A.A. Deans (1915 - 2011) - an artist who preserved South Canterbury, N.Z. striking landscape on canvas.

A traditional artist, not abstract, noted for his watercolour and oil paintings of the mountains of New Zealand's South Island. Many of his commissioned work are of mountain ranges. He is descended from the pioneering Deans family of Riccarton. The name "Riccarton" comes from a village in Ayreshire, Scotland where the Deans came from. Austen was raised in the County of Selwyn between Darfield and Sheffield, north of Christchurch on one of the farms that resulted from the division of the estate of Homebush Station. Man of the Mountains.

Allister Austen Deans was born to Norna [Nora] nee Knight and Alexander "Allister" Deans 2nd December 1915. His parents were married at St. Andrews, Darfield 3rd Nov. 1914 by the Rev. Mathias. The bride, Miss Nora Knight, second daughter of Mr and Mrs Henry Arthur Knight, of Racecourse Hill. The groomsmen were Messrs M. Deans and C. Archer. Austen's father was killed, 4th Oct. 1917, in World War I when Austen was two.  His mother carried on the family farm until Austen and his brother, David McIlraith Austen Deans, b. 22 July 1917, were old enough to take over. Austen was educated at schools for the well-heeled Cantabrian: Medbury, Christ's College 1930 - 1933 and University of Canterbury School of Art, gaining Dip. Fine Arts (N.Z.) in 1938. Archibald Nicoll was the major influence on his painting but he also studied with Cecil Kelly and the sculptor Frank Shurrock. He was set to study at the Slade School in London but the war broke out. 

Austen Deans said the most memorable year of his life was 1939: "I had finished my studies at the School of Art and I was getting to my feet and realising that art really was my passion and that I wanted to paint and to be an artist full-time."


A 1955 "From Mesopotamia," landscape, oil on a panel, 50 x 76 cm (h x w), impressionism style by A.A. Deans. On Ebay in 2016. Original H. Fisher & Son gallery of Christchurch label affixed en verso. The strong landforms give the work structure and the stream provides a nice balance for the focus. William Packe painted here in 1868 and Edwyn Temple in 1884 and Aston Greathead in the 1974. The view in March 2016.

Seeing something in Nature that intensifies my joy of being alive, I want to try to reproduce it in such a form that when I see it again I re-live my joy at that divine moment. By so painting I hope to share my own delight with other people. - Austen Deans, 1967.

 

For those who know the area will miss Austen Deans and his wonderful paintings of those far away hills. He painted not to say "look at me", but "look at how extraordinarily beautiful New Zealand is", he said. He had a great love for the mountains. This subject matter dominated most of his landscape paintings. He would climb to reach the right viewpoint. Deans along with Peter McIntyre were interested in naturalism and rejected abstraction and modernism as not being applicable to the New Zealand art scene.


Lake Opuha, Fox's Peak and the High Claytons by A. A. Deans, watercolour 1999, 22 x 52.5cm. He would often have a dark area in the foreground. Typical of his work.  

Press 27 March 1935 Page 3
Fifteen pictures on view at the Canterbury Art Society's exhibition have been sold since the opening of the exhibition last Thursday. The highest price received was 80 guineas, for a painting of the Rakaia Gorge by Archibald F. Nicoll. Other sales that have been made are:—"The Road to Mount Peel," Phyllis Drummond Sharpe, 8gns; "Mount Enys from Coleridge," A. A. Deans, 6gns; "Summer Sunshine Otira Valley," E. Baird Friberg, 7gns; "Aorangi," Esther S. Hope, 15gns; "Roses," Margaret O. Stoddart, 15gns; "A Rocky Shore," Margaret O. Stoddart, 6gns; "Kaikoura Coast," Rata Lovell-Smith, 5gns; "A Garden on the Hills, Christchurch," Lucretia M. Johnson, l0gns; "Roses," A. H. O'Keeffe, 15gns; "Stacks, Morning Light," Etta Mansfield, 8gns; "After Rain Near Wanaka," W. Basil Honour, 7gns; "Near the Entrance, Botany Bay," Cedric Savage, 8gns.

Press 26 March 1938 Page 18  CANTERBURY ART SOCIETY ANNUAL EXHIBITION - NEW ZEALAND LANDSCAPE by F.J.P.
Naturally one turns to landscapes first. Mr A. A. Deans, in “The Road to Erewhon.” It is a glorious subject, a section of that part of Canterbury back country of which, once anybody has glimpsed it, he thereafter wants to say to every stranger from abroad and to a good many New Zealanders too, “There, that’s New Zealand! Leave your Rotoruas and Waitomos and Chateaux to tourists, but see all you can of this Canterbury back country.” The subject of the picture is vast: mountains, valleys, shingle-bed, river, and tussock. The colour is brilliant, and, one feels, not to be met elsewhere. Indeed, the whole picture is convincing, particularly that gleam on the water. By comparison, other pictures of this kind in the show are either fluffy or empty. Mr Deans has the feel of this country in his bones, and whatever may be thought of this picture finally (some may think that it has here been over praised), there can be no question of its vigour. Here, New Zealand lies all before you like a map. An unusual and illuminating remark.

