Showing posts with label Downtown. Show all posts
Showing posts with label Downtown. Show all posts

Friday, 19 December 2025

2025 - A Good Year for Local Histories

 

A few of this year’s local histories

Two hundred or so contemporary tales of past and present, a selection of Tommy ‘Kapai’ Wilson’s newspaper columns written for the Bay of Plenty Times since 2004, and put into a handsome volume entitled Paperboy Writer, starts this review of the efforts of local writers to evoke the history of Tauranga Moana and its surrounds.  Paperboy Writer was published in November 2024, but this review stretches a couple of points, in time and space, in order to make a larger one:  the astonishing variety of history books concerning the Bay of Plenty – east and west - that came out in 2025.  All of those described here are in the Tauranga Library: ask at the Reference Room if you can’t find a borrowing copy.

‘Variety’, in this discussion, takes a number of forms.  There is not only a breadth of approach and tone, ranging from Tommy Wilson’s (mostly) cheerful nostalgia to the balanced formality of Trevor Bentley’s prose in Te Kaewa, The Wanderers [1] and the almost lyrical intertwining of te reo and English in Tame Iti’s compelling autobiography.  We are also offered some very fresh approaches to the way history can be written – Sarah Ell’s excursions into imagined thoughts of The Elms’ inhabitants, for instance; or the very practical, informative, and carefully ordered and illustrated lists that form the backbone of Hatu Hone – 120 years of St John’s in Tauranga.

There are hidden gems to be found as well.  Robert Craig Scott’s prodigious efforts to track and trace the changes in neighbourhoods that have now become Tauranga’s suburbs are hugely useful to those researching past lives in close and often unexpected detail.  Bob published the second edition of Mount Maunganui, A History of the Land and Early Settlers from 1864 in November of this year.  As if this was not enough, he also managed to produce the ninth volume of his series: Otumoetai, A History following confiscation in 1864.  Although my editorial eye regrets the lack of macrons in the text, I was well impressed that Bob had found a first-person account, an article from the Bay of Plenty Times of 8 June 1882 and quoted in full on p. 138, that illustrated the poignancies of settlement in transition:

… most of the other trees were planted by the natives.  Mr Matheson has erected a dairy under the willow trees.  On the side of the house is a very old titoki tree.  The natives left this Pa at the outbreak of the late Maori war and burnt all their whares before leaving.  Since then, the old Catholic Church has been left to go to ruin.

 The titoki tree can be identified in the photos Bob provides and – as visitors to the Otūmoetai Historic Reserve can see for themselves – still stands [2].  Bob has done for his beloved suburbs what I would love to see done for Te Puna: setting out the land use changes at a level of detail that makes present recognition easy and delightful.

Communities are another theme that gets varied treatment from our 2025 authors.  Raewyn Otto, née Phare, has significantly revised and augmented the photocopied booklet she produced to mark the 75th anniversary of the establishment of her faith community.  Celebrating 100 years: The Seventh-day Adventist Church in Tauranga 1925-2025 is now a large-format hardcover volume, lavishly illustrated in full colour, assembling personal testimony, autobiographical accounts of the church’s families – the Ashtons, the Goldstones, the Maunders and more – their poetry, a short story, their performances of The Road to Bethlehem; and enough institutional history to help us understand how a modern-day church establishes itself in a society where the faith traditions that came with nineteenth-century settlers were already well in place.

Kathy Wills’ Tales of Old Katikati, third edition, is another reworking, based on original author Elsie G Lockington’s reminiscences and stories of people she clearly knew very well.  Its sixty pages have a conversational quality, often loaded with personal and place names; it is occasionally vague as to detail, although Elsie makes it clear what the impacts of dreadful events, such as the influenza epidemic of 1915, can be on a tight-knit town and country society.  The tone is invariably polite.  It is, however, worth reading to the very end where, at a safe distance, the third-generation editor lets us know that even Elsie had personal opinions.

