Stella Annie Hobson

(1878 - 1949)
     Stella Annie Hobson was born in 1878 in Yarram, Victoria. She was the daughter of Benjamin Hobson and Anna Maria Devonshire.
     Stella Annie Hobson married William Cockbill in 1906 in Victoria.
     Stella died in 1949 in Moonee Ponds, Victoria.

Selina Hockaday

(circa 1858 - September 1929)
     Selina Hockaday was born circa 1858 in Plymouth, Devon.
     Selina Hockaday married Richard Ruby, son of Thomas Ruby and Sarah Hunt, on 8 September 1889 in St Paul, Plymouth, East Stonehouse, Devon. Richard Ruby 31, bachelor, sailmaker, of H M S Revenge?, son o Thomas Ruby, seaman, to, Selina Hockday, 31, spinster, of 43 Creswell? St, Stonhouse, daughter of William Hockady, civil service pensioner.
     Selina Hockaday and Richard Ruby appeared on the 1901 census in 35 Belgrave Rd, Plymouth, Devon. Richard Ruby, aged 42, born Plymouth, general labourer with his wife Selina aged 42 and father Thomas aged 74, on own means, and visitors William Hockaday 74. Charles Hockaday aged 26 general labourer adn Edith Hockaday aged 28, dressmaker; all born at Plymouth.
     Selina's death was registered in the quarter ending in September 1929 in Devonport, Devon.

Sarah Ann Hodge

(circa 1845 - 1928?)
     Sarah Ann Hodge was born circa 1845 in Kingston upon Hull, Yorkshire.
     The marriage of Sarah Ann Hodge and George Stancer, son of John Stancer and Mary Withernwick, was registered in All Saints, Sculcoates, Yorkshire, in the September 1871 quarter.
     Sarah Ann Hodge and George Stancer appeared on the 1881 census in 38 Lowgate, Kingston upon Hull, Holy Trinity & St Mary, Yorkshire. George Stancer 40, tobacconist with his wife Sarah Ann aged 35, both born at Hull.
     Sarah Ann Hodge and George Stancer appeared on the 1901 census in 38 Lowgate, Kingston upon Hull. George Stancer, 61, tobacconnist & gunswmith with his wife Sarah Ann, 56, both born Hull.
     Sarah Ann Hodge and George Stancer appeared on the 1911 census in 33 Peel St, Spring Ba..., Kingston upon Hull, Yorkshire. George Stancer, 72, retired tobacconist, born City of hull, with his wife Sarah Ann Stancer, 67, married 40? years, no children.
     Sarah died in 1928? In West Sculcoates SD, Yorkshire.

Edna E Hodges

(April 1918 - )
     Edna E Hodges was born in April 1918 in New South Wales.
     Edna E Hodges married Neville Francis Cox, son of Elijah Cocksedge and Harriett Ada Australia Guy, in 1935 in West Maitland, New South Wales.

Marjorie Catherine Hodges

(circa 1911 - )
     Marjorie Catherine Hodges was born circa 1911.
     Marjorie Catherine Hodges married William George Percival Dempster, son of George Percy Dempster and Harriet Carter, on 7 October 1931 in the residence of William Hodges, Largs Bay, South Australia.

