Emily Harris after 1900: Moore and Weyergang Collections
Nelson, New Plymouth, Havelock North, Marton and Mapua
As the eldest daughter of Edwin and Sarah Harris, Emily Cumming Harris became custodian of the family papers and paintings after the death of her father in 1895. Her 1910 will divided her estate between her surviving sisters Catherine Moore and Mary Weyergang. Emily was unmarried and lived in the family home at 34 Nile St, Nelson until her death at the age of 88 in 1925.
Catherine (Kate) Moore was widowed in 1912 and died in New Plymouth in April 1913, aged 73. Her daughters Constance Catherine, Ruth and Ella Grace all lived in Taranaki and were in regular communication with their aunt Mary Weyergang (Havelock North) and cousin Gretchen Briant (Marton). Mary and Gretchen visited New Plymouth in March 1913, perhaps to farewell Kate. Kate also had three sons: Alfred Henry (Harry) lived in Australia, his brother Frank Edwin lived in Fielding and the whereabouts of a third son, Reginald Townsend, are unknown.
Mary Rendel Weyergang was widowed in 1904 and moved from South Taranaki to Havelock North with her sons Herman and Otto around 1906. Both sons became orchardists in the district. Mary went to Nelson after Herman, his wife Constance and their baby daughter Margaret moved there in 1912. She may have lived with them at Mapua or with Emily at Nile St in Nelson. Mary stayed with Gretchen and her husband Edgar (Ted) Briant at Bonny Glen, Marton, during the war years, as did Emily for some months in 1915. Otto Weyergang’s embarkation record (1917) names his mother Mary as next of kin, address care of Emily at 34 Nile St.
Mary was in Nelson near the end of the decade, probably at Nile St with Emily, and the sisters were beginning to think about the dispersal of family artworks. In 1919 and 1920 they donated three Harris paintings to the recently established Taranaki Museum. In 1919 Emily exhibited with the Suter Art society, which gave two of her watercolours to the Suter Art Gallery that year on longterm loan. An advertisement for a studio show in 1919 indicated substantial work for sale: ‘MISS HARRIS’S Collection of New Zealand Wild Flowers will be on view at her Studio, 34 Nile-street East, during Easter Week, from 9 a.m. to 2 p.m. No charge for admission.’
In 1920 Herman and Constance Weyergang were in Mapua, now with three daughters: Margaret, Friedl and Faith. Herman served overseas with the 1st New Zealand Expeditionary force 1917-18. His brother Otto was killed in France in June 1918 and Herman’s return to Mapua after the war seems to have been difficult. According to the family the person who had been left in charge of the orchard in his absence had let it go to ruin. Wise’s Post Office Directory for 1923-24 lists Herman and Constance Weyergang in Mapua; he is a packer.
In 1924 the Alexander Turnbull Library bought 63 watercolours from Emily Harris, a deal that was brokered by her friend and patron Dr FA Bett and librarian Johannes Andersen. Andersen visited Nile St to view Emily’s paintings and noted that she was impoverished and living on the old age pension. There is no mention in the Turnbull correspondence of anyone else living at Nile St but it seems likely that Mary was not far away.
Death of Emily Harris
Emily Harris died 5 Aug 1925 in Nelson Public Hospital. Her death certificate cites senility and heart failure as causes of death. She was buried 6 Aug in the family plot at Wakapuaka Cemetery and an obituary appeared in Nelson papers.
Mary Weyergang sent three more Harris paintings to the Taranaki Museum in 1925 as Nile St was cleared for sale. Mary and a family friend CS Levian were Emily’s executors. Mary was back in Marton with her daughter Gretchen by the end of the year and the estate was settled by late 1926, half going to Mary, the other half to be divided among Catherine’s surviving children. Constance Catherine and Ruth Moore were named first on the list of beneficiaries, then their brothers Alfred Henry, Reginald Townsend and Frank Edwin Moore. Their youngest sister Grace Hobbs was included in a later list. Constance and Ruth Moore purchased 73 Fulford St, New Plymouth in 1926. After 1938 and a change of street numbering, the Moores’ address was 23 Fulford St. The house was to become a haven for almost 40 years for Moore and Weyergang women made solo by widowhood or separation. Herman Weyergang was no longer in Mapua or Nelson in the mid-1920s. Wise’s 1926 and 1930 directories list his wife Constance Weyergang as a teacher of music at 176 Waimea St, Nelson, with no mention of Herman. Electoral rolls for Manawatu in 1928 locate him as a salesman in the Whanganui district. According to Briant family recollections, Herman was selling Coleman lamps at the time and there is a photograph of him with one of his Briant nephews in a Model T Ford on the farm at Bonny Glen.
