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B. I. McFadgen Richardson Moari Halls in NZ Museums 2

Angela Burns Report on a Painting Store and Exhibition Programme at the Otago Early Settlers Museum 4

Dr T. L. Wilson Te Moari Exhibition: A Report 6

Gerry Barton Te Moari Exhibition - Conservation Treatment Undertaken by the Auckland Museum Conservation Department 7

Chris Mangin Sponsorship: The Prepared Approach 10

Dr P. R. Millener Research on the Subfossil Deposits of The Honeycomb Hill Cave System, Opara 14

Bill Millbank The Visual Arts - General Comments on a Recent Australian Visit 1 6

Jack Churchouse NZ. A Maritime Nation? 16

Mark Strange Through a Dot Screen Dimly 18

Richard Cassels Bare Bones Exhibition at Manawatu Museum 20

David J. Butts A Home for Hawke's Bay's Natural History Collections 22 Allan Thomas Asia in N.Z. -Some After-Thoughts on Jennifer Shennan a Museum Performance. 21

Miscellany 24

The Pukeroa Gateway after cleaning on temporary display in the entrance Village scene Koroniti. Burton Bros. The 'weight' table. "Feel the weight foyer of Auckland Museum. Page 7 See page 18. of these bones". See page 20. Maori Halls in New Zealand Museums

B. I. McFadgen-Richardson, Curator of Ethnology, National Museum

For the first time in thirty years major should be collected and photo­ New Zealand to discuss an assistance New Zealand Museums, including graphed before all were lost by the to Museums and Art Galleries for the National Museum, are re­ "tide of colonization". The study of educational work. One of his recom­ developing their exhibitions of Maori simpler more "primitive" races was mendations was the establishment of Culture. The new displays, which in­ considered useful in understanding a school service which stressed the corporate Maori concepts, represent a the "civilized" world. The art of the teaching of children in the galleries. break with traditional ways of Maori was seen only as ornamental Museums had to make displays suit­ presenting Maori culture based on when compared with the European able for children and the use of European academic ideas. This paper ideal of art as an idealized reflection colour, simple layout and more in­ outlines the history and development of nature. formative labels pleased the general of New Zealand Museum displays of The Museum curators of anthro­ public as well as the children. The Maori culture and explains the basis pology (or ethnology as it was then Carnegie Corporation funded experi­ of the planned exhibition gallery at known) were more than antiquarians. ments in display techniques at the the National Museum. They were people who were con­ Auckland and Otago Museums and a The first European voyager to reach cerned to preserve Maori culture not visit by a specialist, Mr Frank Tose of New Zealand was Tasman in 1642. only for scientific reasons but be­ California. The use of photographs He left after the Maoris attacked his cause they knew the Maori as friends. and background graphics to tell a ships and collected nothing. The next People like Augustus Hamilton of the story were introduced into cases. For contact was Captain Cook's first Colonial Museum, Bill Phillipps of example the greenstone case would voyage in 1769. Cook's expeditions the Dominion Museum and Roger now have various ornaments and were scientific as well as commercial Duff of the Canterbury Museum adzes laid out in a curve accentuated and his ships company included spoke Maori and knew some of the with colour and extensive labels were scientists who were interested in elders as personal friends. The man hand lettered onto the background in ethnology. Cook himself was an intel­ who was perhaps closest to the Maori blending colours. The whole is a ligent and curious man who observed people was Elsdon Best whose work composed picture. and recorded in detail what he saw. on Maori material culture is Most present ethnological displays He had to forbid trading in artefacts unsurpassed. have been made since WW II and until the ships were provisioned so Early Museum displays were the except for a little updating and re­ great was the "passion for "cabinet of curiosities" type, with painting still have basically the same curiosities" of his men. The Maori bones of animals and stuffed birds layout as in the 1950's. Cases are of quickly realized the value of artefacts and artefacts all jumbled together. standard sizes and each deals with for trade and items such as nephrite They were similar to displays at one theme such as: The Arts of tikis were made for export. After International and Industrial Pleasure, Fishing, Agriculture, or The settlement began in 1800 the early Exhibitions which were popular at Coming of the Maori. There is a whalers, colonists and missionaries the turn of the century where arte­ strong teaching element to the traded for artefacts or obtained them facts were displayed as groups of displays. A class can sit comfortably by gift and many of the items so products in specified areas. There in front of a case and learn about acquired were sent "home" to was little division of artefacts into Samoa, tapa making or Birds of the England, Europe or America. meaningful categories and no attempt Seashore. The early settlers formed literary at interpretation. The "NZ Inter­ For some time ethnologists at the clubs- and scientific societies. New national Exhibition" in Christchurch major Museums have been concerned Zealanrl was initially divided into 1906-1907 featured a village con­ about these out-of-date displays. Un­ provinces and each province had a structed and occupied by Maoris fortunately, lack of funding and staff Philosophical Society which in­ where demonstrations of weaving, have hindered redevelopment until cluded anthropology among its carving and dance were given for just recently, but now that some re­ interests. Collections of Natural visitors. sources have become available the History and Ethnology were formed In 1917 T. F. Cheeseman, Director Auckland Museum and the National and the first Museum was established of the Auckland Museum, asked for a Museum in Wellington have actively in Nelson in 1841. Other Museums new building where Maori artefacts begun planning new galleries. were Auckland 1952, Wellington could be laid out as a marae/village In 1982 a committee was set up at 1865, Hawkes Bay 1865, Taranaki with models of people at their occu­ the National Museum to look at re­ 1865, Canterbury 1867, Otago 1868, pations. By the 1920's Museum planning the Maori hall. It included Southland 1871 and Wanganui 1895. displays were more selective and the Curator of Ethnology, a Museum The motivations for collecting arte­ artefacts were grouped into types or council member who was a Maori, a facts were many. A principle moti­ into geographical areas. For example designer, and an architect also a vation was to acquire the unique one case might show greenstone Maori. Concepts of interior space, objects from what many Europeans ornaments attached in rows on the movement into a centre by a tunnel, believed was a dying race. The back of the case, each with its label the Museum as a meeting house, isolation of the Maori from outside saying what it was made of and who were all explored and discussed. influence since their voyage from donated it. There might be a central Previous ideas incorporating mez­ Polynesia until the arrival of label with a description of stone zanine floors were rejected as it was Europeans was also cited as a reason working techniques. felt important to retain the art deco for studying their culture. It was felt In 1935 Dr F. P. Keppel, President architecture of the big central gallery. that examples of Maori artefacts of the Carnegie Corporation visited The question of natural light was de-

2 bated at great length and it was de­ considered but discounted on the vironment. As part of that sequence cided to retain the skylights of the same grounds. Our marae, the open the arrival of Polynesians in NZ and central gallery replacing the plain area in front of the meeting house, is their effect on the eqvironment from glass with screening glass (being sometimes used correctly as a marae an academic view will be illustrated. done now). Large Maori carvings on special occasions. The Education To say that in the new Maori were meant to be seen in natural section sometimes go through a galleries a Maori view will be taken light. The problem of artefacts fading modified form of the ceremony with is an oversimplification. Maori will be solved by making two court­ their classes if they have teacher culture has changed and is still yards on either side of the great training students who can act as changing. As the Mf\ori people fight carved Maori house into small hosts. to save their culture from being over­ intimate controlled-climate galleries Obviously when designing the whelmed by the pakeha, aspects have and linking them by a passage be­ exhibition there should be a sizeable become ritualized and therefore less hind the Maori house. Maori input. We have no Maoris in flexible. Common tools such as fish­ Visitors will be encouraged to the Ethnology Department as yet hooks and adzes which were dis­ move into the new galleries in an although a position for a Maori carded in the past (when broken) anti-clockwise manner which is cor­ advisory officer has recently been have now become objects of rect Maori protocol in front of a established. veneration or of ill-luck as tapu. The meeting house. Traditions, beliefs The National Museum is . very nature of tapu as a force of negative and mythology will be dealt with in a lucky that its present Council chair­ and positive aspects is changed in combined audiovisual and three man is a Maori, and that the Board popular thought to one of just dimensional display in the first part that administers the Museum and Art negative, almost black magic evil. of the gallery. The origins of the Gallery includes the Chairman of the Artefacts made last century for trade Maori people and their coming to NZ NZ Maori Council. These people are by barter now become sacred will be given as much as possible in very helpful in matters of policy. The treasures that should be returned to Maori terms, as traditional history. Museum also has professional and New Zealand. The reality of how they The anchorstone left by the great personal links with the Maori Studies are perceived now is at variance with voyager Kupe, which cold scientific Department of Victoria University. the reality of their perception when fact says is made of NZ greywacke, For all that, we are, by our nature made. This can pose problems for the will not be described as "said to be as Museums, a pakeha institution Museum ethnologist in inter­ Kupe's. anchorstone" but will state based on the supposition that there is pretation. A further complication is "this is Kupe's anchor stone". merit in preserving the relics of the changes in pakeha attitudes through Appropriate chants that recite the past, and that the function of display time and a regrettable tendency for creation of the world, the traditions is mainly informative. The tech­ both groups to see each other in of the gods and ancestors and the niques used to inform are pakeha, the stereotypes. It should, however, be arrival of the canoes will be used as expectation of what a Museum is, is possible to explain and illustrate, much as possible in conjunction with pakeha. We need Maori input to en­ perhaps by poetry, the Maori attitude specific artefacts. sure that nothing is said that is in­ to the land and link it to the pakeha The second gallery will exhibit correct or offensive to Maori experience especially to such events artefacts according to use, discuss sensitivities. as the Scottish highland clearances of adaptations to and use of New At present the ethnologists and the 19th century, the dispossession of Zealand resources, and illustrate the designer are working on subjects and land by peoples and their mourning symbolic role artefacts assume. The the relationships between them, the for their lost inheritance. The first differences between classic Maori art artefact lists and the label scenario. European literature read by the and the pakeha perceptions of the The range of artefacts required is Maori was the Bible and some of the aesthetic will be explored. considered from the beginning in most popular stories were of Jewish Current Museum displays give an case additional items or replicas have dispossession and longing for their image of the Maori which is difficult to be acquired. We are working on a homelands. It should be possible to to relate to the present. Museums try strong theme which indirectly aids illustrate the differences and stress to show what the society was like conservation as individual artefacts the commonalty. Museums are and the achievements of that society can be changed without disturbing uniquely placed to do this; they have especially in material things such as the storyline. objects that are concrete and can em­ fine carving and weaving. Concepts The basic premise is to try and body ideas, they can use audio and and philosophies have been un­ communicate ideas from a Maori visual techniques to inform and touched partly because of a lack of viewpoint, not a European academic express emotion as does film and TV, knowledge and partly because of dif­ view. Where possible, known Maori with the added advantage of repeat­ ficulties in illustrating intangibles. classifications will be used; fishhooks ability. They can inform in labels and Written words have to be kept to a for example will be classified by booklets but do not have to rely on minimum on display though they can function, not form and material. The them with their necessity for intel­ be supplemented with booklets. Un­ base for the artefacts is of the classic lectual input. The information im­ fortunately words cannot convey, for period just at European contact; time parted in the Maori Hall will be instance, the emotion of a Maori wel­ will be left open-ended and will be stated differently in the surrounding come and the obvious answer seems brought in, as will regional dif­ galleries and expanded in further gal­ to be to play a recording of the ferences, where relevant. Regional leries dealing with the background of ceremony. But it was felt this would differences in carving styles will be the peoples now in NZ. trivialize what is a living important illustrated in a separate part of the We are however creating problems custom. It would be like having a main gallery. The other galleries for ourselves. It would be simpler to Christian or Islamic ceremony on which surround the Main Hall form a continue to use the simple didactic tape in a cathedral or mosque for circular pattern from the front displays of artefacts arranged by people to just wander in and out as entrance and are planned to show regional style or historical sequence they please. Live performances were New Zealand's development and en- with rebuilt cases and modern colour.

