tag:blogger.com,1999:blog-53268673583841704222024-03-18T16:02:53.811+13:00Heritage et ALUnique collections and resources from Auckland Libraries research centres and heritage collections.Auckland Librarieshttp://www.blogger.com/profile/12574555209830314635noreply@blogger.comBlogger686125tag:blogger.com,1999:blog-5326867358384170422.post-60170295065984572352024-03-18T10:17:00.004+13:002024-03-18T10:26:12.017+13:00That's So Last Century - What We Wore 1950s - 1990s <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikHk2xB1MRb2KkS0-N5EMaOVznuUyXfe_if7yQJDc5C0RmAbceHCG29njo8uj1D9AldA-z50l0LttJgMUuq8PaSfxolgUEgSpBvtuRhHEMH0wiHXQvfLkg7jpXMWHRmO9GZ7UsTWbJHKrKgne5jwXsJCGdTGRBE-yMkF8H6ezlrT0g-tNRDBXIEFdNFEg/s1200/2XPMUK~L.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikHk2xB1MRb2KkS0-N5EMaOVznuUyXfe_if7yQJDc5C0RmAbceHCG29njo8uj1D9AldA-z50l0LttJgMUuq8PaSfxolgUEgSpBvtuRhHEMH0wiHXQvfLkg7jpXMWHRmO9GZ7UsTWbJHKrKgne5jwXsJCGdTGRBE-yMkF8H6ezlrT0g-tNRDBXIEFdNFEg/w640-h336/2XPMUK~L.JPG" width="640" /></a></div><p>That’s so last century: What we wore 1950s-1990s provides a snapshot of what some New Zealanders were wearing during the latter half of the twentieth century. Learn about how the garment industry impacted on different parts of Aotearoa society including the popularity of home sewing, where we shopped for clothes, the emergence of New Zealand based fashion designers, and the prevalence of local clothing manufacturers.</p><p>This exhibition is on at Level 2 of Auckland's Central City Library from Wednesday 20 March - 13 July 2024. </p><p><span style="font-family: inherit;">In this podcast you’ll hear stories of all things fashion – from home dressmaking to professional tailoring, pattern shops and fabrics, being a follower of fashion and what sustainable fashion means in this century.</span></p><p><span style="background-color: white;"><span style="font-family: inherit;">Voices have been drawn from <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/oralhistory/search" target="_blank">Auckland Libraries Oral History and Sound</a>, Heritage Collections<span style="color: #333333;">. </span></span></span></p><p><span style="background-color: white;"><span style="font-family: inherit;"><span style="color: #333333;"><br /></span></span></span></p><p><b>The lived experience – 50s & 60s fashion </b></p><p>In this track, jazz singer and follower of fashion, Wendy Moore provides her lived experience of post-war hair, makeup and clothing fashions.</p><p>This was a time of poring over pattern books, searching out new fabrics, and home sewing. Recorded in 2017 with Sue Berman for the Rykenberg Oral History Collection. <iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1773732492&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a><span face="Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif" style="color: #cccccc; font-size: 10px; text-wrap: nowrap;"> · </span><a href="https://soundcloud.com/auckland-libraries/track-06-1950s-fashion-trends" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="The lived experience - 50s & 60s fashion">The lived experience - 50s & 60s fashion</a></p>
<p></p><p>Listen to the track <a href="https://on.soundcloud.com/rNMHq" target="_blank">here</a></p><p><b>Learning to sew – home and school lessons</b></p><p>Recorded in 2013 as part of the Dominion Road Stories Collection, Marianne Hay the owner of the specialist sewing shop Exquisite Stitch - Bernina Sewing Centre, talks with Sue Gee about her childhood sewing influences and memories.</p><p>This recording was done in the shop – so you’ll hear some background sounds through the track. <iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1773732729&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a><span face="Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif" style="color: #cccccc; font-size: 10px; text-wrap: nowrap;"> · </span><a href="https://soundcloud.com/auckland-libraries/track-01-learning-to-sew-2" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Learning to sew - home and school lessons">Learning to sew - home and school lessons</a></p>
<p></p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/track-01-learning-to-sew-2?in=auckland-libraries/sets/thats-so-last-century-1950s-to-1990s-what-we-wore&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank">here</a></p><p><b>Capturing what we wore – street photography</b></p><p>In this track we hear from Wendie Wright. Wendie worked with, and later married, well-known street and studio photographer John Rykenberg.</p><p>In this clip, Wendie briefly recalls her mother sewing her dresses from pictures in 17 magazine. This is followed by a description of the late 1950s and early 1960s Rykenberg Street Photography.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1773732495&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a><span face="Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif" style="color: #cccccc; font-size: 10px; text-wrap: nowrap;"> · </span><a href="https://soundcloud.com/auckland-libraries/track-05-rykenberg-street" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Capturing what we wore - street photography">Capturing what we wore - street photography</a></p><p></p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/track-05-rykenberg-street?in=auckland-libraries/sets/thats-so-last-century-1950s-to-1990s-what-we-wore&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank">here</a> </p><p><b>A tailoring trade from Mumbai to Henderson</b></p><p>In this track we hear from Jay Khatri, a Mumbai born tailor who migrated to NZ in the late 1980s. He worked at clothing manufactures Street Wise and then Cambridge Clothing Company before opening his own tailoring business- Island Style (Jay's Clothing Ltd) in Henderson.</p><p>This interview was conducted in 2015 by Julia Barron as part of the Henderson Stories Collection.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1773732702&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a><span face="Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif" style="color: #cccccc; font-size: 10px; text-wrap: nowrap;"> · </span><a href="https://soundcloud.com/auckland-libraries/mumbaitohenderson" style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; text-decoration-line: none; text-wrap: nowrap;" target="_blank" title="A tailoring trade from Mumbai to Henderson">A tailoring trade from Mumbai to Henderson</a></p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/mumbaitohenderson?in=auckland-libraries/sets/thats-so-last-century-1950s-to-1990s-what-we-wore&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank">here</a></p><p><b>Sustainable fashion</b></p><p>In 2019, Auckland Libraries hosted a Fashion Week talk on the theme of sustainable fashion. In this clip, we hear from Wayne Siu, retro fashion man about town, on why vintage fashion is important in the context of climate change.</p>
<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1773732576&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/sustainable-fashion" style="color: #cccccc; text-decoration: none;" target="_blank" title="Sustainable fashion">Sustainable fashion</a></div><div style="font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><span style="font-family: inherit;"><br /></span></div><div style="font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><span style="font-family: inherit;">L</span><span style="font-family: inherit;">isten to the track <a href="https://soundcloud.com/auckland-libraries/sustainable-fashion?in=auckland-libraries/sets/thats-so-last-century-1950s-to-1990s-what-we-wore&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing" target="_blank">here</a></span></div><div style="font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><br /></div><div style="font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><br /></div>Auckland Librarieshttp://www.blogger.com/profile/12574555209830314635noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-53904062971497030142024-01-25T09:00:00.000+13:002024-01-25T09:00:00.284+13:00Miscellany- A Mixture from the Motu<p style="text-align: left;">What do insects, fairy tales, old lace, Shakespeare and one of the founders of the Association of Book Crafts NZ have in common? Read on and all will be revealed.</p><p style="text-align: left;"><i>Miscellany - a Mixture from the Motu</i> had its genesis in 2022 in the inaugural Print + Bind collaboration between the Association of Book Crafts NZ and various hand printers from around the country. The theme was 'Bugs' and the twelve printers and twelve binders all had free rein to interpret it as they wished. The only requirement was that the prints had to be on a single A5 sheet. Every printer made twenty-four prints of their chosen design which were then collated into twelve sets, each of which had two copies of each print. These then went to the binders who bound one set of prints into a book for a designated printer and the other set for him/herself. Thus, a potential twenty-four Bug books were born, and the idea arose that it would be wonderful to share the creations more widely than just through the Association newsletters and social media. A coordinator volunteered and the hunt for venues and dates began.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8hBat10LL1hpSbK80R2zNm4gavgQb9M4bFCHIE80hANl-5MaDDKppCwo2ftvGRczawPjZbUKnMsOTiZoRr1pMMNlbvRaS_SfzofL4VuKwDsAPDu_1T1dytIirHzPbwTAmfkid2KZsmPJ6uAvFDy376_tsGdFAaJV1BpGMHfwq3R4ORy3O6Xua3rCCC4/s1543/%231%20Sandy%20Corbett.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1218" data-original-width="1543" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8hBat10LL1hpSbK80R2zNm4gavgQb9M4bFCHIE80hANl-5MaDDKppCwo2ftvGRczawPjZbUKnMsOTiZoRr1pMMNlbvRaS_SfzofL4VuKwDsAPDu_1T1dytIirHzPbwTAmfkid2KZsmPJ6uAvFDy376_tsGdFAaJV1BpGMHfwq3R4ORy3O6Xua3rCCC4/w640-h506/%231%20Sandy%20Corbett.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Sandy Corbett- Bug Book</td></tr></tbody></table><br /><p style="text-align: left;">Right from the beginning it became obvious that most galleries and exhibition spaces had their bookings already finalised for 2023 and so we were looking at 2024. An initial list of 20+ potential places was gradually whittled down to four with the Angela Morton room being chosen to open the tour. The possibility of twenty-four Bug books proved to be ambitious as inclusion was entirely voluntary. However, as time marched on, four more opportunities to create arose for printers and binders and the resulting exhibition comprises forty items. </p><p style="text-align: left;">The 2023 collaboration saw ten printers and ten binders play with a Fairy Tale theme. As with the bugs, there was a wide variety of interpretations, with the printers using letterpress, linocut/woodcut printing, relief printing, picture blocks, metal ornaments and wood type whilst the binders showed their own individual flair and preferences, using techniques such as the Shrigley, accordion and crown bindings to create their books. There is a strong verbal element in the Fairy Tale books, in comparison to the Bug books which are almost entirely visual. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zi3vBfbqNbQhufPgVPwSnVzFsaFvJRYOU77D97q0H4wneCWt_H02Gx2fhDafB4TNhE6V-EjqJfL_LzEjpL55q7Qx5yPSsIHK3LfITeUJW4rhnld_Uaw9zDcvIbBTfrq2o5f-eVm9qr1FTI2r8goexZVXq5AHzMtNFj7pwQsb7ogXepC6XVAzjt6Ui6g/s2906/%232%20Winsome%20Brown.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2906" data-original-width="1988" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zi3vBfbqNbQhufPgVPwSnVzFsaFvJRYOU77D97q0H4wneCWt_H02Gx2fhDafB4TNhE6V-EjqJfL_LzEjpL55q7Qx5yPSsIHK3LfITeUJW4rhnld_Uaw9zDcvIbBTfrq2o5f-eVm9qr1FTI2r8goexZVXq5AHzMtNFj7pwQsb7ogXepC6XVAzjt6Ui6g/w438-h640/%232%20Winsome%20Brown.jpeg" width="438" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Winsome Brown- <i>Fairy Tales</i></td></tr></tbody></table><br /><p style="text-align: left;">A third collaboration was timed to celebrate the 400th anniversary of the publication of William Shakespeare’s First Folio in 1623. This was the first time all Shakespeare’s known works had been gathered into one volume, thus ensuring that lasting texts existed for Macbeth, Twelfth Night and other cornerstones of Western literature. Taking inspiration from the well-known Bernard Levin poster <i>You Are Quoting Shakespeare, </i>ABC designed a miniature book (55mm x 80mm) incorporating many Shakespearian sayings that still exist today. John Nixon, from the Printing Museum in Wellington, hot metal typeset the 48 pages in linotype and Graham Judd of Inkiana Press letterpress printed 120 copies which were sent out to interested ABC members. A wonderful array of bindings was the result, many of which are part of the exhibition.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzsCaGMZpPBbzMZVQ7-cVmk19txfMCKmBjTmegysLpzRMbWYJm69pmrEuJ-SBMKNHvwL5OOePHg4NM9mK2HboGrQMM9uW4_UiyMhQ19-a5fo3NS0Jfpvv-xKUmrrOnAClvjQKd-1iQNrx_FRifUSJgV-4xf7c5rVPTRdmYFBc-fxDxVREmnC3a07KAL70/s690/%233%20Terrie%20Reddish.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="661" data-original-width="690" height="614" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzsCaGMZpPBbzMZVQ7-cVmk19txfMCKmBjTmegysLpzRMbWYJm69pmrEuJ-SBMKNHvwL5OOePHg4NM9mK2HboGrQMM9uW4_UiyMhQ19-a5fo3NS0Jfpvv-xKUmrrOnAClvjQKd-1iQNrx_FRifUSJgV-4xf7c5rVPTRdmYFBc-fxDxVREmnC3a07KAL70/w640-h614/%233%20Terrie%20Reddish.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Terrie Reddish- <i>You Are Quoting Shakespeare</i></td></tr></tbody></table><br /><p style="text-align: left;">Sandwiched in between these collaborations was a competition for ABC members entitled <i>New From Old</i> which invited members to dig out grandma’s old doilies etc and use them in some way in a new binding. There were prizes for the Most Surprising, the Most Flamboyant and the Most Transformed. The winners for the first two categories are included in the exhibition, along with a small number of other entries.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicgv7YH3bZX5pVmHj1xMw5HvPtztPlIKT3ed8JML8j6WmF83S7EiycflCe7CrlIIYL8dD9h8Ylx_BtfvPn5vY9NrHqKKWquWKPCESDqUBQdi4Cb_5INNoGBY_DG9IOhisCeXpp0I2LcNSf_5fKZJa3SazhgPNHolvj9uZD4f0keWThR-JxK5n5fA2DhzQ/s3286/%234%20David%20Thoresen.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3286" data-original-width="2569" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicgv7YH3bZX5pVmHj1xMw5HvPtztPlIKT3ed8JML8j6WmF83S7EiycflCe7CrlIIYL8dD9h8Ylx_BtfvPn5vY9NrHqKKWquWKPCESDqUBQdi4Cb_5INNoGBY_DG9IOhisCeXpp0I2LcNSf_5fKZJa3SazhgPNHolvj9uZD4f0keWThR-JxK5n5fA2DhzQ/w500-h640/%234%20David%20Thoresen.jpeg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: David Thoresen, winner Most Flamboyant in <i>New From Old</i></td></tr></tbody></table><br /><p style="text-align: left;">As it transpired, the last category of books to be included is also the largest. In 2022 John Sansom, a founding member of ABC and an inspiration to all who met him, passed away. John was the go-to person for materials, books, tools, advice and humour and to honour that lasting legacy ABC has instituted an annual competition in his name. John was a traditional binder with a preference for working with leather, but he also experimented with bindings, rebound many old books, bound workshop notes, made equipment and so on. Binders were encouraged to take any aspect of John’s bookbinding life and create accordingly. There were 18 entries in this year’s inaugural competition with three categories on offer: Traditional, Craft/Modern and Creative. Most of the entries will be on display, including the winners. The judge, David Ashman, said <i>“I’m impressed with the time, thoughtfulness and effort that has gone into creating the bindings presented here for the John Sansom Memorial Competition. I’m quite sure John would have been appreciative of the kindness and consideration reflected in what has been created in his memory.” </i></p><p style="text-align: left;">In the citation for the winner of the Craft/Modern category, David referenced the 2021 Bird of the Year competition being won by a bat…. you will need to visit the exhibition, which is on from 1 February - 1 March 2024 at the Angela Morton Room, Takapuna Library, to find out which “book” engendered this comment. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGotRwhd7dzJjskph0K7VWipX89EvdSCV31qdZqaPepyGuT8ytNqYy3ZfiOwwrMH4JOjJodC_9ncDB8hab_FLHdD9nJbBVm8o71JGzRe5eqaiqdpawg5s2_TBU3tCoRbX9VpThWVsncrNag2eeff1iZ0V0yTwrwx3tvYTVm9sd7ujI4l2frx2UlK_9Co/s1200/%235%20Fleur%20Williams.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1091" data-original-width="1200" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGotRwhd7dzJjskph0K7VWipX89EvdSCV31qdZqaPepyGuT8ytNqYy3ZfiOwwrMH4JOjJodC_9ncDB8hab_FLHdD9nJbBVm8o71JGzRe5eqaiqdpawg5s2_TBU3tCoRbX9VpThWVsncrNag2eeff1iZ0V0yTwrwx3tvYTVm9sd7ujI4l2frx2UlK_9Co/w640-h582/%235%20Fleur%20Williams.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Fleur Williams, winner Creative in <i>John Sansom Memorial Competition</i></td></tr></tbody></table><br /><p style="text-align: left;">Grateful thanks go to all the entrants across the entire exhibition for generously allowing their creations to go on tour. Together, these books showcase the depth and breadth of the printing and binding crafts in Aotearoa New Zealand. There will be information available on both organisations as there is always room for more to join in helping to keep these old traditions alive. </p><p style="text-align: left;"> Whaowhia te kete mātauranga | Fill the basket of knowledge</p><p style="text-align: left;"><br /></p><div style="text-align: left;"><b>Author: Winsome Brown (Ms), Committee Member, Association of Book Crafts NZ.</b></div><div style="text-align: left;"><br /></div><div><b><br /></b></div><div><b>Note: <i>'Miscellany -A Mixture from the Motu'</i> exhibition runs at the Angela Morton Room, Takapuna, from 1 February- 1 March 2024. <br /></b></div><p></p><div style="text-align: left;"><b>Book artists involved in this exhibition:</b><br />Ashman, David<br />Brown, Winsome<br />Browning, Rose<br />Cameron, Gordon<br />Corbett, Sandy<br />Dimoline, Michael<br />Elphick, Mark<br />Ensor, Janet<br />Hamm, Kevin<br />Harries, Di<br />Henderson, Julz<br />Higginson, Maria<br />James, Louise<br />Laycock, Jenny<br />Lenihan, Jann<br />Mosley, Toni<br />Peacock, Susan<br />Pinney, Rosie-Anne<br />Reddish, Terrie<br />Rose, Jill<br />Thoresen, David<br />Took-Stevens, Patricia<br />Williams, Fleur<br /><br /></div>Auckland Librarieshttp://www.blogger.com/profile/12574555209830314635noreply@blogger.com1tag:blogger.com,1999:blog-5326867358384170422.post-54663755314884113042023-11-28T08:00:00.003+13:002024-01-16T11:50:36.500+13:00Ngako: The Collections Podcast<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YQyl2e-LYAkCOQWkfBlArnyUS2Ro8ZJiL-NEOd3XMuylqwIPEqf_NUNR53PIRJ8fGlVP4uS_SW2kvKlsekt6jF-sT3Bnrdl5UPWL88P1ZpSWXpkDKs8ZSPw2WSXtbT2pFgHw0vSCGApGQreK6sRZPlMtOPP-B-WzMkH1kIbcNPt-YaVs-SGQ217W-NoX/s820/Ngako_Exhibition_Collateral_Facebook_Cover_Photo_820x360_FINAL.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="820" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YQyl2e-LYAkCOQWkfBlArnyUS2Ro8ZJiL-NEOd3XMuylqwIPEqf_NUNR53PIRJ8fGlVP4uS_SW2kvKlsekt6jF-sT3Bnrdl5UPWL88P1ZpSWXpkDKs8ZSPw2WSXtbT2pFgHw0vSCGApGQreK6sRZPlMtOPP-B-WzMkH1kIbcNPt-YaVs-SGQ217W-NoX/w640-h281/Ngako_Exhibition_Collateral_Facebook_Cover_Photo_820x360_FINAL.png" width="640" /></a></div><p><a href="https://www.aucklandlibraries.govt.nz/Pages/Ngako.aspx" target="_blank">Ngako: The Collections Talk</a> is a documentary film and podcast series showcasing taonga in Auckland Libraries’ heritage and research collections. </p><p>Explore the whole series in our <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/11/ngako-the-collections-talk-exhibition/" target="_blank">current exhibition</a>, on until 2 March 2024 at Tāmaki Pātaka Kōrero, the Central City Library.</p><p>This audio playlist contains all the episodes from Ngako: The Collections Podcast, where we explore items and stories from Auckland Libraries Heritage Collections.</p><h4 style="text-align: left;">Wanderlust - the war years</h4><p>In this episode we find meaning and history in the Auckland Tramping Club’s newsletter Wanderlust. </p><p>Archivist Sharon Smith shares insights gleaned from reading the Wanderlust magazine in the period of publication during the Second World War. </p><p>We are also joined by current Auckland Tramping Club members, Ian, Anna and Dennis, on the Club’s programme of tramps and their preparation for the upcoming Club centenary celebrations.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1665083091&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/wanderlust" target="_blank">here</a>.</p><h4 style="text-align: left;">Ava, kava, kawa</h4><p>In this episode we explore the world of ava through a printed text of Samoan solo (poems) and the experience of library specialists Nia Vavao and Pamata Toleafoa. </p><p>We also visit Anau and Todd at the Four Shells Kava Lounge and learn how kava is integral to life across Te Moana-nui-ā-Kiwa and valued and enjoyed here in Tāmaki Makaurau.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1665069618&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/ava-kava-kawa" target="_blank">here</a>.</p><h4 style="text-align: left;">Sports writing in the mid-20th century</h4><p>In this episode Curator Andrew Henry discusses sporting magazines from "the stack" and shares insights into how New Zealand sport was written about by journalists in the mid-20th century. </p><p>We talk also with history student Katia Kennedy about her findings on the sports being played at that time, how these were viewed, and the culture around men's and women's sports participation.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1665082170&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/sportswriting" target="_blank">here</a>. </p><h4 style="text-align: left;">Fernmania </h4><p>In this episode we take a trip back in time to the Victorian craze for fern collecting and how Fernmania was documented. </p><p>Curator Renée Orr describes the work of Herbert Dobbie and Eric Craig who collected and documented ferns of Aotearoa in the last part of the 19th century. </p><p>We are also joined by contemporary print artist and book maker Makyla Curtis who shares her inspiration and print work using ferns.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1665081063&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/fernmania" target="_blank">here</a>.</p><h4 style="text-align: left;">Beauty and the Beast </h4><p>In this episode we read Beauty and the Beast through four centuries of storytelling.</p><p>Curator Jane Wild describes the look and feel of the different stories in their time, how the style of writing and illustrative formats changed, and unfolds some exquisite paper engineering.</p><p>Children’s Librarian Clare Cudmore-Neame adds to the story by sharing her insights and experience of the role of fairytales for children today.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1671245703&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/beauty-and-the-beast" target="_blank">here</a>.</p><h4 style="text-align: left;">Learning about Lapland in Rarotonga</h4><p>In this episode we discuss a unique poster printed in Rarotonga in 1849. </p><p>Liam Kokaua talks us through how this poster, Pepa 9, helped to introduce the people of Rarotonga to the Sámi people, who are indigenous to far north of Scandinavia. </p><p>Curator Jane Wild adds to the story with an additional exploration into the research, the origins and the context of the poster printed in Rarotonga in 1849. </p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1670488794&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/learning-about-lapland-in-rarotonga" target="_blank">here</a>. </p><h4 style="text-align: left;">Auckland poets and libraries</h4><p>In this episode we make a connection with poetry, poets, and the Auckland Central Library.</p><p>Librarian Elspeth Orwin takes us on a journey beyond the poetry book collection by sharing the voices of poets who interestingly also have a strong association with Libraries.</p><p>We also meet and talk with poet and artist Ta Ilui who is both a regular Auckland Libraries user and who has contributed his own original work in the recent publication Rough Lives Speak.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1671243435&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/auckland-poets-and-libraries" target="_blank">here</a>. </p><h4 style="text-align: left;">Musical manuscripts</h4><p>In this episode we’re tuning in to the music making of early colonial New Zealand.</p><p>We meet music librarian and curator Marilyn Portman to look at a collection of early music albums which were brought amongst personal possessions to Aotearoa, to become the soundtrack of life in the colony.</p><p>To bring the soundtrack to life, we meet up with musician Polly Sussex who demonstrates music making on a square piano by playing from the Auckland Libraries musical manuscript collection.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1670515452&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>Listen to the track <a href="https://soundcloud.com/auckland-libraries/musical-manuscripts" target="_blank">here</a>. </p><p>Ngako: The collections podcast was written and produced by Sue Berman, recorded and produced by Benjamin Brooking and edited and engineered by Juliana Machado.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-81189369088019387952023-11-03T09:00:00.253+13:002023-11-03T09:00:00.140+13:00Artist files: rare and rich glimpses into Aotearoa's art history. <span style="font-family: inherit;"><br /></span><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-I5SnrwbicyBoOn-ugj0WOCpW4tPwmt8oF9fcsErZOMDdsWcv0n6RA0bCXG1acnOgFlPJeVyWbpuh9FmxyVIkQNJdEHRTZj4jht-GumfDkK0MnT4jqwUoYjxmguPLnR3UGxTcV-ZJPZUZwkqeTIp8n67yMyfIR4z6BNDiaeNsFRQGJip20YQzJD5D2kA/s3128/Artist%20files.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2346" data-original-width="3128" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-I5SnrwbicyBoOn-ugj0WOCpW4tPwmt8oF9fcsErZOMDdsWcv0n6RA0bCXG1acnOgFlPJeVyWbpuh9FmxyVIkQNJdEHRTZj4jht-GumfDkK0MnT4jqwUoYjxmguPLnR3UGxTcV-ZJPZUZwkqeTIp8n67yMyfIR4z6BNDiaeNsFRQGJip20YQzJD5D2kA/w640-h480/Artist%20files.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Angela Morton Room artist files.</td></tr></tbody></table><br /><p></p><p style="text-align: left;"><span style="font-family: inherit;"><span>Writer Peter Shaw has called artist files an essential part of our sense of history. "What were the things that reviewers were looking for at a particular time? What was the context in which the works were produced? These are endlessly fascinating questions, and unless you have artist files carefully collected and </span>organized<span> by someone you lose all of that."*</span></span></p><p style="text-align: left;"><span style="font-family: inherit;">Over 700 files for individual Aotearoa artists are held in Takapuna’s <a href="https://www.instagram.com/angelamorton.room/?hl=en" target="_blank">Angela Morton Room Te Pātaka Toi Art Library.</a> These can include exhibition catalogues, small printed artworks, posters, CV’s, reviews and interviews. The bulk of the material was collected from 1980 to 2010 and provides important documentation about well-established and lesser-known artists. </span></p><p style="text-align: left;"><span style="font-family: inherit;">Shaw used our artist file for <a href="https://teara.govt.nz/en/biographies/6t15/thompson-pauline-adele" target="_blank">Pauline Thompson</a> when curating the major retrospective of her work, <a href="https://www.artshousetrust.co.nz/current-exhibitions/pauline-thompson" target="_blank">Combined Cosmologies</a>, held at the Pah Homestead. He said: "If the files weren’t there my picture of her work, her words, and their reception, would have been much poorer."</span></p><p style="text-align: left;"><span style="font-family: inherit;">Shaw, for 28 years curator of the Fletcher Trust Collection, said artist files are largely made up of items which most people might throw out. But, if somebody has taken the trouble to collect newspaper articles and reviews, then one can get a feel for the original reception of works of art.</span></p><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCK8je-YI2Us6Tl-IusJP2T8uIfkFTBPSieeMwjHnpsjeetqF7bvoeTvzEJnIRqzVtSqxvWMhhkMjDu-UKCnM9yPGcImDL5kpyFWBiHag6MEn3dPNlVmSk3nCxXGJLYeKSEhCPdmxMt5kQK4fxLnOTqeFVGe-j_RXsrEUKVe214OfrmzbLUDl-_U42Eek/s3555/Angela%20Morton%20Room%20artist%20files%20cabinets.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="2666" data-original-width="3555" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCK8je-YI2Us6Tl-IusJP2T8uIfkFTBPSieeMwjHnpsjeetqF7bvoeTvzEJnIRqzVtSqxvWMhhkMjDu-UKCnM9yPGcImDL5kpyFWBiHag6MEn3dPNlVmSk3nCxXGJLYeKSEhCPdmxMt5kQK4fxLnOTqeFVGe-j_RXsrEUKVe214OfrmzbLUDl-_U42Eek/w640-h480/Angela%20Morton%20Room%20artist%20files%20cabinets.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Image: Angela Morton Room's artist file cabinets. </span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p style="text-align: left;"><span style="font-family: inherit;">Rosabel Tan, Director of <i><a href="http://satellites.co.nz/" target="_blank">Satellites</a></i>, a production house exploring the experiences of the Asian diaspora in Aotearoa said, "The Angela Morton Room is a revelation, and its artist files are special treasures containing moments that are not easy to find elsewhere, especially when it comes to artists who have been historically underrepresented by our institutions." </span></p><p style="text-align: left;"><span style="font-family: inherit;">"Our team have been drawing on the artist files for an online archive we are creating of Asian artists and art-making in Aotearoa, and we are so grateful for the rare and rich glimpses they have offered into the artists we are writing about."</span></p><p style="text-align: left;"><span style="font-family: inherit;">Artist Toni Hartill has used the files when researching an artist for a university paper; and she is also represented in our collection with her own file. She said it’s good to know some of the ephemera from her earlier days has a place where it can be viewed, particularly as she began her art career designing furniture, and was known by her maiden name at that time. </span></p><p style="text-align: left;"><span style="font-family: inherit;">"I think there is really interesting social and local history hidden away in the files which has a lot of value outside of just the art world. I’m thinking of flyers or brochures from galleries that no longer exist, or venues that have evolved a lot over the years and a new generation knows nothing of the changes."</span></p><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfJuOOnS2x-LCFBrH9DGFJRN7GxkweRrevXu0chZ3qRy6B4085ycYGZxr5KXRwWTmvoQtpVZ04MRojcHDfsH4XTPmNbAmfZSbG0coewiTf_DrBI4ezPfMBe-bk3RsYXp-1G5gIDblcbw4jBkVAYjs4nxVkd6SqG65yCOY2xaL9Wu4BJpt1DYxPoB7NLLE/s2767/Liyen%20Chong.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2075" data-original-width="2767" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfJuOOnS2x-LCFBrH9DGFJRN7GxkweRrevXu0chZ3qRy6B4085ycYGZxr5KXRwWTmvoQtpVZ04MRojcHDfsH4XTPmNbAmfZSbG0coewiTf_DrBI4ezPfMBe-bk3RsYXp-1G5gIDblcbw4jBkVAYjs4nxVkd6SqG65yCOY2xaL9Wu4BJpt1DYxPoB7NLLE/w640-h480/Liyen%20Chong.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>A Humid Day </i>catalogue and materials (2007), Liyen Chong.</td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p style="text-align: left;"><span style="font-family: inherit;">Artist and printer Makyla Curtis is also represented in our files with letterpress printed poems and exhibition invitations: "I really love that some of my bits of ephemera have a home – and are available for others to find, and what they might tell someone about my practice." As a practitioner, she also likes looking through the files for inspiration and knowledge about other artists and their work.</span></p><p style="text-align: left;"><span style="font-family: inherit;">Files may contain only one slip of paper – such as an ātaahua invitation to Marilynn Webb’s 1992 exhibition "Heartland" which has a pressed rose petal glued to the card; or there might be enough material to fill several folders, which is the case for Ralph Hotere’s and Colin McCahon’s files. Christine Hellyar’s holds an artwork, "People and the land", enclosed within a stitched perspex envelope; and an extract from Priscilla Pitts’ master’s thesis "Christine Hellyar, 1969-1983."</span></p><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKdKoTt9CE8V9S8sOCkJgWB83SW8sax-sCIcOkdcaojEyaDDR10-42IgnqIw1wn1Q8-vx-5_xY0Yjb7k_bRVL0_n-o-9gEE5GmrT1Fgu60FunaimJACrFjr5WMDKxtkKc2MWycM-N4Hg5ZPCg7FCaJsSFOJPTUAt6QpbNlFq0iC6W37XRsEUfsy_E00s/s1379/Picture1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1034" data-original-width="1379" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKdKoTt9CE8V9S8sOCkJgWB83SW8sax-sCIcOkdcaojEyaDDR10-42IgnqIw1wn1Q8-vx-5_xY0Yjb7k_bRVL0_n-o-9gEE5GmrT1Fgu60FunaimJACrFjr5WMDKxtkKc2MWycM-N4Hg5ZPCg7FCaJsSFOJPTUAt6QpbNlFq0iC6W37XRsEUfsy_E00s/w640-h480/Picture1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Materials from Christine Hellyar's artist file including <i>People and the Land </i>(1989) artwork. <br /><br /></td></tr></tbody></table><p></p><p style="text-align: left;"><span style="font-family: inherit;">Type designer Joseph Churchward’s file contains a prequel of the wonderful 2009 book showcasing his life’s work: "<i>Joseph Churchward by David Bennewith."</i> The prequel is one of a silkscreened, limited edition publication of 30 copies comprising an essay, and pictures of Churchward and his work. It was presented by the publisher at an exhibition at De Ateliers in Amsterdam – and includes a poster for this 2006 show where Churchward explains why he named an alphabet design after his daughter Marianna.</span></p><p></p><div style="text-align: left;"><span style="font-family: inherit;">Another beautiful artefact, in Maureen Lander’s file, is a concertina brochure for her installation "Palm Lines" (2005) created in collaboration with poets Anne Kirker and Samuel Wagan Watson, in the Old Brisbane Botanic Gardens. This opens out to reveal poems, and photographs of Bangalow palms taken by Lander.</span></div><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrAe_Iz6V7rQPwNMzd6KaSsBarLRAnccCUSGcujaTGxuynp8SfaAaB9vqyprN3b8_TYHLEUGR76yZYiz9d8oyOlkI0nx8wZS6reg262qvgy1UG1EPgUELlIkSDTpLR6mlNYABdouAn7hlyMO8YP26-B0CLf_ubjq0fk4gGW2sU8GoRNAHETPNdf3OSr-c/s2368/Maureen%20Lander.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1776" data-original-width="2368" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrAe_Iz6V7rQPwNMzd6KaSsBarLRAnccCUSGcujaTGxuynp8SfaAaB9vqyprN3b8_TYHLEUGR76yZYiz9d8oyOlkI0nx8wZS6reg262qvgy1UG1EPgUELlIkSDTpLR6mlNYABdouAn7hlyMO8YP26-B0CLf_ubjq0fk4gGW2sU8GoRNAHETPNdf3OSr-c/w640-h480/Maureen%20Lander.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Palm Lines </i>catalogue (2005), Maureen Lander.</td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p style="text-align: left;"><span style="font-family: inherit;">The Angela Morton Room’s artist files are hard copy, and we are no longer generating new physical files, partly due to information being increasingly shared in digital formats. <a href="https://findnzartists.org.nz/en/artists/artist-file/11/" target="_blank">Our artist files</a> are available to view seven days a week on Level 1 at Takapuna Library. They’re arranged alphabetically, in filing cabinets along the wall on the right-hand side of the space.</span></p><p><span style="font-family: inherit;">We also hold 20 subject files ranging from Ceramics to Māori Contemporary Art, Printing to Weaving. Please check these if there isn’t a file for the artist you are looking for, because they may be included in the subject files.</span></p><p><span style="font-family: inherit;">We are one of nine libraries that contribute to <a href="https://findnzartists.org.nz/en/" target="_blank">Find New Zealand Artists</a> (FNZA). This database of 19,500 Aotearoa artist names enables everyone from art enthusiasts to professional researchers to discover artist information held across the country’s libraries, art society exhibition histories, and published sources from the 19th century to the present. This website also holds a collection of <a href="https://findnzartists.org.nz/en/resources/#title1" target="_blank">digitised Aotearoa arts journals</a> including <i>Art New Zealand </i>(1976-1984), <i>Ascent, New Zealand Potter, Spiral and Te Ao Hou,</i> and more.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXT3U6kUw3bOU83uGm7ly3IRHldo1RIHNkCwF2y_5aAUqVi0Yqaw8k0vnvVRyw1oc4p3aNdKFA0BqUve7TEPNsQRoLCZ0wNgKhQI0_G3dlEXzeU0AEGfze2CJmXqzWHIWj10h-uXoKxSN9CptKnbCFRyazPxjLnrSlQEi81IxE4ibAyRgJL60dNfB1-Tk/s2969/Makyla%20Curtis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2227" data-original-width="2969" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXT3U6kUw3bOU83uGm7ly3IRHldo1RIHNkCwF2y_5aAUqVi0Yqaw8k0vnvVRyw1oc4p3aNdKFA0BqUve7TEPNsQRoLCZ0wNgKhQI0_G3dlEXzeU0AEGfze2CJmXqzWHIWj10h-uXoKxSN9CptKnbCFRyazPxjLnrSlQEi81IxE4ibAyRgJL60dNfB1-Tk/w640-h480/Makyla%20Curtis.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Prints by Makyla Curtis created for the Print Council Postcard Pen Pal Collaborative Project (2023).</td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p><span style="font-family: inherit;">It’s the Find New Zealand Artists (FNZA) 10th birthday this month, November 2023. This invaluable site was developed by research librarians Catherine Hammond and Caroline McBride of the </span><span style="font-family: inherit;"><a href="https://www.aucklandartgallery.com/art-ideas/e-h-mccormick-library" target="_blank">E.H. McCormick Research Library</a></span><span style="font-family: inherit;">, Auckland Art Gallery Toi o Tāmaki; Tim Jones of the </span><span style="font-family: inherit;"><a href="https://christchurchartgallery.org.nz/about/library/" target="_blank">Robert and Barbara Stewart Library and Archives</a></span><span style="font-family: inherit;"><a href="https://christchurchartgallery.org.nz/about/library/" target="_blank">,</a> Christchurch Art Gallery; and art historian Jane Davidson-Ladd, inspired by the pioneering work of one of this country’s first art historians, </span><span style="font-family: inherit;"><a href="https://en.wikipedia.org/wiki/Una_Platts" target="_blank">Una Platts</a></span><span style="font-family: inherit;">.</span></p><p><span style="font-family: inherit;">Please visit our exhibition of artist files in the Angela Morton Room which runs from 3 November 2023 to 12 January 2024.</span></p><p><br /></p><p><b><span style="font-family: inherit;">Author: Leanne Radojkovich, Librarian Research. </span></b></p><p><span style="font-family: inherit;"><a href="https://www.instagram.com/angelamorton.room/" target="_blank">Angela Morton Room Te Pātaka Toi Art Library</a></span></p><p><span style="font-family: inherit;">Free to use. Open daily.</span></p><p><span style="font-family: inherit;">Level 1, Takapuna Library.</span></p><div><br /></div><div>*Quotes used within the text are extracts from interviews Leanne had with the respective artists. </div>Auckland Librarieshttp://www.blogger.com/profile/12574555209830314635noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-70736785616790966922023-10-25T09:00:00.089+13:002024-01-16T12:01:39.648+13:00A Man, A Plan, A Tram: A Truth about Takapuna's Tramway<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppa6lVonHvnynYgNQqjKhv4guWZdchAVVFo5F7aH8G1wCrRQP6g2ntsXasizqTLmyw4cSJaBvZxkOCn3zzLb2XubGZEL_SBb9Q72CWX44qP32NmkYlaQpV2SuuoLgXZ4PDfFFJpMfJu2VpiQhlb6IE9v6V933205wOw4jv-IJw19BpCu2nmnD-P0QjNM/s4770/Directors.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3257" data-original-width="4770" height="437" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppa6lVonHvnynYgNQqjKhv4guWZdchAVVFo5F7aH8G1wCrRQP6g2ntsXasizqTLmyw4cSJaBvZxkOCn3zzLb2XubGZEL_SBb9Q72CWX44qP32NmkYlaQpV2SuuoLgXZ4PDfFFJpMfJu2VpiQhlb6IE9v6V933205wOw4jv-IJw19BpCu2nmnD-P0QjNM/w640-h437/Directors.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Takapuna Tramways & Ferry Company directors, 1907-1912 (left- right, from top row): Paul M Hansen, John Brown, Alexander R Morrison, Edwin Mitchelson, Henry Brett, Henry Hopper Adams, Captain James Smith, William J Geddis, and William Blomfield. </span><br /><br /></td></tr></tbody></table>Paul Maximilian Hansen had a plan for Tāmaki Makaurau. The Danish-German immigrant and London-based entrepreneur envisioned an electric tramway network that would emanate from the Central City to reach every corner of Auckland, stretching far into sections that were still farmland and bush. He desired this system out of no sense of altruism, community connectedness or transportation efficiency. No, he and his cabal of investors wanted it so they could sell property. Specifically, <i>their</i> property.<div><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieTDWRuFwAbBC7ukZZLjZB5rqSc6l5tQg60l25J_SsODEC2GYL_be7R-aBSluNztGrkM7lRF5jYaX5DGBE52jtvGFucdazAIytTfxDTJHL0bxpWspOQ8NpyXePnUo6w75CEJLQimBmmkpvoqy9k1OdokbgX7gT92fKUcSX3wEy4hRALrgZepgFKG_pDzo/s1440/Lake%20Takapuna.png" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="879" data-original-width="1440" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieTDWRuFwAbBC7ukZZLjZB5rqSc6l5tQg60l25J_SsODEC2GYL_be7R-aBSluNztGrkM7lRF5jYaX5DGBE52jtvGFucdazAIytTfxDTJHL0bxpWspOQ8NpyXePnUo6w75CEJLQimBmmkpvoqy9k1OdokbgX7gT92fKUcSX3wEy4hRALrgZepgFKG_pDzo/w640-h390/Lake%20Takapuna.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p><span style="font-family: inherit;">Image: Muir & Moodie. Postcard of Lake Takapuna (Pupuke), 1909. Museum of New Zealand Te Papa Tongarewa <a href="https://collections.tepapa.govt.nz/object/327060">PS.002450</a>.</span></p></td></tr></tbody></table><p style="text-align: left;">By the early 1900s, the Coromandel goldfields were depleted, their vast wealth pocketed by Aotearoa’s nouveau riche, who bought massive tracts of land around the periphery of Auckland City. On the North Shore, a group of lawyers, newspapermen, realtors, and mine owners, most of whom had been business partners in the gold rush, focused their attention on the little-developed area directly north of the Borough of Devonport, from Old Lake Road to Crown Hill. From the mid-1890s, they purchased dozens of properties with plans to subdivide as soon as they could be guaranteed a profit.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9-Efs59ainOkMplsyvBnZTdJYR6sICe88TtDNoCvh1jGZozR0cSCxTT6L3Yy3hRU4IoJeTJbIZ_Q_Y0SDd2UHJGsITpyFbc4oR508TTpy_4bZdmreuIaNxhRjg50I5rWA9-Dc2bRrp_TPp3eV5Hfl93j9UXBdJf6re85E5_-YfAT_MjpCaMiKNxgI_w/s1834/Auckland%20Electric%20Tramway.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1378" data-original-width="1834" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9-Efs59ainOkMplsyvBnZTdJYR6sICe88TtDNoCvh1jGZozR0cSCxTT6L3Yy3hRU4IoJeTJbIZ_Q_Y0SDd2UHJGsITpyFbc4oR508TTpy_4bZdmreuIaNxhRjg50I5rWA9-Dc2bRrp_TPp3eV5Hfl93j9UXBdJf6re85E5_-YfAT_MjpCaMiKNxgI_w/w640-h478/Auckland%20Electric%20Tramway.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Paul Hansen (second from right) and other men celebrating the inaugural trail run of the Auckland Electric Tramway, November 1902. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/67649" target="">755-ALB39-06</a>.</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">At the same time, interest in the North Shore by weekenders and summer vacationers was increasing at a rapid pace and local transportation was not able to keep up with the demand. Plans in 1885, 1898, 1902, and 1906 to construct tramways between Devonport and Lake Pupuke had failed, largely due to disinterested locals and risk-averse entrepreneurs. The lack of enthusiasm for the 1898 scheme, promoted by Paul Hansen, led to a shift in focus and the creation of the Auckland Electric Tramways system. Hansen quickly proved with this network that an electric urban tramway was viable and that it greatly increased the value of land along its route.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0L1WoB_lvp9mJnnwZPOtE2PthPGVQMIpjxgDj1tOwoxvR6HG-jaQgj2MpmSHLxbixVvni1KsLs_weLawXM9B9pfhdCbbSTxNANVtorQUHHeBUPK2EHDqQmE9-E7MqZ2eGZ-ArhLzmN6n19gJ-3yaRzy43sjIaxycHP5q6YeGrb0zpmH9UaF-c7jUK8K0/s1915/First%20Sod.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1286" data-original-width="1915" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0L1WoB_lvp9mJnnwZPOtE2PthPGVQMIpjxgDj1tOwoxvR6HG-jaQgj2MpmSHLxbixVvni1KsLs_weLawXM9B9pfhdCbbSTxNANVtorQUHHeBUPK2EHDqQmE9-E7MqZ2eGZ-ArhLzmN6n19gJ-3yaRzy43sjIaxycHP5q6YeGrb0zpmH9UaF-c7jUK8K0/w640-h430/First%20Sod.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: John Brown addressing the crowd at the sod-turning ceremony for the Takapuna Tramways & Ferry Company, held at Hall's Corner on 9 February 1909. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/155129" target="">NZG-19090217-0029-01.</a></span><br /><div style="text-align: left;"><br /></div></td></tr></tbody></table>On 31 August 1906, the Waitemata County Council received a request from Hansen’s lawyers for franchise rights to build an electric tramway from the Devonport borough boundary to the Lake. The Council accepted the offer and Hansen announced the plan to the public. The<i> Observer</i> forecasted, ‘This ought to make the Lake district boom.’ This was not just hopeful thinking. William John Geddis and William Blomfield, co-owners of the newspaper, owned several hectares along the proposed tramway line. If all went according to plan, they would turn a handsome profit from land sales. And they were not alone. When the Takapuna Tramways & Ferry Company’s prospectus was published on 16 September 1907, it became abundantly clear who this tramway was intended to benefit the most.<div><br /><div><div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1n6n34Lyh0qO64IcJ_8zGt743U5zS6mq6GHMl0shKWB21spZ1TqIUgbxIQ1XL-tWqMqh7inTxshyphenhyphenppSUzxZHcmQF0wdZowAWXBPaU4ySRN4Kb84xQNg-M-YsdSoWKxxwEPwhyphenhyphenCGW87JTrC3FwjMUFhQ9_On5kdWpLKidZh4MzLMkuesiopon_K9OfVdY/s2000/Bayswater%20Estate.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1330" data-original-width="2000" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1n6n34Lyh0qO64IcJ_8zGt743U5zS6mq6GHMl0shKWB21spZ1TqIUgbxIQ1XL-tWqMqh7inTxshyphenhyphenppSUzxZHcmQF0wdZowAWXBPaU4ySRN4Kb84xQNg-M-YsdSoWKxxwEPwhyphenhyphenCGW87JTrC3FwjMUFhQ9_On5kdWpLKidZh4MzLMkuesiopon_K9OfVdY/w640-h424/Bayswater%20Estate.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Beresford Street in Bayswater Estate, 1912. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/34454" target="">T0002</a>.<br /><br /></span></td></tr></tbody></table><div>In addition to Hansen and Geddis, the directors of the new tramway company included Henry Brett, owner of the <i>Auckland Star</i> and <i>The Weekly Graphic</i>; Henry Hopper Adams, an influential mining agent; Captain James Smith, a well-respected merchant mariner; and John Brown, chairman of the Direct Supply Company, an importer. Brown and his business partner Alexander Roger Morrison had purchased O’Neill’s Point in 1904 with plans to subdivide and install a ferry terminal below the cliffs. This made them vital to the planned ferry and tramway system, but their personal stake did not extend much beyond the Bayswater Estate, which was subdivided and listed for auction by Hansen in December 1909. Nevertheless, Morrison replaced Brett as a director of the company that same year and briefly served as chairman.</div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-mZz_7ZlKX1Cf59ABiFUXyBYt_l6Pp9DKNXPbkcIU-aqPt76pn4q7szisTexooG1vRF5RBuS5vgGdnxu_7tOk5G9hjQmEoKlw-rxBiRtQIdkHtNKHpez2f3IZj2EdoYtF1-LzJwffjQYFyhwtbttDC15dNtdP0dwC_Qo0NcIV_xanVmlMP55PMA22D8/s2000/Te%20Kiteroa.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1297" data-original-width="2000" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-mZz_7ZlKX1Cf59ABiFUXyBYt_l6Pp9DKNXPbkcIU-aqPt76pn4q7szisTexooG1vRF5RBuS5vgGdnxu_7tOk5G9hjQmEoKlw-rxBiRtQIdkHtNKHpez2f3IZj2EdoYtF1-LzJwffjQYFyhwtbttDC15dNtdP0dwC_Qo0NcIV_xanVmlMP55PMA22D8/w640-h418/Te%20Kiteroa.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: <i>The Weekly Graphic. </i>A party at Henry Brett's house, Te Kiteroa, published 6 December 1911. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/28683" target="">T0301</a>.<br /><br /></span></td></tr></tbody></table>Brett was only associated with the Takapuna Tramway for about 18 months, but he was the company’s largest single shareholder and had much to gain from property sales along the route. Amongst other properties he owned in the area, he held several large sections around Hauraki Corner, smaller sections of bushland on the southeast and east sides of Lake Pupuke, and pastureland in the Wairau Valley. His luxurious Victorian-style mansion, Te Kiteroa, sat on Killarney Street above the lake. Many of these properties were subdivided in the late 1910s and early 1920s. Brett used his two newspapers to heavily promote the construction of the tramway, and his prominence in local affairs earned him a seat on the first Takapuna Borough Council in 1913.</div><div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0wTkJiBJrkYF3b_1-UGQ8jf7oufDYSYzy7youo1o-ZJd2O3PiVJIrf_U0DHONv5jzZCXh6G1rNkwQc9d2OGRmdcyJskiYC0JZLnf4ysY-OEryH4skL6c_nrCa_VicX_rsBHHJvzO2Y6P8hiZf0NFa4E4DH4mhl8FSA2pwfnWZa1Pfti7AKrYRFCes_Xk/s5000/Shakespeare%20Estate.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="5000" data-original-width="3797" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0wTkJiBJrkYF3b_1-UGQ8jf7oufDYSYzy7youo1o-ZJd2O3PiVJIrf_U0DHONv5jzZCXh6G1rNkwQc9d2OGRmdcyJskiYC0JZLnf4ysY-OEryH4skL6c_nrCa_VicX_rsBHHJvzO2Y6P8hiZf0NFa4E4DH4mhl8FSA2pwfnWZa1Pfti7AKrYRFCes_Xk/w545-h640/Shakespeare%20Estate.jpg" width="545" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Advertisement for the Shakespeare Estate by Paul Hansen & Company, 1910. Auckland Libraries Heritage Collections Map 9800.<br /><br /></span></td></tr></tbody></table>In direct contrast to Brett, Paul Hansen was the guiding light of the project but had little to gain personally from the venture. He only owned one relatively small property along the tramway line, a home south of The Promenade in Takapuna named Mon Desir. He sold this in 1909 to Audus Raynes, who converted it into a luxury hotel. Hansen benefitted more from his realty firm, Paul Hansen & Company, which oversaw the sale of several subdivisions created by his colleagues, including the Lakeville, Bayswater, The Strand, and Shakespeare Estates.</div><div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvuPRpLL9XQ8LR_DW6XLepHmG9oeXS7qIWaD2iyr1LOl0ehto3FhYeTRKnu3QBtcu00189EuOOISfKELS66Q4buLICX4uF3yp0G2t8GWogkORowhj7a0GP9AKCdM50C6-f0TVBX8VjVhpWNeAan9TcUEx4j7XRQpOaP3okrxZp1kYju2RQMx2_3ahR-8/s1080/Blomfield%20Group.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="816" data-original-width="1080" height="485" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvuPRpLL9XQ8LR_DW6XLepHmG9oeXS7qIWaD2iyr1LOl0ehto3FhYeTRKnu3QBtcu00189EuOOISfKELS66Q4buLICX4uF3yp0G2t8GWogkORowhj7a0GP9AKCdM50C6-f0TVBX8VjVhpWNeAan9TcUEx4j7XRQpOaP3okrxZp1kYju2RQMx2_3ahR-8/w640-h485/Blomfield%20Group.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Herman John Schmidt. William Blomfield (centre) below a sketch of himself, surrounded by <i>Auckland Star</i> staff, ca 1921. National Library <a href="https://ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServlet?dps_pid=IE154292&dps_custom_att_1=emu" target="">1/1-001243-G</a>.<br /><br /></span></td></tr></tbody></table><div>William Geddis and William Blomfield, as mentioned above, owned the <i>Observer</i> which both promoted and lampooned the Takapuna Tramway throughout its existence. Blomfield, also the cartoonist for the newspaper, even took a swing at himself once in 1919 when he was Mayor of Takapuna and a director of the company. Blomfield took over Geddis’ seat in 1909 when the latter moved to Napier. Geddis and Blomfield owned the land on either side of Blomfield Spa, but they did not subdivide until 1925, though they may have intended to when they became involved with the company. Unlike most other investors, Geddis convinced his brother-in-law, Frederick William Weston, to invest. Weston lived on a property on Lake Town Road (now Jutland Road).</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD9rf8bDGOjtZTf1So8sbCIM1QFtrnhBUNmar_ya8zvP6OfXyNNBqeilrQdw_Yls-293bAmKwsHq5yDYyy2GcSeX7oSBizakZlxQ9TvnSNcF0A6uTvNcGda8nW1k2gmR34WtX9A0Ug5FLofLtjFqUUDI1oKen10gjLQYr7ivxCH7luY5sXCR_7lKTIYLI/s2000/Waitemata%20Tram.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1458" data-original-width="2000" height="467" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD9rf8bDGOjtZTf1So8sbCIM1QFtrnhBUNmar_ya8zvP6OfXyNNBqeilrQdw_Yls-293bAmKwsHq5yDYyy2GcSeX7oSBizakZlxQ9TvnSNcF0A6uTvNcGda8nW1k2gmR34WtX9A0Ug5FLofLtjFqUUDI1oKen10gjLQYr7ivxCH7luY5sXCR_7lKTIYLI/w640-h467/Waitemata%20Tram.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: The 'Waitemata' hauling a maintenance wagon on the Takapuna Tramway, 1912. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/32178" target="">T0475</a>.</span><br /><div style="text-align: left;"><br /></div></td></tr></tbody></table>Blomfield, meanwhile, managed to convince his wife’s uncle, Henry Hopper Adams, to invest in the transportation company. He was well-known in mining circles and his family was prominent on the North Shore. His grandsons were the Smales brothers of Smales Farm. Adams owned the substantial Taharoto Estate west of Lake Pupuke, which he subdivided in 1911, as well as a smaller section in Belmont named the Egremont Estate, which was subdivided in 1910. Adams became increasingly involved in Takapuna and Auckland politics, so gave up his seat as tramway director to Edwin Mitchelson in 1910. Mitchelson served as chairman of the company for most of its existence.</div><div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_pTGX31VNM_UKcw6ouHiMWQJeHeDV7FPs3DCP26EY2eEKWTSrlxS2jT4iaZEjSBElIzsaiyGk_4nueq1ASJZYGCfYkhoggU8wMg0IGuq52EUwVtX77b5xMTejJNIyMYZ25cIbemlXkaWFDnCf4hCURdakcDhyphenhyphenw5YINA-VzXEnrtSI_Tl5WSdV-4Ad6w/s2000/Puriri%20bush.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1646" data-original-width="2000" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_pTGX31VNM_UKcw6ouHiMWQJeHeDV7FPs3DCP26EY2eEKWTSrlxS2jT4iaZEjSBElIzsaiyGk_4nueq1ASJZYGCfYkhoggU8wMg0IGuq52EUwVtX77b5xMTejJNIyMYZ25cIbemlXkaWFDnCf4hCURdakcDhyphenhyphenw5YINA-VzXEnrtSI_Tl5WSdV-4Ad6w/w640-h526/Puriri%20bush.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Walter Bowring. Group of Puriri trees in a bush near Lake Takapuna, published in the New Zealand Graphic on 24 March 1894. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/116449">NZG-18940324-0279-01</a>.</span><br /></td></tr></tbody></table><div><p style="text-align: left;">Mitchelson and Adams, alongside the final original company director, Captain James Smith, had partnered in numerous ventures in the years prior to 1907, especially in Thames. Near Lake Pupuke, they jointly owned the Puriri Estate on the west side of Taharoto Road, which they began subdividing in 1909. Smith and Adams also owned two small sections along Northcote Road, today’s Smith’s Bush Reserve, which is bisected by the Northern Motorway. The complicated history of Adams and his relationship to Blomfield, Smith, and Mitchelson is explored in detail in Philip Hart’s working paper: <a href="https://researchcommons.waikato.ac.nz/handle/10289/10398" target="">‘Henry Hopper Days: A Te Aroha Miner Who Became A Mine Owner’</a> (University of Otago, 2016).</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcwzm-BMRIJFSOUsGUtoKN6qfZGdktGAMHyj-9Qpd1GlV-nrGZe22_LbLXjE4SHuYVfjof6dSKse9jBRRkZSvdJzUpyhPHL34Cvw95G3lY_hQEZ5gUlBzPesttmyMOvAJZ3_1KeRyXXPU6joe-jfvlRU9e9R9GmLuTI_iWXL5qDl88Y75FjdWM5YnPRIM/s1080/View%20of%20Takapuna.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="818" data-original-width="1080" height="485" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcwzm-BMRIJFSOUsGUtoKN6qfZGdktGAMHyj-9Qpd1GlV-nrGZe22_LbLXjE4SHuYVfjof6dSKse9jBRRkZSvdJzUpyhPHL34Cvw95G3lY_hQEZ5gUlBzPesttmyMOvAJZ3_1KeRyXXPU6joe-jfvlRU9e9R9GmLuTI_iWXL5qDl88Y75FjdWM5YnPRIM/w640-h485/View%20of%20Takapuna.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: Frederick Hargreaves. Takapuna as viewed from the room of Te Kiteroa, immediately before the construction of the tramway, ca 1908. National Library <a href="https://ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServlet?dps_pid=IE64575">1/1-002816-G</a>.</span><br /><p style="text-align: left;">All this manoeuvring and scheming by the North Shore elite resulted in very little at first. Due to delays in the construction of the tramway and the dredging of the approach to Bayswater Wharf, the SS Pupuke operated as a for-hire excursion vessel from February 1910 to the end of the year. The first two trams finally began service between Bayswater and Milford on 22 December 1910, just in time for the Christmas holiday. But the company’s hope of electrifying the tramway system never happened, and a long-awaited second ferry was only purchased in 1921. Despite the seeming success of the venture, the company could not turn a profit. The ferry paid, but the trams did not. In 1912, the board of directors offered to sell the system to the County of Waitemata. This offer was repeated almost annually to the Takapuna Borough Council until the tramway finally ceased operations on Tuesday, 26 April 1927.</p></td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyif_hOttexjcJJLO3vDpYBkpYtXn6AzrEv84Odws0qolcnsKtZojiStQt-vt65x5_OBi4X4kmS0kMqceiCDyg1EmsQUkv_nNPEkBSE4gF4I1o1uZ8hPZO7-Zsw82POd1cNdtyYf9I0XAQOuVq_Mi_qzKWFRweVjgEjtEcZz1J8W37hC9GXaBiUapGcF0/s1000/Motuihe.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="681" data-original-width="1000" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyif_hOttexjcJJLO3vDpYBkpYtXn6AzrEv84Odws0qolcnsKtZojiStQt-vt65x5_OBi4X4kmS0kMqceiCDyg1EmsQUkv_nNPEkBSE4gF4I1o1uZ8hPZO7-Zsw82POd1cNdtyYf9I0XAQOuVq_Mi_qzKWFRweVjgEjtEcZz1J8W37hC9GXaBiUapGcF0/w640-h430/Motuihe.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Image: R. Hofmann. Camp for German Internees at Motuihe Island, 1917. Auckland Libraries Heritage Collections <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/54033">WW1-P-001</a>.<br /><br /></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: left;">Where was Paul Hansen in all of this? Trying to make the best of a bad situation. The subdivisions his Paul Hansen & Company put up for auction from 1908 to 1911 failed to sell quickly, though they ultimately contributed to the development of Bayswater, Belmont, Hauraki Corner, Takapuna, and Milford. By February 1916, he had become so frustrated with the tramway company’s lack of progress that he offered to buy a new ferry and electrify the system himself. Frustratingly, these plans were derailed when Hansen was arrested as an enemy alien on 19 April 1916 due to xenophobia aroused by the First World War. He quickly lost his director’s seat and his real estate firm wound up. Hansen was released from internment in December 1919, but he never returned to the Takapuna Tramway and sold his remaining shares in 1923. He resumed dabbling in real estate, operating as Paul Hansen & Son. However, his passion died along with his only child, Roberts, in 1928. Hansen passed away on 23 February 1938, a decade after the end of the Takapuna Tramway but at the height of the Auckland Electric Tramway that started it all.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Check out the exhibition 'The Tramway that made Takapuna' on Level 2 of the Central City Library, running from 1 November 2023 to 29 January 2024. Join </i><i style="font-family: inherit;">Derek R. Whaley discussing the construction and promotion of the Takapuna Tramways & Ferry Company at the Whare Wānanga, Level 2 Central City Library and on Zoom on Wednesday, 15 November at 12pm. <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/11/heritagetalk-building-the-takapuna-tramway-with-derek-whaley-auckland-libraries/" target="_blank">Visit Our Auckland for event details and booking</a>. </i></div><div><br /></div><br /><div><b>Author: Derek R. Whaley, Senior Librarian Research - Online Researcher Services</b></div><div><b><br /></b></div><div><b>Select bibliography:</b></div><div><b><br /></b></div><div><div>David J Balderston, <i>The Bayswater Harbour Ferries of Auckland to Takapuna</i> (Frinton-on-Sea, UK: Grey Gull Ferry History, 2015).</div><div><br /></div><div>David Verran, “Paul Hansen: tramway entrepreneur,” <i>Tramway Topics</i> 254 (February 2014), pp6-9.</div></div><div><br /></div><div><br /><br /></div></div></div></div></div></div>Auckland Librarieshttp://www.blogger.com/profile/12574555209830314635noreply@blogger.com2tag:blogger.com,1999:blog-5326867358384170422.post-47872445221239237442023-10-20T09:00:00.003+13:002023-10-20T10:49:50.745+13:00A deal with the devil: the 1821 English translation of Goethe’s Faust<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig8JEK93u8Z875hhn7LlJg4MPAaHxvE5w5tcl4vbGWkJE1NjYfyz6rerM0VUC1tp5A2HM3svrXNYU6Sw7KVf-eJdeP9JjrEELn0THKmRnDpUw8zfA4wk8EAtrK4t013wuOQ5-bwrKsoTiYizOBRE5VI7kkfkV0P3qx9LjIbw8RMLvQw_jiRU8kZZ8R9OPL/s3811/20230925_115923.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3811" data-original-width="1905" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig8JEK93u8Z875hhn7LlJg4MPAaHxvE5w5tcl4vbGWkJE1NjYfyz6rerM0VUC1tp5A2HM3svrXNYU6Sw7KVf-eJdeP9JjrEELn0THKmRnDpUw8zfA4wk8EAtrK4t013wuOQ5-bwrKsoTiYizOBRE5VI7kkfkV0P3qx9LjIbw8RMLvQw_jiRU8kZZ8R9OPL/w320-h640/20230925_115923.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Mephistopheles appears to Faust in his study, Faust / by Goethe ; translated by Abraham Hayward ; with illustrations by Willy Pogany, London : Hutchinson, 1908, Auckland Libraries Heritage Collections IL:1908 POGA. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"> <span style="text-align: left;">The idea of
making a deal with the devil has a long history in popular imagination. Robert
Johnson made a deal with a devil at the crossroads for his otherworldly guitar
playing abilities while Faust was after unlimited knowledge and worldly pleasure.</span></div><div class="separator" style="clear: both;">
<p class="MsoNormal"><span lang="EN-US">The Faust
legend was first dramatized by famous Elizabethan playwright and spy
Christopher Marlowe in the late sixteenth century in his play </span><a href="https://discover.aucklandlibraries.govt.nz/search?query=marlowe%20faustus"><i><span lang="EN-US">Doctor Faustus</span></i></a><span lang="EN-US">.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Johann
Wolfgang von Goethe’s (1749-1832) interpretation of the Faust legend was his
life’s work – began in 1772 when he was in his twenties and returned to again
and again until he completed Part Two a year before he died. The long play,
mostly written in rhyming verse, is divided into <i>Faust, Part One </i>and <i>Faust,
Part Two</i> - the first dealing with Faust’s pact with Mephistopheles and the
fallout from that and the second being less subjective and about thematically
higher issues like history, philosophy and other social concepts.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Goethe is
regarded as one of the key figures of German Romanticism with his importance likened to that of Shakespeare and Dante, and his reworking of the Faust legend considered <a href="https://www.ft.com/content/391e2bcd-f14e-44e5-b6de-40990ce7272f" target="_blank">one of the glories of European literature</a></span><span lang="EN-US"> albeit thought now to be </span><a href="https://www.theoldie.co.uk/blog/how-to-understand-faust-read-louis-macneice"><span lang="EN-US">“all but unread in the English
speaking world.”</span></a></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kVieEgDg9_dkcHHZ_HBjbav-of7QS6j2N7DFaag8UiMcBtQIdp2115N2UYZle3PW7y-VXTxEtOurOZnch1JEpXPaWcBhXwKt_xKQiRDg6Bgt6QRMS_yfcVHlIF7D9y-t5ADO6E3iim9TyU0TJ5hv-8Bnrs6DlF3sacCStRMgjv818Vw_YJfbPKrQtamJ/s1471/00038885-900x1471.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1471" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kVieEgDg9_dkcHHZ_HBjbav-of7QS6j2N7DFaag8UiMcBtQIdp2115N2UYZle3PW7y-VXTxEtOurOZnch1JEpXPaWcBhXwKt_xKQiRDg6Bgt6QRMS_yfcVHlIF7D9y-t5ADO6E3iim9TyU0TJ5hv-8Bnrs6DlF3sacCStRMgjv818Vw_YJfbPKrQtamJ/w392-h640/00038885-900x1471.jpeg" width="392" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Prologue in Heaven, Faust / by Goethe ; translated by Abraham Hayward ; with illustrations by Willy Pogany, London : Hutchinson, 1908, Auckland Libraries Heritage Collections IL:1908 POGA. </div><p class="MsoNormal"><span lang="EN-US">Goethe’s <i>Faust</i>
has proven popular with illustrators, including </span><a href="https://www.themarginalian.org/2015/04/28/delacroix-goethe-faust/"><span lang="EN-US">famously Eugène Delacroix</span></a><span lang="EN-US"> and translators - Percy Bysshe
Shelley and Boris Pasternak amongst others. The images in this blog post are
from illustrated copies in the library’s heritage collections. <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">Part One of
Goethe’s play appeared in English for the first time in an anonymous 1821
translation, <i>Faustus</i>, published by Boosey and Sons in London. The
translation is partial and links the verses with prose descriptions of the
action.</span></p><p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX29d6Sd-MyRBOlyMFtlN7tyzg4nZadhpNFyZ9gsuibX0yTtepF4Ku5G-qz2mdBQkqL0kKZnWJUHeBEQUbloKTQz1xw_XVP5bDmq5bOZuJiWa9IQYNps62SdgE1b4AVMWVGdwGPk9nKehVG6k3aP0K1OchDsfT2ZY_xcXtRra8Y36wWTAZRrg9D-wDhDhb/s4608/20230925_120100.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3456" data-original-width="4608" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX29d6Sd-MyRBOlyMFtlN7tyzg4nZadhpNFyZ9gsuibX0yTtepF4Ku5G-qz2mdBQkqL0kKZnWJUHeBEQUbloKTQz1xw_XVP5bDmq5bOZuJiWa9IQYNps62SdgE1b4AVMWVGdwGPk9nKehVG6k3aP0K1OchDsfT2ZY_xcXtRra8Y36wWTAZRrg9D-wDhDhb/w640-h480/20230925_120100.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Faustus, from the German of Goethe, London : Boosey and Sons, 1821. Auckland Libraries Heritage Collections 832 GOE.</div><o:p></o:p><p></p><p class="MsoNormal"><span lang="EN-US">In Faust’s
opening soliloquy he laments that after all his studies he is no wiser than
when he began and that he has exhausted his desire for knowledge and experience
on earth. <o:p></o:p></span></p><p class="MsoNormal">
<span lang="EN-US">
</span></p><p class="MsoNormal"><span lang="EN-US">It
begins: </span> </p><p class="MsoNormal"> FAUST</p>
<p class="MsoNormal"><span lang="EN-US">“Now I have
toil’d thro’ all ; philosophy,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Law,
physic, and theology: alas!<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">All, all I
have explor’d; and here I am<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">A weak
blind fool at last : in wisdom risen<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">No higher
than before :” (p.1) <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal">This
leads him to make a deal with Mephistopheles:</p>
<p class="MsoNoSpacing"><span lang="EN-US"> </span></p>
<p class="MsoNoSpacing" style="margin-left: 72pt; text-indent: 36pt;"><span lang="EN-US">FAUST<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 72pt; text-indent: 36pt;"><span lang="EN-US">Could you, by<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span lang="EN-US">Flattery
or spells, seduce me to the feeling<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span lang="EN-US">of one
short throb of pleasure ; let the hour<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span lang="EN-US">that
brings it be my last. Take you my offer?<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span lang="EN-US"> </span></p>
<p class="MsoNoSpacing"><span lang="EN-US"> MEPHISTOPHELES</span></p><p class="MsoNoSpacing"> I
do accept it. (p.28) </p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF_U81pLVNnGosUVRi_252LX4Caw3goe0PUv_2lTz2hdDMJ6lIyyW_oFCAYUmbTC0ELAeLfhqTEhOShHtNLSjU1AVTo2CWTUGid6J3XTC_TjkhpPrnZj6K7ycpmdIvezC6go23yX7m6HWQE_uhUP4aIZR6IiuIkH_nPCazc6cfVLQo27me4xIpNv-bY9QM/s4484/20230925_115525.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4484" data-original-width="3286" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF_U81pLVNnGosUVRi_252LX4Caw3goe0PUv_2lTz2hdDMJ6lIyyW_oFCAYUmbTC0ELAeLfhqTEhOShHtNLSjU1AVTo2CWTUGid6J3XTC_TjkhpPrnZj6K7ycpmdIvezC6go23yX7m6HWQE_uhUP4aIZR6IiuIkH_nPCazc6cfVLQo27me4xIpNv-bY9QM/w470-h640/20230925_115525.jpg" width="470" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Faust / Goethe; traduction de J. Porchat ; revue par B. Lévy. Paris: Hachette & cie, 1878, Auckland Libraries Heritage Collections, IL:1878 LIEZ. </div><p class="MsoNormal"><span lang="EN-US">This first English
translation of <i>Part One</i> of the play has been the subject of much recent scholarly
debate amid a controversy around attribution.<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">In 2007 the
editors of an </span><a href="https://global.oup.com/academic/product/faustus-from-the-german-of-goethe-9780199229680?cc=nz&lang=en&"><span lang="EN-US">Oxford University Press (OUP)
edition</span></a><span lang="EN-US"> made the
claims that the anonymous translation was by none other than </span><a href="https://www.independent.co.uk/news/uk/this-britain/sex-and-drugs-and-english-literature-coleridge-and-a-faustian-pact-432577.html"><span lang="EN-US">English Romantic poet Samuel Taylor
Coleridge</span></a><span lang="EN-US">. American
academics Frederick Burwick and James C. McKusick used computer-based analysis
to support their claim as well as citing a letter Coleridge wrote to his son
saying that he was translating <i>Faust</i>. <o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US">This
attribution </span><a href="https://en.wikipedia.org/wiki/Goethe%27s_Faust"><span lang="EN-US">proved controversial</span></a><span lang="EN-US"> and in a </span><a href="https://sas-space.sas.ac.uk/4530/1/stc-faustus-review.pdf"><span lang="EN-US">review essay</span></a><span lang="EN-US"> of the 2007 OUP edition three UK
based scholars (Roger Paulin, William St. Clair, and Elinor Shaffer) refuted
the claims that the translation was by Coleridge. They take issue with the OUP
edition as it presents Coleridge as the translator as a fact rather than a
hypothesis and quote from more of Coleridge’s letters his own repeated denials
that he translated the play.<o:p></o:p></span></p><p>
</p><p class="MsoNormal"><span lang="EN-US">This literary
controversy is a fun example of how knowledge and interest can change during
the life of a book and a good reminder that the history of any particular book does not end at publication.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZCuA9zxgwm9GWtpoQ_ME3Ire0lXE40veGP_vHWDT6oCGfkZxfm5PDzpeNt_KxUNKnC06rEaUiBEu5MgOdkTxAqpuFwQFX71nP9UitJqsH4Y0LngzOF_afsJ6pidyqFyy1HHr25lDFKTy4ZJJyXLlHxHom0bOsd1a8KU7HvKsvB1b31Du9n9tKaILDxgG/s3877/20230925_120435a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3877" data-original-width="2803" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZCuA9zxgwm9GWtpoQ_ME3Ire0lXE40veGP_vHWDT6oCGfkZxfm5PDzpeNt_KxUNKnC06rEaUiBEu5MgOdkTxAqpuFwQFX71nP9UitJqsH4Y0LngzOF_afsJ6pidyqFyy1HHr25lDFKTy4ZJJyXLlHxHom0bOsd1a8KU7HvKsvB1b31Du9n9tKaILDxgG/w462-h640/20230925_120435a.jpg" width="462" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Faust / Goethe; traduction de J. Porchat; revue par B. Lévy. Paris: Hachette & cie, 1878, Auckland Libraries Heritage Collections, IL:1878 LIEZ. </div><p></p><p class="MsoNormal"><span lang="EN-US">Auckland
Council Libraries’ copy of <i>Faustus </i>(1821)<i> </i>was
donated, almost a century after publication in 1920, to the Leys Institute
Library by its major benefactor </span><a href="https://teara.govt.nz/en/biographies/2l11/leys-thomson-wilson"><span lang="EN-US">T. W. Leys</span></a><span lang="EN-US">. This Charles F. Goldie portrait of
Thomson Leys hung in the Leys Institute Library until its closure due to
earthquake concerns in December 2019.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFuojsVowcwMZQvG_sINJNhq8-gJaqGpj3xD6HUarAPR8VsWO0LZjueA0SorjND9t6m4AVvpt1WFOUC-oUYjKbymduDiLVmiwIX5WnXZJlZejG8_X_LLb44C1TbTgWtVs9atT_jdk35vcNMWOmsL407xwJSjfxSFhbkRmnHeF__3Gjvm7Wq1tUeADmxaOB/s2560/Full%20import%20056%20edit.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1920" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFuojsVowcwMZQvG_sINJNhq8-gJaqGpj3xD6HUarAPR8VsWO0LZjueA0SorjND9t6m4AVvpt1WFOUC-oUYjKbymduDiLVmiwIX5WnXZJlZejG8_X_LLb44C1TbTgWtVs9atT_jdk35vcNMWOmsL407xwJSjfxSFhbkRmnHeF__3Gjvm7Wq1tUeADmxaOB/w480-h640/Full%20import%20056%20edit.jpg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;">Image: Portrait of Thomson W. Leys by Charles F. Goldie.</div><p></p><p class="MsoNormal"><b><span style="color: #666666;">Author: Andrew Henry</span></b></p>AkLhttp://www.blogger.com/profile/07804518356218642681noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-20899660516065240322023-10-13T13:45:00.002+13:002023-10-24T11:28:34.445+13:00Tree lovers, seed savers and sponge citiesAuckland Libraries Heritage Collections’ have significant holdings on the topics of environmental action, conservation, and natural history. On show now on level 2 of the Central City Library | Tāmaki Pātaka Kōrero, till Monday 30 October, is the wonderful display: 'Tree lovers, seed savers and sponge cities'. In this display we focus on the manuscript, or archive collections, and supplement these with items from our ephemera, photograph, and oral history collections. This blog post highlights some of the material and information from the display.<div><br />Manuscript collections take the form of physical or digital documents (or a mix of both) and can include material like scrapbooks, diaries, letters, and minute books. They can also contain photographs, ephemera, audio visual material and other taonga. Collections can range in size from the small - Richard Davis’s two meteorological diaries, to the medium sized - the seven boxes in the Tahuna Torea Rangers archive, to the very large - the 98 linear metres of material held in the Greenpeace NZ Auckland branch’s collection. <br /><br />Manuscript collections are important sources of original information as they capture the writing, events, people, or organisations at a certain point in time. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiDgOwPfWL2iHIP7j2vcuQAmejNw2krnK3rXqambZkz62m9B3pNsBUrBX2ep1BSSGDWeukc_LaHnsBtBAXT5ceWRveALkTrJMJC4tddbQVlogD5e8d0_fb9cvqrA_ZFWxK1DTOr7nLzREFXOWNqcyy552QfPS-5BCLy536Lu5u3v0RKMxDJzgqiO-vZzh/s939/Davis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="939" data-original-width="595" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiDgOwPfWL2iHIP7j2vcuQAmejNw2krnK3rXqambZkz62m9B3pNsBUrBX2ep1BSSGDWeukc_LaHnsBtBAXT5ceWRveALkTrJMJC4tddbQVlogD5e8d0_fb9cvqrA_ZFWxK1DTOr7nLzREFXOWNqcyy552QfPS-5BCLy536Lu5u3v0RKMxDJzgqiO-vZzh/w406-h640/Davis.jpg" width="406" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/13117"><span style="text-align: start;">Image: Page from a diary showing snowfall around Waimate North mission station, see entries for </span><span style="text-align: start;">30 July 1849 and </span><span style="text-align: start;">31 July 1849. From: Richard Davis. </span><span style="text-align: start;">Register of thermometer and barometer, April 1849 [to 20 September 1851]. Auckland Libraries Heritage Collections, </span>NZMS 14.</a></td></tr></tbody></table><br />The journals of Richard Davis (1790-1863), a young farmer and lay preacher from Dorset, who lived at the Church Missionary Society’s station at Waimate North, inland from Paihia, have been identified as the earliest continuous land-based weather records currently known in New Zealand. The journals are inscribed on the <a href="https://unescomow.nz/">Aotearoa New Zealand UNESCO Memory of the World Register.</a><br /><br />The two weather journals cover the time periods 1839-1844 and 1849-1851. Davis recorded temperature and barometric pressure and described cloud cover, wind speed and extreme weather, including heavy frosts and a snowfall that persisted for two days on the hills around the Waimate North mission station. The National Institute of Water and Atmospheric Research (NIWA) use data from Richard Davis’s weather observations for scientific research. The ‘20th Century Reanalysis Project’ aims to reconstruct six-hourly snapshots of the weather conditions across the globe for use in future weather predictions.<div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLggg2NdvfgCRWFx29y0j1OvTY7kyFlvM2LfRMvJrwwAOm6XLL16ueKUOQtoftrX86Jlz_sOq5HjAJ6lhZetwjmIJxdRb-zrItqUEDIrkDWYbrwAGTfP-Ejrdk-wlhqHEgpuR-5SYkIEMb3zBl0x3EKauRAfXyPBqQc9jBWxwUen1f7Cg2ADTZ9ZHVtIVL/s2000/photos_99536_extralarge.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1511" data-original-width="2000" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLggg2NdvfgCRWFx29y0j1OvTY7kyFlvM2LfRMvJrwwAOm6XLL16ueKUOQtoftrX86Jlz_sOq5HjAJ6lhZetwjmIJxdRb-zrItqUEDIrkDWYbrwAGTfP-Ejrdk-wlhqHEgpuR-5SYkIEMb3zBl0x3EKauRAfXyPBqQc9jBWxwUen1f7Cg2ADTZ9ZHVtIVL/w640-h484/photos_99536_extralarge.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/99536/rec/1">Image: Arthur Pycroft. A clutch of bird's eggs laid on a beach, Tūturiwhatu (New Zealand dotterel), 1920-1930. Auckland Libraries Heritage Collections, 1265-PY120. </a></td></tr></tbody></table><div style="text-align: center;"><br /></div>Arthur Pycroft (1875-1971) was a New Zealand-based amateur collector, naturalist, scholar, conservationist, and historian. Pycroft had a particular interest in photographing birds and plants and organised expeditions to coastal areas and islands off the coast of the North Island. In the summer of 1903-1904, he spent nearly six weeks on Taranga (Hen Island), the first of several visits. He also visited Te Hauturu-o-Toi (Little Barrier) in 1928 and the Kermadecs with Guthrie Smith in 1929. <br /><br />Pycroft was a member of the Auckland Institute at Auckland Museum for seventy-five years and held the office of president for a year in 1935. He was married to Minna Pycroft, a recognised ornithological and botanical artist. Pycroft’s collection held by Auckland Libraries includes approximately thirty boxes of quarter plate and one box of half plate glass negatives.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbE5-KDKcWDlyzBKoDax4jd9UdmEz1NugzUffd4i-BKcRxv1APX4Hy3A9unsw75MNb2EjXXQX-Qj1xL0PoQuF8aJpgbh4q5QbI78eSGqauj5K0qbIdJtZ3F54TZNqLnRRpzKbtCsIO8uFbSLBJa8MpMReV-hDfVb_NEbHCg0XyglWAN4zHrz-3Y4a4NgEw/s597/Dove%20Myer%20Robinson.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="404" data-original-width="597" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbE5-KDKcWDlyzBKoDax4jd9UdmEz1NugzUffd4i-BKcRxv1APX4Hy3A9unsw75MNb2EjXXQX-Qj1xL0PoQuF8aJpgbh4q5QbI78eSGqauj5K0qbIdJtZ3F54TZNqLnRRpzKbtCsIO8uFbSLBJa8MpMReV-hDfVb_NEbHCg0XyglWAN4zHrz-3Y4a4NgEw/w640-h434/Dove%20Myer%20Robinson.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Part of a speech about municipal composting. From: Dove-Myer Robinson, Papers, 1930 – 1986, Auckland Libraries Heritage Collections, NZMS 822. </td></tr></tbody></table><br />Sir Dove-Myer Robinson (1901-1989) had a wide range of interests relating to nutrition, diet, soil fertility, sewerage purification, health, environmental protection, rapid transport, fluoridation, and a nuclear free New Zealand. One of Tāmaki Makaurau’s most well-loved and energetic local politicians, he served as Mayor of Auckland in 1959-1965 and 1968-1980. <br /><br />In 1946, as president of the Auckland and Suburban Drainage League, Robinson and his campaigners waged a long and ultimately successful campaign to ensure that the Motukorea (Browns Island) sewerage scheme was abandoned. The Motukorea (Browns Island) sewerage scheme would have pumped raw sewage off the island into Auckland’s Waitemata Harbour. As Mayor, he sought the latest technology with the building of the Manukau Sewage Purification Works. In the 1960s, he proposed a coordinated bus and rapid electric rail plan for the Auckland region with rail from south and west and from the North Shore via an underground harbour tunnel to an underground subway. New lines were planned for eastern areas, from Māngere to the airport, and in the central suburbs.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE8M_oPziim1DcemPSWrsIoCjfHmjfUuNKOpWu7NWADfhFQYk82flaxc3ziBEdJVxGlsYYtSpHgkrhF0ilJsglyKqPGkxYvl0uWyfr6DmXmibIeWMfAFNi1BbihJAchyuEDT5wGzeTnB7ae1ZBPi1SR16feWKgJlH5eik2TmHxw35bPJJGot_757y82zBk/s7161/Eph-Post1914%20jpeg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="7161" data-original-width="5103" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE8M_oPziim1DcemPSWrsIoCjfHmjfUuNKOpWu7NWADfhFQYk82flaxc3ziBEdJVxGlsYYtSpHgkrhF0ilJsglyKqPGkxYvl0uWyfr6DmXmibIeWMfAFNi1BbihJAchyuEDT5wGzeTnB7ae1ZBPi1SR16feWKgJlH5eik2TmHxw35bPJJGot_757y82zBk/w456-h640/Eph-Post1914%20jpeg.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Conservation Week 1974 poster. Ephemera Collection, Auckland Libraries Heritage Collections. Reproduced with permission from the Friedensreich Hundertwasser Art Centre.<p class="MsoNormal"><span style="font-family: "National 2"; font-size: 18pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i><o:p></o:p></i></span></p></td></tr></tbody></table><div>The Department of Conservation <a href="https://www.doc.govt.nz/">website</a> notes the scouting movement in Aotearoa launched a public education campaign about conservation at the 1969 Scout Jamboree in Kaiapoi. The first Conservation Week soon followed with the goal to promote greater interest in the environment and encourage people to take practical actions to look after it.</div><br />Hon. Duncan MacIntyre, the Minister of Forests and Minister of Lands, decided that there should be an annual Conservation Week. From 1970, the Nature Conservation Council was responsible for the campaign. This was an advisory group administered by the Lands and Survey Department to advise on scientific and technical matters relating to environmental conservation. The Department of Conservation took over the running of Conservation Week in 1987.<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqgUlupLk_1vIu8TcSvo5BZHGiccJj4r99QZWU3rE3D_myXDksIb0gbGkPqreAX7VH7Uy38rO26h5-unj3-I7Ro2uRZKiLHUhEs_2ixxDcc4lb69De48C6kcwAvVcrzrftSDkhMH9ttavFrjqtcJCHELFa5Pz9C3l02JVmSXKXc9xz5_zmbBFXFhTpJqF/s915/Greenpeace.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="915" data-original-width="594" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqgUlupLk_1vIu8TcSvo5BZHGiccJj4r99QZWU3rE3D_myXDksIb0gbGkPqreAX7VH7Uy38rO26h5-unj3-I7Ro2uRZKiLHUhEs_2ixxDcc4lb69De48C6kcwAvVcrzrftSDkhMH9ttavFrjqtcJCHELFa5Pz9C3l02JVmSXKXc9xz5_zmbBFXFhTpJqF/w416-h640/Greenpeace.JPG" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Greenpeace Warrior poster, World Park Antarctica over winter team, 1991. <br />Auckland Libraries Heritage Collections, NZMS 1000.<p class="MsoNormal"><span style="font-size: 10pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p></td></tr></tbody></table>Greenpeace New Zealand’s aims are based on an old Quaker tradition – to bear witness. A core element of the organisation’s work involves the act of travelling to the scene of environmental destruction. This serves two purposes; members register their opposition, and the organisation can show the world what is happening first-hand.<br /><br />The Greenpeace Foundation of New Zealand was established in 1974. It is an autonomous organisation, affiliated with Greenpeace International. Greenpeace New Zealand’s campaigns, fundraising and administration align with the framework and policies agreed by the global organisation.<br /><br />In November 1979, members of Greenpeace New Zealand attended the first Greenpeace international council meeting. David McTaggart, a powerful advocate for Aotearoa, pushed for issues relating to nuclear testing. Campaigns opposing nuclear testing and whaling dominated Greenpeace New Zealand’s work throughout the 1970s. The organisation and its supporter base expanded rapidly during the 1980s and 1990s.<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmRtEgOInzNBLNQoNh0sBDfaFlzgEQgMNlKuYyxNm0Aum-Qev23VJPtYRSsu4Jx9HeHC3sSKkI1EalxlvslwcLaCevxmeUqo90UoDlPldH2JVMsS0Z2mROO8xqCN-jFXSowIMKi1KcThHSbe1qZK5RMQxHsM6AmIf9uBfCRTPDAjMswWryBxCW6bkeLqz/s916/Nigel%20Brown%20poster.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="916" data-original-width="621" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmRtEgOInzNBLNQoNh0sBDfaFlzgEQgMNlKuYyxNm0Aum-Qev23VJPtYRSsu4Jx9HeHC3sSKkI1EalxlvslwcLaCevxmeUqo90UoDlPldH2JVMsS0Z2mROO8xqCN-jFXSowIMKi1KcThHSbe1qZK5RMQxHsM6AmIf9uBfCRTPDAjMswWryBxCW6bkeLqz/w434-h640/Nigel%20Brown%20poster.JPG" width="434" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Coromandel calling poster, Peninsula Watchdog. A reproduction by NZ Printing Co. after an original hand coloured woodcut by Nigel Brown, 1989. From: Friends of the Earth, Papers, 1972-2002. Auckland Libraries Heritage Collections, NZMS-1353.<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: "National 2"; font-size: 18pt; line-height: 115%;"><span style="color: red;"><o:p></o:p></span></span></p></td></tr></tbody></table><div><div>Friends of the Earth International (FOEI) is one of the world’s largest grassroots environmental movements. The organisation consists of member groups and local activist groups on every continent across the world.</div><br />Friends of the Earth New Zealand (FOENZ) was formed in 1975 and operated as a nationwide volunteer organisation. The group joined FOE International in 1983, making it one of the earliest members to do so. The organisation was well-known throughout Aotearoa as a watchdog environmental group. The FOENZ collection held by Auckland Libraries contains the activities of the organisation including material on the following areas of interest: rainforests and forests in Aotearoa, mining, hazardous waste, energy production, waste management, packaging and recycling, agricultural chemicals, Antarctica, marine mammals, aluminium, Pacific networks, and health.<div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmwA4q8IR5uskfSDaVUhPiIyNEf-UonWva0ncSZdoqig58ksIp8RBqXgmIfUxpgrpySNKwPOuPdPAKfqeEArn6LTVSgLwR5-EO-7NfHbVQV6MEq1QKCyZsijQnMU0BgspoKnnCZxyZEgSFAJPU5PpnZVY_qIXjkmrW95YpH1RefKlBPZuY5ndGLdp1QfCX/s1100/Tahuna%20Torea.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="732" data-original-width="1100" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmwA4q8IR5uskfSDaVUhPiIyNEf-UonWva0ncSZdoqig58ksIp8RBqXgmIfUxpgrpySNKwPOuPdPAKfqeEArn6LTVSgLwR5-EO-7NfHbVQV6MEq1QKCyZsijQnMU0BgspoKnnCZxyZEgSFAJPU5PpnZVY_qIXjkmrW95YpH1RefKlBPZuY5ndGLdp1QfCX/w640-h426/Tahuna%20Torea.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: School students from Tamaki College
assist with weed clearing at Tahuna Torea Reserve, <span style="font-size: 12pt; line-height: 107%;">Auckland Libraries Heritage Collections, </span><span style="font-size: 12pt; line-height: 107%;">Tahuna
Torea Reserve Rangers, NZMS 4037.<br /><br /><br /></span><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p></td></tr></tbody></table>Tahuna Torea (the sandbank of the oyster catcher) has a strategic position at the mouth of the Tāmaki River. For Māori, it held an important defensive role, it was part of seasonal trade routes, it was well-known as a fishing spot and for its fertile soils. To the south, along the river, prosperous villages and gardens were overlooked by two large pā. </div><br />From 1972 to 2007 the Tahuna Torea Nature Reserve Rangers’ Committee worked to establish a 25 hectare reserve to save the area from becoming a rubbish tip. The project developed further with collaboration between local iwi, Auckland Council, and community volunteers. The reserve is a swampland and estuarine environment which is home to a wide range of wetland and migratory birds, fish species, shellfish, insects, native vegetation, and fungi.<div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifoLICVCN7YEKdnzEpUHQEc1S2SZFyFfIzoQHcnxKfwsnhI8eGimVth8Vfq2E7TbQwxo65rR5qv49DeaD9hLgCr7nLZdLldiiikl7MDbQGIAYO8AYPVY0IBA-vAM2-rJc722zTQoUkhcIeW_OJYbrJj0Rns54fLbcUAvYWRJYbEFLRQQbeq8NFSYbxGpc2/s2955/oralhistory_3531_extralarge.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2955" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifoLICVCN7YEKdnzEpUHQEc1S2SZFyFfIzoQHcnxKfwsnhI8eGimVth8Vfq2E7TbQwxo65rR5qv49DeaD9hLgCr7nLZdLldiiikl7MDbQGIAYO8AYPVY0IBA-vAM2-rJc722zTQoUkhcIeW_OJYbrJj0Rns54fLbcUAvYWRJYbEFLRQQbeq8NFSYbxGpc2/w434-h640/oralhistory_3531_extralarge.jpg" width="434" /></a></td></tr><tr><td class="tr-caption"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/63126">Image: H.L. Wakelin, Kōwhai, 1966. Auckland Libraries Heritage Collections, 904-0732.<br /><br /></a></td></tr></tbody></table>From 2018 to 2019, Shelley Chignell, a landscape designer, writer, and editor, interviewed three men (Geoff Davidson, Graeme Platt and Rhys Gardner) who are dedicated to collecting the seeds and preserving the native plants of Aotearoa. Auckland Libraries Heritage Collections holds these oral history recordings. <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/oralhistory/search/searchterm/The%20Seed%20Collectors/field/titlea/mode/exact/conn/and">Learn more and listen to excerpts</a> from the interviews on Kura Heritage Collections Online. <div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uwwkmHi4KVSPHuNdKibdWoRISvqWcfAYTDBlcpnS61sx3zfizvh5FjRI5D1vjKN-7xmcK1456Z-V4-Jsyayzr3DYNEqChXmSChqqa_FZMrs2Dnnb8Mw3OLIOwBwCVEXuyMmEYkDCqm0WuJMHdSZ7UJU3fhcHh__8BPFE0dPC7hJDoljyexgjvKi-K8DL/s941/Green%20city.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="941" data-original-width="737" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uwwkmHi4KVSPHuNdKibdWoRISvqWcfAYTDBlcpnS61sx3zfizvh5FjRI5D1vjKN-7xmcK1456Z-V4-Jsyayzr3DYNEqChXmSChqqa_FZMrs2Dnnb8Mw3OLIOwBwCVEXuyMmEYkDCqm0WuJMHdSZ7UJU3fhcHh__8BPFE0dPC7hJDoljyexgjvKi-K8DL/w502-h640/Green%20city.jpg" width="502" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Image: Green City poster, Auckland Regional Authority, 1980s, Ephemera Collection,</div><div style="text-align: center;">Auckland Libraries Heritage Collections.</div><div style="text-align: center;"><br /></div></td></tr></tbody></table>The United Nations Framework Convention on Climate Change website notes that the term “sponge cities” is used to describe urban areas with abundant natural areas such as trees, lakes and parks, or other good design intended to absorb rain and prevent flooding.</div><br />Interest in harnessing nature or using nature-based solutions to tackle climate shocks has grown in popularity in recent years. Sponge cities hold more water in rivers, greenery, and soil instead of losing it to evaporation, meaning they are more resilient to drought. Early research indicates that natural ways to absorb urban water are about fifty percent more affordable than man-made solutions and are twenty-eight percent more effective. <div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLv3FG03NV-YS0WnIRSi2YJ2PnT1Q992wjfH3KeyXz9jwBLJNAorRRJu9lVDr4zUXM5yFzswKz58_FIdhv8HNu5CYnBW7YSy12xAqS3XuhdBkmamcSWKx-5ypnp7c1HIJRno9fe3ZlVFsbBKN8-4nGLLdOhaWwIO7uY0pVNucwhWCkLOOd0K-FGZEFLCiF/s941/I%20only%20drain%20rain.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="941" data-original-width="793" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLv3FG03NV-YS0WnIRSi2YJ2PnT1Q992wjfH3KeyXz9jwBLJNAorRRJu9lVDr4zUXM5yFzswKz58_FIdhv8HNu5CYnBW7YSy12xAqS3XuhdBkmamcSWKx-5ypnp7c1HIJRno9fe3ZlVFsbBKN8-4nGLLdOhaWwIO7uY0pVNucwhWCkLOOd0K-FGZEFLCiF/w540-h640/I%20only%20drain%20rain.jpg" width="540" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: I only drain rain poster, Auckland Regional Council, date unknown, Ephemera Collection, Auckland Libraries Heritage Collections.<br /><br /><br /><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></p></td></tr></tbody></table>Ephemera is a term for printed material originally intended to have a limited lifespan. It includes posters, programmes, invitations, tickets, postcards, pamphlets, and flyers, with details about specific issues, activities, events, products, and services. The examples of ephemera in the 'Seed savers...' display are from our Ephemera Collection, part of Auckland Libraries Heritage Collections.</div><div><br /></div>This blog post highlights a sample of the collections held at the Central City Library relating to environmental action, conservation, and natural history. We also hold other manuscript collections relating to these subjects, including the records of the Auckland branch of the Forest and Bird Society and the Environmental Defence Society, Project Jonah, and the Water Protection Society.<br /><br />There are also collections on similar topics held at our regional archives, such as the <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/1970/rec/3">Manukau Harbour Protection Society</a>, <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/9300/rec/1">Project Twin Streams</a> held at Research South, and the <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/oralhistory/id/731/rec/9">Waitakere Ranges Protection Society Project</a> collection, at Research West. Find out more about Auckland Libraries research services <a href="https://www.aucklandlibraries.govt.nz/Pages/research-services-heritage-collections.aspx">here.<br /></a><br /><div>Come along to level 2 of the Central City Library | Tāmaki Pātaka Kōrero, till Monday 30 October, to have a look in person at the 'Tree lovers, seed savers and sponge cities' display.</div><div><br /></div><b><span style="color: #666666;">Author: Sharon Smith, Senior Librarian Community Archives, Auckland Libraries Heritage Collections</span></b></div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-44866929414088760362023-10-09T14:06:00.000+13:002023-10-09T14:06:49.441+13:00 The rare Third Folio in Auckland: a much travelled Folio by Mr William Shakespeare<p>In 2023 the world is celebrating four hundred years since the publication of Shakespeare’s plays in the volume now called the <i>First Folio</i>. Auckland Libraries is proud to care for the <i>First Folio</i> (1623) and the subsequent 17th century folios two, three and four. All but one were gifted to Auckland by Sir George Grey whose founding bequest established the Auckland Free Public Library in 1887. The story of the provenance of the <i>Third Folio</i> is an interesting one.</p><p>The Third Folio is a rarer volume than either the <i>Second </i>(1632) or the <i>Fourth </i>(1685), probably because unsold copies perished in the Great Fire of London in 1666. Our copy was purchased from the Lush Family some time after 1951. It came to New Zealand some hundred years earlier when the Reverend Vicesimus Lush, his wife Blanche and four children arrived here. It had been owned by a forebear of Mrs Blanche Lush nee Hawkins, the Reverend Thomas Hawkins, Chaplain of Magdalen College, Oxford, 1754-1772 whose bookplate is in the volume.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQ5S5KjxnQubnOs7gPAoY0zo7tUJwyF_l7lKiIRfx68zlbMnpM7NFMRiHNRKLPEjX5nGYiqHz1Alat2ON8Jnx5NC9wCBRYBixHJyFqHVb4lA90AlL7slPVqCJyZnaPQto7J4IGUgnoajSyfqVlCR-8UAMEEJ7XROZnrU-cdKjBDbSa8vZkn0jFncOFt-M/s1905/Bookplate_Thirdfolio.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1905" data-original-width="1379" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQ5S5KjxnQubnOs7gPAoY0zo7tUJwyF_l7lKiIRfx68zlbMnpM7NFMRiHNRKLPEjX5nGYiqHz1Alat2ON8Jnx5NC9wCBRYBixHJyFqHVb4lA90AlL7slPVqCJyZnaPQto7J4IGUgnoajSyfqVlCR-8UAMEEJ7XROZnrU-cdKjBDbSa8vZkn0jFncOFt-M/w464-h640/Bookplate_Thirdfolio.jpg" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Bookplate in the Third Folio. Auckland Libraries Heritage Collections. SHAK 1664.</td></tr></tbody></table><p>Thomas Hawkins married Mary Lever on 12 August 1766. Notes from the Lush Family with the Third Folio indicate that Mary was his “amenusensis” and that the notes in the Third Folio are in her hand. John Webster, former curator at Ewelme Cottage notes that ownership of the Third folio went from Reverend Thomas Hawkins to his son Edward Hawkins, who took it with him to Jamaica. Blanche claimed the Folio after Edward’s death and brought it to New Zealand with all their property when they emigrated in 1850.</p><p>The Third Folio comes with additional plays. Although the stationer Philip Chetwinde inherited the copyright to Shakespeare’s plays in the 1630s, it was not until 1664 that he brought out this edition with a supplement containing:</p><p>“seven plays, never before printed in folio”:</p><p><i>Pericles</i>, <i>Locrine</i>, <i>The London prodigal</i>, <i>The puritan</i>, <i>Sir John Oldcastle</i>, <i>Thomas Lord Cromwell</i> and <i>A Yorkshire tragedy</i>.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfSke4L2sbNt0Kske_AA9atkPgXDi5baqOA9JlfI93aN-7QQUu-nBJQaKFF255CjCQ2mDanVvvyBkrymTDAOBly9AW63NhqxN4TonwLdAcWVCRzAL5BhSJifJx-GZ16bWNYu095eKZUG9DXoxy3eI7YmTsp82OzQqMCbLmfHwn3WZm534D4SeJCupSgs1/s1839/titlepage_Thirdfolio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1839" data-original-width="1379" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfSke4L2sbNt0Kske_AA9atkPgXDi5baqOA9JlfI93aN-7QQUu-nBJQaKFF255CjCQ2mDanVvvyBkrymTDAOBly9AW63NhqxN4TonwLdAcWVCRzAL5BhSJifJx-GZ16bWNYu095eKZUG9DXoxy3eI7YmTsp82OzQqMCbLmfHwn3WZm534D4SeJCupSgs1/w480-h640/titlepage_Thirdfolio.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Title page of the Third Folio. Mr. William Shakespear’s comedies, histories, and tragedies. London: Philip Chetwinde, 1664. Auckland Libraries Heritage Collections. SHAK 1664.</td></tr></tbody></table><p>Shakespeare is unlikely to have contributed to any of the seven new plays, except <i>Pericles</i>. Auckland Libraries is delighted to own a rare quarto edition of Pericles published in 1619. This play is generally believed to have been a collaborative effort with George Wilkins. Refer to Auckland-based Shakespearean authority Macdonald Jackson’s <a href="https://discover.aucklandlibraries.govt.nz/search/card?id=094d44b7-c554-5697-8125-9dad5004f76d&entityType=FormatGroup" target="_blank"><i>Defining Shakespeare: Pericles as test case</i> </a>(2003) for further detail on this topic. </p><p>Our Third Folio is heavily annotated / marked up, either by Thomas Hawkins or his wife, Mary. Thomas Hawkins was Chaplain at Magdalen college in Oxford, 1754-1772. He was known to have worked on the 1769 edition of the Hanmer Shakespeare during this period.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrucFSVxBG6ohPtJjqIstLAMVdNa_PkoVOWiE0cGq8GHxOViBboPf1g3NtW5cFhQU7XI_9md51_B7ziBsMc4egmk7ufZU-JIkyifgVlCWuPSZFhN-kLvCv4pMJtN1C3DZIaLz21CAEWfKCTcPpJ-rhxek8KE1u7FOK0cRJxJe6Z-DYj3efG_ct8Op2sAi/s1839/Twelfthnight_Thirdfolio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1839" data-original-width="1379" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrucFSVxBG6ohPtJjqIstLAMVdNa_PkoVOWiE0cGq8GHxOViBboPf1g3NtW5cFhQU7XI_9md51_B7ziBsMc4egmk7ufZU-JIkyifgVlCWuPSZFhN-kLvCv4pMJtN1C3DZIaLz21CAEWfKCTcPpJ-rhxek8KE1u7FOK0cRJxJe6Z-DYj3efG_ct8Op2sAi/w480-h640/Twelfthnight_Thirdfolio.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Twelfth Night showing annotations. Auckland Libraries Heritage Collections SHAK 1664.</td></tr></tbody></table><p>The edition is noteworthy bibliographically as the first edition of Shakespeare’s collected works to be printed outside of London and the first produced by a university press (Clarendon Press) but it does not rank with the other 18th century editions by Samuel Johnson, Edmond Malone and George Stevens. Sir Thomas Hanmer’s <i>Preface </i>to the first edition printed at Oxford (1743-44) claims: a “true and correct Edition of Shakespear’s works cleared from the corruptions with which they have hitherto abounded”. A new edition of the Hanmer Shakespeare was launched in 1769. This edition expanded Hanmer's original and much-criticised efforts. The glossary was doubled in size, and the commentary clarified.</p><p>Thomas Hawkins’ copy of the 1770 edition remained with the family. The six volumes of the Hanmer Shakespeare owned by the Lush Family are still in Ewelme Cottage in Parnell. These volumes show the ownership of Charlotte Hawkins, 1797. Charlotte was one of Thomas and Mary’s children. Mary later married Sir William Taunton. She became Blanche’s guardian when Blanche was orphaned at age thirteen. Blanche Hawkins (1819-1912) married Vicesimus Lush in 1842. They left England in 1850 and Lush Family members lived in Ewelme Cottage in Parnell from 1864 until 1968. The <a href="https://visitheritage.co.nz/visit/auckland/ewelme-cottage/" target="_blank">house museum</a> is now owned by Heritage New Zealand Pouhere Taonga and can be visited.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDO07cD5PJw1m8dIOlAkNdrNMuoeLxKo3JIpHe0puAfynVMfXxuSXrE-sg9YXs900fKLP-j2Sc4qC-rbTo_0go48j-QUU9rVkexjhemBtR4D-7ESQCZMcMybwscUrp8QIhfgA8qZ6iyyaQI_BgzfZC_KoJn-EHJV-Y_W6nnaxMqWBslqQ-bNFG5gI9fBf8/s1839/Charlotte_Thirdfolio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1839" data-original-width="1379" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDO07cD5PJw1m8dIOlAkNdrNMuoeLxKo3JIpHe0puAfynVMfXxuSXrE-sg9YXs900fKLP-j2Sc4qC-rbTo_0go48j-QUU9rVkexjhemBtR4D-7ESQCZMcMybwscUrp8QIhfgA8qZ6iyyaQI_BgzfZC_KoJn-EHJV-Y_W6nnaxMqWBslqQ-bNFG5gI9fBf8/w480-h640/Charlotte_Thirdfolio.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Inside cover of Hanmer’s Shakespeare volume IV (1770) at Ewelme Cottage, Auckland. Heritage New Zealand Pouhere Taonga</td></tr></tbody></table><br /><h4 style="text-align: left;">Author: Jane Wild, Curator Rare Books</h4><div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-29742625532067627202023-09-22T15:34:00.006+12:002023-09-22T15:36:51.985+12:00Beyond the Bookshelves: Miraculous Medieval Manuscripts<p>Follow the journey of a rare manuscript, from the curators’ selection to a book conservator's assessment, and finally, to find its place in our Miraculous Medieval Manuscripts exhibition.</p><p>Learn about what’s required for the care and handling of a medieval manuscript and enjoy a peek into the process of bringing an exhibition to life with Auckland Council Libraries Heritage Collections.</p><p><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/X35Syby-w3s?si=09DBNx_JfOVIjLUk" title="YouTube video player" width="560"></iframe></p><p>Visit the <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/11/miraculous-medieval-manuscripts-at-auckland-libraries/" target="_blank">Miraculous Medieval Manuscripts exhibition</a> on Level 2, Central City Library until 11 November 2023</p><p>Browse the collection on <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/search/searchterm/medieval%20manuscripts/field/collea/mode/exact/conn/and" target="_blank">Kura Heritage Collections Online</a>.</p><p><br /></p><h4 style="text-align: left;">Credits</h4><p>Auckland Council Libraries</p><p>Ngaio Vince-Dewerse – Book Conservator </p><p>Renee Orr & Jane Wild – Rare Book Specialists and Exhibition Curators</p><p>Sue Berman – Project Lead</p><p> </p><p>Popular Ltd</p><p>Director and Videographer – Benj Brooking</p><p>Post-Production Director – Juliana Machado</p><p> </p><p>Additional thanks</p><p>Auckland Council Libraries Heritage Collections and Engagement teams; Digital Assets Team, Conservation and Preservation Team, Library and Learning Services.</p><p>Made with Content Creation Funds Auckland Council Libraries 2022/2023</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-85342872060885569442023-09-15T14:02:00.007+12:002023-09-15T14:02:41.960+12:00Dorothy Quentin a la recherche de la Madeleine Perdue: a bibliographical romanceDorothy Quentin - the novelist you have never heard of who set her romances in New Zealand and on the high seas. We now have a guide to Auckland Libraries' formed collection of Rowan Gibbs’ Dorothy Quentin novels. <br /><br />The “bibliographical romance” described by Rowan Gibbs in his 1998 work (published by Cultural and Political Booklets of Te Aro, Aotearoa, sets out the considerable publication history of Madeleine Batten whose primary pen name was Dorothy Quentin. This guide is now available in the Reading Room in Special Collections, at Tāmaki Pātaka Kōrero | Central City Library, to assist readers navigating the Quentin oeuvre. The redoubtable <a href="https://www.stuff.co.nz/entertainment/books/300796863/rowan-gibbs-collected-20000-nz-books-over-45-years-now-hes-calling-it-quits">Rowan Gibbs has made a career collecting New Zealand fiction.</a> This amounts to over 200,000 titles collected since 1977.<div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37xCkQICeaz62Kli2F4I18Pw7z8oZH-fxyBSrhMtGxagd2tpgBTzLstLMeBBi6x10FJzfb3jbLysb20T9fwBC_vB-q97fgmPxttoRolgGy1v4gsG0V3RjlPiTlXtYg9wCUoUMvAAwTyvCodAhScySkEM5TQKCg-x90BqsFcvBmaxOyjrkShVFByld0Sry/s2249/The%20Singing%20Hills%20cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2249" data-original-width="1476" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37xCkQICeaz62Kli2F4I18Pw7z8oZH-fxyBSrhMtGxagd2tpgBTzLstLMeBBi6x10FJzfb3jbLysb20T9fwBC_vB-q97fgmPxttoRolgGy1v4gsG0V3RjlPiTlXtYg9wCUoUMvAAwTyvCodAhScySkEM5TQKCg-x90BqsFcvBmaxOyjrkShVFByld0Sry/w420-h640/The%20Singing%20Hills%20cover.jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">Image: Cover of 'The Singing Hills' by Dorothy Quentin.<br />Auckland Libraries Heritage Collections. </td></tr></tbody></table><div><br style="text-align: start;" /></div></td></tr></tbody></table><div>New Zealand libraries and book collections are richer for Rowan Gibb’s assiduous collection, particularly in fiction, across all genres. Terry Sturm’s 'Oxford History of New Zealand Literature in English' credits Quentin as “New Zealand’s first author to specialize in the hospital romance.” This genre continues to flourish in print and on screen including the long running television serial <i>Shortland Street. </i>A search on Te Puna, the catalogue for New Zealand libraries, for Dorothy Quentin, results in holdings only at the National Library and the Alexander Turnbull Library. These are now rare books. Quentin is represented in the British Library and other international academic and research libraries.</div><div><br /><div>Until the 2022 purchase from Rowan Gibbs, Auckland Libraries held just one title by Dorothy Quentin: <a href="https://discover.aucklandlibraries.govt.nz/search/card?id=9b51e6a0-c45d-50e5-ad07-bf536bc45335&entityType=FormatGroup">Goldenhaze.</a> This novel was published in 1969 and tells the story of Mandy, who found out after her mother died, that she was the granddaughter of a rich old farmer in New Zealand.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinetNQd5AYphfHjeIYFVW2USFiIzk4RCFC6imobFRXtr3B-wrJvEMkSC7JnBAGz1-bGq_xsGATqWpksU5L4LmDBeSGPd2s3vGk-OBiPfgBGeWXUGA-iJ_oM61-HcIcjTflYTwfCrHiijX6l_YdECIsbZ_ui3rvSwqxHDi5cjCaGFmI_tFHjjB0cIRnDUay/s2747/Goldenhaze%20cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2747" data-original-width="1869" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinetNQd5AYphfHjeIYFVW2USFiIzk4RCFC6imobFRXtr3B-wrJvEMkSC7JnBAGz1-bGq_xsGATqWpksU5L4LmDBeSGPd2s3vGk-OBiPfgBGeWXUGA-iJ_oM61-HcIcjTflYTwfCrHiijX6l_YdECIsbZ_ui3rvSwqxHDi5cjCaGFmI_tFHjjB0cIRnDUay/w436-h640/Goldenhaze%20cover.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Cover of 'Goldenhaze' by Dorothy Quentin.<br />Auckland Libraries Heritage Collections. </td></tr></tbody></table><div><br /></div><div>The author’s note on the dust jacket for Goldenhaze includes the following note:<br /><p class="MsoNormal" style="margin-left: 36pt;">'New Zealand,' says Dorothy
Quentin, 'has always been my second home. At one time I had …a house in
Milford. You could almost say we commuted… I’ve been through the Panama Canal
fourteen times and Suez four times, and, although I am Jean Batten’s
sister-in-law, I’ve never been on a plane…'<o:p></o:p></p>
<p class="MsoNormal">The back cover features the promotional pitch for Mills
& Boon titles finishing with: “A postcard will bring you a catalogue.”<o:p></o:p></p>
<p class="MsoNormal">Auckland Libraries
now holds a representative set of Dorothy Quentin and related titles thanks to
the acquisition of thirty-eight titles, collected since 1978 by Rowan Gibbs.
These titles are in very good condition. Many of them were purchased in “as new”
condition with dust jackets in 1979 at the closing sale of Ferguson &
Osborn, the Wellington bookshop. It is difficult to assemble a collection of
this mid twentieth century author whose works went straight to the top of the
most popular lists in the day. In 1941 her work was featured on the list of
books in demand in the Auckland Star.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIlEM5iqCAxp5m4i0dkA4ZBZH3vMrWJpYzLoCtBDfmgoa0c6qHTeOX7_mpjFbM2hlMSS_y2efsDewu4zg2r44xgp4aECWFNtbTXWQpFnuB2EwKY8VgRZPo_YKl2uRb0yoRK_1RDcgqzm11v3knh-pbkBfhrBoA_53z-ZQMz4V3b1Z3HtuZT_h2FDAleUT-/s706/Papers%20Past%20article%20Books%20in%20Local%20Demand.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="706" data-original-width="552" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIlEM5iqCAxp5m4i0dkA4ZBZH3vMrWJpYzLoCtBDfmgoa0c6qHTeOX7_mpjFbM2hlMSS_y2efsDewu4zg2r44xgp4aECWFNtbTXWQpFnuB2EwKY8VgRZPo_YKl2uRb0yoRK_1RDcgqzm11v3knh-pbkBfhrBoA_53z-ZQMz4V3b1Z3HtuZT_h2FDAleUT-/w500-h640/Papers%20Past%20article%20Books%20in%20Local%20Demand.JPG" width="500" /></a></td></tr><tr><td class="tr-caption">Image: Auckland Star, Volume LXXII, Issue 45, 22 February 1941, Page 4 .<br /></td></tr></tbody></table><br /><div style="text-align: left;">The titles by Dorothy Quentin give an idea of their content: 'Dear Anna' (1952) set on board a ship travelling from England to New Zealand, 'The doctor’s destiny' (1963) set on Papaaluva “a remote Pacific island”, and 'The healing tide' (1965) featuring a jilted nurse who finds romance on a ship to New Zealand. Unusually for this genre the novel starts with a whakatauki in te reo Māori with a translation supplied: “People die, are killed, disappear; not so the land, which remains for ever”. Many of these titles are now rare. 'Sparkling waters' (1945) is set on the Waitematā Harbour and is only held by Auckland Libraries, the Alexander Turnbull Library and two other international libraries.</div><br />Quentin first arrived in Auckland, as a twenty year old, in 1932. She reported in an article in the Thames Star that she “fell in love with New Zealand at first sight.” She lived in New Zealand for over ten years. Auckland Libraries' holds the English edition and a German translation of 'Perilous voyage' which is exceptionally rare.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-PZz3L96F219vtQaD0DqF7kPC_QSaGlgWwoMgZDRtKLOuj3vgPmjqIBEzbIBmsWYDFesjpu2RUfZf7EprSLWHr_p_0_4O19_SBaiZXGMp7t7vjNGOFCUTttTqtWVllYWobf7CxipH5hrZHgz3spauxM3ClbsSseM2kUaKFfQZgre_YzUh_BSy1nvQ38p/s2348/Perilous%20voyage%20cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2348" data-original-width="1590" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-PZz3L96F219vtQaD0DqF7kPC_QSaGlgWwoMgZDRtKLOuj3vgPmjqIBEzbIBmsWYDFesjpu2RUfZf7EprSLWHr_p_0_4O19_SBaiZXGMp7t7vjNGOFCUTttTqtWVllYWobf7CxipH5hrZHgz3spauxM3ClbsSseM2kUaKFfQZgre_YzUh_BSy1nvQ38p/w434-h640/Perilous%20voyage%20cover.jpg" width="434" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Cover of 'Perilous voyage' by Dorothy Quentin.<br />Auckland Libraries Heritage Collections. <br /></td></tr></tbody></table><div><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal" style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorzijcGw7eYB_BDLa1BJXRw74Vf1JXK6JzZ-9HjlXTowO741LIJLJ0_-KQkb27lCC1P9opZN2_giQf6fC5cJ6mrJAkPQMHKmTpmNs7I70tMiTMyMGFK50uvqLWrhIJDva4rqb65yWWzAiCWn-Pj0ZE3rdJNRv-KoGinAADWjzDmE--JO2v7sxYUHDJUxg/s4635/Die%20fahrt%20nach%20neuseeland%20Dorothy%20Quentin%20cover.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4635" data-original-width="3058" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjorzijcGw7eYB_BDLa1BJXRw74Vf1JXK6JzZ-9HjlXTowO741LIJLJ0_-KQkb27lCC1P9opZN2_giQf6fC5cJ6mrJAkPQMHKmTpmNs7I70tMiTMyMGFK50uvqLWrhIJDva4rqb65yWWzAiCWn-Pj0ZE3rdJNRv-KoGinAADWjzDmE--JO2v7sxYUHDJUxg/w422-h640/Die%20fahrt%20nach%20neuseeland%20Dorothy%20Quentin%20cover.jpeg" width="422" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Cover of 'Die fahrt nach Neuseeland' by Dorothy Quentin.<br />Auckland Libraries Heritage Collections. <br /><br /></td></tr></tbody></table>In this <a href="https://www.stuff.co.nz/entertainment/books/300796863/rowan-gibbs-collected-20000-nz-books-over-45-years-now-hes-calling-it-quits">Stuff article</a> from February 2023, Rowan Gibbs comments on the picture of New Zealand life readers
gained from these captivating titles<span face="Calibri, sans-serif"><span style="font-size: 14.6667px;">:</span></span><p></p><p style="text-align: left;">"Gibbs hasn’t read everything in his vast library of books, though he’s dipped into them all.</p></div><p style="text-align: left;">He’s read a surprising number of Mills and Boon romance writers, though.<br /> “That makes people laugh, but there’s hundreds of thousands of people around the world that know New Zealand only from these romance stories about rugged sheep farmers. They have a very strange idea that we are all farmers when actually we’re mostly civil servants.</p><div style="text-align: left;">“But that’s what the English publishers wanted.”</div><div><br />The Mills and Boon romances are of great social interest and have attracted the attention of feminist academics, says Gibbs, who gave all the romance books and most of the other novels by women writers – almost two thirds of the collection - to a woman who is maintaining them as an archive."</div><div><br /></div><div><div style="text-align: left;">Romance novels were read to death and not retained for research value. Thanks to
Rowan Gibbs’ collecting and his bibliographical sleuthing we can read some of
Dorothy Quentin’s considerable oeuvre.<span style="mso-spacerun: yes;"> </span>Sometimes her books were set in New Zealand, in her sometime homes in Thames
and in Auckland. Her additional pen names were Madeleine H. Murat, Martin Tree, Linda Beverly, and David King.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b><span style="color: #666666;">References:</span></b><br /><o:p> </o:p><a href="https://www.abebooks.com/servlet/BookDetailsPL?bi=30357115433&searchurl=an%3DDorothy%2BQuentin%26sortby%3D1&cm_sp=snippet-_-srp1-_-title2"><br /></a>Rowan Gibbs article: <a href="https://www.stuff.co.nz/entertainment/books/300796863/rowan-gibbs-collected-20000-nz-books-over-45-years-now-hes-calling-it-quits">https://www.stuff.co.nz/entertainment/books/300796863/rowan-gibbs-collected-20000-nz-books-over-45-years-now-hes-calling-it-quits<br /></a><o:p> </o:p></div><div style="text-align: left;"><o:p><b><span style="color: #666666;">Author: Jane Wild, Principal Curator Rare Books</span></b></o:p></div><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p>
<div style="mso-element: endnote-list;"><div id="edn1" style="mso-element: endnote;"><p class="MsoNormal"><o:p></o:p></p>
</div>
</div></div></div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com1tag:blogger.com,1999:blog-5326867358384170422.post-88518871238760514952023-09-05T13:03:00.002+12:002023-10-24T11:27:26.912+13:00Aerial photographs of Manukau from the Auckland Council Archives<p>It’s amazing the difference a few decades can make! These aerial photographs of Manukau City from the Auckland Council Archives show the previously open rural landscape to the more built-up area we know today. All showing the same exact location, it is fascinating to realise the growth of Manukau over 25 years, nearly 30 years ago.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50uvNmI86ptx85Q4_u18zwnhl6AJLQBxBgBk1zVlRx5OHUG0ugA8I1OpDB9fjnxvYwIfzZ19DokqshXbtZWcIuVUv_eiMsS5uOzQliDlRBG2heFhqtZvPNpmz-DQBlfsbeGglbZCrwVExlwGVSNHZpzvZnc8CRcroIT6t-8m_0xM7pkgn2iiMDGR9xctR/s2000/Manukau%20City%20Centre;%20MAPS;%2010-07-2023;%20014.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50uvNmI86ptx85Q4_u18zwnhl6AJLQBxBgBk1zVlRx5OHUG0ugA8I1OpDB9fjnxvYwIfzZ19DokqshXbtZWcIuVUv_eiMsS5uOzQliDlRBG2heFhqtZvPNpmz-DQBlfsbeGglbZCrwVExlwGVSNHZpzvZnc8CRcroIT6t-8m_0xM7pkgn2iiMDGR9xctR/w640-h426/Manukau%20City%20Centre;%20MAPS;%2010-07-2023;%20014.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Photo taken by our Digital Archives Imaging Specialist Paul Chapman showing scale of these aerial photographs and other examples from the accession. </td></tr></tbody></table><br />The first image taken in 1972 and still in black and white lacks most of the recognisable landmarks, whereas the other two, taken in 1981 and 1994 are more recognisable with the inclusion of the Manukau Westfield mall and eventually Rainbows End. All of these images were printed on photographic paper pasted in chipboard and the scale here is 2 chains =1” meaning 40 meters = 1 inch approximately.<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYTYUNqQvB-pQuOF4pJbGn4pZhiISJAvgj9zQZf_xvN1gAew6-4ltlM368GGB20xcKXsF3g04D-nbBeE1dOwWhUF6C494-fRdG0fajnWooYAKxdj4_I_AXDv1-vh3AGN5a5souf8cjehBfjic8jrWYJLIbcx-M4JjLUQtfh7dzlT9d6O0cLFT4LRDZE_n/s2000/72-04-14%20Manukau%20City%20Centre;%20MAP%20Detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYTYUNqQvB-pQuOF4pJbGn4pZhiISJAvgj9zQZf_xvN1gAew6-4ltlM368GGB20xcKXsF3g04D-nbBeE1dOwWhUF6C494-fRdG0fajnWooYAKxdj4_I_AXDv1-vh3AGN5a5souf8cjehBfjic8jrWYJLIbcx-M4JjLUQtfh7dzlT9d6O0cLFT4LRDZE_n/w640-h426/72-04-14%20Manukau%20City%20Centre;%20MAP%20Detail.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Black-and-white aerial photograph of Manukau City Centre, 14 April 1972, AUC 2023 025 Item 7, Auckland Council Archives.</td></tr></tbody></table><p>If you look carefully, you can perceive slightly different shades of colour, especially in the 1981 image. This is because the full image is made up of a mosaic of smaller images (pieces cut and pasted together on the board); every printed piece does not react the same way to exposure to the environmental conditions, causing this variation in colour. These mosaics are incredibly accurate, the cut was made along a road or the edge of a building, in order to have the most homogenous result.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y1hxQSzjRCT4YY8sGUjX0wqGf1k9nKCPD8vNRXpPby7vAuXXPK18BINyXG28Bx7K9rdb-chLhajtLvdNMPL6vHS8G4VNHu_StXYypqd8d4XklFBvXGA-yNifp4vsAeCP3tTDT9Bxi5xQ41fnVngYxtv5xVkk7pdecYhL7OLiAhjKYsvMHWyG1UVevaGY/s2000/81-06-10%20Manukau%20City%20Centre;%20MAP%20Detail%20(002).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1284" data-original-width="2000" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y1hxQSzjRCT4YY8sGUjX0wqGf1k9nKCPD8vNRXpPby7vAuXXPK18BINyXG28Bx7K9rdb-chLhajtLvdNMPL6vHS8G4VNHu_StXYypqd8d4XklFBvXGA-yNifp4vsAeCP3tTDT9Bxi5xQ41fnVngYxtv5xVkk7pdecYhL7OLiAhjKYsvMHWyG1UVevaGY/w640-h410/81-06-10%20Manukau%20City%20Centre;%20MAP%20Detail%20(002).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Colour aerial photograph of Manukau City Centre, 10 June 1981, AUC 2023 052 Item 5, Auckland Council Archives.</td></tr></tbody></table><p>Originally framed, these photographs were likely on display to document Manukau’s development. Some of the Manukau City aerial photographs we gathered at Auckland Council Archives can be from oblique view and vertical view, starting from the 1970s, usually created as administrative records. Because of their large format, around 1.4 to 2 meters long, these records are quite unusual in our collection, and challenging to manage. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vLSihsujGhK-8gWKcr7SrqTt6HpiJfwzxJ0m2OGLueIQBTBRqfbEt39V49b1uf6E2GbTrvCySzaDyNvlm3Fpu5JZKxwxdOZ0obtfcQ5QsthkLoGT7zvM-EGV_exJWjtRkIYb5zZUxreE4i73sBZYMORh1b8KXpOLVOEjtC0rOKgaj2xHBsZD-uYwH2iA/s2000/94-06-04%20Manukau%20City%20Centre;%20MAP%20Detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1334" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vLSihsujGhK-8gWKcr7SrqTt6HpiJfwzxJ0m2OGLueIQBTBRqfbEt39V49b1uf6E2GbTrvCySzaDyNvlm3Fpu5JZKxwxdOZ0obtfcQ5QsthkLoGT7zvM-EGV_exJWjtRkIYb5zZUxreE4i73sBZYMORh1b8KXpOLVOEjtC0rOKgaj2xHBsZD-uYwH2iA/w640-h426/94-06-04%20Manukau%20City%20Centre;%20MAP%20Detail.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Colour aerial photograph of Manukau City, 4 June 1994, AUC 2023 025 Item 1, Auckland Council Archives.</td></tr></tbody></table><p>In preparation of the future move of the Archives in 2025, the archivists, the conservator and the digital imaging specialist have been working together to unpack the aerial photographs as their enclosure was unsuitable for long term storage; then attribute an accession number and import them in our database, clean and photograph them, and re-pack them in appropriate conservation materials in order to ensure the condition and stability of the records over time. </p><p>Thanks to this work, the photographs are now known and described, accessible as digital records and in better condition to move and be stored at the Archives. The Auckland Council Archives hold many aerial photographs from multiple sizes, scales, locations around Auckland region. </p><p>If you want to learn more about aerial photography, you can check out our archivist Owen Gordon's talk <a href="https://youtu.be/DQDvNJkKsdc?si=QQ3meQlwSj-hxS9Z " target="_blank">“A bird’s eye view – aerial photographs at Auckland Council Archives” on YouTube</a>, given at the Central City Library in October 2022.</p><h4 style="text-align: left;">Author: Auckland Council Archives</h4><p>The Corporate Records and Archives team are moving out of Bledisloe House later this year to temporary accommodation at the Albany Hub (6-8 Munroe Lane) and Papakura (35 Coles Crescent). Customers wishing to consult the archives for North, South and West Auckland should contact Corporate Archives by email (archives@aucklandcouncil.govt.nz) or phone (09 890 2427).</p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5326867358384170422.post-46288163412036109272023-08-15T12:03:00.007+12:002023-08-21T14:36:50.782+12:00Explore medieval manuscripts on Kura Heritage Collections Online<p>One of the inspirations for our current heritage exhibition <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/11/miraculous-medieval-manuscripts-at-auckland-libraries/" target="_blank">Miraculous: medieval manuscripts</a> was being able to view our entire medieval manuscripts collection on <a href="https://kura.aucklandlibraries.govt.nz/" target="_blank">Kura Heritage Collections Online</a>. Over half of these remarkable books are fully digitised and can be browsed and enjoyed from any device or location. </p><p>Explore more from the books that feature in the Miraculous exhibition below, or dive into the <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/search/searchterm/medieval%20manuscripts/field/collea/mode/exact/conn/and" target="_blank">full collection of medieval manuscripts here</a>.</p><h4 style="text-align: left;">Rossdhu Book of Hours</h4>Medieval manuscripts are often described as “illuminated”, meaning embellished with gold, silver and luminous colours. These illuminations are found in the initial letters of words, and in borders and pictures.<br /><p>As well as being decorative and a pleasure to look at, initials and borders help the reader to find the way through a book of tightly written text with no page numbers or punctuation. They play the role of headings and punctuation by marking the start of a new section and indicating paragraphs, verses, or corrections.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5PQ6w9IVLqTGtJTfhox-D7uzM5kFqfNcsoQdDGLAIx-8Hws0KJDUxUPfjIpv5VScfxjzn3hOwGAjMbvVmT-U-PqufaqZ5GfIEwtSMpzArnvZsF_fstG-iP3Bkf2MebofSjZv8ge0Nq7OQ5zAZCr0Wam1gsMg62ToKEuHX2-A2_i_AqDBJ4-B2oqm9udL/s2638/MedMS_G146_113_historiated2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2638" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5PQ6w9IVLqTGtJTfhox-D7uzM5kFqfNcsoQdDGLAIx-8Hws0KJDUxUPfjIpv5VScfxjzn3hOwGAjMbvVmT-U-PqufaqZ5GfIEwtSMpzArnvZsF_fstG-iP3Bkf2MebofSjZv8ge0Nq7OQ5zAZCr0Wam1gsMg62ToKEuHX2-A2_i_AqDBJ4-B2oqm9udL/w486-h640/MedMS_G146_113_historiated2.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page with an initial containing a scene of the Virgin Mary with the body of Christ. From: Rossdhu Book of Hours. Between 1450-1475. Auckland Libraries Heritage Collections, MedMS-G146.</td></tr></tbody></table><br /><div>After the text of a manuscript was written the illuminator added the borders and initials. Finally, the miniatures were added, usually by a separate skilled artist. Today the word miniature is usually understood to mean a small painting, often a portrait. In medieval manuscripts miniatures can range in size from little scenes found inside an initial to a full page picture.</div><div><br /></div><div>The <i>Rossdhu Book of Hours</i> is richly decorated with borders and initials, and contains 25 miniature paintings each measuring around 13 x 9.5 cm. This miniature of Saint George slaying the dragon is one of a series introducing prayers addressed to various saints. Each saint is portrayed with items associated with him or her. These items would have been familiar and recognizable to the medieval reader, who would have known the story of the saint.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Se6zSNP8Wnbys8RbzU-jk9u_bW7NhMDdMUgWWQvdt6j0SWCEjwqxzttejqpJiZBL1PI6jUdpElYpZT51qmvTFxQWxfHdi9-lz-mooGNlSaNMUaI6mmGdMYJhNVR_nQ9LyI3LmTh_cpHWSmH8bBkeI53znNeTXkoLzQEhobOyFGtzkVv2ViTmAiPiu5fR/s2638/MedMS-G146_32_StGeorgeanddragon.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2638" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Se6zSNP8Wnbys8RbzU-jk9u_bW7NhMDdMUgWWQvdt6j0SWCEjwqxzttejqpJiZBL1PI6jUdpElYpZT51qmvTFxQWxfHdi9-lz-mooGNlSaNMUaI6mmGdMYJhNVR_nQ9LyI3LmTh_cpHWSmH8bBkeI53znNeTXkoLzQEhobOyFGtzkVv2ViTmAiPiu5fR/w486-h640/MedMS-G146_32_StGeorgeanddragon.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: St. George. From: Rossdhu Book of Hours. Between 1450-1475. Auckland Libraries Heritage Collections, MedMS-G146.</td></tr></tbody></table><div><br /></div><div>The other saints that make up the series in the <i>Rossdhu Book of Hours</i> are:</div><div><ul style="text-align: left;"><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22592/rec/1" target="_blank">St. John the Baptist</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22594/rec/1" target="_blank">St. Thomas à Becket</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22598/rec/1" target="_blank">St. Christopher</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22600/rec/1" target="_blank">St. Anne with the Virgin and the infant Christ</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22602/rec/1" target="_blank">St. Mary Magdalene</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22604/rec/1" target="_blank">St. Katherine</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22606/rec/1" target="_blank">St. Barbara</a></li><li><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22608/rec/1" target="_blank">St. Margaret</a></li></ul></div><p>The <i>Rossdhu Book of Hours</i> is written in 'gothic' script, the predominant form of handwriting in Germany, England and France from the 12th century to about 1500. In gothic handwriting letters are angular, and verticals, straight lines and diagonals are emphasised. It was used particularly for formal religious works.</p><p><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22578/rec/1" target="_blank">Browse the Rossdhu Book of Hours on Kura Heritage Collections Online</a></p><h4 style="text-align: left;">Gospel lectionary</h4><p>The text in the <i>Gospel lectionary</i> is an example of a different type of handwriting. This book contains readings from the Gospels written in dark brown ink in a regular Greek cursive script called 'Greek minuscule'.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQHeNW5Uyd6shAGSG7xM_cs9sGsqvgBGUOXWMIWuccTJRDaI7nBclWctl6AW9x20XEwelRHRSrza_9pl5YWvLCAsfUD6g2ArpSfuXpv_ccmgtzYJ5KjIk6puEKxsOwPgGVh33O73QGI74Zbu1Y2erh7cnbfKKn3Ah2hYZ7oLCrosYb1HE6N7DilkbSX_S/s2000/MedMS_G123_009.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQHeNW5Uyd6shAGSG7xM_cs9sGsqvgBGUOXWMIWuccTJRDaI7nBclWctl6AW9x20XEwelRHRSrza_9pl5YWvLCAsfUD6g2ArpSfuXpv_ccmgtzYJ5KjIk6puEKxsOwPgGVh33O73QGI74Zbu1Y2erh7cnbfKKn3Ah2hYZ7oLCrosYb1HE6N7DilkbSX_S/w426-h640/MedMS_G123_009.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Gospel Lectionary. 12th century. Auckland Libraries Heritage Collections, MedMS-G123.</td></tr></tbody></table><p></p><p>The writing in the book is decorated with 163 initials drawn in ink, and some pages include interlaced 'ropework' headpieces infilled with red and yellow that mark important divisions in the text.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRojdK9sovkzOnkZs-2HfkvTuBEDKA-srPWFmMMrzSF9tHd99IEMG1oHJ2T9TVCgsoHeJ6CPPmfegMCYm2OY1WNN0FXIGfr_M7NJpSiolJBEr_7BruJZxhRVRiQ7kJsz0_rlsecI17xrqdakh4g2iw1vvaZAL3Z1jfNCSXWIkHUybXpSohDOGt-xgXBMlf/s2000/MedMS_G123_119.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRojdK9sovkzOnkZs-2HfkvTuBEDKA-srPWFmMMrzSF9tHd99IEMG1oHJ2T9TVCgsoHeJ6CPPmfegMCYm2OY1WNN0FXIGfr_M7NJpSiolJBEr_7BruJZxhRVRiQ7kJsz0_rlsecI17xrqdakh4g2iw1vvaZAL3Z1jfNCSXWIkHUybXpSohDOGt-xgXBMlf/w426-h640/MedMS_G123_119.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing interlaced ropework headpieces. From: Gospel lectionary. 12th century. Auckland Libraries Heritage Collections, MedMS-G123.</td></tr></tbody></table><p><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/17934/rec/1" target="_blank">Browse the Gospel lectionary on Kura Heritage Collections Online</a></p><h4 style="text-align: left;">Gospel-Book</h4><div>The <i>Gospel-book</i> is also written in Greek minuscule, this time in black ink. It opens with four decorated canon tables, which provide an index to events in the life of Jesus Christ described in the Gospels of Matthew, Mark, Luke and John. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolyW2OfgHpZNKLnrRqJOj84sQJqg9DRkt1d1zpX-Cgd3ZRqX95HcolUwweH1Qo7nBYuB4jOjiok6hraeVNOC0dwouWXGcHhBIcUc8RWecnXVgXvrlXaBfOBTUp6ogPSuJ5i-cwSwfDBV11Ju9qnMzQwSESbhcf6kPRjHv2nI7Vq0QelWqAxAHYE7IxhRL/s2000/MedMS_G124_008.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolyW2OfgHpZNKLnrRqJOj84sQJqg9DRkt1d1zpX-Cgd3ZRqX95HcolUwweH1Qo7nBYuB4jOjiok6hraeVNOC0dwouWXGcHhBIcUc8RWecnXVgXvrlXaBfOBTUp6ogPSuJ5i-cwSwfDBV11Ju9qnMzQwSESbhcf6kPRjHv2nI7Vq0QelWqAxAHYE7IxhRL/w426-h640/MedMS_G124_008.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Canon table. From: Gospel-book. 12th century. Auckland Libraries Heritage Collections, MedMS-G124.</td></tr></tbody></table><br /><div>Other decoration includes initials, ropework and decorative red headpieces that introduce the Gospels.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyZoIWzUKyKuZ4kcvyX2Dk57RXgnxOGUrAFspFrS5TMBoOwRO_DW52X6YVUJh2k0bPEdKaUCtkzWu3eSvCRFxVSObS0UCw3nLWwHJH_YPcfphUTQvqt-IN9QoHlQoOW3tk3N3K2nAiXtwx--556kMqqUu6pZ4mXj0IoYKcluz54aU0nCwO_a9gNoUrqxaJ/s2000/MedMS_G124_135.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyZoIWzUKyKuZ4kcvyX2Dk57RXgnxOGUrAFspFrS5TMBoOwRO_DW52X6YVUJh2k0bPEdKaUCtkzWu3eSvCRFxVSObS0UCw3nLWwHJH_YPcfphUTQvqt-IN9QoHlQoOW3tk3N3K2nAiXtwx--556kMqqUu6pZ4mXj0IoYKcluz54aU0nCwO_a9gNoUrqxaJ/w426-h640/MedMS_G124_135.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing decorative headpiece introducing the Gospels. From: Gospel-book. 12th century. Auckland Libraries Heritage Collections, MedMS-G124.</td></tr></tbody></table><br />An interlaced tailpiece is drawn at the end of the Gospel of St. Mark. <div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf6K9ucAtQyIIxycEFB8jsM0DsPfxz_ZgobIkaNdrAzqIwNR5TsRvdRAitSlTUoZUwutIdWONzQCdXPxzkqJhIsGxG7Ik4A1_szIWrGZFbJYWqe9-Md3K01_mKxBKmckhTwcb46f1mK5D89jf7fCVxfeityXFPM33AXtyV8RAR4ZbqulBydy9HGb5JvvvU/s2000/MedMS_G124_204.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf6K9ucAtQyIIxycEFB8jsM0DsPfxz_ZgobIkaNdrAzqIwNR5TsRvdRAitSlTUoZUwutIdWONzQCdXPxzkqJhIsGxG7Ik4A1_szIWrGZFbJYWqe9-Md3K01_mKxBKmckhTwcb46f1mK5D89jf7fCVxfeityXFPM33AXtyV8RAR4ZbqulBydy9HGb5JvvvU/w426-h640/MedMS_G124_204.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing interlaced tailpiece concluding the Gospel of St. Mark. From: Gospel-book. 12th century. Auckland Libraries Heritage Collections, MedMS-G124.</td></tr></tbody></table><br /><div><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/18277/rec/1" target="_blank">Browse the Gospel-Book on Kura Heritage Collections Online</a></div><h4 style="text-align: left;">Le Livre de Boèce de consolacion (The consolation of philosophy) </h4><div>From the 12th century teaching moved out of religious establishments and into separate universities. Students could study theology, law, medicine and the arts. The arts covered a broad range of subjects, including grammar, logic, arithmetic, geometry, music and astronomy. This drove demand for texts and as a result the book production industry became increasingly well-organised.</div><div><div><br /></div><div>Some books were produced as a combination of text and study notes in one volume. The notes, or gloss, appeared on the page of the text they referred to, sometimes between the lines of text, or in the margins around it. Scribes and printers adapted their page layouts to fit both in.</div><div><br /></div><div>The layout of <i>Le Livre de Boèce de consolacion</i> is an example of a book where the text includes glosses, which are written either to the side of the text or interrupt it and run the full width of the page. The handwriting style is a cursive form of gothic called 'lettre bâtarde'.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoV0bL5Obm7ih1xjzhq1gBKByVfbMVX88wfYYEBbGcRdfcbl6EMHF-FM-9AmfANEAZ5SbABRj7_9EINosCssoJJf4qKR0FAlh2NA8eYJs6PTCoCTTRumu2sodRSYUoT317zETcIRbAELvILDFlzIOSLHrPaX_y75qe2cvxAT5MXHL2_5uckz6AvNdrd_W/s2000/MedMS_G119_050_initialsandglosses.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1403" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoV0bL5Obm7ih1xjzhq1gBKByVfbMVX88wfYYEBbGcRdfcbl6EMHF-FM-9AmfANEAZ5SbABRj7_9EINosCssoJJf4qKR0FAlh2NA8eYJs6PTCoCTTRumu2sodRSYUoT317zETcIRbAELvILDFlzIOSLHrPaX_y75qe2cvxAT5MXHL2_5uckz6AvNdrd_W/w448-h640/MedMS_G119_050_initialsandglosses.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page layout showing text and glosses. From: Le Livre de Boèce de consolacion. About 1425-1430. Auckland Libraries Heritage Collections, MedMS-G119.</td></tr></tbody></table><br />The book also contains decorative initials, some illuminated with gold.</div><div> </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MIaWQD-II0lbSB2UEFoy2XEarCGGjV260Ti_95q1ytvSL6fhqB5qXbrdlv5vhVORXZJ5klJXgcb0KUQ7f9jLMnub7p8uF3OnPwTghuMchrBjDSlP4nnSYBC8GSw8-E-NiNjmVyHhI9Ryil2Ia_SIw88nIapxV6wM28Jr9UrPKffGucSgh8jSxG8x7Jgh/s2000/MedMS_G119_051_initialsandglosses.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1403" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MIaWQD-II0lbSB2UEFoy2XEarCGGjV260Ti_95q1ytvSL6fhqB5qXbrdlv5vhVORXZJ5klJXgcb0KUQ7f9jLMnub7p8uF3OnPwTghuMchrBjDSlP4nnSYBC8GSw8-E-NiNjmVyHhI9Ryil2Ia_SIw88nIapxV6wM28Jr9UrPKffGucSgh8jSxG8x7Jgh/w448-h640/MedMS_G119_051_initialsandglosses.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing decorated initials. From: Le Livre de Boèce de consolacion. About 1425-1430. Auckland Libraries Heritage Collections, MedMS-G119.</td></tr></tbody></table><br />Larger initials introduce the prologue and each of the five books that make up the <i>Consolation</i>.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgefPB-ehMX4HoK9YjdELojR6Yp_a1OnmxKKyr3ZvBliDcw40VLcywM6VOY1biBgSfItAO09UNRxY_aeysvKir9tMHrLvDLzNWJVg8FNnuZQOtzawCuemZ_Tr_4KEhWDh2qQuIiSp-ucSjpA1cNKeJfRs5oXsx6mOiqbKh_GiuNFC0bqPws55hrZUR0QmdJ/s2000/MedMS_G119_027_initialsandglosses.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1403" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgefPB-ehMX4HoK9YjdELojR6Yp_a1OnmxKKyr3ZvBliDcw40VLcywM6VOY1biBgSfItAO09UNRxY_aeysvKir9tMHrLvDLzNWJVg8FNnuZQOtzawCuemZ_Tr_4KEhWDh2qQuIiSp-ucSjpA1cNKeJfRs5oXsx6mOiqbKh_GiuNFC0bqPws55hrZUR0QmdJ/w448-h640/MedMS_G119_027_initialsandglosses.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing large decorated initial. From: Le Livre de Boèce de consolacion. About 1425-1430. Auckland Libraries Heritage Collections, MedMS-G119.</td></tr></tbody></table><br /><div><div><div><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/17421/rec/1" target="_blank">Browse Le Livre de Boèce de consolacion on Kura Heritage Collections Online</a></div></div><h4 style="text-align: left;">Metaphysica, Physica, De Meteoris (Metaphysics, Physics, Meteorology)</h4><p>This translation of Aristotle by William of Moerbecke looks like it's been studied closely, with extensive comments added in the margins by several hands over two centuries. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNAwshHH8J8tzFwfSFMC94PXXSIPkMEWeKud2O7YSlr6EivADct1iyaPoEdKxZHX9fHiI82bu5_IDiWHhXPpwNLUJT3k4nk-YwUmc6IOewDOLsmZRQ1S_CAICGm7txi4hAxr6O6YZfo6JghmfqbchMwXbghj69RZkWhnm8oyCpSBRO4NtFyT1IOR3jaM8X/s2518/MedMS_G126_021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2518" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNAwshHH8J8tzFwfSFMC94PXXSIPkMEWeKud2O7YSlr6EivADct1iyaPoEdKxZHX9fHiI82bu5_IDiWHhXPpwNLUJT3k4nk-YwUmc6IOewDOLsmZRQ1S_CAICGm7txi4hAxr6O6YZfo6JghmfqbchMwXbghj69RZkWhnm8oyCpSBRO4NtFyT1IOR3jaM8X/w508-h640/MedMS_G126_021.jpg" width="508" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page showing glosses and marginal notes. From: Metaphysica, Physica, De Meteoris. Late 13th century. Auckland Libraries Heritage Collections, MedMS-G126.</td></tr></tbody></table><p><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/18690/rec/1" target="_blank">Browse Metaphysica, Physica, De Meteoris on Kura Heritage Collections Online</a></p><div><h4>De bello Judaico (The Jewish war)</h4><p>Italian humanists of the early Renaissance took inspiration from the rediscovery of ancient manuscripts by classical writers. They particularly admired the handwriting and decoration in them, and used the script as the basis for a clear, rounded, neat handwriting. Great attention was paid to the elegant proportions of page layout, and to the quality of vellum used. The text was written in a single column, a style which continues in book production to this day.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibwDzsf_ZCXyY9_pG1bk3em_2UTGNSKv5cAoTjztcenW9yZmW_1gJFx6raHP4YWyCmVEczgdSE0oFmksACxgsUQFVjBuL_5K2NBrJMkM7VFogJPr7AOFNKeTB4cGOu_GcdLXxK9-CucpQGnlpnqbn9rFQHyipuEwHnHASC2WwhydbDeIXiM8XFnOPaXeNw/s2751/MedMS_G147_009_initialC.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2751" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibwDzsf_ZCXyY9_pG1bk3em_2UTGNSKv5cAoTjztcenW9yZmW_1gJFx6raHP4YWyCmVEczgdSE0oFmksACxgsUQFVjBuL_5K2NBrJMkM7VFogJPr7AOFNKeTB4cGOu_GcdLXxK9-CucpQGnlpnqbn9rFQHyipuEwHnHASC2WwhydbDeIXiM8XFnOPaXeNw/w466-h640/MedMS_G147_009_initialC.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Page featuring a decorated initial. From: De bello Judaico. Between 1455-1459. Auckland Libraries Heritage Collections, MedMS-G147.</td></tr></tbody></table><p>The layout of this page from <i>De bello Judaico</i> is simple and spacious. The text is written in a round 'humanist' script in a single column, with the headings for each book in red. The only decoration is the burnished gold initial “C”. Around it white vinestems interlace and twist on a coloured background. This pattern was another borrowing from the older manuscripts so admired by the humanists.</p></div><div><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/22792/rec/1" target="_blank">Browse De bello Judaico on Kura Heritage Collections Online</a></div><div><br /></div><h4 style="text-align: left;">Additional medieval manuscripts on display</h4><div>The Auckland Library Heritage Trust display case will feature three additional medieval manuscripts during the exhibition. They will be in the Atrium on level two beside the escalators.</div><h4 style="text-align: left;">Missale ad usum Romanum (Besancon Missal). Latin. Eastern France, between 1450 and 1500.</h4><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMHBJAtiy8HZeLvXoDKTUiPeJVxFjlURpoqCVoM71Mtm2cpSOgrDTO7i8wDAnm-LkzKSw9t5sKNL6cFPR-uOFdshgpd-6vqJR9zhJEqsDeYxzx7COhWbRMdN-W6GosPTvmia2xDNsXuHRAyat4yabc1ppGszsGIXmZ7kL9ZGONbVT9U9-LOT4eapQdWE2n/s2000/Besancon_v1MedMS-G138.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1526" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMHBJAtiy8HZeLvXoDKTUiPeJVxFjlURpoqCVoM71Mtm2cpSOgrDTO7i8wDAnm-LkzKSw9t5sKNL6cFPR-uOFdshgpd-6vqJR9zhJEqsDeYxzx7COhWbRMdN-W6GosPTvmia2xDNsXuHRAyat4yabc1ppGszsGIXmZ7kL9ZGONbVT9U9-LOT4eapQdWE2n/w488-h640/Besancon_v1MedMS-G138.jpg" width="488" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Missale ad usum Romanum. Latin. Eastern France (Besancon), between 1450 and 1500. 305 x 225mm. De Hamel no. 18. Auckland Libraries Heritage Collections, MedMs-G138.</td></tr></tbody></table><br /><div><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/21477/rec/1" target="_blank">Browse the Missale ad usum Romanum on Kura Heritage Collections Online</a></div><h4 style="text-align: left;">Astesanus de Ast. Summa de casibus conscientiae (Cases of conscience). Latin. Flanders, between 1300 and 1325.</h4><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnOJ4ihxaR362G_eBGu5s57md7G6q3AMmzMo1WmanhIrcCpL86rOJgmRfdBv-JWhFr2DjAV81Z0M3xUDGIjLYGngLRPSfQqfNtsd8QCD8fzVrqu3eqasHMeSdHcQXtyri8w05QhbyyjgH0doELI3lPGRfW8wWRMrSm9stxQ0OUlamnilRNgdDS91dgWhKF/s2606/Astesanus_MedMS-S5158.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2606" data-original-width="2000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnOJ4ihxaR362G_eBGu5s57md7G6q3AMmzMo1WmanhIrcCpL86rOJgmRfdBv-JWhFr2DjAV81Z0M3xUDGIjLYGngLRPSfQqfNtsd8QCD8fzVrqu3eqasHMeSdHcQXtyri8w05QhbyyjgH0doELI3lPGRfW8wWRMrSm9stxQ0OUlamnilRNgdDS91dgWhKF/w492-h640/Astesanus_MedMS-S5158.jpg" width="492" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Astesanus de Ast. Summa de casibus conscientiae (Cases of conscience). Latin. Flanders, between 1300 and 1325. 417 x 300mm. De Hamel no. 43. Auckland Libraries Heritage Collections, MedMS-S5158.</td></tr></tbody></table><br /><div><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/27568/rec/1" target="_blank">Browse the Summa de casibus conscientiae on Kura Heritage Collections Online</a></div><h4 style="text-align: left;">Antiphonary. Latin. Italy, 16th century.</h4><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGwEy9pxidSGmDtUrpyVLuZoAc9G3R8W5gdr5Xpxpcaowdq5kenyukPfmyJ0k8yi01rQ4vhQHBc4GqeL2NweyPQ4vBCGFaSedZ2TG6QSJb46des2qvmIBDs0XUORS4oOWXnUMzYcjiFDChYYijFwwAxSY0sB-shIDvxLaGI9uNZxnDDypXlp7LBpJl6K6/s2000/Antiphonary_MedMS-S1588.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGwEy9pxidSGmDtUrpyVLuZoAc9G3R8W5gdr5Xpxpcaowdq5kenyukPfmyJ0k8yi01rQ4vhQHBc4GqeL2NweyPQ4vBCGFaSedZ2TG6QSJb46des2qvmIBDs0XUORS4oOWXnUMzYcjiFDChYYijFwwAxSY0sB-shIDvxLaGI9uNZxnDDypXlp7LBpJl6K6/w456-h640/Antiphonary_MedMS-S1588.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Antiphonary. Latin. Italy, 16th century. 351 x 245 mm. De Hamel no. 40. Auckland Libraries Heritage Collections, MedMS-S1588. </td></tr></tbody></table><br /><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/manuscripts/id/23179/rec/3" target="_blank">Browse the Antiphonary on Kura Heritage Collections Online</a></div></div><div><br /></div><h4 style="text-align: left;">Author: Renée Orr, with text adapted from the 2005 Auckland Libraries exhibition <i>Is it real gold?</i> curated by Georgia Prince and Kate de Courcy.</h4></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5326867358384170422.post-16112087685011290932023-08-11T11:20:00.017+12:002023-08-21T11:43:39.609+12:00Miraculous: medieval manuscripts - an exhibition playlist<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxyzqnBayt8VYXKNs87g8EZrKXyYjD-T_Bbb3dYTaGLCKbTDusvQIX1IFu0FnCLemJXGHehC6CEFcd1E0McQ4pHxvEpeCv8dKwlKu9hviojYPuRYrMxJ4szSwf43OUGHBdJ2NzKjektxVnyMYWDZcuhp6L8-7xsQH4aAjQIyTpU_8ID3ISq9m8aSi8jvzv/s820/24-PRO-022_Miraculous_medieval_manuscripts_FB_cover_photo_820x360px_final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="820" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxyzqnBayt8VYXKNs87g8EZrKXyYjD-T_Bbb3dYTaGLCKbTDusvQIX1IFu0FnCLemJXGHehC6CEFcd1E0McQ4pHxvEpeCv8dKwlKu9hviojYPuRYrMxJ4szSwf43OUGHBdJ2NzKjektxVnyMYWDZcuhp6L8-7xsQH4aAjQIyTpU_8ID3ISq9m8aSi8jvzv/w640-h280/24-PRO-022_Miraculous_medieval_manuscripts_FB_cover_photo_820x360px_final.jpg" width="640" /></a></div><p><i>Miraculous: medieval manuscripts</i> is a rare opportunity to see a diverse range of books from Auckland Libraries’ exceptional collection of medieval manuscripts. The exhibition runs from 16 August until 11 November 2023 at Tāmaki Pātaka Kōrero, the Central City Library. </p><p>This audio playlist compliments the exhibition. Hear more from the curators, Jane Wild and Renee Orr, and learn more about the books on display with two tracks from rare book specialist Georgia Prince's <a href="https://www.aucklandlibraries.govt.nz/Pages/meet-a-rare-book.aspx" target="_blank">Meet a Rare Book</a> talk series. Listen below to hear Georgia talk about what makes these books special, why and how they were made, and how they found their way into our public library.</p><p><b>Miraculous medieval manuscripts - Curators talk</b></p><p>In this track we hear exhibition curators Jane Wild and Renee Orr share impressions, selections and insights into medieval manuscripts currently on display in the Gallery - Level 2 Tāmaki Pātaka Kōrero | Central City Library.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1594207827&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><h4 style="text-align: left;">Boethius and Fragments</h4><p>In this session we get up close with the 15th Century French manuscript the <i>Consolation of Philosophy</i> by Boethius, followed by a discussion of some fragments of very early medieval manuscripts found as part of the binding of a bible printed in 1480. </p><p>You can see these books in the exhibition in Case 7 and Case 4.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1582562919&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>This track was recorded in 2019 as part of a series of talks delivered by rare book specialist Georgia Prince.</p><h4 style="text-align: left;">Meet a Rare Book - The Besancon missal</h4><p>Listen to Georgia Prince talk about one of Auckland Libraries' particularly beautiful medieval manuscripts, the Besancon missal, created in 1470. Discover how medieval manuscripts were created and why they have always been luxury objects. The process of making the vellum, sourcing the best pigments, and commissioning the best artists and apprentices were time-consuming and expensive tasks. </p><p>You can see the Besancon missal on display in the Level 2 Atrium during the month of September.</p><p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1130030284&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe> </p><p>This track was recorded on 3 August 2021 for the Meet a Rare Book Collection.</p><p><br /></p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-40083147743959578062023-08-09T11:14:00.008+12:002023-08-10T11:26:23.747+12:00 I ō Tātou Hapori: The Voices and the People of Our Neighbourhood<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEeZFbYj1SglfF_8ZQhZOUZP7uH0TWm-c-uSdbrdaDkxlGq_4-r5aN_zv1XG132U40VPEFo1_wyeD8F2uGrT5dDRm7920EIAtd_G1xH8WfTxh_YrL-z_Zl7eywpp29zq68N9v5aRL6qcsQ3QFgdcCuyIXQpnH-TyFWXP8d5Taav2dRahRmXu9S3HJxvSI/s1414/i-o-tatou-hapori.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Exhibition poster for 'I ō Tātou Hapori', 9-30 August" border="0" data-original-height="1414" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEeZFbYj1SglfF_8ZQhZOUZP7uH0TWm-c-uSdbrdaDkxlGq_4-r5aN_zv1XG132U40VPEFo1_wyeD8F2uGrT5dDRm7920EIAtd_G1xH8WfTxh_YrL-z_Zl7eywpp29zq68N9v5aRL6qcsQ3QFgdcCuyIXQpnH-TyFWXP8d5Taav2dRahRmXu9S3HJxvSI/w453-h640/i-o-tatou-hapori.jpg" width="453" /></a></div><br />Enjoy a visit to the Franklin Arts Centre and Pukekohe Library to see and hear the exhibition 'I ō Tātou Hapori – The Voices and the People of Franklin: Our Neighbourhood.'<p></p><p>The exhibition shares a sample of images and voices from the Auckland Libraries Heritage Collections and Franklin Local History Collection and is on view 9-30 August 2023. </p><p>Listen to the voices of the exhibition on a range of themes below.</p><p><br /></p><h3 style="text-align: left;">Memories of school</h3><p>Listen to a range of voices related to school and schooling.</p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1581256067&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/memories-of-school" style="color: #cccccc; text-decoration: none;" target="_blank" title="Memories of School">Memories of School</a></div><p>Voices on this track include: Violet Keith, Patrick Gallagher, Gwen Francis, Mere Thompson, Dorothy Postles, Pritam Singh, Tony Waters. </p><p><br /></p><h3 style="text-align: left;">Farming and Agriculture</h3><p>Pukekohe and the wider district are best known for their rich soils and agriculture. In these clips, we hear from experienced voices on the business of farming and market gardening.</p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1581310235&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/farming-and-agriculture" style="color: #cccccc; text-decoration: none;" target="_blank" title="Farming and Agriculture">Farming and Agriculture</a></div><p>Voices on this track include: John Johns, Leslie Smeed, Pritim Singh, Una and Yen Lim, Mere Thompson.</p><p><br /></p><h3 style="text-align: left;">Transport and Places</h3><p>Sometimes it’s great to have places identified from old photos in oral history and sound recordings. On this track, we hear stories of transport and places.</p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1581458087&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/transport-and-places" style="color: #cccccc; text-decoration: none;" target="_blank" title="Transport and Places">Transport and Places</a></div><p>Voices on this track include: Mr Bilkey and Mr James Pollock, Bridget Kennelly, Len Brown, Tony Waters.</p><p><br /></p><h3 style="text-align: left;">Family Recollections</h3><p>Oral histories often include great family history content and interesting social history. In these clips, we hear examples of different family memories and recording.</p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1581460175&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/family-recollections" style="color: #cccccc; text-decoration: none;" target="_blank" title="Family Recollections">Family Recollections</a></div><p>Voices on this track include: Elizabeth Duncan, Dorothy Postle, Mere Thompson.</p><p><br /></p><p>All recordings are from the Auckland Libraries Heritage Oral History Collections.</p>SRBhttp://www.blogger.com/profile/15355834225965318495noreply@blogger.com0Auckland, New Zealand-36.850882700000007 174.7644881-65.161116536178852 139.6082381 -8.5406488638211613 -150.0792619tag:blogger.com,1999:blog-5326867358384170422.post-24450311651236839892023-07-11T13:02:00.004+12:002023-07-13T11:04:31.523+12:00The Partingtons and their windmillPartington’s Windmill was one of Tāmaki Makaurau's early lost landmarks, demolished in April 1950. One hundred years before, in 1850, the miller, engineer and entrepreneur Charles Frederick Partington commissioned millwright Henry White to build him a six-storeyed brick windmill on the high ridge above the town, near the intersection of the walking tracks along the Karangahape Road and Symonds Street ridges. Partington started grinding flour and grain there in late 1851.<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwRCb4QPrsyX97YgZAvborhYIvSl6Fg4OckR6zeJsNew6PQpOIqRXDUakSLo8cvcurpCpBN2F_guYB3pZT-zbSYoGUz9gWA4cPvx7iHsak4xGclhcJFD-NdsvoruVHhjYVKBTxdWyEJVWoGpi1QqGz4kKEYdd5h70yKYOv-XBQbvgqy7wNkLKhEQPiO5t/s2000/1729-156.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1124" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwRCb4QPrsyX97YgZAvborhYIvSl6Fg4OckR6zeJsNew6PQpOIqRXDUakSLo8cvcurpCpBN2F_guYB3pZT-zbSYoGUz9gWA4cPvx7iHsak4xGclhcJFD-NdsvoruVHhjYVKBTxdWyEJVWoGpi1QqGz4kKEYdd5h70yKYOv-XBQbvgqy7wNkLKhEQPiO5t/w360-h640/1729-156.jpg" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/104447">Image: John Coomer. Partington’s Mill, Mill Lane, Auckland Central, 1890s.<br />Auckland Libraries Heritage Collections, 1729-156.</a></td></tr></tbody></table><br />The windmill soon became a well-known navigational landmark for seafarers and a favoured feature for local artists. You can see it on the top-left on the distant ridge beyond Queen Street in Patrick Joseph Hogan’s 1852 lithograph shown below.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghYP6SVqThEQdlLw0NoL775_Wgv3zNn6htGi_R-cPr-EK04zSaapDoFCG6lOSP5DIe20uma0ImmsTSsMTqf2JOZKMhcjCe_wmULEwE9ilCAejATFjsRPIMXEB3Yul3JdqOk8wxe5J2Ybv29iJDwuhathGTOwR8ZHqEtwkEKf_Hv0jBIRjsotxkX_Tzg_fi/s2000/NZG-18920521-0518-01.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1126" data-original-width="2000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghYP6SVqThEQdlLw0NoL775_Wgv3zNn6htGi_R-cPr-EK04zSaapDoFCG6lOSP5DIe20uma0ImmsTSsMTqf2JOZKMhcjCe_wmULEwE9ilCAejATFjsRPIMXEB3Yul3JdqOk8wxe5J2Ybv29iJDwuhathGTOwR8ZHqEtwkEKf_Hv0jBIRjsotxkX_Tzg_fi/w640-h360/NZG-18920521-0518-01.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/110576">Image: Patrick Joseph Hogan. Auckland in 1852, <br />Auckland Libraries Heritage Collections, NZG-18920521-0518-01.</a></td></tr></tbody></table><br /></div><div>Partington’s Windmill was also a good vantage point for photographers to take photos of the surrounding landscape. Here are two of them. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXs5W0hVyPa2ZF8njXJiJTsW74PE6BOlSkWiwpnxHam5CnVorqLpnhI49b4Zin3Ey00jjS-pXvPoFApRSeBFnO8GPMToL2_--3rFpzIHxDZLOl6dLWytWip0w7J8y0F5dTFlbuAI7lGpJHXyd_QS386hFJ9vG0ZBANc6rzbX-ztiKG22y59WkwJamDo-ig/s2000/1043-070.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1751" data-original-width="2000" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXs5W0hVyPa2ZF8njXJiJTsW74PE6BOlSkWiwpnxHam5CnVorqLpnhI49b4Zin3Ey00jjS-pXvPoFApRSeBFnO8GPMToL2_--3rFpzIHxDZLOl6dLWytWip0w7J8y0F5dTFlbuAI7lGpJHXyd_QS386hFJ9vG0ZBANc6rzbX-ztiKG22y59WkwJamDo-ig/w640-h560/1043-070.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/99859">Image: Samuel George Frith, John Nicol Crombie. Panorama of Auckland, 1860. <br />Auckland Libraries Heritage Collections, 1043-070.</a><br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF3QYh-MBB5yc888cMUJRoVK9SigeQewDv3V3leCMiA9mEan3s9pIrRk5MpLtFQO_Gzj5SuFGBXRdQiBv3jtFndqvxOJwiO9-CmWPzAgVSaFCyV65sco6S9gzzVtmsKOFvBl_oltIwrBG6fcParM1s8mq5oPFcJ8U_DP47is4nkb92yk-EXgXBuYzdlp6j/s2000/1-W0245.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="2000" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF3QYh-MBB5yc888cMUJRoVK9SigeQewDv3V3leCMiA9mEan3s9pIrRk5MpLtFQO_Gzj5SuFGBXRdQiBv3jtFndqvxOJwiO9-CmWPzAgVSaFCyV65sco6S9gzzVtmsKOFvBl_oltIwrBG6fcParM1s8mq5oPFcJ8U_DP47is4nkb92yk-EXgXBuYzdlp6j/w640-h396/1-W0245.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/96988">Image: Henry Winkelmann. Symonds Street and the Symonds Street Cemetery, 1880s,<br />Auckland Libraries Heritage Collections, 1-W0245.</a></span></td></tr></tbody></table><br />Up until the late 1860s, uptown commercial Auckland ended near Wellesley Street. Beyond that, farms and wheatfields stretched back across the isthmus to Epsom and the port of Onehunga. Siting the windmill on the windy Karangahape ridge was, for Partington, a commercially shrewd decision, because not only did he have nearby farmers using his mill, but an urban flour market not far away in Auckland. Soon after starting his windmill, Partington began building a factory nearby. By 1856 he was operating a steam biscuit factory there, and soon established a successful business operating as the Victoria Flour Mill and Steam Biscuit Depot. His business further prospered when he won the contract to supply the British troops with biscuits during the <a href="https://nzhistory.govt.nz/war/war-in-waikato">Waikato War</a>.</div><div><br />The drawing on the book cover below shows the windmill and biscuit factory during the 1860s and 1870s. Its viewpoint looks down Mill Lane, with Symonds Street in the background.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBTX-rVUSTsrTOoLkUmtoXvJfvTfgWXJ8eWTngieCoKUjJmVOVAb4DVURWiY_8THjrYWSQHWWZAfhH7k6I0V6pxQMduDKfURXGk4spr77lIJFBTtfGRGsRsLF3ZZyjRdkhbckZPOz7Hx_N62cPA7WGOSbaeNAMaH6S4dsqC7qp7qQEQsiw7-568AbquCt/s4975/The%20Story%20of%20the%20Old%20Windmill.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4975" data-original-width="3390" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWBTX-rVUSTsrTOoLkUmtoXvJfvTfgWXJ8eWTngieCoKUjJmVOVAb4DVURWiY_8THjrYWSQHWWZAfhH7k6I0V6pxQMduDKfURXGk4spr77lIJFBTtfGRGsRsLF3ZZyjRdkhbckZPOz7Hx_N62cPA7WGOSbaeNAMaH6S4dsqC7qp7qQEQsiw7-568AbquCt/w436-h640/The%20Story%20of%20the%20Old%20Windmill.jpeg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://discover.aucklandlibraries.govt.nz/search/card?id=364699da-85db-5dd8-993d-ded27b8147b7&entityType=FormatGroup"><span style="text-align: start;">Image:</span> The cover of <i>'The story of the old windmill'</i> by George E. Bentley, Auckland, 1898,<br />Auckland Libraries Heritage Collections.</a></td></tr></tbody></table><br />In 1866, Charles Partington refitted and updated the machinery in his biscuit factory with a conveyer-type ‘travelling oven’ which, reportedly, could bake the travelling biscuits in twenty minutes. But unfortunately, in December that year there was a large fire at the biscuit factory. As the result of this misfortune, Charles seems to have lost interest in the biscuit business and became interested in developing quartz-stamping equipment for the Thames gold rush. In 1874 he sold his biscuit-making plant to a Riverhead biscuit manufacturer. <br /><br />Charles Partington died in 1877, leaving his land and buildings to his wife, who transferred the windmill and factory to her sons, Charles Frederick and Edward. In 1880 Charles and Edward left the Symonds Street business to lease the Western Mills at Western Springs, after having taken their younger brother Joseph into partnership. However, Charles and Edward kept the title to the Symonds Street windmill, allowing Joseph to use it to grind his new ‘pearled’ wheat. <br /><br />In December 1881 Joseph Partington used his business capital to purchase and equip the biscuit factory, with the intention of manufacturing health-conscious, wholemeal biscuits made from Partington’s pearled wheat and containing ‘no baking powder, yeast, chemicals, animal fat or inferior butter.’ But to keep his biscuit business operating, Joseph had to enter a series of mortgages whereby he had successive landlords owning the biscuit factory (now called the Victoria Flour Mills), which he then leased back as factory manager. <br /><br />By 1897 Joseph Partington’s landlord at the factory was James Wilkinson, who had also previously bought the Symonds Street windmill property from Edward Partington’s mortgagee after Edward had been bankrupted at Western Mills. On 20 August 1897 Wilkinson served notice on his tenant Joseph Partington to quit the windmill. But it took a court case in December 1898, when Wilkinson accused George Bentley of libelling him at Partington’s behest (which Wilkinson won; then successfully sued Partington for damages plus costs) for Wilkinson to finally force the now bankrupt Joseph out of his windmill. </div><div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5DySFB4dOM-hoRqm3U8llcoam5hC49-ymd8RNoaoLESBctK36lO1lBldjugNleI_xzES5w1BVfDTcUTOE7QzaEYkXZEbWxfEuV8oN2zob-odiVfukgBCTQcm4YIBjYd9usYTASZlXeQJfE60dHfQ2QRYC8f_Z8n5q9qM9WzbB4LJkIyd3gRVXwdTguCy/s2000/2-V1475.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1533" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5DySFB4dOM-hoRqm3U8llcoam5hC49-ymd8RNoaoLESBctK36lO1lBldjugNleI_xzES5w1BVfDTcUTOE7QzaEYkXZEbWxfEuV8oN2zob-odiVfukgBCTQcm4YIBjYd9usYTASZlXeQJfE60dHfQ2QRYC8f_Z8n5q9qM9WzbB4LJkIyd3gRVXwdTguCy/w490-h640/2-V1475.jpg" width="490" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/104848">Image: Hubert Earle Vaile. Partington’s Windmill, Mill Lane, Central Auckland, 1902.</a></div><span style="text-align: left;"><div style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/104848">Auckland Libraries Heritage Collections, 2-V1475.</a></div></span></td></tr></tbody></table><div style="text-align: center;"><br /></div>Thus, when the photograph above was taken there was no Partington in the windmill. The photo is date-significant because sometime in the next two years James Wilkinson removed the sails from the windmill with the idea of marketing it as an observation tower for visitors to admire city and harbour views. About 1906 he removed the windmill’s functional cap, replacing it with a belvedere and viewing balcony. Wilkinson’s additions are visible in the 1909 photograph below, which also clearly shows that he had erased Partington’s name from the tower!</div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPvarLbufqPP4yy3Av4kzIRXwB-NJ9JwbjB27oanJwiJumPb91R7e7jkDFKyHIRaES70v3aB0W9OmkoL9xiCIiHU21MUloQO3jhvCA1KMHLYX3KAyTs9n8gwMYH9j6rmnnMZwEKE-rkCKUsJzn2rGJ5PgvGnTBsqvLZufGEu8DtO5VSIjG5--E6_4E5YCi/s4695/ACC%20285%20-%20117%20Partingtons%20Mill%20showing%20Wilkinsons%20addition%201909.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4695" data-original-width="2991" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPvarLbufqPP4yy3Av4kzIRXwB-NJ9JwbjB27oanJwiJumPb91R7e7jkDFKyHIRaES70v3aB0W9OmkoL9xiCIiHU21MUloQO3jhvCA1KMHLYX3KAyTs9n8gwMYH9j6rmnnMZwEKE-rkCKUsJzn2rGJ5PgvGnTBsqvLZufGEu8DtO5VSIjG5--E6_4E5YCi/w408-h640/ACC%20285%20-%20117%20Partingtons%20Mill%20showing%20Wilkinsons%20addition%201909.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Image: Partington’s Mill showing Wilkinson’s addition, 1909, Record Files – Buildings – A, ACC 285 item 117 Box 16, Series ACC 285 Town Clerk’s Office Record Files, Auckland Council Archives.</span></td></tr></tbody></table><br />For some years previously Wilkinson had been advertising his observation tower but could not find a buyer. Except for Joseph; who triumphantly bought his sail-less windmill back in 1910. <br /><br />By 1914 Joseph had enough money to sail to England, find a condemned windmill in Orston, Nottinghamshire, and arrange to have the windmill’s four sails, ogee-shaped cupola, operating machinery and gasoline engine together with a load of bricks, shipped back to New Zealand. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitugS0_j1qyyJkzCVAYOKooAZ51gxyYqvEZGdKk8roeaRr8-mLhGvaKB08Mk8k_HPe-FVbkVKVktGfu-wmVdJpcvN2Pr1Nk7PQwybZT_drFNpVTGt7CEHEuxqcIoC6_xYSfnczlIvf6gGpxANc0A3dkH6hRkAJNmwUBuIm86AB1CHEJA5ZYO6Ne4WiL7XM/s2000/929-18.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1285" data-original-width="2000" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitugS0_j1qyyJkzCVAYOKooAZ51gxyYqvEZGdKk8roeaRr8-mLhGvaKB08Mk8k_HPe-FVbkVKVktGfu-wmVdJpcvN2Pr1Nk7PQwybZT_drFNpVTGt7CEHEuxqcIoC6_xYSfnczlIvf6gGpxANc0A3dkH6hRkAJNmwUBuIm86AB1CHEJA5ZYO6Ne4WiL7XM/w640-h412/929-18.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/108597"><span style="text-align: left;">Image: </span>C.H. Barton. P<span style="text-align: left;">ainting of Central Auckland, 1910s-1920s. Auckland Libraries Heritage Collections, 929-18.</span></a></td></tr></tbody></table><br />Back here Joseph extended the Partington’s Windmill tower straight upwards by 20 feet (for extra height over surrounding two or three storey buildings), while the sails were mounted on new operating machinery and topped off with the windmill’s new cupola. Finally, wind power was now supplemented by the gasoline engine. The windmill’s new cupola is visible in the following photograph from 1923. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMkw9Du5bc2rKsCVqu8iv5YK6-eKeJNljjkMJqaq9vQOnE4CYHlcofQ5ZqM0vP5r9UIVljQaGJ2-cFrnU-VT-j-yp3rurWiZVsNBgARp-WRL1Io00RPOYs4u3YU97PpvfOJLKOs0-7aReQVXNeAxb4ZSuylDe3CyZxnaSMMqbA879oIlQFuxU1IiGYRJw/s2000/1-W0432.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1477" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMkw9Du5bc2rKsCVqu8iv5YK6-eKeJNljjkMJqaq9vQOnE4CYHlcofQ5ZqM0vP5r9UIVljQaGJ2-cFrnU-VT-j-yp3rurWiZVsNBgARp-WRL1Io00RPOYs4u3YU97PpvfOJLKOs0-7aReQVXNeAxb4ZSuylDe3CyZxnaSMMqbA879oIlQFuxU1IiGYRJw/w472-h640/1-W0432.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/96958">Image: Henry Winkelmann. Partington’s Mill, Mill Lane, Auckland Central, 1923,<br />Auckland Libraries Heritage Collections, 1-W0432.</a></td></tr></tbody></table><br />The advantage of the extra 20 feet on the windmill’s tower (increasing the tower from six to ten storeys) is obvious in the next photograph, taken from Mount Street looking south, showing Liverpool Street going uphill to City Road, with Partington’s Mill in the distance. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqG_Cx4PNQVlSVRCG4SDTqpNrHf6Gx83ex03_z_CbMKUuEHF0EI8rqdpX27Rp1it8Io9zIpW4WTDZS7Z_YuxJyFDnYR3bgTpCclSL2Ajj_9KHFTnhnhFAy63TVd8jz86Th-rgaV-St_d8BiLb8Xl4NFl1sCvNCUyt6dQIiOuyzecDJTg3YjWukHf-92vk2/s2000/1-W0490.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1473" data-original-width="2000" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqG_Cx4PNQVlSVRCG4SDTqpNrHf6Gx83ex03_z_CbMKUuEHF0EI8rqdpX27Rp1it8Io9zIpW4WTDZS7Z_YuxJyFDnYR3bgTpCclSL2Ajj_9KHFTnhnhFAy63TVd8jz86Th-rgaV-St_d8BiLb8Xl4NFl1sCvNCUyt6dQIiOuyzecDJTg3YjWukHf-92vk2/w640-h472/1-W0490.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/98046">Image: Henry Winkelmann. Liverpool Street and Partington’s Mill, Auckland Central, 1924,<br />Auckland Libraries Heritage Collections, 1-W0490.</a></span></td></tr></tbody></table><br /></div><div>Unfortunately, Joseph’s restoration and modernization of Partington’s Mill was blown away in a terrific gale on 12 May 1925 when one of the windmill’s sails broke off. The windmill’s opposite sail soon had to be removed because it threw the revolving sails out of balance. Partington intended to replace the missing sail but with advancing age he never got round to it. So the forlorn, albeit now gaspower-assisted, windmill was left turning just two sails for the rest of its life. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEhYWOHZQpmXm1tBDeJZ_1spkvrIY0xP7waXASGf4JIZhBD51KQiBYFfGGRb2R2k_R-waIuU4i_eKkYBjyl_8IJi5O1qM5MOUB9DmMZYVG0ruu03n19sYj5FIYydCwuVGACDa5syiGJRzUvtWNz6niNr7YVgxVxcfxfCLcFP5ZuaQcdL1fwY5RqJomdLZ/s3653/4_2282.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2762" data-original-width="3653" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilEhYWOHZQpmXm1tBDeJZ_1spkvrIY0xP7waXASGf4JIZhBD51KQiBYFfGGRb2R2k_R-waIuU4i_eKkYBjyl_8IJi5O1qM5MOUB9DmMZYVG0ruu03n19sYj5FIYydCwuVGACDa5syiGJRzUvtWNz6niNr7YVgxVxcfxfCLcFP5ZuaQcdL1fwY5RqJomdLZ/w640-h484/4_2282.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Image: James Richardson. Looking east from Liverpool Street down Mill Lane, showing Partington’s Windmill, 1928. Auckland Libraries Heritage Collections, 4-2282.</span></td></tr></tbody></table><br />Disaster struck Partington’s Windmill again on the evening of 16 February 1931, when a major conflagration became a firestorm; with flames reducing the windmill’s sails to skeletons and funnelling upwards inside the tower, incinerating the wooden floors. Miraculously, the heavy milling machinery remained in place and did not tumble down inside the tower. However, the tower’s cupola melted in the fire’s intense heat. <br /><br />Not long afterwards (nine days in fact) Partington was advertising in the New Zealand Herald to start repairing the wooden floors in the windmill. Later, he also had the tower’s cupola replaced. Some heat-cracks had appeared in the brickwork of the tower’s straight extension added by Partington in 1915, so for the rest of its life the windmill wore reinforcing metal bands and braces which you can see in the 1930s photograph below. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1rl0xttTNgEYGw9jZLtxdVw4H08-NlTy6GTDbVtOQwI7cINog0U0TakbEEEnKyy0Oqr9oFpAp1kCZw3hMkpQdM0ZA65bpxmHd2JUMtKWHHvgvb7E4CxnNrs1OjmfyuagW4YDLW7iNyBRywkYVhAVjYUVvDznEW5AeYcSIjxQDOQF9zO6SkwREzNNgvLr/s3000/898-0053.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="1977" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1rl0xttTNgEYGw9jZLtxdVw4H08-NlTy6GTDbVtOQwI7cINog0U0TakbEEEnKyy0Oqr9oFpAp1kCZw3hMkpQdM0ZA65bpxmHd2JUMtKWHHvgvb7E4CxnNrs1OjmfyuagW4YDLW7iNyBRywkYVhAVjYUVvDznEW5AeYcSIjxQDOQF9zO6SkwREzNNgvLr/w422-h640/898-0053.jpg" width="422" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/118215">Image: James Hutchings Kinnear. Partington’s Mill, Mill Lane, Auckland Central,</a></div><div style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/118215">Auckland Libraries Heritage Collections, 898-0053.</a></div><br /></td></tr></tbody></table>But it is unclear how long afterwards the windmill was used to grind flour. Partington also soon closed his biscuit factory after a dispute with his staff. Reportedly the disused windmill and factory was a youth hostel then a nightclub during the 1930s. Wandering explorer, Ruth Park, came across a woman named Muriel living inside the derelict windmill whom Partington gave free lodging there in return for doing his bookkeeping. Muriel earned money through casual prostitution. (See Park’s autobiography, '<i>A Fence Around the Cuckoo'.</i>)</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitkkZnl6-hlMJwfRHpopewyxIPoSpsWDvPgsxFvRvmfeAeSTy8wt6RicNUliRmrJUS6FZppd4mCVWeFwmQoC3UrxQnFafnXXLwq4n9qn3ke9j9aTzJqVHr4tmKG2vQPoZ5Cty2R6OSop0Zih5kqwKi3iKJ_3wGzYpvTQi-yAGv13c7Z8Xg4jtk709DsRqP/s2000/957-628.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1397" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitkkZnl6-hlMJwfRHpopewyxIPoSpsWDvPgsxFvRvmfeAeSTy8wt6RicNUliRmrJUS6FZppd4mCVWeFwmQoC3UrxQnFafnXXLwq4n9qn3ke9j9aTzJqVHr4tmKG2vQPoZ5Cty2R6OSop0Zih5kqwKi3iKJ_3wGzYpvTQi-yAGv13c7Z8Xg4jtk709DsRqP/w448-h640/957-628.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/106510">Image: Unknown photographer. Partington’s Mill, Mill Lane, Auckland Central, 1940s. <br />Auckland Libraries Heritage Collections, 957-628.</a></span></td></tr></tbody></table><br />In 1936 Joseph Partington wrote to Auckland City Council, bequeathing them his Symonds Street property and windmill to be made into Partington Park for the people of Auckland. At the time, the council were duly grateful. But after Joseph died in November 1941 his current will could not be located, so a judge finally ruled in 1943 that he had died intestate. The wartime council, mindful of war austerity and probable financial obligations, chose not to contest the ruling. Members of the extended Partington family quickly sold the land and windmill to the car dealers, Seabrook Fowlds.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNFqcpbQ7I7b_LmGbOLa2JCnpxnkYHb7m6GQf9Efy3wbL5YGUDnZIFXn_2fS6aghhNN13N6pF8IiQ1vE04QPoWZd3GX1CW_UnX4Qv6EE8pc-4qOt5dkXF75DCWDj6tu6hYNqygvLyElFoBeec0L2fDj267TBTYC-sKj7myr12lh2wRtrdrtr_47n7oatE/s700/P29pZD1OWkgxOTQxMTEyMC4yLjI4LjUmY29sb3Vycz0zMiZleHQ9Z2lmJmFyZWE9MSZ3aWR0aD03MDA=.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="700" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsNFqcpbQ7I7b_LmGbOLa2JCnpxnkYHb7m6GQf9Efy3wbL5YGUDnZIFXn_2fS6aghhNN13N6pF8IiQ1vE04QPoWZd3GX1CW_UnX4Qv6EE8pc-4qOt5dkXF75DCWDj6tu6hYNqygvLyElFoBeec0L2fDj267TBTYC-sKj7myr12lh2wRtrdrtr_47n7oatE/w640-h544/P29pZD1OWkgxOTQxMTEyMC4yLjI4LjUmY29sb3Vycz0zMiZleHQ9Z2lmJmFyZWE9MSZ3aWR0aD03MDA=.gif" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><a href="https://paperspast.natlib.govt.nz/newspapers/NZH19411120.2.28.5">Image: Residence of wealthy recluse … with a recent picture of Mr Partington, New Zealand Herald, Vol. 78, Issue 24127, 20 November 1941, Page 6. Retrieved from Papers Past 16 June 2023.</a></span></td></tr></tbody></table><br />In 1945 the council formed the Old Windmill Preservation Society to try and raise enough money to move the windmill to another site, but it was unsuccessful in gaining public support and funds. Then in 1947 Seabrook Fowlds notified the council that demolition would proceed and offered the council the chance to salvage materials. Some millstones were taken to the pumphouse at MOTAT, while another might now be at Howick Historic Village. But any more than this (<a href="https://teara.govt.nz/en/photograph/42135/partingtons-windmill">Te Ara says on its website</a>) ‘council declined because of the cost and Auckland’s oldest and best-known landmark was destroyed. Its loss was [however] a catalyst for the creation of the National Historic Places Trust Act 1955.’</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXg6NIwhDHVt5iQtD_x-672DsDWm-kEJBmPn6Hgpx0pb7jsqk6eL9fxny8XVvPgsRdQv6XFjyNiPksLrStepubBVcV8bAK1wA5YyRfGwJGn-J05zBKpU3Yz4XVhyyZdoD25QtXfoovjCvZXKGQxgMW2aO2rC8WARtFD5tqwY2gvvIs63BSqxJ4GYahy7-/s4459/7_A5043.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4459" data-original-width="2968" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWXg6NIwhDHVt5iQtD_x-672DsDWm-kEJBmPn6Hgpx0pb7jsqk6eL9fxny8XVvPgsRdQv6XFjyNiPksLrStepubBVcV8bAK1wA5YyRfGwJGn-J05zBKpU3Yz4XVhyyZdoD25QtXfoovjCvZXKGQxgMW2aO2rC8WARtFD5tqwY2gvvIs63BSqxJ4GYahy7-/w426-h640/7_A5043.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Image: Demolition of Partington’s Windmill, April 1950, <br />Auckland Libraries Heritage Collections, 7-A5043.</span><br style="text-align: left;" /></td></tr></tbody></table><br /></div><div><b><span style="color: #666666;">Author: </span></b>Christopher Paxton, Heritage Engagement</div><div><br /></div><div><b><span style="color: #666666;">Further reading</span></b><br /><br />Bush, G.W.A. <i>Decently and in order: the centennial history of Auckland City Council</i>, Auckland, 1971. <br /><br />Graham, Munroe,<i> The Partingtons and their mills</i>, Auckland, 2022.<br /><br />Schrader, Ben, <i>‘Historic Places – Re-inventing historic buildings, 1930s to 1970s’ </i>Te Ara – the Encyclopaedia of New Zealand, <a href="http://www.teara.govt.mz/en/photograph/42135/partingtons-windmill">http://www.TeAra.govt.mz/en/photograph/42135/partingtons-windmill</a> (accessed 1 June 2023) <br /><br /><i>‘The Miller’s Tale’ </i><a href="http://www.nzrentacar.co.nz/blog/the-millers-tale">http://www.nzrentacar.co.nz/blog/the-millers-tale</a> <br /><br /><i>‘The Watcher on the Hill,’</i> pts 1 and 2, Timespanner, <a href="http://www.timespanner.blogspot.com/">http://www.timespanner.blogspot.com</a></div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-49177628179400555052023-06-23T13:11:00.004+12:002023-10-24T10:42:10.877+13:00Tara McLeod: a short interview with the master letterpress printerCurrently on show, till Saturday 15 July, in the Special Collections gallery space at Tāmaki Pātaka Kōrero | Central City Library is the exhibition <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/03/tara-mcleod-about-type-exhibition/">'Tara McLeod: About type'</a>. This exhibition shows a selection of beautiful hand-printed books, broadsheets, posters, and ephemera from Tara McLeod’s exceptional career as one of Australasia’s master letterpress printers.<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK629TVHc24t1yz_HHt-Qn-Ec26iJJzCdSEuy1vr_l9o-gqCGMq0KjEDHAbWGswuVUqiU176wC8myWuFWmIpDFLzt4MbC-VN7VA9RhFTZjkGpRm7E1hiGo0ITmb4B_ES5iJKQiUI7Lnmw2e33upkSkOYPOV3t4AMPRiEBeYhdT82-zx4R9IVQs2zpBCBJz/s4032/Acrobats.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK629TVHc24t1yz_HHt-Qn-Ec26iJJzCdSEuy1vr_l9o-gqCGMq0KjEDHAbWGswuVUqiU176wC8myWuFWmIpDFLzt4MbC-VN7VA9RhFTZjkGpRm7E1hiGo0ITmb4B_ES5iJKQiUI7Lnmw2e33upkSkOYPOV3t4AMPRiEBeYhdT82-zx4R9IVQs2zpBCBJz/w480-h640/Acrobats.jpg" width="480" /></a></td></tr><tr><td class="tr-caption">Image: Tara McLeod. <i>Hot acrobats perform cheese fog polka.</i> Auckland: Pear Tree Press, 1994.<br /><br /></td></tr></tbody></table><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnsEoLCeA9breojgXx2DVQsfSvZFtSJlOjcCkkqtlQ-d6fMWDBIg8NganD2k7WPsNT0GkBh6zXNw4oBppWcoXKW-5p_MuF3KXA52uZn4OuV5v-OesUsO23VQrDu7th87zBatRBLR1R4Yukb_KNwwOcjtAiAOM2I1XbcCvIWonYlT5h3V5ZyPmEZycOurBT/s3921/N%20letter%20and%20wood%20type.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2625" data-original-width="3921" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnsEoLCeA9breojgXx2DVQsfSvZFtSJlOjcCkkqtlQ-d6fMWDBIg8NganD2k7WPsNT0GkBh6zXNw4oBppWcoXKW-5p_MuF3KXA52uZn4OuV5v-OesUsO23VQrDu7th87zBatRBLR1R4Yukb_KNwwOcjtAiAOM2I1XbcCvIWonYlT5h3V5ZyPmEZycOurBT/w640-h428/N%20letter%20and%20wood%20type.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: A view of items in an exhibition case, including the 'N' page and the wood type letter 'N' from: <i>16 inch grotesque: a specimen alphabet of wood type.</i> Auckland: Pear Tree Press, 1998.<br /><br /><p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Arial;"><o:p></o:p></span></p></td></tr></tbody></table>Librarians Jane Wild and Zoë Colling co-curated the exhibition. Zoë sent Tara some questions, about his life in print, which he has kindly answered below.<div><br />Zoë Colling: You became an apprentice compositor in the 1960s, working with an Auckland printing company. Tell us about your time working there. <br /><br />Tara McLeod: The suburban and small-town jobbing printers in New Zealand were generally governed by English post-war typographic standards which had slumped in the 1950s. Design was not a great consideration. Even the National School of Printing block courses only touched on established ‘rules’ of typography. A good grounding but not a lot to report from apprenticeship days. I had stirrings that there must be more satisfying work. Trade Union rules dictated direction in work demarcation and design came mainly from outside the printing trade. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixlrLQE_TmZaaN8rozOjstdx0Sp0VRzS7HggymgnKm87OKrFehlna0ySgKbc6G8PHbt_gIhD3XZNpjRJyJzJkMeGhpDUHWys3Kc2xg5zFTqUqqtGewsIlNbJPSvkaR6EP67f96aO106Nb8H13sdLTXA-LdVPeXN5yRS0o6oOqeN8SZHIjI7UNq1WxzZpyk/s2448/Tara's%20studio.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2448" data-original-width="2448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixlrLQE_TmZaaN8rozOjstdx0Sp0VRzS7HggymgnKm87OKrFehlna0ySgKbc6G8PHbt_gIhD3XZNpjRJyJzJkMeGhpDUHWys3Kc2xg5zFTqUqqtGewsIlNbJPSvkaR6EP67f96aO106Nb8H13sdLTXA-LdVPeXN5yRS0o6oOqeN8SZHIjI7UNq1WxzZpyk/w640-h640/Tara's%20studio.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: A view of spacing material which goes between lines of type in Tara McLeod's studio, <br />January 2021.</td></tr></tbody></table><br />ZC: How did you get to start working at Pelorus Press? What was it like working there?<br /><br />TM: My period at Pelorus Press was post [Bob] Lowry, but he had set a benchmark for good style. Ross Denis took over the business and maintained good standards in both typography and machining which gave Pelorus a reputation for innovative style. I was elevated to another level of craftsmanship. Typographic design was taken seriously for even the smallest jobs. Somehow Pelorus never grasped that the decline in letterpress would be so complete and invested a lot of capital into Monotype hot metal composing machinery, which was never properly utilised, but it did set higher standards. <br /><br />ZC: You worked as a commercial artist primarily working for advertising agencies – tell us a bit about that time in your life? <br /><br />TM: Moving into what was then commercial art, I started with an ad agency on the lowest rung, assistant typographer. In the 1960s, reproduction proofs for paste-up into finished art were still proofed from metal type. One of my tasks was delivering copy and picking up reproduction proofs from trade type-setting firms. It was a gradual climb through the ranks, paste-up, air-brushing, hand lettering, black and white product illustration, though never creative status. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1xPui-upBqJuSwHcku2FWBi4rLA_kuf23XyxdsF63FtSZhuXFd41zDsvfOudchqX_7xm2Id7HtT1ovHYl2fn5QDZ4rkDakawQDQNwM5W_8l_enWkTLT3j6byo71TBzvj8aUvYixfoToUDV9QE23VS1R6Gea9v6L-XMDhezo3-1llftSRtGiH08jt2uwG/s3264/Type%20set.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3264" data-original-width="2448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1xPui-upBqJuSwHcku2FWBi4rLA_kuf23XyxdsF63FtSZhuXFd41zDsvfOudchqX_7xm2Id7HtT1ovHYl2fn5QDZ4rkDakawQDQNwM5W_8l_enWkTLT3j6byo71TBzvj8aUvYixfoToUDV9QE23VS1R6Gea9v6L-XMDhezo3-1llftSRtGiH08jt2uwG/w480-h640/Type%20set.jpg" width="480" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Image: Lines of metal type for the poem <i>'Harpsichord notes caught in a storm' </i>set in a forme.</div><div style="text-align: center;"><br /></div></td></tr></tbody></table>ZC: What were the main reasons you chose to move to the world of letterpress printing? <br /><br />TM: The 1980s were the decade of ‘letterpress into scrap’ so with an interest in letterpress and seeing much type and equipment going for scrap metal prices, it was too good an opportunity not to start collecting. A sign-writer friend who had an interest in graphics owned a nineteenth century cast-iron hand press (still working) which he wanted to sell, so another too-good-to-pass-up opportunity. I was well on the way to launching the Pear Tree Press. The 1832 press is still the focal point of my studio. <br /><br />ZC: You have worked with other presses – Holloway Press (University of Auckland) and Otakou University Press – how has that experience been compared with Pear Tree Press? <br /><br />TM: The Holloway Press at Auckland University of which I was the contract printer/designer for about twelve years and Otakau Press at Otago University with which I did several Printer in Residence terms both had the advantage of being able to source and acquire quality materials and paper and employ commercial bookbinders. The book texts were of a high standard, and it was also a privilege being brought into contact with well-respected writers and artists. </div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDaZzw9KsCrtwQbTYavjgzrUhHgCvrIqA8WX68Y65cYbwP82xyPWBrccSuqqN343fio_TOuponZb50MF9FeSzwugWbAqzFlhc1hfkOMt7vQ860FIeDwdh76aSHjFgEZbICM8L1DmgP8zCrxRSqPCXrNXKmjQTLKJJUVUCwGTUC4hdQM4DZ3RMPUpCFZWA/s3839/Holloway.