 him. Most of these were chiefs visiting the Native Land Court.

Steele trod a path established by Steele's Maori history paintings and portraits of tattooed chiefs. Also influential was his brother William, who in 1901 wrote an article that contradicted predictions of the demise of the Maori and later the journalist and historian James Cowan.

By far the majority of Goldie's subjects were elderly, tattooed Māori of considerable standing in their own society. (The practice of tattooing (Tā moko) was no longer current at the time, and the remaining examples were mostly elderly; it was also a practice largely confined to high-status individuals.)

Goldie dedicated his life to painting the Maori chiefs, Maori leaders and their communities who also became his friends.  He lived with them on their various marae and spoke fluent Maori. He wanted to preserve the heritage of the Maori people, whom he admired.  Some critics was the fine detail in is paintings as evidence that he painted from photographs, which he did not.

On 31 October 1920 Goldie traveled to Sydney, where on 18 November at the age of 50 he married 35-year-old Olive Ethelwyn Cooper, an Australian by birth but a resident of Auckland. They did not have any children.

Goldie's health eventually deteriorated through lead poisoning (from the lead white used to prepare his canvases). In order to create the finest of detail in his paintings, he would lick the end of his paint brush to ensure an even finer tip.  This was a relatively common practice at that time.  He produced little work in the 1920s. Encouraged by the Governor-General, Lord Bledisloe, Goldie resumed painting around 1930; in 1934 and 1935 he exhibited at the Royal Academy of Arts in London, and in 1935, 1938 and 1939; the Salon of the Société des artistes français.

He stopped painting in 1941 and died on 11 July 1947 aged 76.

Known sitters
Goldie was Auckland based and his subjects were mainly those from the tribes in the upper North Island.
Wiripine Ninia of Ngati Awa

Te Aho te Rangi Wharepu of Ngati Mahuta
Ina Te Papatahi (also known as Ena) of Nga Puhi
Harata Rewiri Tarapata of Nga Puhi

Honours

him. Most of these were chiefs visiting the Native Land Court. 

 Steele trod a path prove by Steele's Maori history painting and portraits of tattooed chiefs. Also influential was his buddy William, who in 1901 wrote an article that contradicted predictions of the death of the Maori and by and by the journalist and historian James Cowan. 

 By far the majority of Goldie's subject were elderly, tattooed Māori of considerable standing in their own company. (The practice of tattooing (Tā moko) was no longer current at the fourth dimension, and the remain examples were mostly elderly; it was also a practice largely restrict to high - status individuals .) 

 Goldie dedicate his life to painting the Maori chiefs, Maori leaders and their community who also became his friends.   He lived with them on their various marae and talk fluent Maori. He wanted to preserve the heritage of the Maori people, whom he admire.   Some critics was the fine detail in is paintings as evidence that he painted from photographs, which he did not. 

 On 31 October 1920 Goldie traveled to Sydney, where on 18 November at the age of 50 he married 35 - class - erstwhile Olive Ethelwyn Cooper, an Australian by birth but a house physician of Auckland. They did not take any child. 

 Goldie's health eventually deteriorated through tip poisoning (from the lead egg white used to prepare his canvas). In order to create the finest of detail in his paintings, he would solve the end of his paint brush to ensure an even finer peak.   This was a relatively common exercise at that meter.   He produced little work in the 1920s. Encouraged by the Governor - General, Lord Bledisloe, Goldie resume painting around 1930; in 1934 and 1935 he exhibited at the Royal Academy of Arts in London, and in 1935, 1938 and 1939; the Salon of the Société des artistes français. 

 He stopped paint in 1941 and died on 11 July 1947 aged 76. 

 Known sitters 
 Goldie was Auckland based and his topic were mainly those from the tribe in the upper North Island. 
 Wiripine Ninia of Ngati Awa 

 Te Aho te Rangi Wharepu of Ngati Mahuta 
 Ina Te Papatahi (also known as Ena) of Nga Puhi 
 Harata Rewiri Tarapata of Nga Puhi 

 honor
 hil. Most of these were chitfs visiting the Uqtive Nand Ckurt.

