An Investigation Into the Copying of British Furniture Designs, the Cabinetmaker’S Pattern Book and Trade Catalogue in New Zealand 1820-1920
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Patterns and Impressions: An Investigation into the Copying of British Furniture Designs, the Cabinetmaker’s Pattern Book and Trade Catalogue in New Zealand 1820-1920. A Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Art History in the University of Canterbury By William R. Cottrell University of Canterbury 2016 PATTERNS AND IMPRESSIONS 2 Abstract This thesis explains how quickly British furniture designs arrived with New Zealand’s first colonist cabinetmakers in 1839, and that the first colonial printed trade catalogues were copied from British designs, often in contravention of copyright. Examples of the earliest New Zealand made furniture are examined to provide evidence that they were modelled on the work of popular and contemporary British designers. Comparison is made with American furniture and their first pattern books to illustrate that unauthorised reprinting of British designs had also occurred. The same experience was then found in Australia to demonstrate that British designs travelled promptly to that new colony and like America were also reproduced. The thesis argues that New Zealand colonial furniture makers replicated the American and Australian experiences. Analysis of the first New Zealand trade catalogues revealed that designs were indeed copied from British trade catalogues while specific colonial legal cases are examined to argue cabinetmakers’ catalogues violated copyright and registration by reprinting designs. Despite the widespread distribution of subscription magazine as a source of copyright free furniture designs, illegal copying persisted. Printing methods, notably lithography and then photography, are discussed to explain the complexities and efficiencies of printing colonial catalogues. Further, this thesis examines colonial trade relationships, undocumented price coding, and the manufacture of colonial furniture by using British trade catalogues as pattern books to conclude that the primary motivation for colonial furniture makers to copy designs was always about profit. PATTERNS AND IMPRESSIONS 3 Acknowledgements I would like to offer my profound appreciation to the University of Canterbury for allowing me to undertake a PhD. I realise that I am a slightly unconventional student so particular thanks to Post Graduate Deans David Gunby and Steve Weaver who both independently approved my application. Additionally Lucy Johnston, Richard Bullen, Rosie Ibbotson, Anna Petersen and the department staff were unfailingly helpful. Associate Professor Ian Lochhead advised and guided me, the novice student, was a great mentor and always free with his time. I must say that the library staff, particularly Sue Thomson, patiently pursued my various obscure requests with wonderful efficiency. Also my thanks to the fantastic people at the Caroline Simpson Library, The Mint, Sydney, who gave me complete access to their impressively rare collection. From time to time people, sometimes strangers, have been incredibly generous to me and two must be mentioned; Oliver Klett who gave me a folder of torn furniture designs that became a central link for this thesis and Helen Cranwell who gave me an almost complete set of her grandfather’s pattern books. John and Noelene Gillies of Rangiora very kindly trusted me with their original papers and most excitingly Craig and Gillies Illustrated Furniture Catalogue and additionally Milne and Janice Goldsmith who initially alerted me to it. Additionally I must thank Anne North of the Christchurch furniture-retailing firm McKenzie and Willis, occupiers of the old A.J. White premises. She lent me White’s fascinating pre- World War One order book that gave a wonderful insight into the day-to-day running of one of New Zealand’s oldest furniture companies. This material was subsequently lost in the February 2011 earthquake. Leslie Beynon of Timaru gave me the Scoullar and Chisholm advertising copy scrapbook. Gordon and Marie Shroff kindly lent me the H.R. Shroff and Son Letter Book and advertising copy scrapbook. Carol Hinton and Nigel Isaacs dutifully alerted me to any internet sales of material, in particular Charles Meeking and Co Illustrated Catalogue, those of Warings, S.S. Williams and amazingly Oetzmann’s Guide to House Furnishing. Additionally Nigel was also endlessly helpful with computing issues. Wellington cabinetmaker David Kirkland provided Henry Fielder’s original copy of C. and R. Light’s Registered Designs for Cabinet Furniture. My thanks to Max Cryer, Auckland, for his copy of the John Negras catalogue of colonial carvings and Jim Rawdon, Blenheim, for lending me a set of Dunedin mirror frame patterns. Mark Lester of Auckland lent me his copy of Globe catalogue and Evan Blair in Oamaru sent me his own original Herbert, Haynes PATTERNS AND IMPRESSIONS 4 and Co. catalogue. Ray Eglington let me copy Henry Fielder’s 1897 catalogue and gave me a notebook belonging to Chris Hartley, a former Scoullar and Chisholm employee. Noel Matheson gave me Edward Collie’s catalogue and the Lynn Woodwork Museum generously traded Nicholson’s Practical Carpentry. Helen Watson of Christchurch very kindly let me copy her grandfather Anders Jacobsen’s material and further afield Jolyon Hudson, Marlborough Rare Books in London was always fun to email. There were no doubt others but I do want to single out my lovely partner Lynnette Brice for endlessly listening to me and being very supportive. PATTERNS AND IMPRESSIONS 5 Contents Abstract ......................................................................................................................................... 2 Acknowledgements ....................................................................................................................... 3 Contents ........................................................................................................................................ 5 Introduction .................................................................................................................................. 6 Chapter One: The Cabinetmaker’s Pattern Book Contextualised ............................................... 10 Chapter Two: The First Evidence of British Furniture Designs in New Zealand .......................... 39 Chapter Three: First Colonial Pattern Books in America and Australia 1833-75 ........................ 81 Chapter Four: The First New Zealand Pattern Books ................................................................ 123 Chapter Five: Colonial Image Reproduction, Copyright and the Furniture Trade .................... 154 Conclusion ................................................................................................................................. 203 Appendix 1: British Designs found Reprinted Abroad .............................................................. 213 Appendix 2: List of Pattern Books and Trade Catalogues ......................................................... 216 Bibliography .............................................................................................................................. 222 PATTERNS AND IMPRESSIONS 6 Introduction This thesis discusses the nineteenth-century cabinetmaker’s pattern book and the furniture trade catalogue in New Zealand.1 It begins with an introduction that sets the context and background for the study which includes a literature review and an outline of the methodology. A large resource of original material found in New Zealand from the 1820 to 1920 period was assembled for this thesis. It was used to illustrate the introduction of furniture design from the very outset of European settlement through a century of change to demonstrate how quickly new fashions and printing processes were adopted in the colony.2 Chapter Two provides new and original material to demonstrate that colonial furniture was modelled on modern British patterns from the very outset of European settlement. It discusses examples from the 1840-50 era to explain the modernity of the very first colonial furniture. The latest British pattern books arrived with immigrants and those designs were replicated in New Zealand native timbers. The oldest surviving colonial furniture can be identified by comparison to contemporary British designs and also can be dated by identifying period tool markings and materials. The replication of British patterns in colonial made furniture can be taken as evidence that those designs reached New Zealand in a timely manner. Furthermore it will be shown that the work of the same designers, particularly Thomas King, John Loudon and warehouseman William Smee, consistently got to different regions of settlement. Chapter Two sets out to establish that popular British fashions were predominant while Chapter’s Four and Five discuss surviving patterns to confirm this assertion. British furniture designs were similarly popular in the United States. Chapter Three explores the use of English patterns in American furniture from after the turn of 1 The terms ‘pattern book’ and ‘trade catalogue’ seem to have been somewhat muddled throughout the library, museum, and antique trade. Pattern books were for cabinetmakers to manufacture from and were for the most part initiated by furniture designers who were not cabinetmakers. Additionally, pattern books assisted in selling an item before its construction. ‘Trade catalogue’ was the over-arching label given to publications illustrating a large selection of wares by individual manufacturers, suppliers and retailers. It also