Mary Weyergang probably took the Harris papers from Nile St when she went to live with her nieces Constance and Ruth Moore in New Plymouth in 1927. Perhaps then or after Mary died in 1932, aged 86, the letters and documents and also the family paintings were divided between the Moores and the Weyergangs. As the collection was divided at least one item, an enclosure in a 1910 letter from Emily’s friend Catherine Ledger, slipped into the other collection.
The Moore collection
The Moores had Sarah Harris’s letter of 1841, Emily’s diaries 1885-91, Emily’s copies of her 1860-63 letters and diary excerpts, other family letters and a folder of Emily’s working watercolours for New Zealand Flowers, Berries and Ferns. They also held a typed transcript of letters by Sarah Harris and part of another typed transcript of a letter by Sarah. Two music books, Emily Harris’s 1903 New Zealand Floral Autograph at Home Book and an uncoloured set of New Zealand Flowers, Berries and Ferns were among the books held by the Moores. They also had a family scrapbook started by Mary Weyergang and added material to it after 1932. Aunt Ellen Harris’s letter to Concie (Constance Moore) was pasted in. Someone knew (possibly from Gretchen) the post-1933 London address of James Meadows and Eleanor Rendel. The Moores added Moore family items to the collection, including their father Alfred’s embarkation order for passage to New Zealand in 1856, a photo portrait of their mother Catherine, a family tree and a New Plymouth rent book from the 1870s.
Someone put alphabetical letters on the Moore collection, trying to arrange it more or less in chronological order. The family scrapbook has no alphabetical letter and seems to be outside this arrangement. Some letters (items) are missing from the alphabetical sequence. Perhaps the most interesting gap is the U that should come after Emily’s 1885-86 diary (T) and her 1888-91 diary (V).
The Moore collection was at 23 Fulford St until 1961, first with Constance and Ruth, and later with Grace Hobbs, who joined Ruth at #23 after the death of her husband in 1959. In 1961 Ruth and Grace donated the collection to the Taranaki Museum. They also donated three paintings by Frances Harris, a drawing by Emily Harris and a lithograph by Edwin Harris. Other items in the donation included Edwin’s Spanish guitar and its case, two antique chairs, several plates, a vase, five small family photos, a pair of railway goggles, a pewter teapot, a paisley shawl and a zinc-lined cedar box. From museum correspondence it is evident that Ruth Moore and Grace Hobbs also loaned or donated a small table to the re-sited Richmond Cottage in New Plymouth in 1961. The table once belonged to Miss Lydia Shaw, an eminent New Plymouth teacher who was taught by Sarah Harris in the 1840s. In 1963 Ruth and Grace repossessed the table for a Christmas celebration at Fulford St, and when both died in 1964 the table did not return to the museum. Ruth’s estate passed to her nephew William Deslie Moore who lived in Palmerston North and was the son of Frank Edwin Moore. Philip Briant was a trustee of Ruth’s estate and helped sell 23 Fulford St in 1966.
The Weyergang collection
Mary Weyergang took as her share of the Harris papers JM Rendel’s 1840 letter to Captain William Hobson, Edwin Harris’s 1844 Māori dictionary, Corbyn Harris’s war medal, Sarah Harris’s 1871 notebook and other family letters. She also had Edwin’s large oil portrait of Sarah Harris, sent to the Harris’s after 1879 by cousin Mary Mountjoy Paddon in England. Other paintings and drawings by Edwin and Emily, a sketchbook by Frances Harris and two sketchbooks of Nelson scenes from the 1870s and 1880s belonging to Edwin Harris were part of the collection. In addition Mary had a large format photograph album containing Harris and Weyergang family portraits dating back to the 1860s. When Gretchen Briant inherited her mother’s collection she added letters and documents about Otto Weyergang’s death in 1918, later letters to Rendel relatives in England, and photos from Briant family life at Bonny Glen.
After 1932 the Weyergang collection was at Bonny Glen. Gretchen was actively searching out and corresponding with Rendel relatives in England from the early 1930s and through the war years. She and son Philip visited their Rendel relatives in England in 1939. One of these relatives, Richard Meadows Rendel, a great-grandson of William and Eliza Hobson, donated a collection of Hobson letters and Eliza Hobson’s album to the New Zealand Government in 1939 and 1940. His uncle Dr Arthur Bowen Rendel donated a William IV prayer book used by Hobson on board HMS Rattlesnake to the New Zealand Government in 1934. Both items are now held by the Turnbull Library.
