The imagination of Michael Hodgkins

The imagination of Michael Hodgkins

 From Tauranga City Library’s archives

A monthly blog about interesting items in our collection

This month is the 60th anniversary of Michael Hodgkin's death, at his hut on the salt water marshes of Ōtūmoetai.

Headstone unveiled in 2009 at the Tauranga Anglican Cemetery, following fundraising by Tauranga Historical Society. 

Tauranga City Council cemeteries. B3691

The nephew of New Zealand artist Frances Hodgkins, and grandson of the founder of Aotearoa's first art gallery, Michael followed his parents to Tauranga in 1937 and was well known in the district, walking long distances to gather botanical samples.

Alister Matheson and Jinty Rorke wrote in his 'Dictionary of New Zealand Biography' entry:

Local teachers, aware of Hodgkins’s immense knowledge of nature, encouraged him to visit their schools so that children could ask him questions. They also used him in lessons to foster a tolerance of eccentrics. Seated under a tree in the playground with his black Aberdeen terrier, Angus, Hodgkins held children spellbound with the tales he told of natural history.  

 One of these students was David Saric, who collected pencil sketches and notes made by Michael and donated them to Te Ao Mārama - Tauranga City Archives (Ams 285). A delightful collection that showcases a broad range of topics.

Peacock. Te Ao Mārama - Tauranga City Libraries Ams 285/1/38

Motorbike. Te Ao Mārama - Tauranga City Libraries Ams 285/1/42

David recalled Michael's 'sparkling blue eyes', and how his ability to sketch and write notes, perhaps from a photographic memory 'inspired many kids - sowed seeds of thought'.

In the era of the first moon landing, Michael's tales of satellites in the sky and how and why they worked, must have been spellbinding for young minds.

Sketch of a satellite (not to be confused with a water cannister with spikes).

Te Ao Mārama - Tauranga City Libraries Ams 285/1/1/1

First page of Satellite notes. Te Ao Mārama - Tauranga City Libraries Ams 285/1/1/2

The accompanying seven pages of Michael's note that the satellite

...with the dog would be more a ball shaped container fitted with an air supply food supply and means of warming the dog also a parachute to bring the dog down when the Satellite has descended to near to earth...if the dog can be got back alive...

Writing on scraps of paper that were available, Michael's fifth page of satellite notes is penciled across typed columns of people notes, such as B.R. Shakes from Tauranga was previously with Downer & Co, and Palmer from Tauranga had spent five years with the Auckland Harbour Board and had nearly completed their Accountancy Proficiency.

 

Fifth page of Satellite notes. Te Ao Mārama - Tauranga City Libraries Ams 285/1/1/2

 

The value of archives can be measured in many ways, one of the almost intangible is how they connect and delight the viewer. Enjoy exploring the collection, and imagine yourself as a child in 1950s-60s Tauranga, sitting under a tree, as a man (who later inspired characters in the writings of Frank Sargeson, Ian Mune and the TV film 'The Mad Dog Gang meets Rotten Fred & Ratsguts'), sketches in pencil and tells you about tigers, turtles, koala, Robin Hood, Māori warriors, aircraft carriers and more.

 

Thanks to David Saric, and others who have shared their memories of Michael 'Spring Heel Jack'.

 

Sources

 

Kean, Fiona. (2014, June 6). Michael Hodgkins, a gentleman and a scholar. Tauranga Historical Society. taurangahistorical.blogspot.com/2014/06/michael-hodgkins-gentleman-and-scholar.html

 

Matheson, Alister and Rorke, Jinty. (2000). Biography: Hodgkins, Geoffrey Michael William. Te Ara - the Encyclopedia of New Zealand. teara.govt.nz/en/biographies/5h25/hodgkins-geoffrey-michael-william

 

Saric, David. (2009). Portfolio. Te Ao Mārama - Tauranga City Libraries, Ams 285/2. paekoroki.tauranga.govt.nz/nodes/view/113206

 

Te Ao Mārama - Tauranga City Libraries. (n.d.). Who was Michael Hodgkins? paekoroki.tauranga.govt.nz/nodes/view/118696

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Written by Kate Charteris, Heritage Specialist at Te Ao Mārama - Tauranga City Libraries

Ena Thompson, horticulturalist, writer and independent woman

A Chinese Gooseberries label advertising E. R. Thompson’s ‘Tropical Acres’ farm in Ōtūmoetai
Tauranga Heritage Collection, 0020/87, Tauranga Museum

My introduction to horticulturalist, writer and independent woman, Ena Thompson, came through a pair of print blocks and several corresponding advertising labels that are part of the Tauranga Museum collection. These ‘Tropical Acres’ labels were used on the end of trays carrying Chinese gooseberries grown, packed and transported from Ena’s family orchard in Ōtūmoetai in the 1950s.