Someone looking for a more comprehensive – I would go so far as to say definitive – history of Katikati will find it in Katikati, From First Peoples to the Present Day/Ngā Reanga Tangata ki Katikati, co-authored by Francis Young, Sandra Haigh, Pauline McCowan and Chris Bedford and produced in time for the 150th anniversary of the arrival of the Ulster settlers in September 2025.  That well-worked aspect of Katikati’s history is, however, deliberately downplayed in favour of settlement patterns since 1300 CE and Katikati’s development since 1940.  “We had to make choices,” the authors say in their preface, “to keep the book manageable; not everyone may agree with those.”  This solid and readable book has the same self-confidence that is shown in the small rural settlement it describes.

One significant element stands out in reviewing the books mentioned in this article: the choice and quality of the images used.  Francis Young had a busy year.  He and Di Logan put together an astonishing book, Pictures from the Ulster Plantation: Katikati 1898-1900, of the very lovely photographs of Emily Surtees.  Her album records the homes and people of the Ulster families that George Vesey Stewart somehow persuaded and energetically led to live on the other side of the world. These evocative images have been carefully selected, even more carefully digitally enhanced, and are laid out in such a way that each monochrome page is beautiful in itself.

Quite another, just as compelling, approach is taken by Sally Pratt with her publication, Tauranga: Just scratching the surface.  As every successful publisher knows, you can judge a book by its cover: Sally’s lively account of interesting and exciting episodes of our town’s past is accessible, impressively researched, packed with Tauranga’s more unusual stories and a quantity of spectacular illustrations, almost all of them colourised using AI and up-to-the-minute digital publishing technology.  This is the perfect way to interest a younger reader – a highly pictorial presentation showing the layers of history in our place, with enough text to explain how streets and shorelines change, and who was involved in changing them.


No review of the histories published this year would be complete without acknowledging the two mainstream books shown above.

Sarah Ell gave a talk to Tauranga Historical earlier this year.  The Spirit of a Place celebrates the status of one of Aotearoa New Zealand’s significant heritage sites, and Sarah explained how she steered a careful course through her chapters.  She set herself to meet the demands of the expected readership of her book: serious scholars, heritage enthusiasts, and of course the tourists who flock to The Elms from the cruise ships and elsewhere, seeking something that will mark a memorable experience rather than - maybe as well as – explain the background to a distinguished building and the family that made it their home for so long.  Glossy, with sensitive photographs and even more sensitive side-stories, the book is a triumph by any standard, and the writing of a quality that shows even a well-trodden tale has fresh insights to uncover.

Tame Iti’s autobiography, Mana, is a quality publication of a very different kind. Beautifully designed, with lots of white space on its matt-paper pages, it has a congenial font that helps make the considerable amount of te reo, although not invariably translated, adequately understandable in context.  The overall tone of the book, as might be expected of its subject, is one of drama in both the narrative and the images.    It is also sober and reflective, the story of an examined life, one we are privileged to see too. 

What a vintage year 2025 has proved to be for us here in the Bay of Plenty.  Local history really does enrich our lives and the way we deal with our present day.  We must be grateful to all our local historians who take the time, and expend prodigious effort, to help us understand how things were and are now.  Tame Iti’s approach, in connection with the Waitangi Tribunal’s hearings of the Tūhoe claims, sums it up:

…we came up with a way to convey that history.  Instead of a lecture about colonization and confiscation, we would paint the picture of the experience of our tīpuna.  We reminded ourselves: Imagine being in that space.  What are we thinking? [3]

 [1] We published a description of Te Kaewa/The Wanderers on this blog on Tuesday 28 October

[2] I am indebted to Harley Couper of the Reference team at Tauranga Library for helping me to find this on the 3D Tauranga Web Viewer, https://www.tauranga.govt.nz/council/maps

[3] Tame Iti, Mana, p.201

Author and images: Beth Bowden



Saturday, 17 August 2024

A Trip Down Memory Lane in the Tauranga CBD

Guest article by John Green.

