CLICK ON THE IMAGES FOR AN EXPANDED VIEW
ISSUE 101 (December 2013)
New Zealand Postcard Society (Inc) Directory
|VP Research||Bill Mainemail@example.com|
|Sales Mgr/Auctioneer||Chris Rabeyfirstname.lastname@example.org|
|Editors||Jeff & Jenny Longemail@example.com|
|Life Members||Yvonne Coles,|
Correspondence: all enquiries should be made either by email to the Secretary, firstname.lastname@example.org or by post to P O Box 20, Wakefield, Nelson 7052.
The Society website is www.postcard.org.nz
The Postcard Pillar magazine is produced four times a year now under the editorship of Jeff Long and Jenny Long. Contributions are very welcome at any time - please email or post to Jeff Long. This isue of the Postcard Pillar includes significant contributions from Gary Davies, Gerard Morris, Trev Terry, Donal Duthie, Bruce Isted and David Gravenor
Membership of the Society can be obtained by sending a cheque payable to N.Z. Postcard Society Inc to the Secretary, with your name, address, telephone number, email address and collecting interests. Renewing members can pay online. The subscription for an individual or family member is $35, or $45 for an overseas member.
A REMINDER IS ENCLOSED WITH THIS POSTCARD PILLAR IF YOUR SUB IS OVERDUE.A LARGE COLOUR ASTERISK IS BESIDE YOUR NAME ON THE ADDRESS LABEL. PLEASE PAY PROMPTLY, AS THIS WILL BE 140 PAGES OF MATERIAL YOU HAVE NOW RECEIVED THIS FINANCIAL YEAR. IF YOU WISH TO RESIGN, YOU MUST BE A FINANCIAL MEMBER. THANKS
Cover illustration: From Gary Davies article on pages 9 to 16 with a comment on the connection between sport and alcohol consumption.
1 Convention pics
3-4 2013 Convention Report - Bruce Isted
5 Records of the N Z Souvenir Co, Hastings – Jeff Long
6-8 Society News & Snippets
9-16 “Offensive to Everyone?” – Gary Davies
17-19 J A Willoughby: Geraldine Photographer – David Gravenor
20 Charles Sorrell’s Edwardian Napier: a book by Sarah Semple – a review by Geoff Potts
21-22 Picture Post: A book by Bill Main – review by Leo Haks
23-27 Gladys Goodall – Gerard Morris
28-32 Frankton Junction – J A T Terry
33-35 The Postcards of E A Phillips – Donal Duthie
36-38 Embossed Postcards with Framed Photo-prints – Bill Main
2013 NZ Postcard Society Convention in Hastings
By Bruce Isted
From 7-8th September, about 30 NZPS members and some spouses attended the NZ Postcard Society Convention held in the Cheval Room at Hastings Racecourse. For those who arrived on Friday 6th (about 20), an informal, friendly gathering for a meal & drinks at Breakers Café (Hastings CBD) was to kick start the weekend! Here’s a summary of the weekend…
Saturday 7th was a members only day which started at 9am, firstly with registration, morning tea and chit-chat. Then from 9.30-9.45, Doug South welcomed everybody and gave us some housekeeping details.
At 10am we boarded a 54 seater bus to visit the New Zealand Souvenir Company (aka PPL ‘Pictorial Publications Ltd’) in Hastings. A lady staff member talked about the company background and then let us look around the huge stock of postcards stacked on many shelves. We were able to purchase postcards for bargain prices (30c each), and look at their archival records.
Many showed postcard samples along with the Stock Record Card of each which recorded: date ordered, date received, series number, plate number, quantity of 1st print, quantity reprinted, total received, stock on hand. Check them out online: www.nzsouvenir.co.nz or write to: The New Zealand Souvenir Company, PO Box 558, Hastings 4156.
See Jeff Long’s note on the stock cards for the PPL postcards.
By 11.30am we were back at the racecourse having lunch. Most of us took advantage of the Breakers Café lunch boxes that were organised by Geoff and Judy Potts. At 12.15pm the member’s presentations began:
- Geoff Potts (Brief history of the NZPS, with samples of newsletters, flyers, etc)
- Richard Wooders (His collecting/collections, CEO of Scarce and Rare Limited - google this later in year for the website. He also showed us a new computer program developed to keep your postcard collection or other collections organised. For further information on website and/or program, email: email@example.com
- Anabright Hay (Postcards of San Sebastian in Spain and a book that featured them)
- Stan Fraser (Enlarged postcard images of Ohakune, Tongariro, National Park, Whanganui River)
- Bill Main (Promoting his latest postcard publication on RP Postcards, now on sale for $40; usually $50)
- Evie South (A humourous event regarding a lady contacting her about publications by Bill Main)
- Eric Diamond (His walk from Bluff to Cape Reinga via the East Coast. Follow him on his blog: www.wherespoppy.blogspot.com )
- Bruce Isted (Using postcards to illustrate his family history)
- Jeff Long (one frame postcard exhibit ‘Dear Aunty … I am holidaying in Riverton’)
- Glenn Reddiex (Postcard publisher Harry Robert French and Pelorus Jack the bulldog puppy)
- Doug South (NZ Cameo postcards)
- Leo Haks (Progress report on his new publication on NZ Postcards which will be available next year)
- Jeff Long (NZ Customs Department inwards parcel labels and proof of delivery items for a 1F exhibit)
We had a brief break for afternoon tea before beginning the formal part of the AGM at 3.40pm. This proceeded with little fuss, finishing at 4.30pm. The President’s Report, Treasurer’s Report, and AGM Minutes can be found on the Society website. Of special note, Diane McKoy was elected a Life Member and our Patron, Geoff Potts presented the award to Diane. The Chas Lilley Annual Memorial award for the best contribution to Postcard Pillar during 2012-2013 was awarded to Bill Main and Jenny Long for their article on Border Negatives (Issue 99, May 2013, pages 10-13).
In the evening (6.30-8.30pm) the majority of us attended an enjoyable smorgasboard meal and drinks at Hastings RSA. It was great to have a separate room from the public area. And after our meal, for those hard core rugby fans, there was a large TV screen in the restaurant to watch the All Blacks Rugby Test match against Argentina.
Sunday 8th was the Collectables Fair Day. Members were able to take advantage of the pre-public session (8.30-10am) to acquire postcards for their collection. There were four dealers attending with vast stocks: Doug and Evie South of Wakefield, John Eccles of Wellington, Bill and Kunthea Leggett of Upper Hutt, and Eric Diamond of Hamilton.
The non-members (public) who attended from 10am-4pm was estimated to be around 50 which was perhaps lower than expected despite the event being well advertised in the newspapers and 20 flyers that were put up at prominent places in Hawkes Bay. Several people brought in postcards, ranging from a bundle or box full, to one or several albums to be valued and/or sold. No rare postcards, but some were noted as being ‘sought after’. Very few postcards were sold to the dealers present as most people wanted to hang on to their postcards, or possibly sell on Trademe, or some other way.
A few members stayed on in Hastings, so that Sunday evening we went out to Breakers Café and enjoyed another good meal with drinks. The roast meal which also included dessert was great value at $14.95.
Special thanks must go to Doug and Evie South (the main organisers) plus all the dealers and those who helped with the catering. Also thanks to all the other members who attended to support this event. Next year the event is in Hamilton.
See inside the cover for pictures of the Convention and AGM
(NB. Photos are a selection from the 97 I took, but a couple were taken by Geoff Potts & Leo Haks. If members want any photo shown here or a check of my other photos if they appear, then contact me and I’ll email them.)
