Margaret Stoddart Camping at Akaroa 1893. Album 2, Canterbury Museum, 2015.115.46-50, p.12

Margaret Stoddart Camping at Akaroa 1893. Album 2, Canterbury Museum, 2015.115.46-50, p.12

Exquisite Treasure Revealed

Anthony Wright and Julie King shed light on a collection of drawings and photographs compiled by artist Margaret Stoddart.

Canterbury Museum holds two albums compiled by Diamond Harbour artist Margaret Stoddart. The older of the two, containing images featured in this Bulletin, and itself currently exhibited in the Gallery, covers the period 1886–96. The album is handsomely bound in maroon, and stamped M.O.S. in gold. It contains a sort of travelogue by way of black and white photographs set amongst decorative painting, mostly of native flora, with some locality and date information. 

 

It records her visits to the Chatham Islands, various places around Canterbury and the Southern Alps, and abroad in Tasmania and Victoria, Australia. I wish we could tell you more about how and when the album came to the Museum; the report recommending its formal accessioning in preparation for the loan to the Gallery simply notes that it has ‘unknown provenance’.

As a botanist by training (and at heart), I find the plant portraits are both pleasing in composition and botanically accurate enough to allow identification. Crossing the Hooker is embellished with two heads of the large mountain daisy Celmisia semicordata. Over the page, a photograph of a large clump of Mount Cook lilies (actually a buttercup—Ranunculus lyallii) lies over an exquisitely painted scape of its flowers which seems to leap from the page.

Museums and galleries care for a myriad of hidden treasures behind those on public display. It’s great that the reopening of Christchurch Art Gallery Te Puna o Waiwhetu can also shed light on some of Canterbury Museum’s unseen taonga.

Anthony Wright
Director, Canterbury Museum. Credits written by Julie King, art historian and author of Flowers into Landscape: Margaret Stoddart

Margaret Stoddart Mt Torlesse 1892. Album 2, Canterbury Museum, 2015.115.34-42, p.10

Margaret Stoddart Mt Torlesse 1892. Album 2, Canterbury Museum, 2015.115.34-42, p.10

Mt Torlesse 1892

In August 1892, Margaret joined a climbing expedition to Mount Torlesse. These photographs, which were taken with a hand-held quarterplate camera, record the arduous ascent. The party spent seven hours travelling across snow and the frozen and slippery shingle to the steepest slopes, where they were roped together, and reached the summit by cutting steps into the ice. On 1 September, the Canterbury Times commented that ‘Christchurch ladies are now adding the invigorating pastime of mountaineering to their other athletic pursuits … and, are specially to be commended for the plucky way in which they took to it.’

Margaret Stoddart Camping at Akaroa 1893. Album 2, Canterbury Museum, 2015.115.46-50, p.12

Margaret Stoddart Camping at Akaroa 1893. Album 2, Canterbury Museum, 2015.115.46-50, p.12

Camping at Akaroa 1893

Walking parties were popular in Margaret’s social circle, and the Port Hills and Banks Peninsula were favourite destinations. One clipping in her sister Mary’s album describes an excursion to Akaroa and back, which was completed in four days. Taking the launch to Diamond Harbour, the party walked to Purau, along the Port Levy road and on to Little River, with an overnight stay at the Hill Top, before making their descent into the harbour. Margaret can be identified in the photograph, wearing a white blouse, and seated at the centre of the group. Her lively sketches illustrate the excursion.

 

Margaret Stoddart Mount Cook Lilies. Album 2, Canterbury Museum, 2015.115.83-84, p.21

Margaret Stoddart Mount Cook Lilies. Album 2, Canterbury Museum, 2015.115.83-84, p.21

Mount Cook Lilies

On this page, Margaret placed a photograph of Mount Cook lilies, which is combined in a highly original way with her painting of the plant, and a background of snow-capped mountains. The flowers are captured in the clear light, and the delicate white petals shine from the page. When Margaret was a young woman, she completed numerous paintings of New Zealand’s native flora. Her personal album, which was made for the perusal of her family and friends at home, provides a fascinating glimpse of the artist’s adventurous travels, and an insight into her youthful aspirations.

