AA 8  George French Angas  Guide to Records
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Series AA8/07
New Zealand Watercolours - 'Portraits of the New Zealand Maori'
Date Range1844
Quantity30 cm, 43 Watercolours
ProvenanceGeorge French Angas
Description

In 1844, George French Angas sets foot in New Zealand 75 years after Captain Cook and only 4 years after the signing of the Treaty of Waitangi. He embarks aboard a schooner in the month of July and spends 6 months visiting Wellington, Porirua, Marlborough Sounds, Auckland, Waikato district, Mokau coast, Upper Wanganui and Taupo. Angas tracked through the countryside either by foot or canoe, recording scientifically by sketching, painting and describing the landscape, the Maori people, their architecture, canoes, weapons, utensils, flora, fauna, food, craft, customs and culture, conscious that the advent of whalers, traders and missionaries arriving since the 1790s impacted upon traditional culture. Retrospectively, Angas writes in the preface of 'The New Zealanders Illustrated' dated 1 July 1846:

'Perhaps at the present moment, no country in the world is more peculiarly interesting than New Zealand; no race of men more singular that its Aboriginal Inhabitants.The position the New Zealanders hold with respect to thousands of our countrymen, and the great change that is daily going on in their physical and social condition, renders it necessary that a more correct idea of them should be obtained at home, than one offered by mere description. Up to the present time, the New Zealander, it is submitted, has never been carefully and faithfully pourtrayed; and his habits, costumes, and works of art, though so rapidly disappearing before the progress of Christianity and Civilisation, are yet unrecorded by the pencil of the artist.

To accomplish this task, I visited both Islands of New Zealand, and spent a considerable period in travelling round their coasts, and penetrating though the interior-by seeking out nearly every tribe of natives, and living amongst them for some time, in the remote and almost unknown parts of the country, I have succeeded in obtaining portraits of the most important Chiefs, with their families, and have made drawings, on the spot, of all objects of interest connected with their history.

I take this opportunity of returning my thanks to Thomas Spencer Forsaith, Esq., the Protector of Aborigines, at Auckland, for his useful assistance on many points connected with the natives, and in procuring me the friendship of several influential Chiefs.

I also return my thanks to the Missionaries, and those Gentlemen at the various settlements from whom I received such polite assistance and attention.'

Whilst Angas's paints a romantic picture in his description, in reality he endured some hardships along the way: hunger, eating rancid food, wading in deep water and mud, sand flies, mosquitoes and ill-health. Curiosity, saw him take risks such as sketching sites considered wahi tapu (sacred). Wahi tapu can be permanent, temporary, tangible or intangible and can be applied to sites, events and people. It provides the spiritual and cultural base of the Maori people and can vary from iwi to iwi (tribe) that had he been caught, he would have incurred the wrath of the local chief. Watercolours that have been identified as wahi tapu, that is restricted from public view due to cultural sensitivities, are labelled as restricted. The process of identifying restricted watercolours is a work in progress managed by Eleazar Bramley of the Taupo Museum in conjunction with the relevant Iwi elders. To date determinations have only been made by the Ngati Tuwharetoa Iwi. Consultation for permission to display images of the watercolours is also in progress.

Not only did Angas use his brush and pencil but collected specimens as well that were described in journal articles and later donated to public institutions.

What follows is an attempt to extract parts of Angas's voyages as described in his 1847 publication 'Savage Life and Scenes in Australia and New Zealand' and correlate them to the watercolours held in the South Australian Museum. The watercolours form the basis for the lithographs published in 'The New Zealanders Illustrated' (Series 6) and 'Portraits of the New Zealand Maori' (Series 7). Not all the watercolours were published and some of the watercolours are not held by the South Australian Museum. The Inventory Title is the original watercolour title. The inventory listing below, not only relates the watercolours to the lithographs but also notes any variations from the original to the publication. The lithographers included Hawkins, Benjamin Waterhouse (1807-1889), Hawkins, Frances Louisa (nee Keenan, 1839-1868), Giles, James William (1801-1870) and Angas himself.

In 1844, just 7 months after landing in South Australia Angas records:

'One evening in the month of July, whilst sitting in my verandah at Adelaide, I took it into my head to visit New Zealand: a friend had shown me some beautifully ornamented weapons he had brought from thence, and that night I went to bed and dreamed of native pahs [fortified villages] and stately tattooed chiefs. In the morning I was packing up my trunk to go on board a schooner belonging to the South Australian company, which was to sail with a supply of flour for the European settlements in New Zealand.' (p224, Volume 1)

Eight days after leaving port, Wilson's Promontory is sited and in less than 8 days later, the summit of Mount Egmont can be seen in the distance. The very next day, anchor is cast in Port Nicholson (currently, Wellington). Upon disembarkation Angas checks into the Barratt's Hotel. The hotel collapsed in the 1855 earthquake after sustaining damage from the 1848 earthquake. For more on the Barratt's hotel see Bremner, Julie 'Barratt's Hotel: The Victorian Rendezvous' in Hamer, D & Nicholls, R (ed) The Making of Wellington 1800-1914, 1990, Victoria University Press.

'This is the only good hostel in the place, and is the rendezvous for all the gentlemen of Wellington; in fact, it is the exchange, coffee-room, auction-mart, public-house, and general place of meeting and resort for all the merchants, idlers, and speculators with which this settlement abounds: billiards are played without interruption, and liquors and champagne circulate rather too freely for a new colony. The state of society may be inferred, from the not unusual circumstance of the most fashionable of these gentlemen being trundled home in wheelbarrows from a ball, at the late hour of ten in the morning, on two succeeding days.' (p 234, Volume 1)

Angas makes the observation that staples such as milk, butter and meat are expensive, the poorer classes subsisting on pork and potatoes which are purchased from the Maori people. Maori men on the other hand buy muskets, powder and blankets, the women buy dresses, earrings and finery.

On the morning of his landing Angas visits Pipitea pah where he meets Nga Tata, the chief of Pipitea and Kumototo, and the father of E Tako the present chief of Port Nicholson. For several days he visits the local pahs and sketches the local people. Angas, quickly learnt to pay compliments to the highest ranking chief and sketch his portrait first before a slave, child or person of less importance. Without the cooperation of the highest ranking chief then the other members of then iwi (tribe) would not be willing either.

At Port Nicholson Angas sketches:

  • Te Rau (Koterau), daughter of Tariu the chief of Tokaanu in Taupo and E Pupa, sister of E Tako (AA 8/7/6)
  • Ko te Hameme, Ko Patara and Tatu, August 1844 (AA 8/7/8)
  • Abraham Taupo (AA 8/7/9)
  • Hori, Ko Te Waihaki, Te Kauwai and Pihaiti (AA 8/7/7)
  • children at Pitoni (AA 8/6/21)

At Te Aro pah, Angas sketches:

  • Artongna and Tahuna from Queen Charlotte's Sound (AA 8/7/11)
  • E Manu and Taituha from Queen Charlottes Sound (AA 8/7/12)
  • Aitu (AA 8/7/13)

During Angas's last afternoon at Te Aro, Kutia (AA 8/7/3), the wife of Rauparaha and son Ko Katu (Tamihana, Thompson, AA 8/7/2) arrive at Port Nicholson. Kahoki (AA 8/6/5), the daughter of the chief of Roturua Lakes and niece of Rauparaha were also there and she encouraged her relatives to sit for Angas. Angas then sketches Rauparaha (AA 8/7/2) and Hamaiti, Chief of Okahuhu (AA 8/7/3).

Along the shores of the harbour are several villages, the principal of which is Kai Warra-Warra, governed by Chief Te Ringa Kuri. Here Angas sketches Taringa-Kuri's house (AA 8/7/1). Angas pays his next visit to Nga Hauranga, previously governed by the late chief Warepouri, which is 3 miles from Wellington and then onto Petoni which is at the head of the harbour near the entrance to the valley of the Hutt and where E Puni resides. After completing a sketching tour of the local Maori people, Angas sets on foot for the Porirua Harbour. He takes with him Tuarau (Kopai, nephew of Te Rauparaha) son of Na Horua (Tom Street) who they visit on the way. Na Horua is the tohunga (priest) and therefore his body is considered tapu (sacred). At the time of their visit, his recently ill wife, E Wai (AA 8/6/5), was made tapu for 3 days. This meant that everything she touched also became tapu. Breaking tapu was punishable.

Angas proceeds to the mouth of the harbour and arrives at Porirua pah. Nearby is one of Jordy Thoms' residences, a master whaler for more than 20 years. Angas also recounts the Wairau Massacre, which was the first serious clash between the Maori people and the British settlers after the signing of the Treaty of Waitangi on 17 June 1843.

At Porirua, Angas sketches Pu and her three children, Roro, Toa and infant (AA 8/6/9).

Angas arrives at Rangihaeata's pah which is a few hundred yards beyond taupo pah and gives the Chief gifts of tobacco to distract him whilst sketching his portrait. There, Angas finds Rangihaeata's second wife, E Pori (AA 8/6/10) and Hurihanga a tohunga (priest)(AA 8/7/4). Angas crosses by canoe over to the Island of Mana or Table Island with three of Rangihaeata's slaves. After he arrives, Angas notes that the architecture has changed; the previous ornamented wooden huts were replaced by raupo huts. There he sees two elaborately ornamented buildings: Rangihaeata's house called Kai Tangata or Eat man (AA 8/6/3) and the mausoleum of E Tohi (AA 8/6/41), Rauparaha's sister. Angas records:

'Day after day have I spent exploring ruined and tapued pahs, frequently by stealth, searching for these primitive works of an extraordinary and ingenious people. A desire to preserve memorials of the skill and ingenuity of [the Maori people], who themselves ere long may pass away, and become, like their houses, matters of history, induced me to make carefully coloured drawings on the spot of the most curious and characteristic specimens of Maori architecture and carving.' (p266-267, Volume 1)

Angas sketches the interior of a house and two women weaving at Rangihaeata pah (AA 8/6/48 number IV).

At some stage, Angas sketches E Paki and Rangitaurau (AA 8/7/5) at Porirua on 1 September 1844.

