The Art Collection at One Tree Hill College, NZ

1. THE
One Tree Hill College
ART TRUST WORKS

2. In Ron‘s Eiseg‘s office

3. Sandy Adsett,
'He Tetekura'
The revival of
Maori Youth,
1981,
Acrylic on
Hardboard,
945 x 945

4. Reception & Corridor outside Staff Workroom

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 Christ's 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. Colin McCahon,
‘Nouns and
verbs...(Parts of
Speech' Peter Hooper),
Practical Religion
Series' 1969, Script -
Scroll painting, ink,
watercolour and pastel
on manilla card. 1455 x
550

7. Colin
McCahon,‗An
Ornament for the
Paheka', 1972,
Pencil and
watercolour on
white paper, 316
x 405

8. Colin
McCahon,
'In My Dark
Winter' 1971,
Script drawing
on white paper,
1971,
273 x 180

9. Colin
McCahon,
'Muriwai'
1971,
Watercolour
on manilla
card,
1090 x 720

10. Colin
McCahon,
'Larks Song',
1972,
Watercolour
and pencil
script on
manilla card,
1092 x 722

11. Colin McCahon, 'Necessary Protection’ (I H S)1972,
Enamel and oil on hardboard, 600 x 810

12. Colin
McCahon,
'Jet Over
Muriwai’,
1973,
Charcoal on
paper,
342 x 273

13. Cathryn Shine Artist in residence Cloth of culture 1983
Acrylic on unstretched canvas 2840 x 4670

14. Wallace Crossman Interaction 1974 Acrylic on
Canvas 885 x 725

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. Don Binney
Te Henga
1967
Coloured
Crayon on
paper
745 x 535

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. Dick Frizzell The Will To Love 1977 Oil Enamel on
hardboard 620 x 907

19. Donated by Kapiti Collection

20. For this piece I used a discarded
wrapper from a just-eaten block
of Aorangi as a starting point. I
am interested in words and
layering, so I abstracted the label
to create a landscape of the
Aorangi region with the highest of
the peaks, Mt Cook represented
in pyramid form.
Embedded in the image is the
number 7, a figure from the price-
tag to signify 7 years of plenty – a
reference to the profitable dairy
farms of the South Canterbury
area.
Philip Trusttum July 2008

21. I love cheese and I love this
cheese. The bright colour is
amazing, the sharp taste is
incredibly moreish. You could
eat it all day. And believe me
I did. I wanted to bring the
act of eating this cheese to
the fore – in particular the
cutting of the cheese on a
cheeseboard with a good
knife. As this is a dense
cheese some measure of
force is required to cut
through it. So this piece
feature the classic wood-grain
texture of the board as a
background.

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. I was attracted by
Ramara‘s soft and gentle
colour. However these
soft, warm colours gave
way unexpectedly to a
really strong taste – an
interesting juxtaposition –
strong and gentle, or soft
with an underlying
strength? This unusual
combination is what I‘ve
explored in my image and
bought to life in the print.

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. ‗Calling this piece
‗the Second
Metaphysical
Cheese‘ obviously
implies that there
was a first one.
Originally a brie all I
had to do was drop in
this cheese with its
distinctive mould
patterns into the
same moonlit
landscape (from a
1921 painting by a
surrealist artist
Carlos Carra)
complete with
Kikorangi (sky blue)
clouds.

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. I started with the unique shape of the
cheese which is interesting in itself.
However as I ate the cheese and
shared it with friends, I found that there
was more to it. It was moments of joy
between people.
My work is full of symbols of this
journey, the literal mountainous shape
of the cheese together with the
background washes to represent the
landscape where Mt Hector sits through
to the cheeseboard as a stage, around
the goat which gives the cheese its
unique taste, and the costumed figures
engage in the celebration and occasion‘
Jenny Dolesel August 2008

28. John Pule
Nukulafalafa
1994 Lithograph
and woodblock
3/30
750 x 750

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. Nigel Brown
Land and Family
1979
Hand coloured
Lithograph
24/30
630 x 470

31. Nigel Brown
•Nigel Brown actively uses story telling precepts within the ‗confines‘ of the
image. He directly and selectively employs history, literature, politics etc as
devices and in so doing examines the varied plights of the individual and
environment with an emotional, intuitive sympathy which is accurate, incisive
and clothed in a vernacular of the human condition.
His work expresses fundamental spiritual and humanistic concerns common to
mankind. These are infused with the particularity of cultural location and
reference, the specific of place and event, the dynamism of individual character
and personality with the narrative (artist as author) point of view.