Frances Mary Hodgkins

(28 April 1869 - 13 May 1947)
     Frances Mary Hodgkins was born on 28 April 1869 in 32 Royal Terrace, Dunedin, New Zealand. They later moved to 'Northcote' in Cumberland S at or near the corner of Howe St until 1875, returning to Royal Terrace in 1878 at 'Claverton House' at number 30. She was the daughter of William Mathew Hodgkins and Rachel Owen Parker. Frances Mary Hodgkins was christened on 9 June 1869 in St Paul's, Dunedin.
     McCormick wrote: Frances Mary Hodgkins was born at Dunedin, New Zealand, on 28 April 1869, the third child and second daughter of William Mathew Hodgkins and his Australian wife, Rachel Owen Parker. At that time Dunedin, where Frances Hodgkins lived until she was almost 32, was the most prosperous and populous city in New Zealand and supported a vigorous semi-professional artistic life. The country's first public art school was founded there in 1870. William Mathew Hodgkins was at the centre of Dunedin's artistic activities. He was one of the founders of the Otago Society of Artists (later the Otago Art Society) in 1875 and in 1884 initiated the development of the Dunedin Public Art Gallery. By profession a lawyer, he was by nature and inclination an artist: a lifelong practitioner of watercolour painting in the tradition of Turner. Both Frances and her elder sister, Isabel, inherited their father's talents and grew up in a household where a dedicated, almost professional attitude to painting and exhibiting was a normal part of family life. To this environment was added the wider stimulus of colonial life, which altered the patterns of Victorian society and opened up for middle-class women career opportunities in the arts as teachers and practitioners.
     Unlike their four brothers, Frances and Isabel Hodgkins were educated at private schools, finishing at Braemar House which offered a wide range of academic subjects as well as music and painting. Frances's talent was initially overshadowed by the accomplishments of her sister, who joined their father on sketching expeditions, received tuition from him and became a successful painter of landscape and still life, earning enough in 1888 to finance a long holiday in Australia. Demonstrating from the first the independence that is so marked a feature of her life and work, Frances Hodgkins painted only a handful of landscapes in New Zealand, and these are notable for their rejection of the poetic Turneresque atmosphere known at first hand by her father and accepted unquestioningly by her sister. Her earliest known works, dating from about 1886, are charcoal sketches of relations, and the human figure remained the focus of her interest for many years. In 1890 she began exhibiting at art societies in Christchurch and Dunedin. 'Girl feeding poultry' (1890) and 'Portrait of Ethel McLaren' (1893) are typical titles of this early period. Her taste formed by Victorian pictorial conventions with their emphasis on anecdote and sentiment, Hodgkins was recording the people and activities in the semi-rural setting of Cranmore Lodge, the family home from 1889 to 1897.
The decade between 1890 and 1901 when Frances Hodgkins left Dunedin to study in Europe was one of increasing commitment and skill. Her interest in the human figure and face was refined and reinforced by lessons from the Italian artist G. P. Nerli, who began teaching soon after his arrival in Dunedin in 1893. Hodgkins had been aware of Nerli's work from the New Zealand and South Seas Exhibition held in Dunedin in 1889--90. Nerli exemplified an itinerant kind of professionalism and imparted a fluid impressionist watercolour technique not too dissimilar to that practised by Frances's father. The benefit of Nerli's tuition can be seen in 'The girl with flaxen hair' (1893), a sensitive study of young womanhood, which is probably the best-known work of this period. Nerli's influence may also have contributed to Hodgkins' interest in the Maori, which resulted in a large number of paintings of Maori women, especially during 1899 and 1900. Many of these pictures succumb to the sentimentality which often marked Victorian pictorial interest in exotic subject matter; but some, such as 'Head of a Maori girl' ( c. 1900) and 'Maori woman's head' (1913), are dignified images.
In 1895 Frances Hodgkins won the New Zealand Academy of Fine Arts' prize for painting from life for 'Head of an old woman', a Rembrandtesque work that owes something to the Dutch artist Petrus van der Velden who had arrived in New Zealand in 1890. That year also saw the arrival of the Scottish impressionist James Nairn, whose work Hodgkins knew.
These outside influences coincided with the marriage of Isabel Hodgkins in 1893 and her departure from Dunedin to live in Wellington with her lawyer husband, W H Field. As Isabel Field she continued to paint, but her responsibilities as wife and mother left no time for serious study and her work did not develop. The example of her sister, like that of her father, is of abiding importance in the career of Frances Hodgkins.
The Hodgkins family fortunes had declined in the 1880s, and during the 1890s Frances prepared to earn her own living. In 1895--96 she attended the Dunedin School of Art and Design, partly to impose upon herself the discipline of regular study but mainly to qualify as a teacher. She gained first-class passes in both the elementary and advanced stages of the British-based South Kensington examinations, and in 1896 started private art classes. A witty, energetic, outspoken woman, Hodgkins was an excellent teacher.
Her father's death early in 1898 and a further reduction in the family circumstances strengthened her ambition. Throughout 1899 and 1900, with the encouragement of her mother with whom she was living, she worked to raise money to go to England to study. As well as preparing for exhibitions and teaching, she did black-and-white illustrations for newspapers and magazines. When she left New Zealand in February 1901 she was following the example of many of her contemporaries, notably Dorothy Richmond, A. H. O'Keeffe, Margaret Stoddart and Grace Joel
.
     Frances was educated at Fern Lea School, Port Chalmers. She attended a Ladies School in George St, Dunedin, then boarded at Fern Lea Port Chalmers, kept by Mrs Hooper, then to Braemar House school with her sister. She drew a charcoal head of Lydia Bowker about 1886. Mrs Hooper was married to a relative of our Hooper family.      
Frances Mary Hodgkins moved to London, in 1901 per the "She departed overseas in February 1901 via Sydney where she was entertained by her mother's cousins Lydia Rolin and Betha Rich both married to successful lawyers and moving in the city's fashionable circles. Frances gently detached herself from these hospitable but worldly young matrons to go her own way". Frances was a painter, in Europe. Apart from tuition from her father and Girolamo Nerli, she received little formal art training. She went to England in 1901 and with the exception of one subsequent visit to New Zealand, she and lived and painted in England, Holland, Italy, France and Morocco. For a time, she taught painting at Colarossi's Academy in Paris, and between 1910-12, in her own academy there. In 1929 she became a member of the Seven and Five Group ... became a leading spirit in British contemporary art.
