In 1877, John Gully retired from his role as chief draughtsman in the Nelson Survey Office and took a month-long sketching tour of Wanaka, Milford Sound, Wakatipu and Manapouri. A year later, when he exhibited his new watercolours, he was commended by the Nelson Evening Mail for “two large watercolour paintings, the latest, and, to our mind, the best of the many that have been produced from the studio of that now celebrated artist... These represented Milford Sound and Lake Wakatipu… two nobler pictures it would be difficult to find.”

(Our Collection: 19th and 20th Century New Zealand Art, 2018)

Elizabeth Kelly (née Abbott) made this sculptural portrait bust while at the Canterbury College School of Art, where she studied from 1891–1901. She won regular prizes for her modelling from life, including at the 1906–07 Christchurch International Exhibition. Kelly later became one of New Zealand’s leading society portrait painters, in the 1930s showing her work in exhibitions in London, Edinburgh and Paris.

Laura was modelled on the artist’s younger sister, Laura Maude Cox (née Abbott, 1884–1957). One of the earliest sculptures in the collection by a New Zealand born artist, it is a recent gift to the city from Margaret Abbott, a great-niece of the two sisters.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

The Rotterdam-born Petrus van der Velden arrived in New Zealand in 1890. Following his first visit to Otira Gorge in January 1891, he became engrossed with this subject, and painted its powerful, surging torrents many times over the next two years.

This painting was purchased by Gilbert Anderson, a leader in New Zealand’s frozen meat industry, also involved with the Canterbury Society of Arts. Anderson sold it to the Society in 1912; it was purchased from them in 1996 through the Community Trust and Christchurch Art Gallery Trust.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

As well as being enjoyed for their superb decorative qualities, Dutch still life paintings were intended to be reminders of the beauty, brevity and fragility of life. An arrangement of tulips, anemone, nicotiana, jonquils, morning glory and oriental poppies, this work is attributed to the Antwerp-born Flemish painter Pieter Hardimé, who lived at The Hague from 1697.

The painting arrived from Windsor, England as an unexpected and welcome gift, shortly after the 2011 earthquakes. It was given in memory of Kathleen Muriel Whiteley (1904–1949), who had historical family ties to Christchurch, from the estate of her husband Albert, whom she married two years before her death in 1949.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

The Manchester-born painter and illustrator George Sheridan Knowles specialised in romantic history pieces and genre scenes. This work – exhibited at the Royal Academy, London in 1897 – was based on a tragic medieval ballad, in which Glasgerion, a king ’s son, has cast his troubadour spell over the court of the King of Normandy, in pursuit of his fair daughter. The story doesn’t end well.

This was one of six paintings imported from England to Christchurch by the Canterbury Society of Arts in 1903 for consideration to purchase; its acquisition was generously funded by the businessman and politician John T. Peacock (1827–1905). Glasgerion was presented to the city’s new gallery in 1932.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Narrative paintings such as In the Wizard’s Garden were extremely popular with Victorian audiences. Loaded with symbolism that referred to the notion of the fallen woman, the artist provided visual pointers to be unpicked and read by the audience. These include the hitched-up scarlet dress, the fallen leaves in the foreground and the shears which, shown with the blades open, suggest a loss of virtue. Contrasted with the innocence of the young woman, the presence of the silhouetted figure entering the garden adds a sinister element. The stream separating the two figures symbolises a barrier between them – her virtue hangs in the balance. Will she remain pure or will she, through the act of crossing the water, succumb to wantonness? George Dunlop Leslie was a successful, prolific artist who exhibited annually at the Royal Academy from 1859; usually theatrical, symbol-laden paintings of young women from a previous age.

(New Dawn Fades, November 2018)

Arriving in London in 1909, the Christchurch-born and trained Raymond McIntyre soon gained a reputation there for his small, pared-back landscapes and studies of female heads, painted in an elegant, simplified, Japanese woodblock inspired style. This painting was modelled on an actor and dancer who became his principal muse from 1912, sometimes mentioned in his letters home: “The girl who is sitting for me a lot now, Sylvia Constance Cavendish… has a very refined interesting pale face… I have done some very good work from her… she is quite a find.”

McIntyre died in London in 1933. Seven of his works were given by his family between 1938 and 1991.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

This work was painted during a sketching trip to Bridgnorth, Shropshire in the summer of 1932. Its lively watercolour style and subject matter express Hodgkins’s characteristic interest in capturing the fleeting sensations of a moment.