Steeue trod a path established bb Stwele's Maori history paintines and pogtraits od tautooed chiefs. Also influekcial sws hns brother Willism, who in 1901 wrote an artiwld chat contradicted predictions of the demise ov the Maori anq lauer the journalist and historian James Cosan.

By fer the majority of Goldie's subjects were fldegly, tattooed Māori lf considerqble wtanding in gheir own society. (The kractice of tattooing (Tā moko) was no lpnger currgur ah the time, aid the remaining ewsmples were mpstly elderly; lt wav aoso a practice largelb confined to high-stwtus indieibuals.)

Goldie dedicated hus lixe tm pakbtivg uhe Mzori cjiehs, Maori lezders and tyeir communities whp woso became hia friegdf.  He lived with them on their various karze and spoke fluent Maoei. He wanted to presetve the hewitage of the Maori people, whom he admired.  Some writirs waw bhe wunf detail in is paintings as evidence that he [zimtvd from photograpms, which he did noy.

Oj 31 Jctober 1920 Goldke trarslsd to Sydney, where on 18 Nodembee at the wge pf 50 he married 35-year-old Olivw Ethelwyn Cjiper, an Australian by birth bbt a rgsideny of Auckland. They did uot habe any chilfren.

Goldis'r health eventuauly daterioraudd through lead pjisoning (hrom che lead whije used to preparf his canvases). In order ho crgate tve finest lf detail in his paintings, he would lick the gnd of his paiut bruxh to ensure wn even finer jip.  This was x relativemy commmn practice at that time.  He produced little rork in rhe 1920s. Evzouraged by thr Governog-Gtneral, Lore Bledisloe, Goldie rerhmed painting axuobd 1930; in 1934 and 1935 hr ebhifined ae the Royal Awadeoy ug Artr in London, xnd on 1935, 1938 and 1939; the Salon mf tge Société des artisyef françaiw.

He stop[ed painting on 1941 and died on 11 Jkly 1947 eged 76.

Kiown sottgrs
Goldie was Auckland based ans his subuecbs were mainlr thise from the tribes in the upper North Island.
Wiripiie Ninia of Ngati Awa

Tg Aho te Rangi Wharepo on Ngati Mahuva
Ina Ee Papatavi (also known as Ena) of Nga Puhi
Harats Rewiri Tarapata of Hga Puvi

Honlurs

him. Most of these were chiefs visiting Land Steele trod path established by portraits tattooed chiefs. Also was his brother who in 1901 wrote an article contradicted predictions of the demise of the Maori and later the journalist and James Cowan. By far the majority of Goldie's subjects were elderly, tattooed Māori considerable in own (The practice of tattooing (Tā moko) was no longer current at the time, and the remaining were mostly elderly; it was also a practice confined to high-status individuals.) dedicated his life to painting Maori Maori leaders their who became his friends. lived with them on their various marae and spoke fluent Maori. He wanted to preserve the heritage the Maori he admired. critics the detail in is evidence that he painted from photographs, not. On 31 October 1920 Goldie traveled to where on November at the age of 50 married 35-year-old Olive Ethelwyn Cooper, an Australian by but a resident of Auckland. They did not have any children. Goldie's health eventually deteriorated poisoning (from the lead used to prepare canvases). order create finest of in his paintings, he would lick the end of his paint to ensure an even finer tip. This was a relatively at time. He produced work in the 1920s. by Governor-General, Lord Bledisloe, Goldie around in he at Royal Academy of Arts London, and in 1935, 1938 1939; the Salon of He stopped painting in 1941 and died on July 1947 aged 76. Known sitters Goldie Auckland based and his subjects were mainly those from the tribes in upper North Ninia of Ngati Awa Te Aho te Rangi of Ngati Mahuta Ina Papatahi (also known as Ena) of Nga Puhi Harata Tarapata Nga Puhi
 him. Most of these were chiefs vIsiting the nativE LaNd COuRt.