32. Rodney Fumston
Garden
Evening ll
1979
Screenprint
9/40
540 x 480

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. Pat Hanly
'Who am I, I
am, Do it'
Screenprint
565 x 635

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. A.C. Neale
Pounamu
1994
Etching 8/15
502 x 265

37. John Pule
Nukulafalafa
1994 Lithograph
and woodblock
3/30
750 x 750

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. Gordon Walters
Arahura
1982
Screenprint
5/125
543 x 430

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. Nigel Brown
Running Woman
1983
Hand coloured
Lithograph
10 /10

42. Corridor outside Staff Workroom

43. Martin Ball
Motorbike
1980
Graphite
pencil on paper
210 x 180

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. Don Binney
Taranaki
1971
Black Crayon
on paper
331 x 392

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. Dick Frizzell
Sketches for Big
Boy
1982
Pencil
Colourwash
and Collage
330 x 330

48. Sylvia Siddell
After Breakfast
1982 Pencil
drawing
587 x 410

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. Roger Staples
Egg and Grain
1975
Pencil Drawing
240 x 197

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. Grahame
Sydney Camp
Kitchen
1981
Etching
24/25
185 x 245,

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 Sydney's work that his paintings are
owned by Elton John, Nelson Mandela and Sam Neill.
• Grahame Sydney's 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 Sydney's 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 Zealand's major galleries, including Te Papa's
national collection.

54. Nelson Thompson
Flower Study
1974
Watercolour
542 x 738

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. John Lethbridge
Full Circle 1983
Coloured Lithograph
122/150,
653 x 305

57. Artist unknown
Untitled
undated

58. Student Services, Corridor outside Staff room, Staff room, Outside SLT offices

59. OutsideRopati‘s
office
Malcom Warr,
'Kapiti Island and
the Waimeha
Stream',
Screenprint, 4/20
(Ins Blue 2nd Ed)
1976,
625 x 765

60. Outside
I Ropati‘s
office
Malcom Warr,
'Kapiti Island and
the Waimeha
Stream',
Screenprint 4/20
(Ins Sienna 2nd
Ed) 1976,
625 x 765

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. Outside
I Ropati‘s
office
Graeme Storm

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. Between
Coughlan &
Barlow‘s office
Carole Shepheard
Identity Fragments
(Tipi and Target)
1981
Mixed media on
paper
650 x 495

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 Shepheard's
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 Pollock's 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. Opposite M
Bettridges‘
office
Pat Hanly,
'Ecstasy
Condition'
1976,
Enamel on
Hardboard,
905 x 900

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 sun's light on the land here, and he explored this in
'Figures in Light' (1963).

68. Between
Barlow‘s office
and door
Gretchen Albrecht,
'Velvet Rock' 1975,
Acrylic on Paper,
1043 x 715

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. Outside M
Bettridges‘
office
Terry Stringer
Woman at a Mirror
1980
Cast bronze 2/3
285 x 2150 x85

71. Terry Stringer
Terry Stringer is a leading New Zealand sculptor. He
trained at New Zealand's 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 country's national
honour, the ONZM (Officer of the New Zealand Order of
Merit).

72. Entry to
staffroom from
SLT offices
Anna Palmer,
'Untitled'
Coloured pastel
on black paper,
490 x 640

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. Staff Room
Gretchen
Albrecht,
'Sundial', 1980,
Screenprint, 2
2/125,
805 x 615

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. Staff Room
Wong Sing Tai, 'Bare Island',
Silkscreen print, 19/100, 435 x 800

77. Wong Sing Tai
Where 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. Staff Room
Other side
of entry
Michael Smither,
'Nutshell', 1976,
Screenprint, 1/50,
536 x 625

79. Staff Room
Michael Smither,
'Mount Taranaki',
1971, Screenprint,
1/23,
480 x 560

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. Staff Room
Jean Horsley, 'Squadron', 1989, Oil on hardboard,
785 x 1190

82. Staff Room
Jean Horsley, 'Whakapapa Waterfall', Oil on hardboard,
787 x 1185

83. Jean Horsley
Ann Kirker (author of New Zealand Women Artists:
A Survey of 150 years), described Horsley's
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. Staff Room
Tom Burnett,
'Elliots Beach',
1983,
Screenprint,
10/70,
570 x 545