No sooner had Angas returned from Porirua that he boards a schooner, and sails to Cloudy Bay, in the South Island. Upon arrival, Angas makes his way to visit Old Thoms, the whaler, situated at Te awa iti, approximately 1 mile up the Tory Channel. He was the first European to discover and enter Port Nicholson. With George Thoms (AA 8/6/8) as his guide they trudged through the hills to find the ruins of Nga ti kahunis pah. There, they encounter a woman, who posed for the portrait with her pig by her side but ‘was wondering, no doubt, what strange art was being practised upon her'. They then visit Okukuri pah sitated just inside the Tory Channel before returning to Te awa ti. There he sketches E Karo and E Kau (AA 8/7/10).

Angas was keen to visit the tomb of Huriwenua (AA 8/6/14), located approximately 6 miles up the Tory Channel, so with Thoms and his children they set sail in Black Charley an Australian Aboriginal person's schooner. Huriwenua's village was wahi tapu as he had only recently died.

Angas leaves Thoms after their return to Cloudy bay and sets sail round the east coast of New Zealand to Auckland, a government town, located in Waitemata harbour. After 8 days, he disembarks and makes his way by foot to Orakai, 6 miles away. On the way to Orokai, the party pass through a potato ground with a cooking shed in one corner of the plantation (AA 8/7/16). There he meets Moana, son of Te Kawaw a principal chief of the Ngati watua, and his cousin Rawhide.

In Orakai, Angas meets with his friend Forsaith, a Protector of Aborigines, who helps influence Te Kawaw and other prominent people to sit for him, including Moana who is the son of Te Kawaw (AA 8/7/14), his nephew Paora, his wife Nga mako, and Rawiti who is the grandson of Kawau (AA 8/7/14). Angas notes that the women in the vicinity of Auckland wear European dress but with a woven mat worn over the top. Angas also sketches Ngeungeu (AA 8/6/2) who is the daughter of Tara (Irirangi) (AA 8/6/24) and the wife of Thomas Maxwell with her son James (AA 8/6/2) and Stephen (AA 8/6/4).

Back in Auckland, Angas stays with his friend Dr Andrew Sinclair, the Colonial Secretary and paints Pomare (AA 8/7/15), the Chief from the Bay of Islands, Nene (Thomas Walker) the Chief of Hokianga and Patuone (see AA 8/6/1), Nene's older brother. At this point Angas, records observations on everyday life such as the introduction of corn by Cook and Maori people no longer weave with flax but buy blankets.

Angas decides to explore the interior of the North Island which is only accessible by foot as the forests are dense, and there are swamps, rivers and precipes to overcome. With Forsaith who was on his way to the British settlement of Taranaki as his companion, they set out on their 800 mile journey in the early spring of 1844, heading up the Waikato River along the Western coast. Angas records:

'But when penetrating the interior and visiting districts of Mokau and Taupo Lakes, I was accompanied only by natives; and during the whole period of my sojourn with the New Zealanders, I invariably experienced both hospitality and protection. My mission amongst them was one of peace: I did not covet their land; and my coming from Europe for the purpose of representing their chiefs and their country was considered by them a compliment. The chiefs readily acceded to my requests, and facilitated the purpose of my journey; and I was everwhere known by the title of Te pakeha no te Kene Ingerangi, or 'The stranger from the Queen of England:' loudly and proudly do my native guides herald my approach to a kainga [settlement] maori with this appellation.' (p2, Volume 2)

Angas continues:

'Clad in our bush costume, but without weapons, and each with a took or long walking-staff in our hands, my fellow-traveller and myself set off in excellent spirits, accompanied by five Maori lads, who carried our baggage; this consisted of bundles of clothing, sketching apparatus, collecting boxes, a small tent, and a basket of provisions: which they severally carried in their pikau or knapsacks, strapped over their shoulders with the leaves of flax. As we passed along, our lads exchanged farewell salutations with their native friends; the latter shouting out, with a long condoling whine, Haere ra! haera ra! which means, Go my friends! Go! This was returned by E noho!' Remain, my friends! Remain!' (p3, Volume 2)

One of the guides and fellow travellers with Forsaith during the Wellington to Auckland overland journey was Akanui, the nephew of Reretawhangawhanga (AA 8/7/19). The watercolour also includes Te Aorere (AA 8/7/19).

After passing through a region of extinct volcanoes, wading through swamps and marshes, skirting the shores of Manukao and wading across the mud flats of the Tamaki River with small crabs biting at their legs, they finally arrive at nightfall, and Angas is offered a flea infested mattress whilst Forsaith sleeps on fern in a barn that belonged to an old Captain who commanded ships in the opium trade. Angas comments that they battle sand flies by day and mosquitoes by night.

On 27 September the travellers arrive at Papakoura, stay for the night and continue on in their journey. They reach a very deep river:

'The lads divested themselves and then waded through the river with their luggage on their heads, water up to their necks. They then returned and carried us across, with our feet resting on one fellows shoulders and our backs on the head of another.' (p11, Volume 2)

The next stop is the settlement of Tuimata where Angas sketches Chief Haimona (Simon) and his wife. Angas claims they both liked his sketch calling it wakapaipai, or ‘beautiful'. Angas also sketches Ramari, Haimona's daughter, and child (AA 8/7/20). Leaving on the following day, they walked several miles and encounter Chief Hiputea/Huiputea (AA 8/7/21) and his son little Hori. (AA 8/7/22) Continuing on their journey they cross the Waikato River and land at Koruakopupu. Angas writes:

'A far different era has dawned upon the descendants of those fierce warriors. The New Zealanders are no longer a fighting people; they find raising supplies for Europeans a far more pleasant and profitable occupation. The good effects arising from the influence of missionaries is apparent, even if civilization had been their only aim. The New Zealanders are an intelligent and interesting race; they have fine minds and good dispositions; and if properly treated; no people could behave better. Much has been foolishly alleged against them, by individuals who are entirely ignorant if the true character and meritorious conduct of many Maories.' (p20, Volume 2)

Here Angas sketches Chief Te Taepa of Te Kaitutae (AA 8/7/23) who was visiting Wirihona (Wilson) at Waipa (AA 8/7/21) and Te Maru (AA 8/6/32), son of a Chief at Koruakopopo. He writes:

'the hospitality of the Maories to strangers is proverbial; travellers are always welcome amongst them. Tobacco is the only money needed for a European in passing through the country; a present of a small quantity of this weed, on leaving, being considered as an ample remuneration for food and shelter; for a fig of tobacco they will furnish a dozen eggs, or a basket of potatoes or kumeras. It is only on the coast, in the vicinity of the European settlements, that the natives require utu, or payment in coin.' (p22, Volume 2)

The party leaves by canoe and land at Kapau before continuing on to a small kainga where they meet the wife of Wirihona who tangi (lamentation) with the wife of an inferior chief (AA 8/6/48 number V). They then go to Kaiote, the pah of the celebrated Te Whero Whero (AA 8/6/35) who is the principal chief of all the Waikato tribes.

'As usual, I explored the remotest concerns of the pah, in search of anything new for my pencil, and seeing a square deal box elevated on posts and covered with a roof raised by means of slender sticks, I was curious to know what it contained; it was evidently tapu and on lifting up the lid I found that is was filled with old garments, which I afterwards learned were the property of a very celebrated person lately deceased, and that these garments had been placed within this wahi tapu under the most rigorous tapu by the tohunga: who would probably have pulled my ears had he discovered me peeping at these scared relics.' (p35, Volume 2)

After a 2 mile walk, they stop at the Residence of Mr Ashwell, a missionary of the Church Missionary Station of Pepepe (butterfly). Ashwell organises sittings for Angas: Te Paki, a chief and his wife (AA 8/7/24); and Te Amotutu (AA 8/6/33), a young chief of Waikato who is related to Te Paki. Angas also paints Ashwell's dying son and one of their domestic servants who they call the Vixen (AA 8/7/25).

On 3 October, they leave in canoes and enter the Waipa which joins the Waikato 3 or 4 miles from Pepepe. After passing Whakapaku and Noterau and landing briefly at Ko Ngahokowitu they head for Hopetui. Here they see Chief Wideona and his family. They also meet a sister of Karaka (Clark, AA 8/6/39) who is the chief of Waikato Heads that Angas sketched in Auckland. Angas shows her the portrait and she tangis with it to her tears come. That evening Wirihona comes into Angas's tent and talks about cannibalism and the supply of shrunken heads to the Europeans. Slaves are killed to keep up with the demand.

At Hopetui, on the banks of the Waipa, Angas sketches two children (AA 8/6/12).

The party journey to Whata Whata where they visit Te Whero Whero (Potatau) and Angas paints his portrait. Te Whero Whero gives Angas a letter of introduction to Te Heuheu Mananui (Tukino) the celebrated chief of Taupo Lake dated 4 Ocotber 1844. The translation is as follows:

'Friend Heuheu, -Health to you! Let your hospitality by very great to this foreigner who is going to see you. Your name has carried him away. He is a writer of images; he belongs to me-to Potatau. Be kind to this European. Take heed you do not despise my book. He is a strange foreigner from England. By me, Your friend, Potatau.' (p52, Volume 2)

The party leave on foot along the Waipa for Waingaroa where they encounter the Wesleyan Missionary's wife, Mrs Wallis, at the mission station. On 7 October, Angas sketched portraits of principal chiefs, including Wiremu Nera (Awaitaia, William Naylor, AA 8/6/4) and Paratene Maioha (Broughton) that had come to meet Forsaith but also wanted their portraits to go to England. They Chiefs were keen to have Europeans amongst them so they offered to sell land to establish a township. Also on the 7th Angas sketches Muriwhenua (John King), his sister Mekameka and wife Haea (AA 8/7/26). At Waingaroa, Angas sketches Wiremu Nera's daughter Toea and her attendant. (AA 8/6/44)

On the way to Aotea, the party call on Chief Te Moanaroa (Tepene, Stephen, AA 8/6/4) who is related to the government interpreter. They continue on their journey stopping briefly at Te Mata where Angas sees an old woman weaving a basket from the leaves of the Freycinetia Banksii (AA 8/6/48 number II) before reaching their destination, the residence of Reverend Mr Smales. There Angas sketches Paora Muriwenua (AA 8/6/42/1). The next stop is the mission station at Ahuahu and residence of Mr Whiteley. Angas notes:

'I was portraying the most important chiefs of the neighbourhood, together with their families; and through the kindness of that gentleman I was enabled to procure likenesses of many who, under ordinary circumstances, would have been difficult to approach. An old chief and tohunga approaches (father of Te Pakaru) who had a large bump on his head. His name was Te Upehi [Te Uepehi, AA 8/7/28].' (p69-70, Volume 2)

At Ahuahu, Angas sketches Nga Niho, wife of Rangituataea (Portrait of Rangituataea is AA 8/7/30) and Nga Whea a chief of Ngati Maniapoto (AA 8/6/27). On 11 October a meeting is held between chiefs including Te Pakaru (Apokia, AA 8/6/36) and Te Waro (Te Waru, AA 8/6/36) and Forsaith. At some stage he paints Te Pakaru's children (AA 8/6/23). Also at Ahuahu, Angas sketches Taituku and Rahi (AA8/7/29).

