The New Zealand and South Seas Exhibition, Dunedin, 1889-1890 (Part Eight - The Closure of the Exhibition & Sale of the Buildings)

An award certificate from the New Zealand
and South Seas Exhibition, Dunedin 1889-90
[Source : Toitū Otago Settlers Museum]

This continues my Blog series looking at the "New Zealand and South Seas Exhibition" held in Dunedin between 1889 and 1890. To read all parts of this blog series please click HERE to start at the first instalment.

The Closing of the Exhibition

By the time the New Zealand and South Seas Exhibition closed on the 19th April 1890 it had attracted 625,248 visitors over 125 days with 399,573 paid admissions (the rest being season ticket holders, volunteers and those holding free passes); and on closing day, which broke the attendance record, 18,434 admissions (which included 13,683 paid and 3,749 season ticket holders).

When planning the Exhibition it had been assumed there would be 240,000 paid admissions and 1,000 season tickets sold. The latter figure alone ended up being around four times the estimate.

The Exhibition Closing Ceremony, 19 April 1890

The "season of the exhibition" occasioned not just a visit from His Excellency the Governor, but also the Admiral of the Australian fleet, the Governors of New South Wales and South Australia, leading public figures from New South Wales, Victoria and South Australia, and the officers of three "ships of war".

It was with regret and a feeling of melancholy on the part of the majority that the Exhibition was brought to a close and it was not expected that any enthusiasm would be evinced at the closing scenes of what would mark the end of an era in the history of the colony.

The "Volunteers", numbering some 400 men comprising of the ordnance battalion, the rifles and the cavalry who were mustered at the Garrison Hall just before 7 pm in the evening, being watched by a considerable crowd. At 7.30 pm the men marched by way of Princes street to the Exhibition, being led by a contingent of Hussars then the Ordnance Band preceding the Ordnance battalion, followed by the several rifle corps and the large crowd which had gathered. Due to the great crush of people it was found necessary to admit the Volunteers to the Exhibition grounds via the exhibitors' entrance in Crawford street where they afterwards mingled with the crowd.

The ceremony of declaring the Exhibition closed took place in the Concert Hall at 8pm, being represented on the dais by the President, members of the Executive committee, the Hon. Minister for Education, the Commissioners for the Australian courts, and a number of other invited guests including "several ladies", both on the dais and in the body of the hall.


The proceedings were opened by the Dunedin Garrison Band who were seated on the stage which preceeded the official speeches which included the reading of a full resumé of the Exhibition history and arrangements. A resumé of the awards given out to exhibitors were then read out with the classes (ie, first, second third, special etc) and to which countries they belonged.

The Exhibition Awards by Country and Class
[Source : "The Otago Daily Times"]

This part of the proceedings were accompanied by musical honours contributed by the Garrison Band, the awards to Great Britain being followed by "Rule, Britannia", France by "La Marseillaise", Germany by "Die Wacht am Rhein", the other participating colonies with appropriate pieces, and New Zealand with the version of "Hail! Zealandia" composed by Mr F. Leech of Dunedin.

The President with "somewhat mixed feelings of pride, gratitude, and regret" then rose to announce, in a lengthy speech which expressed thanks to many individuals [of which I have only included small excerpts], that the Exhibition is closed.

"I am sure to all residents in Dunedin - a matter of gratefulness and gratitude that the exhibition has been the means of drawing to our doors friends from all parts - friends even from across the sea from the distant Home country, friends from the neighbouring colonies and from the adjoining provinces of this colony. We have had during the last four months an opportunity of interchangeing ideas and of having a social community with our friends which we have never before, so far as I know, enjoyed in this colony."

Speaking on behalf of the committee, he hoped that when the Exhibition buildings were sold that the four Octagons could be saved and "provided the circumstances of the case warrant it", he would be prepared to ask the shareholders if these could be given "to the museum, university, or some other public institution". He would also ask the shareholders "to make the most reasonable terms for the main building, or else bestow it as a gift for a workmen's college", being followed by applause. [As we shall read, his intentions proved not to come to fruition]

"As it was becoming on such an occasion the opening of the exhibition was accompanied by a prayer, asking the blessing of Almighty God on the undertaking, and it is now alike our duty to and privilege humbly to acknowledge that the prayer then made has been amply answered, and that the Maker and Giver of all things has granted His protection and guidance. I now declare the New Zealand and South Seas Exhibition closed."

Thereupon the band played the National Anthem, and after cheers for the Queen and the Exhibition President, the proceedings terminated, having taken less than an hour and a quarter.

The Grand Finale - The Pyrotechnical Display

All through the final day there was a constant stream of visitors  into the Exhibition "but after 6 o'clock it seemed as if the whole of Dunedin had turned out". It was not until nearly 8.30 pm that the crowd showed any signs of slackening. In the building "locomotion was almost impossible, and people had simply to allow themselves to be carried by the crowd hither and thither."  

In anticipation of the grand pyrotechnical display a large crowd had gathered in the gardens long before the commencement time. At precisely 9.30 pm the electric light was extinguished with rockets being fired first from the south western angle of the grounds then the south eastern angle. Various portions of the grounds were illuminated by colours but the crush of people was such that this could not be seen to advantage from any standpoint. 

"The effect of the girandole wheels, supported by discharging rockets, was very pretty, as also was the striking effect of the batteries of Roman candles. The display lasted for fully three quarters of an hour, finishing off with a beautiful pyrotechnic device, which gradually resolved itself into the motto, "God save the Queen"." 

Upon the electric light again lighting up the gardens it was observed that the flower beds in the central portions had been "trampled out of recognition".

The process of emptying the Exhibition buildings and grounds of some 18,000 people took some time with "many of them casting longing, lingering looks behind" as they left. This continued until as late as 20 past 11 with "only a few loiterers remaining" who then quickly left after the main lights were extinguished. It is reported that one of the last things heard in the building was the playing of a verse of "God save the Queen" as a solo on a cornet. At half past 11 the doors to the exhibition were locked. Sadly, it was now all over. 

