Sketch from Quinns' Post, Gallipoli

Places
Accession Number ART03221
Collection type Art
Measurement Overall: 22.5 x 29.4 cm
Object type Work on paper
Physical description watercolour with pencil on paper
Maker Moore-Jones, Horace
Place made Ottoman Empire: Turkey, Dardanelles, Gallipoli
Date made 1915
Conflict First World War, 1914-1918
Copyright

Item copyright: Copyright expired - public domain

Public Domain Mark This item is in the Public Domain

Description

Sketch from Quinn's Post with Australian soldiers in the foreground. Quinn's Post was the most advanced post of the ANZAC line. Located on the northern edge of the main ANZAC line, along with Pope's Hill, it was one of the keys to the Monash and Shrapnel valleys. If it had fallen the Turks could have broken into the heart of the ANZAC position. It was named after Major Hugh Quinn of the 15th Battalion, who was killed leading a charge against Turks who had gained a foothold in the Post on 29 May 1915. For the campaign's first two months Quinn's was mainly garrisoned by the 13th, 15th and 16th Battalions and then the 1st Light Horse Brigade.
Horace Jones was born c.1868 at Malvern Wells, Worcestershire, England. He arrived in Auckland, New Zealand, with his family probably in 1885. After studying art under Anne Dobson, a painter and sculptor, he married her in 1891. They moved to Sydney, Australia, where Anne died in 1901. From 1892 to 1905 Horace Jones exhibited with the Art Society of New South Wales. At this time he changed his name to Horace Millichamp Moore-Jones and painted what may be his first war subject 'The departure of the Ninth Contingent from New Zealand for the South African War', which he presented to the Auckland Art Gallery in 1902. About 1908 he returned with his family to Auckland. There he taught privately and at the Ladies' College, Remuera, where his mother was principal, and exhibited with the Auckland Society of Arts. About 1912 he travelled to London, enrolled at the Slade School of Fine Art, and joined Pearson's Magazine as a staff artist. In 1914, at the age of about 46, Moore-Jones enlisted in the British Section of the New Zealand Expeditionary Force. To gain acceptance he shaved off his moustache, cropped his hair and lied about his age. Before joining the main body of the force in Egypt on Christmas Eve 1914 he trained on Salisbury Plain, and after being posted to the 1st Field Company of Engineers participated in the allied landing at Anzac Cove on the Gallipoli peninsula in April 1915. He was subsequently attached to Lieutenant General Sir William Birdwood's ANZAC Printing Section to make topographical pencil and watercolour sketches of the landscape and plans of allied and Turkish positions. His sketches of the harsh terrain, made under hazardous conditions, were an invaluable aid for planning operations and defence, and were used to illustrate official dispatches. He also made informal picturesque studies of the landscape around Imbros (Gökçeada). Known as 'Sapper Moore-Jones', he chose to remain in the ranks and offered comfort to the sick and wounded while working as a field artist. In November 1915 he received a wound in his right hand which put a temporary end to his work. His health deteriorated and he was invalided to Britain suffering from exhaustion. After recuperating at the 1st Southern General Hospital, Birmingham, he made further watercolours based on his Gallipoli studies. An exhibition of these was held at New Zealand House from 11 to 24 April 1916 and shown by command at Buckingham Palace. It received a good deal of public approval, and reproductions of his sketches were made in 1916. In 1916 Moore-Jones was classified unfit for battle duty and repatriated to New Zealand. He settled in Auckland where he undertook portrait commissions and private teaching. His Gallipoli watercolours were shown in Auckland and later toured New Zealand. Thousands attended the exhibitions and heard his talks about the Gallipoli campaign. The sketches provided images of the war through which those at home could feel closer to those involved. Many prints were made and sold to the public and Moore-Jones offered to paint similar scenes on commission. While in Dunedin with the exhibition he painted the first of his watercolours of 'The man with the donkey'.