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The Art of a Hut Catalogue Felicity Deverell


The Art of a Hut Collection catalogue 2013 – 2015

Felicity Deverell, Artist ‘I am a young and ambitious artist from the Far North. Beauty, Art, and Adventure are my inspirations. Learning the craft of painting and conveying, in the language of art, the beauty and emotion that I see and feel is my passion. I love landscape painting, and working en plein air (in open air) combines this perfectly with my love of the outdoors. I am at the beginning of my journey as an artist and already it has taken me places I had never heard of before. For the past two years I have been exploring the wilderness while working on a collection of drawings and paintings of North Island backcountry huts. I have tramped to and drawn or painted forty-five huts in the Kaimais, Te Ureweras, Kawekas, Ruahines, Tararuas Ranges, the Whanganui National Park, Orongorongo Valley, and sailed to a few down the coast of Northland. I aim to continue traveling to new places with my work, learning from the masters of the past and present, and, in turn, contributing my own visions of beauty and life.’

If you would like to purchase any of these artworks please contact me: Email: felicityfdeverell@gmail.com Phone: (09) 405 0111 Mobile: 022 0791195 http://felicitydeverell.blogspot.co.nz/


Daly’s Clearing Hut, Kaimai Range, 2013 $600 Graphite pencil drawing, Kauri frame, 575 x 475mm This was the very first hut I drew on the first tramping trip down through the Kaimais and to the Te Ureweras with Caleb Bergstrom and Thomas Bourdin. I remember sitting down at the edge of the big clearing drawing as the shadows moved and the sun grew hotter on my back. Thomas was lying in the long grass reading and Caleb was hunting goats somewhere. It was perfect weather this felt like an idyllic holiday‌ it became an adventure later, but this beginning was blissful. I ate possum here for the first time.


Motatapere Hut, Kaimai Range, 2013 $600 Charcoal drawing on tan paper, Kauri frame, 545 x 455mm It was a long day of fairly easy walking to this hut, until the last leg over the famous peaks in the range over which the track rises and falls again and again. We had all got pretty exhausted by that stage and I wasn’t so fit back then, so I was about done for. Sometimes when you get exhausted your mind starts playing strange and illogical tricks, I remember seriously thinking about leaving my pack at the bottom of one steep peak and taking myself up, then coming back down for my pack, I didn’t feel strong enough to carry both me and my heavy pack! The first sight of this hut was a beautiful thing. This hut we call affectionately ‘Moon Hut’ after a quote which Caleb repeated over and over to keep us going: ‘…We choose to go to the moon, NOT because it is easy, but because it is HARD!’ –J. F. Kennedy


Mangamak0 Hut, Te Urewera Forest Park, 2013 $600 Graphite pencil on paper, Kauri frame, 545 x 455mm This hut had a huge open fire in which you could burn great logs, it kept the hut toasty hot while it was burning and we had enough light to see from the fire alone. And outside the dunny was on a drunken lean and full of wetas, which one just didn’t think about. There was some kind of wildness, haunted atmosphere all around this place. I could almost believe that some lost tribe would suddenly appear around the next bend in the river or look up and see their faces watching me from among the trees. I felt this way in the whole of the Te Ureweras, a place so untamed that one feels inescapably lost though standing right outside the hut with a map in hand.


Waihua Hut, Te Urewera Forest Park, 2013 SOLD Oil on Canvas, 455 x 455mm The Waihua is famous in our memory for a lesson in navigation and a night spent under the stars. We lost the track, ended up several hours later down at the river. We then started up the river to the hut which was not far away, only to be confronted by a waterfall completely blocking the way. It took us an extra day to get around that obstacle and when we finally got to the hut it was the best looking thing I’d seen in all the world. The walk out again was quite simple, we just followed the track. We learnt that if you lose the track, go back to where you last had it, never think you know exactly where you are, but if you do give yourself twice the time to get to your destination. Travel in the bush with no path is slow going!


Roger’s Hut, Te Urewera Forest Park, 2013 $600 Charcoal on tan paper, 580 x 475mm Roger’s Hut was built in the 1950s as a deer cullers hut. It is constructed of matai and beech from trees felled in the area and hand split. One unique feature of the hut is a stained glass window which was added in the 90s while the hut was undergoing maintenance. While we were there a gentle but steady rain was falling, forcing me to work inside. The walls of the hut had the usual inscriptions of names and dates, but someone had started a trend here of punching out names on the tops of tin cans and nailing them on the walls which gave the look of badges or medals. On the door was written: ‘BEWARE ALL YE PEOPLE: KILLER MOSSIES’. We met them soon enough, and the fire smoked, which kept them at bay. Despite smoke, mozzies and rain, this remains one of my favourite huts.