Stockcards for NZ Souvenir Company Postcards
An example of the stock record cards which Bruce referred to in his report on the Convention.
The stock record card is for the postcard number P1217. (front and reverse shown)
Note that the first printing of 4,300 was ordered on 1st March 1971. Further orders were placed in August 1973 for 2,700 cards, and in June 1976 for 4,200 cards.
By stocktake in March 1983 the number on hand was nil and apparently no further orders were made.
These records were available for most (all ?) PPL cards, and a local new member is interested in researching this information.
Society News and Snippets
2014 NZ Postcard Society Convention
Next year the Convention will be held in Hamilton, date and venue to be confirmed.
The Members Only section of the website has been populated with articles scanned from the first 100 Issues of the Postcard Pillar, done in conjunction with the 100th issue of the Postcard Pillar. The articles scanned and uploaded are those with a research interest – photographers, publishers and other specialist topics. Alan Jacksons monograph on Burton Bros and Muir and Moodie has been loaded, as have several lists.
Access to the website is through an application form (now simplified) on the site to submit so the Secretary can confirm that you are a member of the NZPS and allow you access.
Please remember that the Members Only material is for current NZPS members only. The intellectual property lies with the authors and the Society. Don’t share it with non-members. Encourage them to join the Society instead !!
Comments would be welcomed by our Society Webmaster, at firstname.lastname@example.org
The FGR list is uploaded to the website. Diane McKoy is the contact person for this list and will receive and collate additional information so that revised and updated versions of the list can be uploaded as required.
Robert Rush is currently working with Alan Jackson to record additional FGR cards, as they work on the Muir and Moodie lists.
If you have some lists it would be great if you could make them available, so they could be added to our website. Some contributions have already been received, but Editor Jeff Long would be pleased to hear from lots more of you.
Muir and Moodie
The Muir and Moodie project is also underway. All articles from the previous issues of the Postcard Pillar have been loaded to the website and Robert Rush is working with Mike Cooke’s list and Alan Jackson’s collection to prepare listings of cards. Alan Jackson will write introductions to these lists.
It will be added to the Members Only section of the website as sections are completed. A printed version will be available to members at a nominal cost, and to non-members at a rate which will encourage them to join the Society. The price will be determined when we know the size of the document.
Index to the Postcard Pillar
Chris Rabey has now updated the index to the Postcard Pillar. It covers issues 1 to 100, and updates the previous list published in 2006. It has been uploaded to the Members Only section of the Society website. A paper version will be available on request; the price is $10 including postage within NZ.
Leo Haks Book
Leo’s book on the social history of NZ through postcards is to be published in association with the NZ Postcard Society. The Society will support this publication with a forward and a flyer sent to members, and articles in the Postcard Pillar.
World War One Centenary 2014 to 2018 – and the Postcard Society
The New Zealand Government has developed an official programme to mark the First World War Centenary from 2014 to 2018 called “WW100 New Zealand”. The Department of Arts Culture and Heritage has a website for contributions from individuals and organisations. Have a look at the blog site run by member Glenn Reddiex, who has a project in progress of uploading 100 New Zealand military postcards to his blog site http://100nzww1postcards.blogspot.co.nz/)
NZ Cards with writing in French ! – no answer yet ???
Rick Hogben from England has some cards produced by the Tella Camera Co of Southampton Row, WC1 and inscribed “Du Bureau du Haut Commissaire de la Nouvelle Zelande, 415 Strand, Londres, WC@.” ie the NZ High Commission in London. So far, Rick has found only three cards – Christchurch, Wellington and Rotorua. The cards are most likely to be from 1916 onwards, as the NZHC was located in Victoria St until 1915. Rick wonders if the card were available for NZ soldiers serving in France so they could be given away, but admits this idea is probably a bit far-fetched ! The Editor would be very pleased to hear about any other cards that may exist in this series, and also any ideas about why they might have been inscribed in French. As Rick says, answers on a postcard please . . . or should that be Carte Postale ?
The Museum of NZ recently purchased 102 Zak postcards from Society member, John Eccles. This did not include the album of cricket and rugby cards featured in the Society’s 2010 Annual.
Results from Upper Hutt 2013 Exhibition
Congratulations to the following members who provided exhibits:
Jeff Long Dear Aunty – I am Holidaying in Riverton gold
Gary Brown A Day Out at Aden large vermeil
Ann Still The Camel as a Draft Animal large vermeil
Bruce Isted Moving the Mail vermeil
Jillian Williams Recreation Grounds New Plymouth large silver
Ray Randle Postcards of the Upper Hutt Valley large silver
Derek Pocock Back to School silver
3 – 8 frame exhibits
Evie South A Passage . . the Marlborough Sounds large gold
Yvonne Benson Muir & Moodie No 59 gold
Yvette Trinidad Embroidered Spanish Postcards large silver
Jeff Trinidad Shirley Temple – 56 Ringlets large silver
Derek Pocock The Universities Mission to Central Africa silver
Early Tongan Postcards – follow up to an earlier article by Don Mee
Similar to the pre 1900 Tongan postcards featured by Safari in Issue 97 of November 2012, is this card postmarked 29 December 1899, with a New Zealand Marine Post Office RMS Alameda 26 Jan 1900. The card arrived in Leipzig, Germany, on 23 February 1900.
The images on the card are by John Davis and the message has been signed by John Davis, who looked after the Post Office in Samoa from 1886 to 1900. The printer or publisher was OBH. Does anyone know about OBH?
Offensive to Everyone by Gary Davies
PLEASE NOTE: This article is compiled with reference to contemporary opinions, comments and materials from the first two decades of the twentieth century. When viewing postcards from this period it is important to remember that certain attitudes prevailing at the time are now considered offensive and discriminatory.
Australia was another place in the early 1900s and our postcards, newspapers, Government policies and general attitudes confirm this. Under the heading ‘A policy for the Commonwealth - the federated Chinaman’ the Sydney Bulletin of 27 October 1900 reported:
And it is essential to keep out the British nigger and the British Chinaman … The BULLETIN moves these resolutions:-
- That under Federal law it shall be absolutely illegal for any black, brown or yellow man to settle in this country, whether he is a British subject or not.
If you were female or male, old or young, over or under weight, short or tall, Jewish, Chinese, White, Aboriginal, a missionary or a politician, or had troubles managing money, alcohol, in-laws or your secretary, you were a perfect subject for an early Australian ‘comic’ postcard! However offensive or basic these cards may appear, they are often an enlightening albeit disconcerting record of Australian or New Zealand social history.
Card #1 (above) is actually a hand drawn cover posted from Gooram Gong in country Victoria on 18 June 1884. The card depicts an Aboriginal child attempting to drink buttermilk from a large bucket. The drawing is a likely attempt to portray the Aboriginal subject as an incompetent thief who only manages to splash, spill and waste the buttermilk. Perhaps the drawing may have been viewed in the late 19th century as the innocent foibles of a child.
This cover shows early postal useage for a racist ‘comic’ drawing. When researching Australian published comic postcards the earliest postmark I have found is for 18 November 1903.
 Documents on Australian International Affairs 1901-1918, edited by Gordon Greenwood and Charles Grimshaw with assistance of Margaret Willis [Vine], 1977, p.398.
