Behind the Scenes by Gloria

Hello! I’m Gloria, an 18 year old student experiencing MTG for a week during April. I have put together a little photo essay on the backworkings of the museum from my perspective. Colour, shape, texture, pattern, our eyes pick up all these elements of a space subconsciously creating the overall mood or echo of a place. Light and airy, MTG Hawke’s Bay is a haven for beautiful and fine objects. Not only do our eyes observe the exhibitions but they also take in the surroundings which act as a canvas in which to display them. Check out the full photo essay over on MTG’s flickr page

Looking down the archive shelves

Historic photographs hanging

Wheels to drive the moveable shelving

Hidden histories

The stage is set

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Look up!

Gloria Reid-Parisian
Highschool student
April 2014

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Autumn exhibition changeover

This week saw us saying a fond farewell to Architecture of the heart as the changeover of exhibitions began in the Crombie, Arnott, Malden and Nelson galleries. This process will take four weeks and our autumn suite of exhibitions will open to the public on Saturday 29th March. If you are visiting MTG in March take the opportunity to have a peek into the galleries to see the staff transform the galleries and learn more about the process of deinstalling and installing new exhibitions.

The first week of the changeover saw the deinstallation of Architecture of the heart.  This exhibition included over 100 artworks and objects from the Hawke’s Bay Museums Trust collection as well as a small number of works on loan from private lenders and other institutions.  Artworks were taken off display, condition checked, then carefully packed.  Works from private lenders and other museum and galleries were packed into transport packaging and returned to various parts of New Zealand.

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Nina Finigan and Dena Hale rolling a rug from the installation Atelier Martine Reprised (2013) by Gavin Chilcott.

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Nina Finigan and Jonathon Brown carefully place Claudia Pond Eyley’s Turquoise Shield, (1983-1984) into its specially designed travel frame.

Two of the larger works had oversized travel crates which had to be hoisted up over the glass balcony with scaffolding and rigging before the works could be taken off display. The crates were then hoisted back down carefully over the balcony.

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The crate is lifted over the glass barrier on the first floor balcony.

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Sara Browne, Sasha Smith and James Price carefully place an artwork into its large travel crate, ready to be hoisted down over the first floor balcony.

_DSC9620The crate is carefully hoisted back down over the balcony.

After all the objects are removed from the gallery the exhibition furniture is swapped for the new design layouts and the walls are painted in the new colour schemes. A period of time has to be given to allow for off-gassing of the chemicals within the paint, so theoretically we could call this process “watching paint dry!”

Find out more about our new exhibitions opening on 29th March on our website: http://mtghawkesbay.com/whats-on/upcoming-exhibitions/

Sarah Powell
Collection Assistant – Photography
March 2014

Rolling with the wallpaper

In late November of 2013 upon arriving back at the museum after finishing another busy year at Victoria University, I was given my project for the summer. My mammoth task was to go through a large box full of pre-selected wallpaper, catalogue it and enter it into our ever expanding collection.

The box of wallpaper was gifted to us by Betty Weeber. In the correspondence which accompanied the wallpaper; Betty Weeber wrote of the collection, “They are a record of old wallpapers that my late husband Raymond and his father used in their wallpaper hanging and Master Painters business”. Originally our gracious gift was of numerous boxes of wallpaper, but after a rigorous selection process by the powers that be, these boxes were whittled down to just one box containing over seventy examples. 

My job was now set out in front of me, I knew what I had to do, it wasn’t going to be pretty (believe me when I say this, some of the patterns on the samples were pretty ugly).  I now had to painstakingly document and catalogue each individual wallpaper sample, measuring the lengths and the widths, taking detailed notes of maker’s marks and manufacturer’s logos, describing in detail what the patterns were, what colours were involved in the pattern, gently vacuuming the accumulated dust and dirt from some samples, taking detailed notes of rips, tears and damage and then entering all this information onto our collection database system.

Wallpaper Border Sample, c.1920s, gifted by Betty Weeber, collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/63/25

Some samples were large, some samples were small, some were long (and I mean extremely long, like over nine metres long), and some were short.  Some were old and in bad condition, while others were, well, old but were still in extremely good condition, which is pretty impressive considering the majority of them date back to the time when Napier was being shaken to its foundations in the early thirties and some samples were even older. Some examples were hidden, rolled up inside other rolls of wallpaper, which added a surprising aspect to this particular task because, like a parcel in the game pass the parcel, you never quite knew what you were going to find once you started to unroll a roll.