Angas then heads up the Waiharikiki River and paints Ohu (AA 8/6/30/1), tohunga of the Waiharikiki River and Chief Rangituatea who was wounded in the battle of Taranaki. He also sketches burial site of Chief Pehi at Te Pahe (AA 8/7/27).

On 14 October Angas parts company with Forsaith. He writes:

'From Ahuahu my companion and myself prepare to start on separate routes mine striking at once into the very heart of the interior, through the wild region of Mokau and Wanganui to the Taupo Lakes. Forsaith who had proved a most agreeable and intelligent companion during the journey to Ahuahu, left in Apokea's canoe, accompanied by his four lads, whilst another canoe conveyed my party in an opposite direction across the harbour. My travelling companions now consisted of my two natives, E Pera, who was a Nga Puifrom the Bay of Islands, and E Rihia, a mission lad of Waipa, belonging to the Ngati Apakura tribe; we were also joined by a couple of natives proceeding homewards to Wakatumutumu.' (p74, Volume 2)

The party cross the Marakopo river, visit Piri-piri which is occupied by locals who have become Jesuits, shown the foot prints of the Whatumaui, crosses the river Wahuatakawau and arrives at Warikaokao. On 16 October, the party head for Mania where Angas sketches Chief Ngohi (AA 8/7/31) and his principal wife who was under tapu. A boy that had been travelling with Angas was a son of Ngohi and remained there. Angas then leaves with Ngohi's eldest son and journey to Whakatumutumu, arriving at 4 pm. There they encounter the missionary and his wife named Miller. Angas sketches Chief Te Ngaporutu (AA 8/6/26) who had converted to Christianity and his wife Rihe (AA 8/6/26).

The party then proceed to Pari-pari, where Angas sketches a whare (AA 8/7/36), by first crossing the Waipa and seeing Mokau falls. Upon arrival at 4pm that day, they meet Lewis who is married to the daughter of Taonui, the principal chief of the district and successor to Tariki. They also meet Chief Taonui (AA 8/7/32) who wears a flute around his neck made from one of the leg bones of his enemy Pomare. He has in his possession the original suit of armour that was given to the Bay of Island Chief, Shongi (E hongi) by King George IV when he was in England. The suit of armour passed onto Tetori, then Te Whero Whero and then Taonui himself. Angas also sketched Tariki's widow (AA 8/6/41) and child.

On 21 October, Angas continues with only his two 'lads' for Taupo. On the same day they reach Pouketouto where they stayed with an inferior chief, family and slaves. He sketches one of the aged slave women (AA 8/6/45 number XIV). On the next day they sail down the Wanganui River and travel through the volcanic region.

On 23 October the party leave at sunrise and reach Tuhua where the people are Christianised and receiving instruction from Mr Maunsell who is a local teacher rather than a missionary. At Tuhua, Angas sketches Te Te Mara (Son of Brown) and another child (AA 8/7/33). The next day the party leave Tuhua and arrive at Tereinga where Angas finds the Taupo Chief Te Rangiarawaha (Rawide, AA 8/734). After sketching the Chief, the party crosses River Teringamutu and arrive at a village. Angas delivers a letter from Taonui, the Chief of Mokau, asking if one of his relatives could guide the party across country to Taupo Lake.

With the new guide the party see Mount Tongariro, Ruapahu and Tauhara, Lake Taupo, Tihiwihiwi before reaching the Taupo settlement of Te Rapa. There they encounter Hiwikau, brother of Te Heuheu (Mananui, Tukino) the warrior chief and his son Tamiti. A letter of introduction is delivered to Te Heuheu from Te Whero Whero. Angas also encounters Newman, a sailor who served onboard one of his father's vessels employed in the West India trade.

'During my stay at Taupo, I frequently experienced considerable trouble when sketching, from the prevalence of the tapu; so many objects being regarded as sacred: anything relating to food, if presented with the same pencil that depicted the head of the sacred chief, or put in the same portfolio with it, is considered as sad and fearful sacrilege. The whole of my sketches narrowly escaped being committed to the flames, through the indignation of Ko Tariu (AA 8/6/34) watercolour includes his wife E Pori); and they were only rescued by the influence of my friend, the chief of Te Heuheu. I was obliged in future to make drawings if the patukas, tapu buildings, &c., by stealth. Even the Tongariro itself was forbidden to represent under the pain of utu, or payment; but I afterwards accomplished it with the assistance of one of my guides, who was a Christianised native. But he received every hospitality and protection.' (p112, Volume 2)

Whilst in Te Rapa, Angas visits the natural hot spring baths, the Ko Waihi falls (AA 8/6/11) and witnesses a Maori swing (AA 8/6/43). Angas paints Te HeuHeu (AA 8/6/46)and his brother Hiwikau (AA 8/6/46).

'The idea that his portrait was going to England flattered him and made him proud. Now that I have secured the portrait of this great man, I have access to all the chiefs of Taupo, and candidates for sitters are increasingly numerous and importunate. Being under the protection of Te Heuheu, he has tapued the hut in which I am staying, together with all m y things; so that no one can meddle with them, and they are as safe as if they were in the Bank. Te Heuheu is generous and hospitable and does not demand payment in return.' (p115, Volume 2)

At the boiling springs of Lake Taupo, Angas sketches Papuka (nephew of Te Heuheu), Ko Tiki (son of a Tokaanu chief) and Tao (AA 8/6/13).

Angas leaves Te Rapa accompanied only by Rihia, a Wesleyan, as E Pera had lamed himself. Te heuheu gives Angas permission to visit Motupoi pah but was told not to sketch Mount Tongariro as it was tapu. Angas disobeys the order and sketches the mountain without Rihia knowing. By this time Anags was running low on supplies:

'My only remaining supplies are about a tablespoon of salt, which I highly prize, and a couple of ounces of tea! No flour, sugar, bread, butter, or any comforts of civilised life. Yet I am quite contented and happy; though by no means insensible to such privations: on returning to civilisation I shall probably appreciate and enjoy those luxuries more than many who never experienced the want of them.' (p123, Volume 2)

On 30 October, Angas sketches Mungakahu (AA 8/6/18) and his wife (AA 8/6/18) at Roto-aire, at the base of Mount Tongariro. Angas sketches the mountain once again without Rihia knowing before returning to Te Papa. Upon his arrival, Angas and Newman head to Waitahanui, the old pah of Te Heuheu which is now in ruins, by canoe. Angas hides his tapu sketches from Te Heuhue who would have destroyed them. At Waitahanui, Angas sketches Heuheu's cookhouses (AA 8/7/16) and a whare (AA 8/7/39).

Angas and party then leave for Omurua where E Pera tells Angas that his hands are tapu after sketching the head of Te Heuheu so Angas threatens to burn all his sketches and E Pera threatens to inform the chief by letter. Although in this instance, Angas is frustrated by the custom of tapu, on other occasions he turns it to his own advantage. When the people taunt Angas to show him his sketches, he tells them that they are all tapu.

Angas's next stop is Tutukamauna where there are Christians belonging to the Waipa Mission. At this time Angas was ‘seized with a violent influenza' and hungry as the supplies had long been exhausted.

On 4 November Chief Pilate and his wife accompanies Angas for a few miles on their way to a potato ground. Along the way, Angas sees the Ruatahina mountains and swims across the River Mungakino.

On 6 November, the party arrive at the church missionary station at Otawhao and are greeted by Rev. J Morgan and his wife. The missionary not only tends to the local's spirituality but tends to the sick as well. Mrs Morgan is called mother as her advice, aid and care is sought after.

Angas ventures to the ruins of Raroera, four miles from Otawhao, where examples of the elaborately ornamented architecture still remains. One of the finest is the mausoleum erected by Te Whero Whero in honour of his favourite daughter (AA 8/6/6), Pari Hori and her son Tawera (AA 8/7/35). The mausoleum was carved by Parinui, who is also a priest, with the head of a bayonet. Nearby is a carved tiki painted in kokowai (red ochre, AA 8/6/49).

Back at the mission station, Angas encounters Blind Solomon (Horomona Marahau, AA 8/6/19) who recounts his early life and exploits as a warrior including the battle where he fought against E Hongi who had brought back firearms and gunpowder from England. Horomona managed to escape after he was captured; 600 people were slaughtered. Soon after he met Rev. H Williams at Matamata and converted to Christianity. Also at Matamata, Angas sketches Wiremu Tamihana Tarapipipi (William Thompson, AA 8/7/38).

A short distance from the mission house is the old ruined pah of Otawhao. There Angas encounters Maketu House (AA 8/6/16) that was built by Chief Puata in commemoration of the taking of maketu and the old war bell (pahu, AA 8/6/16, AA 8/6/47 number XIII). At Ngahuruhuru, a settlement about 4 miles from Otawhao Angas sketches Chief Kahawai (AA 8/6/42/2) and Hongi Hongi (AA 8/6/7) the celebrated Taranaki warrior.

On 11 November, Angas leaves for the Waipa River with Mr Morgan's horse and 'lad' Ringi-ringi. At 4 miles they meet Mr Ashwell from Pepepe who was coming to Otawhao to procure medicine for a dying child. They traverse the plains of Matuketuke before reaching Whatawhata at 2pm on 12 November. There they see Te Whero whero and sketches Mokerau. Angas writes:

'being pressed for time, I was unable to paint the two other chiefs named in Mr Morgan's note (AA 8/7/41); and one of them a fine fellow, and a near relation of Te Whero Whero-stood upon the high bank of the river, as our canoe pushed off, shaking his tomahawk at me, and upbraiding me for not taking his portrait as well as that of Mokerau. Mokerau is the principal chief of Otawhao. And a convert to Chrisitianity. Last winter he went, accompanied only by Awaitaia or William Naylor (AA 8/6/4) of Waingaroa, into the midst of his enemies at Roturua; with whom he had waged a deadly war for nine years, which had not been concluded. The object of this bold and singular mission was to produce a good feeling and conclude the war; and it had the desired effect.' (p156, Volume 2)

The party leave Whatawahta, spend the night at Pepepe and proceed down river to Tuakau the next morning. There they are joined by a Christian Chief Moses, his wife, son and two females, one of which was a slave girl and they all proceed down the river together. Along the way they see Te paki and his wife. The party reach Tuakau on 13 November and the proceed on foot to Waitemata. On 14 November they leave Moses and his canoe at Tuakau and reach Tuimata, the kainga of Chief Haimona and spend the night.