3 We may fail to please anyone, the pakeha may not understand what we dre trying to say and the Maori may feel we've got it all wrong anyway. The approach is different, it is more integrated and uses the artefacts as one avenue into the knowledge of a culture. We must get some concepts across, especially Maori attitudes in the past to land, to time, to power and to leadership. They are still relevant. Such ingrained ways of thinking do not change easily, they evolve to meet changing conditions, but seldom wholly vanish. Maori culture and art is not static but has been changing, evolving and inter­ acting with pakeha culture which is also changing and evolving. All New Zealanders have a cultural heritage and recognition and understanding of that heritage is part of the forming of a National Identity. Though the primary role of Museums is as custodians of material objects of the past their interpretative function in the present is in­ creasingly important. Realization of this role is the basis for present exhibition planning at the National Colonial Museum gallery, 1907, "cabinet of curiosities" type of display. Museum. Report on a New Painting Store and Exhibition Programme at the Otago Early Settlers' Museum Angela Burns Curator

In November 1982, a new painting hung on racks and a catalogue has mounting the entire collection with store was completed at the Otago been completed. We are now slowly archival acid-free boards. The cabinet Early Settlers' Museum, eliminating photographing each one so we can we have designed will be wooden at last many years of coping with include a negative with each cata­ and contain polythene sleeves so that works being stored in dusty, in­ logue card. paintings can be placed into these adequate storerooms. The advantages Overall, the museum's collection is and suspended in a filing system. to the Collection are tremendous, as a varied and diverse one, ranging Many of these works, of course, will we have now been able to research from naive scenes of people, country­ need some conservation treatment as and catalogue the paintings side and animals to numerous well. thoroughly and assess which works seascapes and paintings of ships, the require the most urgent conservation odd still life and many landscapes Watercolour Storage Cabinet. treatment. which include those by J. C. Hoyte, The walls of the storeroom are of Lawrence William Wilson, William three layers of brick and a fire-stop Mathew Hodgkins, S. T. O'Keefe, J. door separates it from the transport A. Gilfillan, William Fox and George display in an adjacent gallery. Be­ O'Brien. As well as these, a large cause a relatively large space was proportion is made up of portraits in­ allotted for this collection, we were cluding those by A. H. O'Keefe, able to build stationary racks, making Sidney Lough Thompson, Mary Tripe the paintings easily and quickly and Frances Hodgkins. accessible. The racks are double­ In addition to the framed works, sided and can hold up to 35 we have some 300 watercolours, paintings on each. drawings and prints unframed, all of Many of the works have surfaced which are in need of proper storage. for the first time in many years and it We are at present in the process of is certainly the first time the col­ cataloguing these and intend lection can be viewed as a whole, building a cabinet to store them in. allowing us to evaluate paintings At the moment they are still stored in which had formerly been un drawers in their old mounts, but we catalogued and badly neglected. All have now embarked on the very the framed works have now been lengthy and costly task of re-

4 Among these unframed works are lovable and jovial characler. But there who was working in the 1860's up to the albums of John Buchanan. which is evidence that he was a lonely man the 1880's, was a school teacher at include manv of his fine drawings and an alcoholic. His fine, exact Port Chalmers. Her oil of an old and watercolours. watercolours and drawings became powder hulk in Otago Harbour shows The many hours spent on research unpopular in his own time as the a great deal of competency in the has revealed that the collection more romantic image of the New handling of paint and an under­ presents a wide range of New Zealand landscape, as painted by standing of the effects of light on Zealand painting from the 1840's up Gullv, was favoured. O'Brien has water. It is a work of a calibre we to around the 1900's, with the latest now: however, been widely re­ thought worthy of showing. A water­ dated work being a Maud Sherwood cognised as a major figure in New colour by her is also included. watercolour of 1915. Zealand painting. One of the painters who gained It is not a comprehensive collection The Otago Early Settlers' Museum considerable status as a portrait by any means, as it has grown hap­ holds the largest single collection of painter was Mary Tripe (nee hazardlv over the vears, paintings O'Brien's works in New Zealand and Richardson). Among her subjects was having ·been given to the Museum as it seemed fitting to celebrate the com­ Sir Truby King and she was also one gifts from bequests and donations. pletion of our painting store and the of the first New Zealand painters to The Museum has never been in the beginning of our exhibition pro­ paint the nude. She received her position financially to purchase gramme with a selection of his work. formal art training from Van der works for itself nor is it ever likely to Velden, Nairn and Nerli and was a be. Parlour and Paintbox contemporary of Frances Hodgkins. Although we have in all only In July we opened an exhibition of She enjoyed considerable success at approximately 650 works, perhaps works bv women painters in Dunedin the N.Z. Academy of Fine Arts more including those in albums from 1849-1900, entitled "Parlour exhibitions and also exhibited at the which have yet to be catalogued, it is and Paintbox". This includes works Royal Academy, the Paris Salon, the a unique collection and an important of well-known painters such as Royal Academy of Women Painters section of a Museum, whose col­ Frances Hodgkins and of others little and the Royal Society of Portrait lection ranges widely over the known outside their own com­ Painters. We discovered a fine water­ applied arts field, implements, furni­ munities. We wondered at first at the colour of hers hanging amongst the ture, costumes and other early individual merit of some of the work portrait photographs in the Furniture settlers· material. by the lesser known painters, but Gallery and decided to include this in the Exhibition. Many of the works are unsigned when all were conserved, mounted Among the earlier primitive works and undated, but vve are steadily and reframed, we realized that they making progress and have made presented an interesting and unique is a small wtercolour by a Mrs Street. We have little information about her, some interesting discoveries. The display, making a relevant statement 1Nhole task is fast taking on the about the women who painted at that but she is said to be the sister of Edward Lear. We are looking for character of a jigsaw puzzle linking time. Many of the women, although more information about her and some works with others, slotting as competent as their male con­ would like to know if there are any them into certain periods, dis­ temporaries, never had the chance for more existing works. covering signatures and dates and recognition. their work probably only endlessly sifting through the old being seen by family or a few ap­ Although shown before, we in­ clude in the exhibition a small water­ index file of donor cards in the hope preciative friends. Few were ever in of finding clues to artists, dates and the position of being able to pursue colour portrait of Dr Stuart by so on. their art seriously. Frances Hodgkins, one of the more valued works from our Collection. Of particular interest in the display George O'Brien are the watercolours and drawings by One direct result of this research has the Valpy family - Mrs Caroline been the formation of an exhibition Valpy and three of her daughters, programme which began in Ellen Penelope, Kate and Arabella all November 1982 with an exhibition of painted and drew. Their father, Judge · watercolours by George O'Brien William Henry Valpy, was a wealthy (1821-1888). This comprised a and influential landowner, so they selection of his watercolours and came from a relatively privileged drawings from the collection. Most background. After extensive travels are of local buildings and places, but in India and Europe, the family the selection also includes scenes of arrived in New Zealand in 1849 and Lake Rotomahana, Ohinemutu and made their home at Forbury in South Mount Tarawera after the eruption in Dunedin. 1886. The arts played an important part O'Brien spent much of his life in in the education of the Valpy Dunedin, he was a foundation children and, while in Florence, a member of the Otago Art Society and drawing master was employed for the a member of the Dunedin Engineers girls. This was, no doubt, seen as a Department. He prepared drawings worthwhile pastime for the daughters for architectural firms and gave of such a family. The competency of private lessons in drawing and their work, however, shows how painting. Very little is known about serious they were about painting, him. Among his friends were L. W. particularly in their handling of the Portrait of Dr Stuart-Frances Hodgkins Wilson, W. M. Hodgkins and A. H. watercolour medium. c.1893. Watercolour 10cm t 14.5cm O'Keefe, who described him as a Another painter, Mary Sinclair, signed F.H.

5 Te Maori Exhibtion: A Report To supplement the paintings, we hung a smaller exhibition of photo­ graphs in an adjoining gallery. These Dr T. L. Wilson are a selection of photographs of Director, Auckland City Art Gallery women taken around the 1860's up to the 1900's and range from views of After what must have seemed like works. The vehicles being used are women settlers outside their first protracted delays to institutions par­ all being especially insulated and homes to those depicting recreational ticipating in the Te Maori exhibition lined with protective foam, and com­ and social activities of the mid 1800's planned for the Metropolitan prehensive security arrangements are up to the turn of the century. Museum of Art, New York; St Louis; being planned. A special problem - Some of these photographs were and the H. J. de Young Museum, San the provision of a replica of 'Uenuku' discovered in an intriguing family Francisco; it is especially gratifying from Te Awamutu - is also being album which gave us a colourful to report that progress is well under­ dealt with. view of an upper-middle class family way and that things are proceeding Once at the Auckland Citv Art and also the position of the women very satisfactorily. Gallery all objects will be ca{efully within that family, who had the American Federal indemnity has stored, prior to registration and con­ opportunities for education and been confirmed and the fine tuning of dition reporting by the National travel, not always so available to loan deeds designed to protect the Conservator and the American women at that time. They were also interests of Maori owners and Federation of the Arts. There they obviously aware of the social and museums trustees is well advanced. will be blessed and then packed over political climate of the day. From the A museological advisory committee an extended period prior to their various writings and letters, there is working with Kara Puketakapu's despatch for New York and the first evidence that they were also involved Management Committee, consisting of the three American shows. The in the women's suffrage movement. of the Executive Officer Piri Sciascia, packing will be carried out by the President of AGMANZ, Stuart American Federation of Arts and Christopher Aubrey and Park and the writer has been estab­ Auckland City Art Gallery staff in Samuel Green lished and a deputy to the crates built in Auckland. Each is con­ Finally this year, in December we Exhibitions Executive Officer, Mr signed according to the exacting hope to exhibit our watercolours by Michael Grant of the Department of design requirements of the objects it Christopher Aubrey and Samuel Maori Affairs, Wellington, has been is to co.ntain. Edwy Green. seconded to the project. Discussions have now begun on There is little biographical material A freelance crate designer and the possibility of a New Zealand 'Te about these painters, but it seems that builder, Squirrel Wright of Auckland, Maori' tour to follow immediately on Aubrey moved away from Dunedin in has been hired by the American the heels of the San Francisco show 1876 and went to the Taieri and then Federation of Arts and the Auckland in 1986, and owners and trustees to Southland, Fiordland, Wanaka and City Art Gallery-based National will, in due course, be approached to Canterbury. It appears he travelled Conservator of Paintings (Mervyn see whether this can be achieved. widely throughout New Zealand and Hutchinson), is in constant contact lived off his painting. His skill in with the American Federation of Arts depicting architectural subjects sug­ in New York about conservation gests he may have trained as a details concerning the works to be draughtsman. His work, however, collected. Specimen crates have been shows a very individual approach to produced and an Exhibitions the depiction of the countryside, its Assembly Team, coordinated by the buildings and animals. writer, has begun preparations for the The work of Samuel Edwy Green is complex exercise of packing, col­ very similar in style in many lection and delivery to the Auckland respects, particularly in relation to City Art Gallery where the objects his vision of the local countryside. will be finally checked and prepared He differs from Aubrey in the use of for their long voyage to New York. watercolour which he uses more Two assembly teams have been opaquely whereas Aubrey achieves a formed. Kate Pinkham, Registrar at translucent effect. both painters make the National Art Gallery, and Jack use of people and animals within Fry, Conservator at the National their landscapes, adding to their Museum, will collect works in particular charm. We hope to include Invercargill, Dunedin, Christchurch, 30 of their works. Nelson and Wellington and deliver Now that we have the facilities, it these to Auckland. is hoped that we can maintain a Mervyn Hutchinson; Karel Peters regular programme of exhibitions and Gerry Barton, both Conservators and small displays, making the at the Auckland Institute and public in general as well as other gal­ leries and museums aware of what Museum, and a further Auckland City Art Gallery staff member, will collect this fine collection has to offer. works from Napier, Gisborne, Whakatane, Rotorua, New Plymouth, Te Awamutu, Hamilton and Auckland. Procedures have been Fig. 2: See opposite page finalised for the checking, docu­ Water-worn Godstick found in Waite­ mentation, recording and packing of mata Harbour, Auckland.

