hay Otago Harbour' lower Water-colour. Ill x 8i- left. Signed 'Alfred W. Walsh' lower right. Un- Lent liy AIKs K. S. llutton, Auckland. dated. i , , !>y Air John Ewen, Auckland. 38. THU FISHERMEN, DUNEDIN HARBOUR Oil. 23} x 331- 35. POINT ELIZABETH, CltEY RIVER, WEST- Signed and dated 'David E. Hutton 1898' LAND lower left. Water-colour. 10J x Hi. This painting is of the old Stuart Street in-il 'Alfred W. Walsh' lower right. Un- Wharf, the site of the present Dunedin Rail- dated. way Station. I tti by Mrs C. Moore, Wellington. Lent by Miss K. S. Hutton, Auckland.

3(J. AUCKLAND HA11BOUR 39. "MUSK." —STILL LIFE Water-colour. 9i x 13i- Oil. 15i x 29J. Signed and dated 'Alfred W. Walsh 1911' No signature or date but labelled for award li.uer left. luuer right. Lent by Mr John I.H Ji v/um/. Aw..rded Duncdin School of Art gold medal, 1898. DAVID EDWARD HUTTON, by Miss K. S. llutton, Auckland.

1866-1946 40. PONTE ALLE CHAZIE, RIVER ARNO, FLOR- llutt>in the younger, after early childhood in Path, Scotland, c;:me to Dunedin in 1870 Water-colour. 9J x 13J. with his parents. I le attended the Dunedin Signed and dated 'D. E. Hutton 1908' |. School of Art, taught there for sixteen - was the Di] • Ft ir.iie.il schools in the Ponte Alle Gra/ie' lower left. \i i ;h [stand, and, after a visit to Ft> K. S. lltttton, Auckland. practised as an architect and teacher of art. For over sixty )ears lie exhibited ui:l 41. TUT GRAND CANAL. CHUIU 11 ill s. New Zealand art societies. He was an g] SIMM iNI- CRANDE, VENICE exact contemporary of Frances Hodgkins i i Water-colour. 9J x 14J.

14 Signed and dated 'D. E. Huttim 1909" lower this occasion, with the Wimperis family. right. 'Daisy Fitchett's work is splendid," she wrote inscribed 'The Grand Canal Venice S. to Isabel. It is a verdict to which most critics Simeone Grande' lower left. would assent, but Miss Fitchett does not seem / cut by Miss K. S. Button, AitckltiiiJ. to have seriously cultivated her youthful gifts. She married and now lives in Sussex.

LRGARET FITCHETT 42. HEAD OF AN OLD WOMAN (Plate 6) (Mrs Elmore) Oil. 22i x 18i. Signed 'Margaret Fitchett' upper right. Un- A member of the well-known Dunedin dated. ecclesiastical family, 'Daisy' Fitchett (as she I cut In lite I'nblic Art Gallery, Dunedin. was known to her friends) enjoyed in her youth advantages denied to Frances Hodg- 43. POIVrnAIT OF MISS HAMILTON. kins. While still in her teens she was sent Pastel. 24 x 18J. to the Academic Julian, and, on returning Signed 'Fitchett' lower left. Undated. to Dunedin to paint and teach, she was much Lent by Miss P. Hamilton, Wellington. filed and praised. 'The Wirnperis family- gushed tremendously over them,' reported 44. TWO MINIATURES, MRS HAMILTON AND Mrs Hodgkins of a collection of drawings in MISS HAMILTON (in table case) chalk and pastel displayed at an 'At Home'. Height 3j inches. Frances Hodgkins seems to have agreed, on Lent by Miss P. Hamilton.

iv. European Teachers

GULLY'S DEATH in 1888 conveniently marks the end of one phase in New Zealand p.nnting, while the arrival soon afterwards of three European artists —Van der Velden, Nairn, and Nerli — introduces another. Only in an exhibition such as this, where Nairn's 'Tess' and Nerli's VXida' hang in the same room as water-colours by Scott and Hodgkins, is it possible to appreciate the first impact of these three men on young New Zealand painters. Giants had descended on a race of pygmies. Modern taste nviv prefer the company of pygmies, but it was the giants who won the allegiance of the first colonial-born generation. Reasons for the immense influence of these men in the nineties —and long after — are not hard to find. All three were professionals in a land of amateurs; all were gifted and versatile painters; they brought with them not only excitingly novel doctrines but also the glamour of exotic places —Rome, Amsterdam, Paris, the South Seas; and with thcii i gard of IIIDIH-V .md conventional appearances, they showed to middle-class :slcs the liberating example of Bohemianism. Thrir ad\ent hastened temle,i ie .i.lre.uly present in New Zealand painting: the growth of professionalism; di 'lace- nient ol '• ; ,| us the favoured medium; (he dislodgemcnt of landscape from its dominating place; and the movement towards Europe in quest of training and careers.

15 PETRUS VAN DER VI I,DEN, 49. OTIHA GORGE 1834-1913 Oil. 20} X 32i. No signature or date. Reputedly a teacher of Van Gogh and cer- tainly a follower of the Maris brothers and Lent by the National Art Gallery, Welling- Israels, Van der Velden was born in Rotter- dam, Holland, and came to New Zealand in 1890. He established himself in Christ- church, where his influence is felt even today. JAMES McLACHLAN NAIRN, Only a painter of 's calibre, 1859-1904 strong and resilient as steel, could withstand Nairn was Ixirn and educated in , the force of his personality and example. He did not teach in Dunedin, but he was an where he studied at the School of Art. On '•itor with the Otago Art Society. In the Continent, and in the vigorous art circles 1892 his 'Waterfall in the Otira Gorge' (a of Glasgow, he acquired the knowledge of much larger version of the work now Impressionism which he introduced to New exhibited) was shown, and, in the following Zealand. In 1890 he reached Dunedin, year, 'Old Jack'. The last work may have whence, after a short stay, he moved on to suggested to Frances Hodgkins the subject Wellington. In 1893 his 'Tess', shown by of a picture like 'An Old Salt' (No. 71), the Otago Art Society, was much acclaimed, but, generally speaking, his influence on her being, as one newspaper critic wrote, 'a de- was negligible. Nevertheless, she was well parture from anything ever before attempted aware of him as a New Zealand 'Master' and in New Zealand', an example from 'the school as from London in 1901 that she has <'l ulikh Monet is such a brilliant expon- met a Dutch woman who 'knew Van der Velden well.' ent'. Nairn's influence on Frances Hudgkins was probably slight and indirect, but it may 45. CANAL SCENE, HOLLAND have confirmed the young artist in her Oil. 21i x 33}. interest in figure painting and in a certain No signature or date. breadth of treatment. Whether they ever liy Mr Wallace Gunson, Auck! met is doubtful. She often refers casually to him, and she may have visited 'Pumpkin 46. STUDY OF A DUTCH WOMAN IN BLACK Cottage', his famed retreat, when she painted Oil. 17} x 13i. at Silverstream in the summer of 1899-1900. No signature or date. He was certainly one of the New Zealand ] cut \jy Mr and Mrs Peter Field, Waikanae. Presences that followed her as she travelled