Philip and Godfrey Briant inherited the Weyergang collection in 1954 on the death of their mother and divided the papers and paintings between them. In 1961 they donated JM Rendel’s 1840 letter to the Taranaki Museum along with Edwin Harris’s first edition of Williams’ Dictionary of the New-Zealand Language. Philip took a selection of letters to the Turnbull Library in 1969 for photocopying. The previous year the library had issued the first of two limited editions of Emily Harris watercolours (1968 and 1980). In 1970 Turnbull purchased Emily Harris’s long-lost album of watercolours, notes and poems for New Zealand Mountain Flora.
Philip Briant’s share of the family papers and paintings passed to his daughter Roseanne Cranstone after the death of her mother Janet in 2011. Janet Briant had distributed some Harris paintings to her daughters and their cousins. Godfrey Briant’s share of the family papers and artwork is now held by his son Godfrey James Winning (Goff) Briant and his wife Judith.
Constance Weyergang and Margaret Jeffery (another collection?)
Constance Weyergang (nee Gilbert) left Nelson to live with Ruth Moore at 23 Fulford St in New Plymouth following the death of Constance Moore in 1942. Constance Weyergang had been separated from her husband Herman since 1928 and was widowed in 1932. She lived at Fulford St until Grace Hobbs came to live with Ruth around 1959. Constance then lived with her daughter Margaret Jeffery in Wellington until shortly before her death in 1971, aged 95. She was buried in Nelson with her Gilbert relatives.
Gretchen Constance Emily (aka Margaret) Weyergang grew up in and around Nelson and was 15 when her great aunt Emily Harris died in 1925. She trained as a kindergarten teacher in Nelson. Electoral rolls for 1935 and 1938 show that she was teaching in Havelock North, then at Huntley School in Marton. She married teacher Alfred Jeffery in 1938 and was publishing fiction in Auckland newspapers in 1939 under the name Gretchen Weyergang. The Jefferys lived in Mt Albert, Auckland until the late 1950s. Their son Michael was born in 1941.
Margaret Jeffery wrote and published six New Zealand based novels between 1955 and 1980, most of them drawing on Harris and Gilbert family history. We can assume she had access to the Moore collection at Fulford St, and probably to the Weyergang collection at Bonny Glen. The Briants remember Margaret and her son Michael Jeffery visiting Bonny Glen when they were children. Margaret typed copies of Emily’s diaries for Turnbull and the Taranaki Museum in 1964. She approached AH & AW Reed about publication of the diaries but was declined in 1965. She gave a typescript of the diaries to Philip Briant, who passed it on to his daughter Annabel Galpin. Annabel also has a poem by Constance Weyergang entitled ‘Ngamotu Beach, New Plymouth’ that contrasts a scene from 1950 with one from 1850. A watercolour of the old Taranaki Brewery in New Plymouth dated 1964 and signed ‘CW’ was donated to the Taranaki Museum by Constance Weyergang. The Govett-Brewster Art Gallery in New Plymouth also holds three undated watercolour landscapes donated by Monica Brewster.
Constance Weyergang and Margaret Jeffery shared literary, artistic and musical interests, and both were knowledgeable about the settler history of the Harris and Gilbert families in Taranaki and Nelson. It is possible that Mary Weyergang’s share of the Harris papers was divided between Gretchen Briant and Constance Weyergang, i.e. that Mary distributed her portion between her daughter and daughter-in-law. Mary was fond of her Weyergang grand-daughters and painfully aware of her son Herman’s shortcomings. In a letter of 1927 to Gretchen accompanying a list of mementos to be distributed to the family after her death, Mary wrote:
My dearest Gretchen
I have been thinking that you all would like specially left to you some memo so I have made a list of some small thing for each of you. Leaving you to do as you like with the others. There are lots of things that your nieces would value that are of no value to you, and I do hope you will not let any sentiment stand in the way. Always remember that those little girls are very dear to me and I think they will make their way in the world and I do hope their mother will be long spared to them, for with all her faults she is a grand woman. As for poor Hermann, he will never be any different, and my heart aches for him. You will miss me very much, apart from the care you will miss the talks on the flowers we both love so much. The weekly letters when away. For Ted I have always looked on as a dear elder son and am very thankful for all his loving care of me. I hope the boys will marry, they are very dear to me.
