THEOne Tree Hill CollegeART TRUST WORKS
In Ron‘s Eiseg‘s office
Sandy Adsett,He TetekuraThe revival ofMaori Youth,1981,Acrylic onHardboard,945 x 945
Reception & Corridor outside Staff Workroom
Colin McCahon (1919-1987) Collection• Born 1 August 1919, Timaru, although lived in Dunedin.• Strongly influenced by Toss ...
Colin McCahon,‘Nouns andverbs...(Parts ofSpeech Peter Hooper),Practical ReligionSeries 1969, Script -Scroll painting, ink,...
ColinMcCahon,‗AnOrnament for thePaheka, 1972,Pencil andwatercolour onwhite paper, 316x 405
ColinMcCahon,In My DarkWinter 1971,Script drawingon white paper,1971,273 x 180
ColinMcCahon,Muriwai1971,Watercolouron manillacard,1090 x 720
ColinMcCahon,Larks Song,1972,Watercolourand pencilscript onmanilla card,1092 x 722
Colin McCahon, Necessary Protection’ (I H S)1972,      Enamel and oil on hardboard, 600 x 810
ColinMcCahon,Jet OverMuriwai’,1973,Charcoal onpaper,342 x 273
Cathryn Shine Artist in residence Cloth of culture 1983Acrylic on unstretched canvas 2840 x 4670
Wallace Crossman Interaction 1974 Acrylic onCanvas 885 x 725
Wallace Crossman•   Former Art teacher Penrose High•   Actively involved in setting up the collection•   Recently donated ...
Don BinneyTe Henga1967ColouredCrayon onpaper745 x 535
Don Binney• Binney describes himself as a figurative painter concerned with the  psychic metaphor of the environment. Work...
Dick Frizzell The Will To Love 1977 Oil Enamel onhardboard 620 x 907
Donated by Kapiti Collection
For this piece I used a discardedwrapper from a just-eaten blockof Aorangi as a starting point. Iam interested in words an...
I love cheese and I love thischeese. The bright colour isamazing, the sharp taste isincredibly moreish. You couldeat it al...
• Over this, is evidence of a board well used and  cheese well eaten – random, multiple and  layered knife marks permanent...
I was attracted byRamara‘s soft and gentlecolour. However thesesoft, warm colours gaveway unexpectedly to areally strong t...
• I also wanted to explore the notion of  tactility. The cheese begs to be picked up  and eaten, creating discussion and  ...
‗Calling this piece‗the SecondMetaphysicalCheese‘ obviouslyimplies that therewas a first one.Originally a brie all Ihad to...
• The Metaphysical painting movement was  concerned with the exploration of the inner  life of ordinary things and removin...
I started with the unique shape of thecheese which is interesting in itself.However as I ate the cheese andshared it with ...
John PuleNukulafalafa1994 Lithographand woodblock3/30750 x 750
John Pule• Born in Niue, a small nation in the Pacific, John Pule moved with  his family to Auckland, New Zealand at the a...
Nigel BrownLand and Family1979Hand colouredLithograph24/30630 x 470
Nigel Brown•Nigel Brown actively uses story telling precepts within the ‗confines‘ of theimage. He directly and selectivel...
Rodney FumstonGardenEvening ll1979Screenprint9/40540 x 480
Rodney Fumpston Born 1947-•   Rodney Fumpston was born in Fiji in 1947.••   He studied at Elam School of Fine Arts from 19...
Pat HanlyWho am I, Iam, Do itScreenprint565 x 635
PAT HANLY 1932 - 2004• PAT HANLY, born 1932, Palmerston North. Died 2004,  Auckland.  Graduated Diploma of Fine Arts, Univ...
A.C. NealePounamu1994Etching 8/15502 x 265
John PuleNukulafalafa1994 Lithographand woodblock3/30750 x 750
John Pule• Born in Niue, a small nation in the Pacific, John Pule moved with  his family to Auckland, New Zealand at the a...
Gordon WaltersArahura1982Screenprint5/125543 x 430
Gordon Walters (1919 - 1995)• Gordon Walters (1919 - 1995) was a pioneer of  modernist abstract painting in New Zealand.  ...
Nigel BrownRunning Woman1983Hand colouredLithograph10 /10
Corridor outside Staff Workroom
Martin BallMotorbike1980Graphitepencil on paper210 x 180
Martin Ball (b.1952)•   Martin Ball (b.1952) is renowned for his hyper-realist, large-scale painted    portraits of recent...
Don BinneyTaranaki1971Black Crayonon paper331 x 392
Don Binney•    In 1965 Binney was included in a survey show of New    Zealand painting, held in London and in the ―Eight N...
Dick FrizzellSketches for BigBoy1982PencilColourwashand Collage330 x 330
Sylvia SiddellAfter Breakfast1982 Pencildrawing587 x 410
Sylvia Siddell• Sylvia Siddell has been exhibiting her paintings and drawings since  1975 and is represented in both publi...
Roger StaplesEgg and Grain1975Pencil Drawing240 x 197
ROGER STAPLES• Roger Staples has, with varying success, explored the New Zealand  mentality. Of course, it is unreal to sp...
GrahameSydney CampKitchen1981Etching24/25185 x 245,
Grahame Sydney• Grahame Sydney is a major New Zealand artist. He is best known  for his magnificent landscapes of Central ...
Nelson ThompsonFlower Study1974Watercolour542 x 738
Nelson Thompson•   Nelson Thompson the painter is not as well known to the general public as he should    be considering t...
John LethbridgeFull Circle 1983Coloured Lithograph122/150,653 x 305
Artist unknownUntitledundated
Student Services, Corridor outside Staff room, Staff room, Outside SLT offices
OutsideRopati‘s officeMalcom Warr,Kapiti Island andthe WaimehaStream,Screenprint, 4/20(Ins Blue 2nd Ed)1976,625 x 765
Outside I Ropati‘s officeMalcom Warr,Kapiti Island andthe WaimehaStream,Screenprint 4/20(Ins Sienna 2ndEd) 1976,625 x 765
Malcom Warr•   Painter and printmaker•   almost exclusively a printmaker for about twenty years from 1975 to 1995. This wa...
OutsideI Ropati‘sofficeGraeme Storm
Grahame Storm• Grahame Storm is a notable New Zealand potter  who began his career as an Art and Craft  specialist teacher...
BetweenCoughlan &Barlow‘s officeCarole ShepheardIdentity Fragments(Tipi and Target)1981Mixed media onpaper650 x 495
Carole Shepheard•    First studying at Elam 1964-67 (Honours in Stage Design), then    gestating for almost ten years, She...
Opposite M Bettridges‘ officePat Hanly,EcstasyCondition1976,Enamel onHardboard,905 x 900
PAT HANLY, born 1932, Died               2004•    Graduated Diploma of Fine Arts, University of Canterbury School of Fine ...
Between  Barlow‘s office  and doorGretchen Albrecht,Velvet Rock 1975,Acrylic on Paper,1043 x 715
Gretchen Albrecht•  Gretchen Albrecht has exhibited in New Zealand and  internationally for more than 35 years. Recent wor...
Outside MBettridges‘officeTerry StringerWoman at a Mirror1980Cast bronze 2/3285 x 2150 x85
Terry StringerTerry Stringer is a leading New Zealand sculptor. He  trained at New Zealands premier art school, Elam  Scho...
Entry to staffroom from SLT officesAnna Palmer,UntitledColoured pastelon black paper,490 x 640
Anna Palmer• Anna Palmer was born in New Zealand and studied at Elam School  of Fine Arts. She has a range of interests an...