What I found while cataloguing these wallpaper samples is they could be lumped into three different groups, the wallpaper frieze’s (for those reading this thinking “what’s a frieze?” Flash fact: a wallpaper frieze is the strip of wallpaper that goes around the top part of the wall where it meets the ceiling); wallpaper borders, which went around the bottom and the wallpaper drops, which are the samples used to cover the majority of the walls. The examples of the frieze’s were more often than not the examples in the worst condition as the perforations holding them together had come apart or were torn in places due to the continued unrolling and rolling of them over the years.

I also found that these samples and rolls came from all over the world, like Sunworthy and Canadian Wallpaper from, you guessed it, Canada; Crown Wallpaper and Shand Kydd Ltd from England; Griffen Wallpaper Manufacturers from America and even some examples from New Zealand’s very own Ashley Wallpapers.

After these steps the papers had to be photographed, which was done by our collection photographer. I then had to attach the photographs to their collection records and wrap them up and pack them into their packing units where they will stay until they are one day needed for research or exhibition.

2013.63.34bWallpaper Drop Samples, c.1920s, gifted by Betty Weeber, collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/63/34b

To be honest at the beginning of this project I didn’t think I would enjoy it, just because it was wallpaper that I would be working with, but the more that I worked my way through this box of wallpaper samples, the more I started to look forward to the next sample. Not because I was one sample closer to the end, but because I wanted see what the next sample would be like, and there were some examples that stood out. One example from the 1930s had a continuing pattern of dense blue tree branches and leaves, through the gaps in the branches and leaves was a bright orange background and scattered randomly throughout the branches and leaves were small yellow star-like flowers. Why this particular example stood out for me was probably because it was visibly the brightest example amongst the lot.

To say the least this project was awesome and I enjoyed it a lot. I consider myself quite lucky to be able to come back to the Bay and to the museum every summer to work on different projects. Hopefully I can come back again at the end of this year to another interesting project.

Tom Mohi
Collection Assistant
January 2014

MTG Friends Enrich Collection Stories

To all our MTG Friends who have generously donated to the Hawke’s Bay Museum Trust Collection, we would like to say a huge thank you. Current Friend’s donations have allowed the recent acquisition of three pieces to add to the collection. These were selected as works important to highlight and expand on the stories of artists, art movements and designers already held within the collection, with significance to the Hawke’s Bay region, New Zealand and beyond.

Thomas McCormack OBE is one such artist. Renowned for his skill and application of watercolour, he is considered one of New Zealand’s most important twentieth century painters. Artist Roland Hipkins (1894 – 1951) noted that ‘His efforts…have a remarkable freshness, breadth and simplicity, with spontaneous brush work and a rare quality of colour’ Art in New Zealand 1936 (1)

Born in Napier in 1883, McCormack was largely self-taught and excelled at drawing from an early age. A severe illness at the age of 17 left him unable for many years to partake in his other passion, sports and it was around this time his focus turned solely to painting, consequently cementing his lifelong path as an artist. Thomas McCormackThomas Arthur McCormack in his studio, taken 3 May 1963 [2]

McCormack moved to Wellington in 1921 where he lived and worked for much of his life. In his own words:

  ‘An artist develops from his surroundings – the sea, rivers, plains, and mountains.   His friends and fellow artists, Wellington with its magnificent harbor, its art gallery, exhibitions and artists, a trip to Sydney of about nine months duration; these were factors in my development. A little wine, a sardine or two with their little eyes. A little bread to soften the road and help me on.’ (3)

TA McCormack painting

Untitled, c. 1906, T.A McCormack, b.1883, d.1973 Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/35 Purchased with funds from MTG Hawke’s Bay friend’s donations.

The Hawke’s Bay Museum Trust Collection includes many of McCormack’s works. Our recent acquisition being significant in that it is a very early piece, painted when the artist was just 23 years old. The untitled watercolour (c1906) depicts the Ahuriri foreshore, Douglas Lloyd Jenkins – Director MTG Hawke’s Bay notes ‘It is around this time that McCormack arrived at a recognisable, mature style. This work is a key example, in its own way, a big part of the overall story of the artist and the development of his career’.