Card #2 (above) The subject here has a religious aspect and refers to Sunday trains in Melbourne. When Victorian politicians proposed limiting Sunday trains to only allow some morning services to transport church goers there was a public outcry and this is one of several postcards issued to satirize and protest the suggestion. Stylistically this card appears similar to the work of comic artist Fred Booty who drew many early cards under his own name and on other occasions signed with one of several pseudonyms. A contemporary newspaper report for 18 August 1908 names one Fred Booty, aged 28, an artist of Sydney as being committed for trial on a charge of having forged one pound and five pound notes with intent to defraud. Interestingly just after this newspaper report Booty left Australia for London via New Zealand. He was still in London in 1910 and died in USA in 1914.
Card #3 (above) ‘Returning from the land court’: Trevor Lloyd was a talented New Zealand cartoonist, artist and etcher and an employee of Wilson and Horton proprietors of the Weekly News (Auckland) and the New Zealand Herald during the first few decades of the twentieth century.
On first glance this postcard appears to be just a clever piece of caricature portraying a well fed prosperous Maori and family. Further investigation reveals the photographically produced image may be interpreted as something else altogether. The card was probably published as a cartoon in one of the white press periodicals around 1910 and was part of a focussed media campaign to denigrate the Maori.
The likely campaign prize was to be millions of acres of Maori land which could be better used by the majority ruling pakeha or white man. The pakeha press expanded rapidly in the early 1900s and was the perfect vehicle to drive a campaign disenfranchising Maori land and their warrior status. Many ‘comic’ postcards of the period malign them as drunkards, lazy, greedy and incapable of looking after themselves or their land.
Lloyd has drawn the white horse struggling under the weight of the Maori, an attempt to symbolise the burden of the pakeha carrying the perceived lazy, unproductive and overfed Maori.
The media focus of denigrating the Maori continued for decades and many postcards were published from newspaper cartoons for distribution to the New Zealand population. These cards are rarely found today as many have for various reasons been destroyed.
Trevor Lloyd may well have had an abiding respect for the Maori people as he built a house which was inspired by their architecture, carvings and culture, however many of his cartoons and postcards portray the Maori in a less than favourable light.
Card #4 (above) is drawn by Charles Nuttall who was colour blind and worked as a cartoonist, magazine illustrator, artist and broadcaster. As an artist he was famous for his works ‘The Final Test of 1904’ and ‘Opening of the First Commonwealth Parliament of Australia’. He designed postcards for his firm Renwick, Pride & Nuttall and had one of his Bulletin newspaper drawings published as a postcard in 1907 in the Bulletin postcard series 6. Nuttall was born in 1872 and died November 1934. The cartoon styled card reproduced here shows a blatant racist double entendre.
Card #5 (top of next page) This card confirms the cartoonists often derogatory view of Jewish people and was distributed as part of a series of at least sixteen comic type cards from the Regal Post Card Co. of Sydney. I am certain these cards were printed in Germany around 1905 as other images particularly of people and animals have a European flavour. Someone has failed in their proof reading with the spelling for financial, unless there is a poor pun intended with the blending of financial and facial!
Many postcards distributed in Australian are a night mare to research as the publisher, distributor, stationer and printer are often not indicated.
Card #6 (above) was drawn by Fred Booty and has a stereotypical Jewish Pawnbroker helping out an impecunious civil servant with a loan until payday. Pops or Popping was a slang term for pawning, where ‘Going to see Uncle’, meant a visit to the pawnbroker. Interestingly the children’s nursery rhyme Pop goes the Weasel may have a pawn broking connection as weasel could be a corruption of whistle which in Cockney rhyming slang becomes whistle & flute, i.e. suit, or weasel & stoat, i.e. coat.
There is little doubt that Booty has purposely drawn his pawn broking client as a poor money manager, and the final card in a series of six shows our civil servant now flush with cash celebrating payday in a smart dining establishment with accompanying attractive young lady and bottle of bubbly!
Card #7 (top of next page) depicts a classic greedy property person? Maybe, but most likely the Sunday Times is simply suggesting ‘advertise with us and you will become rich and successful’. The artist Dick Hartley was a contemporary of Fred Booty, while Booty also produced at least one unsigned card in this comic series promoting the Sunday Times in Perth.
Card #8 (below) illustrates a time worn view by insinuating that women have either beauty or brains and that men only see beauty and have little appreciation for brains! There are twelve or more postcards drawn by Alek Sass who was a painter, cartoonist and sign writer. He was born Alexander Williams in the 1870s in England.
Card #9 (top left of next page) is a promotional postcard issued circa 1915 that confirms the use of naked ladies in advertising is not new.
The artist Fred Knowles drew at least one other postcard which was titled ‘In the danger zone’ and dealt with the wartime necessity of putting out lights to stop the enemy easily spotting service personnel.
As Private Fred Knowles he wrote ‘with the dinkums’ published in 1918 by the NSW Bookstall Co. Ltd.
Card #10 (above right) ‘West Australia’ by Charles Nuttall. This card is another Nuttall drawing which is certainly sensitive in style and full of character and contrasts to the cartoons he drew of Aboriginal peoples.
Whether the drawing is now considered offensive is a decision the individual viewer must make.
Card #11 (left) is drawn by Redmond Nolan and has a blunt yet old fashioned connection with sport and drugs!
This card is part of a series titled ‘Football Expressions’. The footballer pours the beer straight down his throat thus making the comparison with taking the ball to goal using the most direct path – ‘a run down the centre’!
Card #12 (above left) ‘You’re the ones’, shows some friendly banter between South Africa and Australia. The viewer senses the situation will most likely deteriorate as the cricket match progresses. Australians love to bait, denigrate and annihilate their sporting opposition.
Card #13 (above right) This card was published in 1908 (a leap year) by A Barker of the Royal Arcade in Melbourne, Victoria and is part of a series making fun of men and women and their relationships. The card gives a rather bleak view although with a certain balance that ensures it is offensive to all. The reference in Lot 6 is all about the leap year custom of the lady proposing to the man, usually by letter or postcard. If the man refused the proposal he was obligated to send the lady a pair of gloves. Many cards were issued in Edwardian times referring to ‘a pair of gloves’.
Card #14 (top left of next page) is drawn by Redmond Nolan who variously signed his work Redy Nolan, Red. N., Redmond Nolan or Red.Nolan. The image of the dog, dead or still dying, is quite confronting and there is also something peculiarly Australian about the deadpan humour or intended humour in this scene. It has shock value, a clever caption, earthiness, pathos and dare I say larrikinism where the lawn bowler is focused on a quick, callous and casual removal of the dog to the rubbish dump.
Card # 15 (top right of next page) The Chinese race were continually denigrated and the Bulletin newspaper issued as Bulletin Series A, six postcards drawn by Harry Weston and titled ‘Weekly Worries’. Terms such as celestial, chinko and chinky were common.
Card #16 (left) George Taylor drew many comic postcards in the early 1900s and gave us some wonderful Australian subjects. Over one hundred cards are known with themes covering sheep shearing, outback droughts, sporting characters, drovers, politicians playing rugby, jackaroos and one card mentions the great cricketer Victor Trumper. This is the only caricature styled card I have found that depicts the Kanaka.
I am unsure of the origin of the word Kanaka as most references indicate it is a derogatory term while occasionally Kanaka is mentioned as a Polynesian word for man. What is certain is that people from the South Sea Islands were kidnapped in the late 1800s and used as slaves mostly in the sugar cane fields of Queensland. The term blackbirding refers to the practice where white ship owners ran this kidnapping as a business.
For these cards the use of humour or the attempt at it was an effective tool to reinforce stereotypes, refresh propaganda, trivialise, attack or demean the depicted subjects, while the purchaser of the card could simply retreat under the guise of ‘I didn’t write or draw this – isn’t it awful!’.
