Category Archives: Collections Online

The Berry Boys – Girl Day

One of the fascinating aspects of the Berry & Co photographs of World War I soldiers is that they were often photographed with family and friends. These family photographs bring to the fore the fact that women and children were affected by the war. Life on the home front was far from easy. People had to learn to live with the constant worry and fear that their loved one might be killed or injured. Food and other resources were severely limited and expensive. With so many men away, the work force was greatly reduced. Women often had to bring up young children on their own both during the war when their husbands were away and sometimes for the rest of their lives, if their loved one died.

In recognition of United Nations ‘International Day of the Girl Child’ I’d like to dedicate today’s blog to the women and children in the Berry & Co photographs. This annual event aims to raise public awareness about the equal rights of girls. It therefore seems appropriate and timely to highlight some of the girls featured in these photos and explore what their lives were like growing up in New Zealand.

Herbert and Marguerita Freeman with baby Zena, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Baby Zena situated in the centre of this photo was the first child of Marguerita and Herbert Freeman. She was about three months old when this photo was taken. Her father was granted leave for four months in December 1916 on grounds of ‘hardship’ and that his wife Marguerita was a ‘very delicate woman’, which was code for her being pregnant. When he eventually embarked for the Great War on the 1 August 1918, Zena already had a sister, Rita who was born in April 1918. The family was lucky because even though Herbert was away from home for about a year, he arrived in England just prior to the Armistice in November 1918.

Arthur and Amy Gamon with baby Kathleen, Circa 1918, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

 Kathleen Gamon pictured here between her father Arthur and mother Amy was born on 20 June 1916. This photo was probably taken in about 1918 prior to Arthur leaving for the war. 

Life in New Zealand when Zena and Kathleen were born and growing up, was very different from today. The 1877 Education Act meant that there was free compulsory education for children aged between five and 14 but although secondary schooling was available, most children left school when they turned 14.

Kathleen attended the Lyall Bay Primary School but it is not known where Zena went to school. It is highly likely that they shared their classroom with up to 40 other children. Children were crammed into rows and the rooms were often hot in summer and cold in winter. Fresh air was considered to be highly beneficial so teachers were encouraged to keep the windows open year-round.

Most children learned to write on slate boards and when good enough they moved on to paper and pencil, and then ink. Widespread use of the strap and the cane ensured children followed the rules, held their pencils correctly and did their homework!

The 1920s was a time when the educational and professional sectors expanded in New Zealand. Women seized new opportunities in employment. The School Dental Nurse service, established in the 1920s, provided an opportunity for women to train as Dental Nurses and the Plunket Society trained Plunket and Karitane nurses all considered good career choices for young women.

Like most women, both Zena and Kathleen married and had children. Kathleen died in 2003 but Zena is still alive. It’s amazing to think about the changes she would have seen in her life time. The opportunities for girls in New Zealand today are vast in comparison to when Zena and Kathleen were little girls and it’s hard to imagine a time when women weren’t allowed to take part in parliament or choose to have a career or university education. In many countries though, there are still huge levels of inequality for girls. ‘The International Day of the Girl Child’ is an important date and moment to think about girls’ rights and the recognition girls deserve as citizens and as powerful agents of social change.

1920s taoga (treasures) from Niue

Welcome to the third blog in our series focusing on Niue taoga (treasures) from Te Papa’s collection for Vagahau (Language) Niue Week (6-13 October).

Titi (skirt); Niue; FE006396; Purchased 1973; Te Papa

Titi (skirt); Niue; FE006396; Purchased 1973; Te Papa

This titi (skirt) was collected in the 1920s by H W Cockerill a telegraphic engineer for the General Post Office who helped install a wireless telephone station on Niue. The titi, one of several are made of natural hibiscus bast fibres dyed in pink, red and green,and decorated with rosettes. They indicate a preference at the time for dying natural materials. This is similar to Cook Islands dance costumes from the same period.

Titi (skirt); FE006399; Purchased 1973; Te Papa

Titi (skirt); FE006399; Purchased 1973; Te Papa

Along with the titi, Cockerill acquired other items including tablemats, iliili (fan) and the lei (necklace) below.