Another of McCormack’s works ‘Tapestry’ can currently be viewed in our Architecture of the heart exhibition, on display until March 2nd 2014.

Our second purchase, a vase by English ceramic designer Dame Susie Cooper, adds another page in the collections story of a design period close to the heart of this region. Cooper was a prolific English ceramics designer with a career spanning more than seventy years. Beginning with a placement in the early 1920’s as a paintress at Grey & Co Pottery Company in Burslem, England Susie was quickly promoted to lead designer, allowing her the freedom to explore the geometrics and pattern associated with the Art Deco period.

By the late 1920’s Cooper had branched out on her own, forming ‘Susie Cooper Pottery’. Later merging with ‘Wood & Sons’, another local Burslem company who provided her with quality white ware, which she would transform with her vibrant hand painted designs.

Susie Cooper Cup & SaucerCup, saucer and side plate, Susie Cooper (OBE) (b.1902, d.1995), Designer, The Susie Cooper Pottery Limited (estab.1930, closed 1966) manufacturer, purchase, collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 91/54ac

Susie’s company grew, eventually supplying Harrods, Selfridges and Waring & Gillow among others with her wares. In 1940 Cooper was presented with the Royal Society of Arts ‘Designer for Industry Award’, the first woman to ever receive this. Our latest addition of Cooper’s work is a vibrant hand painted, green earthenware vase, featuring a Sgraffito design of deer and foliage, a popular Art Deco motif.

The Hawke’s Bay Museum Trust Collection holds many Susie Cooper production pieces, however this vase is significant in that it is an example of her earlier one-off designs. This piece is currently featured in our decorative arts exhibition in the MTG Annex.

Susie Cooper VaseVase, glazed earthenware, C1930, Dame Susie Cooper b.1902 d.1995 Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/39/1 Purchased with funds from MTG Hawke’s Bay friend’s donations.

Another prolific English designer, Archibald Knox is the maker of our third acquisition. Much like Cooper, Knox mastered the balance of expressing an individual design voice while still remaining accessible to the masses. In 1899, with an impressive variety of talents, Knox began designing for London store Liberty & Co. Wallpaper, jewellery, ornaments, textiles, silverware and clocks were all part of his extensive range.

Archibald Knox

Archibald Knox, Art Nouveau artist and designer for Liberty & Co., London (1864-1933) Courtesy of Manx National Heritage (4)

The Liberty & Co store specialised in selling fabrics, ornaments and objects from Japan and the far-east, and is attributed with introducing this style to the west. This had a great influence on artists and designers of the time and by the 1890’s founder Arthur Liberty had tapped into the English Arts and Crafts and Art Nouveau design communities.

With Liberty’s encouragement and business behind them, these designers and the Arts and Craft movement flourished. Liberty aimed for “the production of useful and beautiful objects at prices within the reach of all classes.” (5) This was achieved by keeping manufacturing costs low, meaning lower pricing for customers at the register. This was in contrast to other Art Nouveau Pieces at the time which were generally one-off and therefore priced to match.

Liberty & Co

Liberty & Co Store (undated) [6]

Pewter Vase

Pewter Vase, c1905. Archibald Knox, Liberty b. 1864 d.1933 Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/43 Purchased with funds from MTG Hawke’s Bay friend’s donations.

Our recent addition to the collection is the above Arts and Crafts pewter vase, an interesting example of the Liberty & Co ‘Tudic’ range, blending Celtic with Oriental style c1905. During the period this vase was produced, Liberty & Co products were also sold in Hastings, Georgina White – Curator Social History at MTG explains;

From 1908 Hastings businessmen Reginald Gardiner and John A Fraser acted as agents for Liberty and Co, selling fabrics and ‘artistic wares’ first from their offices in the Dominion Buildings on Queen Street and soon after from the Arts and Crafts Depot on Station Street. The Depot showed paintings, metalwork and leatherwork by international and local artists alongside Liberty fabrics. The Depot marked the beginning of Gardiner’s push to generate and promote local arts and crafts in Hawke’s Bay’

