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. 

Alva Martin Bartley- Architect of Landmark House Auckland

Alva consults the plans for Broadcasting House 

Today we introduce Alva Bartley, an Auckland architect influential during the interwar period.

The purpose of this post is to provide some biographical information and to clear up the question I get asked most often - was Alva a son of Edward Bartley?
The short answer is No. One of the implications of that fact I see as this- researchers may wish to reassess any assumptions concerning the influences on the architecture of Alva Bartley and Norman Wade. Just a thought.

Alva was born in Auckland in 1891, a son of Clement Bartley and grandson of Robert Bartley. As a 16 year old he passed the preliminary trades examination in technical drawing1 and three years later attained a first class pass in the South Kensington examinations. 2 At the end of 1910 he passed the Auckland Technical College programme in Architectural Design.3 Alva went on to study at Elam School of Art. 4 In 1917 he qualified 5 and married Alice Creamer.6He then embarked with the 30th Reinforements on 30 May of that year.7

There is much confusion in printed sources about Alva's pre-war study, which is why I am labouring the details in this early part of his story. Some commentators assert that Alva worked in the office of Bartley & Son before the war- the architectural practice of his great-uncle Edward Bartley in partnership with Alfred Bartley. If that is so no evidence has yet come to light. It is more likely a confusion around the identity of the A M Bartley working there - which was certainly Alfred Martin Bartley not Alva Martin Bartley. Alfred was indeed Edward's son and an architectural draftsman, but he was also an older man better known for his exceptional musical career than for design.

Alva may have had opportunity for further study while in Britain with our armed forces. His discharge documents are dated 29 July 1919 and he returned as associate of the Royal Institute of British Architects 8 We can estimate that date of return to New Zealand at late September 1919. The first tender advertisement for Alva Bartley and Norman Wade is dated October 1919, 9 from their presmises at the Brunswick Buildings in Queen St Auckland.10

Alva's business partner Norman Wade NZG 15 July1905

The Bartley-Wade partnership was a successful collaboration. Apart from the Power Board building, known as Landmark House, their designs include those for Radio NZ - the 1YA building and De Brett's Hotel. We take a closer look at some of those in later posts.

Landmark House 1929 Category 1 Historic Places Trust SGGSC 1104-8

1. ref NZH 23 Dec 1907
2. ref AES 7 Jan 1910
3. Ibid 23 Dec 1910 - note Malcolm Draffin also a classmate.
4. Ibid 2 July 1915
5 NZ Govt Gazette 1917
6. NZRBDM 1917/5858
7. ref AES 30 May 1917
8. WWI Attestation Sheets RB 56090
9. AES 22 Oct 1919
10. 174 Queen St. Both the Brunswick buildings and the Warwick Building next door were designed by Wade and Wade Architects and comprise two of the buildings making up the Canterbury Arcade.

The Auckland Mahlstick Club established in 1885 & Edwin Bartley

Auckland Mahlstick Club 1893. APL Image 5-1673. Artists include: Leech, John (Harold); Abercrombie, F J, Pheney, R, Bartley, Edwin, Holland, J C, Carter, C M, Drummond, R A, Horsley, J, Wright, Walter, Gregory, G, Stuart, S, Leech, H, Bollard, W A, Yearbury, J, Ball, T, Wright, Frank, Felkin, W, Trenwith, M, Debney, R J, Drummond, T I

A change of emphasis this week. While I was researching the Auckland Industrial Exhibition 1898, featured in previous posts, I noticed the quality of the art submitted for that exhibition. Clearly the arts in Auckland were flourishing and confident in the late nineteenth century. Exhibitions were a significant platform for established artists but what of the young ones coming through? What were their opportunities? This post looks at their Auckland 'art scene' and one organisation in particular - the Mahlstick Club.

The Auckland Society of Arts was an active organisation, particularly after its reconstitution in 1880. So there was ample opportunity to exhibit locally but within the conservative context to the required standard, on conventional subjects. The only venues for the collegial exchange of new ideas and expertise were personal and social and, by extension, invisible.

After the ASA exhibition of 1885 four artists responded with a solution of their own. The Auckland Mahlstick Club 1 was formed by  Thomas Ball ( first president), Thomas L Drummond, Mr Felkin and RJ Debney. Una Platts dismissed this group as 'a congenial group of ASA painters'.2 I submit they were more than that. They also had the support of a group amongst the old guard of ASA members, including Edward Bartley, Mackechnie and Peyton.

