[Colarossi sketchbook]

Blue covered sketchbook, 19 perforated pages containing:

Cover: blank

Inside front cover: signed “F”, pencil

Page 1: blank

Page 1 overleaf: landing stage, La Pesquière, St Tropez, France, pencil

Page 2: sketches, still life, pencil

Page 2 overleaf: sketch, equations, pencil

Page 3: sketch, pencil

Page 3 overleaf: landscape, pencil

Page 4: diagrams and text, “1 We have to experience in volumes. 2 Translate them on a plane with planes. 3 With the help of lines / regula [sic] bodies. / 3 regular planes. 2 lines. / creation of volume If point moves arises a line. a line moves a. a. [arrives at] plane, plane moves a. a. body / body moves arises spatial movements?”, pencil

Page 4 overleaf: isometric diagrams, sketch, “angular isometric / parallel isometric / following the eye line / 12a / drawing relation [illegible]”, pencil

Page 5: unknown smudges

Page 5 overleaf: landscape with house, pencil

Page 6: sketches, still life and landscape, pencil

Page 6 overleaf: landscape with house, pencil

Page 7: sketches, pencil

Page 7 overleaf: landscape with houses and a signpost LR, pencil

Page 8: blank

Page 8 overleaf: houses, sketches, pencil

Page 9: diagrams, pencil

Page 9 overleaf: steps down to La Pesquière, St Tropez, France, pencil

Page 10: diagrams and trees, pencil

Page 10 overleaf: diagrams, pencil

Page 11: titled “Maxims Léopold Survage”, text, ink

Page 11 overleaf: page 11 text continued, date October 1927, text quoting Albert Gleizes, ink

Page 12: page 11 overleaf text continued, signed Gleizes, text, “Look for the right movement in hills on left of picture. it is shorter and stronger than l in the bay on the right - keep the study held together by rythm [sic]. Poppy oil, use to dry slowly / Linseed oil, use to dry quickly.”, ink and pencil

Page 12 overleaf: blank

Page 13: two small diagrams and text, “Vendredi [Friday] 17 Juin criticizm [sic] in morning / afternoon at Mr Kinzinger's house short lecture subject seen left standing the movement is from right to left. seen from right standing movement is from left to right.”, pencil

Page 13 overleaf: blank

Page 14: diagrams, pencil

Page 14 overleaf: landscape, pencil

Page 15: text, “glue / 75 grams to 1 litre water, stand 24 hours in a warm room. then warm it in a pan / 1 white chalk, 1 zinc white - powder (green seal), 1 cup water. / paint on unbleached calico - dry for two days. / poppy ½, linseed ½, to mix your white paint with zinc white powder / N663 Wolgemut 1434 jahr [year]”, pencil

Page 15 overleaf: LL unknown mark, pencil

Page 16: diagrams and text, "to [illegible]", pencil

Page 16 overleaf: landscape, pencil

Page 17: sketch [reverse of sketch page 17 overleaf], pencil

Page 17 overleaf: sketch, pencil

Page 18: sketch, house, l'Eglise de Notre Dame de l'Assomption, St Tropez, France, with numbered planes and indications of movement through space, open suitcase, pencil

Page 18 overleaf: sketches, diagrams, pencil

Page 19: sketches, diagrams, pencil

Page 19 overleaf: sketches, text LL inverted, “1512”, pencil

Inside back cover: text upper margin inverted, “rue de la Grande chaumière 10 Académie colarossi”, pencil

Back cover: blank

1931 1932
Object type
Medium and materials
pencil on paper
Place Made

Inside front cover UR pencil (not in artist's hand) MS Papers 1922

Inside front cover UR pencil (in artist's hand) F reversed

Inside front cover Upper Centre pencil (not in artist's hand) [MS Papers 1893 folder 2]

Inside back cover UR pencil (in artist's hand) rue de la Grande chaumière 10 Académie colarossi


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

Condition Report

Each page perforated. Pages party torn and fully torn out throughout. Some pages torn out not present. Sketchbook stored with acid-free tissue between each page.

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

Untitled [Loose Leaf Pages] [BC112], Untitled [Esquisse sketchbook] [BC118], Untitled [Colarossi sketchbook] [BC114] and Untitled [sketchbook pages] [BC113] make up the contents of a file reference number MS-Papers-1893-2, Alexander Turnbull Library, National Library of New Zealand, and is all original material. A duplicate file, reference number MS-Papers-1893-1, is made up of Xerox copies of the original material file. The -1 file was produced to protect the original documents. Date of production is unknown.

Pages 1 overleaf and 9 overleaf, drawings of the La Pesquière landing stage in St Tropez, relate to St Maxime [BC018]. Page 18, a preparatory drawing showing the church L’Eglise Notre-Dame de l’Assomption in the old town of St Tropez, France, relates to Mediterranean Village [BC019], Untitled [Basilica and Lighthouse, St Tropez] [BC020], Basilica and Lighthouse, St Tropez, Southern France [BC021].

Page 11 – 11 overleaf, titled “Maxims Léopold Survage”, reads, “In painting the technical means are conditioned by the intention, which is the measure of our degree of spiritual elevation. / The state that is favourable to spiritual travail is the happy alternation of feeling and intelligence. / Feeling is a physiologic state, the result of perceptions and sensations. / Every perception that is not finally guided by our consciousness to the intelligence remains in the state of feeling. / Feeling alone leads but to animal reflexes. / Absolute intelligence – total abscence [sic] of feeling. / Quality of intelligence – spiritual elevation. / Degree of intelligence – penetration. / A conscious being, is, of necessity, cerebral. / All art is abstract, for all art is generalizing; it remains to specify the degree, which is quality. / Cerebral art – art which has gone beyond the reflex – gesture of a sensation or external perception. / Memory minus intelligence is a plague. But intelligence without intuition is orphan. The subconscious – our bodies memory; intuition, its intelligence. / The will degree of intensity of/our faculties. / October 1927”

Page 11 overleaf – 12, signed [Albert] Gleizes, reads, “The spiritual problem of the age, and the technical problem which the painter has to face thus are the same – “The problem of Space” and not merely the problem of space but the relativity of space. There is nothing / startlingly new in this. Spatial relativity is a concept and a percept which has been progressively forced in upon the mind of man, by the slaying of time and space through the perfecting of the means of transit including aerial transit. / But relativity, if it is to be accorded a solution, implies synthesis; in painting as plastic synthesis. And this brings us to the painting of Leopold Survage, which is a plastic Synthesis of Space / Gleizes”

Page 13, the date “Vendredi 17 juin" [Friday 17 June fell in 1932] Scales was in Christchurch, New Zealand, by June 1932 as reported by Art in New Zealand, June 1932 (‘Art Notes’, vol. IV, no. 16, pg 291). She also exhibited at the New Zealand Academy of Fine Arts Autumn Exhibition, Wellington, which opened 2 June 1932. It is possible the artist intended to write Mercredi [Wednesday] which fell on 17 June in 1931. The lecture at Mr Kinzinger’s house on that day would most likely have taken place in St Tropez, France, where Scales was at that time.   

Used as illustration

‘Flora Scales: The Woman and Her Work’ by Barbi de Lange, Art New Zealand, issue 37, 1985, pg 49 (black and white)

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