An advertisement for Diamond O-Tis, by Timaru Milling Co., from the back of the “Peter The Pilot on Active Service” cereal card album, issued 1941. Designed and printed at Coulls Somerville Wilkie, Dunedin. Image courtesy of Dave Homewood, from Wings Over Cambridge http://www.cambridgeairforce.org.nz/
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Bernard Roundhill was probably Aotearoa’s most successful commercial artist, and certainly the most feted, in retrospect. He has come to be known as the “King of the Airbrush.” That’s a fair moniker; he was a pioneer and pretty much master of the technique in New Zealand. He’s also been described as “the founding father of commercial art”.
This a bit cheeky as he was not – that phrase indicates he was the first and possibly also suggests he was the best. Neither of these things are particularly true. All you have to think of is Joseph Bruno Moran, for instance, and a list of others that came before him and which no doubt he was beholden to. There’s no question he was easily and heavily influenced by others and ergo, indebted to those that were successfully working previously.
Portrait of Bernie Roundhill by White’s Aviation, late 1945, holding a book titled “Information Circular”, which probably has one of his cover designs. NLNZ collection, Ref WA-00758-G
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Born in 1911, Hull, Yorkshire, England to John William and Mabel nee Tate – Bernie, as he was known to most, had two older brothers Kenneth Spencer and Maurice William, one older sister Mabel who was born 1908 in New Zealand, and two younger brothers.
“Auckland In The Year 2000”, artwork for Winstone’s promotional book centrefold, 1956, is Roundhill’s most famous illustration. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000659/001/0001
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John William Roundhill (b.1887), having also hailed from Hull, had immigrated to New Zealand in 1903 with his brother Alfred. They both worked as labourers in the Timaru, Canterbury area. He met Mabel Tate there whom he married in March 1905. Alfred met Mary Jane Dukes and married her also in Timaru, 1905.
Dolphin swimsuits advertisement for Whites Aviation Ltd, 1950. Image courtesy of Alexander Turnbull Library, Ref WA-03719-F
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At some point between 1908 and 1911 the Roundhills returned to Britain, where Bernard was born. The family left England again in 1912 – for good this time. His brother Charles came into the world just before they returned to New Zealand. Many sources repeat information from others ad hoc without checking, and quote Bernard as being three years old on arrival; this is incorrect.
Double page spread advert from a 1959 Edmond’s “Sure To Rise” cookbook, which I believe was the 4th printing of the Deluxe version of the 1956 8th edition.
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They settled in Gleniti, Timaru at first, and then later in the 1910s moved to Fairlie, South Canterbury. A younger brother , George, was born in 1917. By this time a young Bernard was already obsessively drawing.
One of the stories repeated that Bernard allegedly told was of around this time, seeing the first plane in New Zealand fly over, and chasing it across the fields with 25 shillings given to him by his father to beg the pilot to take him up – thus beginning his life-long obsession with all things aviation and space orientated and the sense of freedom that entailed. How fanciful this tale may be is worth consideration given that it was not until 1920 the first flight in Aotearoa flew across Cook Strait. Only the third flight in New Zealand the following year by Bert Mercer that was in the vicinity, when he flew from Invercargill to Auckland.
Painting of “Baby, Dog & Slipper” for a magazine cover, 1950. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000660/001/0003.
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Roundhill studied architectural drafting by correspondence, in the late 1920s. Bernard was also a cabinet maker and learned the trade from his father – known as a perfectionist, as was apparently his spouse. This obviously had an impact on a formative Bernard and influenced his work practice.
Innes cordial labels for C.L. Innes & Co. Ltd: from left – Reg: CA000680/001/0015 produced 1956, Reg:CA000680/001/0024 produced mid-late 1950s, and Reg:CA000680/001/0023, produced mid-late 1950s. Images courtesy of Museum of New Zealand Te Papa Tongarewa
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He then moved to Timaru around 1931 where he got his foot in the door of commercial art, trying his hand professionally at window display material – designing signs, price tags and jewellers’ cards for various businesses. During this period of the lean depression years he also created paintings on material to earn money, daubing demons and heroes on velvet cushion covers and firescreens to earn a meagre living; all the items being dispersed by two salesman friends.
A selection of Roundhill Studio designs for various companies. Although this photo looks like it dates from the late 1950s, it was actually taken of contemporary products sometime between 1971-1976. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000672/003/0002
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This followed a move to Dunedin where work was still thin on the ground, and at first he would accept anything going – recalling one job akin to performance art where he painted on the velvet dresses of live models behind the display glass of a store in The Octagon. This led to some textile design work creating floral patterns.
“Fissionable Material”, framed calendar print, 1950s, likely commissioned by L. R. Allen & Co., Ltd. Image courtesy of Dunbar Sloane Auctioneers.
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However it was not long before he started to become successful. By 1933 he began working as chief designer for both confectioners Cadbury Fry Hudson and publishers Coulls Somerville Wilkie in Dunedin, who shared his much-in-demand services, split morning and afternoon. It was here working for the latter he created some of his most well-known work – the “Peter the Pilot” character for Timaru Milling Co ‘s O-Tis breakfast cereal, doing a number of adverts, packaging items, album covers, trade cards, and other merchandise; records state from 1939 to 1954. Although, Peter the Pilot had already been issued as an album by 1938, and he continued to work for this company through to at least the early 1970s.