6 Te Maori Exhibition - Conservation Treatments Undertaken by the Auckland Museum Conservation Department

Gerry Barton, Assistant Conservator

Over the last 15 months the untried cleaner, trisodium phosphate Auckland Museum conservation de­ (Na:lO4 12H2 O) in a 5°/c, solution in partment has spent much of its time water, took awav some of the red preparing forty-seven artefacts from staining left by tl~e circa 1892 paint. its collection for their display as part of Te Maori Exhibition in the United Red paint removal was also re­ States. The artefacts vary in size from quired on two other carvings. An small archaic whale tooth pendants early 19th century ridgepole of Ngati and greenstone hei tiki to monu­ Awa origin had been grossly over­ mental pieces such as the Pukeroa painted with shellac heavily Gatewav and the maihi from Okere pigmented with iron oxide, probably Falls, Rotoiti. in about 1918 when the carving was Conservation requirements for the acquired by the museum. Virtually collection fall into several all the moko detail had disappeared categories- Fig, 1: Carved anchor stone. from the face of the upper figure (fig. 1. those objects requiring only 5), all other carving detail was dusting. This encompasses most clogged with paint and the original greenstone objects, and wood patina completely obscured. After carvings on display. cleaning tests it was decided to 2. those objects requiring a small remove the bulk of the paint from the amount of conservation work to two figures with commercially avail­ bring them up to standard. This able methylene chloride (Polystrippa) category included dirty and greasy and, from the more degraded, deeply carvings, artefacts which had been recessed carved areas either side of coated sometime in the past with the figures, with a Leister hot air gun, lacquer or polyurethane, objects softening the paint and taking it off requiring a small amount of con­ with a dental spatula. After this pre­ solidation and re-bonding of liminary cleaning a final cleaning broken or brittle pieces, and others was carried out with Ethanol 95 needing scuff marks, abrasions applied with small cottonwool swabs and paint splatters removed. held in tweezers. Detached pieces of About two thirds of the collection the carving such as a section of the was in this sort of condition. In­ upper figure's nose and a piece of one cluded were all the large stone of his right hand fingers were bonded artefacts (fig. 1), most of the bone into place with PV Acetate emulsion. objects and a number of wooden As the figure's penis was missing a carved pieces (fig. 2). new one was fabricated from balsa 3. those objects requiring major con­ wood and approximately tinted wax, servation and restoration work to its dimensions being modelled on allow them to go on exhibition. what remained of the original. Fig. 3: The Pukeroa Gateway in With one exhibition they are Despite the ridgepole's relative small­ carved wooden items of bulky or 1982. ness in comparison to the Pukeroa monumental proportions. It is the 19th century. The polychrome ap­ gateway, its cleaning in fact took work carried out on these I would pearance of the Pukeroa gateway longer to complete, partly due to the like to discuss. recorded in several photographs depth of carving details which made The conservation treatment carried during the 1870's disappeared under paint removal very difficult and out on the Pukeroa gateway has a red-tinted distemper in the 1890's, partly becaue of the variable con­ earlier been mentioned when treat­ probably in preparation for its dition of the timber which meant ment had just commenced (AGMANZ display in the Ethnographic Hall very careful and slow cleaning on the News, 14: 1, 1983). which was opened in October, 1892. degraded areas. The result however It was again painted red in 1953 prior justified the time put into achieving It is one of a number of carvings in to the visit to the Museum of Queen it (fig. 6). the Auckland collection in­ Elizabeth II, this time vvith a heavily The last artefact requiring the advertently painted red over the last pigmented alkyd enamel (fig. 3). removal of red paint as part of its century in a misguided attempt to When cleaning tests in 1982 indi­ overall conservation treatment was a 'traditionalize' them. In doing so the cated that both paint layers could be pair of maihi from a meeting house at museum coloured not only carvings removed without damage to the Okere Falls at Lake Rotoiti. In this which in their original form had original colours, the work was carried case the left hand maihi was painted never been coloured but also others out, taking 4 months to complete (fig. red front and back, but the right hand which had been painted in various 4). After an 8 month hiatus further one only painted on the back. It colours by Maoris when European cleaning was undertaken on the seems that this situation, rather than colours became available in the mid white painted areas as a previously being intentional, is the result of the

7 painting never being complete i.e. the smaller cracks running parallel to painter never turned the right maihi the breaks had to be glued and over when the back surface had dried clamped. PV Acetate emulsion was and the whole project was forgotten used for all repairs. about. Close inspection showed that A project which also involved dis­ the surface of the left maihi had a mantling early repairs and rejoining weathered patina beneath the paint the pieces was the carved sternpost indicating that it had been relatively and prow of a miniature canoe carved recently applied in the carving's by the East Coast carver Rukupo in history. Consequently it was decided the mid 19th century. The prow had to remove the paint. The paint is once been broken into at least ten heavily pigmented and bound with pieces and the fragments rejoined oil or resin which softens rapidly with small nails, screws and two when heat is applied to it. Because of strips of metal, one running along the this characteristic the bulk of the top of the prow and curved over the thickly applied paint was removed figurehead's scalp (fig. 10) and a with the Leister hot air gun and a second shaped rather like a heel plate dental spatula and the paint lying on from a shoe, fitted under the figure­ the wood cleaned away with Fig. 5: Right cheek of upper figure of head's feet (fig. 11). Missing are both methylene chloride (fig. 7). High Ngati Awa ridgepole showing arms, the inner lower right leg, and relief parts of the carved surface had the disfiguring nature of the the lower left leg which had been re­ been bruised and in places nearly paint. placed with a piece of cork coloured knocked entirely from the maihi and dark brown. The sternpost had these were consolidated or fixed into several vertical cracks running down place with a 30% PV Acetate solution from the upper edge and some in acetone, a solution being chosen splinters and a segment of a spiral instead of an emulsion because of its missing. Rather inadequate resto­ rapid drying qualities. The unpainted ration work with putty was apparent right maihi was grey with dust and in a number of areas of the sternpost accumulated grim and spotted with which itself was rather perilously paint. These were removed with attached to the canoe by a single flax methylene chloride and the whole cord lashing, a second having surface washed with water con­ snapped sometime in the past. The taining approximately 1 % Lissapol N. hull of the canoe was a better shape It was then given a final wash with than the carved portions having only deionized water. scuffs and two or three paint splashes over its surface, all eventually easily Another time-consuming job was removed. The earlier repairs were the cleaning and re-gluing of a Te broken down, cleaned where neces­ Arawa pataka house doorway. This sary and re-joined using PVAcetate delicate example of carving had emulsion to bond the various pieces broken along its grain direction in together. The screw and nail holes two places and the resulting three were filled and the more obvious pieces rejoined with nails hammered missing areas of carving such as the in at accessible points across the lost left leg replicated with tinted grain and strengthened with battens wax (figs 12 & 13). There were some of house panelling (fig 8). As the exceptions with sternpost repairs. grain direction of the battens ran Time considerations mitigated parallel with the grain of the carving against a complete remaking of the over the original breaks their support puttied areas so the less offensive could only be tenuous and in fact one were left to stand for at least the of the battens had itself eventually duration of the exhibition. The broken along its grain. The decor­ broken flax lashing was rejoining this Fig. 6: The upper half of the Ngati ative side of the doorway also had time with a length of fuse wire Awa ridgepole after paint re­ conservation problems. A misguided moval and conservation treat­ attempt to cast a copy of the carving sometime in its past had resulted in ment. its surface being covered in small proach the job was to set aside one or lumps and smears of plaster of Paris. two hours each day and scrape and The deposits were especially bad in pick away with the expectation that carving recesses, cracks and in the another 5 cm of cleaned surface end grain of the artefact. Con­ would result from the work. After servation treatment involved the dis­ cleaning . the pieces were glued mantling of the old repairs and the together m two separate operations mechanical removal of the plaster of which because of warpage along the Paris from the resulting three pieces breakage line and because of the of carving, a morale sapping task car­ cur".ed nature of the actual panel (fig. ried out with scalpel blades, dental 9) mvolved complicated clamping Fig. 9: The gluing together of the left picks and in a few instances with a systems. hand side break after cleaning dental drill. The only way to ap- Before re-joining, numerous of doorway completed.

8 Fig. 7: Detail of surface of painted Fig. 8: Te Arawa pataka house door­ maihi from Okere Falls. wav, undecorated side show­ Fig. 14: Detail of whalebone hoeroa Upper right area has paint ing earlier repair work and showing staining from layer intact, upper left area plaster of Paris deposits. mould growth. has been cleaned with the hot air gun, lower half of photo has been completely cleaned.

Fig. 10: Miniature canoe, showing old repairs and damaged areas prior to conservation work.

Fig. 11: Detail of legs and feet of figurehead. Note the cork left leg and fractured right leg.

Fig. 12: Miniature canoe prow after conservation treatment.

9 Sponsorship: The Prepared Approach

Chris J. Mangin General Manager The New Zealand Ballet

The following discourse is an Corporate sponsorship is abstract from an address given at a essentially a vested interest recent Alternative Funding Seminar relationship between corporate enterprise ancj, an arts organisation. organised by The Southern Regional 1 Arts Council. The succe?sful collaboration accrues mutual and basicallv Owing to the limitations of time measurable benefits to both partie;. and space my comments must, of The relationship is essentiallv necessity, be brief and regretably a unsentimental. , little superficial. However let us hope By definition patronage or that we can establish some useful philanthropy is excluded although parameters and generate an under­ one would be unwise to discount Fig. 13: Detail of legs and feet of standing of the scope and method­ them completely especially when re­ figurehead after conservation ology of the path down which we are searching elements of corporate treatment. Wax left leg is about to tread. motivation within a specific target. I modelled on the original The views and modus operandi tend, however, to put them to one right one. which I shall express and espouse are side as being an unreliable basis essentially personal. They have their upon which to formulate an approach twined in with it to provide some origin in the United States and to any given corporate organisation. additional strength to this stress Canada but have been carefully point in the canoe's construction. developed and refined in New Essentially the roots of corporate Zealand. sponsorship run deep into areas such A different rnnservation project Success in this endeavour is as marketing, advertising and public still underway is the removal of essentially the result of a team effort relations. fungal stains from a whalebone and the product of many minds and Corporate sponsorship is NOT hoeroa. The mould itself was long much energy being focussed on easy. Behind every successful dead but still in situ on the artefact. achieving goals established at the relationship lies many, many hours When removed with a scalpel blade outset. of research, imaginative marketing, hundreds of yellow-brown circular My views, therefore, are tempered meticulous preparation and inventive stains remained across the surface of by my experience with sponsorship presentation. It is hard work and will the hoeroa (fig. 14). It was hoped that programmes at the Mercury Theatre often require a complete organis­ solvent action rather than bleaching and The New Zealand Ballet. ational re-think to make it succeed. would remove the stains but tests car­ The following discourse should not BUT YOU DO HAVE A CHANCE. ried out showed the solvents as be considered as an all inclusive Not every potential sponsor is a ineffectual. Consequently it appears primer to the why and how of "mega-buck" multi-national; rather that localised bleaching with either sponsorship but merely some most have strong national, regional, peroxide or trisodium phosphate will thoughts based on my experience to town or city biases. Their interests be the only way to deal with the date. are focussed on their target markets problem. The apologia over, let us proceed. and they are willing, or at least With the completion of the There are many sources of alter­ interested, to discuss the matching of cleaning of the hoeroa only two or native funding including: mutual interests. Therefore we now three treatments required for the Te 1. Membership have an important key: Maori collection from Auckland 2. Private Foundations Museum will be outstanding. Of KNOW YOUR SPONSOR 3. Philanthropic Trusts Know - what makes them tick these only one, a carved warrior's 4. Individual Donors and Patrons head from a palisade post, requires - who makes them tick 5. Governmental and quasi- major treatment. It is expected to see - are they ticking well Governmental agencies the collection leave Auckland in - how do they perceive their 6. Corporate Patronage (and April 1983 with all conservation own ticking philanthropy) and last but by no requirements that were discussed - who do they want to means least with the American Federation of Arts tick with 7. Corporate Sponsorship. conservator in December 1982, It is with this last category I However we are getting a little ahead complete. propose to deal as it is where my of ourselves. Let us begin at the be­ specialist skills lie and where I feel ginning and return to the "ticking" in that there is considerable scope for due course. development. However much of the Remember that while the scale may basic corporate sponsorship approach be different the principles which I am can be translated to the other areas. about to outline remain the same. Further I propose to deal exclusively ONE ARE WE WORTHY with organisational rather than OF SPONSORSHIP? individual goals. HAVE WE ANYTHING Let us develop a simple working WORTH SPONSORING? definition of corporate sponsorship in To proceed the answer must be an the arts around which we can build unequivocal YES. "the prepared approach". One of the painful pre-requisites of