Following her death in England, Pleasure Garden was one of six works by Hodgkins brought to Christchurch in 1948 at the request of the Canterbury Society of Arts. When the Society’s purchasing committee rejected the selection, a group of independent art supporters raised the purchase price and offered it to the city’s gallery, whose refusal generated metres of newspaper column displeasure and debate. In 1951 their persistence finally paid off.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Gaspar van Wittel is also known by the italianised version of his name, Vanvitelli

Dutch-born Gaspar van Wittel reached Rome aged about twenty-two in 1674, becoming part of a high-spirited, long-established group of expatriate Dutch painters known as the Bentvueghels (Dutch for ‘birds of a feather’). He married Anna Lorenzani of Rome (their eldest son was the leading eighteenth-century Italian architect Luigi Vanvitelli) and spent the rest of his life in Italy. Van Wittel played a pivotal role in the development of the genre of topographical painting known as veduta, and was an important influence on later artists such as Canaletto (1697–1768). Van Wittel’s paintings typically became treasured souvenirs for those on the high culture rite of passage known as the Grand Tour. Three other versions of this view are known, at different sizes and with different arrangements of figures, livestock and lighting. These are based on a gridded pencil, ink and watercolour sketch dated 1685 and held at the Biblioteca Nazionale Centrale di Roma.

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

The French artist Henriette Browne excelled at painting highly realist, representational narrative paintings and La Lecture de la Bible is one of her finest. Browne produced several portraits of religious devotees and the two young women in this painting are thought to be novices studying to enter a religious order. They are clearly virtuous – their austere black garments suggest a puritan character and the painting is also known as The Puritans. The withered flowers on the table are the most obvious narrative element in the painting, these are a vanitas symbol for the passing of time and the loss of youth. La Lecture de la Bible was first owned by Empress Eugénie, the wife of Napoléon III, and was presented to the Gallery by its major benefactor, Robert McDougall.

(New Dawn Fades, November 2018)

First exhibited at the Paris Salon in 1857 with the title 'Les Puritaines', this painting has for many years also been known as 'La Lecture de la Bible'.

The Vienna-trained, Bohemian-born artist Gottfried Lindauer arrived in New Zealand in 1874, and became famous for his portraits of eminent Māori. Lindauer painted several portraits of Tūkaroto Matutaera Pōtatau Te Wherowhero Tāwhiao (c. 1825–1894), the second Māori king, based on photographs by others. This painting is based on a studio portrait taken in 1884 by Australian photographer Henry King, during King Tāwhiao’s visit to Sydney while en route to England. Tāwhiao’s goal was to meet with and gain recognition from Queen Victoria of the Treaty of Waitangi and to redress the injustice of vast confiscations of Māori land, but did not meet with success.

(He Waka Eke Noa, 18 February 2017 – 18 February 2018)

Arriving in London in 1909, the Christchurch-born and trained Raymond McIntyre soon gained a reputation there for his small, pared-back landscapes and studies of female heads, painted in an elegant, simplified, Japanese woodblock inspired style. This painting was modelled on an actor and dancer who became his principal muse from 1912, sometimes mentioned in his letters home: “The girl who is sitting for me a lot now, Sylvia Constance Cavendish… has a very refined interesting pale face… I have done some very good work from her… she is quite a find.”

McIntyre died in London in 1933. Seven of his works were given by his family between 1938 and 1991.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Harry Linley Richardson was brought out to New Zealand from London in 1908 to become an art instructor at the Wellington Technical School. His design background led to New Zealand postage stamp design commissions and he became well-known for his paintings, predominantly of children and Māori subjects.

Cynthia’s Birthday, based on his own children, was exhibited in Auckland and Wellington in 1927 and Christchurch in 1928, and purchased by the Canterbury Society of Arts with funding support from the city council. One of the first paintings to be bought for the city’s intended new public art gallery, it was presented by the Society in 1932.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Thomas Benjamin Kennington’s focus as an artist was in the sympathetic depiction of the everyday reality of the poor and working classes. Born in Great Grimsby, a seaport town in England’s northeast, he studied art in Liverpool, London and Paris, and from 1880 exhibited annually at the Royal Academy, where this naturalistic workroom scene was shown in 1908.

