New Zealand Sculpture: A History by Michael Dunn

By Michael Dunn

The publication contains a normal bibliography and examining lists for every significant artist.

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Speculation on such issues is difficult, style, too, Kidson follows Woolner’s example in his balancing of details such as yet there is no reason to believe that he would have broken from British standards the wrinkling of the skin of the hands and creases in the trousers with the and example. In the arts generally at that time, New Zealand’s finest talents simplification required for an impressive, general effect. In fact, Kidson’s statue found an outlet not in developing a distinctive local style but in leaving the is an example of the British public memorial transplanted to colonial soil.

Apparently he had been involved in a business venture that failed leaving creditors FIGURE 23 Nelson Illingworth, The Signing of the Deed of Sale of Lake Wairarapa to the Crown, 1911, Museum of New Zealand Te Papa Tongarewa, Wellington. Relief from the Papawai Monument. Bronze, height 1120 mm, width 635 mm empty-handed. Writing to Augustus Hamilton, then Director of the Dominion Museum, on 20 November 1912, from Sydney, he remarked: ‘. . I had to leave He not only obtained the commission for the Grigg statue but also that for the at two hours notice.

Support of friends such as Hurst Seager, the architect, and T. E. Taylor, a local Judging by his activities in New Zealand, Illingworth was something of a sharp Member of Parliament. dealer with an eye for making quick returns from commissions without too The experience of Allen Hutchinson and Nelson Illingworth was similar. many scruples about quality in their execution. But, by his visit, he made a small Both achieved a measure of patronage during their stay in New Zealand. and interesting contribution to the development of professional sculpture in Hutchinson had several buyers for his work including Henry Partridge and Isa New Zealand.

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