New Zealand Herald 18 May 1938 Page 18
A Canterbury contingent shows the influence of a higher light key in that province than in Auckland. For example, there are fewer nuances of colour in the Canterbury foothills than in the Auckland hills, as the paintings of Mr. A. A. Deans serve to illustrate.

 A. Deans reveals an unusual gift for drawing the anatomy of mountains.  

WW2

His mother, who had been widowed by Passchendaele was particularly keen her son be given a job. He volunteered for the 2NZEF, entered Burnham Camp on 5th October 1939, and got the job of painting the Greek campaign in the role of assistant war artist to Peter McIntyre. Lance Corporal A.A. Deans was in the intelligence section of the First Echelon to Egypt. He was mainly involved with drawing maps and says he found plenty of opportunity to paint while in Maadi Camp just outside of Cairo. He saw action in the Middle East with the 20th Battalion, appointed Assistant NZ War Artist, just two days before being wounded in the Battle of  Crete, during an attack on the Maleme Airport, in May 1941, captured, and sent to Kokkinia Hospital a P.O.W. hospital at Piraeus, near Athens, Greece, then a P.O.W. camp at Genshagen in 1943, Austria and later Stalag XXA, in Poland. Supplies of painting material came through the Red Cross. He sent 120 of his paintings with an International Red Cross worker out of the POW camp and some of his works were exhibited  in England, and some sent to his mother in Morven (at least 30 including a self-portrait). At the end of the war, in the middle of Austria, Deans liberated himself from a POW camp with the help of a Maori POW who had appropriated a German army truck and with a bunch of their mates travelled through Switzerland to France for three days to four and had a good time. Deans was shipped back to England but had to wait six months to get back to New Zealand, while he gave evidence at the trial of a collaborator.

12 Tent, Maad in 1940i: Watercolour/pencil DIMENSIONS: 130 x 179mm

Evening Post, 8 August 1941, Page 7
Geneva Red Cross confirms the following soldiers as prisoners of war in Greece:
DEANS, Alister Austen. T/L/Cpl. Mrs. A Deans, Morven-Darfield R.M.D. (m.)
CRABBE, George William, Dvr. Mrs. M. Crabbe, Wall Street, Waimate (w.)
DELURY, James Lawrence, Pte. Mrs. J. Hayhurst. 196 Church Street, Timaru (s.)
WORTHINGTON. James Allen, Dvr. Mrs. E. Worthington. 19 William Street, Timaru (m)

Evening Post 7 January 1942 Page 8
Her Excellency Lady Newall was present at Christchurch on Monday afternoon at a large gathering of wives and mothers of men of the forces who are missing or prisoners of war. An encouraging address was given by Lady Newall, who was shown a collection of some thirty paintings by Corporal A. A. Deans, who is a prisoner of war, these being lent to the Art Gallery, where the meeting was held, by his mother, Mrs. Alister Deans, Darfield.

Evening Post, 21 October 1944, Page 9
Opening the fifty-sixth annual exhibition of the New Zealand Academy of Fine Arts in the Art Gallery, D.I.C. Building. On inspection of the exhibits Mr. Watson said, all would agree that they were not unworthy of New Zealand artists and were a fair and representative cross-section of New Zealand art of the present day. He specially commended to attention the pictures by Austen Deans, painted in a German prisoner of war camp, and described Deans as one of the most brilliant of the younger New Zealand artists.

Evening Post, 20 October 1944, Page 4
Visitors to the official opening of the annual exhibition of the New Zealand Academy of Fine Arts, to be opened at the D.I.C. Gallery this evening, will find in the pictures much to interest and admire. A highlight in the exhibition is furnished by the talented New Zealand artist Austen Deans, who when last heard from was a prisoner of war at Stalag XXA. His works are in oils and water colours, and have been done under most difficult and unkindly conditions. Included in the collection of ten paintings is a Polish prisoner, with a mandolin, with sorrow lining his gaunt face. The artist has also included a portrait of himself. Scenes around the prison camp are shown, and a gem in the exhibits is the water colour "Kokinia," a simple and beautiful nocturne. Mr. Deans has sent over 100 of his paintings to the International Red Cross at Geneva and some of his works have been sent to England, some to his mother in Morven, Canterbury, through the good offices of the New Zealand Internal Affairs Department, which has helped Mr. Deans to receive painting materials.