Again, we would like to thank everyone who has generously contributed and made the acquisition of these works possible. To become part of the MTG Hawke’s Bay legacy, donate to the Hawke’s Bay Museum Trust or join as a Friend and enjoy the extensive benefits our friends membership offers. We are currently offering our membership package at a reduced rate (membership re-news 1st July 2014) you can find further information on our friend’s package and how to join HERE

Vanessa Arthur
Friends & Volunteers Coordinator
January 2014

[1] Janet Paul. ‘McCormack, Thomas Arthur’, from the Dictionary of New Zealand Biography. Te Ara – the Encyclopedia of New Zealand, updated 13-Nov-2013 URL: http://www.TeAra.govt.nz/en/biographies/4m4/mccormack-thomas-arthur

[2] Thomas Arthur McCormack. Further negatives of the Evening Post newspaper. Ref: EP/1963/1513-F. Alexander Turnbull Library, Wellington, New Zealand. http://natlib.govt.nz/records/22433154

[3] ‘T.A. McCormack’, The New Zealand Academy of fine arts, Catalogue of painting exhibition, December 1971, 2. Collection of the Hawke’s Bay Museum Trust, Ruawharo Tā-ū-rangi W (62341)

[4] Manx National heritage site, archives. http://www.gov.im/mnh/collectionsonline/People/View.mth?entryid=2536156#

[5] The Archibald Knox Society, Liberty & Co. to ‘Liberty Style’ http://www.archibaldknoxsociety.com/page_112141.html

[6] Liberty London, Our heritage. http://www.liberty.co.uk/fcp/content/about-liberty/newsarchive

Walking among the headstones

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Napier Hill Cemetery 5

During January, February and March, 2014 MTG Hawke’s Bay will again host three guided tours in the Napier Cemetery. These highly successful tours were launched in November 2008 in association with the exhibition Somebody’s Darling, Stories from the Napier Cemetery, curated by Peter Wells and Gail Pope and have run every summer since.

Row upon row of hand crafted headstones contrast vividly against the startling blue of the sky, shadows cast by the varying hues and patterns of the trees and leaves produce constant movement and dance over headstones and the air is punctuated with birdsong. Spectacular views looking out towards Cape Kidnappers and Te Mata Peak can be glimpsed between trees contorted by age and weather. The beautifully crafted headstones identify well-known local and national identities as well as the ‘everyday’ men, women and children who also have extraordinary stories associated with their lives, and their deaths.

In conjunction with the exhibition a group of keen volunteer gardeners, Jenny Horne, Jenny Baker, Heather Carter, Sue Langford, Peter Wells and Gail Pope formed the Greening the Graveyard Group. Their aim, with the support of the Napier City Council, was and is, to turn a stark grey environment into one of colour, fragrance and life.

Napier Cemetery 4

The income received from the cemetery tours each year has been used to support the museum redevelopment project and for the Greening the Graveyard Group to purchase plants to enhance the beauty of the cemetery. For the last three years the Greening the Graveyard Group have also used the funds to purchase new works for the Hawke’s Bay Museums Trust collection.

Napier Cemetery 2

Napier Cemetery 1

The first item purchased by the Greening the Graveyard Group was A Study of Two Figures by George Wood (1898-1963). Wood was a New Zealand draughtsman, illustrator and artist. He is best known for his graphic stylized images which capture form and light through simple line with the use of unbroken colour.

His work reflects the concerns and style of the Art Deco movement, which fed into the modernist Avant-garde and also shows the influence of Māori culture and the Pacific Islands. Such works as this are extremely rare and particularly resonant within the context of the Hawke’s Bay Museum’s Trust collection.

George Wood (1898-1963) A Study of Two Figures Printed in ink on paper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2012/29

George Wood (1898-1963), A Study of Two Figures
Printed in ink on paper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2012/29

The second piece purchased by the group was a repoussé tray made by Cedric Storey. Storey was an artist, panelbeater, sculptor and jeweller. He designed the Auckland City Council official coat of arms and created the much-loved dragon at the Auckland Zoo in the late 1950s. This tray is rare example of a New Zealand made piece of Arts & Crafts metalwork, rectangular in design with raised decoration at either end in the form of grapes and vine leaves.

