Ambrotypes

Another post here discusses photographic daguerreotypes, so let’s now look at the next step in the development of photography.

Whereas the daguerreotype produced a negative image on a metal base, an ambrotype created a positive image on glass. The ambrotype is a variation of the wet plate collodion method introduced by Englishman Frederick Scott Archer in 1851.

For the wet plate collodion method, a glass plate was polished and coated with a thin layer of iodized collodion before being dipped in a bath of silver nitrate solution for three to five minutes. Once it had drained and dried, it was placed in a plate holder with a dark slide to protect it from the light.

 Ambrotype of four of the sons of the Reverend William Woon
Date unknown. Left to right: Garland William, James Garland, Edwin Turner, and Richard Watson Woon. WRM Ref: 1988.35.1

The prepared plate was loaded into the camera while still wet and the dark plate removed to begin exposure, which could take as little as five seconds, or well over a minute, depending on the light and conditions of the day. Once done, the dark slide was replaced and the plate removed from the camera for immediate treatment – it could not wait or the image would be lost. It would be developed using a ferrous sulfate developer, and the image would be fixed with potassium cyanide or sodium thiosulphate solution before being rinsed and varnished.

The resulting image looked like an underexposed negative, but would appear as a positive when viewed against a dark background. The dark areas of the image appeared as clear patches on the plate while the lighter areas of the image showed opaque. The glass plates were often painted black on one side or mounted against black velvet to make the image easier to see. They were monochrome but could be hand coloured.

 Ambrotype of Mr Keen, a stable keeper with premises on St Hill Street. 1869. WRM Ref: 1955.74.1

Another plate of glass would be mounted over the emulsion side before the plates were mounted within a metal frame and housed in a case, just as daguerreotypes were.

Ambrotypes were significantly cheaper to create than daguerreotypes. The plates did not need to be polished or fumed, which reduced equipment and material costs, and they were made out of much cheaper glass rather than expensive silver-plated copper. It was also possible to photograph more clients per day, due to the reduced exposure time.

There were, however, disadvantages. The technique required great dexterity as the whole process had to be completed within 10 minutes before the plate dried, so ambrotypists had to have a dark room immediately available. Travelling ambrotypists would take a tent or portable dark room with all the associated chemicals with them.

 Ambrotype of a young woman, with hand coloured background and jewellery accented with gold pigment. Date unknown. WRM Ref: 1977.33.19

The nitrate bath solution could leave stains on clothing and furnishing, and the plates could leave nitrate residue in the camera. An overload of nitrate could be potentially explosive.

The photograph fixer, potassium cyanide, was a powerful, deadly poison, and occasionally caused cyanide poisoning. It was even drunk by one photographer to commit suicide.

Ambrotypes were still relatively quick and significantly cheaper than daguerreotypes and became immensely popular between 1855 and 1865. There are many more ambrotypes than daguerreotypes surviving today, 32 of them in the Whanganui Regional Museum collection.

 

Sandi Black is the Archivist at Whanganui Regional Museum.

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Daguerreotypes – the first photographs

In the 21^st century, most of us have mobile phones, and most of those phones come equipped with a pretty good camera. We can take a photograph, add a filter, crop and edit, then share it with the world within seconds. Photography has not always been so easy and readily available.

After centuries of painstaking carving and painting to capture a likeness, in 1822, French inventor Joseph Nicéphore Niépce was the first person to make a mechanical image. He used a process called photo etching to create a permanent image on a metal plate, and was then able to use the plate to create copies of the image etched onto it.

Undated daguerreotype of an unidentified child. WRM ref: 1960.145.2

He worked with Louis-Jacques-Mandé Daguerre to further the process before passing away in 1833, but Daguerre continued with the work. He finalised the process in 1837. In 1838 he took the first photograph of a person, by accident, while he was attempting to make a daguerreotype of a street scene in Paris. Moving pedestrians and carriages are too blurry to see, but one man who was having his boots cleaned on the street corner, stayed still long enough to be captured.