47. EVENING, ISLAND BAY, WELLINGTON abroad. As late as 1921, she mentions that Oil. 161 x 26J. she had visited his studio and seen one of Signed 'P. Van der Velden' lower right. his early sketches, Undated. 50. BOTANIC GARDENS WELLINGTON Lent by Mr Wallace Gunson, Auckland. Water-colour. 11 x 8|. 48. OLD JACK (Plate 3) Signed and dated 'Jas M. Nairn '91' lower Oil. 36| x 23 U right. icd and dated 'P. Van der Velden 1893' Inscribed "Botanic Gardens Wellington" upper right. lower left. iltc Public Art Gallery, Dunedin. I oil hy Mr L, W. logger, Auckland.

16 Plate 1 DAVID CON HUTTON David Edward Hutton, Eldest Son of David Con Hutton (27) Plate 2 JOHN HALLIDAY SCOTT Tree Study, Woodhaugh Gardens, Dunedin (29) Plate 3 PETRUS VAN DEB VELDEN Old Jack (48) Plate 4 ISABEL HODGKINS Northern End of Titahi Bay (20) Plate 5 FRANCES HODGKINS Head of a Maori Girl (106) Plate 6 MARGARET FITCHETT Head of an Old Woman (42) Plate 7 DOROTHY KATE RICHMOND A Country Road (79) Plate 8 FRANCES HODOKINS Phoenician Pottery and Gourds (158) 51. FAHAUTANUI ledges her debt at the time, though Water colour. 7i x 10J. quickly absorbed uli.it he C uM give IICL Signed and dated 'J.M.N. '01' lower right. in later years was inclined to discount the [atoftMi 'Pahautanui' lower left. value of his teaching (though she never for- Auckland City Art Gallery. (.Presented by got him). Nerli is not mentioned by l-r . Mr T. Poynter.) Hodgkins until 189:5. bill he had pro i.ed Dunedin some years earlier. In the 52. TBSS Oil. 47i x 59. course of wanderings 1mm his native Italv, Signed, dated, and inscribed 'Jas. M. Nairn he had already visited Australia, where he Silverstream 1893" lower left. taught the young Charles Conder, and Samoa, Lent by the National Art Gallery, Welling- where he painted Stevenson. He left DUM- ton. edin in 1896, and after a time in Auckland, returned to Italy, becoming, tradition has it, 53. PORTRAIT OF JAMES FREDERICK RYDER, Court Painter at the Vatican. I sy. Oil. 22 x 19. 55. AIDA Signed and dated 'Jas M. Nairn '98' lower 0,1. 73i x 40. right. Signed 'G. P. Nerli' lower left. Undated. / ent by Mr A. ). Ft'jluson, Auckland. Lent J)v the Public Art Gallery, 54. LANDSCAPE 56. PORTRAIT Water-colour. 11J x 15|. Oil. 29i x 19i. Signed and dated 'Jas M. Nairn '98' lower i-d '(;. P. N left. J cut !')• the Dnnt'din I'ttblic Art (tilery.

Lent by \fr A. ]. Ferguson, Auckland. 57. THE BLUE GIRL Oil. 251 X 17i. GIROLAMO FIERI NERLI Signed 'G. P. Nerli' upper left. Undated. Nerli had Far less effect on the course of / <•>!( by Miss K. S. Huffon, Auckland.

New Zealand painting than either Van der 58. THE ytlARRY, WAI I II OF LEITH, DUNHHS Widen or Nairn, but his influence on the \\'ater-colour. 14 x 10j. young Frances Hodgkins can hardly be over- Signed 'G. P. Nerli' lower right. Undated. estimated. To test this statement it is neces- / rut by Miss K. S. llutton, Auckland. sary only to compare 'The Girl with Flaxen I lair' (No. 62), painted after Nerli's teach- 59. WOMAN WITH CLOAK ing had begun, with what precedes it, or, Water-colour. 19J x 131- again, to compare the same work with Nerli's Signed 'G. P. Nerli' lower right. Undated. 'Woman with Cloak'. She herself acknow- />> Air A. I.

v. Frances Hodgkins-the Dunedin Years, 1890-1901 THE PUBLIC CAREER of Frances Hodgkins began in 1890, uhcn slic first exhibited in Dunedin and Christcluirch. Before that time she h;id punted and sketched and scribbled industriously, but her jm 011/111 is remarkable chiefly because it contains no landscape; as a child and youn» woman she decisively reiected the parental inherit- ance. In her early exhibited work, she usually appears as a goir.1 painter, and after the advent of Nerli, shows portraits, figure studies, and on very rare occasions a landscape. The outward events of the Dunedin decade may be simply stated: she

17 exhibited regularly at Dunedin, Christchurch, and Wellington, and once at Auckland; in 1893 occurred the meeting with Nerli, and at the beginning of 1895 she followed him to the School of Art, where she may haw studied also in the following year; after gaining first-class passes in the South Kensington examinations (elementary and advanced stages), she began teaching in 1896; in 1899, the year alter her father's death, she was elected to the Council of the Otago Art Society; in February 1901 she left Dunedin for Europe. The technical skill as well as the limitations of her work at this point in her career are seen in 'An Old Salt' (No. 71) and The Mussel C.athcrcrs' (No. 73), both exhibited on the eve of her departure.

FRANCES HODGKINS 66. STUDY OF AN OLD MAN Water-colour. 12i x 9^.-- 60. WASHING DAY AT CRANMORE Signed and dated 'F. Hodgkins 1890' lower V\ ater-colour. 12 x 7i. left. [c. 1895?]. No signature or date. [c. 1890]. The signature and date are not in the artist's Lent by Miss Joan Ilodgkins, Wellington. handwriting and seem to have been added

61. LADY IN BLUE by a previous owner; the style resembles that \V i'LT-coIour. 7} x 5|. of the middle nineties. Lent by Mr E. H. McCorrnick, AuckLnuL ! and elated 'F.M.H. 91' lower left.