Lei (necklace); Niue; FE006400/1; Te Papa

Lei (necklace); Niue; FE006400/1; Te Papa

Since the beginning of New Zealand annexation in 1901, New Zealanders such as Cockerill visited the island for work, travel and leisure. In 1973, Cockerill’s collection was acquired from his son, and provide a snapshot of items produced in that period.

September 1907 – this month last century

105 years ago New Zealand becomes a Dominion (26 September 1907)

At 11am, 26 September 1907, New Zealand officially moved up in the ranks in the British Empire. On that day it became a Dominion instead of a Colony. That night, electric illuminations on buildings in the capital proclaimed this auspicious and historical moment.

Dominion Day - Government Buildings at night, 25.09.1907, Wellington. Maker unknown. Te Papa

Dominion Day – Government Buildings at night, 25.09.1907, Wellington. Maker unknown. Te Papa

Although public servants were given a holiday and children were presented with a special medal to commemorate the event, this change did not translate into any significant changes to everyday life in New Zealand.

Dominion Day parade, 25.09.1907. Photographed by Frederick Brockett (1881-1956). Te Papa

Dominion Day parade, 25.09.1907. Photographed by Frederick Brockett (1881-1956). Te Papa

And despite military parades and flag raising ceremonies, many people did not comprehend the differences between begin a Colony and Dominion. The change was more of a political initiative, motivated by perceptions – perceptions that within the Empire, Dominions were superior to Colonies.

There’s more about New Zealand becoming a Dominion on nzhistory.net.nz

Learn about New Zealand and its colonial attachment to Great Britain in the 1900s on the Slice of Heaven exhibition website

Water towers

Water Tower, Balclutha, 06.1912, Balclutha. Muir & Moodie. Te Papa

Water Tower, Balclutha, 06.1912, Balclutha. Muir & Moodie. Te Papa

Sometimes when I look at photographs, I start imagining the past. Details in the images trigger memories of people and places lost to time.

These images of water towers take me back to my childhood in Invercargill, where the sight and purpose of the large tower, visible from most parts of the city, used to fascinate me. They also remind me of the smaller water towers on buildings in Brooklyn, New York, and the way they have become an unofficial icon in the city.

Water Tower, Invercargill, circa 1900. Muir & Moodie. Te Papa

Water Tower, Invercargill, circa 1900. Muir & Moodie. Te Papa

Water Tower, Cambridge, 1909. Muir & Moodie. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Water Tower, Cambridge, 1909. Muir & Moodie. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Water towers were built to pressurise water so that everyone who needed it would get it when they turned on the tap. This ingenious system is one of the many marvellous things we just take for granted today.

In the 19th century, a water tower was an excellent place for taking photographs. In a small town, it was often the highest vantage point.

Invercargill from Water Tower, circa 1908. Muir & Moodie. Te Papa

Invercargill from Water Tower, circa 1908. Muir & Moodie. Te Papa

Water Tower, Hawera, 01.1914. Muir & Moodie. Te Papa

Water Tower, Hawera, 01.1914. Muir & Moodie. Te Papa

Some water towers have become landmarks and monuments – even art works. Towns such as Hawera offer the chance to climb the tower and see the view from the top. There are even water towers that forsake their original function in the pursuit of beauty – like Watertower in DUMBO, New York, which is made from coloured plexiglas.

Don Binney 1940 – 2012

Don Binney, 1977-79?, Auckland. Marti Friedlander. Purchased 2007. Te Papa

In the recent death of Don Binney New Zealand art has lost a major contributor to its diverse tradition of landscape painting.  Binney began painting his stylized images of birds in the landscape in the early 1960s.  These unique and startling images quickly established his reputation.  The ‘oversized’ birds combined a personal take on hard-edged abstraction with conservationist and painterly concerns.  The design and structure of his paintings emphasised the shape and contour of the bird while integrating it with similar forms in the landscape. A dynamic tension was established between these elements which underlined a complex interaction between stasis and implied movement, latency and potential. The style worked with and against the energy it both created and contained. 

Hard edges did not preclude emotional and spiritual depth however – the cry of the tui from McCahon’s Northland Panels is given a startlingly physical presence in Tui over Te Henga 1964 or Colonial garden bird 1965. 

