Auckland Sailors Home 1887- designed by Edward Bartley

Auckland Sailors Home 1887 Image taken on completion by Richardson.From BFA collection

It is all about seafarers today.
The intention here to to answer some queries about the Auckland Sailors Home which used to stand at the bottom of Albert St. I confess to a second purpose though - to put in a plug for the Mission to Seafarers.
Marsden Point is our local port here in Ruakaka. It is growing at a tremendous rate with the opening of container facilities and increased shipping schedules. We have a seafarer's centre too, run by volunteers who also do ship visits. More help would be most appreciated - here and in all New Zealand ports.
The men and women who crew merchant ships ensure the transportation of fuels and goods which sustain our way of life -but they have a low profile. Their issues with working conditions and isolation seldom make the media.

On-board internet access while at sea is now available but it has brought about a lessening of actual engagement during voyages - according to the Crew Connectivity Report published this year.  Volunteer and community support from citizens of host ports is still essential to seamen. If you live in a port town anywhere in the world you have a Seafarer's Centre. Please consider how you may help out there. We are all international citizens aren't we?

Details of Seafarer's Centres in New Zealand today may be found here

Now let's take a look at a story of generosity to seafarers from the 1880's.

Edward Bartley designed the Sailors' Home in 1886 but a benefactor made it possible. This was Edward Costley who was a resident of Auckland. He had no dependants and lived very frugally. When he died in April 1883 the bulk of his estate was divided amongst seven public institutions: Auckland Hospital; the Old Peoples’ Home; the Parnell Orphan House; the Auckland Institute; the Auckland Free Public Library; the Sailors’ Home and the Boys Training Institute at Kohimarama.

Costley's memorial in Symond's St Cemetery erected by citizens of Auckland. Image BFA

The Government initially made a claim for the whole of the money left in the Costley legacy to be handed over. That  move met strong resistance. Both the Hospital Committee and the Trustees of Mr. Costley’s bequest knew local bodies would soon become responsible for the maintenance of their own hospitals and charitable institutions under the new Hospital and Charitable Boards Act. They fought hard and won. It took three years but at last the funds were paid out in  December 1886.

The bequest to the Sailors’ Home was £12,150 and, as a result of this gift, a non-profit making corporation was established to take over the functions of the Sailors’ Rest. 1
This new organisation was to erect the Auckland Sailors’ Home and to administer the funds supplied by the bequest. The Harbour Board granted a site at the foot of Albert St for the use of the new Home, in an exchange for the site of the old Sailors’ Rest.

Competitive designs were called for in April 1886, with Mr. Wade, president of the Institute of Architects appointed as judge.  Being successful, Edward prepared working plans in July for a three storey brick building with white stone facings. Tenders were called for in January 1887. The original design Edward  put forward was unacceptable on the grounds of expense. He was asked to rework his plans to meet the limit.

Following a fire testing demonstration, Edward argued strongly for a new product - Blaikie's fire resistant plastering system. He used his good rapport with the Press to emphasise the importance of fire safety. The Trustees accepted amended plans and the necessity for using the new system on the top two floors, bringing the total cost for building and foundations to £3135. Thomas Colebrook's was the winning tender for the work.2

The brief was to provide adequate accommodation and facilities for seamen without excessive expense or ornamentation. The result was a restrained and well-proportioned building on a corner site fronting both Albert and Quay Streets. It opened on 1 December 1887.3

The facilities included a social room, hall, dining room, library, chaplain’s room and management accommodation, apart from sleeping accommodation for seamen and officers. At the time the feature most commented on was the grand stairway to the upper floors. This rose from the centre of the building and was accessible from all parts. The most imposing view of the stairway was from the vestibule of the main Quay St entrance, giving a sense of heightened drama and upward movement as the centre of the building was approached.

This image from Auckland Museum's collection shows the lobby in the mid 20th century. Some remnants of the original architecture can still  be seen. 

A hall was later built alongside to seat 300 people. Religious services, musical evenings and socials attracted good attendance where mariners could mix comfortably with locals, supervised by an active management committee. A key philosophy of the institution was its 'open door' policy. All mariners were welcome regardless of race or creed. 