     On her arrival in England Frances Hodgkins enrolled at the London polytechnic where her drawing teacher was Borough Johnson. She admired and benefited from his pencil work, but after two months could look critically at his painting and find it 'very correct & academical'. This perhaps typically colonial mixture of humility and confidence enabled her throughout her life to adapt new ideas to her own purposes; it was an attitude already exemplified in her response to Nerli. In July 1901 she joined Dorothy Richmond, daughter of the New Zealand painter J. C. Richmond, at a summer sketching class in Normandy run by Norman Garstin, one of the exhibitors at the 1889-90 New Zealand and South Seas Exhibition. He immediately acknowledged her as a fellow artist by refusing to accept fees, and welcomed her as a friend on later sketching excursions in France, Belgium and the Netherlands in 1902 and 1903. He was Hodgkins' first contact with the artists' colonies in Cornwall at Newlyn and St Ives. Frances Hodgkins formed a close friendship with Dorothy Richmond and the two women travelled and painted together through the autumn and winter in the south of France and northern Italy, exhibiting their work in October 1902 at a Bayswater gallery run by the New Zealander John Baillie. Hodgkins was also invited by another woman artist to share an exhibition at the Doré Gallery. Dorothy Richmond was the first of many beloved friends whose faith in her talent, backed up by financial and practical help, sustained Frances Hodgkins.
     Hodgkins spent the winter of 1902 in Morocco, and 'Fatima', a large watercolour, was hung 'on the Line' at the Royal Academy of Arts in 1903 - the first time a New Zealander had achieved this distinction. Although Hodgkins was aware of the conservatism of the Royal Academy, its prestige remained and she was delighted at her success. She was not accepted, however, by the impressionist-oriented New English Art Club which included painters she admired such as Stanhope Forbes and Philip Wilson Steer.
     Frances Hodgkins and Dorothy Richmond returned to New Zealand at the end of 1903. Throughout her three-year absence Hodgkins had regularly sent work for exhibition in New Zealand and sales had supplemented her savings. She had sought out in Europe the acceptably picturesque themes: market places, street scenes and local people. By the end of her stay the illustrative element was taking second place to concentration on colour and light. She brought work back to exhibit and left some behind with an agent in London. In her absence her work was again accepted by the Royal Academy in 1904 and 1905.
     In 1904 Hodgkins established a teaching studio in Bowen Street, Wellington, where she had gone to live with her mother, and tried to settle down to the career her European studies had been intended for. Sometime that year she agreed to marry T. W. B. Wilby, an English writer whom she had met on the journey out from England. Early in 1905 the engagement was broken off and in June Frances Hodgkins was painting with Dorothy Richmond in Rotorua, returning to her earlier interest in the Maori. A few sentences in letters to her mother indicate that she had suffered during her relationship with Wilby, but nothing more is known about it. Hodgkins had many male friends thereafter but this was the only time she seriously considered marriage. She returned to England by herself in February 1906 and by April was in Venice.
     For the next seven years Hodgkins lived and worked in Europe, with short stays in Britain in 1907 and 1908. In 1907 she held her first solo exhibition in London at Paterson's Gallery. She resumed her friendship with Norman Garstin and his circle, which included the artist Moffat Lindner and several single women with a serious interest in painting who took the place of Dorothy Richmond in her life.
In 1907 she held a summer sketching class in Dordrecht and spent over a year at various sketching grounds in the Netherlands. In 1908 she shared with the Australian artist Thea Proctor first prize in the Australian section of women's art at the Franco-British Exhibition. A crucial decision took her to Paris at the end of 1908, and the city became her base for the next four years. Although she disliked the turmoil of big cities she was challenged by the intellectual life of Paris. She visited the galleries where contemporary painters such as Picasso exhibited, and kept an open mind about the more advanced ideas encountered. Impressionism and post-impressionism were the immediate influences on her own work.
Until this time all her work had been in watercolour, but in 1908--9 she became for a while a student of oil-painting in the Parisian studio of Pierre Marcel-Béronneau. She continued to work principally in watercolour, however, showing at the Salon in Paris in 1909 and in 1910 with the Société internationale d'aquarellistes. In 1910 she held watercolour classes at the Académie Colarossi - the first woman to be appointed to the staff of this well-established school. The following year she started her own successful School for Water Colour in Paris.
     In 1910 Frances Hodgkins was still writing to her mother of returning to New Zealand once she had found herself 'permanently & definitely in an established niche in the Art world.' 'I wish', she continued, 'you were as terribly ambitious for me as I am for myself.…I feel that Fathers heritage to me should work out its true fulfillment.' By the end of 1911 she was clear: 'its on this side of the world that my work & future career lie.'
     From November 1912 to October 1913 Frances Hodgkins was once again in the antipodes, this time as a visitor: a successful painter dividing her time between exhibitions (in Melbourne, Sydney, Adelaide, Dunedin and Wellington), family and friends. In Australia her work seemed the ultimate in modernity and created a sensation. It was praised by the critics and bought by private and public collectors. The response from New Zealanders was less enthusiastic, but both Wellington and Dunedin acquired watercolours for the permanent city collections. While in New Zealand she spent a short time painting Maori in Rotorua: 'I find them as fascinating [ sic ] as ever & if I lived in N.Z. I should settle alongside this sympathetic Lake - I love it - The Maori has a strong sense of race & ancestry about him very interesting to feel & in this classic spot, Mokoia & the Lake as a background it is quite easy to lose ones heart to him.'
     Hodgkins went straight to Italy for the winter of 1913--14. Unfortunately the painting kit and all the work done during that season were lost as she travelled to France. She was running a summer sketching class in northern France when the outbreak of the First World War severed her connection with Europe. She spent the war years based in St Ives with excursions to sketching grounds elsewhere in England. In Cornwall the artists Cedric Morris and Arthur Lett Haines became her friends, the first of a growing number of young English artists attracted by her intellect, dedication, and above all her work. Her artist friends were ultimately to include Ben and Winifred Nicholson, Henry Moore, Barbara Hepworth, Graham Sutherland and John and Myfanwy Piper.
     Between 1908 and about 1928, her subject matter changed only slightly; she continued to paint people, especially women and children, and street and harbour scenes. Landscape in the broader sense was the subject of a sequence of black-and-white drawings of the south of France (1920--21). But her pictorial language was transformed as she assimilated modernist ideas. Colour remained all-important: with her muted subtle harmonies Hodgkins became one of the most remarkable colourists of her time. Her work became more abstract, with simplified forms and surfaces enriched with patterning. The increasingly expressive use of all kinds of lines pointed ahead to the characteristic calligraphic markings of later paintings.
     At the end of the 1920s new subject matter appeared in an innovative combination of still life and landscape, integrating foreground and background, indoors and outdoors into an imaginary landscape that had suggestions of the dream world or the fresh vision of a child. From the 1930s there are fewer paintings of people, the human presence being suggested by the houses, fences, tables and domestic animals of her visionary landscapes. Curiously, this represents a return to themes in early works she had painted in New Zealand like 'Tank and ducks' (1892).
