Wartime friendship … and romance
Monday, December 6th, 2010 | Anna Blackman | No Comments
Thoughts from the staff of the Hocken Collections – Te Uare Taoka o Hākena
Monday, December 6th, 2010 | Anna Blackman | No Comments
Monday, November 22nd, 2010 | Anna Blackman | No Comments
Zealandia was a familiar symbol to New Zealanders of the late nineteenth and early twentieth centuries. Akin to Great Britain’s Britannia and America’s Columbia, she personified New Zealand in poetry, song, and political cartoons, and even appeared on postage stamps and household goods. Her statue surmounts the Boer War memorial at Palmerston.
The depiction of Zealandia on the cover of the song ‘All Hail! Zealandia!’ emphasises the colony’s youth and agricultural wealth (which apparently extended to the production of pineapples!). She carries the United Tribes flag, selected as New Zealand’s first official ensign in 1834. Replaced by the Union Flag in 1840, it became an important symbol of Māori independence and resistance to Crown-perpetuated injustice. It also retained some currency as a patriotic symbol, appearing on this sheet music more than forty years after it fell from official use.
The first verse of the song proclaims:
All hail! Zealandia!
Queen of the Southern Isles
On whose bright destiny
Benignant Nature smiles
Louder than cannon’s roar
Echo from shore to shore
All hail! Zealandia!
Zealandia! All hail!
The music was composed by Robert Peel Crosbie, a Railways Department employee and enthusiastic amateur musician from Christchurch. Francis Hopkins Valpy is sometimes credited with the words, but Crosbie claimed to have written them with Valpy’s assistance. The first performance took place at Lyttelton in 1871 or 1872, several years before the composition of ‘God Defend New Zealand’. This makes ‘All Hail! Zealandia!’ one of New Zealand’s earliest national songs.
An alternative setting by Dunedin music teacher Frederick Leech was published in 1874, and widely performed during the following 20 or 30 years. Crosbie’s original but less known version was eventually published in 1885 with a dedication to former premier Sir Julius Vogel. A reviewer at the time described the work as a stirring song of ‘eminently national type’ and suggested that it should become immensely popular.
The piece was ‘uncommonly well printed’ by the Lyttelton Times Company, although there is a spelling mistake on the cover for those who care to look for it!
All Hail! Zealandia! Words and music by R.P. Crosbie
Christchurch: Lyttelton Times (printers), [1885].
David Murray, Assistant Archivist, Hocken Collections.
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Tuesday, November 9th, 2010 | Anna Blackman | No Comments
Friday, October 22nd, 2010 | Anna Blackman | No Comments
Post prepared by Debbie Gale, Arrangement and Description Archivist.
Monday, September 27th, 2010 | Anna Blackman | 1 Comment
Kelvin Grove Dunedin, by Bastings, Leary & Co., 1879. R. Hay surveyor.
One of the most attractive sales plans in the collection and typical of its time, this black and white auction notice for the North East Valley subdivision of Kelvin Grove plays up the rustic element with heading and border of twigs and a sketch of the rural location. Why not live with nature only a few minutes’ tram ride from the city?
The land, which is on the west side of North Road, was purchased from William Henry Valpy in 1852 by James Hunter who named the area Kelvin Grove after his Scottish home north of Glasgow. By 1879 it was in the hands of local entrepreneur David Proudfoot who began a regular steam and horse drawn tram service the same year, building tramsheds and stables at the foot of the subdivision. To encourage patronage he entered tram ticket numbers in a lottery with building sections in the subdivision as prizes.
The auction plan shows existing land use, and features such as water courses, native bush, existing buildings and proposed roads. The steam and horse-drawn trams shown were replaced by electric ones in 1903.
Blog posted prepared by Karen Craw, Senior Library Assistant – Maps, with reference to Gary Blackman’s North East Valley History notes 2005.
Monday, September 6th, 2010 | Anna Blackman | 1 Comment
Myrtle Lee was born in Taranaki in 1876. Her father was the educationalist Robert Lee, and her grandfather the painter John Gully. Lee studied at the Slade School of Art, London, and became art mistress at Heathfield School, Ascot. In the 1950s she wrote ‘Miranda Looks Back’, an unpublished book of illustrated childhood reminiscences written for children. In one chapter Lee recalls her impressions of her grandparents’ and their house at Nelson in the 1880s:
Our grandparents lived across in the other island and we all loved to go and stay with them in their large gabled wooden house with a verandah all round and a big rose garden. I slept in a wee fairy-tale bedroom up in one of the gables.
