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Mourning cards at the Hocken

Wednesday, February 20th, 2019 | Hocken Collections | 4 Comments

Post researched and written by Ali Clarke, Collections Assistant (Archives).

One of the more poignant collections held in the Hocken archives is a small number of papers relating to the Kaitangata coal mine disaster (Misc-MS-0840). On 21 February 1879 a miner entered some old workings with a naked light and the firedamp (methane) within exploded. 34 men and boys underground died, some from the explosion and others from the afterdamp (the toxic gases left in a mine after a methane explosion, including nitrogen, carbon monoxide and carbon dioxide). It was, at the time, New Zealand’s largest mine disaster; sadly there have been larger ones since, at Brunner in 1896 and at Huntly in 1914.

The collection includes some newspaper clippings and photographs, but perhaps most interesting are the mourning cards for nine of the people who died in the disaster. These small cards (around 115 x 75mm) each bear the name and age of the person, along with a memorial verse; the verses vary slightly. Five of the cards are for members of the Beardsmore family: James Beardsmore senior, his sons Edward and James, his son-in-law Caleb, and his brother Joseph. Two other men in the family were also miners, but off work at the time of the accident. The Beardsmores had arrived in New Zealand as assisted migrants in an extended family group of 22 aboard the ship ‘Oamaru’ just two years before the disaster; they hailed from Lancashire. Four of the family were left widows with young children through the mine explosion.

James Spiers, who died in the mine disaster (left), his widow Elspeth Spiers (right), and mourning cards for their son James. Misc-MS-0840-1.

The Clutha Leader reported that, overall, the disaster left 25 widows and 105 fatherless children. Another of the men for whom we have a memorial card, and also a photograph, is James Spiers, who was a father of eight. His youngest was just a baby who died himself soon before his second birthday; the collection also includes memorial cards for that child. The community raised funds to support the families bereaved by the disaster, but it was not easy for a widow to support a family in an era before government social support payments. Many remarried fairly quickly. Joseph Beardsmore’s widow Caroline married Harry Denson later that year – he subsequently died in 1896 in the Brunner mine disaster.

The oldest mourning card identified at the Hocken. Ephemera collection.

Preston family papers, MS-1272/039.

The Hocken also has a wide variety of other mourning cards, or in memoriam cards as they were sometimes known. Some are in family papers and others are in our ephemera collection. The earliest I have located is dated 1859 and is for Hannah Longfellow, who died in Yorkshire. It has an elaborate cutout design and is mounted on velvet fabric for framing. The earliest card for a New Zealand death that I have located so far is a much simpler design, for John Edward Preston, who drowned in a creek on his family’s sheep station on the Maniototo in 1877.

Lyttelton Times, 1 December 1855.

Northern Advocate, 24 December 1898.

New Zealand Tablet, 19 August 1920. Clippings from PapersPast, https://paperspast.natlib.govt.nz/, courtesy of the National Library of New Zealand.

Quertier family papers, MS-3001/062.

Quertier family papers, MS-3001/062.

From the Blue Spur House of Treasures photograph album no.1, AG-683/056.

Mourning cards were popular in Britain from the early 1800s, and there is advertising for them in New Zealand papers from the 1850s. The cards were imported into New Zealand, with local printers – often newspaper offices – supplying them and adding the personal details required. Embossed flat cards, like those from the Kaitangata disaster, were common at that time, but during the 1880s and 1890s small folded cards became more common, with decorative covers and personal details inside. Another style of card popular during the 1890s and early 1900s was a large flat card in black, with text and decorative features in gold. Some, like the Arthur Brook Quertier card shown, were manufactured in Australia by the Memorial Card Company; the personal details would have been added locally. Occasionally memorial cards included a photograph. A rather unusual one in our collection is a 1901 card for Fred Hancock of Lawrence, produced by Wellington photographer David Aldersley, with a photograph of Hancock and a flower border. Most cards carried some sort of imagery, and many were beautifully designed.

A selection of In Memoriam card covers from the H.S. Tily papers, MS-3153/005.

Frank Tod papers, MS-3290/114.