Staff RoomGretchenAlbrecht,Sundial, 1980,Screenprint, 22/125,805 x 615
Gretchen Albrecht•  Gretchen Albrecht has exhibited in New Zealand and  internationally for more than 35 years. Recent wor...
Staff RoomWong Sing Tai, Bare Island,Silkscreen print, 19/100, 435 x 800
Wong Sing TaiWhere the figurative motif appeared, the results were either moderately appealing or simply disappointing. Wo...
Staff Room Other side of entryMichael Smither,Nutshell, 1976,Screenprint, 1/50,536 x 625
Staff RoomMichael Smither,Mount Taranaki,1971, Screenprint,1/23,480 x 560
Michael Smither•   Born in Taranaki, 1939.    Michael Smither is well known for his environmental work, his sculpture and ...
Staff RoomJean Horsley, Squadron, 1989, Oil on hardboard,785 x 1190
Staff RoomJean Horsley, Whakapapa Waterfall, Oil on hardboard,787 x 1185
Jean HorsleyAnn Kirker (author of New Zealand Women Artists:  A Survey of 150 years), described Horsleys  works produced i...
Staff RoomTom Burnett,Elliots Beach,1983,Screenprint,10/70,570 x 545
Tom BurnettWell known New Zealand artist Tom Burnett, is best known for his  evocative images of Northland and the Pacific...
Corridor outside Staff RoomWendy Griffin,Transitcolour etching,16/30,510 x 370
Corridor  outside  Staff RoomStanleyPalmer,From NapierStreet, 1968,BambooEtching onpaper 4/6,485 x 695
Stanley Palmer• Stanley Palmer was born near Thames in the  Coromandel and studied at Dunedin Technical College  in the la...
Corridor  outside  Staff RoomDelwyn Williams,Tui in a Flame Tree,1985, Lithograph,16/16,530 x 375
Corridor  outside  Staff RoomGuy Ngan, ‗Series Thirty‘, 13/21, 1976
Guy NganStokes Valley-based artist Guy Ngan has been  making sculptures, paintings, drawings and  prints for the last fift...
Corridor  outside  Staff RoomMark Blazey,Untitled,Undated
Corridor  outside  Staff RoomEmma McLellan, ‗Marked ll‘, 1994, Etching on buff paper,370 x 590
Corridor outside Staff RoomGraham Cornwell, Dancing Harlequins,Lithograph, 420 x 540
Corridor  outside  Staff RoomCynthia Jaffe, Mystical Forest, 1981, Multiple print14/375, 310 x 510
Outside(right fromstaffroom)wall bydoor toStudentServicesStanley PalmerShot TowerMt Eden1980Bamboo etchingon paper30/60530...
Stanley Palmer (1936- )• Stanely was born in at Turua in the Coromandel. He has  lived in Mt Eden, Auckland since 1941. Pa...
Insidestudentservices bysick baydoorArtist unknownUntitledundated
StudentservicesColleen BucknellUntitledUndated
Student servicesRobin Kahukiwa,Nau Mai Haeremai1986, Oil on canvas,1340 x 1010
Robyn Kahukiwa (born 1940-)• Robyn Kahukiwa was born September 1940 in Australia returning to  New Zealand at the age of 1...
Corridor, Tawa (outside student services entry/exitNelson Thompson,Townscape, 1955,Watercolour, pen and ink, 398 x 615
Nelson Thompson 1948 - 1986• As a teacher Nelson Thompson turned to  Socrates for his philosophy as an  educationalist: "T...
Corridor, Tawa (outside student services entry/exitTed Dutch, 1997
Corridor,  Tawa  (outside  student  services  entry/exitTed Dutch, ‗Ornithopter‘, 1970, 1/20
Ted Dutch• When the then 23-year-old artist Ted Dutch immigrated  to New Zealand in the early 1950s, he left the dreary  o...
Corridor,  Tawa  (outside  student  services  entry/exitPhillippa Blair, Hiroshima, 1983, Watercolour andacrylic on paper,...
Philippa Blair (born 1945-)• Born in 1945, Christchurch, New Zealand, Philippa Blair graduated  with a Diploma of Fine Art...
Corridor,Tawa(outsidestudentservicesentry/exitArtist unknownUntitledundated
Stair welloutsideStaff RoomMalcom WarrAkatarawa1968Monoprint770 x 630
Stair welloutsideStaff RoomMalcom Warr1968Monoprint770 x 630
Malcom Warr• was almost exclusively a printmaker for about twenty years from  1975 to 1995. This was both a development an...
Library
Gretchen Albrecht Sky Limit 1973Acrylic stain on stretched canvas 1255 x 1820
Gretchen AlbrechtOrange-Black-Blue1975Acrylic on paper1067x712
Gretchen Albrecht• Born in 1943, Auckland, New Zealand Gretchen Albrecht graduated  from the Auckland University School of...
Pamela BlokUntitled(MythologicalTheme)110 x895
Nigel BrownTrampers 14Acrylic onhardboard1980-811090 x 790
Nigel Brown (more info)•Nigel Brown actively uses story telling precepts within the ‗confines‘ ofthe image. He directly an...
Colleen BucknellUntitledUndated
Colleen BucknellUntitledUndated
Pat FosterEarth Goddess lVStone SculptureNorthlandSerpentine
PAT FOSTER (1943-2004)•   Pat Foster was born in Timaru in 1943.•   She graduated with a BSC from the University of Otago ...
Dean Buchanan,MedievalFairy Tale1985Oil onunstretchedhessian1900 x 1430
Dean Buchanan• Born Auckland in 1952, Dean Buchanan is famous for  his expressionist treatment of the New Zealand  landsca...
Allen MaddoxX Painting1979Oil onunstretchedcanvas1815 x 1985
Allen Maddox                      (1948 – 2000)• Born in the UK, Allen Maddox lived in New Zealand from 1963 until  his de...
Colin McCahonThe Calling of aChristian Inscribed 1Peter 3 the Calling of aChristian‘1969Charcoal script onpaper1560 x 550
Colin McCahon•   Born 1 August 1919 in Timaru, although his family lived in Dunedin.•   Was interested in art from an earl...
Ian ScottTrellis Pattern1981Gouache onpaper,480 x 480
Ian Scott (born 1945-)• Ian Scott was born in 1945 and his painting career spans  over forty years. He is a major New Zeal...
Terry StringerPonsonby1984Cast bronze 8/12330 x 405 x 200
Terry Stringer• Terry Stringer is a leading New Zealand sculptor. He  trained at New Zealands premier art school, Elam  Sc...
William SuttonThreshold V1973Oil on Canvas1120 x 2900
William(Bill) Sutton (1917-2000)•    William Alexander (Bill) Sutton, CBE (1917-2000) is an iconic    Canterbury artist, w...