In exchange for a pension from the government he allowed France to present his method as a gift to the world. Daguerreotypes were very time-consuming and intricate to make. A plate of copper was coated with silver and polished to a mirror-shine, then exposed to halogen fumes to create a layer of light-sensitive silver halide which would bear the image. Initially, exposure could take up to 70 minutes, but was refined down to only a few seconds on a bright day.

The latent image was revealed by exposing the plate to mercury fumes.  Although known to be dangerous, very little protection was taken when handling the mercury and there were reports of inattentive daguerreotypists developing mercury poisoning from it.

The plate was toned with gold chloride before being rinsed and dried, and the daguerreotypist could add colour washes to clothing and skin or gold tints to jewellery. The plate was then sealed behind a layer of glass and bound in a brass mat, before being housed in a wooden case covered with leather and padded with velvet or satin.

Undated daguerreotype of an unidentified man. WRM ref: 1802.8612

The resulting image could be seen as a positive or a negative, and had a high-shine finish, made easier to view by the padding in the case. It was a single-use image and it was not possible to make copies without creating a whole new daguerreotype. It was also quite expensive. In 1882, an advertisement for the process in the newspaper, The New Zealander, stated the daguerreotypist could take a photo in only five seconds; he charged between 10 shillings and two guineas, equivalent to $60 – $260 today.

Daguerreotype of Mrs Allison, relative of Dr James Allison. WRM ref: 1975.43.19

Although it was expensive, the daguerreotype was the first publicly available photographic process. Its peak popularity was from the early 1840s to the mid-1860s. The Whanganui Regional Museum holds six in the collection, only one of which is named. This is Mrs J Allison, a relative of Dr James Allison who arrived in Whanganui from Glasgow in 1840.

 

Sandi Black is the Archivist at Whanganui Regional Museum.

The School on the Hill

Queens Park School was known as the school on the hill because of its situation on Pukenamu, or Queens Park. Its proud motto was, Esse Quam Videri (To be is better than to seem to be).

Queen’s Park School banner, 1921. WRM ref: 1802.1719

The first school on Queens Park seems to have started in 1875. Then Girls High School was built on the site in 1879, opening in 1880. The term “High School” was used at the time to differentiate “Infant” schools from schools that taught older children, possibly from Standard 3 (Year 5) upward. In 1901 Girls High became a District High School for girls, combining some classes with classes from the Boys School. The early records of the school were destroyed by fire in 1905 which means there are not many details of those formative years.

The local Education Board started looking at the possibility of building a primary school in 1904. The fire of 1905 that burnt two classrooms in the Wanganui District Girls High School seems to have been the impetus for change. The Girls and Boys District High Schools were merged into the Wanganui District High School. Later in 1905, the old school was renamed Queens Park School and taught pupils up to Standard 6 (Year 8), both boys and girls. New single-seat desks were introduced that year too – Queens Park was the first school in New Zealand to have them! The School was noted for its strong Cadet group that started in 1906 and the talented Band, formed in 1916.

By the end of World War I, many Queens Park School boys had served and been wounded. A Queens Park School Roll of Honour lists 24 names of Old Boys who were killed while on active war service.

Queens Park School with Memorial Gates. Photo by FH Bethwaite, 1939. WRM ref 2005.56.32

A fire in 1917 destroyed many of the wooden school buildings. In 1920 a new brick building opened, and the pupils marched from their temporary home in the Methodist Church Hall, up the hill to the new school.

In 1926 Queens Park School pupils raised funds to build the Memorial Gates, in honour of past pupils who gave their lives in the War of 1914 – 1918. These gates still stand on their original site, the only visible reminder of the school on the hill.

From 1933 only pupils from Primer 1 to Standard 4 attended the school. Standards 5 and 6 pupils were sent to the newly established Wanganui Intermediate School, only the third intermediate school in New Zealand at the time. Queens Park School closed in 1972 and was demolished in 1977. A centenary was held in 1979, and surplus funds from the event were donated to repair and restore the Memorial Gates.

Queens Park School 75th Jubilee Plaque. WRM ref 1984.8.3

 

Libby Sharpe is Senior Curator at Whanganui Regional Museum.