The building was demolished during the late 20th century redevelopment of Quay St.

This mid 20th century image shows the two frontages, here looking up Albert St from Quay St. Image APL 020-15

1. Refer NZH 5 April 1886 page 3

2. Ibid 7 April 1887 laying of the foundation stone, 1 Dec 1887 completion

3. Ibid 2 Dec 1887 opening ceremony

4. 

The Grey Statue Auckland City

NZGraphic 05 Nov 1904

The Statue of Governor Grey now in Albert Park is one of early Auckland's signature pieces of statuary. The 21st Century Aucklander is likely to view this artwork and George Grey's career in a very different light to their 19th and 20th Century counterparts.

Edward Bartley was involved in this project. So today we explore the history of the statue -while gingerly stepping around the sensitivities associated with the gentleman represented.

A memorial committee was formed in 1898 to organise events and tributes associated with Grey's memorial day on 18 February 1899. This was a national memorial day, coinciding with similar events in Australia and South Africa.
During the Auckland Industrial and Mining Exhibition,1 which opened that year, donations to a memorial fund were collected. A special Exhibition Day was also organised, from which a portion of gate takings were allocated to the fund. 2

AWN 24 Feb 1899

Afterwards subsciptions were requested to top up the fund. A more permanent tribute was planned. The statue was commissioned in 1903, to which the Government contributed £100. The remainder of the cost - over £1800- was raised by those public subscriptions. It was a considerable investment made by Aucklanders.

In 1904 Edward Bartley was engaged to design a base for the statue. Once the site was finally agreed on he recommended that something in the style of Dublin's Oliver Goldsmith statue was appropriate.3

The Goldsmith statue, Trinity College Dublin. Image Dublin Tales visit here

The statue itself was produced in England by Francis J Williamson of London for £1260 and shipped to New Zealand by the Wakanui in September 1904.

This was a conservative selection of sculptor by the committee. Williamson received regular commissions from municipal and civic clients in the United Kingdom. His bust of the mature Queen Victoria was replicated many times. Critics noted his work lacked any fluid vitality but it was certainly 'appropriate' and fulfilled the intended function of commemmoration.

The marble statue was 8' high (2.4m). The granite for both pedestal and base were sourced from Coromandel, rising 14'6". Plaques on each side record Grey's service to the Empire and the tributes accorded to him by northern New Zealand:

NZH 21 Dec 1904

On 21 December 1904 the work was unveiled. Part of the proceedings included a phonograph recording made by Grey in February 1891.

AWN 29 Dec 1904

AWN 29 Dec 1904

The elevated site - at the intersection of Queen and Grey St- was well chosen. The fire-bell tower was there in Grey's time and formed a rallying point for political gatherings and temperance assemblies.

That it continued to be so is clear from this image of M J Savage addressing Aucklanders in 1912.

AWN 26 Sept 1912. note the statue's position relative to the Town Hall.

The Grey statue  moved to Albert Park in 1922, where it may be seen today. The stepped platform has been removed. This alteration to the proportions of the whole assembly presents a less than ideal composition. The work was never intended to retire into a restful or contemplative park atmosphere.

Image APL E7-23 Albert Park

It may be that the intention was to more remove Aucklander's political gathering place.  In declaring the Governor's memorial a traffic hazard were the civic planners hoping to dampen the rallying leadership of strong personalities -by then more feared than in colonial days?

Certainly statuary encapsulates the values of the times in which they were made. Each generation views their own cultural- and sculptural- story through the lens of their own time and debates their erection or removal accordingly. Historian Grant Morris discussed these issues in a September 2017 interview recorded here. Enjoy.

1. see more information here
2. NZH 24 Jan 1899
3. AS 26 May 1904

Auckland Industrial and Mining Exhibition 1898-99

The opening of the Auckland Exhibition, Auckland Weekly News 9 Dec 1898

Welcome back everyone. We are starting the research year of 2018 with a look at a summer spectacular - open from December 1898.

