Auckland War Memorial Museum Tāmaki Paenga Hira

About

The Auckland War Memorial Museum (Māori: Tāmaki Paenga Hira), also known as Auckland Museum, is one of New Zealand's most important museums and war memorials. Its neoclassical building constructed in the 1920s and 1950s, stands on Observatory Hill, the remains of a dormant volcano, in the Auckland Domain, near Auckland CBD. Museum collections concentrate on New Zealand history (and especially the history of the Auckland Region), natural history, and military history. Auckland Museum's collections and exhibits began in 1852. In 1867 Aucklanders formed a learned society—the Auckland Philosophical Society, soon renamed Auckland Institute. Within a few years Auckland Museum was transferred to Auckland Institute, thereafter known as Auckland Institute and Museum until 1996. Auckland War Memorial Museum was the name of the new building opened in 1929, but since 1996 it has been more commonly used for the institution as well. From 1991 to 2003 the Museum's Māori name was Te Papa Whakahiku.

Auckland Museum, established in 1852, was originally housed in a small cottage in Grafton Road, referred to as "Old Government Farm House" or "The Governor's Dairy", near the corner with Symonds Street, an area now part of the University of Auckland.

The public were first admitted on Sunday 24 October 1852, and every Wednesday and Saturday thereafter. Honorary Secretary John Alexander Smith announced that the museum was now open to the public in the newspapers from 29 October that year:

THE object of this Museum is to collect Specimens illustrative of the Natural History of New Zealand—particularly its Geology, Mineralogy, Entomology, and Ornithology.

Also, Weapons, Clothing, Implements, &c., &c, of New Zealand, and the Islands of the Pacific. Any Memento of Captain Cook, or his Voyages will be thankfully accepted. Also, Coins and Medals (Ancient and Modern.) In connection with the above, there is an Industrial Museum, to exhibit—Specimens of:

- building & ornamental Stone, - Timber for various purposes - Clays, Sands, &c., &c., - Dyes—Tanning substances, &c, - Gums, Resins, &c., - Flax, Hemp, Hair, &c., &c. As it is desirable that samples of New Zealand Wool should be exhibited—contributors are requested to send samples in duplicate, as soon as convenient, stating—the Sheep, where bred—of what breed—also the age—who contributed by. Donors are requested to send their contributions directed to the Honorary Secretary, at the Museum, any day in the week, except those open to the public.—Stating—the name of the contributor—where from—who contributed by—date—and any remarks that are considered necessary.

J. A. Smith, Hon. Sec. Auckland, 25 October 1852 The museum attracted 708 visitors in its first year. Interest in the museum dwindled over the following decade even as its collection grew, and in 1869 the somewhat neglected and forlorn museum was transferred to the care of the Auckland Institute, a learned society formed two years earlier. An Italianate-style building was constructed for the museum in Princes Street, near Government House and across the road from the Northern Club. It was opened on 5 June 1876 by the Governor of New Zealand, George Phipps, 2nd Marquess of Normanby. These new premises included a large gallery top-lit by a metal framed skylight. This room proved problematic as it was impossible to heat during the winter but overheated during the summer. Canvas awnings used to shield the roof from harsh sunlight made the exhibits difficult to view in the resulting gloom. Several exhibition halls were added to the side of the original building.

One of the visitors during the 1890s was the French artist Gauguin, who sketched several Maori items and later incorporated them into his Tahitian period paintings.

In the early years of the 20th century the museum and its collections flourished under visionary curator Thomas Cheeseman, who tried to establish a sense of order and separated the natural history, classical sculpture and anthropological collections which had previously been displayed in a rather unsystematic way. The need for better display conditions and extra space necessitated a move from the Princes Street site, and eventually the project for a purpose-built museum was merged with the idea of creating a memorial to commemorate soldiers lost in the First World War.

After extensive consultation between the Mayor, Sir James Gunson and Thomas Cheeseman, the site chosen was a hill in the Government Domain commanding an impressive view of the Waitematā Harbour. Permission was granted by the Auckland City Council in 1918, with the Council in its liberality being given three seats on the Museum Council. In addition to an initial gift of £ 10,000 (equivalent to about £390,000 in 2025), the council also agreed to an annual subsidy from rates towards maintenance of the facility, and eventually coaxed several of the other local bodies to the principle of an annual statutory levy of £6,000 to support the museum's upkeep.

A worldwide architectural competition was funded by the Institute of British Architects, with a prize of £1,000 (equivalent to about £40,000 in 2025) sterling drawing more than 70 entries. The Auckland firm of Grierson, Aimer and Draffin won with their neo-classical design reminiscent of Greco-Roman temples. In 1920, the present site was settled on as a home for the museum, and in August 1925, after successful fund-raising led by Auckland Mayor Sir James Gunson, building of the Auckland War Memorial Museum began. Construction was completed in 1929, and the museum's new building was opened by the Governor-General, General Sir Charles Fergusson.

The museum's architects commissioned Kohn's Jewellers of Queen Street to create a finely detailed silver model of the museum. This was presented to Gunson upon completion of the museum, in recognition of his extensive work in leading the project. After the death of Sir James, the model was presented to the museum by his son Wallace Gunson, where it remains on display to this day.

The building is considered [ by whom? ] to be one of the finest Greco-Roman buildings in the Southern Hemisphere. It has an 'A' classification from the New Zealand Historic Places Trust, designating it as a building whose preservation is of the utmost importance. Of particular interest is the interior plasterwork which incorporates Māori details in an amalgamation of Neo-Greek and art-deco styles. Likewise the exterior bas-reliefs, carved by Richard Gross (1882 – 1964) and depicting 20th-century armed forces and personnel, are in a style which mixes Neo-Grec with Art Deco.

Restored 19th-century plaster casts of three Greek statues— The Dying Gaul, " Laocoön and His Sons ", and " Discobolus "—emphasise the Greek Revival architecture of the building, and are considered "an acknowledgement of the historical importance of the arts and learning of classical antiquity to [New Zealand's] imported European culture ". They are among 33 statues donated to the museum in 1878 by a wealthy expatriate Aucklander, Thomas Russell.

The bulk of the building is English Portland stone, with detailing in New Zealand granite from the Coromandel. The quotation over the front porch—which begins " The whole earth is the sepulchre of famous men "—is attributed to the Greek statesman Pericles ; its appearance is in keeping with the museum's status as a war memorial. The full text reads as follows:

The whole earth is the sepulchre of famous men

They are commemorated not only by columns and inscriptions in their own country

But in foreign lands also by memorials graven not on stone

The 1929 building was designed with a view to future extension. Two additions were made to the original building, the first in the late 1950s to commemorate the Second World War when an administration annexe with a large semi-circular courtyard was added to the southern rear. This extension is of concrete-block construction rendered in cement stucco to harmonise with the Portland stone of the earlier building. This major extension was designed by the architects M. K. and R. F. Draffin—one of the original architects and his son.

In 2006, the inner courtyard was enclosed by a "Grand Atrium" at the southern entrance.