James Alfred Willoughby 1878 — 1971 by David Gravenor
James Alfred Willoughby was born on the 28m July, 1878 in Ngaruawhia. He was one of three sons born to William and Barbara. His only sister died in infancy. In 1881, the Willoughby family moved to Geraldine. James’ father had been appointed as the local policeman and remained in that position for eighteen years. Alf was to spend his childhood in Geraldine along with his brothers but Alf was the only one to remain there for most of his adult life.
In December 1901, Alf and his brother Stanley purchased the J.J. McCaskey Photographic and Picture Framing business. This became known as Willoughby Bros. Photographers. Stanley left the business after a few years to live in the North Island. Alf remained and continued on his own.
On May 7 1904 Alf married Agnes Louis Page at St. Mary’s Church in Geraldine. They went on to have five children.
His photographic studio adjoined their house which was at 196 Talbot Street. Although the street numbers have changed over the years, this would have been between Hislop Street and the present day Picture Theatre.
During the years, his business experienced two studio fires. The first in 1908, was in his developing room which was destroyed. A new darkroom had recently been set up behind his studio, so business was not interrupted. However, he did lose all his plates, negatives, paper and chemicals.
Again, in March 1910, another ﬁre burned a hole in the linoleum and badly damaged a settee. The business was not affected the second time. He continued to operate his photographic studio at his home for many years and retained his interest in photography until his retirement. His other abiding passion was ﬁshing.
With the growing popularity of amateur photography and the ﬁnancial demands of a growing family, he soon found it necessary to augment his income. ln 1916 he found sawmill work and in the early 1920s, joined the staff of Morrisons as a shop assistant and grocery deliveryman. He was to work there for twenty-ﬁve years and was their Father Christmas for twenty-seven years.
Alf was very active in many aspects of the Geraldine community. He was associated with many Church activities, the Geraldine Volunteer Fire Brigade and the St. John’s Ambulance Association, of which he was a foundation member.
After the death of his wife Agnes in 1955, Alf moved to live with his daughter lvy, in Plimmerton. Apart from two years spent with his daughter May, in Timaru, he remained there until the end of his long and healthy life. He died on October 15th, 1971 aged ninety-three.
Talbot Street, the main street, showing Morrison Brothers Beehive stores
The old bark hut. The first house in Geraldine, used by Samuel Hewlings, Surveyor with the Canterbury Provincial Council
Geraldine from the Downs – the hills behind Geraldine
Monkey Town (Blansford) Peel Forrest
Geraldine from the Downs.Dated 2/12/1930
Charles Sorrell’s Edwardian Napier by Sarah Semple.
Book Review by Geoff Potts
Charles Sorrell’s Edwardian Napier is prolifically illustrated with both real photos and picture postcards covering Napier in the early years of the twentieth century. Many of Sorrell’s images cover street scenes, events, portraits, buildings and topography of Napier. Each topic is covered competently and descriptively.
The publication is 74 pages and well worth adding to your collection.
I am pleased that picture postcards, some in colour, have been used to flavour this publication.
Overall, a great effort and an important dedication to one of Napier’s pioneer photographers. A five page bibliography appears at the rear of book.
Price $29.00 plus $2.10 postage within New Zealand.
It is available from Sarah at 32 The Track, Plimmerton, Porirua 5026 or via email@example.com
PICTURE POST - Real-photo postcards from the William Main collection. Reviewed by Leo Haks
Published 2013 by Exposures, 93 Burma Road, Wellington, 6004. ISBN 978-0-9597836-2-9
A book of 128 pages, illustrated with 245 postcards printed in full colour
Price NZ $40.00 inclusive of postage within New Zealand. Contact Bill directly if you wish to buy a copy.
This book shows Bill Main where he is most comfortable; with photographs and postcards.
Not for the disciplines per se, but also and particularly, because he allows himself to revel in his favourite subjects: city dwellers, their home lives and the views surrounding them.
No cows or sheep here, but people at ease with their situation; at home, visiting and participating in local events.
JUST AS WE ARE people at home –at leisure – at work, shows the intimacies of family life, from babyhood to schooling, adolescence to adulthood, the wedding and the resulting beginning of a new family cycle. Family, sporting and social events are all treated in a relaxed, cosy manner.
At the same time, the faces of many of the sitters mirror the lives of hard working folk.
In EVENTS TO NOTE we are treated to some of New Zealand’s great events in the first half of the 20th century; including the New Zealand International Exhibition in Christchurch during 1906/7, a truly international event which even today stands as a high point in New Zealand’s coming of age. The miner’s strike of 1912 is included, along with NZ events relating to the First and Second World Wars. Fine architecture is shown in the postcards published as ‘Royal Series’, photographed by H C Peart, the master photographer.
LEAVING AN IMPRESSION moving about – life in town and country is the largest chapter in this book and it begins with seven pages of domestic architecture, not often seen in NZ postcards. Housing is followed by people travelling and relaxing. Many and varied city and town views provide a rich harvest of images.
AN OFFICIAL VIEW is a short chapter showing gardens and a mix of other views. The two closing chapters are more of a technical nature, REAL-PHOTO CARDS TODAY explores the current state of real photo postcards, and ON THE BACK is a four page introduction to the writing on the backs of postcards.
Appendix 1 HOW REAL-PHOTO POSTCARDS WERE PRODUCED, provides useful information for the interested reader.
Appendix 2 PHOTOGRAPHERS lists photographers and publishers whose work appears in the book.
Appendix 3 provides a brief bibliography.
This is a book all postcard collectors would want to have on the reference shelf, and for any reader interested in photographic views of life in New Zealand up until the 1950s.
Examples of the images in the book
Who is the 13 year old schoolboy looking at the Wanganella stranded on the rock of Wellington Harbour ?? Buy the book and find out!
Gladys M. Goodall - A Living Treasure
By Gerard S. Morris
(This is a revised version of an article first published in Pacific Wings, September 2002.)
NB. All images used in this article, except for the photo of the Gladys Goodall, are of her postcards.
Left: Gladys Mary Goodall, QSM, JP, AMNZPPA, NZRN with one of her books, 16 May 2002. (Author)
During my childhood I was told the story of my parent’s Queenstown honeymoon in 1954. One breakfast they were approached by a woman and asked, “Do you have a car?” “Yes”, his father replied. “May I ride with you to Skipper’s Canyon?” She asked, and she did. They remembered the large amount of camera equipment she carried and then being asked to scramble onto a precarious rock formation for a photo. 48 years later I mentioned this article to my mother and she asked, “It’s not Gladys Goodall is it?” A tale begun by newlyweds has been completed by their son. On the day in May I first met Gladys she was ‘on a high’ having just renewed her driving licence. The examiner questioned her 2 June 1908 birthdate. He thought she was much younger. Gladys Mary Bishop was born in the small South Otago farming community of Puketi. She was the second of eight children (seven girls and one boy) born to Frank and Jane Bishop. Her great-grandfather James Bishop is remembered in Christchurch with the naming of the suburb Bishopdale after him. Gladys grew up to love the outdoors, especially horse-riding and tree-climbing and remembers being given a Box Brownie 2 by her parents. Her mother (a self-taught and keen photographer) taught the young Gladys how to develop photos. At school she excelled at Science. At the age of 15 Gladys left high school and entered the world of nursing. However, she had to wait six years until she reached the minimum age for entry in a study programme. This she did at Waimate Hospital (then part of Timaru Hospital) and culminated in her becoming a registered nurse. It was during this period she met Stan Goodall a young farmer from Waimate who needed treatment for jaundice. They soon began dating, however, the Great Depression years delayed their wedding until 1938 and then the Second World War prevented them from settling onto the Goodall family farm in Waimate. Stan went to work on the Kaikoura railway and Gladys to Lewisham a private hospital on Bealey Avenue, Christchurch (now Southern Cross Hospital). In 1943 Gladys left hospital work and became a Plunket nurse.
