The Black Robin or Chatham Island Robin (Petroica traversi) is an endangered bird from the Chatham Islands off the east coast of New Zealand. It is closely related to the New Zealand Robin (P. australis). It was first described by Walter Buller in 1872. The binomial commemorates the New Zealand botanist Henry H. Travers (1844–1928). The Black Robin is a sparrow-sized bird measuring 14–15 cm (5.5–6 in). Its plumage is almost entirely brownish-black, with a black bill and brownish-black yellow-soled feet.[1] Unlike its mainland counterparts, its flight capacity is somewhat reduced. Evolution in the absence of mammalian predators made it vulnerable to introduced species such as cats and rats, and it became extinct on the main island of the Chatham group before 1871, being restricted to Little Mangere Island thereafter.

The Black Robin or Chatham Island Robin (Petroica traversi) is an endangered bird from the Chatham Islands off the east coast of New Zealand. It is closely related to the New Zealand Robin (P. australis). It was first described by Walter Buller in 1872. The binomial commemorates the New Zealand botanist Henry H. Travers (1844–1928). The Black Robin is a sparrow-sized bird measuring 14–15 cm (5.5–6 in). Its plumage is almost entirely brownish-black, with a black bill and brownish-black yellow-soled feet.[1] Unlike its mainland counterparts, its flight capacity is somewhat reduced. Evolution in the absence of mammalian predators made it vulnerable to introduced species such as cats and rats, and it became extinct on the main island of the Chatham group before 1871, being restricted to Little Mangere Island thereafter.

The Black Robin or Chatham Island Robin (Petroica traversi) is an endangered bird from the Chatham Islands off the east coast of New Zealand. It is closely related to the New Zealand Robin (P. australis). It was first described by Walter Buller in 1872. The binomial commemorates the New Zealand botanist Henry H. Travers (1844–1928). The Black Robin is a sparrow-sized bird measuring 14–15 cm (5.5–6 in). Its plumage is almost entirely brownish-black, with a black bill and brownish-black yellow-soled feet.[1] Unlike its mainland counterparts, its flight capacity is somewhat reduced. Evolution in the absence of mammalian predators made it vulnerable to introduced species such as cats and rats, and it became extinct on the main island of the Chatham group before 1871, being restricted to Little Mangere Island thereafter.

From a young age, artist Rudolf Boelee has been hugely affected by film and this interest has influenced a large part of his work. His images seem like stills from 1940's "Film Noir" or "Nouvelle Vague" - "New Wave" from the 1960's, the grainy appearance of his works enhances this effect. Inspired by the vitality of the Hollywood B movies, originating in the United States, employing heavy shadows and patterns of darkness, in which the protagonist dies, meets defeat, or achieves meaningless victory in the end. The painted grid works for "I Want What She's Got!" are a continuation on similar themes explored in the multimedia "The Ambiguous Image" series of projects.

From a young age, artist Rudolf Boelee has been hugely affected by film and this interest has influenced a large part of his work. His images seem like stills from 1940's "Film Noir" or "Nouvelle Vague" - "New Wave" from the 1960's, the grainy appearance of his works enhances this effect. Inspired by the vitality of the Hollywood B movies, originating in the United States, employing heavy shadows and patterns of darkness, in which the protagonist dies, meets defeat, or achieves meaningless victory in the end. The painted grid works for "I Want What She's Got!" are a continuation on similar themes explored in the multimedia "The Ambiguous Image" series of projects.

The Romans may well have introduced fallow deer (Dama dama) to England from Turkey in about 150 AD. Nearly 1900 years later some of these fallow were taken from England to New Zealand. Fallow deer became established in New Zealand following 24 releases between 1860 and 1910.

Rudolf Boelee
Born 1940 in the Netherlands, Rudolf Boelee immigrated to New Zealand in 1963 and has been painting and exhibiting for the past 35 years. Boelee draws the inspiration for his works from various sources including science fiction, magazines, popular culture images and film. Boelee often employs imagery that, while on one level is seemingly prosaic, an alternative meaning or political vision is often suggested or more obviously stated. "Over the last twelve years I have tried to make work that speaks on a personal and universal level. Looking backward and forward at the same time. Investigating New Zealand's recent history in relation to the present."

