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                    [0] => War artists were appointed in both World Wars.Their work was held in a number of different institutions before settling at Archives New Zealand in 1981. During that time dispersal meant some works were damaged, others were lost, and no comprehensive list was ever originally made. The numbering sequence in series 898 is an artificial one, begun by the National Art Gallery in 1952, and continued by the then National Archives (Archives NZ) from 1981 with a Q prefix and continues to be used to this day. Digital images of this collection can be viewed on the War Art database.
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                    [custom5] => Works of art in various mediums and supports (e.g. watercolour, oils, pencil on paper, canvas, board and cardboard) (see lists for details). Some works are framed.
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	Note: Artists' titles have not been standardised (e.g. Jack Crippen spelt 'Quatara' as this, but Robin Kay spelt it 'Qattara') so alternative spellings should be checked or used when searching.

	Note: Some of the holdings pre-date the series dates. There is one painting by J. McMaster NCWA Q389 from the South African war (Boer war) period.

	Notes: Subsequent to the 1952 recall and renumbering by the National Art Gallery, approximately one third of the National Collection of War Art was lent to the Auckland Institute and Museum, one third remained in the control of the Art Gallery, and one third was loaned out to a variety of institutions around New Zealand. In 1981 when National Archives assumed care of the collection, a nation wide recall of the paintings was begun, which continued into the 1990's.

	It has been noted in the list description field under Notes, that some of the war art is believed to be held in various institutions around the country, these have not been successfully traced and repatriated, therefore they have been marked as missing from the collection. These works of art were not originally transferred to Archives NZ and therefore make repatriation difficult.
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	Introduction

	

	The introduction is provided to explain the listing and origins of the war art and give the current known history of the collection, and its listings.  Biographical notes on each artist are included as an appendix.

	

	Dates given in the listing are those of the completion or execution of the work of art, where this can be ascertained.  Note therefore that the date given may not always be the date of the actual engagement (for example, Nugent Welch's September/November 1918 paintings of the 1916 Somme Battlefield, the first battle to involve tanks and the first battle for New Zealanders in France).

	

	In some cases no date could be found and a time span of the approximate years has been indicated.

	

	History

	

	There were no official New Zealand war artists during the First World War until late 1918 (the Government having resisted pressure to appoint war artists on financial grounds).

	

	However, many works of art prompted by the war were produced before then and some were later purchased for, or donated to, the National Collection of War Art (NCWA), and this is still the case today.

	

	Exhibitions of war art toured New Zealand to raise funds. Horace Moore-Jones' 'Gallipoli' paintings raised money for the New Zealand Returned Soldiers Association in 1917, and were later offered to the New Zealand Government for purchase. (The offer was refused and the Moore-Jones paintings were eventually purchased for the Australian War Memorial).  The French government sent in October 1918, an exhibition of paintings and sketches by French soldiers and sculpture by Italian soldiers, to raise funds for French soldiers blinded in the war. The exhibition raised £1,400, and one of the paintings from the exhibition was purchased by public subscription in Christchurch and presented to the Canterbury Society of Arts.

	

	Soldier artists contributed work, primarily cartoons, to the fortnightly "Chronicles of the New Zealand Expeditionary Forces (NZEF)", the annual "New Zealand at the Front" (published for Christmas 1917 and 1918), "Shell shock" (for example, E.H.Thompson and Billy Bell), and "Four Thoughts" (the Journal of the 4th NZ Infantry Brigade (A.B.Miller) magazine).  Some produced their own response to the war in the form of art (for example, C.Trevithick's diary). Some, for example, A.F. Nicoll and F. McCracken, continued to send work back to art society exhibitions in New Zealand.

	

	By 1918 the example of the British, Canadian, and later the Australian governments, which each had their own war artists in the field, overrode the economic factors, and in February Sir Andrew Russell, commander of the New Zealand (NZ) Division in France, asked for a return of artists in the ranks by March.

	

	In April the landscape artist Nugent Welch was appointed and attached to the Headquarters of the NZ Division. In July he returned to London and painted his first works there, from photographs and sketches.