Original artwork for Willy, Lofty, Tiny and Droop: concreting and drain-laying, illustration for Winstone’s promotional book, 1956. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000659/002/0005
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About this time, Roundhill discovered the airbrush art technique after reading articles about American and German commercial art in a magazine, and inspired by this idea he developed it for his own work, purchasing an Aerograph with a hand-pump compressor, even constructing his own equipment and customising the process in order to create the smooth, graduated and mechanical effects he wanted to achieve. By his own estimation it took around seven years of long work days to learn the craft thoroughly enough to be comparable to the commercial artists he admired – whose work filled magazines like Popular Mechanics.
Champ dog food can label, featuring Skippy the dog, for J.R. Butland, late 1950s. Private collection
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In 1935 he married his first wife Eileen Grace Morey in Dunedin. In 1938 they were living at 20 Cranley Street, Dunedin Central, – but then the same year they picked up and relocated with Bernard’s parents at 11 Littlebourne Crescent. Just to add to a crowded situation, Bernard’s brother Kenneth, a carpenter, was also living at the family home (his father John William was also now working as a carpenter). At this time Roundhill worked on the 1939-1940 Centennial Exhibition, as well as for Wattie’s (canned foods) and Speights (beer).
Choysa Tea advertisement, for Bond & Bond, 1950.
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This move may have had something to do with Bernard commencing military service that year – as a draftsman in the intelligence office of the 8th Brigade, mainly drawing maps. Leigh-Ellen Roundhill, Bernard’s daughter, is now an artist herself working on the Gold Coast in Australia – “Like so many other men, he did not speak of his war years. What I do know is that he was in the Air Force and did the Bombsight surveying (a device used by aircraft to accurately drop bombs, Bombsights were a feature of most aircraft from WW I onwards). Then his commanding officer would keep him back in Wellington to do map work. His work was very hush-hush and I was told he was part of the Secret Service. “
Crest Bartlett pears can label, for J.R. Butland, late 1950s. Image courtesy of Mike Davidson collection
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In 1942 he moved over to the Royal New Zealand Air Force and worked for the Government architect’s office. All seriousness and secret business aside, Roundhill developed “Wing Commander Duval Dimwit” for their instruction manuals during this time to bring “a little humour into them” in the vein of the RAF’s Pilot Officer Prune – and also did brochure covers and pin-up art for aircraft noses, basically whatever was required or desired.
The Innes Lemonade girl. Poster artwork for C.L. Innes & Co. Ltd., 1950-1951. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000672/001/0014
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It is said he moved to Auckland in 1939 although this cannot be true since his second wedding was in Otago – it wasn’t that long before the marriage with Eileen foundered and Roundhill had met someone else. I think biographers are confused in regards to Bernard’s service in which he was stationed in both Auckland and Wellington during those years, but not permanently. Eileen and Bernard begun divorce proceedings in late 1943. Still in Dunedin, he married his second wife Olive Ella Tasker, whom he had met in Wellington in 1944 whilst still with Eileen.
Crest tomato juice can label, for J.R. Butland, late 1950s. Private collection
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In the process of research, I trawled through five hundred or more newspaper articles which ended up being mainly of various seemingly unrelated Roundhills competing in sports tournaments. There were adverts for a Miss M. Roundhill’s dress-making studio in the late 1930s-early 1940s in Lower Hutt (Alfred, Mary Jane and daughter Mary had moved there in the late 1920s). But there was hardly a thing of note – apart from his and Eileen ‘s divorce noted in an article unflatteringly entitled “Unhappy Marriages”.
One of three designs commissioned by a home loan company, early 1960s. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000662/002/0007
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So where was the scandal? That was it, I’m afraid – three wives and only one dissolution. The rest of the time it was clearly nose to the grindstone giving a glossy finish to plums on can labels – if any company wanted plump berries and healthful, fresh-looking vegies, or hi-tech planes and spacecraft from another world – Roundhill was the go-to guy for quite a stretch. Leigh-Ellen recalls Bernard was a very keen gardener, landscaping the family home and “grew wonderful vegetables, as well as planting many fruit trees which I used to climb”. No doubt the bounty from this was inspiration for his illustration work.
Colouring book cover designed for Foodstuffs (NZ) Ltd’s Four Square stores, 1954. Private collection.
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Roundhill does not appear in the electoral roll in Auckland until 1946, so he and Olive must have made their move in 1945. During this period came a stint at an advertising agency studio; but it wasn’t long before he set up a freelance studio in Commerce Street. The couple resided in Dedwood Terrace, Ponsonby until the late 1940s to very early 1950s – when they moved to 1 Ranier Street, Ellerslie.
“A Treat in Store”, image possibly from a calendar, designed for Foodstuffs (NZ) Ltd’s Four Square stores, late 1940s-early 1950s. Private collection.
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By 1947 He was airbrushing ink and gouache with an air compressor and adding watercolour brushwork by hand on top to create illustrations with a highly finished look that nobody else was achieving. In “A Treat In Store” A girl accompanied by her spaniel and a trolley full of products (such as Bird’s Custard) in tow, is about to enter a Four Square corner store holding a shopping list. It is so obviously Roundhill work done for Foodstuffs New Zealand Ltd (Four Square and Pam’s), and is very reminiscent of his other softly-hued cheesecake work like “Fissionable Material”.
Promotional puzzle showing many of Four Square’s line of products. Dates for this item vary greatly from 1942 to 1959 – but it was actually issued in 1949-1950. Image courtesy of the Alexander Turnbull Manuscripts and Pictorial collection. Ref: Eph-F-GAMES-1950s-05-cover
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His pastel period of the late 1940s and early 1950s was all pinks, mints and aquas – and took a queue from the saccharine, romantic stylings of the very popular 1930s American calendar artist Mabel Rollins Harris’s idyllic works of children and glamour pin-ups. Even so the earlier work, such as his Peter the Pilot items, was markedly awkward and clunky in comparison to the later slick illustrations that became his trademark . Even further down the line when he’d really hit his stride, it was very hit and miss – there was often something a little wooden, and slightly distorted-looking about his renderings of people unless cropped close in a frame or off to the side to mask it. They were mostly neither graceful or believable; it was almost as if finish upstaged focus on form. Nevertheless, this work was still popular with clients – but let’s face it – still objects were his forte. Tomatoes and beans did not have to kick a ball or unfurl a sail.
left: Innes cordial label, late 1950s, Image courtesy of Mike Davidson collection. Right: Goldpack dried apple box, late 1950s, private collection.
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From here he segued into calendar pin-up work of the early 1950s which he excelled at, probably because they were quite still and posed. Heavy influences are obvious on Roundhill’s cheesecake work from Alberto Vargas, George Petty, and the art direction of Esquire Magazine. They were created for Auckland calendar company L. R. Allen & Co Ltd. Auckland (which is still operating today), and some were used for W.D. & H.O. Wills (cigarettes).
Right: Peter the Pilot’s “Century of Progress” album 1939. Image courtesy of The Kauri Museum collection, Matakohe. Left: Royal New Zealand Air Force, Rongotai display, souvenir booklet cover, 1938. The date begs the question as to whether Roundhill could have done this given he did not commence working with the RNZAF until the following year. Image courtesy of Alexander Turnbull Library, who also question whether it’s authored by him. Ref: Eph-B-AIRFORCE-1938-01-front
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Roundhill worked for many years as a freelance artist and purportedly established the Roundhill Studios, a large, stylish deco-style building – in Auckland in 1974 according to one of a few short articles that have been written over the recent years. Although the electoral rolls always give the address as Onehunga, it was actually in Ellerslie – at the same address as their home. Then another source describes his Ellerslie studio as “pre- supermarket days”- so 1950s.
Innes Cordials packaging, for C.L. Innes & Co. Ltd., 1956. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: ACA000672/003/0007.
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There were two children of the union with Olive, previously mentioned daughter Leigh-Ellen – and also Dean Bernard Roundhill – who born in 1953. Leigh-Ellen says “It is possible the studio became registered as an Enterprise in the 1970s – but was indeed up and running by 1958. I remember a great deal of the studio as it was a big part of my life; this is where I grew up. My first recall is during the construction of the studio in 1957. It was attached to the family home in Ellerslie. Still only crawling, I climbed over all the building materials being used – only to be rescued by Bernard who was two thirds up a two storey ladder at the time.
Lincoln Electric Race Track box, 1950s-1960s, image courtesy of Clayton Blackwood collection.
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The studio was part of my play ground; and I wandered fairly freely in and out, watching my father and all the other artist staff work. I studied Bernard doing his airbrushing – no questions (to be) asked, so I was very still and silent as I observed. I learned a lot from watching them all, taking up art myself eventually. I recall him doing the beautiful fruit and flower labelling for Wattie’s and Yates, and various jam brands as well. And of course his Vargas lookalikes, which hung on the back walls of the studio.”
Design for Little Chief Children’s Sox packaging, 1949. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000662/002/0003
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As far as canned (and boxed) fruit and vegetable products, Roundhill was known to have worked on label illustrations for Wattie’s and Wyona (General Foods), Crest (Butland), OAK (Thompson and Hills), St. George (Irvine and Stevenson), and Kia-Ora (Whittome and Stevenson) amongst others from the late 1950s through to at least the early 1970s. He had a fairly distinct style and his work was much more polished than other illustrators due to his technique. He was probably responsible for the majority of these designs in the marketplace for at least a couple of decades. As well as can labels, the studio was producing designs for a wide range of products from puzzles, mobiles, and calendars to wrapping paper, chocolate boxes, magazine covers, stationery, food packaging, and board games.
Wonder Book of Modern Aircraft Album, issued by Cereal Foods (N.Z.) Ltd., around the mid 1940s. Private collection
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Clients of this period included Little Chief (children’s socks), Winstone’s Limited (building materials), seed packets for Yates and McKenzie’s Stores, and The Mirror magazine. He worked on Butland Industries’ Goldpack brand, as well as their fictional home economics rep Judith Ann Field, and mascot character Skippy the terrier for Champ dog food. Holdson, Lincoln, and Philmar (board games and toys), New Zealand Home Journal, Diamond cereals and pasta (Timaru Milling Company Ltd), The New Zealand Ministry of Tourism, Ballet Russe (makeup), DB Lager (Dominion Breweries Ltd), Innes (soft drinks and cordials), Bond & Bond Ltd (Choysa Tea), Dolphin (swimwear), Edmonds, and aforementioned Foodstuffs NZ Ltd brands. I am sure this is just a small sampling of companies he completed work for.
OAK orange marmalade can label, for Thompson & Hills Ltd., probably early 1960s. Image courtesy of Mike Davidson collection.
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Amalgamated Society of Carpenters and Joiners Conference, Christchurch, 1916. There is a Roundhill specified in the group, probably Bernard’s father John William – I am guessing middle of back row based on physical appearance. Image courtesy of Alexander Turnbull Library, Ref: PAColl-D-0423.
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However as his work progressed through the 1950s and the 1960s, the crafting of it became extraordinarily precise. The highly polished shapes and forms comprising his work were solid, smooth and soft cubist; reminiscent of Tamara de Lempicka’s celebrated Art Deco era portraits of European café society. The portfolio of images he created for Winstone, featuring the characters Willy, Lofty, Tiny & Droop are exemplary of this period.
Left: “I Haven’t Got Much On Today”, 1950, Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000661/001/0006. Right: “Forgotten Something, Honey?” 1950-1951, Image courtesy of alisonmc on Flickr. Both likely calendar prints commissioned by L. R. Allen & Co., Ltd.
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In 1956 he designed his most famous illustration, the one that many people are familiar with – “Auckland in the Year 2000” – for Winstone’s, featuring streamlined, high tech craft whizzing between futuristic buildings of downtown Auckland, a feat of swooping late-Deco inspired line work exquisitely rendered to finished perfection with the airbrush by Roundhill. Interestingly, the illustration he is celebrated for was completely his own concept and creation, given carte blanche by the client to do whatever he liked to fill a double-page spread.
“The Ambassadors, Rangitoto Spaceport 11, Auckland in the Year 2500.” Begun in 1960, finished between 1990-1994. Image courtesy of Museum of New Zealand Te
Papa Tongarewa, Reg: CA000659/001/0002
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Also the influence of his early Scientology days, shine through in his work – in particular “The Ambassadors”, featuring space craft zooming over a futuristic Auckland harbour with Rangitoto looming in the background. The intergalactic pulp science fiction concepts, masquerading as religious tenets – of fiction writer L. Ron Hubbard who founded the movement – are obvious even down to the weird logo on the ship’s sail like a mutated cross between the Thetan and Illuminati symbols. This illustration somewhat mirrors the fable that Xenu brought billions of people to Earth in spacecraft resembling futuristic airliners, and stacked them around volcanoes. Still, they are rather visionary and you can compare them with what has come to pass in contemporary times and there are some remarkable features that have fortuitously become realties.
Yates seed packets from the 1960s, Image courtesy of Sarah E. Laing collection, 44 Ways of Eating an Apple blog.
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Roundhill, described as a quiet and withdrawn persona, had embraced the wacko cult in 1953, along with his wife of the time, during a period when he was, besides running the studio, deputy mayor of Ellerslie Borough (he had spent a number of years as a council member previous to this). An acquaintance who was teaching him the art of public speaking, passed him a book on the religion. He said of himself he “learned, through Scientology, to create art that could communicate to people….(through it I) received validation and learned to do it better and better.” The last part may have some basis in truth but the former is quite debatable since Roundhill had effectively been “communicating to people” very successfully through his work for a good twenty years before the religion ever came into his life.
Clockwise from top left: Portrait of Skippy the Dog, for J.R. Butland’s Champ pet foods, 1950s, Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000672/003/0008. Point-of-sale advertising material for Sanitarium’s Bixies cereal. Portrait of Judith Ann Field, the fictional home economics rep for J.R. Butland’s Crest Foods, 1953. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000662/001/0004. Painting of baby with ice cream and dog, probably done for a magazine in the early 1950s.
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Along with gravity, communication and its language was a concept that fascinated him and he ruminated on often as he undertook his work – of which he had an extraordinary ability to focus on, to the point of being able to exclude everything else going on around him that may have been distracting. “When I’m doing artwork, there’s nothing else in existence as far as I’m concerned” he once said.
Holdson’s Teachatot game box for Thomas Holdsworth & Sons, issued 1961. Private collection.
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During the 1960s and 1970s, he was a very busy designer and continued to complete a huge amount of work. He may well have been the most prolific commercial artist during that time. Between commercial work that continued to flow in – he returned to his former Depression-era occupation of painting mystical and symbolic scenes on dark velvet; he had flirted with this style again in his spare time in the 1950s, making greeting cards.
His creations in this genre were fantastic, kitsch, and…pretty awful really – in fact so much so that I am not going to include a picture of one (it’s true what they say about not quitting your day job). For someone who had built a reputation for cheerful, colourful and glossy work, these tacky renderings of Kingfishers, sailing ships, woodsmen and deer were surprisingly dark and creepy. But really, when you look hard at the characters in his commercial work like his portrait of Judith Ann Field and others – there is something slightly unnerving about their glazed stares and sinister Stepfordesque perfection – like they are aliens that have been zipped into a full body disguise.
“The Incredible Tale (Fisherman and boy)”, 1953. Image courtesy of Museum of New Zealand Te Papa Tongarewa, Reg:CA000661/001/0003
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The most famous design he produced from the studio in his long career, one that went around the world, over and over, was during this period – the Air New Zealand Koru which was apparently designed originally in 1965 when TEAL became Air New Zealand and looked to replace its Southern Cross logo with something new and innovative. The koru was first applied to the tail of Air New Zealand aircraft with the arrival of the DC-10 in 1973, and has remained in use ever since.
Leigh-Ellen recalls: “I was banned from the studio when they were working on this, which was created by (graphic designer) Ken Chapman. I reasoned my way around that, and I watched the development of the project which was very exciting. I saw a lot of confidential things go on during it.” Although Roundhill mostly gets complete and unquestioned credit for this design, it seems he only came up with the original concept that was repeatedly returned to the drawing board, re-designed, developed and finished by members of his staff.
In amongst this period of great success resulting in the zenith of his most famous design – was also a period of tragedy for him. In 1967 his mother and his father John William and Mabel Roundhill both died within the year (sister Mabel had passed away ten years earlier). Then in 1969 son Dean Bernard Roundhill was killed in a road accident with a motorcycle at just 16 years old.
Kia-Ora jam can label, for Whittome & Stevenson, probably early-mid 1960s. Image courtesy of Mike Davidson collection.
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Original artwork for Willy, Lofty, Tiny and Droop: Roofing Tiles, illustration for Winstone’s promotional book, 1956. Image courtesy of Museum of New Zealand Te
Papa Tongarewa, Reg: CA000659/002/0004
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However clients kept him occupied while he delegated jobs to a staff that swelled to as many as sixteen at times. As well as most of the clients listed of the 1950s, in the 1960s-1970s Roundhill added Peter Pan (ice cream and frozen foods), Air New Zealand, Robinson’s (cordials and baby foods), Jason Products (placemats and coasters) Blue Bonnet (spreads and jams), Wonderset (hair products) Yukich’s Montana Wines, Swiss Maid (dairy), Craig’s canned foods, sauces and jams (Butland Industries) and Qantas amongst his roster during this period. Initially he had started employing others post-war period to help with the more tedious jobs like lettering, but the studio, which also had the rare distinction of being independent from an advertising agency, produced a number of respected designers like John Woodruffe and Graham Braddock. It wasn’t until the mid to late 1980s that Roundhill finally dipped his toe in the digital world of production – converting the studio which previously had run without even a photocopier.
In 1988 Bernard Roundhill was presented with the Gold Axis Award by the New Zealand Advertising Institute, for excellence in advertising communication and craft excellence. At the time it was only one of three that had been bestowed.
The Yates Garden Painting Book for children, issued 1953, replete with evil gnomes to give you nightmares.
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After Olive died in 1984, Roundhill married for a third and final time – to Peggy Lee (not the celebrated crooner). Peggy was a widow who had one son from her former marriage. She also claimed she was a writer and director, as well as a “highly trained” scientology counsellor. Peggy was a few years behind Bernard, having discovered the religion in 1961 through the Dianetics book which was held at Auckland University. It was after his second wife died they found had their faith in common; whether they knew each other earlier on is unknown but highly likely. They soon sold the Ellerslie property and moved to a cottage in Torbay.
Air New Zealand craft with the Roundhill Studio’s Koru design. Image courtesy of and © dbcnwa on Flickr .
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His relationship and union happened with Peggy very quickly – who was by all accounts a very charismatic individual with “enough energy to power the national grid.” Controlling and possessive – she essentially closed Bernard off into a spiritual bubble, alienating him from his family. Leigh-Allen says “…I became estranged until two weeks before he died. I was banned from retrieving any of my, or my family’s things, from the house after (Peggy married him). Peggy told a lot of tales and I think Bernard just gave up (fighting it).” One journalist described her style as “cheerful embellishment.” Apparently in her world the truth was highly negotiable if inconvenient – see earlier story about Bernard and the aeroplane, which may have had a vague basis in legitimacy – but was pretty far-fetched by the time she had re-styled it.
So devoted were they that by 1994, the couple moved to Southern California to teach and lecture on the religion. To say that a move to the other side of the world to establish a new life in his early eighties was risk-taking is an understatement – not only was he very elderly but Bernard was suffering from Parkinson’s Disease. The couple spent much of their savings trying to find a cure and when the money and will power ran out – they decided to go home.
By the early 2000s they had returned to New Zealand and were living in Mairangi Bay on North Shore, Auckland where Bernard indulged in his favourite pastime; gardening. Towards the end, Peggy undertook the administrative role for Bernard’s art studio, which seems to indicate he continued to work in some capacity – although seemingly he started wind down commissions in the early-mid 1990s when his illness got the better of him. Nevertheless, he had been kept busy work-wise well into his eighth decade.
Yate’s seed packet designs, probably early-mid 1950s. Image from the “New Zealand In Bloom” exhibition, 2005, courtesy of Museum of New Zealand Te
Papa Tongarewa.
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Peggy had a scientology website, which was a joint undertaking also showcasing Bernard and his work. It has since gone out of commission – likely it went down because she died in 2006, the year following Bernard – and the hosting has obviously since expired. Bernard had passed away in 2005 at age 94; but before that Peggy had spent three years between 1999 and 2002 sorting his archives in preparation for offering the collection to a museum. The archive collection effectively falls into three categories: original finished art, commercial art products (such as posters and ephemera), and then Bernard’s reference material, including some by his contemporaries. Ultimately the body of work went to Te Papa where it remains today as an example of how he styled some of our most recognisable brands through the seven decades of his remarkable career. In 2005 they showcased some of it in a Richard Wolfe-curated exhibition “New Zealand in Bloom.”
“Young Woman Hitching a Ride”, 1951-1954. Likely commissioned by L. R. Allen & Co., Ltd. for a calendar. Image courtesy of Museum of New Zealand Te
Papa Tongarewa, Reg: A000683/001/0003
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When working in other styles and genres such as the cartoonish and quirky “Surfing Santas” design for wrapping paper of 1950 – Roundhill showed that he was perfectly competent in capturing action adequately (although, on reflection, it seems likely this was designed by an employee). Everyone knows I am a devotee of some of his work like his hyper-real illustrations for Holdson; however his irregularity in a stellar level of illustration across the board tempts me to dub him overrated in comparison to the international greats – for as innovative as he was – butted up against them he tends to regularly fall short in consistence as well as imagination.
An Innes syrup label for C.L. Innes & Co. Ltd., produced mid-late 1950s. Images courtesy of Museum of New Zealand Te Papa Tongarewa, Reg: CA000680/001/0004
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The majority of his work speaks little of New Zealand culturally in that unique manner that defines such things as Kiwiana, and as such cannot claim that differentiation from the international work of others that would really propel it into its own unique genre.
But this is what happens when an attempt is made to reframe commercial work as high art – a concept and distinction that Roundhill always stated he was indifferent to; it is voluntarily judged under the harsh light of a new work lamp.
More than anything his oeuvre’s real value is as a time capsule of product showcasing packaging and advertising that stretches nearly seventy years. Although inspired by Norman Rockwell and his luscious Coca-Cola adverts, amongst other celebrated illustrators – Roundhill never quite reached that level excepting some of his brilliant futuristic scapes and was rightly awarded for them; but as such he ultimately may have just been a big fish in a small retouched pond.
Thanks to: Bridget Simpson, Reference Librarian, Central Auckland Research Centre, Central City Library. Jennifer Twist, Archivist, Museum of New Zealand Te Papa Tongarewa. Leigh-Ellen Roundhill, Grant Cathro, Peter Michel, Lemuel Lyes of History Geek and Mike Davidson for interviews, images, and assistance with research.
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All content of Longwhitekid copyright Darian Zam © 2013. All rights reserved.
longwhitekid 
I very much enjoyed reading this article and seeing images I had never seen before.
Thanks again for reading. Yes, some of these images have not been seen before (well, not since they were originally produced and published).
Wonderful piece, great work. Hope u like the Roundhill works in http://www.promotingprosperity.co.nz.
This is a great post. I’m trying to remember where I’ve seen the ‘Edmonds makes cooking a pleasure’ spread…I know it’s not deja vu. I have a vague feeling it might have been in the middle of an ‘Economy Edition’ of the Edmonds Cookery Book which had buff coloured paper covers. I had one about 15 years ago but have since parted with it.
…or the 1955 ‘De Luxe’ edition I also had.
Thanks for reading Peter. I know there is Winstone’s stuff in the book, but unsure what else.
Thanks for reading Dave, that was my first thought but I had nothing to back that up. Generally the Aunt Daisy books were scant on ads, and from what I’ve seen were minimal use of colours, perhaps one or two. I can’t ever recall seeing a brightly coloured ad on a two page spread in those. There were two deluxe editions around that time; one in 1955, and a deluxe 2nd printing of the 1956 edition.
The double page is indeed from the middle of a 1950’s Edmonds cookbook. I have this open page framed hanging on my kitchen wall (from grandmothers cookbook), along with 2 original tins of baking powder and cake baking powder, with contents!
Thanks for your comment Christine. In a weird coincidence one just came up for sale this morning, and the seller says this is on the outside instead of a regular cover. Which it does appear to be, but…seemingly someone lost the cover and sort of turned the book “inside out” so the the double page spread is on the outside. http://www.trademe.co.nz/Browse/Listing.aspx?id=690885546
[…] were added to the roster in 1938. By this decade it’s known that commercial artist Bernard Roundhill was already working on the Wattie’s account – and continued to do so right through to […]
[…] Long White Kid: The Flawless Reign of Bernard Roundhill […]
Mary (Molly) Roundhill Orr was my Aunt and died in the town she was born in, Timaru. She was 102 and I attended her funeral on the 6th of Sep’ 2014. Mary was interred with her late husband Archibald Orr at Ashburton.
Thanks for the memories.
Thanks for reading Phyllis. I kept a couple of the adverts, I think if you’d like me to email them.
I’m thrilled to have found this article. Occasionally I google Bernard Roundhill but I haven’t found much. I was friends with Bernard and Peggy in Southern California. Bernard was rather quiet as his health was in decline and Peggy’s charm and energy belied her 80+ years. I’d pick them up and take them to art salons thrown by Disney background painters. Peggy said she could imagine me at a party in the 40’s as a socialite in a diaphanous gown. I was so flattered. She didn’t let on that they were Scientologists until the end when she gave me a book she liked. I didn’t fully get it until I read it on the internet years later. She was like a fast talking 40’s dame talking about all their plans. They were getting his art career going again and she was writing a book. She said they moved there because the art market was just so much better than in New Zealand. They lived in a cute and modest bungalow in Burbank. I miss her and was saddened to hear they both died. I felt she was a kindred spirit even though her story was a little too dreamy and magical for their ages. But that sort of thing fits right in Disney –land (LA/Burbank.) Thanks again for your writing.
Thanks for your interesting comment Zoe, it’s great to get some more insight into the personas besides previously written articles, and a couple of interviews. It adds to the layers. I like your images too, buy the way. Cheers
Did you see the amazing space age Four Square poster that sold on trademe last year (I think)? I’d never seen anything quite like it til I came across this post…
Hi Rhys,
Yes I remember that. It was a beautiful piece. Sold for several hundred dollars I recall. Funny thing was that someone left a comment a few days after the auction closed, saying they remembered seeing this particular poster once, described it and it was obviously the same one… and asked did I know where they could get one? The one that sold is the only example I’ve ever seen so far. The fellow that sold it listed three or so other POS posters c 1950s from Four Square but whether those were by Roundhill too, I couldn’t say. Their style didn’t really convince me in any way…but with the Fine Things of the Future poster, I was pretty convinced it was Roundhill’s design.
Could u pls repost or direct me to that Four Sq poster u r referring to? thx in advance
Hi, as I mentioned the auction closed some time ago, in fact back in May. You could try searching expired listings, but I doubt it’s still up in full.
In the eighties and 90s Bernie still did some advertising work. I heard he was selling off some of his stuff in the early 90s and visited his studio in Torbay. He gave a me a pile of old advertising and ilustration award annuals and some Penrose annuals. I was tempted to take some of his airbrush kit – which he was selling – I guess they were heading to the US. I donated the books to the Advertising Agencies Association when it was being run by David Innes – to share with students etc (probably ended up in a skip). Bernard Roundhill was lovely chap. We featured his Winstone poster in Idealog when I was the creative director on the magazine. It really was an interesting artifact.
Thanks for the comment, David. It’s interesting to hear from people that actually knew him.
My Mum has an Edmonds book, and it has the double page spread of the woman and child enjoying their Edmonds products. Published in 1959.
[…] which has been incredibly well received, was ‘Unblemished Record’ and can be found here. And I hate to blow my own horn but it is the definitive article on him (although Richard […]
Thanks for the memories, I can definitely place the Four Square snap set to about 62/63. I was given a new set to entertain me when I had mumps at the age of seven and made up my own game of ‘solitaire’ with the pack. I spent many happy hours with the pack and still remember the card faces vividly (photographic memory). I especially loved the Biscottes and Vi-max cards and used the Gregg’s card as the ‘joker’.
Thanks for your comment, and clarifying the date.
As I was the last manager ever hired by Mr Edmunds senior of Edmunds White Wings I certainly remember these products. All the products here are of very high world standards not even excluding the cement Winstones company. Watties is still a standard in Australia though owned now by Heinz of America. Yates had their large store in Albert St Auckland and are considered world leaders in their field. I knew one of the sons who went to a school in Auckland. The Chesdale cheese as seen in the Four Square advert represents the very wealthy and very directed industry of new Zealand employing many with only just over 200 people unemployed in 1966. Chesdale was a Butland industry and it owner was a friend of my fathers . Mr Butland seated next to my father, was carrying a packet of Chesdale cheese in his pocket to Noumea Here He wanted to sell to the French his cheddar cheese. He succeeded and he represents the state of affairs of industry in New Zealand when the Company Manager Director puts a packet of his product in his pocket , boards a plane to see the French and to whom he sells their national food , cheese. The Four Square stores accompanied by their opposition IGA created new stores on very corner for example in Rotorua a Four Square Store would be found on the corner of Ranolf and Wallace Crescent being run by a young couple with two children , the McGoverns who I knew. They came from North Shore Auckland and arrived at their new store early 1950,s. They owned a good new home. Further up the road on the corner of Ranolf St was another Four Square store and opposite that was the IGA and always nearby the milkbar , butcher, and fruit shop run by either Indian or Chinese people. All in possession of good homes through the systems of finance. The relationship to what I seen on the page as advertising is the advertising of goods in a competitive market place structured in a good way. Today it has been replaced by monopolies controlling all foodstuffs at point of sale. New Zealand in its earlier history recognized the importance of structure and created its own large small item store called Mckenzies to directly oppose the Huttons family of new York Woolworths. Similarly it made its men underwear in eg Canterbury to oppose Jockey under wear. . So powerful was this influence , that when new Zealand had many American Troops on its shores in WW2 they , the Americans were not allowed to introduce 7UP and so an alternative was created called Lemon and Paeroa, of which I had a sample, ( 1952), along with the American Lucky Strike cigarettes, left behind by the the yanks.. New Zealand developed thousands of 50 to 100 acre farms producing milk Milk powder was one of the outcomes. As markets, situations, politics all altered, the demand lessened and yet the yanks still in the 1960, were purchasing the milk powder of New Zealand so as to keep a demand there. Anyone visiting the Auckland wharves in 1960,s could see the powder being loaded onto freighters at the number one wharf situated at the end of Queen St. The powder was put into deep caves in California. We ate it as our new ice cream called cream freeze first introduced in early 1960,s. General foods convinced many farmer that chinese gooseberries which had been grown by new Zealanders for years at places like the North Shore, should replace their milk output as an output from their dairy farm The new output replacing the milk was called Kiwifruit. Today Kiwifruit is sold throughout Australia in Woolworths and Coles and grown mostly in New Zealand. Advertising with beautiful ladies is not required. and neither are the Four square or IGA stores to be seen with their family staff..
Thanks for your detailed comment Michael. You have some very good points about economic structure and product and brand development. However, Woolworths Australia/New Zealand was not associated with the Huttons, and eventually Woolworths Australia and New Zealand had little to do with even each other.
I like the theory behind L&P but actually advertising shows that at some time in the 1910s, lemon was added to the plain mineral water, likely by soft drink company Grey & Menzies, who owned it at the time – but no further details are known regarding how this came about, or who was responsible.
