John Gibb
Scotland / Aotearoa New Zealand, b.1831, d.1909
Bottle Lake
- 1882
- Oil on canvas
- Presented to the Canterbury Society of Arts by W Reece, 1902; given to the Gallery in 1932
- 1025 x 1595 x 135mm
- 69/164
Tags: animals, birds (animals), boats, lakes (bodies of water), landscapes (representations), mountains, natural landscapes, people (agents), reflections (perceived properties), trees
About the artist
John Gibb in his studio
The Weekly Press, 12 December 1900, p. 62
Image supplied by Christchurch City Libraries (CCL-PhotoCD07-IMG0022)
Bottle Lake appears revealed at Gibb’s favoured time of day, when the sun is low on the horizon and the sky is luminous with colour. On a boat in the lake some eeling is underway. Sunlight streams across the landscape, softly striking clouds and treetops, while the grass at the water’s edge is absolutely radiant in streaks of vivid green. The scene is highly detailed and the eye is encouraged to linger on the seductive serenity Gibb has provided.
(Endless Light, 29 June 2019 – 8 March 2020)
Exhibition History
John Gibb, 18 December 2015 – 28 August 2016
Bottle Lake used to be part of the Waitikiri swamplands that lay to the north-east of Christchurch. Before the land around the lake was purchased by English settler Edward Reece, twenty years before Gibb painted this work, this was an important area for Ngāi Tahu, being rich with eels and other fish – as referenced by Gibb's inclusion of fishermen catching an eel. Much of Waitikiri was drained and turned over to pasture – and, more recently, housing for Christchurch's growing population. A visit to the nearby Travis Wetland Nature Heritage Park gives the visitor some idea of what Waitikiri would have been like in the nineteenth century.
Gibb was commissioned to paint Bottle Lake by William Reece, the son of Edward Reece. It is thought that the view is taken from Reece's homestead, which was also named Waitikiri.
Bottle Lake, about 8 kilometres north-east of Cathedral Square, is also known as Waitikiri and was used as an eeling lagoon by Ngāi Tahu. In 1862 Edward Reece bought the land around the lake and built his homestead, naming it 'Waitikiri'. As John Gibb's painting shows, Reece introduced cattle and exotic trees to his property. In his precise, academic realist manner, Gibb painted many homesteads of Canterbury farmers throughout his career. This work was commissioned by William Reece, one of Edward's sons. Gibb was born in Cumbernauld, Scotland. He received tuition from John McKenzie at Greenockand, in 1861, began exhibiting at the Royal Scottish Academy. In 1868, however, he began exhibiting at the more progressive Royal Glasgow Institute of Fine Arts. Gibb emigrated to New Zealand in 1876. He settled in Christchurch, was a founding member of the Canterbury Society of Arts and travelled widely in New Zealand, painting many different regions. (Label date unknown)
Related reading: John Gibb
Notes
‘Where the picture stops and the world begins’
The way a work of art is framed affects our perception of the piece. A bad frame can detract and distract, a good frame enhances and even extends a work. While the Gallery has been closed we have updated frames for a number of works in the collection.
Notes
Flood in Otira Gorge by John Gibb
This article first appeared as 'Stormy weather' in The Press on 26 April 2013.
Notes
Across the Main Divide
One of the great benefits of living in Christchurch, especially post February 2011, is the amazing alpine playground that lies within easy reach of the city – the mighty Southern Alps.
Collection
John Gibb Shades of Evening, the Estuary
By 1880, when the Canterbury Society of Arts was formed, John Gibb was the most popular painter of the Christchurch art world. Gibb was so highly regarded that the very first work acquired for Christchurch’s civic art collection was his Shades of Evening, the Estuary. It was purchased in 1881 by the Canterbury Society of Arts from its inaugural annual exhibition and then presented to the Gallery in 1932. Gibb loved sunsets; the golden hour when there’s still a trace of day in the sky. According to one family member Gibb would drop whatever he was doing in the evening to watch and study the setting sun. His pleasure in the atmospheric effects of evening light is apparent here, as the sun’s last rays create a subtle glow on the clouds, which is also reflected in the water. The view takes in Christchurch’s Ihutai / Avon-Heathcote Estuary.
(March 2018)
Collection
John Gibb From the Foot of the Hills
Gibb's view of the Canterbury Plains from the foot of Christchurch's Port Hills highlights the agricultural potential of this vast, flat expanse. The plains are also known as Kā Pākihi Whakatekateka a Waitaha, which translates from Māori as the seedbed of Waitaha (the region's early inhabitants). The region was a bountiful food source for the people of Ngāi Tahu, providing just as it does today. The cows standing in the middle of the gentle Heathcote / Ōpāwaho river in this painting provide a reminder, however, that this land needs to be respected if future generations are to continue to benefit from what Kā Pākihi Whakatekateka a Waitaha has to offer.
(John Gibb, 18 December 2015 – 28 August 2016)
Collection
John Gibb Lyttelton Harbour, N.Z. Inside the Breakwater
John Gibb’s Lyttelton Harbour, N.Z., Inside the Breakwater shows a busy port full of ships unloading and loading their cargo. By 1886, when this painting was completed, the town of Ōhinehou Lyttelton had been settled by Pākehā for thirty-seven years, and the port had become one of New Zealand’s busiest. Whakaraupō Lyttelton Harbour provided welcome refuge for ships from Te Moana-nui-a-Kiwa the Pacific Ocean beyond the harbour’s heads, particularly once the breakwater had been completed. Gibb’s painting shows fishing boats, sailing and steam ships, a launch and even a rowboat plying the sheltered waters of the harbour, busily going about their business. It was first shown at the Colonial and Indian Exhibition at the Royal Albert Hall in London in 1886, where it would have served well in promoting the progressive industry of the port and the prosperity of the Canterbury Province to an international audience.
(Ship Nails and Tail Feathers, 10 June – 22 October 2023)
Collection
John Gibb Clearing up, Otira Gorge
Referring to food rations for a tira, or travelling party, the name Ōtira originally applied to an area on the Ōtira River where provisions were gathered before journeying eastwards over Kā Tiritiri-o-te-moana Southern Alps. In 1857, led by Te Tai Poutini West Coat chief Tarapuhi and his brother Wereta Tainui, Canterbury Provincial Council clerk Leonard Harper was the first Pākehā to cross the range, over Nōti Taramakau – which was promptly renamed Harper Pass. Tarapuhi had also mentioned the largely unused Ōtira route, which was surveyed in 1864 by 23-year-old provincial surveyor Arthur Dobson. Seen as the most suitable route for linking the eastern Waitaha Canterbury settlement to the Hokitika goldfields, a road through Ōtira – and what became known as Arthur’s Pass – opened two years later.
He Kapuka Oneone – A Handful of Soil (from August 2024)
Collection
John Gibb Clearing up after Rain, Foot of Otira Gorge
From 1885 on, Scottish painter John Gibb took repeated sketching trips to Ōtira Gorge, a destination advertised in daily newspapers as offering “The Grandest Scenery in the World”. Travelling to Ōtira from Ōtautahi Christchurch at the time was quite an undertaking: a train journey to Tawera Springfield was followed by a jolting stagecoach trip through the Bealey district and Arthur’s Pass, and the accommodation options on arrival were basic. The horse-drawn travelling party pictured here had crossed Kā Tiritiri-o-te-moana Southern Alps, but were yet some hundred kilometres from their journey’s end at Hokitika on Te Tai Poutini West Coast.
He Kapuka Oneone – A Handful of Soil (from August 2024)
