Haast and the Moa: Reversing the Tyranny of Distance!
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The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861-1886
The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861-1886 Sascha Nolden, Simon Nathan & Esme Mildenhall Geoscience Society of New Zealand miscellaneous publication 133H November 2013 Published by the Geoscience Society of New Zealand Inc, 2013 Information on the Society and its publications is given at www.gsnz.org.nz © Copyright Simon Nathan & Sascha Nolden, 2013 Geoscience Society of New Zealand miscellaneous publication 133H ISBN 978-1-877480-29-4 ISSN 2230-4495 (Online) ISSN 2230-4487 (Print) We gratefully acknowledge financial assistance from the Brian Mason Scientific and Technical Trust which has provided financial support for this project. This document is available as a PDF file that can be downloaded from the Geoscience Society website at: http://www.gsnz.org.nz/information/misc-series-i-49.html Bibliographic Reference Nolden, S.; Nathan, S.; Mildenhall, E. 2013: The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861-1886. Geoscience Society of New Zealand miscellaneous publication 133H. 219 pages. The Correspondence of Julius Haast and Joseph Dalton Hooker, 1861-1886 CONTENTS Introduction 3 The Sumner Cave controversy Sources of the Haast-Hooker correspondence Transcription and presentation of the letters Acknowledgements References Calendar of Letters 8 Transcriptions of the Haast-Hooker letters 12 Appendix 1: Undated letter (fragment), ca 1867 208 Appendix 2: Obituary for Sir Julius von Haast 209 Appendix 3: Biographical register of names mentioned in the correspondence 213 Figures Figure 1: Photographs -
Changing Attitudes and Perceptions of Artists Towards the New Zealand
University ofCanterbury Dept. of Geography HA� LIBRARY CH&ISTCHUIICH, � University of Canterbury CHANGING ATTITUDES AND PERCEPTIONS OF ARTISTS TOW ARDS THE NEW ZEALAND MOUNTAIN LANDSCAPE by Katrina Jane Askew A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts m Geography Christchurch, New Zealand February 1995 "I go to the mountains, to get High" Anonymous Abstract The purpose of this study is to explore the changing attitudes and perceptions of artists and settlers towards the New Zealand mountain landscape from the period of colonisation to 1950. When European colonists first anived in New Zealand, they brought with them old world values that shaped their attitudes to nature and thus the mountains of this country. Tracing the development of mountain topophilia in landscape painting, highlighted that the perceptions settlers adopted on arrival differed greatly from those of their homeland. In effect, the love of European mountain scenery was not transposed onto their new environment. It was not until the 1880s that a more sympathetic outlook towards mountains developed. This led to the greater depiction of mountains and their eventual adoption into New Zealanders identification with the land. An analysis of paintings housed in the Art Galleries of the South Island provided evidence that this eventually led to the development of a collective consciousness as to the ideal mountain landscape. ll Acknowledgements The production of this thesis would not have been possible but for the assistance of a great number of people. The first person I must thank is Dr. Peter Perry who supervised this research. -
The Establishment of the Canterbury Society of Arts
New Zealand Journal of History, 44, 2 (2010) The Establishment of the Canterbury Society of Arts FORMING THE TASTE, JUDGEMENT AND IDENTITY OF A PROVINCE, 1850–1880 HISTORIES OF NEW ZEALAND ART have commonly portrayed art societies as conservative institutions, predominantly concerned with educating public taste and developing civic art collections that pandered to popular academic British painting. In his discussion of Canterbury’s cultural development, for example, Jonathan Mane-Wheoki commented that the founding of the Canterbury Society of Arts (CSA) in 1880 formalized the enduring presence of the English art establishment in the province.1 Similarly, Michael Dunn has observed that the model for the establishment of New Zealand art societies in the late nineteenth century was the Royal Academy, London, even though ‘they were never able to attain the same prestige or social significance as the Royal Academy had in its heyday’.2 As organizations that appeared to perpetuate the Academy’s example, art societies have served as a convenient, reactionary target for those historians who have contrasted art societies’ long-standing conservatism with the struggle to establish an emerging national identity in the twentieth century. Gordon Brown, for example, maintained that the development of painting within New Zealand during the 1920s and 1930s was restrained by the societies’ influence, ‘as they increasingly failed to comprehend the changing values entering the arts’.3 The establishment of the CSA in St Michael’s schoolroom in Christchurch on 30 June 1880, though, was more than a simple desire by an ambitious colonial township to imitate the cultural and educational institutions of Great Britain and Europe. -
Julius Haast Towards a New Appreciation of His Life And