Margaret Stoddart The prisoners’ huts on Orea flat, overlooking Waitangi Bay, Chatham Islands, 1886 (above) with the Lament of Te Kooti, translated by H. Parata at Ōtaki, January 1893. Album 2, Canterbury Museum, 2015.115.3-4, p.1

Margaret Stoddart The prisoners’ huts on Orea flat, overlooking Waitangi Bay, Chatham Islands, 1886 (above) with the Lament of Te Kooti, translated by H. Parata at Ōtaki, January 1893. Album 2, Canterbury Museum, 2015.115.3-4, p.1

The prisoners’ huts on Orea flat, overlooking Waitangi Bay, Chatham Islands, 1886 (above) with the Lament of Te Kooti, translated by H. Parata at Ōtaki, January 1893

On 19 April 1886, Margaret travelled to the Chatham Islands, where she stayed for over a year painting the landscape and indigenous flora. This drawing in her album depicts the huts on Orea flat overlooking Waitangi Bay, where the Māori leader and prophet Te Kooti had suffered unjust imprisonment and exile. In 1893, Margaret added a sheet inscribed with verses from the Lament of Te Kooti translated by H. Parata. These were framed within a painted border in the hammerhead shark design that could be seen on the kowhaiwhai panels of Rangiātea, the great Māori church built at Ōtaki.

Margaret Stoddart Crossing the Hooker. Album 2, Canterbury Museum, 2015.115.77-82, p.20

Margaret Stoddart Crossing the Hooker. Album 2, Canterbury Museum, 2015.115.77-82, p.20

Crossing the Hooker

These photographs come from the attempted ascent of Mount Cook, made in November 1893 by celebrated mountaineers Marmaduke Dixon, George Mannering and Tom Fyfe. This was the first expedition to use skis as a means of combatting the snow-covered crevasses. The skis had been ingeniously constructed from the blades of a harvester by Dixon, the brother of Rosa Dixon (later Spencer Bower), and a close companion of Margaret around this time. He is standing in the foreground of the photograph in the centre, which is crowned with a painting of the mountain daisy, a plant that flowers in spring and early summer.

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Exhibition
Untitled (Bathers)

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W.A. Sutton: Watercolours of Italy

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Picturing the Peninsula

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Pat Unger on William Sutton's 1973 Italian sabbatical.

Collection
Bridge, Mt Cook Road
Rata Lovell-Smith Bridge, Mt Cook Road

'This is the Mount Cook Road, and there are many bridges on that road. The people of Ngāi Tūāhuriri would go inland into the McKenzie [just below where this location is painted] for hunting high country weka [native woodhen] with dogs. They'd carry their empty packs of pōhā [kelp bags to hold preserved birds] with them to the hunting area, catch the weka and process the birds up there. They’d carry the pōhā out, and meet people coming from the south also going up to those high country plains. It was a summer exercise. Towards the end of summer the birds are fat. You preserve them like tītī [muttonbirds] in their own fat.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Rakaia Series No. 37
Trevor Moffitt Rakaia Series No. 37

Trevor Moffitt had a deep love for inland Canterbury that was in part fostered by his obsession with fishing. In the mid 1970s he purchased a bach at Lake Clearwater, inland from the Canterbury town of Ashburton. This became his favourite spot to retreat from city life and experience the outdoors. In 1982, after the death of his wife, Alison, Moffitt began the series that this work is from. He said in an interview:

'After Alison died I’d had enough of people, so I went out and painted the Rakaia River series. I had just been emotionally drained. […] The best thing I could do was go off on the weekend and paint the river. I poured all my grief and tears into depicting the waters of the Rakaia.'