     Hodgkins’ earliest known oil-painting is 'Loveday and Ann: two women with a basket of flowers' (1915). 'The Edwardians' ( c. 1918), 'Double portrait' ( c. 1922), 'Spanish shrine' ( c. 1933), 'Self portrait: still life' (1941) and 'The courtyard in wartime' (1944) are important oil-paintings in her oeuvre. Sometime in the 1930s she began to use gouache, which became a favoured medium, enabling her to combine the opacity of oil paint with the fluidity of watercolour. The gouaches painted from the late 1930s onwards are among her best work. Her drawings, especially those in pencil, are also important.
     Frances Hodgkins’ life as an expatriate is well documented in her letters to her mother. After her mother's death in April 1926 she continued to write, although less frequently, to her elder brother and sister. Her family helped her with gifts and loans of money and arranged for the pictures she sent back to New Zealand to be framed and exhibited. Her work was shown intermittently at art societies in New Zealand until 1929. Two of her gouaches were included in the British section of the Centennial Exhibition of International and New Zealand Art held at the National Art Gallery, Wellington, in 1939--40. She was also represented in the 1940 National Centennial Exhibition of New Zealand Art, although only by three watercolours painted before 1920.
     Frances Hodgkins was constantly on the move. Occasionally, when she was entertained by wealthy friends, she was able to enjoy the comforts of a home and indulge her taste for elegance and refinement. Then she would resume her own austere life, owning nothing, sustained by a fierce joy at her independence and sense of purpose.
     In 1920 she resumed her contact with France, wintering in cheap lodgings in the south, spending the summer with her sketching class in Brittany, and returning to England at the end of 1921. She spent the whole of 1924 in France, showing at the Salon d'Automne. In spite of this and other successes she sold very little work. In 1925 her incessant financial worries were temporarily relieved by well-paid employment as a designer with the Calico Printers' Association in Manchester. The writer Geoffrey Gorer, who was to become a friend and patron, first met Hodgkins about this time at a Bloomsbury party. After her death he recalled the occasion: 'she had on an odd and large assortment of polychrome garments - an Italian striped scarf round her neck, a red blouse, and a blue patterned jersey, a green skirt, red shoes; all these garments made her rather a bundle, but the seemingly garish colours were oddly well assorted; she had made herself a decoration, almost a still life, in her own style.…her face was ageless…and her spirit, her conversation were so young that it seemed impossible that she was almost as near to our grandparents as to our parents.'
     In 1927 a work shown with the New English Art Club attracted the attention of the London dealer Arthur Howell who offered her a contract at the beginning of 1930. This led in 1931 to her association with the well-established Lefevre and Leicester galleries, a professional relationship that was to last until the end of her life. In 1929 she was elected to the progressive Seven and Five Society, and in 1933 was invited by Paul Nash to join Unit One. After accepting the invitation Hodgkins changed her mind and withdrew before the first exhibition. She resigned from the Seven and Five the following year, possibly because she disagreed with the new policy of showing only non-figurative work. She wintered in Ibiza in 1932--33 and in Spain in 1935--36, producing memorable landscapes whose sharp contrasts and relatively high-key colouring showed how she modulated her paintings in response to local conditions. Although she never abandoned her starting point in the physical world some of her paintings of the 1940s came close to abstract expressionism.
The Second World War imposed almost unbearable hardship on Frances Hodgkins. She was now in her 70s and less resilient physically and emotionally. The food shortages and the nervous strain caused by the bombing exacerbated her main health problem - her 'feeble interior' as she once wrote. In 1941 after many years of intermittent pain she had major surgery for duodenal ulceration. Isolated from the Continent, she missed the stimulation of travel as well as relief from the cold English winters. Yet until 1946 she continued to paint with undiminished intensity, finding her subject matter in Dorset, in and around the village of Corfe Castle, where she had a studio, or at Bradford-on-Tone in Somerset where Geoffrey Gorer's cottage was made available to her. In 1940 she was chosen to represent Britain in the 22nd Venice Biennale. She was granted a civil list pension in 1942 in recognition of her services to art. In November 1946, to enthusiastic critical acclaim, the Lefevre Gallery held a retrospective exhibition of 64 paintings and 17 drawings ranging from 1902 to 1946. Hodgkins was able to travel to London for this tribute to her life's work.
     On 22 March 1947, a few weeks before her 78th birthday, Frances Hodgkins was admitted to Herrison House, a psychiatric hospital near Dorchester in Dorset, suffering from what proved to be a terminal illness. She died there a little under two months later, on 13 May 1947, and was cremated at Weymouth on 17 May. Just after her death a note came from the prime minister asking if he might submit her name in the birthday honours of the British Empire as a CBE. Her ashes were returned to New Zealand and placed in the Field--Hodgkins family plot in the Waikanae cemetery near Wellington.
In 1969 the Queen Elizabeth II Arts Council of New Zealand organised a Frances Hodgkins centenary exhibition; it was the first time a comprehensive selection of her work had been seen in New Zealand. Since then her reputation has continued to grow. Like other expatriates, Hodgkins left New Zealand to develop a talent that could find no fulfilment in a colonial setting. During her lifetime she had little direct influence on the development of painting within New Zealand because she played no part in the local task of establishing a national identity in the arts. Shortly after her death, the controversy surrounding the gift of her painting 'Pleasure garden' ( c. 1933) to the Christchurch City Council drew attention to the parochialism and conservatism of public taste and provided a rallying point for New Zealand's modernist painters and their sympathisers. As an example of her importance to individual New Zealand artists one may cite Colin McCahon, who wrote of his childhood in the 1920s: 'There was one painting in the [Dunedin Public Art] Gallery I loved above all else, Frances Hodgkins "Summer". It sang from the wall…strong and kind and lovely.' A few years later, McCahon wrote, he left high school with 'a profound loathing for several of the masters and for their utter failure…to communicate anything as important as…"Summer".'
     Frances Hodgkins was the outstanding artist of her generation, with a professional life that spanned 56 years and earned her a secure place among the English avant-garde of the 1930s and 1940s: the first New Zealand-born artist to achieve such stature. Her role in the transmission of ideas from Paris to London has yet to be fully documented. She was also one of the women artists who, by their example of singleminded dedication to career, challenged the category 'lady artist' with all its connotations of curtailed achievement. In August 1940 she wrote to her brother: 'My aspect of the family talent, or curse? has taken the form of a deep intellectual experience a force which has given me no rest or peace but infinite joy & sometimes even rapture'.
     Frances died on 13 May 1947 in Herrison House, a mental hospital, Dorchester, Dorset, England, aged 78. She was cremated on 17 May 1947 in Weymouth, Dorset. Her ashes were placed in the Field-Hodgkins family plot in Waikanae cemetery near Wellington, NZ.

