The house that Thomas built

I’d like you to meet the Reverend Thomas Richard Fisher, a devout Wesleyan whose ill-health – preacher’s throat, no less – unfortunately prevented him from preaching for some time. He arrived in New Zealand in 1857 and promptly set himself up in business in Christchurch (apparently he arrived with quite a lot of money, and made even more – but don’t say I told you). Since his arrival in Christchurch, he’s devoted himself to worthy activities – a founder of the British and Foreign Bible Society and a minister for the Wesleyan church, and he’s even preached for the Congregationalists and the Presbyterians from time to time. Such a religious chap. It’s 1885 now, and he’s 79 and he’s slowing and settling into his retirement, during which he and his wife Sarah would love to spend as much time as possible with their ever-increasing family of children, grandchildren and great-grandchildren (of whom there will be 36 by 1890; Press 13/1/1890: 5). Such a fortunate man! Colonial life has been so good to him!

Cotswold House, 2012. Photo: M. Hennessey.

Cotswold House, 2012. Photo: M. Hennessey.

Unfortunately, we don’t have a picture of Thomas or Sarah Fisher, but until the earthquakes, we had two buildings that Thomas was intimately associated with, both of which we recorded. Many of you will be familiar with the Fisher building, one of the central city’s most prominent 19th century buildings. But you’re probably less familiar with Cotswold House, the house the Fishers built in Parlane Street (then Clifton Street).

An 1860s advertisement for Fisher's business. Image: Lyttelton Times 22/12/1864: 6.

An 1860s advertisement for Fisher’s business. Image: Lyttelton Times 22/12/1864: 6.

Thomas Fisher set up shop on the corner of High and Hereford streets in c.1860, establishing a grocery shop there. By the late 1870s, Thomas’s son William had joined the business, and they built new premises, designed by no less an architect than William Armson. Clearly, the rumours of wealth were more than just rumours…

The resulting building was a glorious Venetian Gothic number, as suited the prosperous businessman in the years before Commercial Classicism became the style du jour. Built in brick with limestone detailing, it occupied its corner site well. This was a three-storey building, with a stone-lined basement underneath. The numerous limestone carvings drew on nature for inspiration (echoing some of the themes in last week’s post). The underside of the veranda was pressed tin and the veranda brackets were an excellent example of Victorian excess.

The basement found under the Fisher building. Photo: M. Hennessey.

The basement found under the Fisher building. Photo: M. Hennessey.

Rondels on the Fisher building. Photo: K. Watson.

Rondels on the Fisher building. Photo: K. Watson.

Veranda post on the Fisher building. Photo: K. Watson.

Veranda post on the Fisher building. Photo: K. Watson.

A window, Cotswold House. Photo: M. Hennessey.

A window, Cotswold House. Photo: M. Hennessey.

But what about Richard and Sarah Thomas’s house? It was built in 1885, but we don’t know who the architect was (not Armson, as he’d died in 1883). Thomas and Sarah’s new house was a bay villa. Although it looked relatively plain, after studying the building, I am left with the sense that it was richly decorated, but in a calm, restrained way. There was little in the way of Victorian excess here, with the exception of the cast iron fretwork around the veranda. The richness came in the little details: the corbels, the pediments, the angle-stops, the panels under the windows, the porthole-style ventilation holes. Small details, well executed.

It was big. About 16 rooms (although the newspaper advertisements said 11 or 12, but apparently some rooms just don’t count). With seven bedrooms. Why did a retired couple need seven bedrooms? I guess there were all those children, grandchildren and great-grandchildren to come and stay. And there must have been at least one servant, although all the bedrooms were generously sized, and all had fireplaces.

The breakfast room fireplace. Photo: J. Hughes.

The breakfast room fireplace. Photo: J. Hughes.

Most of the original decorative features inside the house were long gone when we recorded it, but some fireplaces remained, as did skirting boards, a ceiling rose and some cornices. The original fireplaces weren’t those from very best rooms, but there was one from the breakfast room and two in the upstairs bedrooms. And the interesting thing about these was that they matched – not just each other, but also the external decoration. Oh, the one from the breakfast room was a bit fancier, but all three were of the same basic design, and they matched the corbels on the exterior. Not immediately obvious, but it’s these small things that matter. We all know that Victorians were fairly over-the-top by our interior decorating standards, and often every fireplace in the house was different. Not in this case. Maybe it was cheaper to buy a bulk lot, but I prefer to think that the Fishers were paying close attention to the decoration of their home, and ensuring a consistency of design throughout.