The Bugush Box, Western Desert 1941 oil on canvas 53 x 81 cm signed and dated lower left: A.A.D 1941. Austen Deans said "Then the Greek campaign intervened and I lost track of it. When I arrived home after 4 years as a POW I found the painting had been sent back to New Zealand by a good friend together with my oil kit and brushes".


He became well known, he painted in the army, first in Egypt and later in prisoner of war camps where his style and outlook underwent a complete change. The change of scene liberated him and enabled him to interpret his new surroundings with a swift, vivid, confident brush.

Back in Canterbury

When he arrived back in New Zealand, Austen went back to painting and became a member of The Group in Christchurch in 1946. While working on the farm he met Elizabeth Marie Hutton of Darfield whose family lived in the district. He was offered a loan, a war bursary, to continue his art studies, so they married in January 1947 and travelled to England with their first son and Deans studied art at the Sir John Cass College (1948-50) (affiliated to the University of London) before returning home late in 1950 and bought 25 acres at Peel Forest where he built a home designed by architect Paul Pascoe with a spacious studio and raised a family of seven boys. Austen had enough of a name to support them by selling paintings. Liz set up a Welsh Mountain Pony stud and leased more land, while Austen painted his beloved mountains. In 1962 he won the Kelliher Art Prize and in 1963 and in 1970 was placed second. In 1995 he was awarded an OBE (Order of the British Empire) for his services to art. He once had a chalet up at Mount Cook. "I don't know why, but the back country has always fascinated me and in most cases, the higher the mountain, the more fascinating it is," Deans said in a conversation with Pat Teahan in 1994. Teahan wrote "his aim was to bring back as clear a memory as possible of the scene before him - particular in regard to his mountain paintings." He climbed Mt. Cook in 1974 at age 59. His painting On the Road to Tekapo captures the view on the road to Tekapo of Mt. Cook with a cloud near the top, perfectly. He lived at Chawton, Geraldine and has a son Nicholas. Nick Deans became a artist, sculptures, and sold his work and paintings by his father at the Alpine Gallery, 74 South Audley, England. Deans climbed Mt. D'Archiac at the head of the Rangitata Valley five years after climbing Mt. Cook. In 1981 Austen travelled to Antarctica to paint. In 1998 Austen and his brother David reached Copeland Pass when both were in their eighties.

Austen also wrote one poem and probably his only one. Daybreak is in a Geraldine anthology by Jan Hill published in 2009.  Only six lines. Rhyme scheme aaabba

Austen Deans lived at Peel Forest so he was an artist who was very familiar with the South Canterbury area.

"I started painting because of wanting to learn to climb mountains, from my childhood home at Morven, [near Sheffield in North Canterbury]. I went out to study the ridges on Mt. Torlesse and made drawings of it to help myself see it a bit better in case I was able to climb to it. That's what started me off really because I found that I made quite a good job of it." he said. He began painting Canterbury landscapes at the age of twelve. The painting was what kept the family going, Deans maintains, but the farm, 5212 hectares, added the luxury items. "We lived off the painting. The farm managed to produce enough money to take us all on skiing holidays in September, and it paid for a certain amount of petrol and things like that." he said in the Press 24/10/2007.  

No more shall I see, on a day of clear weather
Far range upon range to infinity dwindle
Snow crowned and ice girdled,
all slumbering together,
Arrowsmith and Erewhon
D'Archiac and Tyndall
Arnold Wall


Mt. Peel Cemetery. He was still actively painting en plain air and exhibiting in 2011. He had a stroke ten days before his death at age 95. His funeral was held at St Mary's Church in Geraldine on Saturday 15th Oct. 2011. He had a folio of works that capture the timelessness and beauty of the New Zealand landscape.

Alistair is the Gaelic form of Alexander which means 'defender of mankind. Has other spellings as it was often Anglicised as Alaster, Alastair, Allister, Allistair.
Allister (Gaelic). Alister (Scottish). Alexander which has long been a popular name in Scotland. A strong name.

H.H. Clifford photo.His father - Alexander also known by the name "Allister" 

Alexander born at Homebush in 1890 s/o Catherine Edith nee Park and John Deans. Allister formerly of Waddington, sheepfarmer spent four 4 years in the ChCh BHS Cadets and five years in the Territorials (CYC). James Deans of Homebush, sheepfarmer, brother to 2nd Lieutenant Alexander Deans No. 27693 in the 3rd C.I.R., 21st New Zealand Reinforcements, and Fulbert Cave Archer of Christchurch, solicitor were the Executors of Alexander's Will and Codicil. F.C. Archer (1890 - 1953) was the s/o Amy Charlotte (nee Radcliffe) and Fulbert Astley ARCHER.

