BC059
St Ives
Sea/landscape. Upper left headland with buildings on green hilltop, ocean to right. Bar of yellow ochre at lower margin with central pink brush strokes.
LR blue brush point F Scales
LR overpainted ochre brush point H Scales
LR blue brush point 1969
Verso (not in artist’s hand) Scales Helen Flora V St Ives, 1969 oil 27 x 34.5cms 92173½ Rack 393 (now covered by frame)
Verso Upper Centre label 342
Verso UL label artwork details
Donated to the Alexander Turnbull Library, National Library of New Zealand by H. F. V. Scales, 1979
Alexander Turnbull Library, National Library of New Zealand
Wellington, New Zealand
Title and date supplied by artist at time of donation, 1979.
This is one of a series of paintings based on the location of the Pedn-Olva Hotel on Porthminster Beach, St Ives, Cornwall, England. Pedn-Olva means 'lookout on the headland'. The hotel is a registered navigational mark for ships which perhaps added to its attraction as a subject for Scales, with her lifelong interest in boats, ships, piers and the sea.
The location of this work was identified by British artist, Patrick Heron, an artist-in-residence at the International Art Workshop, Teschemakers Resort, Kakanui, Oamaru, New Zealand, 9 February - 1 March 1991.
In her series of studies of this subject Scales may well have moved between a greater and lesser degree of abstraction making it difficult to determine in which order they were painted.
Diana Mills, Flora Scales’s great niece, in a letter to B. de Lange, 12.11.1983, “I visited her there in a sparsely furnished house on the side of a hill. It was jolly cold and the wind was prevented from making life completely miserable only by thick red velvet curtains. Heavy as they were they still blew at an angle into the room...I was appalled by the lack of comfort with which she lived her life.”
After the death of her mother in 1948 Flora Scales moved to Cornwall, England. Flora Scales in conversation with Janet Paul, Rotorua, New Zealand, 27 March 1979, “I went to a horrible room in Mousehole, all yellow rocks. Not a good place for painting. Back to St Ives. I lived in a little hotel on the sea front at Penzance. Had a sale and then went back to St Ives. I used to pass Barbara Hepworth's studio and could hear her hammering. She was always hammering. I didn't like to disturb her and never went in."
The 1950s saw the burgeoning of the St Ives School of artists in England which included Barbara Hepworth, Ben Nicholson, Terry Frost, Patrick Heron, Roger Hilton, Peter Lanyon, Bryan Wynter and Bernard Leach.
No. 29 in the exhibition Helen F V Scales, Auckland City Art Gallery, 1975-1976.
Two black and white photographs of this work are included in an artist’s file dedicated to Flora Scales at the Alexander Turnbull Library, National Library of New Zealand, reference Scales, Helen Flora Victoria, 1887-1985, Artist file prints [see Related images 2-5]. The file contains black and white photographs on card of 26 of the artworks in the Alexander Turnbull collection and one not held in the collection [Untitled [Sand Dunes] [BC011]].
Each card measures 167 x 216mm and the image size varies. Each card has handwritten reference notes along the top detailing artist name, title, year, size, and reference number. Further, on the back of each card are handwritten annotations with information including media, reference numbers and location within the physical collection. The overleaf of one of these cards notes, "Shows coastline of St Ives, Cornwall."
The cards in this file are undated. Correspondence B. de Lange and Kimberley Stephenson, Research Librarian Pictorial, Alexander Turnbull Library, September 2025, notes, “Neither the associated copy negatives nor the file prints are dated but based on notes I found in the negative register one group (intermittent between 1/2-092380-F and 1/2-092705-F) was in existence by May 1979, while a second group (intermittent between 1/2-162480-F to 1/2-162510-F) had been created by December 1986. Given most of the paintings entered the collection in 1979, this does suggest that the first group shows the works soon after they were accessioned. The second group appears to have been taken during reframing or conservation treatment as many are shown without their stretchers.” It is assumed that a card was made for this work at both dates, resulting in two copies noting similar information.