Collecting prints from NZ Fine Prints? An update.

Running a business in Christchurch as the city rebuilds is a challenge.  It's exciting seeing the new buildings going up and houses finally being repaired.  However the constant noise is wearing, roadworks droning on from streets away all day for weeks at a time, our new neighbour is having seemingly endless stone walls built, the tink, tink, tink of hammers and the snarl of stone cutting saws 8-6 six days a week for the past six months.

Forced to relocate from the central city to Cashmere by the government's confiscation of our gallery's land for the "green frame" (now being developed by Fletcher's for housing) we now relish the 21st century way of doing business close to home.  It seems like this is the way of the future for a specialised niche business that sells over the internet rather than through a traditional retail store (NZFP's roots are in mail order, not retail).

Post earthquake street art outside NZ Fine Prints' new home
Just after NZ Fine Prints arrived at 139 Hackthorne Rd a previous neighbour called the council about Jason Kelly's "Greenzone" artwork on the plywood fence around our collapsed garage which they thought was too big for a "business sign" in our part of town. CCC officials then came out, said "Greenzone" was (of course!) a piece of street art rather than a non-complying sign and they checked out that NZ Fine Prints complied with their regulations (employee numbers, selling online etc). They assured us that our business model fitted in with the pre-earthquake city plan and in fact, given our size and the reality that our customers purchased online rather than in store, we didn't even need a special post earthquake 5 year resource consent that some businesses had to apply for.

Today we've had another neighbour on our shared driveway concerned about someone coming in to pick up a print they had ordered and parking for a few minutes in a shared area common to our three properties.

Until we have our top garage rebuilt (which we are going to use for pickups and courier deliveries directly from Hackthorne Rd) we'd like to ask that customers collecting prints park at the top of our long drive and walk down if they are able to.  A little bit of extra consideration that will help us harmoniously coexist with our neighbours until we get our top garage re-built which will move all business traffic off the driveway completely. Yes, we are still waiting for our insurance company to get on with our claim five years after the quakes - but we are confident this will be completed by the end of 2016. Thanks.

Dumont D'Urville's artists & their prints of NZ

 Early NZ lithograph "L'Astrolabe in French Pass" 
Within the range of early New Zealand prints, there are no better or more significant French prints than those published after two voyages of L'Astrolabe under the command of Dumont D'Urville. His records are as important in their way as Cook's, and the prints published in the Atlas to each voyage are among the finest New Zealand prints.

Published at a time when French lithography was at its peak, they are superb examples of both artistic and accurate recording and the highest technical proficiency in drawing on stone. Originally published in black-and-white, many plates are now found hand-coloured, and it is believed some volumes were coloured for the publisher.

Dumont D'Urville was an extraordinarily talented man, with a wide range of interests. He had entered the French Navy in 1807 as a midshipman, and passed his examinations in navigation and mathematics to gain first place among 72 successful candidates. Simultaneously, for his own interest, he was studying Greek, Latin, and Hebrew, to which he would later add Spanish and Italian. His other great love was botany, and after an application to join Freycinet on Uranie was unsuccessful, he spent all available time studying botany and amassing a very large and important collection of plants.

In 1820 Dumont D'Urville sailed on his first voyage, a nine-month cruise in the eastern Mediterranean and the Black Sea as an assistant in hydrographical research. He was present at Melos when the Venus de Milo was discovered, and it was through his influence that the statue was purchased for the Louvre.

The following year, promoted to Lieutenant, Dumont D'Urville at last set sail for the Pacific, with Duperrey aboard Coquille. The events of the period of almost three years that Coquille was away from France left a profound impression on Dumont D'Urville, and he could scarcely wait for his next chance to go to the South Seas. In addition to his duties as executive officer, he had been responsible for the zoological and botanical records, and later published accounts on these subjects earned him high praise.

L'Astrolabe: First Voyage, 1826-1829
Promoted to the rank of Commander in November, 1825, and commissioned to Coquille the following month, Dumont D'Urville began the long preparations for his own great scientific voyage. His instructions were to sail via the Canary Islands, round Cape Horn, to visit Australia and New Zealand before exploring further in the South Pacific, and to return to France via the Indian Ocean and the Cape of Good Hope. Even the dates for the various stages of the voyage were prescribed, though they were to prove very difficult to maintain.

Coquille was renamed L'Astrolabe for the voyage, and sailed in April 1826. Among those aboard were Lesson, the botanist, Barthelemy Lauvergne, Dumont D'Urville's secretary, whose artistic talent was pressed into service to record many zoological specimens; and young Louis Auguste de Sainson, the expedition's official artist, who was later to become a permanent clerk to the Admiralty.

L'Astrolabe spent almost three months on the New Zealand coast, moving from the north of the South Island up the entire east coast of the North Island. The expedition members were tireless in their recording: a report published after their return to Paris states (of the whole cruise): "There are a great many drawings designed to show the character of places, the types of men living in them, their costumes, arms, dwellings, etc.: eight hundred and sixty in all. We owe them to M.de Sainson.  If. . . we add four hundred views of the coast drawn by M. Lauvergne, the total number . . . will reach twelve hundred and sixty-six . . . [there is also a] fine collection of portraits of the natives which comprises one hundred and fifty-three figures . . . this collection calls for special attention . . ."