On 15 November the party for Auckland, stopping to see Captain Smale at Papakoura on the way. They reach Auckland after travelling 35 miles on foot. The next day, E Pera left to go on to the Bay of Islands and Rihia returned to Waipa. Angas writes:

'The payment which I made each of them consisted of a couple of large blankets, a regatta shirt, and a pair of trousers, with which they were highly delighted and perfectly satisfied.' (p161, Book 2)

In late November, a few days after Angas’s arrival at Auckland, he sets sail for Sydney, New South Wales, on board the brigantine, Coolongatta bringing with him a maori youth of about 13 years of age called James Pomara, son of chief who was orphaned after a raid. The next morning they disembark at Kauwau, where they were detained for several days to load copper ore, owned by the Scottish Loan Company.

On 7 December, Angas and Pomare embark once again and set sail for the Bay of Islands. Three days later they cast anchor at Kororarika Beach. Angas notes at Pahia, opposite the bay, are the headquarters of the Church Mission in New Zealand, the dwelling of Mr Busby the late Government resident situated near the Waitangi (Weeping of the Waters) River. At Kororarika is the head quarters of the Jesuit Mission and the Catholic chapel of the Bishop Pompalier.

On 12 December, Angas and Pomare set sail for New South Wales, casting anchor in Sydney Cove on 30 December. On New Years Day they embarked aboard the brig Emma for Adelaide, South Australia. On 10 September 1845, Angas and Pomare ser sail on the Royal Tar for England. After a short stop on Rio De Janeiro on the way, they land in Dover on 22 February 1846 and arrives in Gravesend on the 23rd.

The watercolours were first exhibited from 18 to 20 June 1845 in the new legislative chamber on North Tce, by the permission and patronage of Governor Grey from 10am-4pm, admission 1 shilling. Catalogues were available for 6d each. A month later the works were exhibited in the Royal hotel in Sydney. In England, Angas exhibits his work on the 17 March 1846 at the 5th soiree of the British and Foreign Institution. Two days later the exhibition of 300 works open in the Egyptian hall in Piccadilly for three months.
The watercolours were reproduced as an imperial folio series of coloured plates titled 'The New Zealanders Illustrated', issued in 10 parts from 1846 to 1847 at one guinea each. 'Portraits of the New Zealand Maori' was first published in 1972 by AH and AW Reed Ltd.

ArrangedNumerical. Imposed by Archives. Arranged by Kaye Mead

Inventory Listing

AA 8/7/1

'House of Teringa Kuri. Kaiwarawara.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: This house belongs to the Kaiwharwhara Chief Taringa-Kuri (Dog-Ear). The maihi (sloping barge boards) are unadorned other than the carved figure attached to the house's apex. The maihi are supported by two carved figures, the one on the right wearing a European hat. The porch area is also unadorned with a doorway and window surrounded by raupo reed paneling. Taringa-Kuri is depicted seated in the forefront of the image wearing a kahu kuri (dog skin cloak). He has a moko (traditional Maori facial tattoo) and a mere pounamu (greenstone hand club). To the left side of the house is a portion of the fortified fence.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'House of Taringa Kuri at Kaiwarawara.'
Plate title: 'House of Taringa-Kuri at Kaiwarawara'
Plate: 2
Notes:

Iwi [Tribe]: Ngati Tama division of Ngati Awa
Location: Kaiwharawhara, a place on the west side of Wellington Harbour

Former Accession Number 1519

  Creator George French Angas
Control AA 8/7/1
Date Range 1844
Quantity 1 Watercolour 18x26cm; Mount 28x35.5
Inventory Identifier AA 8/7/1
Series AA8/07

AA 8/7/2

'Ko Katu. only son of Rauparaha. Otaki. Rauparaha. Principal Chief of Nga Ti Toa Tribe. Cook's Sts.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: The notable chief Te Rauparaha is seated, wrapped in a European blanket that was worn in the same manner as a Maori cloak. Rauparaha has a moko (traditional Maori facial tattoo) and a tuft of white feather in his left ear. A mere pounamu (greenstone hand club) with a flax wrist chord sits at the base of his blanket. The standing figure is Katu, Te Rauparaha's son also known by his baptismal name Tamihana (Thompson). He holds a long spear in his hand and wears a hieke-pokinikini (cloak) that is predominantly covered with flax tags that have been scraped and dyed at intervals and red woollen pompoms added.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ko Katu. only son of Rauparaha. Otaki. Rauparaha. Principal Chief of Nga Ti Toa Tribe Cook's Sts.'
Plate title: 'Ko Katu and Rauparaha'
Plate: 3
Notes:

Iwi [Tribe]: Ngati Toa
Location: Te Aro

Former Accession Number 1504

  Creator George French Angas
Control AA 8/7/2
Date Range 1844
Quantity 1 Watercolour 32.5x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/2
Series AA8/07

AA 8/7/3

' "Pahoho" (Mat). Kutia. Wife of Rauparaha. Otaki. Hamiti. A Chief of Okahuhu.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Kuitia the wife of Te Rauparaha is seated wearing a ngore-paheke (cloak) with coloured wool stitching. Hamaiti a chief of Okahuhu stands holding a taiaha (long club fighting staff) in his left hand. He wears a korowai-ngore (cloak) featuring black twisted thrumbs and woollen pompoms. Other adornment includes feathers in his right ear and a greenstone (nephrite jade) hei-tiki pendant. Kuitia has a kauwae (traditional Maori woman's chin tattoo) and Hamaiti a moko (traditional Maori facial tattoo). A gourd to the left of Kuitia has a flax chord as a handle for carrying the vessel used to store water. Behind is a portion of a whare (house) and palisade fence.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: ' "Pahoho" (Mat). Kutia. Wife of Rauparaha. Otaki. Hamiti. A Chief of Okahuhu.'
Plate title: 'Kutia and Hamaiti'
Plate: 4
Notes:

Iwi [Tribe]: Ngati Toa
Location:

Former Accession Number 1474

  Creator George French Angas
Control AA 8/7/3
Date Range 1844
Quantity 1 Watercolour 33x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/3
Series AA8/07

AA 8/7/4

'Hurihanga. Rangihiaeta's Tohunga or Priest. Taupo Pa. Cook's Strts. Septr. 9/44.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Hurihanga is seated wearing a kahu toi (cape) created using prepared leaves. Hurihanga has a moko (traditional Maori facial tattoo). To his left is a gourd used for carrying and storing water. Behind him a small thatched fence and beyond this a pataka (enclosed and elevated store house) and the tops of palisade posts can be seen. Endorsed with Hurihanga's signature.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Hurihanga. Rangihiaeta's Tohunga or Priest. Taupo Pa. Cook's Strts. Septr. 9/44.'
Plate title: 'Hurihanga'
Plate: 5
Notes:

Iwi [Tribe]:
Location: Taupo pa, Cook Strait

Former Accession Number 2308

  Creator George French Angas
Control AA 8/7/4
Date Range 9 September 1844
Quantity 1 Watercolour 33.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/4
Series AA8/07

AA 8/7/5

'E Paki. Nga Ti Toa Tribe. Porirua. Cook's Strts. Septr 1st 1844. Rangitauru. A man of the Nga Tirankawa Tribe.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Paki is seated on the left wrapped in a red blanket worn like a cloak and is knotted at the right corner. Rangitaurau is wearing a korowai-ngore (cloak) that features twisted black thrumbs and woollen pompoms. He also has a shark's tooth in his left ear. The two chiefs have a moko (traditional Maori facial tattoo). Endorsed with Paki's and Rangitauru's signatures.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'E Paki. Nga Ti Toa Tribe. Porirua. Cook's Strts. Septr 1st 1844. Rangitauru. A man of the Nga Tirankawa tribe.'
Plate title: 'E Paki and Rangitauru'
Plate: 6
Notes:

Iwi [Tribe]: Ngati Toa, Ngati Raukawa
Location: Porirua, Cook Straight

Former Accession Number 1471

  Creator George French Angas
Control AA 8/7/5
Date Range 1 September 1844 - 1 September 1844
Quantity 1 Watercolour 33x23.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/5
Series AA8/07

AA 8/7/6

'Koterau. Daughter of Ko Tariu. Taupo Lake. E Pupa. Sister of E Tako. Chief of Port Nicholson.'

  IMAGE »
 

Original Watercolour
There is one original watercolour within this frame.

Notes: Te Rau (Koterau) is seated on a woven whariki (mat) and wrapped in a European blanket worn like a cloak. She is the daughter of Tariu, a chief of Tokaanu in Taupo. She has a kauwae (traditional Maori woman's chin tatttoo) and a large blue bead in her right ear. To the right of Te Rau a korowai-ngore (cloak) is being woven in a traditional manner. The piece of leaving suspended between the two stakes which would allow the women to use their fingers to twine the threads together as opposed to a weaving loom. A toddler with two ear medallion pendants stands behind and to the left of Te Rau. Pupa stands wearing a yellow and black tagged tihetihe (cape), tufts of white feathers in her left ear and her bottom lip is tattooed. Behind are a traditional tukutuku (lattice work) wall panels and three large kete (basket).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Koterau. Daughter of Ko Tariu. Taupo Lake. E Pupa. Sister of E Tako. Chief of Port Nicholson.'
Plate title: 'Te Rau and E Pupa'
Plate: 7
Notes:

Iwi [Tribe]: Ngati, Tuwharetoa, Ngati Toa
Location: Te Aro
Former Accession Number 1475

  Creator George French Angas
Control AA 8/7/6
Date Range 1844
Quantity 1 Watercolour 33.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/6
Series AA8/07

AA 8/7/7

'Hori. Ko Kauwai. Ko Te Waihaki Nga Ti Haua Ko Pihaiti'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: This group are tribally affiliated to Ngati Haua from the Hauraki and Matamata plains district. Hori stands at the back left wearing a blanket worn like a cloak and a greenstone (nephrite jade) ear pendant. In the front seated Te Kauwai wears a korowai-ngore (cloak) made with black twisted thrumbs and red woollen pompoms. Te Waihaki stands back centre partially tattooed in a kaitaka-ngore, a finely woven cloak which features a chevron patterned taniko boarder with red and blue woollen pompoms. Pihaiti stands in bare feet on the right wearing a red shirt and a korowai-ngore (cloak) with black twisted thrumbs and fringing over top. Endorsed with each person's signature.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Hori. Ko Kauwai. Ko Te Waihaki Nga Ti Haua Ko Pihaiti'
Plate title: 'Hori, Te Kauwai, Te Waihaki and Pihaiti'
Plate: 8
Notes:

Iwi [Tribe]: Ngati Haua
Location: Port Nicholson

Former Accession Number 1476

  Creator George French Angas
Control AA 8/7/7
Date Range 1844
Quantity 1 Watercolour 34x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/7
Series AA8/07

AA 8/7/8

Portrait of Ko te Hameme, Ko Patara and Ko Tatu

 

Original Watercolour
There are eight original watercolours within this frame. Captions and notes are as follows:

  • '(Ko te Hameme) Girls name'
  • '(Ko Patara) Mans name Nga Ti Awa Tribe.'
  • '(Ko Tatu Youths name'
  • 'Koroai) Name of girls garment'
  • 'Korirangi Name of mans garment'
  • '(Pahopo) Name of youth's garment'
  • 'Port Nicholson. August, 1844.'

