AN ENQUIRY INTO CERTAIN NINETEENTH CENTURY PRINTS

Turnbull Library Record, Volume 4, Issue 2, 1 October 1971, Page 74

AN ENQUIRY INTO CERTAIN NINETEENTH CENTURY PRINTS

THE HEAPHY LITHOGRAPHS

Probably the best known and the most popular pictures in New Zealand are the views of Thorndon, Te Aro and Nelson painted in 1841 by Charles Heaphy, vc (1820-81). 1 This supposition was confirmed when in 1963 ‘The Queen’s Prints’ inaugurated the annual series of Turnbull Library Prints. They were taken from the original Heaphy watercolours in the Library’s collections which were once in the possession of the New Zealand Company and were acquired by Mr Turnbull in 1915 from Messrs Francis Edwards Ltd, London. 2 The edition of 1,500 sets of the three prints was sold out within two months and constant enquiries for the prints have continued since. In 1952 the Friends of the Turnbull Library had issued two smaller Heaphy prints from the 1839 view of sawyers in the kauri forest and the Thorndon view, titled Wellington Harbour, showing the beach, now Lambton Quay, and Thorndon. Both scenes were dated 1840. And now, in 1971, we have the publication by Avon Fine Prints Ltd, Christchurch, of reproductions of the Heaphy lithographs.

This therefore seems an appropriate time to publish some comments upon the early issues although it must be made clear at the outset that this survey raises more questions than it succeeds in answering. It is apparent to anyone who makes a comparative study of the Heaphy lithographs that there are variant versions. Yet collectors of New Zealand prints do not realise what a rich field lies open to them in this one sequence alone. Although a few people have for many years been well aware of there being differences, it is difficult to obtain sufficient examples for study, and many copies are in very bad condition while some have been trimmed. The earlier issues, especially, are very subject to heavy foxing, as in the case of the Turnbull holdings. I understand that Avon had great difficulty in finding reasonably matching copies that could be used to make a set for reproduction and in printing them adjustments had to be made to obtain a suitable balance in colouring for all three.

The Turnbull collections contain a total of 22 Heaphy lithographs at the time of writing: over the years the founder’s copies have been added to by gift and by purchase. It is now policy to buy additional copies that are certainly different from those already held. For a considerable period I have been studying them and taking every opportunity of also inspecting all other examples which I could find. Several years ago Mrs Diana Pope (then the Library’s Art Librarian) assisted me in drawing up a preliminary table of variant issues

and more recently Mrs Enid Ellis (also sometime Art Librarian at the Turnbull) and her husband and I have had lengthy and often acrimonious discussions of the problems encountered. At first my concern was only with the colouring - although this was hand-colouring in the early issues there are certain consistencies, overall. But I quickly became aware that the ‘black and white’ copies - in reality, lithographs in tint - also manifested variations among themselves. Differences in paper became quite obvious as soon as one studied this aspect. But from the outset the most baffling problem was that of there being different publishers.

A significant point is that certainly at least two separate sets of plates were used. With practice, one can soon detect marked variations between some versions. It soon became apparent that a great many Heaphy lithographs may virtually be regarded as forgeries, since new engravings had been made to produce lithographs that purported to be those of the first issue. Some indication of a few vital clues will be given later in this summary: they merely afford a means of instant identification between genuine (?) and forged (?) issues - the reason for the queries will become apparent below. Mr and Mrs Ellis analyse specific differences in some detail in their forthcoming book, Early Prints of New Zealand, 1642-1875, to be published by Avon.

First, a cursory glance at the early publishing history of the lithographs. The New Zealand Company was surprisingly modern in its approach to public relations. From the first the Company - or, Edward Gibbon Wakefield? - believed in taking the public into its confidence; or, up to a point, at least . . . Publications poured forth, extolling the merits of emigration, to New Zealand in particular; of this country as a whole; and of, above all, the Company’s settlements. The New Zealand Gazette, our first newspaper, issued the first number in London on 21 August 1839, before the first emigrants sailed. There was an enlarged second edition of the first number on 6 September.

The New Zealand Journal, published fortnightly in London, was also ostensibly independent 3 but, in Flocken’s words, was ‘written in the interests of the New Zealand Company’. 4 Initially it was printed and published by Llenry Llobbs Chambers and edited by H. S. (later to be Mr Justice) Chapman, but an announcement for the fourth volume was issued with the 1843 bound-up edition of Chapman’s six 1842 papers of The New Zealand Portfolio. Here the Journal is given as being published by Smith, Elder and Co, Stewart and Murray (the firm’s printers) and Oliver and Boyd, Edinburgh. It regularly printed enthusiastic reports from the happy colonists and followed the Company’s line against Governor Hobson.

In the first few years of colonisation more than a score of pamphlets and books were published, many written by employees and associates

of the Company although not all were sponsored by it. Brees, for example, after the expiration of his contract as their chief surveyor, 1842-45, had a dispute with the directors about the watercolours he had made here. 5 Not all, by any means, were favourable to the Wakefields and their colleagues. In the second number of The Australian and New Zealand Monthly Magazine (published by Smith, Elder and Co), February 1842, a review of Theophilus Heale’s book 6 noted its ‘dryness, egotism, and want of point, added to the grumbling vituperations projected against the New Zealand Company . . .’. Smith, Elder and Co, founded in 1816 as booksellers, entered publishing in 1819, to become powerful as publishers, East India agents and bankers. Alexander Elder’s ‘love of art was responsible for the illustrated works’ long published by them and ‘the firm’s interest in art assumed a considerable extension from 1840 onwards’; they even ‘took some part of the business of the Art Union’. 7

This was just the firm, reputable, prominent and enterprising, to become unofficially as it were official publishers to the New Zealand Company. Many of their publications were the forerunners of didactic and ‘do-it-yourself’ books with practical directions on the culture of sugar-cane and so on, including A Treatise on Sheep, Addressed to the Flock-masters of Australia, New Zealand, and Southern Africa. From 1840 they brought out in rapid succession and often in edition after edition, such works as An Account of the Settlements of the New Zealand Company, from Personal Observations during a Residence there by the Honourable Henry William Petre (son of Lord Petre, a prominent director of the Company) but actually written for him by Chapman; The Climate and Capabilities of New Zealand by William Swainson, frs; and many more ‘Works on Emigration’ and ‘Works on New Zealand’. John Arrowsmith’s many excellent maps were published by Smith, Elder, including of course his New Zealand maps, as well as detailed plans of Port Nicholson and Wellington by Captain W. Mein Smith, Surveyor-General to the New Zealand Company.