The messages on cards varied between people and through time; many carried religious messages such as Bible verses, hymns, or poems with a spiritual flavour reflecting on death and the afterlife. Twentieth-century Catholic memorial cards frequently included a prayer readers could offer for the deceased person. The simple verses on the cards for the Kaitangata mine disaster victims reflected the shock of their sudden deaths; they refer to their grieving wives, children and friends, and some referred to the hope “we’ll meet in heaven again”. Today, exactly 140 years after the mine disaster, we remember the victims and their families.

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A Brief Glimpse at Chinese Immigration to Otago

Monday, January 21st, 2019 | Hocken Collections | No Comments

Post researched and written by Emma Scott, Collections Assistant.

On 15 September 1865 a special meeting was held by the Otago Chamber of Commerce at the Athenaeum building to consider whether an invitation should be extended to the Chinese to immigrate to the Otago Province to work on the gold fields. Mr W.A. Tolmie began the discussion by stating that Otago was unlikely to retain the population as it currently stood and that his experience of the Chinese in Australia was that they were “valuable colonists; were a well behaved class, and produced large quantities of gold and were large consumers”. Mr Ewan moved “that a committee be appointed to wait upon the government to urge the Executive to give an official letter or notice to the effect that the lives and property of any Chinese coming into the Province will be protected”. The motion was carried with only one member of the meeting being opposed. [1]

At the Hocken Collections we hold the archival records for the Otago Chamber of Commerce, this collection includes some of the minutes of the annual meetings held by the Chamber. In the minutes for the meeting held on the 10th of October 1865 [2], Chinese immigration to the province was commented on further:

Minutes of annual meetings held 1862-1870, 1874, 1883, 1884, 10 October 1865, Otago Chamber of Commerce Records, UN-022, Hocken Collections / Uare Taoka o Hākena.

The “leading chinese merchant in Melbourne” appears to have been Lowe Kong Meng. [12] There is evidence of his deputy Ho A Mee arriving in Dunedin in December 1865 on the South Australian to inspect the mining districts of the province. [3] [13] Five days after the Otago Daily Times had reported Ho A Mee’s visit, five Chinese passengers were reported to arrive in Port Chalmers from Melbourne on the ship Otago. [4] In the meeting the following year, on 2 October 1866, the minutes state that “upwards of a hundred Chinese have settled in the gold districts, and are working harmoniously with the European population; and as it is understood they are satisfied with the prospects offered by this province.” [6].

Settling in Otago to work on the goldfields was hugely challenging for the Chinese immigrants. Many of the Chinese had “few material resources, no mining tradition in China, and poor education (if any), which meant few were able to speak and write English”. Initially the Chinese made a good impression with the European miners and excelled at working on the land that was often already worked over and abandoned, but “European ill-feeling” grew against the miners as gold deposits declined in the late 1870s. As gold became more scarce, more fortunate miners returned to China while others moved to more urban areas to take up other occupations. [5]

Some of the Chinese miners who moved to Dunedin joined the Chinese community established in the area of lower Walker (now Carroll), Stafford and Hope Streets. This area was known as “Tongyan Gai” or “Chinese street” to some of the Chinese who lived there. [7] This area was popular because the accommodation was cheap and was also a place of work where laundries, grocers, greengrocers and fruiterers were located. [8] This area also had “minimal facilities, dirt, gambling dens and brothels” and was called the “Devils Half Acre” by Europeans [9], unfortunately this led to some negative perceptions of the Chinese community.

In the block map below dated around 1888 you can see some of the Chinese merchants located in Walker and Hope streets, including Wy Yeck and Wong Sing Tobacco Factories, and Joe How Cabinet Makers. Stones Otago and Southland Directory also lists some other Chinese merchants located in Maclaggan Street, Rattray Street and in Farley’s Royal Arcade, located in the block between High Street and Maclaggan Street.

Detail from “City of Dunedin. No. 7 & no. 8, part of Block VI”. Robt. Baré, draughtsman. (Dunedin: Thos. George Lith, [1888?]) Hocken Maps Collection: H++ 885.927 [1888?] gbb

The Royal Arcade from High Street. Hocken Archives UN-029 box 190.