An Analysis of the Exhibition     

Despite the openly expressed fears of many that the Exhibition would be a failure [the Wellington Exhibition of 1885 made a large financial loss], success crowned the efforts of those, who with commendable enterprise, took the initiative in executing their plan and faithfully worked hard over many months to make the Exhibition worthy of the colony. While there had been three previous industrial exhibitions in the colony "on a large scale"; this one had been on a far more extensive scale that any of the others. While visitors from other lands expressed surprise at the great display they witnessed at the Exhibition, astonishment was given by the oldest colonists on seeing the evidence of the progress we had made in so short a time.

In a report made to Napoleon of the results of the Exhibition in the Grand Court of the Louvre in Paris in 1801, it was declared that; "there was not an artist or inventor who obtained a public recognition of his ability but has found his reputation and his business largely increased".

Although the Dunedin Exhibition was not expected to show any immediately beneficial results it was noted that "thousands have already derived technical education from it, tens of thousands have been generally educated by it, and every one who has passed inside its turnstiles has found in it a great source of pleasure".

As one of the pioneers of the Otago settlement was heard to remark, "Who would have thought, 40 years ago, that we would have ever seen the like of this!".

The history of Dunedin may thus be summed up; "Yesterday dense forest, with a little clearing along the shore and a few huts; today a populous and prosperous town, reflecting the general prosperity of the country of which it is the commercial centre. The display of our products in the [Exhibition] not only brings into focus... the tangible proofs of the resources of our more immediate surroundings, but amply demonstrates at the same time, the unchallengeable resources of the whole colony."

The Sale of the Exhibition Buildings

A large auction took place of the Exhibition buildings on the 14th and 15th May 1890, being broken up into 48 lots including the main buildings, concert hall, art gallery, and the four octagons, being referred to as the Victorian, Mineral, Woolen, and Public Works Octagons on account of who had occupied them. It appears that the main entrance, art gallery, and concert hall did not sell and were offered for rent or removal by auction on the 7th June for removal or for rent or they would be demolished. The "Celebrated Eiffel Tower" was auctioned off on behalf of the Otis Elevator Company agents on the 31st May 1890.

It is known that a portion of the Exhibition buildings were taken down and re-erected at Burnside for the Kempthorne Prosser & Co, drug company as tenders were called. What this specifically comprised of is unknown and may not have been rebuilt in the same form. All their buildings at Burnside were demolished many years ago. It would appear that a great quantity of deconstructed material was also simply sold off on site by the auctioneers. 

In 2022 I discovered an intriguing reference (my thanks to JDP Econ Publications) to the fate of the brick Art Gallery buildings. When the history of the 1925-26 New Zealand and South Seas Exhibition (held in Dunedin) was written, part of the Art Gallery buildings were then being used as a seed store. While rather distinctive old brick buildings survive at 260 Vogel street no one has subsequently linked these to the 1889-90 Exhibition buildings. Obviously heavily altered with new roofing and entranceways and now converted into individual industrial business premises, probably only a full survey and title search of the buildings would confirm my (strong) suspicions. I did email the Southern Heritage Trust asking if they knew anything about these buildings but never received a response other than an auto response. 

The Exhibition "Octagon" as viewed in 2007
[From my own collection]

The last known remaining - and confirmed - part of the Exhibition buildings was one of the Octagons which was dismantled then hauled to Kuri Bush just north of Taieri Mouth by John Keast using a team of six horses pulling a wagon where it was re-erected on the Dickson farm, the family having settled here in 1848.

A neighbouring landowner, Russell Geeves, stated in 2001 that "The dome included four nine inch by nine inch rimu beams which were 48 feet tall, now you wouldn't get timber like that these days."

Mr Dickson used the building for horse stables, a cow byre, an implement shed, and as a threshing floor for oats and wheat. But "the ventilation was poor and the workers refused to thresh in it because there was so much dust it was suffocating". At one later point it was simply used to store hay.

The last repairs were about 1976 when Mr Geeves, the then owner, patched the iron roof and replaced the wooden foundations with concrete.

Over the years, and "being absolutely riddled with borer", it became unsafe and blew down in high winds in November 2015. I took the above photograph while cycling down to Taieri Mouth back in 2007. Over the following years the roof and wall facing the road steadily fell apart and that whole side of the building ended up completely open to the elements. With untreated wood and full of borer, little could have been done to save it.       

But what, can anyone tell me, became of the foundation stone which had been laid with such honour in March 1889? There is no record of the stone itself carrying an inscription but I would be very surprised if it had not. I know that the Christchurch Exhibition of 1906-07 had a fully inscribed stone.

To view the first instalment in this blog series please click HERE. 


Sources :

- Papers Past [National Library of New Zealand / Te Puna Mātauranga o Aotearoa]
- NZ History Net / Nga Korero a ipurango o Aotearoa
- Hocken Collections, Dunedin / Uare Taoka o Hākena
- "The Star" newspaper, Dunedin
- Toitū Otago Settlers Museum, Dunedin

The New Zealand and South Seas Exhibition, Dunedin, 1889-1890 (Part Seven - The Exhibition Amusements and Souvenirs)

The Switchback Railway
[Source : Toitu Otago Settlers' Museum]

This continues my Blog series looking at the "New Zealand and South Seas Exhibition" held in Dunedin between 1889 and 1890. To start at the first instalment in this series please click HERE.

The Exhibition Amusements and Souvenirs

This blog details the Exhibition amusements and some of the souvenirs which were available to visitors.

The amusement area lay in a triangle at the southernmost part of the Exhibition grounds and bordered Anderson's Bay Road and the very south end of Cumberland street, being separated by an 8ft high "G.R. Iron" fence surmounted with barbed wire.

The Switchback Railway

The "Switchback Railway" achieved "a phenominal popularity". This is the undulating construction also visible just above the fence line in the image below.

"The owners charge threepence a ride, there and back, and the little carriage runs at full speed over a series of hillocks, up and down, the last dip between the two hills being a very deep one."

The Exhibition "Eiffel Tower"

[Source : De Maus Photo?]

