N E W
Z E A L A N D
People & Places
Paintings of everyday life from the brush of watercolour artist
Paul Hanrahan
This book offers a rare insight into the vision and talents of one of New Zealand’s foremost watercolour artists. Paul Hanrahan who was once described as having been ‘born with a pencil in his hand’ has gone on to utilise his talents in a career of illustration, art, and architectural design. When he moved out of big city life, he concentrated on developing the most difficult of all art disciplines, that of water-colour painting. He has of course excelled in this by any international measure, and is one of the very few who can capture figures in action. In the first pages of the book, he shows a collection of his ‘on location’ sketches in both watercolour and pencil, capturing distinctive aspects of New Zealand life; from the quirky to the spectacular, set in backgrounds of both grandeur and the familiar. Town, country, people at work and at play, and the changing seasons in landscape and seascape. Then in the final chapters, he shows his portraits and some of the finished works, most of which have found appreciative homes among the large group of discerning buyers who cause the almost sell-out shows whenever he exhibits throughout New Zealand. This book is an essential for New Zealanders at home or abroad and for watercolour lovers everywhere.
Paul Hanrahan was born in Christchurch during a norwester. In 1955 he began a career in design and illustration for the advertising world, which took him to Melbourne. Following his return to Wellington in 1960, he received three consecutive merit prizes in the National Bank Watercolour Awards. 1983 saw his first solo exhibition, at the Molesworth Gallery, Wellington. In 1984 he was made a noted member of Wellington Watercolour Society. In 1996 he was an invited participant in the World Watercolour Biennale in Mexico. Two years later he moved to Christchurch, painting fulltime and conducting sought-after workshops. Paul Hanrahan is a self-taught artist whose work is noted for its impressionistic narratives of people going about their everyday life. He lives in Geraldine, South Canterbury. Email: phanrahan@xtra.co.nz Book sales: www.artdirection.co.nz
N E W
Z E A L A N D
People & Places Paul Hanrahan
For Dhugal
First published 2007 by Saint Publishing 2002 Ltd Auckland, New Zealand. www.saintpublish.co.nz Copyright Š 2007 in images and text: Paul Hanrahan Copyright Š 2007 Saint Publishing 2002 Ltd ISBN 1 87729070-X All rights reserved. Front cover: Busker, Christchurch Arts Centre. Page 1: Wharf, Queenstown, Lake Wakatipu. Page 3: Vineyard on the Kawarau River, Central Otago. Page 4-5: Princes Wharf, Auckland. Page 6-7: The artist on the road. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.
For thirteen years he was our hard-case, loyal and loved Cairn Terrier.
The publishers would like to acknowledge the assistance and permission of the individual artists, dealers and collectors represented in this book. Book design by Denis Robinson, email: denis@artdirection.co.nz Text editing by Debbie Morpeth Printed by Print Resources SDN, Malaysia
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N E W Z E A L A N D
People & Places Paintings of everyday life from the brush of watercolour artist
Paul Hanrahan
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book, but more a portfolio of my life with watercolour, so I have included some major works that are held in galleries and private collections the, both in New Zealand and throughout the world.
