Colin S. Lovell-Smith

New Zealander, b.1894, d.1960

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)

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Canterbury modernist landscape painting from the collections of Te Puna o Waiwhetū Christchurch Art Gallery, poignantly revised from within a Kāi Tahu perspective

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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. 

 

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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.

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'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)

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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)