Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Wool Bale Stencils: A Design History of New Zealand Branding and Visual Identity 1850–2019 A thesis presented in partial fulfilment of the requirements for the Degree of Doctor of Philosophy Massey University, Wellington, New Zealand. Annette O’Sullivan 2019 Abstract Wool bale stencils have had a ubiquitous presence in New Zealand culture for over 150 years. Originating from sheep brands, marks of station identity were stencilled on bales of wool for export to overseas markets. In time, stencilled marks represented the quality of wool and reputation of the station, and became the visual identity for the station. Following discontinuation in the wool industry, at the beginning of the 1990s stencil plates and derivative stencil letters were used for new forms of visual identity in New Zealand design. This material culture study combines historical contextualisation with close reading of objects, and observes their social life or how they have been used by people over time. It draws on object and visual evidence found on field trips to historic New Zealand sheep stations, and examples of how stencils have been used in contemporary culture. The thesis is structured through the life stages of a designed object: design and making; using, consuming, and distributing; and discarding and recycling. This maps the transformations of the wool bale stencil from an everyday utilitarian object to new forms of expression and representation in New Zealand design. Within the overarching theme of branding and identity of people, products, and places, this study of design history reflects on the meaning and significance of wool bale stencils in New Zealand. ii Acknowledgements I would like to sincerely thank my supervisors Dr Vicki Karaminas and Dr Claire Robinson for their support and guidance during this research. Dr Bronwyn Labrum was influential during the initial stages and helped to establish the foundations of the project. I would like to acknowledge the financial support for the research from the School of Design, College of Creative Arts. To colleagues and friends I am grateful for their interest and support, particularly Lynne Ciochetto, John Clemens, Fay McAlpine, Jacquie Naismith, Patricia Thomas, Kingsley Baird, Karen Curley, Gareth Gowan, Luiz dos Santos, Paul Orsman and Craig Cherrie. Carroll Simcox, and Geoff and Lorraine Taylor were enthusiastic companions on high country trips and from the beginning were dedicated supporters of the project. They were generous with their time, and knowledge of South Island stations and took me to places I probably would never have found. I am especially indebted to station owners who gave me their time, showed me their shearing sheds and allowed me to photograph their objects. It has been a privilege to meet them, visit their properties and document their historical objects. They are: Stu and Phyllida Gibson, Carola and Michael Hudson (Gwavas Station), Angus Gordon (Clifton Station), Ed Beetham (Brancepeth Station), Andrew Russell (Tuna Nui Station), Andrew Richmond (Richmond Brook Station), Bill Thomas (Longbeach Station), Michael Studholme (Te Waimate Station), Alistair Studholme (Coldstream Station), John Acland (Mt Peel Station), Robert Peacock (Orari Gorge Station), David Sutton (Waitangi Station), Will Murray (Glenmore Station), Hugh Cameron (Otematata Station), and Richard Subtil (Omarama Station). There have been a number of people who have recognised the value of the research and have contributed in various ways, in particular Mark Farnham, Ruth Low, Lindsey Hargreaves, Sarah Lowell-Smith, John Elliot, Ian and Louise Trass, Claire Bibby, Gerrie Soanes, Chris Gardiner, John Dangerfield, Robert Peden, Bill Carter, Gavin McLean, Gareth Winter (Wairarapa Archives), Vicky Holmes (Port of London Archives), Cathy Dunn (MTG Hawke’s Bay), and Gordon Walters (Pamu). I wish to acknowledge the editorial work of Dr Melinda Johnston, Dr Ben Booker and Lois Burn, research assistance from Megs Russell, Nicki Stevens, and photography by John O’Sullivan. My special thanks is to my family for their inspiration, advice and encouragement. In particular, I want to acknowledge the legacy of those of us who have gone before. To the type family of the International Society of Typographic Designers, thank you, especially Becky Chilcott, Euan Black, Belinda Magee and Sally Hope, and my typographic parents David Dabner and Eugiene Dodd. iii Table of Contents Abstract ii Acknowledgements iii List of Images v Glossary ix Introduction 2 What is a Wool Bale Stencil? 