The first floor, upside down. Photo: M. Hennessey.

The first floor, upside down. The tongue & groove floorboards are at the bottom, with the insulation boards above, running between the joists & supported by fillets. Photo: M. Hennessey.

There’s just one other detail about the house I’d like to draw your attention to: the floor of the upper storey was sound-proofed. Yep, that’s right. We’ve only seen this in two other 19th century buildings in Christchurch, and they were both commercial. Not a common thing to do then. So why did the Fishers go to the trouble of sound-proofing their home? Good question. Maybe it was those hordes of grandchildren and great-grandchildren, creating a ruckus upstairs and disturbing the genteel entertainments of the Reverend and Mrs Fisher.

Two buildings representing the two different faces of the Reverend Thomas Richard Fisher. The central city business, designed to catch the eye and draw the customer in, reflecting the successful businessman. The suburban residence, presenting a restrained, genteel façade, reflecting the refined tastes of the Wesleyan minister and his wife.

(As a side note, it’s interesting to compare Cotswold House to William Bowen’s house, featured a few weeks back.)

Katharine Watson

References

Lyttelton Times. [online] Available at: http://paperspast.natlib.govt.nz/.

Press. [online] Available at: http://paperspast.natlib.govt.nz/.

Inside an asylum

Bedlam. That’s how most people think of 19th century hospitals for the mentally unwell. The phrase ‘lunatic asylums’ – which was how such institutions were known at the time – doesn’t conjure up much better images. But what if the situation were quite different? What if, instead of the mentally unwell being chained up, never visited and hidden from sight, the patients of the mid-19th century were instead treated with respect and kindness, interacted with the broader community through plays and dances, gardened, participated in trades and were never restrained and rarely treated with medicines?

Sunnyside Lunatic Asylum in the 19th century. Image:  Te Papa O.034082.

Sunnyside Lunatic Asylum in the 19th century. Image: Te Papa O.034082.

In fact, this is what many mid-late 19th century asylums aimed for. The treatment of patients at this time was based on a philosophy known as ‘moral management’ and, fortunately for Christchurch residents, one Edward Seager, first superintendent of Sunnyside Lunatic Asylum, was a strong supporter of this philosophy. The four principles that underlay the philosophy were:

  • patients should not be restrained but should instead be supervised;
  • patients should be classified according to the degree of insanity and their stage of recovery, both during the day and at night;
  • patients should be given the opportunity to participate in activities and employment; and
  • patients should have the opportunity to participate in exercise (Piddock 2001, 2004).

In many ways, the Sunnyside Lunatic Asylum – now Hillmorton Hospital – epitomised these principles in its early years. The hospital was established in 1863, and the complex expanded throughout the 19th century, with a number of the buildings designed in the Gothic revival style by Benjamin Mountfort. The hospital grounds were large enough to include a farm (initially, at least), gardens, airing yards and numerous workshops for practising trades. Patients resident at Sunnyside worked in the grounds and workshops, exercised in the airing yards and took part in a range of social activities, including cricket, church services, plays and weekly (later fortnightly) dances. The public were encouraged to attend many of these events. This focus on entertainment and engagement with the broader community seems to have fallen off with Seager’s departure, and as the number of patients in the asylum increased (Seager 1987).

An inspector's comments after visiting Sunnyside in 1875 (AJHR 1875 H2:5).

An inspector’s comments after visiting Sunnyside in 1875 (AJHR 1875 H2:5).

In spite of the best efforts of Seager, later superintendents, and the asylum inspectors, the archaeology of the Sunnyside Lunatic Asylum revealed that the reality lay somewhere between the horrors of Bedlam and the ideal of moral management.

Microsoft Word - Report

A gravel path with brick edges in east airing courts. Image: K. Watson.

Documentary records reveal a range of details about the asylum. Plans tell us that the grounds of the asylum were landscaped with sinuous paths (and the archaeology confirmed this). There is little mention of medication in the records, but detailed descriptions of patient classification systems and the employment and entertainment opportunities they were provided with. What the documentary evidence does not highlight is the degree of separation between staff and patients, nor does it provide much detail about how patients rebelled against the institution. Archaeology, however, does.

Sunnyside Lunatic Asylum china. Image: K. Watson.

Sunnyside Lunatic Asylum china. Image: K. Watson.

