Artwork Description / Detail
Moore-Jones enlisted in the British section of the NZEF (New Zealand Expeditionary Force) in 1914, aged 47, and served as a Sapper in the 1st Company NZ Engineers at Gallipoli. There, he worked for Lieutenant-General Sir William Birdwood’s Anzac Corps Headquarters as a topographical draughtsman. He also worked on a large series of watercolours and drawings of the Anzac landscape, some of which were later completed in England. He was wounded in 1915.
Moore-Jones exhibited his artworks in London, including a private showing to the Royal Family. A portfolio of his prints was published in 1916, and an exhibition of his works toured New Zealand in 1917 to raise funds for the RSA. The New Zealand Government turned down the opportunity to purchase this collection, which was later purchased by Australia for the Australian War Memorial.
Moore-Jones died of burns received while rescuing people from the Hamilton Hotel fire in 1922.
Plate No. 1. – THE COAST FROM SUVLA BAY TO GABA TEPE.
This general sketch forms a key to the whole ANZAC region. It was made from the deck of H.M.S. Manica, May 5, 1915, ten days after the landing, to enable the Naval gunners to locate the main positions. The coast shown stretches from Suvla on the left to Tasmania Point, just above Gaba Tepe, on the right, roughly a distance of seven miles. The sketch clearly shows how the Turkish positions always dominated those at ANZAC, and yet, despite this disadvantage, it is not inconceivable that had the efforts of the men of ANZAC been adequately supported, neither Turk no natural obstacle could have prevented them from attaining their object.
The dominating feature is the Sari Bar range ‘running up in a succession of almost perpendicular escarpments to a height of 970ft. The whole mountain is a network of ravines covered with thick scrub,’ and whose’ under-features lie in a tangled knot, separated by deep ravines, which take a most confusing diversity of direction.’
After the landing on April 25th ‘the mixed crowd of fighting men solidified into a semi-circular position, with its right about a mile north of Gape Tepe and its left on the high ground above Fisherman’s Hut.’ This is clearly seen in the sketch by a curved line starting from Fisherman’s Hut, through Headquarters, on Walker’s Ridge to Quinn’s Post – which may be considered the most advanced point – on through Courtney’s, McLaurin’s, McCay’s, and Bolton’s Hill to Tasmania Point. The main objective of the force was Maidos, which lay roughly five miles across S.E. from Tasmania Point. This was why, as stated by Sir Ian Hamilton in his despatch, this ‘rugged and difficult part of the coast (just north of Tasmania Point) had been selected for the landing, so difficult and rugged that I considered the Turks were not at all likely to anticipate such descent.’
The actual landing took place in the little cove just north of Queensland Point, and, although this increased the work of the infantry insomuch as they had to storm steeper cliffs, it proved a blessing in disguise, as the position a certain amount of protection from the Turkish guns at Gabe Tepe, owing to the shelter afforded by the hill known as Maclagan’s Ridge. In passing, it is well to remember that in the impetuous advance after the landing, some of the leading infantry are belived to have got at least half way to Maidos.
The left of the sketch shows the Suvla area, the landing place of the 9th Corps in the early days of August, for the attack of Lala Baba and the advance on Chocolate Hill and the low-lying ground of Anafarta Plain to the heights of Chunuk and Sari Bair.
The little boat may typify for us the ceaseless activity on the part of the Royal Navy which was absolutely essential to the maintenance of life at Anzac.
Sapper H. Moore-Jones
Taken from Sketches made at ANZAC, 1916