In 1865, London-born Andrew Burn Suter (1830-1895) was offered the bishopric in Nelson, New Zealand. Two years later he and his wife, Amelia Damaris Harrison, travelled to Nelson to take up the position. Suter earned respect as a driving force behind the establishment and consolidation of the Anglican Church in Nelson. Yet he was also active in promoting cultural pursuits in the township. Suter, who had inherited an interest in art from his father, was an amateur artist and, in 1889, he founded the Bishopdale Sketching Club. During the long illness near the end of his life, Suter and his wife began searching for a suitable site on which an art gallery might be built for the benefit of the citizens of Nelson. Suter died in 1895, before a site could be found.
On 23 March 1895 Suter's successor, Bishop Charles O. Mules, chaired a meeting to discuss an appropriate memorial to Suter. Amelia Suter strongly supported the suggestion that an art gallery be established, and pledged 'to give works of art to form a nucleus of an art gallery and a site for the erection a suitable building' if the memorial took that form. Shortly afterwards Amelia Suter donated a section in Hardy Street, and the former Bishop's private art collection to the new established Bishop Suter Art Gallery Trust. Amelia Suter then left for England, where she died in 1896. At the time, the concept of a purpose-built, public art gallery was a bold innovation. Only two cities in New Zealand then had a public gallery and, even in Britain, the concept of a public art gallery was still surprisingly new. Although many of the Bishop's friends were taken aback by Amelia Suter's proposal, it was, as Mules noted, 'impossible to overlook her decision'.
In 1896 the Nelson School Society gifted land near the Queens Gardens to the Bishop Suter Art Gallery Board of Trustees. The land overlooked a curving stretch of water known as the Eel Pond. Since 1844 it had been occupied by the Matthew Campbell school building, which was used as a School of Mines from 1890. The Society considered a gallery would be an appropriate new use as 'such a gallery will be educational in its tendencies'. The transfer of this property was sanctioned by a private Act of Parliament, the Bishop Suter Art Gallery Trustees Act 1896.
The Hardy Street property gifted by Amelia Suter was sold to raise additional funds and in 1897 the trustees were able to engage Wellington architect Frederick de Jersey Clere (1856-1952) to design the gallery. Clere arrived in New Zealand in 1877 and had been practising as an architect since 1879. By 1897 he was highly successful and well known as the chief architect for the Wellington Anglican diocese, a position he held from 1883. His designs, although conservative, were particularly noted for their innovative building techniques. For the gallery project, Clere was given a budget of £1000. On inspecting the site he recommended retaining the old, 1844 school building as part of the gallery complex. By the end of April 1897, plans for the new building had been accepted and, in July, tenders were called for its construction.
The Gallery was to face towards the east, over the Eel Pond, 'so that its most pleasing aspect may be visible from the Queens Garden'. The Gardens had opened in 1892 to commemorate the jubilee of Queen Victoria. On the Gallery's opening, as trees and shrubs had not yet been planted, and those that had been planted had not yet matured, the banks of the waterway were bare, and the front entrance of the Gallery could be clearly seen from the Gardens. However as the Gardens became more established they significantly enriched the Gallery giving it a garden setting, while the Gallery added a decorative pavilion to the Gardens landscape.
The building was to be aligned with Bridge Street on the south side, and the Mathew Campbell School in the north. Rectangular in shape, the eastern elevation of the building was to be the most highly decorated and would feature a porch 16 feet wide and 6 feet deep. The roof was to feature a skylight lantern that would run from east to west, and provide natural light to the interior. The interior picture chamber was to be 55 feet by 34 feet and 14 feet high, and access to the School was to be provided through the centre of the northern wall.
After some negotiation, the firm Robertson Bros.'s tender of £997 14s was accepted in September 1897. However, construction was delayed due to a lack of funds until local businessman Thomas Cawthron (1833?-1915) advanced a loan of £500 in 1898. The foundation stone was laid on 14 October 1898. The formal opening on 31 May 1899 was attended by a 'large and fashionable crowd' who were entertained by a choral concert, slide lectures, and the inaugural exhibition that was mounted by the Bishopdale Sketching Club and the Nelson Camera Club.
After the opening, the trustees focussed solely on the maintenance and repair of the property. The caretaker of Queens Gardens, Mr Edward Christian, was appointed to look after the building and he and his wife were responsible for opening and closing the building each day. Exhibitions and fund-raising activities were largely managed by the Bishopdale Sketching Club. Yet maintenance and repair proved time consuming. The roof leaked badly and had to be replaced after just six years, while a variety of methods had to be employed to cut down the glare of natural light entering through the roof lantern.