Lent by Mr and Mrs Peter Field, Waikanae. 67. A FORTUNE TELLER.

62. THE GIRL WITH FLAXEN HAIR Water-colour. 12i x 9. Water-colour. 19 x 15. Signed and dated T.H. 96' lower right. Exhibited Otago Art Society, 1896. Signed and dated 'F.M.H. 93' lower ri;;ht. Lent by Mrs I. II. Preston-Thomas, Welling- Lent by Mrs I. H. Preston-Thomas, Welling- ton. ton. 68. BEARDED OLD MAN 63. A GOOSE GIRL Pen. 11J x 8i. Water-colour. 134x7. Signed and dated 'F.H. Aug 96' upper rit»lit. Signed and dated 'F.M.H. '93' lower right. Lent by Mr and Mrs Peter Field, Waikanae. Exhibited Otago Art Society, 1893. The same model appears in 'The Girl with 69. BROWN EYES Flaxen Hair' (No. 62). Water-colour. 10i x 9. Lent by Mrs G. G. Hodgkins, Wellington. Signed and dated 'F.H. 97' lower right. Inhibited Auckland Society of Arts, 1897. TILE 64. °LD BARN Frances Hodgkins exhibited once in Auck- Water-cabal. 11 x 14. land before 1905, and this is the only picture X i viynature or date but initialled 'F.M.H.' of the 1897 exhibition which has been traced. by Mrs Field, [c. 1893?]. A review in the Graphic described the work / cut by Mrs 1. H. Preston-Thomas, Welling- as 'one which holds promise of almost any- ton, thing in the future'. Lcnl ?•>• Mrs I. Thorny George, AiiMuiitl. (5:5. 'i HE OLD MAN'S HEAD W.itrro.li'ur. 15 x 11. 70. MAORI WOMAN AND CHILD 1 T.II.' hivvcr right. Undated, [c. Water-colour. 23 x 27J. 1895]. Signed and dated 'F.I I. '00' upper right. Lt-.it by Miss K. S. Button, Auckland. Lent /,->' the National Art Gallery, Wellington.

18 71. AN OLD SALT 73. THE MUSSEL GATHERERS, PUKETERAKI Water-colour. 20i x 17i. i r-colour. 17 x 9J. Signed and dated 'F.H. 00' lower right. Signed and dated 'F. Hodgkins '00' lower Exhibited Otago Art Society, 1900. right. Lent by Miss Brcnda Bell, Palmerston. t'xhibited Otago Art Society, 1900. Lent by Mrs Edgar Elliott, Auckland.

72. LX THE CORNFIELD 74. GIRL ON THE BEACH Water-colour. 6^ x 5. Water-colour. 7J x 10J. No ignature or date. [1900]. Signed and dated 'F.H. '00' lower right. Lent by Mr Eric Westbrook, Auckland. Lent In the National Art Gallery, Wellington.

vi. \Y'ii> Zealand Artists Met In Europe IN HER DECISION to visit Europe, as in other respects, Frances Hodgkins was by no means unique: she was one of a legion of New Zealand artists who went abroad in search of experience or careers. Throughout her long life, in endless \\jndeii.i she encounter , s of New Zealand artists, of successive generations, and \\ith sonic of them formed friendships. Here are represented a few of her contemporaries and near-contemporaries met during the first and second visits to Europe. Later work In a selection of these and other contemporaries will he found in the final section of the exhibition. DOROTHY KATE RICHMOND. land, and returned to New Zealand together L| 1861-1935 end ol 1 03. In Wellington they held a joint exhibition, and for two years Miss Richmond, daughter of J. C. Rich- to have shared a studio. Their paths again mond, was born in Auckland and in her girl- diverged in 1906 when Frances Hodgkins hood was taken on a Grand Tour which returned to Europe, while Miss Richmond included European schooling and two years lined in Wellington to continue that at the Slade. Alter her father's death, she long, industrious, useful career which won again left for Europe a year or so before her the leading place in the Capital's artistic Frances Hodgkins set out. The two women .,, |es, (who do not seem to have met before) a.v by letter to join forces in the summer of 75. T"E MOTII1 !', 1901 at Norman Garstin's class in Normandy. Water-colour on brown paper. 121 x 9^. So began one of the closest friendships of Signed and dated 'D.K.R. 190V lower left. a life exceptionally rich in friends, both men J cut by Mr I!. M. W. Atkinson, Wellington. and women. Frances Hodgkins admired 76. Wtt 1AKMVAIU) Kichnumd's beauty, her poise, her knowledge Wa!er coluur on brown paper. 11} •iok.s and languages, her charm and gener- Signed and dated 'D.K.R. 1903' lower left. ^ln- also idm d her painting, but I cut by Mr 11. M. \V. Atkinson, Wellington. with certain qualifications. In one assess ment, she acknowledged her friend's 'nice 11, Tin oi.n MAitr. taste and judgement' but also pointed out Water-colour, on brown paper. 1 ] J x 12. that she lacked 'fire and originality'. i Signed and dated 'U.K.H. 1905' lower right. travelled in France, Italy, England, and Hol- lent by Mrs M. R. Champion, Te Awamutu.

19 78. EVENING. li\ iln IViyal Academy, the Royal Institute, \Vater-uilimr. 10J x 8J. ,nu[ Continental societies, but ultimately she Signed and dated 'D.K.R. 1906' lower left. B in to have given up the struggle and re- Lftn 1'j1 Mr 11. M. W. Atkinson, Wellington. turned home. I hough in her later years she had a place in Christchurch similar to 79. A COUNTRY ROAD (Plate 7) Miss Richmond's in Wellington, she still Oil. 26 x 24. awaits the modest fame which her finest work Signed and dated 'D.K.R. 1906' lower right. merits in New Zealand and beyond.

Auckland City An Gallery. (Presented by 81. ON THE BEACH, CHEVIOT Mr E. Earle Vaile.') Water-colour. 14i x 21 i. Signed and dated 'M. O. Stoddart 1896' XO R M A N GARS T I N lower right. Lent by the Public Art Gallery, Dunedin. 80. PORTRAIT OF MISS RICHMOND

Oil. 31J x 25J. 82. A CORNISH ORCHARD Signed 'Norman Garstin' lower left. Water odour. 18 x 24. Inscribed 'Dorothy Kate Richmond 1903' Signed 'M. O. Stoddart' lower left. Undated. upper right. Lent by the Public Art Gallery, Dunedin. Lent by Mr II. M. W. Atkinson, Wellington. 83. THE FARMHOUSE Water-colour. 10J x 15J. MARGARET OLROG STODDAIIT. Signed 'M. O. Stoddart' lower left. Undated. 1865-1934 / ent by Mrs A. G. Pearse, Dunvdiit.