By the late 1940s she was growing tired of nursing and rediscovered her sense of adventure on bush tracks and mountain slopes. A decade of mountaineering followed which included her party making the 25th ascent of Mt. Sefton and four 3000 metre plus peaks over a 10-day period. A constant companion during this time was her Rolleiflex camera. The balance of her spare time was taken up as a member of the Canterbury Photographic Society where she learned the basic techniques of photography. Stan, who was by now driving tour buses regularly visiting the national parks and south Westland glaciers, was proud of her efforts. He successfully submitted some of her panoramic images to The Press (Christchurch) for publication. He also began showing her photos to hoteliers and tearoom owners on his tour route. The newly opened Pancake Rock tearooms at Punakaiki were impressed and became her first commercial order. They requested postcards and the serious decision to expend money on suitable equipment was addressed. The couple’s kitchen and bathroom soon became their darkroom where black and white proof sheets of popular tourist spots were produced. Stan would show them to tourists, telephone the order to Gladys in Christchurch and by the time the tour bus had returned to the city the postcards were ready. The business expanded and the decision was made in 1952 to rent premises firstly at 73A Kilmore Street and later in Cashel Street (now a mall) in the former premises of Mannering and Associates, opposite Ballantynes. As New Zealand’s first female commercial photographer she took the initiative and imported from Germany, Christchurch’s first automated black and white printer. Whitcombe and Tombs (W&T) began selling her postcards. It was around this time that Gladys purchased an additional camera; a heavy tripod fixed German Linhoff that used 5”x4” transparencies. Of the camera she remembers it arriving with only a German language instruction book. Undaunted, she studied the camera and taught herself how to operate it. Later while using it many onlookers remarked about how smoothly she assembled the equipment and the innovative camera angles she was able to attain. These were apparently far beyond the manufacturers original guide book instructions. As the 1950s drew to a close, tourists started demanding colour postcards and Gladys was faced with a difficult decision. She didn’t have the capital to cover the cost of converting to colour processing and closing her business looked the likely outcome. Fate dealt her an ace in the form of Tom Cartwright, the New Zealand Sales Manager for W&T, Wellington. He offered her a solution - a contract that would require her to supply colour photos with captions to an agent, Doug Peers the manager of Felicity Cards, the postcard division of W&T in Porirua. Peers would make the final selection and send the best for printing to W&T the printer in Christchurch. The youthful 52 year old Gladys studied the contract and came back with a bold reply. She agreed, however, there was one important proviso - “I want to be your sole photographer.” Mr Davison, the general manager, initially balked at the idea but was very impressed with her unbounded confidence and enthusiasm. The contract was signed on 1 May 1960. Gladys’s reason for acting as sole photographer was simple. She explained that if they hired other photographers she would be bankrupt in three months as, “every photographer in the country would be trying to sell to them.” She elected to take royalties which were initially stipulated as yearly but later changed to six-monthly. Careful budgeting was therefore required between cheques. Monetary support from very good friends also kept her going. It was only towards the end of her career that she allowed other photographers a 5 percent share of the contract because she had found it increasingly difficult to cover all of New Zealand satisfactorily. Approximately twenty-one years of contract work followed. Tourism was growing and quality postcards were in constant demand. Cities, towns, noteable buildings, Māori in costumes, seasonal panoramic shots of every inch of New Zealand, airports and aircraft images were made by her. And ‘made’ is the carefully chosen word here. All her images were composed with several taking as long as two hours to set up. “Something had to be happening in each shot”, she reflected.
Left: Gladys Goodall’s much respected image of the inside of the Homer Tunnel. W.T. 454
Two shots are worth mentioning. The first was inside the Homer Tunnel and required hours of very careful planning. Using her car’s lights and those of some trucks she secured a one and a half minute exposure which is considered the best shot ever inside the tunnel. The second was taken inside the glow worm caves at Waitomo and used an incredible 14 hour exposure period. If she couldn’t get the shot from the ground she would climb onto the roofs of homes. The homeowners (including an ex-Auckland mayor’s wife, Mrs Buttle, on one occasion) also climbed the ladder and enjoyed her company. If that shot didn’t work then she went higher by chartering helicopters or fixed-wing aircraft. Gladys’s aerial photography work originally began in the 1950s with black and white postcards and with the new contract she attacked it with greater gusto. Her first aerial colour sortie was over the Wellington business area in approximately 1960, in an aero club Tiger Moth. She remembers leaning precariously over the side of the fuselage with her Linhoff and wondering what the pilot was making of all her front cockpit activity. A look through her 8 notebooks over the following 21 years shows about 110 such charters over all parts of New Zealand - an average of 5 flights a year. And not once, on any of her photographic sorties, did she use a seat belt or any form of safety harness. “The aircraft I flew in didn’t have them. I never had any fear of falling out,” she reflected. “I would first drive to my subject, for example Auckland, and then [the usual practice] charter an aero club aircraft, a Cessna 172 - it was my favourite aircraft for photography. The door was removed and we flew for about 2 hours.” She never tired of the opportunity to capture images of New Zealand’s beauty from the air and continued to do so into her 70s - long after many of her friends had put on their slippers and cardigan and were sitting in front of a comfortable fire. The huge expense of chartering aircraft meant that bad weather wasn’t allowed to get in her way and she remembers on one occasion asking the pilot to divert to Tauranga when heavy rain cloud shrouded her original subject, Whangarei. On another occasion Gladys and a trainee photographer chartered an amphibian for a return flight to Invercargill from Stewart Island. Much to her surprise the company also flew a fare paying tourist, who complained to the pilot that she not be allowed on the flight as her camera gear was taking up a lot of room! She remembers vividly the overweight aircraft labouring into the air.
Right: Tourist Air Travel amphibian on Auckland Harbour. Gladys asked Fred Ladd to taxi passed her camera. He did so, but much faster than she expected. W.T. 461
Left: An aerial view of Auckland. The field of view was quite narrow as evidenced by aircraft’s float top right. W.T. 110
Another bemusing event in the 1970s involved two dozen boxes of colour film (10, 5”x4” transparencies to a box), which were air freighted to Christchurch. They were allowed to sit, for a week, in a hot January sun. When Gladys was eventually informed of their arrival she took one look at their storage site and refused to accept them. The company was reluctant, but eventually agreed to fly new stock in from Wellington. It must be remembered that she was working in a male dominated workplace and this was just one of a number of occasions when she didn’t back away from conflict. She remembers fondly her Auckland area flights with Fred Ladd in the Tourist Air Travel Grumman amphibian. Ladd enjoyed Gladys’s company and gladly took her wherever she wanted to go. With her Linhoff sticking out the starboard side window several incredible images were snapped. When it is remembered that an engine and wing were just a few feet away and it obscured a large area of sky, the attainment of the shot required Ladd and his colleagues to put the aircraft into some demanding attitudes of flight. Mount Cook Airlines was another regular charter. Gladys loved the flying and the demands she placed on the pilots are legendary. She recalled asking a Chinese pilot in Christchurch to fly over Sumner. After they landed he had delight in telling colleagues how she asked him to reverse in mid-air! She also remembers three occasions - Dunedin, Tauranga and near Dog Island (Foveaux Strait) - when her pilots were reported for low flying. But, nothing ever came of these incidents. There was also a flight in a Cessna 172 along 90 Mile Beach at 10 feet. On the ground she was eventually able to overcome post-war restrictions and acquire a yellow Ford Zephyr, which carried her faithfully for 101,000 miles. It ended its days in 1973 on the notoriously dangerous stretch of road - the Oranga Corner - near Thames. She was hospitalised for four weeks with injuries that included a fractured left arm and a smashed right ankle. The latter was in plaster for six months. She was off the road for nine months and Doug Peers sent her a rather stressed letter addressing her contract obligations. Fortunately she had just finished an extensive Wellington shoot incorporating tourists from a cruise ship and working from her bed she had the shots developed, wrote the captions and organised their shipment to Felicity Card Company. Peers was most impressed with her work, which sold very well, and later wrote back with an apology.
