MOUNT EARNSLAW PAINTED BY EUGENE VON GUERARD

 EUGENE VON GUERARD (1811-1901)

  Mount Earnslaw or Pikirakatahi  (2,819m -9,249 ft)

New Zealand

 In Mount Earnslaw with Lake Wakatipu, Middle Island, in 1877–79, oil on canvas 

New Zealand Mackelvie Trust Collection, Auckland Art Gallery

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu.

Climbing

Reverend W.S. Green had come to New Zealand to try to climb Mount Cook. In March 1882, with guides Emil Boss and Ulrich Kaufmann, he attempted Earnslaw, but transport and weather problems forced them to turn back after climbing 1, 500m (5,000 ft).  After several attempts over a period of years, Glenorchy guide Harry Birley climbed the eastern peak of Earnslaw in 1890. He left a bent shilling in an Irish Moss bottle within a stone cairn, to prove he had reached the top.

The 10 m lower, but much more challenging West Peak, 2.5 km to the west-south-west and separated by a 200 m deep pass, was climbed in 1914 by H.F. Wright and J. Robertson.

Mt Earnslaw (Pikirakatahi) has variety of routes available for a moderate to technical challenge and provide and excellent platform to begin your alpine practice.  The peak(s) west and east, dominate over the northern arm of Lake Wakatipu and the small hamlet of Glenorchy (315 m) is the last frontier before the lush river valley leads the way to the eastern slopes and the access to climb Mt. Earnslaw.  Although the easiest route is not technically demanding, Mt. Earnslaw will physically challenge any mountaineer with a variety of routes on Earnslaw await the climber who wants a technical challenge.   An excellent campsite is located on the old moraine bench at the foot of the ascent track beyond the Rees crossing point 

There are two huts available on the ascent:

1) Earnslaw Hut (at about 1000m - still below the tree line) It is owned by the DOC. Some describe its condition as "derelict" but you should prefer to like it for its historic feel and rustic construction! This is where Frank Wright commenced his FA of West Peak back in 1914. 

2). Esquilant Bivvy at Wright Col (Just beyond it actually) at 2150m owned by N.Z ALPINE CLUB - for more details click here.

The best season to climb is from December to the end of February.  The nearest city is Queenstown.

The Painter 

Johann Joseph Eugene von Guerard was an Austrian-born artist, active in Australia from 1852 to 1882. Known for his finely detailed landscapes in the tradition of the Düsseldorf school of painting, he is represented in Australia's major public galleries, and is referred to in the country as Eugene von Guerard. In 1852 von Guerard arrived in Victoria, Australia, determined to try his luck on the Victorian goldfields. As a gold-digger he was not very successful, but he did produce a large number of intimate studies of goldfields life, quite different from the deliberately awe-inspiring landscapes for which he was later to become famous. Realizing that there were opportunities for an artist in Australia, he abandoned the diggings and was soon undertaking commissions recording the dwellings and properties of wealthy pastoralists.

By the early 1860s, von Guerard was recognized as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque.  He is most known for the wilderness paintings produced during this time, which are remarkable for their shadowy lighting and fastidious detail.  Indeed, his View of Tower Hill in south-western Victoria was used as a botanical template over a century later when the land, which had been laid waste and polluted by agriculture, was systematically reclaimed, forested with native flora and made a state park. The scientific accuracy of such work has led to a reassessment of von Guerard's approach to wilderness painting, and some historians believe it likely that the landscapist was strongly influenced by the environmental theories of the leading scientist Alexander von Humboldt. Others attribute his 'truthful representation' of nature to the criterion for figure and landscape painting set by the Düsseldorf Academy.

In 1866 his Valley of the Mitta Mitta was presented to the National Gallery of Victoria in Melbourne; in 1870 the trustees purchased his Mount Kosciusko shown in this article was titled "Northeast view from the northern top of Mount Kosciusko", which is actually  "from Mount Townsend". 