Now I must close
My hand is tired
If Mary gave Herman’s family a share of the papers, perhaps there is a second Weyergang collection, one that passed to Mary’s granddaughter Margaret Jeffery and is no longer visible. The number of items from Emily Harris’s papers presently unaccounted for makes this conjecture worth following up. These include her sketchbooks, her original letters and diary excerpts 1860-63, her poems 1860s-1890s and her 1887-88 diary. Margaret Jeffery died on the Kapiti coast in 1992. She was a widow and was living near her widowed sister Faith Silcock, who died in 2002. No literary or family papers for Margaret Jeffery exist in public collections in New Zealand apart from a typescript novel called ‘Ghost Flower’ in the papers of Pat Lawlor at the Alexander Turnbull Library.
Family connections may yet answer questions about what happened to Emily Harris’s letters, poems and sketchbooks. If they were in the possession of Margaret Jeffery or Faith Silcock the trail may lead to sons Michael Jeffery (1941-2013) and Richard Silcock (b. 1941) or to their children. An obituary in the Sydney Morning Herald for Michael Jeffery opens a window on yet another part of the family that seems always to have cared deeply about art and writing:
Michael Jeffery, international equine artist, has died in Newmarket, England, at the age of 72. He succumbed to the cancers with which he had been afflicted for some time.
He was born in Auckland, the only son of schoolteachers. He attended Mount Albert Grammar School, where he displayed a flair for Art and English. A cousin recalls him being infatuated with horses, and drawing them from an early age. ‘I remember as a child playing at his parents’ house and thumbing through his collection of sketch books filled with images of horses, all named with their owner, trainer and jockey, and with their colours noted. He learnt about colour and light from our grandmother, who was a landscape water colourist who exhibited widely throughout New Zealand.’
On leaving school, he won a scholarship to the Elam School of Art. In the 1960s he travelled by ship to England, where he was accepted as a private pupil by Juliet McLeod, the foremost exponent of equine art in the classical Stubbs tradition. He studied under her for two years. After his return to New Zealand, he moved with his parents to Wellington, where his mother took up writing, publishing several novels.
Michael spent his holidays on the stud farm of a leading thoroughbred breeder, TC Lowry, who introduced him to many owners, trainers and breeders. He also befriended Peter McCleary, a well-known art dealer and gallery owner, through whom he came to know many horse owners and art collectors from whom he obtained commissions. It was through this connection that he came to the notice of Sir Ross Grey Smith, the chairman of the Victoria Racing Club.
In 1972, he married Susan Loveday, who worked in publishing. On the encouragement of Sir Ross, later that year they moved to Melbourne, where Michael was given an annual commission to paint the horse of the year for the VRC’s collection. He acquired a reputation for equine portraiture among owners and trainers in Melbourne and Sydney.
Institutional commissions enhanced Michael’s reputation, but they did not provide the income that a regular stream of private work would have commanded. He admired European racing and, though he had few contacts there, in 1987 he decided to try his luck overseas. By then he and Susan had two young children. Susan was reluctant to take them to Europe and, to the regret of both, divorce ensued.
Michael established himself at Chantilly, near Paris, where he obtained a work permit. Chantilly is a training centre as well as a fashionable racecourse. The French trainers recognised his eye for horses and his work attracted the interest of some of the wealthy owners who dominated racing at the upper end. Michael enjoyed sketching and painting the horses in training nearby.
His enjoyment was tempered by the fact that he was a stranger in a strange land. After 10 years he was attracted to greener fields at the home of racing, Newmarket, in Suffolk, where he remained for the rest of his life. He retained the French connection and often visited Paris to work on commissions obtained through trainers he had come to know. A major client was the Aga Khan, who had the largest collection of finely bred horses in Europe.
Michael is survived by his former wife Susan and their daughters, Catherine and Emma, and grandchildren Lily and Isla. His beloved Em, who lives in Prague, nursed him in his last weeks.