Ena Thompson with her father John Shaw Thompson outside their Ōtūmoetai home early to mid-1920s. Te Ao Mārama - Tauranga City Libraries, Pae Korokī, Photo 04-681

John and Isabella Thompson, 11-year-old Ena and her younger brother Alwyn arrived in Tauranga in 1920 to settle on a 53-acre farm at the top of the Ōtūmoetai ridge that was purchased from Walter Bent.[i] Their home, a white weatherboard villa, was part of the deal and still stands in Longwood Lane.[ii] Less than twenty years earlier their farm had been part of a 180-acre property owned by Edward Howell and was known as ‘Willowbank Orchard’. The orchard was widely recognized for its ‘wonderful variety of fruits’ including peaches, nectarines, plums, and apples.[iii]

Thompson house, Longwood Lane, Ōtūmoetai, painted by family friend Ethel Macmillan
Te Ao Mārama - Tauranga City Libraries, Pae Korokī, Ams 80/11/55

While Ena’s father was a farmer’s son, at heart he was a journalist and editor. John continued to manage and own newspapers while orcharding, although this may have been a financial necessity as parts of the farm, then called ‘Viewpoint’, were sold in 1923 and 1936.[iv]  By the late 1920s, John was spending extended time away from Tauranga and in May 1929 was taken to court for failing to register the orchard as a commercial entity – the charge was later dropped.[v] The 30s and 40s were plagued with health issues for the Thompson family and during this period Ena managed the orchard. Her love of the country and farming is recorded in papers given to the Tauranga City Libraries archive in 1992. In her unpublished manuscript which was a ‘fictional’ account of running an orchard Ena wrote:

“The countryman learns to listen for country sounds which mark the day and measure the hours; the tui which calls at a certain hour each morning, an owl at dusk, the tame thrushes which cheep – cheep in the same spots day by day, the little mother-thrush which returns the second season and looks in the self-same spot for food for her nestlings. These are his friends, and such sounds chime and charm the hour on his clocks.”[vi]

As the farm shrank Ena diversified and it is for her venture into Chinese gooseberries (kiwifruit) that she is best known. In 1951 she contracted a Wellington firm to test the impact of cool storage on gooseberries and their findings led to Ena becoming the first person to send the chilled fruit to markets around New Zealand paving the way for overseas export. [vii]

A report completed by Townsend & Paul Ltd. in 1951 that showed the ‘Effect of Temperature on Chinese Gooseberries in Cool Store’

By the 1960s Ena’s focus was on flowers, growing daffodils and irises for the Auckland, Wellington, and Christchurch markets. At the same time the remaining orchard was subdivided, and sections were sold one by one. Ena was also engaged in a legal battle with the Tauranga County Council who wanted land for development on Hinewa and Ōtūmoetai Roads – an area that was known locally as Thompson’s Corner. As the city encroached and the last sections were sold, life in the country ended. Life was different but not quiet. Having many interests and friends beyond horticulture, Ena remained an active member of many Tauranga communities.

The corner of Ōtūmoetai Road and Hinewa Road can be seen towards the centre of this photograph. Longwood Lane is yet to be formed. The house that is circled is likely to have been Alwyn’s home next door to the family home that is obscured by trees. This photo was taken by Alf Rendell. He identified it as having been taken in 1950
Alf Rendell Collection RA031

References

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[i] Tauranga was known to the family. John’s father, Robert Thompson, settled in Tauranga in 1866. He purchased land in Gate Pa and, as part of the Militia, received confiscated land. He eventually settled in Opotiki, becoming a major land holder in that district.

[ii] 8 June 1920, Bay of Plenty Times.

[iii] 16 February 1806, Bay of Plenty Times. Howell advertised the sale of his farm in 1907 stating that it would be subdivided to suit purchases.