In Dunedin in the 1900s the three main occupations of the Chinese were: fruit and vegetable retailing, market gardening and laundering. All of these occupations required working long hours and could be very physically demanding. The market gardeners worked an average of nine hours a day in Winter and twelve hours a day in summer, seven days a week. By the 1890s and the 1900s Chinese market gardens were established in Sawyers Bay, North East Valley, Kaikorai Valley, Tainui, Forbury and in South Dunedin. [9]

The photograph below of St Kilda dated around 1905 shows some cultivated land where some of the gardens were located.

Hocken Snapshop (10th Jul 2012). 1054_01_023A.jpg. In Website Hocken Snapshop. Retrieved 19th Apr 2018 11:40, from http://hockensnapshop.ac.nz/nodes/view/9802.

If you open this Hocken Snapshop link you can zoom in and see Chin Fooi’s laundry at 162 Rattray Street, which was established in the 1920s.

Advertisements and flyers for Chinese businesses are hard to come by, but in our posters collection we hold an advertisement for L. Gang & Co. Fruiterer that was located at 108 North Road on the corner of Chambers Street (where the Jumbo Dairy is now). According to the Stone’s Otago and Southland Directory, L. Gang & Co operated in this location from 1941 and continued to be listed there until 1945, from 1946 it became Wong & Co. Fruiterers. If you have any information about this business we would love to hear from you.

Gang & Co, Hocken Posters Collection.

Inviting the Chinese to immigrate to Otago had a significant impact on the region as the Chinese community played a “major role in the economic and cultural development of the province” and helped establish Otago as a commercial centre. [10] It is excellent to see some acknowledgement of the Chinese community with the Dunedin Chinese Garden opening in 2008 and a Rattray Street mural depicting businessman Chin Fooi painted in 2015. [11] The history of Chinese communities in Otago and Southland is a broad and fascinating topic, if you would like to learn more, I would highly recommend reading Dr James Ng’s set of books, Windows on a Chinese Past, which we hold at the Hocken amongst other fantastic resources on this subject.

References:

[1] “Chamber of Commerce,” Otago Daily Times, 16 September 1865. https://paperspast.natlib.govt.nz/newspapers/ODT18650916.2.16

[2] Minutes of annual meetings held 1862-1870, 1874, 1883, 1884, 10 October 1865, Otago Chamber of Commerce Records, UN-022, Hocken Archives.

[3] Evening Post (Wellington), 27 December 1865.
https://paperspast.natlib.govt.nz/newspapers/EP18651227.2.6

[4] “Shipping”, Otago Daily Times, 25 December 1865.
https://paperspast.natlib.govt.nz/newspapers/ODT18651225.2.5

[5] James Ng, “The Otago Chinese Goldminers: Factors that helped them survive”, in Rushing for Gold: live and commerce on the goldfields of New Zealand and Australia, ed. Lloyd Carpenter and Lyndon Fraser (Dunedin: Otago University Press, 2016), 101-121.

[6] Minutes of annual meetings held 1862-1870, 1874, 1883, 1884, 2 October 1866, Otago Chamber of Commerce Records, UN-022, Hocken Archives.

[7] James Ng, “The Sojourner Experience: The Cantonese Goldseekers in New Zealand, 1865-1901”, in Unfolding History, Evolving Identity: the Chinese in New Zealand, ed. Manying Ip (Auckland, Auckland University Press, 2003), 12.

[8] J.M.A. Tuck, “The Devil’s Half-Acre: 1900-1910” (B.A. Hons diss., University of Otago, Dunedin, NZ, 1983) 10.

[9] Niti Pawakapan, “The Chinese in Dunedin between the 1920’s and the 1940’s” (M.A. diss., University of Otago, Dunedin, NZ, 1987) 10-58.

[10] David Fung, Turning stone into jade: the history of the New Zealand Chinese Association (Wellington: New Zealand Chinese Association, 2014), 109.

[11] “Artists still making their marks”, Otago Daily Times, 25 May 2015.
https://www.odt.co.nz/news/dunedin/artists-still-making-their-marks

[12] Paul Macgregor, “A Trade in Chinese Men and Supplies: Lowe Kong Meng and the organisation of the Chinese gold rush in Otago”, in Rushing for Gold: live and commerce on the goldfields of New Zealand and Australia, ed. Lloyd Carpenter and Lyndon Fraser (Dunedin: Otago University Press, 2016), 133-147.