Francis Parker Hodgkins

(1877 - before 6 February 1932)
     Francis Parker Hodgkins was commonly known as Frank. He was born in 1877 in Northcote, Dunedin, New Zealand. He was the son of William Mathew Hodgkins and Rachel Owen Parker.
     After wanderings in the South Island, he had entered an ayslum.
     Francis died before 6 February 1932 in Dunedin, New Zealand.

Gilbert Graham Hodgkins

(1875 - 1943)
     Gilbert Graham Hodgkins was commonly known as Bert. He was born in 1875 in Northcote, Dunedin, New Zealand. He was the son of William Mathew Hodgkins and Rachel Owen Parker.
     He settled in Wellington in the Civil Servce and set up home with his mother.
     Gilbert Graham Hodgkins married Eveline Kathleen Letitia Broad on 21 April 1905 in the Baptist church, Vivian St, Wellington, New Zealand. They were both born at Dunedin, but he was living at Wellington as the Deputy Registrar of Marriages. She was the daughter Allan Broad (warehouseman) and Margaret nee Kerr. The marrieage was witnessed by Herbert Joshua Broad, Isabel Jane Field, Nancy Mary Hodgkins & Emily Grace Broad.
     Gilbert Graham Hodgkins married secondly Ivy Muriel Webb in 1909 in New Zealand.
     Gilbert died in 1943 in New Zealand.

Isabel Jane Hodgkins

(1868 - 1950)
     Isabel Jane Hodgkins was also known as Cissy in records. She was born in 1868 in Dunedin, New Zealand. She was the daughter of William Mathew Hodgkins and Rachel Owen Parker. Isabel was a painter.
     Portrait painted by her sister for her husband in 1892 .She lived at Wellington Terrace overlooking Lambton Quay Wellington. 1903 photograph of Rachel, Isabel and children, also portrait c.1910. She was also a painter.
     Isabel Jane Hodgkins married William Hughes Field on 26 April 1893 in St Paul's, Dunedin, New Zealand. They moved to Wellington after their marriage.. Isabel Jane Field witnessed Gilbert Graham Hodgkins and Eveline Kathleen Letitia Broad's wedding on 21 April 1905 in the Baptist church, Vivian St, Wellington, New Zealand.
     Isabel died in 1950 in Wellington, New Zealand. There is a Field-Hodgkins family plot in the Waikanae cemetery near Wellington. Her sister Frances' ashes were placed there.

Children of Isabel Jane Hodgkins and William Hughes Field

Margaret Hodgkins

     Margaret Hodgkins married Robert G Hungerford, son of Robert Richard Hungerford and Ellen Winder, in 1883 in Newcastle, New South Wales.

Child of Margaret Hodgkins and Robert G Hungerford

Percy D'Esterre Hodgkins

(1873 - 1956)
     Percy D'Esterre Hodgkins was born in 1873 in Northcote, Dunedin, New Zealand. He was the son of William Mathew Hodgkins and Rachel Owen Parker.
     He served in the South African War. Photograph c.1902 held by McCormick.
     Percy D'Esterre Hodgkins married Ouida Coralie Evans in 1903 in New Zealand.
     Percy died in 1956 in New Zealand.

William John Parker Hodgkins

(1866 - 1945)
     William John Parker Hodgkins was born in 1866 in New Zealand. He was the son of William Mathew Hodgkins and Rachel Owen Parker.
     William John Parker Hodgkins married Jane Moore Dalgliesh in 1901 in New Zealand.
     He lived at Invercargill. By 1905 he was manager of the Bank of NSW at Ashburton. In 1912 living at Masterton when Fanny stayed with him on her return to NZ. In April 1924 described as recently appointed manager of the Bank of NSW at Auckland. By 1938 he had long since retired to Tauranga.
     William died in 1945 in Tauranga, New Zealand.