I hope you find this record visually pleasing. Paul Hanrahan
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Content Introduction...............................................................................................................6 Leisure...........................................................................................................................8 Landscape................................................................................................................ 26 Country...................................................................................................................... 36 Town............................................................................................................................ 46 People......................................................................................................................... 64 Seascape................................................................................................................... 80 Portraits...................................................................................................................... 96 Gallery...................................................................................................................... 104 5
Introductio
Over the years, my paintings have been mainly ‘snapshots’ of everyday life – people around cafés, vintage rallies, window shoppers, buskers, whitebaiters, polo ponies, people at work and at play. I have filled dozens of sketch books with drawings and notated colour reminders. The subjects I like are busy and mobile, so for me the pencil has no substitute. People, vehicles and animals move quickly so I draw quickly. With landscapes and marine scenes I’m able to use my basic portable set of watercolour equipment to complement my drawings. More recently, I have developed my sketching approach to cater for colour – a practice that hopefully keeps my painting loose and spontaneous. Where I can, I complete these as rapidly as possible to capture the essence and feeling of the image. There are subjects which make setting-up of the most minimal watercolour equipment quite impractical, necessitating some painting to be completed in my studio. Many of my earlier sketches have progressed to loose watercolour studies for the purpose of this book. On these I have retained the dates when the original sketches were made . I’m sure I will have the understanding of those who own the original paintings completed from some of these coloured studies. This is not a ‘how-to-paint’ book and occasionally I wonder if I know myself, when the unpredictable vagaries of watercolour can cause so much grief. It is a record of things I’ve seen and I hope it gives pleasure to watercolour lovers, wherever you are. Paul Hanrahan
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Leisur LAST CHUKKA. Among my favourite subjects are these polo ponies. I’m awed by the movement of horses. Unlike racing, where horses move in the same direction, these ponies ‘brake and accelerate’ from so many angles. 9
CAROLINE BAY, TIMARU. Finding a subject before opening time is something I look for. Apart from being easier to set up, there is usually a sense of anticipation, like the eager patrons waiting for the blue canvas to unfurl. I shouted the lad on the right a ride for holding a pose while I sketched. 10
PETANQUE, PEKA PEKA. The French may play petanque expertly under the plane trees, but on this Peka Peka beach, just north of Waikanae, this youthful group didn’t lack enthusiasm.
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OPTIMISTS, WAIKANAE LAGOON. The sound of the loud-hailer issuing intructions to the budding sailors, scatters the wildlife as the Optimists’ take to the water. 12
ANTIGUA BOAT SHEDS. An occasion for setting up early. Normally this type of subject gets far too busy to handle with any restraint. The first launching of the day on Christchurch’s Avon River. 13
Above: ASHFORD PARK. Developed by the late Arthur Williams, Ashford Park is a stud and racing complex ahead of its time. The veterinary section would make a theatre surgeon envious. Right: THORNTON PARK STUD. The antics of the foals are most amusing. While sketching the mare, an inquisitive colt nipped at the back of my jacket. 14
CUP DAY, RICCARTON. A hot and blustery nor-wester doesn’t deter studious observation, nor the inevitable glamour. 15
CHESS IN THE SQUARE, CHRISTCHURCH. A chilly Christchurch morning didn’t wane the concentration of the chess enthusiasts. Onlookers came and went. A very European scene. 16
Above: CSO. LANSDOWNE. Squatting down behind a banging drum, I had Vivaldi in stereo but managed this page of studies of the Christchurch Symphony Orchestra at Lansdowne. Right: BALLET REHEARSAL. On several occasions I’ve gone along to ballet rehearsals. The action helps my figure drawing. I had nearly completed the lass on the left when she took up a splits pose. 17
SURFCASTING, WAIRARAPA COAST. Only the lady perched on the bike (and me), seemed to notice the chill southerly from Cook Strait. The entrance to Lake Ferry is a popular surfcasting spot. 18
WAIKANAE WHITEBAITERS. Three hundred metres from our Waikanae beach home, a dedicated assortment of humanity in gumboots and waders, stake a claim along the river mouth at the start of the whitebait season. The yarns would flow even when the whitebait wouldn’t. 19
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THE AERO CLUB. A dream contrast at the Rangiora airfield – an aerobatic biplane and microlight. I had to pencil in the Tiger Moth, as fast (or slow!) as it was taking off. 21
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WOODBURY RALLY. My wife looks at local ads to jot down upcoming events. Where people gather I’ll cover several pages with drawings. I was selective in composing the Woodbury Rally painting. 23
DRIZZLY DAY, RAUPARA FARM, BLENHEIM. It was a miserable day and I could find little to paint. I saw the wind pump and old buildings among the bare willows and from the cramped quarters of my car, I managed this spread. 24
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THE SLEEPING GIANT (CASTLE ROCK), COROMANDEL. Painting this inlet at Matarangi, a strolling gent whispered a question over my shoulder. He asked if I could see the sleeping giant. I said no. He told me to look hard at the peak on the right. I smiled and thanked him. 26
Landscap OVER THE PLAINS, GERALDINE, SOUTH CANTERBURY.