This is a longer post than usual. The main reason is that there is little material available in an accessible form on this topic. Our connection is Edward Bartley's involvement but we also touch here on the early history of the 'University Precinct' of Auckland- Princes St, Symonds St in particular.

In 1898 Auckland put on a great extravaganza - the Industrial and Mining Exhibition - which was part of a worldwide phenomenon begun in Europe in 1851 and continuing until the Great War.

Any adult attending the Auckland Exhibition that year could be said to belong to the 'exhibition generation'. Certainly Edward Bartley was a good example of this. He was there with his family at the Great Exhibition in London during the summer of 1851 - aged 11.

This image published by the Guardian shows the Great Exhibition buildings, London, visited by 6 million people

Coming to New Zealand three years later he must have been struck by the contrast - from Paxton's great glass house filled with technology and international design to the single storey timber stores on Auckland's waterfront.
We know he was also struck by the exquisite natural beauty of this country-first seen at that Great Exhibition- beginning his lifelong engagement with New Zealander timber, stone and vegetation.

This trans-national inter-connecting effect of the 'Exhibition' was hugely influential in forming aspirational and international patterns of thinking and being in the world. This theme has recently been explored by New Zealand historians.The PhD research of  Ewan Johnston specifically concerns the representation of Pacific peoples at exhibitions up to 1940. For this and relevant recent research refer here.

The proposal to mount an exhibition in Auckland was presented in January 1898 by the Auckland Chamber of Commerce whose president Mr Bart. Kent chaired the Executive Exhibition Committee.

The many committees and sub-committees included influencers in every area of endeavour active in Auckland at that time. Five acres were made available for showgrounds at the former Government House grounds, entered via Princes St in the central city. 70,000 square feet of covered space was specified, a cycling track and associated detached structures.

Edward was elected to the Building and Lighting Committee and to the Arts and Decorating Committee. His involvement with the Society of Arts was valued on the latter. The Choral Hall in Symonds St was to be the venue for an art exhibition open to all art society members throughout Australia and New Zealand.

Architects appointed to the Building Committee all had a hand in designing the centre piece - the main exhibition hall. De Montalk, Skinner and Arnold presented concept drawings for discussion.
Final plans were presented to the Executive, drawn up by Robert de Montalk, and accepted in April 1898.1

Sketch of the Proposed Exhibition Buildings Auckland 1898 AWN 28 May 1898

NZH 2 May 1898

This image, taken just before the opening ceremony shows the main entrance and orientation of the exhibition buildings. AWN 9 Dec 1898

The cycle track designed for the event was of concrete construction, banked for racing 5 laps to the mile. A running track was provided in the centre

The cycle track under construction AWN14 Oct 1898

The Cycle Track viewing area during the first day of the exhibition AWN 9 Dec 1898

One main focus of the Exhibition was the mineral resources of the region.  Organisers clearly intended to improve on the successful exhibitions already held in more southern provinces. 

In the words of the NZ Herald the event was 'an incontrovertible assertion of our industrial progress and an undeniable advertisement of our mineral resources.'2

Auckland emphasised the diversity as much as the technology. Coal and kauri gum from Whangarei, Dargaville and further North was found in the Minerals Court, with the latest mining and processing technology from the  gold mining strongholds of Coromandel and Thames.

The Story of Gold, as told by the Hauraki Region AWN 25 Nov 1898

Security was necessarily tight for the duration of the exhibition. Here officers are on duty at the Northland stand. AWN 16 Dec 1898 

It is noticable in the accounts and images that the standard of presentation and the content of the displays was far higher in 1898 than a modern 'expo' goer would be likely to meet today. Visitors expected to be informed as well as entertained. Some exhibitors, such as the Thames School of Mines, for their part, expected to attract a new generation into the industry.

Meanwhile in the manufacturing hall crowds of spectators gathered around the working looms of the Onehunga Woollen Mills. These recently imported machines were demonstrated by trained operators who invited close questioning by their audience.3

Luxury manufacturing in the province was also strong feature of the event. Then as now Auckland looked to American and Australian trends as much as British or local ones.

The Luxurious stand of Iredale's Ladies Wear - note the high standard of joinery and fittings on this temporary display.

