[Loose Leaf Pages]

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

c. 1930 1960
Object type
Medium and materials
variable on paper
Place Made
France, Germany

Donated to the Alexander Turnbull Library, National Library of New Zealand by H. F. V. Scales, 1979

Copyright Licence
Courtesy Alexander Turnbull Library, National Library of New Zealand, Reference no. MS-Papers-1893-2
Current Collection

Alexander Turnbull Library, National Library of New Zealand

Current Location

Wellington, New Zealand

General notes

This collection of pages includes some notes from Scales’s time at the Hans Hofmann School of Fine Art, Munich, Germany, 14.10.1932 - 16.06.1933.

A note in the artist’s hand from a Portrait Class at Heatherley School of Fine Art, London, England, led by a Mr Bevis, Wednesday 25th January, 1961, “Mr Bevis portrait class at Heatherleys = mark clearly position of prominent bones on the face - Important sign good composition of portrait or figure on canvas - always make small sketch in pencil carefully before proceeding to paint on canvas.”

Four pages of handwritten pages, presumably by Flora Scales, regarding Honoré de Balzac, a French novelist and playwright (1799-1850), notes, "What in art is praizworthy [sic] is first of all courage, a courage of which the ordinary man has no conception."

Includes a page of handwritten notes by Flora Scales headed “9th” and continues, “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”. The date for this first paragraph can be reasonably assumed to be 1931, the only summer Scales and Kinzinger were in St Tropez at the same time.

Contains four unknown photographs, black and white - a seated nude, 120 x 90mm, a guitar and striped tablecloth, 120 x 90mm, a table with coffee pot, 86 x 102mm, a mandolin and pot plat on round table, 105 x 82mm. These photos are presumed reference images from Flora Scales's time with E.D. Kinzinger at Hans Hofmann School of Fine Art, Munich, Germany.


‘Becoming Modern: The paintings of Flora Scales’ by Jennifer Higgie, written for florascales.com, 2022

"Scales’s sketchbook [Untitled [Loose Leaf Pages] [BC112]]  from the early 1930s bears witness to her restless processing of Hofmann and Kinzinger’s ideas: it’s full of swift, sparse drawings of objects, buildings and the sea, overlaid or broken down with grids, arrows, lines and scribbled observations examining what she is looking at and how it might be represented. Nature, she realised, was best employed as a painterly prompt, a stimulation to the senses and to the imagination; imitation was futile."

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