.Miss Stockist's life parallels Miss Rich 84. LANDSCAPE mond's. Born at Di.iinund Harbour, Canter- Water-colour. 10 x 13i- bury, she was educated at the Edinburgh Signed 'M. O. Stoddart' lower left. Undated. Girls' College and, on her return to New Lent by Mrs C. Moore, Wellington. Zealand, at the Christchurch School of Ait. During the late eighties and early nineties, 85. ROSES while she was winning a reputation as a Water-colour. 14} x 18J. \vatcrcolourist. she probably met Frances Signed 'VI. O. Stoddart' lower left. Undated. Hodgkins who at that time visited Christ- Lent by Mrs F. Brown, Auckland. church and mingled with the local artists. She seems to have left New Zealand again 86. SUMMER AFTERNOON in the late nineties, for when Frances worked Water-colour. 9J x 131. with her at Bushey in 1903 she had been Signed 'M. O. Stoddart' lower left. Undated. in Europe for five years struggling, with- Lent by Mr L. W. Jagger, Auckland. out success, for recognition. While admir- ing her indomitable courage, on this and GRACE JOEL, 1865-1924 other occasions, Frances Hodgkins was critical of her painting which, in her opinion, suf- 'Miss Joel', as she is distantly termed in fered from too much teaching and theoris- the letters of Frances Hodgkins, is an even ing and had lost its original 'vigour and fresh- more shadowy and elusive figure than Mi^s ness'. (Here, as always, her comments on Jenny Wimperis. She is on record as having other painters throw light on her own prac- 'studied art in Melbourne', and she gained tice and outlook.) Miss Stocldart remained a reputation with the Otago Art Smiety for in i urope lor a few more years, was hung her portraits and anecdotal figure studies. In

20 1890, praise was given by a pn the law' to a young painter who seems to to her 'Literary Aspirant', a , i con- luve been Graham Sutherland. Despite the '•1 representation <>!' a \ . . ; . lioress :-ence in their aims and practice, Mr who seems to be in trouble with her thesis'. Thompson admired the work of Frances She seems to have lelt Dunedin for Europe k;kins and, on her deadi, paid her the at about the same time as Frances Hodgkins, warmest tribute to appear in the New Zea- and, though their paths crossed in thr I ! land press. lowing \cars. no meeting is recorded. Their work hong together in 1902 when Frances 88. THK CRUCIFIX. first showed in London, at John Baillie's gal- Oil. 27i x 20. lery in Bayswater. In 1908, from the top Signed 'S.L.T.' lower right. Undated. of a London bus, Frantv to a glimpse ] c:it by the National Art Gallery, Welling- of her, 'Joel all over", but looking prosper- ous and well dressed. The following year 89. WASHERWOMEN — CORNWALL. she again saw her in the Salon, but her Oil. 12V X 151. fellow-citizen had passed in the crowd before I 'S. L. Thompson' lower left. Un- Frances could stop her. Miss Joel had her dated but painted before 1915. work hung both in the Salon and the Royal by Mrs W, D. Reid, Auckland. Academy, but, a mute, inglorious Frances Hodgkins, even local fame has hitherto been denied her. OWEN MERTON, 1887-1931 87. POHTRAIT Contrasting with the more formal manner Oil. 22 x 16. in which, at this period, she refers to her Signed 'Grace Joel' lower right. Undated. associates (even Miss Richmond) Frances 1 by Miss D. Theomm, Dunedin. Hodgkins always writes of 'Owen Merton". ! youngest of the small group of New SYDNEY LOUGH THOMPSON, Zealand painters in Paris, he was also the \>. 1877 closest to her in outlook and interests. Merton was born in Christchurch and studied at the Sydney L. Thompson, O.B.E., has divided School of Art. He is on record as havin;; his painting career between New Zealand visited England and the Continent in boy- and Europe. Born at Oxford, Canterbury, hood, but by 1906 he was back in New he was a pupil of Van tier Velden's and Zealand. He left again in 1908 for Paris, attended the Christchurch School of Art. In where he probably met Frances Hodgkins. 1901 he left for Paris and the AcaC\ They worked together at Concarneau in the Julian, returning three years later to he summer of 1910 and in Paris during 1911-12. 'asso< IT the Christchurch School of Mertcm was elected R.B.A., and his later Art until 1911, when he again set out for work, not available for this exhibition, won Europe. During a short interlude in Paris him some recognition in London and New before establishing himself at Concarneau, York. Fame of another kind has come to Brittany, Mr Thompson met Frances Hodg- 1 n«v.humously as the father of Thomas kins at her studio in the Latin Quarter which Hi, author of Elected Silence. seems to have been a centre for exiled New 7 vil mdcrs. Thr twn artists again m 90. FRUIT STALL, PORT SAID irneau in 1927 (a visit commemorated Water-colour. 20} x 14 J. in No. 132), and Mr Thompson recalls a Signed and dated 'O.M. 1907' lower right. glimpse of his compatriot at a London show / citl by tbc National Art Gallery, Welling- in the late thirties when she was 'laying down ton. 91. 1-ISHING BOATS aristocratic patroness, 'the Hon. Mrs Some- Water-colour. 81 x 61- body'. The specimens exhibited were 'mostly Signed and dated 'O.M. 1909' lower left. flowers and very feeble landscapes', but never- Li'iit by Mrs E. ). Joel, Auckland, theless showed some improvement on the work of Dunedin days. Miss Blacke remained 92. F1S1UNG BOATS IN PORT in Europe until 1904, returning 'with her Water-colour. 91 x 6J. Salon picture', as a Wellington newspaper Signed and dated 'O.M. 1909' lower right. reported. Frances again met her in a London / cut /'.v .Mrs E. }. Joel, Auckland. bus towards the end of 1908. She was then 93. CONCAHNEAU looking 'purposeful' and had perhaps dis- Water-colour. ?i x 9. covered her true vocation: she had married Signed and dated 'Owen Merton, Con- 'a young man studying for holy orders'. The carneau 1910' lower left centre. two examples shown are the only works by Lent by Mrs M. R. Champion, Te Awa- Miss Blacke which have been traced. mutu. 95. PORT MOLYNEUX 94. THE OLD CURIOSITY SHOP Oil. 211 x 29j. Water-colour. 21 x 24j. Signed and dated 'Annie T. Blacke 1896' Signed and dated 'Owen Merton 1910' lower lower right. left. Newspaper cutting on reverse of canvas Lent ly the National Art Gallery, Welling- reads 'April 22. Mr George Coates and Miss ton. Taylor Blacke of New Zealand have had their pictures accepted by the Paris Salon.' ANNIE TAYLOR BLACKE Lent by Miss ]. Bartriim, Auckland. Miss Blacke, known in Dunedin for her 96. ROSES flower pieces, left for England before Frances Oil. 23 x 11. Hodgkins. In 1901 Frances visited a show Signed 'Annie Blacke' lower left. Undated. cf her paintings in London arranged by an Lent by Miss E. Hampton, Auckland.