Allister entered camp and was attested at Trentham on 30th May 1916. He was subsequently promoted to the rank of Lieutenant on 3rd July 1916. On the 19th January he embarked at Wellington with the 3rd Battalion, Canterbury Regiment, "H Company" and sailed for England where he disembarked at Devonport on 29th March 1917. He left England for France on 28th May 1917 and served in the field until his death in Belgium on 4th October 1917.  2nd Lt A. Deans was the fourth surviving son of Mrs J. Deans and the late Mr John Deans of Riccarton and was in his 27th year. Before he enlisted he was farming at "Homebush." He was an officer in the 1st Mounted Rifles (CYC) and when he found there was no vacancy in the Mounted Rifles he offered his services in any capacity, and he was serving as an infantry officer when he met his death. He leaves a widow and two young children. Wife Mrs Nora Deans c/o Mrs F. Harris, Basford Hall, near Leek, Staffordshire, England late Morven, Waddington, Canterbury, N.Z. Brother John Deans, Coalgate, Canterbury.  Jane Mcilraith and John Deans were the immigrant ancestors to New Zealand and settled at Riccarton Bush, ChCh. She only had one son, John Deans II as her husband died in 1854. John Deans II had 12 children, 9 reaching adulthood including Alexander aka Allister. 

Sun 30 October 1917 Page 2 [This was late news. Later his body was not identified and his name is inscribed on the Tyne Cot Memorial to the Missing, panel 2]
Private advice has been received stating that Lieutenant Alister Deans, who was wounded in the face and thigh, is in in hospital in France.

The two headstones below are at Kimberley Cemetery on at the intersection of Kimberley Rd and Auchenflower Rd, there is nothing there now, the school closed years ago.  Kimberley Rd runs across country from Darfield.

Photos taken in 2015 by BE.

The Archer family.

Austen's wife Liz died suddenly in June 2004 and in January 2009 Austen married lifetime friend Margaret Alpers (nee Cregoe, previously Alpers) at Riccarton House. Margaret's grandfather, Fulbert Astley Archer (1859-1911), was the manager of Dalgety & Co. He had married Amy Charlotte Radcliffe (1858-1937) of Derriford, Plymouth at the Fendalton church (later St Barnabas) in 1888. Fulbert A. Archer's father, of Timaru importers Miles Archer & Co. was F. Archer and he died 28 Nov. 1904 in St Gothard, Paignton, Devonshire. His grandparents, Edward Archer lived at Trelaske, Cornwall. Burke's.

Star 1 August 1896 Page 5
Messrs H. Matson and Co's land saleroom in Cashel Street was filled to overflowing to-day, on the occasion of a large portion of the well-known Riccarton Estate being submitted to auction. The property together with a portion of the Homebush was offered on account of Mr John Deans, by Messrs Dalgety and Co., in conjunction with Messrs H. Matson and Co. After Mr Conway Matson had read the conditions, Mr F. A. Archer proceeded with the auction, offering the larger sections varying from one to five acres first.

Fulbert Astley Archer died in 1911, aged 52. There were three children: Fulbert Cave Archer (1890-1953), Stephen Radcliffe Archer (1891-1915) and Hester Amy Archer (1901-1952). His son, Stephen, a Lance Corporal in the Canterbury Mounted Rifles, was killed in action at Gallipoli on 22 June 1915, aged 23. Hester Archer, married Julian Plomer Cregoe and Margaret Deans is their daughter. The Press. In 2007 and at the age of 92-year-old Austen was a guide at Peel Forest which he calls "an oasis at the end of the Canterbury Plains." In 2010 Austen and Margaret spend a fair amount of time at Margaret's home in Christchurch, 46 Memorial Ave. Austen liked to get back to his home at Peel Forest as often as possible. He considered himself very lucky to have a great painting companion in local artist Ben Woollcombe. "There's still lots of paintings to be done around here."

Ben Woollcombe wrote Austen Deans made a resolution early in life that when the sun shone he would be out working and work he did. Watercolour was his preferred medium in winter, changing to oil paint in summer when water colour would dry too quickly for his liking. He like nothing better than getting up high in the Rangitata Valley or some such place and painting all day. Retiring to a hut with wood smoke bellowing and lean sack bunks sagging only after the last deep shadows had enveloped all before him. Sharing stories from decades before mellowed by whiskey and the smell of venison stew over the fire. Having been a prisoner of war Austen wouldn't waste any scraps of mouldy cheese or out of date food that many would toss. He considered it all substance for his long fitful life.