Right: This image took about thirty minutes to compose. The children and young adults photographed helped Gladys Goodall position the boats in the foreground. She then asked them to pose in the shot and paid them a shilling each. The child in the background, to the right of the plane’s rudder, was an unscripted bonus. W.T. 666
Gladys’s next car was a Toyota Corona 1700 (one of only 6 imported to NZ) which had an abrupt end to its life a year later on the road north to Wanganui out of Wellington. She was hit from behind by New Zealand’s head of the Traffic Department driving a Chrysler and rear-ended a Dodge. “His Chrysler was barely scratched, mine was like a concertina!” She remembered.
Her third car was and still is to this day (26 years) a Toyota 2000. All good things must come to an end and so it was with Gladys’s professional life. With about 2000 postcards, several books and calendars to her credit she retired in 1982 at the age of 73. This event took the now Whitcoulls completely by surprise as they had never considered this possibility. In Gladys’s words, “They thought I would go on forever.” It was certainly the end of an era. The company decided to close its printing operation and concentrate on book sales. Her work continued, albeit briefly, to be published by Whitcoulls using accumulated stock until it eventually ran out. Since then a new generation of photographer has entered the arena and Gladys reflects on how bland today’s images have become due to market saturation and their limited artistic merit. In 1992, she was awarded the Queen’s Service Medal for services to photography and the wider community as a Justice of the Peace (1949 - 1999). This year, 2013, Gladys is 105, and lives in Christchurch retirement home. She enjoyed the mental stimulation which came from assisting in the writing of this article, as well as being asked to be guest speaker at the New Zealand Postcard Club’s September 2002 convention in Christchurch.
Right: Lake Hayes in autumn. Gladys entered a number of her Central Otago images in an Auckland competition. The colours so surprised the judges that she was accused of painting the photos. Later these same people came south and took similar photos. W.T. 503
It would be easy to underestimate the importance of the more than 2,000 150mm x 100mm postcards Gladys produced and it must be remembered that her colour cards were the first to have mass circulation in New Zealand. Wherever there was a Whitcombe and Tombs there were Gladys’s cards and they were one of the first items the tourists purchased. It is safe to say that tens of thousands of postcards were sold. If any one person in New Zealand is to be thanked for their contribution to the early success of New Zealand’s fledgling tourism industry it must be Gladys Mary Goodall whose postcards have travelled the world proudly show-casing the beauty of our islands. She is truly one of a kind, an inspiration for all - a living treasure. Postscript: From a life remembered for its long working hours, extensive travel and many missed dinners (she often got back late to the hotels after the kitchen had closed), Gladys has one regret. She destroyed her black and white negatives and postcards at a time when only colour was demanded. “They were taking up too much space”, she stated, but that aside, she looks back on her photographic career with an immense amount of pride and satisfaction. Her extensive postcard collection and several thousands of transparencies are now held by the Alexander Turnbill Library in Wellington.
Acknowledgements: Heart-felt thanks go to Gladys and the late Stan Goodall for allowing me into your home and answering my many questions during the three months it took to put this article together.
Frankton Junction as depicted in Postcards by J.A.T.Terry
I have 32 cards on this subject and from them I have selected these 15 cards. The railway was extended from Newcastle (Ngaruawahia) to Hamilton on 19-12-1877. Name changed to Hamilton Junction on 20-10-1879 and to Frankton Junction on
This is the earliest card I have of the original station. The card was postmarked October 1907. In July 1905, the goods shed was moved from the western to the eastern side and a verandah added. It still looks new.
I date the card c 1906. M & M 138.
Looking south from the overhead bridge at the station.
In the background the newly erected wagon repair shed
completed in 1908. Card dated
23-9-1908, the year the photo was taken.
Locomotive A410 at the head of the Parliamentary special on the first through Wellington-Auckland train to see the Great White American Fleet, with Members of Parliament and other dignitaries. This locomotive was placed on the train at Taumaranui.
8-8-1908. Cartwright Card.
Looking north from the high water tank at the locomotive depot, showing the original station. In the distant background can be seen the newly completed station building which was opened for business on 20-6-1909. Gold Medal Series 916. (The site in the foreground is now occupied by the new Hamilton station opened in July 1975.)
The new station opened 20-6-1909. The building at the right was the old station building, moved up to become the refreshment rooms which opened for business on 1-10-1909. The 6000 gallon water tank supplied water for tanks at the north end yard.
Cartwright card, 1909.
The engine shed at the south end. The section on the right was added in 1909/10.
GEW 5. Date of card, 1910.
Looking north. The signal gantry was the largest in NZ and brought in to use 1-8-1910. The left side section of the overhead bridge was originally at the old station, shifted up and into use 19-9-1909, while the right hand section opened 26-6-1910.
Card 1910. GEW 11.
The north end looking south. At front right the north end signal box with its 56 levers. There are fewer cards of the north end as the south end with its overhead bridge offered a good advantage point for the photographer. The photo would have been taken from a signal gantry.
GEW 6. 1910.
Inside the south signal box. With its 70 levers, it was the largest mechanical box in the country. Note the gas lighting. The three spare (white) levers were brought into use on 8-5-1927 with the extension of the west side backshunt. Box brought into use 1-8-1910. Date could be between 1910-1915. Cartwright card.
Postal staff at the new station. The Post Office had a long association with the Railway at Frankton. When the first stationmaster was appointed on 1-9-1886, the Frankton Junction Post Office was opened in the station with the stationmaster also the postmaster. The Post Office was there until 8-3-1906 and operated from 9-3-06 in private premises. The section of the station building used by the Post Office became a sorting office. When the new station opened on 20-6-1909, the sorting office moved into it. Card c 1911.
The new station looking north.
C 1911. Universal card.
Compare this with the third card.
Note that the first building on the platform is a telegraph office, opened in 1915. It contained a mail room. In 1919, it was designated a post office and open to the public until 1959, when it reverted to a mail room only. On the white post in front of the Post Office is a set of electric lights and in front of the nearest white post, a gas light. Electric lighting was brought into use at the station on 2-5-1916 and by November all gas lights had been removed. The card can be dated 1916. Cartwright card.
While the card states the view is looking north, it is actually looking south. At the right behind the overhead bridge is a small building. This was for heating the footwarmers and completed in 1914. The card was postmarked Mangapeehi
1-12-1915. 1915 would be as close as I could get. Tanner 504.
J.J.Craig building (1923) has not yet been built alongside the FAC building and I date this card 1922/23.
S.C.Smith card H6.
The last card I have of Frankton Junction. The Timetable Board on the telegraph post was erected in 1935. The first aid room, erected in 1937, is not shown.
I date the card c 1935-37.