Back in the 1960s I was a schoolboy with a bicycle and loved to explore downtown Tauranga. There were a large number of motor garages, service stations and wreckers, not to mention a blacksmith’s shop, in what we now think of as the CBD. These are the main ones that I remember. In those times all cars were either from the UK or USA. To buy a new car one had to have access to overseas money and there were long waiting lists for new cars.

Maxwell Motors Ltd, Shell Service
Detail of ‘Rose gardens in Strand weeded by Mr W. Jones’, publ. Bay of Plenty Times, 8 October 1964
Tauranga City Libraries, Pae Korokī Ref. gca-7522

·         Maxwell Motors, corner Harington Street and The Strand. Agents for Singer, Citroen and Jaguar cars.

·         C.F. Washer, corner of Hamilton Street and Willow Street. Agents for Chevrolet, Vauxhall and Bedford.

Teasey’s Buildings, Devonport Road, Tauranga, 1911
Unidentified photographer
Tauranga City Libraries, Pae Korokī Ref. 99-1142

·         Teaseys Garage, Lower Devonport Rd, Eastern side.  (Building still there but now shops)

George Mason Motors, cnr Elizabeth/Durham Streets, Tauranga, undated
Unidentified photographer
Tauranga City Libraries, Pae Korokī Ref. 02-299

·         George Mason Motors, originally in Grey Street then moved to Elizabeth Street/Durham Street corner. (building still there)

·         Dixie Dean’s Motorcycle shop, where Farmers Trading have just built Elizabeth Towers.

·         F.N. Christian’s Garage, firstly in Lower Devonport Rd, later Upper Devonport Rd , west side, Ford  cars, Fordson tractors.  Became Tappenden Motors in 1957.

 

Tauranga Motors, Grey Street, Tauranga, 1950
Unidentified photographer
Tauranga City Libraries, Pae Korokī Ref. 04-190

·         Acme Motors (later Tauranga Motors), Grey Street, Studebaker cars and Ferguson tractors.

Advertisement from NZ Post Office Telephone Directory, Bay of Plenty & Rotorua Distructs, p25
Collection of John Green

·        Phil Prime had a workshop and car rental business in Grey Street and it went right through to Durham Street.

·       Cameron Motors, Grey Street, specialised in used cars

·       Sam Snowden’s Service Station, cnr Spring Street/Durham Streets, also sold International trucks and tractors

·       Smith’s Scooter House, Durham Street.

There were at least two car wrecking yards, one in Grey Street and the other on Cameron Road opposite St Peters Church. Later the Austin agents Bay Motors was built there.

In the course of this trip down memory lane I have discovered many older images of some of these businesses, and these will form part of a future blog.

Friday, 25 August 2023

Tauranga in Colour - 1900s to 1970s

Hand-coloured Photography in Tauranga Moana
Part 2 - 1900s to 1970s (contd. from Part 1)

Town Wharf, Tauranga, Tourist Series (931), c. 1910s-1920s
Hand-tinted real photo postcard by Henry Winkelmann, Auckland, published by Frank Duncan & Co.
Courtesy of Tauranga Heritage Collection, Ref.
0302/15

The advent of picture postcards in New Zealand from 1897 heralded a huge opportunity for photographers. Lithographically printed cards based on engravings were soon replaced by colour views based on photographs, which could be printed for very modest cost in Germany. Kodak and other manufacturers started supplying paper specifically designed for postcards in the early 1900s, giving rise to a plethora of real photo postcards (RPCs) that could be hand-tinted with watercolours. The outbreak of war interrupted supplies of cheap lithographically printed cards, and the hand-tinted RPCs quickly became much more common while other printers struggled to keep up with demand and to compete pricewise. [13][14]

Herries Arch, The Strand, c. 1941
Hand-coloured silver gelatin print, by unidientified photographer/colourist/publisher
Courtesy of Tauranga City Libraries, Pae Korok
ī Ref. Photo 03-577

Between the wars, by which time the postcard-collecting craze had abated somewhat [15], postcard publishers started to produce sets of smaller scenic prints packaged in tourist-oriented envelopes. These were often deckle-edged, and some were hand-coloured, like this slightly garish view of the familiar Herries Arch.