William Mathew Hodgkins

(23 September 1833 - 9 February 1898)
     William Mathew Hodgkins was christened on 23 September 1833 in Liverpool, Lancashire, England.
     William Mathew Hodgkins arrived per "White Star" in January 1860 at Melbourne, Victoria.      
William Mathew Hodgkins emigrated from Melbourne before April 1862 to Dunedin, Otago, New Zealand. There is no sign of his departure from Melbourne between 1860 and 1869.
     William Mathew Hodgkins married Rachel Owen Parker, daughter of John Skottowe Parker and Jane Phillips, on 19 September 1865 in St Paul's, Dunedin, New Zealand. William was a solicitor & artist from 1868, New Zealand. He was employed in Dunedin as a lawyer's clerk and later a lawyer.      
William Mathew Hodgkins emigrated from Victoria in February 1870 to New Zealand per "Gothenburg". Mr Hodgkins aged 25, arrived in Melbourne in July 1870 on the same ship.
     William Mathew Hodgkins and Rachel Owen Parker travelled to Melbourne, Victoria, in 1881.
     He was one of the founders of the Otago Society of Artists (later the Otago Art Society). He met the Webb brothers from Yorkshire via NSW and met Rachel Phillips, sister of Mrs J S Webb.
William Mathew Hodgkins was baptised in Liverpool, Lancashire, England, on 23 September 1833. He was born in the heart of the city's dockside slums, the first child of a brushmaker, William Hodgkins, and his wife, Jane Grocott or Groocock. His sister Jane was born in 1835. Another sister died in infancy.
For a while Hodgkins's father seems to have prospered. By 1837 he had moved across the Mersey to a better address, but in the depression of the 1840s he apparently abandoned his business for work in an inland factory. Consequently, the young William Mathew Hodgkins went to school in a small Derbyshire village called Staveley, and his exercise book in penmanship survives from that time. Its combination of a practical skill with an aesthetic interest seems to prefigure the principal concerns of his adult life: the law and art.
There is a gap in the record from 1845 until about 1852 when Hodgkins's father reappears in business in Birmingham and William Mathew surfaces in London. He was a clerk there in the time and circumstances of David Copperfield, but Hodgkins's special interest in art distinguishes him from the Dickensian prototype. He lived for a while at Holborn and worked at the patent office and for Waterlow and Sons, the famous printers of stamps and banknotes. By June of 1855 he was off to Paris where he assisted a certain Captain Denny 'in a literary work of some magnitude' at Versailles. About 1857 he returned to London where he spent time looking at J. M. W. Turner's works and at others at Hampton Court and the National Gallery. In 1859 he worked at the National Portrait Gallery.
Sometime between 1856 and 1858 Hodgkins's family emigrated to Melbourne, Australia. He followed them late in 1859 sailing on the White Star , whose ship's surgeon was Thomas Morland Hocken. He arrived in Melbourne in 1860 and was probably living in Dunedin, New Zealand, by April 1862. Presumably he was attracted there by the Otago goldrush.
In Dunedin Hodgkins established himself as an ornamental writer but was soon working for Gillies and Richmond, presumably as a law clerk. When he joined a Masonic lodge he was decribed as a law stationer and in 1863 he became an articled clerk. Through a fellow lodge member he met Rachel Owen Parker, the daughter of a coroner at Sydney. The couple were married in St Paul's Church, Dunedin, on 19 September 1865; they were to have four sons and two daughters. Hodgkins was admitted to the Otago Bar in 1868, and the pattern of his changing addresses at this time shows upward social mobility.
It is unclear when Hodgkins started painting but the oldest known work is from 1862. His association with George O'Brien may have been important to his development. He did not exhibit at the New Zealand Exhibition of 1865 in Dunedin but did take charge of its photographic department. He organised a fine arts exhibition in 1869 with the specific aim of starting a permanent art gallery. That failed, but in 1875 he founded what soon became the Otago Art Society. After resisting several of his plans to form a gallery the society started to collect pictures under his presidency in 1881, and in 1882 it was finally persuaded to start a 'national collection of works of art'. It seems Hodgkins had in mind something like the collections he had known in Paris and London. A further resolution in October 1884 effectively founded the Dunedin Public Art Gallery, the first such institution in New Zealand.
At this period Hodgkins's career as a lawyer went into decline. In 1884 he moved out of his house in Royal Terrace to a rented cottage in Ravensbourne, an out-of-town suburb. Although he became mayor of West Harbour he had to resign in 1888 when he was declared bankrupt. He struggled out of these difficulties and the family moved back to town and into a large rented house. Hodgkins now became involved in organising the art department of the New Zealand and South Seas Exhibition of 1889--90. In 1889 he proposed that the government start a national gallery that would have works in each of the country's main centres. Nothing came of this but instead the Dunedin gallery was assisted with more works, a new building and a new society of supporters.
Hodgkins's own painting had progressed steadily. He was now an accomplished landscape painter in the Turneresque romantic manner; the most notable feature of his work is its handling of colour. The 1890s saw the arrival of new styles brought by Girolamo Nerli, Petrus van der Velden and J. M. Nairn. Hodgkins generously welcomed these newcomers, and with Nerli sojourning in Dunedin the twin circles of painters for a while made the city the foremost centre of art in New Zealand.
Hodgkins died at Dunedin on 9 February 1898; his wife survived him by 28 years. He left his family in straitened circumstances but with a fund of goodwill from a community that gratefully remembered a cheerful, persevering, ambitious man. They had good cause. He had published the first considered statement of any length on New Zealand art, had founded the art society and the gallery, and had left behind a body of works the best of which are among the best of their kind in New Zealand. His daughters, Isabel and (more notably) Frances, inherited his artistic talent.
William Mathew Hodgkins's achievements look even more impressive almost 100 years after his death than they did to his contemporaries. His paintings have gained in stature, the Dunedin gallery has grown remarkably, and in recent years his younger daughter's reputation has grown again. He has turned out to be one of New Zealand's more influential artistic figures of the nineteenth century.
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     William died on 9 February 1898 in Dunedin, New Zealand, aged 64. He was buried on 9 February 1898 in Dunedin.
     His will was proved on 22 February 1898 at New Zealand. He was described solicitor of Nevada near Dunedin.