Sun Smart

Summer may be over and Winter approaching here in New Zealand, and many people will be lamenting the impending loss of their tan.  But it wasn’t so long ago that being in the sunshine was something to be avoided.

Before the 1900s a tan was a stigma – the working classes had tans from their long hours of labour in the sunshine, so being pale was thought to indicate wealth, refinement and beauty. The fashions depicted in artworks and advertisements show full length trousers, skirts and sleeves, and even swimwear and sportswear covered most of the skin.

 Preparing for a summer outing in 1907, complete with hats, parasols, and very little skin exposed to the sun. WRM ref: 2015.93.6

On top of this, women dared not leave the house without a wide-brimmed hat and parasol to shield the sun’s rays. Rudimentary sun screens were available, consisting of petroleum jelly mixed with magnesium, zinc oxide or bismuth, which coated the skin and prevented sun burn and freckles. If colour did start to show they could purchase one of the many bleaching creams or powders designed to whiten skin.

During the 1890s medical studies discovered that sunlight killed the Tubercle bacillus (TB) and prevented microorganisms from growing, and a lack of sunlight caused Rickets Disease. The sun became a provider of health. UV radiation, otherwise known as sunbathing, became a treatment for many conditions including lupus, anaemia, Hodgkin’s disease, renal failure, syphilis and septic wounds.

 A black and purple brocade parasol, made 1890s. WRM ref: 1975.43.27

In 1910 medical journal The Lancet published the statement, “the face browned by the sun is regarded as an index of health”. Having a tan was no longer a social stigma, and by 1930 was publicly regarded as healthy. Mothers were told to put their children in the sunshine every day to keep their bones and teeth strong. UV radiation lamps were used in hospitals to decrease blood pressure, increase appetite, and promote wellbeing. Models for the home soon followed.

Alongside this, society changed. Work hours were reduced and people had more time to experience the outdoor leisure centres that were being built. Fashions were shortening and more skin was being exposed to the sun, particularly in leisurewear.  Hats and parasols became unwanted trappings of the past.

The Industrial Revolution led to changes in many work environments, from outdoor to indoor. The working classes grew pale, while having a tan indicated having money and leisure to travel. The desire to tan was increased with fashionistas like Coco Chanel declaring “a golden tan is the index of chic”.

But it wasn’t all fun in the sun. As early as 1894, dermatologists noticed that those who worked outside were more likely to develop skin cancers, especially on areas that saw the sun frequently such as hands, faces and necks.

 A black afternoon hat, with brim and lace covering, made around 1880. WRM ref: 1980.47.2

The term “sun cancer” was first coined in 1933 but the initial causal links were largely ignored by the wider medical community and the public. In the 1940s a link between tanning, sunburn and skin cancer was confirmed and the name “melanoma” became commonplace. Knowing UV radiation was dangerous helped to improve sunscreens, but the desire to be tanned and beautiful was stronger. Between 1930 and 1970 the rates of melanoma over the world increased 300-400%.

In New Zealand around 4,000 people are diagnosed with melanoma every year, and around 300 will die from it. We have the highest incidence of melanoma in the world.

So enjoy the sun, but be safe and remember your hats, sunscreens and parasols.

 

Sandi Black is the Archivist at Whanganui Regional Museum.

Dear Santa…

Christmas has been and gone but many children will already be planning their wish list for later this year.  Reaching for a tablet or smartphone they could sneakily message Saint Nick another gift for their wish list, while a frustrated parent threatens to email Father Christmas and tell him to cancel the toys because of too many tantrums.

 Postcard of a child waiting for Santa Claus to fulfil her wish list, while her father offers advice about not being too greedy, presumably. WRM ref: 1978.77.5 73c

In today’s world of digital communication, it is quick and easy to get an instant message to Santa through any of the websites the Google elves offer. But what about the hand-written and illustrated letters that used to be sent by post?

The following report appeared in the Wanganui Chronicle on Wednesday 24 December 1952:

 “Father Christmas, No.1 Cloud, Iceland”, so the address proclaimed. The blue envelope with its tuppence-ha’penny stamp rested in the trained hand of the postal sorter. All round him stretched the pigeon-holed sorting bays of the overseas mail floor at London’s General Post Office.