Artist unknownUntitledundated
Artist unknownUntitledundated
Ceramics
Artist unknown 3
Artist unknown 4
Andrew Van Der Putten   Doreen Blumhardt   Renton Murray
Don Thornly                           Len CastleLen Castle
Barry Brickell 1
Barry Brickell 2
Catherine Anslemi - Angela Thomas
David Leach
Dennis OConnor
Jim Grieg 1
Jim Grieg 2
Len Castle 3
Len Castle   Neil Grant
Len Castle 11
Len Castle 13
Len Castle 14
Len Castle 16
Len Castle 17
Len Castle 18
Len Castle 19
Knowledge Centre, Seminar Room & Careers Room
Behind desk in librarySandy Adsett Screen-printed panel
In knowledge centre, left of dooras entering from libraryAnnearUntitled1982
In knowledge centre, right wall above computersDon Binney,‗Te Henga‘,1971, Blackcrayon onpaper, 450 x592
In knowledgecentre, rightwall abovecomputersNigel Brown,Fly a Kite1987Acrylic on paper
Behind desk in libraryTed BraceyWaikato Landscape1969Acrylic on canvas274 x 454
Careers roomWallaceCrossmanInteraction1975Acrylic on canvas750 x 1110
In knowledgecentre, rightwall abovecomputersR DalgamoVariation 2,My thanksto funCollograph
opposite desk in libraryPat HanlySpecial Event1974Watercolour430 x 490
opposite desk in libraryPat HanlyGarden Series1974Watercolour410 x 365
opposite desk in libraryPat Hanly,Mt Eden1973Watercolourcrayon, blackink345 x 410
opposite desk in libraryPat Hanly,Love each other1971Screenprint7/20545 x 565
opposite desk  in libraryPat HanlyLife Goes on1982Screen print13/40
In knowledgecentre, rightwall abovecomputersRalph HotereDesolateDarknessDesolateBrightness1972Watercolourwash andblack ink...
In knowledgecentre, rightwall abovecomputersRalph HoterePathwayto the Seadrawing forIan WeddesPathway tothe SeaBlack ink w...
In knowledge centre, right wall above computersRalph Hotere,Pathway tothe Sea,drawing forIan WeddesPathway tothe Sea,Black...
In seminar roomJohn KinderWaikato RiverWatercolour on two sketchbook sheetsunfinished230 x 720
In knowledgecentre, rightwall abovecomputersColin McCahon North Otago Landscape 1977Silkscreen Multiple 465 x 570
In knowledgecentre, rightwall abovecomputersMilan MrkusichPassiveElement1977Acrylic on paper494 x 320
In seminar roomGarth TapperCrownProsecutor1980Lithograph17/18690 x 930
In seminarroomToss WoollastonUntitledUndated.
In seminar roomToss WoollastonPatrick LucasUnsigned undatedInk Drawings500 x 700
In seminar roomToss WoollastonCountrysideWatercolour343 x 505
In seminar roomToss WoollastonTunnel, HuingaWatercolour380 x 310
Behind desk in libraryRobyn WhiteHouses at Paremata1969Acrylic on canvas600 x 315
Behind desk in libraryRobyn WhiteParemata Landscape1969Acrylic on canvas642 x 515
Compiled by         btowns        forOne Tree Hill College
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Art trust works with notes

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The Art Collection at One Tree Hill College, NZ

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Art trust works with notes

  1. 1. THEOne Tree Hill CollegeART TRUST WORKS
  2. 2. In Ron‘s Eiseg‘s office
  3. 3. Sandy Adsett,He TetekuraThe revival ofMaori Youth,1981,Acrylic onHardboard,945 x 945
  4. 4. Reception & Corridor outside Staff Workroom
  5. 5. Colin McCahon (1919-1987) Collection• Born 1 August 1919, Timaru, although lived in Dunedin.• Strongly influenced by Toss Woollaston.• Studied at Dunedin School of Art from 1937-1939, although largely self-taught.• Married the artist Anne Hamblett in 1941, and moved to Christchurch.• Moved to Auckland in 1953.• Painted works that placed events from Christs life in a New Zealand setting.• Was the first New Zealand artist to use words and numbers as part of his art.• Visited the United States in 1958Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.• Died 27 May1987, in Auckland.
  6. 6. Colin McCahon,‘Nouns andverbs...(Parts ofSpeech Peter Hooper),Practical ReligionSeries 1969, Script -Scroll painting, ink,watercolour and pastelon manilla card. 1455 x550
  7. 7. ColinMcCahon,‗AnOrnament for thePaheka, 1972,Pencil andwatercolour onwhite paper, 316x 405
  8. 8. ColinMcCahon,In My DarkWinter 1971,Script drawingon white paper,1971,273 x 180
  9. 9. ColinMcCahon,Muriwai1971,Watercolouron manillacard,1090 x 720
  10. 10. ColinMcCahon,Larks Song,1972,Watercolourand pencilscript onmanilla card,1092 x 722
  11. 11. Colin McCahon, Necessary Protection’ (I H S)1972, Enamel and oil on hardboard, 600 x 810
  12. 12. ColinMcCahon,Jet OverMuriwai’,1973,Charcoal onpaper,342 x 273
  13. 13. Cathryn Shine Artist in residence Cloth of culture 1983Acrylic on unstretched canvas 2840 x 4670
  14. 14. Wallace Crossman Interaction 1974 Acrylic onCanvas 885 x 725
  15. 15. Wallace Crossman• Former Art teacher Penrose High• Actively involved in setting up the collection• Recently donated new artwork to collection, (hanging in library opposite entrance doors)
  16. 16. Don BinneyTe Henga1967ColouredCrayon onpaper745 x 535
  17. 17. Don Binney• Binney describes himself as a figurative painter concerned with the psychic metaphor of the environment. Working in oil, acrylic, charcoal, ink and carbon pencil, many of his works depict the west coast of Auckland and Northland, containing sea, sky, native birds, still life and occasionally, figures. From 1958-61 he studied at Elam School of Fine Arts in Auckland, gaining a Diploma of Fine Arts. Binney‘s tutors included Ida Eisa, James Turkington, Robert Ellis and Robin Wood. In 1963, he held his first solo exhibition at Ikon Gallery, Auckland and began teaching at Mt. Roskill Grammar School (until 1966).
  18. 18. Dick Frizzell The Will To Love 1977 Oil Enamel onhardboard 620 x 907
  19. 19. Donated by Kapiti Collection
  20. 20. For this piece I used a discardedwrapper from a just-eaten blockof Aorangi as a starting point. Iam interested in words andlayering, so I abstracted the labelto create a landscape of theAorangi region with the highest ofthe peaks, Mt Cook representedin pyramid form.Embedded in the image is thenumber 7, a figure from the price-tag to signify 7 years of plenty – areference to the profitable dairyfarms of the South Canterburyarea.Philip Trusttum July 2008
  21. 21. I love cheese and I love thischeese. The bright colour isamazing, the sharp taste isincredibly moreish. You couldeat it all day. And believe meI did. I wanted to bring theact of eating this cheese tothe fore – in particular thecutting of the cheese on acheeseboard with a goodknife. As this is a densecheese some measure offorce is required to cutthrough it. So this piecefeature the classic wood-graintexture of the board as abackground.
  22. 22. • Over this, is evidence of a board well used and cheese well eaten – random, multiple and layered knife marks permanently etched as a record of occasions and stories told. To complete the picture I‘ve stamped the word ‗original‘ and fingerprinted each print to make a comment on the relationship between the ‗hands-on‘ lithographic and cheese-making processes i.e. the idea that every cheese and print is slightly different from the last‘John Reynolds July 2008
  23. 23. I was attracted byRamara‘s soft and gentlecolour. However thesesoft, warm colours gaveway unexpectedly to areally strong taste – aninteresting juxtaposition –strong and gentle, or softwith an underlyingstrength? This unusualcombination is what I‘veexplored in my image andbought to life in the print.