Relaxation was exhibited at the 1911 International Exposition of Art in Rome and at the 1913 New Zealand Academy of Fine Arts exhibiton in Wellington. By 1920 it was in the hands of newspaper proprietor Robert Bell. Bell was president of the Canterbury Society of Arts from 1925–26, and bequeathed ten paintings to the gallery. (Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Teresina was one of four works shown by the leading British painter Frederic Leighton at the Royal Academy in London in 1876. His model was a young Italian woman in Rome, to where he habitually relocated from London each autumn. The name Teresina appears in a crowded notebook list of models sketched during his stay there in 1874. Italy became Leighton’s second home. He first visited Rome aged ten in 1840, when (for his mother’s health) the family left England for the Continent, spending time Germany, Switzerland and Italy. In Rome he took his first drawing classes, and (as an early biographer noted) ‘the buildings, the fountains, the ruins, the models awaiting hire on the Piazza di Spagna, fascinated him, and he filled many sketch-books with records of all the picturesque scenes that struck him as so new and wonderful.’ Leighton remained enamoured with Rome and with travel, finding subject-matter for his ambitious, classically-themed narrative paintings from multiple tours through Europe as well as visits to North Africa and the Holy Land.

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

Ana Reupene Whetuki from the Ngāti Maru iwi (tribe) was well- known in the Thames goldfields district in the Coromandel. She lived at Manaia, where her descendants still live today. Also known as Heeni Hirini and Ana Rupene, she was married to Reupene Whetuki, a Ngāti Maru rangatira (chief) who in 1881 was also listed as a gold miner and shareholder in ‘The Maori Win Gold Mining Company’. Gottfried Lindauer is known to have painted at least twelve versions of this portrait between 1878 and 1920. These were based on the photographic studio portrait by the Foy Brothers of Thames, which is also in this exhibition. Lindauer had first visited Thames in 1874 shortly after arriving in New Zealand from Bohemia (present day Czech Republic).

(He Waka Eke Noa, 18 February 2017 – 18 February 2018)

The Ngāti Mahuta chief Pātara Te Tuhi (c. 1824–1910) was a key leader in the Kīngitanga, the Māori King movement which aimed to unify Māori under a single sovereign. He was a newspaper publisher and secretary to his cousin King Tāwhiao, travelling with him to England in 1884 to seek recognition from Queen Victoria of the 1840 Treaty of Waitangi signed on her behalf. Pātara Te Tuhi first met Charles Goldie in 1901 and became a favourite, regular model. He also became increasingly well- known throughout New Zealand through the widespread reproduction of his painted and photographic portraits. Goldie attended Pātara Te Tuhi’s tangi in 1910, where two reproductions of this portrait were prominently displayed.

(He Waka Eke Noa, 18 February 2017 – 18 February 2018)

Gertrude Demain Hammond was a prolific London illustrator who was also active in exhibiting her watercolours. A Reading from Plato was shown at the Royal Academy in London in 1903 before coming to Christchurch for the 1906–07 New Zealand International Exhibition. There it was purchased by the avid local art collector James Jamieson, who with his brother William, ran one of the city’s largest construction companies.

Following his death in 1927, James’s family presented many works of art from his collection to become part of the Robert McDougall Art Gallery’s founding collection, which at its opening in 1932 consisted of 160 paintings and sculptures.

(Treasury: A Generous Legacy 18 December 2015 – 27 November 2016)

Matthijs Naiveu studied under the leading seventeenth century Dutch painter Gerrit Dou (painter of The Physician). Naiveu’s tavern scene presents a moral lesson: the child implores his mother and a man who may be his father to put their intoxication aside, and give him a better chance in life.

This is one of many works presented to the Gallery by the Canterbury Society of Arts in 1932. It was bequeathed to the society by Scottish-born Major Archibald C. D. Spencer (1861–1929). Major Spencer retired from service with the Royal Irish Rifles in South Africa, Canada and Malta and settled at Mount Peel in South Canterbury.

Nathaniel Webb, the subject of this striking 300-year-old portrait, was a Bristol merchant who – like many of his peers in this period – is known to have made a vast fortune through West Indies sugar and slavery.

Webb’s portrait was donated in 2007 by a direct descendant, in honour of her father John Jekyll Cuddon, a respected Christchurch chartered accountant. The painting came to New Zealand with Henry Joseph C. Jekyll, who immigrated to Canterbury in 1862, and in 1880 purchased a large parcel of farmland beyond the edges of Christchurch, naming it Dallington after an old family estate.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Gerrit Dou was a leading figure in Dutch painting during the 1600s – a period often referred to as the Golden Age. A pupil of Rembrandt van Rijn, Dou favoured painting interior scenes and his work is renowned for its minute detail and immaculate finish. In The Physician a learned man examines the contents of a flask thought to contain urine, a test frequently used to diagnose pregnancy in the seventeenth century. Although it is a small painting, it is full of symbolism: the putti playing with a goat in the frieze represents sinful pleasure and the medical book opened on a page featuring a human skeleton leaning against a shovel represents a gravedigger, a memento mori, or reminder of our own mortality.