	

	At approximately the same time, there are references in the Record Group 'WA' (War Archives) holdings to an "artists' section" of the NZEF which consisted of Capt. Butler, Sgt P.G. Reid NZFA, Sgt Finey ASC, Sgt Thompson, Sgt Welch, and Sgt McFarlane (Archives Reference: WA 10/1 ZWR5/1), and to an arrangement for Pte F.H. Cumberworth to paint pictures at Codford Command Depot, Grantham (Archives Reference: WA 10/1 ZWR5/3).

	

	In June, Prime Minister Massey approved further artists, and three New Zealanders living in England were considered. Apparently only soldier artists or those already in England were to be considered, as in July an application by W. Bowring, a New Zealand artist who was already painting the impact of war on New Zealand society, was turned down (on financial grounds).

	

	In August 1918 Sir Andrew Russell approached Eric Kennington (one of the British war artists) as to whether he would become an official New Zealand war artist, but Kennington had to refuse due to other commitments.

	

	In September G.E. Butler and the English artist, A. Pearse, were enlisted as Official New Zealand War Artists for a 6 month period.

	

	Nugent Welch had returned to France on 22 September, and was promoted to Sergeant with a roving commission. He joined a graves restoration team visiting the Somme battlefields of 1916, and completed a series of small watercolours.

	

	Butler and Pearse went to France on 27 September and joined the NZ Division during its rapid advance to the French frontiers. Butler carried a small sketch book with him and on returning to camp would amplify these, and paint larger sketches. Pearse was back in London by the end of October and working on large canvases. After the November armistice, Butler painted "Solesmes", and revisited old battlefields at Messines and in the Ypres salient.

	

	The War Artists were demobilised in March 1919, more suddenly than Butler at least, had expected. He had done 8 portraits of the principal NZEF officers, and had 40 sketches left. Some work was sent to New Zealand in May 1919 and arrived in June.

	

	Welch returned to New Zealand at the end of April, and was employed for a time in varnishing and touching up his works after they arrived from England at the Dominion Museum (then in Museum Street, Wellington).

	

	The first meeting of a War Museum Committee was held on 30 September 1919. It authorised the commissioning of portraits of New Zealand Victoria Cross (VC) winners (6 portraits @ £50 each), and also authorised George Butler to enlarge some of his sketches to oils.

	

	During 1920 the VC portraits programme continued under the supervision of James McDonald, (Assistant Director of the Dominion Museum). The original six commissions soon grew to seventeen.

	

	Horace Moore-Jones was to be offered a commission but could not be traced as he had moved to Australia.

	

	The VC portraits were completed during 1920-1921 and were accepted, with the exception of several which McDonald wanted the artists concerned to repaint.  Francis McCracken refused to do so and would have taken the matter to court, but a settlement was reached in 1922 and the Museum paid up.

	

	In 1924 the Museum declined a request by the Department of Internal Affairs to hold an exhibition of the VC portraits and Butler's war pictures. An exhibition was postponed several times, and eventually abandoned in 1926.

	

	At various times after the war, the British Government presented New Zealand with a number of art works by British War Artists, including 66 unsigned artists' proofs of a lithograph series commissioned by the British Ministry of Information, and original work by some of those most prominent in the British art world.

	

	The collection had originally been envisioned as destined for a New Zealand War Memorial Museum. However, the Museum building was not completed until 1936 and in the meantime, (and thereafter) the paintings from the First World War, under the administration of the National Art Gallery, were considered lacking in artistic merit and not worth hanging, and were stored by the Gallery in various locations around the Dominion Museum. Some of them were not to surface again until the 1980's.

	

	From the beginning of the Second World War, artists and artists' groups lobbied for their employment to record New Zealand's efforts abroad and at home. Army archives indicate some degree of commitment to the idea of pictorial records and various groups and artists were applying or lobbying for positions (for example, Sutton, backed by the NZAFA and E. McCormick). An official appointment (of Austen Deans) was apparently about to be made in 1941 when, having been wounded, Deans was captured by the Germans and spent the remainder of the war as a prisoner-of-war (POW). (Some of Deans' POW works are included in the collection.)

	

	Nothing further seems to have eventuated until General Freyberg took the initiative himself and appointed Peter McIntyre, an artist who had enlisted in London, joined the 34th Anti-tank Battery and after doing some art work had been made a draughtsman at Maadi HQ in Egypt.