10 The Material Culture Study of Objects 13 Object Life Stages 17 Wool Bale Stencils as Object and Visual Forms 18 Scope of the Research 19 Chapter Outline 19 Chapter 1. Methodology 23 Primary Data Sources 23 The Experience of Site Visits 30 Archival and Historical Research 33 International Context 34 Data Analysis 35 Chapter 2. Historical Background and Contextualisation 39 Development of the London Market 42 Exporting Wool from the Colonies 47 Preparation of Wool for Export 50 Marks on Wool Bales 52 Regulations for Marking Wool Bales 53 The Sheep and Station Brand 55 The Introduction of Wool Bale Stencilling 58 Chapter 3. Life Stages of Design and Making 68 Station Stencils 68 Wool Description Stencils 72 Number Stencils 76 Chapter 4. Life Stages of Using, Consuming and Distributing 93 Station Stencils and Branding Irons 93 Chapter 5. Life Stages of Discarding and Recycling 117 Stencil Plates and Stencil Letters 117 Contemporary Visual Representations 123 Conclusion 137 Methodological Contribution 137 Results of Analysis 138 Contribution of the Thesis 139 Bibliography 141 Appendix 167 iv List of Images Introduction Figure 2.3. St Katherine’s Dock, British History 48 Online, date unknown. Figure 0.1. Number stencil, Snowdon Station, 1 Canterbury, 2015. Figure 2.4. Wapping Great Wool Floor 48 at London Docks, Illustrated Figure 0.2. Longbeach Station sheep brand, 3 London News, 1850. Brand Book of Canterbury, 1874. Figure 2.5. Buyers sampling wool at London, 49 Figure 0.3. Sheep branding iron, Longbeach 3 Mary Evans Picture Library, 1900. Station, Canterbury, 2015. Figure 2.6. Bales of wool packed inside a ship, 51 Figure 0.4. Station stencil, Longbeach Station, 4 location unknown. Alexander Canterbury, 2015. Turnbull Library, 1925. Figure 0.5. Station brand mark, Longbeach 4 Figure 2.7. Wool leaving Brancepeth Station 53 Station website, http://www. woolshed. Wairarapa Archive, longbeachestate.co.nz, 2019. date unknown. Figure 0.6. Station stencil, Snowdon Station, 4 Figure 2.8. Baling the season’s clip at Old-Bury, 54 Canterbury, 2010. Auckland Libraries, 1904. Figure 0.7. Stencil plates as interior decoration, 5 Figure 2.9. Sewing up a bale in a wool press, 55 New Zealand House and Garden location unknown, Alexander Magazine 238, June 2014. Turnbull Library, circa 1931. Figure 0.8. Station stencil and stencilled marks 12 Figure 2.10. Stencilling shipping marks on 58 on hemp bale, Otematata Station, wool bales, National Publicity North Otago, 2015. Studios, date unknown. Figure 0.9. Stencilling detail on a wool bale, 13 Figure 2.11. Sheep branding, Grasmere Station, 59 White Rock Station, Wairarapa. Canterbury, Alexander Archives New Zealand, Turnbull Library, 1944. date unknown. Figure 2.12. Wool Clip, Howick. South 62 Chapter 1 Auckland Research Centre, 1930. Figure 1.1. Stencil plates and branding irons, 23 Figure 2.13. Synthetic wool bale with felt pen 66 Clifton Station, Hawke’s Bay, 2015. marking, Waitangi Station, North Otago, 2015. Figure 1.2. Map of New Zealand showing 27 sheep stations visited in the thesis. Chapter 3 Figure 1.3. Stencil plates hanging on nails, 31 Figure 3.1. Stencilling brush and ink, Gwavas 71 Longbeach Station, Canterbury, 2015. Station, Hawke’s Bay, 2014. Figure 1.4. Graffiti on shed doors, Clifton 32 Figure 3.2. Hand made station stencil, Gwavas 74 Station, Hawke’s Bay, 2015. Station, Hawke’s Bay, 2014. Figure 1.5. The Country Café, Geraldine, 2010. 33 Figure 3.3. Hand made station stencil, Gwavas 74 Station, Hawke’s Bay, 2014. Figure 1.6. Stencilled post box, Mt Algidus 33 Station, Canterbury, 2010. Figure 3.4. Machine made station stencil, 74 Gwavas Station, Hawke’s Bay, 2014. Chapter 2 Figure 3.5. Machine made station stencil, 74 Figure 2.1. Rupert Morrison with a bale of wool 41 Gwavas Station, Hawke’s Bay, 2014. on his back, Wairarapa Arts Centre, circa 1910. Figure 3.6. Machine made station stencil, 74 Gwavas Station, Hawke’s Bay, 2014. Figure 2.2. South Island high country, Glenmore 45 Station, Mackenzie Country, 2015. v Figure 3.7. Tin station stencil, Coldstream 75 Figure 3.26. Design of stencil ties on wool 80 Station, Canterbury, 2015. description stencil, Te Waimate Station, South Canterbury, 2015. Figure 3.8. Copper station stencil, Coldstream 75 Station, Canterbury, 2015. Figure 3.27. Design of letters on wool 80 description stencil, Gwavas Station, Figure 3.9. Aluminium station stencil, 75 Hawke’s Bay, 2014. Coldstream Station, 2015. Figure 3.28. Slab serif number on machine 81 Figure 3.10. Plastic station stencil, Coldstream 75 made plate, Gwavas Station, Station, Canterbury, 2015. Hawke’s Bay, 2014. Figure 3.11. Detail of cut marks on stencil plate, 76 Figure 3.29. Hand-made number stencils, 81 Gwavas Station, Hawke’s Bay, 2014. Te Waimate Station shed, South Canterbury, 2015. Figure 3.12. Detail of chisel marks on stencil 76 plate, Te Waimate Station, Figure 3.30. Stencilling wool bales at Richmond 81 South Canterbury, 2015. Brook Station, Marlborough. Archway Item, date unknown. Figure 3.13. Detail of knife marks on 76 stencil plate, Clifton Station, Figure 3.31. Number stencil with metal handle, 82 Hawke’s Bay, 2015.