In the vast emptiness, 8 January - 21 August 2016

Collection
Camiers, France
Margaret Stoddart Camiers, France

Nature's Own Voice, 6 February - 26 July 2009

Margaret Stoddart worked exclusively as a watercolourist and painted plein-air landscapes from early in her career. Her work developed towards an impressionistic style while she was based in Europe between 1898 and 1906. At this time she began exploring the various atmosphericeffects experienced while painting plein-air, as seen in Camiers, France, where Stoddart uses very wet washes of colour to capture the hazy conditions of the scene.

Collection
Godley House, Diamond Harbour
Margaret Stoddart Godley House, Diamond Harbour

On her return from Europe in 1907, Margaret Stoddart lived in Godley House with her mother and sister and remained there until the family’s Diamond Harbour estate was sold off in 1913. The family were keen gardeners, as can be seen by the charming cottage garden. This is one of a number of paintings Stoddart did in Diamond Harbour and shows the style she had developed during her time in Europe. The expressive opaque watercolour treatment is combined with fine fluid washes applied in a quick and direct manner, out of doors before the subject. Stoddart was born in Diamond Harbour, Christchurch, but in 1876 the family sailed for Britain and she received her early education in Edinburgh. The family returned to New Zealand in 1879 and in 1882 Stoddart enrolled at the Canterbury College School of Art. She was a founding member of the Palette Club whose members were concerned with painting out of doors. She travelled to Europe in 1898.

Collection
Mountain Lilies
Margaret Stoddart Mountain Lilies

Margaret Stoddart painted many scenes of the Southern Alps, particularly in the Mount Cook National Park region in South Canterbury. Indeed, the lilies featured here are known as ‘Mount Cook’ lilies.

By the time she painted this work, Stoddart was widely recognised as the leading New Zealand flower painter of the time. The immediacy of the detail suggests that she did at least the preliminary work on site, rather than in the studio. The watercolour washes have the Impressionistic style that became Stoddart’s hallmark.

Stoddart was born in Diamond Harbour, on Banks Peninsula, but in 1876 the family sailed for Britain and she received her early education in Edinburgh. The family returned to New Zealand in 1879 and in 1882 Stoddart enrolled at the Canterbury College School of Art. She was a founding member of the Palette Club whose members were concerned with painting out of doors. After living in England for several years, Stoddart returned to New Zealand in 1907 and settled in Diamond Harbour.

Collection
Roses
Margaret Stoddart Roses

For the exhibition I See Red (5 December 2007 - 23 November 2008) this work was displayed with the following label: ‘My love is like a red, red rose’ goes the old Scottish song. Red roses are a well-known symbol for true love. Thank Robbie Burns for the song, and Margaret Stoddart for this bowl of overflowing roses, where the red is the red of a living, beating heart, a red that unfolds into full bloom, promising love that will last.

Collection
Hills and Plains, Waikari
William Sutton Hills and Plains, Waikari

William (Bill) Sutton spent most of his life in Christchurch, apart from two years from 1947–49 studying and painting in Britain and Europe. This time away helped attune his eyes to the distinctive qualities of the local regional landscape. Teaching full-time at the Canterbury College School of Art from that time, Sutton lived in a rented studio flat overlooking Victoria Square and became the owner of a Matchless motorbike – upgraded to a 500cc BSA Golden Flash in 1956 – on which he’d leave the city on his weekends in pursuit of countryside to paint.

Human presence has reshaped this landscape, with its bending macrocarpa windbreaks, simple corrugated iron structures and undulating patchwork fields. A palette of subtle ochres, greys and gold presents a characteristically Canterbury scene and typifies the work for which Sutton became appreciated and known.