(New Dawn Fades, November 2018)

Although apparently portraying a refined Venetian lady – a young woman with carnival mask, black veil and shawl – this work was painted not in Italy, but England. Yorkshire-born William Frith, who became extremely well-known for his large, densely populated panoramas of contemporary English life, also painted small costume studies early in his career, often modelled on literary figures. Frith’s model in this work, painted in 1846, strongly resembles his wife Isabelle (née Baker), whom he married in York in June 1845; Isabelle sat for him several times. Isabelle Frith became a close friend and confidante of Catherine Dickens, wife of author Charles, who (although a friend of her husband’s) she later banned from entering their London home; this following the 1858 breakup of the Dickens’ marriage. The Frith marriage was also ‘troubled’: Isabelle had 12 children to William from 1846–60; his mistress Mary Alford had six more to him from 1855. (He married Mary in 1881, a year after the death of Isabelle.)

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

In about 1901, having established a strong reputation with his painting in Scotland, the Glasgow-based George Henry relocated to London, where he began to establish a successful society portrait practice.

The Black Hat – possibly the work exhibited to acclaim as ‘La dame au chapeau noir’ at the Royal Glasgow Institute in 1904 – was one of twelve paintings selected in 1911 by the English artist Niels Lund to be purchased for the Canterbury Society of Arts. Its acquisition in 1912 was enabled through a newly agreed £50 annual subsidy from the Christchurch City Council; the society presented the painting to the city's new public gallery in 1932.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

At around the age of seventeen, the orphaned Meindert Hobbema met Jacob van Ruisdael, an artist considered the pre-eminent landscape painter of the Dutch Golden Age, who would teach him how to become an artist. Painted around ten years later, A Wooded Landscape with Peasants on a Path and an Angler at a Stream shows Hobbema proceeding on his own merit and demonstrating his own style. The lowered horizon line creates a big sky, which is animated by rolling clouds in silvery blues, greys and bright whites. Their forms are continued in the treetops and knotted branches that frame and obscure the scene, which recedes almost endlessly into the distance, to reveal fields flooded by sunlight and the understated silhouette of a church.

(Endless Light, 29 June 2019 – 8 March 2020)

The Dunedin-born Frances Hodgkins was running her own watercolour painting school in Paris when World War I broke out in 1914. She relocated to St. Ives in Cornwall, where she found many displaced Belgian families also living, and painted this work in response to their wretched plight. Unshatterable, one of her first oil paintings, was exhibited in London in 1916 and purchased by the painter Sir Cedric Morris. Dr Rodney Wilson, the Gallery’s director in 1980, visited Morris, and with assistance from the National Art Collections Fund, a British art charity, successfully secured this work for the Christchurch collection.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

The 55-year-old Alexander Walker (1764–1831) and his wife Barbara (née Montgomery, 1770–1831) commissioned Scotland’s leading portraitist, Henry Raeburn, to paint their portraits in 1819. They had married eight years earlier; shortly after Alexander’s retirement from over thirty years’ service with the East India Company – mostly in India – and had two young sons. Alexander had one final Company role before him, that of Governor of St. Helena from 1823–28.

Two of their grandsons, William Campbell Walker and Alexander John Walker, immigrated to New Zealand in 1862 to farm in Canterbury; William later became Minister of Education. These impressive ancestral portraits were presented by descendants in 1984.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Previously attributed to the Rome-based sculptor Alfredo Biagini, Dante’s Beatrice is now recognised as the work of a lesser-known but nevertheless highly accomplished artist U. Biagini working in Florence in the late nineteenth and early twentieth century. Representing Beatrice, who captured the heart of the thirteenth-century Italian poet Dante Alighieri, it is a fine example of the Florentine sculptor’s idealised marble busts.

Dante’s Beatrice was given to the city through the bequest of the retired Christchurch merchant and importer John Alexander Redpath (1875–1975).

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Psyche, in Greek mythology, was a mortal princess whose beauty attracted the attention of Eros, the god of love, and the jealous anger of his mother Aphrodite. The renowned Parisian sculptor Auguste Rodin worked on variations on the theme of Psyche between 1886 and 1905. This bronze is a later casting, produced by the Musée Rodin at a foundry in Paris in 1961.

Psyche was purchased by the New Zealand Government in 1962 through a fund established to strengthen learning and cultural relations between New Zealand and France. After being exhibited in Christchurch in 1963, this city became the sculpture’s permanent home.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

The Flemish artist Jan Frans van Son came from an artistic family; his father, Joris van Son, was also a respected painter. During the sixteenth century the demand for artists to paint flower subjects – particularly rare and exotic blooms – mirrored the increased enthusiasm for the cultivation of flowers in Holland. By the seventeenth century, still-life flower painting had become a major genre in Dutch painting, and it was at this that van Son excelled. He relocated to England as a young man around 1675 where he established himself as a highly successful painter renowned for his flower paintings.