10 corporate sponsorship is that one and man power. exercise and should, sponsorship needs, in the cold light of day, to ob­ As it takes many months to re­ aside, be happening already. This is jectively analyse your own organis­ search and prepare your sponsorship part of your own corporate imaging, ation's strengths and weaknesses, campaign one should allow sufficient your marketing effort and particularly as they might be per­ lead time to complete this necessary promotional/advertising strategy. It ceived by an outsider with whom you exercise. Throughout your pre­ helps put "bums on seats", people in wish to form a relationship. paration process one must bear in galleries and dollars on annual In assessing your organisation you mind that most corporate enterprises grants. are aiming to identify the precise prepare their sponsorship budgets This pre-existing p·rocess now nature of your requirements together over a year in advance, generally as needs to be further refined. For with the resources you are prepared part of their planning for the fol­ example court the media (you need to allocate in attempting to meet lowing financial year. This means friends), court the business com­ them. that if a company's financial year munity, court the politicians (both at One should remember that the commences on 1 April their local and national level), court the success of most businesses depends decisions with respect to sponsorship­ bureaucrats. They all need to know on their ability to communicate with will have been taken in the previous you and should know you well. those groups in the community that August to October period. The As they get to know you, you get to affect their business environment; question of lead time, therefore, is know them. Don't at this early stage many companies now sponsor the vital. put on the bite. Simply woo this wide arts as a way of improving this com­ Before you embark on seeking cross section of decision makers and munication. These companies are sponsorship it is important to deter­ opinion shapers. At the same time expecting returns on their sponsor­ mine that you have .sufficient and you will be generating wider public ship expenditure in terms of: suitable skilled man power to handle awareness and expanding your own (a) Corporate image enhancement the work that will be generated. market thus improving your organis­ (b) Product awareness The most successful seekers of ation's self sufficiency. (c) Employee loyalty and/or sponsorship are those most com­ You must meticulously plan your recruitment mitted to the work of your organis­ public relations strategy with a view (d) Improved contact with opinion ation, particularly as it is largely a to short, mid and long term ob­ formers question of attitude. jectives. It should be developed Most successful sponsorship Once you have identified who will around your activities and carefully undertake your sponsorship ··cam­ projects capitalise on the unique interlock with your promotional and nature of the sponsor and the paign you should clarify their advertising objectives. Essentially recipient. It is therefore vital that you responsibilities and confirm the com­ you are here developing an effective mitments they can make on .behalf of are able to assess the nature of your marketing programme and will, as organisation so that when attempting your organisation. You must estab­ part of the exercise, define your own to match yourself to a prospective lish a clear reporting liq,e to your target audiences and resolve how to organisation's chief executive and en­ sponsor you are able to do so with a service them and communicate with certain degree of accuracy. sure that whoever is responsible for them. Sponsorship is most easily sponsorship has sufficient access to State Two is ongoing and simul­ attracted, of course, to successful, all those people within your organis­ taneous with all other stages in the ation who will be charged with financiajly sound organisations so remainder of this sponsorship that it should not be viewed as a last making the sponsorship work. It is process. resort. after all pointless to obtain sponsor­ ship if your staff are unable or un­ THREE: BECOME THE S.I.S. You must look carefully at your willing to carry it out. You need to: marketing and your own public Seeking sponsorship should be e gather intelligence on companies profile, particularly as the business viewed as an investment and like all • establish thorough records based community substantially makes its investments there is an initial outlay on your intelligence sponsorship decisions on the same with a certain degree of risk attached. • build up files on each prospective basis that they would when buying Once again, like all investments, it target advertising space and are looking to can, on occasions, yield substantial e develop target lists some extent at cost effectiveness. returns. e collect corporate annual reports It is NOT advisable to seek TWO PROMOTE PUBLIC • buy "The New Zealand Business sponsorship to fund your qverdraft. AWARENESS Who's Who" (it's an invaluable After all "smart money buys Promote awareness:- reference) winners". Nor is it wise for you to • of your organisation and what it e subscribe to the "National enter into sponsorship as a way of has to offer Business Review" (it helps keep obtaining day-to-day finance for run­ • of its past, present and its future you abreast with the rapidly ning your organisation, as this leaves • of its strengths changing business scene) you particularly vulnerable to • of what more it could do given the e read the business pages of your changes in corporate policies and opportunity local newspaper personnel. • of its personnel (after all an arts • gain inside information Ideally sponsorship monies should institution or organisation is • talk to businessmen make possible an event or activity merely an incorporation of indi­ e to be genuinely interested in them and therefore should be viewed as viduals acting as one to achieve • know their language funding the icing rather than the something of benefit for the whole • stay objective cake. community. It is in essence a • retain your own uniqueness (who In assessing your organisation it is sharing experience.) after all in 1984 wants a clone) also vital to realistically catalogue This promotion of public aware­ • keep talking your resources in terms of both time ness is an ongoing public relations

11 Yes, we are now back to "ticking". business advisers. MODIFY if negotiation stage where you can If one adopts the "personalised required. close the relationship. target" or "snipers" approach to Remember that you need to antici­ Prepare your case thoroughly and sponsorship as compared with the pate your prospective sponsor's succinctly. Ensure the layout is broader "sawn-off shotgun" blanket needs and present your case ac­ attractive, professional and or global approach one will need to cordingly as it will very likely mean businesslike. be thoroughly versed on many things the difference between success and INCLUDE: with respect to your target. failure. 1. A description of yourselves, your For example one will need to know Now we have decided the WHAT achievements, your structure and about their: and have some general idea of the personnel, your ambitions, your • corporate objectives (both stated \!\THO it is time to move on. audience demographics (real and and unstated) potential) • ambitions FIVE: SELECTING THE TARGET 2. What others have said of you 3. A description of the sponsorship • short, mid and long term plans This is the process of matching your • market (current and future) concept needs with those of your prospective 4. Details of what is to be sponsored • financial position and performance corporate sponsor. (past, present and future) 5. A realistic appraisal of the The purpose of your research pro­ potential market which will be • lecision and policy makers and gramme to date has been to enable their individual personalities) reached and a description of how you to select those companies most it will be reached • public relations and community likely to sponsor you. The infor­ 6. Details of what the sponsor is affairs stance mation you have gathered should e being offered in return i.e. the sponsorship track record (arts and enable you to· select the final targets sport local, national and benefit package - don't promise to approach. Some elements which what you can't deliver international) will help you make this final decision 7. Suggestions for possible com­ e current level of promotional, are as follows: mercial associations advertising and public relations 1. What is the current level of activity 8. Detail of any special features e.g. marketing and/or P.R. activities of anniversary, name change, sum­ • degree of controversiality the company? Do they focus on • patronage and philanthropy track mer festival et al corporate communication or do Be positive, enthusiastic, realistic record they seem to be spending the bulk amongst other things. and open. of their budgets on supporting Don't leave ambiguities in the All the above needs to be filed, product promotions? What is the collated and cross referenced. presentation but demonstrate that style of their promotional you can be flexible. YOU MUST KNOW YOUR activities? TARGET. 2. Who seems to compromise their SEVEN: THE APPROACH AND Remember a personalised approach target audience? Their potential PRESENTATION has approximately a 75% better customers? Their opm10n Timing here is everything. Find out chance of success. The effort is worth formers? To what extent might it. what your target's budget and' their target audience coincide with decision cycle is and ensure that you FOUR: PREPARE YOUR your own? make your approach in time to give SPONSORSHIP PROPOSALS AND 3. Is the nature of their business in them a chance to internally consider FORMULATE YOUR PLANS any way controversial? Do they and discuss your proposal. Plan Decide: have an unsympathetic public ahead. 1. What do you want sponsored (e.g. image which they wish to repair? An approach checklist of points a performance, a production, an 4. What is their current financial per­ would include: exhibition etc - the possibilities formance like? Is it improving or 1. Avoid the cold approach (re­ are limitless) deteriorating? What do they wish member the silent wooing) 2. How do you want it sponsored - to do about it? 2. Find the right person in the establish the basis of your ap­ 5. Do you have personal contacts target group and know as much proach - is it money, goods or within the organisation? If so at as possible about him and his services (remember that contra what level? Does your Chairman colleagues and their business sponsorship is often the most dif­ for example know their Chairman? 3. Make your approach personal. ficult to control) Your answers to questions like Avoid stereotypes 3. How much do you require for the these will indicate your most likely 4. Be businesslike. You are after all sponsorship - be specific sources of sponsorship. dealing with a professional 4. When do you require it 5. Make your overtures clear and 5. What are the commercial impli­ SIX: THE PROPOSAL AND concise. Don't waste your target's cations (remember to distinguish ITS PRESENTATION time the hard commercial facts from This is an area where great care needs 6. Be confident, after all you have patronage or charitable giving) to be exercised as it can do much to something of value to offer 6. What can you provide in return enhance or mar your overall chance 7. Be flexible and prepared to i.e. the benefits package - is it of success. modify your plans to meet the equitable and perceivably realistic If in doubt obtain professional sponsor's needs 7. How are you going to service the help, especially as content, language 8. Do not assume that anyone has a sponsorship and design all have an important moral or social responsibility to 8. What are the long term prospects bearing on the overall impact of your support you - THEY DON'T for any relationship entered into proposal. 9. Don't be deterred by the hard or Set down all the FACTS on paper. The proposal must get you to se­ hostile questions TEST them on your colleagues and cond base - the discussion and 10. Do not confuse artistic vision

12 with wish fulfilment 2. Do your homework on the com­ 11. Do not be condescending pany's operations and show an towards someone who knows interest in them. less about your art than you do 3. Don't assume too high a level of 12. Do not give up! knowledge on their part con­ A recent survey of members of the cerning your activities. Association for Business Sponsorship 4. When you enter the meeting try GGoRG&, (LL B£ of the Arts in the United Kingdom re­ to establish a dialogue at the BLUNT. IM NOT vealed that 17% of companies' earliest possible opportunity. decisions concerning sponsorship Frequently a good opening ·t''~ Hfl.f'fY w 1TH were made by the Chairman's office, gambit is to try to get the rep­ Co,JSOLI/JA.T£D 50% by the public relations depart­ resentatives of the potential ~ .,., H£Avy /Nb!IS11

13 deal - TRY AGAIN. 4. Mistakes will be made along the If you have serviced your sponsor It takes time. There are no short­ way which will take all your well you should be able to retain and cuts, no magic formulae and certainly ability and diplomatic skills to develop their sponsorship for future no room for despair or self pity. iron out years (but don't ever come to depend Check your case, learn from your However the end result is, I can on it or take it for granted). mistakes. Try again. assure you, worth it. Remember that "one-offs" are often Always formally report back to the more trouble than they are worth un­ NINE: SERVICING THE SPONSOR sponsor what has been achieved and less you are talking about a sub­ Assuming you were successful don't how. He needs a file on you as much stantial sponsorship. be fooled that you have completed as you need one on him but you have Development should occur the journey: you have only just the opportunity to provide his naturally if your communications started. 25% of the battle is finding material which is, after all, an im­ and interactions are carefully the sponsor, the remaining 75% is portant advantage. nurtured. servicing and securing him for the Foster a good and happy working future. relationship with the corporate EPILOGUE Once your proposal has been sponsor. Understand their point of Finally let me say if you are going to accepted it is imperative to get the view and present yours. get into sponsorship do it properly. If terms of the sponsorship clearly Ensure that you nominate one you can't or won't, stay out of it. agreed to in writing. person within your organisation to When one organisation fails in this This might be as simple as sending deal with the sponsor as it can avoid area we all fail. When one organis­ a letter of confirmation reconfirming confusion and possible mis­ ation succeeds we all succeed. the points outlined in your initial understandings. written proposal. However if these One of the best ways to enhance ACKNOWLEDGEMENTS your relationship is to stay in contact have been substantially modified or 1. Brian Humphries, Sponsorship altered you will need to establish in and there is no excuse for not doing Development Director of the your letter or agreement the basis of so as Alexander Graham Bell has British Council thoughtfully provided a very good your new understanding. 2. Nadine Burch, Director of Idea Thereafter: means of simple and effective Factory Pty Limited 1. Deliver what you promised plus a communication. 3. ABSA-W. H. SMITH SPONSOR­ little more Above all get your sponsor in­ SHIP manual 2. Be businesslike and straight­ volved - they should become part of 4. "How to Win Sponsors and forward your family. Influence People" published for 3. Remember that good sponsorship the Office of Arts and Libraries by relationships take time to develop TEN: DEVELOPING THE SPONSOR the Central Office of Information 1981 Research on the Subfossil Deposits of the Honeycomb Hill Cave System, Oparara

Dr P. R. Millener Ornithology Department National Museum

A joint National Museum/N.Z. Forest Service research project, involving the investigation of avian and other subfossil remains found within the Honeycomb Hill limestone cave system in the Oparara Valley, is cur­ rently in progress and due for com­ pletion in December 1983. The cave system is situated inland from Karamea near the well known limestone arches which bridge the Oparara River. The cave lies within the boundaries of the North-west Nelson State Forest Park and is adjacent to an area zoned for Indigenous Utilization in the Draft Buller Management Plan. Honeycomb Hill Cave was dis­ covered in 1976 by Mr Phil Wood, president of the Buller Caving Group, and in 1980 a team from the Canterbury Museum, under the leadership of its present director, Mr Figure 1. One of the larger horizontal entrances to the Honeycomb Hill Cave Michael Trotter, made a brief system, Oparara River area.

