Walking among the headstones

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Napier Hill Cemetery 5

During January, February and March, 2014 MTG Hawke’s Bay will again host three guided tours in the Napier Cemetery. These highly successful tours were launched in November 2008 in association with the exhibition Somebody’s Darling, Stories from the Napier Cemetery, curated by Peter Wells and Gail Pope and have run every summer since.

Row upon row of hand crafted headstones contrast vividly against the startling blue of the sky, shadows cast by the varying hues and patterns of the trees and leaves produce constant movement and dance over headstones and the air is punctuated with birdsong. Spectacular views looking out towards Cape Kidnappers and Te Mata Peak can be glimpsed between trees contorted by age and weather. The beautifully crafted headstones identify well-known local and national identities as well as the ‘everyday’ men, women and children who also have extraordinary stories associated with their lives, and their deaths.

In conjunction with the exhibition a group of keen volunteer gardeners, Jenny Horne, Jenny Baker, Heather Carter, Sue Langford, Peter Wells and Gail Pope formed the Greening the Graveyard Group. Their aim, with the support of the Napier City Council, was and is, to turn a stark grey environment into one of colour, fragrance and life.

Napier Cemetery 4

The income received from the cemetery tours each year has been used to support the museum redevelopment project and for the Greening the Graveyard Group to purchase plants to enhance the beauty of the cemetery. For the last three years the Greening the Graveyard Group have also used the funds to purchase new works for the Hawke’s Bay Museums Trust collection.

Napier Cemetery 2

Napier Cemetery 1

The first item purchased by the Greening the Graveyard Group was A Study of Two Figures by George Wood (1898-1963). Wood was a New Zealand draughtsman, illustrator and artist. He is best known for his graphic stylized images which capture form and light through simple line with the use of unbroken colour.

His work reflects the concerns and style of the Art Deco movement, which fed into the modernist Avant-garde and also shows the influence of Māori culture and the Pacific Islands. Such works as this are extremely rare and particularly resonant within the context of the Hawke’s Bay Museum’s Trust collection.

George Wood (1898-1963) A Study of Two Figures Printed in ink on paper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2012/29

George Wood (1898-1963), A Study of Two Figures
Printed in ink on paper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2012/29

The second piece purchased by the group was a repoussé tray made by Cedric Storey. Storey was an artist, panelbeater, sculptor and jeweller. He designed the Auckland City Council official coat of arms and created the much-loved dragon at the Auckland Zoo in the late 1950s. This tray is rare example of a New Zealand made piece of Arts & Crafts metalwork, rectangular in design with raised decoration at either end in the form of grapes and vine leaves.

Cedric Storey Repoussé tray Brasswashed copper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey, Repoussé tray, Brasswashed copper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey Repoussé tray Brasswashed copper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

Cedric Storey, Repoussé tray, Brasswashed copper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/25

This top, a sample garment from the Laurie Foon label, a designer and founder member of the Starfish clothing range was purchased for the collection in 2013. One of the many attributes of Starfish clothing was the understated detailing and relaxed lines that allowed the wearer to integrate the garment into their own unique style. The label was also known for a commitment and focus on environmental sustainability.

Laurie Foon Sample garment Silk and cotton Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/34

Laurie Foon, Sample garment, Silk and cotton
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/34

The most recent purchase, in late 2013 was the painting titled, In the Bath by New Zealand artist Murray Grimsdale. Grimsdale’s recurring concerns as an artist are the events and the people which surround him. His works are often domestic in scale and familial in subject.

Murray Grimsdale In the Bath Pastel on paper Collection of Hawke's Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/49

Murray Grimsdale, In the Bath, Pastel on paper
Collection of Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 2013/49

The money raised over the summer 2014 tours will continue to be used to develop the collection and we look forward to sharing new acquisitions purchased by the Greening the Graveyard group over the coming year.

The guided walks are being held on the following dates at 2.00 pm:
Sunday January 26th
Sunday February 16th
Sunday March 23rd

Cost: $12 per adult, children free
Payment to be taken on the day.