  24. 24. • I also wanted to explore the notion of tactility. The cheese begs to be picked up and eaten, creating discussion and interaction like the animated and inter- twined figures in the image.‘• Rob Mcleod June 2008
  25. 25. ‗Calling this piece‗the SecondMetaphysicalCheese‘ obviouslyimplies that therewas a first one.Originally a brie all Ihad to do was drop inthis cheese with itsdistinctive mouldpatterns into thesame moonlitlandscape (from a1921 painting by asurrealist artistCarlos Carra)complete withKikorangi (sky blue)clouds.
  26. 26. • The Metaphysical painting movement was concerned with the exploration of the inner life of ordinary things and removing them from the ordinary world – painting to a higher, more hidden state of being. Sor here a simple painting of cheese becomes muchy more than that – perhaps even the king of cheeses!‘Dick Frizzell August 2008
  27. 27. I started with the unique shape of thecheese which is interesting in itself.However as I ate the cheese andshared it with friends, I found that therewas more to it. It was moments of joybetween people.My work is full of symbols of thisjourney, the literal mountainous shapeof the cheese together with thebackground washes to represent thelandscape where Mt Hector sits throughto the cheeseboard as a stage, aroundthe goat which gives the cheese itsunique taste, and the costumed figuresengage in the celebration and occasion‘Jenny Dolesel August 2008
  28. 28. John PuleNukulafalafa1994 Lithographand woodblock3/30750 x 750
  29. 29. John Pule• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry
  30. 30. Nigel BrownLand and Family1979Hand colouredLithograph24/30630 x 470
  31. 31. Nigel Brown•Nigel Brown actively uses story telling precepts within the ‗confines‘ of theimage. He directly and selectively employs history, literature, politics etc asdevices and in so doing examines the varied plights of the individual andenvironment with an emotional, intuitive sympathy which is accurate, incisiveand clothed in a vernacular of the human condition.His work expresses fundamental spiritual and humanistic concerns common tomankind. These are infused with the particularity of cultural location andreference, the specific of place and event, the dynamism of individual characterand personality with the narrative (artist as author) point of view.
  32. 32. Rodney FumstonGardenEvening ll1979Screenprint9/40540 x 480
  33. 33. Rodney Fumpston Born 1947-• Rodney Fumpston was born in Fiji in 1947.•• He studied at Elam School of Fine Arts from 1966 to 1972, graduating Bachelor of Fine Arts in 1970 and Master of Fine Arts (First Class Honours) in 1972. He then studied at the Central School of Fine Art and Design in London, graduating Advanced Studies in Printmaking in 1974.• He is currently Head of Printmaking at Elam School of Fine Arts. He lives in Auckland in a small 1920s bungalow with the main room given over to two printing presses, work benches, tables and storage cabinets. His garden is magnificent and full of exotic plants and flowers all of which he can identify by name.• Rodney Fumpston has been making prints for nearly three decades, one of the few artists in New Zealand to focus on the print medium, to find it uniquely suitable for the expression of his ideas and to remain physically involved with every stage of the painstaking process. He is a perfectionist who has achieved astonishing mastery of this method, enjoying the clarity and precision of thought that precedes the creation of a successful image.
  34. 34. Pat HanlyWho am I, Iam, Do itScreenprint565 x 635
  35. 35. PAT HANLY 1932 - 2004• PAT HANLY, born 1932, Palmerston North. Died 2004, Auckland. Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness.• The resulting works have been, variously, political, reflective of the human condition or observational, particularly of family and friends. Only four of his series have been abstract - New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976).
  36. 36. A.C. NealePounamu1994Etching 8/15502 x 265
  37. 37. John PuleNukulafalafa1994 Lithographand woodblock3/30750 x 750
  38. 38. John Pule• Born in Niue, a small nation in the Pacific, John Pule moved with his family to Auckland, New Zealand at the age of two.• Mythology and history are of specific interest to John as he weaves fish, people and birdlike creatures into a very personal response to the colonisation of the Pacific. While his work is Pacific in subject and style he collects ideas and motifs voraciously and incorporates all into a rich network of interlacing imagery that, through its intimacy, touches on a more universal humanity.• John Pule has exhibited extensively throughout New Zealand and the Pacific notably at the Seventh Festival of the South Pacific, Western Samoa 1996, the Asia Pacific Triennial, Queensland Art Gallery, and In Other Words at Te Papa, Wellington 1999. He is an accomplished writer having published two novels The Shark That Ate the Sun (Penguin 1992) and Burn my Head in Heaven (Penguin 1998) plus several volumes of poetry
  39. 39. Gordon WaltersArahura1982Screenprint5/125543 x 430
  40. 40. Gordon Walters (1919 - 1995)• Gordon Walters (1919 - 1995) was a pioneer of modernist abstract painting in New Zealand. Walters trained as a commercial artists at Wellington Technical College in 1935.• He worked in Europe between 1950 and 1953 and returned to New Zealand in 1953 working at the Government Printing Office until he began painting fulltime in 1966.• Gordon Walters famous Koru series of paintings were influenced by Walters interest in the symbolic forms of Maori rock art.
  41. 41. Nigel BrownRunning Woman1983Hand colouredLithograph10 /10
  42. 42. Corridor outside Staff Workroom
  43. 43. Martin BallMotorbike1980Graphitepencil on paper210 x 180
  44. 44. Martin Ball (b.1952)• Martin Ball (b.1952) is renowned for his hyper-realist, large-scale painted portraits of recent years.•• These works represent a culmination of Ball‘s ongoing interest in portraiture and realism that has spanned over three decades.• Ball has focussed on a variety of subject matter since the early stages of his career including landscape, still-life and portraiture. Although his subjects range from the intensely detailed to the minimal, he has consistently worked in the style of realism.• His works invariably display a graphic quality, achievable through his careful handling of the mediums he employs. Ball‘s incredible technical skill evident in his use of pencil, graphite and more recently oil is testament to his disciplined approach to art-making.
  45. 45. Don BinneyTaranaki1971Black Crayonon paper331 x 392
  46. 46. Don Binney• In 1965 Binney was included in a survey show of New Zealand painting, held in London and in the ―Eight NZ Artists‖ touring show of Australian State Galleries. In 1967 he was the recipient of a Queen Elizabeth II Arts Council travel fellowship. He has spent time living in Mexico, London and Australia but returned to teach at Elam, becoming the senior lecturer in Fine Arts in 1979.
  47. 47. Dick FrizzellSketches for BigBoy1982PencilColourwashand Collage330 x 330
  48. 48. Sylvia SiddellAfter Breakfast1982 Pencildrawing587 x 410
  49. 49. Sylvia Siddell• Sylvia Siddell has been exhibiting her paintings and drawings since 1975 and is represented in both public and private collections throughout New Zealand.• Sylvia Siddell heightens our awareness of how loaded with meaning everyday objects are by including these in her work in some suprising juxtapositions. Cooking utensils, food, bottles of wine all contribute to the often chaotic compositions of Siddell‘s painting. Traditionally perceived as the realm of women the domestic sphere is loaded with both philosophical and political undercurrents for Siddell. Issues of fertility, fecundity and decay are raised in her work. Luscious fruits wait to be consumed and then discarded without a second thought just as women are presented in the media as consumable items useful for marketing purposes until they reach a certain age and then discarded.