Colonial garden bird, 1965, Auckland. Don Binney. Purchased 1971. Te Papa

Colonial garden bird, 1965, Auckland. Don Binney. Purchased 1971. Te Papa

While a central place is now occupied by the bird images in Binney’s oeuvre, his practice also embraced the landscape itself and its particular New Zealand characteristics. He integrated these with political concerns relating to settlement and ownership in the decade of the 1980s.  The wider Pacific context also appeared in paintings such as Pacific frigate bird I 1968 in a treatment akin to that in Rita Angus’s Rutu 1951 and was referenced again in works in the 1990s.   Stylistically his work maintained a continuum with nineteenth century topographical artists John Kinder and Alfred Sharpe and earlier twentieth century artists such as Christopher Perkins. Binney was a contemporary of Rita Angus, Bill Sutton, Michael Smither, Robin White and Michael Illingworth.   He, like them, combined in his work a passionate engagement with the landscape with exploration of its formal and symbolic capacity. 

Te Papa’s collection of Don Binney’s work will help to inform future generations of the important position this artist holds in the crucial period when international modernism was becoming integrated into the fabric of New Zealand’s visual and artistic heritage. 

The art team and the staff at Te Papa  would like to extend our deepest sympathy and aroha to Don’s family and friends in this time of loss and sadness for the New Zealand art community. 

Fatbird, 1964, Auckland. Don Binney. Purchased 2002. Te Papa

Fatbird, 1964, Auckland. Don Binney. Purchased 2002. Te Papa

-Tony Mackle, Collection Manager Works of Art on Paper

Unforgettable: Michael Parekowhai’s ‘On First Looking into Chapman’s Homer’

If you live in the Wellington region then I really hope you’ll come to Te Papa and visit Michael Parekowhai’s On First Looking into Chapman’s Homer, which is on show on Level 5 until 23 September 2012.

Rather than describing my own experience of these works, I thought I’d share with you some of our visitors’ comments instead…

Hear Courtney Johnston talking about it on Radio NZ.

Excerpt from a letter to the editor from Wellington’s Capital Times, 5 September:

My ten year old boy and I visited Te Papa while the beautiful Steinway, carved, inlaid and painted to within a semi – quaver of its life, was being played. Have you ever seen the insides, let alone put your head beneath the lid (and under the watchful “Don’t Touch!” gaze of the attendants) of a grand piano, as Chopin is being played? We neither. Until today!  

The beautifully played music (thanks Ariana Odermatt) and the applied imagination of Parekowhai filled the exhibition space, as it did my body, mind and heart. This installation reflects and celebrates my understanding of bi- culture. Far out! Kia ora! 

Tom White, Island Bay (abridged).

Find out more about the exhibition and about a special event next Thursday night.

If you’ve already seen the works and want to share your response, please feel free to leave a comment below.

Sarah Farrar

Curator of Contemporary Art

Lili’s gift

Lili Kraus II, 1946. Frank Hofmann. Gift of the Frank Hofmann Estate, 2010. Te Papa

Lili Kraus II, 1946. Frank Hofmann. Gift of the Frank Hofmann Estate, 2010. Te Papa

“Dear friends, may this beautiful instrument bring you happiness and inspiration. All my love, Lili Kraus, London, Christmas 1959.”

So read the handwritten inscription in the piano Michael Parekowhai obtained for On First Looking into Chapman’s Homer currently on display at Te Papa.

In the museum’s collection there are photographs of Lili taken around 1946/47 by two different photographers – Brian Brake/Spencer Digby Studios and Frank Hofmann.

Portrait of Lili Kraus, circa 1947, Wellington. Brian Brake, Spencer Digby Studios. Spencer Digby / Ronald D Woolf Collection. Gift of Ronald Woolf, 1975. Te Papa

Portrait of Lili Kraus, circa 1947, Wellington. Brian Brake, Spencer Digby Studios. Spencer Digby / Ronald D Woolf Collection. Gift of Ronald Woolf, 1975. Te Papa

Perhaps the piano in these pictures is the same one revamped and giving pleasure and evoking emotion on level 5 at present?