Thorndon In any event, on 18 September 1841 in The New Zealand Journal, no 44, p 232, appeared a half-page woodcut ‘Thorndon Flat, and Part of the City of Wellington, the First New Zealand Settlement’ with the rest of the page occupied by a ‘Key to the View of the City of Wellington’. Heaphy is not mentioned but the woodcut is taken directly from his Thorndon view, without the added figures of the lithograph. According to the lithograph Heaphy made his painting in April. In the Journal, no 41 of 7 August, p 193, we find that after some time without news from New Zealand, ‘At length the Brougham has arrived, after an unprecedentedly quick passage of 92 days. She brings letters to the

sth May . . .’. She must also have brought Heaphy’s watercolour to the Company. On 2 October 1841 in The New Zealand fournal, no 45, p 243, is given ‘The New Zealand Library: A Catalogue of Works relating to New Zealand’ beginning with Cook’s Voyages and ending on pp 245-6 with a section headed ‘Engravings’. The first entry is Earle’s Sketches, mis-dated 1837 and noted as ‘now out of print’. There are only two other items. ‘II. A View of the Harbour of Port Nicholson, looking up the Valley of the Hutt. Published by Moon. 1840. A very beautiful landscape from a sketch by Mr Heaphey.’ [sic (The Journal was never very strong on names.)] The work referred to is the lithograph, by Allom, with a map of the harbour inset in the caption, ‘Birdseye View of Port Nicholson, in New Zealand. Shewing the site of the Town of Wellington, the River and Valley of the Hutt and adjacent Country taken from the Charts and Drawings made during Col. Wakefield’s Survey in October, 1839, and now in the possession of the New Zealand Company.’ [Now a rare item.] The Library’s lithograph in colour of No. II has been trimmed and lacks publisher’s imprint but another, owned by a Wellington collector, is published by F. G. Moon, noted for his vast illustrated work The Holy Land by David Roberts, published over the period 1842-47. The Hocken Library, however, holds a different, uncoloured version published by Trelawny Saunders and printed by Hullmandel and Walton. Hullmandel took Walton into partnership in 1843. Another such copy is in private hands in Wellington. Although Hullmandel and Walton remained active until the 1850 s, by the time of the death of the founder in 1850 Day and Haghe had replaced the firm as the leading lithographic printers.

‘III. A View part of the Town of Wellington, and a portion of the shore of Lamb ton Harbour. From a drawing by Mr. Heaphey, with a Key. Published by Smith and Elder. Oct. i, 1841. This beautiful lithographic drawing may be obtained, either plain or coloured; and, although it embraces only a small part of the town, it is, we are assured, extremely correct.’ There is a brief review of the print on p 250. ‘This is a neatly executed lithographic drawing from an original by Mr. Heaphey. The woodcut in our last number was from the same original, but the larger print is, of course, much more picturesque. It is an excellent companion to Moon’s print of Port Nicholson, published last year.’

Duppa’s New Plymouth and Heaphy’s Mount Egmont After such attention, Smith, Elder apparently did not feel it necessary to advertise the Thorndon view in the Journal which afforded further free publicity on 30 October, no 47, p 274, to: £ A large Panoramic view of the New Plymouth Settlement in the district of Taranaki. - Showing the range of houses recently built by the natives, in anticipation of the

arrival of the emigrants, with Mount Egmont in the distance, from a drawing by George Duppa, 8 Esq. Smith, Elder, and Co., Cornhill. This is a view of the west coast of New Zealand from Cape Egmont and the Sugar Loaf Islands, to Point Albatross and the Gannet Islands. It makes a pleasing landscape, and may be had either plain or coloured. The cheapness of this and the other prints and plans lately published by Smith, Elder, and Co., bring them within reach of a large body of purchasers.’

The reason for mentioning this Duppa lithograph, now also a rare item, is that the publishers seem to have concentrated their attention upon it rather than upon the fourth and rarest Heaphy lithograph, that of New Plymouth and Mount Egmont published possibly in December 1841, which must now be considered before the Te Aro view is dealt with. Considered by many to be one of our finest colonial paintings, ‘Mount Egmont from the Southward’, a highly stylised personal interpretation by Heaphy, remains in the words of Eric McCormick ‘one of the few satisfying paintings of that inspiration - and snare - for New Zealand artists.’ 9 The Turnbull is fortunate to possess it and, interestingly enough, a small faint pencil sketch that is obviously Heaphy’s preliminary study. Of the four Heaphy lithographs, the Egmont is furthest from the watercolour - which was published in 1964 in the second series of Turnbull Prints - and it seems possible that there was an alternative watercolour, for Allom in the lithograph returns much more closely to the pencil sketch.

Although I once thought that Heaphy might have made the sketch in 1839 when he sailed up the western coast with Colonel Wakefield in the Tory , this does not now seem possible. The first sight of the mountain must certainly have impressed the young artist vastly - and may have been the genesis of the watercolour we know (‘emotion recollected in tranquillity’!) - and Jerningham Wakefield records that between 18 and 27 November as the Tory sailed from Kapiti to New Plymouth, ‘during the next seven days we were tormented by fresh gales from between west and north during the day, and calm moonlight nights.... We enjoyed magnificent views of Tonga Riro, a high snowy mountain about ninety miles from the coast, in which the Whanganui takes its rise, and also of Mount Egmont or Taranaki. The latter forms a beautiful object from the sea. It rises gradually and evenly from a circle thirty or forty miles in diameter, one-third of which circle is formed by the sea.’ 10 But Heaphy’s view, in all three versions, is certainly inland: and there is no mention of any landing being made, except by Dieffenbach and Barrett only when the site of New Plymouth, Ngamotu, was reached. This means that the most likely occasion would have been in September 1840, when Heaphy travelled to Ngamotu and back with the