Acquisitions were largely a result of donations. The foundation of the art collection was Suter's donation of 23 works by leading New Zealand water-colourist, John Gully (1819-1888). Other important donations were made by people such as landscape artist James Crowe Richmond (1822-1898) and members of the Bishopdale Sketching Club. The Trustees themselves commissioned works on rare occasions, including a portrait of Bishop Suter by Mary Elizabeth Tripe and portraits of Matthew Campbell and Huria Matenga by Gottfried Lindauer. Financial bequests, such as the £1000 donated by manufacturer William Besley, allowed the trustees to make strategic additions to what was becoming a significant collection of New Zealand and British art. By the 1930s, the Gallery's hanging space was almost full and it became clear that extensions would soon become an issue.
Although the Second World War slowed acquisitions and funding, efforts to expand the collection and restore the Gallery were made. Butterworth notes, for instance, that the purchase of March Landscape, an abstract by William Gear, prompted considerable interest and debate in the press. Key changes to the Gallery included the replacement of tiles on the Gallery's south side with tiles from the demolished Nelson College, and the opening up of the old Matthew Campbell School as a display space in 1941. Despite these changes, rising standards for galleries meant that the building was becoming increasingly inadequate.
Throughout the 1950s and 1960s, efforts were made to find new sources of funding for the necessary improvements. By 1965, plans for extensions at the end of the Matthew Campbell School had been designed by Nelson architect Alex Bowman. However, construction was delayed for several years, in order to finance the project. During the building process, the eastern brick wall of the Matthew Campbell School building was replaced. The new extensions were opened on 1 October 1973 and were named the McKee Gallery, in honour of one of its principal sponsors.
The drive for increasing professionalism in art galleries, combined with growing Government support, prompted the appointment of the Suter's first director in 1975. On his appointment, Director Austin Davies approached Miles Warren, then one of New Zealand's leading architects, to help realise his plans for the Suter. Austin Davies conceived of running the Suter more as an arts centre than an art gallery. He wanted it to be a peoples' gallery, a place where all the art forms could be enjoyed, not a place for the select few. This concept was groundbreaking at the time and would contribute to a trend in future years towards 'arts centres' that made art more 'mainstream' and incorporated facilities for art, music and drama. Between 1977 and 1979, funded by bequests and financial support from Government and private business, the first stage of the new developments took place. The then 135-year old Matthew Campbell School was demolished, as were the porch and steps on the eastern façade of the original Gallery. In place of the School the Sargood Gallery, complete with office and storage space, was constructed. The Sargood Gallery included a sound system and theatre lighting to provide for live performances, as well as a café that would attract more people to the Suter. The café was the concept of Director Austin Davies and was, at the time, a huge innovation for any gallery, with Auckland City Art Galley and the Govett Brewster Art Gallery having snack bars but nowhere for anyone to sit over a cup of coffee. Quite sure the Trust Board would not approve of a café Davies asked Miles Warren to mark the café on the plans as a 'members lounge'. However, it opened as a fully-fledged self-service café and was an instant success. In addition, a new foyer was created where the original entrance to the original Gallery had been, to draw in more people from the street. The interior of the original Gallery was also modified, with the installation of a suspended flat ceiling. This ceiling blocked the view of the roof lantern but allowed more control over lighting conditions.
In 1987, the second stage of the redevelopment, funded partly by the sale of assets, commenced. Difficulties using the Sargood Gallery for live performances prompted the construction of a theatre building, with seating for up to 159 patrons. Built to the east of the new foyer, its shape evokes that of the original Gallery. The following year the interior of the McKee Gallery, which had proved fundamentally unsuitable as a display space, was subdivided into two smaller galleries; the McKee Gallery and the Grabham Studio. The Nelson Suter Art Society also helped fund a basic, concrete block extension to house workshops, offices and storage space. The final redevelopment phase took place in 1992, when a conservatory-like structure was added to the Suter café, making it more commercially viable.
In 1994, after 19 years leading the Suter through a period of reinvention and redevelopment, Austin Davies retired as Director, and Helen Telford was appointed in his place. The Suter has continued to thrive and reinvent itself despite financial hardship. In 1999 it celebrated its centenary under the logo 'Remember, Experience, Dream' which, as Butterworth noted, brings the past, present, and future together at the beginning of a new cycle of the [Suter's] history'.