14 inspection of some of the bird bone been washed to accumulate and be Diving petrels) which in the past deposits. The current project, being preserved with the acid-free confines nested on mainland New Zealand but undertaken by Dr Phil Millener, with of the cave. which, due to the impact of human the assistance of National Museum In many places complete skeletons settlement (particularly the staff and members of the Buller of moas occur, not associated -with introduction of predators), now breed Caving Group, developed from a pre­ any other bones and lying upon the only on offshore islands. Among liminary investigation of the area in surface of water-borne silts and other species of now limited July 1982, with Mr Ross Wylie, gravels. It would appear that such geographic range can be listed the Assistant Conservator of Forests, birds may have walked into, and died Little Spotted kiwi, takahe, kakapo, Nelson. within, the cave. Most of the sub­ kokako, saddleback, yellowhead, The principal objectives of the re­ fossil bone material, however, has ac­ brown creeper, bushwren and search programme are to locate, cumulated beneath sink-holes (i.e. of rockwren. describe and identify significant sub­ pitfall origin) or has accumulated in In addition to this vast 'assemblage fossil faunal deposits (particularly water-laid deposits as a result of of bird bones, the Honeycomb Hill bird bones), to curate collected faunal stream-wash (either as complete car­ deposits have also yielded large remains and house them at the casses or as isolated bones). numbers of bones of frogs and National Museum, and to make re­ The subfossil bird fauna of lizards, some of which, clearly, can­ commendations to the N.Z. Forest Honeycomb Hill Cave is remarkable not be assigned to the living species. Service on the management of this in its variety. Some 50 species of There are extensive accumulations of and other caves where subfossil birds have so far been identified, of subfossil land snails, of at least 30 faunal deposits of national im­ which almost half are extinct forms. species some of which, also, are portance lie. The richness of this assemblage is undescribed. As a result of the initial inspection obvious when one realises that the There is some evidence, parti­ it was realised that the Honeycomb greatest number of bird species cularly from the landsnail Hill Cave system contained an extra­ identified from any other of the assemblages and the fact that kea ordinarily large and diverse hundreds of New Zealand caves (Nestor notabilis) but not kaka (N. assemblage of subfossil remains, and known is just 34. The largest and meridionalis) bones have been found, that such deposits were clearly of most obvious remains are those of that some of the remains represent national importance, indeed of inter­ moas of which at least seven of the cold climate (last glacial) elements, national significance. In view of the eight species known from the South perhaps as old as 15-20,000 years. possible risks to the cave and its Island are represented. Other large However this age "guesstimate" must deposits due to the utilization extinct forms include the goose remain tenative until carbon-14 dates proposals and because some pub­ (Cnemiornis), eagle (Harpagornis), from samples already submitted for licity had already been given the cave harrier (Circus eylesi), giant "rail" analysis are available. (with the associated fear of (Aptornis), and coot (Fulica). The When the research programme is "souveniring" of bones) the N.Z. smaller extinct forms include the completed and a management plan Forest Service initiated a proposal to snipe (Coenocorypha), Finsch's duck for the future of the caves is decided fund a detailed study of the cave (Euryanas), N.Z. quail (Coturnix), upon by the NZ Forest Service it is system and its future management. In Hodgen's rail (Gallinula), laughing hoped that the Honeycomb Hill cave conjunction with this it was also pro­ owl (Sceloglaux), owlet-nightjar svstem can become a "natural posed that a scientist from Forest (Megaegotheles), crow (Palaeocorax), ~useum for the educatfon and Research Institute, Rangiora (Dr Andy Stephen Is. wren (Traversia) and enjoyment of interested visitors, in Pearce) carry out a hydrological study three other extinct passerines, the same way as. the Metro Cave of the cave stream systems and the previously unknown to science, system, near Charleston, is currently adjacent watershed. which await description as new taxa. operated under the direction of the The cave system is very extensive, Among the extant species whose Department of Lands and Survey. consisting of some 13 km of water­ bones have been found in the caves eroded passages and fissures, with an are many which no longer occur in Figure 2. Moa bones on the floor of associated complex of limestone the region. These include four Moa Cave, Honeycomb Hill system. sinkholes and smaller cave over­ species of petrel (Fluttering (Left tibiotarsus of (Pachyornis hangs. Three, and possibly, four, shearwater, Cook's, Mottled and elephantopus) in centre is approx. streams run east to west into the cave 530 mm in length.) system intersecting with the main series of passages which lie essentially parallel to the Oparara River. These main passages lie above current river level and represent prior courses of the Oparara, now abandoned and thus relatively dry. In the lowermost cave passages evi­ dence of regular flooding is wide­ spread with fairly fresh leaves ad­ hering to the ceilings of substantial passages! Extensive deposits of silt and gravel occur as passage-fill throughout the cave. There are more than 30 known entrances of varying size and form and, of course, it is through these that birds have fallen or their bones have

15 The Visual Arts - General Comments NZ a Maritime Australian Visit Nation? Jack Churchouse Director Bill Milbank Director, Sarjeant Gallery

The visit made it possible for me to Art Gallery and the establishment of Just this year New Zealand was see a good number of public gal­ the Forrester Gallery at Oamaru, indi­ fortunate to have Dr Neil Cossons leries, ranging from the new National cate the same public awareness of the visit and lecture at many of the Gallery of Australia, state galleries important role of art and public gal­ institutions around the country. Dr and regional galleries. The develop­ leries in our society. Cossons was responsible for the re­ ment of professionalism in regional It was most interesting to see so development of the now famous Iron galleries has increased measurably in much contemporary public sculpture Bridge Gorge Museum and on his recent years, as it has in New even in the regional communities. return to England was to take up the Zealand. For example, in New South Generally, it was in the grounds position of Director of the large Wales there were five professionally around the gallery, but sometimes it Maritime Museum. He was most im­ staffed regional galleries in 1975 - was well scattered through the city. pressed with much he saw here, in­ now there are 18. This process has Much of it was commissioned with cluding the Maritime Museum but been substantially aided by the State the support of the business houses - was on the other hand intrigued to Government who actively encourage, probably their interest in being in­ discover that New Zealand doesn't with substantial grants, both the volved was stimulated by the tax really view itself as a maritime establishment and ongoing operation benefits available in Australia to nation. Jack Churchouse takes up the of Regional Galleries. In Victoria the encourage corporate funding of the cause and gives you a brief look at state support of regional galleries is, Arts. the only maritime ·museum in N.Z. in some cases, as high as 80% of the Having visited these frequently im­ Like so many countries bounded by gallery's total annual budget. pressive galleries, it was satisfying to the sea New Zealand has a strong This level of support reflects their return to Wanganui, and feel the maritime heritage. It would also be commitment to ensure the care of the location and presence of this gallery true to say that until comparatively important regional collections in that stood up with the best I had seen. recently we could be regarded as state, but in some cases has caused CONCLUSION being a maritime nation. Our sea the local authority to take a less com­ In summary, I found the interest in trade has in the main been confined mitted interest in the institution. exhibition exchange clearly there, but to the south-west Pacific as well as There has been substantial growth to bring it about it is necessary for around these shores, while the car­ in the exhibiting space with the galleries with mutual interests to riage of our major cargoes, be they opening of the major new buildings, negotiate on a one to one basis. I am imports or exports, was almost such as the National Gallery of convinced that our interaction with exclusively carried by British ships. Australia, and state galleries in Australia needs to be one a multi­ Indeed three decades ago the pre­ Queensland and Western Australia. levelled scale, and the Regional dominant flag in New Zealand waters Also, many regional galleries are Galleries in both countries are well was the red ensign. However since adding to their space, or new equipped to become active in that. then an wolution has taken place and buildings are being established. It is I thank the QEII Arts Council and the passenger ships which were interesting that this is happening at a NZAGOC Executive for supporting household names have given way to time of financial restraint. The me with this visit and I trust that over aircraft, while the several score con­ general opinion expressed by those I the next year or so I will be able to ventional cargo ships of the con­ talked to about this was that it re­ assist any moves to bring about ference lines have been replaced by a flected the massive resurgence of worthwhile exchanges. handful of container ships. public interest in art worldwide, and This construction to has occurred in particular those countries that Note: Mr Millbank has a brief in New Zealand ships and to ap­ were colonised in more recent history summary of those institutions he preciate the importance of sea trade and are now coming of age culturally. visited in Australia. Should you re­ formerly it is only necessary to refer This has created an expectation of quire a copy of this please contact to Dr N. M. Watt's "Index to the New better service and information from Mr Millbank at the Sarjeant Art Gal­ Zealand section of the Register of all gallery's staff and resources, as well lery, Wanganui. Ed. British Ships 1840-1950" which lists as greater access to both the best of the hundreds of ships once owned in the institutions collections, and well this country. Since the publication of curated exhibitions of new art de­ this invaluable reference there too velopments, and reassessments of has been a quiet revolution going on earlier movements. These are being hastened by the introduction of the provided by regular 'in house' and rail ferries linking the North and touring exhibitions nationally, and South Islands through Wellington internationally. This results in new and Picton and the advent of the roll­ employment opportunities to service on roll-off ships. Also hastening the the new buildings, and accelerated demise of passenger carrying ships public interest in their holdings and between the two islands, as well as to exhibitions. the South Sea Islands and Australia The recent decision by the New was the relative economy, con­ Zealand Government to build a new venience and quickness of air travel. National Gallery by 1990, the major Thus New Zealand's once flourishing development at the Auckland City merchant navy that totalled more

16 than one hundred ships twenty years ago has dwindled to about a score. The past ten years too have seen the emergence of the Shipping Corporation of New Zealand which reflects the increasing trend of countries to have their own ships. The Corporation, like the rail ferries, are Government owned, so that the Union Steam Ship Company with its proud and distinguished record of more than a century of service is the only major private enterprise ship­ ping company in New Zealand. Thus a combination of events has meant that despite the overall im­ portance in the economy of New Zealand ships are less in the public eye due to their being fewer in number, the demise of the smaller ports that once served the numerous busy little coastal ships and the fact that with the exception of the inter­ island rail ferries people travel by air The Ground Floor of the Wellington Harbour Board Maritime Museum. A "mish­ or road. mash" of maritime artifacts that range from a captain's cabin, to a figurehead, For a century New Zealand's sea ships models, bells and flags which prove exciting for the youthful visitor and trade was dominated by the Union rich in content for the discerning. Company and the British conference lines, who together with the numerous small coastal companies, contributed to the development of the country. Fortunately New Zealand is a comparatively recently settled country so that much of our maritime past has been recorded in con­ temporary newspapers which thanks to the excellence of reporting are an invaluable source of reference for those researching into the past. Through these columns it is possible to follow the arrivals of ships, be they sail or steam, which brought im­ migrants and cargo, the domination of sailing ships around the coast until the 1850s when steam ships entered service, the emergence of the Union Company after 1875 who virtually controlled the coastal, trans-Tasman and Pacific trades, the conference lines and to a lesser extent other companies and ships. The rise and decline of our mari­ provincial museums shown much Dominion Museum that were mainly time heritage is one that has hitherto interest in nautical exhibits apart of Union Company models which attracted little attention except by from displaying models. There have were placed in storage until trans­ those associated with the industry or been many reasons for this, the most ferred to an appreciative home in the enthusiasts interested in such pressing being the lack of space. Otago Museum. matters. This has meant that with one Accordingly the wealth of material As a result prior to the establish­ notable exception little in the way of once readily available has, with few ment of the Wellington Harbour documentation has survived, com­ exceptions, been lost for all time. The Board Maritime Museum there was panies having little use for records changes taking place were not little other than these small maritime which have been destroyed, while appreciated nor was the importance sections in museums. The decision to those responsible for retaining them of retaining something from this incorporate an area in the former in Government Departments have had earlier period. Even when provision Bond Store of the Head Office their files depleted by similar dis­ was made for displaying the self­ building as a museum was deter­ regard for their importance. Several contained glass-cased models their mined by the availability of material major fires have also been responsible retention was at the whim of the such as paintings, prints, photo­ for further damage and loss. museum's incumbent director. One graphs and a large model of Nor have museums, which until only has to reflect on the magnificent Wellington Harbour. These were recently, comprised in the main maritime section in the then fleshed out by exhibits kindly made