Company surveyors Stokes and Park. The report by Stokes to Mein Smith on his trip was published in The New Zealand Journal in two successive issues and in the second part, on 30 October 1841, no 47, p 266, we find that at Waimate Pah about 25 miles before the party came to Otuamatua, they ‘saw Mount Egmont for the first time since our departure from Wanganui’ [where it had been visible ‘in the extreme distance’], ‘its sides covered with snow, and its head buried in the clouds; the base of the mountain appeared about twenty miles distant.’ Significantly enough, as we shall see shortly, on the homeward journey, wrote Park, ‘between Otuamatua and Oaudi, we saw several clearings the natives had made for potatoes. .. we were now travelling round the base of Mount Egmont, which rises very gradually and majestically from a vast level plain. From the edge of the cliff, to where the wood commences, is about four or five miles; this is covered with fern, flax, grass, and other vegetation . . . the wood continues to the base of the mountain, and covers its sides to rather more than a third of its height; the space above this to the snow is free from wood; and at this period, a third of the height of the mountain was covered with snow.’ Despite discrepancies, there is no little correspondence between what Stokes wrote and the Heaphy view. It is difficult to know exactly when the Egmont lithograph was first published but as mentioned earlier it would seem likely to have been about December 1841. The Plymouth Company, founded in January 1840 to colonise Taranaki, had run into financial difficulties through the failure of its bankers and by a deed dated 10 May 1841 was merged with the New Zealand Company, 11 which set up a West of England Board with offices in Plymouth; and which now had a more immediate interest in New Plymouth. The New Zealand Journal on 2 October 1841 reviewed Information respecting the Settlement of New Plymouth in New Zealand ... compiled under the direction of the West of England Board of the New Zealand Company. London: Smith Elder & Co., 1841. In this booklet Appendix (No 1) by F. Dillon Bell, is dated 16 September 1841.

The lithographed frontispiece of this work with no engraver’s name given, is the Duppa view, titled ‘Part of the New Plymouth Settlement in the District of Taranake, New Zealand’. The sub-title also has the information about ‘the Range of Houses’ given above, but adds ‘Mount Egmont, 30 miles distant’. On both sides of the back wrapper Smith, Elder advertise their Works on New Zealand, including Petre’s An account . . . and, ‘Just Published, price 3s. plain, and ss. coloured, with a descriptive Key, A LARGE VIEW OF LAMBTON HARBOUR, IN PORT NICHOLSON, NEW ZEALAND, Comprehending the Water Frontage of the Town of Wellington, Beautifully executed in Tinted Lithography, from the Original Draw-

ing, by C. Heaphy, Draughtsman, to the New Zealand Company’. And, ‘Just Published, price 55., beautifully tinted, A large panoramic view of the new Plymouth settlements, in the Districts of Taranaki, New Zealand; Taken from the Anchorage Bay, shewing the range of Houses recently built by the Natives, in anticipation of the arrival of Emigrants, &c. From a Drawing taken on board the “Brougham”, by George Duppa, Esq.’. Petre’s book An account of the settlements of the New Zealand Company . . . , however, carries as its first plate facing p [s] Heaphy’s Thorndon view, ‘Drawn by Ch s Heaphy. Engraved by J. C. Armytage.’ It is not from the watercolour but from Allom’s large lithograph with the added figures and was described as having been ‘reduced and engraved to accompany these pages’. Petre considered the engraving as a ‘faithful picture of what actually existed at the time’.

A second lithograph in the first edition of Petre facing p 24 is the Duppa view again, exactly as in Information respecting . . . New Plymouth (clearly lithographs from the same stone) with a footnote to the text: ‘The accompanying view of the site of New Plymouth is taken from a drawing made on the spot by one of the Company’s surveyors. - H.W.P.’ But in the advertisements at the end of the 3rd edition, 1841, is: ‘Price 3s. plain and ss. coloured, a large view of mount egmont; Taken from the North Shore of Cook’s Straits, New Zealand; the foreground shewing the Natives burning off Wood for Potato Grounds. Executed in the highest style of Tinted Lithography by T. Allom, from a drawing by Charles Heaphy.’ The Duppa view of New Plymouth is here advertised as being also available at 3s, plain. The second and later editions show the engraver as J. C. Armytage, the plates being at pp 19 and 28 respectively. In the 4th edition, 1842, all the lithographs were still ‘Just Published’. By May 1842, when the sth edition of Petre was advertised, a cheaper edition was also available, without the folding map supplied in the five dearer editions and with the two lithographs replaced by woodcuts of the same two views. It had been available while the 4th edition was still being advertised. Both the Armytage lithographs were used also in Chapman’s The New Zealand Portfolio (1843). . . .

In the 3rd edition of Petre, among Smith, Elder’s publications advertised are two items that are relevant to this enquiry. One was The New Zealand Almanack for 1842, which I have not been able to sight. It was described by the publisher as a large royal sheet... ‘With a View of Lamb ton Harbour and Wellington’ and the likelihood is that Smith, Elder would again make use of the Thorndon view. Also advertised was How to Colonize ... by Ross D. Mangles, Esq, mp, which includes at p [ss] ‘A Statement of Ships Despatched by the New Zealand Company, up to 13 November 1841’. Although only the Heaphy

Thorndon and the Duppa New Plymouth are included in the advertisements, since the title-page bears the date 1842 it is probable that it came out in January of that year and the 3rd edition of Petre - and the Heaphy Egmont lithograph - in December 1841. There is little consistency in Smith, Elder’s advertising of the lithographs, for in their Index Reference to accompany Plan of the Town of New Plymouth . . . from the original Survey by Frederick A. Carrington, published about September 1842, the Duppa view and the Heaphy Egmont only are listed: and both are still ‘Just Published’.

Nelson In November 1841 Heaphy was with Captain Arthur Wakefield, rn, when the latter founded Nelson, but almost immediately on his return to Wellington sailed for England with despatches to the Company from Colonel Wakefield. He left on 28 November 12 in the schooner Bailey, which reached London at the end of March 1842. The stores brig Arrow was the first ship of Arthur Wakefield’s expedition to enter Nelson Haven, on 1 November 1841. In her honour, wrote Wakefield, ‘Fired a gun and gave three cheers’. On 4 November the Will Watch was taken in but the Whitby grounded on the Arrow Reef. She was lightened and hove off the next day. As soon as the material could be unloaded, the erection of a wooden prefabricated emigrants’ barracks had begun, opposite Haulashore Island and the Arrow Rock. Wakefield noted that by 16 November the building was being roofed and on 20 November one wing of the barracks was completed.