The Strand Gardens, Tauranga, c. 1935-1936
Full-plate mounted photographic print by Alfred H. Rendell, hand-coloured by Marjorie West
Courtesy of Tauranga Heritage Collection, Ref.
0087/10

Alf Rendell produced many local street views before and after he took over his father’s business in 1938, including this view of The Strand Gardens, easily dated by the late 1930s cars parked along the street. As with all of his coloured photos, it was expertly finished by his older sister Marje. [16][17]

Mauao and Mount Maunganui township from Hopukiore (Mt Drury), c. 1946-1947
Hand-coloured postcard print by unidentified photographer/colourist, publ. as a calendar for 1948
Courtesy of Tauranga City Library, Pae Korok
ī Ref. Photo 03-462

Of the many postcard views existing of Mount Maunganui at the time when it was a sparsely populated community of holiday cottages, this hand-coloured view taken before 1948 seems to capture the vibe well. It was published as a calendar, with a “Greetings” message suggesting it may have been aimed at the summer tourist market.

Aerial view of Tauranga’s Central Business District, May 1947
Photographed and hand-coloured by Whites Aviation Ltd., Wellington
Courtesy of Tauranga City Libraries, Pae Korok
ī Ref. Photo 21-1327

The post-World War II years saw a boom in aerial photography, largely driven by the innovative firm of Whites Aviation Ltd, which almost single-handedly developed a new market for enormous coloured aerial landscape prints. They became so popular that, in the words of Hamish Keith, “the images … of mountains, rivers, farms and towns were a near-ubiquitous presence: in living rooms, boardrooms, waiting rooms and tea rooms.” [18][19][20] This view of downtown Tauranga is one of several that have hung in the Tauranga council offices over the last few decades, and now resides in the Library’s archived art collection.

Omokoroa Point, Tauranga, c. 1950s
Half-plate mounted photographic print by Alfred H. Rendell, hand-coloured by Marjorie West
Courtesy of of Robin Hicks, private collection

Alf Rendell joined the fray too, hiring the Tauranga Aero Club’s Tiger Moth and capturing views of a rapidly growing post-war Tauranga Moana, many of which have been reproduced in his and Fiona Kean’s book, Rendell’s Tauranga. [21] Occasionally he would receive commissions, such as this one from Alan Unsworth a developer who subdivided land in Omokoroa in the 1950s and provided framed hand-coloured aerial prints to all those who purchased plots. [22]

Oblique aerial photograph of house in Moffat Road, Bethlehem, c. mid-1950s
Hand-coloured silver gelatin print by unknown photographer and colourist
Courtesy of John & Julie Green, private collection

More specific low-level aerial shots were commissioned too. When John and Julie Green purchased their property on Moffat Road, Bethlehem in the late 1970s they found this hand-coloured photograph of the house and garden, taken post-1952, probably not long after it had been moved into the site, hanging on the wall and there it still hangs today.

Jean Cole née Henderson as bridesmaid for her sister’s wedding, 16 October 1954
Photographed and hand-coloured by Rupert Connell Studio, Devonport Road, Tauranga
Courtesy of Jean Cole, private collection

Studio photographers were still marketing hand-coloured black-and-white portraits in the late 1940s and 1950s. Lissa Mitchell illustrates her recent work on women photographers [23] with fine examples from the Iva Gordon Studio in Masterton (c. 1940-1945), the Swainson Studios in New Plymouth (c. 1947), the Nevill Studio in Dunedin (c. 1951), the Bettina and Margaret Lea Studios in Auckland (c. early 1950s). To this we can add Rupert Connell’s studio in Devonport Road, Tauranga [24] who specialized in bridal portraits. Jean Cole had her portrait taken there in 1954 and recalls:

“He had this photo in his display window for months, and I couldn't afford to buy it. My grandfather gave it to me as part of my wedding gift. It was taken on 16 Oct 1954 when I was bridesmaid for my sister.”