Children of William Mathew Hodgkins and Rachel Owen Parker

Alfred St John Hodgkinson

(circa 1876 - )
     Alfred St John Hodgkinson was born circa 1876.
     Alfred St John Hodgkinson married Elizabeth Colbert, daughter of John Colbert and Elizabeth Manning, on 10 January 1912 in St Aiden, Marden, South Australia.

Ann Hodgkinson

(circa 1695 - 1730)
     Ann Hodgkinson was born circa 1695 in Ashover, Derbyshire. Ann, only child of William Hodgkinson, Esquire, of Overton in co. Derby, merchant and Receiver General of the Customs.
     Ann Hodgkinson married Joseph Banks, son of Joseph Banks and Mary Hancock, on 11 April 1714.
     Ann died in 1730.

Children of Ann Hodgkinson and Joseph Banks

Hannah Hodgons

(circa 1735 - 15 November 1819)
     Hannah Hodgons was born circa 1735.
     Hannah Hodgons married George Stanser on 18 July 1756 in St Martin in the Fields, Westminster.
     John Allwood married secondly Hannah Stanser on 1 January 1774 in St George, Bloomsbury, London. They were both widowed, she was of the parish of St Martin in the Fields and they were married by licence with both signing.
     Hannah was buried on 15 November 1819 in St George, Hanover Square, Westminster. Hannah Allwood of Ebury St, 84 years.

Children of Hannah Hodgons and George Stanser

Anne Hodgson

(before April 1708 - 28 April 1750)
     Anne Hodgson was born before April 1708 in Westerton, Yorkshire. She was the sole daughter and heiress of Christopher Hodgson of Westerton, by his wife Mary, daughter of Lawr. Robinson of Westerton, and grand-daughter of John Hodgson of Cottingley, by Mary Haworth of Haworth co. Lanc. Mary Haworth was the grand-daughter of Edmund Haworth (living 21st Jas I), who married Elizabeth, daughter of W Assheton of Clegg Hall, co. Lanc. Esq. who was heiress of her half brother, Theophilus Assheton LL.D. of the same place.
     Anne Hodgson married John Smith, son of John Smith and Priscilla Silvester, on 19 December 1726 in East Ardsley, Yorkshire. By this marriage the Smiths became entitled to quarter the Hodgson arms.
     Anne died on 28 April 1750 in Normanton, Yorkshire.

Children of Anne Hodgson and John Smith

Constance Hodgson

(1888 - )
     Constance Hodgson was born in 1888.
     Constance Hodgson married Francis Arthur Dempster, son of William Arnold Dempster and Mary Chipman Rounsefell, on 19 February 1925 in Canada.

Elizabeth Hodgson

(circa 1782 - before 27 February 1857)
     Elizabeth Hodgson was born circa 1782 in Lincolnshire.
     Elizabeth Hodgson married James Bowker, son of James Bowker and Mary Roades, in 1816 in Louth, Lincolnshire.
     Elizabeth died before 27 February 1857 in Ulceby, Lincolnshire. At Ulceby, near Sleaford, after a lingering illness, Elizabeth, relict of Mr Jas Bowker, Stamford, aged 79.

Child of Elizabeth Hodgson and James Bowker

Emily Hodgson

(15 September 1847 - 8 January 1928)
     Emily Hodgson was born on 15 September 1847 in Watford, Hertfordshire. She was the daughter of John/George Hodgson & Mary Sadler Howell. She was the daughter of George Hodgson and Mary Sadler Howells.
     Emily Hodgson married Benjamin Johnson on 1 April 1864 in Victoria.
     Emily died on 8 January 1928 in Malvern, Victoria, aged 80.

Child of Emily Hodgson and Benjamin Johnson

George Hodgson

(circa 1802 - 1865)
     George Hodgson was born circa 1802 in Watford, Hertfordshire.
     George Hodgson married Mary Sadler Howells on 27 April 1834 in St John, Clerkenwell, London. George Hodgson & Mary Sadler Howells, both single of this parish. BOth signed in the prsence of George & Elizabeth Howells.
     George died in 1865 in Victoria.

Children of George Hodgson and Mary Sadler Howells

Margaret Hodgson

( - 20 August 1679)
     Margaret Hodgson married Vincent Cotton, son of Bushie Cotton and Pernell Dighton, on 16 May 1664 in South Reston, Lincolnshire. Vincent married (2) Elizabeth Unknown. Elizabeth was buried 13 Jan 1708, South Reston, Lincolnshire.

Vincent was buried 08 Feb 1683, South Reston, Lincolnshire.

Children of Vincent Cotton and Margaret Hodgson:
Elizabeth
Ann
Edward
William
Edward
Margaret
(You already have their birth dates)

Child of Vincent Cotton and Elizabeth Unknown:
Vincent, 05 Aug 1683, South Reston, Lincolnshire

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     Margaret was buried on 20 August 1679 in South Reston, Lincolnshire.