Please wear sturdy footwear, a sunhat and take a bottle of water.
The tour meeting point is at the gates of the Cemetery, situated on Napier Terrace, next to the Botanical Gardens.

Tours do book out, so please book early to secure a place by calling MTG Hawke’s Bay, 06 833 9795 or email events@mtghawkesbay.com

Gail Pope
Curator of Archives
January 2014

The photographs of the cemetery used in this post were taken by David Frost, Graphic Designer & Photographer, MTG Hawke’s Bay

the written word

Our extensive taonga Māori collection dates from the days of the Athenaeum established in 1865 and includes the collections of Donald McLean, G J Black and George Ebbett. Numerous Māori related items also appear in the archive including photographs, manuscripts and collections of maps.

As a curator there are times when you stumble upon major treasure troves. This stumble was more of a casual conversation with archivist Gail Pope who brought my attention to Māori items in the William Colenso collection.

It is important to first understand the significance of the Māori language to William Colenso and his family. He arrived in New Zealand as a missionary from England and understood the importance of learning Māori to his position. Letters to and from local rangatira and other manuscripts show Colenso signed off as Te Koreneho, a transliterised Māori version of his name. Te Koreneho’s household was a Māori speaking household. His wife Elizabeth Colenso and two children, Fanny and Latimer, were all fluent speakers of Māori. Both children spoke only Māori until the ages of 7 and 8. Elizabeth, a teacher, had translated English stories into Māori, two of which, ‘The Little Wanderers’ and ‘Rocky Island’ by Samuel Wilberforce were published by the Bishop Press in Waimate in 1843 and 1844.

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Ko ngā Tamariki Haereere Noa 1843 and Te Motu Kowhatu 1844, written by Samuel Wilberforce, translations by Elizabeth Colenso. Collection of the Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 38/208 and 28/207

In terms of publishing Māori material and resources to teach Māori speakers ‘the written word’ Te Koreneho undertook Māori language projects that were turning points in 19th Century development of Māori. This was a crucial time for printing in Māori as Māori people themselves were only beginning to interpret their own language in writing.

Formerly these would have been created to teach Māori to read the Bible – Te Koreneho had translated the complete New Testament into Māori in 1838. However, this work to familiarise Māori with reading and writing in their own language enabled them to do the same with English.

So devoted was Te Koreneho to developing the learning of Māori speakers that he was contracted by the Government to formulate a complete Māori lexicon in seven years for which he was paid a remuneration of £300 a year. A change of government over that time meant serious complications for the progress of this lexicon, for example, the withdrawal of the free postal service had a dramatic impact on his communication with the government. Three and a half years passed and he was notified that a large portion of the lexicon should be in the press. After he replied that this was impossible he was notified that his remuneration would cease to continue until further notice. He continued to work unpaid to the point where he was ordered to provide a ‘sample’ of his approved lexicon. He had only in retaliation to what he perceived as inappropriate treatment and in 1898 had only completed and printed the letter block A.

Mr. Colenso’s Māori-English Lexicon (specimen of); Manuscript. New Zealand. William Colenso (b.1811, d.1899) Collection of the Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 45/372

Te Koreneho also printed Te A-nui a Wi, Willie’s First English Book in 1872 but only parts one and two of three. The name of this publication can be interpreted as ‘The big A of Wi’ or ‘The alphabet of Wi’. Within the series, the target language is English delivered in Māori. We can interpret from the title that the resource was dedicated to Te Koreneho’s son Wiremu, who much like Te Koreneho’s older children, did not converse in English. We can further allude to the dedication being made to the Māori children of the community, providing an important and unique resource for learning English as a second language.

Willie’s First English Book, Part I; William Colenso (b.1811, d.1899), George Didsbury, Government Printer (est. 1865, closed 1893) Collection of the Hawke’s Bay Museums Trust, Ruawharo Tā-ū-rangi, 4577

It has been a privilege for me to return to my whenua and have the opportunity to work amongst my iwi specifically, the opportunity to develop an intimate relationship with our taonga Māori collection and Māori archival material.

Migoto Eria
Curator Taonga Māori
December 2012