Sources and abbreviations
Auckland Museum – Tāmaki Paenga Hira Auckland War Memorial Museum, NZ
Archives NZ – Archives New Zealand Te Rua Mahara o te Kāwanatanga
BDM Records – Births, Deaths and Marriages Historical Records, NZ
Cranstone Papers – Collection of Roseanne Cranstone, Whanganui, NZ
Galpin Papers – Collection of Annabel Galpin, Pauanui, NZ
Govett-Brewster – Govett-Brewster Art Gallery, New Plymouth, NZ
LINZ – Land Information New Zealand, Christchurch
Puke Ariki – Puke Ariki Heritage Collection, New Plymouth, NZ
Turnbull – Alexander Turnbull Library – National Library of New Zealand, Wellington
Harris, Emily Cumming. Numerical Probated Case File R20141687. Archives NZ. AAOO W5410 17072/86 2201.
Hawera and Normanby Star 19 Mar 1913. Woman’s World: New Plymouth: 7. ‘Mrs Briant (Turakina), who has been visiting friends in New Plymouth for a few days, returned to her home last Thursday.’
Hastings Standard 29 Mar 1913. Personal: 4. ‘Mrs. Weyergang. who has been spending a few days in New Plymouth, has returned to Havelock.’
Hastings Standard 19 June 1912: 6. ‘Mr. and Mrs. C. H. Weyergang and their little girl, of Havelock North, take their departure by steamer tomorrow for Nelson, where Mr. Weyergang takes up the management of the Seton block of fruit lands for a Nelson syndicate.’
Otto Philip August Weyergang, Online Cenotaph. Auckland Museum.
Edwin Harris, Untitled (Watercolour depicting the ‘William Bryan’ off Taranaki Coast, 1841). Donor Mary Weyergang, 1919. Puke Ariki. A75.456.
Frances Harris, Untitled (Rock Archway, Paritutu). 1860. Watercolour, 600 x 495mm. Donor Mary Weyergang, 1919. Puke Ariki. A66.471.
Edwin Harris, ‘Entrance to …. from Cloudy Bay / looking from Port Underwood / looking S.W.’ Watercolour depicting Marlborough District coast taken from the deck of the ‘William Bryan’ – March 1841. Donor Emily Harris, 1920. Puke Ariki. A65.904.
Judith M Taylor, ‘A History of the Collection Development at the Suter Art Gallery Nelson 1896-1997.’ MA thesis. Massey University, 1997: 21. ‘The Annual Report for 1919 also records that two paintings by Miss Emily Harris were loaned to the Gallery by the Art Society showing the Art Society’s early support of women artists.’
Nelson Evening Mail 19 Apr 1919. Paintings: 6.
Carl Herman Weyergang, Online Cenotaph. Auckland Museum.
Johannes C Anderson, Inward Correspondence 13 June-22 Aug 1924. Turnbull. MS-Papers-0006-19.
Emily Cumming Harris, Deaths in the District of Nelson during the quarter ending the 30th of September, 1925. 1925, 5th August. BDM Records.
Edwin Harris, Untitled (Forest scene with three Māori, River and Mount Taranaki). 1866. Oil on canvas. Puke Ariki. A64.650.
Emily Cumming Harris, ‘Flowers from the Antarctic Islands of New Zealand.’ 1906. Oil on board, 1037 x 617mm. Donor Mary Weyergang, Sept 1925. Puke Ariki. A66.051.
Emily Cumming Harris, ‘New Zealand Clematis.’ 1906. Oil on board, 1455 x 685mm. Donor Mary Weyergang, Sept 1925. Puke Ariki. A66.052.
Pitt & Moore, Solicitors, letter to Mary Weyergang. Written in Nelson, . Fragment, 2pp. Cranstone Papers.
Godfrey JW Briant in conversation with Michele Leggott, ‘Kiriawa,’ Whanganui, 12 Feb 2018.
Catherine Ann Ledger, letter to Emily Cumming Harris, Nelson, NZ. Written in London, England, 15 June 1910. Cranstone Papers. See also enclosure from The Connoisseur, London, to HO Ledger, 13 June 1910. Puke Ariki. ARC2001-190.
Emily Harris, New Zealand Floral Autograph At Home Book. Timaru: PW Hutton, booksellers, 1903. Puke Ariki. ARC 2002-190.
Ruth Moore and Ella Grace Hobbs, donations 9 Feb, 9 Mar, 8 May, 9 Aug 1961. Philip Winning Briant and Hugh Godfrey Briant, donation 29 Sept 1961. Taranaki Museum Accession Register R6/2/2. 1959-1964. Puke Ariki. ARC2004-214/3.
Hugh Godfrey Briant, letter to Rigby Allen, Director, Taranaki Museum, New Plymouth. Written at Bonny Glen, Marton, 13 May 1965. Puke Ariki. Inward Correspondence 1964-65. Box 8.