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OLD CROMWELL TOWN. Dismantled and saved before the Clyde dam flooded the old town, it was rebuilt in this picturesque location on the edge of Lake Dunstan to remind us of an earlier era. After completing the painting, lunch had a delicious robust flavour that seemed to emanate from those early days. 29
Above: SNOWBOMB, GERALDINE. The stillness was ‘deafening’. Then a crack and tearing as branches fell. The power lines began arcing in the distance. Five centimetres of snow stacks on No. 8 wire! Left: SNOWSCAPE. This scene at Woodbury was Christmas card pretty. It became just that – our 2006 Christmas card. Opposite: WOODBURY ROAD TO FOUR PEAKS. 30
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Above and left: GALE CUTTING ROAD. On seeing the line of sheep and a sou-wester brewing, I reached for my sketchbook. No sketchbook! The proverbial used envelope and my wife’s makeup pencil from the car glove box, gave me enough information to paint Gale Cutting Road (above). 32
MACKENZIE COUNTRY. Artist John Badcock, takes time out for a cuppa while painting in the Mackenzie country. A big, wide silence is only broken by John urging me to do something worthwile and not waste a beautiful day. 33
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LAMMERMOOR RANGE. Winter colours in real Central Otago, contrast with patches of snow. A reminder of weather extremes in this almost lunar landscape. I felt I could roam forever. 35
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Countr Left: VINTAGE RALLY, OXFORD. This was tough. The paint was drying too fast at 35 degrees celsius, while I was wetting up quick. My paint sponge cooled the back of my neck. I had my picture when the lady, at left, slumped on a bale and kicked her shoes off. Above: SIGHTSEEING, CUST, NORTH CANTERBURY. Overleaf: DENFIELD GOLF CLUB, GERALDINE. While waiting to tee up, I couldn’t let this go. An old score card was used to sketch the twosome looking at the threesome. 37
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Agricultural and Pastoral Show, Wairarapa. 40
AGRICULTURAL AND PASTORAL SHOW, FAIRLIE. 41
AUTUMN, HILTON. A plethora of dairy farms now spread throughout Canterbury. I pass so many, but this scene with autumn golds and the blue of Four Peaks was attractive enough for me to set up the paint boxes.
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WEKA PASS EXPRESS. It’s all iron and steam at Glenmark Station, North Canterbury. Picnickers and backpackers, families and enthusiasts engage in the excitement of a trip to Frog Rock and Hanmer Basin. 43
HALF TIME. The goal posts, the oranges, the brick memorial entrance – a scene echoed around the country on a winter Saturday. Tai Tapu on the outskirts of Christchurch is a pretty village near the Cashmere Hills. 44
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Tow Left: PRINCES WHARF, AUCKLAND Above: LOWER QUEEN STREET, AUCKLAND 47
PUBLIC LIBRARY, WELLINGTON.
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TOWARDS TE PAPA, WELLINGTON. With out-of-control roller-skaters, clacking skateboarders and pounding joggers, sketching can be quite hazardous. Oh well – I do pay ACC levies! 49
RED RED WINE, CAFÉ AND BAR, GERALDINE. 50
COYOTE, CHRISTCHURCH. I must be getting well known along Oxford Terrace. Even the waitresses ask what will I be sketching next. 51
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Left: VULCAN LANE, AUCKLAND. Usually a pleasant shady location for ‘al fresco’ lunching during Auckland’s summer. While concentrating on my sketching, I still couldn’t help overhearing the jargon of investment banking from the near group – I’m none the wiser. 53
HARLEY AT DEVONPORT. 54
OTAGO UNIVERSITY CAMPUS. I was sketching Otago University’s iconic clock tower, when Mike D, on his way to microbiology, gave me a few minutes. Approaching the campus, I couldn’t help an inward grin when a ‘ scarfie’ rushed from his downtown accommodation hitching up his pants and with teeth, holding a full piece of toast. 55
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PORT CHALMERS. This Dunedin port was well worth the visit. The spidery crane emerging from the top of the rise in the road appeared like a massive sculpture. The ‘Old Stables’ on the left was a real charmer. After my sketch, I wandered up to one of the many fine cafés for a muffin and flat white. 57
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Opposite: ANNIES WINE BAR, ARTS CENTRE, CHRISTCHURCH. Right: CHRIST’S COLLEGE DINING HALL. For a person who loves sketching buildings, I sometimes long for the wonderful shapes of European buildings. By comparison, we are a young country architecturally and it is always a pleasure to draw gothic treasures such as the Arts Centre and Christ’s College. 59
PONSONBY ROAD. Few go to Auckland without taking in Ponsonby Road. Cafés, boutiques, the odd, the curious, the gamut of Auckland’s culture surfaces here. 60
WATERFRONT SUNDAY, WELLINGTON. 61
CANTERBURY PRODUCE MARKET, CHRISTCHURCH. 62
STAFFORD STREET, TIMARU. A demonstration painting for the South Canterbury Arts Society – a tough ask in 45 minutes! 63
SHED 5, WELLINGTON WATERFRONT. One of the first of many conversions on Wellington’s waterfront, Shed 5 proved amazingly popular then, and surprise, amazingly popular now. 64
Peopl CUBA MALL, WELLINGTON. These tourists (they had to be from the USA), were catching some autumn sun in Cuba Mall. The gent on the left was a respected Wellington bagman, who quietly limped his way through all seasons. 65
TEN DOLLAR HAIRCUTS. In my town of Geraldine, Gary gets the gossip and the blokes get the ten dollar haircut. The shop is a quaint time warp of wonderful memorabilia. 66
SHEARING AT CRAIGMORE. It was all action and bedlam. My pencil could barely keep up, as these remarkable athletes kept up the pace near the end of the day. 67
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Left: LA CAFÉ, ARTS CENTRE, CHRISTCHURCH. Above: VICTORIA PARK MARKET, AUCKLAND. Markets are fascinating to sketch. Setting up stalls, the long blacks under the shade and bustling bargain hunters often make a complicated subject. Judicious elimination is necessary and I waited some time to sketch a suitable foreground figure (yes, it was worth the wait)! 69
CHRISTCHURCH PRODUCE MARKET.
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BAINHAM STORE, GOLDEN BAY. While sketching this old store and post office, Russell, an architect from Toronto, came over and agreed to be included in the painting. The group’s mini-bus was starting up, so I had to be quick. 71
A & P SHOW, FAIRLIE. By now, you may realize my attraction to sketching and painting people doing things. These A & P shows combine town and country. I quickly take my opportunities, like this lady trying on a hat. 72
SMITH THE GROCER. Old bank building, Wellington.
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STEAMER WHARF, LAKE WAKATIPU. I started sketching the busker and building behind, when the S.S Earnslaw sidled in. My drawing then extended to the left hand page and took in some passing figures. Now I would have a painting that was very Queenstown, but my wife would be without a special piece of jewellery, lost on our way to coffee. 75
BUSKER, CHRISTCHURCH ART CENTRE. The verve of this young saxophonist epitomises weekends on Worcester Street. Jugglers, actors, poets, artists, crafts people and trams, all add to the magnetic character of this special part of Christchurch. 76
LAGONDA, OAMARU. A sketch of old Oamaru town, with two parked vintage cars present, took on another dimension when this elegant red Lagonda saloon pulled up. 77
Above: AFTERNOON ON THE HEATHCOTE. Youngsters doing things I did at that age – not a playstation in sight. There’s an innocence about this study. Right: TRAD JAZZ ON CASHEL. The strains of ‘Twelfth Street Rag’ came from nearly a block away. I retrieved my sketch book and completed the drawings during a rendition of ‘Basin Street Blues’. 78
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Seascap WAIKANAE SUMMER. Kapiti Island and the smaller Browns Island, backdrop this summer evening on Waikanae Beach, Kapiti Coast. 81
NELSON WATERFRONT. The grey day (only 5â °C), still brought out some colourful nuances in the foreground rocks.
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FLEURS, MOERAKI. Seaside Moeraki, south of the famous boulders, boasts one of the most enduring sea food cafés in the country – Fleurs Seafood Restaurant. I painted this salty subject with my back to a bitter southerly. 83
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KAIKOURA COAST. I was concentrating on sketching this coastal scene and pencilling the middle rock, when I saw some movement. Slumbering seals catching the last of the late sun began rousing. A bonus! 85
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Opposite: WELLINGTON’S HARBOUR. The harbour ‘work horses’ were manoeuvring a container for berthing on a glorious Wellington morning. The gentleman in the foreground obviously wanted a close-up view. Above: PORT OF TIMARU. Salty air, creaking ropes and squawking gulls, are all part of a waterfront. I enjoyed the near back-lighting of this subject. 87
AKAROA SUMMER. An hour from Christchurch, this French flavoured village is a holiday mecca. I was sketching on the foreshore when the foreground lass secured her colourful wrap. I used peripheral vision when adding her, so as not to appear too intrusive. 88
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Above: POHUTUKAWAS. A little bay in the Coromandel, the name I can’t remember. The pohutukawas clinging precariously to rock faces, the yacht at anchor on a blue Pacific and clouds typical of the area, make a calming study painting. Right and opposite: PLIMMERTON YACHT CLUB. Sketching the subject is essential to me. A two minute drawing helps me to retain my observations. I simplify, move shapes and vary tones in these brief drawings. 90
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MILFORD MARINA, AUCKLAND. A sultry summer morning on Auckland’s north shore and the slapping sound of paint brushes were distinctly audible, even over the sound of cicadas. 92
VIADUCT BASIN, AUCKLAND. This gleaming new yacht would win any ‘concours de elegance’. Very 1920s and fit for a Rockefeller. The new mast arrived half an hour after I had finished sketching. 93
REPAIRING NETS, WELLINGTON WATERFRONT. 94
PAREMATA. School holiday studies at Paremata Inlet near Wellington. 95
EMMA. A young Scandinavian woman. She was trying her hand at dairying during her stay. 96
Portrait DAVE. Proprietor of Allison Arts in Geraldine, Dave is also an ace framer. (Works well under pressure)! 97
JOHN YARDLEY. John Yardley is recognised as one of the most accomplished watercolour painters in Britain today. His influence on anything I have achieved is profound. This gracious man, and his wife Brenda, have welcomed me into their Surrey home on three occasions over the last six years. 98
Subject
JOHN B. John Badcock, an artist of considerable eminence in New Zealand, was painting rhodos in his country garden when I put down this study. Our close proximities allow us to share artistic banter and give each other a fun hard time. 99
DENIS ROBINSON. The designer of this book, Denis, gives his grandson Jamie Reardon his first drawing lesson. 100
MEGAN. 101
GWENDA AT THE BOATSHEDS. I caught my patient wife having a deserved ‘feet up’! Despite being my sternest critic, when belief and inspiration wanes, her encouragement is gratefully appreciated. There have been times when she promises to ‘come back’ as a sheet of Arches or Fabriano Watercolour paper, in the hope that she will gain more of my attention! 102
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THE UPHOLSTERER. 104
Galler THE BUSKER. 105
MODEL YACHTS, HAGLEY PARK, CHRISTCHURCH. 106
CHELTENHAM BEACH, NORTH SHORE, AUCKLAND. 107
BIG BOAT CAFÉ, AUCKLAND, 108
SUNDAY TIMES, PONSONBY. 109
ICEBERGS. 110
CASINO, CHRISTCHURCH. 111
Above: NEW REGENT STREET, CHRISTCHURCH. Opposite: RELAXING AT THE PLAZA. 112
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PONY RIDES, SWANNANOA. 114
LAST CHUKKA, WINCHESTER. 115
DUSK, PICTON. 116
BOAT SHEDS, AKAROA. 117
SEASON’S OPENING, HAGLEY PARK, CHRISTCHURCH. 118
CHRIST’S COLLEGE, CHRISTCHURCH. 119
TOM’S GOAT. 120
VIVALDI AT LANDSDOWNE. 121
PRESTO ON MANCHESTER. 122
PINK CAMELLIAS. 123
FOLLY FOUNTAIN, CHRISTCHURCH BOTANIC GARDENS (ruffled by a sudden nor-wester). 124
466 GEORGE STREET, DUNEDIN. 125
HAYMAKING, VINTAGE RALLY, OXFORD. 126
DESSERT TROLLEY, WELLESLEY CLUB, WELLINGTON. 127
HAYBALES, GERALDINE. 128
This book offers a rare insight into the vision and talents of one of New Zealand’s foremost watercolour artists. Paul Hanrahan captures distinctive aspects of New Zealand life; from the quirky to the spectacular, set in backgrounds of both grandeur and the familiar. It is an essential book for New Zealanders at home or abroad and for watercolour lovers everywhere.
ISBN 1 87729070-X