In 2006, the City of Greater Geelong purchased his 1856 painting View of Geelong for A$3.8M. His painting, Yalla-y-Poora, is in the Joseph Brown Collection on display at the National Gallery of Victoria.  The State Library of New South Wales in Sydney holds an extensive collection of working sketchbooks by Eugene von Guerard, as well as larger drawings and paintings and a diary. The sketchbooks cover regions as diverse as Italy and Germany, Tasmania, New South Wales, and of course, Victoria.

In 1870 von Guerard was appointed the first Master of the School of Painting at the National Gallery of Victoria, where he was to influence the training of artists for the next 11 years. His reputation, high at the beginning of this period, had faded somewhat towards the end because of his rigid adherence to picturesque subject matter and detailed treatment in the face of the rise of the more intimate Heidelberg School style. Amongst his pupils were Frederick McCubbin and Tom Roberts. Von Guerard retired from his position at the National Gallery School the end of 1881 and departed for Europe in January 1882. In 1891 his wife died. Two years later, he lost his investments in the Australian bank crash and he lived in poverty until his death in Chelsea, London, on 17 April 1901.

EARNSLAW / PIKIRAKATAHI BY JOHN TURNBULL THOMSON

JOHN TURNBULL THOMSON (1821-1884)

  Mount Earnslaw or Pikirakatahi  (2,819m -9,249 ft)

 New Zealand  

In Earnslaw, 1883, watercolor on paper, Museum of New Zealand - Te Papa Tongarewa 

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu.

Climbing

Reverend W.S. Green had come to New Zealand to try to climb Mount Cook. In March 1882, with guides Emil Boss and Ulrich Kaufmann, he attempted Earnslaw, but transport and weather problems forced them to turn back after climbing 1, 500m (5,000 ft).  After several attempts over a period of years, Glenorchy guide Harry Birley climbed the eastern peak of Earnslaw in 1890. He left a bent shilling in an Irish Moss bottle within a stone cairn, to prove he had reached the top.

The 10 m lower, but much more challenging West Peak, 2.5 km to the west-south-west and separated by a 200 m deep pass, was climbed in 1914 by H.F. Wright and J. Robertson.

Mt Earnslaw (Pikirakatahi) has variety of routes available for a moderate to technical challenge and provide and excellent platform to begin your alpine practice.  The peak(s) west and east, dominate over the northern arm of Lake Wakatipu and the small hamlet of Glenorchy (315 m) is the last frontier before the lush river valley leads the way to the eastern slopes and the access to climb Mt. Earnslaw.  Although the easiest route is not technically demanding, Mt. Earnslaw will physically challenge any mountaineer with a variety of routes on Earnslaw await the climber who wants a technical challenge.   An excellent campsite is located on the old moraine bench at the foot of the ascent track beyond the Rees crossing point 

There are two huts available on the ascent:

1) Earnslaw Hut (at about 1000m - still below the tree line) It is owned by the DOC. Some describe its condition as "derelict" but you should prefer to like it for its historic feel and rustic construction! This is where Frank Wright commenced his FA of West Peak back in 1914. 

2). Esquilant Bivvy at Wright Col (Just beyond it actually) at 2150m owned by N.Z ALPINE CLUB - for more details click here.

The best season to climb is from December to the end of February.  The nearest city is Queenstown.

The painter 
John Turnbull Thomson was a British civil engineer and artist who played an instrumental role in the development of the early infrastructure of nineteenth-century Singapore and New Zealand.
After his father was killed in a hunting accident in 1830, the young Thomson and his mother went to live in Abbey St. Bathans, Berwickshire. He was educated at Wooler and Duns Academy, later spending some time attached to Marischal College, Aberdeen, and Edinburgh University before studying engineering at Peter Nicholson's School of Engineering at Newcastle-on-Tyne.
Thomson arrived in the Malay Straits in 1838 and was employed by the East India Survey. In 1841 he was appointed Government Surveyor at Singapore and in 1844 became Superintendent of Roads and Public Works. He was responsible for the design and construction of a number of notable engineering works including bridges, roads, and hospitals. His outstanding achievement was the erection of the Horsburgh Lighthouse on Pedra Branca. In 1853 his health failed and he returned to England where he studied modern engineering techniques, and travelled widely through Britain and the Continent inspecting engineering works. Early in 1856 he emigrated to New Zealand, where he worked as Chief Surveyor of the Otago Province until 1873. From 1876 until 1879 he was Surveyor-General of New Zealand. He was also the original surveyor of the city of Invercargill.
From 1856 until 1858 Thomson surveyed and explored large sections of the interior of the South Island, covering most of the southern half of the island.
He was also a amateur painter of landscapes, working mostly in oils, almost known for the interesting historical topographical viewpoint of his paintings.