Mount Maunganui, N.Z., c. 1960s
Hand-coloured postcard by N.S. Seaward’s Studio, Broad Bay, Dunedin
Courtesy of Tauranga City Libraries, Pae Korok
ī Ref. Photo 99-027

The availability of inexpensive, and increasingly good quality, offset colour lithographic printing from the 1950s eventually led to the demise of hand colouring of postcards, but a few firms continued to produce them in moderate number into the 1960s, most notably the National Publicity Studios and N.S. Seaward.

Cinema advertising for Chas. Hartley, Draper and Munro Motors, c. 1920s
Hand-coloured lantern slides by Swinson and Barclay
Courtesy of Tauranga Heritage Collection, Refs.
0954/05/14 and 0954/06/4

Perhaps the last significant use of hand-coloured photography in New Zealand was in the form of cinema advertising slides. Although these two particular examples appear to be from the inter-war period, it is evident from the selection of lantern slides held by the Tauranga Heritage Collection that their use continued well into the 1970s.

This article, in two parts, has been written as part of a much larger and longer-term project researching the development hand-coloured photography in New Zealand. If readers have examples of such photos in their homes or family archives, or know of others who might, and are interested in sharing them, I’d be very keen to hear from you. Please email me at gluepot@gmail.com.

References

[13] Main, William (2007) Send Me a Postcard: New Zealand Postcards and the Story They Tell, Craig Potton Publishing, Nelson, 140p

[14] Haks, Leo, Dallimore, Colleen & Jackson, Alan (2015) Post Marks: The Way We Were – Early New Zealand Postcards, 1897-1922, Kōwhai Media, Auckland, 327p

[15] Main, William & Jackson, Alan (2005) Wish You Were Here: The Story of New Zealand Postcards, New Zealand Postcard Society, Wakefield, 126p

[16] Payne, Brett (2023) Tauranga Photographers: Alf Rendell, Tauranga Historical Society blog, 20 January 2023

[17] Kean, Fiona (2013) Alf Rendell, photographer, Tauranga Historical Society blog, 2 August 2013

[18] Alsop, Peter (2016) Hand-coloured New Zealand: The Photographs of Whites Aviation, Potton & Burton, Nelson, 417p

[19] Alsop, Peter (2020) Wonderland: The New Zealand photographs of Whites Aviation, Potton & Burton, Nelson, 175p

[20] Keith, Hamish (2016) Introduction to Hand-coloured New Zealand: The Photographs of Whites Aviation, by Peter Alsop, Potton & Burton, Nelson, p7

[21] Rendell, Alf & Kean, Fiona (2015) Rendell’s Tauranga: Historic Tauranga from Above, Paper Plus Tauranga, 156p

[22] Robin Hicks, personal communication, July 2023

[23] Mitchell, Lissa (2023) Women and Photography in Aotearoa New Zealand, 1860-1960, Te Papa Press, Wellington, 368p

[24] Payne, Brett (2021) Rupert Connell, Tauranga Historical Society blog, 25 June 2021

Friday, 18 August 2023

Early Tauranga in Colour – 1850s to 1900s

Hand-coloured Photography in Tauranga Moana
Part 1 – 1850s to 1900s

Portraits of Rev. Andrew and Euphemia Maxwell with children, c.1859
Twin hand-coloured cased ambrotypes, taken by unidentified photographer in Victoria, Australia
Courtesy of The Elms Foundation Image Collection, Pae Korok
ī Ref. 2008.003

Almost as soon as photography had been invented, the drawbacks of only being able to produce black-and-white images were being addressed by hand-colouring of the photographs, initially using dry powdered pigments, later with watercolour and oil-based colours. The earliest hand-coloured photographs to appear in New Zealand were probably daguerreotype and ambrotype portraits of family members taken elsewhere. Euphemia Maxwell brought the delicately coloured ambrotypes of her family, taken around 1859 in Victoria, with her when she emigrated to Wellington in 1865, and then to Tauranga in 1887 upon inheriting The Elms from her sister Christina Brown, widow of Rev A.N. Brown. [1] Their clothes and the tablecloth have been embellished with delicate red and blue washes, a slight blush has been added to the cheeks, and tiny spots of gold leaf have been used to highlight Andrew’s watch fob.