Names and description are in handscript.

Notes: A young girl named Te Hameme is seated with a string of large blue beeds around her neck, greenstone (nephrite jade) ear pendant, tattooed bottom lip and a kakahu (cloak) heavily decorated with black twisted thrumbs as fringing along its edges. Patara stands holding a staff in his right hand, he has a moko (traditional Maori facial tattoo) and streaks of red ochre across the top of both his cheeks. He wears a greenstone pendant in each ear and hei-tiki neck pendant. He is wearing a European shirt with two kakahu (cloak) over the top. The first has thrumbs which have been scraped and dyed black as well as red and blue woollen pompoms. The second is a shorter cape made like a pui pui made from cylindrical flax tags that have also been scraped and dyed. Tatu, a young boy, stands wearing a blue European shirt and a ngore-paheke (cloak) with red and blue woollen stitiching, pompoms and fringing.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph captions: '(Ko te Hameme) Girls name'; '(Ko Patara) Mans name. Nga Ti Awa Tribe.'; '(Ko Tatu Youths name'; 'Koroai) Name of girls garment'; 'Korirangi Name of mans garment'; '(Pahopo) Name of youth's garment'; 'Port Nicholson. August, 1844.'
Plate title: 'Te Hameme, Patara and Tatu'
Plate: 9
Notes:

Iwi [Tribe]: Te Ati Awa.
Location: Port Nicholson the old colonial name for Wellington

Former Accession Number 1477

  Creator George French Angas
Control AA 8/7/8
Date Range August 1844
Quantity 1 Watercolour 34x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/8
Series AA8/07

AA 8/7/9

'Abraham Taupo. Nga Ti Awa.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Abraham Taupo was a rangatira (chief) of Ngati Awa tribe of Port Nicholson now known as Wellington and the Manawatu coast. His moko (traditional Maori facial tattoo) would indicate that he was a man of rank. Abraham is likely to be a baptismal name. He wears a European unifom. Endorsed with Taupo's signature.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Abraham Taupo. Nga Ti Awa'
Plate title: 'Abraham Taupo'
Plate: 10
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]: Ngati Awa
Location: Port Nicholson and Manawatu

Former Accession Number 2306

  Creator George French Angas
Control AA 8/7/9
Date Range 1844
Quantity 1 Watercolour 24.5x17cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/9
Series AA8/07

AA 8/7/10

'E Karo. Nga Ti Awa Tribe. At Oukurei Pa. E Kau. Queen Charlotte's Sound.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: This scene was painted at Okukuri just inside the Tory Channel. Karo has a moko (traditional Maori facial tattoo) and is seated wearing a blanket in the style of a cloak and has a greenstone (nephrite jade) ear pendant. Kau wears an older and worn cloak. Behind is a portion of a palisade fence and a whata (elevated storehouse).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'E Karo. Nga Ti Awa Tribe At Oukurei Pa E Kau. Queen Charlotte's Sound.'
Plate title: 'E Karo and E Kau'
Plate: 11
Notes:

Iwi [Tribe]: Ngati Awa
Location: Okukuri, Tory Channel, Queen Charlotte Sound

Former Accession Number 1472

  Creator George French Angas
Control AA 8/7/10
Date Range 1844
Quantity 1 Watercolour 33x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/10
Series AA8/07

AA 8/7/11

'Artongna. Tahuna. Natives of Queen Charlotte's Sound.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Both women are seated in the interior of a whare (house) on woven whariki (mat) wearing korowai-ngore (cloak) that features dyed twisted black thrumbs. The younger woman behind wears a kauwae (traditional Maori woman's chin tattoo) and has a shark tooth and greenstone (nephrite jade) ear pendant. The older women has a shark tooth ear pendant made from greenstone in her left ear and a shark tooth ear pendant in the right. Only her bottom lip is tattooed. The pair are surrounded by woven kete (basket) and three poha (pod) or large vessels made from bull kelp used to store sperm whale oil hang on the back wall.

Signed by Angas on mount

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Artongna. Tahuna. Natives of Queen Charlotte's Sound.'
Plate title: 'Natives of Queen Charlotte Sound'
Plate: 12
Notes:

Iwi [Tribe]: Ngati Awa
Location: Queen Charlotte Sound

Former Accession Number 1518

  Creator George French Angas
Control AA 8/7/11
Date Range 1844
Quantity 1 Watercolour 21x25cm; Mount 29.5x35.5cm
Inventory Identifier AA 8/7/11
Series AA8/07

AA 8/7/12

'E Manu. "Rimu" or seaweed pods used for holding sperm oil. Taituha. Natives of Queen Charlotte's Sound.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Taituha stands wearing a korowai-ngore (cloak) with black twisted thrumbs, large blue and small red woollen pompoms over a European blanket and wears a greenstone (nephrite jade) ear pendant. He holds in his hands a poha (pod) used to contain sperm whale oil. Manu is bended attending to a poha. He has a moko (traditional Maori facial tattoo) and is wearing a red European blanket with a pake (rain cape) over the top. A ko (digging stick) is on the ground and the pair stand infront of a number of palisade posts and stakes with poha leaning against them.

Signed by Angas. Initials 'GFA.' have been inscribed on an object in the foreground.

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'E Manu. "Rimu" or seaweed pods used for holding sperm oil. Taituha. Natives of Queen Charlotte's Sound.'
Plate title: 'Manu and Taituha'
Plate: 13
Notes:

Iwi [Tribe]: Ngati Awa
Location: Queen Charlotte Sound

Former Accession Number 1492

  Creator George French Angas
Control AA 8/7/12
Date Range 1844
Quantity 1 Watercolour 33.5x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/12
Series AA8/07

AA 8/7/13

'Aitu.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Aitu wears a variety of the ngore (cloak) that incorporates red woollen pompoms, woollen stitching and fringing along its edge. Aitu has a moko (traditional Maori facial tattoo) but is shown in a group portrait in New Zealanders Illustrated, Titled: 'A group at Te Aro Pah', Plate XL, not to have any facial tattoo.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Aitu.'
Plate title: 'Aitu'
Plate: 14
Notes: Plate size 37.5x26.5cm (larger than original).

Iwi [Tribe]: Te Ati Awa
Location: Queen Charlotte Sound

Former Accession Number 1511

  Creator George French Angas
Control AA 8/7/13
Date Range 1844
Quantity 1 Watercolour 27.5x19cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/13
Series AA8/07

AA 8/7/14

'Moana. Son of Te Kauwau. Orakai. Rawiti. Grandson of Kawau. Nga Te Watua Tribe.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: It is not clear which of the two men is Moana and which is Rawiti. The man standing holds a tewhatewha (long handled fighting club). He wears two distinctive cloaks, one on top of the other: the korowai-ngore (cloak) has black twisted thrumbs, red woollen pompoms and a chevron stitched boarder along its edge and is worn underneath the hieke-pokinikini (cloak) which has cylindrical flax tags that have been scraped and dyed black at one end with a red and black border across the shoulders. The man seated against the fortified fence stakes wears a korowai-ngore as well as a greenstone (nephrite jade) hei tiki pendant around his neck and a bunch of blue feathers in his left ear. Both men have a moko (traditional Maori facial tattoo). Moana is written in very light pencil.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Moana. Son of Te Kauwau. Orakai. Rawiti. Grandson of Kawau. Nga Te Watua Tribe'
Plate title: 'Moana and Rawide'
Plate: 16
Notes:

Iwi [Tribe]: Ngati Whatua
Location: Orakei (?)

Former Accession Number 1470

  Creator George French Angas
Control AA 8/7/14
Quantity 1 Watercolour 34x24cm; Mount 44.5x34.5cm Inventory Identifier AA 8/7/14
Series AA8/07

AA 8/7/15

'Chief of the Pa Otuihu. Bay of Islands. Pomare. Nephew of the celebrated Chief & warrior "Pomare." X His Mark.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Pomare a notable rangatira (chief) from the Bay of Islands stands wearing two cloaks: the korowai-ngore (cloak) with black twisted thrumbs on its surface and bottom edge fringing and large red woollen pompoms is worn underneath the kahu kuri (dog skin cloak). He holds a taiaha (long club figting staff). Pomare wears a greenstone (nephrite jade) ear adornment in his right ear and has a moko (traditional Maori facial tattoo). Beneath the kahu kuri is a mere pounamu (greenstone hand club) and behind a beached waka (canoe). Pomare has signed X as his mark.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Chief of the Pa Otuihu. Bay of Islands. Pomare. Nephew of the celebrated chief & warrior "Pomare." X His Mark.'
Plate title: 'Pomare'
Plate: 17
Notes:

Iwi [Tribe]: Nga Puhi
Location: Auckland

Former Accession Number 1479

  Creator George French Angas
Control AA 8/7/15
Date Range 1844
Quantity 1 Watercolour 34x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/15
Series AA8/07

AA 8/7/16

'Cook house in a potato ground. Orakai. Heuheu's cookhouses. Waitahanui. Taupo.'