In 2008 when he was guest artist at the annual Watercolour New Zealand exhibition he held an impromptu demonstration of watercolour painting with his friend Ben Woollcombe of Peel Forest. Austen borrowed paints, brushes and paper and stroked the paper, layering colours to build up washes of the blacks, browns and blues that he used in his high country landscapes. He was generous with his time and commitment to passing on his knowledge in watercolours.

Mt Summers from Little Mt Peel     Little Mt Peel & the lookout.
"A distinguished New Zealand realist painter of the landscape tradition" John Coley, a former director of the Robert McDougall Art Gallery, praised Deans mastery of the watercolour medium. In his works you can feel the warmth of the sun on his back, and the chill in his face as he faced the mountains capturing the shadows as they played across the slopes. Working with a well worn easel he used a wide palette of colours to lay down the ochres and oranges of the tussocks and a spectrum of blues for snowy faces deepening into shadowy valleys.

The sun is up.

Pictures by Austen Deans, by A.A. Deans. A.H.& A.W. Reed 1967. First edition, 330 x 252mm (13" x 9"), hard covered, 64pp of heavy quality paper, 20 hand tipped-in full page coloured plates, dj, art monograph. Autobiographical account of the author's life and art. A lot of the paintings/plates in this book are of the high country. 

From the Beginning : Chronicles of a County : by Phyllis Kerr, Geraldine, 1976.  The front of the dust jacket is a reproduction of A.A. Deans' painting of the Upper Rangitata Gorge country, and of Rata Peaks, the author's home for more than twenty years.

Capturing Mountains - the Life and Art of Austen Deans, by Nathalie Brown, published by Wily Publications in Nov. 2010. 168pgs. 25 x 25 cm. Large soft cover. His biography. Deans is one of the region's living treasures. He wasn't a very ambitious climber - I just liked being in the mountains and I still do,- Deans said. His interest in the "form and beauty of mountains began when he was about 12. I really started trying to look at what I had in front of me." His relationship to Jane Austen is set out in his biography on page 18. "Austen Dean's connection to the great English novelist Jane Austen comes through his mother Nora (Norna) Knight. Jane Austen's brother Edward (1767 -1852) was adopted in the early 1780s by his father's rich and childless cousins, Thomas and Catherine Knight. While he always maintained contact with his natural family, Edward took the Knight surname and eventually inherited their estates of Godmersham in Kent, and Chawton in Hamphshire."

[Alexander Deans married Nora Knight d/o Henry Arthur Knight.  Mr A.C. Knight s/o the Rev. William Knight, of Steventon, Hants, who came to the colony in the year 1852, in the Samarang. Shortly after his arrival he with his elder brother, the late Mr Richard Knight, father of Mr H. A. Knight, of Racecourse Hill, took up a run in the Selwyn Valley, which they called Steventon, after their old home in Hampshire. About 1856 A.C. Knight disposed of his share to his brother, and purchased a farm in the swamp below Prebbleton. 

Jane Austen was born at Steventon Rectory, Hampshire, on 16 December 1775. Edward Austen Knight (7 October 1768 – 19 November 1852), born Edward Austen, was the third eldest brother of Jane Austen, and provided her with the use of a cottage in Chawton where she lived for the last years of her life. His son Rev. William Knight (1798-1873) surname at birth was AUSTEN, born 10 Oct. 1798 in Godmersham, Kent. William assumed the surname KNIGHT in 1812. In 1812 due to a stipulation in Catherine Knight’s will, Edward Austen changed his legal name to Knight. William son of Edward AUSTEN Esq. and Elizabeth was baptised 16 October, at Godmersham. Jane Austen died July 18, 1817, Winchester, UK, aged 42 and was buried in Winchester Cathedral on July 24, 1817. At 21 she commenced writing Pride and Prejudice. She was the creator of the domestic novel and her aim was to show how really interesting were common events of everyday life, prim, proper and precise. Her characters all move in a circumscribed circle and her works are valuable as history and pleasing as fiction. She did for the English novel what Shakespeare did for drama. By a Lady. Austen Deans called his house at Peel Forest, Chawton. "Hampshire" is often abbreviated in written form to "Hants."

Austen Deans A Retrospective, by Pat Teahan. Publisher: [Christchurch, N.Z.] : CSA Gallery, 1994. 2 editions published in 1994. 12 unnumbered pages, illustrations (some color), 15 x 21 cm. Written from conversations with the artist, April 1994. Published in conjunction with Austen Deans Retrospective Exhibition, June 1994.

The Art of War: New Zealand war artists in the field 1939-1945 by Jenny Haworth. Hazard Press


Another self portrait.

South Canterbury Artists: a retrospective view. Published by the Aigantighe Art Gallery in association with the South Canterbury Arts Society in 1990. The Aigantighe Art Gallery in Timaru holds have five of Deans' paintings in their collection as of 2014.