Portrait of Margaret Torrens Stewart, c. 1860s
Copy of hand-coloured albumen print by unidentified photographer, Co. Tyrone, Northern Ireland
Courtesy of Tauranga City Libraries, Pae Korok
ī Ref. 04-095

This hand-coloured portrait of Margaret, wife of Katikati settler George Vesey Stewart, was taken in Northern Ireland perhaps a decade before their arrival in 1875. [2] It reveals both a skilled photographer and a sensitive colourist with a touch for subtle shading.

Portrait of Rev. Alfred Nesbit Brown, c. 1872-1873
Hand-coloured carte de visite print taken by George Elgin Page, 256 Queen Street, Auckland
Courtesy of The Elms Foundation Image Collection, Pae Korok
ī Ref. 2008.0046

Reverend Alfred Brown himself was a frequent visitor to photographic studios, and in late 1872 or early 1873 had a portrait taken at the premises of George Page at 256 Queen Street, Auckland. [3] Supplementary flesh tones and grey shadows in the hair were roughly added, perhaps to compensate for over-exposure and poor contrast in the albumen-based carte de visite print.

Portrait of Rev. Alfred Nesbit Brown, taken by Hemus & Hanna, Auckland, c. 1879-1880
Hand-coloured solar enlargement of cabinet portrait by Universal Copying Co., San Francisco, 1881
Courtesy of The Elms Foundation Collection, Ref. 1935.0016

The late 1870s brought an increasing availability of solar enlargements to New Zealand. In 1880 Tauranga photographer Charles Spencer was appointed agent for the Universal Copying Co. of San Francisco, who offered hand-coloured enlargements copied “from all kinds of family photos.” Brown commissioned an impressive enlargement of a cabinet portrait originally taken at Hemus & Hanna’s Auckland studio a year or two earlier. [4] It seems likely that a handsome coloured portrait of Spencer’s mother-in-law Jane Sellars née Faulkner, similarly matted and framed, was also produced using the services of the Universal Coyping Co.

Carte de visite portraits of Annie Meers, c. 1881-1883
Photographed by Clifford & Co., hand-colouring attributed to Annie Meers
Courtesy of
Tony Rackstraw (left) and Emily Campbell (right), private collections

Thomas and Annie Price arrived in Tauranga from Masterton in 1897 and opened a studio on The Strand, offering “copies, enlargements and all kinds of portrait work finished on the premises.” [5][6] Although theirs was a prolific studio, no coloured portraits from the Tauranga period have yet been located. However, Annie née Meers is known to have coloured photographs for the studio in Masterton, and probably trained as a retoucher and colourist at the studio of Clifford & Co (under the tutelage of Janet Clifford) in Dunedin, where the carte de visite portraits shown above were produced, and with her brother Robert Walter Meers in Christchurch. [8][9]

Group portrait of unidentified women wearing kaitaka and korowai, c. 1898-1905
Hand-coloured half-plate print (mounted) by Mary Humphreys, Tauranga
Courtesy of Tauranga City Libraries

Mary Humphreys, widow of Tauranga barrister Thomas Mace Humphreys, probably started taking photographs soon after her husband’s death in May 1898, as one of several income-generating projects which included opening a boarding house and becoming an insurance agent. In November 1899 she opened “a studio on The Strand to supply photographic Christmas card and photos of local scenery, Maori life, etc. … Prices from 6d to 1s 6d each.” [10][11] She also produced larger format prints, and offered hand-coloured versions, presumably for an additional premium.