Norman Little, Solicitor, letter to Philip Briant, Bonny Glen, Marton. Written in New Plymouth, 26 Aug 1964. Cranstone Papers.
Certificate of Title (Historic), 23 Fulford St, New Plymouth. LINZ. TN114 15.
William Hobson, Papers 1833-1846. Turnbull. MS-Papers-0046.
[Various artists], Mrs Hobson’s album 1843-1845. Turnbull. E-216-f.
Eliza Hobson [Contributor], Church of England : The Book of Common Prayer, and administration of the sacraments and other rites and ceremonies of the church, … together with the Psalter; or Psalms of David – Cambridge; Printed at the Pitt Press by John Smith, 1833. Turnbull. MS-0506.
Director, Taranaki Museum, letter to Mr and Mrs Briant [actually Philip Winning and Hugh Godfrey Briant], Bonny Glen, Martin. Written in New Plymouth, 6 Oct 1961. Puke Ariki. Outward Correspondence. R6/1/2. Box 6.
Emily Cumming Harris, Family Papers 1850-1914. Originals loaned for photocopying by Philip Briant, Sept 1969. Turnbull. MS-Papers-0489.
Emily Cumming Harris, ‘Rangiora (Brachyglottis rangiora).’ ‘Cordyline Banksii (Broad-leafed forest cabbage tree).’ ‘Dianella intermedia (Blueberry).’ Wellington: Turnbull Library Prints, 1968.
Emily Cumming Harris, ‘Kiekie, Nikau, Five-finger and Karaka in fruit.’ ‘Aralia lyallii (The Snares).’ ‘Pleurophyllum speciosum (Adams Island).’ ‘Ranunculus insignis.’ Wellington: Turnbull Library Prints, 1980.
Emily Cumming Harris, New Zealand Mountain Flora. Artist’s book containing 30 ink and watercolour paintings with typescript preface, plant descriptions and 8 poems. Compiled in Nelson, NZ, 1894-[1910?]. 30 bound signatures. Turnbull. E-001-q.
Gretchen Weyergang, ‘The Fuchsia Lady.’ Auckland Star 9 Dec 1939: 34.
Margaret Jeffery, The Forsaken Orchard. London: Robert Hale, 1955. Too Many Roses. London: Robert Hale, 1956. Tree without Shade. London: Robert Hale, 1958. Mairangi. Christchurch and London: Pegasus Press and Heinemann, 1964. Cabin at Your Gate. Wellington and London: Reed and Robert Hale, 1973. The Black Shore. London: Heinemann, 1980.
Michael Hitchings, Assistant Chief Librarian, letters to JT Linehan, Acting Director and Rigby Allen, Director, Taranaki Museum, New Plymouth. Written at Turnbull Library, Wellington, 26 Aug, 31 Aug, 23 Sept, 10 Nov 1964. Puke Ariki. Inward correspondence 1964-65. Box 8.
Ray Richmond, Editorial Director, letter to Margaret Jeffery, 17 Ngaio Rd, Wellington. Written for AH & AW Reed, Wellington, 15 Feb 1965. Galpin Papers.
Constance Weyergang, typescript poem ‘Ngamotu Beach, New Plymouth.’ Galpin Papers.
Constance Weyergang, ‘The Old Brewery’ [New Plymouth]. 2 Dec 1964. Watercolour. Puke Ariki. A95.643.
Constance Weyergang, Untitled (Landscape with two haystacks and rolling hills). Watercolour, 261 x 332mm. Donor Monica Brewster. Govett-Brewster. 75/99.
Constance Weyergang, Untitled (Seascape with cliffs and pohutukawa trees). Watercolour, 255 x 352mm. Donor Monica Brewster. Govett-Brewster. 75/100.
Constance Weyergang, Untitled (Scene of tall trees, shrubs, path and people). Watercolour, 215 x 179mm. Donor Monica Brewster. Govett-Brewster. 75/101.
Mary Weyergang, letter to Gretchen Briant, Bonny Glen, Marton. Written in Marton, 28 June 1927. Cranstone Papers.
Gretchen Constance Emilie Jeffery, ‘Ghost Flower’ by Margaret Jeffery. 1956. Turnbull. MS-1080.
James Merrals, ‘NZ-born artist traversed globe to capture thoroughbreds on canvas.’ Sydney Morning Herald 10 Oct 2013.