vn. Frances Hodgkins— Europe and New Zealand, 1901 - 1913 LITTLE OR NOTHING is known of the inner lives of that restless little group of painters who oscillated between Europe and New Zealand in the nineties and early nineteen- hundreds. What, one may ask, were the feelings of Miss Stoddart when she returned home, defeated by the blind indifference of the metropolis? What aesthetic ideals and what ambitions supported Owen Merton in his European wanderings and crossings of the Atlantic? And did the former Annie Taylor Blacke, retired in some rural vicarage, sometimes think of New Zealand? The questions are unanswered, unanswerable. Rut the fluctuating thoughts and feelings of Frances Hodgkins are known in the greatest detail. And perhaps it may be assumed that in this, as in other ways, sho \\ as not wholly different frrm her fellow painters. First setting out for a year or so, r,I-e ?ta\vd in Europe three, returning to paint and teach in Wellington. For two years sho tried to settle down, but v.:is irresistably drawn back, again for what was intended as u brief period. This time she stayed away seven years; on her second

22 return she came as a visitor; she now icalisccl tli.it her liiture la1, in Luiu^x.1. A leu works in the present exhibition suggests the natme nt the euntliet in which she was caught up. In Europe she longcil in paint Mam is, but in New Zealand her thoughts turned to Lurope and most of her energies went into .such exotically conceived pictures as 'A\esi.a' .\n. 103) and 'Goose Girl' (No. 105). She did, however, leave behind one master!) Maori head (No. 115), painted at Rotorua in 1913, her last New /e.iland work.

FRANCES H O D G KIN S 103. AYESHA Water-colour. 30} X 20J. 97. w\ri llsini; HOUSES Signed and dated 'F.H. 1904' lower right. \Vatcr colour. 5x7. Inhibited New Zealand Academy of Fine Signed and dated 'F.I I. AUK 1901' lower l')04; Otago Art Society, 1904. right. Painted by the artist after her first visit to Painted at or near Caudclx-c. Normandy. Europe. Lent by Mr II. M. \\'. Atkinson, Wellington. / cm In (lie I'tiblic Art Gallery, DnncJin.

98. THE FLOWER MARKET 104. BABETTE \\.uercolour. 13} x 10. Water-colour. 15j x 9J. Signed and dated 'F.H. 1902' lower right. i-d and dated 'F.H. 1905' upper right. lent In Mr* I. H. I'reston-Thomas, Wel- Previously owned by Miss D. K. Richmond. lington. I •••.' •'';. Air //. A/. W. Atkiti*i>it.\\'cllii!'

99. THE MAHKCT PL.VI . SAN REMO, ITALY 105. COOSE CTRL Water-colour. Hi X 10$. colour. 30 x 21J. Signed and dated 'F.H. Jan 1902' lower \o signature or date. [1905]. right. Unfinished. The same model appears in Exhibited New Zealand Academy ol line 'Babette' (No. 104). Arts, 1904. /cur by Mr and Mrs Peter field, Waikanac. I ent by the National Art Gallery, Welling- ton. 106. in AD OF A MAOIU GIRL (Plate 5) W.u.-r colour. 36J x 22. 100. CHILDREN, TETUAN, MOROCCO \o signature or date. [c. 1905?]. Water-colour. Hi x 7i. Unfinished. Signed and dated 'F.H. 03" lower right. Lent by Mr and Mrs Peter Field, Waikanae. Lent In Mr II. M. W. Atkinson,Wellington. 107. RED SAILS 101. A nun II BARGE AND CANAL Water colour. 27 x 17|. Water-colour. 14 x 10. Signed and dated 'F.H. 1906' lower ri-;ht. Signed and dated 'F.H. Oi' lower right, Painted in Chioggia. Italy. inhibited McGregor Wright's Gallery, Wcl Lent by Mr P. D. Hodgfeins, Auckland. lington, 1904. In A/M C. Moore, Wellington. 108. A DUTCH CANAL \\ .a, r colour. 18J x 19. 102. M M:M I SCENE, FRAN. I Signed '1. Hodgkint' lower right. Undated, nr. 131 x 10. [c. 1908]. Signed .nul dated 'F.H. 1903" lower right. /fill )>i the Xili

112. SUMMER Signed 'F. Hodgkins' lower right. Undated. Water-colour. 23i x 19J. [c. 1913]. Signed 'F. Hodgkins' lower right. Undated. Painted by the artist during a visit to Roto- [c. 1912?]. rua, and therefore probably the last of her Exhibited Dunedin, 1913. New Zealand works. Lent by the Public Art Gallery, Dunedin. Lent by Mr (mil Mrs Peter FicfiJ. WaHutlHU.

vm. The Later Years WHEN FRANCES noDGKiNS left New Zealand in 1913, it was for the last time — though this was far from her intention. Caught up in the complications of a career, hampered by poverty, gradually accommodating herself to her adopted hemisphere, she remained in Europe for the three remaining decades of her life. The output of this long period falls conveniently into three groups. The first extends through the war and post-war \ears until 1927, when she left to make the final —and successful — assault on London. These years are represented by Nos. 116 to 132 in the present exhibition. Then follow the works (included in Nos. 143 to 165) of those encouraging years \vhcn she painted and exhibited with some of the younger, more progressive Fnglish artists. At this time she realised an old ambition by making two visits to Spain, the first of which resulted in 'Spanish Shrine* (No. 157). Finally came the years after the outbreak of the second war, represented in the present collection by the three final exhibits. The section also includes works by a few New Zealand contemporaries displayed here for comparative purpose.

FRANCES HODGKINS

116. nv TIIE BROOK Arts, 1927; Auckland Society of Arts, 1928; Water-colour. 20 x 19. Canterbury Society of Arts, 1928; National Signed 'Frances Hodgkins' lower left. Un Centennial Exhibition of New Zealand Art, d, [c. 1916?]. 1940. I \liiliiu-d New Zealand Academy of Fine Auckland City Art Gallery.