  50. 50. Roger StaplesEgg and Grain1975Pencil Drawing240 x 197
  51. 51. ROGER STAPLES• Roger Staples has, with varying success, explored the New Zealand mentality. Of course, it is unreal to speak of a New Zealand mentality as if there is only one. There are many. But as a nation we have a common problem: an ugly and graceless life-style. This derivative and industrialised colonial culture is the subject of a social comment. a literary approach which I think adds content to Staples imagery.• Staples creates his comment by positioning in the natural vistas of New Zealand a small selection of man-made objects: objects suggesting an industrial (as distinct from a crafted) style of production. Broken beams of reinforced concrete, jagged fragments of bottles, the bland texture and colour of radiata pine joists are the centre-pieces in an environment of rocks, horizons, sands and sea.
  52. 52. GrahameSydney CampKitchen1981Etching24/25185 x 245,
  53. 53. Grahame Sydney• Grahame Sydney is a major New Zealand artist. He is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydneys work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill.• Grahame Sydneys contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydneys paintings have been inspirational with their ability to evoke a sense of wonder and kinship. His works are sought after by local and international buyers as well as being held in the collections of New Zealands major galleries, including Te Papas national collection.
  54. 54. Nelson ThompsonFlower Study1974Watercolour542 x 738
  55. 55. Nelson Thompson• Nelson Thompson the painter is not as well known to the general public as he should be considering the length of his working career and the quality of his output. Never one to adopt a high profile as a person, Thompson in his art and life remained more private than some of his contemporaries. Also, because he was for many years employed as an art teacher and lecturer he did not need to promote his work vigorously, though he did exhibit on a regular basis.• In his later years, especially in the 1980s, he held regular one-man shows in Auckland. By this stage he had retired from Teachers Training College and was able to paint full-time. Nevertheless his work undergoes considerable change between his early studies of the 1950s and his late acrylics of the 1980s. From an essentially drawn, often monochromatic approach, he evolved to a more highly coloured and painterly style.• At no time was Thompson affiliated with a particular group of New Zealand painters. Yet, because he was based throughout all his working career at or near Auckland he was in touch with the main developments in contemporary New Zealand painting. He exhibited frequently with the Auckland Society of Arts of which he was a member, though in later years he preferred to show at private dealer galleries, such as John Leech Gallery, New Vision and Gallery Pacific.• His painting was occasionally reproduced, for example in the Year Book of the Arts, but was to attract relatively little critical attention.
  56. 56. John LethbridgeFull Circle 1983Coloured Lithograph122/150,653 x 305
  57. 57. Artist unknownUntitledundated
  58. 58. Student Services, Corridor outside Staff room, Staff room, Outside SLT offices
  59. 59. OutsideRopati‘s officeMalcom Warr,Kapiti Island andthe WaimehaStream,Screenprint, 4/20(Ins Blue 2nd Ed)1976,625 x 765
  60. 60. Outside I Ropati‘s officeMalcom Warr,Kapiti Island andthe WaimehaStream,Screenprint 4/20(Ins Sienna 2ndEd) 1976,625 x 765
  61. 61. Malcom Warr• Painter and printmaker• almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed him to make a living as a full time artist and an interlude because although he had been in touch with printmaking from his earliest days his main interest was painting. This means he had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere.• A summary of the productive portions of his career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.• 1957 ; 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 – 1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting• This list is a simplification because I have in fact painted and exhibited throughout the last forty years but it may serve to explain that I have been known as an almost completely different artist at different times. Whether all this sheds more heat than light I do not know. And I will not try to go into what I am attempting to do in painting, other than to say that except for a short period after leaving art school, my subject has been the New Zealand landscape and I have tried to reflect something of the meaning and intensity with which we view the land in New Zealand.
  62. 62. OutsideI Ropati‘sofficeGraeme Storm
  63. 63. Grahame Storm• Grahame Storm is a notable New Zealand potter who began his career as an Art and Craft specialist teacher in the ‗50‘s Later he headed for Finland ,his father‘s homeland, where he worked in the well known ―Arabia ― ceramics centre. He returned to N.Z. having acquired expertise in using a very special glaze. He became a full time potter and developed his European inspired classical style of stoneware employing the brilliant blues and greens which have become synonymous with his work
  64. 64. BetweenCoughlan &Barlow‘s officeCarole ShepheardIdentity Fragments(Tipi and Target)1981Mixed media onpaper650 x 495
  65. 65. Carole Shepheard• First studying at Elam 1964-67 (Honours in Stage Design), then gestating for almost ten years, Shepheard is one of many women artists whose art-flight only really took off after an unsatisfactory marital situation had been confronted, children began school, and the inevitable conflicts of (wife) mother, lover, woman, artist, became resolved, and, for her, happily integrated.• These briefly-charted biographical notes are essential for understanding the characteristics and impetus behind Shepheards work. For as a self-defined feminist artist she is now totally engaged in a conscious artistic exploration and expression of her experience as a woman and feminist in our society, where, to quote again from Parker and Pollocks seminal work, in their chapter headed Crafty Women and the Hierarchy of the Arts, The sex of the artist does matter. It conditions the way art is seen and discussed. This is indisputable.
  66. 66. Opposite M Bettridges‘ officePat Hanly,EcstasyCondition1976,Enamel onHardboard,905 x 900
  67. 67. PAT HANLY, born 1932, Died 2004• Graduated Diploma of Fine Arts, University of Canterbury School of Fine Arts, 1956.• Throughout his long career, Hanly has juggled his need to express his response to matters of social conscience with his gift for creating paintings that convey great joyfulness. The resulting works have been, variously, political, reflective of the human condition or observational, particularly of family and friends. Only four of his series have been abstract –• New Order (1962), Pacific Icon (1966), Energy (1968-72) and Condition (1976). Early series, painted in London and Italy, were Fire (his response to the threat of nuclear war), Showgirl, Massacre of the Innocents and New Order. On returning to New Zealand, Hanly was struck by the clarity and harshness of the suns light on the land here, and he explored this in Figures in Light (1963).
  68. 68. Between Barlow‘s office and doorGretchen Albrecht,Velvet Rock 1975,Acrylic on Paper,1043 x 715
  69. 69. Gretchen Albrecht• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.
  70. 70. Outside MBettridges‘officeTerry StringerWoman at a Mirror1980Cast bronze 2/3285 x 2150 x85
  71. 71. Terry StringerTerry Stringer is a leading New Zealand sculptor. He trained at New Zealands premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the countrys national honour, the ONZM (Officer of the New Zealand Order of Merit).
  72. 72. Entry to staffroom from SLT officesAnna Palmer,UntitledColoured pastelon black paper,490 x 640
  73. 73. Anna Palmer• Anna Palmer was born in New Zealand and studied at Elam School of Fine Arts. She has a range of interests and finds a variety of outlets for her creative energies including fashion design, painting, and printmaking. Palmer has also held a curatorship at a dealer gallery in Auckland. Palmer draws her subject matter from the domestic environment. She finds this to be a fertile universe of data, complete with patterns and colour. Her images are seen as a reflection of who and what she is, with the objects she draws becoming symbols for a heightened feeling and presence. She describes them as a vehicle for an abstract interplay of colour, which reflects emotional realities.
  74. 74. Staff RoomGretchenAlbrecht,Sundial, 1980,Screenprint, 22/125,805 x 615
  75. 75. Gretchen Albrecht• Gretchen Albrecht has exhibited in New Zealand and internationally for more than 35 years. Recent work has appeared in Valencia, Spain as part of the exhibition Ultramarte at the Casa Museo Benlliure; in Sydney at Michael Carr Art Dealer; and in the touring survey exhibition Returning initiated by the Dunedin Public Art Gallery.• GA. Well, the exhibition looks at how one feeds into the other, how ideas in paintings get transformed into print and how some of that transmutes into new ideas purely because I‘m using a different medium. These can then re-influence the paintings. I‘ve found all this really useful and didn‘t realise it was going to happen when I embarked on printmaking.
