Sea/landscape. Blue water separates land mass at lower half of painting from the other side of the bay. The soft focus cubist jumble of shapes, lower half, are held together by the terracotta and ochre structure to the left, the white structure centre and the dark shape at mid right which forms a visual anchor.
LL ochre brush point Scales
Dated according to other renderings of this subject.
Purchased by original owner from the artist in her Brentwood Avenue flat, Mt Eden, Auckland, New Zealand, 1976, just prior to the artist returning to Europe. At time of purchase Scales added a signature, lower centre. This was removed immediately in the artist's presence when the original signature was deciphered, lower left. The original owner recalls this painting had never been framed or exhibited prior to purchase.
The location of this work was identified by British artist, Patrick Heron, while as an artist-in-residence at the International Art Workshop, Teschemakers Resort, Kakanui, Oamaru, 9 February - 1 March, 1991.
This is one of a series of paintings based on the location of the Pedn-Olva Hotel on Porthminster Beach. 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 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.
After the death of her mother 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."
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.