The Eiffel Tower

A hugely popular attraction was a 40 metre tower, being modelled on the tower Gustav Eiffel's had constructed for the 1889 Paris Universal Exhibition. But not to be outdone, the Dunedin tower, being constructed of wood and costing £1200, featured a steam powered cable hauled lift capable of carrying 16 persons and rising to a height of 30 meters and being able to stop at four levels. Installed by the Otis Elevator Company, this was their golden opportunity to demonstrate and promote their lifts as a convenient but moreover safe means of traversing between floors. But electricity played its part in that the elevator cabin and the landings were lit by electricity together with a large 60cm searchlight installed atop the tower. For the cost of 6 pence (around NZD$5.00 in today's values) eager members of the public were treated to almost certainly their first ever elevator ride and a view of the Exhibition buildings and surrounding area from the (apparently) four viewing decks.

The-Merry-Go-Round

A Merry-Go-Round with "fiery wooden steeds, (three abreast) and swinging boats spin round on a pivot to the music of a barrel organ".

I would imagine that a selection of "sideshows" would also have comprised part of the amusements.

The two engraved Exhibition Glasses which I recently purchased.
[From my own collection]

Exhibition Souvenirs

Again, I found this aspect of the Exhibition extremely interesting. As I noted at the beginning of this blog series, it was the chance purchase of two engraved Exhibition glasses that piqued my interest in researching further the history of this Exhibition, of which I actually knew very little.  

An advertisement in the "Otago Daily Times"
for the rights to strike and sell medals and
souvenirs at the Exhibition, 27 June 1889

I discovered that my two engraved glasses were the work of a Mr Aloys [sic Alois?] Koch of Brussells Belgium who, held "a permit to sell tumblers, jugs and other glassware that have undergone the engraving process at the hands of his employees", taking up a bay in a corner of the Workmen's Court.

I can find out very little about Mr Koch other than that he appears to have arrived in Dunedin from Melbourne on the "S.S. Marama" on the 24th November 1889 and that by the end of the Exhibition his "Glass Engraving Machine" was then put up for sale. Thereafter I can find no trace of him. As similar engraved glass items were sold at the great Melbourne Exhibition of August 1888 to January 1889 I suspect that Mr Koch and his skilled staff may have been responsible for these items as well although Australian newspapers of the day do not confirm the name of this engraver(s).

Advertisement for Glass Engraving
by Mr A. Koch
[Source Papers Past]

Engraved Glassware -

The glass engraving machine, which is round and about the size of a wash tub and to which tubes are attached, is steam driven, the steam being supplied from the machinery annex, the only other requirements being a supply of sand obtained from Ocean Beach which is injected under pressure onto the glass, a supply of glassware, a stencil plate, and steady hands to direct the process. A full description of the engraving process and how the machine works is given in the newspaper.

So, for payment of a shilling, visitors could get their name engraved on a glass tumbler while they wait, being able to view the entire process "carried on before their eyes" which only took a few minutes. A large assortment of glassware, being "of tumblers, mugs, jugs and so on, plain and coloured - is kept so that a customer has a variety to choose from".

An impression of a view of the Exhibition is engraved on most of the items and stencil plates were held for every capital or small letter in the alphabet so that names could additionally and readily be engraved on each item.

While stating that "no one can possibly grumble at the price... there are few things which can be a more acceptable souvenir of the exhibition - for while ornamental and containing a representation of the exhibition these articles are also useful - and Mr Koch should be able to drive a very profitable business."

Embossed Medals and Engraving -

Another very popular stand in a bay of the Workmen's Court was that operated by Mr Henry Ismay Moralee Ross, a 21 year old "engraver and die-sinker" of Dunedin. Here Mr Ross and his staff, which included an experienced jeweller, offered visitors the chance to have a medal or object struck before their very eyes or to have an item of jewellery made and engraved of silver or gold, also with their name, initials or monogram.

The die struck
silver medal by
Mr H.I.M. Ross
[Source : EBay]

The reverse of the die
struck silver medal 
by Mr H.I.M. Ross
[Source : EBay]

The interesting aspect of the silver, and "an additional value in the eyes of the public", is that it is of the best quality and obtained through the Bank of New Zealand from the Thames mines within our own country.

Apart from jewellery which is "manufactured in a variety of forms [and] can be had in the shape of brooches, pendants, tie pins, sleeve-links, &c." Mr Ross also offered a die struck silver medal with an impression of the Exhibition buildings on one side and a Māori chief and his wife on the other.

The medal is struck by placing the blank on the die in a machine with a 90lb hammer which delivers a blow of 14cwt. The hammer "is rather a noisy instrument, and startles not a few in its unexpected descent."  

Mr Ross also had on display examples of engraving including a "breast pin on which the Lord's Prayer is neatly and clearly engraved", "art on wood, copperplate, fac-similes of signatures, &c.", and "brass and rubber stamps, dating and endorsing presses, steel dies, trade marks, dog collar and other labels, specimens of engraving of inscriptions, monograms, seals, cyphers, &c. in great variety.", for all of which Mr Ross would take orders.

Another silver medal
from the Exhibition
[Source : Ebay]

Another silver medal
from the Exhibition
[Source : Ebay]

Some examples of wood engraving, both landscape and portraiture were exhibited, along with the results of photographing images onto wood which Mr Ross had, after patient effort, successfully succeeded in achieving.

In November 1893 Mr Ross, a talented and practical young man and then in premises at 67 Princes Street, Dunedin, went on to apply for a patent for an "improved embossing device" for embossing, sinking or piercing, and to be known as "Ross's Improved Seal Press".

It would appear that others may have been selling die struck medals at the Exhibition as these appear to be of better quality, but perhaps not actually being struck in front of visitors and perhaps not guaranteed to be of New Zealand silver.

I note the publication by Messrs Pond, Finney & Co. Nelson of "The New Zealand Exhibition Cookery Book", being compiled by Miss L.M. Broad (also) of Nelson based on ingredients obtainable in the colony. I cannot confirm if this booklet was actually available for purchase at the Exhibition but it would have been readily available through all booksellers.

The last blog in this series provides a description of the closing of the Exhibition and the sale of the various buildings. It also highlights one of the distinctive 'Octagons' that survived to as late as 2015. Please click HERE to view the final instalment or click HERE to start at the first instalment in this series.