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3839" data-original-width="2963" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqDaZzw9KsCrtwQbTYavjgzrUhHgCvrIqA8WX68Y65cYbwP82xyPWBrccSuqqN343fio_TOuponZb50MF9FeSzwugWbAqzFlhc1hfkOMt7vQ860FIeDwdh76aSHjFgEZbICM8L1DmgP8zCrxRSqPCXrNXKmjQTLKJJUVUCwGTUC4hdQM4DZ3RMPUpCFZWA/w494-h640/Holloway.jpg" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: An exhibition case with books printed by Tara when he was at the <br />University of Auckland's Holloway Press.</td></tr></tbody></table><br />ZC: Letterpress books, and particularly artists’ books, sometimes can sit in between the realms of art galleries and libraries. Can you comment on the term ‘artists’ book’? <br /><br />TM: The ‘artist book’ is very difficult to define and leads to a labyrinth of opinions on boundaries. ‘I made it and I say it’s a book’ – heard at a discussion. I would put my <i>‘Rattus’ </i>series in the artist book category, with a non-conventional book structure, though incorporating pages with printed text. Hard to say about a lot of the other work I’ve made. The <i>8 Poems</i> series, a poetry collection with graphic images to highlight individual poems, does this qualify? </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYSe69uGwHVhAwDBzmQjk0LgkVvN2EWSsUWlHXaOfvYjaNhxblpQeaYv_BQqfgcIQ0ssAC_F0GrwY843y55waO6BQ1FfJ9F-BNEkFpfiFmLqm-9D80SzdV97jRi7Xt1CuFup16h8GQJ5oeks1zLlQQsD_bBVyNQ2KmlW4vhIKBmb9kGsfcEtwS4GI-2FL/s4032/Being%20there.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYSe69uGwHVhAwDBzmQjk0LgkVvN2EWSsUWlHXaOfvYjaNhxblpQeaYv_BQqfgcIQ0ssAC_F0GrwY843y55waO6BQ1FfJ9F-BNEkFpfiFmLqm-9D80SzdV97jRi7Xt1CuFup16h8GQJ5oeks1zLlQQsD_bBVyNQ2KmlW4vhIKBmb9kGsfcEtwS4GI-2FL/w480-h640/Being%20there.jpg" width="480" /></a></td></tr><tr><td class="tr-caption">Image: Showing the book <i>8 poems: New Zealand poets 2014. </i>Auckland: Pear Tree Press, 2014.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz5Jis5msHLUBVuTuXcSlOXx03aoE3JZzok9kg13CQxPHXIiD9dpGQtj-i-AkbnvsesPSxth1125UIL_JWc5rB1unaddf_I43x26QMo7hAL6lqX_i5f6njXf5Wc0qcxBsOaZFFz4G4LJY95bF4oPYNWKmk4RU3GNxJ_apH3NDLlpzgf8zRDu4TrgAlXnW/s3210/Bubble.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3210" data-original-width="2674" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNz5Jis5msHLUBVuTuXcSlOXx03aoE3JZzok9kg13CQxPHXIiD9dpGQtj-i-AkbnvsesPSxth1125UIL_JWc5rB1unaddf_I43x26QMo7hAL6lqX_i5f6njXf5Wc0qcxBsOaZFFz4G4LJY95bF4oPYNWKmk4RU3GNxJ_apH3NDLlpzgf8zRDu4TrgAlXnW/w534-h640/Bubble.jpg" width="534" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Tara McLeod single sheet works on display in the Tara McLeod: About type exhibition.</td></tr></tbody></table><br />ZC: What inspired you to make the wonderfully dark Rattus rattus? <br /><br />TM: <i>Rattus</i> started as a curiosity - a mummified rat in a box. Then the idea of having it enclosed, which could be an intrigue as to what would be revealed when opened, which became a book structure, suitably enclosed in a leather binding with a bone clasp. After it was completed, serendipitously, a cat was discovered, under a factory's foundations. So the next in the series began - <i>Felis Catus.</i> After a cat, what next? Mice are fairly easy to come by. Farm hay barns seem to produce a few. This volume was titled <i>Mus Musculus.</i> I liked the idea of trepidation when opening, what is going to be revealed at the end? Mouse, rat, and cat made a unique series, with the originals reproduced in a printed edition. And unique enough to be acquired for Auckland library’s collection. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjI8JoPNyXRRAbgo7B3dOqW5B0ZaA_spulgQcgWDTklKfAalkxBS62B6puz_EwhT3DxY1rSM59Qtl2c0ydUGkCtB5G7FcOv7AmWGYXJtbLD7NNeaoxNritnnlHirnsLp1z2Xxngw15-PsfyFZ7AiRLaCOChw-Spv0SQHUKA8GMGs0bFgk749x_MaKkYTKf/s4032/Rattus.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2234" data-original-width="4032" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjI8JoPNyXRRAbgo7B3dOqW5B0ZaA_spulgQcgWDTklKfAalkxBS62B6puz_EwhT3DxY1rSM59Qtl2c0ydUGkCtB5G7FcOv7AmWGYXJtbLD7NNeaoxNritnnlHirnsLp1z2Xxngw15-PsfyFZ7AiRLaCOChw-Spv0SQHUKA8GMGs0bFgk749x_MaKkYTKf/w640-h354/Rattus.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Showing items from the Tara McLeod work <i>Rattus Rattus.</i> Auckland: Pear Tree Press, 2018.<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Arial;"><o:p></o:p></span></p></td></tr></tbody></table></div><div>ZC: Another one of your books on display is <i>'The head, the heart & the hand: private press printing in the digital age.' </i>The page on display in the exhibition includes this quote: “The challenge now for the private press printer is the creation of an object with the look and feel that says not produced on a computer… but instead, a creation of particular quality with the mark of the maker’s hand.” What ways do you ensure the maker’s hand is included in your books?</div><div><div class="separator" style="clear: both; text-align: center;"><br /></div>TM: The maker’s hand shows in the complete process, starting with pencil to paper, setting the type by hand, the many intricacies of the actual printing process through to, sometimes, the finished binding. Being able to create with a totally manual process using equipment that has stood the test of time, the satisfaction of working with a technology that one has complete control over, and which is simple enough that if any technical problems occur, they can be worked out. Poets and writers spend a lot of time crafting their words, so the typographer has a responsibility as an interpreter of the writers work to present the words in a sympathetic fashion, to encourage the reader to follow through the text. Quality printing deserves quality content and meaningful texts. </div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidL0sQqxhEFIJOnPtnLeY0me2mGcBguGho895OJ60te58BIERK_IwO12yt89St_0mTYw2u0-F8bPhDpBo7q2A2XW9jsDE1yBioUcj1CKP5X5cE0d345dXxOz2D8Z1f3hCilOFHZjUMZwxeUEj5ic-UjzmBHbo3M5z-bur4OaHLMuPzbzMBKmYe4kzrMKko/s3024/The%20head,%20the%20heart.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2604" data-original-width="3024" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidL0sQqxhEFIJOnPtnLeY0me2mGcBguGho895OJ60te58BIERK_IwO12yt89St_0mTYw2u0-F8bPhDpBo7q2A2XW9jsDE1yBioUcj1CKP5X5cE0d345dXxOz2D8Z1f3hCilOFHZjUMZwxeUEj5ic-UjzmBHbo3M5z-bur4OaHLMuPzbzMBKmYe4kzrMKko/w640-h552/The%20head,%20the%20heart.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Showing the book <i>The head, the heart & the hand: private press printing in the digital age.</i> Auckland: Pear Tree Press, 2007.<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Arial;"><o:p></o:p></span></p></td></tr></tbody></table>ZC: Finally, please tell us about what you’re working on printing wise now. <br /><br />TM: Lately, I have been working on the 3-dimensional graphic artworks which include printed, painted and constructed lettering. These are one off pieces designed for wall display. <br /><br />Enjoy the Ngā Pātaka Kōrero - Auckland Libraries playlist about the ‘Tara McLeod: About type’ exhibition which includes the voices of one of the curators, Jane Wild, conservator, Ngaio Vince-Dewerse, and Tara himself. <br /><br />Listen here: <a href="https://bit.ly/TaraMcLeodPlaylist">https://bit.ly/TaraMcLeodPlaylist</a> <br /><br />Watch this <a href="https://www.youtube.com/watch?v=jtex73elUHI">video</a> showing Tara being interviewed at his home workshop in Orewa, in preparation for an earlier exhibition at Emma Jean Framing Gallery in Silverdale, Auckland, as part of Artweek, October 2019.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><a href="https://ourauckland.aucklandcouncil.govt.nz/events/2023/03/tara-mcleod-about-type-exhibition/">Tara McLeod: About type</a><br /><br /></div><div>Thursday 30 March – Saturday 15 July 2023<br />Central City Library | Tāmaki Pātaka Kōrero<br />44-46 Lorne Street, Auckland Central</div><div>Special Collections gallery, level 2.<br /><br /> </div></div></div><div><span style="color: #666666;"><b>Author: </b></span>Zoë Colling, Heritage Engagement librarian</div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-27341639161113184302023-05-15T10:16:00.002+12:002023-05-15T11:27:19.507+12:00 Readers and readings: traces of use in the Auckland Libraries First Folio<p>At the start of <i>Mr. William Shakespeares comedies, histories & tragedies</i>, otherwise known as the ‘First Folio’, there’s a note from Shakespeare’s former colleagues to the book’s potential consumers. “To the great Variety of Readers”, it begins, before outlining the reasons people might want to buy – and read – this unprecedented collection of plays.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMLWc7aVZPc-xQ63GgpiSvAssYfrV3QGgSs9G-k6Tbb9I-Of33i4VZzKLh8Nl4f8OcN1Q5JhJ_hE-3B_Dri5zwociNa1H1nyRpkV4Uy290UsBQPj8zAeEvw_wEFazPPss7hNrcaiRw0ViTq7LneQe0msd4Yyg3qdnfU6mC2dpPdQkVQ7QaCllMF-FGoA/s1200/15.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMLWc7aVZPc-xQ63GgpiSvAssYfrV3QGgSs9G-k6Tbb9I-Of33i4VZzKLh8Nl4f8OcN1Q5JhJ_hE-3B_Dri5zwociNa1H1nyRpkV4Uy290UsBQPj8zAeEvw_wEFazPPss7hNrcaiRw0ViTq7LneQe0msd4Yyg3qdnfU6mC2dpPdQkVQ7QaCllMF-FGoA/w640-h334/15.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12785#.ZF7HI1o3iKM.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 15. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>The First Folio was published in 1623; its surviving copies are now four hundred years old. As a consequence, they have indeed encountered a “great Variety of Readers”, and the copy of the First Folio held in the Sir George Grey Special Collections at Auckland Libraries is no exception. </p><p>Traces left by this copy’s early owners and readers testify not just to the multiple hands through which the book has passed, but also to the great variety of <i>readings </i>the book has received. Published in a period when many people read with pen in hand, the Auckland First Folio preserves multiple moments when readers responded to the Shakespearean text in ways that were consistent with conventional early modern reading practices. But it also highlights the way that any book from this period – regardless of its future as a highly prized cultural object – could be seen as a repository of blank paper, with margins that stood ready to receive comments and compositions entirely unrelated to the text they framed. This blog post explores some of the marks and marginalia in the Auckland Libraries First Folio in order to demonstrate these points, and to introduce contemporary readers to the unique features of the sole copy of this book held in Aotearoa. </p><p>The first trace left by an early modern reader in the Auckland First Folio can be found on one of book’s early pages, which retains the signature of one “Charles Grylls”, accompanied by a date: April 1676.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJFpHrO9keuROhF6DMQ_xmsbPJU0jF1qYcpYGCUyE2n7gsfAkI1i6hWNikhJTTW3tLXAvdEdFZ1oQDRe70EPO6Oi42CRiC68NlkHc5UKwqXg1Ft3gCewlvlDyX-pQOC_o5CYmIlkHRTLT3QC01jdw_0Ppt5vBUV3oCTU9uhKlSkc8FphVcPreBVLClZQ/s1200/13.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="1200" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJFpHrO9keuROhF6DMQ_xmsbPJU0jF1qYcpYGCUyE2n7gsfAkI1i6hWNikhJTTW3tLXAvdEdFZ1oQDRe70EPO6Oi42CRiC68NlkHc5UKwqXg1Ft3gCewlvlDyX-pQOC_o5CYmIlkHRTLT3QC01jdw_0Ppt5vBUV3oCTU9uhKlSkc8FphVcPreBVLClZQ/w640-h382/13.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12783#.ZF7HIy9YL2o.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 13. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>Grylls was Sherriff of Cornwall, and seems to have engaged with the book several times that year – notes in his hand accompanied by the date “1676” also appear on pages of <i>The Winter’s Tale</i> and <i>1 Henry IV</i>. As a high-ranking official, he is the type of “gentleman reader” that in the late sixteenth- and early seventeenth centuries was often assumed to be the target audience for early modern printed drama. But Grylls’s name is not the only one in the book: in the top margin of a page of <i>Othello</i>, written twice in a different early hand, is the name “Anne Hearle”. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIX6xfmyBetF3KFngiGTgsHE00HNwxvwHBbaTlqhJecWk85KOZtbdXrNtsZW8x1GIxz-jUxeh8g2x2Dhoe-uOgjnye83kQ9T7loydXbkPfMGVAvInFX0r14r-GS_13ZX-pYHtsqvoafYjq5X1fJqOowoZHAII8CyzvYy6pxAKMOe0T2twURYY2epv2WA/s1200/851.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="1200" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIX6xfmyBetF3KFngiGTgsHE00HNwxvwHBbaTlqhJecWk85KOZtbdXrNtsZW8x1GIxz-jUxeh8g2x2Dhoe-uOgjnye83kQ9T7loydXbkPfMGVAvInFX0r14r-GS_13ZX-pYHtsqvoafYjq5X1fJqOowoZHAII8CyzvYy6pxAKMOe0T2twURYY2epv2WA/w640-h382/851.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13621#.ZF7HI0--2_A.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 851. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>The scholar Emma Smith has identified Anne as “part of the extended Grylls family”, and the presence of her name supports seventeenth-century publishers’ growing acknowledgement that women readers were also a significant part of the market for printed drama: in 1647, the publisher of the collected dramatic works of two of Shakespeare’s rivals, Francis Beaumont and John Fletcher, wrote that “in [printing] works of this Nature” (i.e. plays), “Ladies and Gentlewomen […] must <i>first </i>be remembered” [my italics].<span style="font-size: x-small;">1</span> </p><p>The names of Charles and Anne are not the only ones in the book. On an early page of the first play in the volume, <i>The Tempest</i>, another early hand writes “William” next to a line delivered by the character of Miranda. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8yXpLbnIMxgaSmgrn7W05UrmuViq8JwoScMzXEO8chhPFK8ceelsIC79Hmv2kTGgjkHr1_T6PhL8haezCOp4T7Y_Ee2h_LUHJyAb73eOJS-TuQ3ZYTDpKhflPH_uot2raCK3bhMXAkUW4h7lWwo2kvVrdaZhKc9b91-IEXzcjOp5iHQWEZ4QiUReqw/s1200/26%20(2).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8yXpLbnIMxgaSmgrn7W05UrmuViq8JwoScMzXEO8chhPFK8ceelsIC79Hmv2kTGgjkHr1_T6PhL8haezCOp4T7Y_Ee2h_LUHJyAb73eOJS-TuQ3ZYTDpKhflPH_uot2raCK3bhMXAkUW4h7lWwo2kvVrdaZhKc9b91-IEXzcjOp5iHQWEZ4QiUReqw/w640-h334/26%20(2).jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12796#.ZF7HIyb5bmU.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 26. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>In this line, Miranda is responding to a question from her father Prospero, about what – and who – she can remember from her distant childhood. The unexpected positioning of William’s name – nestled in amongst the dramatic text, as though it were a part of it – makes us question whether this name belongs to the reader who wrote it, or whether this is a moment where that reader responded to same prompt as Miranda, and produced the name of a half-remembered figure from his or her childhood, just as Miranda conjures up the memory of the waiting-women who looked after her as a toddler. If this is the case, the inscription of the name is evidence of a common early modern playreading practice, in which readers engaged closely with small parts of the text, rather than the whole. </p><p>Evidence of this habit can be seen in further manuscript additions made by early readers of the Auckland First Folio. Although several plays in the volume have inscriptions on their initial pages that seem to indicate that they have been read in their entirety (signalled by the Latin inscription “Iam legi” – “I have already read”), by far the most common type of readerly intervention in the book are the small crosses or dashes that readers made in the margin next to particular lines or passages of text. These types of marginal marks are found throughout surviving copies of books from the early modern period, and reflect the way that readers in this period belonged to a culture of ‘commonplacing’. They had been trained in school to read with an eye to extracting reusable phrases that they could recycle in their own compositions, and many readers carried this habit over into their adult leisure reading.</p><p>In the Auckland First Folio, marginal ink marks can be found next to lines in roughly half of the comedies and histories, but only two tragedies. Tragedies were more likely to furbish the type of aphoristic <i>sententiae </i>that were considered apt material for one’s commonplace book, a repository of reusable phrases on universal themes – such as the line picked out in <i>King Lear</i>: “Men must endure/ Their going hence, even as their coming hither”.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMZ_ZFcKEArjxHC94mNA-_b2QbsbDO1azF-CSKfMvKu6Ge4AfPmq66FIOV1xjKKdP_EJtSLkHqJlmYcWf1yJOa75zl9lx8m2XatRSWsKSeZ8XOtfi_EBxW06diRqPStvFl8G-4lGcmsxjlCkbBjzv9srf953f-P5vsIDiJIaRcPFadX2vHulRjHi5_A/s1200/820.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMZ_ZFcKEArjxHC94mNA-_b2QbsbDO1azF-CSKfMvKu6Ge4AfPmq66FIOV1xjKKdP_EJtSLkHqJlmYcWf1yJOa75zl9lx8m2XatRSWsKSeZ8XOtfi_EBxW06diRqPStvFl8G-4lGcmsxjlCkbBjzv9srf953f-P5vsIDiJIaRcPFadX2vHulRjHi5_A/w640-h334/820.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13590#.ZF7HIzFxmMY.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 820. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>One of the reasons there may be so few lines picked out in the tragedies in this volume, however, is that commercial drama had a reputation for being able to provide other sorts of material to readers, for reuse in more pragmatic, real-world contexts. At the end of the sixteenth century, the playwright and satirist John Marston writes a mocking verse, which makes fun of a young man who has nothing original to say, but “writes, […] rails, […] jests, […] courts, what not/ And all from out his huge long scraped stock/ Of well-penn’d playes.”<span style="font-size: x-small;">2</span> The Auckland First Folio supports this image of the playreader who seeks out jests to pass off as his own, or lines to use when courting: the marginal marks that signal potential ‘scrapings’ in this copy are often next to jokes or generic lines of flattery. </p><p>So, for instance, in <i>The Comedy of Errors</i>, a vertical score in the margin isolates the call-and-response banter between Antipholus of Syracuse and Dromio of Syracuse in which Dromio describes Nell, the “kitchen wench”, as “spherical, like a globe; I could find out countries in her.” (Antipholus proceeds to ask him where, then, in her body he found particular countries such as Ireland, Scotland, France, eliciting bawdy responses that also poke fun at national characteristics.) This type of standalone question-and-answer-based jest (it has little to do with the play’s plot) clearly appealed to readers: a similar formula underpins the exchange between Orlando and Rosalind in <i>As You Like It</i> in which he gets her to tell him how different figures (lovers, priests, convicts, lawyers) experience the passage of time. In the Auckland First Folio, Rosalind’s responses in this exchange are marked out by ink dashes.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8pWaz0IrbumMQMU5ix8X8RzRBa94sK0Bh9URRGEEmtHOxJxLTF41fzvetdFDvvc9MaCQ5OxCefKWlch1cQiolbI1r9VPJJVj1DbIkpunht9wU0hcdBoQbeRsYZE54NJRGSl8Aqs8DyUAXXWX-MClc13RSv10n8qLejHD-JKsrBl-Y8qN_LQ8PlSgWuA/s1200/221.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="1200" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8pWaz0IrbumMQMU5ix8X8RzRBa94sK0Bh9URRGEEmtHOxJxLTF41fzvetdFDvvc9MaCQ5OxCefKWlch1cQiolbI1r9VPJJVj1DbIkpunht9wU0hcdBoQbeRsYZE54NJRGSl8Aqs8DyUAXXWX-MClc13RSv10n8qLejHD-JKsrBl-Y8qN_LQ8PlSgWuA/w640-h382/221.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12991#.ZF7HI9cuF_M.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 221. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>In a different play, <i>The Winter’s Tale</i>, the ink marks are crosses, and they pick out lines that, rather than being humorous, are the types of compliments that Marston envisages lovestruck playreaders seeking out to flatter the object of their affection. One cross accompanies Florizel’s line to Perdita: “For I cannot be mine own, nor any thing to any,/ If I be not thine”; another accompanies a line delivered by the character of Camillo, struck with wonder at the sight of the shepherdess Perdita: “I should leave grazing, were I of your flock,/ And only live by gazing.”</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg80RE0OiShNRfRqdY6aYevJ1E7ZgZrG3MOZXBZypQkOdaJvhVRHpsaNIkCOlH9WA8o4yieFsx4wCar23ZT8yfPcprohMTgDU43BH3QU4az88Dx73_31lkC__VqmdEcgTYVW1-by--eDHHpv6Qv24PbwueF6lVd5xrxJRC3tVfB_0z0ipkzcsg2FIva-g/s1200/315.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg80RE0OiShNRfRqdY6aYevJ1E7ZgZrG3MOZXBZypQkOdaJvhVRHpsaNIkCOlH9WA8o4yieFsx4wCar23ZT8yfPcprohMTgDU43BH3QU4az88Dx73_31lkC__VqmdEcgTYVW1-by--eDHHpv6Qv24PbwueF6lVd5xrxJRC3tVfB_0z0ipkzcsg2FIva-g/w640-h334/315.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13085#.ZF7HIwkDH2M.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 315. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>These lines are carefully rhetorically constructed (the juxtaposition of mine/thine; the rhyme of grazing/gazing) and it’s easy to see why they might have appealed to a would-be lover who lacked confidence in his own ability to compose creative compliments.</p><p>Other annotations in the volume testify to the confidence early modern readers had when it came to what scholars of the period describe as “perfecting” the book. The complexity of the early modern printing process meant that, invariably, a few typos would make their way into the printed text. Readers who spotted these were quick to correct them with their pen, showing that they understood what the text <i>should </i>have read, and thereby transforming the volume – via their manuscript corrections – into a more “perfect” version of itself. Emma Smith discusses several of the corrections in the Auckland First Folio in her book on copies of the publication: the amendment of “dxile” to “exile” for instance, and of “Mo sir” to “No sir”.<span style="font-size: x-small;">3</span> </p><p>One particularly interesting example of perfection is the tricky word “unaneled” in the Ghost’s speech in the first act of <i>Hamlet</i>, which was clearly a word that the compositor (the person who arranged the individual letters that made up the page of text) struggled with the spelling of, partly because even in the early modern period it wasn’t a very common word. It refers to a part of the Catholic process of providing last rites for a person on their deathbed. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Ug93Re7qABmSZfPx2fFkD9lpJLNV6BHvwSOuDhl_NOPNp5ky0Wz0DL0X9C_raTTAe3hQmXUlj5I78opNH0LMbGCnHxy7MaJEOH0nSheyo33ujjhXOmwzvmiby048xw4hebJ2fgxMMcTWQxHNqgRHeuEXSy_ee_VNRZ3psKfGG-Ni9ix1EYKvja04Hg/s1200/772.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Ug93Re7qABmSZfPx2fFkD9lpJLNV6BHvwSOuDhl_NOPNp5ky0Wz0DL0X9C_raTTAe3hQmXUlj5I78opNH0LMbGCnHxy7MaJEOH0nSheyo33ujjhXOmwzvmiby048xw4hebJ2fgxMMcTWQxHNqgRHeuEXSy_ee_VNRZ3psKfGG-Ni9ix1EYKvja04Hg/w640-h334/772.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13542#.ZF7HI2RywUI.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 772. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>Its spelling got blurred over the years with that of the similar-sounding word “unannealed”, which is clearly what the reader of the First Folio is thinking of when they add that apparently missing “a”. But even if they’re not sure of the spelling, they know what the word means, and their addition of an adjacent definition (“i.e. unannointed”) makes the word’s meaning more transparent for future readers. This is a different way of “perfecting” the printed text, one that prefigures the later editions of Shakespeare we are used to reading today, which unpack difficult or archaic words to aid comprehension.</p><p>Finally, there are a number of annotations made by readers of the Auckland First Folio which seem to bear only a tangential relation to the adjacent Shakespearean text – or at times no relation at all. At the time when it was published, this volume wasn’t just a repository for some plays that would increase exponentially in popularity over the coming centuries – in the margins that surrounded the text of these plays, it was a source of available blank paper in a period when this was a relatively expensive commodity. </p><p>As such, the book could become a practical self-improvement tool, for instance when readers used the blank space of the margin to practice their handwriting (or test their pen) by copying out adjacent lines of text. In the Auckland copy of the First Folio, we can see an example of this in the top margin of a page of <i>The Comedy of Errors</i>, where a reader copies out the two key words in the play’s title, “comedy” and “errors” – adding next to them the word “Forgive”, perhaps indicating their view that actions made in error should be forgiven.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WnH4m0Dsfg1RiPXuMzDzVpeE-nGo-JULJ62WOEyhEpIO7woINvrSycpEGwWwMNYZ95-NbWbBsDgpn2ekcJYLYKjVk0IsGho3mruzkl7lOCdMSzf0WP7aW97gsrgkzF8cfl03AT0ndpLG2PHLZce0MvH7jQIsosFPTqz6csPe94reS77SSjgSUVPwzA/s1200/117.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6WnH4m0Dsfg1RiPXuMzDzVpeE-nGo-JULJ62WOEyhEpIO7woINvrSycpEGwWwMNYZ95-NbWbBsDgpn2ekcJYLYKjVk0IsGho3mruzkl7lOCdMSzf0WP7aW97gsrgkzF8cfl03AT0ndpLG2PHLZce0MvH7jQIsosFPTqz6csPe94reS77SSjgSUVPwzA/w640-h334/117.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12887#.ZF7HI_h4s2Y.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 117. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>On one of the pages of <i>Hamlet</i>, the line in the top margin of the page is instead an adjacent line of dramatic dialogue, Hamlet’s line to Gertrude: “How is it with you Lady?”.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjD2a4EoI_wZKpT9FxTmSI3fz0fOW1_xIgZf0hA3CLy_iJJYeOtAFeoY2d2iCpIrbcfHVqS5uJYV9XL4W2KR1BbiPr8R6SEmti-RD4_nsjEe4wwXKlQLF9eHJPbr-77pPwSJ9edmyHcw7dr5BoHalV0X9gdPqsO5VhhB5RmUlx7Hr2jmOGCTLrws765g/s1200/785.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjD2a4EoI_wZKpT9FxTmSI3fz0fOW1_xIgZf0hA3CLy_iJJYeOtAFeoY2d2iCpIrbcfHVqS5uJYV9XL4W2KR1BbiPr8R6SEmti-RD4_nsjEe4wwXKlQLF9eHJPbr-77pPwSJ9edmyHcw7dr5BoHalV0X9gdPqsO5VhhB5RmUlx7Hr2jmOGCTLrws765g/w640-h334/785.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13555#.ZGFVxbjY26w.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 785. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p></p><p>In the bottom margin of a page of the second part of <i>Henry VI</i>, what looks like practice at forming individual letters is in fact something more mysterious – here the reader has turned the volume upside down and used the space beneath the text to write something in what looks like a type of code, perhaps one where each letter represents a longer word. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFRrbZwnI1CYETo7h3w4bHhywCbLnGxjnEhuuUvNXcbckCsNsgZ22Njs7gZuh2mDESLu5CARv_-HMlpHU04C9NP--J-AJg2E-M4KG8kvykm1EQ8Wsn0DMNw90vRXuHTnNpZUN_zPh7Y8qVmPLdPZHCeA0skwbigEM8Dhi7qYbcRfTphkjVuNWWcURAQ/s1200/482.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFRrbZwnI1CYETo7h3w4bHhywCbLnGxjnEhuuUvNXcbckCsNsgZ22Njs7gZuh2mDESLu5CARv_-HMlpHU04C9NP--J-AJg2E-M4KG8kvykm1EQ8Wsn0DMNw90vRXuHTnNpZUN_zPh7Y8qVmPLdPZHCeA0skwbigEM8Dhi7qYbcRfTphkjVuNWWcURAQ/w640-h334/482.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13252#.ZF7HI5CFo34.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 482. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>That this is how the code works can be inferred from the parenthetical phrase in the middle of the second line, where the reader makes a mistake and writes out the word “thanks” in full, before scrubbing out the final five letters and following them with “b t g” – turning this into the recognisable phrase “thanks be to god”. </p><p>The fact that the passage of code isn’t even written using the same alignment as the printed text signals that, in instances like this – and others in the Auckland copy – Shakespeare’s text was incidental to the usefulness of the book as a place to inscribe one’s own written compositions. On a page of <i>Coriolanus</i>, for instance, the outer margin offers space for a reader to jot down what seem to be the closing lines of a letter: “from you a Saturday last this convenient time shall only let you know that I am yours to command”. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5z-ChnJ3OiW5lH_uHTF681-IzgfONycdEq474lIO0FIRAMFBLM92xLJGemVGdQJ7TrAmqhJfASgC20P4WVW6Yj5fhhk3lLg9eH4Sb7HadTk4YM5SbIpJUcOwUTcZ5Xxe93xUS_8Va4bVG6dSyDjRIhctCdQmuinwKg3f15VUSMq62f8kH7v2iJ2IVw/s1999/650_rotated.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1320" data-original-width="1999" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5z-ChnJ3OiW5lH_uHTF681-IzgfONycdEq474lIO0FIRAMFBLM92xLJGemVGdQJ7TrAmqhJfASgC20P4WVW6Yj5fhhk3lLg9eH4Sb7HadTk4YM5SbIpJUcOwUTcZ5Xxe93xUS_8Va4bVG6dSyDjRIhctCdQmuinwKg3f15VUSMq62f8kH7v2iJ2IVw/w640-h422/650_rotated.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13420#.ZF7HI85Czb8.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 650. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>Meanwhile, the outer margin of <i>The Winter’s Tale</i> provided space for another reader – probably Charles Grylls himself – to transcribe a proverbial ditty: —"the devill was sicke the devill a monck would bee |the deville was well the deville a monck was hee”. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SFPhK9Afstq7zDuPhvPnb8WZG5wVy5gvDs8kG9NLJ9GnBNbaQ-Fu1T0vjpFWdyxoa0tTjWepG3BCSiych6uec1XJlSxAQtA-An_gv7osOGZrRErgtX9FjJGNmKhtwFbMBDg7W4JEBpxigBjNGwl-O5P_K224LHRIsdCLiMcr-QWySdWam6vlEbadHg/s1200/326_rotated.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SFPhK9Afstq7zDuPhvPnb8WZG5wVy5gvDs8kG9NLJ9GnBNbaQ-Fu1T0vjpFWdyxoa0tTjWepG3BCSiych6uec1XJlSxAQtA-An_gv7osOGZrRErgtX9FjJGNmKhtwFbMBDg7W4JEBpxigBjNGwl-O5P_K224LHRIsdCLiMcr-QWySdWam6vlEbadHg/w640-h334/326_rotated.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13096#.ZF7HI7p2X5o.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 326. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>As Emma Smith points out, this couplet is “not immediately relevant” to the adjacent text of the play, and its presence – like that of the previous examples – instead reflects the way that copies of Shakespeare’s First Folio have, over the course of their 400-year old lifespans, been far more to their readers than simply the repositories of much-beloved plays by a famous dramatist.<span style="font-size: x-small;">4</span> A final example of this? The page of <i>The Winter’s Tale</i> that clearly shows the ring of a wineglass stain. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQTnfBScWNEQXTvOhm-AJBEFb1Rjb3a_krr-kI2RbidNTHXi5j50dn7MSrkDDk2UzCSYTZmjZJCD5mNiaYvonUZByV0Q0DqNnSR_Byu-jqsCImmrFDcwbr78CytujyyJZuVWNzBhM3tVD0kdKAV8oy3d7gFPbdMBHnSWIbm8gIa_JvDhgL4dPeXU8EbQ/s1200/324.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQTnfBScWNEQXTvOhm-AJBEFb1Rjb3a_krr-kI2RbidNTHXi5j50dn7MSrkDDk2UzCSYTZmjZJCD5mNiaYvonUZByV0Q0DqNnSR_Byu-jqsCImmrFDcwbr78CytujyyJZuVWNzBhM3tVD0kdKAV8oy3d7gFPbdMBHnSWIbm8gIa_JvDhgL4dPeXU8EbQ/w640-h334/324.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/13094#.ZF7HI9l6B1o.link" target="_blank">Image: Detail from <i>Mr. William Shakespeares comedies, histories & tragedies</i>. Isaac Iaggard and Ed. Blount, 1623. Kura image 324. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><p>Shakespeare’s First Folio might now be a highly prized rare book, whose 400-year publication anniversary is being commemorated across the globe – but as the Auckland Libraries copy demonstrates, in one earlier life, it was a coaster. </p><h4 style="text-align: left;">Author: Dr Hannah August</h4><p>Hannah August is Senior Lecturer in English at Massey University, and the author of <i>Playbooks and their Readers in Early Modern England</i> (Routledge, 2022).</p><h4 style="text-align: left;">References</h4><p><span style="font-size: x-small;">1</span>. Emma Smith, <i>Shakespeare’s First Folio: Four Centuries of an Iconic Book</i> (Oxford: Oxford University Press, 2016), p. 97; Humphrey Moseley, “The Stationer to the Readers”, in Francis Beaumont and John Fletcher, <i>Comedies and Tragedies</i> (London, 1647), sig. A4r. </p><p><span style="font-size: x-small;">2</span>. John Marston, <i>The scourge of villanie</i> (London, 1598), sig. H4r.</p><p><span style="font-size: x-small;">3</span>. Smith, p. 149.</p><p><span style="font-size: x-small;">4</span>. Ibid., p. 97.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-54887154192303085602023-05-11T09:56:00.005+12:002023-05-11T10:32:00.723+12:00Fifty years of the Auckland Folk Festival, 1974 – 2023<p>The Auckland Folk Festival celebrated its 50th year on Anniversary weekend, January 2023. A huge line-up was planned with numerous New Zealand and international acts, decorations and bunting throughout the venue at the Kumeu Showgrounds, a 50th Anniversary display under a marquee and 250 nostalgia-inducing photos on show in the hall. The Festival committee had everything in place after a couple of years of planning – and a cancelled festival due to Covid in 2022. Ticket sales were tracking well and the festival looked like it was going to be bigger and better than anything held before… and then the rain came… with more than a month’s rain in 2 days. With the ground flooded, restrictions on people camping and most of the marquees out of action due to the danger of water and electrical equipment mixing, the committee went into overdrive to resurrect a limited festival using only the Kumeu hall, the barn and later in the weekend a marquee when the water levels weren’t as high. Although the festival was shortened, those of us who were there had a fabulous if wet time. Energy was high and we thoroughly appreciated the work the committee had done to give us a festival in extremely demanding and extraordinary circumstances.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PzOeYJLkfL4zgVFcAYWIUxtiYeFDxjblbxwIxmKInnNxjpdZWT_fC3P4S5L0uDSy5TQkkqyT05t8jXutEuU94yMafy2ZJBaFZ1djXU8proJEnz63-om1MQr-n7iHMvFE-Kn20TwnUwXGkbMxxPUQFABIk4ilAoIK6is8GlCRAUSGuGT4dqQf4RBykg/s1600/The%20Big%20Wet,%20Jan%202023.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PzOeYJLkfL4zgVFcAYWIUxtiYeFDxjblbxwIxmKInnNxjpdZWT_fC3P4S5L0uDSy5TQkkqyT05t8jXutEuU94yMafy2ZJBaFZ1djXU8proJEnz63-om1MQr-n7iHMvFE-Kn20TwnUwXGkbMxxPUQFABIk4ilAoIK6is8GlCRAUSGuGT4dqQf4RBykg/w640-h480/The%20Big%20Wet,%20Jan%202023.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: "The Big Wet”, January 2023. Photo courtesy of Catherine Dawson, Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p></p><h4 style="text-align: left;"> A snapshot of 50 years of the Auckland Folk Festival </h4><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSiTbrzxNZiLUO1eOEBMqCr86xkB5Bu8YN-8Pl4sKlfNXeUG-KenmexsbkR-OQLOYp3FA4Zck4W7MmnhGLRBFZnhuUJvAtjKKkeXyigWNHjJPDsfvhGQ05wTLneFsulwaMTaSOVk2mo-vnxOBtQFE_7KGRhQkuyt9kyOars8y0POzut-wm2Gu2wkobMQ/s2480/1973%20First%20Folk%20Gathering%20Mollers%20Farm.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2480" data-original-width="1953" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSiTbrzxNZiLUO1eOEBMqCr86xkB5Bu8YN-8Pl4sKlfNXeUG-KenmexsbkR-OQLOYp3FA4Zck4W7MmnhGLRBFZnhuUJvAtjKKkeXyigWNHjJPDsfvhGQ05wTLneFsulwaMTaSOVk2mo-vnxOBtQFE_7KGRhQkuyt9kyOars8y0POzut-wm2Gu2wkobMQ/w504-h640/1973%20First%20Folk%20Gathering%20Mollers%20Farm.JPG" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Poster for the first Folk Gathering, 1973. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>The first Folk Gathering held in Auckland, took place at Bill Moller’s Farm, Oratia, on Labour Weekend, 1973. Organised by Frank Winter of the Poles Apart Folk Club and Bob Pomeroy of the Folk Attic in Ponsonby, the event attracted 250 attendees. Informal sessions were held during the morning and concerts in the afternoons with “bon fire and barn-fire singing throughout the night”.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin1gqHthVNwpq9dnj_c1aX-YOAKWGksPdO_B579ULEk-KmwQ3yVgPRrwM_9MmBgqTO6FRsSBeiHyEpMO2imOYEmSPjfsvSJ6SHiz5QrR7R2yR7H4LjYP_3uxyYdIgrKvlzdiC2CQ222CRLkKvjvFkBqI28GuZ5DAkLsCpWqeFUWHCsDv0uL0V3M-cflA/s4680/1974%202nd%20Folk%20Gathering%20and%201st%20AFF.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4680" data-original-width="3307" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin1gqHthVNwpq9dnj_c1aX-YOAKWGksPdO_B579ULEk-KmwQ3yVgPRrwM_9MmBgqTO6FRsSBeiHyEpMO2imOYEmSPjfsvSJ6SHiz5QrR7R2yR7H4LjYP_3uxyYdIgrKvlzdiC2CQ222CRLkKvjvFkBqI28GuZ5DAkLsCpWqeFUWHCsDv0uL0V3M-cflA/w452-h640/1974%202nd%20Folk%20Gathering%20and%201st%20AFF.jpeg" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Poster for the Second Folk Gathering, 1974. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nrw2T3pRHjqH037ng5tiDBy4DGulMl7bFST95NH5f_MNx0LOI1Wm671ydAikIN3u7-eAyxFLzHziyadVJW8sU5gch_HDuZomlNc8u_-ectfuNH4Zxh4AOQ7BlNj2xWPTBD3MZZn0vmTVn4-Gho8Qh8TcCy1X0cEgHkkIKV13HuiLE4UaT8Q0EP426w/s1936/1974%201st%20Auckland%20Folk%20Festival%20Newsletter%201974.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1936" data-original-width="1296" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nrw2T3pRHjqH037ng5tiDBy4DGulMl7bFST95NH5f_MNx0LOI1Wm671ydAikIN3u7-eAyxFLzHziyadVJW8sU5gch_HDuZomlNc8u_-ectfuNH4Zxh4AOQ7BlNj2xWPTBD3MZZn0vmTVn4-Gho8Qh8TcCy1X0cEgHkkIKV13HuiLE4UaT8Q0EP426w/w428-h640/1974%201st%20Auckland%20Folk%20Festival%20Newsletter%201974.jpg" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: First AFF newsletter, 1974. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>The second Folk Gathering and First Auckland Folk Festival, again held at Moller’s Farm, Oratia took place in Feb 1974. This expanded on the gathering held in 1973 and included Traditional, Country, Blues and Contemporary folk music. Organisation was again from members of the Poles Apart Folk Club and also included the Titirangi and Devonport Folk Music Clubs.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimSFQvMqThTh1ss4ySkez7gSguX9lr5VC__tc8aOnk51SY8twThJvaaGHzUXr-7uZ_uBU3sr7MKWMFrC6bg38Mf94LzNl6JtbM1k8pliro5GG_NR2VcIbfOR9ec8SfTCXzUEC5gfVtlB63ueEVthDSStzcGImmvCs5xCCL0Bp6kZoxO2Q4o6pF9JYM1Q/s1359/1975%20Mollers%20Bill%20Hynson,%20Gavin%20Asher,%20Andrew%20Judd,%20Bill%20Worsfold.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1359" data-original-width="1190" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimSFQvMqThTh1ss4ySkez7gSguX9lr5VC__tc8aOnk51SY8twThJvaaGHzUXr-7uZ_uBU3sr7MKWMFrC6bg38Mf94LzNl6JtbM1k8pliro5GG_NR2VcIbfOR9ec8SfTCXzUEC5gfVtlB63ueEVthDSStzcGImmvCs5xCCL0Bp6kZoxO2Q4o6pF9JYM1Q/w560-h640/1975%20Mollers%20Bill%20Hynson,%20Gavin%20Asher,%20Andrew%20Judd,%20Bill%20Worsfold.jpg" width="560" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: From left: Bill Hynson, Gavin Asher, Andrew Judd and Bill Worsfold at Moller’s Farm, 1975. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>The festival continued at Moller’s Farm on a yearly basis featuring workshops, dancing, plays, concerts and New Zealand’s best folk singers and guest artists from Australia, until 1980 when the farm site became too small. The festival shifted to the Catholic Church owned Knock-Na-Gree, also in Oratia, where it stayed for the next 12 years until 1991.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBRmrAdDEIvThnZVhiwND27Uzl4A0dJqqlbZ3TkMSXbLE4XOhgFnC1LSMWGSjxFRrJfUth4JueVvDxn_W69zkpFGbC8rTN3AfVeI2VcfefNbLw3pyjDsFSifw7kIShhgTAYFBIPeMZZDxrf5nFKNg7JRcVQCIsJ20rk-OzZfHfLd118WpngRGp7FWKw/s3099/1982%20Pan%20pipes%20at%20Knock-Na-Gree%20(2).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3099" data-original-width="2070" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKBRmrAdDEIvThnZVhiwND27Uzl4A0dJqqlbZ3TkMSXbLE4XOhgFnC1LSMWGSjxFRrJfUth4JueVvDxn_W69zkpFGbC8rTN3AfVeI2VcfefNbLw3pyjDsFSifw7kIShhgTAYFBIPeMZZDxrf5nFKNg7JRcVQCIsJ20rk-OzZfHfLd118WpngRGp7FWKw/w428-h640/1982%20Pan%20pipes%20at%20Knock-Na-Gree%20(2).jpeg" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Pan pipes at Knock-Na-Gree, 1982. Courtesy of Jude Black. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItfdp4xzdcYuIJNHP-Uh5WnTvSYfqYvW8Kszx6gO5EcOwm1fgIeNSfn7aNP_Lh5TSrOpGaMpA2rMY92jJvyV_ecdYdG1EgYjHNOa6pHqvVgIYa29xuBfVQ_inOH_OPPkrDBkNNatpc2eduOStsuMYbl38L4p2Ne2QIiLcEvNs2WEgsvMv64NxZDcfvA/s2977/1986%20AFF%20-%20Bill%20Drukker.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1989" data-original-width="2977" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgItfdp4xzdcYuIJNHP-Uh5WnTvSYfqYvW8Kszx6gO5EcOwm1fgIeNSfn7aNP_Lh5TSrOpGaMpA2rMY92jJvyV_ecdYdG1EgYjHNOa6pHqvVgIYa29xuBfVQ_inOH_OPPkrDBkNNatpc2eduOStsuMYbl38L4p2Ne2QIiLcEvNs2WEgsvMv64NxZDcfvA/w640-h428/1986%20AFF%20-%20Bill%20Drukker.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Bill Drukker performing with his banjo, 1986. Courtesy of Jude Black. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgylUMN6WgfCVfOrCB9sSVGlorjuTgii68PhFpCMd3V3lsKydfzOzQ_leOPNl3ugygFbAui1UIreKSI5y4wRjVnBSYvmDFikx1oacu1vRwbvQTMINpJQUc-sCyUDOO359MWJLJjOHD4eQ-GibQ1LhzCjPtjTf3QTRAqs5M4XgNY3HKKgH3-8MdiSmzxFQ/s3069/1987%20year%20of%20the%20mud%20(3).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2028" data-original-width="3069" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgylUMN6WgfCVfOrCB9sSVGlorjuTgii68PhFpCMd3V3lsKydfzOzQ_leOPNl3ugygFbAui1UIreKSI5y4wRjVnBSYvmDFikx1oacu1vRwbvQTMINpJQUc-sCyUDOO359MWJLJjOHD4eQ-GibQ1LhzCjPtjTf3QTRAqs5M4XgNY3HKKgH3-8MdiSmzxFQ/w640-h422/1987%20year%20of%20the%20mud%20(3).jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: 1987, the year of the mud. The famous mud slide, Knock-Na Gree. Courtesy of Jude Black. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEgfG4jOt4iz9tneNhyuq2laFm70OIj5wCLO13ELhPDGfdmoklkHNiJ3dUMiBa8MRMs5MqRFnyYFEqGBbrKsuHUYJ3y0Yw3YffxaQO6pf31xC4k-YWSZcd-kwPiqE-qjI0hzZM1o3zYPB959vvUNCLBN-OygLGz-ulVXIJorRCJ0LrUceNVoYTv0W34w/s766/1985,%20Morris%20Dancers.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="516" data-original-width="766" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEgfG4jOt4iz9tneNhyuq2laFm70OIj5wCLO13ELhPDGfdmoklkHNiJ3dUMiBa8MRMs5MqRFnyYFEqGBbrKsuHUYJ3y0Yw3YffxaQO6pf31xC4k-YWSZcd-kwPiqE-qjI0hzZM1o3zYPB959vvUNCLBN-OygLGz-ulVXIJorRCJ0LrUceNVoYTv0W34w/w640-h432/1985,%20Morris%20Dancers.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Morris Dancers, Knock-Na-Gree, 1989. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgESGebjJ3pRP38P_JxKYPUhUM0sG49qFCY6nRA2mKPJ6d6v4KLM0J4JZ1ociPA0F9leuvT_5O3dL1kyKiR3-kkAndHF9Ihiqa0l-bfSYYiW-zwgVCYz3986UntPqOoxj-LcHpVetJ8sgrc-z2QuZs9-UijiuGtFs6hLrWD5DRgD4WGsfNmpE328Xhg/s764/1985,%20Afternoon%20concert.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="764" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgESGebjJ3pRP38P_JxKYPUhUM0sG49qFCY6nRA2mKPJ6d6v4KLM0J4JZ1ociPA0F9leuvT_5O3dL1kyKiR3-kkAndHF9Ihiqa0l-bfSYYiW-zwgVCYz3986UntPqOoxj-LcHpVetJ8sgrc-z2QuZs9-UijiuGtFs6hLrWD5DRgD4WGsfNmpE328Xhg/w640-h428/1985,%20Afternoon%20concert.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Listening to the music, Knock-Na-Gree, 1985. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>In 1992 the organisers had to find a new home for the Festival as Knock-Na-Gree became too expensive. The Kumeu Showgrounds was chosen as the ideal place – it was huge and could cope with an ever-expanding Festival, with plenty of room for campers.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhGuKLP5o12BW95Y84d0cn5aGej0v4Q911DqU6Htcjq9P5RH_ShXgYdgXOypDdXXYv2rShC-lzqlp105hSjgqDyp6cEyH46FqZeBQiOOaOLGbmeXHkioAK7LXApzMZVbhOyL-BbPOhOhHjNr0So6cspg5OzYPlCEo8G7qWyh6ATLm1QfWzg6op1Fa8Q/s1444/AFF%20re-homing%201992%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="538" data-original-width="1444" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhGuKLP5o12BW95Y84d0cn5aGej0v4Q911DqU6Htcjq9P5RH_ShXgYdgXOypDdXXYv2rShC-lzqlp105hSjgqDyp6cEyH46FqZeBQiOOaOLGbmeXHkioAK7LXApzMZVbhOyL-BbPOhOhHjNr0So6cspg5OzYPlCEo8G7qWyh6ATLm1QfWzg6op1Fa8Q/w640-h238/AFF%20re-homing%201992%20(2).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Western Leader, Jan 1992? Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1sla1rKOPNVZ-8tnPY2UoTjfJkN-33rzMCsgU5afI4sNmyw9RAzCe_JSTG-uyrEI85TjVax7X-j7EWH69utDa12-wC2EZZf29YEMLgREKv2S9ITweLo0Y0OrU64hr432SGc1lKLoVmx1A1L9NXp5WRMGyyjYUPKjMNLE8sSG6HledEu49Mo0orfEfg/s3296/1997%20Programme%20(1)%20front%20cover%20-%201.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2098" data-original-width="3296" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1sla1rKOPNVZ-8tnPY2UoTjfJkN-33rzMCsgU5afI4sNmyw9RAzCe_JSTG-uyrEI85TjVax7X-j7EWH69utDa12-wC2EZZf29YEMLgREKv2S9ITweLo0Y0OrU64hr432SGc1lKLoVmx1A1L9NXp5WRMGyyjYUPKjMNLE8sSG6HledEu49Mo0orfEfg/w640-h408/1997%20Programme%20(1)%20front%20cover%20-%201.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Programme cover 1997. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2AhXboIFAeVV7yJWOPU7iSMpdJSYCkaWu3JnH8FLdrP_bgKTsAmMoOrr45SzW2c9aMm8yay1ZH5H7-s_wsS_-tzljyOWEN9hhzHvZ4tcHUB7I6krxrVOzmgMgIe-hoBO_SE5tdJ6qf-uFzbd7n8IBpQgnkol-wNk6PckMKBE5fcb7fvEKH4n3ZiSFmQ/s4677/2008%20programme%20(1)%20front%20and%20back%20cover.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3308" data-original-width="4677" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2AhXboIFAeVV7yJWOPU7iSMpdJSYCkaWu3JnH8FLdrP_bgKTsAmMoOrr45SzW2c9aMm8yay1ZH5H7-s_wsS_-tzljyOWEN9hhzHvZ4tcHUB7I6krxrVOzmgMgIe-hoBO_SE5tdJ6qf-uFzbd7n8IBpQgnkol-wNk6PckMKBE5fcb7fvEKH4n3ZiSFmQ/w640-h452/2008%20programme%20(1)%20front%20and%20back%20cover.