Te Totara Hut, Te Urewera Forest Park, 2013 $600 Graphite pencil on paper, Kauri frame, 605 x 475mm This hut was built as a deer cullers hut in the 1950s, but only parts of the original building remain. Years ago during a storm a giant tree fell clear across the hut crushing it. Thankfully it was rebuilt. On our walk in to this hut Caleb shot a young deer much to his excitement! So we stayed an extra night to feast on venison and Caleb spent a hot day in the hut drying a lot of the meat over a smoky manuka fire. Across the creek that runs past the hut was a landslip, up this I scrambled, and dug myself out a perch from which to draw the hut.


Middle Hill Hut, Kaweka Ranges, 2014 $600 Pastel on paper, Kauri frame, 585 x 465mm This was the first hut of the second trip, and there were six of us this time. You could say I had a very large support crew, and they were all supportive, telling me to get out there and get working while they played cards in the hut, read books, and went hunting. While they were on holiday, I was out in the hot sun struggling with shadows which kept moving across the bright orange walls, and trying to figure out how to make bushes look real on paper with pastels. I did a lot of learning on the job so to speak, every drawing and painting teaches me something new, or something which needed relearning. By the time I had finished the morning’s work lunch was ready for me and then we walked on all afternoon to the next hut. And so on in a similar pattern for two weeks.


Ballard Hut, Kaweka Ranges, 2014 $500 Charcoal pencil on tan paper, 475 x 575mm Not far below this ridgeline is Ballard Hut built just within the treeline. It was an amazing walk over the ridge from Middle Hill Hut, the views were awesome, and the wind so strong we had to lean hard into it to maintain our footing. The hut was cosy, well insulated and got so hot we had to have the windows open, and the fire going also or it would be too cold. It is sometimes difficult to balance between too hot and too cold in these huts. It was very cold when I drew the hut, standing in a shady gully on the path down to the dunny. I wore all my warm clothes and also my gloves though this was in the middle of summer. Summer only happens in the sunshine up there. Despite numb fingers I was very happy with how my drawing turned out.


Makino Hut, Kaweka Ranges, 2014 $600 Graphite on paper, Kauri frame, 535 x 475mm This is one of the huts where I had an opportunity to do something a bit different in my drawing. From the moment we arrived at this hut, after a long scramble down from Ballard Hut, I knew what I wanted my drawing to look like. There was a beautiful big beech tree growing beside the path whose branches framed the hut in the clearing beyond. I spent about five intense hours getting all this drawn before we had to carry on down to the next hut that afternoon. This was a very full on trip with not much time for wasting or failing on a drawing, but I managed to get some of my best drawings in the Kawekas.


Kiwi Mouth Hut, Kaweka Ranges, 2014 Reyburn House Permanent Collection Pastel on grey paper, Kauri frame, 545 x 455mm I sat in the grass here and drew in colour for a change. This hut is down on the river flats so it was much warmer, and comfortable for drawing. While I was drawing I managed to capture Caleb as he was standing in the doorway for a few minutes. We met a large group of hunters here, who helicoptered in while we were there. They set up tents and had all kinds of luxuries which had us in awe. We begged some teabags from them for we had tragically run out by this time. This was a small hut with only four bunks so Pauline and I top and tailed as we often did when there was not much room; and Caleb cut himself a mattress of manuka. It’s amazing how many people can fit into a tiny hut; and quite happily too, because nobody wants to be left in the cold outside.


Old Manson Hut, Kaweka Ranges, 2014 $600 Graphite on paper, Kauri frame, 545 x 455mm Old Manson Hut was built in the early 1950s as a rabbiters hut and to replace the original Old Manson Hut which was a shepherd’s hut. The hut is constructed with beech poles with the exterior walls made from totara and beech split slabs, and has a malthoid roof. For some reason we stayed in this dark and cold place for two uncomfortable nights. The floor is dirt, the bunks of sacking, and the fire huge and smoky. An enchanting hut as far as quaint looks and history goes, but definitely not comfortable. There was a tiny little trickle which could be a creek during rain where we built a dam to collect water. Up at the new Manson Hut two hunters were living it up with all their flown in gear and food. Pauline and Jojo went hunting one day and shot only a hare, but they came back with venison steaks and stories of tea and biscuits.


Rock’s Ahead Hut, Kaweka Ranges, 2014 $600 Graphite pencil on paper, Kauri frame, 505 x 445mm Rock’s Ahead was our favourite place in the Kawekas, maybe it seemed so glorious after the miseries of Old Manson Hut, but it was definitely a playground for everyone. There was a cable car wired high across the river which we all had to take a turn on. The sun was hot, the river was deep, and cold and clear, and full of trout. I caught my first trout here. From the hut book we learned of legends surrounding the hut of six foot possums and 60 pound trout. We added our own. Drawing here was not the most pleasant. I sat on the rocks in the burning sun, dunking my head into the cold water every ten minutes to keep cool, and then lathering myself again with sand fly lotion. Eventually the shadows moved over me, and I managed to complete one of my favourite drawings, and one which I made into a painting back at home in my studio.


Rock’s Ahead Hut, Kaweka Ranges, 2014 $975 Oil on canvas, 610 x 915mm Back in my studio this was the first hut I painted. I remember having a long struggle with the grass, but in the end I got something that I like. This painting really makes me feel like I am back there again in the hot sun by a cool river. It brings back memories of the happy shouts of my friends jumping off rocks into the river while I drew, and of the idyllic calmness of the place through it all. It is a place where you can go and be completely away from the rest of the world. It is hidden down between steep mountains, and all there is in the world is the forest, a river, the sky, and a hut.


Back Ridge Hut, Kaweka Ranges, 2014 $600 Graphite pencil on paper, Kauri frame, 605 x 475mm This hut was hidden away in a very beautiful place high up in the range just below the tree line in a little valley with a creek running by. The view from the top of the path before climbing down to the hut was amazing, especially after several hours of steep climbing up from Rock’s Ahead. I decided this was my chance to get a drawing of more of the scenery surrounding the hut, for so often the hut is closed in by trees and there is not much scope to show the landscape also in a drawing of a hut. It was a race against the clouds to get this picture, by the time I had finished the mountain peak I was drawing was hidden in mist.


Cameron Hut, Kaweka Ranges, 2014 $400 Oil painting on board, Kauri frame, 340 x 255mm This was the last hut in the Kaweka ‘hut hop’ and one I was most discouraged at. I was exhausted and it was raining and my drawing of the hut was splotched with rain. But I got a nice sketch of the dunny. I did this painting much later on back at home in my studio. I worked from a photograph and experimented with some of the new techniques I had been learning through my study. I am really happy with how it turned out. It is a simple painting of a simple classic hut painted bright orange as they often are.


Ellis Hut, Ruahine Ranges, 2014 $500 Charcoal pencil on tan paper, 580 x 475mm This is the first hut in a ten day long hut trip with Caleb Bergstrom and my brother, Nathaniel Deverell. It was in the middle of winter during Caleb’s midyear Uni holidays. The hut was originally built by sheep farmers, and has a dramatic story of a convicted murderer hiding out here in 1904 until he was finally captured. It is also known as Murderer’s Hut. The fire smoked and the cold seeped in through the weatherboards, so we slept on the floor in front of the fireplace. We made a fire outside to cook on because it was too unbearable inside with the smoke. I drew from the edge of the pine forest which the hut is on the verge of at the very edge of the Ruahine Forest Park.


Murderer’s Hut, Ruahine Ranges, 2014 $1,000 Oil on canvas, 610 x 915mm Back in my studio in Northland, I painted this large painting of Ellis or Murderer’s Hut. I used oil paints and spent a week working on the picture and remembering what it was like to stay there and how grey the day was giving an appropriate atmosphere about the hut for the name of the piece. Here is a photo of the painting halfway through my painting process with the hut about finished and the trees appearing.


Poutaki Hut, Ruahine Ranges, 2014 $400 Oil on board, Kauri frame, 330 x 245mm Poutaki Hut was once almost burnt down by armature poachers and now doomed to be pulled apart. DOC has decided that this hut will not be renovated when it is next due for repair, much to the dismay of a few local trampers with whom this hut appears to be a favourite. It was one of our favourites too. It is out of the way of the other huts in the Ruahines, but it has a gorgeous view and a cute little stove which goes like anything, especially when fed on pine cones. I painted a hut for the first time here and enjoyed it a lot. It is very different to drawing, and everything depends very much on the light and which side of the clouds the sun is on.


Sunrise Hut, Ruahine Ranges, 2014 $600 Pastel and Charcoal on grey paper, Kauri frame, 545 x 455mm The track up to Sunrise Hut is like a highway, making this a popular hut, and we met a few people here out tramping despite the falling snow. It was still snowing when I went out to draw, but I found it doesn’t matter nearly so much as rain does. As long as I kept my breath and my bare hand off the paper the snow would not melt and I had only to brush of snow now and then with my gloved hand while I drew. The hut here is more like a lodge. It has three rooms and a small one upstairs and can sleep a crowd of people. It was also well insulated so with the fire roaring away it soon was fairly comfortable.


Howlett’s Hut, Ruahine Ranges, 2014 SOLD Oil on canvas painted in the studio, 715 x 560mm Howlett’s hut is named after a rather inspiring man, sometimes labelled eccentric, who built the original Howlett’s Hut in the late 1800s. He was a school teacher and an enthusiastic botanist and tramper. In the hut are a few folders of information about him and other tramping stories which we found very entertaining to read while a storm raged overhead and set the hut shaking. The present hut was built on the same site as the original Howlett’s Hut, by members of the Heretaunga and Ruahine Tramping clubs in 1938. All the materials were carried up via a human chain. An impressive feat considering it is an effort to get up there with just a pack.


Blue Range Hut, Tararua Ranges, 2014 $600 Charcoal and pastel on paper, Kauri frame, 605 x 475mm The ‘hut hop’ in the Tararuas was another big one with six of us again, and two weeks to spend in these famously damp hills. But our first hut gave us beautiful weather and I drew Blue Range Hut without distraction. This hut is very unique and has a lot of character. It is decorated all over with signs from an antenatal clinic which a bunch of nurses once brought up for fun. There is a bell on the door, the bunks are labelled for patients, and the dunny is a ‘social workers office’. Up on the sloping ceiling were maps of the area and surrounding country which added more character and interest to the hut. The little potbelly stove was almost useless, but we managed to cook on it with patience, at least the others did, while I drew.


Blue Range Hut painting, Tararua Ranges, 2014 SOLD Oil paint on canvas, 30 x 15 inches I wanted to do a painting of Blue Range Hut as I really liked the idea in my drawing, but I didn’t have a photo to work from. All I had was my drawing and a photo of me drawing it with terrible colour and at the wrong angle. So this painting was done almost entirely from my drawing and my memory. The photo helped a little bit to show me how the moss was growing on the trees, but the colour and lighting is all from my imagination and memory. I quite enjoy painting like this; it forces me to really think and to draw from everything I have learned about painting trees and huts. The painting was sold not long after it was finished to someone who is a regular visitor to the hut.


Cow Creek Hut, Tararua Ranges, 2014 $600 Charcoal pencil & graphite on paper, Kauri frame, 595 x 525mm This is a pretty standard hut for the Tararuas, the typical box shape with the common wood stove which is amazing for getting the hut warm quickly, but for cooking is terrible. Most people bring gas camp stoves to cook on, but we always saved the gas for emergency, and used fire where we could. It rained. There seems to be a continual drizzle in the Tararuas; there is always hope that it might clear up soon, and if it ever does you know it won’t last. The boys rigged me up a nice canvas shelter to draw under. The tarp became quite useful on this trip. Below is a photo of me drawing Cow Creek Hut, before it rained.


Cone Hut, Tararua Ranges, 2014 $600 Charcoal pencil on tan paper, 475 x 400mm We did have a beautiful day for Cone Hut; the sun came out lifting everyone’s spirits. The river was well used that day for swimming and washing, and I drew until the light began to fade. This is one of my favourite drawings, and is of another of the historical huts. It was built of the remains of a previous Cone Hut and is rough and ready, but beautiful. The floor is of dirt, which has been worn uneven, and the sleeping arrangement there is just one large platform on which we all lined up in our sleeping bags, along with two Norwegian hunters. There was a lot of laughing but all nine of us managed to squeeze onto the one platform and get some sleep. Below from left: Dominic Land, Marion, Pauline, Guillaume Bourdin, Me, and Jojo Land.


Cone Hut painting, Tararua Ranges, 2014 $1,000 Oil on Canvas, 760 x 760mm I did not have much information other than my line drawing to create this painting so it became a work from my imagination and memory. I spent a long time working out the composition on this square canvass, which is often a difficult format to use. Then I painted the whole thing in monochrome before adding colour and details. I don’t often work this way but it seemed the best way to get all my shapes and values in as I had designed them in my small study. My paintings from memory always end up with a sort of magical and imaginative feel and this was no exception.


Field Hut, Tararua Ranges, 2014 $600 Charcoal & pastel pencil on paper, Kauri frame, 575 x 475mm When we got to this hut I was worried that I would not find a good place to draw from. It is situated on a narrow ridge leading up to the tops and is surrounded by trees. My friends were considering putting me up a tree to draw, but in the end I drew from the path and the view that one first has of the hut upon arriving from below. I edited out a lot of the surrounding confusion of trees and made a simple but elegant design. This is my personal favourite drawing of all the huts. Built in 1924 Field Hut is one of the oldest huts that was built entirely for tramping. It was named after the president of the Tararua Tramping Club, at the time, W. H. Field.


Paua Hut, Orongorongo Valley, 2015 $600 Charcoal pencil drawing on paper, Kauri frame, 585 x 415mm The trip to the Orongorongo Valley near Wellington for ten days was the most productive and luxurious of all the trips. After an exhausting two days of hitch hiking down there all we had to do was walk in a couple hours to the beautiful valley full of private huts. We stayed at one hut the entire time, and each day I walked a couple hours, at most, to a hut to draw and paint. Paua Hut is set amongst a beautiful stand of beech trees, open and dappled with light. It caught my imagination and I only wished I had more time to paint the scenery in the valley.


Bane Iti, Orongorongo Valley, 2015 $600 Charcoal pencil on paper, Kauri frame, 515 x 465mm Bane Iti is the oldest hut in the valley and the only open hut. It is very small and leans on a dangerous angle, and you have to bend your head to get through the doorway. I spent a chilly morning in the damp shade in front of the hut going out every now and then into the bright sun on the riverbed to warm up. The drawing progressed quickly and well and I managed to capture the character of the hut.

Guillaume Bourdin, Felicity, and Jerusalem Gilbert reflected in the window of an Orongorongo Hut.


Boar Inn Hut, Orongorongo Valley, 2015 $600 Ink pen on paper, Kauri frame, 595 x 455mm The owners of huts in this valley are sometimes angry, frustrated or sad about the future of the huts. The original agreement they have with DOC means that once the current owner of each hut has passed away the ownership goes to DOC and not on to the next generation. This is what has happened to Boar Inn which is one of two DOC huts, so far, in the valley. We only met one person who was content with this. We came across him up a ladder cheerily working away with his son. He told us that they were all very privileged to be able to have a hut there and that they considered themselves custodians of the hut during their lifetime. I drew Boar Inn on the way back down from drawing a hut further up the valley. I used only an ink pen so I had to be careful not to make mistakes, which I could not erase like pencil.


NikauHut, Orongorongo Valley, 2015 SOLD Oil painting on board, Kauri frame, 315 x 245mm This is the hut where we stayed during our time in the valley. The owners of the hut very kindly gave us the run of it. It is one of the older huts in the valley and had an open fire which didn’t smoke; but one morning after a windy night we woke up to find white ash like snow blown all over us from the fireplace. In my painting I edited out an entire tree which was growing right in the centre of the scene I had chosen to paint. At first I wondered if it would ruin my painting but in the end I didn’t even notice the tree was there. It taught me a lesson about selective sight and how easy it is to ignore whatever we don’t want to see or just don’t think about.


Rifle and Whisky Bottles In Nikau Hut, Orongorongo Val/ley, 2015 $400 Oil painting on board, 315 x 245mm One day during our stay in the Orongorongo Valley it rained - it poured, and the river flooded. I spent that day painting inside the hut we were staying in, Nikau Hut. I spent the entire day on it. It was really nice to be doing something different for a change and also to have enough time to finish it properly. The rifle is the one which Jerusalem Gilbert shot us a pig with, the second day of the trip, and the whiskey bottles and lanterns were already there collecting dust and candle wax on the mantelpiece.


