Loading Spinner

Evelyn Page Sold at Auction Prices

b. 1899 - d. 1988

Evelyn Margaret Page OBE (née Polson, 23 April 1899 – 28 May 1988) was a New Zealand artist. Her career covered seven decades, and her main areas of interest were landscapes, portraits, still lifes and nudes.

Early life: Page was born in Christchurch, New Zealand in 1899, the youngest of seven children of Mary Renshaw and John Polson. Her father was accountant and then manager of Suckling Brothers shoe company. Her parents encouraged her and her sisters to learn music and painting from an early age; in fact, Page could read both words and music, and was able to draw, before starting school.

Education: In 1906, Page started primary school at Sydenham School. She initially wanted to follow in her father's footsteps and learn book-keeping, and asked to be sent to Christchurch Technical College, however she didn't enjoy the experience. Instead, when she was 15, she enrolled at Canterbury College School of Art as a junior pupil. She quickly progressed from elementary to advanced classes, under her teachers Cecil Kelly, Leonard Booth, Archibald Nicoll and Richard Wallwork. She received a number of prizes while at the school, as well as first class honours in her examinations.

While at art school, Page began lifelong friendships with a number of literary and artistic local women, including writer Ngaio Marsh and fellow artist Viola Macmillan Brown.

Page was also taught by fellow Canterbury artist Margaret Stoddart.

Career: In 1922, Page was elected to the Canterbury Society of Arts, which enabled her to begin working as a professional artist, exhibiting and selling portraits and landscape works around New Zealand. In 1927, Page was a founding member of a group of Canterbury artists who became known simply as The Group. These were artists who were interested in breaking with the traditions of the art world, and wanted to start a modernist movement.

From 1930 to 1936, Page was a teacher at the Canterbury College School of Art. During this time she taught Bill Sutton, who went on to become a well-known artist. In 1933 she was a foundation member of the New Zealand Society of Artists.

Influences: A number of overseas trips influenced Page's work. In 1936 she travelled to Europe where she visited the Tate Gallery of portraits in London and was impressed by the French Post Impressionists. She started to use pure colour after this trip.

Some years later, Page began to admire the work of Kokoschka and in 1956-1957 she travelled to Salzburg, Austria, to attend a Kokoschka summer school.

Recognition: In 1983, Page was made a Fellow of the New Zealand Academy of Fine Arts, and was also the first artist to hold the Governor-General's Art Award.

In the 1987 New Year Honours, Page was appointed an Officer of the Order of the British Empire for services to art.[6]

Personal life: Page married pianist Frederick Page in 1938 in Governors Bay, near Christchurch, and they rented a country house there for the next seven years before moving to Wellington. They had two children, a son (Sebastian, born 1939) and a daughter (Anna, born 1942). Her husband died suddenly in 1983, and Page died in 1988 in Wellington.

Read Full Artist Biography

0 Lots

Sort By:

Categories

    Auction Date

    Seller

    Seller Location

    Price Range

    to
    • EVELYN PAGE (1899 - 1988) Lively Conversation at Luncheon - Edith Campion
      May. 19, 2020

      EVELYN PAGE (1899 - 1988) Lively Conversation at Luncheon - Edith Campion

      Est: $40,000 - $60,000

      EVELYN PAGE (1899 - 1988) Lively Conversation at Luncheon - Edith Campion, Oil on canvas board, Signed, inscribed Lively Conversation at Luncheon & dated January 1983, 75 x 59.5cm & pencil sketch

      International Art Centre
    • EVELYN PAGE, (New Zealand 1899 - 1988), Seated Nude
      May. 01, 2020

      EVELYN PAGE, (New Zealand 1899 - 1988), Seated Nude

      Est: $6,000 - $9,000

      EVELYN PAGE, (New Zealand 1899 - 1988), Seated Nude, Watercolour, Signed

      International Art Centre
    • EVELYN PAGE - Seated Nude
      Oct. 23, 2019

      EVELYN PAGE - Seated Nude

      Est: $6,000 - $9,000

      Watercolour - Signed

      International Art Centre
    • EVELYN PAGE - Portrait of Frances
      Oct. 23, 2019

      EVELYN PAGE - Portrait of Frances

      Est: $15,000 - $20,000

      Oil on canvas - Signed Over the course of her career, Evelyn Page painted many portraits – tender, inquisitive portrayals of family members, friends and contemporaries. Many of these works are noted for their directness and freedom of painted expression. In Portrait of Frances, Page observes her sitter gently, in an undemanding way. The pose does not feel contrived, nor is Frances being compelled to look out or engage with the viewer. Her face is presented from a slightly higher angle than she is sitting, and in profile. The question of whether she’s deep in thought, or simply gazing off into the distance, creates some emotional distance from the viewer as we attempt to connect with her. Page has arranged an almost abstract interplay of form and colour around Frances’ face and this presents as a direct, aura-like reflection of her. In this portrait Page captures the spirit and energy of her subject.

      International Art Centre
    • EVELYN PAGE - The Auckland Museum
      Oct. 23, 2019

      EVELYN PAGE - The Auckland Museum

      Est: $15,000 - $20,000

      Oil on canvas board - Signed Auckland Museum is a work composed of fresh air and light. Typical of Page’s style, any desire to capture a detailed view of the city is less a priority than the expression of atmosphere. In the case of this work, this means a classical cloudy sky in motion, the blue, crystal-clear water of Auckland Harbour, and the feeling of freshness that these elements inspire. The artist has enveloped Auckland in a convincing flow of natural movement and connection. When considering the neoclassical structure which the painting is named after, the sense of serene civilisation generated by this scene is even more remarkable. Although the war memorial building functions as something of a focal point to anchor the eye, it by no means dominates the scene. Situated in the Domain, it captures the light and echoes elements of form and colour from the surrounding hills and landscape.