During the 19th century, the separation between ‘us’ (the staff and, by association, ‘normal’ people)  and ‘them’ (the patients) was reinforced by forming the male airing courts so that the staff outside looked down on the patients inside. While this would have made monitoring patients’ behaviour easier, it also reinforced the differences between the staff and patients and ensured that both were fully aware of these differences. The staff – and possibly visitors – were also separated from the patients in the airing courts through substantial brick and cast iron fences. At meals, the use of branded asylum china reinforced to patients their position as ‘lunatics’ and, consequently, both their position in society and their ‘difference’ from the rest of society.

The toilet block, with an enclosed drain to the left and the open drain to the right. Image: K. Watson.

The toilet block in the East Wing airing courts, with an enclosed drain to the left and the open drain to the right. Image: K. Watson.

Further evidence that the patients were seen as different, and thus could be treated differently – and, significantly, could be treated badly – was found in the airing courts associated with the East Wing. These airing courts, which were used by male patients, had an open drain running around the inside of the courts. Built to promote drainage, the open drain also carried waste from the toilet block through the airing courts. While sanitary conditions in 19th century New Zealand might not always have met our 20th century standards, these drains were built in the late 1890s and were deliberately built as open drains carrying raw sewerage – they were not the result of ad hoc development. Such a situation would have been regarded as unacceptable in any public space, but was somehow acceptable at the asylum, a product, perhaps, of how the patients were seen and how different they were believed to be.

Some of the buttons, with a Hobday button is in the centre. Image: K. Watson.

Some of the buttons, with a Hobday button in the centre. Image: K. Watson.

Evidence of rebellion against the institution, and all that it entailed, was found in the male airing courts, where two features containing artefacts were found. The small artefacts recovered from these features, including spectacle frames, buttons, food remains, and ceramic and glass fragments, were almost certainly deposited there by the patients. The nature of these artefacts suggests that they were unlikely to have been the personal possessions of the patients but were probably items owned by the asylum (the spectacles may be an exception). Thus, it seems likely that these items were stolen from the asylum, perhaps as a small act of rebellion. Petty theft would have been a means of expressing dissatisfaction with a diagnosis of insanity, the living conditions, the staff and the asylum itself.

While some of the archaeological remains confirmed that the practices of moral management were adhered to at Sunnyside Lunatic Asylum, others indicate that this was only part of the story. Those details of life at Sunnyside revealed by the excavation but discussed in little detail in the official reports were, unsurprisingly, the less pleasant elements. Further, the degree to which patients were seen as being different or abnormal is not revealed in the official reports. The archaeology of the asylum, however, has revealed these attitudes, and the small acts of rebellion by the patients against the asylum, these attitudes and their position in society. In so doing, the archaeology of Sunnyside Lunatic Asylum has given the patients at the asylum a voice, albeit a small one.

Katharine Watson

References

Appendices to the Journal of the House of Representatives. [online] Available at: <http://atojs.natlib.govt.nz/cgi-bin/atojs>.

Piddock, S., 2001. Convicts and the free: Nineteenth century lunatic asylums in South Australia and Tasmania (1830-1883). Australasian Historical Archaeology 19:84-96.

Piddock, S., 2004. Possibilities and realities: South Australia’s asylums in the 19th century. Australian Psychiatry 12(2): 172-175.

Seager, M., 1987. Edward William Seager: Pioneer of mental health. The Heritage Press, Waikanae.

Cleanliness and Quality Combined

It came as a bit of a surprise when over 1000 fragments of broken stoneware jars were unearthed at an otherwise ordinary Christchurch archaeological site.

Sample of the artefacts found at the site. Image: Julia Hughes

Sample of the artefacts found at the site. Image: J. Hughes.

But there, sitting under some old petrol tanks, was Christchurch history waiting to be found.What made this very large assemblage more interesting was the clear warning emblazoned along the base of some of the examples: “PERSONS DETAINING, MISAPPROPRIATING OR TRADING WITH THIS JAR ARE LIABLE TO BE PROSECUTED”.

Warning label printed along the base of a jar. Image: Laura Davies

Warning label printed along the base of a jar. Image: L. Davies.

Initial research for this address, located along Worcester Street, had not returned much information. An 1877  map showed the section was empty but there were buildings on the surrounding land. We know that in the early 20th century the lot was owned by Henry Thomas Joynt Thacker, a “colourful”

mayor of Christchurch (LINZ 1911; Rice 2012). A resident for the street number used today, however, could not be found, with only the adjacent street numbers mentioned. Enter archaeology. After the ceramics had been thoroughly cleaned, the name ‘Sharpe Bros’ appeared, printed or impressed in different fonts and of varying quality. This narrowed research down from any time in Christchurch’s historical record to the time between 1908 and 1914, when the Sharpe brothers, cordial manufacturers, had a factory one number down from the site in question.