A A Deans Art Trust Collection, W.T. Macalister Author: W.T. Macalister 45 paintings sold in 2013

McCormack & McKellar 190 Lot auction includes 25 works consigned on behalf of CoCA (Centre of Contemporary Art), and we are thrilled to be offering 15 works by AA Deans, with 11 from the AA Deans Trust and other works from private collectors. Sale day 28th March 2018.


2015 prices

Aigantighe Art Gallery poster "Austen Deans: Reunion; a retrospective exhibition of 60 years' work solely from private collections" 14 December 1996 - 2 February 1997

How many paintings did A.A. Deans paint in his life time? Probably in the thousands. Here he painted three paintings," The The Minarets; AAD; 1969; 667" in two days under extreme conditions. York St. Gallery, Timaru has 35 of his paintings as of March 2017 [Nov. 2018] - the majority watercolours and here in 2014 and possibly a little artist's licence used around foothills/ranges. 2018 York St. 2009.
Art Records pg 1 2 3 4 5 6 7 8 9 10 11
AASD had 355 of his images as of March 2017 and 379 painting listed in Nov. 2018  pg1 2 3 4 5 6 7 8

What Comes First? Width or Height? Landscape or Portrait? Tall or wide? When stating a painting’s size put the height measurement first and then the width. Fine art is listed as hxw in centimetres or inches. The standard for all newspapers in Australia is height by width and photos have long been presented as height by width (as in 8×10). Remember to use straight quote for inches not the curly quotes marks. Don't assume the smaller value is the width.

The prolific Austen A. Deans luminous landscapes interpret the local countryside as well as any. 130 paintings and counting ...
H xW