      International Art Centre
    • EVELYN PAGE - Still Life with Fruit and Wine
      Oct. 23, 2019

      EVELYN PAGE - Still Life with Fruit and Wine

      Est: $20,000 - $30,000

      Oil on canvas board - Signed

      International Art Centre
    • EVELYN PAGE - Still Life and Fruit
      Oct. 23, 2019

      EVELYN PAGE - Still Life and Fruit

      Est: $35,000 - $45,000

      Oil on canvas board - Signed In the publication accompanying the Seven Decades exhibition at Robert McDougall Art Gallery, Janet Paul and Neil Roberts describe the visual rhythm of Evelyn Page’s work – Her real subject was the complex vitality in the movement and colour of paint itself. These two works Still Life and Fruit and Still Life with Fruit and Wine from the Barber Collection are superb examples of this complex vitality. Both have an even-toned richness – the result of smooth, fluid brushstrokes breaking down the boundaries between surface and vessel and fruit. In these paintings, compositional freedom contrasts with precision of form. Look closely and consider the harmonious effect of both works: although the arrangements appear fluid and without boundaries, each object is jewel-like and definite, and the integrity of each glass or piece of fruit is intact. These are orderly, quiet paintings of interior arrangement. The colours are not particularly bright or vibrant. And yet, there is a thrum beneath the surface which you can’t help but appreciate; a delicate sense of life and serenity. Light is refracted through the coloured glass and off the smoothly shining surfaces of fruit, blurring the outer limits of these domestic objects. Going all the way back to when Page attended the Canterbury College School of Art as a teenager, she showed that she was not inclined to follow trends in contemporary painting. Even when living in Britain and travelling around Europe (and at a time when many of her contemporaries’ work was being directly influenced by the French Impressionists), she consciously took her cues from more traditional, academic schools of thinking, and was inspired by artists such as John Constable. As a result of this adherence to her classical training, Page developed a succinct and recognisable painted language that was uniquely her own. Her pursuit of pure colour and form was not inspired by the avantgarde, but was something which she arrived at on her own terms. Looking at Still Life and Fruit and Still Life with Fruit and Wine, it is more helpful to draw links between their style and developments in Page’s own career and life, rather than with any broader developments in New Zealand art at the time. Consider, for example, the fact that she was a lover and aficionado of music, and how this translates to a strong sense of rhythm in her work. Though undated, these works would most likely have been painted in the later stages of Page’s career. From the 1960s, a struggle with arthritis had forced her to apply a more domestic, introspective lens to her work, and she started to regularly paint still lifes. Right through to the 1980s, she worked with great fervour and dedication to produce fine compositions such as these.

      International Art Centre
    • EVELYN PAGE - St Peter’s Church and Wellington Harbour
      Oct. 23, 2019

      EVELYN PAGE - St Peter’s Church and Wellington Harbour

      Est: $25,000 - $35,000

      Oil on canvas board - From a vantage point on The Terrace, overlooking Ghuznee Street and all the way across to Oriental Bay, this work portrays Wellington’s clear, strong colours which, in the artist’s own words, were waiting to be put on canvas. The spire of Wellington’s St Peter’s Church is outlined against surrounding buildings, and rooftops populate the view. Page also painted a similar view of St Peter’s Church in 1952, which was exhibited at the New Zealand Academy of Fine Arts retrospective in 1970. This scene is busy without being frenetic; charged with the promise of life. Because Page has prioritised breadth of view, the perspective is sweeping and the presence of individuals is not captured. Nevertheless, it captures the energy of civilisation, and the presence of Wellingtonians is suggested from within the walls of buildings; in the intersections of streets. When Frederick Page was appointed to establish the music department at Victoria University of Wellington in 1945, Evelyn and the family followed him north. After struggling to find a home in the city, they eventually rented in Pukerua Bay. Evelyn used to drive into the city to visit Frederick and to paint, travelling down from the coast with the observational curiosity of a visual anthropologist. As she preferred to paint directly from real life, Page needed to devise a way of painting in the middle of an inner-city street. She obtained permission from the Public Services Commission (to avoid any trouble from parking wardens), and set up a studio in her car. From this compact new workspace, Page cemented a new stage in her career, completing works such as St Peter’s Church and Wellington Harbour, and distancing herself from the label of landscape painter. She no longer saw the appeal in painting unpopulated, ‘unloved’ landscapes, and instead preferred to capture the vibrancy and bustle of human existence. Note: Evelyn Page painted this scene twice. An almost identical version is held in the collection of Victoria University in Wellington. That work entitled St Peter’s Church and Wellington is illustrated p. 33, plate 12, Evelyn Page, Seven Decades, Janet Paul and Neil Roberts, Robert McDougall Art Gallery, Bridget Williams Books, 1986.

      International Art Centre
    • Evelyn Page
      Jul. 26, 2012

      Evelyn Page

      Est: -

      Evelyn Page Study for Girl in a Coffee Bar

      International Art Centre
    • Evelyn Page
      Jul. 26, 2012

      Evelyn Page

      Est: -

      Evelyn Page Study for Nude Sewing

      International Art Centre
    • Nude in a Doorway Evelyn Page
      Jul. 14, 2011

      Nude in a Doorway Evelyn Page

      Est: -

      Nude in a Doorway Evelyn Page

      International Art Centre
    Lots Per Page: