In this painting by George Angus, Tamihana Te Rauparaha, in London in 1852, is shown in a formal English suit. Tamihana Te Rauparaha, also known as Katu, was the son of the great Ngati Toa leader Te Rauparaha and his fifth and senior wife, Te Akau of Tuhourangi.
This painting of the village of Pas, the Somme 1918, is by N.H. Welch. Note the poppies in the field. See the Royal New Zealand Returned and Services' Association website for information on the significance of the poppy.
Painters and photographers loved to capture the beauty of Parliament's buildings in postcards, and New Zealanders and visitors sent these to friends and family in new Zealand and overseas.
This engraving of a Maori family in Dusky Sound is from a drawing by
William Hodges that was made during Captain James Cook's second visit
to New Zealand in 1777. The image depicts Maori as 'noble savages', a term associated with the romantic philosophy popular in this period.
The painting Meeting of the artist and Hongi at the Bay of Islands, November 1827 by Augustus Earle shows canoes, a storehouse and carved objects. Hongi Hika is seated in the centre with huia feathers in his hair.
In this 1847 painting by George Angas, Potatau is wrapped in a blanket and seated beside a log. On the right are Te Waru, principal chief of Ngati Apakura, and Te Pakaru, principal chief of Ngati Ti Maniapoto.
Kororareka as painted by Augustus Earle; the colour print was published in 1838. A European man, probably Earle himself, is led down a steep path by a Maori with a mere on his wrist and a taiaha over his shoulder who gestures towards the beachside settlement of Kororareka (Russell).
This imaginative reconstruction of the capture of the ship Boyd in Whangaroa Harbour was painted some 30 years after the event by the French artist Louis Auguste Sainson.
Families seated on their luggage awaiting embarkation (either to Australia or New Zealand) at the wharfside. 'Embarking for the land of gold in hope. Taking leave of old England'.
Te Wainokenoke (seated), to the left of Nohorua (with full moko and a grey beard). Behind the couple is Nohorua's son, Tuarau, standing wrapped in a blanket, ca 1844
Soldiers of the Queen typifies the artwork of the high age of late Victorian Empire. In New Zealand, too, there was increased interest in pageantry, uniforms, statues and ceremony
This view of Kororareka from the sea was drawn by Captain Clayton on 10 March 1845, the morning before the assault by the forces of Hone Heke and Kawiti.
Sir Walter Buller’s
comment that ‘the flesh of the pukeko [is equal] to that of the best English
game’ distasteful. But Buller, the author of A history of the birds of New Zealand
This painting is titled Young New Zealand at play; cricket in a mining town. It appeared in the Weekly Press, 28 October 1899 and was probably painted in 1896.
Captain George (later Sir George) Grey was New Zealand's most complex governor. He was governor, governor-in-chief and then governor again, serving from 1845 to 1853 and again from 1861 to 1868.
'Landing immigrants at Lyttelton, NZ'. A busy dock scene at Lyttelton, with steam and sailing ships, wharf buildings, and families awaiting their luggage, collecting their luggage and greeting friends and relations.
Missionary Thomas Kendall is painted with Waikato and Hongi Hika in London in 1820. In 1815 Kendall wrote the first book to be published in the Maori language.
Gunner Archibald Nicoll painted this picture of the ruins of Becordel, a village near Albert, which the New Zealand Division passed through on its way to the front in 1916. This painting is now in the Christchurch Art Gallery.
Mitre Peak has been captured in many representations. J.C. Hoyte's 1870s image softens its ridges and reduces its scale. Milford became accessible by track in 1888 and has remained a premier tourist site ever since.
War art was a feature of the South African War, and often featured soldiers in heroic poses, such as this member of the Rough Riders who takes aim while in full flight.