Cedric Storey Repoussé tray Brasswashed copper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey, Repoussé tray, Brasswashed copper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey Repoussé tray Brasswashed copper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey, Repoussé tray, Brasswashed copper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

This top, a sample garment from the Laurie Foon label, a designer and founder member of the Starfish clothing range was purchased for the collection in 2013. One of the many attributes of Starfish clothing was the understated detailing and relaxed lines that allowed the wearer to integrate the garment into their own unique style. The label was also known for a commitment and focus on environmental sustainability.

Laurie Foon Sample garment Silk and cotton Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/34

Laurie Foon, Sample garment, Silk and cotton
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/34

The most recent purchase, in late 2013 was the painting titled, In the Bath by New Zealand artist Murray Grimsdale. Grimsdale’s recurring concerns as an artist are the events and the people which surround him. His works are often domestic in scale and familial in subject.

Murray Grimsdale In the Bath Pastel on paper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/49

Murray Grimsdale, In the Bath, Pastel on paper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/49

The money raised over the summer 2014 tours will continue to be used to develop the collection and we look forward to sharing new acquisitions purchased by the Greening the Graveyard group over the coming year.

The guided walks are being held on the following dates at 2.00 pm:
Sunday January 26th
Sunday February 16th
Sunday March 23rd

Cost: $12 per adult, children free
Payment to be taken on the day.

Please wear sturdy footwear, a sunhat and take a bottle of water.
The tour meeting point is at the gates of the Cemetery, situated on Napier Terrace, next to the Botanical Gardens.

Tours do book out, so please book early to secure a place by calling MTG Hawke’s Bay, 06 833 9795 or email events@mtghawkesbay.com

Gail Pope
Curator of Archives
January 2014

The photographs of the cemetery used in this post were taken by David Frost, Graphic Designer & Photographer, MTG Hawke’s Bay

One Month In

As I sat down at my desk this morning I had rather a shock.  Today is the 21st October, which means MTG Hawke’s Bay has been open for one month today! The days have flown by and we are so enjoying welcoming visitors to our beautiful new facility. This month has seen an outstanding 12,000 museum and gallery admissions. Add to that all who have attended events, performances and film and MTG Hawke’s Bay has been very busy indeed.

As I write, the Customer Services Team are preparing to open the gallery doors, our Educators are welcoming a class from St Joseph’s Māori Girls’ College, and the MTG Century Theatre is gearing up for day 6 of the NZ International Film Festival.

Just over one month ago all of the MTG team and many, many helping hands were in the final stages of preparation to welcome the public back to the MTG.  There were late nights, early starts and quite a few stressful moments.  Now we are (almost) recovered from the exhaustion I think we will soon look back with fond memories on the energy, exhilaration and anticipation of that final countdown to opening day.  

The MTG team would like to thank our talented team of installers, lighting specialists, AV developers, carpenters, bricklayers, designers, technicians and many more friends, colleagues, contractors and volunteers. To Stephen Salt, Rob Cherry, Mickey Golwacki, Martin Kelly, Alivia Kofoed, Sobranie Huang, Stephen Brookbanks, Clem Schollum, Chris Streeter, Jake Yocum, Beau Walsh, Gavin Walker, Greg Parker, Nick Giles, Gerard Beckinsdale, Dean Edgington, Sophia Smolenski, Marcus McShane, Adam Walker, Johann Nortje, Mike Slater, Te Rangi Tinirau, Tony Zondruska, Matt Kaveney, Elham Salari, Jon Hall – we couldn’t have done it without your expertise and dedication. It was great working with you and we hope to see you all back at MTG soon. 

Here are a few photographs captured in the last stages of exhibition installation:

Scott Hawkesworth assembling a case for Ūkaipō Dieter Coleman assembling a showcase in the Bestall Gallery

Tony Ives in the Annex Gallery

Gerard, Matt and Stu in the 1931 Earthquake exhibition

1931 earthquake exhibition cases ready for install

Stephen Brookbanks, Desna and Chad installing mounts in Ūkaipō

Artworks ready to hang in Architecture of the heart

Rob Cherry and Olivia Morris installing in the Bestall Gallery

Eloise Wallace, Public Programmes Team Leader, October 2013

african adventures in the art collection

One of our most interesting ‘while we are closed’ activities is James’ framing project. Every time I’m in the collection store there is an intriguing assortment of work from the Hawke’s Bay Museums Trust (HBMT) fine art collection out of their crates.  Douglas pointed out this work to me last week as I’m doing some research into the work of New Zealand artists in North Africa in the early 20th Century.