JULIUS HAAST TOWARDS A NEW APPRECIATION OF HIS LIFE AND WORK __________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in History in the University of Canterbury by Mark Edward Caudel University of Canterbury 2007 _______ Contents Acknowledgements ............................................................................................... i List of Plates and Figures ...................................................................................... ii Abstract................................................................................................................. iii Chapter 1: Introduction ........................................................................................ 1 Chapter 2: Who Was Julius Haast? ...................................................................... 10 Chapter 3: Julius Haast in New Zealand: An Explanation.................................... 26 Chapter 4: Julius Haast and the Philosophical Institute of Canterbury .................. 44 Chapter 5: Julius Haast’s Museum ....................................................................... 57 Chapter 6: The Significance of Julius Haast ......................................................... 77 Chapter 7: Conclusion.......................................................................................... 86 Bibliography ......................................................................................................... 89 Appendices .......................................................................................................... -
Bill Ceevee 2014
curriculum vitae, William F. Martin Institutional address: Home address: Institut für Botanik III Rilkestrasse 13 Heinrich Heine-Universität Düsseldorf D-41469 Neuss Universitätsstraße 1 Germany D-40225 Düsseldorf Germany e-mail: [email protected] Tel. +49-211-811-3011 Date of birth : 16.02.57 in Bethesda, Maryland, USA Familial status : Married, four children Nationality : USA University degree : 1981-1985, Technische Universität Hannover, Germany: Biology Diplom thesis : 1985, Institut für Botanik, TU Hannover with Rüdiger Cerff: Botany PhD thesis : 1985-1988, Max-Planck-Institut für Züchtungsforschung, Cologne, with Heinz Saedler; degree conferred by the University of Cologne: Genetics Postdoc : 1988-1989, Max-Planck-Institut für Züchtungsforschung, Cologne Postdoc : 1989-1999, Institut für Genetik, Technische Universität Braunschweig Habilitation : 1992, TU Braunschweig, Germany, venia legendi for the field of Botany Full professor : 1999-2011 for "Ecological Plant Physiology" (C4), Universität Düsseldorf : 2011- for "Molecular Evolution" (C4), Universität Düsseldorf Honours 2013- Visiting Professor, Instituto de Tecnologia Química e Biológica, Oeiras, Portugal 2012 Elected Member of EMBO (European Molecular Biology Organisation) 2010- Science Advisory Committe, Helmholz Alliance Planetry Evoution and Life 2008 Elected Member of the Nordrhein-Westfälische Akademie der Wissenschaften 2007-2012 Selection Committee for the Heinz-Maier-Leibnitz Prize of the DFG 2006 Elected Fellow of the American Academy for Microbiology 2006-2009 Julius von -
Rich Man, Poor Man, Environmentalist, Thief
Rich man, poor man, environmentalist, thief Biographies of Canterbury personalities written for the Millennium and for the 150th anniversary of the Canterbury Settlement Richard L N Greenaway Cover illustration: RB Owen at front of R T Stewart’s Avon River sweeper, late 1920s. First published in 2000 by Christchurch City Libraries, PO Box 1466, Christchurch, New Zealand Website: library.christchurch.org.nz All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from Christchurch City Libraries. ISBN 0 908868 22 7 Designed by Jenny Drummond, Christchurch City Libraries Printed by The Caxton Press, Christchurch For Daisy, Jan and Richard jr Contents Maria Thomson 7 George Vennell and other Avon personalities 11 Frederick Richardson Fuller 17 James Speight 23 Augustus Florance 29 Allan Hopkins 35 Sali Mahomet 41 Richard Bedward Owen 45 Preface Unsung heroines was Canterbury Public Library’s (now Genealogical friends, Rona Hayles and Margaret Reid, found Christchurch City Libraries) contribution to Women’s overseas information at the Family History Centre of the Suffrage Year in 1994. This year, for the Millennium and 150th Church of Jesus Christ of Latter Day Saints. Professional anniversary of the founding of the Canterbury Settlement, researchers Valerie Marshall in Christchurch and Jane we have produced Rich man, poor man, environmentalist, thief. Smallfield in Dunedin showed themselves skilled in the use In both works I have endeavoured to highlight the lives of of the archive holdings of Land Information New Zealand. -
'Thinking from a Place Called London': the Metropolis and Colonial