  76. 76. Staff RoomWong Sing Tai, Bare Island,Silkscreen print, 19/100, 435 x 800
  77. 77. Wong Sing TaiWhere the figurative motif appeared, the results were either moderately appealing or simply disappointing. Wong Sing Tai contained some amenable details and possessed a fresh, competent technique, the images occupying the centre of the painting disintegrated, so that what purpose they were to convey became confused.
  78. 78. Staff Room Other side of entryMichael Smither,Nutshell, 1976,Screenprint, 1/50,536 x 625
  79. 79. Staff RoomMichael Smither,Mount Taranaki,1971, Screenprint,1/23,480 x 560
  80. 80. Michael Smither• Born in Taranaki, 1939. Michael Smither is well known for his environmental work, his sculpture and murals, his silk screenprints and for his music as well as for his painting. He now lives and works on Coromandel Peninsula Michael Smither has followed a personal vision which has formed his own particular way of looking at life in New Zealand. The Wonder Years focuses on his time in New Plymouth, when he created many significant realist images; dealing with family relationships, issues of landscape, ecology and conservation, and the persistence of faith.• For Michael Smither art is much like a map directed towards the people he knows. His art shows where he has lived and how he feels about it. He wants to celebrate the journeys from childhood to adulthood in his New Plymouth paintings of his family. He cites his longtime commitment to ecology and the sea, to each specific landscape‘s own unique climate inside an emotional authenticity. Looking at Smither‘s paintings of the 1960s and 1970s one can comprehend the relevance of his 1975 remark: ‗You can‘t just be a painter. I‘m intensely interested in what human beings are. They are an incredible phenomena.
  81. 81. Staff RoomJean Horsley, Squadron, 1989, Oil on hardboard,785 x 1190
  82. 82. Staff RoomJean Horsley, Whakapapa Waterfall, Oil on hardboard,787 x 1185
  83. 83. Jean HorsleyAnn Kirker (author of New Zealand Women Artists: A Survey of 150 years), described Horsleys works produced in the sixties as amongst "the most conscious manifestations of an Abstract Expressionist style in the work of a New Zealand-born artist" emphasising that her "most accomplished statements…helped to generate a greater awareness of abstract modes of expressionism in this country."
  84. 84. Staff RoomTom Burnett,Elliots Beach,1983,Screenprint,10/70,570 x 545
  85. 85. Tom BurnettWell known New Zealand artist Tom Burnett, is best known for his evocative images of Northland and the Pacific. The son of two working artists, Tom has largely been taught by his father Fassett and says he just went to school to use the art room. His paintings and screen prints capture the essence of his surroundings and lifestyle in luscious tropical tones and moods. Multi talented, Tom has also designed and built several homes for his family, built boats and designed a range of casual furniture. Tom began printing in 1981 and has since combined it with painting and drawing. They have a tropical, Pacific feel - fruit, flowers, colourful fish, oceanscapes, North coast bush with palms and ferns. Tom Burnett is a peoples artist, his paintings welcoming and easy to comprehend, his statements made through clear-coloured, clear-headed Pacific environments and objects. A keen surfer and sailor Tom has always had a love of the sea and coastal New Zealand. Most of his recent work has been completed whilst living with his father in Whananaki in the Far North
  86. 86. Corridor outside Staff RoomWendy Griffin,Transitcolour etching,16/30,510 x 370
  87. 87. Corridor outside Staff RoomStanleyPalmer,From NapierStreet, 1968,BambooEtching onpaper 4/6,485 x 695
  88. 88. Stanley Palmer• Stanley Palmer was born near Thames in the Coromandel and studied at Dunedin Technical College in the late 1950s. Although he has become well-known for his prints, his formative years were spent painting. By the late 1970s his printmaking repertoire included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Palmer endeavours to make art that is accessible and "free from pretensions
  89. 89. Corridor outside Staff RoomDelwyn Williams,Tui in a Flame Tree,1985, Lithograph,16/16,530 x 375
  90. 90. Corridor outside Staff RoomGuy Ngan, ‗Series Thirty‘, 13/21, 1976
  91. 91. Guy NganStokes Valley-based artist Guy Ngan has been making sculptures, paintings, drawings and prints for the last fifty years. His abstract public sculptures include murals, wall reliefs, tiled decorative schemes, large textile works and in- the-round sculptures found all over New Zealand. This exhibition includes work from two series made during the 1970s and 80s— paintings featuring a three-fingered tiki hand motif and sculptures inspired by Polynesian stone anchors.
  92. 92. Corridor outside Staff RoomMark Blazey,Untitled,Undated
  93. 93. Corridor outside Staff RoomEmma McLellan, ‗Marked ll‘, 1994, Etching on buff paper,370 x 590
  94. 94. Corridor outside Staff RoomGraham Cornwell, Dancing Harlequins,Lithograph, 420 x 540
  95. 95. Corridor outside Staff RoomCynthia Jaffe, Mystical Forest, 1981, Multiple print14/375, 310 x 510
  96. 96. Outside(right fromstaffroom)wall bydoor toStudentServicesStanley PalmerShot TowerMt Eden1980Bamboo etchingon paper30/60530 x 360
  97. 97. Stanley Palmer (1936- )• Stanely was born in at Turua in the Coromandel. He has lived in Mt Eden, Auckland since 1941. Palmer trained as an art teacher but from 1970 Stanley has worked as a full-time printmaker from a home based print workshop. The variety of Stanley Palmers print-making output has been astonishing, his work has included woodcuts, monoprints and bamboo engravings. The scenes he portrays mainly feature New Zealand coasts with themes of colonisation, conservation, humanity and the land. Stanley Palmer been quoted endearingly that he likes to make art that is accessible and "free from pretensions."
  98. 98. Insidestudentservices bysick baydoorArtist unknownUntitledundated
  99. 99. StudentservicesColleen BucknellUntitledUndated
  100. 100. Student servicesRobin Kahukiwa,Nau Mai Haeremai1986, Oil on canvas,1340 x 1010
  101. 101. Robyn Kahukiwa (born 1940-)• Robyn Kahukiwa was born September 1940 in Australia returning to New Zealand at the age of 19.• Her iwi are Ngati Porou, Te Aitanga-a-Hauiti, Ngati Hau, Ngati Konohi, Whanau-a-Ruataupare.• Kahukiwa is a self-taught painter who began painting in 1967 when she was living with her young family in Greymouth on the South Islands West Coast.• Robyn taught art at Mana College, Porirua, New Zealand from 1972 to 1982.• She has exhibited widely and her work is held in gallery and private collections throughout New Zealand and the Pacific. Robyn Kahukiwa is also a famous New Zealand childrens book writer and illustrator.• Currently Robyn lives and works between Pukerua Bay and in Rotorua.
  102. 102. Corridor, Tawa (outside student services entry/exitNelson Thompson,Townscape, 1955,Watercolour, pen and ink, 398 x 615
  103. 103. Nelson Thompson 1948 - 1986• As a teacher Nelson Thompson turned to Socrates for his philosophy as an educationalist: "To teach is to create." And in the writings of Cezanne he found what became his definition of a painter: "Let us study nature and seek to express it according to our personal temperament. Time and reflection gradually modifies vision, and at last experience comes."