Sources :

- Papers Past [National Library of New Zealand / Te Puna Mātauranga o Aotearoa]
- NZ History Net / Nga Korero a ipurango o Aotearoa
- Hocken Collections, Dunedin / Uare Taoka o Hākena
- Toitū Otago Settlers Museum, Dunedin

The New Zealand and South Seas Exhibition, Dunedin, 1889-1890 (Part Six - The Art Galleries)

The British Loan Collection in Room III.
Note the painting of Cardinal Newman.
Taken 1889 by D.A. De Maus

This continues my Blog series looking at the "New Zealand and South Seas Exhibition" held in Dunedin between 1889 and 1890. To start at the first instalment in this series please click HERE.

The British Loan Collection in Room III.

Taken 1889 by D.A. De Maus

The Art Galleries

I will now detail the Art Galleries contained within the Exhibition. This was the great feature of the Exhibition and, "were there nothing else in the exhibition, [it] would be worth a long journey to see."

The Exhibition commissioners adopted a "spirited" policy in regards to the exhibition of art, having noted that the art gallery was the "chef d'œuvre" [masterpiece] of the Melbourne Exhibition of 1888-89. This policy was publicly supported by the President of the Otago Art Society.

The commissioners, with Government assistance, were very lucky to secure a considerable portion of the British loan collection which had been exhibited at Melbourne and then, for a time, in Sydney. Together with notable works of art by artists from New Zealand, the quality of art shown at the Dunedin Exhibition proved to be a notable aspect of the event. Notable also were the works by artists from Victoria and New South Wales on display in their respective "courts".    

"The result is that the collection as a whole was admittedly superior to that shown at Melbourne and, of course, immeasurable superior to anything that has previously been exhibited in any of the other colonies."

"...it is a privilege of a very high order for the general public of this colony or of any of the colonies to have opportunities of viewing a collection of works of art which, but for the exhibition, few residents in the colony would ever have seen."

The British Loan Collectionwith the painting of Queen Victoria
Taken by D.A. De Maus, 1889

The Art Gallery Building

The Art Gallery is approached from the south annex facing Anderson's Bay Road. Entering a large archway and turning to the left visitors pass through a corridor constructed principally of iron with a curved roof affording a view of the facade over the doorway of the gallery which is in the Corinthian style with bold pilasters flanked with smaller pilasters and carved columns carrying arches, the centres containing ornamental shells. Above is a cornice and frieze with the words "Art Gallery" in cement letters.

A room in the Art Gallery
Photo by D.A. De Maus
[Source : Hocken Collections]

A very heavy iron door leads through to the gallery occupying a space of 106ft by 100ft and divided up into six interconnecting rooms, each 48ft 6in by 34ft 3in with the walls 18ft in height. This would provide a wall space of between 9,000ft to 10,000ft, which, with the walls of corridors and extensions, brings it up to 12,000ft. This allowed for the display of between 1,200 to 1,500 pictures.

The roof, which is in three spans, is carried on iron columns encased in "brickwork of a temporary nature". Light is admitted by 60 skylights in iron frames. In fact, there is, apart from the wooden plugs used to secure the pictures, no woodwork to be seen. The galleries are consequently virtually fireproof. 42 tons of wrought iron were utilised in its construction, the floor being asphalt covered with a thin coating of cement. The walls are painted chocolate with the stencilled frieze in a buff colour and a darker coloured dado.

The pictures on display comprised of four distinct collections as follows :

Watercolours in Room I
Taken 1889 by D.A. De Maus

The New Zealand Loan Collection -

Mr W.H. Hodgkins, on behalf of the Special Exhibition Committee set up to organise the Art Gallery display, visited all the principal towns in New Zealand and hoped that loan pictures would show "a fairly perfect panorama of New Zealand" and "that the pictures sent from each locality should be as far as possible, local in composition, so that comparative representation can be obtained."

The pictures on display would "comprise the best examples in the colony, of painters of eminence." These would make up a grand total of 600 or 700 pictures. Artists represented would include Baraud, Bloomfield, Gibb, Beetham, Cousins, Wilson, Sheriff, J.C. Richmond, Steele, H. Watkins, Miss Hodgkins, Miss Richardson, Miss Wimperis, Miss Buddon, Miss Stoddart, Miss Fenton, and others. There would also be a large and highly credible collection of amateur works, many of whose names are well known in the colony and some beyond it.

A special feature of the picture galley would be the "Gully Gallery" located in the first room to the left of the entrance, the Committee having determined to set aside a separate portion  of their space to show the representative work "of the masterly poet-painter of New Zealand".

A newspaper reporter contrasted the New Zealand watercolours to the British watercolours thus; "We may say, without offence to our indigenous colonised artists that the difference in most instances is very marked, both in execution and style."

The British Loan Collection -

The painting of Cardinal Newman by 
John Everett Millais, 1881 which can 
be seen in the photo of Room III above
[Source : Wikipedia]

The British Loan Collection would included a total of forty two pictures including "Opening of London Bridge" in 1831 by Clarkson Stanfield (being lent by the Queen), "Hope" by Wald, "Cardinal Newman" by Sir John Everett Millais, "Phryne of Eleusis" by Frederick Leighton, "Shallows of Havesdale Cove" by Brett, "Mount Cook" and "Pukaki Belle" by Nicholas Chevalier, plus pictures by Winterhalter, W.B. Richmond, Sir James Pender, G.F. Watts, E. Long, E.A. Waterlow, Horaley, Perugini, Hayden, Landseer, and "there are some of the best portraits of Sir Joshua Reynolds"     

Room II
Photo by D.A. De Maus, 1889

Room II
Photo by D.A. De Maus, 1889

The Anglo-Australian Collection - 

Room V
The Anglo-Australian Collection
Taken 1889 by D.A. De Maus 

The so-named collection was of some 130 pictures consisting of representative works of the new English or Newlyn school comprising of pictures by W.A. Ingram, A.W. Weedon, N. Dawson, W.J. Morgan, A.W. Strutt, W.F. Bishop, T.C. Gotch, Wylie, Henley, Moore, Solomon, Bramley, Stanhope, and Forbes. A magnificent painting, which was believed to be one of the finest pictures in the Exhibition, is on the left hand wall of the 5th room is entitled "Helpless" and is a joint work between W.A. Ingram and T.C. Gotch.