17 Through a Dot Screen Dimly available by the National Museum, also shipping companies, and the room was opened in April, 1972. It SUBSTANDARD PRINTING OF seemed as though the public had NZ'S PHOTOGRAPHIC HERITAGE been waiting for such a specialist museum and they donated items so Mark Strange, that the original idea quickly became Assistant Photographer, inadequate. It was therefore decided National Museum to open up further space which was devoted to ship models, bells, ship wreck material, steam engines, flags, ropework, a diving suit, and sub­ / sequently a captain's cabin, a figure­ head, knot board, also plank on frame or waterline models specially made. These visual exhibits are an intro­ duction to the museum and richly complementing them is a collection of books, photographs, negatives, paintings, port records, plans, registers, journals and charts. A further compliment has been the transfer by the Union Company of part of their archives which include management, war files, subsidiary companies, accident reports, plans and specifications. As well there are in storage items too large for exhibition in the presently restricted premises. Thus in almost twelve years the maritime museum has come a long way and is at the cross roads of where to go from here. Con­ sideration has been given for some time to the museum being transferred to the two disused cargo sheds, Parihaka village scene. Burton Bros. numbers 11 and 13, with storage and a restoration area in shed 9, thereby more than doubling the present area The extremely poor reproduction of often where the same image of the museum. photographs in the recently publish­ could be prepared from the Ideally too is the concept of having ed New Zealand history (Maori: A original negative. one maritime museum in New Photographic and Social History; (ii) Heinemann Publishers have Zealand. Thanks to a new and more Michael King, pub. Heinemann) taken insufficient care in over­ enlightened generation of museum raises a number of issues for keepers seeing the quality of the book's directors who no longer think on a of historic photographs. preparation, platemaking and parochial provincial basis but rather The author in his introduction printing. country wide, such a possibility now asserts the value of photographs as a Use of poor original prints is not an exists. This National Maritime vital primary source but this concern uncommon practice. Authors with Museum, as it would inevitably be­ is degraded by inferior and unfaithful personal copies of photographs come, does not have to be in rendering of many of the pictures in frequently prefer to avoid paying re­ Wellington and if the building is print. production charges or credit them­ purpose built the possibilities are un­ The book has some peculiar design selves rather than an institution. limited, one has only to see the bril­ aspects. Its irregular format includes While it is rare to find vintage prints liance of the Army Museum at many pictures insensitively cropped in better condition than new ones, Waiouru to become aware of the pos­ and reproduced at quite inappro­ they may well be the preferential sibilities. Then and only then would priate sizes (p. 10, portrait of Mahi Te source when: the many splendid exhibits and Ngu somewhat oversized for its (1) they are in excellent condition. records relating to our maritime past quality and p. 27, Alfred Burton's (ii) the print's quality is of signi- have a home that is worthy of them portrait of Ngahino, Burton Bros No. ficance, i.e. the image is of "fine and enable people to appreciate the 3518 NM* No 114, too small to yield print" quality as opposed to that rich maritime heritage they have the beauty of the image). This lends of a postcard or carte de visite inherited. the book the quality of a scrapbook of (iii) the manner of reproduction is old photos - in which faded, grey capable of rendering the and dull photographs look quite the subtlety which distinguishes the part. superior original from the new. Two main causes account for the (iv) they are the only records of the inferior condition of the illustrations. image available. (i) Many images suffer because With a few exceptions, repro­ they are poor quality copies of ductions in Maori from recently deteriorated original prints; made prints have survived best.

18 copyright, neither is it an economic one. Rather, it is a more fundamental one of commitment to the faithful presentation of these photographic treasures to their public. Among librarians, photograph and de facto curators who care for col­ lections, some initiatives are neces­ sary. Recognising that our photo­ graphic heritage is of world class we have a responsibility to present it to the public as accurately as possible. As custodians we are also bound to protect the work from the hands of ir­ responsible authors and publishers who by their zeal pre-empt the oppor­ tunity for a more painstaking, crafted Loss of detail disables the viewer/reader from perceiving the image as a source approach. document. It serves merely to reinforce presumptions and interpretations made Photograph collections staff would by the author. Poor selections of originals and coreless printing effectively do well to acquaint themselves with detach the public from its carefully recorded history. - Photo: James Bragge. the potentials and methods of photo­ mechanical printing. As is evident in Maori, printing works in Asia do not necessarily deliver a better product for their reduced price. I suspect though that publishers who deal through book broking agencies for foreign printers make their trade-offs at an early stage: money saved for diminished control over production. Yet quality photographic repro­ ductions demand critical care, especially in platemaking, and only vigilant checking with the printing industry will ensure a worthy result. Another initiative to follow the self-publishing endeavour of the Alexander Turnbull Library with their handsome series "Imagers of a New Land" - the best of which is ohly surpassed by the major pub­ lishing efforts of PhotoForum Inc. This may be a necessary alternative until local publishers can offer confidence that their commitment to quality is equal to the measure of care that has created the work they intend to reproduce. New Zealand's historic photo­ graphy is among the finest and Authors may not be aware of the in the caption! Among many others, richest in the world. Some of the parallel and often overlapping the most offensive example is the photographs reproduced in Maori are content of institutional collections of cover shmving one of Alfred Burton's never likely to be published again, photographs. Less excusable is that masterpieces of the Wanganui/King yet their condition perpetuates a keepers of such are themselves un­ Country Trip in 1885: The Koroniti myth that old photographs are informed or uninterested in the village scene Burton Bros No. 3515, generally dull and artless. How holdings of others. Pitiful examples NM No. 208. An original print in unfortunate that such a significant of this lack of communication in­ good condition is beautiful: a new work will appear as a poor cousin of volve the works of some of our print from the original negative held its international equivalents, and that greater nineteenth century photo­ bv the National Museum is also future generations will have only a graphers. The Parihaka village scene, beautiful. The cover is atrocious. dimmer picture of their carefully Burton Bros No. 4015, NM No. 268 Unrestrained cropping severs a recorded past. appears on p. 85, a travesty to depth young infant from her father and the and intricate detail of the real image. mist-covered hills which locate the * NM No. denotes a National James Bragge's portrait of a group village in the Wanganui are painted Museum original negative number. near Masterton No. D85 is rendered out into glossy white. The picture, on p. 55 tonally unrecognisable and made from a poor original print, is cropped to such a degree that it no duly credited to the Alexander longer contains information (a drain Turnbull Library. to the right of the picture) described The issue is clearly not one of

19 Bare Bones Exhibition at the Manawatu Museum

Richard Cassels, Curator, Manawatu Museum

'·Bare Bones'' is the current exhibition in the Children's Gallery of the Manawatu Museum. It is a science exhibition designed for the use of groups guided by William White, the Education Officer, but also capable of standing on its own for the "unguided" museum visitor. The aim of the exhibition is to induce an awareness of bones - of their shape, structure, weight, "feel" and function, so that never again will a bone be "just an old bone". At one stage the title "Learn To Read A The 'Pick-a-bone' bin. Bone" was considered. The exhibition is intended to com­ bine elegant display with the simplicity of scientific principles and the joy of a hands-on experience. It was jointly produced by the Education Officer, the Curator and the Exhibitions Officer. The most popular part of the exhibition is the "Pick-a-bone" bin - the hands-on part. Here several hundred bones are provided for visitors to play with. Specifically they are invited to (a) build their own fantasy animals on the floor of the gallery ("Build-a-Beast"), and (b) to try to identify the bones. "Build-a-Beast" is the greatest suc­ cess. Some children have returned repeatedly, and parents have some­ times had great difficulty in dragging them away. The bone identification "game" has been played mostly by The 'weight' table. "Feel the weight of these bones". adults directing their children. A "guide to identifying bones" sets out some helpful principles. Each bone in the bin is numbered, and is identified in a catalogue. The bones in the bone bin were gathered from all over the country­ side - especially from farms and beaches - as well as by public appeal through the newspapers. One particularly good source was the kennels of the Manawatu Hunt. We did a certain amount of cleaning of bones ourselves, and soaked most of them overnight in a dilute solution of household bleach before putting them out in the gallery. We found that cleaning the bones with flesh and ligament still attached was time­ consuming and unpleasant, so we de­ veloped a policy of accepting only fairly clean bones. Around the walls of the gallery the display illustrates different aspects of 'Build-a-beast'. bones; the sequence of panels is:

20 Asia in N.Z. Some After­ 1. Introductory panel a hippo- of broken and healing bones potamus skull agape and a notice obtained from the public hospital Thoughts on asking if you know what animal and mounted in a backlit cabinet. the skull belongs to (the visitor Subsidiary displays in the main Museum lifts up the panel to find out); gallery show examples of Maori use 2. 'All about Bones' - showing how of bone, and of artificial deformation Performance bones provide support and pro­ of bone. Finally there is a very tection; the different types of popular case of 'curiosities' - a Allan Thomas joints; the names of bones (shown sheep skull with spectacular horns, Jennifer Shennan on a human skeleton); the inside an armadillo's carcase made into a of a bone (a cow bone cut in half1; basket, a deformed pig jaw, etc. Earlier this year 1000 people turned and 'how bones grow'; In the August school holidays up for a Recital of Asian Music and 3. "Looking at Jaws and Teeth' - a bone-carving classes for children Dance at the theatrette of the National collection f skulls and jaws were held in the Museum tutored by Museum in Wellington. Unfor­ ranging from elephants and horses the artist Te Aturangi Nepia Clamp. tunately the theatrette seats only 4_00 to monkeys, tigers, whales and Most of the skeletons, skulls and people! Audiences are not always sharks: limb bones in the display were very large for such events, so this was 4. 'Looking at Limbs' - a com­ kindly lent by the National Museum; something of a milestone for multi­ parison of articulated hindlimbs others came from Massey University, cultural performances in Wellington. entitled 'On your Toes', and fore­ Wanganui and Auckland Museums, Whatever the explanation for the limbs, called 'Hands, Paws and and Palmerston North Teachers unprecedented popularity of the Flippers'; College. The remainder were pre­ event the audience was noticeably 5. 'The Skeleton Zoo' - containing pared in the Manawatu Museum. attentive, not casual, and seemed the articulated skeletons of a The entire gallery has been painted interested and willing to be in­ whale, sea leopard, seal pup, rhea, ·maire' a very dark green that is formed. This is the primary giant petrel, monkey and cat; almost black; labels were typeset and advantage of the museum as a venue 6. 'How Horses Evolved' - a panel handprinted in white on 'maire' people go with certain positive with casts of horse fossils, leading painted card; spotlights add a warm expectations, to see unusual things, up to the full skeleton of Phar Lap, glow to what would otherwise be a to make some attempt to understand the famous race horse. This in­ stark colour scheme; and the whole them. This is entirely different from cludes a series of cartoons il­ display is illustrated and generally the expectations that people (the lustrating how fossils are formed; enlivened by humorous cartoons same people perhaps) have at a con­ 7. A table top with the bones of (black and white, and coloured) cert or recital. The museum is an whales, cattle. flightless and flying drawn by Raemon Wolfe, the appropriate explanatory/introductory birds, entitled 'Feel the Weight of Exhibitions Officer. point with considerable educational Bones': The exhibition runs from July 1983 potential. 8. 'Broken Bones' - a set of X-rays to February 1984. We had deliberately chosen the title 'Asia in New Zealand' for this recital to place an emphasis, not on the proximity of New Zealand to Asia (with all that that implies with tourism and glossy brochures) but on the reality of an Asian presence in our population. Not 'the exotic out there', but 'the everyday here'. Per­ formers ranged from school or college students, factory workers, housewives, and others. A number of them just emerging from the initial period of adjustment as refugees. All are busy with the demands of everday life, and the hold they have on these predominantly classical, complex and demanding arts, is precarious. One reason then for such a performance and all the work it entails is the strengthening and encouraging of the artist. No one can study such an art without some prospect of performance - in a very real sense these arts only exist when shown to an audience. Performances at this distance from the homeland will be sensed as strange indeed for the artist who could expect under original circum­ stances to have a large and highly informed audience, as well as all the wonderful business of live exchange Cartoon by Raemon Wolfe accompany display of jaws and teeth. between dancers and musicians.