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Programme cover 2008. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU-XQNBAY89lnNpMNDYd03yyxGBQRKfJtonq5TC0gxcDwnGnNVEQwlxFA9FDZsrfyiCxXRyjgIjcLn3IlS10rzqL9K_uYz7QD9qpr2FG6KZUxmXyhx5balKxCfDKqt2VhSZVNzv60e66Fj4mckzbCX7jhv1CU7mzF7WgNS6cfW5Ol-9K3tK6LOP2UuFg/s2380/2003%20Grada%20AFF%202003.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1555" data-original-width="2380" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU-XQNBAY89lnNpMNDYd03yyxGBQRKfJtonq5TC0gxcDwnGnNVEQwlxFA9FDZsrfyiCxXRyjgIjcLn3IlS10rzqL9K_uYz7QD9qpr2FG6KZUxmXyhx5balKxCfDKqt2VhSZVNzv60e66Fj4mckzbCX7jhv1CU7mzF7WgNS6cfW5Ol-9K3tK6LOP2UuFg/w640-h418/2003%20Grada%20AFF%202003.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Guests Grada (Ireland), 2003. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QpgKpfzjCyjFJbwegXXKkjLoGCV874oF0waLE79HMv4pY9Li8L0TCIPkIZWruXv8RGH1MtlmatWH13AUS5trC2qmUI8QRxkObRWMMjG5O05oJadD4jVcHl2MBxdbsCFZZs5wtQyuaBiekNuoUiSO_L7yEZFoNO5WB6aRQ1eEySHJqnW9EzvZn8Ncsg/s1950/26AIG6~4.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1332" data-original-width="1950" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QpgKpfzjCyjFJbwegXXKkjLoGCV874oF0waLE79HMv4pY9Li8L0TCIPkIZWruXv8RGH1MtlmatWH13AUS5trC2qmUI8QRxkObRWMMjG5O05oJadD4jVcHl2MBxdbsCFZZs5wtQyuaBiekNuoUiSO_L7yEZFoNO5WB6aRQ1eEySHJqnW9EzvZn8Ncsg/w640-h438/26AIG6~4.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Maritime Crew, 2006. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8AYyGNgPJi0fmLeWBTFB4adVriAX8VrCgUF38-h9vaOypWlyimeLqrcWP9jIfT8Z7aPPldDS6in5dvrRHKmD1KGqpAmxoy3DPnFlLEBZibPPndai8Wgzl2TslFUkl6oXIzvJ2flSA2OzAzH3yUfiG_bWr8IJJqZYJ93KywsPXCqe1DYmqbhz6lKkGg/s2587/2016%20Guests%20Albi%20and%20the%20Wolves,%20Main%20stage.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1931" data-original-width="2587" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV8AYyGNgPJi0fmLeWBTFB4adVriAX8VrCgUF38-h9vaOypWlyimeLqrcWP9jIfT8Z7aPPldDS6in5dvrRHKmD1KGqpAmxoy3DPnFlLEBZibPPndai8Wgzl2TslFUkl6oXIzvJ2flSA2OzAzH3yUfiG_bWr8IJJqZYJ93KywsPXCqe1DYmqbhz6lKkGg/w640-h478/2016%20Guests%20Albi%20and%20the%20Wolves,%20Main%20stage.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Albie and the Wolves on the main stage, 2016. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlzSHYjcoFZHYok9Dv0fvsaTKDAU1T7yaqhmpHxv4OPad6jfBiE6ZstSMsNmyeiJV2R58YILXSE1vrEg4N4W883YJtXsUsbw4sN4bYmyL9ehpOQCHhtcLiMwajdK51P1IZ4ugwtWPai0_vQdeRslmXSdzOwwJihiy2cErNvYcwKUZ44q6BxwBib_RIg/s4032/2018%20OrigiNZ%20on%20main%20stage.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlzSHYjcoFZHYok9Dv0fvsaTKDAU1T7yaqhmpHxv4OPad6jfBiE6ZstSMsNmyeiJV2R58YILXSE1vrEg4N4W883YJtXsUsbw4sN4bYmyL9ehpOQCHhtcLiMwajdK51P1IZ4ugwtWPai0_vQdeRslmXSdzOwwJihiy2cErNvYcwKUZ44q6BxwBib_RIg/w640-h480/2018%20OrigiNZ%20on%20main%20stage.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: OrigiNZ, 2018. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>As the festival got bigger, it has attracted more top-notch folkies, with guests coming from Britain, Europe, America, Australia as well as showcasing New Zealand folk talent. It is the largest and longest running Folk Festival in New Zealand.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDZiYW8ONA0k6UDC6NTeNy4SIxnCXbNW9pJLBpOAQpMmjstHMPyA7NZcM1poRoAgqhTmgwFq4bvz0ugkQvo_AYuOusE4EFUnkvwgmG3ICoW1Ifz_-Vj3sFUrYrDKK80j5hlMJXPA-vhV9ZYfLJYvN1U-vdzLi5CdUpKuGz0NGs1ROPo_4IueG7Y_uwHg/s4680/scan_robertr_2023-05-10-12-10-10.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4680" data-original-width="3307" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDZiYW8ONA0k6UDC6NTeNy4SIxnCXbNW9pJLBpOAQpMmjstHMPyA7NZcM1poRoAgqhTmgwFq4bvz0ugkQvo_AYuOusE4EFUnkvwgmG3ICoW1Ifz_-Vj3sFUrYrDKK80j5hlMJXPA-vhV9ZYfLJYvN1U-vdzLi5CdUpKuGz0NGs1ROPo_4IueG7Y_uwHg/w452-h640/scan_robertr_2023-05-10-12-10-10.jpeg" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Poster for the 49th Auckland Folk Festival. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPLAcO8ar7XLNbMQ6siTJFYEK-5kIP8UVt-k_7A32eXlxMhp40tUIAaMcYdK4nMLlLt7IIF8_Zifhq0Ya3nC7u-Tg63ZC5DWy3gsjLf7ALC7hjx2gpTpcT1BhkTYVJCWq0B6rDa6rpDQxWbDXpVCeoFmvW3UI1Qf3GpxM9nm6Xnj7-CmKFrgOxWEqGg/s4680/2023%2050th%20AFF%20poster.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4680" data-original-width="3307" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPLAcO8ar7XLNbMQ6siTJFYEK-5kIP8UVt-k_7A32eXlxMhp40tUIAaMcYdK4nMLlLt7IIF8_Zifhq0Ya3nC7u-Tg63ZC5DWy3gsjLf7ALC7hjx2gpTpcT1BhkTYVJCWq0B6rDa6rpDQxWbDXpVCeoFmvW3UI1Qf3GpxM9nm6Xnj7-CmKFrgOxWEqGg/w452-h640/2023%2050th%20AFF%20poster.jpeg" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Poster for the 50th Auckland Folk Festival. Auckland Folk Festival Archive, Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>The Auckland Folk Festival has remained at the Kumeu Showgrounds for the last 32 years. In all its years, the Festival has only been cancelled once – in 2022 due to the Covid-19 pandemic. To celebrate this remarkable 50 year history, Auckland Libraries Research West has created an archive. Donations of photos and other memorabilia showcasing the Festival are welcome. Please contact Research West at <a href="mailto:Library.WestHeritage@aucklandcouncil.govt.nz">Library.WestHeritage@aucklandcouncil.govt.nz</a></p><p>The Auckland Folk Festival 50th Anniversary exhibition is currently on display until 31 May 2023 at the J.T. Diamond Room and Gallery on Level 2 of the Waitakere Central Library, Henderson.</p><h4 style="text-align: left;">Author: Raewynn Robertson. Auckland Libraries Research West.</h4>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-91223400579727016132023-05-08T10:20:00.006+12:002023-05-29T13:17:54.222+12:00 Auckland Library Heritage Trust John Stacpoole Scholarship<p>Applications for the Auckland Library Heritage Trust John Stacpoole Scholarship are now open for 2023/2024.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYVR9OuHfd4Oz9yAQghDwtbTKDg3yuZeJKv8i2y3qh-3DLd-89bvpH53IebbfCuYgCHklJlSvz0Yn5xbgZvdKLHCojgPbKDiAk3C6dpcYBOjCGKQMqqrvWLVa3XdHvn9SHLf0h24S6Cb3yxoB-XBR-ROoKXI4DKoNrcISWaRzteovteWvDbnJT9jr7Lg/s1080/nuclearfreepacificyearofdecision.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="784" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYVR9OuHfd4Oz9yAQghDwtbTKDg3yuZeJKv8i2y3qh-3DLd-89bvpH53IebbfCuYgCHklJlSvz0Yn5xbgZvdKLHCojgPbKDiAk3C6dpcYBOjCGKQMqqrvWLVa3XdHvn9SHLf0h24S6Cb3yxoB-XBR-ROoKXI4DKoNrcISWaRzteovteWvDbnJT9jr7Lg/w464-h640/nuclearfreepacificyearofdecision.jpg" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="white-space: pre;"> </span><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/id/4118#.ZFgbLjhv0h0.link" target="_blank">Image: 'Nuclear Free Pacific - Year of Decision'. Produced by Tin Drum Posters, Auckland. Artwork 'Colonial Landscape' by Sally Griffin. 1988. Auckland Libraries Heritage Collections Eph-Post00036</a>.</td></tr></tbody></table><p>The Auckland Library Heritage Trust is a charitable trust that supports Auckland Libraries and Auckland Council to preserve, care for, add to, and promote Auckland Libraries Heritage Collections for the benefit of the people of Auckland. This scholarship is offered by the Auckland Library Heritage Trust to assist with research and the promotion of material held in Auckland Libraries Heritage Collections. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEr1H9dClVziyn_ZF0Irl2gjaIwpcniT1_5Ahkd_M9KPRI9iaFIiwb-wgQGVI2SIRywzclMLcjBE29fE-tPTC3d7Gh9VtTnqnda7nh8KbHD8DF3t4v-AbHjbhsedrBRO1UxLU4pmbxHyRSbS9-3USBUdW3sWLATPEFvHQizNg86xBKje4UFjMTRBCo8Q/s893/John%20Lee%20Scrapbook.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="681" data-original-width="893" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEr1H9dClVziyn_ZF0Irl2gjaIwpcniT1_5Ahkd_M9KPRI9iaFIiwb-wgQGVI2SIRywzclMLcjBE29fE-tPTC3d7Gh9VtTnqnda7nh8KbHD8DF3t4v-AbHjbhsedrBRO1UxLU4pmbxHyRSbS9-3USBUdW3sWLATPEFvHQizNg86xBKje4UFjMTRBCo8Q/w640-h488/John%20Lee%20Scrapbook.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://unescomow.nz/inscription/john-a-lee-papers" target="_blank">Image: John A Lee, Scrapbook. 1960s/1970s. Auckland Libraries Heritage Collections</a>.</td></tr></tbody></table><p>Auckland Libraries Heritage Collections is one of New Zealand's key research destinations. It was originally established when Sir George Grey, a 19th-century Governor of New Zealand and later Premier, gifted his significant collection to the city of Auckland in the 1880s and has continued to grow since this time.</p><p>The collections include photographs, maps, oral histories, manuscripts and archives, rare books and medieval manuscripts, ephemera and music; as well as Māori and Pacific heritage collections in all formats. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXVaGelNB0kV_y_qt0koVdgCgbQu08R1SVQymgkixl_YoDE6T6U_9zFPy2eYcGmafn-9TIb4Yc6rgDAgMGGXQIeoO9P7rDwZBRQIman_Nq461wxnFv3zEmvxENaeM9c50G6EX8LAqS4G6r3dNntPHBCJOm36ExlVBSfK5HoO-10H8ryVXRNgLOckbeQ/s1600/1572_1220(Ready).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1199" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXVaGelNB0kV_y_qt0koVdgCgbQu08R1SVQymgkixl_YoDE6T6U_9zFPy2eYcGmafn-9TIb4Yc6rgDAgMGGXQIeoO9P7rDwZBRQIman_Nq461wxnFv3zEmvxENaeM9c50G6EX8LAqS4G6r3dNntPHBCJOm36ExlVBSfK5HoO-10H8ryVXRNgLOckbeQ/w640-h480/1572_1220(Ready).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/57537#.ZFgTRtsqS-4.link" target="_blank">Image: Charles Peet Dawes. Photographer's tent. Auckland Libraries Heritage Collections 1572-1220</a>.</td></tr></tbody></table><p>The collections are held principally at Special Collections at the Central City Library, and also at three regional research centres: Research North, Research South, and Research West.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb0jllPpLCSLi2wFPcMKs4i0QiYZHtzcw4xXGLl_ballD1hHDocdH-GWRIyyR3mpq1NjGKGRdapaHygMUKYtjl5g0YcUT6ahUfIvt8uBJj2y_xsd5tfTVDu9heXjEKLLsTH-8askskOK9At2yHwE06O5pLz2ntAF3M3FqMC5mmWWziGqS0FxcEMd-E5w/s3000/maps_1896_extralarge.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1893" data-original-width="3000" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb0jllPpLCSLi2wFPcMKs4i0QiYZHtzcw4xXGLl_ballD1hHDocdH-GWRIyyR3mpq1NjGKGRdapaHygMUKYtjl5g0YcUT6ahUfIvt8uBJj2y_xsd5tfTVDu9heXjEKLLsTH-8askskOK9At2yHwE06O5pLz2ntAF3M3FqMC5mmWWziGqS0FxcEMd-E5w/w640-h404/maps_1896_extralarge.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/maps/id/1896#.ZFghMK7zShU.link" target="_blank">Image: Chart of the entrance to Kaipara Harbour, drawn by Captain Thomas Wing, January, 1836. Auckland Libraries Heritage Collections, Map 4613</a>.</td></tr></tbody></table><p>Online access is provided through our collections website <a href="https://kura.aucklandlibraries.govt.nz/" target="_blank">Kura Heritage Collections Online</a>, the <a href="https://www.aucklandlibraries.govt.nz/" target="_blank">Auckland Libraries Catalogue</a>, <a href="https://digitalnz.org/" target="_blank">Digital NZ</a> and <a href="https://soundcloud.com/auckland-libraries" target="_blank">Soundcloud</a>.</p>
<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/664888625&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/auckland-libraries" style="color: #cccccc; text-decoration: none;" target="_blank" title="Ngā Pātaka Kōrero - Auckland Libraries">Ngā Pātaka Kōrero - Auckland Libraries</a> · <a href="https://soundcloud.com/auckland-libraries/elizabeth-mcrae-his-majestys-demise" style="color: #cccccc; text-decoration: none;" target="_blank" title="Elizabeth McRae - His Majesty's demolished">Elizabeth McRae - His Majesty's demolished</a></div>
<p></p><div>Audio: 'Elizabeth McRae - His Majesty's demolished'. Part of the <a href="https://soundcloud.com/auckland-libraries/sets/curtain-up" target="_blank">Curtain Up! Exhibition playlist</a>. Selected from: <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/oralhistory/id/2887#.ZFgjEoXm3pc.link" target="_blank">Elizabeth McRae, oral history, 2005. Auckland Libraries Heritage Collections, OH-1341-006</a>.</div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB6JHjFPuwyClpPA5_zRi27u9S3YRqQIhB52HsVSzNi7PrQR0bRMH34xB-ClH_Id42THrIj9rTQddfQxT_PudqUKxHXY4KOiPIC_3GRYYJBXf64cr2vkCxQwdXysBl5yzpTMYFTgTe9HYJWXUw1Dzm25XHy-zWtlHy5Qd60_LRVT__HgXdwxTG6zTsTA/s1379/Purcell%20sheet%20music%20from%20Real%20Gold.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="1379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB6JHjFPuwyClpPA5_zRi27u9S3YRqQIhB52HsVSzNi7PrQR0bRMH34xB-ClH_Id42THrIj9rTQddfQxT_PudqUKxHXY4KOiPIC_3GRYYJBXf64cr2vkCxQwdXysBl5yzpTMYFTgTe9HYJWXUw1Dzm25XHy-zWtlHy5Qd60_LRVT__HgXdwxTG6zTsTA/s16000/Purcell%20sheet%20music%20from%20Real%20Gold.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/474#.ZFgVPsJmnhY.link" target="_blank">Image: The Harpsichord master. Printed for and sold by I. Walsh, 1697. Auckland Libraries Heritage Collections, b1980810</a>.</td></tr></tbody></table><p></p><h4 style="text-align: left;">About the scholarships</h4><p></p><p>The Auckland Library Heritage Trust administers four John Stacpoole Scholarships annually. Three of the four scholarships are summer scholarships under the management and supervision of the <a href="https://ahi.auckland.ac.nz/" target="_blank">Auckland History Initiative</a>, University of Auckland. </p><p>The fourth scholarship is offered publicly, to researchers, practitioners and professionals who have a particular interest in items in Auckland Libraries Heritage Collections.</p><p>In funding the scholarships, the Trust seeks to:</p><p>•<span style="white-space: pre;"> </span>Promote public engagement with Auckland Libraries Heritage Collections, as a collection of national importance.</p><p>•<span style="white-space: pre;"> </span>Encourage scholarly research using material held in the collections, as a means of increasing knowledge of the history and culture of all communities who have contributed to the settlement of Auckland.</p><p>•<span style="white-space: pre;"> </span>Raise the profile of the Auckland Library Heritage Trust, as a means of attracting donations of books and other records of historical significance to the existing collection, and to provide funds for their purchase.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWEvJt9z7OunzLYRNrRmn8HCM3LsEKENk2tdoNVphAWxD2pY_GJrnwZ3ZwckJBU4OntfxPpkKdMB_4ieNEe0rX2_eoUxM7yJLiCmnY0AMGTl_fE9qOXsIzl5Qh9pTQpLqhg7OvbzJEGpjHeXmFZJIUzSHiw3CLRo-IPbk8j4TAVyyZeLFJUIUFPbtieg/s640/Noah%20illustration.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="582" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWEvJt9z7OunzLYRNrRmn8HCM3LsEKENk2tdoNVphAWxD2pY_GJrnwZ3ZwckJBU4OntfxPpkKdMB_4ieNEe0rX2_eoUxM7yJLiCmnY0AMGTl_fE9qOXsIzl5Qh9pTQpLqhg7OvbzJEGpjHeXmFZJIUzSHiw3CLRo-IPbk8j4TAVyyZeLFJUIUFPbtieg/w582-h640/Noah%20illustration.jpg" width="582" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="http://heritageetal.blogspot.com/2022/06/william-caxtons-golden-legend.html" target="_blank">Image: Illustration of Noah's Ark. From: The Golden Legend. 1483. Auckland Libraries Heritage Collections</a>. </td></tr></tbody></table><h4 style="text-align: left;">Criteria</h4><p>The scholarship is open to overseas applicants as well as New Zealand citizens.</p><p>The Auckland Library Heritage Trust will consider applications according to the following criteria: </p><p>•<span style="white-space: pre;"> </span>How the proposed project engages with the public and/or has the potential to increase knowledge of or access to the collections.</p><p>•<span style="white-space: pre;"> </span>The research-readiness of chosen collections, and how much staff time will be needed to assist with access to them. </p><h4 style="text-align: left;">Provision and outputs</h4><p>The recipient of an Auckland Library Heritage Trust John Stacpoole Scholarship will receive: </p><p>•<span style="white-space: pre;"> </span>A grant of $6,750.</p><p>•<span style="white-space: pre;"> </span>Supervised access to the collections.</p><p>•<span style="white-space: pre;"> </span>Access to staff with specialist knowledge of the collection(s) in question when available.</p><p>The recipient will be required to provide, as a minimum: </p><p>•<span style="white-space: pre;"> </span>A blog post of at least 500 words on the<a href="http://heritageetal.blogspot.com/" target="_blank"> Heritage et AL</a> blog and a podcast interview for our <a href="Applications for the Auckland Library Heritage Trust John Stacpoole Scholarship are now open for 2023/2024." target="_blank">Kura Tūturu | Real Gold – Taonga from Heritage Collections</a> series. </p><p>•<span style="white-space: pre;"> </span>An agreed piece of work that will increase knowledge of or access to collections, such as a piece of academic writing, an index or inventory, or curatorial work towards an exhibition. </p><p>•<span style="white-space: pre;"> </span>A public output such as a talk or an additional podcast.</p><p>•<span style="white-space: pre;"> </span>Acknowledgement of the “Auckland Library Heritage Trust John Stacpoole Scholarship” in any resulting publications or events.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4IxtIewFu8pQe1Z6KO79WZkf3NY8uha6ryEui1EzvQrZnYKsvffmpKm7_3bTIOqET8so6SDoqCn23pIVvK4_aOupdRmi1KprEFwo406fpusFvbj7eQFaTxVj7C4AaewGANGXBy6nyJ_UR5y2pUqiM5GlmGQ3hJd3HIE1DN3-iU170ncw6voVLZvWU5A/s2000/1269-E0164-11.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1326" data-original-width="2000" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4IxtIewFu8pQe1Z6KO79WZkf3NY8uha6ryEui1EzvQrZnYKsvffmpKm7_3bTIOqET8so6SDoqCn23pIVvK4_aOupdRmi1KprEFwo406fpusFvbj7eQFaTxVj7C4AaewGANGXBy6nyJ_UR5y2pUqiM5GlmGQ3hJd3HIE1DN3-iU170ncw6voVLZvWU5A/w640-h424/1269-E0164-11.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/82302#.ZFgYnyuA9lY.link" target="_blank">Image: Rykenberg Photography. Ricky May at the Colony Club, Nelson Street, 1961. Auckland Libraries Heritage Collections, 1269-E0164-11</a>.</td></tr></tbody></table><h4 style="text-align: left;">How to apply</h4><p>Applicants are strongly encouraged to contact Renee Orr, Senior Librarian Heritage Engagement before submitting an application, to discuss their proposed research project. Emails should be sent to specialcollections@aucklandcouncil.govt.nz.</p><p>The deadline for applications is <b>19 June 2023</b>. Applicants should complete the online application form <a href="https://forms.office.com/r/AE2j6hmAkz " target="_blank">here</a>, and send the following documents to specialcollections@aucklandcouncil.govt.nz:</p><p>•<span style="white-space: pre;"> </span>Project proposal (1,000 words maximum, OR a 5-minute video)</p><p>•<span style="white-space: pre;"> </span>CV</p><p>•<span style="white-space: pre;"> </span>A written reference, or name and contact details of someone who has agreed to be a referee. Referee to give a qualitative assessment of candidate’s ability and capacity to deliver a project of this kind. </p><p>Applications will be shortlisted by a panel composed of Library staff, with the final decision made by the Trustees.</p><p>Notification of the award will be made by <b>1 July 2023</b>.</p><h4 style="text-align: left;">About John Stacpoole</h4><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk40uH-SCSweFVKLLyeIqt611YEf8mPNDgICFOPnuYLoFD8HgI6yzxGv9Y9Ic92gv7h3Mj5vON87PZn96ABap6gRGIUVI6MJh8uEVia_lkKvV9bQfCy4RWdSeDcyRjgklUrA9tF5nexqgU0fte1oGva5QLBz-E2SHHZHENm1pRuijAfT6QYIZq_os-OQ/s2000/1656-038.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1268" data-original-width="2000" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk40uH-SCSweFVKLLyeIqt611YEf8mPNDgICFOPnuYLoFD8HgI6yzxGv9Y9Ic92gv7h3Mj5vON87PZn96ABap6gRGIUVI6MJh8uEVia_lkKvV9bQfCy4RWdSeDcyRjgklUrA9tF5nexqgU0fte1oGva5QLBz-E2SHHZHENm1pRuijAfT6QYIZq_os-OQ/w640-h406/1656-038.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/94172#.ZFXNj0Xo4fc.link" target="_blank">Image: Cabaret Candid Photography. Street photograph of (from left to right) unidentified, John Stacpoole, Gerda Porsolt, Imi Porsolt, Betty Cutter and Zena Andrae outside Maison Chic in Ponsonby? 1950s. Auckland Libraries Heritage Collections, 1659-038</a>. </td></tr></tbody></table><p>John Massy Stacpoole OBE (30 September 1919 – 5 September 2018) was a New Zealand heritage architect, historian and bibliophile who was responsible for the preservation and restoration of many historic buildings in Auckland and Northland.</p><p>Born 30 September 1919 in Auckland to Percy and Olive Stacpoole, John attended Mt Albert Grammar and went on to obtain a degree in architecture from Auckland University. After gaining experience in Auckland and London, he was employed at the architectural division of the Ministry of Works. It was in this role that he was instrumental in preserving historic buildings and sites including Highwic House, Alberton, Methodist Mission House and Mansion House, Kawau Island. In 1975 he was awarded an OBE recognising his contributions to this field. </p><p>He was a generous donor to many institutions in Auckland as well as a member of many trusts and committees including the New Zealand Historic Places Trust. He was Chairman of Auckland Art Gallery’s Mackelvie Trust for over 20 years and a foundation member of the Auckland Library Heritage Trust. He also wrote books and articles on New Zealand architecture, architects and historic buildings and was an avid book collector.</p><p>In recent years he gifted his world-class book collections of Irish history, literature and the works of novelist Anthony Powell to Auckland Libraries Heritage Collections. These donations included rare first editions by Irish writers W.B. Yeats, George Bernard Shaw, Samuel Beckett and Iris Murdoch.</p><p>The scholarships were named the 'Auckland Library Heritage Trust John Stacpoole Scholarships' in recognition of John Stacpoole’s significant contributions through years of service on the Trust, donations to the collections and a generous bequest.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-27491842695034302962023-05-06T11:53:00.001+12:002023-05-06T11:53:09.904+12:00 Deforestation, drainage and development on the Hauraki Plains<p>As the explorers from HMS <i>Endeavour </i>rowed down the Waihou River in 1769, Captain James Cook imagined that Hauraki’s vast forests of tall, straight-trunked kahikatea could provide all the masts and spars England’s growing navy and mercantile marine would ever need. However, unbeknownst to Cook and his botanist, Joseph Banks, kahikatea would never be suitable for strong masts and spars. Because unlike kauri, the other tall and straight New Zealand hardwood which grows on drier ground, kahikatea grows in swampy wetlands. This means kahikatea wood is softer, and although initially hard when cut, soon dries out and becomes brittle.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJmjUsN8Bs4D1-QaHaKHXKoUcji0qWkKMKsmGt0omcK9f44AwN882bwzNo7137f2BRfPz0TgB7LL9z0Of0IQA2NHmFxZjFZKgxSqQESKBiKIDLPw2dMifG5_1I4JRxJfmyYKARhKX-d_3mB5U1mXKsIP2EKzCMj4aSaAbqYi_KCU-fIKY2AO_q4cXgg/s1000/kahikateabushsunset.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="584" data-original-width="1000" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJmjUsN8Bs4D1-QaHaKHXKoUcji0qWkKMKsmGt0omcK9f44AwN882bwzNo7137f2BRfPz0TgB7LL9z0Of0IQA2NHmFxZjFZKgxSqQESKBiKIDLPw2dMifG5_1I4JRxJfmyYKARhKX-d_3mB5U1mXKsIP2EKzCMj4aSaAbqYi_KCU-fIKY2AO_q4cXgg/w640-h374/kahikateabushsunset.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. Kahikatea bush at sunset, 1901. Auckland Libraries Heritage Collections.</td></tr></tbody></table><p>By the nineteenth century, Pākehā colonists realised this new ‘white pine’ was not the super-hard wonder wood early captains dreamt about, but found it was still useful for many building purposes. Then in 1882 New Zealand successfully exported its first cargo of refrigerated meat and dairy products to England. Suddenly there was a great demand for kahikatea’s white pine. Because the wood was soft, pale and odourless, kahikatea butter boxes and packing cases would not taint butter or dairy products. And so with an awfully predictable inevitability, by 1917 almost ⅔ of the vast kahikatea forests on the Hauraki Plains had disappeared. Thirty years later, only isolated stands of kahikatea remained on the plains.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA0jI8_JZU9blIH8C6BgRXHhtZgbnrMNMkleG8583rdFvnDDZZ_K0iKW-MZzaFKccTjBEAQzs_ACxRaGg4d-9M6GMaWlMsSb2Ds6uQ-OCJNQive2FeJh31ilOFItmGVBCmJGnp-09QMk7T0o1Yd6B08jySg042E5agI5FWOKh_bjgmp6mx-5WVjuDPBQ/s2362/AWNS_19221026_38_8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1549" data-original-width="2362" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA0jI8_JZU9blIH8C6BgRXHhtZgbnrMNMkleG8583rdFvnDDZZ_K0iKW-MZzaFKccTjBEAQzs_ACxRaGg4d-9M6GMaWlMsSb2Ds6uQ-OCJNQive2FeJh31ilOFItmGVBCmJGnp-09QMk7T0o1Yd6B08jySg042E5agI5FWOKh_bjgmp6mx-5WVjuDPBQ/w640-h420/AWNS_19221026_38_8.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. A section of swampland on the bank of the Piako River awaiting drainage, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-8.</td></tr></tbody></table><p>After the Hauraki Plains forests had been cut down, farmers settled on the newly cleared land. But once every year the Waihou and Piako Rivers would overflow. These yearly inundations were intensified because of the destruction of naturally draining wetland forest ecosystems. Periodical flooding and poor drainage made agricultural settlement of the Hauraki Plains difficult. The people who lived around Hauraki sought Government permission to drain the land, but the Government thought it could never be done because parts of the Hauraki Plains were two metres below sea level. However, in 1908 an act was passed allowing people to drain the land. The Government paid workers to dig the drains, a process that took ten years to complete.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjui5fPKy5UNzlvIm37EDJgWjiCp72qRARpPD5yg3a8Zue4DGWebeRu9XJLFBCu9Cx-lwGtqQ5TckjVt3NQ7vdv-9h1-TYEaq2DN-9gGmUUKRSUdrbuz9fNH2e8o1iz1uUhkaaZX48DaG85dx3HRmMa7QglHlEtifls741hE7cyOyMefeSb8B5D4NC5dw/s2000/maps_1443_extralarge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1398" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjui5fPKy5UNzlvIm37EDJgWjiCp72qRARpPD5yg3a8Zue4DGWebeRu9XJLFBCu9Cx-lwGtqQ5TckjVt3NQ7vdv-9h1-TYEaq2DN-9gGmUUKRSUdrbuz9fNH2e8o1iz1uUhkaaZX48DaG85dx3HRmMa7QglHlEtifls741hE7cyOyMefeSb8B5D4NC5dw/w448-h640/maps_1443_extralarge.jpg" width="448" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/maps/id/1443#.ZFWJHbCUjsw.link" target="_blank">Image: New Zealand Department of Lands and Survey. Plan showing lands dealt with under the provisions of the Hauraki Plains Act, 1908, Auckland Libraries Heritage Collections, Map 4335</a>. </td></tr></tbody></table><p>The Government’s Hauraki Plains Drainage Scheme sought to control the flooding of the Waihou River and drain the swamps of the Hauraki Plains. The Hauraki Plains Act 1908 and the Waihou and Ohinemuri Rivers Improvement Act 1910 provided the necessary legal machinery.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPUdAw4nkKn0N-tBtxN-ODH7SSeLz6OU0xyIuqN0GmVopEWLM82YS7pN_M9PSCMgofq2mTPn0RZLbMc089_y0jfVFrYC3TrgZgA-e25Y_LKy0JgEKec-soFp3dbHGZPEpzS0H8grTpy1H8RH4GwgxQQnyql-T0Ue_qkOCwuVroi2rO9J9PHCF3H-HUBg/s2325/AWNS_19221026_39_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2325" data-original-width="1573" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPUdAw4nkKn0N-tBtxN-ODH7SSeLz6OU0xyIuqN0GmVopEWLM82YS7pN_M9PSCMgofq2mTPn0RZLbMc089_y0jfVFrYC3TrgZgA-e25Y_LKy0JgEKec-soFp3dbHGZPEpzS0H8grTpy1H8RH4GwgxQQnyql-T0Ue_qkOCwuVroi2rO9J9PHCF3H-HUBg/w432-h640/AWNS_19221026_39_1.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. A closer view of the latest Rood dredge at work on the Hauraki Plains Drainage Scheme, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-39-1.</td></tr></tbody></table><p>Contractors and labourers embarked on a colossal project building river and foreshore stopbanks and the Waitakaruru-Maukoro canal in the western Hauraki Plains.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZUpPxZleJ0tY-Y4apWmpFlKCwPZtyHgpZmlripHqfn4vIuFXGxT2loHUFoUJeeQK7pT-gxzwztiEZ_CT1sPYsjnNxSUzThkMUGFy7QA7RJ4-LdaZnelrAi7MCIG__fbj9wkGzhDwGcc3GlsWuddVzjm9Gv_Ms5dA6GqQvwQtqlIFvLHLN4CVuMjjw8g/s2362/AWNS_19221228_46_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1866" data-original-width="2362" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZUpPxZleJ0tY-Y4apWmpFlKCwPZtyHgpZmlripHqfn4vIuFXGxT2loHUFoUJeeQK7pT-gxzwztiEZ_CT1sPYsjnNxSUzThkMUGFy7QA7RJ4-LdaZnelrAi7MCIG__fbj9wkGzhDwGcc3GlsWuddVzjm9Gv_Ms5dA6GqQvwQtqlIFvLHLN4CVuMjjw8g/w640-h506/AWNS_19221228_46_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. Reclaiming valuable swampland in the Hauraki Plains district. A Priestman dredge at work on the Waitakaruru-Maukoro canal, 28 December 1922, Auckland Libraries Heritage Collections, AWNS-19221228-46-2.</td></tr></tbody></table><p>Workers built stopbanks along the Piako River to keep it from overflowing, while around the Waihou River they dug a network of irrigation canals and drains. The workers installed pumping stations at regular intervals along the rivers and irrigation canals. Wharves were built at main settlements like Turua, Tahuna, Kaihere and Ngatea and these towns were connected by a network of roads and bridges.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVu-egpbgGkOArFa0rmaIKyA-V2jncDe1C3aUxHvnzGRbXWfCrq2ZwgVnoirpEaIcNYq7V4whH5Ra0U6AQPQAc7frZevKiczej-oH8CYRi7E9U1xbu0BZGAavKde4KT_vRHBbxU7A4zJ9Ymn1P7CRyL3ErUteoTH8eWb7gTRKX10W6HJ-sCIvRL9GRQ/s2362/AWNS_19221228_46_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1890" data-original-width="2362" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVu-egpbgGkOArFa0rmaIKyA-V2jncDe1C3aUxHvnzGRbXWfCrq2ZwgVnoirpEaIcNYq7V4whH5Ra0U6AQPQAc7frZevKiczej-oH8CYRi7E9U1xbu0BZGAavKde4KT_vRHBbxU7A4zJ9Ymn1P7CRyL3ErUteoTH8eWb7gTRKX10W6HJ-sCIvRL9GRQ/w640-h512/AWNS_19221228_46_3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. The butter factory at Ngatea, Hauraki Plains, 28 December 1922, Auckland Libraries Heritage Collections, AWNS-19221228-46-3.</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0xfgfxkHPxS75Av2X9OyEXnKAi47Oe4cdX_XUBCFR1THRXvRGItRTRIhzOgUJggn9PauwNX7I1CjH6C4NXZkxQ4rphgoky4V77ArkMSforbEX3mZ1x6zQ7dnMu2sMEEDWkgbVKaQgR1DYkRQbo-C4GJHsLynbgk1hokaGg7zxmtR6Q0_6vVyN35tBA/s2362/AWNS_19221026_38_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1528" data-original-width="2362" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0xfgfxkHPxS75Av2X9OyEXnKAi47Oe4cdX_XUBCFR1THRXvRGItRTRIhzOgUJggn9PauwNX7I1CjH6C4NXZkxQ4rphgoky4V77ArkMSforbEX3mZ1x6zQ7dnMu2sMEEDWkgbVKaQgR1DYkRQbo-C4GJHsLynbgk1hokaGg7zxmtR6Q0_6vVyN35tBA/w640-h414/AWNS_19221026_38_6.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. The Rood dredge operating at Kerepehi, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-6.</td></tr></tbody></table><p>By 1910, 66 square kilometres of drained and reclaimed land was opened up for settlement in the upper Hauraki Plains between Kopuarahi and Ngatea. This new farmland was made available to settlers through a ballot system. Then between 1910 and 1914 more than 15,000 hectares southwest of Waitakaruru was drained and distributed to a further 270 settlers.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ752MeCL1dzob24hvLuTMG3QF2Z0eG6r4DIeNbOXuDu_h4yYG48Et6ItKnd967VkyZYHmz5DcxpjSmw3H4gNIFf_LJoVuBclhN45GM-tHxWpxseRYI1zA9jnk5Eh1aj2BvyiClKBur3saTBBgNWJ8q53DaAiwocknc58bxrbPuKVyQ5Gt2RxyaZ0yZg/s2362/AWNS_19221026_38_7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1513" data-original-width="2362" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ752MeCL1dzob24hvLuTMG3QF2Z0eG6r4DIeNbOXuDu_h4yYG48Et6ItKnd967VkyZYHmz5DcxpjSmw3H4gNIFf_LJoVuBclhN45GM-tHxWpxseRYI1zA9jnk5Eh1aj2BvyiClKBur3saTBBgNWJ8q53DaAiwocknc58bxrbPuKVyQ5Gt2RxyaZ0yZg/w640-h410/AWNS_19221026_38_7.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. How the modern dredge operates. A view which shows a drain being cut and a road being formed at the same time, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-7.</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sMuL5Ru7v3noFPQmcF9GD1TiXwqllv3xHY-A_0r6yuiQbG3y6j2gLsf1h6ArdlVcDYFH_hpWJL7NhrZKStSW5EksOptQkX7LZQ5x34i1o92HJT809ph4FWRv_RkIN4xeiujZDyhfRzp8Qp7NAuuDQPLkU0fVHwH9JgegMbKl7aF_6iyOaxwqPOydXQ/s2362/AWNS_19220817_41_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2238" data-original-width="2362" height="606" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sMuL5Ru7v3noFPQmcF9GD1TiXwqllv3xHY-A_0r6yuiQbG3y6j2gLsf1h6ArdlVcDYFH_hpWJL7NhrZKStSW5EksOptQkX7LZQ5x34i1o92HJT809ph4FWRv_RkIN4xeiujZDyhfRzp8Qp7NAuuDQPLkU0fVHwH9JgegMbKl7aF_6iyOaxwqPOydXQ/w640-h606/AWNS_19220817_41_4.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. The latest 45-horsepower Caterpillar dredge at work deepening the Piako River, 17 August 1922, Auckland Libraries Heritage Collections, AWNS-19220817-41-4.</td></tr></tbody></table><p>Between 1919 and 1923, the period from which these 1922 photographs date, Government drainage work was continuing south of Kerepehi. The Crown worked on its Hauraki Plains Drainage Scheme until 1942, completing its network of drained land for new balloted farms between Ngatea and Netherton.</p><p>But the Waihou and Piako rivers still flooded each year. This meant farmers still had to dig and maintain irrigation channels through their land. These channels connected to the main drains, from which the water flowed into the canals. As a result of the drainage system, which included floodgates stopping water from seeping back into drained land, the size of the wetlands declined to less than a quarter of their original area.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1yoeEWrwqRCevh6k5sbejB7ex8DohufTFLFzbDVaGsO-CoUG6oWuKNnX3QqkE3B6gB8alx60P84AD8tl8YIFhk6ihjqzHYXKk-bK3QOIcdielUaUoZGzKKMt4lOriC5As_snEI64pxEqmdzbiEOeGw0RdnFbc3e3miLdEHB5vc4OGFwzWIQbq9hEWA/s2362/AWNS_19221026_38_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1617" data-original-width="2362" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1yoeEWrwqRCevh6k5sbejB7ex8DohufTFLFzbDVaGsO-CoUG6oWuKNnX3QqkE3B6gB8alx60P84AD8tl8YIFhk6ihjqzHYXKk-bK3QOIcdielUaUoZGzKKMt4lOriC5As_snEI64pxEqmdzbiEOeGw0RdnFbc3e3miLdEHB5vc4OGFwzWIQbq9hEWA/w640-h438/AWNS_19221026_38_3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. A portion of the rich farmlands on the Hauraki Plains already developed by the drainage scheme, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-3.</td></tr></tbody></table><p>After their land had drained and dried, farmers cleared and burned scrub, logs and tree stumps. Then they had to level the land and convert it to pasture. However, they soon discovered they had to battle continual infestations of tall fescue ‘quack’ grass, which could cause stock losses. And their farmland turned rock hard in summer droughts and still became waterlogged during the winter rains.</p><p>In the riverine environment of the Hauraki Plains, boats and barges were the most effective way to transport goods, people and animals in the early days before an effective road network was developed. In the early twentieth century, it was still possible to sail down the Waihou River as far inland as Matamata.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQugQNie5wowi2drovba0kB2fFDbqvMqVtLoy7_iAXk_msibvNNzEmD2nTV60u_TXI4tZRXbUlAGMCOuQl51LTCnz9wDiAw2MQ1RTunh2Kd-Xe-UEWQMRxREfhkQKFEtAs00TDcbChWDRsQbPMKJ4YqOT-u2rJW8MvEEF0JVKGNyFTj4b2swn9naQag/s2362/AWNS_19221026_38_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1610" data-original-width="2362" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQugQNie5wowi2drovba0kB2fFDbqvMqVtLoy7_iAXk_msibvNNzEmD2nTV60u_TXI4tZRXbUlAGMCOuQl51LTCnz9wDiAw2MQ1RTunh2Kd-Xe-UEWQMRxREfhkQKFEtAs00TDcbChWDRsQbPMKJ4YqOT-u2rJW8MvEEF0JVKGNyFTj4b2swn9naQag/w640-h436/AWNS_19221026_38_4.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. Settlers unloading stores on the banks of the Piako River at Tahuna, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-4.</td></tr></tbody></table><p>Ships of all sizes, from rowboats to large barques plied the rivers of the Hauraki Plains. Barques could navigate down the Waihou River as far inland as Turua, where they loaded cargoes of kahikatea planks from Bagnall’s sawmill destined to be made into Australian butter-boxes.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2R1PtxdIRcFC5ZZZFEK6VFk-c-bSW1F5j00ca1tg1ZOk58AC8-LG6HEjIZXq6sMlA7x3wpuyb29EW_8YVbZKkB-TcTz0Hl82ZlJG6SL_spVHb2Fj1Vzp6YZG_HZdyv52rV6fOHnQvsascKKe1HlvfvbNMoxEoF3rxnp9oS1yExPqNkqvTRpfoqvHnuQ/s2362/AWNS_19220720_44_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1549" data-original-width="2362" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2R1PtxdIRcFC5ZZZFEK6VFk-c-bSW1F5j00ca1tg1ZOk58AC8-LG6HEjIZXq6sMlA7x3wpuyb29EW_8YVbZKkB-TcTz0Hl82ZlJG6SL_spVHb2Fj1Vzp6YZG_HZdyv52rV6fOHnQvsascKKe1HlvfvbNMoxEoF3rxnp9oS1yExPqNkqvTRpfoqvHnuQ/w640-h420/AWNS_19220720_44_3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. The new wharf at Turua, which was officially opened last week by the Minister for Marine and Mines, Hon G.J. Anderson, 20 July 1922, Auckland Libraries Heritage Collections, AWNS-19220720-44-3.</td></tr></tbody></table><p>However most ships on the Hauraki Plains rivers were locally built steamers fitted with engines built by A. & G. Price in Thames.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQv6QNwnd-iiTbEL7EqIt5S90bxc6fYuPgbB1xWGJxQjXdSfON_jlsA1-rX4GDoG2hc0EaF5u7R0wqX2oGyBg82IHXzKEY4WZX149ZTHDI2TeAR-ESMU8NOvs3A-rvqJKbYS6YMK_sRmJFFg2wo84yP7dSZF2Ur3KSo7fHueK3w8cGKCKWpXdM7YMWQw/s2362/AWNS_19221026_38_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1614" data-original-width="2362" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQv6QNwnd-iiTbEL7EqIt5S90bxc6fYuPgbB1xWGJxQjXdSfON_jlsA1-rX4GDoG2hc0EaF5u7R0wqX2oGyBg82IHXzKEY4WZX149ZTHDI2TeAR-ESMU8NOvs3A-rvqJKbYS6YMK_sRmJFFg2wo84yP7dSZF2Ur3KSo7fHueK3w8cGKCKWpXdM7YMWQw/w640-h438/AWNS_19221026_38_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. The river steamer on the Piako River near Tahuna, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-2.</td></tr></tbody></table><p>Sailing inland from Pipiroa down the Piako River, ships passed Ngatea then Kerepehi. After reaching Kaihere, the Piako was navigable as far inland as Patetonga.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-VXduedBLpDtQJ_6JEFe-1WxEwVUzgNchJKzpTSa5Cxv-QOGM2307d5ZX0f30FFcG4Gdf62iyvCNlV2F0DdNkTJCPLRFELreNqxTxKDgK5yp9PF4vZjRkPwmAQdzssGABq6frayQhJtjz0bOWsuKKaU4bJ5fbrJJz5xC0AFkSSEpXoPwGukAJybg_A/s2362/AWNS_19221026_38_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1452" data-original-width="2362" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-VXduedBLpDtQJ_6JEFe-1WxEwVUzgNchJKzpTSa5Cxv-QOGM2307d5ZX0f30FFcG4Gdf62iyvCNlV2F0DdNkTJCPLRFELreNqxTxKDgK5yp9PF4vZjRkPwmAQdzssGABq6frayQhJtjz0bOWsuKKaU4bJ5fbrJJz5xC0AFkSSEpXoPwGukAJybg_A/w640-h394/AWNS_19221026_38_5.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. A busy scene in the early morning at Kaihere Landing, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-5.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirBbPotrmmsBMasO6iwieZh3yD0T8fdmzFfdlPD6_qfojkRFBxcIDddmcr9RV2jHTIVm2ASUu0qTYj8nG5UQigqoVtM0Prb5XhBUPsRK8DQeZJXDv8mP7gXL-tDmCiMnWG2HtS2LCo73_jtgh58EySMvWpnHb9MFSg2HWVfk4h0z291b-fc1eC6ECv_A/s2362/AWNS_19221026_38_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1634" data-original-width="2362" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirBbPotrmmsBMasO6iwieZh3yD0T8fdmzFfdlPD6_qfojkRFBxcIDddmcr9RV2jHTIVm2ASUu0qTYj8nG5UQigqoVtM0Prb5XhBUPsRK8DQeZJXDv8mP7gXL-tDmCiMnWG2HtS2LCo73_jtgh58EySMvWpnHb9MFSg2HWVfk4h0z291b-fc1eC6ECv_A/w640-h442/AWNS_19221026_38_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Auckland Weekly News. In the centre of the Hauraki Plains district. A barge conveying stores on the Piako River, 26 October 1922, Auckland Libraries Heritage Collections, AWNS-19221026-38-1.</td></tr></tbody></table><p>The lost kahikatea forests and wetlands of Hauraki’s distant past have today been transformed into the dairy farm landscape that now predominates on the plains. These days, cow effluent and fertiliser runoff endanger water quality and contribute to further silting up the Hauraki Plains rivers and waterways.</p><h4 style="text-align: left;">Author: Christopher Paxton, Heritage Engagement</h4><h4 style="text-align: left;">Further reading:</h4><p>Toni Hartill, ‘<a href="http://heritageetal.blogspot.com/2022/03/artful-narratives-and-destruction-of.html">Artful narratives and the destruction of the kahikatea forests</a>,’ HeritageEt al, http://heritageetal.blogspot.com/2022/03/artful-narratives-and-destruction-of.html </p><p>Malcolm McKinnon, ed., <i>Bateman New Zealand Historical Atlas: Ko Papatuanuku e Takoto Nei.</i> Auckland, 1997.</p><p>Paul Monin, '<a href="http://www.TeAra.govt.nz/en/hauraki-coromandel-region/page-9" target="_blank">Hauraki–Coromandel region - Drainage and dairying on the plains</a>', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/hauraki-coromandel-region/page-9 (accessed 21 March 2023)</p><p>Geoff Park, <i>Ngā Uruora: Ecology and History in a New Zealand landscape. </i>Wellington, 1995.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-64872785533359643582023-04-28T16:21:00.019+12:002023-11-24T17:03:54.511+13:00Artful advertising: chromolithographic views of Tāmaki-Makaurau Auckland from 1894<p><span style="font-family: inherit;">When Aucklanders opened their
copy of the New Zealand Herald at their breakfast tables on Monday 30 April 1894 they would have found a colourful addition. That morning’s
newspaper included a <a href="https://paperspast.natlib.govt.nz/newspapers/new-zealand-herald/1894/04/30">supplement</a> containing <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/search/searchterm/lithographs">four
views</a> of Tāmaki Makaurau Auckland printed at Wilson and Horton’s
Lithographic and Colour Printery. The chromolithographic posters feature views taken
from four different elevated spots around the central isthmus, and are surrounded by vignettes of local businesses
who had paid to be included in the posters. In the months leading up to
publication the Weekly News and Herald had been advertising this issue and the posters
as a “Special Extraordinary Chromolithographic pictorial supplements” and
pitching them as of interest to tourists, potential migrants and as a memento
for those who had spent time in the city and moved on. The posters would <a href="https://paperspast.natlib.govt.nz/newspapers/NZH18930510.2.5.4">“give
people at a distance an idea of the character and capabilities of our city.”</a>
Auckland Libraries have recently
acquired, digitised and catalogued copies of these posters – available through <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/search/searchterm/lithographs">Kura
Heritage Collections Online</a>.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR8bflK961oZ3X6QePIzuQ0iD3DkUYhTvxSBMLB9q25g9nMlQeeUR0l2vjj5FdaI7pnpxJhE92LjbwNGOw1jmIsok4go4Rnim9gF5Lr0Uyh8sFSrP1wBZWgf8itJ_5sOC_iGELLZsiYhqtSHRx7Jj9Z0q2Q41QNgRTIq9o-DJ9KMCmWB6E5JiX3n8I2g/s1580/download.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="862" data-original-width="1580" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR8bflK961oZ3X6QePIzuQ0iD3DkUYhTvxSBMLB9q25g9nMlQeeUR0l2vjj5FdaI7pnpxJhE92LjbwNGOw1jmIsok4go4Rnim9gF5Lr0Uyh8sFSrP1wBZWgf8itJ_5sOC_iGELLZsiYhqtSHRx7Jj9Z0q2Q41QNgRTIq9o-DJ9KMCmWB6E5JiX3n8I2g/w640-h350/download.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/id/8298#.ZE2BVp7SjHM.link" target="_blank">Image: View of Auckland from the Grand Hotel, 1894. Auckland Libraries Heritage Collections, Eph-Post00425</a>.<br /><br /></td></tr></tbody></table><span style="text-align: left;"><div>The contemporary dress and transport, window displays,
interiors of the shops and factories, and the people at work and patronising
them are a real treat for our modern eyes. These
are precious illustrations of buildings long since demolished. Although familiar
names can be found: Yates seed merchants, Smith & Caughey importers and
Eady music sellers. The images in the posters are taken from the Ponsonby ridge;
Partington’s Windmill (current site of the
Cordis Hotel); the Harbour and the Grand Hotel (Princes Street). </div><div><br /></div></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwjpru8EPixkHwnnkrT9b4y44xGyKnUgNXTK6SXkIktF8GBARCZPDlMO56BevhmvyXPTpeKI8Vat0rMFPS0JTfNi-BEmfBmQ6N_o2cgmyEc40IlCMYo_GFLl2RcsHebMdfSQ8s_9FWqX2RflC6ItbK0Q8el_HR98ej7iEK4hP3_YXX4dJbpTHeYfQOg/s800/chronometers.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="461" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwjpru8EPixkHwnnkrT9b4y44xGyKnUgNXTK6SXkIktF8GBARCZPDlMO56BevhmvyXPTpeKI8Vat0rMFPS0JTfNi-BEmfBmQ6N_o2cgmyEc40IlCMYo_GFLl2RcsHebMdfSQ8s_9FWqX2RflC6ItbK0Q8el_HR98ej7iEK4hP3_YXX4dJbpTHeYfQOg/w368-h640/chronometers.PNG" width="368" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/id/8295#.ZE2CsGU35P0.link" target="_blank">Image: Detail from View of Auckland from Ponsonby, 1894, Auckland Libraries Heritage Collections Eph-Post00427</a>.</td></tr></tbody></table><h4 style="text-align: left;">Chromolithography and colour printing in New
Zealand<o:p></o:p></h4>
<p class="MsoNormal">The technological advance of colour printing, the growth of
advertising and growing colonial parochialism led, in the late nineteenth
century, to elevated or <a href="https://kura.aucklandlibraries.govt.nz/digital/collection/maps/id/1349">bird’s
eye views</a> and <a href="https://www.loc.gov/collections/panoramic-maps/about-this-collection/">panoramic
maps</a> becoming a popular commercial artform. <a href="https://teara.govt.nz/en/biographies/2w26/willis-archibald-dudingston">A.