MOUNT EARNSLAW / PIKIRAKATAHI BY LAURENCE WILLIAM WILSON

 

LAURENCE WILLIAM  WILSON  (1851-1912),

Mount Earnslaw / Pikirakatahi  (2,819m -9,249 ft)

New Zealand 

In  Mount Earnslaw, 1887,   oil on canvas., 84x120cm

The mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu.

The painter
Laurence William Wilson emigrated to Auckland in 1877 and then travelled extensively to settle in Dunedin in 1884. He painted in both oils and watercolours, became a painting companion of George O'Brien and a teacher. One of his pupils was the Dunedin artist Alfred O'Keefe. In 1895, LW Wilson together with Grace Joel, Alfred O'Keefe, Jane Wimperis and Girolami Nerli formed the Easel Club , a breakaway from the Dunedin Establishment, which offered a programme of special classes and the introduction of a professional lady model for life drawing. In 1904 LW Wilson left Dunedin for Melbourne where he spent 5 months on a commissioned painting of the city before he set out for England, eventually returning to New Zealand via India and Africa. He exhibited with the Canterbury Society of Arts in 1882 and the Otago Art Society between 1994 and 1904. His work was included in the NZ and South Seas Exhibition Dunedin 1889-90 and at the St Louis Exposition in 1904. LW Wilson is represented in the collections of all the major public galleries in New Zealand.

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2020 - Wandering Vertexes...
by Francis Rousseau

MOUNT EARNSLAW / PIKIRAKATAHI BY JOHN TURNBULL THOMSON

EDWYN TEMPLE (1835-1921)

Mount Earnslaw / Pikirakatahi (2,819m -9,249 ft)

New Zealand

 In  Mount Earnslaw-Lake Wakatipu 1883 oil on canvas - Private collection New Zealand 

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu.