These older men were very aware of the potential a free, relatively 'classless' society offered here. Ideally, in New Zealand every person could improve themselves by the study of the liberal arts. They were 'liberal' because traditionally they were only available to the free man and not the slave. These men were interested in accessing knowledge for mutual improvement. They were practical people able to apply the latest technology and innovation in artistic expression as easily as engineering. The application of photography, projection and microsopy in their art is relevant here.

It may seem strange to a 21st century mind that such issues as the 40 Hour Working Week and free universal education should be playing out in the art world but they did- and still do, though today we tend to perceive the issues as more financial than philosophical.

Mahlstick Club membership was originally limited to 12 members. They laid an emphasis on black and white work – drawing and sketching in pen, ink, charcoal and chalk particularly. 3 Members gathered in each other’s house for sketching practice and to exchange ideas and information about art matters. They were young and emerging artists for the most part.

This was not a splinter group off the ASA but an enrichment group. They remained members of ASA and supported that society's exhibitions with a regular, high quality body of work.
The Club quickly gained the support of Frank and Walter Wright of Wright's Studios in Auckland. These men were Edwin Bartley's tutors. It is likely they introduced him and others to the 'inner circle' of this emerging art community. Its emergence was rapid too.4

The positive influence of the Mahstick Club on the study and practice of art in Auckland was acknowledged at the time.  After an exhibition of their work at an Athenaeum conversatione held in the Museum Institute 30 November 1886,5 the Society of Arts then took up their black and white theme  in their own exhibition in 1887, to which the Club contributed a number of drawings.

At the opening of that exhibition Mr Mackechnie, the president, not only reinforced the importance of sound drawing skills for artists. He laid emphasis on the wider applications of practical art training, referring to drawing skills as ‘the right hand of the workman and the mainstay of a technical education. If we are to have local industries and manufactures among us our people must have instruction in the art of drawing to acquire freedom of hand and facility of execution.’6
It helps us to understand that concerns over the lack of practical art, design and technical training facilities in Auckland formed the background to these remarks.

By 1891 the Mahlstick Club had over 20 members. A weekly life drawing class was held along with regular sketching expeditions. They now met in larger rooms with a more formal meeting structure.

NZH 8 Aug 1891

For the young ones coming through a goal was acceptance into the Cantebury art school. At this time the best teaching and most progressive climate was found in Christchurch. There a sister organisation, the Cantebury Palette Club, was soon formed with ex-pat Mahlstick Club members such as Edwin Bartley at its core.
A regular exchange of work between the centres formed an enriching inter-provincial dialogue. Works were loaned for exhibition in both centres. A strongly New Zealand voice was beginning to emerge now. The focus of attention was on place- their place and their time- rather than on European historical motifs as inspiration. There was less inclination in this Mahstick group to view the 'indigenous' place or person as a picturesque 'other' - a tendency of colonial period art discussed by Rebecca Rice in her 2010 thesis found here

The Mahlstick Club continued into the pre-war years, by then itself so 'establishment' an institution that papers presented to its meetings were published in full by the daily press.7 So the Great Wheel turns would you say?

1. A mahlstick is a piece of artist's equipment - a light stick with a padded leather ball at one end, held against work by a painter to support and steady the brush hand.
2. Una Platts, 'Nineteenth Century New Zealand Artists: A Guide and Handbook' 1979 Avon House page 163. Digital Copy here
3. Ref NZH 31 Oct 1891
4.Edwin Bartley is one example of the young men and women establishing their art practice in the 1880s and 90s. His career is covered in a previous post, found here.
5. Ref AES 26 Nov 1886, NZH 03 Dec 1886
6. Ref AES 20 Oct 1887
7. Ref AES 1 Aug 1908

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

Exploring Heritage Matters

Auckland is into the second week of its Heritage Festival  now with plenty of events for enthusiasts of our built heritage. There is an overall theme of transportation in this year's festival but I noticed two events coming up of relevance to Bartley and Devonport researchers.

St Matthews in the City. Image Postcard Collection BFA

Peter Reed, architect, leads an exploration of St Matthews in the City next Saturday 14 October. Edward Bartley was supervising architect for this 1905 landmark as part of his role as architect to the Anglican Diocese of Auckland.
Tour details here
Information on the construction of St Matthews here

Torpedo Bay 1879 Image APLSGGSC4-2979

For those whose Auckland roots lie in Devonport there is an opportunity to tour the earliest sites of commercial activity. Details of the Maritime self guided tours on all week are here and information on the pioneer boatbuilders here
Edward Bartley's first home on the North Shore was on the foreshore at Devonport. He was a neighbour to William Holmes whose house and family feature in the promotional material for this event. Edward's eldest son Arthur married William's neice Polly Holmes

Holmes family home and boatyard about 1880. Image APL SSGSC

If you are going to Devonport by car please do visit O'Neill's Point cemetery and see Edward Bartley's grave restored. There are several other Bartley graves in the cemetery.