21 A Home for Hawke's Bay's Natural ~ History Collections Cl) U) uCj i::: David J. Butts, ...i::: Curator, 2- Hawke's Bay Art Gallery & Museum

b' At 2.30 pm, Saturday 13 August individuals have persisted with the ~ 1983, in the Century Theatre at the project over the last five years - a, Hawke's Bay Art Gallery and raising funds, gathering specimens ~::; Museum, Napier, the President of the and persuading others to donate time, 8 Hawke's Bay Branch of the Royal money and specimens. On a wet Society of New Zealand welcomed August afternoon 200 people came to c5 Sir Richard and Mrs Harrison, Napier the opening. There are only 80 ] City Councillors, members of the members in the Hawke's Bay branch c.. Royal Society of New Zealand and of the Royal Society, so this gives members of the general public to the some idea of the interest which has Yono Sukarno in the Javanese official opening of the Hawke's Bay already been generated in the new masked dance, "Klono Topeng". Natural History Museum. The museum. President of the branch, Mr R. A. The members of the museum sub­ In an attempt to minimize the gap Whittle, outlined some aspects of the committee have always been intent between performers and the history of the branch. Dr Peter on achieving the highest level of audience, a ten week study course in Purchas outlined the history of the museological practice their resources Asian dance appreciation met in the Natural History Museum project and would. allow. The collection is weeks preceding the recital. Various Mr A. C. Styles spoke about the securely housed, the fluorescent rehearsals and lecture- execution of the project - the tubes have been covered with Ultra demonstrations were arranged, workers and the benefactors. Sir Violet screens and a great deal of care relevant films and literature Richard Harrison, Speaker of the has been taken to provide clear, examined and discussed, even House of Representatives, then accurate information about the practical matters of transport, officially opened the Natural History specimens. assistance with costume, were all Museum, emphasising the edu­ The Hawke's Bay Natural History points of exchange which added cational and conservational role of Museum collects and exhibits only interest and insight and support for the new museum, and the Royal specimens collected from within the the performance. Society in general. area of the Hawke's Bay Catchment The museum's role for these arts is In 1977 Dr Peter Purchase per­ Board boundaries. This is a large area one of informed curatorship and suaded the Hawke's Bay Branch of extending from just north of Mahia sympathetic display. The ethnic per­ the Royal Society that Hawke's Bay and W aikaremoana in the north to formance arts need to be shown in a should have a Natural History just south of Porangahau in the south. careful and supportive manner, in a Museum, so that important speci­ Within this large region there are a setting and with the kind of mens could be kept within the great diversity of habitats and many explanation which will make them district and also to act as a much fascinating subjects for the natural accessible to a wider audience. needed educational facility for the historian to study. Practitioners need to be encouraged, province. Unfortunately at this time Already the Museum collections for only in performance do their arts the Hawke's Bay Art Gallery and reflect the unique aspects of some truly exist. Audiences need to be Museum had ceased to exhibit its people's work, (such as the Wiffen aroused and educated. In the arts the extensive natural history collection fossils) and the expertise some standards of good curatorship can be and was unable to find space for new individuals have developed in their met, and should be met, as museums exhibits offered by the Royal Society. field of interest, after a lifetime of move into a more positive role in In 1979 the Napier City Council study (Frank Robson's cetacea). shaping awareness in the community. offered the Royal Society the use of The exhibition covers a wide range the old Council Chambers which had of topics. Local geologists have Jennifer Shennan is a freelance not been in use for some time. The mounted a series of specimens dancer and dance teacher who tutors Museum Sub-committee of the designed to show the range of stone at the NZ School of Dance in anthro­ branch was able to report to the 1980 types found in Hawke's Bay·, em­ pology, history and literature of Annual General Meeting that a start phasising characteristic colours and dance, is dance critic for the Evening had been made on the building of fossils. The mollusca display shows Post, and has choreographed a cases and gathering of specimens to rocky and sandy shore as well as number of productions in recent set up the exhibition in the small esturine species, while the ento­ years in Wellington, all of them in­ space (14 m x 7 m) available. With mology display has over four volving collaboration with most small amateur or professional hundred specimens including many musicians. museums, real progress usually magnificent examples of moths and Allan Thomas lectures in World depends on the enlightened butterflies not to mention the horrible Music at Victoria University of enthusiasm of a small number of creepy crawlies. Palaeontology is rep­ Wellington and directs the people. That has certainly been the resented by some of the very im­ Indonesian Gamelan Orchestra. In case with this Natural History portant material collected by Joan 1979 he won a Belgian Government Museum. Members of the Hawke's Whiffen and her associates from Te Scholarship to study musical instru­ Bay Branch of the Royal Society Hoe watershed, a tributary of the ments in museums. Council and a few extra hard working Mohaka River. This group of re-

22 searchers found the first recognised nmN that it is open. Already an specimens will no longer go to large dinosaur bone in New Zealand. appeal has been put out to find metropolitan institutions outside Marine mammals (cetacea) are rep­ another $5000 for work that is Hawke's Bav onlv to be stored awav resented by whale and dolphin planned for the immediate future. where loca( people never get to se~ specimens from Frank Robson's col­ More cabinets. cfisplay boards and them. The Hawke's Bav Branch of the lection. Botanical specimens from a other furniture and fittings are New Zealand Royal Sci'ciety has made mountain herb field have been needed. Some of the exhibitions re­ the first step towards establishing a prepared for display by Dr Mary Earle quire further development and this recognised Natural History Museum of Massey University using the will happen as resources allow and in Hawke's Bay. Perhaps in the future vacuum freeze-dry process. These specimens are collected. Now the the collection will become part of the specimens are as fine as any I have committee is coming to terms vvith Hawke's Bav Art Gallerv and ever seen in a museum, and if thev organising rosters of staff to mind the Museum as - many Royal -Society retain their colour, texture and museum, and to teach visiting members have suggested. At that vitalitv thev will continue to classes. The Hawke ·s Bav Art Gallerv point it would be appropriate for fascin~te visitors as they do now. and Museum teacher will be able t~ funding to be made available by the A vifauna are represented in a case use this new resource, also thus local bodies to enable the Hawke's which contains a constructed cross­ enabling an expansion of her Bay Art Gallery and Museum to section of environments from the programme. employ a professional curator of mountains to the sea. Possums and The development of an natural history. ferrets are included with the native accessioning procedure is also Alreadv classes of school children avifauna. The message to visitors is planned for the near future. are visiting the museum and over 500 clear. Introduced pests have had a Information sheets are being pre­ adults have visited. Napier now dramatic effect on the habitats of pared. Perhaps the most exciting provides for the people of Hawke's some of our native species. No future development is the establish­ Bay and the many visitors to our pro­ display of avifauna in Hawke's Bay ment of a facility for organisations or vince with museums which cover the would be complete without a gannet individuals to include in the gallery a fields of natural and human history, or two and the visitor will not be dis­ temporary display on some con­ art and technology. It is a tribute to appointed in this regard either. temporary issue whether it be con­ the people of Napier and its sur­ The Museum committee does not servation, research or a selection of rounding districts that they have see the museum as being ·finished' photographs or drawings. developed such a range of cultural It is now hoped that natural history institutions.

A class at The Hawke's Bay Natural History Museum.

23 Miscellany

11111 ICOM NEWS • ORAL HISTORY SEMINARS

The 14th General Assembly of ICOM is given as perhaps being the one of Judith Fyfe and Hugo Manson, was held in London at the beginning greatest general professional founders of the New Zealand. Oral of August this year. New Zealand interest- Historv Archive, are available to was represented by Mrs M. McKenzie condu~t seminars on the methods (Chairwoman ICOM N.Z.), Professor Career development and and techniques of oral history K. Thomson, Mr M. Fitzgerald and management training collection. Miss M. Johnson. The following Recognising that the training, re­ The seminars take a full day and points from the Minutes of the 14th training and career development of include: General Assembly are worth noting. museum staff should be regarded as • instruction on interviewing The Secretary General presented an essential part of the policy and techniques: his report for the period 1980-1983. activities of every museum, however • what machinery to use and how to In it he emphasized the evolution of large or small, especially in the light use it: museums in supporting development of rapid social and technological e how to approach and conduct an projects, the progress in architecture change. oral history interview: which allows easier access to the Noting the particular need for the • what to do with the material handicapped and the more cautious development of advanced training afterwards: attitude towards travelling programmes in museum policy and • the compilation of written exhibitions. The Secretary General management for museum direct0rs abstracts. noted, however, that illicit traffic and senior staff. Critical - and encouraging continues and little progress has been Stressing the need for the career assessments are made of interviews mc1de on conservation training development of museum staff at all recorded by participants during the The Secretary General outlined the levels, and acknowledging the signi­ day. principal objectives ICOM has set ficance of training as a sign of sound A maximum of 20 participants is itself for the next three years: professionalism. accepted for each seminar. • Role of the museum within the Urges all institutions in the The cost is $250 plus any travel community: The Organization's museum field, including governing and accommodation expenses efforts shall be directed towards bodies, national museum organiz­ involved. spreading the value of museums as ations and international organiz­ Judith Fyfe and Hugo Manson have an instrument for development. ations to give proper priority and over 30 years' experience between • The community of museum adequate resources to these essential them as radio and television broad­ professionals: ICOM will under­ fields, particularly by providing the casters and research/journalists. They take to strengthen the sense of means for staff at all levels to parti­ began work on oral history in 1981. international solidarity of this cipate in training and career develop­ If you are interested in running a public service and its code of ment activities, including oppor­ seminar please contact the Oral ethics, promote the exchange of tunities for study visits to other History Archive Administrator: experience and scientific and museums. Jean Harton technical knowledge among its Also requests the major museums 37 Calway Street members, promote the exchange of and related institutions in developed Ngaio objects and exhibitions between and developing countries to take into Wellington museums, enforce the means for consideration the needs of the staff of Phone 792-792 professional training, and generate smaller museums, to assist with such social awareness of the museum training and career development. professional's role and status. Eight resolutions were adopted at • JOB SEARCH the meeting as follows- • JOB SEARCH 1. Museums for a developing world. Museum Curator 2. Museums and development. I am currently enrolled as a graduate A curator from La Grange, Illinois is 3. Inequality of museum provision. student in the Museum Science seeking job opportunities in the New 4. Illicit trafficking in cultural program at Texas Tech University. Zealand museum sector. Mr George property. One of the requirements of the 45 Yannarone is an experienced 5. Return of cultural property to its hour program is a 6 month internship museum administrator with 20 years' countries of origin. at the end of the course work. I am experience in museum planning, 6. Career development and manage­ interested in the possibility of doing finances, public relations, museum ment training. my work at one of your institutions. display in the natural sciences area 7. Museum development in Africa. Would you please forward any in­ (taxidermy). 8. Cultural heritage in occupied formation that you may have avail­ Born 1943. Married. Qaulifications: countries. able relating to your institutions. I am advanced electronics; Art and Details of the texts of any or all of eager to begin a search with my Sculpture (Chicago Art Institute). these resolutions can be obtained advisory committee for a museum Address: 1139 West 64th Street, La from the AGMANZ/ICOM Secretary that could provide an internship. Grange, Illinois 60525. ph (312) 354- Mrs Judy Turner, 40 Kings Thank you for your cooperation. 5031. Crescent, Lower Hutt. In the mean­ Sincerely, (Full particulars available from the time the full text of Resolution No. 6 Richard L. Young Secretary.)