The Arrow, taking Heaphy to Wellington, set off on 17 November but grounded and did not sail until 20 November. In his view of Nelson Haven Heaphy shows the well at the right foreground and the barracks building at the left, so apparently made his picture just before he sailed, possibly adding finishing touches on 20 November. It has occasioned some comment that he seems to have too many ships in the view, but the answer seems to be that he was following an accepted ‘artistic convention’ in showing one ship twice. The Whitby was towed in by the ships’ boats after her grounding and we see this taking place and the three vessels are also all depicted at anchor in the Haven. Another ship leaving Nelson, out in Tasman Bay, may represent the schooner Eliza which had come in on 6 November and sailed on 9 November; or, more probably, the Arrow departing. In the invaluable New Zealand Journal the editor notes, no 58, of 2 April 1842, p 77, ‘Our intelligence by the Bailey reaches the 27th November’ and, p 75, quotes a despatch from Colonel Wakefield, dated 24 November 1841: ‘I have engaged with Mr Heaphy to proceed in the Bailey. He will take with him the charts and drawings he has

made during his late trip to Tasman’s Gulf. ..’. As a result, in no 64, of 25 June 1842, p 155, reviews include: T. A View of Nelson Haven in Tasman’s Gulph : including part of the included [slV] town of Nelson. 21 inches by 14. London: Smith, Elder, and Co., 65, Cornhill. 2. A View of part of the Town of Wellington: looking towards the south-east, and comprising one-third of the water frontage. (Uniform with the above.) London: Smith, Elder, and co., 65 Cornhill. When we inform our readers that these lithograph prints are executed by Allom, from watercolour drawings made by Heaphey, the Company’s draftsman, in November last, we need scarcely say another word in favour of their fidelity and beauty. It is well known to all who are connected with New Zealand, that Heaphey’s drawings are portraits. He possesses what has been called an “educated eye”, and even without being acquainted with the spot, a bare inspection convinces one that the drawing must be a likeness - an impression confirmed by all that are acquainted with the subjects of Heaphey’s faithful pencil. Allom, on his part, has done ample justice to the originals; his productions are, as usual, exquisite specimens of lithography, and the cheapness at which they are brought out will place them within the reach of a large class of persons interested in the colony.

‘The view of Nelson is calculated to prepossess the spectator in favour of the site of the new Colony; that of Wellington requires the spectator to turn his back upon the view first published, looking N.E., and the two together embrace about two-thirds of the water frontage of the town of Wellington. They impress us with a conception of the excellence of the harbour, and aided by the Surveyor-General’s plan of the town, and the chart of the harbour, give us a pretty accurate notion of the site of the first Colony.’ This time, in spite of so superlative a puff, Smith, Elder did not rely on it alone, and on p 156 of the same number ran this advertisement, repeated on p 168 of no 65 of 9 July 1842: ‘views recently taken in new Zealand. Just published, on a scale of 21 x 14 inches, price 2s6d tinted; and ss. beautifully coloured after nature. A VIEW OF NELSON HAVEN, IN TASMAN’S GULF, including part of the intended Town of Nelson.’

TEARO ‘Also, uniform with the above, A VIEW OF THE TOWN OF WELLINGTON, looking towards the South East, and comprising one-third of the water frontage. “These splendid views are exquisitely drawn on stone, by J. [sir] Allom, from the original paintings made in November last, by C. Heaphy, draftsman to the New Zealand Company, and convey a most faithful and complete idea of the general scenery of this very beautiful and interesting country.” - London

Review. London: Smith, Elder, & Co., 65, Cornhill.’ Apparently no key to this Te Aro view was published. Note that the newly published lithographs in tint are priced at only 2s6d as against 3 s for the Thorndon view and the Duppa New Plymouth. The coloured versions of all remain constant at ss. Interestingly, in some advertisements the Duppa is offered only in colour and then appears again later both in tint and in colour. The Heaphys were always offered in both options. Charles Ritter’s The Colonization of New Zealand. Translated from the German, from Smith, Elder and reviewed in the Journal on 1 May 1842 carries a translator’s preface dated April 1842 and advertises the Thorndon and Duppa views - both ‘Just Published’, the Duppa offered only in colour - and Heaphy’s Egmont in tint and colour. In Heaphy’s own Narrative, in September, the publishers’ advertisements at the back, under ‘Views, Plans, etc.’ include the same items as Ritter, but they follow a repetition of the Journal advertisement for the Te Aro and Nelson views, including the London Review quotation.

New Zealand, Nelson, the Latest Settlement of the New Zealand Company, by Kappa [the ‘p’s are Greek on the title-page], published by Smith, Elder, was noted in the Journal, no 72 of 15 October 1842, p 251. Dr Hocken attributes the work to John Ward. 13 On the next page of the same issue of the Journal is this advertisement: ‘The author of “Nelson, the Latest Settlement of the New Zealand Company”, who is a surgeon, accustomed to naval affairs, proposes proceeding to . . . Nelson in the spring of 1844 with his family and is desirous of communicating with respectable parties intending to emigrate, whose views are similar to those expressed in that pamphlet. . . .’ On p 7 of the pamphlet he wrote of ‘The accounts already received from Nelson, accompanied by the pretty coloured-drawing by Heaphy, (in which our old friends, the Whitby and Will Watch, are again introduced to us, in their holiday clothes,)

Charles Heaphy’s own only major publication, of 142 pages, ‘Narrative of a Residence in Various Parts of New Zealand. Together with a Description of the Present State of the Company’s Settlements. By Charles Heaphy, Draftsman to the New Zealand Company. London: Smith, Elder and Co., 65, Cornhill. 1842.’ was favourably reviewed at length, apparently from an advance copy, in the New Zealand Journal, no 68, of 20 August 1842, pp 202-3. It may not have been by chance that in the same issue appeared proposals for the founding of a fourth settlement, in the Canterbury area reported upon by Duppa and Daniells in early 1841. In no 69 of 3 September, at p 209 ‘On Ist August was published The New Zealand Portfolio the first number being reviewed at p 213. At p 216 an extract from the Colonial Gazette records that among about 170 immigrants sailing on the emigrant ship

Prince of Wales (582 tons - ‘built especially for the “passenger-trade”, and her accommodations are very superior’) was ‘Mr C. Heaphy, late the Company’s draughtsman in the colony’. On the same page: ‘This day is published, price 2s6d, cloth, narrative OF A RESIDENCE IN VARIOUS PARTS OF NEW ZEALAND, together with a Description of the present state of the Company’s Settlements. By Charles Heaphy. London: Smith, Elder, and Co., 65, Cornhill.’ No 70 of the Journal, 17 September, p 235, publishes a letter from Heaphy, written from Gravesend on 1 September, urging the setting up of a committee to encourage industrial development in New Zealand, in which he has great faith.