They both seemed incredibly old but I think now it was their solemn ways and clothes, and because I was so young.
There was a mystery about them – especially my grandfather, who disappeared all day and was not to be disturbed. He appeared at meals. There he sat with his white whiskers and his kind eyes with their heavy eyelids like my mother’s. I scarcely took my eyes off his face and wondered what he did all day.
I knew what grandmother did. She bustled about the house seeing to old May who did the housework. Seeing to the gardener who produced the fruit and vegetables. Seeing to her sewing parties. These latter were made up of legions of good women doing good works for the poor. They sent off crates of strange and useful garments for Dr Barnado’s Homes in England.
It wasn’t exactly a house for children – we had to be so very good, and what was worse, we wanted to be. Were they not the mother and father of our mother? Yes, and so gentle and kind. These quiet old things living in a sleepy hollow of a town were the same doughty pioneers who landed on a rough beach some 50 years before.
One never-to-be-forgotten day I was exploring the rather rambling house and found a door, usually shut, wide open. There was no one in it. It was full of light which came from a skylight, and big French windows with shutters opened into a rose garden bright with the sun. There among the roses was my grandfather. But it was the room that caught my attention.
So that was it – a studio! My grandfather was an artist. I stared at the unfinished picture on the easel, at the paintboxes and the brushes, at all the lovely paraphernalia, and I crept away, most satisfied, for from that house I knew what I was going to do when I grew up.
[Lee, Myrtle: Reminiscences entitled ‘Miranda Looks Back’. Misc-MS-1997.]
Blogpost researched and written by David Murray, Assistant Archivist.
Tuesday, August 10th, 2010 | Anna Blackman | No Comments
100 UP is the Hocken’s latest exhibition. Taking its name from Seven UP, a successful series of documentary films that follows the lives of fourteen individuals at seven-year intervals, the exhibition similarly uses a longitudinal method of study. Mounted to commemorate the Hocken Library’s 1910 opening, it presents a snapshot of Dunedin life from that year, and this.
Thursday, August 5th, 2010 | Anna Blackman | No Comments
The Otago Daily Times recently published the story of Warren Justice and his scale model of Cargill’s Castle
http://www.odt.co.nz/news/dunedin/119111/cargills-castle-model-completed
Warren based his model on historical photographs of the well known landmark (also known as the Cliffs) which he found at the Hocken. While researchers use information from the Hocken for a wide variety of purposes this is probably one of the more unusual. It’s good to hear that the Cargill’s Castle Trust may be able to use the model in its’ work towards the preservation of the Castle.
Thursday, July 29th, 2010 | Anna Blackman | 3 Comments
The Hocken Collections recently hosted a book launch for the long awaited (by Hocken staff anyway) book by Stephen Jones, Doing Well and Doing Good : Ross and Glendining: Scottish Enterprise in New Zealand, published by OU Press.
Business communications from an 1877 Ross and Glendining letterbook, the paper is translucent and thin as tissue and difficult to photocopy from. |
A handwritten financial activity report for the six months prior to January 1894 from the Ross and Glendining archives. Stephen read hundreds of pages such as this during his research. |
Tuesday, June 22nd, 2010 | Anna Blackman | 1 Comment
Do you want to know more about the wonderful treasures to be found at the Hocken? The Hocken staff have written various reference guides to help researchers locate material in our collections. These are available in hardcopy in the reference area, or as PDFs on our website at http://www.library.otago.ac.nz/hocken/guides.html
As well as a general introduction to the Hocken and a guide to Maori resources, we have two main series of guides: genealogy guides and research guides. The genealogy guides include information on our resources for researching Maori whakapapa; births, deaths and marriages; shipping; education; occupations; and residences. We also have a guide to internet resources, and a guide to the records of Otago and Southland orphanages and children’s homes (some of these sources are held by other institutions).
The series of research guides currently stands at 17 with several new ones appearing each year. These guides are primarily aimed at university students and researchers, but they include information which will also be of interest to many other people. They do not list all our resources, but give examples of items in our collections along with suggestions on how to locate other relevant material. Popular guides in this series include those to war-related material (there are separate guides for World War I, World War II, the South African War and two guides on the New Zealand Wars), missionary sources, religion sources and mining sources. Recent additions to the series are on Pacific Islands sources and tourism sources, and a health sciences reference guide will be out next month.
We hope you find these guides useful, and welcome your feedback!
Post prepared by Ali Clarke, Reference Assistant