You can find out more about Lili on the Christchurch City Libraries’ blog and Christchchurch Art Gallery blog, and read more about the piano restoration on the NZ Herald site.

The Berry Boys – the story of the Scambary brothers

I often wonder when uncovering the stories of the soldiers in the Berry & Co images how I would react when faced with their situation. In times of crisis and stress we all respond differently – this must have been the same for the men who went to war. For some it was an opportunity to excel and learn new skills, for others it brought out the worst. Given the army was totally intolerant of insubordinate behaviour the outcome could be disastrous for those who rebelled. Brothers Walter and Norman Scambary illustrate this point. Even though they were from the same family they were very different people and their war stories ended very differently too.

For Gunner Walter George Scambary, pictured here with his wife Ida and son George, the war appears to have been the begining of a life long interest in weaponry.  When Walter began his service in 1917 he was 24 years old, lived in Kilbirnie, Wellington and worked as a salesman. He was in the New Zealand Field Artillery, 32nd Reinforcements. He specialised in the use of heavy trench mortar, a tube like weapon designed to fire a projectile at a steep angle so that it falls straight down on the enemy. The mortar was ideally suited for trench warfare which is what Walter was engaged in.

Walter George, George and Ida Scambary, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Walter George, George and Ida Scambary, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

After the war, he returned home to Ida and George in Kilbirnie where he had grown up and where he lived for the rest of his life until the age of 76. He continued his interest in weaponry at the Aotea and Petone Rifle Clubs where he competed in competitions for many years.

Walter’s brother Norman William Scambary, sometimes recorded as Scambury, also served but his story sheds light on a completely different side of the war.

Norman William Scambary and unknown woman, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Norman William Scambary and unknown woman, circa 1917, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Norman appears to have been an unsettled and possibly troublesome character in his early life. Unlike Walter who was a high achiever at the Kilbirnie Primary School, Norman attended many schools in the South Wellington area. He had been in the courts for burglary on three separate occasions. In the New Zealand Truth, Issue 408, 19 April 1913 he was dubbed ‘Scambury the Scamp’.

He attested for service in 1915 just 20 years old and served at Gallipoli and later in France. He continued his rebellious conduct while in military service and often didn’t follow orders. His records show he was punished for insolence and disobeying orders, stealing an egg, and abusive language. The punishment for crimes like these could be harsh.  Norman for example received 60 days ‘Field Punishment No.1’ which typically consisted of the convicted man being secured to a gun wheel or other fixed object. He could be left there for up to two hours in 24, for three days at a time. This punishment was often known as the ‘crucifixion’ and due to its humiliating nature was viewed by many as unfair.

During World War I, 2009 New Zealanders were convicted by courts-martial many of which were sentenced to field punishment and a prison sentence. Disobedience wasn’t tolerated, misfits and those suffering battle fatigue were not treated with compassion. Norman’s final conviction was a 10 year prison sentence for deserting. He paid the ultimate price in the end. He died while in military prison from pleurisy and congested lungs on 13 January 1918.

August 1914: This month last century

98 years ago New Zealand troops land at Apia, German Samoa (29 August 1914)

Ten days after New Zealand entered the war in Europe, it sent troops to occupy German Samoa. This force of almost 1400 men was specifically charged with seizing the colony’s wireless transmitter.

The troops that landed at Apia experienced no resistance from the Germans stationed there. James Jessen, below, was a member of this ‘Samoan Advance Party’. He was later killed on the Western Front.

John Jessen, 1914, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

John Jessen, 1914, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

The day after the New Zealand force arrived, the British occupation was formally proclaimed, with a British Union Jack raised on the Apia Court House flag pole (below).

Ceremony held in Apia, Samoa, 1914, Samoa. Thomas Andrew, photographer. Te Papa

Ceremony held in Apia, Samoa, 1914, Samoa. Thomas Andrew, photographer. Te Papa

 A German colony since December 1899, German Samoa was the second of Germany’s colonial possessions to be occupied after the declaration of the European war (as WWI was first known). The poster below lists others occupied territories.