[13] Pauline Rule, “The Transformative Effect of Australian Experience on the Life of Ho A Mei, 1838-1901, Hong Kong Community Leader and Entrepreneur”, in Journal of Chinese Overseas, ed. Zhou Min and Liu Hong (Leiden: Brill, 2013), 107-134.

Owner-bound music volumes

Thursday, January 3rd, 2019 | Hocken Collections | No Comments

Post researched and written by Amanda Mills, Curator Music and AV

The Hocken sheet music collection houses some interesting titles and volumes, including a number of owner-bound volumes, which are, on the surface, intriguing collections of random choices of sheet music. We collect these from a number of places including auctions and sales, with a handful of volumes donated to us. The purpose of owner-bound volumes was to collate collected music, keeping it tidy and in good condition, and easier to use on a piano stand. Cultural capital was also important. Many had gilt lettering and leather binding, so were attractive to display. Also (like a contemporary music collection), they displayed the owner’s tastes in sheet music, and the subjective choices and organisation are displayed by the indexing, which was often hand-written.

These volumes tell stories of what was fashionable in music at the time, and available to purchase locally from dealers, although all volumes included sheet music that was purchased overseas, and therefore not widely available here. The content throughout all the volumes is a mix of song (piano-and-vocal), and music (piano only), and much of this is related to dance. However, Aline Maxwell-Scott, writing about jazz-age owner-bound volumes in Australasia, thinks women’s owner-bound volumes were more likely to include songs than men’s[1], although our volumes belonging to William Larnach show a substantial number of piano-and-vocal songs.

The practice of owner-binding sheet music dates to the nineteenth century, and is linked predominantly to both the mass publishing of sheet music, and to domestic amateur music making. This was largely the realm of women, as they were the primary providers of musical entertainment in the home, according to Maxwell-Scott[2], and she notes that playing the piano was an accomplishment that enhanced marriage prospects[3]. The female acquisition of musical skills maintained the social values of the developing middle classes, which was especially true for the Antipodes, where applying European cultural values to the uncivilised environs of the colonies was valued greatly. The piano was even considered “a kind of gigantic hearth God, to be placated by polish and performance, its altar covered in lace and candles”[4]. It was also women who drove the nineteenth-century market for sheet music and popular songs, and increased demand led to the rise in the production of this music, and expansion of the music industry.

The overall content of owner-bound volumes is eclectic, with different genres represented – sentimental song, classical piano pieces, operatic arrangements, comic bawdy numbers, and songs relating  to military or war subjects. Many were popular songs of the day. There is also the aesthetic nature of sheet music covers to consider, as many are beautiful, and still in extremely good condition. Over time, owner-bound volumes became more scarce, with a drop in number from the 1920s, correlating with the rise of the gramophone and the 78rpm disc.

The earliest owner-bound volumes in Hocken’s sheet music collection bear William Larnach’s name embossed on the cover, and date to around the 1880s. Although there is no date for the binding, it is likely to have occurred relatively quickly, as a way to collate the music, and also to signify cultural status. Larnach’s volumes are interesting, containing many songs from Sheard’s comic song annuals which were published overseas, although one piece, ‘The Old Flag’, was published in Dunedin by G.R. West, at 18 Princes Street. Unlike later owner-bound volumes, there is not much information annotated on the sheets, but the titles make for interesting reading!

Title from William Larnach’s owner-bound volume. ‘New Zealand Anthem: Dedicated by permission to Lt. General Sir William Francis Drummond Jervois K.G.C.M.G., C.B.’ by William Allan and John McGlashan. Hocken Sheet Music Collection.

Owner-bound volumes don’t always include local material, focusing on predominantly English or American titles. There are some exceptions, especially in one volume belonging originally to Lucy Maude Bayley, which features some rare local sheets by Charles H. Russell, published by Charles Begg in Dunedin. However, even if the music is not from New Zealand, the dealers were, and dealers’ stamps tell you what music was available at what dealer, with stamps for Begg’s and Terry’s, and later, Muriel Caddie (among others) frequently appearing. Also, these owner-bound volumes were predominantly collected by local individuals: their initials regularly appear on the front of the volumes, and the sheets are annotated with their names, and (often) addresses, so we can try and trace their lives. However, due to the sheets being trimmed for binding, these details are often lost, or at least severely cut, making it harder to locate owners.