D. Willis</a> was a pioneer of the use of chromolithography in New Zealand and
produced a <a href="https://digitalnz.org/records?text=A.D.%20Willis%20views%20nz">number of
views</a> in this style. <o:p></o:p></p>
<p class="MsoNormal">Chromolithography is a method for making multi-colour prints
using stones or metal plates – based on the fact that oil and water do not mix.
Chromolithography laid the foundation for colour printing and the technology
was embraced for its commercial uses. Chromolithography allowed the creation of
large posters and much larger print runs. The four
posters printed by Wilson and Horton measure 630mm x 975mm and 48 000 <a href="https://paperspast.natlib.govt.nz/newspapers/NZH18930429.2.24?items_per_page=100&query=%22wellesley+parker%22&snippet=true">were
contracted</a> to be produced.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3VDbp3i5qy4IRcFGUfCVdYemej3dJZYXuytbMMNfy4N0WBUCNbLluhQRzDgggnbdKOC3VZC0cb8LTd92duNbVHERVk80CGLVGSnO9ahdLWCJfINx-lrepPbVtDBqvO8YL3EUD2DfJKaJVhmLBBB-W6q7Y9Uc0VFfbxq1iChh9xZLQFocj3Ajr4kr9g/s664/mini_magick20230301-1-y2g6iw.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="471" data-original-width="664" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3VDbp3i5qy4IRcFGUfCVdYemej3dJZYXuytbMMNfy4N0WBUCNbLluhQRzDgggnbdKOC3VZC0cb8LTd92duNbVHERVk80CGLVGSnO9ahdLWCJfINx-lrepPbVtDBqvO8YL3EUD2DfJKaJVhmLBBB-W6q7Y9Uc0VFfbxq1iChh9xZLQFocj3Ajr4kr9g/w640-h454/mini_magick20230301-1-y2g6iw.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Two men working on lithographs for The Press newspaper. Presants, Philip Robert, 1867-1942 :Photographs of the printing section of The Press, Christchurch. Ref: PAColl-8763-3. <a href="https://natlib.govt.nz/records/38879272" target="_blank">Alexander Turnbull Library, Wellington, New Zealand. /records/38879272.</a></td></tr></tbody></table><br /><div>The idea of offering high quality colour posters with copies
of the newspaper was relatively new in Aotearoa at
the time. The Auckland Weekly News published the first presentation
chromolithograph with their Christmas number in 1888. It was intended to be
hung on walls like an artwork and was billed as
‘the great advance in art illustration in Auckland’. The response was such that
the next year the proprietors were encouraged to “still more liberal efforts”.
That chromolithograph, a <a href="https://otago.ourheritage.ac.nz/items/show/4645">view of the Tainui waka
under a Pohutukawa tree,</a> was printed in 14 colours on enamel paper.<p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal">For chromolithographs from ten to fourteen colours a
different stone is used for each colour. The artists’ drawing or engraving gets
transferred to the surface of the stone. In Wilson & Horton’s print works the
stones were then sent by a lift to the machine room and the process of printing
commenced. Note the stone that the lithographer is working on in the image
above.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyy0n_-sh9KsN-t_aj6jvvKTbh4DCBZSmoTrSIfkFGSRMBsKgpf01IMMmVY8VOD4HE5QKWhxRPnHT7AwrLcTBB9tn9NyPFM8knFbYkMmO5h17CDICQZK2WRbdzNYkZ27T-dP5ahWI31IlIsnsf_iX0hPdJ6nLwvl7nxsElYktlBQI-fMFa0EYJZny7qg/s1580/download%20(1)h.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="862" data-original-width="1580" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyy0n_-sh9KsN-t_aj6jvvKTbh4DCBZSmoTrSIfkFGSRMBsKgpf01IMMmVY8VOD4HE5QKWhxRPnHT7AwrLcTBB9tn9NyPFM8knFbYkMmO5h17CDICQZK2WRbdzNYkZ27T-dP5ahWI31IlIsnsf_iX0hPdJ6nLwvl7nxsElYktlBQI-fMFa0EYJZny7qg/w640-h350/download%20(1)h.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/id/8296#.ZE2DgWF9L24.link" target="_blank">Image: View of Auckland from Harbour, 1894, Auckland Libraries Heritage Collections Eph-Post00426</a>.</td></tr></tbody></table><br /><span style="font-family: inherit; text-align: left;">The style was popular at the
time, with panoramic maps, bird’s eye views and views of towns and cities with
inlaid images of local buildings being a common production. The late nineteenth
century saw enormous economic development and urban growth in cities and towns
throughout places like </span><a href="https://hdl.huntington.org/digital/collection/p16003coll4/id/1255/rec/9" style="font-family: inherit; text-align: left;">North
America</a><span style="font-family: inherit; text-align: left;">, </span><a href="https://collections.slq.qld.gov.au/viewer/IE423504" style="font-family: inherit; text-align: left;">Australia</a><span style="font-family: inherit; text-align: left;">
and </span><a href="https://natlib.govt.nz/records/23062059" style="font-family: inherit; text-align: left;">New Zealand</a><span style="font-family: inherit; text-align: left;">. It is
estimated that in the USA around five thousand lithographs of this type were
produced. Such was the demand a Melbourne firm sent their
agent around Australia, New Zealand and the Pacific soliciting businesses to contribute to views of their towns or
cities.</span><h4 style="text-align: left;"><span style="font-family: inherit;"><span style="font-family: inherit;">F. W. Niven & Co. of Ballarat and Melbourne. </span></span></h4><p class="MsoNormal"><span style="font-family: inherit;">F. W. Niven was a large and prosperous firm known for its
illustrative work and employed about 70 staff by the 1890s. The founder <a href="https://adb.anu.edu.au/biography/niven-francis-wilson-13132">Francis
Wilson Niven </a>ran away to sea at the
age of 13. He taught himself to draw while he was a seaman, and arrived at the
Victorian goldfields in 1852. After seven years without luck as a digger at
Ballarat, he bought a small lithographic plant- 'a hand press, a few
lithographic stones, a copper-plate press, a few cans of ink...' for forty
pounds and drew and printed scenes of the diggings.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: inherit;">Their agent or canvasser was a man named Wellesley A. Parker.
A busy man, as the agent for the firm he travelled far and wide with his
specimen views and examples from other towns. In <a href="https://trove.nla.gov.au/newspaper/article/19006931">February 1892</a>
he’s in West Maitland in New South Wales’ Hunter Valley. By the time he arrives
in Wellington he’s being described as the ‘king of advertising contractors’ in
the <a href="https://paperspast.natlib.govt.nz/newspapers/NZTIM18930325.2.15">New
Zealand Times.</a> In 1894 his name turns up in the Honolulu newspaper <a href="https://nupepa-hawaii.com/2016/04/13/the-hawaiian-revolution-1894/">Pacific
Commercial Advertiser</a> connected to the production of a history of the
Hawaiian revolution.</span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4aC_FS-WGsCCxS_lEKgg24KMCW7E86yYtBPzTlFf9S80uiZGIUNFaLVc3vM-ZTQI8CzKdlBtU5bfRxFV5SVcf4Ja9FvAyjDsqLbpmSUP3_MLnZVEVab0UrKmxF77w0LYwIVbT7OsVQcnUcxhMi1bIBDHijb22OiZPE2RoYq_PALeRJfBtNVoj0Z7HA/s631/Canvasser.PNG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="382" data-original-width="631" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4aC_FS-WGsCCxS_lEKgg24KMCW7E86yYtBPzTlFf9S80uiZGIUNFaLVc3vM-ZTQI8CzKdlBtU5bfRxFV5SVcf4Ja9FvAyjDsqLbpmSUP3_MLnZVEVab0UrKmxF77w0LYwIVbT7OsVQcnUcxhMi1bIBDHijb22OiZPE2RoYq_PALeRJfBtNVoj0Z7HA/w400-h243/Canvasser.PNG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/ephemera/id/8298#.ZE2FsC-Hyuk.link" target="_blank">Image: Detail from: View of Auckland from the Grand Hotel, 1894, Auckland Libraries Heritage Collections Eph-Post00425</a>.</td></tr></tbody></table><p class="MsoNormal">Parker’s modus operandi was to pitch up to a place, station
himself in a hotel near the centre of town and, using the local newspapers,
invite prospective advertisers to see samples of views produced previously for
other towns. For the production of the Auckland sheets Parker <a href="https://paperspast.natlib.govt.nz/newspapers/NZH18930508.2.11.2">used Oram’s
Hotel</a> where the Sky City Theatre can now be found. He was not always
completely successful – for instance Kirkcaldie & Stains don’t appear in
the Wellington set of posters.<span class="MsoCommentReference"><span style="font-size: 8pt; line-height: 107%;"> </span></span><o:p></o:p></p><p class="MsoNormal">These four views of Auckland are part of a larger series initiated by
Parker on behalf of F. W. Niven. There are a number of these views from around
the country held in various institutions. A brief search yields F. W. Niven
produced views of Ashburton, Oamaru, <a href="https://natlib.govt.nz/records/22487583">Invercargill</a>, Nelson, <a href="https://natlib.govt.nz/records/23062059">Eltham & Stratford</a>, <a href="https://natlib.govt.nz/records/22533959">Wellington</a> and <a href="https://natlib.govt.nz/records/23156921">Dunedin</a>. Even taking into
account the numbers printed it’s not surprising that the holdings in libraries
is patchy, as it was common library practice to strip
out and dispose of inserts in newspapers and journals.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPrcJ6eUbLs1WyHhOHzbqjgp3ustuntWyA1pJQywI6O3BrdjAKCa6zQa4I8F-kqJqoDjhLY4NVQruXDDFLmF0HhS11kPNrLwP5LIGclJR3G_uI9Qs34JOYpzsUOrlJrFSQVv-rrceyffQR-2IM5UB97WgLdIORh9oktbMMuLFummG1F-Pjq8glrzv7g/s1080/nlnzimage%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="684" data-original-width="1080" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPrcJ6eUbLs1WyHhOHzbqjgp3ustuntWyA1pJQywI6O3BrdjAKCa6zQa4I8F-kqJqoDjhLY4NVQruXDDFLmF0HhS11kPNrLwP5LIGclJR3G_uI9Qs34JOYpzsUOrlJrFSQVv-rrceyffQR-2IM5UB97WgLdIORh9oktbMMuLFummG1F-Pjq8glrzv7g/w640-h406/nlnzimage%20(1).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Union Steam Ship Company of New Zealand Ltd. Union Steam Ship Company of New Zealand :Invercargill from J G Ward's, the Farmers' Association of New Zealand Limited. F W Niven & Co, lith, Melbourne & Ball[ara]t. Gratis supplement to the "Weekly times", Friday 16th June, 1893. Lithographed and printed for the "Southland times" Co. by F W Niven & Co., Ballarat and Melbourne, and published by Robt Gilmour at the Co.'s registered office, Esk St., Invercargill.. Ref: Eph-E-BUILDINGS-Invercargill-1893-01. <a href="https://natlib.govt.nz/records/22487583" target="_blank">Alexander Turnbull Library, Wellington, New Zealand. /records/22487583</a>.</td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: inherit;">They are all recognisably produced by F. W. Niven & Co.
and all except the Tāmaki posters state they were printed by them. As well as having<span style="font-size: 10.6667px;"> </span>Parker’s
name on them - the ubiquitous Union Line Steamship advertisements and
recognisable style and colours provide the link. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: inherit;">In her thesis on the history of colour printing in Aotearoa
New Zealand Rosslyn Johnston writes that these views are in a stipple style and
the colour in the posters was built using warm tones of yellow and orange, both
light and dark, with blacks and greys employed to add shading and darker tones.
<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: inherit;"><span lang="EN-US">Given that Wilson & Horton believed the premises of the Herald and
Weekly News to be “the finest newspaper and printing offices in the Southern
Hemisphere” it is not surprising that they printed
the sheets themselves.</span><span lang="EN-US"> </span>By 26 June 1897 the New Zealand
Herald printing works employed upwards of 200 hands. Including, in the
lithography department, draughtsmen and engravers – the former “occupied in
designing or drawing either direct upon the stone or on transfer paper, from
which the work is transferred to the stone for printing form. Labels, showcards,
coloured wrappers, posters are produced in an almost endless variety.” A big
part of the business was the production of coloured labels for tinned goods – “for
the adornment of jam, fruit and meat tins of our day.”</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ThM0dcKRZEdsIUJul_WunZwkPZ1frUSELXceg_WDnfiyEKfEfUhMEbEZEyFbF_ks2BOcJdXdsf-tYVauVwsPldgNh0bTGDz5i4Kew5naoiZHN7DDzusShZkJteu9XSRPRnsPO8JlyB1Khdwew0UzL1sxj6H8Kqdc6AT9VN3mPsQO3HKmsx1eDhPgKQ/s1279/Wellington-at-Work-cover.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1279" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ThM0dcKRZEdsIUJul_WunZwkPZ1frUSELXceg_WDnfiyEKfEfUhMEbEZEyFbF_ks2BOcJdXdsf-tYVauVwsPldgNh0bTGDz5i4Kew5naoiZHN7DDzusShZkJteu9XSRPRnsPO8JlyB1Khdwew0UzL1sxj6H8Kqdc6AT9VN3mPsQO3HKmsx1eDhPgKQ/w640-h500/Wellington-at-Work-cover.webp" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Cover of Wellington at work, 2009, Auckland Libraries Heritage Collections, 331.25 P94.</td></tr></tbody></table><p></p><p class="MsoNormal">In <i>Wellington at work in the 1890s</i> (2009) Beverley Randell
and Hugh Price cleverly combined the four Wellington posters with text from the
Wellington edition of the Cyclopedia (1897) to recreate what commerce was like
in late-Victorian Te Whanganui-a-Tara Wellington. The acquisition,
cataloguing and digitisation of these posters makes it possible to now do similar
for Tāmaki Makaurau.<span class="MsoCommentReference"><span style="font-size: 8pt; line-height: 107%;"> </span></span></p><h4 style="text-align: left;"><span style="font-family: inherit;">Author: Andrew Henry</span></h4><h4 style="text-align: left;"><span style="font-family: inherit;">Sources </span> </h4><h2><span style="font-weight: normal;"><o:p></o:p></span></h2><p class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]-->The
art of advertising / Julie Anne Lambert ; with contributions by Michael
Twyman [and four others]<i><o:p></o:p></i></p><p class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]-->Colour Printing
in the Uttermost Part of the Sea : a Study of the Colour Print Products,
Printers, Technology and Markets in New Zealand, 1830-1914 / Johnston, Rosslyn
Joan<o:p></o:p></p><p class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]-->History
of chromolithography : printed colour for all / Michael Twyman<o:p></o:p></p><p class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]-->Wellington
at work in the 1890s : with illustrations from posters held in the
Alexander Turnbull Library / Hugh Price, Beverley Randell<o:p></o:p></p><p class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]--><i>A great colonial newspaper </i>in the supplement
to "Auckland Weekly News", 26 June 1897, pages 9-12.<i><o:p></o:p></i></p><p class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]--><i><span lang="EN-US">New Zealand Memories</span></i><span lang="EN-US">, issue 155, April/May 2022, pages 50-51.</span><i><o:p></o:p></i></p><p class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18pt;"><!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 7pt; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">
</span></span><!--[endif]-->Paperspast</p><p class="MsoNormal"><o:p></o:p></p></div>AkLhttp://www.blogger.com/profile/07804518356218642681noreply@blogger.com1tag:blogger.com,1999:blog-5326867358384170422.post-89225687974779154732023-04-12T12:28:00.002+12:002023-04-12T12:40:53.236+12:00Hand-printed Books exhibition<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRafi5jDKRrZJWSHVVEJkAocC7w2Gl0gL4qyzwb0mAO5OCTh5aWanjP13-ivYm02Rxhqp8jy-ogKdBqvpEwtwPzdOsgSYaXRtaEKMD739eGjgPR_PQEkYMuAW1d2SNU80Yx04d6zmk6XcMWrOgjQNLNpAf5B7H2FR0xg3eaKsBGGoyegXAw7FK3bDDw/s1080/Field%20notes%20-%20Manawa%20by%20Toni%20Hartill.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRafi5jDKRrZJWSHVVEJkAocC7w2Gl0gL4qyzwb0mAO5OCTh5aWanjP13-ivYm02Rxhqp8jy-ogKdBqvpEwtwPzdOsgSYaXRtaEKMD739eGjgPR_PQEkYMuAW1d2SNU80Yx04d6zmk6XcMWrOgjQNLNpAf5B7H2FR0xg3eaKsBGGoyegXAw7FK3bDDw/w640-h640/Field%20notes%20-%20Manawa%20by%20Toni%20Hartill.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Field
notes – Manawa </i>by Toni Hartill.<br /><ol start="1" style="margin-top: 0cm;" type="1">
</ol></td></tr></tbody></table>The Hand-printed Books exhibition celebrates text/image collaborations between Aotearoa artists, poets, printers and binders. These pukapuka range from traditionally bound, to unfolding and concertina structures, to unbound artists’ books – one example, housed in a clamshell box, is <i>Twelve poems</i> by Hone Tuwhare interpreted by seven Dunedin printmakers (2007). The printmakers responded to a poem from Tuwhare’s <i>Come rain hail</i> (1970) including Inge Doesburg, Simon Kaan, Mary McFarlane, Kathryn Madill, Olav Nielsen, Jenna Packer and Marilynn Webb. Interpreting a poem as an image was a new experience for some. Doesburg said: “Psychologically, it is a different way of dealing with a visual image. You don’t want the image to be a picture of the text – you aren’t regurgitating what has been said already … instead you are interpreting your feeling about the text and it is possibly quite different from what the text is actually telling you … it’s not so much an illustration as an addition to the text. It adds to the reader’s/viewer’s experience.”<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8SdAqRN-Uez7U51NNyuqoJ6GnLyXHgEMRnS5n3rRd4fQti6bNb6VOiVZ3YOejFOy2lvELOlX0j9R6czVKq097WsBH34yvetvjg6T0-zKI5m4H1SOf8Ob3jZiPjhmRZixAOd3SFil8LVuEvFynZRW5yOUWTI2xPeH9FszCq-vJh37eA0cClbWVWNFANg/s1080/TWELVE%20Poems%20by%20Hone%20Tuwhare,%20image%20by%20Simon%20Kaan.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8SdAqRN-Uez7U51NNyuqoJ6GnLyXHgEMRnS5n3rRd4fQti6bNb6VOiVZ3YOejFOy2lvELOlX0j9R6czVKq097WsBH34yvetvjg6T0-zKI5m4H1SOf8Ob3jZiPjhmRZixAOd3SFil8LVuEvFynZRW5yOUWTI2xPeH9FszCq-vJh37eA0cClbWVWNFANg/w640-h640/TWELVE%20Poems%20by%20Hone%20Tuwhare,%20image%20by%20Simon%20Kaan.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Twelve poems</i> by Hone Tuwhare, image by Simon Kaan.<br /><ol start="1" style="margin-top: 0cm;" type="1">
</ol></td></tr></tbody></table><div>Gregory O’Brien writes that Alan Loney “wants to ‘make a book in which all the individual parts are of equal priority’, believing that all parts of the production – words, type, images, paper, binding – should be ‘rewarding to pay attention to’… His art is one of delicate modulation and, at times, understated humour.” Come and see Loney’s <i>Swell </i>(1987) which incorporates words and images from road signs, diary entries and advertising slogans, and illustrates how “Every layer of production investigates the possibilities of the book as a vehicle for image and language – the language is an ‘opening out’ of the image, the image ‘opening out’ the language.”</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzhsXrqbegck1iUTbW5VfGvYFoUOQL5Qpvq3WRIxA7bJ9ivsNtJSaybFvXHRYzixeidH0uKAs0F8VwXNaiWFwJLbweOrN4_Mn8aeHtNrEjGvl5C2i3RGQurh6--J8MU7n5qr8qeDhvGnnq7cmeOrYu7n6IO7npZy2ao6nDC8qlsIvz33rINykLc3afQ/s1080/Swell%20by%20Alan%20Loney.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzhsXrqbegck1iUTbW5VfGvYFoUOQL5Qpvq3WRIxA7bJ9ivsNtJSaybFvXHRYzixeidH0uKAs0F8VwXNaiWFwJLbweOrN4_Mn8aeHtNrEjGvl5C2i3RGQurh6--J8MU7n5qr8qeDhvGnnq7cmeOrYu7n6IO7npZy2ao6nDC8qlsIvz33rINykLc3afQ/w640-h640/Swell%20by%20Alan%20Loney.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Swell </i>by Alan Loney.</td></tr></tbody></table><br />In <i>Open sky: a homage to Ruth Dallas</i> (2008) Loney chose phrases from Dallas’ poems and some of her haiku which he felt evoked her essence; then selected delicate illustrations from blocks and ornaments found in the Otakou Press Print Room.<span style="font-size: 12pt;"> </span></div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRi8e5gS9mogSGu9WNqsmBOK2mSVl1CyuvErjjzV3aHCcDIjl1CLynqvlSz3huJhUTFDB3NbInoHWX7_-YXX8s10Pp8xthiUvRwSbyVJMhiSmolgJplbiawLgvPNdVzSSqyMgQkL-VLcPvET47k88VAH0w2soEdPG_8KaQYEex9zR9fKP7NPuIHNbyDg/s1080/SEARCHINGS%20Max%20Gimblett%20by%20Alan%20Loney.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRi8e5gS9mogSGu9WNqsmBOK2mSVl1CyuvErjjzV3aHCcDIjl1CLynqvlSz3huJhUTFDB3NbInoHWX7_-YXX8s10Pp8xthiUvRwSbyVJMhiSmolgJplbiawLgvPNdVzSSqyMgQkL-VLcPvET47k88VAH0w2soEdPG_8KaQYEex9zR9fKP7NPuIHNbyDg/w640-h640/SEARCHINGS%20Max%20Gimblett%20by%20Alan%20Loney.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Searchings: Max Gimblett</i> by Alan Loney<p class="xxmsolistparagraph" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18pt;"><o:p></o:p></p></td></tr></tbody></table><br /><br /><i>Searchings: Max Gimblett </i>(2005) is our third Loney book on show. These texts and images are selections he made from Gimblett’s journals. Each of the 50 limited edition copies has two original ink drawings by Max Gimblett bound into the volume – thus making each copy unique. This pukapuka was edited, designed and typeset by Loney and printed by Tara McLeod. <br /><br />Like <i>Twelve poems</i>, Toni Hartill’s artists’ books have an openness of format, and are not bound between a front and back cover. We share her unique, and beautiful, <i>Lost Forests of the Plains II </i>(2018) which has a cascade structure, and is made from linocuts. There is no text, instead this book conveys the ghostly kahikatea ngahere (forest) remnants of the Hauraki Plains. Once our tallest tree, the land kahikatea grew on was drained and turned into farmland, and the timber turned into boxes to ship butter to the UK. It is estimated that more than 98% of pre-European kahikatea have been lost.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrlaZk7Up9PPDuHMs6RwVXDovIOyv5XhLsvCeGIIr9Yy0gIMn3rHEg15pnecTgavFPowflCrDzQwn2lzC1xpsRPB8abRzuQFOJCRJTLhBY1elT8Ri1eiZzn7fA6fTuMKfWVsM7A0vlbhMb5gZeHeknBFutkZCjJCXoZiSlsHk2jMwKYbv_Gbp3tFkcCw/s1080/Lost%20Forests%20of%20the%20Plains%20II%20by%20Toni%20Hartill.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrlaZk7Up9PPDuHMs6RwVXDovIOyv5XhLsvCeGIIr9Yy0gIMn3rHEg15pnecTgavFPowflCrDzQwn2lzC1xpsRPB8abRzuQFOJCRJTLhBY1elT8Ri1eiZzn7fA6fTuMKfWVsM7A0vlbhMb5gZeHeknBFutkZCjJCXoZiSlsHk2jMwKYbv_Gbp3tFkcCw/w640-h640/Lost%20Forests%20of%20the%20Plains%20II%20by%20Toni%20Hartill.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <span style="text-indent: -18pt;"><i>Lost
Forests of the Plains II </i>by Toni Hartill</span><p class="xxmsolistparagraph" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18pt;"><o:p></o:p></p></td></tr></tbody></table><br /></div><div>Toni’s unfolding book <i>Logbook: Ngunguru River </i>(2016) similarly shares environmental concerns. It depicts the Ngunguru Sandspit – sacred to local hapū, and home to a rare intact coastal ecosystem. This whenua was only recently protected from future development. Toni uses a variety of techniques in this artwork: drypoint, monoprint, watercolour, and collagraph.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWIKjiGQo1mZr_RcuKHz4W3x3jMHe90BjQ_BbfrsuFdAzdVbuWo8KFlJOXOsrv9WlfnvAW7-PB9kd8B7KYAbcmM_tjizI8Mg4ZRuHI0LKHt-nPJvFWjKM9QOIrWxCQKk7cJixv_KDV-1fnSRbc3i9w5x1BCu19pzBt4HT8EXut3YseLuzXZARXYqxjmA/s1080/Full%20Circle,%20Elizabeth%20Steiner.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWIKjiGQo1mZr_RcuKHz4W3x3jMHe90BjQ_BbfrsuFdAzdVbuWo8KFlJOXOsrv9WlfnvAW7-PB9kd8B7KYAbcmM_tjizI8Mg4ZRuHI0LKHt-nPJvFWjKM9QOIrWxCQKk7cJixv_KDV-1fnSRbc3i9w5x1BCu19pzBt4HT8EXut3YseLuzXZARXYqxjmA/w640-h640/Full%20Circle,%20Elizabeth%20Steiner.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <span style="text-indent: -18pt;"><i>Full
Circle</i> by Elizabeth Steiner<br /><br /></span><p class="xxmsolistparagraph" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18pt;"><o:p></o:p></p></td></tr></tbody></table>Elizabeth Steiner’s <i>Full Circle</i> (2006) asks the question: “How can I make a book that has no end and no beginning?” She developed the answer in a non-adhesive woven binding that allows each folio to rotate around a tubular spine without end. She then added the content; this ten page book is about the numbers 1 to 10, in a limited edition of 10. She used numbers and words in English and te reo Māori, plus Roman and binary numerals, and printed them on a variety of handmade papers including harakeke, ginger and Bhutanese Tshaso using linocuts, cardboard relief prints, and collage.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RWN3dnup33zl4XPFD9GHNrvLFZtpAEfYmuUaTodNs8cy9hjzT8IDfePSNBnXoQAwmGxqJgeUx2q-RQ_RNbD86tCfM5S_f-YQGLOqlblmBpfAsyYg9YDZatOlgTaK2dsfWjrsZN_s8_PJnTBo2zD7RQegy0FSXLBJPIZFp7pY3XRmHAJlrzl9S3G68Q/s1080/Small%20poems%20about%20birds%20by%20Linda%20Gill,%20designed%20and%20bound%20by%20Elizabeth%20Steiner.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RWN3dnup33zl4XPFD9GHNrvLFZtpAEfYmuUaTodNs8cy9hjzT8IDfePSNBnXoQAwmGxqJgeUx2q-RQ_RNbD86tCfM5S_f-YQGLOqlblmBpfAsyYg9YDZatOlgTaK2dsfWjrsZN_s8_PJnTBo2zD7RQegy0FSXLBJPIZFp7pY3XRmHAJlrzl9S3G68Q/w640-h640/Small%20poems%20about%20birds%20by%20Linda%20Gill,%20designed%20and%20bound%20by%20Elizabeth%20Steiner.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image:<i> Small poems about
birds</i> by Linda Gill, designed and bound by Elizabeth Steiner</td></tr></tbody></table><br />Elizabeth also designed and bound <i>Small poems about birds</i> by Linda Gill (1999) where the poems are gradually discovered via the use of handmade coloured papers that conceal, reveal, and echo the text. For example, for the poem “White-eye” she uses green and pink papers to mirror the poem’s “drab-green” bush, and “plum-pink” prunus, while ochre card hints at the Australian outback where the tauhou (white-eye) may have emigrated from. <br /><br />Two of Brendan O’Brien’s exquisitely designed and printed books are in the exhibition. Peter Vangioni has said “The qualities inherent in O’Brien’s hand-printed books – the slightly embossed text thoughtfully arranged on the page, extensive use of colour and use of found printer’s blocks – are what make these books stand out… they capture the eye and entice the reader to explore the pages inside.” Brendan includes Joanna Margaret Paul’s line drawings in her poetry collection <i>access to lilac </i>(2005); and line drawings by Douglas Macdiarmid for <i>In the Mirror</i>,<i> and dancing, poems</i> by C.K. Stead (2017).</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi27_vwHYo1qnsbH37mXuGxNUwn9RvPAOKrddY2H-AbNKfIBKk2rl12RTcUP5NrRzLoGpF8qqXkf3ocVtVYJycdzzWj5gsqjKc7T2CGgiWFbESJtCe6U8hGIjt9DUW5o7TWWPqRiaPcOAsBku-F-oE5dJhHW36IhZwJCy-4o-q_pIuFR8bBxsaxuAe2iA/s1080/access%20to%20lilac%20by%20Joanna%20Margaret%20Paul.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi27_vwHYo1qnsbH37mXuGxNUwn9RvPAOKrddY2H-AbNKfIBKk2rl12RTcUP5NrRzLoGpF8qqXkf3ocVtVYJycdzzWj5gsqjKc7T2CGgiWFbESJtCe6U8hGIjt9DUW5o7TWWPqRiaPcOAsBku-F-oE5dJhHW36IhZwJCy-4o-q_pIuFR8bBxsaxuAe2iA/w640-h640/access%20to%20lilac%20by%20Joanna%20Margaret%20Paul.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>access to lilac</i> by
Joanna Margaret Paul</td></tr></tbody></table><br />A wonderful example of poet, artist, printer and binders collaborating is <i>Freda du Faur: Southern Alps, 1909-1913 </i>(2016). This collection focuses on the life and achievements of mountaineer Freda du Faur (1882-1935) - the first woman to climb Aoraki-Mt Cook; and the first, together with guides Peter Graham and Darby Thompson, to make the Grand Traverse of the three peaks of Aoraki-Mt Cook. Poet Rhian Gallagher worked with artist Lynn Taylor and printer Sarah M. Smith to produce this exquisite concertina book. Rhian has said working with them was, like the book itself, an unfolding experience. “Both Sarah and Lynn worked incredibly hard during the printing itself – they literally brought the book to life.”</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s89AVLSiCBcmLOQeeWvVSQ6LpSPk-sJuwdzIgyNYtKtHAe_ajUAQqAfJjcZuqFyY6se6WSJvuNFWtmsoVMGk8UxgzyIEAjluVAK6RgWiAWa3t2jcVuQr2IoQR7phwW3vvAqJUkr0fs8vRS6cwgNFHp5N5fNlT2J0OGmrGoWXUg1p6LdKUK1sNIJdHA/s1080/FREDA%20DU%20FAUR%20Southern%20Alps,%201909-1913%20by%20Rhian%20Gallagher,%20images%20Lynn%20Taylor.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s89AVLSiCBcmLOQeeWvVSQ6LpSPk-sJuwdzIgyNYtKtHAe_ajUAQqAfJjcZuqFyY6se6WSJvuNFWtmsoVMGk8UxgzyIEAjluVAK6RgWiAWa3t2jcVuQr2IoQR7phwW3vvAqJUkr0fs8vRS6cwgNFHp5N5fNlT2J0OGmrGoWXUg1p6LdKUK1sNIJdHA/w640-h640/FREDA%20DU%20FAUR%20Southern%20Alps,%201909-1913%20by%20Rhian%20Gallagher,%20images%20Lynn%20Taylor.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Freda du Faur Southern Alps, 1909-1913</i> by Rhian Gallagher, images Lynn Taylor</td></tr></tbody></table><br />Lynn said that the collaborative nature of the project was definitely a case of achieving more together. “Donald [Kerr], Sarah, Rhian and myself were part a wider circle of people that ensured the Freda project came together: Kaia at Southern Papers, Romilly Smith from Special Collections, Don and Steve at the Bindery, Library Staff and some friends who came in as 'clean hands' speed up printing and putting type away”.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmu6gPAxM8teNizGm707T-f9f7Ohu_GdQBfLBS_zDvPPKiRhMegVIYnxC7x8g6YwjgrPhgeESKrAEewU8RGPMYieyktZJfzUK2H1OWBGQPZWa0Lzp_7qnmrP-kpGOCdYaBlHdNq-FEQqlqR8EoDLW6f5NKO153Lz1HXgNOMIEUEcUe0XymHa61dT0rQ/s1080/Skew-Whiff%20by%20Peter%20Olds,%20image%20Kathryn%20Madill.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmu6gPAxM8teNizGm707T-f9f7Ohu_GdQBfLBS_zDvPPKiRhMegVIYnxC7x8g6YwjgrPhgeESKrAEewU8RGPMYieyktZJfzUK2H1OWBGQPZWa0Lzp_7qnmrP-kpGOCdYaBlHdNq-FEQqlqR8EoDLW6f5NKO153Lz1HXgNOMIEUEcUe0XymHa61dT0rQ/w640-h640/Skew-Whiff%20by%20Peter%20Olds,%20image%20Kathryn%20Madill.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Skew-Whiff </i>by Peter
Olds, image Kathryn Madill<br /><br /></td></tr></tbody></table>Graffiti writers were – inadvertently – part of <i>Skew-Whiff</i> (2011) which incorporates samples of their work which poet Peter Olds found on walks around Ōtepoti. The poems – and a centrefold of found graffiti – were handset and printed by John Denny. The pukapuka also includes eight illustrations by Kathryn Madill which she printed from solar plates using an etching press.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx17g_XlMgauJ8m5UxsxN5JxWfeapoIVdmMpVSFHclxyORjiwgTejc6nTbSj_xbFZWL9N7lcCuEtskWkgGvkVv4ivQjxHHUjUun-x3CkZYz9oEkqkf3esWHJbDUXZ_ym07tTZGTHEvhcjOGsz6wcR0wa6RhGV2F3pCF45RgA6oFm4dffGvs1C-V_apaw/s1080/Namecall%20by%20Rachael%20Naomi,%20handset%20and%20designed%20Makyla%20Curtis.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx17g_XlMgauJ8m5UxsxN5JxWfeapoIVdmMpVSFHclxyORjiwgTejc6nTbSj_xbFZWL9N7lcCuEtskWkgGvkVv4ivQjxHHUjUun-x3CkZYz9oEkqkf3esWHJbDUXZ_ym07tTZGTHEvhcjOGsz6wcR0wa6RhGV2F3pCF45RgA6oFm4dffGvs1C-V_apaw/w640-h640/Namecall%20by%20Rachael%20Naomi,%20handset%20and%20designed%20Makyla%20Curtis.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Namecall</i> by Rachael
Naomi, handset and designed Makyla Curtis<br /><br /></td></tr></tbody></table>Rachael Naomi’s poem <i>Namecall</i> celebrates extraordinary women who were childfree, and was written in response to a presumption that these women might contribute less towards society than those who have children. The overlay and overlap of Rachael’s beautiful calligraphy for <i>Namecall</i>, and the shape of the poem on the page, inspired printer Makyla Curtis to create a relief print embracing the affect of impression. Rachael’s calligraphy was transformed into a photopolymer plate and Makyla handset and designed the image, which was then printed by Graham O’Keefe on a Heidelberg platen.</div><div><br /><i>Tarawera Te Maunga Tapu </i>(1999) brings woodcut magic to our exhibition - a green ruru woodcut by Margaret Lawler-Bartlett stares soulfully next to Riemke Ensing’s poem “Birds passing the Night.” Riemke has said that the book, which is 30cm tall to resemble the height of a mountain, gives a fine impression of solidity and grandeur, and yet also manages to capture the ethereal.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0GtZ3Y32e75yZkvJiEMiyzy99B4SnHzouhU3rvskQ4D39UggZ31lvE8YKULFRFjE68N7s5KiIDXwS4AKuJmV6BSupfzxv0FsJ-Ir1Dg5C1sxQ4l4o-wFJNW5cQsBWScVnc0VSk3gjkl-iUVtp58k_qDOtrlfjrJGB3FkOR2B1tNCWDB6RXZ0LWzbhQ/s1080/Tarawera%20Te%20Maunga%20Tapu%20by%20Riemke%20Ensing,%20image%20Margaret%20Lawlor-Bartlett.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0GtZ3Y32e75yZkvJiEMiyzy99B4SnHzouhU3rvskQ4D39UggZ31lvE8YKULFRFjE68N7s5KiIDXwS4AKuJmV6BSupfzxv0FsJ-Ir1Dg5C1sxQ4l4o-wFJNW5cQsBWScVnc0VSk3gjkl-iUVtp58k_qDOtrlfjrJGB3FkOR2B1tNCWDB6RXZ0LWzbhQ/w640-h640/Tarawera%20Te%20Maunga%20Tapu%20by%20Riemke%20Ensing,%20image%20Margaret%20Lawlor-Bartlett.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Tarawera Te Maunga
Tapu </i>by Riemke Ensing, image Margaret Lawlor-Bartlee</td></tr></tbody></table></div><div><br /></div>Tara McLeod hand-printed this beautiful collection, and another in our exhibition - <i>Page, stone leaf</i> (2013) by Dinah Hawken, with images of stone rubbings of runes by sculptor John Edgar. Bronwyn Lloyd noted how “Tara described the nail-biting process of trying to print directly from a selection of small banded stones by Karekare sculptor, John Edgar, to illustrate the volume. When the stones cracked under the pressure of the cylinder press, the artist produced a series of stone rubbings instead, with additional design details in coloured pencil… and the resulting book is a glorious synthesis of Hawken’s spare poetics matched with the ghostly rubbings of stones decorated with Edgar’s minimalist lexicon of coloured lines and dashes.”<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq7DO48Luo8MGxvRG5TEUIGf7WNYOzSkPK8pDDWTOwt_ry2r6FUr72WAJblTvUOZSum4Knz1mXhG6X8KTod3NjBtGmkKcX8vGWwvFHF1NxACFqnI5vDNNitdD9F1jGBsOYvBZ_Xo3HFF9yhiiPWCJUNUeufEpbxuVsqem-GnYtO3D8MBWwElNK-L5PQ/s1080/Page.Stone.Leaf%20by%20Dinah%20Hawken,%20image%20John%20Edgar.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq7DO48Luo8MGxvRG5TEUIGf7WNYOzSkPK8pDDWTOwt_ry2r6FUr72WAJblTvUOZSum4Knz1mXhG6X8KTod3NjBtGmkKcX8vGWwvFHF1NxACFqnI5vDNNitdD9F1jGBsOYvBZ_Xo3HFF9yhiiPWCJUNUeufEpbxuVsqem-GnYtO3D8MBWwElNK-L5PQ/w640-h640/Page.Stone.Leaf%20by%20Dinah%20Hawken,%20image%20John%20Edgar.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Page, stone leaf </i>by Dinah Hawken, image John Edgar.<br /><br /></td></tr></tbody></table>This exhibition displays works using a variety of papermaking, printmaking, and binding examples, and a range of aesthetic and tactile characteristics. <br /><br />These Angela Morton Room pukapuka are objects to be read and handled, played with, and explored – but this is difficult to achieve when they are exhibited in vitrines. To help bridge this gap we have a Powerpoint display showing more of their content: bound, unbound, and unfolding. <br /><br />This exhibition runs from 14 April to 31 May 2023. Open daily in the <a href="https://www.instagram.com/angelamorton.room/?hl=en">Angela Morton Room Te Pātaka Toi Art Library</a>, Level 1, Takapuna Library. <br /><br />Artists Toni Hartill and Toni Mosley, and the Angela Morton Room librarian, will share further hand-printed artists’ books from the collection at the <a href="https://printopia.nz/">PRINTOPIA Festival</a> on Sunday 7 May. Please scroll <a href="https://printopia.nz/print-talks-and-demos/">here</a> for details of the event. <br /><br />For more about our collection please see Ina Arraoui’s review of our artists’ book exhibition <a href="https://inaarraoui.com/exhibition-out-of-the-cupboard/">Out of the Cupboards</a>; blogs about our private press books <a href="http://heritageetal.blogspot.com/2020/07/tactile-verse-aotearoa-letterpress.html">Tactile Verse: Aotearoa Letterpress Poetry Books</a>, our <a href="http://heritageetal.blogspot.com/2019/11/albrecht-to-zusters-aotearoa-artists.html">Albrecht to Zusters: Aotearoa artists’ books exhibition</a>, and our <a href="http://heritageetal.blogspot.com/2023/02/stargazer-exhibition.html">STARGAZER exhibition</a> of artists’ books inspired by Keri Hulme’s poetry.</div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYtqd2ilL4CSNNzfPbS2JuwpCfTaS_3YlJMFQ9mR3vuzXVTobJsSJdEykQuOaIEdn9OIiIpwI5kozPbZauQPlqjoXA2e6nK4FY2owyrrDuOr5EfrJQVJ67zhrree35KoPCCA7M3pjtXVx7S164H8HVac-K3DUGgI3tDxeQYx356BiIaJOXkCyyZeRlzQ/s1080/TWELVE%20Poem%20by%20Hone%20Tuwhare,%20image%20by%20Marilynn%20Webb.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYtqd2ilL4CSNNzfPbS2JuwpCfTaS_3YlJMFQ9mR3vuzXVTobJsSJdEykQuOaIEdn9OIiIpwI5kozPbZauQPlqjoXA2e6nK4FY2owyrrDuOr5EfrJQVJ67zhrree35KoPCCA7M3pjtXVx7S164H8HVac-K3DUGgI3tDxeQYx356BiIaJOXkCyyZeRlzQ/w640-h640/TWELVE%20Poem%20by%20Hone%20Tuwhare,%20image%20by%20Marilynn%20Webb.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: <i>Twelve poems</i> by Hone
Tuwhare, image Marilynn Webb </td></tr></tbody></table><br /><b><span style="color: #666666;">Author:</span></b> Leanne <br /><br />Angela Morton Room Te Pātaka Toi Art Library <br /><br />Instagram: <a href="https://www.instagram.com/angelamorton.room/?hl=en">angelamorton.room</a> <br /><br /><b><span style="color: #666666;">Resources</span></b><br /><br />Publications<br /><br />Tara McLeod: A Typographic Journey <br /><br />With essays by Keith Maslen, Riemke Ensing, Bronwyn Lloyd, Donald Kerr, Paul Thompson, Alan Loney, and Christine and Tara McLeod. <br /><br />Katsura (2020) <br /><br />Articles <br /><br />Gregory O’Brien. On and Around Creation: The Hand-made Books of Alan Loney. Art New Zealand, #57, Summer 1990-91.<br /><br /><a href="https://christchurchartgallery.org.nz/media/uploads/2012_11/Pressed_Letters_booklet.pdf">Pressed Letters: Fine Printing in New Zealand since 1975</a> Christchurch Art Gallery Te Puna o Waiwhetu, Curator Peter Vangioni <br /><br />University of Otago Printer in Residence 2016 <a href="https://www.otago.ac.nz/news/newsroom/otago625176.html">https://www.otago.ac.nz/news/newsroom/otago625176.html</a><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: 12pt;">
<span style="mso-bidi-font-weight: normal;">Thesis</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><a href="https://researcharchive.vuw.ac.nz/xmlui/handle/10063/1309"><span style="font-size: 12pt;">Coming full circle: Reviving Private Press Printing at