A sophisticated refreshment stand - the Nathan's kiosk sold teas and iced teas throughout the event. AWN 10 Feb 1899

Arts, cultural  and sporting prowess in Auckland was equally celebrated at this exhibition. In addition to the modern sport of cycling, demonstrations of rhythmic gymnastics for youth of both genders looked forward to the health movements of the coming 20th century.
A particular highlight was the Exhibition Choir, of 600 voices, with orchestra and invited soloists performing Arthur Sullivan's 'The Golden Legend'. Music recitals and concert performances, both at exhibitor stands and other venues, occurred throughout months of the exhibition.

In our next post we consider the closing of the Exhibition and how it affected the region.

1. ref NZH 29 April 1989
2. ref NZH 28 May 1898
3. ref NZH 14 Dec 1898

Edward Bartley's Synagogue Princes St, Auckland Category 1 Listed NZHPT

Former Jewish Synagogue Princes St frontage Auckland Image Bartley Family Archive

The former Jewish Synagogue in Princes Street, Auckland, is one of Edward Bartley's  best known religious buildings. The Trustees for the project had already asked  Keals to submit plans for a wooden building when they decided, in 1884, to open the field by way of architectural competition. Thirteen entries were received including one under the name Expecto Credo, which was Edward’s and successful. He received tenders by 1 September 1884 for the erection and completion of the Synagogue.

West Elevation Former Jewish Synagogue Image Bartley Family Archive

In selecting the Bartley design, the Trustees were taking a brave step. The style of the design departed from the conservative manner in which the majority of Auckland’s public buildings were designed. At the time the design was called Romanesque with a touch of Gothic[i]. Edward used some eastern motifs and decorative features to refer to the origins of the faith which would be observed within the building. Furthermore, the suggested use of hydraulic lime cement in the construction was still considered unusual, despite several years of use and development of cement technology in the Auckland area. The white plastered exterior finish of the building again referenced the Eastern origins, within a European tradition suggested by the Romanesque form.

The interior received the highest praise at the time of completion. The ornamental glasswork was undertaken by J. Henderson of Wyndham St. Two circular windows in ruby and blue colours were completed first. The most difficult technical challenge was lead light glass for the semi-circular domed ceiling over the ark. The design was worked in ruby, blue, lemon and green. The effect of the light through this window was dramatic and symbolic, as the eye was instinctively drawn towards the heavens. The acoustics of the building were considered superb. They were put to the test at the dedication service in November 1885. Edward acted as choirmaster for the occasion and his son Alfred officiated as organist. The synagogue was filled to capacity, with representatives from most denominations joining the Jewish community for the event.[ii]

View of Former Synagogue from Bowen Avenue Image Bartley Family Archive

Edward's churches, large and small, reflect the values of their religious communities. He used the Gothic idiom with great confidence for his Protestant churches. Whenever possible he used local timbers to keep costs to a minimum. He then turned this restriction to best advantage by exploiting the aesthetic benefits of the wood. His churches were highly ornamented, in keeping with the Gothic style but the interiors display a restraint appropriated to their denominations. His Synagogue is successful because it too celebrates the faith for which it was to be a focal point. The origins of the faith are suggested by the exterior design and surfaces and reinforced by his use of a dome over the Ark. Light and acoustics are controlled by the design in order to enhance a sense of occasion and awe.

[i] New Zealand Herald 12 August 1884 page 4 col.7

[ii] The Synagogue building remains in Princes St, now used by the University of Auckland.

Historic Places Trust listing at: http://www.heritage.org.nz/the-list/details/578. See Historic Places Trust Magazine Nov 1998 pages 23-26

See also Cyclopedia of NZ Vol II 1902 page 237; AWN 27 Dec 1884 Sup. pages 1 & 3; NZH 12 August 1884 p 4 col. 7, 2 Sept 1884 p 5 col. 1, 12 Sept 1885 p 3 col. 1, 9 Oct 1885 p 6 col. 1, 10 Nov 1885 p 3 col. 6-8, 19 Nov 1884 p 6 col. 4-6