“Well, well,” said the sorter, turning to his companion, “Christmas must be closer than I thought. Here’s the first of the Father Christmas mail. A good one, too.” He put it aside and returned to his stack of letters with a shake of his head, a smile and a thought of Christmas and the children.

That was way back in September. But as the mail sorter said, it meant that Christmas was on the way.

 Postcard of a child’s Christmas wish – fruit, biscuits and toys. WRM ref: 1978.77.5 34b

The letter, with its fairy tale address and childish scrawl, was the first of about six thousand of its kind to pass through London General. They came in from overseas as well as from all around Britain. It is a law of the Post Office that a letter must get as near to its destination as possible. And a request to “Santa Claus, Snow Cottage, Iceland”, which might have been posted in Fiji, comes first to London on its way to Iceland.

The Post Office in Iceland, unable to find Santa, who is probably out on his rounds in any case, holds the letter for a time and then it … well, who but Santa is entitled to read the Christmas wish of a child?

There are very few exceptions to this rule of forwarding Father Christmas’ mail. One is when a child’s letter is addressed simply to “Father Christmas” or “Father Christmas, Fairyland”, or “Toyland”, or when the letter is sent to “Santa Claus, the North Pole.” In these cases the letters are held at their office of origin.

 Hand-decorated envelope with a festive theme, from the Tickner Envelope Collection. WRM ref: 1989.15.3

Father Christmas has many homes, judging by the variety of addresses where children hope to find him. There was one to “Father Christmas, Reindeer Hotel, Iceland” and yet another with the direction “The North Pole, Arctic Ocean, Siberia”. One child tried to reach him through “Fairy Land, Iceland, England”.

Let’s just hope that Santa’s email account has a good spam filter and plenty of storage.

A Trick of the Eye

Stray Leaves by W F R Gordon, 1878. WRM ref: 1940.67.1

Stray Leaves is a dramatic drawing in pen, ink, watercolour and gold leaf. The drawing follows a particular art genre known as trompe l’oeil, from French, meaning to deceive the eye. It contains the realism of a photograph with a three dimensional visual depth and features over 70 different items, supposedly scattered on the artist’s table.

New Zealand artist William Francis Robert Gordon completed this remarkable work in 1878. Stray Leaves has been described as “The most remarkable still life drawing to have survived from colonial New Zealand” by Dr Roger Blackley, Associate Professor in the School of Art History, Classics and Religious Studies at Victoria University.

Detail from Stray Leaves.

Each intricately drawn object is an insight into the artist’s interests and the events of the day. Some, like the inclusion of the title in Māori by Waata Hīpango, and a newspaper report of the sinking of the Avalanche in 1877 that had 25 Whanganui citizens on board, have specific local interest. Many of the objects reflect the means of communication of the era, contrasting strongly with television, mobile phones and emails of today.

Gordon worked in the Post Office in Whanganui at the time, and included correspondence and postal paraphernalia in this drawing. We can identify envelopes addressed to the Hon John Ballance, Member of the House of Representatives for Whanganui, and Sir Walter Buller, both notable local politicians and businessmen of that time. We can see newspapers and periodicals from around the world. Gordon, born in New South Wales, also left hints about his private life, such as the Parramatta steamer ticket used during his youth in that town.

Works in the trompe l’oeil style were a popular form of colonial art. Gordon first exhibited Stray Leaves in a Whanganui shop front in 1878 and later won prizes for it, including a gold medal, at industrial exhibitions in New Zealand and Australia between 1878 and 1904.

Sketch showing the Bush Attire adopted by Surveyors in New Zealand, by WFR Gordon, 1880s. WRM ref: 1935.59.25

He was known and admired for his cartoons and sketches. At one stage he worked as a draughtsman with surveying gangs in Taranaki and made a series of comic sketches of his workmates.

His most famous sketch, however, was of Te Whiti, the great Māori prophet and pacifist leader of the people of Parihaka in Taranaki. In 1880 Gordon attended a meeting at Parihaka where Te Whiti asked that no image of him be made. Gordon, however, surreptitiously sketched an image of Te Whiti on his shirtsleeve, later re-drawing it and filling in details. It was one of the few images of Te Whiti ever to be created.