24 117. LANDSCAPE 124. OLD PORT, DOUARNKNEZ Water-colour. 22i x 22$. Gouache. 10 x 12J. Signed 'Frances Hodgkins' lower left. Un- Signed 'Frances Flodgkins' lower right. Lin dated, [c. 1916?]. dated. [1921]. Auckland City Art Gallery. (Presented by Lent by Mr and Mrs Peter Field, Waikanae. Sir Ernest Davis.) 125. OLD PORT, DOUARNENEZ 118. MY LANDLADY Gouache. 9 x 10. Water-colour. 16 x 16$. Signed 'Frances Hodgkins' lower right. Lin Signed 'Frances Hodgkins' lower left. Un- dated. [1921], dated, [c. 1919?]. Lent by Mr Geoffrey Field from the Estate Exhibited Auckland Society of Arts, 1929; of the late Mrs W. H. Field. Canterbury Society of Arts, 1929; National Centennial Exhibition of New Zealand Art, 126. WOMEN AT MARKCT 1940. Gouache. 10i x 12±. Auckland City Art Gallery. Signed 'Frances Hodgkins' lower left. Lin- dated. [1921]. 119. THE THRESHING MACHINE Water-colour. 16$ x 14±. Lent by Mr and Mrs Peter Field, Waikanae.

Signed 'Frances Hodgkins' lower right. Un- 127. PEASANT FAMILY IN A FIELD dated, [c. 1919]. Water colour. 9} x 10i. Auckland City Art Gallery. [Presented by Signed 'Frances Hodgkins' lower left. Lin Sir Ernest Davis.) dated, [c. 1923?]. Lent by Mr T. T. Bond, Auckland. 120. THE FOUNTAIN

Water-colour. 17 x 14$. 128. BARN IN PICAHDY Signed 'Frances Hodgkins' lower right. Un- W,\ tor-colour. 22 x 18. dated, [c. 1920?]. Signed 'Frances Hodgkins' lower left. Un- Lent by Mr and Mrs Peter Field, Waikanae. dated, [c. 1924?]. Exhibited New Zealand Academy of Fine 121. NOHMANDY VEGETABLE MARKET Arts, 1927; Canterbury Society of Arts, 1928. Water-colour. 18 x 16$. Lent by the Canterbury Society of Arts, Signed 'Frances Hodgkins' lower right. Un- Christchurch. dated, [c. 1920?]. Exhibited Canterbury Society of Arts, 1928. 129. WHITE URN Lent by Mr T. T. Bond, Auckland. Water-colour. 9 x 12|. Signed 'Frances Hodgkins' lower right. Un- 122. AFTER THE BATHE dated, [c. 1926]. Gouache. 1 1$ x 15. Auckland City An Gallery. Signed 'Frances Hodgkins' lower left. Un- dated, [c. 1921?]. 130. BOYS' HEADS, TREBOUL Exhibited New Zealand Academy of Fine Water-colour. 15i x 17}. Arts, 1927; Auckland Society of Arts, 1928; No signature or date. [1927]. Canterbury Society of Arts, 1928. Exhibited Memorial Exhibition, Tatc Gal- Lent by Miss Frances Irwin Hunt, Auckland. lery, London, 1952. Auckland City Art Gallery. 123. MARKET SCENE Gouache. 8| x 11$. 131. TREBOUL Signed Trances Hodgkins' lower right. Un- Water-colour. 20 x 16. dated. [1921]. Signed 'Frances Hodgkins' lower right, un- Lent by Mr and Mrs Peter Field, Waikanae. dated. [1927].

25 Exhibited Memorial Exhibition, Tatc Gal- 139. DIANA lery, London, 1952. Oil. 17} x 15. Auckland City Art Gallery. No signature or date. Lent by Mrs D. McClymont, Dunedin. 132. CONCARNEAU — DUSK IN THE PORT Water-colour. 21 x 17^. 140. DIANA Signed 'Frances Hodgkins' lower right. Un- Charcoal 22 x 15. dated. [1927]. Exhibited Retrospective Exhibition, London, Signed and dated 'M. Elmore Jan 1928' 1946. lower right. Auckland City Art Gallery. Lent by Mrs D. McClynwnt, Dunedin.

DOROTHY KATE RICHMOND D A V I D E D W A R D II U I T ON (See note on page 19) (See note on page 14)

141. FIRST VIEW OF FRANZ JOSEPH GLACIER 133. CARTERS AT YORK BAY FROM LAKE MAPOUWKA Water-colour. 78 x 10. \ signature or date. [1920-22]. Water-colour. 11 X 14i- Lent by Mr H. M. W. Atkinson, Wellington. Signed and dated 'D. E. Hutton 1928' lower right. 134. LANDSCAPE Inscribed 'Lake Mapcmrika" lower left. Water-colour. 9} x 13}. Lent by Miss K. S. Hutton, Auckland. Signed and dated 'D. K. Richmond 1923' Iowa left. Lent by Mrs C. Moore, Wellington. ALFRED HENRY O'KEEFFE (Sec note on page 13) 135. LANDSCAPE (Canterbury?) Water-colour. 8| x 10$. 142. LANDSCAPE Signed and dated 'D. K. Richmond 1924' Oil. 12i x 18i. lower right. Signed and dated 'A. H. O'Keeffe 1931' Lent by Mrs F. E. Morton, Auckland. lower right. 136. LANDSCAPE (Canterbury?) Lent by Mr Frank Barron, Oamaru. Water-colour. 7J x 9|. Signed and dated 'D.K.R. 1924' lower right. FRANCES HODGKINS Lent by Mrs F. E. Morton, Auckland. 143. CAFE LES MAHTICUES 137. MAHINA BAY ROSES Water-colour. 22 x 26^. Pencil. 9J x 125- No signature or date. Signed 'Frances Hodgkins' lower right. Un- Lent by Mr U. M. H'. Atkinson, Wellington. dated, [c. 1928]. Inscribed 'Cafe les Martigues'. Auckland City Art Gallery. MARGARET F 1 I C IT ETT

(See note on page 15) 144. WOMAN WITH PEARLS Pencil. 151 X 111. 138. I>EAN PITCIIETT Charcoal 23 x 17}. Signed Trances Hodgkins' lower right. Un- No signature or date. dated, [c. 1930?]. Lent by Mrs Stella Fitchett, Du '.adin. Auckland City Art Gallery.