The Anglo-Australian Collection in Room V
Note the painting of "Preparations for the Market"
Taken by D.A. De Maus, 1889

This collection was supplemented by "the Scottish Art Collection" [click here for detailed list] of some seventy or eighty additional paintings and watercolours comprising of works by Sir Noel Paton, George Reid, R.S. Hindman, Colin Hunter, A. Perigal, Anderson, McWhirter, McTaggart, and other eminent Scottish artists.

"Preparations for the Market, Quimperlé, Brittany"
noted in the photo above, by Stanhope Forbes, 1883
[Source : Dunedin Public Art Gallery]

Upon the closure of the Exhibition, the large 1690 by 1340 mm oil painting of "Preparations for the Market" by Stanhope Forbes was purchased for the Dunedin Public Art Gallery, being funded by public subscription. This has always been one of my favourites, the light background giving the bright figures an added sense of perspective thereby bringing the scene to life.

The Australian Art Galleries

The Victorian Gallery -

This gallery is located near the southern end of the Victorian Court comprising about 250 pictures lent by the Victorian Artists' Association. Amongst them were works by Boorlow, Chevalier, Tom Roberts, Mather, Campbell, and others.

To this collection must be added 200 pictures brought to Dunedin by Mr Fletcher, the Superintendent of the Victorian Court. There is also a small representative collection from the Koek-Koek Gallery in Melbourne which comprises some of the work of the Hungarian painter Munkacsy.


The New South Wales Gallery -

"The Defense of Rorke's Drift"
by Alphonse De Neuville, 1880
[Source : Wikipedia]

This collection includes a large number of pictures, the property of the New South Wales Commissioner and includes some genuione old masters as well as a small collection of about 50 pictures lent by the Art Society of New South Wales. One significant painting is Alphonse De Neuville's great picture, "The Defence of Rorke's Drift".

The Various School of Art -

Located in the Home Industries Court in one of the cross-annexes, a number of bays display works by the Dunedin School of Art, the Canterbury School of Art, and the Wellington School of Design.

The display would feature only the best work of the students and included the results of the monthly Wellington School of Art competition in design.These collections were noted as being of "an encouraging nature".

Support for a National Art Collection

Following on from the success of the Dunedin exhibition, The Otago Art Society actively supported a proposal that the Government vote a sum of say, £5000 "for the purchase of 60 or 80 works of undoubted merit and educational value, such works to form the nucleus of a national collection." I note that Dunedin had the first public art gallery (housed within the museum) which opened in 1884 and then relocated to the Municipal Chambers in 1889-90 before moving to a purpose built building at Queen Gardens in 1907; the Auckland Art Gallery opened in 1888; the Christchurch City Art Gallery in 1932, with the "National Art Gallery" in Wellington not being established until as late as 1936.


The next blog in this series provides a description of some of the Exhibition Amusements and Souvenirs. Please click HERE to view Part Seven or click HERE to view the first instalment in this series. 

Sources :

- Papers Past [National Library of New Zealand / Te Puna Mātauranga o Aotearoa]
- NZ History Net / Nga Korero a ipurango o Aotearoa
- Hocken Collections, Dunedin / Uare Taoka o Hākena
- Toitū Otago Settlers Museum, Dunedin

The New Zealand and South Seas Exhibition, Dunedin, 1889-1890 (Part Five - A Tour of Some of the Display 'Courts')

The New Zealand and South Seas Exhibition
Buildings showing the Jervois Street Entrance.
Burton Brothers Photo
[Source : "Dunedin Early Photographs" by Hardwicke Knight]

This continues my Blog series looking at the "New Zealand and South Seas Exhibition" held in Dunedin between 1889 and 1890. To read the first instalment in this series please click HERE.

I will now detail some of the more interesting exhibits in the various 'courts' within the many annexes which comprised the Exhibition complex.

The South Seas and Early History Courts

Exiting the main hall through the avenue on the right, the visitor will first enter the South Seas and Early History courts located in the plainly decorated west annex of the building. 

Early history is represented in the first instance by maps, charts, and documents. There is also "a splendid collection of polished kauri gum".

The Maori portion of the court commences on the right-hand side of the avenue. This is represented by woven flax mats, feather kiwi mats; the 'stone age' with axes, drills, hooks, and hinting and fishing implements; a large collection of wooden implements and models of canoes, paddles, war trumpets, elaborately carved food bowls, table cases, carved meres (hand weapons) and taiaha (spears), the carved stems of Maori war canoes, and some carvings intended for contemporary use including a Maori version of the 'Madonna' for the Roman Catholic church at Tauranga. A large pataka or chief's food house occupies a bay to itself. 

The "Wairau Cannon" is a poignant relic of the confrontation between Māori and British settlers at Wairau in 1843.

The Tongan section of the court contains examples of native produce including cotton, arrowroot, candle nuts, copra, chilis, a giant yam "5ft or 6ft in length", examples of  work from Tongan schools, "two immense rolls of tapa or native cloth", a collection of coral and a couple of portraits of noted personages including the Primier of Tonga.

The Samoan Court depicts the effects of a recent hurricane, specimens of samoan clubs, fans, hand-beaten and decorated tapa cloth, and "fly-flappers", and a model of a Samoan house.

Fiji is represented by models of native canoes and paddles as well as pottery.

Santa Crux is represented by looms and dancing clubs and a feather belt "used as a medium of exchange".  

New Caledonian goods displayed include dancing masks and tobacco pipes while New Guinea is represented by a display of stone clubs.