[iv] Te Ao Mārama - Tauranga City Libraries Ms Ams 215. John started up the Thames Courier in 1933 and was the owner editor until it folded in 1942. John’s son, Alwyn, was employed as the paper’s advertising salesman. 30 July 1923 and 11 January 1936, Bay of Plenty Times.

[v] 8 May 1929, Bay of Plenty Times.

[vi] Te Ao Mārama - Tauranga City Libraries Ms Ams 215.

[vii] Te Ao Mārama - Tauranga City Libraries Ms Ams 215.

December activities and communications

From Tauranga City Library’s archives
A monthly blog about interesting items in our collection

As Aotearoa heads towards Christmas holidays, December can be a month of parties...

Bethlehem School Christmas party - Photo gcc-5596

picnics...

Christmas day 1937 - Photo 01-259

 and parades...

Christmas procession, Katikati - Photo gca-2812

In the 1960s December was an especially busy time for the Post Office - look at all the Christmas mail in these Bay of Plenty Times photographs - do you think one of the workers will be heading for the rugby field after work?

Post Office Christmas rush - Photo gcc-5553

Christmas mail, Tauranga Post Office - Photo gca-2784

The Ethel Macmillan watercolours in Tauranga City Libraries Archives includes a Christmas card she painted of Mauao.

Mauao - Christmas card - Ms 80/11/2

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These archival items have been digitised and added to Pae Korokī. For more information about other items in our collection, visit Pae Korokī or email the Heritage & Research Team: research@tauranga.govt.nz

Written by Kate Charteris, Heritage Specialist at Tauranga City Library.

Original pencil sketch by Fred Graham, c 1985

From Tauranga City Library’s archives
A monthly blog about interesting items in our collection

Part of our work in the Heritage and Research Team at Tauranga City Libraries involves the discovery and wonder of long forgotten taonga, through our journey to document and make accessible our collections.  One such item we recently unearthed, as part of our digitisation programme, is an original sketch of a carving for Mount Maunganui Borough Council by the world-renowned carver/sculptor, Fred Graham.

Tauranga City Libraries Ams 326

Fred Graham 1928- is an acclaimed contemporary sculptor of Ngāti Korokī Kahukura descent and was born in the South Waikato town of Arapuni. Having trained to be a teacher, throughout the 1950s Graham worked as an arts adviser to Māori primary schools throughout Rotorua and Te Tai Tokerau/Northland and during 1963-1965 he was an art teacher at Tauranga Boys College.  He has many sculptures displayed in prominent public spaces in New Zealand and his work integrates Māori mythology and art practices with Western modernism.

The sketch is dated c. 1985 and resides in the Tauranga City Libraries archives, viewable by request.  The carving, which was originally created for the Mount Maunganui Borough Council, was gifted to Mount Maunganui Library when their Council amalgamated with Tauranga in 1989.  Now hung high above the circulation desk, it is a fitting home for the carving, depicting the Legend of Mauao, in a library which physically sits in its shadow.

Legend of Mauao – Photograph taken by Jody Smart, Tauranga City Libraries

In comparing the original sketch to the mural, we are afforded much more detail about the conceptual planning and information about sketches, materials used and meanings behind the artistic details.  It illuminates the ideas the artist had in mind when he was planning his artwork.

For further insight into the work of Fred Graham, there is an excellent book in Ngā Wahī Rangahau (Tauranga City Libraries) titled:  Fred Graham – Creator of Forms, Te Tohunga Auhaha (2014)  by Maria de Jong, that reveals the stories behind Graham’s life and art.  He says, “I was born in 1928 – 64 years after the Battle of Orakau. At primary and high school the stories and songs were those of Britain and Europe. While I enjoyed this dimension, I am Māori, so my art is all about reminding people that Aotearoa also has poems, stories and waiatas, things which make us different to other Commonwealth communities”.

Tauranga City Library Ngā Wāhi Rangahau Māori – 730.92 DEJO

Sources: 

Auckland Art Gallery Toi O Tamaki (27th January 2022).  Fred Graham.  aucklandartgallery.com. https://www.aucklandartgallery.com/explore-art-and-ideas/artist/2279

Pae Korokī (27th January 2022). Original pencil sketch by Fred Graham for the Mount Maunganui Library mural c. 1985 (Ams 326). https://paekoroki.tauranga.govt.nz/nodes/view/57219

The Arts Foundation Te Tumu Toi (27th January 2022). Fred. https://www.thearts.co.nz/artists/fred-graham

Maungatapu

 

Welcome Bay, Tauranga. Postcard published by F. Duncan & Co, Auckland
Collection of Justine Neal

Today Maungatapu is a quiet and pleasant suburb of Tauranga but just 194 years ago life on the peninsula was somewhat different.