  104. 104. Corridor, Tawa (outside student services entry/exitTed Dutch, 1997
  105. 105. Corridor, Tawa (outside student services entry/exitTed Dutch, ‗Ornithopter‘, 1970, 1/20
  106. 106. Ted Dutch• When the then 23-year-old artist Ted Dutch immigrated to New Zealand in the early 1950s, he left the dreary outlook of post-war London and brought with him a distinctly lighthearted and often humourous artistic style. On arrival, he was greeted by an art scene powerfully engaged with the New Zealand landscape and a nationalist discourse. Like a square peg in a round hole, the art of Ted Dutch lay somewhere on the periphery. Characterised by an expressive casualness, sketchy line and comedic approach, Dutch‘s less-than-serious work has successfully transcended this difficult start to find a place in the serious business of fine art.
  107. 107. Corridor, Tawa (outside student services entry/exitPhillippa Blair, Hiroshima, 1983, Watercolour andacrylic on paper, 585 x 815
  108. 108. Philippa Blair (born 1945-)• Born in 1945, Christchurch, New Zealand, Philippa Blair graduated with a Diploma of Fine Arts, Canterbury University in 1967.• She received QEII Arts Council grants in 1982, 1984 and 1987. Blair has taught and exhibited nationally and internationally for 25 years and is represented in public and private collections in New Zealand, Australia, USA, Japan, France, Italy, Germany, Malaysia.• She works primarily as a painter making expressive, semi-abstract work that reflects urban reality and the natural world with references to high tech and organic imagery, cartographic mapping, music and film. Philippa frequently employs printmaking to pursue more graphic pictorial options. ‗Traverse‘, an exhibition of her recent paintings, drawings and prints, was shown in 1999 at the Spencer Gallery, Rhode Island, USA and Janne Land Gallery, Wellington, NZ.• Philippa Blair lives and works in Los Angeles, California but makes frequent trips to New Zealand to exhibit and visit family.
  109. 109. Corridor,Tawa(outsidestudentservicesentry/exitArtist unknownUntitledundated
  110. 110. Stair welloutsideStaff RoomMalcom WarrAkatarawa1968Monoprint770 x 630
  111. 111. Stair welloutsideStaff RoomMalcom Warr1968Monoprint770 x 630
  112. 112. Malcom Warr• was almost exclusively a printmaker for about twenty years from 1975 to 1995. This was both a development and an interlude. A development because it allowed me to make a living as a full time artist and an interlude because although I had been in touch with printmaking from my earliest days my main interest was painting. This means I have had a career in sections. This can be confusing to someone looking from one section to the other but there is a connecting thread through it all somewhere,I hope.• A summary of the productive portions of my career seems to fall into three periods, that is before, during, and after my printmaking period of 75 to 95.• 1957 – 1964 Elam Art School, Commercial Artist, Teacher Training, Teaching. 1965 – 1966 Full time artist, painting 1967 –1975 Var. work building, teaching 1975 – 1995 Full time artist, printmaking 1995 – 2002 Full time artist, painting
  113. 113. Library
  114. 114. Gretchen Albrecht Sky Limit 1973Acrylic stain on stretched canvas 1255 x 1820
  115. 115. Gretchen AlbrechtOrange-Black-Blue1975Acrylic on paper1067x712
  116. 116. Gretchen Albrecht• Born in 1943, Auckland, New Zealand Gretchen Albrecht graduated from the Auckland University School of Fine Arts in 1963 and 1981 was awarded the Frances Hodgkins Fellowship at the University of Otago, Dunedin.• She was awarded grants from the QEII Arts Council 1976, 1978 and 1986. Albrecht has participated in many travelling group exhibitions among them; NZ/NY (New York 1983), NZ Art Today (Chicago 1986), Distance Looks Our Way (Spain and the Netherlands 1993), Reclaiming the Madonna (England) and has had two solo exhibitions in London. ‗AFTERnature‘, a survey of her work curated by the Sarjeant Gallery, Wanganui, toured New Zealand in 1986• 1998 the Sarjeant Gallery curated a second Albrecht exhibition, ‗Crossing the Divide‘, which explores the link between Gretchen‘s prints and paintings. Highly regarded as a colourist, Albrecht continues to engage with abstraction in a personal and lyrical manner
  117. 117. Pamela BlokUntitled(MythologicalTheme)110 x895
  118. 118. Nigel BrownTrampers 14Acrylic onhardboard1980-811090 x 790
  119. 119. Nigel Brown (more info)•Nigel Brown actively uses story telling precepts within the ‗confines‘ ofthe image. He directly and selectively employs history, literature,politics etc as devices and in so doing examines the varied plights ofthe individual and environment with an emotional, intuitive sympathywhich is accurate, incisive and clothed in a vernacular of the humancondition.His work expresses fundamental spiritual and humanistic concernscommon to mankind. These are infused with the particularity of culturallocation and reference, the specific of place and event, the dynamismof individual character and personality with the narrative (artist asauthor) point of view.
  120. 120. Colleen BucknellUntitledUndated
  121. 121. Colleen BucknellUntitledUndated
  122. 122. Pat FosterEarth Goddess lVStone SculptureNorthlandSerpentine
  123. 123. PAT FOSTER (1943-2004)• Pat Foster was born in Timaru in 1943.• She graduated with a BSC from the University of Otago and attended summer art schools in Auckland. Her grandmother, May Bradley, was a sculptor in Christchurch, her mother Myra Vance is a sculptor and painter. Pat participated in many national exhibitions and her sculptures are found in international collections.• Foster had a special affinity for wood and stone, particularly serpentine. She worked without preliminary sketches or drawings, preferring to let her material dictate the resulting form.• She compared the sculpting process to helping the birth of an image that is screaming to get out.• Foster described her sculptures as spiritual self portraits, examining the universal themes of mother and child, man and woman, and the inner self.
  124. 124. Dean Buchanan,MedievalFairy Tale1985Oil onunstretchedhessian1900 x 1430
  125. 125. Dean Buchanan• Born Auckland in 1952, Dean Buchanan is famous for his expressionist treatment of the New Zealand landscape. He paints directly onto raw hessian, Buchanan‘s vibrant palette is inspired by the lush, sub- tropical surroundings of the Waitakere Ranges. Based in Karekare, Dean has a profound love for native New Zealand that he expresses in complex, kaleidoscopic vistas echoing the works of expressionist masters from Franz Marc to Philip Clairmont. Dean Buchanan has exhibited widely throughout New Zealand, as well as in Chile, the USA, and Japan and we are pleased to stock all Dean Buchanan art prints.