	

	McIntyre's original brief was to paint portraits of brigadiers, but this was never done. Instead, he was sent to Crete, and painted there as the Germans invaded. Promoted to Captain on his return he went with the New Zealand forces through the Western Desert to the battles of Sidi Rezegh, Tobruk, with the Long Range Desert Patrol (LRDG) inland (New Zealand had 2 patrols in the LRDG), to Syria and back to the desert with the fall of Tobruk and the offensive against Rommel. He was at the Minquar Qa'im breakthrough, then Tripoli, and the final battle at Wadi Akorit.

	

	After the North African campaign, McIntyre had a furlough leave, during which he took a touring exhibition of his work through New Zealand, raising money for the Red Cross. He flew back to Egypt, then to Italy, rejoining the Division in front of Cassino. Later, before the Trieste push, McIntyre visited London with another 39 of his war paintings, which had been shown first to the New Zealand troops in Italy, and were then exhibited at the New Zealand Fernleaf Club, Lowndes Square, with the title 'Exhibition of Official War Paintings of the Second NZEF'.

	

	The catalogue introduction by General Freyberg stated that "the paintings would be finally sent to New Zealand".

	

	Meanwhile, two further official War Artists had been appointed in March 1943.  Russell Clark, an artist already working for the Army Educational Branch, and A.B. Barns Graham, an artist from the ranks, began painting in the Pacific, where the 3rd Division had been reorganised as an amphibious unit to assist United States assaults on islands held by the Japanese. This part of the NCWA collection includes the mopping up operations on Vella Lavella, operations in Mono and Stirling Islands in the Treasury Islands group from October 1943, and the capture of Nissan and other islands in February 1944, after which the Division was disbanded.

	

	In March 1944, Leading Aircraftman W.F.D. McPhee, a former artist and journalist, was requested by Special Services for duty in the Solomons, as one of a three man team organising a joint art exhibition by New Zealand and American troops, which was intended to tour NZ and the USA to raise money for the war effort. The exhibition 'Art in the Pacific War Zone' opened in mid August 1944 in Munda, visited all the major Solomon bases, and subsequently toured New Zealand. The three organisers prepared extensive portfolios themselves of life among the troops in the Solomon Islands, and McPhee's later came to the NCWA.

	

	Additions to the collection were made from "unofficial" war artists as well. In 1943, the Army Education and Welfare Service in New Zealand sponsored an exhibition by 'Artists in Uniform'. Some works from this exhibition appear to have been purchased for the collection, either at the time or later. Works by Crippen, Moller, and others from an exhibition in the Italian town of Matelica in November 1944, were sent to New Zealand by the official archivist. Works by McNab from Greece, which was otherwise little represented, seem to have been purchased in 1943.

	

	After the war, the work of the official WWII war artists was initially well administered by the Army Department, which used them for the preparation of the Official Histories of the war. The Army Department had each one photographed, and these photographs and their negatives, were later deposited with the Alexander Turnbull Library. The works themselves however were recalled to the National Art Gallery in 1952 for a major exhibition, and were subsequently renumbered.

	In addition, US troops had taken possession of paintings by official German war artists at the end of the war and a selection of these were accepted by the Department of Internal Affairs.

	

	Listing

	

	Few lists have survived prior to 1952.  The other related relationships section lists those which have been discovered from the collection.

	

	In 1952, most of the War Art collection, of which the First World War material was already in a confused state with no accurate list, was recalled for a major exhibition at the National Art Gallery. At that time, regrettably, it was renumbered according to the order in which works had been hung, irrespective of artist, subject, campaign, or previous order.

	

	Subsequently, approximately one third was lent to the Auckland Institute and Museum, one third remained in the control of the Art Gallery, and one third was loaned out to a variety of institutions around New Zealand.

	

	In 1981 when Archives New Zealand assumed care of the collection, a nation wide recall of the paintings was begun. In the meantime however, the lists on files from a variety of Departments had become irretrievably confused, with duplications, overlaps, omissions, and discrepancies. Simply identifying which work was which was a major research task. Additional works, some of which had not been exhibited in 1952 and were thus omitted from any later lists, were discovered right up to late 1980's and early 1990's.