26 145. BRIDESMAIDS 132. I-RAGRANTISSIMA Oil. 29 x 23i. Water-colour. 21J x 151. Signed 'Frances Hoclgkins' lower left. Un- Scried and dated 'D. K. Richmond 1932' dated. [1930]. luwcr left. Auckland City Art Gallery (Lucy Carrington Lent by Mr H. M. W. Atkinson, Wellington. Wertheim Gift). 153. MONKEY BAY, PICTON SOUNDS 146. PrNMON SCENE \\.iter-colour. 9 x 11J. ,.il. Hi x 15. No signature or date. Signed 'Frances Hodgkins' lower right centre. Auckland City Art Gallery. Undated, [c. 1930?]. Auckland City Art Gallery. FRANCES HODGKINS 147. PORTRAIT OF HLSIE BARLING Pencil. 13i x 10. 154. EGGS AND FERNS Water-colour. 21 x 18. Signed 'Frances Hodgkins' lower right. Un- Signed 'Frances Hodgkins' lower right. Lin dated, [c. 1931]. d.itcd. [c. 1931]. Inscribed on mount, 'To Dorothy Selby Xmas Exhibited Lefevre Galleries, London, 1937; 1931 To a friend of a friend hy a friend'. Retrospective Exhibition London, 1946; Auckland City Art Gallery. Memorial Exhibition, Tate Gallery, London, 1952. MARGARET OLROG STODDART Auckland City Art Gallery. (See note on page 20) 155. PLEASURE GARDEN 148. VIEW OF MOUNT COOK Water-colour. 20} x 16J. Water-colour. 17 x 18|. Signed 'Frances Hodgkins' lower right. Un- Signed 'M. O. Stoddart' lower kit. dated, [c. 1933]. Auckland City An Gallery. Exhibited Lefevre Galleries, London, 1933 149. VIEW OF MOUNT COOK and 1937, and throughout New Zealand Water-colour. 20 x 17J. 1948-51. Signed 'M. O. Stoddart' lower left. Undated. Lent by the Robert McDougall Art Gallery, Lent by the National Art Gallery, Wellington. Chriitchurch.

DOROTHY KATE RICHMOND 156. FLUTE PLAYERS Pencil. 21 x 15i. (See note on page 19) Signed 'Frances Hodgkins' lower right. Lin 150. BEECH TREES UNDER SNOW ROTOROA dated, [c. 1933]. NELSON Exhibited Lefevre Galleries, London, 1933. Water-colour. 9| x 10|. Auckland City Art Gallery (Presented by Inscribed, signed, and dated 'Beech Trees Messrs. Angus Wilson and Odo Cross.) Under Snow Rotorua Nelson D.K.R. 1931' lower left. 157. SPANISH SHRINE Auckland City Art Gallery. Oil. 25J x 36i. Signed 'Frances Hodgkins' lower left. U'i- 151. LAKE ROTOROA dated. [1933]. Wjter colour. 10 x 1 3|. Exhibited Leicester Galleries, London, 1935, Signed and dated 'D. K. Richmond 1931' 1941; Hertford House, London. 1940; lower left. Retrospective Exhibition, Lou-dun, 1946; / i"i( /M Afrs A/. /I. Champion, Te Awa- C.A.S. Exhibition, Tate Gallery, London, tnutu. 1950; Memorial Exhibition, Tate Gallery,

27 1952. One time in the collection of Sir Signed and dated 'A. H. O'Kccffe 1935' Michael Sadler. lower right. Auckland. City Art Gallery. Lent by the Public An Gallery, Duncdin.

158. PHOENICIAN POTTERY AND GOURDS 164. PHANTASY (Plate 8) Oil. 21 i x 16$. Water-colour. 16 x 211. Signed and dated 'A. II. O'Kceffc 1940' Signed 'Frances Hodgkins' lower right. Lin lower right. dated, [c. 1933]. Lent by the National Art Gallery, Wellington. Auckland City Art Gallery. FRANGES H O D G KIN S SYDNEY LOUGH THOMPSON (See note on page 21) 165. RUINS Gouache. 20 x 28. 159. AT REST. 'M'.;IK-I! 'Frames 1 loiliAins' lower right. UH Oil. 21 x 25. Signed 'S. L. Thompson' lower right. Un- dated, [c. 1937]. dated, [c. 1933]. Exhibited Lefevre Galleries, London, October Auckland City Art Gallery. 1937; Centennial Art Collection, Wellington, 1940. 160. PATIENT HORSES Lent by the National Art Gallery, Welling- Oil. 19 x 23i. ton. Signed 'S. L. Thompson' lower right. I In dated, [c. 1934[. 166. TREBOUL 1940 Auckland City Art Gallery. Water-colour. 16] x 211. No signature but inscribed '1 I reboul 1940' 161. A HILL TOWN SOUTH OF FRANCE lower right. Gouache. 14J x 22. Exhibited Leicester Galleries, London, 1941. Signed 'S. L. Thompson' lower right. Un- Auckland City Art Gallery. dated, [c. 1939]. Auckland City Art Gallery. 1(57. 't'HK FI.EVATOH Gouache. 19i x 25J. DAVID EDWARD H U T T O N Signed 'Frances Hodgkins' lower right. (See note on page 14) Exhibited Lefevre Galleries, London, 1940; Retrospective Exhibition, London, 1946. 162. THE CHIEFTAIN'S DAUGHTER Auckland City Art Gallery. Oil. 35* x 23J. Signed 'D. E. Hutton' lower left. Undated 168. ROOT CROP hut known to have been painted in 1935. Gouache. 14 J x 21J. Lent by Miss K. S. Hutton, Auckland. Signed and dated 'Frances Hodgkins 1943' lower right. ALFRED HENRY O'K E E E F E Exhibited Lefcvre Galleries, London, 1943; (See note on page 13) Retrospective Exhibition, London. 1946; Memorial Exhibition, Tate Gallery, London. 163. ELEGANTE 1952. Oil. 19i x 131. Auckland City Art Gallery.

28 BRIEF CHRONOLOGY OF FRANCES HODGKINS

1R69 1906 28 April Born in Dunedin, New Zealand. 18 January Leaves Wellington for Europe. 1390 1907 November Exhibits for the first time. March Holds first one-man show in London.

1895 Attends Dunedin School of Art. 1912 25 December Returns to Wellington. 1896 Begins teaching. 1913 1901 17 October Leaves Wellington for Europe. 6 February Leaves Dunedin for Europe. 1942 Awarded Civil List pension. 1903 1946 Retrospective Exhibition held in May Exhibits at Royal Academy. London. 23 December Returns to Wellington. 1947 1904 - 5 Paints and teaches in Wellington. 13 May Dies at Herrison, Dorchester,

I ),, I-:,'!.