Thank you for your reply to me. Records can do strange things. The first four ships were to settle Christchurch, the first seven ships Boston area, both similarly named. The first seven ships contained mostly scots and the first four mostly better Kentish people. The first thirteen parliaments which involved these scots were before George Washington and were not successful. Some brain storm shows ring a mop , that famous bucket and ringer (and, also its building at the bottom of Parnell rise) , was the invention of a New Zealander and launched by Woolworths Queen St before WW2. The owner had to be protected in Auckland as the patent was very valuable . I know as late as 1958 he was under threat and being only yards from what would be Rugby League Headquarters and Nestles new office and a little further Nestles factory with its distribution of your famous Minties, in competition with Heards up the road. Minties at half time or ice cream , with advertising extending and being controlled here. Perceptions. Uncle bens of America had their historical finance in Dublin, considered via the plantations and during the great blight, to be the wealthiest city on earth. I was appointed manager of Uncle Bens Rice by a Polish man from Australia in a Edmunds White Wings office . In Dunedin I had just spoken to Mary of Peter Paul and Mary after she had tried to settle unrest about the submarine Omega line near Christchurch. She worked for the CIA. She was visiting Otago University. I left this delightful person who had little respect for most listening to her , and walked myself to my nearby store in North Dunedin. Inside were Yank sailors who had chosen the ice picket ships to the jungles of Vietnam. They asked me where was that great beans called Oak . The shopkeeper told them he would get some more in as it soon sold out over competition. Girl students went to work their holidays in James Watties factories on the coast of the North island and considered their treatment like being in a prisoner of war camp. An American company you can see on court recotds tried to introduce ketchup by hook or by crook, at a place near the gas works heading towards Ponsonby Herne Bay. There was local refusal at the ground , on the bus, journalism level. It never happened. Grey and menzies were very good as was Innes, but if you had boarded a train, bus south you would know they were an irrelevancy in towns south of Palmerston North. So Paeroa was paeroa , horse country, but with WW2 a fiffrence. It was defence country with much money and huge demands. A secret rail went from the ranges above Rotorua to Tauranga to carry munitions . A young man from Sacred Heart College named Macfadden slipped and died on a school excursion visiting nearby to this trail. He lived at St Heliers. I think your adverts are very very good and not as old as some make out. Thank You
From Parrish to Rockwell (whom I met on Macquarie St and dint buy his etching book from for a few dollars– stupid) to— http://www.invaluable.com/travel-posters/sc-QBHYUQLGR6/
This art thanks to the authors attention– portrays the only train bigger in the world than the BigK –the last steam train in New Zealand and last travelled to Dunedin the year of the Wahine disaster–the train here is a trans Siberian train — its modern version was in a documentary recently by that former English soviet model who is famous in the duel girl comedy — http://www.ebay.com/itm/RAILWAY-SOCIETY-SOVIET-UNION-TRAIN-TRAVEL-VINTAGE-ADVERTISING-POSTER-ART-2048PY-/172184584680?hash=item28170041e8:g:e1gAAOSw2GlXIiS1
The Barkers had a very large home on the corner of Wylie and Ranolf St not far from the new four square store on the corner of Devon St and Ranolf St Rotorua. They saw the American influence in Rotorua and were friends of my family.
http://www.barkerbp.com/berri-australian-grown-1/
Hi Michael, I’m a bit confused about the Barker’s connection to NZ, since they seem to be an Australian company with Australian products? Did they emigrate to Australia from New Zealand?
So great to find this, I found Bernard Roundhill’s original artwork for the Choysa tea ad today. I initially thought ti was a print , then saw the airbrushing and gouache over painting. Nearly died when I realised what it was. Happy to send you a pic if you want to see it. Im unsure if its faded a lot (though it doesnt look like it) or they just pumped up the colour when printing.
That’s really exciting to find the original. I’d love to see a photo of it. It’s one of those mystery pieces that’s popped up here and there in some older articles, such as when Art New Zealand magazine did a feature on his work, but the source of the image has never really been specified. Have you owned it for a long time and where did you find it, or who did it belong to?
What a fascinating read .., I live in Brisbane (Australia) and i found a framed ( print I think?) buried deep at a local church Thrift shop … It has his signature and 51 under the last L … assuming thats 1951 … It is a bowl of Roses in front of a curtain… This is not the normal style of art I would be drawn to (Flowers) but the way it was painted seemed so modern.. and it all makes sense now as I love collecting vintage advertising..I havent seen this picture anywhere on the net … is someone familiar with it ?
He was known to do roses for card companies, he did work for Croxley, York and Borzoi amongst some and the cards will come up regularly for sale on Ebay….but it wasn’t frequent subject matter, and I haven’t seen this image as you describe it or know of prints being sold per se although, I can’t see why that wouldn’t have happened. There is a lot of work out there fore sure that is now forgotten. I saw a great 1950s calendar for sale recently and I was sure it was now unknown work of his, so…he did calendars frequently and your roses could be from that.
The role of the commercial Artist wasn’t to be record keeper except for inadvertently… but Roundhill probably did a better job of that in keeping an archive than most. I’d love to see it though, could you possibly email me a photo?
Thank you for the information I appreciate it very much and yes will email you a photo of it shortly.
Warmest Tess
My dad worked for Roundhill in the mid 60s shortly after arriving in NZ; when I saw the Te Papa exhibition there was a photo of the two of them looking over a design on dad’s desk. Do you know where I might be able to find any photos of his studios from that era?
Thanks Jane. What was your father’s name, so I can add him to my database of commercial Artists? I’m not sure I’ve seen any pictures of people working insode the studio actually. His daughter may have some? You can find her on Facebook, she lives in the Gold Coast.
Thanks. His name is Jeff Sparkes. If there was a pic in the exhibition then hopefully there’s an original or copy floating around somewhere!
Thanks Jane. Actually your Dad was already listed, I had notes on him from the 1970s-2000s but didn’t know about working at the studio. If you mean you’re trying to find that exact photo, well somebody has it for sure! I’d ask Te Papa in particular Jennifer Twist who looks after the entire Roundhill Archive (they acquired a great deal of the items from his career when he decided to part with it all). They also held the exhibition and produced the booklet. Probably the best way to find out exactly where it came from, if they don’t have it, is put in an inquiry to NLNZ and ask them to look up the credit for the image in the publication, which was put together by Richard Wolfe for the show. From recollection it was called ‘New Zealand in Bloom.’
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Thanks for doing all the research to produce this. He was a family friend and I have vivid memories of going to his home & studio when I was a kid. I thought his airbrushed semi-nude women were a bit naughty! Were you aware that both the kids he and Olive had were adopted?
No I wasn’t aware of that Jill. Would love to chat with you some time and flesh out your memories FTR
This was taken around 1955, on a picnic. On the left Bernard and Olive, with Dean in front. A couple of other blokes at the back, with me and my brother Robert in front.