Heaphy sailed for New Zealand in the Prince of Wales on 2 September 1842, the day before the publication of his Narrative, and after a quick passage he arrived back in Nelson on 22 December. 14 In the Journal, no 66 of 23 July, p 180, was an advertisement (repeated in the next issue, p 192): ‘new Zealand agency. Messrs. Nattrass and Heaphy being about to return to the New Zealand Company’s Settlements in Cook’s Straits, intend (should sufficient inducement offer) to undertake the Agency of Land and other Property. Having been resident in the Colony from its formation, and being practically acquainted with each of the Company’s settled districts, and with mercantile affairs, they feel confident that the execution of any commissions entrusted to their care would give entire satisfaction. .. .’ It would seem that sufficient inducement did not offer. Although he took up some land in the Motueka Valley which he named Poenamu Farm, 15 he did not spend more than four consecutive months farming.

He carried out some exploration and survey work for the New Zealand Company in the Nelson district from time to time but gradually he did more such work for the government as a free-lance until in March 1848 Ligar, the Surveyor-General, appointed him draughtsman in the Auckland Survey Office, 16 so beginning his long and distinguished career as a civil servant. That Heaphy had left the employ of the Company while in England is confirmed by the Fifth Report of the Directors, 31 May 1842: ‘Your Directors are informed by Mr. Heaphy, late their draftsman in the colony,* (several of whose interesting views have already been published,) that when he left Wellington in November last... *The passages hereafter quoted from Mr Heaphy, have been taken from a pamphlet now in preparation for the press by that gentleman, and communicated by him to the Directors.’ Heaphy was therefore in the direct employ of the Company for only about three years, not for twelve as stated in Scholefield 17 and elsewhere. Over the next few years his occupation varied in the jury lists published each February in The Nelson Examiner - Surveyor, Motuaka [sic], 1844; Surveyor, Trafalgar Street, Nelson, 1845; Gentleman, Nile

Street, Nelson, 1846; Artist, Collingwood Street, 1847; Draftsman, Bronti [s/c] Street, 1848. 18 His future official posts were to be as diverse, but similarly loosely clustered around his surveying interests. Another frequent assumption is that the artist himself supervised the engraving of the Heaphy lithographs by Allom. We have seen that this could not have been so as to the Thorndon and Egmont views, although it is probable that he could have been concerned with those of Te Aro and Nelson. Many of Heaphy’s watercolours received by the Company were date-stamped on receipt (usually about five months after despatch from New Zealand), which often provides a useful clue as to the approximate date he made the picture. The original paintings of the four lithographs are not stamped.

Titles of Watercolours and Lithographs The Thorndon watercolour is signed Cha s Heaphy at lower left, and titled Thorndon Flat and part of the City of Wellington, in ink in the artist’s hand. The Te Aro watercolour is signed Cha s Heaphy, again in ink but at lower right, with no title given by the artist. In another hand is inscribed in pencil at left on the lower margin: ‘Drawn in September 1841 by C. Heaphy, Draftsman to the New Zealand Company’ and, below this, centred, the title used for the lithograph. But this was first written to read: ‘comprising a portion’ - ‘a portion’ has been crossed out in pencil and the title continues with the words ‘about one-third’. The Nelson watercolour conforms in presentation, with Cha s Heaphy in ink at lower right; and pencilled in another hand, ‘Drawn in November 1841 by C. Heaphy . . .’ followed as before by the title of the lithograph. The original title in ink by Heaphy, ‘Nelson Haven’, is crossed out in pencil. The Egmont watercolour is signed as before Cha s Heaphy, lower left, and is titled in ink: ‘Mt Egmont from the southward’. Below, in another hand, is pencilled ‘New Zealand’. The pencil sketch is roughly titled at the top, ‘Mt Egmont from the S.\ There are variations in the captioning of the lithographs. The Thorndon view is given as: ‘Drawn in April, 1841, by Cha s Heaphy Draughtsman to the New Zealand Company’, at left. In centre, ‘Printed by C. Hullmandel’. At right, ‘T. Allom lithog.’ There follows the title as already given in the Smith, Elder advertisements, ‘Part of Lambton Harbour . . .’. Below the title: ‘Published for the New

Zealand Company by Smith Elder & Co., Cornhill, London.’. The Te Aro view is quite different, commencing at left with: ‘On Stone by T. Allom, from a Drawing made in September, 1841, by C. Heaphy, Draftsman to the New Zealand Company’. At right: ‘Printed by C. Hullmandel’. Below is the title advertised: ‘View of a Part of the Town of Wellington . . .’. Nelson Haven matches Te Aro except for the substitution of‘. .. a drawing made in November 1841 . . .’. Mount

Egmont has: ‘Lithographed by T. Allom from a Drawing by Cha s Heaphy, Draftsman to the New Zealand Company’ at left. ‘Printed by C. Hullmandel’ at right.

