Untitled

Collection of loose leaf pages comprising writing, drawing, printed material from various sources, containing:

- Blue/grey exhibition catalogue, Picasso: Œuvre de 1900 à 1914
- Letter from Boris Kalachnikoff to Flora Scales, 15 December 1969, includes page of aphorisms
- Two pages; different types of modernism
- Page; different temperaments
- Page; Le Fauvisme by Vlaminck
- Three pages; reproductions, Gris, Cézanne, Chirico and William Roberts
- Four pages; handwritten Balzac notes [probably by Flora Scales]
- Page; text, “to make one square twice the size” and diagrams
- Page; hot, cold and neutral colours
- Five pages; serrated edges [possibly taken from Untitled [Colarossi sketchbook] [BC114]]
- Page; includes date Sunday 29th 1933 [if 1933 is correct, the month could be January or October. Scales was in Munich, Germany, 14.10.1932 - 16.06.1933 according to document supplied Anton Loeffelmeier, Head Archivist, State Archives, Munich, 29.05.2020, which makes January the more likely month.]
- Recipe for the making of pastels
- Notes on various artists, headed 17th March Hofmann Schule [1933]
- Three pages; colour wheel; text, “roots of tree trunks”; and schematic sketches
- Page; text, “proportion of one square to proportion of an angle...this falls out because there is no line to bind it together – keeps together with the binding line”
- Page; notes about portraiture [possibly corrections of her work]
- Page; Picasso's colour, dated Jan 27th
- Page; text looking at earlier painters' work
- Page; with small sketch of figure, LL schematic drawings, Picasso quote
- Page; diagrams and text, “this shows how much perspective distorts”
- Page; diagrams and text, “to draw is to draw the carriers of movement”
- Seven pages; schematic drawings studying axis, movement, cuboid space
- Page; Lecture III December 1st, “A cylinder has one axis” and “Things swing together in rhythm”
- Page; Lecture IInd Fretag 25 1931, “One reason why the old masters used a cube so much in art was because it is the only body which can take more than one axis” [Possible months for Friday 25th 1931 are September or December. September is perhaps more likely as Lecture III is dated 1st December and 25th December is Christmas Day.]
- Page; Lecture I “1. Equation (many different moments together)”, “2. Must learn to understand why we like a picture!”
- Page; Lecture IV – “In the early days, before Renaissance, the artists got their space by overlappings. You must be able to put cubicle experience over overlapping planes – if you cannot, the whole thing is flat.” Also diagrams to illustrate overlapping planes.
- Page; Lecture V [Thursday] 5th Janvier 1933 – “There is real proportion and the effect of real proportion”, diagrams of division of the canvas
- Page; Lecture VII, Friday 20th Jan [1933] discussion of colour
- Page; diagrams of shifting overlapping planes
- Page; text, 1. “A point-it moves-and we get a line. A line makes a plane and a plane makes a volume and if a volume moves it makes a movement.”, 2. “The front plane depends on the back plane (background)”
- Eleven pages; schematic diagrams studying theories of space, movement, overlapping planes, axis and cuboid experience
- Two pages; referencing colour theory
- Page; headed [Friday] Feb 3rd 1933 Lecture VIV [no text or diagram/sketches]
- Page; diagrams
- Page; torn from spiral bound notebook with 44/45 spirals, text on Rembrandt, Botticelli, Matisse and El Greco
- Seven pages; torn from spiral bound sketchbook [large, perforations in poor condition, uncountable]
- Page; diagrams and text, “in volumes we should experience and translate in planes”
- Page; blank
- Page; diagrams and text, “shades in relation to movements” and “you can have light shadows to tell just as well as heavy ones as illustrated above”
- Page; blank
- Page; text and diagrams, “you cannot use colour as colour and value at the same time…, Hofmann Studio - E.K. [Edmund Kinzinger]” and “On drawing a portrait, Hofmann School E.D.K.”
- Page; with faint drawing
- Page; headed "9th", “Lesson - you must be deliberate in putting on colour - do not get colour too strong at outer border of picture: work for strengths in the centre of picture in an outward direction and then work from out, towards the centre: EDK St Tropez” and lesson, “when you are drawing upon a grey paper, keep the lights of your motif in strict composition…” and lesson, “Look for the drawing of curtain in relation to swing of foreshortened arm…”
- Seven pages; handwritten, titled Studio Notes de Académie l'Hôte [possibly by Flora Scales]
- Three pages; handwritten notes in French from Académie Bissière, [possibly by Flora Scales], ends with three sketches of the knee joint, signed F Scales
- Page; Académie Ranson, 7 Rue Joseph Bara, Roger Bissière. This page was originally the property of Janet Paul, Art Librarian, Alexander Turnbull Library, National Library of New Zealand, Wellington, New Zealand, 1971-1980. Paul permanently loaned it to the collection of Flora Scales's papers held at the Library (Reference no. FS MS Papers 1893-2).
- Diary pages; Janvier 1940; Mardi 16th; Mercredi 17th; Jeudi 18th; Vendredi 19th; Samedi 20th;
Dimanche 21st
- Diary pages; January 1961; Wed 11th; Thursday 12th; Friday 13th; Saturday 14th  
- Four pages; Wednesday 25th January 1961; Thursday 26th January 1961; Tuesday 2nd January 1962; Wednesday 3rd January 1962; consist of shopping lists, notes on painters, Mr Bevis's portrait class at Heatherleys
- Paper bags containing postcards printed with information about Les Musées Nationaux
- Four unknown photographs, black and white; seated nude, 120 x 90mm; guitar and striped tablecloth, 120 x 90mm; table with coffee pot, 86 x 102mm; mandolin and pot plant on round table, 105 x 82mm, presumed reference images from Flora Scales's time with E.D. Kinzinger at Hans Hofmann School of Fine Art, Munich, Germany