Southern Alps 			watercolour 	 65 x 100cm 
Arrowsmith Range 		watercolour     101 x 65 cm
The Road to Erewhon		watercolour
Aorangi				watercolour
Cloudy Peak, Rangitara Gorge 	oil on board 	 90 x 61 cm
Mt d'Archiac   			oil/canvas 	 85 x 80
Mt. Sefton
Storm on Tasman			oil on board	 39.5 x 50 cm
Peel Forest
Four Peaks, Dull Day
Self portrait
Mt. Peel Nor'wester		oil on board	 37 x 50
Lynn Creek 			watercolour 	 35 x 53 cm 	signed AA Deans 
Pool, Te Moana Gorge		oil on board	 33 x 48
Mt Peel from Ruapuna 		watercolour	 56 x 38 cm 
Mt Peel from Ruapuna		oil		135 x 80 cm 
Mt Peel from Maronan Road	oil on board	39.5 x 59.5cm
Mesopotamia Station		oil on canvas	 69 x 89 cm head of Rangitata
Mackenzie Spur, Mount Peel	oil on board 	38 x 75 cm
Mt. D'Archiac, Mt Cook NP	oil on canvas    69 x 89 
Rangitata Looking Towards 	oil on board 	34 x 54 Across the Two Thumbs
Mt Somer 			oil on canvas	55.5 x 70 cm from the Mt Peel Terraces
Rockscape with Mt Sibbald	oil on board    55.5 x 81 cm
Little Mt Peel & the Lookout 	oil 		 53 x 35 cm
Rata Hillside			oil on board 	42 x 37
Broadleaves, Peel Forest	oil on board	20.5 x 41
Lemon Wood			watercolour
Lichen - Peel Forest		oil on canvas	 74 x 48 cm
Storm Brewing			watercolour     
Towards Duntroon		watercolour	 56 x 75 
October Snow, Godley River	oil on board	 48.5 x 119.5cm
Iona, Scotland 			oil on board	159 x119fr
Summer Surrey			watercolour
untitled
Mt Worsley			watercolour
Glacier on Park Dome
Mt. Green
Castle near Salonika		watercolour
The Plains from Mt Peel 	l.r. brushpoint	 52 x 73  	     Verso: No. 74 Macmillan Brown Lib.
Untitled			watercolour			     pine trees in front, downs, cliff face
Chawton, Peel Forest		watercolour
Mt Hutt				watercolour 	 87 x 105
Mt. Torlesse Summer		oil on board	 50 x 65	1939	
Bush Scene			watercolour	 73 x 60	1939
Field Firing, Cave		watercolour	 13 x17   	1939
Landscape [Mt Peel] 		w/c on paper 	 32 x 52 	1939 Macmillan Brown Library
Mountains and Fantails						1947
Totara Tree, Peel Forest	oil		48.5 x 55.5	1947
Peel Forest Abstract						1947
The Drive, Morven						1947
The Red Hat							1947
New Zealand Native Bush		oil on board	 27 x 47
NZ Bush				watercolour	 64 x 97 cm	     $2750 -$4000  y2020
Mt Potts			watercolour	 66 x 35 cm
Potts River			watercolour	 85 x 104 cm
Orari Gorge			oil on board     36 x 55.5	1952
Early Summer Chawton Homestead 	watercolour  	 87 x 72 cm  	1955 Peel Forest
Tree Study, Peel Forest		oil on board			1955 Aigantighe
South Canterbury Landscape 					1955
Mt Peel				watercolour      45 x 30 cm	1955
Little Mt. Peel			watercolour
From Mesopotamia 		oil on panel	 50 x 76 cm	1955 height x length . 
Orari Gorge 			oil on canvas	122 x 98 cm	1956 Aigantighe
Bush Clad hills, Peel Forest	watercolour on paper 		1957 Aigantighe 
Clarence River Poplars				 20 x 15		1958
Native Clematis			watercolour	 55 x 75	1958 Trademe Mar.2017 Marjorie Chambers CHCH Hosp DON bought it at original showing
Mt Pakanui			watercolour			1959
Canterbury scene  		watercolour on paper 52 x 75	1961 height x width Hocken Library
Puddingstone Creek -Rangitata Valley watercolour on paper	1961 Aigantighe 
Kea Hut and Mt Sefton						1962
Lake on the Lyell Glacier	watercolour 	90.5 x 112	1962
Mt Peel, Winter			watercolour	101 x 69	1963
Rakaia Valley from Prospect Hill oil on board	 63 x 76	1963 (Louper Peak)
Geraldine, South Canterbury 	watercolour 	 54 x 35 cm 	1964 
Barossa Station 		oil on board
Skiing on Tasman Glacier	Oil on board	 47 x 70 cm	1964
Changing Weather towards Mt Hutt watercolour	 35 x 52.5	1965
November Snow  			oil 				1968
Mt Deane & Wangapeka Track N. Westland 	oil	 80 x 62 	1969 
South Canterbury Landscape 	watercolour 	 46 x 29 	1966 (Poplars)
Mt Cook				oil				1966
Across the Rangitata 		oil/board	 48 x 74	1966 
Pastoral South Canterbury 	mixed media 	 29 x 46 	1966 Hocken Library
Winter Snow, Mt  Peel		watercolour	 66 x 98	1967
Orari Gorge, summer		oil on hardboard 69 x 105 	1968 height x length 
Near Geraldine			oil on board	 29 x 39	1969
Morning Sun, Chawton 		oil/board  	 44 x 57	1969
Head of the Tasman - Nor'wester oil				1969
Braid River - Rangitata		watercolour			1969 ebay Feb. 2019
Mount Sibbald			watercolour on paper		1970 Aigantighe 
Lendhu Bay, Lake Wanaka 	oil/board 	 95 x 98
Spring, Rangatita Gorge 	watercolour	 60 x 89
Boundary Creek with bridge & trees watercolour 	 36 x 53cm 	Est. $1500-$2500 in 2018 Up the Rangitata Gorge
Near Whangarei 			watercolour 	 25 x 35cm 	1971 Est. $1,200-$1,800 in 2018
Andrews Creek  			oil 		 44 x 59 	1971
Mt Peel, from Peel Forest Road 	oil/board 	 49 x 74.5  	1971
Mt Peel, from Peel Forest Road  oil/board 	 49 x 74.5 	1971