Variations in Lithographs (First Issue) It should be noted that although we have always assumed that all four lithographs were published by Smith, Elder and Co for the New Zealand Company, I have no record of this having been sighted on any Te Aro or Nelson lithographs, although it is stated on all the early Thorndon and Egmont lithographs which have been sighted. Yet Smith, Elder advertised all four among their publications for many years. The Library, and other, early issues of Te Aro and Nelson bear no publisher at all, nor any reference to their being published for the Company. Since the lithographs were intended to encourage emigration, Allom made some important changes in the views by introducing figures of the contented colonists going about their daily business. Otherwise he was much more faithful to the original than many engravers were. (It is distressing to find some so-called historians in this country making erroneous assumptions based on the evidence of lithographs, which are notoriously unreliable, particularly so in many cases due to variations made by the engraver.) That Allom was successful in his endeavours is shown by the review quoted above concerning the lithograph that ‘is calculated to prepossess the spectator in favour of the site of the new colony.’

In the Thorndon view Allom introduced two groups of Maoris beside the flagpole and a top-hatted gentleman in a frock-coat, George Hunter (of Bethune and Hunter), first Mayor of Wellington. 19 There are, as in all four prints, other minor changes and additions. The Te Aro view gains Scotsmen milking the goats at the right, while the couple riding on the beach have been re-adjusted in position and direction. The Nelson view has lost its well, replaced by an affable Maori of whom no prospective emigrant might be afraid as he tends his fire; and at the left a large tree-trunk has been added, with three healthy settlers working on it. The Egmont view, as mentioned before and as may be seen in the accompanying illustrations, suffered the greatest change, with the introduction of much extraneous material, including Maoris, but in general tending further toward the pencil sketch than the watercolour.

In the production of the lithographs we again find the Company acting as might be expected, in the grand manner - Heaphy had written 20 from Nelson in November 1841 that ‘no expense was spared’ by the Company. Thomas Allom (1804-72), 21 was distinguished as an architect but was as much an artist, and specialised in drawings for

illustrated works. For many years he exhibited at the Royal Academy. He had already engraved the Birdseye View published by Moon in 1840. Later he was to etch the four views of Lyttelton and Canterbury (one by Miss Mary Townsend afterwards Mrs Dr Donald, and three by Sir William Fox), which with their descriptive text constituted no n of the Canterbury Papers, 1851. The publisher, John W. Parker and Son, at the same time issued the plates as a separate volume, priced at 2s 6d, The Four Illustrative Views of the Canterbury Settlement. The artist’s son, Albert James Allom, emigrated to New Zealand as one of Brees’s survey team, arriving with him in the Brougham, 9 February 1842. H. S. Chapman was a friend of the family. I have seen one watercolour painted by young Allom, of the Resident Agent’s house at Nelson.

As for the printer, Charles Joseph Hullmandel (1789-1850) was one of the leading lithographers of his day, who contributed to the introduction of the art into England, who was noted for the delicacy of his work and who invented the lithotint process. Lithographs in tint were printed by the use of two separate stones but lithotints used a process requiring only one stone. A number of outstanding lithographs and illustrated books were printed by Hullmandel. 22 Up to this point we have been considering what are undoubtedly the first issue of the Heaphy lithographs. They are rather rare, usually badly foxed and seldom in good general condition. Although the hand-colouring varies, the majority appear to be in rich and deep colourings, with a predominance of a rather deep blue - which may even have inspired the ‘blue’ Hoytes which were, and still are, so popular.

Second Issue We come now to the major problem, the presumed ‘second issue’ of the lithographs, identical with the first except that these bear the name of a different publisher - ‘London: Published & Sold by Trelawny Saunders, Colonial Library, 6, Charing Cross’. It would seem significant that again it has always been presumed that there were Trelawny Saunders issues of all four views, yet again I have no record of any Trelawny Saunders issues of Thorndon or Egmont. All sighted have been of Te Aro and Nelson only, and these have all been lithographs in tint, none being hand-coloured. The engraving is nevertheless identical with that of the first issue which bears no publisher. (No Thorndons nor Egmonts without publisher have been sighted.) The last publication of the first issue so far located is at the back of Smith, Elder’s 1849 An Account of the Settlement of New Plymouth in New Zealand ... by Charles Hursthouse, Jun., in a ‘Catalogue of Smith, Elder & Co.’s Publications. Works in the Press.’, separately paged. The

second to last page, p 31, under the heading ‘Embellished Works and Prints’, has: ‘views of settlements in new Zealand:- View of Wellington, New Zealand. Plain 35., coloured ss. View of Lambton Harbour, New Zealand. . . . View of New Plymouth, New Zealand. . . . View of Mount Egmont, New Zealand. They . . . exhibit the appearance of the country under the influence of colonization; showing the first habitations of the settlers, and the dawnings of commerce and civilization on a savage state. They are executed in tinted Lithography by Mr. Allom.’ Already Heaphy’s views were becoming of historical interest as a record of the beginnings of the colony. The prices are identical for each print. All the plain copies are now 3s; and the Nelson view is not listed.

It should be mentioned that this catalogue is dated January, 1848, although in the 1849 publication. A similar list dated July 1846, with an identical entry to the above for the lithographs, is included in Smith, Elder’s 1847 publication, George French Angas’s Savage Life and Scenes in Australia and New Zealand . . . I have been unable to find any advertisements as yet for the Trelawny Saunders issue of Heaphy lithographs. Surprisingly, neither The New Zealand Gazette and Wellington Spectator nor The Illustrated London News (which commenced in 1842) carry any reference to the lithographs, although the latter frequently presented New Zealand illustrations. But at p 206 in the issue of 25 March 1853 the Illustrated London News does have a woodcut after Heaphy’s Te Aro watercolour, ‘introducing to our readers a series of engravings illustrative of the boundless material resources of these islands. . .’. These took so long to eventuate that there may have been plans, later abandoned, to use the lithographs. Trelawny Saunders, himself a geographer, minor publisher and onetime temporary librarian to the Royal Geographical Society, has proved somewhat elusive. There are however a number of traces of his publishing activities. 23 A full-page advertisement on p [3] of the Canterbury

Papers Advertiser to no 1-2, 1850, has: ‘Extract from Trelawny Saunder’s Catalogue of Recent Publications on Emigration and Colonization . . . Saunder’s Colonial Reading Rooms are supplied with New Zealand Newspapers . . .’. The New Zealand Journal is included. In 1848 Kingston’s The Colonist was published by Trelawny Wm. Saunders, 6 Charing Cross (a threepenny 32p periodical); in 1849, Scott’s Colonial Inquiry, a 24-page speech, and Torrens’s Letters in a collected 2nd edition of over 200 pages, with the same imprint; 1851, Knowles’s The Canterbury Settlement, 27 pages; and 1852 Southey’s The Rise, Progress, and Present State of Colonial Sheep and Wools, 333 pages, published by Effingham Wilson, ‘also by T. W. Saunders, Charing Cross’ and by a firm in Leeds. Further, in 1851 Weld’s Hints to Intending Sheep-Farmers in New