the University of Otago</span></a><span style="font-size: 12pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: 12pt;">by Paula Jane Whitelock</span></p></div></div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-4642429735035734232023-02-22T14:14:00.007+13:002023-10-24T10:18:25.139+13:00Te Ao Mārama ~ Mana Wāhine Back in 1982, Witi Ihimaera and D.S. Long edited <a href="https://discover.aucklandlibraries.govt.nz/search/card?id=26567c14-a78b-5a7f-807f-68a8be064c10&entityType=FormatGroup">'Into the World of Light – an anthology of Māori literature written in English'</a>. Up till then, not many Māori writers had been published in reo Pākehā. It was not because there were too few kaituhi Māori writing in English. There were many. It was more due to the racist gate-keeping of the New Zealand literary canon. <br /><br />This sort of bias particularly affected wāhine Māori. Mana wāhine were creating revolutionary and critical works yet these works were not acknowledged in the pākehā world. Vernice Wineera was the first Wāhine Māori poet to publish a poetry collection in English in 1978. Her collection <a href="https://discover.aucklandlibraries.govt.nz/search/card?id=a2d27165-1b8e-5786-b681-411376204a6f&entityType=FormatGroup">'Mahanga: Pacific Poems'</a> was published by The Institute for Polynesian Studies, Brigham Young University, Hawaii. <div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ChPuBsGsIAmCiC2_kHnTzn1Yj1-r_NxX5oDb26kp5vkMQF_Kyt9mfFV0EdV36Nkwf5Nge4ldjEK0i976Fdb64rBIrxZ0rULRDViGfwkiAb4FAOeZ9ofquxW_iL1YYFq0SFqRhtbXE_dIVoB-y9oMQgBzF31k5t2GSXiIRnQ3782OJGfHxAoy5LYxQA/s723/TAM%201.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="723" data-original-width="512" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ChPuBsGsIAmCiC2_kHnTzn1Yj1-r_NxX5oDb26kp5vkMQF_Kyt9mfFV0EdV36Nkwf5Nge4ldjEK0i976Fdb64rBIrxZ0rULRDViGfwkiAb4FAOeZ9ofquxW_iL1YYFq0SFqRhtbXE_dIVoB-y9oMQgBzF31k5t2GSXiIRnQ3782OJGfHxAoy5LYxQA/w454-h640/TAM%201.JPG" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://discover.aucklandlibraries.govt.nz/search/card?isbn=079000352X">Image: Cover of Te Ao Mārama, vol. 4.</a><p class="MsoNormal"><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></p></td></tr></tbody></table>A rainbow of Indigenous creative works exists at Auckland Libraries but lots of this is hidden. The kaupapa of <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2022/12/te-ao-marama-mana-wahine/">Te Ao Mārama ~ Mana Wāhine</a> is to showcase these radiant works. Darcy Nicholas’s stunning work from the covers of this anthology turns the Atea into a beautiful space where we feel warmly welcomed. There’s many great voices of resistance featured in Te Ao Mārama anthology. Mana wāhine showcased in this exhibit are just a drop in the moana, but the pop-up library in this space celebrates even more indigenous cutting-edge thinkers and creatives from Moana Nui a Kiwa. <br /><br />Indigenous writers create to exist. We want our existence acknowledged, we want to be seen. We want our communities in all their shapeshifting ways to be represented, celebrated. Indigenous literature is not just a genre, it’s a cultural identity. <br /><br />Us librarians love to select. We love to see our communities represented. But who decides who our communities are? Who decides what’s selected? We are happy to celebrate top summertime reads and New York Times picks, but this sort of bias means that critical and creative voices from indigenous and marginal communities get left out, particularly mana wāhine Māori. <br /><br />Mana Wāhine embody the land and our communities. Relationships are woven into moana, whenua, gatherings and kai. We’re nans, mothers, daughters, aunties, BFFs, lovers, sisters, tupuna and more. We lead, legislate, advocate, resist and create. We make awesome pavs. And fry bread! We pass our stories along to be woven into new ones. <br /><br />Stories are made from stories, layer apon layer. Roots and routes run deep into the earth. Extending and connecting. If you drink these stories they’d taste earthy like kava. Like papatūānuku. Some might be more euphoric or wired, while others might be more sedating. We’re not all the same, and neither are our experiences. We all connect creatively and kōrero about our worlds, circling the cosmos of the maramataka. Not everyone is seen though.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYREtscxVYHsYPkT5Kd5FyGJLN6dx9RJc_SgkoskCl6JcJmBiNfli3f0ifOzo8wH1Y46xnCEQDj5ztSaVAA8wP5WuzhEtn2TOuFUFFTFZTjpqUMmiEdLn1bZ4gsjrAOVaLih5bTaT9OzuCn_uZpLlHl9bpRb9aCq0poCa_bBKcxkRElGNHGM6wqzvIw/s573/Uenuku.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="573" data-original-width="416" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYREtscxVYHsYPkT5Kd5FyGJLN6dx9RJc_SgkoskCl6JcJmBiNfli3f0ifOzo8wH1Y46xnCEQDj5ztSaVAA8wP5WuzhEtn2TOuFUFFTFZTjpqUMmiEdLn1bZ4gsjrAOVaLih5bTaT9OzuCn_uZpLlHl9bpRb9aCq0poCa_bBKcxkRElGNHGM6wqzvIw/w464-h640/Uenuku.JPG" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://discover.aucklandlibraries.govt.nz/search/card?id=b45e248f-bf04-5a1a-83e2-f0aed36bf13c&entityType=FormatGroup">Image: Cover of 'Uenuku' by Trixie Te Arama Menzies.</a></td></tr></tbody></table><br />While mainstream media were ignoring these beautiful moments of resistance with a back drop of socio-political/cultural and historical events such as Bastion Point, mana wāhine were busy documenting it. Bob Marley and the Wailers playing at Western Springs was documented by Trixie Te Arama Menzies, ko Ngāti Hei, ko Ngāti Whanaunga ngā hapū, ko Ngāti Maru ki Tainui te iwi. Her poem Easter 1979 is so trippingly hallucinogenic, it’s kinda like being there.</div><div><br /><div style="text-align: left;">“You came a long way to see us, you travelled the</div><div style="text-align: left;"><br /> jet-powered rainbow, </div><br />You dig our earth, the pot of gold runneth over<br /><br />Shuffle and shamble sisters, cross the floor! Exodus!” <br /><br />In her poem 'My Decree', Saana Waitai-Murray of Ngati Kuri, writes about her campaign to retain traditional lands of Ngati Kuri. These struggles are documented in her writings. As a co-lead of Wai 262, she successfully advocated for the rights of her peoples to protect their own taonga and environment from exploitation and appropriation. Her whānau still continue this vital kaupapa. <br /><br />“I climb your steps today <br /><br />Guarded by the Lion Symbol of past decades <br /><br />Wide gaping mouths that devoured Treaty Vows <br /><br />At your cold grey feet <br /><br />I read our Youth’s plea <br /><br />You’ve stolen our Lands <br /><br />You cannot legislate our souls”</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2nwSI5GOTbRvv26Qif0sln6O7CKJUdhn0XQ7XmL9okV9CYxWCNh0vZV6Tzg6bapf_iA1JoiOmbOpInK_H2dICsS89ouk8udfwyaxSDFBk9FrGDdl7g_IvMscQYc46IahzhETlIkjuV7pzmoYFEa3iY_qdMjP2fTyfb7Jcjr8UxLB9V3a1qAmfMvkgAw/s999/Ko%20Aotearoa%20tenei.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="999" data-original-width="916" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2nwSI5GOTbRvv26Qif0sln6O7CKJUdhn0XQ7XmL9okV9CYxWCNh0vZV6Tzg6bapf_iA1JoiOmbOpInK_H2dICsS89ouk8udfwyaxSDFBk9FrGDdl7g_IvMscQYc46IahzhETlIkjuV7pzmoYFEa3iY_qdMjP2fTyfb7Jcjr8UxLB9V3a1qAmfMvkgAw/w586-h640/Ko%20Aotearoa%20tenei.png" width="586" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://discover.aucklandlibraries.govt.nz/search/card?id=97e78777-1c09-5137-b8e5-197410adf194&entityType=FormatGroup">Image: The cover of 'Ko Aotearoa tēnei. Te taumata tuarua: a report into claims concerning New Zealand law and policy affecting Māori culture and identity'.</a></td></tr></tbody></table><br />Whānau don’t dilute. Whānau don’t misrepresent. Whānau don’t sanitize or miseducate. They teach us the stories which shapeshift through place, time and the spaces in between. Whānau, as Merata Mita says, shake the tree! <br /><br />Whānau we connected with through <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2022/12/te-ao-marama-mana-wahine/">Te Ao Mārama</a> were generous, kind and gracious with their time and knowledge. They helped us kaimahi understand the kaupapa and tikanga needed to connect with taonga. This helped us mostly avoid a colonial gaze that might sanitize the narrative, especially in colonial institutions such as libraries. <br /><br />Arapera Hineira Kaa Blank often wrote about sex. I’m embarrassed tbh that we didn’t showcase any of her erotic works. Back when we were still realizing <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2022/12/te-ao-marama-mana-wahine/">Te Ao Mārama</a>, I had no idea. Nor did I look in the right places. Her daughter, a poet, remembers these wildly sensual poems of Arapera Blank’s work, and later tells us about it. Whanau know. They’re our guides. libraries learn when we look to whānau and listen. Te Ao Mārama is as much about relationships with whānau as it is about taonga. Like taonga, whanaungatanga continues beyond our events. <br /><br />“When you caress <br /><br />your woman <br /><br />You are like <br /><br />The War God, The Creator <br /><br />who fashioned <br /><br />his woman <br /><br />from earth” <br /><br />We’re grateful for the kōrero, mātauranga and aroha that whānau shared with Te Ao Mārama. We’re looking forward to a continuing relationship with hapū beyond this kaupapa ātaahua. Whanaungatanga provides a depth of understanding beyond what we could ever imagine. It’s vital for libraries storing taonga to actively acknowledge whānau as rightful kaitiaki. Repatriating taonga, connecting with whānau and listening is a good start. <br /><br />We’re not silos. We’re not islands. We’re the moana, infinite and fluid. I wish we could always feel the same depth of connection whenever we facilitated events. Darcy knew my dad back when they was younger playing rugby in Wellington. I was warmed by his stories about dad who had died at Matariki rising. I never knew he’d known Darcy. It was really special for me to connect with Darcy in this way after our loss.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3lZNLYoUpTKg2rXgjTOPU8qCvixs6n3Fi17nPwuB9iXh9SbYqDkVzYfUoD0yozioKMCta8ImuDdeL6MWrLXtXxgJGsOBcec31CEGkSxtMQXRjubv73shX6_TkwUfAA1m8UU3oLuxKTQqSPAAOPC5aCqeQ_tBDfNB1lTn4LFJg9_so-r_N1Yx9OW7HA/s722/TAM%202.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="512" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3lZNLYoUpTKg2rXgjTOPU8qCvixs6n3Fi17nPwuB9iXh9SbYqDkVzYfUoD0yozioKMCta8ImuDdeL6MWrLXtXxgJGsOBcec31CEGkSxtMQXRjubv73shX6_TkwUfAA1m8UU3oLuxKTQqSPAAOPC5aCqeQ_tBDfNB1lTn4LFJg9_so-r_N1Yx9OW7HA/w454-h640/TAM%202.JPG" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://bit.ly/t3A0MaramaV3">Image: Cover of Te Ao Mārama, vol. 3.</a></td></tr></tbody></table></div><div><br />It’d be cool if Pākehā institutions recognised the time and care needed to weave these relationships together. Whanaungatanga is about connection. It continues to breathe way after displays are removed, flowing through the relational and continual spaces of te Ao Māori and te Ao Pākehā. <br /><br />Perhaps <a href="https://ourauckland.aucklandcouncil.govt.nz/events/2022/12/te-ao-marama-mana-wahine/">Te Ao Mārama ~ Mana Wāhine</a> will mean different things to different people. Whatever your story is, we really hope that you can connect in your own way to the ground-breaking indigenous poetry we’re celebrating. <br /><br />Mauri ora! <br /><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD0psMI5tLVN8HoAhnoUizqgwraGwYlhZ-F_CVvgvYlAqsU2wTEkMmGQflfPaB73gMthQcIhMz7t5FpXcipNFmINwva6tH-WhPqQTfjAcQFm4TsD9jwFhsTrf3ftnzisqONIop2CQz9w8AEzj51Tu9tdD8tYG9fbs_HmC7NICE31vkFY10P8YwAe-iuA/s591/Picture2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="369" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD0psMI5tLVN8HoAhnoUizqgwraGwYlhZ-F_CVvgvYlAqsU2wTEkMmGQflfPaB73gMthQcIhMz7t5FpXcipNFmINwva6tH-WhPqQTfjAcQFm4TsD9jwFhsTrf3ftnzisqONIop2CQz9w8AEzj51Tu9tdD8tYG9fbs_HmC7NICE31vkFY10P8YwAe-iuA/w400-h640/Picture2.png" width="400" /></a></div><br /><div><b><span style="color: #666666;">Author: Rin Smeaton, Research Central</span></b></div>AkLhttp://www.blogger.com/profile/14640491177978368102noreply@blogger.com1tag:blogger.com,1999:blog-5326867358384170422.post-56650622605172613392023-02-10T07:00:00.033+13:002023-02-10T07:00:00.204+13:00STARGAZER Exhibition <p>Keri Hulme’s poetry has inspired two exquisite handmade artists’ books – <i>The Visionary</i>, and <i>The Silences Between (Moeraki Conversations)</i>, on display in the <a href="https://www.instagram.com/angelamorton.room/?hl=en" target="_blank">Angela Morton Room’s</a> STARGAZER exhibition. A community of artisans and artists combined to produce these ātaahua responses to Keri’s poetry, and this exhibition shares materials and stories about how these pukapuka were created. </p><p>Artist and printmaker Beth Serjeant was involved with both artists’ books. The first was her own, <i>The Visionary</i> (1987), which included Keri’s poem Stargazer, along with 10 lithographs Beth created to illustrate ten poems about the future. Beth later helped facilitate the artists’ book edition of Keri’s poetry collection <i>The Silences Between (Moeraki Conversations)</i> (2016).</p><p>The Visionary was sparked by a young man Beth knew who was frightened about the future, and always looking for a mushroom cloud on the horizon. She wanted to make something that shared a positive belief in the future, and decided to produce an illustrated poetry collection. Ross Fraser, founding editor of <i>Art New Zealand</i> magazine, mentored her for this project, and poet Riemke Ensing recommended writers who might create a poem for The Visionary. Keri Hulme (Kāi Tahu, Kāti Māmoe) was one of those who responded, along with Rangi Faith (Kāi Tahu), Cilla McQueen, Vincent O’Sullivan. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxu6bvxiojlM-we7JHhdL7cycGoSc67sRk5vEbyfFh6PHcimos3uFf7O_pnYOo2lVVBXzHt9FcdIv55RR0JeAm-qWeTG0j4yA_y7CxndikI6ppZr3mkY4wrsvGbRsjN8rnCRNlPrM9Nu5LgVEzfdOfLaiLlUUH9ORm2SbLvRt_rMWZOVYI6Io8fSeYw/s2274/Keri%20Hulme,%20Moeraki,%202012%20Photo%20by%20Beth%20Serjeant..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2274" data-original-width="1516" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxu6bvxiojlM-we7JHhdL7cycGoSc67sRk5vEbyfFh6PHcimos3uFf7O_pnYOo2lVVBXzHt9FcdIv55RR0JeAm-qWeTG0j4yA_y7CxndikI6ppZr3mkY4wrsvGbRsjN8rnCRNlPrM9Nu5LgVEzfdOfLaiLlUUH9ORm2SbLvRt_rMWZOVYI6Io8fSeYw/w426-h640/Keri%20Hulme,%20Moeraki,%202012%20Photo%20by%20Beth%20Serjeant..jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Keri Hulme, 2012. Moeraki. Photo by Beth Serjeant.</td></tr></tbody></table><p>When Beth received Keri’s telegram with her poem Stargazer, Beth rang to say this was the poem she had never dared to hope for.</p><p>... “O I have discerned in the blurred heights of heaven</p><p>There are still whales:</p><p>They arch their backs above the setting sun</p><p>Scythe cloudy tails across the miles</p><p>Their joy is huge and shouts against a lucent blue</p><p>Which deepens</p><p><span style="white-space: pre;"> </span>deepens.”</p><p>(<i>Excerpt from Stargazer</i>)</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYNcKjoJg5qbbmcRUHSsFuH4sbFw_x762F8JUE1muQCFv_jpVNTNVRl8TCcOs5qqlh3szxV0KHn0UcZYwZxdKanxzNQPSkQIQRfq41QVDvhm1t3Nd59cXjgZ2b-LJlauwUn0zhClXgXiw5kj-F649RKZ9de3VQq2upp99NRMBrPk4u8Bb6Yor0C0Jpg/s2232/Image%20for%20Keri%20Hulme's%20Stargazer%20poem.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2232" data-original-width="1550" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOYNcKjoJg5qbbmcRUHSsFuH4sbFw_x762F8JUE1muQCFv_jpVNTNVRl8TCcOs5qqlh3szxV0KHn0UcZYwZxdKanxzNQPSkQIQRfq41QVDvhm1t3Nd59cXjgZ2b-LJlauwUn0zhClXgXiw5kj-F649RKZ9de3VQq2upp99NRMBrPk4u8Bb6Yor0C0Jpg/w444-h640/Image%20for%20Keri%20Hulme's%20Stargazer%20poem.jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image for Keri Hulme's Stargazer poem.</td></tr></tbody></table><p>“I had no ambition with <i>The Visionary</i>,” Beth said, “I just wanted to make this book, to learn litho, and to create a gift for the writers who had kindly participated.” When she shared her plan with the young man, he said: “This will be bigger than you think.” And so it was.</p><p>Beth received Arts Council funding for <i>The Visionary</i>, and then jointly won the 1989 BNZ Art Award for the lithographic prints with printmaker Joan Taylor. The ‘frame’ for these artworks was the book of poems, and Alan Loney noted in <i>NZ Crafts</i> magazine: “Books do not tend to win art awards… it is salutary nevertheless for a book to be somehow at the heart of a substantial public art award.” </p><p>As the poems arrived, Beth would think very deeply about them until an image began to emerge. Each lithograph then took about a day to produce, followed by three days with Joan printing each image via different coloured stones. John Denny, of <a href="https://www.puriripress.co.nz/" target="_blank">Puriri Press</a>, handset a poem a week, and each was handprinted on a Wharfedale flatbed press. The books were bound at Auckland Technical Institute and housed in a linen-covered slipcase.</p><p>After <i>The Visionary</i> was published, Beth and her husband Brian went on a road trip delivering copies to the poets, this is when she met Keri Hulme in Ōkārito. “There was no whitebait running at the time, so Keri made us potato fritters,” Beth said. The pair kept in touch, and then Claire van Vliet entered the picture.</p><p>Beth attended the first American National Conference of the Book Arts in New York, in 1990, and met artist, illustrator and typographer Claire Van Vliet of Janus Press (Vermont, USA). She invited Claire to lead the first New Zealand Book Arts Symposium in Auckland three years later. Beth then introduced Claire to Keri at a literary festival, and Claire came away with a copy of The Silences Between (Moeraki Conversations) (Auckland University Press, 1982). Soon after, the idea for an artists’ book edition began to form. She and Beth visited Moeraki with Keri, and can be seen walking along the beach in this photo taken by Beth.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTn-4jaV2vuUOiSF5N_1caOvppNafGCagMvAHEgqQL-csxKP9f3REnULtnK7sqa1yQuppE9OKtMSHMnq81kW_YaefZ4-J_Tk-dTeM7MtDhfB3vLyqzf7HGVeYNNv9ezlUVbHiiJ0AbI-ZvAbDk_7zLs3J5f4_KJmJRF9AedUA3U4OV55EV-EwqFi_U2A/s2433/Claire%20van%20Vliet,%20Moeraki.%20Photo%20Beth%20Serjeant..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2433" data-original-width="1657" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTn-4jaV2vuUOiSF5N_1caOvppNafGCagMvAHEgqQL-csxKP9f3REnULtnK7sqa1yQuppE9OKtMSHMnq81kW_YaefZ4-J_Tk-dTeM7MtDhfB3vLyqzf7HGVeYNNv9ezlUVbHiiJ0AbI-ZvAbDk_7zLs3J5f4_KJmJRF9AedUA3U4OV55EV-EwqFi_U2A/w436-h640/Claire%20van%20Vliet,%20Moeraki.%20Photo%20Beth%20Serjeant..jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Claire van Vliet, Moeraki. Photo Beth Serjeant.</td></tr></tbody></table><p>The 2016 artists’ book edition of <i>Silences Between (Moeraki Conversations)</i> is a substantial 114 page pukapuka with a large vitreograph (print made from glass) frontispiece created by Claire. It took 14 years for the book to evolve, partly because it included many complex elements such as a glossary of te reo Māori words and sayings written by Keri, a map of Kiwa’s sea, six further vitreographs by Claire, handprinted text, and the creation of non-adhesive bindings.</p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdacWUvsbB2Ekqem1N6--IehseaiknDnA9GNjFnrM2UYHpNUb_zAk0VeLeyenBiInJTs6k8mJ-KlbBAv95qy_1quf-S_RhLIhfvO6rksF8LuvWn9m7OlhTCHkc16KlU88BrFlr3lYCtzOeHlA2EEEUplOQ0BOlLGsVJ8YvWsfNy-96-cWTmlSfUwJ5Qw/s4032/Silences%20Between%20(Moeraki%20Conversations),%20Janus%20Press.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdacWUvsbB2Ekqem1N6--IehseaiknDnA9GNjFnrM2UYHpNUb_zAk0VeLeyenBiInJTs6k8mJ-KlbBAv95qy_1quf-S_RhLIhfvO6rksF8LuvWn9m7OlhTCHkc16KlU88BrFlr3lYCtzOeHlA2EEEUplOQ0BOlLGsVJ8YvWsfNy-96-cWTmlSfUwJ5Qw/w640-h480/Silences%20Between%20(Moeraki%20Conversations),%20Janus%20Press.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Silences Between (Moeraki Conversations), Janus Press.</td></tr></tbody></table><p>“When you work by hand, you have the luxury of time, which allows the materials to tell you what they want to be. I wait for the work to take form—it can’t be rushed. It feels right when all the components fall into place and need to be together,” Claire said.</p><p>In 2012 Beth visited Keri in Ōkārito to work on the edits. “When Keri took a surprise shot of me, I picked up my camera and took a surprise photo of her, too – which is why it’s a little blurry,” she said of the image below. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJexJC49qcyDuMmif04SR5MbkUvPdAZfDX9ndBnPWza5GNkGONOMxGoRXQNk-VQ-BGZ5ynRUAUHPy-WsUEb3BQZOuwGMTfGOYe3zrxUWIMQxmtwbXSIzbvki7EmMNJyjSb5o9XNi15y1hAgsBobmPDd2_7Bp_CsBq_beo-_-KN4bwmuoEwO6B6FXrRhg/s3561/Keri%20Hulme,%20%C5%8Ck%C4%81rito,%202012.%20Photo%20by%20Beth%20Serjeant..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2363" data-original-width="3561" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJexJC49qcyDuMmif04SR5MbkUvPdAZfDX9ndBnPWza5GNkGONOMxGoRXQNk-VQ-BGZ5ynRUAUHPy-WsUEb3BQZOuwGMTfGOYe3zrxUWIMQxmtwbXSIzbvki7EmMNJyjSb5o9XNi15y1hAgsBobmPDd2_7Bp_CsBq_beo-_-KN4bwmuoEwO6B6FXrRhg/w640-h424/Keri%20Hulme,%20%C5%8Ck%C4%81rito,%202012.%20Photo%20by%20Beth%20Serjeant..jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Keri Hulme, Ōkārito, 2012. Photo by Beth Serjeant.</td></tr></tbody></table><p>The Janus Press edition is a tactile, immersive experience for readers. Some pages are split horizontally like a flip book, some are layered, others have a die-cut moon. The book can stand up and be spread around into a wagon-wheel display, inviting the reader to explore the pages in any sequence. The vitreographs of Moeraki boulders, sea and sky are haunting in black, grey and white; and the book ends with a golden sun on a gold page. The pukapuka is housed in a maple and tamarack wood box with the map of Kiwa’s sea inset. The slipcase has a moon spine inset painted with acrylic pearlescence. The glossary’s final page is a fold-out image of Keri and Beth at Moeraki. The Black Bach, where Keri began the first drafts of <i>The Bone People</i>, can be seen in the background (<a href="https://issuu.com/ngaitahu/docs/tekaraka65/47" target="_blank"><i>Te Karaka</i>, Issue 65, pp 45</a>).</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLIKBd_Xwpn2H5jnRW7CZ-7ngWuP8GZgfCAoeDEBHNcXgnSbI0RIuAsuZE80XekCI74qNM6hXKig9b0359II3lqL-JsCd_jkSkMngdiL_xmo_cIInTf8t9gqTwBm3745-mPTqltMjGzzKEDx2j95qhSfme0bv6lbMslo5yYCMGUK4nUyHO00YADyBdQ/s3493/Keri%20Hulme%20and%20Beth%20Serjeant,%20Moeraki..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2620" data-original-width="3493" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLIKBd_Xwpn2H5jnRW7CZ-7ngWuP8GZgfCAoeDEBHNcXgnSbI0RIuAsuZE80XekCI74qNM6hXKig9b0359II3lqL-JsCd_jkSkMngdiL_xmo_cIInTf8t9gqTwBm3745-mPTqltMjGzzKEDx2j95qhSfme0bv6lbMslo5yYCMGUK4nUyHO00YADyBdQ/w640-h480/Keri%20Hulme%20and%20Beth%20Serjeant,%20Moeraki..jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: Keri Hulme and Beth Serjeant, Moeraki.</td></tr></tbody></table><br /> “… to read a book is an act of opening – we open it and are open to what is inside - we expect to receive from a book. This is an unusually receptive atmosphere for a contemporary artist to work in… All the physical components of a book can act as facilitators for the essence of the text. They can engage the senses and widen the comprehension of the text,” Claire has <a href="https://poetshouse.org/thoughts-on-bookmaking-by-claire-van-vliet-of-the-janus-press/" target="_blank">said</a>.<p></p><p><a href="https://findingaids.library.northwestern.edu/repositories/7/resources/1421" target="_blank">Northwestern University</a>, Illinois, USA, holds the design archive for this edition, which includes notes and correspondence from Keri, Claire and Beth, research materials, proofs, paper samples, and trial bindings.</p><p>Beth will be on-site to discuss these works on Saturday, 25 March 2023, 2.00-4.00 pm. All welcome. <a href="https://www.instagram.com/angelamorton.room/?hl=en" target="_blank">The Angela Morton Room</a> Te Pātaka Toi Art Library, Level 1, Takapuna Library. The STARGAZER exhibition runs from Friday 10 February until 12 April 2023. Open daily. Free.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjfUXlCfiH9AIJoNw0pjB8Tl9ZOwvB7mommhke6wsMNoHp08QjHlc-fRVI6bPy5mTJUShMsU0PqqIuHHBjHu90JeRGcdt02T9dwDBD0UDybEduWGJXu1mkZG_DKELSHSfm2KgrR4r1UDd1ndXe0l-CRkYqyLdQk0MnrZTo6_D2wFcXbNPf5RLquEhZg/s3560/Silences%20Between%20(Moeraki%20Conversations),%20Janus%20Press..jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2009" data-original-width="3560" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmjfUXlCfiH9AIJoNw0pjB8Tl9ZOwvB7mommhke6wsMNoHp08QjHlc-fRVI6bPy5mTJUShMsU0PqqIuHHBjHu90JeRGcdt02T9dwDBD0UDybEduWGJXu1mkZG_DKELSHSfm2KgrR4r1UDd1ndXe0l-CRkYqyLdQk0MnrZTo6_D2wFcXbNPf5RLquEhZg/w640-h362/Silences%20Between%20(Moeraki%20Conversations),%20Janus%20Press..jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Image: From <i>Silences Between (Moeraki Conversations),</i> Janus Press.</td></tr></tbody></table><h4 style="text-align: left;">Author: Leanne</h4><h4 style="text-align: left;">Angela Morton Room Te Pātaka Toi Art Library</h4><p><br /></p><h4 style="text-align: left;">Resources</h4><p><i><a href="https://discover.aucklandlibraries.govt.nz/iii/encore/record/C__Rb1819871__Sthe visionary__Orightresult__U__X7?lang=eng&suite=def" target="_blank">The Visionary</a></i> (limited edition 50 copies) and <i><a href="https://discover.aucklandlibraries.govt.nz/iii/encore/record/C__Rb3351553__Sthe silences between__P0%2C1__Orightresult__U__X7?lang=eng&suite=def" target="_blank">The Silences Between (Moeraki Conversations)</a></i> (limited edition 120 copies) can be viewed by appointment at the Angela Morton Room Te Pātaka Toi Art Library (contact <a href="mailto:library.northheritage@aucklandcouncil.govt">library.northheritage@aucklandcouncil.govt</a>); or at <a href="https://www.aucklandlibraries.govt.nz/pages/library.aspx?library=65&libraryname=Heritage%20Collections" target="_blank">Special Collections</a>, Central Library.</p><p><i><a href="https://christchurchartgallery.org.nz/about/library/new-zealand-craftscraft-new-zealand/new-zealand-crafts-issue-29-spring-1989" target="_blank">New Zealand Crafts</a></i>. Crafts Council Magazine 29. Spring 1989.</p><p><a href="https://www.objectspace.org.nz/exhibitions/janus-press-the-new-zealand-connection/" target="_blank"><i>Janus Press: The New Zealand Connection</i></a>. Objectspace exhibition curated by Kate Shapiro. 17 October – 1 November 2014.</p><p>NZ Herald. 27 October 1988, Section 2, pp 6.</p><p>poetshouse.org blog</p><p>Thoughts on Bookmaking by Claire Van Vliet of The Janus Press. By Claire Van Vliet, 10 October 2019.</p><p>Te Karaka. Kahuru|Autumn 2015, pp 45.</p><p><a href="https://discover.aucklandlibraries.govt.nz/iii/encore/record/C__Rb1717398__Sthe silences between__Orightresult__U__X7?lang=eng&suite=def" target="_blank"><i>The Silences Between (Moeraki Conversations)</i></a>. Keri Hulme. Auckland University Press, 1982.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5326867358384170422.post-51088000490980544662023-01-25T09:30:00.001+13:002023-01-25T09:30:00.210+13:00Pacific Immigrants in the ‘Greater Ponsonby’ region<p>The three decades following the conclusion of the Second World War saw a significant rise in migration to Aotearoa New Zealand. Pacific Islanders in particular were attracted to New Zealand through a scheme that aimed to address the labour shortages in process work and manufacturing. These low-skill, low-wage jobs were plentiful in the 1960s and 1970s, which resulted in an influx of immigrants to New Zealand, predominantly from the Pacific Islands, in order to fill these gaps in the workforce. This growth in the Polynesian population of New Zealand is represented by the fact that in 1966 there were just over 26,000 Pacific people in the country, and only ten years later the population was close to 66,000. Cook Islanders, Niueans and Tokelauans took advantage of their New Zealand citizenship by enjoying free access into the country, whilst Samoans and Tongans were specifically in demand as workers.</p><p>The majority of the job openings that Pacific immigrants took were located in Auckland, so along with it being the nation’s biggest city and also main port of entry, it was natural that most Pacific immigrants settled in Auckland. In these early migration years, many Pacific families resided in Auckland’s central-city suburbs, the region which is often termed ‘Greater Ponsonby’. In the aftermath of the Second World War, “large numbers of the established population of relatively prosperous trades people and professionals” left suburbs such as Freeman’s Bay, Ponsonby and Grey Lynn, as they sought the “comforts and space of Auckland’s expanding suburbs”. As a result, houses in this region were, although often run-down, very accessible. Therefore, Pacific people were attracted to the area with the low rent, the inner-city location and bus connections making it easy to access jobs in factories, hospitals and industry. A further benefit of this central location for Polynesian immigrants was the proximity that Freeman’s Bay, in particular, had to the ships bringing in and taking supplies to and from the Islands. The recent arrivals to New Zealand regularly sent money and goods back to their family in the Pacific, whilst they often received foods such as taro and bananas from their homelands, which provided a large portion of their diet. </p><p>Once a strong network of Pacific people was established in these inner-city suburbs, the numbers of migrants to the region only continued to grow. Among Polynesian communities, being close to family is incredibly important to creating a sense of security (10), so the ability to move to a new country yet remain close to kin networks resulted in the substantial growth of the Pacific population in and around the central-city. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrTKF-E9p2jdRgd77fbRa5mSeJz5DMZ8DcxbcRmOF_NwU0qjRZHwZNCZWqFauQYvhZp1ieTqwPuujh73btIEtq2GZDbJn8bxer2oBwZqPKL9ea83YJy48duvUVQZRAaQK-YAIsS1JdnzXWqgWihwtPATN7D_KXS8-dP__liDWHDeGhj6lVtzAMjeXqw/s1999/Map%205584.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1537" data-original-width="1999" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrTKF-E9p2jdRgd77fbRa5mSeJz5DMZ8DcxbcRmOF_NwU0qjRZHwZNCZWqFauQYvhZp1ieTqwPuujh73btIEtq2GZDbJn8bxer2oBwZqPKL9ea83YJy48duvUVQZRAaQK-YAIsS1JdnzXWqgWihwtPATN7D_KXS8-dP__liDWHDeGhj6lVtzAMjeXqw/w640-h492/Map%205584.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/maps/id/2105#.Y78f5dQiQ3o.link" target="_blank">Image: An aerial photograph of part of Central Auckland. 1966. Auckland Libraries Heritage Collections Map 5584</a>. </td></tr></tbody></table><p>This aerial photograph shows Karangahape Road (running horizontal from the middle of the photograph to the bottom left) and surrounding suburbs in 1966. Many Pacific immigrants lived on either side of the ridgeline.</p><p>The intensification of Pacific Island immigrants in suburbs such as Ponsonby, Grey Lynn, Newton and Freeman’s Bay resulted in there being significant changes to the inner-city. In Freeman’s Bay, for example, by 1966 21 per cent of the population were Pacific Islanders, compared to six per cent of the overall Auckland population. Similarly, Ponsonby was termed ‘little Polynesia’, with 42 per cent of the residents being Polynesian or Māori by 1971. </p><p>As one would expect, the adjustment to a new city had its challenges for Pacific immigrants. One of the major issues was housing (as it remains today). The size, layout, and price of the standard central Auckland home was not desirable for Pacific peoples. Many found that “European houses were not big enough for Polynesians, who wanted big rooms where large groups could sit and talk and many guests could stay”. Furthermore, most immigrants could not afford to pay for larger houses to accommodate their needs. As a result of this, by the 1970s many Pacific families were forced into renting, as purchasing their own house in the central city was already beyond their means. This was highlighted through a study taken in 1972 of Tokelaun immigrants living in central Auckland. The survey found that only just over 50 per cent of participants owned their own home . Contrasting this, over 70 per cent of Tokelauan immigrants living in South and West Auckland were home owners. The gap in these statistics reveals that it was already very challenging for Pacific immigrant families to purchase an inner-city house that was suitable to their needs.</p><p>Due to the frequency of these housing challenges, a group of Pacific Islanders living in central Auckland, known as the Pacific Islands Housing and Welfare Association, began to give advice on a variety of issues. First and foremost, they aimed to “advise and help Islanders and other citizens on housing”, which included the best practices for buying, selling, leasing or renting a house. Second, they wanted to help immigrants get professional advice in their own languages. Third, they helped Islanders and other citizens with welfare and financial matters. And, lastly, the group aimed to teach Pacific Islanders about the law in New Zealand, with the desire to help them settle into New Zealand society seamlessly. Whilst these issues did not disappear, the influence of such groups portrayed the changing identity of those residing in inner-city Auckland. Pacific immigrants became very adept at helping each other out in their newly formed community, which went a long way to solidifying the central suburbs of Auckland as a place where Polynesians could express themselves and fit in incredibly well. </p><p>A second example of the changing face of ‘Greater Ponsonby’ was the significant shift in the makeup of local schools. A number of primary and secondary schools in the area started gaining large numbers of Polynesian students, so much so that in some schools the majority of students did not have English as their first language. For example, at Newton Central School in the mid-1970s, more than 90 per cent of the school roll was made up of immigrants, and English was taught as a second language to most students. Moreover, at Auckland Girls Grammar School, “An increase in Polynesian students pushed up the percentage of non-European girls from 23.5 per cent in 1971 to more than 80 per cent by the mid-1980s”. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jFMQmeE7dE-kFSShtticvZpWgbp_2zMEo8c-FpkswDsu5t8Sug6q6WyNZa6N1WaxreB7QCdnp1gLcM5jC1rBlbnDUpp-DaFCmxDpvMzEZ7BrlOF6DJl1lrb9Z7eDda0BlSg6GglAY-x7wX_VP0Ymj6t0xCrBtgDdzvFJl0BbVT0w9rxTNgqGPx3hPA/s2000/273-HAR009-07.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1337" data-original-width="2000" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jFMQmeE7dE-kFSShtticvZpWgbp_2zMEo8c-FpkswDsu5t8Sug6q6WyNZa6N1WaxreB7QCdnp1gLcM5jC1rBlbnDUpp-DaFCmxDpvMzEZ7BrlOF6DJl1lrb9Z7eDda0BlSg6GglAY-x7wX_VP0Ymj6t0xCrBtgDdzvFJl0BbVT0w9rxTNgqGPx3hPA/w640-h428/273-HAR009-07.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/101385#.Y78XrHnjarw.link" target="_blank">Image: Miles Hargest. School children, Great North Road, Grey Lynn, 1989. Auckland Libraries Heritage Collections, 273-HAR009-07</a>.</td></tr></tbody></table><p>Over the course of two decades Pacific culture became dominant in this inner-city region. Pacific Island churches, clubs, and shops selling Polynesian artefacts, clothing and produce became increasingly evident. Local greengrocers in ‘Greater Ponsonby’ in the 1960s and 1970s stocked taro, bananas, coconuts and breadfruit. Furthermore, some families even grew taro and bananas in their backyards, whilst some kept chicken and pigs. Traditional feasts, where extended families would congregate and Polynesian music would be played out through the streets, were regular occurrences and part of the changing inner-city scene. Pacific culture thus began to dominate suburbs such as Ponsonby, Grey Lynn, Freeman’s Bay and Newton in the latter half of the 20th century, with Polynesian immigrants remaining true to their culture and identity.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFqbh9Ovybugb4eV7CpTf-jb7RLtCUSwNkzR4O0Bg1KT84N8CUmHCRG4HDre3NZp5gJzOo-8O1p4jvj_zvsQl730ox_LewBzOsX86fFb_FwtAY5g14VmRF3zTq8l8dvSztIr6gKa6p-kC5AkJu8OzDTWdkjqNkfVCLFvHqL-S5EmZb3RF032YTsskcIA/s2000/273-HAR009-30.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1337" data-original-width="2000" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFqbh9Ovybugb4eV7CpTf-jb7RLtCUSwNkzR4O0Bg1KT84N8CUmHCRG4HDre3NZp5gJzOo-8O1p4jvj_zvsQl730ox_LewBzOsX86fFb_FwtAY5g14VmRF3zTq8l8dvSztIr6gKa6p-kC5AkJu8OzDTWdkjqNkfVCLFvHqL-S5EmZb3RF032YTsskcIA/w640-h428/273-HAR009-30.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/photos/id/100693#.Y78f5eqc09g.link" target="_blank">Image: Miles Hargest. Children playing arcade game, Grey Lynn, 1989. Auckland Libraries Heritage Collections, 273-HAR009-30</a>. </td></tr></tbody></table><p>With so many Pacific Islanders making these central Auckland suburbs their home, Karangahape Road became a “mecca” for Pacific peoples. K’ Road quickly became ‘the place to be’, especially on a Thursday late shopping night when Pacific Islanders, both young and old, would shop, talk, meet and hang out with their friends “in true Pacific fashion”. The emergence of Karangahape Road as a significant place for Polynesians began in the 1960s. As they lived nearby, they shopped on K’ Road and started businesses, selling clothing and fruits and vegetables. In the 1970s, the street was filled with Pacific Island shops, with bananas and taro spilling out onto the pavement, and colourful clothing all over the place. </p><p>It is important to note that Karangahape Road had also been a place of significance for Māori before colonisation. K’ Road was the only street in central Auckland with a Māori name until the middle of the 20th century, due to the fact that it’s path predates European settlement. The Karangahape Road and Great North Road ridges were used as a walking route by Māori to reach Manukau Harbour – hence the translation of Karangahape to ‘the winding ridge of human activity’, pertaining to the fact that the ridge was a major walking route for more than six hundred years. It was quite fitting, then, that K’ Road became a place of significance for the recently-settled Pacific immigrants.</p><p>Reflecting the fact that Karangahape Road was such a key location for Pacific people in more recent times was the construction of Samoa House on K’ Road. This building was the flagship of the Samoan community, and having it on Karangahape Road reveals the strong Samoan presence that was evident in and around the central suburbs. K’ Road became a central space for newly-arrived Pacific immigrants in Auckland. Many Pacific families lived just off the Karangahape/Great North Road ridgeline in the surrounding suburbs of Newton, Freeman’s Bay, Ponsonby and Grey Lynn. Their influence on Karangahape Road itself greatly strengthened the notion of the street being a landmark in Auckland, and whilst this Pacific presence did not last, it certainly started the diverse history of K’ Road in the latter decades of the 20th century.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6fy5qZhuXv7wy_egB9KdZBg7mkS5aFwlzY4Rj6C4ADO6kcTi6ps78kkhkFYAdFi2RwD0cAOF16ptqSkZsZT-W2x4xbzZlxik4cNgsQR1JHeCgCdn_sgqyrGXWGjKsmbjz6hUeJ5PIbtcKgUygTPEvSs8BNOUs__PT4dbQx-fGpXVaE8M0U7ylTtUeg/s1999/Map%205977d.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1405" data-original-width="1999" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6fy5qZhuXv7wy_egB9KdZBg7mkS5aFwlzY4Rj6C4ADO6kcTi6ps78kkhkFYAdFi2RwD0cAOF16ptqSkZsZT-W2x4xbzZlxik4cNgsQR1JHeCgCdn_sgqyrGXWGjKsmbjz6hUeJ5PIbtcKgUygTPEvSs8BNOUs__PT4dbQx-fGpXVaE8M0U7ylTtUeg/w640-h450/Map%205977d.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://kura.aucklandlibraries.govt.nz/digital/collection/maps/id/502#.Y78XrHpakis.link" target="_blank">Image: Aerial photograph taken above Newton, Auckland. 1974. Auckland Libraries Heritage Collections, Map 5977d.</a> </td></tr></tbody></table><p>This aerial photograph was taken of Great North Road (running from top right to bottom left) in 1974. Many Pacific immigrants lived on either side of this ridgeline.</p><p><br /></p><h4 style="text-align: left;">Author: Flynn McGregor-Sumpter</h4><p>Flynn McGregor-Sumpter has recently graduated from the University of Auckland with a Bachelor of Arts, Majoring in History (Hons) and Psychology. Having been born and raised in Auckland, the opportunity to research something of significance from his hometown under this scholarship was very exciting. </p><p>Flynn was a 2022 Summer Scholar with the Auckland History Initiative (AHI), a research collaboration at the University of Auckland. The AHI views Summer Research Scholarships as an integral way to engage students in Auckland history and to strengthen relationships with the Auckland GLAMR (galleries, libraries, archives, museums and records) sector. These students spend 12 weeks over the summer break researching in the varied and rich archives around Auckland under the supervision of Professor Linda Bryder and Dr Jessica Parr.</p><p>Flynn would like to extend his thanks to his project supervisors, Dr Jess Parr and Professor Linda Bryder, for their expertise and guidance throughout the process. Further, the efforts of the University of Auckland and Auckland Council Special Collections staff were instrumental in helping him find and access important resources. He is also grateful to Erica O’Flaherty and her team for funding this research as part of their larger project related to developing resources for the Aotearoa New Zealand history curriculum. Lastly, Flynn would like to acknowledge the Auckland History Initiative and his fellow scholars for helping him construct a narrative that he can be proud of.</p><p>You can also read two other blogs written by Flynn about Pacific immigrants in the 'Greater Ponsonby' region based on his Summer Scholarship research on the Auckland History Initiative website:</p><p>Flynn McGregor-Sumpter. <a href="https://ahi.auckland.ac.nz/2022/03/22/the-role-of-the-church-in-pacific-immigrants-lives/" target="_blank">The Role of the Church in Pacific Immigrants’ Lives</a>. Accessed 12 January 2023.</p><p>Flynn McGregor-Sumpter. <a href="https://ahi.auckland.ac.nz/2022/03/22/the-removal-of-the-pacific-community-from-greater-ponsonby/" target="_blank">The Removal of the Pacific Community from Greater Ponsonby</a>. Accessed 12 January 2023.</p><p><br /></p><h4 style="text-align: left;">Bibliography</h4><p>Bassett, Michael. City of Sails: The History of Auckland City Council 1989-2010. Auckland: Upstart Press Ltd, 2013.</p><p>Carlyon, Jenny, and Diana Morrow. Urban Village: The story of Ponsonby, Freeman’s Bay and St Mary’s Bay. Auckland: Random House, 2008.</p><p>Huntsman, Judith. “Working Paper Tokelau Communities in New Zealand: The Principal Communities: Auckland.” In Material relating to publication of ‘Migration and health in a small society’: Folder 3/1/1.</p><p>Huntsman, Judith. “Tokelau Islands Migration Study, Schedule B, New Zealand, 1972.” In New Zealand Research: Folder 3/3/31.</p><p>Latham, Alan. “Urbanity, Lifestyle and Making Sense of the New Urban Cultural Economy: Notes from Auckland, New Zealand.” Urban Studies 40, no. 9 (2003): 1699-1724.</p><p>McClure, Margaret. “Auckland region - Expansion: 1941–1979.” Te Ara - the Encyclopedia of New Zealand. Accessed January 20, 2022. http://www.TeAra.govt.nz/en/auckland-region/page-10.</p><p>Owen, Catrin. “The different waves of Auckland's K' Rd.” Stuff. Accessed January 20, 2022. The different waves of Auckland's K' Rd | Stuff.co.nz. </p><p>Salesa, Damon. Island Time: New Zealand’s Pacific Futures. Wellington: Bridget Williams Books, 2017.</p><p>Terrini, Vincent. “Home Could Meet Islanders’ Needs.” Star, May 3, 1972. In Freemans Bay Scrapbook 2.</p><p>Terrini, Vincent. “‘The Maori and Island Population in Freemans Bay’: (ii) Islander.” The Population Characteristics of Freemans Bay, July/August 1972. In Freemans Bay Scrapbook 3.</p><p>Terrini, Vincent. “Advice for Islanders on Housing.” Star, June 13, 1973. In Freemans Bay Scrapbook 5.</p><p>“The Meaning of Karangahape.” Accessed February 17, 2022. Heritage (karangahaperoad.com)</p><p><br /></p>Unknownnoreply@blogger.com0