Poster, ’German Colonial Possessions’, 1915, United Kingdom. Johnson Riddle & Co. Ltd. Gift of Department of Defence, 1919. Te Papa

Poster, ’German Colonial Possessions’, 1915, United Kingdom. Johnson Riddle & Co. Ltd. Gift of Department of Defence, 1919. Te Papa

The New Zealand military administered Samoa for the duration of the First World War although, from April 1915, the number of men garrisoned there was reduced to 250. Many were over the maximum age for military service. Others, like Eric Marchant (below), were deemed unfit for service on the Western Front.

Eric Marchant, Eric, 1918, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

Eric Marchant, Eric, 1918, Wellington. Berry & Co. Purchased 1998 with New Zealand Lottery Grants Board funds. Te Papa

While Captain James Fleck was stationed there, he had a chance to collect a number of Samoan artefacts, including the adzes pictured below. This was following a suggestion by ethnographer Elsdon Best.

To’i ma’a (hafted adzes, Samoa. Te Papa

At the end of the war, New Zealand was mandated by the League of Nations to govern Western Samoa. New Zealand continued its administration when Western Samoa it became a United Nations Trust Territory in 1946. This situation lasted until 1962, when Samoa gained its independent and signed the Treaty of Friendship with New Zealand.

There are more details about the New Zealand occupation and political administration of Samoa on nzhistory.net.nz

Read more about WWI servicemen who were photographed by Berry & Co, a Wellington studio photography firm

Go to the Slice of Heaven exhibition website  to learn about New Zealand’s participation in the First World War.

Unsolved mysteries

Perhaps you know where some of the photographs below were taken?  If you can help, please note the number related to each image with your comment below. Click on the images to enable enlargement.

1) Its summer here…

Untitled (pohutukawa fringed beach), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

Untitled (pohutukawa fringed beach), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

2) North Island wharf

North Island wharf, 1960 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

North Island wharf, 1960 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

3) Is it Otago harbour? And if so, what is the view of?

Untitled, 1880s. Burton Brothers. Te Papa

Untitled, 1880s. Burton Brothers. Te Papa

4) Coastal view – probably North Island

New Zealand coastline scenery, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.
New Zealand coastline scenery, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

 

5) Pushing a car through a township somewhere in the North Island

North Island township scene - pushstarting a stalled motorcar, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

North Island township scene – pushstarting a stalled motorcar, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

6) Summer again…

Untitled (beach cove), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

Untitled (beach cove), circa 1965, New Zealand. National Publicity Studios. Purchased 2003. Te Papa

7) 19th century factory – perhaps near Dunedin?

Untitled, 1880s. Burton Brothers. Te Papa

Untitled, 1880s. Burton Brothers. Te Papa

8) A coastal Northland township

Coastal scenery, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

Coastal scenery, Northland, 1950 s, New Zealand. Eric Lee-Johnson. Purchased 1997 with New Zealand Lottery Grants Board funds. © Te Papa.

9) A real local in Rona Bay, Eastbourne – is the house still there?

Eastbourne Villa, 1921. Maker unknown. Gift of Margaret and John Christie, 1979. Te Papa

Eastbourne Villa, 1921. Maker unknown. Gift of Margaret and John Christie, 1979. Te Papa

 

10) Somewhere in the Coromandel?

Untitled, 1880s. Burton Brothers. Purchased 1991. Te Papa

Untitled, 1880s. Burton Brothers. Purchased 1991. Te Papa

11) No clues here….

Untitled, 1890s, New Zealand. Maker unknown. Purchased 1999 with New Zealand Lottery Grants Board funds. Te Papa

Untitled, 1890s, New Zealand. Maker unknown. Purchased 1999 with New Zealand Lottery Grants Board funds. Te Papa

12) Damage from the 1931 Napier earthquake – which bridge is it?

Untitled, circa 1931, Hawke's Bay. Maker unknown. Gift of Mrs J Paterson, date unknown. Te Papa

Untitled, circa 1931, Hawke’s Bay. Maker unknown. Gift of Mrs J Paterson, date unknown. Te Papa

13) Main street, Greytown?

Street scene, circa 1875, Wairarapa. James Bragge. Te Papa

Street scene, circa 1875, Wairarapa. James Bragge. Te Papa

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