Page 33 - 35
STEWART ISLAND POSTCARDS of E. A. PHILLIPS
by Donal Duthie
|No||TITLE||DESCRIPTION - COMMENTS|
|SS. Wairua. Bound for Stewart Island||No number. Wairua equiped with funnel for steam and different bridge superstructure|
|Golden Bay. Stewart island||No number.|
|Buisness portion of HMB. Oban House||No number (Ex Phillips' Stewart Island booklet)|
|Getting back to launches after a pleasant day at Bravo||Lovely view os people clambering over rocks to dinghy (Ex Phillips' Stewart Island booklet)|
|A pretty bush tramline at Maori Beach||Group on tramlines (Ex Phillips' Stewart Island booklet)|
|The Whalers' Base, Prices Bay||Looking down slipway.|
|Watching the sad sea waves||Two ladies wirh parasol watching sea (Ex Phillips' Stewart Island booklet)|
|A picnic party returns to HMB||Launch 'Comet' fully laden. (Ex Phillips' Stewart Island booklet)|
|At Ocean Beach. Stewart Island||Three people on large rock with surf. (Ex Phillips' Stewart Island booklet)|
|20||MV Wairua. Stewart Island NZ||Fitted with low funnel and new bridge superstucture|
|29||Ferndale House, Stewart Island||Large Boarding House|
|101||Kaipipi, Stewart Island||View along curved mill tracks. Two people walking|
|104||No title, but shows Korari Tearooms .||Korari Tearooms Three ladies (The Misses Brown?) Taking tea on the verandah.|
|105||At Stewart Island. NZ||The Korari Tearooms. Similar to 104 but more people|
|107||Launch Parties leaving HMB. SI||Lots of people on wharf and boats. Nice vioew of 'Rawhiti'|
|108||Golden Bay & Thule Point. SI||Classic view of Paterson Inlet from Observation Rock.|
|109||Ulva Stewart Island||Ulva landing|
|111||Halfmoon Bay, Stewart island.||Looking across bay to wharf.|
|113||Breaking Camp. Prices Bay. SI. NZ||People clustered foreground. Boats in bay.|
|114||In Thule Bay, Stewart Island. NZ||Similar to 157 but different angle.|
|136||On the road to Kaipipi||Small waterfall in bush.|
|140||Thule Point Stewart Island||Taken from Watercress Beach|
|141||Beautiful Rata Bush Stewart Island||Dingy with three people just off beach|
|142||TSS Theresa Ward at HMB. SI. NZ||Shows ship going astern|
|144||Halfmoon Bay Stewart Island||From hill, Leask's Bay, overlooking Lonnerker's Bay|
|145||Halfmoon Bay Stewart Island||Looking down on Oban and wharf|
|146||Sailor's Rest, Stewart Island. NZ||Launch 'Rawhiti' with passengers in sheltered bay.|
|150||Main Thoroughfare Oban, SI. NZ||View of Oban House and Bragg's store|
|151||At Prices Bay. Stewart island||People clustered on shore. Dingy foreground|
|152||Sailor's Rest, Stewart Island.NZ||View of shore and bush.|
|153||Bravo Stewart Island||People on Bravo Beach. Small vessel offshore.|
|157||Through The Bush to Thule. SI.NZ||View of house, boathouse and launch 'Angela'|
|158||Up Patterson's Inlet. SI. NZ (Sic)||Nine people swimming and two launches.|
|159||Golden Bay, SI. NZ||Looking through Rimu tree to Iona and Ulva|
|161||SV Olive Bank in Foveaux Strait||Large ship in full sail.|
|162||Kaipipi, Stewart island. NZ||Wharf with two vessels.|
|163||Ulva Beach. Stewart Island||People walking on Sydney Cove Beach.|
|164||In placid waters Prices Bay. Paterson's||Three people diving off launch 'Rawhiti"|
|166||Boulder Beach. Stewart Island. NZ||View across bay to small islet.|
|168||Boulder Beach. Stewart Island. NZ||Boulder Beach, Ulva Island.|
|200||Deep Bay on track to Ringa Ringa. Stewart Island||Track in bush.|
|203||The 'Three Sisters' Faith Hope and Charity||Three islets in Paterson Inlet|
|204||Bragg's Bay. Stewart island||View across Bragg's bay|
|205||Butterfield's Beach. Stewart island||View from above Bathing Beach|
|206||Gathering curios at Ringa Ringa SI.||Group of people on boulder stewn beach.|
|207||Butterfields Bay, SI.||Beach and bush. (May not be Butterfields!)|
|208||Cruseing At Stewart Island. (Sic)||Great photo of launch 'Lena'|
|209||The track to Thule.||Stewart Island Bush track|
|300||The Track to Ryam's Creek. SI. (Sic)||Bush track.|
|301||Happy Days at Stewart Island.||Launch with five passengers towing dingy.|
|302||Ringa Ringa. Stewart Island.||Ringaringa Beach|
|303||Lonnikers Bay Stewart island. (Sic)||Looking over Lonnekers to Valuor Voe|
|304||On The Shores Of HMB. SI. NZ||Looking out to Herekopere Island|
|305||Hick's 'Ferndale House' HMB. SI. NZ.||Crowd waiting on front verandah.|
|306||Beautiful Ferns at Bragg's. SI||Tree ferns|
|307||Horsehoe Bay SI. NZ||From east end looking over water to wharf.|
|309||Thomson's 'Greenvale House' HMB. SI. NZ||Good photo of old and new parts|
|310||Thule Bay Stewart Island NZ||From road looking to boathouse and Rankin house|
|311||Maori Beach Stewart Island||Looking over water to row of mill huts|
|314||Boat Day' The Theresa Ward' at Halfmoon Bay. SI||View down to end of wharf. Lots of people|
|315||Beautiful 'Ulva' SI. NZ||Looking from jetty across bay to Post Office|
|316||From the old Whaling Station Braggs Bay. SI||Looking to Bench Island|
|316||Cruising with 'The Comet' at SI NB. Two cards with same number.||Launch 'Comet' with passengers|
|317||Golden Bay Stewart Island||Looking down on bay. Boat 'Ulva' in distance|
|318||Mamaku ferns at Stewart island||Ferns|
|319||Boat Day at Stewart Island The Theresa Ward at HMB||Crowd on wharf. Boats in background|
|320||We parted on the Shore' The Tug arrives at HMB. SI||People walking down to ferry. (Theresa Ward)|
|321||The Bush Tram. Maori Beach. SI||Team of horses,log and crowd of people.|
|324||Bathing Beach, Stewart Island. NZ||Four people swimming. Crowd watching from shore.|
|325||A Pretty Walk' at Maori Beach. SI.||People walking on tramline in bush.|
|326||Boat Harbour. Leisk's Bay SI (Sic)||Looking down on six boats moored in Leasks Bay.|
|328||On the Track To Butterfield Beach SI||Looking down road to beach and Aker's Point in distance.|
|330||Palms at Ulva SI||Bush scene with Cabbage Trees.|
|400||The Tug arrives at Halfmoon Bay SI||Theresa Ward crowded with passengers.|
|401||Sunset on the 'Three Sisters' Faith Hope and Charity||Three islets taken at dusk.|
|402||The Gums at Lonnerkers||Shows road and farmland with gumtrees.|
|404||Bird Life' On 'The Litle Island' in the Bay||Close up of seagulls|
|410||TMV 'Southland' Leaving wharf.||Crowd on deck.|
|413||Oban House HMB. SI.NZ||Guest house with flag flying and well dressed crowd|
|421||TMV 'Southland'||Steaming out of Bluff harbour.|
|450||Maurice Topais 'Bay View House'||Later renamed 'Woodslea'. Topai now spelt Topi.|
|500||Halfmoon Bay. SI||Looking along Elgin Tce to Oban House and Bragg's Store|
|502||The Corduroy Track to Deep Bay SI||Bush track|
|503||In Fern Gully Stewart Island||Ferns in bush.|
|510||Golden Bay SI. NZ||Looking through Rimu tree to Iona.|
|511||Oban, Stewart Island||Looking along Elgin Tce. Similar to 500 but closer.|
|512||Oban, Stewart Island|
|808||Thomson's 'Greenvale House' HMB. SI. NZ||View front of house. Lady on verandah.|
|1020||Boat Day at Stewart Island||Ferry approaching wharf (Tamatea?)|
|1021||Golden Bay Stewart Island.NZ||Classic view from Obversation Rock. Different to 108|
|1022||Golden Bay Village. Stewart Island.NZ||From Observation Rock looking down on houses.|
|1023||Faith Hope and Charity. SI. NZ||Looking up Paterson Inlet.|
|1025||Bathing Beach, Stewart Island.||View of beach.|