(Beneath the ranges 18 February – 23 October 2017)

Collection
Te Tihi o Kahukura and Sky, I
William Sutton Te Tihi o Kahukura and Sky, I

This painting by Bill Sutton expands our view of a familiar site on Christchurch’s Port Hills, encouraging the viewer to consider what mysteries may have been present before the arrival of Māori tangata whenua, the people of the land. Te Tihi o Kahukura, or the Citadel of Kahukura, is the first name of Castle Rock, the foregrounded point at the left of the painting. The extended Māori name translates as ‘the Citadel of the Rainbow God (and a) sky full of boiling clouds roaring around all over the place’. According to Kāi Tahu tradition, Kahukura is the atua, or god, who clothed the land; Kahukura later transformed to become the atua of rainbows. Here, Sutton’s interest in landscape, light and colour is applied to a location of significance for Māori. There is an intimacy in the site for Sutton, as he was able to see it “from my upstairs back-landing window”. Sutton’s house remains in what is now known as ‘the red zone’, an earthquake-battered place of an undetermined future.

(Te Tihi o Kahukura: The Citadel of Kahukura, 18 Februay 2017 - 18 May 2018)

Collection
Sunset, Craigieburn
Colin S. Lovell-Smith Sunset, Craigieburn

Colin Lovell-Smith often went on painting trips to this area with his wife Rata, who was also a landscape painter. Craigieburn is in the Southern Alps, about 100 kilometres northwest of Christchurch. Although set beside a small riverbed close to the main road, the painting focuses on the steep eroded slopes of the Craigieburn Range. Lovell-Smith has paid close attention to the landform details, capturing the distinctive qualities of the Canterbury mountain region. Shades of ochre are subtly orchestrated with the soft grey of the predominant greywacke rocks. Born in Christchurch, Lovell-Smith studied at the Canterbury College School of Art then worked for his father’s printing business. During World War I Lovell-Smith was with the Royal Engineers on the Balkan Front and was subsequently awarded the Serbian Gold Medal of Merit for his work. On his return to Christchurch in 1919 he taught, first at St Andrew’s College, then at the School of Art, of which he was Director from 1947 until his death.

Collection
Canterbury Plains From Cashmere Hills
Doris Lusk Canterbury Plains From Cashmere Hills

Bill Sutton once commented that “on the Canterbury Plains you don’t look up and down but from side to side”, which seems entirely appropriate for this vast landscape painting of the plains by his friend Doris Lusk.

In the vast emptiness, 8 January - 21 August 2016

Collection
Nor’west
Juliet Peter Nor’west

According to Kāi Tahu, within the story of the creation of Te Waipounamu (the South Island), Aoraki was an atua, or demi-god, who left the home of his father, Raki, in the heavens and voyaged with his brothers to visit Raki’s first wife Poharora o Te Po. They set out to return to his father, but there was a fault in the karakia (prayer) for their return. Aoraki’s canoe – Te Waka o Aoraki – was stranded, and Aoraki and his brothers turned to stone, becoming the mountains of Kā Tiritiri o Te Moana, the Southern Alps.

'This work is interesting because it offers an unusual perspective on Aoraki [Mount Cook] – but Aoraki is full of different perspectives in Kāi Tahu culture. The mountain is, above all, a symbol of our tribal and regional identity. That’s got nothing much to do with its location – although that obviously commands cultural attention – but mainly because of its centrality in the Te Waipounamu creation story. And it is a distinctive creation story, part of a creation myth which has survived here in the remote outskirts of Polynesia while it has been lost at the centre where it came from. Aoraki made us distinctive, and it makes all people distinctive that live under its span. Juliet Peter’s depiction of it is unusual, but every way you look at Aoraki you’ve got a different perspective.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Mackenzie Country
Esther Studholme Hope Mackenzie Country

The viewpoint Esther Hope chose for this work allowed her to show the vast expanse of the Mackenzie Country, which stretches out before the viewer towards the Southern Alps. This region was a favourite subject of Hope’s, one that she returned to throughout her career.

She said that “this land is a part of me … I have never regretted my choice of environment [and] have always felt a strong feeling of primitiveness [here].” Hope’s mature style is seen here, with broad wet washes of colour confidently used.