Children of Margaret Hodgson and Vincent Cotton

Mary Ann Hodgson

(27 August 1841 - 7 June 1918)
Mary Ann Hodgson (McKenzie) 1841-1918
     Mary Ann Hodgson was born on 27 August 1841 in Watford, Hertfordshire, England. She was the daughter of George Hodgson and Mary Sadler Howells.
     ? In June 1861 Mr & Mrs McKenzie, family & servant arrived Port Albert from Melbourne on the "Keera".
     Mary Ann Hodgson married Donald Thomson MacKenzie, son of William MacKenzie and Isabella Tindal, on 4 October 1861 in Christ Church, Tarraville, Victoria. The John o' Groat Journal, Thursday 23 January 1862 reported: Tarraville, Australia, the 4th October last, Donald Thomson Mackenzie, the second son of Mr William Mackenzie, builder, Cromarty, Scotland, Mary Ann, eldest daughter of Mr George Hodgson. Tarraville, Gipps Land. Also reported in the Inverness Courier Highland, 16/01/1862.
     In April 1864 Mrs D McKenzie, arrived Port Albert from Melbourne on the "Keera".
     Mary and Donald were registered at 15 Mercer Rd, Malvern, Victoria, on the 1912 electoral roll. Donald Thomson was of 'independent means' with his wife Mary Ann, home duties, and Mary Isabel Brown, home duties.
     Mary died of cardiac syncope on 7 June 1918 in Mercer Road, Malvern, aged 76. In Memorium: The sad news reached Yarram on Friday last that Mrs Mary Ann McKenzie, wife of Mr Donald Thomson McKenzie senr., had passed away. The news had the effect of casting a gloom over the whole district, as there is no family better known in this portion of the state. Mrs McKenzie died rather suddenly at her home in Melbourne on Friday morning at 1 o'clock, her illness being very brief, as a few days previous, she was apparently enjoying good health, and was in good spirits.
     The deceased was a native of Watford, England, and, born in 1840 had attained the age of 78 years. She arrived in this country with her parents at an early age. After residing in various places in the state, she came to Gippsland, where she met and married Mr D T McKenzie. That was in the early pioneering days, and when Port Albert and Tarraville were the busy centres of the district. With her husband, they eventually settled at Calrossie, and one of the marked features of their home was the kind and generous hospitality that was extended to the residents of the community, their home being a recognized house of call. They displayed to the wayfarer that kind of hospitality that gained for them a very wide circle of personal acquaintances, and the esteem in which they were held was made manifest by the benefits they at all times conveyed to those who needed their aid.
     Prior to the War, the late Mrs. McKenzie and her husband celebrated their Golden Wedding. Deceased was the mother of T G, W H, D T, and Driver J. J. McKenzie (of the 3rd Pioneers), Mrs V Brown ( Malvern), Mrs B P Johnson (Yarram), Mrs J Refshauge (Headmaster of Ballarat High School, and formerly of North Devon), Mrs G C Nicholson (Brighton) and Mrs R J V Foote. One of her grandsons is Capt. V C Brown, R.M.O in the 4th Battalion, and winner of the Military Cross. And in a recent issue we announced the death of another grandson, Pte. Cyril Johnson.

     The remains were brought to Alberton on Saturday afternoon, and on arrival of the train, a very large concourse of people followed the remains to their last resting place, the Alberton Cemetery, the Rev. S. Williams conducting the service. She was buried on 8 June 1918 in the Presbyterian section, Alberton.

Children of Mary Ann Hodgson and Donald Thomson MacKenzie

Ann Hodson

     Ann Hodson married William Addison as his second wife, between 16 November 1685 and June 1685 in Glatton, Huntingdonshire.

Children of Ann Hodson and William Addison

Elizabeth Hodson

(before 1655 - )
     Elizabeth Hodson was born before 1655.
     Elizabeth Hodson married John Bowker on 3 November 1672 in Whittlesey, Cambridgeshire.
     Elizabeth Hodson was also reported as having married John Bowker on 15 December 1672 in Whittlesey, Cambridgeshire.

William Hodson

     William Hodson was born in Ireland. He was brother of Sir Robert Hodson, baronet, of Holly Park, in Wicklow.
     William Hodson married Margaret Armstrong, daughter of Andrew Armstrong and Deborah Simpson. They had issue. A descendant Daphne Shackleton from co. Cavan contacted me in Sep 2007.

Cynwrig ap Hoedlyw

     Cynwrig ap Hoedlyw was born in Wales. He was the son of Hoedlyw Bledrus of Cristianydd Cynrig (?).

Child of Cynwrig ap Hoedlyw

Genilles ferch Hoedlyw

     Genilles ferch Hoedlyw married Gronwy ab Owain, son of Owain ab Edwin and Morwyl ferch Ednywain Bendew. Genilles ferch Hoedlyw was born. Her ancestry needs to be continued via Bartrum's Marchudd 1.

Child of Genilles ferch Hoedlyw and Gronwy ab Owain

Arthur Hoey

(1914 - 1965)
     Arthur Hoey was born in 1914 in Maryborough, Victoria. He was the son of Eugene James Hoey and Martha Robertson.
     Arthur died in 1965 in Mordialloc, Victoria.

Eugene James Hoey

(1884 - 1951)
     Eugene James Hoey was also known as Eugene Charles in records. He was commonly known as James. He was born in 1884 in Williamstown?, Victoria.
     Eugene James Hoey married Martha Robertson, daughter of James Robertson and Mary Ann MacPherson, in 1907 in Victoria.
     Eugene died in 1951 in Port Fairy, Victoria.

Children of Eugene James Hoey and Martha Robertson