Zealand (12 pages) was published by Trelawny Saunders, 6 Charing Cross and the 2nd edition (15 pages) in 1853 by Saunders and Stanford of the same address. (Hocken, p 164, incorrectly gives the 2nd edition, from these partners, in 1851.) By 1857 Edward Stanford, alone, of 6 Charing Cross, brought out Hursthouse’s New Zealand, or Zcalandia, The Britain of the South, and other imprints confirm that Trelawny Saunders had ceased obvious association at this period. Since Edward Stanford obviously took over Trelawny Saunders’ publishing business after being in partnership with him, he may have been responsible for the early lithographs that bear no imprint. Yet this seems out of character, for on the inside of the back wrapper of Canterbury Papers, New Series, no 1, March 1859, is an advertisement for ‘Books, Maps, and Views, Descriptive of New Zealand, published by Edward Stanford, 6 Charing Cross, S.W.’. The ‘Views’ section features - unsuspected and I believe hitherto not noted - ‘ Pictorial Illustrations of New Zealand, by S. C. Brees . . . Price 21s. (published at [The editions of 1847-49 were published by John Williams and Co, Library of Arts.] Perhaps these were merely remainders. Trelawny Saunders was also the author and publisher in 1853 of The Asiatic Mediterranean, and its Australian Port: The Settlement of Port Flinders, and the Province of Albert, in the Gulf of Carpentaria, practically proposed, where he describes himself in the title-page as ‘Cosmographer; Fellow of the Royal Geographical Society, and of the Statistical Society of London.’, and gives his address as 31 Torriano Terrace, Kentish Town.

The book advocates the formation of a new colony, Albert, in the far north of Australia, but whether he personally visited Australia is uncertain.

The article in The Journal of the Royal Geographical Society, vol 42, 1872, pp 513-6, Notes to accompany the map oj Ttahuantin-Suyu, or the Empire of the Yncas, by Trelawny Saunders, reveals that he also compiled the large folding map, based on an article in the preceding volume by Clements R. Markham, the Secretary of the Society. This is apparently the sole contribution by Saunders to the Journal. The total evidence provides little reason to explain why he was ‘so eminent a geographer’, as Markham described him.

Evidence of his further association with the publication of New Zealand views is his imprint - as Trelawney [sic] Saunders -on the uncoloured lithographs of two Otago pencil sketches by Charles Kettle. These are the ‘View of the Lower Harbour of Otago from Port Chalmers’ and the ‘View of part of Dunedin, and Upper Harbour, from Stafford Street’ The originals of these lithographs were included among the New Zealand Company pictures purchased by Mr Turnbull from Francis Edwards. Both the drawings bear the Company date-

stamp, ‘June 26 1849’. Other things being equal, this could be a clue as to when Trelawny Saunders issued Heaphy lithographs. The Kettle lithographs carry ‘C. H. Kettle Delt’ and ‘Standidge & Co. Litho. Old Jewry’. This same firm printed the Hogan lithographs of Auckland in 1852.

Third Issue’ Claims that there exists a putative ‘third issue’ from the first plates do not seem to stand up to investigation. They were based on the assumption that all four views existed, with no publisher’s imprint. But the only ones recorded to date in this category are the Te Aro and Nelson, that fill the apparent gap in the first issue, which must be presumed to have all come from Smith, Elder and Co. The true third issue is apparently that which was formerly identified tentatively as a fourth. This is the one which might well be the first of the so-called ‘forged’ issues. The possibility cannot be ignored, however, that Smith, Elder themselves had new engravings made when the first became too worn to use. They were advertising the lithographs for at least eight years, after all, although we have no idea of the size of their (or any) printing. As in all subsequent versions, the captions of the first issue are reproduced with careful exactitude - the Thorndon and Egmont still aver that they were published by Smith, Elder and Co for the New Zealand Company; Te Aro and Nelson have no publisher given.

But there can be no question that the original lithographs had been re-engraved, carefully done to give the impression that these new prints were the same issue as the earlier ones, but not done quite carefully enough. The first clue in identifying many of this issue is the colouring, which is much paler than in previous issues, with a predominance of almost a greenish-yellow toning rather than the former blues and browns. Not all, however, are in this colouring. As in earlier issues when both coloured and plain versions were available, some of the plain were coloured by artists other than those who hand-coloured the publisher’s sets. And, this time, the only uncoloured copy we have recorded is the Te Aro, which is not a lithograph in tint but a straight black and white lithograph.

There are a very great many minute variations between the original plate lithographs and the forged ones: I have counted twenty-seven in the Thorndon view alone and there are probably more. But for instant identification of the forgeries there are very obvious discrepancies. In the Thorndon view, on the beach below Clay Point, an old man is to be seen near the cattle. In the first issues he could be a shepherd or a workman, perhaps, but he is leaning forward upon his walking stick as if for support. In the forgery he looks more like a prosperous mer-

chant, leaning back with his hands resting lightly upon the stick in front of his paunch as he apparently lays down the law. The Te Aro view has one immediately obvious discrepancy. The house on the beach, second to the left from Willis Street, has only three windows instead of four. In the Nelson print it is more difficult to pick out positive variations; the simplest clue is the oars of the boat to the left of the flag-staff, which are depicted much more clearly than in the original issue, where they are rather indistinct. I have not sighted a re-engraved Egmont view since nearly twenty years ago, before I began investigations. All the issues from the second plates are on much thicker and softer paper than were the first issues. Although this paper tears and creases readily, they are usually in much better condition and newer looking than the earlier prints; and do not seem susceptible to foxing as those are.