September 7th 1834: missionaries A.N.Brown and William Williams visit the Maungatapu chief Nuku as part of their search for a site for the building of a new mission station. Nuku warned them not to settle at Te Papa as the iwi there was a dishonest one and would rob them of all their goods.

January 27th 1837: Maungatapu Pa attacked by an Arawa taua.

October 13th 1838: Waikato taua arrive at Maungatapu on their way to Maketu.

February 14th 1840: Arawa taua journeyed in their waka to Maungatapu. They opened fire on the Pa but no one was injured.
February 26th: another attack on the Maungatapu Pa. Three men on each side were wounded.

Maungatapu, Tauranga, Watercolour by John Kinder, 1863
Collection of Auckland Art Gallery, Ref 1937/15/45

September 18th–19th 1840: at Maungatapu, after 10 years of war, peace was made and a huge feast was given by the Maungatapu iwi.

June 1841: 114 baskets of potatoes were brought by the iwi to Te Papa in payment for Testaments.

February 14th 1849: a party from Maungatapu travelled to Te Papa to borrow pit saws so they could start erecting a chapel. Maungatapu was covered with scrub and ti tree not suitable for building and Rev Brown soon received a complaint from Otumoetai that a sacred tree belonging to them was being removed. Brown sorted the problem out and work was able to continue.

March 20th 1850: the posts for the new chapel were being set out.

Reference 

A Centennial History of Tauranga, by W.H. Gifford and H. Bradney Williams, publ. by AH & AW Reed, 1940

Arthur Dagley

Dagley building, c. 1920s, Photographer unknown
Image courtesy of Tauranga Library Ref. 99-1154

This largely self taught artist was born in Hastings in 1919 but resident in Tauranga from toddlerhood where his father had a large drapery. Arthur worked there as a young man but studied and took courses with other well known artists such as Claudia Jarman, Paul Olds, Louise Henderson, Rudi Gopas, Garth Tapper and Colin McCahon. 

He spent at least 3 decades as a professional artist, first exhibiting in Elizabeth St in 1966 and the Hamilton Art Gallery the following year.

Tauranga port scene, by Arthur Dagley
Private Collection

One of NZ’s most underrated painters, possibly as a result of his loyalty to this city. Dagley had his own private gallery but it was his vision to see Tauranga with a pubic facility. Ironically there was a posthumous exhibition and sale of many of his works in the Tauranga Public Art Gallery many years after his passing in 1998.

Arthur had a love affair with the port and shipping as a subject but also produced landscapes, seascapes and figures. A lot of his work was rather abstract and he also used mixed media.

Tauranga harbour scene, by Arthur Dagley
Private Collection

Dagley was a prolific artist whose style was forever developing and changing. During his full-time painting career of three decades, he exhibited in approximately 50 solo exhibitions and numerous group shows, and was a 1968 Benson & Hedges Art Award finalist and recipient of the National Bank Art Award in 1973. Examples of his work are held in several collections including the Dunedin Public Art Gallery.

He was an elder of St Peter’s Presbyterian Church and contemporary and friend of other well known residents such as Lynne Harpham (nee Christian), Alf Rendell and Duff Maxwell.

Charles Spencer (1854-1933) – Part IV – Colour Portraits

Hand-coloured photographic enlargement of a portrait of Rev. A.N. Brown
by the Universal Copying Company of San Francisco (Charles Spencer, New Zealand Agent)
Image by Brett Payne, reproduced courtesy of Elms Collection Ref. 1935.0016

This coloured portrait of Reverend Brown hangs in the dining room at The Elms, Tauranga, on the left-hand wall as you walk in through the door from the hall. Superficially it looks rather like a painting, but on closer examination, the face and hands have a more photographic feel to them. This pose is one of several well-known images of Brown, and is reproduced on Tauranga Library’s Kete page [1].