	

	Meanwhile, people continued to use the collection as it was, reproductions were published in books and articles, and additional pieces of war art were acquired.

	

	Archives New Zealand therefore adopted a pragmatic approach in 1981, and continued the existing numbering sequence, with the prefix Q.

	

	The "Q sequence" was initially intended to control works of art which obviously belonged in the Collection, but had not been included in the 1952 exhibition or subsequent renumbering. It thus included preparatory drawings, and works held by the National Art Gallery but not chosen for exhibition.

	

	As the national recall of NCWA went on however, additional works were acquired. The "Q" sequence came to include also: donations by war artists of works painted after the war, works which had clearly been intended for the NCWA but had been purchased later at auction, works returned but unidentifiable in the existing lists, and other works considered to be relevant and complimentary to the collection.

	

	In December 1994 the difficulties of documenting each transferring agency for each item, and of changing the references by which the published parts of the collection were already well known, became apparent. Consequently Archives New Zealand decided to continue the 898 series, including the Q prefix, to treat AAAC (Internal Affairs, Head Office) as the transferring agency, and to withdraw agency codes for individual artists and include this information in a different form (see appendix for biographical notes).

	

	De-accessioning 

	

	In 1997, Duncan McPhee requested that a number of his sketches be returned to him on the grounds that they were of a personal nature rather than being a record of war-time experiences. These were subsequently de-accessioned and the inventory annotated accordingly. To aid continuity the digital copies of these sketches have been retained in the Archives New Zealand's war art picture file and attached to their Archway listing, in the 898 series list, and have been annotated to indicate that they are no longer part of Archives New Zealand's holdings. [Returned to Artist at their request].

	

	In 1999 three items (Q617, Q618, Q619) were returned to their donor. [Returned at the donor's request].

	Appendix

	The primary aim is to make it easier to use the collection as a whole, not to provide complete biographies for each artist.  In some cases very little biographical information is readily available, in others, volumes have already been written.  The information here is, therefore uneven.

	Edward S. Annison

	American WWII artist.  No further information available as yet.

	(Charles) Bruce Bairnsfather (1888-1959)

	Born 9 July 1888, Murree, British India (now Pakistan). Spent his early life in India and was educated in England and joined the Cheshire Regiment and resigned in 1907 to become an artist.

	In 1914 he joined the Royal Warwickshire Regiment and served with a machine gun unit in France until 1915, when he was hospitialised with shell shock.  Later he was posted to the 34th Division headquarters on Salisbury Plain,  where he developed his humourous series for the 'Bystander' about life in the trenches, featuring the character 'Old Bill'.  Many of his cartoons were collected in 'Fragments from France' (1914).  His character 'Old Bill' remained popular between the world wars and he continued 'Old Bill' work during World War II.  He later became the official cartoonist to the American forces in Europe and drew cartoons at Amercian bases and nose art on aircraft. 

	Some of his works were included in the 1952 Exhibition.

	Died 1959, Worcester, UK.                                       

	Allan Barclay Barns-Graham (1906-2006)

	Educated Christ's College, NZ, then 3 years Slade School of Art, London University, where he obtained a Diploma of Fine Arts. Worked as a professional artist.

	During WWII joined the 1st NZ Highland Brigade, 3rd (NZ) Division and was commissioned 2nd Lieutenant.  Unit moved to New Caledonia.

	Position of Official War Artist was posted as a competition through the entire Division. According to his son's recollections, Barns-Graham applied but was turned down by his senior officer (saying "over my dead body"), however on being reapproached that evening in front of several other senior officers, the officer in question backed down and consented.

	Barns-Graham was appointed as an official war artist during WWII, in the Pacific.  He was sent to Vella Lavella, returned at some stage to NZ to paint up sketches already made, then went back to New Caledonia, and to Green Island (but missed the Mono campaign).  The Division was sent home at the end of the Green Island campaign.

	Post-war, Barns-Graham taught at Gisborne Girls High School from 1950 until his retirement.

	Many of his preliminary drawings and watercolour sketches from the war period did not find their way into the collection, and National Archives purchased a large number of such works in 1982.

	F. H. Beckett 

	WWII artist, work included in 1952 Exhibition. No further information as yet.