The painter 
 Edwyn Temple, or 'The Captain' as he was referred to by his friends and family, was born in England in 1835, the son of Lieutenant Colonel John Temple and the grandson of Grenville Temple-Temple 9th Baronet of Stowe.  Educated at Rugby School, he entered the military services in 1853. During a brief period in Italy a relative, Princess Pondalfina, recognised his ability and engaged a tutor to teach him the rudiments of painting.
Temple was ensigned in 1854 and became a Captain in the 55th Foot (Westmoreland) Regiment in 1858. He later served in the Crimea and in India from 1864 to 1866. By that time he had married and the first of a family of nine children had been born. It was more than nine years after retiring from the army that he decided to emigrate with his wife and family to New Zealand, arriving in Lyttelton on 25 October 1879.
Within a very short time of his arrival, he was established and developed a network of ex-military friends in Christchurch. Some of these were among the group that got together in June 1880 to form the Canterbury Society of Arts. Temple's role in its formation cannot be overstated and, in acknowledgment of this, he was elected to the key role of Secretary/Treasurer of the Society.
In 1882 he moved to Geraldine to a property, 'Castlewood', which he had purchased the previous year. There he lived and farmed for almost three decades, a Justice of the Peace from 1883, but mostly concentrating on painting before retiring to live in Timaru in the 1900s.
There is no question that Temple had an inner drive. He was a compulsive sketcher who drew on any piece of paper readily at hand as the mood took him; letters, ledgers, telegrams, envelopes, even wrapping paper were all targets for his pen, pencil or brush. His imagination was fertile and, coupled with a sardonic wit, resulted in many lively and amusing drawings and paintings. Though he was not considered to be a professional artist in the accepted sense, he was serious in his endeavours with painting and his approach was nothing short of professional. To have spent the time to produce such a quantity of work, of which those in this exhibition are only a small representation, shows that he was not just engaged in a diverting pastime.
Between 1880 and 1892, which was his most active period as an artist in New Zealand, Temple made many trips over the South Island with his relative and friend James Dupré Lance of Horsley Down Station. He also travelled with the government Surveyor John H. Baker. It was during these trips that he made sketches that were later developed into more major paintings, many of which he regularly showed at either the Canterbury Society of Arts, or the Otago Art Society annual exhibitions where they often received favourable notice from contemporary reviewers.
Temple also exhibited beyond New Zealand, first in 1880 in Melbourne, then in 1886 at the Colonial and Indian Exhibition London. He was also represented at the New Zealand Industrial Exhibition in Wellington in 1885 and the New Zealand and South Seas Exhibition held in Dunedin in 1889–90.
He made return trips to England in 1892 and 1909 during which he made many landscape paintings.
Although the landscape was dominant in Temple's work, it was the alpine region of the South Island that particularly interested him and made him recognised in Canterbury as a specialist in this genre. Lakes Wanaka and Wakatipu were of special interest and these locales formed the backdrop to his imagery. From an early age Temple had visited Switzerland and the Lake District where several of his uncles had established themselves as gentry around Lake Ullswater and, in a sense, he had found a New Zealand equivalent to this experience. At the time of his death in 1920 Temple had amassed a considerable body of work that included paintings and drawings from his imagination that were pure fantasy as well as landscape, caricature and narrative subjects. Today, many hundreds of works are held by Temple's descendants scattered throughout the world but he is also represented in collections held by the National Library of Australia, Canberra; Hocken Library, Dunedin; Alexander Turnbull Library, Wellington; Centre of Contemporary Art (incorporating Canterbury Society of Arts) Christchurch; as well as the Robert McDougall Art Gallery.
=> Courstesy Christchurch Art Gallery / Te Puna o Waiwhetū
___________________________________________
2019 - Wandering Vertexes...
by Francis Rousseau 

EARNSLAW / PIKIRAKATAHI PAINTED BY CHARLES BLOMFIELD

CHARLES BLOMFIELD (1848-1926)

  Mount Earnslaw or Pikirakatahi  (2,819m -9,249 ft)

 New Zealand  

In Mount Earnslaw from head of Lake Wakatipu, oil on canvas, 1885 

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu. 

The painter 
Charles Blomfield  was a New Zealand decorator, artist and music teacher born in London, England.
A widow, Blomfield's mother brought her family to New Zealand in the 1860's intending to settle in Northland as part of a settlement called Albertland. On arrival in Auckland they decided not to proceed on Northland to become farmers but to pursue urban trades in Auckland. The family remained in Auckland after that and many of the descendants of the various children still reside in the Auckland area.
Charles Blomfield lived in Freeman's Bay - 40 Wood Street, in a house built by his brother and allegedly made out of the timber from one large Kauri tree. As well as an exhibiting easel painter Blomfield worked as a sign-writer and interior decorator; for this trade he maintained studios in shops at various times. These were usually on Karangahape Road, one of these was shared with his daughter who made a living painting floral pieces which she also exhibited at the Auckland Society of Arts.
Blomfield travelled throughout the centre of the North Island on several occasions in the 1870s and 80s creating many landscape paintings of the New Zealand countryside, often for sale to visitors to New Zealand. He was fortunate to view the famed Pink and White Terraces several times and paint them before they were destroyed by the eruption of Tarawera in 1886. His meticulous sketches and finished paintings are some of the main records of them (see above).  For the remainder of his life he was probably able to rely on new versions of his classic views of them to supplement his income.
His paintings are widely regarded as the epitome of 19th century New Zealand landscape art, although his work, like many of his contemporaries, fell out of fashion during the 20th century, only to be re-evaluated in the 1970s. He was unable to come to terms with developments in art and remained staunchly conservative and hostile to 'modern art'. In his later years he found himself increasingly sidelined by the artistic circles in Auckland which he had previously shone in and was probably embittered by this.
Blomfield died at his residence in Wood Street in 1926. He was survived by several children. One of his brothers, William, was a noted newspaper cartoonist.