Reverse of Brown portrait mount
Image by Jo-Anne Knowles, reproduced courtesy of Elms Collection Ref. 1935.0016

A clue to the portrait’s origin is revealed by the above photographs, taken by the late Jo-Anne Knowles when she opened the back of the portrait for conservation in August 2005 [2]. A blue stamp identifies it as having been produced by the Universal Copying Company of San Francisco, California, “Manufacturers of India Ink, Berlin Finish, Crayon, Pastel and Oil Portraits, also Cabinets and Cartes de Visites.”

Detail on reverse of Brown portrait mount
Image by Jo-Anne Knowles, reproduced courtesy of Elms Collection Ref. 1935.0016

Local photographer Charles Spencer had announced in August 1880 that he had been appointed agent for the Universal Copying Co., and was receiving orders. He and his partner Henry Clayton spent that summer soliciting orders for copying, along with their normal photographic work, throughout the Bay of Plenty and Thames region:

Wanted known, that Mr Charles Spencer, of the Thames, has received from F.F. Wells, the Universal Copying Co., San Francisco, Cal., the General Agency for receiving orders for Painting Portraits from all kinds of Family Photos. We guarantee perfect satisfaction. Do not fail to see his samples, for they are of the finest of arts. N.B. – Mr Spencer, or his agent, will visit every town in the North Island. [3]

The residents of Opotiki are informed by advertisement appearing elsewhere, that Mr Charles Spencer or Mr Henry Clayton will visit Opotiki early in the new year with samples of the new American Portrait Pictures. [4]

In early December they received what was probably the first batch of orders back from San Francisco, the steamship usually taking three to four weeks for the journey [5]:

We had occasion a few days ago to notice some specimen pictures of American Art which were shown in our office by Mr Charles Spencer. We paid a visit yesterday to the neat studio, which he has lately erected at the rear of the chemist's shop, where we had the pleasure of inspecting a batch of pictures which had been unpacked for examination before delivery to their respective purchasers. These were not sample pictures but the bona fide merchandise of the House represented by Mr Spencer, and as the completed order will bear a close inspection side by side with the sample picture it is evident that the Universal Copying Company of San Francisco mean doing a trade in New Zealand. We congratulate Mr Spencer on the successful prospects which this agency gives to his ordinary business, as we are quite sure that if the House in 'Frisco continue to turn out work equal to the present sample, a large development awaits their future trade in New Zealand. Our friend Mr Henry Clayton has been appointed general agent for the Colony. [6]

Archdeacon A.N. Brown portrait (detail)
Image by Jo-Anne Knowles, reproduced courtesy of Elms Collection Ref. 1935.0016

This favourable coverage in the Bay of Plenty Times probably resulted in a rush of new orders. By mid-autumn another batch of portraits had arrived and were being displayed to good effect in the window of Spencer’s chemist shop on the Strand. Included in these was the handsome portrait of Archdeacon Brown which appears to have greeted visitors to The Elms ever since:

We have seen a number of pictures by the San Francisco Picture Company, brought here by Mr Henry Clayton. The pictures are mostly those of local persons, some of them being remarkably well executed. Among the more noticeable of them we may mention those of the venerable Archdeacon Brown, and Mr John Conway. They are all taken from photos by Mr Charles Spencer. [7]

Archdeacon A.N. Brown, c. 1879-1880
Cabinet card portrait by Hemus & Hanna, Queen Street, Auckland
Image courtesy of The Elms, Ref. 1972.0308

Actually, the last part of this editorial wasn’t quite accurate. In the case of Brown’s portrait at least, it was copied/enlarged from a cabinet card portrait, shown above, taken at the studio of the Auckland firm, Hemus & Hanna, probably 1879 or 1880 [8] [9] [10].

Spencer continued to advertise this service until July 1882, although no further accounts of them appear in the local newspapers. Between 1879 and at least 1882 the Universal Copying Co. had a network of agents as far afield as Oregon [11], Hawaii [12] and New South Wales [13]. After this date it seems likely that rapid advances in technology allowed individual studios to create their own enlargements more cheaply and quicker with enlarging cameras, employing local artists to add the finishing artistic colourisation by hand.