Judging by the response to our post Frank and Dorothy's project has inspired  other families to identify and care for family plots. Well there is good news. It has never been easier.

Bartley Archive holds some information on family graves, and a few photographs of plots. Do get in touch at the start if you have Bartley Channel Islands links. We may be able to help if other researcher's contributions included burial records.

The first step in fresh research is to obtain an 'address' for the plot. Many cemeteries now have an online database available to search. For example Auckland Council has access for burials and cremations in the region on this page

Image BFA 2014

Most of the larger public cemeteries have maps online or available at the office for the second step -which is locating the plot itself. On the basis of past experience I would recommend a party of two or more people, good walking shoes, good humour and an openess to synchronicity. Keep your ancestor in mind and your camera in hand-some of these places are very beautiful landscapes too.

Purewa Cemetery, St John's Auckland. Image BFA 2012

Edward Bartley's Grave Restored

It is a great pleasure to be writing this post. On behalf of Edward's descendants we give a great bouquet of thanks to Frank and Dorothy Bartley who have undertaken and carried out the restoration of the Bartley gravesite at O'Neill's Point Cemetery, Devonport in Auckland.

With the site cleared Dorothy discusses the state of the headstone. Image F&D Bartley 2017

As visitors to the cemetery will know the plot was in a sad condition. Time and some vandalism during the late 20th century left us little to be proud of. Fortunately Frank and Dorothy were on hand in Auckland to closely oversee the project from the outset. The work was carried out by Steven Webb, of Monumental Headstones and Plaques Ltd,  who was able to salvage the marble and some surviving iron fittings.

Marble reinstated, remaining ironwork cleaned and returned to original placement, with work proceeding on re-erction of the headstone. Image S Webb 2017

The completed reinstatement and restoration of the gravesite September 2017. Image F&D Bartley 2017

Edward's wife Elizabeth Hannken also lies in this plot, along with their sons Percy and Claude  (husband of Cassie Tooher). Edward's daughter Bertha Bartley, wife of Frank Mason, lies nearby in the Mason family grave.

Frank Bartley stands with the reinstated headstone. The buff pink marble obelisk behind his shoulder is the Mason family plot where Bertha Bartley is interred. Image F&D Bartley 2017

Edward Bartley and Family Image BFA

Once again thank you Frank and Dorothy.

Kensington Park Grandstand Whangarei- Design by Edward Bartley

Grandstand Interior. Image Prana Art Project for BFA 2017

In April 1902 the Whangarei Agricultural and Pastoral Association resolved to purchase Kensington Park ground as a permanent home 1. A government subsidy of  £500 was received in October 1902. Meanwhile the Association joined forces with the newly formed Whangarei Racing Club. Together they decided to develop the park with upgraded facilities-including a new grandstand. Edward Bartley was appointed as architect for that part of project 2.

Bartley worked over a wide geographical area - from Gisborne northwards. In the cities he was best known for his ASB banks, churches and commercial buildings. In rural areas it was mainly in his role as architect to the Auckland Charitable Aid Board that led to introductions. In Whangarei his donation of plans and supervision to the hospital, along with his Council work and commercial clients in Bank St, meant his bowler hat and dust coat were often seen. He also had strong links with both the racing fraternity and the A&P Association. Those links began in the early 1870's when the NZ Pedigree Stock Association and A&P and Farmer's Associations began to erect permanent buildings in the Auckland region.

The design which was settled on for Whangarei was a barrel roofed grandstand. It was very similar to, though smaller than, the design for Avondale Racing Club where Bartley had been engaged. That stand was opened in February 1902. No doubt members of the Whangarei Racing Club  inspected it at first hand during the 1902 racing season.

Avondale Racing Club Grandstand AWN 22 Sept 1904

There was plenty to be done before the new building could get underway. A new entrance and drive were constructed first. New cattle pens and other show facilities were a top priority. The re-siting of the race course took time to resolve and implement and the unsafe old stands were demolished.

So it was not until September 1903 that Edward Bartley advertised tenders for the Whangarei stand.

NZH 15 Sept 1903

Matters proceeded quickly once a figure was agreed on and the building was finished in a matter of months for £1200.