Peel Forest, autumn		oil on board	 60 x 44	1971
Kereru Station  		watercolour 	 25 x 36cm 	1971 Est. $1,200-$1,800 in 2018
Four Peaks The Downs		oil		 36 x 74
Willows and Cloudy Peak		watercolour 	 29 x 40 cm	     Est. $1750-$2500 in 2020
Headwaters and Mountains	watercolour	 28 x 40cm	     Est. $1400-$2000 in 2020
Lake Tekapo in Winter		watercolour	 34 x 51cm	1972 Est. $1,400- $2000 in 2020
Little Mt Peel			oil on panel	 40 x 60	1972
Rata 				oil 		 50 x 39cm 	1973 Est. $1,500-$2,500 in 2018
Bush & hills, Peel Forest 	oil on board     51 x 100       1975
Summer, Surrey			watercolour
Fishing Boats, Brittany		watercolour
Kereru Station, Hawkes Bay	watercolour
Climbing in Fiordland
Still Life			watercolour			1975
Barley at Peel Forest 		oil/canvas	 86 x 121 	1976
The Gates, Matukituki Ranges  	oil/board	 44 x 53  	1976
Mt Hutt Ski Life		oil		 35 x 60	1977 est. $1500-2500 in Nov. 2019
Mackenzie Basin Landscape 	oil  		 29 x 53 	1977 H x W Verso "Varnish Aug 1978"
Autumn, Peel Forest		oil on board	 27 x 49	1978 sold for $1800 in 2018
Mt. Peel			watercolour	 36 x 54	1978 Trademe, March 2017. Postage $30 rural.
Dobson Valley head of Lake Heron oil	 	 40 x 92cm  	1979 Est. $7,000-$10,000 in 2018
Antarctica							1981
Mount Discovery from Scott Base watercolour			1881
Simons Pond, Mt Peel		oil on board	 48.5 x 74	1981
The Rangitata Gorge looking from Mesopotamia to Erewhon 32x60	1981 c. $2,500 -$400 in 2018 w/c
The Orari River & Mt Peel 	watercolour 	 25 x 47	1984 in 2009 est. $2,500 - 3,500 
Rip Branch Hut 			watercolour	 70 x 88.5cm	1984 Glencoe Station
Derelict Truck			watercolour
Glacial Remain Rangitata	oil		 59 x 69fr	1985 
Back Country Road		watercolour	 39 x 99	1986
Mist over Mt Somers		watercolour	 22 x 29.5	1988
Geraldine Downs  				 76 x 62cm	1988
Hut in the Willows 		watercolour 	 26 x 36cm 	     Est. $1,200-$1,800 in 2018
Hill Country Pastoral Scene 	watercolour 	 28 x 39cm 	1988 Est. $1,200-$1,800 in 2018
Houturu Pastoral Scene 		watercolour  	 30 x 44cm 	1988 Est. $1,200-$1,800 in 2018
Pastoral Scene with trees 	watercolour 	 26 x 37cm 	1990 est. $1,200-$1,800 in 2018
Pastoral Scene with Hills 	watercolour 	 42 x 61cm 	1990 Est. $2,500-$3,500 in 2018
Mt Peel From Geraldine 		watercolour 	 36 x 54cm 	1993 Est. $1,500-$2,500 in 2018
Inverary 			watercolour 	 25 x 34cm 	1996 Est. $1,200-$1,800 in 2018
Mt Somers from Mt Peel		watercolour 	 56 x 38 	1996 sold $1700
Little Mt Peel			oil		 53 x 35 	1996 sold $1800
Cloudy Peak			watercolour	 33 x 66	2002 c. $4000
Hazy Mackenzie Plains		watercolour	 64 x 74	2003
Road to Tekapo 			watercolour 			2003
Mt Dobson 			watercolour 			2003
Kowhai Creek Misty 		watercolour 	65 x 73.5 	2005
Mt Peel Station 		watercolour 	55 x 76cm 	2006 c. $3,000 - $5,000 in 2018
Autumn Day, Peel Forest		oil on board	32.2 x 60	2006
Sheep near Fairlie		watercolour			2007
Snow at Peel Forest		watercolour			2007
Tekapo in Autumn		watercolour			2007
Bush				oil		 35 x 47	2007 ebay asking price $5500 Feb. 2019
Four Peaks, Dull Day
Stream, Winter Mountain View 	watercolour 	55 x 74cm 	2008 Est. $2,500-$4,000 in 2018
Glacier 			oil on board 	 25 x 28cm  	2008 sold $300 
Mt. Peel Woolshed		oil on board	30 x 57		2009
Rangitata Gorge, looking to Mesopotamia from White Rock Station 2011
Southern Alps with Mt Cook Lilies watercolour			 sold $11,357.25 in April 2017
Mist on Mt. Peel
Tasman Glacier			watercolour	25x36.5cm	$1,000-$1600 (2019)	
Mt. Harper			oil		45x59		$2000-$3,500 (2020)

Paintings: sold 99, images 77, highest price A$22,031 (that was probably the Four Peaks The Downs 36x74cm painting that sold in 2017 at Geraldine) ($NZ23,659), average price A$3,814. ($NZ4,096). Wayback April 2017

South Canterbury especially Peel Forest and the Rangitata Gorge remained a favourite subject throughout Deans eighty decades of painting. The photographs below are from the Edgar R. Williams Collection at the ATL are probably A.A. Deans painting. Deans had a beard at that time and would wear a red and black plaid woollen shirt. Edgar Richard Williams, born in 1891 in Dunedin, was made a life member of the New Zealand Alpine Club in 1974. He was a very prolific mountaineer. He climbed with A. Deans, Martin Bassett and R. Copp during the 1954-5 season around Milford Sound. Mt. Torlesse was always one of Edgar Williams favourite mountains. Edgar's first accents with include Dec. 1953 Mt. Lion (with A Deans, R Taylor) and Dec. 1954 Lawrenny Peak and Mt. Terror (with Austen Deans, Marty Bassett, Ray Copp).


He did a lot of tramping. Listen.

"I have always struck to landscape."

South CanterburyGenWeb Project