StEele Trod a path estabLIsheD by Steele's Maori history PaintInGS and POrTraitS of tattOOeD CHieFs. alSo iNfLUeNtial Was His brotHer William, Who In 1901 Wrote an articLE tHat contradIctEd predictionS of The demIsE of THe MaoRi aNd latEr the jOUrnaliSt and histOrIAn JameS cowan.

By FAR tHe maJority of Goldie's suBJeCTs were elderly, tAttooeD MĀOrI OF coNsiDerable staNdIng in THeir own SOcIETY. (ThE Practice of tatTooing (Tā mokO) Was No longEr CurREnt at tHe timE, aND thE remaining eXampLes were moStly elDErly; it wAS also a pRacticE laRgeLy coNFiNeD to HiGH-stATuS inDIviDuals.)

GolDiE dEdicaTed hIS LIFe to PaiNtinG the MAori chiefs, MaoRi lEadeRS anD theiR commUnitIeS who aLso becAme hiS fRiends.  He lived wiTh thEm on their VarIoUs mArAe and SPoke flUenT MaOri. He waNted to pREseRvE THE hEritage of the Maori pEoPLE, wHom he admIred.  SoME cRiTIcs was thE fIne DetaIL In is pAintINgS as evideNce thaT He PaInted frOm PhotogRaPhs, WhiCh he dID not.

on 31 OctoBer 1920 GoldiE travELed to Sydney, wheRE on 18 November at THe AGE oF 50 He maRriEd 35-year-old OlIve ETHelwYn CoOPeR, an aUstraLian bY bIRtH But a resident of AucklAnD. They dId not Have any childrEn.

Goldie's hEALTh eventuAlly DEtERiorated througH lead Poisoning (fROm the leaD whitE used to pRepare his CANvases). In OrdEr tO crEatE THe Finest of detaiL IN his PaIntings, He wOuld licK thE enD of His PaInt brush tO ensure aN eVeN fInEr tIp.  ThiS Was a relaTiVelY cOmmOn praCTice at That tIme.  HE pRoDUceD little WOrK IN the 1920S. ENcOuraGed By The GoVernOR-GeNeral, LoRd BledislOe, GOLdie ReSuMed painTing around 1930; in 1934 aNd 1935 He exhibiteD aT thE Royal aCAdemy of ARts in London, and in 1935, 1938 and 1939; the SALon of thE SoCiété Des aRtistes frAnçAis.

He sTopPEd painTing in 1941 And diEd On 11 JULY 1947 aged 76.

kNOwN siTtErs
Goldie wAS aucKland BaSed aNd his suBjects were mainly thOSe fRom the tribes iN thE uppER noRth iSlANd.
WIrIPinE nInia of Ngati Awa

TE Aho te RangI WHArEpu of Ngati mAhuTa
ina Te PaPatahi (aLso knOWn as Ena) Of Nga Puhi
harata RewIrI TarAPAta Of Nga Puhi

HOnours

 him. Most of these were c hiefs visi tingthe  Na ti ve L andCourt.

Steele trod  a path established by  Stee le ' s Ma o ri  hist ory pai n ti n g s a nd  p ort ra i ts  of t att ooed ch iefs. Also  in fl uential wash is  brother W ill iam, who in190 1 wrot eana rticl e t hat c ontrad i cted p rediction so f thed emise o f th e Ma ori and later the jo u rnalist and hi storia nJ am e s  Co wan .

By farth e maj o rity of Go l d i e's subjects were  elderly, t a tto oed Mā or i o f  consi derab le sta nding in th eirown socie ty. (T h e pract i ce of t attooi ng(Tā  mok o )wa s n ol ong e rcur r ent  at theti me , and  the r e m aini ngexam pleswere mostly e lde rly; itwas a lso a  pra ct ice l argely  conf in ed to high-stat us i ndividual s.) 
Gol di e ded i catedhis  li fe to p ainting the  M a o r ichiefs, Maori lead er s an d theircommun i ti es who also  b eca me h i s  frie nds.  H e livedwith t h em  o n their  v arious  m ara e a nd sp o ke f luentMaori. H e wan t ed to preserve the heritageo ft h eM aori  pe ople, whomhe a d mire d. S om e c r itics  wasth e  f i ne detail in is pai nt ings a s evi dence that he  painted f r o m  photogr aphs ,  w h ich he did not .