The side elevation closest to Kensington Park. The associated booths are original. Image BFA 2017

Edward Bartley designed a similar grandstand for the Ohinemuri Racing Club (later the Paeroa Racing Club) at Paeroa in 1904. That one no longer survives. It burned down in the 1980's after years of neglect.

 Kensington Park grandstand nearly met the same fate. Fortunately it was relocated and restored for  the Northland Hockey Association. A more recent renovation in 2009 brought the building up to modern fire safety standards - modifications Edward Bartley would certainly approve of. His many designs for public amenities and institutions were characterised by the latest advances in fire safety, a personal as well as professional interest of his.

AWN 19 Oct 1922

This is a comfortable grandstand for viewing, even by modern standards. The barrel roof acts as an early form of climate control. A careful calculation of the angle and depth for the overhanging verandah means that no one is ever looking directly into the sun. The worst of mid-summer glare is shielded from spectator's eyes. Kauri and steel posts are spaced well apart, considering their load. This allows for good visibility and flow of 'traffic' entering and leaving the stand.
These days one is more at risk from a flying hockey ball than a pressing crush of racegoers.
The grandstand is now situated on the Northland Hockey Association grounds, Park Ave Whangarei -on the outskirts of Kensington Park.

The building is listed Category 1 with the Historic Places Trust.3

1. AS19020424
2. AS19020920, NZ19020911
3. Refer http://www.heritage.org.nz/the-list/details/3829

Edward Bartley and the Stark Commission 1886

The Devonport district is a unique environment in the Auckland area. The continued presence of the armed forces is intrinsic to its character. In the early days of settlement that presence was concerned with establishing colonial life, with internal affairs. In the latter part of the nineteenth century developments in the Crimean conflict turned attention to the question of our defence against external threats.
In 1885 Russian troops occupied Afghanistan. This event brought the impact of Britain’s international affairs much closer to the Southern Hemisphere. If British India was so vulnerable then New Zealand was too.

Colonial government took steps to firm up defence plans which had been formed in the 1870s around a harbour defence system. For Auckland this meant protecting the gap between North Head and Britomart Point.

This clear view of the relationship of Narrow Neck (centre) to Auckland central shows the reasons why it was intrinsic to port security.
Winkelman Image about 1900 SGGSC W00197 APL

It meant a modern defence base, provision for storage and deployment of mines. It also meant visible, state of the art fire power on a prominent headland.

To see how these concerns brought Devonport in to the limelight we take a glance back to the early 1880s. A gentleman by the name of Robert Adam Mozeley Stark owned a good sized property at North Head which he named ‘Fair Cliff’. Of Scottish extraction he was a member of the Takapuna Jockey Club, one of the directors of the Devonport and Takapuna Tramway company, and a friend and business associate of Alex Alison. He was also a likely candidate for the Waitemata seat in the next election.
In 1881 Stark put part of his 32 acre property on the market after a short tenure there. Despite the best efforts of his estate agent a conditional sale in 1884 for £3500 sale remained uncompleted. Stark then withdrew Fair Cliff from the market.
In March 1886 the press reported the sale of Stark's land to the Crown for defence purposes. The purchase price was almost six times the 1884 list price. The Auckland Star's assertion that 'public curiosity' was aroused was a mild reference to the outcry which followed.1 Accusations of 'secret transactions' were widespread. When Parliament resumed a commission of inquiry called for. Meanwhile Mr Stark had taken the opportunity to travel abroad. He was contacted by his solicitors to return to Auckland and attend the proceedings which began 11 October 1886.2

As expected Devonport was rife with accusation and speculation, even more so that the rest of the country. Stark's neighbours were astonished by his success in attracting a price so far above the depressed values of previous years. The factional rivalries which had their roots in the earliest days of the settlement again came into view.
Edward Bartley was amongst those who had agitated most strongly for enquiry into due process around the sale. His name also appeared on the petition - with just under 1000 other names -sent to parliament requesting a commission be appointed. From the outset Commissioners sat and heard accusations of unethical practice around land dealing at the North Shore, but no evidence was supplied as proof that this had occurred in connection with the Government purchase of Stark's block.  Alex Alison's name was associated with the 'bidding by interested parties' on land sales - the inference being that prices were artificially inflated. In this context the development around Stark's land at Cheltenham was referenced.