Gordon was also a prolific photographer. A collection of his studio works of people, mainly from Taranaki, survives in Puke Ariki in New Plymouth.

Gordon died in New Plymouth in 1936. He bequeathed Stray Leaves to the Museum where it has been exhibited many times. In 2001 Dr Blackley curated an exhibition about colonial trompe l’oeil drawings in New Zealand at the Adam Art Gallery in Wellington. Stray Leaves featured in this exhibition, receiving national recognition and Blackley’s acclamation.

 

Libby Sharpe is Senior Curator at Whanganui Regional Museum.

Encyclopaedia Britannica

Living in the technologically focused 21^st century, we have access to more information than any generations before us. The answer to a question is often “just google it” and we hit the internet to search for our response, bearing in mind a good proportion of the information published online is not always accurate.

Before internet, a researcher could go to the library, or ask a knowledgeable friend, or consult the trusty set of encyclopaedias on the bookshelves at home. Coming from the Greek words enkyklios (general) and paideia (education), the books were designed to offer a comprehensive set of knowledge on a range of subjects. They differ from dictionaries, which only provided the origin and meaning of words.

The earliest surviving encyclopaedia was Pliny the Elder’s Naturalis Historia. Published in the 1^st century AD, it included 37 chapters on natural history, medicine, geology, geography and many other topics. Pliny stated he sourced the 20,000 facts published in the series from consulting 2,000 works by over 200 authors.

Encyclopaedias were out of reach for most people for centuries, remaining in the realm of academia and intended to impress writers and wealthy patrons, rather than educate the general public. Attitudes began to change in the 18^th century when printing was easy and literacy was rising. General-purpose encyclopaedias began to be more commonly distributed.

 A map of New Zealand and the Pacific Islands appearing in the 1903 Encyclopaedia Britannica. WRM ref: 1969.32

One of the classics of the encyclopaedia world is the Encyclopaedia Britannica. It was first published in 1768, making it the oldest English language encyclopaedia still in production.

The first set was printed in Edinburgh, Scotland, and comprised three volumes of general knowledge with the first engraved illustrations completed by Andrew Bell. The encyclopaedia was very popular and the second edition covered 10 volumes, growing to 20 volumes by the time the fourth edition was produced between 1801 and 1810.

With a reputation as a scholarly work, the publication attracted more eminent writers and contributors. The ninth and eleventh editions, produced between 1875 and 1889, and 1911 respectively, are considered landmarks of scholarly literary style.  After being purchased by an American company, however, Britannica began to shorten articles in order to meet the requirements of the North American market. Despite being produced in the USA, it retained British English spelling.

The fifteenth edition, published in 2010, was the last printed version of Encyclopaedia Britannica. This set spanned 32,640 pages of information in 32 volumes. Now it is solely produced online, with the help of over 4,000 contributors.

 The tenth edition of Encyclopaedia Britannica, with a custom made rotating bookshelf and reading ledge. WRM ref: 2015.52

The Whanganui Regional Museum holds two sets of Encyclopaedia Britannica, including a set of the prestigious ninth edition, at its scholarly peak. The second set is a tenth edition published in 1902, and belonged to Fred Symes, a Whanganui banker and prominent Mason. This set was donated with a custom built rotating wooden bookcase, specifically designed to hold the 35-volume set, and is complete with a foldout shelf on which to rest the volumes while reading.

 

Sandi Black is the archivist at Whanganui Regional Museum.

Upstairs, Downstairs

The Watt St buildings of the Whanganui Regional Museum have been largely closed to the public for two years now and the building site hoardings came down in January. While the temporary site on Ridgway St has been busy throughout, there is mounting interest and speculation about the reopening of the principal exhibition spaces to the public. How can it take so long to get the place open again?

Opening day is scheduled for 2019, but behind the closed doors there has been a lot going on and there’s still plenty to do.