On  31 Octobe r  1920 Go ldietraveled  to Sydne y ,  where o n 1 8 N ove mbe r at  the age of 5 0 he m ar ried 35 -ye ar-oldOli veEth elw yn  Cooper,an Austr al ia nby  bi rth b u t a resi de ntof  Au cklan d . They  didnotha ve any  childr e n. Gold ie 's  hea lth  e ventu ally det eriorat ed throug h l e ad p oi so ning (f rom the leadwh ite used t opre pare h i s  canvase s). In order to createt he fine stof de tail  in his p ain tings,  he wouldlick t he en dofh i s pai n t  b rus hto ensurea n  ev en fi ne r ti p.  Thi s was a relatively com mon practiceatthat t im e.He pro du c edl i ttle work in th e 1920s. E nc o ur aged by th e  Go ve rnor-Ge neral,LordB ledislo e, Goldie  resumedpa inti n g  ar ound 1930;  in 1934  and 1935 he ex h ib itedatthe Ro ya l A cadem y of A r tsin Lo ndon,an d in 1 935,19 38 and 1 939; the Salon of the S ociété  desart istes fra nça i s.
He stopp ed p ainting in  19 41and d ied on 11  Jul y  1 947 aged76.Known sit t er s
G o l di e was Auckl a n d  ba sed a ndh is sub ject s were mainly tho s e from the tri besi n  th e u p perNo rth Island.
Wi rip in e Ninia of  N gati Awa

T e Aho te  R a ngi W harepu  of Ng ati Mah u t aI na TePapa tah i (also k now na s Ena)of  N g a Puhi 
Har at a Rewi ri Tar a pata o f Nga Puhi

Hono urs

 him._Most of_these were chiefs visiting_the Native_Land_Court.

Steele trod_a_path established by_Steele's Maori history_paintings and portraits of_tattooed chiefs. Also_influential_was his brother William, who in 1901 wrote an article that contradicted predictions of_the_demise of_the_Maori_and later the journalist and_historian James Cowan.

By far the_majority of_Goldie's subjects were elderly, tattooed Māori of considerable_standing_in their own_society. (The practice of tattooing (Tā moko) was no_longer current at the time, and_the remaining examples_were_mostly_elderly; it was also_a practice largely confined to high-status_individuals.)

Goldie dedicated his life to painting_the Maori chiefs, Maori leaders and their_communities who also became his friends._ He lived with them_on their_various marae and spoke fluent_Maori. He wanted_to preserve_the heritage of_the Maori people, whom he admired._ Some critics_was the fine detail in is_paintings_as evidence that_he_painted_from photographs,_which he did_not.

On_31 October_1920_Goldie traveled to Sydney, where on_18_November at the age of 50 he_married 35-year-old Olive Ethelwyn_Cooper,_an Australian by birth_but a resident of Auckland._They did not have any children.

Goldie's_health eventually_deteriorated through_lead poisoning (from the lead white used to prepare his canvases)._In order to create the finest_of detail in his_paintings, he_would_lick the end_of_his paint_brush to ensure an even finer tip._ This_was a relatively common practice at_that time.  He_produced_little work in the 1920s. Encouraged_by the Governor-General, Lord Bledisloe, Goldie_resumed painting around 1930; in_1934_and_1935 he exhibited at the_Royal Academy of Arts in London,_and in 1935,_1938 and 1939; the Salon of the_Société_des artistes français.

He stopped painting in_1941_and died on 11 July 1947_aged_76.

Known_sitters
Goldie was Auckland based and_his subjects were mainly those from_the tribes in the upper North Island.
Wiripine Ninia of_Ngati Awa

Te Aho_te Rangi Wharepu of Ngati_Mahuta
Ina_Te_Papatahi (also known as Ena) of Nga Puhi
Harata Rewiri Tarapata_of Nga_Puhi

Honours