The plate on the frame reads: “North African Coast” by B. C. Dobie. Presented to H Guthrie Smith Esq

I rather liked this scene of a bright orange tent, pitched under the shifting shadows of a cork tree, looking out on olive trees and the dazzling blue of the Mediterranean.

The artist is New Zealander, Beatrix Charlotte Dobie (1887 – 1944).

Beatrix must have been a rather intrepid and determined woman to travel in this part of the world in the 1920s and 30s. I found myself curious about her; and the connection inferred by this painting with Hawke’s Bay farmer, naturalist and author Herbert Guthrie-Smith.

Beatrix Dobbie was born in Whangarei in 1887, daughter of Herbert Dobbie, a well-known stationmaster, botanist and writer. In 1911 she travelled to London with her friend Esther Barker (later Hope) to study painting at the Slade School of Art, under Henry Tonks. It was at this time she changed her last name to Dobie.

Muriel Wyman and Beatrix Dobbie, Mangere, c 1910. Photograph reproduced courtesy of Mangere Historical Society, Manukau Research Library, MGE: I, 2, no. 31

With the outbreak of the First World War she and Esther volunteered for the Red Cross and were stationed in Malta, and later at the New Zealand transfer camp in Codford, England. After the war she returned to New Zealand and exhibited regularly at the Canterbury Society of Arts.

The connection to Guthrie-Smith is here discovered, as it turns out that she illustrated his wonderful book Tutira: the story of a New Zealand sheep station, first published in 1921.

Guthrie-Smith writes in his preface: “My thanks are due to Miss Beatrix Dobie for her physiographical sketches, and for her careful and accurate restorations of the old-time pas of the station. I consider myself most fortunate in having secured her services.”

The painting must have been presented to Guthrie-Smith by her in remembrance of this collaboration, Guthrie-Smith in turn gifting it to the HBMT before his death in 1940.

In 1926 Beatrix went abroad again, this time on a painting tour of Africa, and while in Tunisia she met and married Rene Vernon, an engineer with the French Army. They lived in Sfax and later Beja, and Dobie continued to paint, sending pictures to exhibitions abroad, including the Empire Exhibition of 1937. Despite civil unrest in Tunisia, and later the outbreak of the Second World War, they remained in Beja, keeping an open house to Allied servicemen. As fighting raged within miles of her home she slept with a dog beside her and pistol under her pillow for protection.

The occasion of Beatrix’s infrequent return visits to New Zealand were often reported in the press, on one visit in 1935 she commented in the Evening Post on life and art in Tunisia: “Life in a French colony is full of interest but it encourages the housewife in a woman more than an artist. [I] found [I] could not get into “casserole cookery” mood one minute and into painting the next.”

On the subject of art Beatrix said “Tunis was certainly a land of sunlight and a perfect place for painting. French art had experienced the cult for hypermodernism, but it was now coming back to a true form, enriched by the experience of its adventuring. People were realising that pictures without drawing, colour or form were not “liveable” with.”

While not in the first tier of New Zealand’s expatriate artists, Beatrix certainly achieved some success as an artist in her lifetime, and deserved the epitaph a ‘varied career of unusual interest’ bestowed upon her by the Evening Post when reporting her death in Tunisia in 1944.

The HBMT holds another work by Beatrix – an undated, untitled landscape, possibly of a Hawke’s Bay scene. We also have a work painted in 1911 of Hawke’s Bay farmer and industrialist William Nelson which has been on loan to us from the Napier Borough Council since 1940. In 2002 Whangarei Art Museum held an exhibition on Beatrix and her father called Portraits of Place, with loans from HBMT (including North African Coast).

Dobie. B. W.M. Nelson Esq, Waikoko, Tomoana c1911 on loan from Napier Borough Council40/21

If anyone knows the whereabouts of other works by Beatrix Dobie painted in Malta and North Africa, or knows more about her connections with Hawke’s Bay please get in touch.