References

[1] McCauley, Debbie et al (2016) Elms Mission House, Tauranga, on Tauranga Memories Kete, http://tauranga.kete.net.nz/tauranga_historical_society/topics/show/548-elms-mission-house-tauranga
[2] Knowles, Jo-Anne (2005) The Elms Collection Catalogue entry, Ref. 1935.0016, dated 10 Aug 2005, retrieved 18 Oct 2019 by Andrew Gregg
[3] Advertisement, Thames Advertiser, Vol XIII, Issue 3694, 31 Aug 1880, p2 (on https://paperspast.natlib.govt.nz)
[4] Bay of Plenty Times, Vol IX, Issue 982, 30 Dec 1880, p2
[5] Whitehouse, Olwyn (1998-2019) Transpacific: San Francisco - New Zealand, on New Zealand Bound, https://sites.rootsweb.com/~nzbound/sf.htm
[6] Bay of Plenty Times, Vol IX, Issue 974, 9 Dec 1880, p2
[7] Bay of Plenty Times, Vol X, Issue 1026, 12 Apr 1881, p2
[8] Hemus & Hanna (Auckland) fl 1879-1882 : Cabinet card Portrait of Archdeacon A N Brown. Ref: PA3-0103. Alexander Turnbull Library, Wellington, New Zealand. https://natlib.govt.nz/records/23050598
[9] Hemus & Hannah, on Early New Zealand Photographers and their successors, http://canterburyphotography.blogspot.com/2012/01/hemus-hanna.html
[10] Hemus & Hannah, Auckland Library Photographers Database, http://www.aucklandcity.govt.nz/dbtw-wpd/photographers/basic_search.htm
[11] Oregon Sentinel, Jacksonville, Oregon, January 14, 1882, https://oregonnews.uoregon.edu/lccn/sn84022657/1882-01-14/ed-1/seq-1/
[12] The Hawaiian Gazette, Honolulu, Hawaii, Vol XV, No. 18, 30 Apr 1879  https://evols.library.manoa.hawaii.edu/bitstream/10524/2269/1879043001.pdf
[13] Portraits of William Neild Philips & Margaret Brunker of Newcastle and Sydney, New South Wales, Web page of Margaret Taylor, https://sites.rootsweb.com/~mtaylor/p21philipsbrunker.htm

Oleographs in Brain-Watkins House

Oleograph, Brain Watkins House

An oleograph was the precursor to the modern mass production of colour reproductions, and was the most popular method of colour reproduction until the end of the nineteenth century, when more efficient methods of colour multiple reprints were devised. It was invented by Alois Senefelder in Germany in 1798.

The technique was in use in England the 1830s, but was not used commercially until thirty years later. A chromolithograph was prepared by hand and colour applied; it was then printed on to cloth, to imitate an oil painting. A stone for each colour required was prepared, and  one colour over another was applied, sometimes using up to thirty stones for a single print. (1)

Oleograph, Brain Watkins House

There are two examples of Oleographs in the parlour at Brain-Watkins House, one on either side of the fireplace. Each depicts a man and a woman dressed in garments of circa 1874, and are possibly the oldest pictures in the House collection. They were valued in 1979 at $250.00.

When first invented, oleographs sold for under $10.00 American, and were advertised as ‘the democracy art for Middle class families.” Louis Prang of Boston became a very successful publisher of oleographs after the American Civil war. He produced still life, landscapes and classical subjects, and he also copied famous paintings, which were well received. He also commissioned artists to do work for him, and the product of their labour was sold from door to door. The most valuable oleographs were those specially commissioned and if in their original frames, are still reasonably valuable.

Oleographs can be identified by the publishers label pasted on the back of the picture. The labels on the ones owned by the Tauranga Historical Society have been covered by layers of paper pasted over them to protect the picture, and should be revealed when the works are able to be restored and reframed in their original frames. Today, oleographs have been forgotten, but they are  interesting prints and give us a glimpse into the culture of the late nineteenth century.

(1) Encyclopaedia Britannica

Painting of St Peter's Anglican Church by Ella Thompson

St Peter's Anglican Church by Ella Thompson
Photograph by Brett Payne

This painting of Katikati's St Peter's Anglican Church was done by Ella Thompson in 1984.  Missing for a while, it was rediscovered by Don Wallis in the ceiling of the church building. It had to be cut into two pieces to be removed, but was restored and has been on display in the Katikati Heritage Museum since it opened in 2000.  Although often described as a mural, this is not strictly accurate since it was painted on a large canvas rather than directly onto a permanent surface.

Painting of  on display at the Katikati Keritage Museum, June 2014
Photograph by Brett Payne