Hope was born near Geraldine, South Canterbury. She was first introduced to painting through her mother, Emily Studholme, an accomplished amateur artist. She also took lessons from Edwyn Temple and Margaret Stoddart. In 1912 Hope left New Zealand for England where she enrolled at the Slade School of Art, London. In 1919 she returned to New Zealand, married Henry Norman Hope and settled at the Grampians Station in the Mackenzie Country.

Collection
An Otira Stream (also known as Mountain Rata)
Margaret Stoddart An Otira Stream (also known as Mountain Rata)

Margaret Stoddart first made the trip along the West Coast Road over Arthur’s Pass and through the Otira Gorge in April 1896, travelling in a hired wagon with several companions. Around 1927 Stoddart completed several watercolours of the gorge including An Otira Stream (also known as Mountain rata). In this work the artist combines her interest in flower painting with landscape to complete a vibrant vision of southern rata in full bloom amongst the rugged Otira terrain. In the summer months of January and February the mountain slopes of the Otira Gorge come alive with the crimson flowers of southern rata.

Collection
Dry September
William Sutton Dry September

'The Bruce is a route, it’s a river; it’s a place my grandfather, a West Coast MP, used to walk, east and west. If there was no coach, he’d go up the Bruce and down the whatever. His diary is always taking about up the Bruce or down the Bruce.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Canterbury Spring
Leo Bensemann Canterbury Spring

Exhibited at The Group show in 1961, this work by Leo Bensemann was part of a ‘Four Seasons’ suite which also included Autumn, Winter and Summer. It marked a change in his work in that landscapes came to dominate his paintings from this period on. Bensemann has given the landscape a structured composition, with objects outlined in a strong, clean and definite manner. This has similarities with work by other Canterbury landscape painters who shared a concern for painting the unique regional imagery of the Canterbury landscape in a formal simplified manner.

Born in Takaka, Bensemann shifted to Nelson with his family in 1920. He moved to Christchurch in 1929 and he worked for an advertising agency. He attended evening classes at the Canterbury College School of Art between 1932 and 1936. It was in 1934 that Bensemann met poet Denis Glover and became involved with the Caxton Press as a typographer, an association he maintained until his retirement in 1978. He was a regular exhibitor with The Group from 1938.

Collection
Camp in the Kowai
Austen A Deans Camp in the Kowai

'The Kowai would, in standard Māori, be pronounced Kōwhai – it's named after the kōwhai tree [native tree with yellow flowers].' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Diamond Harbour
Margaret Stoddart Diamond Harbour

For the exhibition Picturing the Peninsula (21 April - 22 July 2007), this work was displayed with this label:

Diamond Harbour lies on the South side of Lyttelton harbour across from the town of Lyttelton between Purau Bay and Charteris Bay. It was named by the artist’s father, Mark Stoddart, from “the glitter of the sun-track on the water, always very noticeable from that side of the harbour.” This view chosen by Margaret Stoddart looks out across Diamond Harbour from above the wharf and is in the artist’s mature style being completed soon after her return home in 1907 after studying art abroad.

Stoddart was born and grew up in Diamond Harbour where her father had settled in 1851. She regularly painted in the region and often incorporated flowers into the landscape such as the blossoms seen in this work.

Collection
The Moors
Margaret Stoddart The Moors

Margaret Stoddart’s painting style altered dramatically during the period she spent in Britain between 1898 and 1906. She was based at St Ives, Cornwall, where there was a large contingent of artists whose interests lay primarily in impressionism and plein air painting.

Although the exact location of The Moors is not known for certain, the painting highlights Stoddart’s development at this time. Painted outdoors, loosely applied wet washes of subdued colour effectively convey the overcast atmospheric conditions, which are contrasted with several brightly coloured flowers in the foreground.