‘Thinking from a place called London’: The Metropolis and Colonial Culture, 1837-1907 FELICITY BARNES In April 1907, at the Colonial Conference in London, the premiers of the white self-governing colonies met with members of the imperial government to reconcile two apparently conflicting objectives: to gain greater acknowledgement of their de facto political autonomy, and commitment to strengthening imperial unity.1 The outcomes of this conference tend to be cast in constitutional and political terms, but this process also renegotiated the cultural boundaries of empire. The white settler colonies sought to clarify their position within the empire, by, on the one hand, asserting equal status with Britain, and, on the other, emphasizing the distinction between themselves and the dependent colonies.2 In doing so they invoked and reinforced a hierarchical version of empire. This hierarchy, underpinned by ideas of separation and similarity, would be expressed vividly in the conference’s outcomes, first in the rejection of the term ‘colonial’ as a name for future conferences. These were redesignated, inaccurately, as ‘imperial’, not ‘colonial’, elevating their status as it narrowed their participation.3 ‘Imperial’ might be metropolitan, but ‘colonial’ was always peripheral. Whilst the first Colonial Conference, held in 1887, had included Crown colonies along with the self-governing kinds,4 20 years later the former were no longer invited, and India, or, more precisely, the India Office and its officials, was only a marginal presence.5 As wider participation declined, imperial government involvement increased. From 1907 the conference was to be chaired by the British prime minister. This pattern was repeated in changes to the Colonial Office itself. -
Maori Cartography and the European Encounter
14 · Maori Cartography and the European Encounter PHILLIP LIONEL BARTON New Zealand (Aotearoa) was discovered and settled by subsistence strategy. The land east of the Southern Alps migrants from eastern Polynesia about one thousand and south of the Kaikoura Peninsula south to Foveaux years ago. Their descendants are known as Maori.1 As by Strait was much less heavily forested than the western far the largest landmass within Polynesia, the new envi part of the South Island and also of the North Island, ronment must have presented many challenges, requiring making travel easier. Frequent journeys gave the Maori of the Polynesian discoverers to adapt their culture and the South Island an intimate knowledge of its geography, economy to conditions different from those of their small reflected in the quality of geographical information and island tropical homelands.2 maps they provided for Europeans.4 The quick exploration of New Zealand's North and The information on Maori mapping collected and dis- South Islands was essential for survival. The immigrants required food, timber for building waka (canoes) and I thank the following people and organizations for help in preparing whare (houses), and rocks suitable for making tools and this chapter: Atholl Anderson, Canberra; Barry Brailsford, Hamilton; weapons. Argillite, chert, mata or kiripaka (flint), mata or Janet Davidson, Wellington; John Hall-Jones, Invercargill; Robyn Hope, matara or tuhua (obsidian), pounamu (nephrite or green Dunedin; Jan Kelly, Auckland; Josie Laing, Christchurch; Foss Leach, stone-a form of jade), and serpentine were widely used. Wellington; Peter Maling, Christchurch; David McDonald, Dunedin; Bruce McFadgen, Wellington; Malcolm McKinnon, Wellington; Marian Their sources were often in remote or mountainous areas, Minson, Wellington; Hilary and John Mitchell, Nelson; Roger Neich, but by the twelfth century A.D. -
Canterbury Museum 71
Staging the Past: The Period Room in New Zealand Volume I Submitted by Kimberley Jane Stephenson in fulfilment of a Master of Arts in Art History School of Art History, Classics and Religious Studies Victoria University of Wellington December 2011 i Contents Volume I Abstract iii Acknowledgements iv Abbreviations vi List of Illustrations vii Introduction 1 Chapter 1 The Centennial Exhibition and the emergence of a period room tradition in New Zealand 20 Chapter 2 Otago Early Settlers Museum 46 Chapter 3 Canterbury Museum 71 Chapter 4 Dominion Museum 126 Conclusion 175 Bibliography 177 Illustrations 193 Volume II List of Illustrations 1 Illustrations 9 ii Abstract Before 1940, few of the nation’s museums actively collected or displayed artefacts associated with the history of European settlement in New Zealand. Over the following three decades, an interest in ‘colonial history’ blossomed and collections grew rapidly. Faced with the challenge of displaying material associated with the homes of early settlers, museums adopted the period room as a strategy of display. The period room subsequently remained popular with museum professionals until the 1980s, when the type of history that it had traditionally been used to represent was increasingly brought into question. Filling a gap in the literature that surrounds museums and their practices in New Zealand, this thesis attempts to chart the meteoric rise and fall of the period room in New Zealand. Taking the two period rooms that were created for the New Zealand Centennial Exhibition in 1939 as its starting point, the thesis begins by considering the role that the centennials, jubilees and other milestones celebrated around New Zealand in the 1940s and 1950s played in the development of period rooms in this country, unpacking the factors that fuelled the popularity of this display mode among exhibition organisers and museum professionals. -
Crombie to Burton Michael Graham-Stewart John Gow Michael Graham-Stewart