The south end of the South Seas and Early History Gallery.
The Presbyterian Synod display appears to be located in
the far corner with a number of portraits on the wall.
The entrance to the Victoria Court is at left with the
New Guinea display at hard left. Photo by D.A. De Maus
[Source : Hocken Collections]

The display by the Presbyterian Synod of Otago and Southland [then the Presbyterian ruling body for the south] in the early History Court includes portraits of "early fathers of the church", a picture of the ship 'Philip Laing', a large picture of the 'Scottish Disruption' of 1843, and representations of early Dunedin. In addition are "a valuable and curious collection" of native goods obtained by the Rev. W. Bannerman on his visit to the New Hebrides [now known as Vanuatu], including native dresses, fighting and dancing spears, clubs, adzes, necklaces and bracelets, bows and arrows, samples of the native arrowroot plant including manufactured arrowroot.

The Home Industries Court 

This court occupies part of the central annex that extends across the building from the Victorian court in the western annex to the Otago section in the eastern annex.

One of the exhibits is a 'forecarriage' [ie a horse drawn carriage where the front wheels could turn independently of the rear wheels], "the workmanship and finish perfect",  a wrought iron grave railing which "shows considerable merit and patience". 

The walls of several of the bays are "decorated with many specimens reflecting credit upon the refined tastes and deftness of hand to be met with in many a New Zealand home", including patchwork and crazy quilts and mats, ladies' handwork such as crewel work, point lace, and crochet work. One less charitable correspondent stated that,

"I think that dozens of counterpanes of crazy patchwork, which represented a bewildering amount of work, and in most cases no artistic effect, Generally the blending of colours was so dreadful, and the designs so fearfully elaborate, and yet so grotesquely ugly."

Samples of the upholsterer's and coachbuilder's art are also shown as well as some good specimens of fretwork.

Crossing to the left side of the annex we find in the first bay specimens of stuffed birds. Then an area occupied "by gold saving apparatus" as well as "some capital work" in model steam engines and locomotives, followed by some very pretty specimens of majolica pottery.

"Disconsolate"

I have not detailed "The Fisheries Court" or "The Natural History Court". I might however relate a passionate and concerned letter to the "Evening Star" newspaper by a person interested in the welfare of the three live penguins on display and how they were housed at night. He had noted how "disconsolate" they appeared to be perched on their three wet stones with about a quarter of an inch of water covering them and "forming a picture of misery unsurpassed by any in the great art gallery." The writer invited the Society for the Prevention of Cruelty to Animals" to pay a visit of inspection.   

The Fernery and Garden Court

This area had, only a few months earlier, been "absolutely a desert of clay and rubbish [and] it will be acknowledged that the committee have triumphed".

Adjoining the entrance hall is the previously mentioned fernery, being about 140ft long by 57ft 8in wide and able to be reached either from the main entrance hall or from the gardens. "It is certainly a thing of beauty, and will be a joy while it lasts"

On entering "this cool, shady retreat", the visitor will gain a good impression of the variety of ferns which are to be found in the New Zealand forest. In the centre is a picturesque piece of rock work in the shape of a cairn and covered with ferns and other moisture loving plants with water descending from its summit in small cascades to the pool below. Winding paths through groves of tall tree ferns and rare forest plants lead to every part of the fern house. A soft carpet of smaller ferns illustrates a typical New Zealand forest floor while the walls are draped in mosses. "...the whole fernery is unique and surpassingly beautiful". A £5 prize was offered for the best collection of ferns, to comprise of not less than 50 specimens.

At the east end is a bed of plants contributed by the Invercargill Borough Council including between 30 and 40 varieties of veronia, some being very rare. The lovely mountain lily in full bloom and other lovely mountain plants are also notable. The fernery is lit by electric light and at night the effect is stiking. 

A rich green sward of grass fills the spaces between the open garden walks with pretty beds of flowers "flourishing as in an old established garden". These well-stocked beds of flowers were not to exceed 200 square feet with nurserymen having the privilege of fixing an advertisement board close to their individual plots. Although "much encroached upon by the demand for exhibitors' space", the gardens were expected "to be a great source of attraction". Merit certificates would be issued to all those whose beds were kept to the satisfaction of the commissioners while all garden exhibits would be carried free by the Union Steam Ship Company.

The rustic band rotunda and small 'Eiffel Tower'.
You can just make out Mr Joubert's cascade at right
and the roof of the large Maori meeting house at left
 [Source : TeAra The Encyclopedia of New Zealand]

In the centre of the garden is the rustic band rotunda complete with a conical thatched roof, a large cascade at the southern end designed by Mr Joubert, and a "large Maori house" on the eastern side. Both the cascade and the 'Maori House' can just be discerned in the above photograph.

A 12 metre model of the 'Eiffel Tower' appears beside the band rotunda. This is a much smaller version of the replica 'Eiffel Tower' in the amusement area. Having been independently built by "King, Walker and Co." to promote their range of whiskies, it proved to be too high for the exhibition gallery ceiling so was placed - rather incongruously - outside in the Exhibition gardens. The original idea had been to build the base out of whisky barrels with the "tower" made up of a "pyramid of bottles" but judging by the picture the barrels appear not to have been used.

Detail of some of the carved panels
purchased by Dr Hocken
[Source : Otago Museum]

The "Maori Meeting House" included a set of five 2.5 metre wall panels and one corner piece carved for the late North Island Chief Karaitianga Takamoana of Ngāti Kahungunu and Member of Parliament for Eastern Māori, and are formed from a single tree trunk. Unfortunately the Chief died in 1879 before they could be installed in a new meeting house. Passionately interested in Māori ethnology, Dr Thomas Morland Hocken of Dunedin, recognised "the superior carving skills and execution" and arranged for the panels to be loaned for the Dunedin Exhibition where they were installed in the mock-up of the Māori meeting house. After the Exhibition ended Dr Hocken purchased 61 of the carved panels and gifted them to the Otago Museum where they can still be seen today.

   

The Education and Science Court

The Education Court is located close to the Home Industries Court in the central annex. 

Here we can view "a variety of kindergarten appliances" and specimens of the work of pupils in New Zealand kindergarten schools. The Otago bays include a considerable display of the work of pupils in the different schools of the district. these include samples of mapping, and drawing, being both mechanical, model and freehand, some of which is "really excellent". 

A large number of school copy books, exercise books, and specimens of examination work are shown, all the work being extremely meritorious. 