Some volumes stand out and tell stories through the addresses, and annotations given. Harry Kelk’s owner-bound volume is one. Kelk (a teacher) emigrated to New Zealand from England in the 1870s, aged 16. His owner-bound volume has music sheets collected over a number of years, and although they have no dates printed on them, a couple have the dates hand-written on them. One of the later sheets (‘The Mikado Quadrilles’) has the inscription ‘H. P. Kelk, from his aunt Ellen, 1906’, while others have dates in the  1880s. There are some interesting inscriptions too – ‘Myosotis’ reads “Don’t forget the night you heard this first! Never!” and “A thing of beauty is you forever.” These sheets are all piano music, and predominantly waltzes.

Title from Harry Kelk’s owner-bound volume. ‘Myosotis’ by Caroline Lowthian. Hocken Sheet Music Collection.

Another recently-acquired owner-bound volume was originally compiled by Lucy Maude Mary Bayley, who was born in 1869 to Frederick and Lucy Bayley. Her volume features some interesting sheets, mostly piano music: polkas, airs, mazurkas, melodies, and studies. Four of these music sheets were locally published – ‘The Daily Times Mazurka’ (a polish folk dance in triple meter), was published and available from Kelsey’s (who were taken over by Begg’s in 1883), ‘The Colonial Mazurka’, published by G. R. West, and two rare pieces by Charles H. Russell – ‘Fern Leaves’, and ‘The Silvery Spray Mazurka’, both published by Beggs. While most of these songs are undated, we can get an estimated publishing date, as Lucy Bayley annotated some titles with a (purchase?) date.

Title from Lucy Maude Bayley’s owner-bound volume. ‘Fern Leaves’ by Charles H. Russell. Hocken Sheet Music Collection.

Finally, the three owner-bound volumes of Jessie Bell McLaren provide a slightly more modern comparison. McLaren was born around 1896 to David and Christina McLaren of 15 Crown St, North East Valley (her address is annotated on one of the music sheets). Her three volumes of sheets, titled Selections and Songs on the cover, still have their binders’ stamps, which identify Whitcombe and Tombs on Princes Street as the binder. These volumes are a diverse collection of mostly popular songs from theatre shows, but include a number of piano-only pieces, mainly waltzes and foxtrots. McLaren dated these pieces, so we can see the acquisition date, which was during the First World War. There are a few war-related sheet music titles, with some directly related to theatre productions about the Great War. While many of these titles were purchased in Dunedin or in other New Zealand centres (dealers stamps give the location), a number were sent to her from England. Written on the back of one sheet is a letter from a loved one, Bill, who sent the sheet from Stevenage, England during that time. This could be a co-incidence, but Jessie Bell McLaren married chemist William Francis Stanley Pollock in 1922, moving to Highgate. Is he the same Bill who wrote the letter?

Letter from Jessie Bell McLaren’s owner-bound volumes, from Bill to Jessie.

Title from Jessie Bell McLaren’s owner-bound volumes. ‘The Lilac Domino’ by Charles Culliver. Hocken Sheet Music Collection.

The remaining owner-bound volumes in Hocken’s sheet music collections date between the late 1800s and the 1950s, and all have thought-provoking selections of international, and locally-produced music. Not all are listed on the University’s Library Search|Ketu online public access catalogue, but we are working to make these volumes, and their contents, searchable. However, they can all be viewed in our reading room – please come and talk to our Curator, Music and AV if you would like to view them.

Title from Jessie Bell McLaren’s owner-bound volumes. ‘That Naughty Waltz’ by Edwin Stanley and Sol. P Levy. Hocken Music Collection. Note the Dunedin dealer’s stamp in the lower right hand corner, and that the sheet has been trimmed.

[1] Maxwell-Scott, 2016, p 192.
[2] Maxwell-Scott, 2016, p 189.
[3] Maxwell Scott, 2016, p 191.
[4] Crisp, L. quoted in Maxwell-Scott, 2016, p 191.