|1026||Iona Island. Stewart Island||View of Iona from Observation Rock.|
|1027||Butterfields Stewart Island||View from inside cave|
|1028||Ulva Island. SI. NZ||View of rocky shoreline.|
|1029||Road to Horseshoe Bay SI.NZ||Two peole on dirt road.|
|1030||Oban Stewart Island||View from hill along foreshore.|
|1031||Butterfields' Bay Stewart Island. NZ||Looking to Bragg's Bay. Glimse of Motorau Moana.|
|1032||Shelter Rock Camp Butterfield's SI. NZ||Campsite in rock wall|
|1033||Retired Whalers. Paterson's Inlet SI (Sic)||Three whale chasers and a barge.|
|1035||SS Tamatea at Halfmoon Bay SI. NZ||Close up of Tamatea.|
|1036||Bathing Beach, Stewart Island. NZ||From beach looking out to sea.|
|1037||SS Tamatea at The Neck SI.NZ||Vessel aground.|
|1039||The Shore at Horseshoe Bay SI||View towards Horseshoe Point.|
|1040||Horseshoe Bay SI. NZ||Taken from east end looking to halfway point.|
|1042||Halfmoon Bay SI. NZ||Taken from east side. Good view of most buildings.|
|1042a||Halfmoon Bay Stewart Island. NZ||Similar to 144 but more close up.|
|1042a||Halfmoon Bay Stewart Island. NZ||Looking in to bay from Lonnekers. NB Two cards with same number.|
|1044||Greenvale House SI||Similar to 808.|
|1045||No title but shows 'Ferndale House'||Very similar to 305 but no people.|
|1046||Halfmoon Bay Stewart Island||Almost a panorama photo of the bay.|
|1046||Woodslea House SI. NZ||Front view. NB Two cards with same number.|
|1048||No title but shows 'Oban House'||Front of Oban House with hedge and gate.|
Embossed Postcards with Framed Photo-Prints by William Main
When I joined the Postcard Society in 2000, I soon came to the conclusion that I wasn’t readily going to encounter the postcards which I lusted after, like Benoni White’s beautiful lithographed views, or Zak’s real photo cards of social scenes, unless I was able to, (a) be very patient and (b) have enough money. Somewhat disillusioned by all this, I began collecting Wellington cards in the knowledge that there were others in this field who’d stolen a march on me and consequently I was not too concerned with what was left because they fell within my financial reach. So what did I do?
Well, to stop myself from becoming too concerned with this situation, I began to caste a wider net and subsequently take an interest with cards which no one seemed to be interested in. Gradually as I began to accumulate what I flippantly describe as ‘odd ball’ discoveries, they began to take on a more definite position in my collecting, and I looked around for some reference or guidelines to what they were in the bigger picture preferences, even though I couldn’t find anything or anyone who could tell me something about the cards I was acquiring. Despite this vacuum I kept on finding the occasional card to add to my stash until they eventually began to disappear from dealers stocks. Had I cleaned out the supply all be myself or was there someone else involved collecting them that I did not know about!
However because of my accumulations, I now have sufficient evidence to put down some facts and figures for an article on them, going public in the hope there might be someone out there who can share my enthusiasm and join me in documenting yet another chapter in the history and development of New Zealand postcards. Of course this brings me to the point of asking myself the question, am I cutting off my nose to spite my face by making public what I’m currently collecting. However, as far as I’m concerned I’ve cooled my ardour for getting more examples. So here is the lowdown on what I somewhat flippantly call my ‘Odd-ball series of New Zealand postcards’.
I currently have 39 postcards that feature New Zealand views with a small photograph pasted into a sunken or recessed frame bearing a seasonal greeting and sometimes an embossed symbol like a Tiki or other Kiwi emblems. Sometimes a pale water colour has been sprayed around the photo’s frame or the edge of the card. I currently possess the following with the number of each set in brackets.
Tanner Bros (24),
Beagles & Co (2),
Rotary Photo Co. U.K. Sunk Plate Series (1),
No name (2) “Onward” N.Z. Heraldic Arms in Red White & Blue,
No name (2) Frayed Edge cards with Best Wishes and Christmas Greeting.
The photographs employed above give a good coverage of NZ and bear a title imposed on the image. Their size varies but generally measure approximately 5 X 8 cms. I can only identify and ascribe one image to a known photographer, that is Wellington Zoo Tanner Bros by F.G.Radcliffe. Three or four cards bear postal strikes with most around 1914-1915. The photographs are all produced photo mechanically and sometimes sepia toned. I would place the “Onward” series as the best and most desirable.
The illustrations selected for this article show some of the characteristics of this period or phase of New Zealand postcards.
The oval photo is the largest photo out of the 24 cards I have by the Tanner company. It features the Ferry Building on Auckland’s waterfront and is framed on the left with an embossed floral design which sadly does not show up in this illustration.
Cathedral Square in Christchurch is the title of my second card from the Tanner series. It displays two additional emblems which feature in other cards from this series. The Kiwi and Tiki are sometimes shown as embossed golden reproductions. Note also the subtle air-brushing of the edges of the cards and the seasonal jingle or rhyme which denotes all of the cards in this Tanner series.
The remaining examples depict of view of Oriental Bay in Wellington before the Band Rotunda was shifted there from its former site opposite the Town Hall. There is nothing on the reverse of this postcard which gives us any clues as to the identity of the manufacturer.
The last illustration is my favourite card with its red white and blue “Onward” heraldic shield. It features the Lake in the Recreation Grounds, New Plymouth. It also has a five line verse which sends seasonal greetings for the recipient.
Finally, I would urge those who collect these cards to examine them under a strong magnifying glass to note the photo-mechanical reproduction of each image. In other words, these are not Real Photo postcards because they have been scanned and produced in a printing press. I’m ashamed to say, it took me some time to come to this realisation because at a first glance they have a very convincing appearance of a real photograph!
(scan of corner of card above).
Footnote: After all the forgoing, I began to wonder how each and every photo print was attached to the card - usually in an embossed or sunken surface. Because I had two copies of Auckland Harbour & Rangitoto N.Z. in the N.Z. POSTCARD series, I tried soaking the print off. After 15 minutes, it showed signs of eventually floating off. Can you imagine someone sitting at a desk sticking them on, day in day out? Also I’m sure a commercial-artists spray gun was employed to tone these cards.
When you add the printer’s charges, front and back, plus the time the photographers assistant spend trimming the image and applying paste for fixing the photo in its place, surely these extra procedures cost more to produce. That’s the next thing I’ve got to find out!