Numerous exhibits of well executed maps and samples as well as needlework by the girls are of a very high order.

A Taranaki school display shows a nice astronomical model illustrating the motions of the earth around the sun and of the moon around the earth, while a display from Timaru exhibits a very ingenious map of New Zealand with a raised surface for teaching the blind. There are also various models  showing the various methods of constructing joints in house and bridge building as well as displays of school furniture and tools used in carpentry classes.

The New Zealand Native Schools Department show a good assortment of samples of school work "which speak for themselves".

"The educational exhibits will prove to visitors from the sister colonies that in the matter of education New Zealand does not lag behind in the progressive march of nations".

The Foreign Court

The "Avenue of All Nations", covers a large area "and is illuminated with a great flood of light". While it was intended that the Exhibition be 'intercolonial" in its scope, the commissioners willingly accepted individual exhibits from Great Britain, the United States of America, France, and other countries, and these proved a most interesting and attractive portion of the show.

The French goods, which were supplied by a number of firms in Paris and elsewhere, possessed great attractions for visitors as did the German, Italian and Turkish exhibitors, most of whom had also been at the Melbourne Exhibition, also provided a portion of the exhibition that was much appreciated.    

Tobaccos - 

"Lovers of the 'fragrant weed' should not fail to notice the stands of tobaccos, manufactured into various shapes, in the Avenue of All Nations; even persons who have the most firmly rooted dislike to tobacco will probably be impressed with the excellent manner in which these goods are displayed." 

The displays of tobacco and cigarettes from the great tobacco producing districts and manufacturing firms of Virginia in the United States warranted a whole detailed column by the reporter which now truly appears to be just as much an advertisement for the various products as a description of the exhibits themselves.

"The entire exhibit, which is one of the most handsome and costly ever shown in the Australiasian colonies, was specially designed by the manufacturers for the New Zealand and South Seas Exhibition."

Chemical Manufacturers -

Messrs F.S. Cleaver, one of Great Britain's largest manufacturers of soaps and toilet requisites, were represented through their agents, Messrs P. Hayman & Co. of Christchurch and included the popular "Iolanthe" and "Mikado" brands which comprised of various soaps, tooth pastes, shaving preparations, and other articles of toilet use.

Wines and Spirits -

In the "Avenue of All Nations" adjoining the Otago and Southland section is a fine display of wines appearing under the name of "Curcier, Adet, & Co. of Melbourne and Sydney".

"In the present festive season [Christmas 1889] there must inevitably be a great demand for wines, and exhibits of this class consequently are apropos [very appropriate]." 

Their stand was stocked with Krug Champagne; Otard, Dupuy and Co's cognac; Vergiaud clarets; and the Associated Vineyard Cultivators' Company's "Beehive Brand" cognac.  

The Machinery Court - 

The machinery court, focussing on agricultural equipment, is located beside the "Avenue of All Nations" and behind the New South Wales mineral court. The most were of British, American, and colonial manufacture.

Machines "of all sizes and shapes and degrees of mechanism" fill a space of 18,000 feet. The chief exhibitors are Messrs 'Hornsby & Sons' of Grantham England; 'Ransomes, Sims and Jefferies' of Ipswich England; the 'Buckeye Harvester Company'; 'Massey, Moufet and Co.' of Canada; 'McCormick' reapers and binders, 'Woods' Harvester and Twine Binder; 'A.Hams and Son' of Canada; 'Marshall, Son and Co.'; and 'Humble and Nicholson' of Geelong Victoria. The machinery is mostly of an agricultural nature with exhibits also made up of mining and industrial equipment.

A view of one of the annexes.
I think above the doorway reads
"The Australian[?]...   Colonies"
Photo by D.A. De Maus
[Source : Hocken Collections] 

The Photographic Court

This was located in the northern transept of the Exhibition building and alongside the Auckland Provincial Court, being primarily examples of portraiture, landscape and enlarged and re-touched photographs from a number Dunedin studios, including that of Mr J.R. Morris Jnr. and Mr F.L. Jones of George Street. J.G. Mills and of Messrs Burton Bros., and a number of New Zealand photographers, many of the images being of a distinct artistic nature which are detailed very closely by the reporter. Prizes were awarded for "landscapes and other views", portraits, and enlargements.

Interestingly, no less than six Victorian photographers exhibited at the Exhibition (I would imagine mostly within the Victorian Court) and received award certificates first. second and third class awards spread between the various classes. One photographer is noted from Ceylon, having received a first class award "for foilage and flower studies".

Season Ticket Holder Photographed by Mr D.A. De Maus
[Source : Toitū Otago Settlers Museum]

A large album may today be viewed in the Toitū Otago Settlers Museum in Dunedin with small but good photographic portraits of all those who held season tickets to the Exhibition as well as members the choir members, being taken by the Photographer Mr D.A. De Maus so that identities could be confirmed upon entry. Over 2,650 persons were photographed.

The entrance to the Australian Victorian Court
Photo by D.A. De Maus 1886
[Source : Hocken Collections]

The Australian Courts

The Australian Courts extend from the South Seas and History Courts in the western annex running along Crawford Street right down to Octagon in the South West corner.

The display by the Colonies of Victoria included a large quantity of manufactured articles, being supplied and paid for by the Victorian Government and paid for by a Royal Commission.

Also prominent is a display of gold nuggets which "appeared to astonish many", and a Victorian Art Court "which drew much admiration".

The South Australian court occupies a snug corner behind the Victorian Art Gallery, the displays chiefly being wines but also prize fleeces from sheep, having been shown at the South Australian Agricultural Show.

The New South Wales Colliery / Mining Display
in the western court. Photo by D.A. De Maus.
[Source : Hocken Collections]

We then pass through the New South Wales Court which also includes an Art Gallery, a mining display, and a magnificent mineral display. One reporter was less enthused about the display of the "Janolan Caves", referring to it as being "a very poor show". Visitors would enter what was set up as the entrance to a cave then when inside would look through holes in the wall at what were just a row of stereoscopic views.