  IMAGE »
 

Original Watercolour
There are two original watercolours within this frame. Captions and notes are as follows:

  • 'Cook house in a potato ground. Orakai.'
  • 'Heuheu's cookhouses. Waitahanui. Taupo.'

Notes:

  • The cooking shed at Orakei pa (fortified village) belongs to the Rangatira (chief) Te Apihau. It is made from wood and the roof is thatched with raupo reed. All cooking was done outdoors. Three women are preparing food for a meal; one of these women stirring a European pot. In the surrounding area are domestic implements such as a kete (basket) of potatoes, ko (digging stick) and gourds for carrying and storing water. The flowering Clematis is in the background.
  • The cook houses belong to Te Heuheu Tukino (Mananui II). The three figures seated outside are wearing cloaks and sit with a number of gourds used for carrying and storing water and a hinaki (eel trap) in the foreground and to the right of the cook house a patua (bark basket).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Cook house in a potato ground. Orakai. Heuheu's cookhouses. Waitahanui. Taupo.'
Plate title: 'Cooking-sheds'
Plate: 18
Notes:

Iwi [Tribe]: Ngati Whatua, Ngati Tuwharetoa
Location: Orakei Pa (Auckland), Waitahanui (Taupo)

Former Accession Number 1495

  Creator George French Angas
Control AA 8/7/16
Date Range 1844
Quantity 1 Watercolour 32x23.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/16
Series AA8/07

AA 8/7/17

'The New Zealanders. III.'

 

Original Watercolour
There are seven original watercolours within this frame. Captions and notes are as follows:

  1. 'Te Waka.'
  2. no data
  3. 'Pitau or war canoe.'
  4. 'E Tatu.'
  5. 'Kaupapa.'
  6. waka with Mount Egmont in the background
  7. waka at 'Rangitoto'

Notes: This watercolour documents the more commonly used water vessels. Angas travelled by waka (canoe) on the Waikato River and had many opportunities to sketch the three small scenes of waka in sail. Waka is the generic term used for canoes.

  1. A waka tete (fishing canoe) with a carved figurehead on the prow and an undecorated stern post.
  2. no data
  3. A waka taua or waka pitau which were carved war canoes and often a larger size.
  4. A tata (baler)
  5. A waka tiwai (river canoe)

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'The New Zealanders. III'; 'I Te Waka.'; 'II'; 'III Pitau or war canoe.'; IV E Tatu.'; 'V Kaupapa.'; 'VI'; 'VII'
Plate title: 'Maori Canoes'
Plate: 19
Notes:

Iwi [Tribe]:
Location: Port Nicholson (Wellington), Rangitoto (Auckland), Mount Egmont
(Taranaki)

Former Accession Number 1499

  Creator George French Angas
Control AA 8/7/17
Date Range 1844
Quantity 1 Watercolour 34.5x50cm; Mount 42x57cm
Inventory Identifier AA 8/7/17
Series AA8/07

AA 8/7/18

'Josiah Taonui. Naev 25th 1844 (His signature.)

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Josiah Taonui, son of the Hokianga chief, is in European dress. At the time Angas travelled through New Zealand, many young men were beginning to break away from traditional dress and ta moko, the traditional practice of Maori tattoo. Endorsed with Josiah's signature.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Josiah Taonui. Naev 25th 1844'
Plate title: 'Josiah Taonui'
Plate: 20
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]:
Location:

Former Accession Number 2307

  Creator George French Angas
Control AA 8/7/18
Date Range 25 November 1844
Quantity 1 Watercolour 25x15.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/18
Series AA8/07

AA 8/7/19

'Akanui. Te Aorere. A young man of Taranaki. Akanui nephew of Reretauangawanga principal chief of Ngatiawa, one of the guides and fellow traveller with TS Forsaith Protector of Aborigines during his overland journey from Wellington to Auckland'

 

Original Watercolour
There is one watercolour within this frame.

Notes: Akanui is the nephew of Reretawhangawhanga of Ngati Awa, a principal chief of Waikanae. Akanui stands holding a taiaha (long club fighting staff) and wears a bunch of blue feathers in his right ear. Over the top of his blue and white sailor's jersey he wears a korowai-ngore (cloak) with black twisted thrumbs, fringing and red woollen pompoms and stitching fastened with a simple cloak pin. Te Aorere is seated and wearing a yellow and black cape known as tihetihe, a shark's tooth ear pendant and a feather in his hair. Behind them are two birds in flight and a harakeke (flax plant) in flower.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Akanui. Te Aorere. A young man of Taranaki. Akanui nephew of Reretauangawanga principal chief of Ngatiawa, one of the guides and fellow traveller with TS Forsaith Protector of Aborigines during his overland journey from Wellington to Auckland'
Plate title: 'Akanui and Te Aorere'
Plate: 21
Notes:

Iwi [Tribe]: Ngati Awa
Location: Taranaki

Former Accession Number 1473

  Creator George French Angas
Control AA 8/7/19
Date Range 1844
Quantity 1 Watercolour 34x23.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/19
Series AA8/07

AA 8/7/20

'Ramari. and her child. Daughter of Haimona. Tuimata.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: On Angas's journey he was hosted by Chief Haimona (Simon), his wife and daughter Ramari. Ramari stands holding an infant in her arms. Her lips are tattooed and has markings on her face. Worn like a cloak, Ramari is wrapped in a European blanket. Behind is a whare (house) and stakes from a fortified fence. Two women sit on the gound. One of these women with her back turned is wearing a korowai-ngore (cloak) with black twisted thrumbs and the other a korowai-ngore with the addition of red and blue woollen pompoms and red stitching.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ramari. and her child. Daughter of Haimona. Tuimata.'
Plate title: 'Ramari and her child'
Plate: 22
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]:
Location: Tuimata, three miles from Pukekohe outside of Auckland

Former Accession Number 1510

  Creator George French Angas
Control AA 8/7/20
Date Range 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/20
Series AA8/07

AA 8/7/21

'Huiputea. Wirihana. A Chief of Ngati Mahuta tribe. A native teacher at Waipa. Sept. 28. 1844.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Huiputea Wirihana (Wilson) was a Christian chief of Ngati Mahuta. He stands wrapped in a blanket worn like a cloak and holds in his hands a green prayer book. He has a moko (traditional Maori facial tattoo). Written in light pencil is 'Huiputea Wirihana' and 'A native teacher at Waipa.'

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Huiputea. Wirihana. A chief of Ngati Mahuta tribe. A native. Teacher at Waipa. Sept. 28. 1844.'
Plate title: 'Huiputea Wirihana'
Plate: 23
Notes:

Iwi [Tribe]: Ngati Mahuta, Tainui
Location: Waipa

Former Accession Number 1483

  Creator George French Angas
Control AA 8/7/21
Date Range 28 September 1844
Quantity 1 Watercolour 34.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/21
Series AA8/07

AA 8/7/22

'Hori. Son of Huiputea. Waipa.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Hori is the son of the Rangatira (chief) Huiputea. Hori stands bare feet and wrapped in a worn korowai-ngore (cloak) that features black twisted and dyed thrumbs and fringing, some have been lost, over a white shirt. Standing upright in his hair are a number of feathers. He holds a tehwtawha (long handled fighting clu). Behind him hills and native foliage.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Hori. Son of Huiputea. Waipa.'
Plate title: 'Hori, Son of Huiputea'
Plate: 24
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]: Ngati Mahuta, Tainui
Location: Waipa

Former Accession Number 1515

  Creator George French Angas
Control AA 8/7/22
Date Range 1844
Quantity 1 Watercolour 20x14.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/22
Series AA8/07

AA 8/7/23

'Te Taepa. A Chief of Te Kaitutae. A branch of the Nga Timanoki Tribe. At Koruakopupu. Waikato. Septr 29 1844'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Te Taepa is seated in a whare (house), smoking a pipe. He is wrapped in a European blanket that has been fastened at his left shoulder with a cloak pin and red wool. He has a moko (traditional Maori facial tattoo) and a greenstone (nephrite jade) ear pendant.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Te Taepa. A chief of Te Kaitutae. A branch of the Nga Timanoki tribe. At Koruakopupu. Waikato. Septr 29 1844'
Plate title: 'Te Taepa'
Plate: 25
Notes:

Iwi [Tribe]: Nga Manoki
Location: Koruakoropo, Waikato

Former Accession Number 1514

  Creator George French Angas
Control AA 8/7/23
Date Range 29 September 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/23
Series AA8/07

AA 8/7/24

'Ko Te Kauremo. His wife. Te Paki. A Chief of the Ngaungau Tribe. Waikato.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Te Paki is seated and has a kauwae (traditional Maori woman's chin tattoo). She wears a greenstone (nephrite jade) hei-tiki pendant around her neck and a shark tooth pendant in her right ear. She wears a hieke-pokinkini (cloak) that features thrumbs that have been scraped and dyed at intervals, with black twisted thrumbs and red woollen pompoms. Her husband Te Kahurimu (Kauremo) is wearing an identical cloak underneath a tan coloured kahu kuri (dog skin cloak) he holds a large hoe (paddle) and has a moko (traditional Maori facial tattoo).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ko Te Kauremo. His wife. Te Paki. A chief of the Ngaungau Tribe. Waikato.'
Plate title: 'Te Paki and Te Kauremu'
Plate: 27
Notes:

Iwi [Tribe]: Ngau ngau
Location: Waikato

Former Accession Number 1502

  Creator George French Angas
Control AA 8/7/24
Date Range 1844
Quantity 1 Watercolour 34x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/24
Series AA8/07

AA 8/7/25

' "Rora Pare." (A regular vixen) Daughter of Hurakea Ngati Wauroa Tribe Domesticated at Pépépé: Oct: 2nd.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Raroa Pare is the daughter of Hurakea and a domestic servant at the mission station where Angas spent some time. She is dressed in European clothing and was described as a vixen.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: ' "Rora Pare." (A regular vixen) Daughter of Hurakea Ngati Wauroa Tribe Domesticated at Pépépé: Oct: 2nd.'
Plate title: 'Rora Pare'
Plate: 28
Notes:

Iwi [Tribe]: Ngati Wauroa or Whauroa
Location: Pépépé, Waikato

Former Accession Number 1513

  Creator George French Angas
Control AA 8/7/25
Date Range October 1844
Quantity 1 Watercolour 28x22cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/25
Series AA8/07

AA 8/7/26

'Haea. His wife. Muriwhenua or John King. Son of Tawhi former Chief of Nga Ti Mahanga Tribe. Mekameka. Sister of Muriwhenua. Wangaroa. Oct. 7'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Muriwhenua (John King) is the son of Tawhi chief of Ngati Mahuta. He has a moko (traditional Maori facial tattoo) and stands holding a tewhatewha (long handled fighting staff). His personal adornment includes a greenstone (nephrite jade) ear pendant and strands of blue beads worn around his neck. He is wrapped in a yellow and black tagged cape referred to as tihetihe. His sister Mekameka stands to his right with feathers in her hair and ngore (cloak) made with woollen pompoms and fringing. Muriwhenua's wife Haea is seated and wrapped in a ngore-paheke (cloak) that consists of woollen stitching in the cloaks base and fringing. She wears a garland of flowers in her hair. A portion of a palisade fence is seen behind.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Haea. His wife. Muriwhenua or John King. Son of Tawhi former Chief of Nga Ti Mahanga Tribe. Mekameka. Sister of Muriwhenua. Wangaroa. Oct. 7'
Plate title: 'Muriwhenua, Haea and Mekameka'
Plate: 29
Notes:

Iwi [Tribe]: Ngati Mahanga, Tainui
Location: Whaiangaroa, Raglan Harbour

Former Accession Number 1505

  Creator George French Angas
Control AA 8/7/26
Date Range 7 October 1844
Quantity 1 Watercolour 33.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/26
Series AA8/07

AA 8/7/27

' "Wahi Tapu" or sacred place at Te Pahe. Waiharikake River. Property of a deceased Chief called Pehi.'

