Frances Hodgkins: Leitmotif - Auckland Art Gallery

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26notes1. Gill p. 326. Letter to Hannah Ritchie, August 1917,St Ives, Cornwall.2. Maxwell Edith Riddle, Women and Modernity: Thecase of Frances Hodgkins, an investigation of her useand abandonment of the image of women, unpublishedMA thesis, Victoria University of Wellington,1997, p. 97.3. The tempera medium is primarily animal gluemixed with some oil (walnut, or poppy and linseedoil), and may have a little egg or casein added.Protein analysis was carried out by Brian W Singer,Northumbria University, August 2005; and the oilswere identified at Tate Britain in July 2004 (JuliaJonsson, Bronwyn Ormbsy, Tom Learner, Analysisof Frances Hodgkins’ Paints).4. Riddle pp. 128-9, Evening Post, January 1907, quotingthe Pall Mall Gazette. Cedric Morris (1889-1982), afellow painter who Hodgkins befriended and stayedwith at his house in Newlyn in 1919, also had a loveof paint texture and this was particularly overt in hiswork from 1920-25.5. English artists Barbara Hepworth (1903-1975) andHenry Moore (1898-1986) also used this technique.6. Gill p. 544, letter to Duncan Macdonald, 31 January1944, Corfe Castle, Dorset.7. Gill pp. 471-2, letter to Duncan Macdonald, c.12November 1936, Corfe Castle, Dorset.8. Archival mounting and framing, the display in alocation with a stable temperature and humidityaway from high light levels, can considerably aid thepainting’s longevity.9. Gill p.459, letter to Dorothy Selby, 3 September1933, London. Coverine was a white householdpaint and there is evidence to suggest that it wasused by Christopher Wood, Ben Nicholson andothers in the 1920s. It was applied as an undercoatas well as to paint over previous paintings so thatthe canvas could be re-used. Harriet Standeven,personal communication, 13 June 2005.10. Douglas Glass, from the complete transcript oftapes by June Opie, Hocken Library, Otago University,CIP IRN 74/63.11. Gill p.464, letter to AJ McNeill Reid, 11 January1935, Corfe Castle, Dorset.12. Gill p. 326, letter to Hannah Ritchie, August 1917,St Ives, Cornwall.13. Gill p. 9.14. Technical examination at Auckland Art Gallery andTate Britain.15. Apart from the four labels for The Edwardians onthe reverse, there are two others for a work titledNightpiece. A work of that name was exhibited in1919 at the Society of Women Artists, a year beforeThe Edwardians was first shown (brought to ourattention by Iain Buchanan). Although the canvasedges are very uneven in length, the regular spacingof the tacks would appear to indicate that the canvaswas commercially prepared and has not beenremoved. There was certainly time to re-paint, andthe numerous layers with unrelated impasto wouldappear to confirm this theory.16. Gill p. 563, letter to David Brynley, 2 November1945, Corfe Castle, Dorset.Works referred to in the text but not illustrated:Auckland Art Gallery Toi o Tamaki - collection:Boys heads, Treboul 1927, watercolourEggs & Ferns c.1931, watercolourIbiza – Study for oil 1935, watercolourRefugee Children c.1916, oil and temperaSpanish Shrine c.1933-34, oil on canvasThe Edwardians, c.1919, oil on canvasTate Britain:Loveday and Ann 1916, oil on canvasWings over Water c.1931-32, oil on canvasPrivate Collections:Hill Landscape 1935-36, gouacheLancashire Children c.1927, oil on canvasGreen Urn c.1931, oil on canvasfrances hodgkins at her studio in the village of corfe castle, dorset, england, 1945 (detail from a photograph in the exhibition)felix h man collection, alexander turnbull library, f-332-35mm-d.
acknowledgementsAs well as the many generous private collectors whohave lent to this exhibition, Auckland Art Gallery Toio Tamaki wishes to thank the following:New Zealand Lottery Grants Board Te Puna Tahua;Creative New Zealand; Tate Britain; Tate ConservationDepartment; Auckland Radiology; The Research Centrefor -Surface and Materials Science and ChemistryDepartment of the University of Auckland; DunedinPublic Art Gallery; Museum of New Zealand Te PapaTongarewa ; Christchurch Art Gallery Te Puna oWaiwhetu; Parliamentary Services, Wellington; VictoriaUniversity of Wellington; Hocken Library, University ofOtago; Fletcher Trust; Rutherford Collection; RavenscarTrust; Ferner Gallery; John Leech Gallery.Published on the occasion of the exhibitionFrances Hodgkins: Leitmotif at Auckland Art Gallery Toi o Tamaki12 November 2005 – 2 April 2006Exhibition Curators: Mary Kisler, Sarah Hillary, Ute StrehleExhibition Conservators: Sarah Hillary, Ute StrehleResearch Librarians: Catherine Hammond, Caroline McBridePhotography: John McIver, Sarah Hillary, Ute StrehlePublication Design: www.inhousedesign.co.nz-ISBN 0-86463-266-5This book is copyright. Except for reasonable purposes of fairreview, no part may be stored or transmitted in any form or by anymeans, electronic or mechanical, including recording or storage inany information retrieval systems, without permission in writingfrom the publishers. No reproductions may be made, whether byphotocopying or by any other means, unless a licence has beenobtained from the publishers or their agent.Copyright © 2005cover: ibiza, c.1933 (detail), oil on canvasauckland art gallery toi o tâmaki, purchased 1982EXHIBITION MAJOR SPONSOR
Page 1: franceshodgkinsleitmotif
Page 4 and 5: introductionIn the 1930s and 40s, F
Page 6 and 7: 6leitmotiffig.1 red jug c.1931 oil
Page 8 and 9: 10leitmotiffig.3 phoenician pottery
Page 10 and 11: 14leitmotiffig.7 kimmeridge foresho
Page 12: 18notesfrances hodgkinsat her best

Frances Hodgkins: Leitmotif - Auckland Art Gallery

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