 The Wanganui Public Museum shortly after opening in 1928. Photograph by Tesla Studios.  Reef: MM-009

The process started in 2016 with the removal of all exhibits and furniture from the main buildings (with a few honourable exceptions on the grounds of sheer size) in preparation for the major earthquake engineering. That work, financed by the Whanganui District Council, involved installing steel supports and new walls around the whole interior of the 1928 building and similar, smaller scale alterations to the 1968 extension. Along with a new roof and a major overhaul of lighting and electrical systems, the first part of the project was finished in January this year and has created a completely revamped vessel for the Museum’s programmes and exhibitions.

Meanwhile, with the support of funding from the Lottery Grants Board, Minister for Arts, Culture and Heritage, Te Puni Kokiri and a number of philanthropic trusts, the vital collection storage areas beneath the public buildings have undergone a transformation. New vaults, shelves and storage cabinets, along with specialised climate control systems, have dramatically improved conditions for over 300,000 collection items. Dedicated store rooms have been built for photographic negatives, taonga Māori and the huge collection of natural history specimens. A building initially designed and built as an underground carpark is now a store house suitable for a collection of national significance.

Upstairs, the Museum has taken advantage of the clear-out and refurbishment to rethink all of its exhibits. With over 3,000 square metres of public space to refurbish and reinstall, Museum staff and contractors have been fully engaged since 2017 on exhibition development, conservation and preparation of thousands of objects and artefacts for display.

 Galleries closed for installation, with a hint of what’s to come. Photograph by Frank Stark.

Ninety years of additions and alterations have been stripped out to reveal and highlight the contrasting architectural styles of the 1928 and 1968 buildings. A lot of the Museum’s heritage display furniture has been refurbished or supplemented with new joinery. New facilities including an air-conditioned gallery, an audio-visual lounge and a bigger, better souvenir and book shop have been built. The result is a completely refreshed and rethought museum, combining long-standing Whanganui icons with many items from the collections never shown before.

Regular questions about the reopening have included the fate of the sunfish, the Street, the collection of Lindauer portraits and the waka. The Museum staff are not revealing details about the exhibition contents until closer to the opening date, but promise plenty of surprises when we open.

 

Frank Stark is the Director at Whanganui Regional Museum.

Thomas William Downes

Thomas William Downes was a Whanganui historian, ethnologist and writer with an immense love and respect for the Whanganui River, the people and wildlife, past and present, who lived within its valley. As a writer, he attempted to record as much as he could about the history of the Whanganui River, believing it would otherwise be lost.

T.W. Downes, circa 1910.  Unknown photographer. Ref: P/J/37

Born in Wellington, Downes moved to Bulls with his family in about 1874. He showed early interest in history and never lost his enthusiasm, although he made his living by other means. In 1910 he published a paper, “Early history of the Rangitikei and notes on the Ngati Apa” in the Transactions and Proceedings of the New Zealand Institute. This article reflected his work and interests while he was growing up in Bulls.

Downes had moved to Whanganui in 1898 with his wife Margaret. In 1921 he was appointed Supervisor of River Works and Ranger for Domain Lands for the Wanganui River Trust. His annual salary was £100. It is said that Downes knew the full length of the river better than any other European. He travelled up and down the river repeatedly, made friends and paid attention to the oral histories of tangata whenua. He documented a version of the early history of the Whanganui district in his book, Old Whanganui, published in 1915. He used the “h” in the Whanganui of the title, believing it to be the correct spelling of Whanganui dialect.

 Thomas Downes on an expedition to inspect Wanganui River Trust works. Photographer: F J Denton, 1908
T W Downes is in the centre of the photograph with his feet dangling in the water.  Standing behind him is George Marriner, the Curator of the Wanganui Museum. On the far right is photographer Frank Denton, who took this image using a remote cable fitting so he could be in the photograph. The men were voyaging in a motorised canoe, the Stewart, owned by the Wanganui River Trust. Ref: UWR/S/219

This major work was followed in 1921 by his History and Guide to the Wanganui River. This publication, surprisingly, did not employ the “h”. A final book, River Ripplets, was published much later on in 1993.