Tauranga waterfront, c. 1890s-1900s, and a Bay of Plenty coastal view, c. 1920s-1930s
Lantern slide views by James Valentine & Sons (Scotland) and Bernard Sladden (Tauranga)
Images courtesy of eBay (left) and Tauranga City Libraries, Pae Korok
ī Ref. Photo bs-673

In the 1890s and early 1900s public lantern slide shows, which had been an intermittently popular form of entertainment for several decades, underwent a resurgence, with numerous monochrome and hand-coloured versions of New Zealand views being sold by both local and international publishers. Judea resident Bernard Sladden was an amateur photographer who created and coloured his own slides taken on trips in his yacht Severn around the Bay of Plenty coast, for shows which he presented to local audiences in the mid-1930s. [12]

Hand-coloured stereocard view, “Feast of Chrysanthemums” in Japan, c.1890s-1900s
Photographed by B.L. Singley and published by the Keystone View Company, U.S.A.
Collection of Western Bay Museum

Together with lantern slides, stereocards were imported in large numbers from international publishers, who produced enormous catalogues of views taken by an army of photographers worldwide. This example from Western Bay Museum which introduced the delights of Japan in spring time to a local family is typical of those owned and viewed in many private households in the first couple of decades of the twentieth century.

Portraits of unidentified woman (left) and Maysie Cussen in gavotte dress, c. 1890s-1900s
Hand-coloured lantern slides, probably done by amateurs
Courtesy of Tauranga Heritage Collection, Refs.
0181/07/9 and 0181/07/10

By the late nineteenth century sets of colours and brushes were widely available for purchase, enabling amateur photographers to colour their own photographs and, if the many rudimentary efforts seen of RPCs and lantern slides are anything to go by, it was a popular pastime.

Hunting party in the launch Sybil return to the wharf at Tauranga, c. 1914-1915
Hand-coloured silver gelatin print by unidentified photographer and colourist
Courtesy of Tauranga City Libraries, Pae Korok
ī Ref. Photo 12-034

Some, however, gained a significant degree of proficiency. This coloured view of a fowling party returning home by launch after a successful hunt around 1914-1915 shows a considerable level of skill, but may have been professionally commissioned.

Part 2 (to follow next week)

This article has been written as part of a much larger and longer-term project researching the development hand-coloured photography in New Zealand. If readers have examples of such photos in their homes or family archives, or know of others who might, and are interested in sharing them, I’d be very keen to hear from you. Please email me at gluepot@gmail.com.

References

[1] Moffat, Kirstine (2015) The Piano at the Elms, in The Lives of Colonial Objects (eds. A, Cooper, L. Paterson & A. Wanhalla), Dunedin: Otago University Press, pp. 81-86

[2] McCauley, Debbie (2022) Margaret Torrens Stewart (née Miller) (1835-1914), Debbie McCauley, Author blog

[3] Giles, Keith (?) Tokatoka Photographer, George Elgin Page, New Zealand Memories, p.8-10

[4] Payne, Brett (2019) Charles Spencer (1854-1933) – Part IV – Colour Portraits, Tauranga Historical Society blog, 15 Nov 2019

[5] Payne, Brett (2014) Visiting Price's Corner Studio on The Strand, Tauranga Historical Society blog, 3 Oct 2014

[6] Price, Thomas Edward (1898) Advertisement. Photography. T.E. Price’s Photographic Studio. The Bay of Plenty Times, Vol. XXIV, Issue 3670, p 3, 9 Mar 1898, on PapersPast

[7] Anon (2016) Masterton lensman at heart of scandal, Wairarapa Times-Age, 23 Mar 2016, on New Zealand Herald web site.

[8] Rackstraw, Tony (2020) Robert Clifford, on Early New Zealand Photographers and their Successors (blog)

[9] Rackstraw, Tony (2008) Robert Walter Meers, on Early New Zealand Photographers and their Successors (blog)

[10] Anon (1899) Untitled article, The Bay of Plenty Times, Vol. XXIV, Issue 3913, p. 2, 18 October 1899, on PapersPast

[11] Humphreys, Mary (1899) Advertisement. Photographic Christmas Cards – Local Views – Maori Scenes, The Bay of Plenty Times, Vol. XXIV, Issue 3915, p. 2, 23 October 1899, on PapersPast

[12] Anon (1936) Yacht Club Card Evening and Picture Entertainment, The Bay of Plenty Times, Vol. LXIV, Issue 12064, p. 2, 3 July 1936, on PapersPast