Although lacking formal education, Isabella Siteman was aware of the benefits it could confer. She decided to devote a large part of her savings to the better education of students who required financial help. Her will left the residue of her estate in trust for this purpose. The Isabella Siteman Scholarship was founded in 1923 and was intended to provide assistance to young men and women who wished to obtain a university education in New Zealand.
She is remembered for pioneering the teaching of modern geography in New Zealand secondary schools.
Helen Connon played a pioneering role in the education of New Zealand women.
Her mother’s mission work led Christina to take an active role in the Presbyterian Women’s Missionary Union of New Zealand. She served as secretary (1917–20) and president (1930–32), but her main contribution was her editorship, from 1923 until 1946, of Harvest Field, the union’s magazine.
Throughout her teaching career Nellie Coad was concerned about educational opportunities for women.
Kate Milligan Edger was the first woman in New Zealand to gain a university degree
Frances Ross is remembered as a pioneer in women’s education and an outstanding teacher who combined knowledge and dignity with a sense of fun.
Rata and Colin Lovell-Smith were leading artists of the Canterbury School, a regionalist movement which expressed a growing awareness of a local identity and harboured aspirations for a distinctive New Zealand art.
Although ‘Gods’ featured in the 1940 National Centennial Exhibition of New Zealand Art in Wellington, and other work is held in public and numerous private collections, her contribution to Canterbury art was not recognised until she was included in the 1993 exhibition, White Camellias.
Although it is for her Māori portraits that she is best known, critics have generally claimed that Ida Carey’s finest work was done in the 1920s and 1930s, and that much of her later work contains technical deficiencies, especially in her use of colour. This perhaps explains why she has been ignored in New Zealand art history literature. However, her significance both as an artist with great popular appeal and as a major contributor to the development of fine arts in Waikato cannot be denied.