From New Zealand L'Astrolabe went to New Guinea and in February 1828 to Vanikoro, where the remains of La Perouse's ships were definitely identified. L'Astrolabe returned to France in March 1829.

Dumont D'Urville's pride and pleasure in the accomplishments of his expedition turned to dismay and bitterness when the Admiralty refused any recognition of the work of his officers and men: indeed, he charged the Admiralty with "indifference" and could not accept their lack of interest and support.

Over the next four years Dumont D'Urville himself wrote the entire text of the five volumes of narrative of the voyage of L'Astrolabe, and in 1835 saw the completion of publication of the whole account — twelve volumes of text and five albums. The Atlas included 32 superb New Zealand views.

L'Astrolabe: Second Voyage, 1837-1840
Dumont D'Urville's third Pacific voyage began in September 1837 when L'Astrolabe, in company La Zelee, sailed from Toulon. He was 47 years old, and the new expedition was both hazardous and arduous: these ships were to explore the South Polar region.
Print of Stars & Stripes flying over Russell in 1840
with

L'Astrolabe and La Zelee spent the months from January to March 1838 exploring in the Antarctic, discovering and naming Louis Philippe Land in honour of the King, and drawing many maps and charts which were forwarded from Valparaiso in May. The period to December 1839 was spent among the Pacific islands, but in January 1840, Dumont D'Urville took his ships south again into the ice, and the names of Adelie Land (for his wife) and the Clarie Coast (for the wife of Captain Jacquinot of La Zelee) were among those added to the polar maps.

From March to May 1840 Dumont D'Urville revisited New Zealand, approaching from the south and passing Stewart Island before again sailing up the east coast. The artist on this occasion was Louis Le Breton, a surgeon and naturalist, and gifted painter who was later to exhibit at the Paris Salon.

L'Astrolabe and La Zelee returned to Toulon in November 1840, and this time Dumont D'Urville had no cause to complain of "indifference". He was awarded the Gold Medal of the Geographical Society, and was promoted to Rear-Admiral, while his officers and men received awards from the King.

For the next two years Dumont D'Urville worked on the preparation and publication of the account of the voyage, and two volumes had appeared when, in May 1842, he, his wife, and their only child, were burned to death in a disastrous train wreck. The third volume of Voyage au Pole Sud was written by the expedition's geographer, Vincendon-Dumoulin. One of the prints included in this volume was “Entry to the Bay of Islands New Zealand” that has been republished by Thorndon Fine Prints. This shows the American flag of the time flying from the flagstaff later made famous by Hone Heke on Flagstaff Hill near Russell and is now available for sale online here.

Stanford Arts closes - end of an era for NZ art print distributor

For the last twenty years the name Stanford Harts/Arts has been part of the art print distribution scene here in NZ.

Originally this wholesale art print distribution business - publishing the "N.Z. Art Prints" New Zealand prints catalogue of kiwi artists - operated from Onehunga in Auckland, part of a larger enterprise "Stanford Arts" that supplied framing supplies, picture mouldings and framing equipment to the picture framing trade throughout NZ.  By the turn of the century Stanford Arts had two branches when another warehouse was opened in Christchurch.  The print distribution moved down to Christchurch and was run by Leanne Haglund, at the time of this shift we welcomed having another distributor so close by to us, just a couple of blocks away from we were located pre-earthquakes in Hereford St.

Popular "Auckland Essence" Print distributed by Stanford Arts
When international framing manufacturer and distributor Larsen Juhl purchased Stanford Harts' NZ operations the wholesale art print distribution business did not fit with the plans of the new corporate owners.  The print department was spun out as a separate business in 2007 and sold to Auckland businesswoman Janet Dalton who renamed the business Stanford Arts (cleverly dropping the H).

Janet had 22 years in the framing industry including owning her own picture framing shop for the 12 years prior to purchasing the print department from Larsen Juhl.  She continued to import on indent from a wide variety of art print publishers such as Bruce McGaw and Rosensteils, as well as wholesaling a growing stable of NZ artists such as Timo Design (Timo Rannali), Rob McGregor and Ingrid Banwell, an Auckland artists whose top selling print features in this post.  Janet was very adept at collating large numbers of different prints from many different suppliers into her weekly deliveries to NZ Fine Prints and it was with some sadness that we heard she planned to close her business in order to retire at the end of 2015.

We have managed, with Janet's kind assistance, to contact nearly all the artists whose prints NZ Fine Prints stock via Stanford Arts and look forward to continuing to make these titles available for purchase both through our mail order catalogues and online.  Unfortunately a small number of art print titles will have to be deleted in due course as stock is no longer available, we'll be posting these prints in our endangered gallery.