	William (Billy) Frederick Bell  (1895-1920)

	Born in Dunedin, studied under E. H. Thompson at Dunedin School of Art.  Joined NZEF in 1915 stating his occupation as "artist", served in 3rd NZ Rifle Brigade.  Sent to England on commissioning course 18 July 1918, commissioned 27 January 1919.  In 1916-1918 he, with Thompson, completed a large number of cartoons and sketches for soldier magazines and annuals: "Chronicles of NZEF", "New Zealand at the Front", and "Shell-shock".

	Returned to NZ, 3 October 1919, exhibited in NZ Art Society exhibitions in 1919.  Awarded scholarship to London of £100 a year for 2 years.  Worked passage back.

	Died of rheumatic fever in London 25 November 1920, aged 25.  (Obituary Otago Daily Times 29/11/1920).

	Leo Bensemann (1912-1986)

	Leo Bensemann was a member of the Canterbury School of painters and a member of "The Group" that broke away from the Canterbury Society of Arts.  He was noted for his landscapes, lino and woodcuts, and etchings.

	Bensemann worked as a compositor for the Caxton Press.

	Sir Oswald Hornby Joseph Birley MC, RA (1880-1952)

	Birley was born in New Zealand while his parents were on a world tour.  Upon returning to England, he was educated at Harrow School, London and Trinity College, Cambridge.

	He served in France in WW I first with the Royal Fusiliers, later transferring to the Intelligence Corps obtaining the rank of Captain and being awarded the Military Cross in 1919.  During World War II he served with the rank of Major in the Home Guard.

	A favourite of the Royal Family he was well-known for his portraits of King George V, Queen Mary, King George VI, Queen Elizabeth, The Queen Mother and Queen Elizabeth II.

	

	He painted several highly regarded portraits of his friend Sir Winston Churchill (to whom he also gave lessons).

	He was knighted in 1949.

	James Edward Buchanan Boswell (1906-1971)

	Born in Hokitika, NZ, studied in Elam School of Art in Auckland 1925, then at the Royal College of Art, London 1929.  In 1927 exhibited London Group, 1932 Commercial work.  Joined Communist Party.  Key figure in Artists International.  Cartoons in Left Review.

	Until he left on war service he was Chief of the Studio of the Asiatic Petroleum Company (Shell).  Served in the ranks in North Africa and elsewhere.

	An exhibition by Boswell of paintings from his war experience was opened in London on 15 May 1944 by Mrs Peter Fraser (the Prime Minister's wife).

	Two WWII works by Boswell were purchased and presented by the Rt Hon Peter Fraser in 1945 (NCWA 180 and 181).

	Walter Armiger Bowring (1874-1931)

	Born in Auckland, NZ in 1874.  Illustrated NZ involvement in Boer War.  Illustrator for Christchurch Press, cartoonist and painter in oil and watercolour of historical subjects and portraits.

	Applied unsuccessfully to become an official war artist in 1918, however commissioned later to paint WWI VC portrait, and a number of his other war-related paintings were purchased by the NZ Government.

	Died in Sydney, 1931.

	Sir Frank W. Brangwyn (1867-1956)

	Born in Bruges, Belgium, on 13 May 1867. Welsh painter, etcher and designer of furniture.  When he was eight, Brangwyn and his family moved to London. From 1882, he spent two years working in William Morris’s workshop.  At the time of WWI Brangwyn was a British artist of international reputation.

	He completed 6 lithographs on the training of the British Navy as part of a series entitled "Britain's Efforts and Ideals" by the British Government's Department of Information in 1917.  The series was widely reproduced in the Press and proofs were offered for sale in limited editions of 200.  Exhibitions were toured in Britain and mounted in Paris, and the USA.

	A set of unsigned artists' proofs was presented to the Government of NZ in 1920.

	Knighted in 1941 and died in Ditchling, Sussex, England, 1956.

	L. [Lindsay] M. Buick-Constable

	WWII artist, works included in 1952 Exhibition. He was born in Napier, New Zealand and exhibited with the NZ Academy of Fine Arts.