Fourth and Fifth Issues? A fourth (?) issue gives quite a different impression, although all captioning remains unchanged. Although the prints look a little brighter, the colouring is paler and softer than in the initial forgeries. A probable fifth issue may possibly be no more than copies of the fourth, coloured in modern times. They are coloured very brightly indeed, almost garishly. The key feature is the noticeable yellowness of the Maori cloaks in both the Thorndon and Nelson views, while in these and also in the Te Aro view there is a slight yellowness to the sails of the ships that is quite lacking in the apparent fourth issue, where they are more inclined to an off-white.

Without any real evidence to support my supposition, for some time I have surmised that the first re-engraved issue might have been made in 1890, on the jubilee of the settlement of Wellington. And that, just possibly, the fifth issue first appeared in 1940: the latter certainly seems to have come to light since World War 11. A Wellington collector tells me that he heard in London that some time this century early plates had been discovered, or possibly new ones made, and more copies run off. This could link with a Christchurch collector having also been told some years ago that a dealer in Australia had a large stock of Heaphy lithographs. Certainly about five or so years ago I saw at least four of the ‘modern’ Thorndons and two Te Aro views that had been purchased in Australia within about a year by different people at prices of 40 guineas or more each. The Library acquired a similar Nelson in quite recent years. One other thing is certain. Overseas and New Zealand experience proves that whenever a reprint or facsimile of an early book or print is issued as such, prices for the original issues rise. More people become aware of the item in question, and purchasers of the recent version seek

to obtain an earlier copy as well. In the past no price distinction has been made between the various issues, but perhaps surprisingly the 1963 Queen’s Prints, which went out of print soon after issue, have stabilised at the top price of S2OO a set. Perhaps, of course, this is a tribute to the quality of Heaphy’s pictures irrespective of what form their publication takes. Even more likely, probably, is the historical interest inherent in them, more especially the two Wellington views. These were both taken from Clay Point, the bluff which stood exactly where Stewart Dawson’s jewellers shop now is, at the junction of Lambton Quay and Willis Street. Below lies Lambton Quay of today, then the beachline, running up to Pipitea Point. Everything to seaward of Lambton Quay stands on reclaimed land. The spit projecting half way along the beach is Kumutoto Point, where the Midland Hotel stands now, opposite Woodward Street - Kumutoto Stream and Pa were up that street. The large green space on the left centre further along, now Parliament grounds, shows Colonel Wakefield’s house about where the front steps of Parliament now are. The little thatched hut below is Dicky Barrett’s first grog-shop, which served as post office and the first public library in the country, and where church services were held - after Barrett’s Hotel opened in 1840 to become the social and political heart of Wellington. It is the twostoreyed prefabricated wooden building, originally brought out by Dr Evans to be used as a school, and Heaphy shows it clearly just a little further north along the old Lambton beach. So in the Te Aro view, with Upper Willis Street at extreme right but no Manners Street yet in existence. The cove was soon filled in to allow Willis Street to continue straight across where the water was. The beach running off towards Mount Victoria is now roughly Wakefield Street. The Town Hall and Public Library stand in what was the sea. The jetties and stores have all been covered by reclamation. Then comes Te Aro pa, and, beyond, Oriental Bay still far from being developed for even the first time. Whether it will ever be possible to discover the full publishing history of the Heaphy Lithographs is doubtful. But it is to be hoped that publication of this enquiry may bring us more leads, some of which may in time produce final answers to one of the most complex problems in the field of New Zealand print collecting.

T. B. COLLINSON 1822-1902

REFERENCES I Heaphy, C., MS. papers in ATL - finally fixing the date of his birth, variously given previously as being from 1820-22. 2 Turnbull, A. H., MS. papers in ATL - letter from Francis Edwards Ltd 17.11.15 offering approximately 100 paintings and drawings by Heaphy, Fox, Mein Smith and Kettle formerly owned by NZ Co. 3 Wakefield, E. J. - Adventure in New Zealand ... (London, 1845), vl, p 272.

4 Hocken, T. M. - Bibliography of the Literature Relating to New Zealand (Wellington, 1909). 5 The Turnbull Library Record, ns, v 1, no 4, pp 40-41. 6 Heale, T. - New Zealand and the New Zealand Company (London, 1842). 7 Huxley, L. - The House of Smith Elder (London, privately printed, 1923) pp 1, 10, 15, 40, 45, 180.

B Duppa, who arrived in New Zealand 1840, is reputed to have been the first man to make his fortune here, selling the 90,000 acre St Leonards Station in North Canterbury to the Rhodes brothers and Wilkin for -£150,000 in 1862. [Gardner, W. J. - The Amuri (Culverden, 1956) p 157.] 9 McCormick, E. H. - Letters and Art in New Zealand (Wellington, 1940), pp 34-5. 10 Wakefield, E. J. - op cit, v 1, p 146. 11 Wells, B. - The History of Taranaki (New Plymouth, 1878) p 59. 12 The New Zealand Gazette and Wellington Spectator, v 2, no 94, 1.12.1841, p 2. 13 Hocken, T. M. - op cit. 14 The Nelson Examiner, v 1, 24.12.1842, p 166 - The Prince of Wales arrived 22 December with 33 passengers and 170 immigrants. 15 Fitzgerald, N. R. - A Bibliography of Charles Heaphy, unpublished typescript in ATL, P 7-

16 Fitzgerald, N. R. - op cit, p io. 17 Scholefield, G. H. - A Dictionary of New Zealand Biography (Wellington, 1940). 18 The Nelson Examiner, V 2,17.2.1844, p 404; v 3, 8.2.1845, p 191; v 4, 7.2.1846, p 193; v 5, 6.2.1847, p 193; and v 6, 5.2.1848, p 191. 19 Ward, L. - Early Wellington (Wellington, 1928), p 253. 20 New Zealand Journal, no 58, 2.4.1842, p 79 - letter from Heaphy at Nelson to W. Lyon, Wellington, dated 6.11.1841. 21 The Dictionary of National Biography (London, 1885). 22 Twyman, M. - Lithography 1800-1850 (London, 1970) and Twyman, M. - The art of drawing on stone, in The Penrose Annual 1971, pp 107-18. 23 1 am indebted to Mrs E. M. Ellis for pointing out the reference in the Canterbury Papers and to Miss Lila Hamilton for drawing my attention to Sir Clements Markham’s The Fifty Years Work of the Royal Geographical Society (London, 1881).