Prominent is the Australian Wine Bar, in which each of the Australian colonies represented have an interest, is situated on the verandah behind the Victorian court. There is a strong desire on behalf of the growers and producers to introduce their wines into New Zealand,

The Ceylon Tea Planters' Association
Tea Kiosk with a staff member
Photo by D.A. De Maus
[source : Hocken Collections]

Ceylon and Mauritius Courts

The Ceylon Tea Planters' Association kiosk is located close to the South Australian court. At a kiosk with seats accommodating six people each, Indians [sic] in native dress would serve you tea. This was "a great attraction, and always full of people."

The Colony of Mauritius was officially represented at the Exhibition and forwarded a small display of its chief products.

The 6 inch Armstrong Disappearing Gun
now at Taieroa Head and dating from 1889
[Photo by Gerard O'Brien]

The New Zealand Government Courts

A timber trophy, at the entrance of the south-western octagon indicates that the New Zealand exhibits have been reached, this octagon being occupied by the Public Works department. Here many paused to inspect the kauri trophy and the models and diagrams of bridges etc. The object of the display is also to specially to illustrate the timber producing capabilities of the colony, and there are many obelisks of several samples of stone.

The New Zealand exhibits occupy the avenue along the southern and eastern sides of the buildings and, with the exception of a small space, the portion of the northern avenue that lies between the angle of the junction of Cumberland and Jervois streets, and the main hall. On display here was the "unique gold trophy of New Zealand" which brought forth astonishment from many who viewed it.

A space has been fitted up for a display by the Prisons department of the handiwork of some of the prisoners of the colony to demonstrate "the advisability of instructing prisoners in trades", being specifically from Mount Cook Gaol in Wellington, and Mount Eden Gaol in Auckland.

 "The external decorations of this bay are of a somewhat sombre kind, though distinctly appropriate." Some levity was made of the immediate proximity of Donaghy's exhibits of rope and oppiste being several bays occupied by brewing firms. "It has occurred to some waggish and wicked person to mark the sequence, which this juxtaposition of exhibits suggests, and therefrom to point a moral."

Notable is the Armaments Court. On display here are shown a number of pieces of modern ordnance including a Maxim machine gun with a recoil operated firing system, a 32-pounder muzzle-loader cast at Woolwich Arsenal in 1841, a 6-pounder Nodrdenfeldt mounted on a recoil carriage, a 6-pounder Armstrong, a 6-inch "Armstrong Disappearing Gun" [which can today still be viewed at Tairoa Head as part of a tour] mounted on a hydro-pneumatic carriage, a 6-pounder Hotchkiss, and"small arms from the obsolete types down to the deadly Martini-Henry [breech-loading single shot lever-actuated rifle] and Martini-Enfield [303 rifle], and of ammunition".

The submarine mines and "the terrible Whitehead torpedo" [the first self-propelled torpedo invented], were "viewed with expressions of wonder".

The Tourists' court is located in the eastern avenue and occupies several bays. This court was established with the idea of furnishing visitors to New Zealand, "who were desirous of seeing some of the country, with reliable information respecting the routes they should proceed by." and "proved very valuable, and thoroughly justified its existence." The walls were hung with oil paintings, water-colours, and photographs.

In conjunction with this court, a Railway Enquiry Office proved "of the utmost use", with an efficient and well resourced officer providing information to visitors who took the trouble to seek it.

The shipping companies were represented by the Union Steam Ship Company, Shaw, Saville and Co., the New Zealand Shipping Company, and the White Star Line, together with a display of models of ships.

Tourist agents Messrs Thomas Cook and Son were also represented.

The Auckland Court in the North Eastern Annex
Photo by D.A. De Maus
[Source : Hocken Collections]

The New Zealand Provincial Courts

The Otago and Southland exhibits are located in the southern annex and the southern end of the eastern annex, the continuity being broken by the Government Mineral Court in the south eastern Octagon.

The Southland display "made a bold show", a great feature being a splendid exhibit of colonially manufactured furniture.

The Otago displays include mining exhibits, Ales and stouts made by Otago brewers, tanned and manufactured leathers, confectionery, a display by Donaghy's twine and rope works, and displays from two Otago woollen mill manufacturers. The latter "were a complete astonishment to the good people of Australia who were privileged to see them."

The Canterbury court adjoins the Otago and Southland section. Showing a very fair representation of industries, the chief display from this province  - the granary of the colony - was appropriately of grain. There was also a fine exhibit of native timber and of plain earthenware.

This is followed by the Westland court. The Nelson and Marlborough courts follow but are small, then the Wellington court which occupies the remainder of the avenue as far as the north-eastern octagon and included two large exhibits. This consisted of woolen manufactures and of soap and candles.

The Hawkes Bay court is advantageously located at the angle of the building. The Auckland court comprises the bays from the corner octagon to the photographic studio but were somewhat disappointing in their size.

The hard to please 'Taranaki Herald' correspondent took exception to the furniture exhibited in the New Zealand Court - "the drawing room suites were gaudy, inharmonious, inartistic, and opposed to every law of good taste."

The Refreshment and Dining Rooms

The refreshment and dining rooms are off the right of the corridor leading to the Art Gallery. Here may be obtained meals or refreshments. The dining hall is 54ft long by 35ft wide with two smaller private dining rooms at the top end, "both furnished with electric bells". The dining room is painted grey with an Indian red dado and the roof almost white. Opening off the dining room is another room which can be made available when entertainments are held in the concert hall, there being an inter-connection to the rear of the hall. Also in this area are the kitchen, scullery, storehouses, and offices.


In the outdoor space at the Anderson's Bay Road end of the Exhibition is the space reserved for side shows including "a switchback railway", "a merry-go-round" and "a model of the Eiffel Tower".


The next blog in this series provides a description of the Exhibition Art Galleries. Click HERE to view or click HERE to view the first instalment in of this series.

Sources :

- Papers Past [National Library of New Zealand / Te Puna Mātauranga o Aotearoa]
- NZ History Net / Nga Korero a ipurango o Aotearoa
- Hocken Collections, Dunedin / Uare Taoka o Hākena
- Toitū Otago Settlers Museum, Dunedin