Screenprinting has become his media of choice as it allows Boelee to work within the realms of constructivism, pop art and design. The geometry, scale and use of colour in his works, as seen in his "NZR Cups", "Crown Lynn Modernist Vases", "Crown Lynn Swans" and "Mr. GE Free" means that they can enrich any environment as individual pieces or in Warhol-like groups.

Rudolf Boelee
Born 1940 in the Netherlands, Rudolf Boelee immigrated to New Zealand in 1963 and has been painting and exhibiting for the past 35 years. Boelee draws the inspiration for his works from various sources including science fiction, magazines, popular culture images and film. Boelee often employs imagery that, while on one level is seemingly prosaic, an alternative meaning or political vision is often suggested or more obviously stated. "Over the last twelve years I have tried to make work that speaks on a personal and universal level. Looking backward and forward at the same time. Investigating New Zealand's recent history in relation to the present."

Screenprinting has become his media of choice as it allows Boelee to work within the realms of constructivism, pop art and design. The geometry, scale and use of colour in his works, as seen in his "NZR Cups", "Crown Lynn Modernist Vases", "Crown Lynn Swans" and "Mr. GE Free" means that they can enrich any environment as individual pieces or in Warhol-like groups.

Born in Tatong, Victoria, Australia, Savage first became involved in politics while working in that state. He emigrated to New Zealand in 1907. There he worked in a variety of jobs, as a miner, flax-cutter and storeman, before becoming involved in the union movement. Savage initially opposed the formation of the 1910 New Zealand Labour Party as he viewed the grouping as insufficiently socialistic. Instead he became the chairman of the New Zealand Federation of Labour, known as the "Red FedsIn the 1911 general election Savage unsuccessfully stood as the Socialist candidate for Auckland Central. During World War I he opposed conscription, arguing that the conscription of wealth should precede the conscription of men. After the war the voters of the Auckland West electorate put Savage in Parliament as a Labour member in the 1919 general election. He became one of eight Labour Members of Parliament, and in due course became the party leader following the death of Harry Holland in 1933. He helped engineer the Labour/Ratana alliance (formalised in 1936). First Labour Government of New Zealand Savage led the country into World War II, officially declaring war on Nazi Germany on 3 September 1939, just hours after Britain.[1] Unlike Australia, which felt obligated to declare war, as it too had not ratified the Statute of Westminster, New Zealand did so as a sign of allegiance to Britain, and in recognition of Britain's abandoning its former appeasement of the dictators, a policy that New Zealand had opposed. This led to Prime Minister Savage declaring (from his bed) two days later that:
With gratitude for the past and confidence in the future we range ourselves without fear beside Britain. Where she goes, we go; where she stands, we stand. We are only a small and young nation, but we march with a union of hearts and souls to a common destiny. Savage brought an almost religious fervour to his politics. This, and his death while in office, has made him become something of an iconic figure to the Left. The architect of the welfare state (see Social welfare in New Zealand), his picture reportedly hung in many Labour supporters' homes. Savage rejected rationalism during later life and returned to his Catholic roots. His state funeral included a Requiem Mass celebrated at the Basilica of the Sacred Heart, Hill St, Wellington before his body was taken amidst general and public mourning by train to Auckland where he was buried in a monumental tomb. While younger generations have less awareness of him, many older New Zealanders continue to revere him.

From a young age, artist Rudolf Boelee has been hugely affected by film and this interest has influenced a large part of his work. His images seem like stills from 1940's "Film Noir" or "Nouvelle Vague" - "New Wave" from the 1960's, the grainy appearance of his works enhances this effect. Inspired by the vitality of the Hollywood B movies, originating in the United States, employing heavy shadows and patterns of darkness, in which the protagonist dies, meets defeat, or achieves meaningless victory in the end. The painted grid works for "I Want What She's Got!" are a continuation on similar themes explored in the multimedia "The Ambiguous Image" series of projects.

From a young age, artist Rudolf Boelee has been hugely affected by film and this interest has influenced a large part of his work. His images seem like stills from 1940's "Film Noir" or "Nouvelle Vague" - "New Wave" from the 1960's, the grainy appearance of his works enhances this effect. Inspired by the vitality of the Hollywood B movies, originating in the United States, employing heavy shadows and patterns of darkness, in which the protagonist dies, meets defeat, or achieves meaningless victory in the end. The painted grid works for "I Want What She's Got!" are a continuation on similar themes explored in the multimedia "The Ambiguous Image" series of projects.