 

This item is restricted.

Original Watercolour
There is one original watercolour within this frame.

Notes: Wahi tapu (sacred burial site) is restricted. This site was the resting place of the chief known as Te Pehi. The belongings of the deceased chief were kept in the central staked structure of this double fenced area painted with kokowai (red ochre). White feathers were attached to the top horizontal beam of this structure and in the front of the first fence Angas observed a small waka (canoe) and paddle. Hung from a tall upright stake is a vessel for the placement of food and a gourd that stores water.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: ' "Wahi Tapu" or sacred place at Te Pahe. Waiharikake River.
Property of a deceased chief called Pehi.'
Plate title: 'Wahi Tapu at Te Pahe'
Plate: 30
Notes: Plate size 26.6x36.5cm (larger than original)

Iwi [Tribe]:
Location: several miles up the Waiharakeke River, a stream that flows into the harbour of Ahuahu (Kawhia)

Former Accession Number 1500

  Creator George French Angas
Control AA 8/7/27
Date Range 1844
Quantity 1 Watercolour 23x32cm; Mount 34.5x44.5cm
Inventory Identifier AA 8/7/27
Series AA8/07

AA 8/7/28

'Te Uepehi. Uncle of Te Pakaru. principal Chief of Ngatimaniapoto. Kawhia. Oct 10th 1844'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Te Uepehi stands in front of a river wearing a European blanket and leaning against fence railing. Noted by Angas as the father of Te Pakaru principal Ngati Maniapoto chief of Kawhia. He has a very distinctive lump on the left side of his forehead which features tattooed lines as part of a full moko (traditional Maori facial tattoo).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Te Uepehi. Uncle of Te Pakaru. principal Chief of Ngatimaniapoto. Kawhia. Oct 10th 1844'
Plate title: 'Te Uepehi'
Plate: 31
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]: Ngati Maniapoto
Location: Kawhia

Former Accession Number 1481

  Creator George French Angas
Control AA 8/7/28
Date Range 10 October 1844
Quantity 1 Watercolour 34x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/28
Series AA8/07

AA 8/7/29

'Taituku. Rahi. Nga Ti Mahouta Tribe. Waikato district.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Taituku stands wearing a korowai-ngore (cloak) of black twisted thrumbs that cover the surface of the garment and fringing along its edge, red woollen pompoms and stitching. The top end of the cloak has been folded over. He has a bunch of flowers above his forehead and a shark's tooth ear pendant in his left ear. Rahi is wearing a large pake (rain cape), holds a spear and two huia feathers in his hair .

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Taituku Rahi. Nga Ti Mahouta Tribe. Waikato district.'
Plate title: 'Taituku and Rahi'
Plate: 32
Notes:

Iwi [Tribe]: Ngati Mahuta
Location: Ahuahu, Waikato

Former Accession Number 1482

  Creator George French Angas
Control AA 8/7/29
Date Range 1844
Quantity 1 Watercolour 33.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/29
Series AA8/07

AA 8/7/30

'Rangituatea. a Chief of Awaroa. Nga Ti Maniapoto Tribe. West Coast.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: The Rangatira (chief) Rangituatea is seated smoking a pipe. He wears a European blanket over a korowai-ngore (cloak). His adornment includes two boar tusks, a greenstone (nephrite jade) hei-tiki pendant around his neck, a greenstone (nephrite jade) pendant in his left ear, and a shark's tooth in his right. A mere pounamu (greenstone hand club) with a flax wrist chord rests in front of him. He has a full moko (traditional Maori facial tattoo).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Rangituatea. a chief of Awaroa. Nga Ti Maniapoto Tribe. West Coast.'
Plate title: 'Rangituatea'
Plate: 33
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]: Ngati Maniapoto
Location:

Former Accession Number 1516

  Creator George French Angas
Control AA 8/7/30
Date Range 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/30
Series AA8/07

AA 8/7/31

'Ngamihi. his wife. Ngohi or Huatari. Nga Timaniapoto Tribe. Principal Chief of Mania.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: The Rangatira (chief) Te Ngohi (Huatari) is seated wearing a European blanket like a cloak and has a moko (traditional Maori facial tattoo). He wears a shark's tooth in his right ear and a piglet sits on his left side. Ngohi's (Huatari) wife Ngamihi is dressed in a korowai-ngore (cloak) that features black twisted thrumbs on its surface and fringing with the addition of red, blue and yellow woollen pompoms. She has a tuft of white feathers in her right ear, tattooed lips and markings on her face.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ngamihi. his wife. Ngohi or Huatari. Nga Timaniapoto Tribe. Principal chief of Mania.'
Plate title: 'Ngohi and Ngamihi'
Plate: 34
Notes:

Iwi [Tribe]: Ngati Maniapoto
Location:

Former Accession Number 1520

  Creator George French Angas
Control AA 8/7/31
Date Range 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/31
Series AA8/07

AA 8/7/32

'Tatau. Youngest son of Taonui. Niapo. His wife. Taonui. Principal Chief of all Mokau. Kiahari Tribe. Oct 17. 1844.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Taonui is seated wrapped in a European blanket and wears a sailor's hat, smoking a pipe. He has a moko (traditional Maori facial tattoo). His wife Niapo and the infant that sleeps on her back are wrapped in a korowai-ngore (cloak) that features black twisted thrumbs and red and blue woollen stitching which forms a border along its bottom edge. She smokes a pipe and wears a tuft of white feathers in her right ear. Tatau, their oldest son, stands behind his mother wearing a strand of blue beads.The family is portrayed in front of a meeting house that has red and black kowhaiwhai (symbolic scrolled patterns) painted on its porch rafters and two carved figures referred to as the koruru and tekoteko attached to the apex of the maihi (sloping barge boards).

The carved figures are very similar to those seen on the house of Te Rangihaeata on Mana Island.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Tatau. Youngest son of Taonui. Niapo. His wife. Taonui. Principal chief of all Mokau. Kiahari Tribe. Oct 17. 1844.'
Plate title: 'Taonui, Niapo and Tatau'
Plate: 35
Notes:

Iwi [Tribe]: Kiahari
Location: Mokau

Former Accession Number 1517

  Creator George French Angas
Control AA 8/7/32
Date Range 17 October 1844
Quantity 1 Watercolour 27.5x22cm; Mount 35.5x29.5
Inventory Identifier AA 8/7/32
Series AA8/07

AA 8/7/33

'Ko Tiaweo. A lad of Tuhua. Te Te Mara. Son of Brown of Wakatumutumu.'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Two children stand wrapped in korowai-ngore (cloak) that largely feature the black dyed twisted thrumbs. The boy on the left has a blue ear adornment and his cloak has the addition of pompoms while the smallest boy to the right also has thrumbs that have been scraped and dyed black. The pair are surrounded by native foliage and the snow cape Mount Ruapehu can be seen in the distance. Endorsed with their own signatures.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ko Tiaweo. A lad of Tuhua. Te Te Mara. Son of Brown. of Wakatumutumu.'
Plate title: 'Tiaweo and Te Mara'
Plate: 36
Notes: Plate size 37.5x26.5cm (larger than original)

Iwi [Tribe]:
Location: Tuhua, upper Wanganui

Former Accession Number 1512

  Creator George French Angas
Control AA 8/7/33
Date Range 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/33
Series AA8/07

AA 8/7/34

'Rawide or Ti Rangierawaaha. Nga Ti Tuharatoa Tribe. A Chief of Taupo.'

  IMAGE »
 

Original Watercolour
There is one original watercolour within this frame.

Notes: Rawide (David) or Rangiarawhaha was a Tuwharetoa chief who Angas met at the village of Te Rerenga in Wanganui. He wears a deep brown kahu kuri (dog skin cloak) over the top of a European blanket. He holds a wahaika (wooden hand club) with a small carved figure and (kaka) parrot feathers. He has a moko (traditional Maori facial tattoo). Faint writing under caption.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: Rawide or Ti Rangierawaaha. Nga Ti Tuharatoa Tribe. A chief of Taupo.'
Plate title: 'Te Rangiarawaha'
Plate: 37
Notes:

Iwi [Tribe]: Ngati Tuwharetoa
Location: Taupo

Former Accession Number 1530(2)

  Creator George French Angas
Control AA 8/7/34
Date Range 1844
Quantity 1 Watercolour 33.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/34
Series AA8/07

AA 8/7/35

'At Raroera Pa. Nov. 8. 12 feet. 11 feet. Pari Hori and her son Tawera. Ancient Carvings at Raroera Pa.'

 

Original Watercolour
There are two original watercolours within this frame.