An example of the type of development drawn to the attention of the Commission. These residential blocks were offered for sale in January 1885 (AS 2 Jan 1885)

By mid October the knives were out. Devonport was the focus of national attention by that time. Edward Bartley was called to give evidence on the 21st of October. Alex Alison then took the offensive against Bartley, William Philcox and those who had requested the official enquiry.

NZH 22 Oct 1886

In fact Edward Bartley was well placed to give evidence as he had been employed as Stark's architect on various subdivisions on the North Shore, as well as for Stark's own home. He was able to testify as to his client's intentions as they had been conveyed to him at the time a portion of the land was first offered for sale in 1883, which was to subdivide it. He further testified that, rather than being motivated by ill will, he had sought to have the matter clarified publicly.

The Commissioner's final report found no evidence of misconduct. Development of defence facilities at North Head were put in place and the presence in Devonport of armed services has continued down to the present day. For the civilian population, however, the residue of ill will left by the whole proceeding meant that personality conflict continued to mar local politics for some time to come.

1. Auckland Star 6 March 1886
2. Ibid 16 Oct 1886 
Report of the Stark Commission can be found here

Queen's Ferry Hotel Vulcan Lane Auckland - the early years

Queens Ferry Hotel Vulcan Lane Auckland Image R Crozier for BFA

In Auckland’s early days Vulcan Lane was steeper than it is today. Little better than a narrow track, it had one great advantage – it was on the high side of the 'Ligar Canal' which ran down Queen St.
In the early 1850s the lane boasted, amongst others, McLeod’s Forge, Hicks the watchmaker, Bain & Graham’s store and a tailor. All the buildings were timber, including the several cottages dotted amongst the commercial premises. On the seaward side of the lane, John Robertson had his sawyer’s shop.i
Robertson came to New Zealand with Governor Hobson’s party in 1840, first spending some time in the Bay of Islands. Business prospered for him in Auckland where he established the first timber yard about 1845. ii

Early in July 1863 fire swept through the wooden buildings in Queen St. In the attempt to create a fire break Robertson’s property suffered. The roof was destroyed and the building was damaged inside, though the fire was extinguished before it reached his side of the lane.iii  From the description it is likely his workshop was of by then of brick construction.

The earliest record of a further change of building use is March 1864.  Robertson advertised office space to let then and was operating a general goods store.iv  This was a much less arduous occupation than working in the timber industry, particularly for a man now turning seventy v - though perhaps not without its own challenges:

Daily Southern Cross 27 July 1867

The final incarnation for the property occurred within the next six years. The name ‘Queen’s Ferry Hotel’ begins to appear in print from April 1870, though the hotel may have been operating earlier.vi  The name was a reference to his Scottish home. Robertson appears in the April 1870 list of those granted a full license for the sale of liquor. vii
Richard Keals was employed as architect for alterations to the building in March 1871. The new facilities included further accommodation on the second storey and a meeting room. The latter was definitely in operation by June of that year. viii

DSC 24 March 1871

 These new facilities now provided a popular meeting place for a more commercially oriented clientele:

NZH 24 June 1871

John Robertson died in October 1877 aged 85. His wife May took over the running of the hotel until her death in September 1880. Their son in law Walter Sloane then took the helm until the license was transferred to Charles Sutherland at the end of 1880.

NZH 23 Dec 1880

In 1882 further changes to the licensing legislation meant that the Queen’s Ferry was in line for another upgrade of facilities. This time Edward Bartley employed as the architect.

NZH 2 Sept 1882

His plans were for an increase to three storeys from Keal’s two. Alex McGuire the builder who made the successful tender for the contract.
The additions included further sleeping quarters and another sitting room, as part of an interior refit. Sanitary standards were generally improved to meet modern requirements. A guest bathroom was included. The whole tone of the Vulcan Lane front elevation was improved by realigning the entrance and stairway. A wash of lime cement and quality decorative treatment produced the Italianate frontage we see today.

Image R Crozier for BFA

The license has run continuously since Robertson's day, though the Hotel is now facing into a more salubrious Vulcan Lane.The Queens Ferry has a Category 1 rating with Historic Places Trust. Details here
For further information on the Robertson family see here
Research by M W Bartley

 i See Daily Southern Cross 11 Feb 1859; 5 April 1859 – part of allotment 3 sec 4
  ii Ibid 7 Feb 1860
  iiiIbid 3 July 1863
 iv Ibid 23 March 1864
  vIbid 27 July 1864
   viAuckland Star 5 April 1870
  viiNZH 20 April 1870
  viiiDSC 4 July 1871 venue for the Berkeley Castle Mining Co meeting of shareholders