James Turkington: New Plymouth Post Office, Untitled

Artist: James Turkington
Title: Untitled (Māui ensnaring the sun)
Medium: Sand-blasted/acid-etched glass ceiling panels
Dimensions: Unknown (estimated at up to 8000 x 8000 mm)
Date: 1959
Original location: Chief Post Office, Cnr Gill and Currie Sts, New Plymouth 4310.
Architect: Taylor & Syme and Associates (R. W. Syme)
Commissioning Body: New Zealand Post Office
Current location: In situ, but partially covered and difficult to view.
Heritage status: No known protection


Originally commissioned by Architect R W Syme, Turkington’s acid-etched and sand-blasted lay-light ceiling mural was once the centrepiece of New Plymouth’s new Post Office building. Inspired by the Māori legend of Māui and his brothers harnessing the sun, Turkington’s subject matter was likely to have been inspired by its site at the base of a light well that illuminated the main office and public counters of the building. Supervised by Turkington, the glass was sand-blasted in Auckland before being shipped to New Plymouth where it was installed under a perspex covering which gave protection against the weather while allowing ample light into the ground floor.

It is possible to imagine that the effect of natural sunlight filtering through the panels would have added a power and glory to the exquisitely rendered image. Indeed, Director-General of the Post Office C.A. McFarlane wrote to Turkington in 1959 speculating that “the panels are likely to arouse considerable interest when the building is opened,” and, as one local recalled, gazing up at the image as a child filled them with a sense of awe.

Almost destroyed completely in 1996, the work was saved by the efforts of the New Plymouth Heritage Protection Group and others after the eminent painter and sculptor, Don Driver, expressed his concern. The building’s new owners, the ANZ Banking Group, were refurbishing the interior and had planned to cover the ceiling, but public feeling persuaded them to preserve the work. Despite being saved, the mural now sits awkwardly in a new context. The sun no longer shines through the panes of glass, which now have a floor built above them, and a false-ceilinged office space below precludes the mural from being seen in its entirety.

Thought for many years to be the work of E. Mervyn Taylor, this work was re-discovered to be that of James Turkington by Sue Elliott in 2017 while undertaking research for the E. Mervyn Taylor Mural Search & Recovery Project. Six illustrated panels on the front of the building are also potentially Turkington’s.

Details of the mural can be seen in a 2010 documentary “The Art of Mervyn Taylor” by Kapiti Coast film maker Errol Wright.

E. Mervyn Taylor: New Plymouth War Memorial Hall, Museum & Library, Untitled

Artist: E. Mervyn Taylor
Title: Untitled
Medium: Sand-blasted glass window
Dimensions: H1800mm x W3300mm
Date: 1960
Original location: War Memorial Hall, Museum and Library, 1 Ariki St, New Plymouth
Architect: Taylor & Syme and Associates (with Edgar Collins)
Current location: In its original location, now Puke Ariki
Heritage status: No known protection


In the years immediately following the end of World War II, the New Zealand government offered towns and cities subsidies on locally raised funds to build war memorials. Communities were encouraged to build ‘living memorials’ — facilities such as halls, libraries and regional museums — in contrast to the familiar concrete or marble monuments that were built throughout the country after World War I.

In the early 1950s the town of New Plymouth decided to use this opportunity to build a war memorial hall and library — replacing the existing ones — and add a regional museum. The local firm of Taylor and Syme won the job of designing the building.

Edgar Collins, the architect in charge, wanted a feature wall to be the focus of the actual war memorial, and planned for this to be located where it would be seen by the most people: on the return of the main staircase leading into the hall from the building’s entrance off Ariki Street. Collins allowed space for a mural measuring 3.3 metres wide by 1.8 metres high, surrounded by a dark-green breccia and limestone feature with bronzed lettering above. The location presented a challenge, for the scheme of the mural would have to make sense to the eye from two potentially distorting perspectives as people walked up and down the staircase.

By late 1958, the two-year construction process was sufficiently advanced for Collins to select an artist. He chose E. Mervyn Taylor. Furthermore, he realised Taylor’s technique of rendering the design in sand-blasted plate glass would allow the image to be back-lit as a kind of ‘eternal flame’.

As a memorial feature, Taylor’s brief required a commemoration of those who had left Taranaki for overseas war service in World War II and did not return, but in the context of historical Taranaki the design had to refer to both the physical place and its interracial past. Furthermore, the final approval would not be Collins’s but the city council sub-committee’s. This was likely to be a difficult business, he wrote to Taylor, for each of the councillors would be bound to have their own opinions as to what constituted art and what ought to form part of the design. ‘New Plymouth is, conservatively speaking, quite lacking in open minds but we have piloted a number of ideas in this building which are to locals revolutionary, and elsewhere would not appear so startling,’ wrote Collins. Taylor was sufficiently troubled by the location of the proposed commission, and the possibility of official local opposition to his preliminary sketches, to travel to New Plymouth in 1959 and meet with the architect to view the site. He was able to submit his final design by the end of the year.

The sub-committee approved the design and it was created using the technique of sand-blasted heavy panels of plate glass. Once installed, the mural was back-lit with a salmon-pink light — an effect created by white fluorescent bulbs shining on a coloured recess behind the glass.

Text adapted from Bryan James’ essay “An Eternal Flame to Provincialism” in Wanted: The Search for the Modernist Murals of E. Mervyn Taylor (Massey Press, 2018).