Crombie to Burton Michael Graham-Stewart John Gow Michael Graham-Stewart in association with detail from p. 23 John Gow (John Leech Gallery, Auckland) Covers Front p. 36 Endpaper Daniel Louis Mundy (1826/7 – 1881) Back p. 32/33 Hotel foot of Otira Gorge [with Mundy’s mobile darkroom] 18 6 8 Imprinted Mundy (defaced) N.Z. No. 48, 11/3/68. Inscribed with title verso Albumen print, 170 by 228 mm. (detail shown enlarged) (From the London Correspondent of the New Zealander.) London, June 24th. As you enter at the principal doorway, under the central dome, and pass down the nave, third on the right hand, you see now New Zealand as an ante-court to that of Western Australia, being grouped with New South Wales, Queensland, Victoria etc …..but the space allotted is very small…Mr. Morrison [Commissioner-General for N.Z.], of all things, perhaps, is entitled to praise for the placing or displacement of the specimens of photography, illustrating to the world besides New Zealand, a panoramic view of Auckland by Mr. Crombie and sundry buildings of Wellington, the Provincial Government House, Mechanics’ Institute, and the like….. As a photograph, it is Mr. Crombie’s very best, and does him infinite credit. To hear the different remarks on New Zealand in its court would lead to a supposition, firstly and most decidedly, that the Natives are still cannibals ; that we at Auckland are in a state of fern, and without streets or regular houses, speak a foreign tongue, and are but Maori once removed. One enquiry was if the Natives were ever seen, aud then, why were they allowed to come to town; yet another, if they were not very beautiful people, always at our houses, and continually marrying English ladies - expressions of opinion upon the war, and the foolish “bible and bayonet” system from home. -
Rare Book Auction
180 182 181 113 383 RARE BOOK AUCTION WEDNESDAY 22ND FEBRUARY 2012 ART+OBJECT is delighted to be offering a further selection of books and documents from two major New Zealand libraries. The library of Arthur T. Pycroft was far too large to incorporate into one auction and as a result this sale includes further important early Maori printings, papers and documents, Maori war and World War I military histories, along with New Zealand and regional histories. Also included in the catalogue are the contents of an impressive private South Island library of important contemporary New Zealand literature. It includes Caxton Club and Press publications, alongside other private presses, as well as early works by Allen Curnow, Denis Glover and James K. Baxter. Also of note are an original manuscript by Pat Lawlor for ‘Confessions of a Journalist’ and the proof edition of ‘Books and Bookmen’. Further works from this large collection will be included in our June auction and entries for this sale are currently invited. The auction is to be held on Wednesday the 22nd of February at 12 midday. It will consist of around 600 lots and we encourage inspection. Viewing is on Saturday 18th and Sunday 19th from 11.00am to 3.00pm and on Monday and Tuesday from 9.am to 5pm. Direct all inquiries to: Pam Plumbly Rare Book Consultant Art + Object [email protected] Ph: +64 9 354 4646 Fax +64 9 354 4645 Mobile: 021 448200 Front Cover Illustration Lot 113 Rear Cover Illustration Lot 181 ABSENTEE BID FORM AUCTION: WednesdaY 22ND FebruarY, Art & OBJECT This completed and signed form authorizes ART+OBJECT to bid at the above mentioned auction or the following lots up to the prices indicated below. -
An Object-Biography of the Egyptian Mummies in New Zealand Museums, 1885-1897
THE MUMMY’S COMPLAINT: An Object-Biography of the Egyptian Mummies in New Zealand Museums, 1885-1897 Ryan Brown-Haysom 2013 A dissertation submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies. ABSTRACT Recent years have seen a revival of interest in material objects in the humanities generally, and in Museum Studies in particular. Although the influence of this ‘material turn’ is still in its early stages, one of the manifestations of the renewed interest in the ‘life of things’ has been the growth of interest in Actor-Network Theory, a branch of sociological analysis which attempts to reconstruct the networks of agency through which social existence is created and maintained. One of the more controversial aspects of Actor-Network Theory (or ANT) is its willingness to concede a level of agency to non-human and inanimate actors in these ‘assemblages.’ For Museum Studies, the relevance of this theoretical framework lies in the analysis of museums both as assemblages in their own right, and as actants in a network of other sites, institutions, technologies, ideologies, and objects. Museum objects, long viewed as inert, can be seen instead as participants in the ‘shuffle of agency’ that constitutes institutions and inducts them into wider patterns of social activity. This dissertation uses the case study of Egyptian mummies in New Zealand museums to gauge the usefulness of an ANT-based approach to writing the ‘life-history of objects.’ Borrowing the concept of the ‘object biography’ from Kopytoff and Appadurai, it attempts to construct such a history of the five complete Egyptian mummies in New Zealand’s public museums.