Notes: The carved figure on the left is estimated to be 12 feet high. The carved figure on the right which is 11 feet in height, was noted by Angas to be a representation of Parihori and her infant son Tawera. The carving was commissioned by Te Whero Whero in honour of his favourite daughter.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'At Raroera Pa. Nov. 8. 12 feet. 11 feet. Pari Hori and her son Tawera. Ancient Carvings at Raroera Pa.'
Plate title: 'Ancient carvings at Raroera Pa'
Plate: 40
Notes:

Iwi [Tribe]: Tainui
Location: Raroera pa, Otawhao, Waikato

Former Accession Number 1478

  Creator George French Angas
Control AA 8/7/35
Date Range 8 November 1844
Quantity 1 Watercolour 26x32.5cm; Mount 34.5x44.5cm
Inventory Identifier AA 8/7/35
Series AA8/07

AA 8/7/36

'Ancient carved whare. or warm house. Pari-Pari. Oct 17. 1844.'

 

This item is restricted.

Original Watercolour
There is one original watercolour within this frame.

Notes: The whare whakairo (carved house) is in Pari-Pari, Te Kuiti. The house was noted by Angas on his journey as 'one of the finest examples of painted and carved meeting houses still in existance in New Zealand' at that time. The house displays speckled Kowhaiwhai (traditional scrolled painted patterns) in the rafters, tuktuku (lattice work) panelling in the porch and intricately detailed carvings. In this house the right corner of the porch has been fenced and considered to be wahi tapu (sacred burial site) which is restricted. A wooden kumete (bowl) sits in front of an intricately carved amo (upright support post) on the right.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Ancient carved whare. or warm house. Pari-Pari. Oct 17. 1844.'
Plate title: 'Ancient carved house at Pari-Pari'
Plate: 41
Notes:

Iwi [Tribe]:
Location: Pari Pari-Te Kuiti

Former Accession Number 1529(2)

  Creator George French Angas
Control AA 8/7/36
Date Range 17 October 1844
Quantity 1 Watercolour 23x34cm; Mount 34.5x44.5cm
Inventory Identifier AA 8/7/36
Series AA8/07

AA 8/7/37

'Taupo "N. Zealand"'

  IMAGE »
 

Original Watercolour
There is one original watercolour within this frame.

Notes: The house in Taupo is stained with kokowai (red ochre). The rafters in the porch have been painted in red and white with the symbolic patterns known as kowhaiwhai, and the black and white on the back rafter board referred to as the heketipi. Tukutuku (lattice work) panels in red and black bands adorn the inside porch which is shared by two seated occupants.The female is wearing a pake (rain cape) and the older man wears a korowai-ngore (cloak) and huia feathers in his hair. A European blanket is draped over the paepae, the beam that runs the length of the threshold. The only carving is the tekoteko seen at the apex of the front of the house which has also been ornamented with feathers. In the foreground of the image are two wooden kumete (bowls) and flax kete (basket).

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Taupo "N. Zealand"'
Plate title: 'House at Taupo'
Plate: 42
Notes:

Iwi [Tribe]: Ngati Tuwharetoa
Location: Taupo

Former Accession Number 1480

  Creator George French Angas
Control AA 8/7/37
Date Range 1844
Quantity 1 Watercolour 23.4x32.5cm; Mount 34.5x44.5cm
Inventory Identifier AA 8/7/37
Series AA8/07

AA 8/7/38

'Tarapipipi. Son of principal Mata-Mata chief. Oct. 1844 (His own signature)

 

Original Watercolour
There is one original watercolour within this frame.

Notes: Wiremu Tamihana Tarapipipi (William Thompson) was the son of the Waikato chief Te Waharoa. He stands holding a tewhatewha (long handled fighting club) and wearing a korowai-ngore (cloak) with black twisted thrumbs and red woollen stitching that forms a border along its bottom edge and sides. He wears this over a white shirt, has a moko (traditional Maori facial tattoo), and a cluster of blue feathers in his right ear. After his father's death, Tamihana adopted the Christan name Wiremu Tamihana (William Thompson). In later years he strongly supported the Maori king movement and became known as 'Tamihana the King-Maker'. Endorsed by Tarapipipi's signature.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Tarapipipi. Son of principal Mata-Mata chief. Oct. 1844 (His own signature)'
Plate title: 'Wiremu Tamihana Tarapipipi Te Waharoa'
Plate: 43
Notes:

Iwi [Tribe]: Ngati Haua
Location: Matamata

Former Accession Number 1530(1)

  Creator George French Angas
Control AA 8/7/38
Date Range October 1844
Quantity 1 Watercolour 33.5x24.5cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/38
Series AA8/07

AA 8/7/39

Ancient carved Pataka at Waitahanui

  IMAGE »
 

Original Watercolour
There is one original watercolour within this frame.

Notes: The carved pataka is in the abandoned pa (fortified village) of Waitahanui. The pataka is a raised and enclosed storehouse for food and or valuables. The intricate carving on the paepae which is the bottom beam runs the length of the threshhold and maihi (sloping barge boards), often refers to symbolism that represent being plentiful. In this example the carved detail also extends to the crossbeams beneath. Such an ornately carved pataka indicated wealth, knowledge and prestige. Behind are large palisade posts and stakes from the fortified fence that surrounds the village. A raupo whare (house) is in the background and a child and a women wearing a tihetihe (cape) are seated next to the pataka.

Signed by Angas (on mount)

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: no title
Plate title: 'Ancient carved Pataka, Waitahanui'
Plate: 45
Notes:

Iwi [Tribe]: Ngati Tuwharetoa
Location: Waitahanui (Taupo)

Former Accession Number 1501

  Creator George French Angas
Control AA 8/7/39
Date Range 1844
Quantity 1 Watercolour 32x23cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/39
Series AA8/07

AA 8/7/40

'Door of a whata. (Hokianga.)'

 

Original Watercolour
There is one original watercolour within this frame.

Notes: This detail from the door of a whata (elevated storehouse) came from the Hokianga district. Central to this detail is a carved figure with a moko (traditional Maori facial tattoo) and holding a putorino (flute). This figure is surrounded by mania heads (guardians) inlaid with paua (sea snail) shell eyes and takarangi spirals along its edge. The carving pattern is referred to as raupongo.

Signed by Angas (F very faint)

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Door of a whata. (Hokianga.)'
Plate title: 'Carving on whata door'
Plate: 46
Notes: Plate size 37.5x26.5cm (larger than original).

Iwi [Tribe]:
Location: Hokianga

Former Accession Number 1521

  Creator George French Angas
Control AA 8/7/40
Date Range 1844
Quantity 1 Watercolour 27.5x21.5cm; Mount 35.5x29.5cm
Inventory Identifier AA 8/7/40
Series AA8/07

AA 8/7/41

Sketches of moko and kauwae, signatures and a letter written by Rev. J Morgan in Maori

 

Original Watercolour
This are six original sketches, one note and two signatures in this frame. Notes are as follows:

  1. A sketch of a moko (traditional Maori facial tattoo)
  2. The signature of 'Wiremu Nera Whaingaroa'
  3. The signature of 'Paratina Waangaraa'
  4. A sketch of a profile and a partial profile of a person
  5. A sketch of a frontal view of a head with only the eyes and nose
  6. A letter written in Maori from the Rev. J Morgan to the chiefs at Whatawhata. The Reverend endorses Angas's visit and requests that the chief's people pose for Angas.
  7. A sketch of a kauwae (traditional Maori woman's chin tattoo)
  8. A sketch of a moko (traditional Maori facial tattoo)
  9. A sketch of a kauwae (traditional Maori woman's chin tattoo)
  10. The signature of 'Josiah Taonui Hokianga'

Unsigned

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: no caption
Plate title: 'Letter from the Rev. J Morgan'
Plate: 47
Notes: Original larger than plate

Iwi [Tribe]: Tainui
Location: Whatawhata,

Former Accession Number 1538

  Creator George French Angas
Control AA 8/7/41
Date Range 1844
Quantity 1 Watercolour 49.5x34.5cm; Mount 57.5x42cm
Inventory Identifier AA 8/7/41
Series AA8/07

AA 8/7/42

Sketches of moko and signatures

 

Original Watercolour
This are four sketches and four signatures in this frame. Captions and notes are as follows:

  1. no data
  2. no data
  3. no data
  4. 'Na Te Wirihana'
  5. 'Tipene Whaingaroa'
  6. no data
  7. 'Wa rekawa Son of Te Waro.'
  8. 'Taarg putingi Son of Rangituaeta'

Notes: The moko (traditional Moari facial tattoo) is equivalent to the idea of a cultural identity card and passport. Each moko was customised to the individual and represented a wealth of information that could be instantly recognised. The Moko could indicate the wearer's rank, status and their position of power and authority. The person's descent was considered an essential requirement before a moko could be undertaken.

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: no caption
Plate title: 'Specimen of Tattooing'
Plate: 48
Notes: Original larger than plate

Iwi [Tribe]:
Location:

Former Accession Number 1491

  Creator George French Angas
Control AA 8/7/42
Date Range 1844
Quantity 1 Watercolour 49.5x34.5cm; Mount 57x42cm
Inventory Identifier AA 8/7/42
Series AA8/07

AA 8/7/43

'Te Whata. of Ahutaphanua. Ko Kaihinu. Pa. At Arapaua or Queen Charlottes Sound'

 

This item is restricted.

Original Watercolour
There is one original watercolour within this frame.

Notes: The scene depicted is a Wahi tapu (sacred burial site) which is restricted. Angas refers to the architectural structure in this scene as a pataka (enclosed and elevated store house) and noted that its content contained personal articles such as clothing of the recently deceased Chief Atarapaua (Ahutaphanua). The main body of the structure was crafted from the hull of a waka (canoe). The outer surface painted with the red and black symbolic patterns referred to as kowhaiwhai, the maihi (sloping barge boards) also have the painted kowhaiwhai patterns but with the addition of a speckled white border. Below the carved tekoteko at the apex of the maihi is a realistic human figure and above him a bird. These observations painted by Angas are his only record of Maori art painted in a European style. Title from mount. 'Tomb of a Chief. Cook's Straits'

Signed by Angas

Lithograph
The original has been used in Angas's Portraits of the New Zealand Maori.

Lithograph caption: 'Te Whata of Ahutaphanua. Ko Kaihinu. Pa. At Arapaua or Queen Charlottes Sound'
Plate title: 'Pataka at Kaihinu Pa'
Plate: 49
Notes:

Iwi [Tribe]: Ati Awa
Location: Kaihinu pa on Arapawa Island in the Queen Charlotte Sound

Former Accession Number 1503

  Creator George French Angas
Control AA 8/7/43
Date Range 1844
Quantity 1 Watercolour 32.5x24cm; Mount 44.5x34.5cm
Inventory Identifier AA 8/7/43
Series AA8/07