85. Tom Burnett
Well 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 people's
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. Corridor
outside
Staff Room
Wendy Griffin,
'Transit'
colour etching,
16/30,
510 x 370

87. Corridor
outside
Staff Room
Stanley
Palmer,
'From Napier
Street', 1968,
Bamboo
Etching on
paper 4/6,
485 x 695

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. Corridor
outside
Staff Room
Delwyn Williams,
'Tui in a Flame Tree',
1985, Lithograph,
16/16,
530 x 375

90. Corridor
outside
Staff Room
Guy Ngan, ‗Series Thirty‘, 13/21, 1976

91. Guy Ngan
Stokes 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. Corridor
outside
Staff Room
Mark Blazey,
Untitled,
Undated

93. Corridor
outside
Staff Room
Emma McLellan, ‗Marked ll‘, 1994, Etching on buff paper,
370 x 590

94. Corridor
outside
Staff Room
Graham Cornwell, 'Dancing Harlequins',
Lithograph, 420 x 540

95. Corridor
outside
Staff Room
Cynthia Jaffe, 'Mystical Forest', 1981, Multiple print
14/375, 310 x 510

96. Outside
(right from
staffroom)
wall by
door to
Student
Services
Stanley Palmer
Shot Tower
Mt Eden
1980
Bamboo etching
on paper
30/60
530 x 360

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 Palmer's 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. Inside
student
services by
sick bay
door
Artist unknown
Untitled
undated

99. Student
services
Colleen Bucknell
Untitled
Undated

100. Student
services
Robin Kahukiwa,
'Nau Mai Haeremai'
1986, Oil on canvas,
1340 x 1010

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 children's book writer and
illustrator.
• Currently Robyn lives and works between Pukerua Bay and in
Rotorua.

102. Corridor,
Tawa
(outside
student
services
entry/exit
Nelson Thompson,'Townscape', 1955,
Watercolour, pen and ink, 398 x 615

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. Corridor,
Tawa
(outside
student
services
entry/exit
Ted Dutch, 1997

105. Corridor,
Tawa
(outside
student
services
entry/exit
Ted Dutch, ‗Ornithopter‘, 1970, 1/20

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. Corridor,
Tawa
(outside
student
services
entry/exit
Phillippa Blair, 'Hiroshima', 1983, Watercolour and
acrylic on paper, 585 x 815

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. Corridor,
Tawa
(outside
student
services
entry/exit
Artist unknown
Untitled
undated

110. Stair well
outside
Staff Room
Malcom Warr
Akatarawa
1968
Monoprint
770 x 630

111. Stair well
outside
Staff Room
Malcom Warr
1968
Monoprint
770 x 630

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. Library

114. Gretchen Albrecht Sky Limit 1973
Acrylic stain on stretched canvas 1255 x 1820

115. Gretchen Albrecht
Orange-Black-Blue
1975
Acrylic on paper
1067x712

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. Pamela Blok
Untitled
(Mythological
Theme)
110 x895

118. Nigel Brown
Trampers 14
Acrylic on
hardboard
1980-81
1090 x 790

119. Nigel Brown (more info)
•Nigel Brown actively uses story telling precepts within the ‗confines‘ of
the image. He directly and selectively employs history, literature,
politics etc as devices and in so doing examines the varied plights of
the individual and environment with an emotional, intuitive sympathy
which is accurate, incisive and clothed in a vernacular of the human
condition.
His work expresses fundamental spiritual and humanistic concerns
common to mankind. These are infused with the particularity of cultural
location and reference, the specific of place and event, the dynamism
of individual character and personality with the narrative (artist as
author) point of view.

120. Colleen Bucknell
Untitled
Undated

121. Colleen Bucknell
Untitled
Undated

122. Pat Foster
Earth Goddess lV
Stone Sculpture
Northland
Serpentine

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. Dean Buchanan,
Medieval
Fairy Tale
1985
Oil on
unstretched
hessian
1900 x 1430

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. Allen Maddox
X Painting
1979
Oil on
unstretched
canvas
1815 x 1985

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. Colin McCahon
The Calling of a
Christian Inscribed '1
Peter 3 the Calling of a
Christian‘
1969
Charcoal script on
paper
1560 x 550

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 Christ's 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. Ian Scott
Trellis Pattern
1981
Gouache on
paper,
480 x 480

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. Scott's 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. Terry Stringer
Ponsonby
1984
Cast bronze 8/12
330 x 405 x 200

133. Terry Stringer
• Terry Stringer is a leading New Zealand sculptor. He
trained at New Zealand's 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 country's national
honour, the ONZM (Officer of the New Zealand Order of
Merit).