	Gerald Maurice Burn (1862-1945)

	Born in London, 1862. Burn was a painter and etcher who studied at the London University College School, Royal College of Art, Cologne, Dusseldorf, Antwerp and Paris.  Lived in London in 1881, Belfast in 1899 and Sussex in 1911. A noted marine oils and watercolour painter of the pre WWI period.  His painting of "HMNZS New Zealand" was published as a print series. He exhibited 5 paintings at the Royal Academy.

	George Edmund Butler (1872-1936)

	Landscape and portrait painter in oils and watercolour.

	George Butler was one of the two official NZ war artists appointed in 1918.

	Born Southampton, settled with his parents in Wellington, NZ in 1884.  Studied part-time under James Nairn at the Wellington School of Design (later named the Wellington Technical College), and then with distinction in England, Paris and Antwerp, 1898-1900.

	In 1900 Butler returned to Wellington and exhibited there and in Christchurch that year.  From 1901-1905 he was settled in Dunedin, trying to make a living as a professional artist.  In 1905 he returned to England and settled in Bristol. Exhibited Royal Academy and at the Paris Salon.

	Because of his New Zealand connection he was appointed official NZ war artist with the honorary rank of captain by the NZEF War Museum Committee in September 1918.  Served Sept-Nov 1918 in France attached to NZ Division.  After the Armistice he returned to sketch battlefields in Belgium and France.  Completed a large number of paintings and drawings during this period.

	A further series of drawings, portraits and a number of large landscapes were completed on the initiative of Cabinet Minister Heaton Rhodes and Major General Sir Andrew Russell, the NZ divisional commander, and were finally purchased by the NZ Government in September 1921.

	Butler did not return to NZ.

	J .G. Campbell (1913-1984)

	An untitled woollen weaving was donated to National Archives in 1999.  Although the provenance of the artwork [NCWA Q836] is unclear, it is thought, from the inscriptions on the obverse of the original frame, that the artwork was created by Jack George Campbell, a Trooper in the New Zealand Armoured Corps, in 1944.

	He briefly served in Italy during 1944 with the 18th and 19th Armoured Regiments before returning to New Zealand in 1945.

	Elizabeth F. (Bessie) Christie (1908-?)

	Born Wellington, NZ in 1908. A bombardier in the WAAC (Women's Auxiliary Air Corps) WWII, works purchased by NZ government and included in 1952 Exhibition.

	Russell Stuart Clark (1905-1966)

	Born in Christchurch, NZ in 1905.  Joined Canterbury School of Fine Arts as evening student in 1922.  Studied there for 6 years.  In 1928 joined an advertising agency and in the 1930s worked for John McIndoe Ltd in Dunedin.  Shifted to Wellington in 1938.  In 1942 he was on the staff of the Current Affairs Branch then in 1944 became Official War Artist in the Pacific.  Had worked for Listener and continued to contribute to this and to School Publications.  In 1947 he joined the staff of the Canterbury College School of Fine Arts and widened his areas of concern as an artist.

	As one of the WWII War Artists, Clark worked in the Solomon Islands area making sketches of the life of men on active service, and also visited Noumea and Suva.  Upon his return to Wellington in 1945-46, Clark painted watercolours from the sketches he had done during the war.  Many works from this period did not find their way into the official collection, in particular many preliminary working drawings which are in private hands.  Some of these have been acquired later by National Archives.

	Sir George Clausen (1852-1944)

	Painter in oils and watercolours of landscapes and figure subjects.  Professor of Painting at the R.A. (Royal Academy) Schools, and later Director there.

	Clausen completed a set of six lithographs titled "Where the Guns are Made", as part of the series of 66 lithographs commissioned and published by the British Ministry of Information, London, in 1917.  A set of unsigned artists' proofs was presented to the NZ Government in 1920 and 4 of the 6 lithographs by Clausen are presently part of the NCWA Collection (two have not been located).

	Herbert James (Jim) Bowkett Coe (1917 - 2003)

	Born in Timaru, NZ in 1917. Coe was formally trained at the Canterbury University College School of Art.  In his private work however, he developed a unique style which departed from conventional painting traditions.

	Coe served in the Pacific theatre in the Third Division, Second N.Z.E.F.  His primary military service was in the Solomon Islands where he commanded a platoon in C Company.  Coe’s experience in the Solomons formed the subject of  the four paintings in this collection (122, 145, Q834 & Q835), which were painted after his return from the war, in 1946.  The first two of these works was bought for the NCWA exhibition in 1952, and the latter two were donated to National Archives by James Coe in 1995.  Coe was not an official war artist.