Stoddart was born in Diamond Harbour on Banks Peninsula, but in 1876 the family sailed for Britain and she received her early education in Edinburgh. The family returned to New Zealand in 1879, and in 1882 Stoddart enrolled at the Canterbury College School of Art. She was a founding member of the Palette Club, whose members were concerned with painting outdoors.

Collection
Anna Ollivier Roses
Margaret Stoddart Anna Ollivier Roses

A popular flower in New Zealand at this time, roses were also a favourite subject of Margaret Stoddart’s throughout her career. The Impressionist approach she has used in this watercolour is typical of Stoddart’s mature style. Her use of broad washes and loose handling help to capture the atmospheric effects of light falling on the roses. On her return from Europe in 1906 Stoddart’s approach was considered too ‘modern’ by many critics, however she gradually developed a reputation for her sensitive landscapes and flower studies. Stoddart was born in Diamond Harbour, on Banks Peninsula, but in 1876 the family sailed for Britain. They returned to New Zealand in 1879 and in 1882 Stoddart enrolled at the Canterbury College School of Art. She was a founding member of the Palette Club whose members were concerned with painting out of doors. After living in England for several years, Stoddart returned to New Zealand and settled in Diamond Harbour.

Collection
The Long Lookout
Ivy G Fife The Long Lookout

'Tu-Te-Raki-Whanoa, the son of Aoraki, is the atua [demi-god] who shapes the wrecked waka to ready it for people. His first great task is to defeat the south-easterly winds roaring along the side of the wreck. He invents peninsulas. He rakes all the rubbish of the wreckage and piles it up like a gigantic break water. Thus you have the Canterbury Plains and a sheltered place for his next invention, Whakaraupō [Lyttelton Harbour] and Akaroa Harbour. He then depresses his heel and creates Waihora [Lake Ellesmere], later claimed by the exploring ancestor, Rākaihautū, as Te Kete ika o Te Rākaihautū [the fish basket of Rākaihautū].' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Old Cornish Orchard
Margaret Stoddart Old Cornish Orchard

Margaret Stoddart was living at St Ives, Cornwall, throughout much of 1902 when this work was painted. Popular subjects with her and many of her contemporaries were orchards and woodland scenes, particularly in spring when the trees were in blossom. Stoddart was interested in the Newlyn School’s naturalistic style of painting, working directly from nature. In this watercolour she has over-painted the work with an opaque body-colour to represent the blossom. She painted several works exploring the effects of light on the blossom at various times of the day. Stoddart was born in Diamond Harbour, Christchurch, but in 1876 the family sailed for Britain and she received her early education in Edinburgh. The family returned to New Zealand in 1879 and in 1882 Stoddart enrolled at the Canterbury College School of Art. She was a founding member of the Palette Club whose members were concerned with painting out of doors. After living in England for several years, Stoddart returned to New Zealand in 1907 and settled at Diamond Harbour.

Collection
Wallflowers
Margaret Stoddart Wallflowers

Flower painting was a popular subject with Victorian colonial women artists. It was considered more appropriate than painting landscapes, which tended to be dominated by male artists. Early in her career and influenced by her studies at the Canterbury College School of Art, Margaret Stoddart painted Wallflowers in a careful manner. The School placed an emphasis on close observation and truth to nature. The Australian botanical artist Ellis Rowan encouraged Stoddart and wrote in the Australian Town and Country Journal that, ‘Her grouping, colouring, form and harmony were perfect.’ Stoddart was born in Diamond Harbour, on Banks Peninsula, but in 1876 the family sailed for Britain and she received her early education in Edinburgh. The family returned to New Zealand in 1879 and in 1882 Stoddart enrolled at the School of Art. She was a founding member of the Palette Club whose members were concerned with painting out of doors. After living in England for several years, Stoddart returned to New Zealand in 1907 and settled in Diamond Harbour.