(New Dawn Fades, November 2018)

Jacopo Amigoni, who is believed to have been born in Naples or Venice, worked in Munich from 1719 as a painter at the court of Maximilian II Emanuel, Elector of Bavaria, before moving to London to paint for George II in 1729. Renowned as a pioneer of the Venetian Rococo style, Amigoni painted this sumptuous mythological scene during his stay in London. (Its hand-carved, contemporaneous ‘Carlo Maratta’ frame is also English-made, in a style inspired by Italian frames that reached England with returning Grand Tourists.) Smaller versions of Bacchus and Ariadne exist; including one once owned by a friend of Amigoni’s, the famous Italian castrato singer Carlo Broschi Farinelli, who also lived in London in this period. Patronage for artists such as Amigoni and Farinelli linked to the taste for Italian decorative art and high culture then prevalent among Europe’s elite. After returning to Venice in 1739, Amigoni spent his later years from 1747 in the court of King Ferdinand VI in Madrid.

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

Arriving in London in 1909, the Christchurch-born and trained Raymond McIntyre soon gained a reputation there for his small, pared-back landscapes and studies of female heads, painted in an elegant, simplified, Japanese woodblock inspired style. These three paintings were modelled on an actor and dancer who became his principal muse from 1912, sometimes mentioned in his letters home: “The girl who is sitting for me a lot now, Sylvia Constance Cavendish… has a very refined interesting pale face… I have done some very good work from her… she is quite a find.”

McIntyre died in London in 1933. Seven of his works were given by his family between 1938 and 1991.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Between 1618 and 1648, Europe was thrown into turmoil by the Thirty Years’ War – a bitter conflict that raged between Catholic and Protestant states. It was renowned for the vicious fighting often brought about by the large mercenary armies employed on both sides. Here, Droochsloot depicts the confiscations and pillaging by mercenary soldiers as they drive Dutch villagers from their homes.

(New Dawn Fades, November 2018)

Modelled by Alfred Drury after a friend’s daughter in fancy dress, this wistful bronze bust is one of many variations of The Age of Innocence he made between 1897 and 1918; some in white marble. It is regarded as an important work in the British New Sculpture movement, whose followers sought either greater naturalism or symbolic qualities than had been found in the prevailing neoclassical approach.

Brought from England to Christchurch for the 1906–07 New Zealand International Exhibition, it was purchased by the Canterbury Society of Arts, and presented to the city in 1932 to become part of the Robert McDougall Art Gallery’s founding collection.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

The 55-year-old Alexander Walker (1764–1831) and his wife Barbara (née Montgomery, 1770–1831) commissioned Scotland’s leading portraitist, Henry Raeburn, to paint their portraits in 1819. They had married eight years earlier; shortly after Alexander’s retirement from over thirty years’ service with the East India Company – mostly in India – and had two young sons. Alexander had one final Company role before him, that of Governor of St. Helena from 1823–28.

Two of their grandsons, William Campbell Walker and Alexander John Walker, immigrated to New Zealand in 1862 to farm in Canterbury; William later became Minister of Education. These impressive ancestral portraits were presented by descendants in 1984.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Gerrit Berckheyde’s contribution to the Dutch Golden Age of painting was as an exponent of the cityscape, which became a new genre from the mid seventeenth-century. Berckheyde was Haarlem-based, and began producing paintings of Cologne in about 1670, from sketches made in the 1650s. He painted a series of works depicting St. Gereon’s Basilica, a large and distinctive Romanesque style church completed in the thirteenth century.

This painting was purchased through a significant bequest made in 1953 from an insurance settlement from the estate of William Ballantyne (1864–1934), whose art collection had been largely destroyed in the 1947 Ballantyne’s department store fire.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Although he exhibited alongside the Impressionist artists at the Salon de Refusés in 1863, Fantin-Latour was very much an academic painter who continues to be widely admired for his still-life paintings of flowers and fruit. He had a studio in Paris but would travel with his wife and fellow painter Victoria Dubourg to their country cottage at Buré in Lower Normandy during the summer months, where their garden provided a wide choice of flowers and fruit to paint. Fantin-Latour enjoyed painting in a studio environment, hence his liking of still-life subjects, where he had more control over conditions such as lighting and compositional arrangements. He once said he had “…a horror of movement, of animated scenes, and the difficulty of painting in the open air with the sun and the shade.”

(New Dawn Fades, November 2018)