  126. 126. Allen MaddoxX Painting1979Oil onunstretchedcanvas1815 x 1985
  127. 127. Allen Maddox (1948 – 2000)• Born in the UK, Allen Maddox lived in New Zealand from 1963 until his death. He attended Canterbury‘s Ilam School of Fine Arts from 1967-1968. In the 1970‘s he was closely associated with the artists Tony Fomison and Phillip Clairmont, forming a group known to some as ‗The Unholy Trinity‘.• The painting of Allen Maddox is characterised by its expressive style of paint application and the aggressive mark making – notably involving the cross (x) motif and grid format. Maddox used mostly unmixed paint applied to loose canvas or paper. His works have spontaneity, a tactile quality, and gestural emphasis reminiscent of the American Abstract Expressionist Jackson Pollock• Among other achievements Maddox was a recipient of the Queen Elizabeth II Arts Council Award. His works can be found in a number of New Zealand‘s public art galleries, including Te Papa Tongarewa
  128. 128. Colin McCahonThe Calling of aChristian Inscribed 1Peter 3 the Calling of aChristian‘1969Charcoal script onpaper1560 x 550
  129. 129. Colin McCahon• Born 1 August 1919 in Timaru, although his family lived in Dunedin.• Was interested in art from an early age.• Took art classes with Russell Clark in Dunedin, and was strongly influenced by an exhibition by Toss Woollaston in 1936.• Studied at Dunedin School of Art from 1937-1939, but was mostly self-taught.• Married the artist Anne Hamblett in 1941, and moved to Christchurch. Became a member of The Group, a Christchurch group of artists, and showed his work regularly in their exhibitions.• Spent time in Nelson, then moved to Auckland to an appointment as Keeper at the Auckland City Art Gallery in 1953.• Painted a number of religious works that placed events from Christs life in a New Zealand setting. Was the first New Zealand artist to use words and numbers as part of his art.• Visited the United States in 1958, and used that experience to introduce new ideas to his work.• Became Lecturer at the University of Auckland School of Fine Arts 1964-1970.• Regarded as the most important modern artist New Zealand has produced, particularly in his landscape work.• Died 27 May1987, in Auckland.
  130. 130. Ian ScottTrellis Pattern1981Gouache onpaper,480 x 480
  131. 131. Ian Scott (born 1945-)• Ian Scott was born in 1945 and his painting career spans over forty years. He is a major New Zealand artist of the Post-McCahon generation who has remained innovative and relentlessly experimental throughout his prodigious career. Studying art at Kelston Boys High School under the tuition of Garth Tapper he won numerous junior art competitions during his youth including the junior section of the Kelliher Art Prize in 1965. He entered Elam School of Fine Arts at Auckland University in 1964. Scotts art is held in the collections of public galleries and private collections throughout New Zealand. A comprehensive book on the artist, written by acclaimed art critic Warwick Brown titled Ian Scott, was published in 1998.
  132. 132. Terry StringerPonsonby1984Cast bronze 8/12330 x 405 x 200
  133. 133. Terry Stringer• Terry Stringer is a leading New Zealand sculptor. He trained at New Zealands premier art school, Elam School of Fine Arts at the University of Auckland. He graduated with Honors in 1967 and in the following years received virtually every significant scholarship and award available to New Zealand artists. In the late 1970s he was awarded the prestigious Queen Elizabeth II Arts Council Scholarship three times. He is a key figure in the history of art in New Zealand, a sculptor with an established reputation. This was acknowledged in 2003 when he was the recipient of the countrys national honour, the ONZM (Officer of the New Zealand Order of Merit).
  134. 134. William SuttonThreshold V1973Oil on Canvas1120 x 2900
  135. 135. William(Bill) Sutton (1917-2000)• William Alexander (Bill) Sutton, CBE (1917-2000) is an iconic Canterbury artist, whose work was chosen as a major retrospective to mark the opening of the Christchurch Art Gallery in 2003. Trained at the Canterbury University College School of Art in the 1930s, Bill Sutton travelled overseas and served during the Second World War before returning to the University where he taught for more than 30 years. Sutton was also a skilled calligrapher, printmaker, designer and bookbinder, and a teacher whose work influenced many contemporary New Zealand painters. His ashes were scattered from the bridge in Dry September on to the rocks of the landscape he made his own.
  136. 136. Artist unknownUntitledundated
  137. 137. Artist unknownUntitledundated
  138. 138. Ceramics
  139. 139. Artist unknown 3
  140. 140. Artist unknown 4
  141. 141. Andrew Van Der Putten Doreen Blumhardt Renton Murray
  142. 142. Don Thornly Len CastleLen Castle
  143. 143. Barry Brickell 1
  144. 144. Barry Brickell 2
  145. 145. Catherine Anslemi - Angela Thomas
  146. 146. David Leach
  147. 147. Dennis OConnor
  148. 148. Jim Grieg 1
  149. 149. Jim Grieg 2
  150. 150. Len Castle 3
  151. 151. Len Castle Neil Grant
  152. 152. Len Castle 11
  153. 153. Len Castle 13
  154. 154. Len Castle 14
  155. 155. Len Castle 16
  156. 156. Len Castle 17
  157. 157. Len Castle 18
  158. 158. Len Castle 19
  159. 159. Knowledge Centre, Seminar Room & Careers Room
  160. 160. Behind desk in librarySandy Adsett Screen-printed panel
  161. 161. In knowledge centre, left of dooras entering from libraryAnnearUntitled1982
  162. 162. In knowledge centre, right wall above computersDon Binney,‗Te Henga‘,1971, Blackcrayon onpaper, 450 x592
  163. 163. In knowledgecentre, rightwall abovecomputersNigel Brown,Fly a Kite1987Acrylic on paper
  164. 164. Behind desk in libraryTed BraceyWaikato Landscape1969Acrylic on canvas274 x 454
  165. 165. Careers roomWallaceCrossmanInteraction1975Acrylic on canvas750 x 1110
  166. 166. In knowledgecentre, rightwall abovecomputersR DalgamoVariation 2,My thanksto funCollograph
  167. 167. opposite desk in libraryPat HanlySpecial Event1974Watercolour430 x 490
  168. 168. opposite desk in libraryPat HanlyGarden Series1974Watercolour410 x 365
  169. 169. opposite desk in libraryPat Hanly,Mt Eden1973Watercolourcrayon, blackink345 x 410
  170. 170. opposite desk in libraryPat Hanly,Love each other1971Screenprint7/20545 x 565
  171. 171. opposite desk in libraryPat HanlyLife Goes on1982Screen print13/40
  172. 172. In knowledgecentre, rightwall abovecomputersRalph HotereDesolateDarknessDesolateBrightness1972Watercolourwash andblack ink415 x 390
  173. 173. In knowledgecentre, rightwall abovecomputersRalph HoterePathwayto the Seadrawing forIan WeddesPathway tothe SeaBlack ink washand pencil1975555 x 760
  174. 174. In knowledge centre, right wall above computersRalph Hotere,Pathway tothe Sea,drawing forIan WeddesPathway tothe Sea,Black Ink,wash andpencil, 1975,555 x 760
  175. 175. In seminar roomJohn KinderWaikato RiverWatercolour on two sketchbook sheetsunfinished230 x 720
  176. 176. In knowledgecentre, rightwall abovecomputersColin McCahon North Otago Landscape 1977Silkscreen Multiple 465 x 570
  177. 177. In knowledgecentre, rightwall abovecomputersMilan MrkusichPassiveElement1977Acrylic on paper494 x 320
  178. 178. In seminar roomGarth TapperCrownProsecutor1980Lithograph17/18690 x 930
  179. 179. In seminarroomToss WoollastonUntitledUndated.
  180. 180. In seminar roomToss WoollastonPatrick LucasUnsigned undatedInk Drawings500 x 700
  181. 181. In seminar roomToss WoollastonCountrysideWatercolour343 x 505
  182. 182. In seminar roomToss WoollastonTunnel, HuingaWatercolour380 x 310
  183. 183. Behind desk in libraryRobyn WhiteHouses at Paremata1969Acrylic on canvas600 x 315
  184. 184. Behind desk in libraryRobyn WhiteParemata Landscape1969Acrylic on canvas642 x 515
  185. 185. Compiled by btowns forOne Tree Hill College

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