24 Iii LETTERS - PHOTOGRAPHY 111 NEW APPOINTMENTS I congratulate Mr John Turner on his Roger Blackley has recently joined article about the collecting of photo­ the staff of the Auckland City Art graphs, which appeared in AGMANZ Gallery as Curator of Historical New News, June 1983. Zealand Art. He is responsible for the It is regrettable that this un­ gallery's collection of art works in fortunate situation recorded by Mr various media that are relevant to Turner still persists, particularly in New Zealand, from the time of Cook's the National Museum. It is ironic that voyages until 1940. This is a new cinematographic film produced in the position, arising from a rational­ early 1900's are now being copied isation of the gallery's curatorial and conserved by the resently formed functions. Alexa Johnston is now National . Film Archive, whilst still Curator of Contemporary New nothing significant is being done Zealand Art, and Andrew Bogle is with our own, much older photo­ Curator of Foreign Art. With Ronald graphic archives. No one in New Brownson (Research Librarian) and Zealand is currently providing full Geraldine Taylor (Registrar) they satisfactory storage and care for their form an effective and well-balanced photographic archives. In the absence curatorial team. of full time curators of photography Roger graduated M.A. in art history A new appointment at the Auckland­ this situation will remain unchanged. from Auckland University in 1978. City Art Gallery - Gillian Chaplin Sincerely yours, After a period of travel, he returned has joined the staff as Education W. N. Wilson to Auckland in 1980 to continue Officer. Senior Photographer research into 19th-century New She is a History graduate who also National Museum of New Zealand Zealand tradition, and plans a major possesses a post-graduate degree in exhibition of this material. Another Fine Arts. She is a practising artist Ill SOLEN ARTEFACTS project is a monograph on Alfred and goes to the Art Gallery from the Sharpe, based on his M.A. research as Auckland Institute and Museum Tangiwai pendants, possibly stolen well as a wide range of recently dis­ where she worked in the Display from a New Zealand collection, covered documents. Department. handed into Consul's office in Gillian's arrival signals the Sydney early this year. Inquiries to establishment of the Auckland City National Museum, Private Bag, Art Gallery's education services. Wellington. Excellent facilities have been pro­ vided for education in the new buildings and a dynamic programme will soon begin to unfold.

Ill THESIS SEARCH: PIERCE FRANCIS CONNELLY I am currently a student at Rosemont College working towards a degree in Art History. I have selected as the topic for my thesis the American Sculptor and Painter Pierce Francis Connelly, son of Cornelia Connelly foundress of Rosemont College and the Society of the Holy Child Jesus. Through research I have discovered that he lived and worked in New

25 Zealand between 1875-1878, and exhibited his landscapes in Auckland in 1877. I would be interested to know what has become of those paintings, if possible, who has pos­ session of them. If you are unable to assist me directly could you please send to me a list of museums and galleries in New Zealand. I would appreciate any information from your archives on Pierce Francis Connelly as this would be extremely beneficial to my research. Both my­ self and Rosemont College would be grateful for your assistance. Sincerely yours, Meegan Manogue

11111 NEW CONSERVATION Section of the conservation laboratory below the south wing of the Robert LABORATORY AND McDougall Art Gallery. ADMINISTRATION WING AT THE ROBERT McDOUGALL ART GALLERY

The Robert McDougall Art Gallery has in the past two years extended its service areas considerably. A project to create a new con­ servation laboratory and add storage space beneath the south wing of the Gallery was begun in 1981 and com­ pleted twelve months later. The laboratory's design was supervised by Ms Mary Wood-Lee of the Pacific Conservation Centre, Honolulu. Miss Lee spent six months at the Gallery setting up the Laboratory as a well equipped paper conservation regional facility. Labour was provided by the Project Employment Programme and financial assistance in establishing Education Office - Robert McDougall Art Gallery. the facility was given by the Interim Committee for the Conservation of fo.r extensions, creating offices for the Storage for the Robert McDougall's Cultural Property. Education and Exhibitions Officers, growing collection has again become Adjoining this Laboratory, a space the Gallery Administrative Assistant, a problem. When large exhibitions to hold the Gallery's works on paper the Director on the upper level with are presented at the Gallery, much of collection was also excavated new toilets, a seminar room and a the permanent collection must be put providing some relief to a storage staff room equipped to cater for into storage, placing pressure upon a problem which had become in­ Gallery functions on the lower floor. still limited capacity. A feasibility creasingly acute. Completed in March 1983, the study is presently being carried out The Gallery also experienced administration wing cost $180,000, a to further expand storage below the difficulties in properly housing its subsidy of $51,000 being provided by north wing of the Gallery by repli­ staff in ad(;)quate working spaces. The the Lotteries Board over a two year cating the project which created the buildings opened in 1932, had no budgeting period. chambers below the southern wing. provision for permanent staff other than a custodian's office. With nine permanent staff, extended at some • NOTE FOR 1984 AGMANZ A.G.M. periods of the year to 25 with tem­ porary employees, the overcrowding The 1984 AGMANZ Annual General Meeting will be held on the afternoon of of available space was serious. Saturday, 14 April in Palmerston North. In 1982 the Christchurch City This will be preceded by a programme on the theme of Distance Learning Council approved plans to build a with special reference to the AGMANZ Diploma in Museum Studies. This pro­ two storey administration and public gramme will be held all day Friday, 13 April and the morning of Saturday, 14 facilities block off the Gallery's north April. wing. The Council's architectural de­ Do make a nme of these dates now. Further details later. partment ingeniously utilised a small Judy Turner, Secretary triangular wedge of ground available

26 11111 THE RESTORATION OF BOROBUDUR Many people will have heard about the work carried out by UNESCO on the restoration of monuments in order to preserve the world's cultural heritage, for example, Abu Simbel and Philae in Egypt. A recent major international cam­ paign sponsored by UNESCO has supported the undertaking of resto­ ration work to preserve and safeguard the Borobudur Temple in Indonesia. This restoration project commenced in 1973 and was completed in late 1982. The work consisted of dis­ mantling, registering, cleaning, treating and restoring the stones and rebuilding the monument, including the construction of watertight layers behind the walls. A grand ceremony to mark the completion of this work took place in Indonesia on 23 February 1983. On this occasion, the UNESCO Office of Public Information has pro­ duced information materials on the Borobudur Temple. The Secretariat of A relief carving from the face of Borobudur. the New Zealand National Commission for UNESCO has re­ ceived a copy of a set of 48 slides AGMANZ Diploma in Museum Studies entitled 'Eternal Borobudur', with an accompanying text and photoscope. Programme for 1984 These materials may be borrowed from the Secretariat's office. Other in­ formation materials such as a brochure and posters will be received later in the year. The National Film Three theory papers are to be offered Geography Department, Massey Library will also lend the new 16 mm in 1984: University, Private Bag, Palmerston film on Borobudur to its members. History and Philosophy of Museums North. The closing date is 29 Mr F. Dickinson, Director, February, 1984. The enrolment fee is 11111 Totara Bark Dunedin Public Art Gallery; $20, payable after a student's Museums and their Collections Mr application has been accepted by The Dowse Art Museum with the S. Park, Director, Auckland Professor Thomson. Any student assistance of the Manawatu Museum Institute and Museum aiming to take two papers should and Parks and Reserves Department Museums and their Public - Mr L. discuss this with Professor Thomson. of Palmerston North City Council Bieringa, Director, National Art The following is the draft have recently re-roofed the Pataka Gallery, in conjunction with Mr J. Workshop Programme for 1984. Full Nuku Tewhatewha with totara bark. Mack, Director, Dowse Art details and enrolment procedures There is a considerable amount of Museum and Ms M. Johnson, are given for the first three totara bark left over which we would Education Officer, National Art workshops. The March issue of be prepared to make available to any Gallery. AGMANZ News will tell you more institution that may want to roof an These papers are only available to about the rest of the year but this list historic Maori building. The only registered Diploma students and should allow for basic planning. cost involved would be freight from numbers are limited. It should be Lower Hutt. noted that experience has shown that, Archival Photographs to be realistic, only one paper should Wellington, National Museum. 10-11 James Mack be tackled a year. It is estimated that March. Administrator: Judy Turner, a paper requires the equivalent of a AGMANZ Secretary, 40 Kings half-year of part-time study. Both Crescent, Lower Hutt. Applications students and tutors make a and a registration fee of $20 to Judy considerable (and voluntary) Turner. Closing date - Friday, commitment in time and energy to February 17. these studies. It is important that this This workshop will introduce is appreciated and undertakings to participants to the practice of caring theory papers not taken casually. for photographs. Main topics to be . Students wishing to enrol for a covered include identification, paper should apply to the Convenor cataloguing, copying and of the Museum Studies Committee, environmental controls for archivally Professor K. W. Thomson, housing collections. The workshop

27 will be fairly elementary in nature. Friday, 16 March. Ill POSSIBLE FUNDING Various specialists will contribute. Slides and practical demon­ FOR DIPLOMA STUDENTS Recommended reading: The strations. Among subjects covered Professor Thomson has given details collection, use and care of historical will be - basic cleaning, correct of the Agmanz Diploma in Museum photographs, Weinstein & Booth, environment, storage methods, Studies to the Local Government pub. American Ass. for State and display techniques, identification and Training Board, P.O. Box 5034, Local History. This book will be cataloguing of textiles, importance of Wellington. available from the National Museum full documentation, care of textiles in This should enable students to shop in the new year. Orders taken, emergency situations, use of obtain local body support for their price approx. $25.00. Workshop volunteers. This workshop will be studies. coordinator: Mark Strange, National conducted by Mrs Valerie Carson. Enquiries should be directed to Museum. This workshop will be This workshop will be worth two The Secretary, Ms Judy Turner, or worth two Diploma points. Diploma points .. direct to Local Govt. Training Board at the above address. Identification of Graphic Processes Storage Spaces - Design and Use. Dunedin Public Art Gallery. 24-25 Palmerston. North. 16-17 June. Ms. March. Administrator: Judy Turner, Margaret Taylor. AGMANZ Secretary, 40 Kings Crescent, Lower Hutt. Limited Financial Administration number of places. Applications to Auckland. Convenor: Ms Sherry Judy Turner. Closing date - Friday, Reynolds. Various contributors in­ March 2. Invoice for $15 reg. fee will cluding Dr R. Wilson, Auckland City be sent on place being confirmed. Art Gallery. Bibliography: Lighting British Museum - A guide to the processes and schools of en­ Wellington. Mr Kit Cuttle. graving ... 1914. Textile Conservation Brunner, Felix - A handbook of Manawatu, Mrs V. Carson. graphic reproduction processes, London 1962. Interpretation Brunsdon, John - The technique of Nelson. Mr B. Jacobsen. etching and engraving, Batsford, London, 1965. Publications Design and Chamberlain, Walter - Word en­ Production graving, Thames & Hudson, Wellington. NAG staff plus freelance London, 1978. designer. Hind, A. M. - A history of engraving & etching, Dover, 1963. Audio Visual Methods Man, F. J. - 150 years of artists' lithographs 1803-1953, London, Auckland. Coordinator: Ms G. 1953. Chaplin, Auckland City Art Gallery. Twyman, Michael - Lithography Contributors: Dr R. Wilson, Mr J. 1800-1850, O.U.P., London 1970. Bowron, Mr R. Boyd-Bell. Vicary, Richard Lithography, Thames & Hudson, London, 1976. Disaster Preparedness Weber, Wilhelm - A history of Auckland. lithography, Thames /l<: Hudson, London, 1966. Dates and details from June Zigrosser, C. (ed.) - Prints, London, onwards are tentative and will be 1973. finalised and advised early in the (Most works generally available in new year. Public Libraries) It should be noted that Diploma Students will be handling original workshops are open to AGMANZ graphic works and therefore should members who are not registered be equipped with magnifying glasses students but that Diploma students and pencils not ballpoints or fountain take preference when numbers are pens. This workshop will be con­ limited. ducted by Mr Frank Dickinson. This Any enquiries to the Secretary - workshop will be worth two Diploma Judy Turner, 40 Kings Crescent, points. Lower Hutt.

Textile Conservation - Storags and Display of Textiles Auckland (venue to be decided). 7-8 April. Administrator: Sherry Reynolds, Auckland Institute & Museum, Private Bag, Auckland. Applications and a registration fee of $20 to Sherry Reynolds. Closing date

28 THE ART GALLERIES ANO MUSEUMS ASSOCIATION OF NEW ZEALAND

ADMINISTRATION

President Mr L.H. Bieringa National Art Gallery Private Bag Wellington Telephone 859-703

SecretaryI Treasurer Ms J. Turner 40 Kings Crescent Lower Hutt Wellington Telephone 695-353

Editor Ms J. Bieringa 13 Hataitai Rd Wellington Telephone 861-722

COPY FOR THE NEWS Manuscripts may be submitted to the Editor at any time. Copy should be typed double spaced and ideally on A4 paper. The Editor cannot undertake to extract copy from newsclips supplied by contributors. Photographs for This number is published with the assistance of a publication should be unglazed and free of grant from the Todd Foundation. blemishes. Photographs are reproduced by a reduction process and therefore small prints are difficult to publish.

ISSN0110 - 5833

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