SOURCES

The chief sources of the catalogue notes are: 'Early Painting of Western Otago: Catalogue of an Exhibition held in the Hocken Library Picture Gallery July 1948' (Mimeographed, Dunedin, 1948). 'Exhibition of Paintings by Members of the Otago Art Society during its First Fifty Years: 1876-1926' CMimeognphed, Dunedin, n.d.). 'Hocken Library: Exhibition of Paintings by George O'Brien and Lily Atty DafF (Mimeo- graphed, Dunedin, 1945). Jean McGill and Linda Rodda, 'Catalogue of Pictures in the Hocken Library' (Mimeographed, Dunedin, 1948). National Centennial Exhibition of New Zealand Art: Catalogue (Wellington, 1940). G. H. Scholefield, A Dictionary of New Zealand Biography (Wellington, 1940). LInpublished papers of the Hodgkira und Field families (deposited in the Alexander Turnbuil Library, Wellington).

2S INDEX TO ARTISTS

Blackc, Annie Taylor 95, 96. Hutton, David Edward, 37, 38, 39, 40, 41, Buchanan, John 1. 141, 162. Fitchett, Margaret (Mrs lilsnmre .', 42, 43, Joel, Grace .. 87. 44, 138, 139, 140. Merton, Owen 90, 91, 92, 93, 94. Garstin, Norman 80. Nairn, James McLachlan, 50, 51, 52, 53, 54. Gully, John 2. Nerli, Girolamo Pied, 55, 56, 57, 58, 59. Hamilton, Augustus 32, 2. O'Brien, George 3, 4. Hodgkins, Frances Mary, 60, 61, 62, 63, 64, O'Keeffc, Alfred Henry, 33, 142, 163, 164. 65. 66, 67, 68, 69, 70, 71, 72, 73, 74, 97, Richmond, Dorothy Kate, 75, 76, 77, 78, 79, 98, 99, 100, 101, 102, 103, 104, 105, 106, 133, 134, 135, 136, 137, 150, 151, 152, 153. 107, 108, 109, 110, 111, 112, 113, 114, 115, Richmond, James Crowe . 5, 6, 7, 8, 9. 116, 117, 118, 119, 120, 121, 122, 123, 124, Scott, John Halliday 29, 30, 31. 125, 126, 127, 128, 129, 130, 131, 132, 143, Stoddart, Margaret Olrog, 81, 82, 83, 84, 144, 145, 146, 147, 154, 155, 156, 157, 158, 85, 86, 148, 149. 165. 166, 167, 168. Thompson, Sydney Lough, 88, 89, 159, 160. Hodgkins, Isabel Jane (Mrs W. II. Field"), 161. 18, 19, 20, 21. Velden, Petrus Van cler, 45, 46, 47, 48, 49. Hopkins, William Mathew, 12, 13, 14, 15, Walsh, Alfred Wilson 34, 35, 36. 16, 17, Wimperis, Frances Mary Hoyte, John Clark 10, 11. YVimperis, Jane 23, 24. Hutt.m, David Con., .. 25, 26, 27, 28.

30 INDEX T C) L F. N D t K S

I'KIVATE OWNERS

Atkinson, Mr H. M. W., 5, 7, 8, 75, 76, 78, Ilodgkms, Mrs G. G. 63. 80, 97, 100, 104, 133, 137, 152. Hodgkins, Miss Joan 60. ilarrun, \lr I rank 142. Hodgkins, Mr P. D., 4, 14, 31, 102, 107, Bartrum, Miss J. 95. 110, 113, 114. Bell, Miss Brenda 71. llosking, Mr C. R. 111. Bond, Mr T. T. 121, 127. Elunt, Miss Frances 122. Brown, Mrs F. 85. Hutton, Miss K. S., 25, 27, 37, 38, 39, 40. inpion. Mrs M. Pi. 6, 77, 93, 151. 41, 57, 58, 65, 141, 162. Cox-, Mr W. Sandford 29. Jagger, Mr L. VV. 50, 86. F.lliot. Mrs Edgar 22, 73. joii, Mrs E. j. 91, vi. Ewen, Mr John 34, 36. McCaymont, Mrs D. 139, 140. Ferguson, Mr A. J. 53, 54, 59. McC Tmick, Mr E. H. 66, 109. Eield, Mr Geoffrey 18, 21, 125. McLean, Miss K. 19. and the Estate of the late Moore, Mrs C 35, 84, 101, 134. Mrs VV. El. Field Morton, Mrs F. E. .. 135, 136. Field, Mr and Mrs Peter, 16 17, 46, 61, 63, Pearse, Mrs A. G. 83. 105, 106, 115, 120 123, 124, 126. Preston-Thomas, Mrs I. H., 13, 20, 62. 64, Fitchett, Mrs Stella 138. 67, 98. George, Mrs I. Thorne 69. Pudney, Mr F. G. 10. Gunson, Mr Wallace 45, 47. Reid. Mrs W. D. 89. Hamilton, Miss P. 32, 43, 44. Theomin, Miss D. 87. Hampton, Miv, 1 . 96. Westbrook, Mr Eric .. 72.

PUBLIC COLLECTIONS

Auckland City Art Gallery, 51. 79. 116, 117, National Art Gallery, Wellington, 2, II, 49, 118, 119, 129, 130, 131, 132, 143, 144, I K 52, 70, 74, 88, 90, 94, 99, 108, 149, 164, 146, 147, 148, 150, 153, 154, 156, 157, 158, 165. 159, 160, 161, 166, 167, 168. Otago Early Settlers' Association 3. Canterbury Society of Arts, Christchur h Public Art Gallery-, Dunedin, 9, 12, 15, 23, 128. 24, 30, 33, 42, 48, 55, 56, 81, 82, 103, 112, Elocken Library, Duneclin, University ,,f 163. Otago 1, 26, 28. Robert McDougall Art Gallery, Christchurch 155. AUCKLAND CITY COUNCIL

I I 15 K A R Y AND A R T GALLERY CO M M I T T E E

I lis Worship the Mayor, M. J. II. Luxford, C.M.G.

CHAIRMAN: Mrs M. M. Dreavcr.

MEMBERS: Councillor E. C. Armishaw, Councillor C. \V. Il.nmtt.

Councillor W. Butler, Councillor E. J. V. Dyson,

Councillor R. C. F. Savory.

STAFF

DIRECTOR: Eric Wcstbrook.

Miss A. M. Rvhurn. Mrs Brenda Gamhlc, M. Conrov, C. McCnhon, F. Smith.