	During the war, Coe sketched portraits of soldiers for them to send home to their friends and family.  After WWII he became active in the arts community, and later established the School of Design at the Wellington Polytechnic.

	Archibald (Archie) Douglas Colquhoun  (1894-1983)

	Born on 26 October 1894 at Heidelberg, Melbourne, Australia.  His art training began at home as a `chief amusement’ before he attended the National Gallery schools in 1911. He studied drawing under Frederick McCubbin but, restless with his progress, left to join the Herald as a staff artist, while also briefly taking classes with Charles Douglas Richardson. When he met Max Meldrum, who had recently returned from France, Colquhoun found a mentor. He studied with him for several years before building a studio and exhibiting with other Meldrum students. 

	For three years Colquhoun travelled in France, Spain, Italy and England.  His paintings were hung at the Société des Artistes Français, Paris (1924, 1925, 1926), and the Royal Institute of Oil Painters, London (1925).

	Died in Melbourne,1983.

	R. M. (Maurice) Conly (1920-1995)

	Born in Duneding, NZ in 1920. New Zealand trained Robert Maurice Conly was an official artist of the Royal New Zealand Airforce, where he held the rank of squadron leader. He served in the Pacific during the Second World War, and later in Vietnam. Two works from the Pacific theatre WWII were included in 1952 Exhibition.

	Conly was based at Christchurch when he returned to Antarctica in 1974 as an Antarctic Arts Fellow under the Artists to Antarctica Programme.

	For 54 years Wing Commander Robert Maurice Conly was the last Royal New Zealand Air Force Official Artist. Designed stamp designs for New Zealand, Tokelau, the Ross Dependency, Niue and the Cook Islands. Conly's New Zealand twenty cent and one dollar coin designs are familiar to all Kiwis.

	

	Dean Cornwell (1892-1960)

	American artist, WWII.  A student of both Harvey Dunn and Frank Brangwyn, Cornwell was equally at home with illustrations and murals.  In the 1920's, Cornwell's work could often be found in Cosmopolitan Magazine providing large, dynamic illustrations for serialised novels and later in the books into which they were compiled.  By the 1930's and 1940's, Cornwell was a household name.  His patriotic war posters and full-page colour advertisements w
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                    [1] => Array
                        (
                            [name] => John Pine Snadden MC
                            [type] => controlled_by
                            [hasBeginningDate] => Array
                                (
                                    [normalizedValue] => 1962-01-01T00:00:00.0Z
                                    [dateQualifier] => Array
                                        (
                                            [0] => exact
                                            [1] => yearOnly
                                        )

                                )

                            [hasEndDate] => Array
                                (
                                    [dateQualifier] => Array
                                        (
                                            [0] => unknown
                                        )

                                )

                            [itemType] => Agency
                            [relationHasSource] => AAFF
                        )

                    [2] => Array
                        (
                            [name] => Department of Internal Affairs, Head Office
                            [type] => controlled_by
                            [hasBeginningDate] => Array
                                (
                                    [normalizedValue] => 1952-01-01T00:00:00.0Z
                                    [dateQualifier] => Array
                                        (
                                            [0] => exact
                                            [1] => yearOnly
                                        )

                                )

                            [hasEndDate] => Array
                                (
                                    [dateQualifier] => Array
                                        (
                                            [0] => current
                                        )

                                )

                            [itemType] => Agency
                            [relationHasSource] => AAAC
                        )

                )

            [rdfType] => recordSet
            [recordIsMissing] => 
            [ricClassification] => NUMERICAL
            [ricClassificationDescription] => Numeric NCWA 001 to NCWA 611, then numeric with a Q prefix e.g. NCWA Q202.
            [seriesAccessContacts] => 

	For permission to view please contact:  Access Services, Archives New Zealand, PO Box 12 050, Wellington.
            [seriesRestrictionReason] => 

	War Art works are restricted for preservation reasons under section 49 (1) (a) of the Public Records Act 2005, and viewing is subject to preservation staff approval and through appointment only.
            [setSpec] => series
        )

)