Downes was also a busy and gifted artist. He painted many scenes from history, using his knowledge and imagination. One that survives is in the Museum collection, a large oil painting titled Retaruke Reach, Wanganui River, a work of large proportions and undisguised romanticism. He created illustrations for his own and other’s books and was in great demand for painting and lettering illuminated addresses, often presented to people of civic importance as a token of respect and thanks.

 Illuminated Address to James Crichton Esq. In 1904 this illuminated address was created by T W Downes as a tribute to James Crichton “In appreciation of your sterling worth as a Citizen …” Ref: 2017.26

Downes was elected to the Wanganui Museum Board of Trustees in 1910. He served for two periods, from 1910 to 1918 and from 1923 until his death in 1938. While on the Board he facilitated the purchase of a number of taonga Māori and was responsible for negotiations involved in the lending or gifting of many treasures from the region. He also made personal gifts to the Museum of Pacific Island artefacts that he had purchased at auction, photographs and archives.

A modest, quiet and unassuming man, Downes dedicated forty years of his life to the recording and preservation of Whanganui heritage. He was still employed as the supervisor of the Whanganui River Trust when he died in Whanganui on 6 August 1938.

Libby Sharpe is the Senior Curator at Whanganui Regional Museum.

The Governor Grey

A new schooner, called the Governor Grey, has been built at Wanganui, and is intended for coasting. [New Zealander 20 March 1847]

The Governor Grey was built for Merchant Mariners Taylor and Watt of Petre (the official name of the town of Whanganui at the time) by a Mr Walker and launched on 4 January 1847. The Reverend Richard Taylor recorded in his journal of the day, “The new vessel was launched. It is about 30 tons and was first named the Harvest Home but as everybody laughed at the name the owners substituted that of Governor Grey.” The launch was reported to be attended by most of the citizens of the town of Whanganui who cheered her into the water. Apparently, these worthy citizens had requested the name change, and thus she was christened in honour of the Governor of New Zealand, Sir George Grey, who had been appointed to his post in 1845.

Taylor & Watt premises on Taupo Quay.  Photograph thought to be by WJ Harding, 1860s.  Ref: W/S/TW/18

Thomas Ballardie Taylor and William Hogg Watt had arrived in Whanganui in 1841 and begun trading immediately. They built a store on the beach (now Taupō Quay) and then a jetty for their ships. The company built up a significant business in Whanganui, often acting as “bankers” to settlers all along the coast.

The new schooner replaced the Catherine Johnstone, known locally and affectionately as the Kitty J, a single masted cutter of only 10 tons, built in 1841. The cutter had traded between Taranaki, Wellington and Nelson, and occasionally Sydney, until the Taylor and Watt cargoes grew too big for her holds to carry. After the launch of the Governor Grey, Captain Taylor took on command at sea while Watt ran the business ashore. Business increased and the small vessel had plenty of profitable voyages.

Rigged with two masts and about 30 tons in weight, the Governor Grey was only 44 feet long and a mere 12 feet wide. Never-the-less, she managed to transport her fair share of goods and passengers between Whanganui and Wellington, sometimes venturing further to Nelson. In a November 1854 issue of New Zealand Spectator and Cook’s Strait Guardian, a report records her carrying “1010 feet timber, 220 bags potatoes, 18 kits maize, 1 beer engine, 1 bundle bedding, 10 barrels 3 cases bottles.”  She was also advertised as a regular packet, to sail between Whanganui and Wellington once a month, with “superior accommodations for a few Passengers”.

Watercolour painting of The Governor Grey.  Artist Charles Heaphy, late 1840s.  Ref: 1910.2.1

Artist and draftsman Charles Heaphy painted the Governor Grey in watercolours in the late 1840s. In the painting, the schooner is at sea, with Mana Island immediately behind her. It is probably an exact rendition of her rig. Three small figures can just be made out, two aft and one fore.

The Governor Grey was wrecked on the Whanganui River bar in a gale in November 1854. While much of her cargo was recovered, the heavy swell prevented the schooner from being saved and she was completely wrecked.

 

Libby Sharpe is Senior Curator at Whanganui Regional Museum.