Lane Cove Hut, Whangaroa Harbour, 2015 $400 Oil painting on board, Kauri framed, 355 x 230mm The last ‘hut hop’ was down the coast on my brother’s small yacht, ‘Destiny.’ Lane Cove is a hut on my own back doorstep, I can walk to it in a couple of hours from where I live, and yet I didn’t paint it until this last trip. While I was painting from the boat she would swing back and forth in the wind, so sometimes I would look up and instead of a hut there were just trees in front of me. We put a stern anchor out to keep her still, and that helped.


Cape Brett Hut, Bay of Islands, 2015 $500 Oil painting on board, Kauri frame, 450 x 300mm We sailed down to Cape Brett on a grey morning from one of the islands in the Bay. It was rough and windy at the usual landing place and we decided not to risk it there in our little yellow dingy. But around the point, on the other side, it was calm and Guillaume Bourdin managed to drop me off on the rocks safely. The day changed from grey to blue and I got this painting done pretty quickly. When the sun is out it is pretty hard to paint for more than a couple hours, because the light changes so fast, and soon you have a completely different picture before you from the one you started going after.


Peach Cove Hut, Whangarei Heads, 2015 $500 Oil painting on board, Kauri frame, 450 x 300mm We anchored just inside Whangarei Heads and Guillaume and I walked over Mt. Lion to Peach Cove. We were rather proud of ourselves to walk it in one hour one way instead of three as the sign informed us. And it was really nice to be walking on dry land along a bush track again, even though the ground continued to rock from side to side beneath my bare feet. At the hut I was a bit disappointed because there was no view of the sea, but just the usual bush. I climbed a tree and did a sketch from there, but the painting I did from the path. Then we went back over Mt Lion up and down the one thousand or so steps on either side.


Frampton’s Hut Frampton Scenic Reserve, Northland, 2015 $800 Oil painting on canvas, 610 x 455mm I made a special trip to paint Frampton Hut. It is not far from where I live and the track begins from a friend’s place. It was easy to organize some of my friends to come out for a weekend, and I had a brilliant blue day to paint. I painted the entire canvas in front of the hut in the bright sun, which resulted in a much darker painting, once it was brought inside out of the intense light


Intruder? Rock’s Ahead Hut, Kaweka Ranges, 2015 $700 Oil painting on canvas, 460 x 355mm A common weed growing behind Rock’s Ahead Hut. I thought this would make a beautiful painting, and I love how the flower turned out. But some might question this glorifying of a common weed, a pest brought into the native forest under the boot of some tramper, no doubt. Wherever man goes he takes his weeds with him. But who is the real intruder here? The humble dandelion, or the men who came tramping through here with their heavy boots who stopped to built a hut?


Artist’s Tramping Gear, 2015 $1,000 Oil painting on canvas, 610 x 915mm I couldn’t finish the project without doing this still life of all my tramping gear. My hat which Caleb gifted me, (I found out later that it is his family’s tradition to give this kind of hat to the woman he wishes to marry – (our wedding is in January.)), my ‘Lastrite’ tramping boots, and my raincoat, which have taken me all the way, and have both worn through. My sketchbook and the little dunny book are there and I could not leave out Caleb’s green linen shirt which he wore till the back wore through against his pack. In the photo below, my studio companion, who gets into the middle of everything that I do: my cat ‘Pansy.’


My Tramping Boots, 2014 $600 Graphite drawing, Kauri frame, 595 x 505mm Boots are an important part of tramping, you can’t get far very quickly without them. I have done the day tramp to Cape Brett barefooted, but it’s not fun. I bought these boots at the very beginning of the first trip from ‘Lastrites’ in Whangarei. They did take a bit of breaking in but soon they moulded to my feet. Below is a watercolour of Guillaume Bourdin’s boot which I did one rainy day in the Tararua Ranges.


Portrait of the Artist, 2015 Private Collection Oil painting on canvas This is a painting of me, in my hat, and Swazi jumper, in which I lived most of the time on each ‘hut hop’. I spent about ten hours staring at my face in the mirror to paint this.


If you would like to purchase any of these artworks please contact me: Email: felicityfdeverell@gmail.com Phone: (09) 405 0111 Mobile: 022 0791195 http://felicitydeverell.blogspot.co.nz/

The Art of a Hut Collection Cataloge  

Drawings and paintings of North Island, NZ backcountry huts drawn on location by Felicity Deverell, Artist.

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