134. William Sutton
Threshold V
1973
Oil on Canvas
1120 x 2900

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. Artist unknown
Untitled
undated

137. Artist unknown
Untitled
undated

138. Ceramics

139. Artist unknown 3

140. Artist unknown 4

141. Andrew Van Der Putten Doreen Blumhardt Renton Murray

142. Don Thornly
Len Castle
Len Castle

143. Barry Brickell 1

144. Barry Brickell 2

145. Catherine Anslemi - Angela Thomas

146. David Leach

147. Dennis O'Connor

148. Jim Grieg 1

149. Jim Grieg 2

150. Len Castle 3

151. Len Castle Neil Grant

152. Len Castle 11

153. Len Castle 13

154. Len Castle 14

155. Len Castle 16

156. Len Castle 17

157. Len Castle 18

158. Len Castle 19

159. Knowledge Centre, Seminar Room & Careers Room

160. Behind desk in library
Sandy Adsett Screen-printed panel

161. In knowledge centre, left of door
as entering from library
Annear
Untitled
1982

162. In knowledge
centre, right
wall above
computers
Don Binney,
‗Te Henga‘,
1971, Black
crayon on
paper, 450 x
592

163. In knowledge
centre, right
wall above
computers
Nigel Brown,
Fly a Kite
1987
Acrylic on paper

164. Behind desk in
library
Ted Bracey
Waikato Landscape
1969
Acrylic on canvas
274 x 454

165. Careers room
Wallace
Crossman
Interaction
1975
Acrylic on canvas
750 x 1110

166. In knowledge
centre, right
wall above
computers
R Dalgamo
Variation 2,
My thanks
to fun
Collograph

167. opposite desk
in library
Pat Hanly
Special Event
1974
Watercolour
430 x 490

168. opposite desk
in library
Pat Hanly
Garden Series
1974
Watercolour
410 x 365

169. opposite desk
in library
Pat Hanly,
Mt Eden
1973
Watercolour
crayon, black
ink
345 x 410

170. opposite desk
in library
Pat Hanly,
Love each other
1971
Screenprint
7/20
545 x 565

171. opposite desk
in library
Pat Hanly
Life Goes on
1982
Screen print
13/40

172. In knowledge
centre, right
wall above
computers
Ralph Hotere
Desolate
Darkness
Desolate
Brightness
1972
Watercolour
wash and
black ink
415 x 390

173. In knowledge
centre, right
wall above
computers
Ralph Hotere
Pathway
to the Sea
drawing for
Ian Weddes
'Pathway to
the Sea'
Black ink wash
and pencil
1975
555 x 760

174. In knowledge
centre, right
wall above
computers
Ralph Hotere,
'Pathway to
the Sea',
drawing for
Ian Weddes
'Pathway to
the Sea',
Black Ink,
wash and
pencil, 1975,
555 x 760

175. In seminar room
John Kinder
Waikato River
Watercolour on two sketchbook sheets
unfinished
230 x 720

176. In knowledge
centre, right
wall above
computers
Colin McCahon North Otago Landscape 1977
Silkscreen Multiple 465 x 570

177. In knowledge
centre, right
wall above
computers
Milan Mrkusich
Passive
Element
1977
Acrylic on paper
494 x 320

178. In seminar room
Garth Tapper
Crown
Prosecutor
1980
Lithograph
17/18
690 x 930

179. In seminar
room
Toss Woollaston
Untitled
Undated.

180. In seminar room
Toss Woollaston
Patrick Lucas
Unsigned undated
Ink Drawings
500 x 700

181. In seminar room
Toss Woollaston
Countryside
Watercolour
343 x 505

182. In seminar room
Toss Woollaston
Tunnel, Huinga
Watercolour
380 x 310

183. Behind desk in
library
Robyn White
Houses at Paremata
1969
Acrylic on canvas
600 x 315

184. Behind desk in
library
Robyn White
Paremata Landscape
1969
Acrylic on canvas
642 x 515

185. Compiled by
btowns
for
One Tree Hill College