Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 2 works by Sam Stuart in our catalogue
Quick answer
The interior of a Maori pa in the olden time (1885) is Sam Stuart's best-known painting; the original belongs to the Auckland Art Gallery Toi o Tāmaki, Auckland. Our catalogue has 2 works by Sam Stuart; here are the 2 most famous, ranked, with the year and museum of each, to help you pick the one to order.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Sam Stuart | Paintings from this list |
|---|---|---|---|
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | The interior of a Maori pa in the olden time, Fort Britomart |
From 1869 to 1885, 17 years of dated Sam Stuart paintings: browse year by year to find the period you like.
Select a year to see its paintings.
The interior of a Maori pa in the olden time (1885) ranks first.
Sam Stuart was 30: The interior of a Maori pa in the olden time is dated 1885, and Sam Stuart was born in 1855.
2 works by Sam Stuart are in our catalogue, dated 1869 to 1885.
Mainly in Auckland Art Gallery Toi o Tāmaki (Auckland). See the museum table above for the full list.
Earliest on this page: Fort Britomart (1869). Latest: The interior of a Maori pa in the olden time (1885).
The Auckland Art Gallery Toi o Tāmaki, Auckland holds 2 of the paintings ranked here, including The interior of a Maori pa in the olden time and Fort Britomart.
Yes. Every painting on this page can be ordered as a hand-painted oil reproduction or a print. Open the painting, choose the size and place your order.
In the mid-nineteenth century, a painter emerged from the landscapes of New Zealand to capture the shifting realities of a developing colony. Born in 1855, Sam Stuart lived through a period of profound transformation, observing the world with a steady eye that sought to document the essence of his surroundings. His life, which reached its end in 1920, was defined by this quiet dedication to the visual record, translating the textures of the land and the structures of human habitation onto canvas.
His brushwork was not merely a pursuit of aesthetics but a method of preservation. Through his work, the specificities of a particular time and place were held fast against the inevitable passage of years. He moved through the world as a witness, translating the light and the shadows of his era into a permanent visual language.
The works that remain of his hand offer a window into the mid-to-late Victorian era of New Zealand. His compositions often focused on the intersection of the built environment and the natural world, or the intimate details of cultural life. His output during the latter half of the nineteenth century reveals a keen interest in the structural and social landscapes of his home.
The following works represent the significant pieces of his legacy held within institutional collections:
In these pieces, one finds a commitment to the specificities of his subject matter. Whether depicting the fortifications of a settlement or the interior life of a Maori pa, Stuart sought to render the truth of the scene. His 1885 work, in particular, provides a rare glimpse into the domestic and social arrangements of the past, captured with a sense of historical gravity.
The importance of Stuart's contribution is felt most strongly in the halls of the Auckland Art Gallery Toi o Tāmaki. It is within these walls that his vision is most clearly preserved, with multiple works finding a permanent home in their collection. His ability to document the nuances of New Zealand life ensures that his perspective remains accessible to those who study the history of colonial art.
He remains a figure of historical significance for his role in the early development of the nation's visual identity. By focusing his talent on the immediate reality of his surroundings, he helped create a foundation for the art that would follow in the decades after his death.