Collection
Evening
Colin S. Lovell-Smith Evening

'Well, this is Haumuri Point south of Kaikōura. Pākehā called it Amuri – you’ve got Amuri Motors, Amuri buildings, Amuri district or whatever. It is called Haumuri, and it was always explained to me that the name was given because the wind there is always behind you.

'In the Te Waipounamu creation story, Tu-Te-Raki-Whanoa had two assistant atua [demi-gods], Marokura and Kahukura. We could say that Kahukura was in charge of all parks and reserves, and Marokura was in charge of 
the Ministry of Fisheries. The whole coast is inhabited by the work of those atua. The land is clothed and beautified by Kahukura. Marokura goes off to make his own peninsula at Kaikōura. He was a fishing atua – he wasn’t much of a civil engineer – so it’s only a small peninsula. He puts the great riches of the sea into the coast, which was his skill. The coast is called Te Tai o Marokura; some people call it Te Koha o Marokura.' —Sir Tipene O’Regan

(He Rau Maharataka Whenua: A Memory of Land, 17 September 2016 – 18 February 2017)

Collection
Hawkins
Rata Lovell-Smith Hawkins

By the early 1930s Rata Lovell-Smith was highly regarded for her paintings of the Canterbury landscape. One Christchurch reviewer in 1933 glowingly commented on her work:

'Of the painters who direct their attention towards the essential characteristics of New Zealand scenery […] Mrs Lovell-Smith makes an extremely direct statement of her subject. She paints with a large full brush in a series of broad planes. There is nothing 'bitty' about her work. This, perhaps, is its greatest virtue, a virtue that cannot be too highly praised. She glories in the colour contrasts of the New Zealand landscape. […] There are no subtleties but a series of vivid and simplified impressions of her native country. Whereas many pictures by [other] exhibitors […] might have been painted in other countries, there can never be any doubt about the locality of Mrs Lovell- Smith's landscapes. It is as though she had never got over her first impression of violent tone and colour contrasts, and in a state of beatific astonishment had set herself to establish that impression at the expense of anything that tended to modify it.'

In the vast emptiness, 8 January - 21 August 2016

Collection
Summer Kowai, 1934
Cedric Savage Summer Kowai, 1934

Kowai Bush is a farming area in the foothills of Central Canterbury, where typically the summers are very hot and dry. Like other Canterbury landscape artists of the 1930s, Cedric Savage was interested in recording the unique features of the Canterbury region. He was essentially a plein air (outdoors) artist concerned with painting directly from nature but in Summer, Kowai he has worked in a careful manner, keeping control over the application of paint. Born in Christchurch, Savage studied at the Canterbury College School of Art. He later studied with Sydney Lough Thompson (1877-1973) and Archibald Nicoll (1886 - 1953). After travelling, he returned to New Zealand in 1933, settling in Christchurch where he became vice-president of the New Zealand Society of Artists. Savage’s eyes were injured during World War II and for the rest of his life he could only paint outdoors. Although he won the Kelliher Art Award in 1962, Savage felt unappreciated in New Zealand and spent many years living away from the country, finally settling in Greece.

Collection
Storm Clouds, Blythburgh, Suffolk (also known as Suffolk Village)
Margaret Stoddart Storm Clouds, Blythburgh, Suffolk (also known as Suffolk Village)

‘Storm clouds, Blythburgh, Suffolk’ is typical of Margaret Stoddart’s growing interest in impressionism and painting outdoors while based in England between 1898 and 1906. The atmospheric conditions of the impending storm above Blythburgh have been rendered directly using wet washes of colour. Stoddart travelled widely, taking sketching trips to France, Italy and throughout Britain, often seeking out picturesque villages such as Blythburgh as her subjects. Stoddart enjoyed living at St Ives, Cornwall. The town’s reputation as a plein-air (open air) artists’ colony made it a magnet for New Zealand artists including Frances Hodgkins and Dorothy Richmond, who visited Stoddart there in 1902. (Brought to Light, November 2009)