Picture framers looking for prints previously wholesaled by Stanford Arts are welcome to get in touch as we may be able to supply prints to them from our stock at trade prices now we are dealing directly with the artists concerned.

Here at NZ Fine Prints we'd like to take this opportunity to wish Janet a long and happy retirement, with more time to travel both here and abroad!

Art print publisher devastated by arson attack overnight

We were absolutely shocked to learn that local art print publisher Image Vault was the victim of an arson attack in the early hours of this morning.  The current owners had only purchased the business back in July of this year.  Christchurch businesses have been through a lot over the past five years, and this event is yet another of those unpredictable "black swans",  but also one that couldn't come at a worse time of year for a business that supplies the Xmas gift market and are at the height of their print production schedule.  We are heartened by the fact Carl and Nicola are reported as saying they were fully insured and able to start printing again at temporary premises and our staff will be offering every assistance to them in the coming days.

The first thing my mother said when she heard of this was to text me that this was the same time of year as our "factory fire".  This reminded me of one of my earliest memories - which is of the fire that gutted our family's picture moulding factory back in the late 1970s. Not arson, this was caused by thinners spontaneously igniting in the dangerous goods store and the intense heat was such that it melted the steel girders of our building in Carlisle St. I remember being lifted up to look into the cab of the fire engine and the smell of the fire.  This was the second time Avon Fine Prints (as New Zealand Fine Prints was known as back then) had been hit by fire, their office above the National Party headquarters in Christchurch had also caught fire when my parents were on an overseas trip in the late 1960s, they returned home to find that their staff had relocated back to the sitting room of their house!

I hope that our business's experience of recovering from similarly devastating fires a long time ago means that the path back to normality for Image Vault will not as long or as hard as it must seem from the vantage point of today for Carl, Nicola, Jen, Amanda and Tony at Image Vault today.

Print on demand and hopefully cloud storage of their catalogue of files that they need to print canvas art prints will mean technically they can be back in business quite quickly, but the framing side of Image Vault's business may take longer to recover due to the loss of equipment and supplies - we may not be able to offer the standard box framing on their titles for at least a few weeks.  We are also concerned that because their back stock of off-set prints will have been lost many of their older titles from artists like Grahame Sydney, Diana Adams, Barry Ross Smith, Jason Kelly etc may not be able to be re-printed on demand as the contracts with the artists last only as long as physical stock was on hand.  NZ Fine Prints hold a few months worth of stock of most of these titles but this may mean some popular prints may be deleted well before the editions would have sold out naturally.

The earthquakes were incredibly disruptive but print buyers were overwhelmingly supportive and understanding of delays as we all juggled frantically behind the scenes to get their orders shipped. In the weeks following the Feb 22nd quake we had just one customer cancel their print order. This is another of those times that we will do our very best to let you know immediately if there will be a delay in shipping your order and in return ask for a bit of leeway if your print is delivered outside our normal delivery guidelines due to this devastating fire at one of our favourite suppliers.  

NZ Artists celebrate rugby, our national sport

"Rise Up" print by Barry Ross Smith
With the final of the 2015 rugby world cup this weekend today we are featuring prints for sale of artworks by NZ artists that feature our national sport.  This time there has been no commissioned art by the world cup, unlike the 2011 rugby world cup in New Zealand when Dick Frizzell was commissioned by the organisers to produce a series of limited edition screenprints (the unsold prints were purchased by a couple of ex- All Blacks and will no doubt resurface shortly if NZ wins the 2015 tournament).

One of our favourite pieces of NZ sporting art is "Rise Up" by Barry Ross Smith.  He's not a dispassionate observer of the game like British born but NZ resident artist David John with his now venerable "changing room" series, Smith is a passionate supporter of rugby.  His painting depicts the haka as performed by bull like rugby players, simultaneously referencing Greek legend, our most famous team and NZ's farming heritage that features so strongly in his work.

Now just about sold out - so I won't add a link to the print on our website - is a nice historical print of NZ's first game of rugby, between this writer's old school - Nelson College and a team of non-school players from Nelson in Paul Wilding's "The College vs Town".

NZ's First Game of Rugby - Artist Paul Wilding
Issues around licensing mean that artists can't depict actual players or official New Zealand team playing strips, in a series published by Christchurch art print publisher Image Vault Julia Drake valiantly attempted to depict a rugby match without breaching the All Blacks ferociously enforced copyright.

Old Rugby Boots - Dick Frizzell Limited Edition Print
Haka Actions (Kia Kaha Kid)
There is no reason why our sporting success can't be celebrated in art, earlier in the year we called for more, not less, sporting art but only Dick Frizzell seems to be open to respond-ing to the obvious market demand for prints of rugby - win or lose in the cup final this weekend this is one subject that will be on NZ's walls for as long as we are selling art prints to New Zealanders.  From both ends of the pricing spectrum here is "Kiha Kaha Kid" - the actions of the New Zealand rugby team's haka performed by Dick's character of the same name ($49.95) and his $1050 screenprint of a pair of rugby boots (Old Boots) treated with all the seriousness of a painting of the high Renaissance.