The Sharpe brothers hailed from England, with the eldest brother John Sharpe moving to warmer climes to improve his health in 1900. After joining his brother Percy, who had immigrated to New Zealand earlier, the two opened the first Sharpe Brothers cordial factory in Dunedin in 1903. Apparently not ones to waste time, by the end of 1905 Sharpe Brothers manufacturers could be found in Christchurch, Wellington, Auckland and Sydney (Sharpe 1992). The two brothers were prohibitionists and prided themselves on their non-intoxicating drink. The Sharpe Brothers operated in New Zealand until the final branch in New Plymouth closed its doors in 1981 (Wellington Antique Bottle & Collectables Club 2003).

Sharpe brothers newspaper notice about returning jars. (Thames Star 7/3/1911)

Sharpe Brothers newspaper notice about returning jars (Thames Star 7/3/1911).

The rather intimidating warning found on some of the fragments made sense now, too. The Sharpe Brothers, like most manufacturers of one-gallon stoneware jars, saw the large vessels as loans and these were not purchased when you bought the drink that the jar contained. A look at old newspapers from around New Zealand showed that the Sharpe Brothers just as frequently advertised their goods as they printed warnings that asked for their one-gallon bottles to be returned. The jars were a key component of the early Sharpe Brothers company. These jars were not only what they sold their product in (until the 1930s) but the names impressed on the front showed ownership and were a form of advertising (Sharpe 1992). But were jars returned? And if they were, were they re-used? How long were the jars used for? And what did they do with all the old jars?

Sharpe Brothers stoneware jar body fragments. Image: Laura Davies

Sharpe Brothers stoneware jar body fragments. Image: L. Davies.

Well, there are at least five different types of Sharpe Brothers one-gallon jars recovered from the site. Some were made by Doulton and Co. from London and another was made by P. Hutson and Co. from Wellington. Some had handles pre-dating John Sharpe’s patented wire handle in 1904 (Sharpe 1992), and some were decorated with taps and displayed the medals Sharpe Brothers were awarded at the 1906-1907 New Zealand International Exhibition.

Sharpe Brothers tap jar with images of medals won at the International New Zealand Exhibition in Christchurch. Image: Laura Davies

Sharpe Brothers tap jar with images of medals won at the International New Zealand Exhibition in Christchurch. Image: L. Davies.

Even though the company had been operating in Christchurch since 1905 the section wasn’t used by the brothers until 1908, therefore the presence of the handled jar forms from before the 1904 wire handle patent indicate that jars could be in rotation for a number of years. This is further evidenced by the presence of the jars made by Doulton & Co., which could have been the jars ordered from England in 1905 (Press 20/4/1905). The two manufacturers and different styles present means that rather than discarding an old design when a new one was introduced, Sharpe Brothers probably used the old jars until they broke. The mass grave of these old ceramic vessels suggests that when the jars broke, they were tossed into a hole out the back of the property. Though the density of the deposit could indicate that the old jars were used as foundations. In the Sydney branch the old unwanted Sharpe Brothers jars were broken and used in foundations when the focus shifted to crown seal bottles (Sharpe 1992). It could also be that in Christchurch the old bottles were kept to the side to be repurposed later and in 1914, when the factory moved to Armagh Street, they decided to dispose of all old stock instead of moving it to the new premises.

Notice posted by Sharpe Brothers about the order of Jars from England. Press (20/4/1905)

Notice posted by Sharpe Brothers about the order of jars from England (Press 20/4/1905).

Doulton & Co. manufacturing mark. Image: Laura Davies

Doulton & Co. manufacturing mark. Image: L. Davies.

Amongst all the Sharpe Brothers jars was a single example of a Ballin Brothers ginger beer bottle. Was it accidentally returned to the wrong place? Or was it a rebellious act of drinking the competition at work?

We never know what artefacts, if any, lie beneath the ground. But that’s the point. Archaeology can not only point us in the right direction to research a site’s history but can add depth, insights and evidence about the day-to-day workings of an influential New Zealand business. It may not always seem like it but it’s important to remember that fragments of broken, dirty, petrol-covered jars from a company whose motto read “Cleanliness and Quality combined” are as much a part of Christchurch’s history as carefully preserved papers.

Laura Davies

References

Cyclopedia Company Limited, 1905. Otago and Southland Provincial Districts: Cordial Manufacturers. [online] Available at: http://nzetc.victoria.ac.nz/tm/scholarly/tei-Cyc04Cycl-t1-body1-d2-d30-d11.html#n329.

LINZ, 1911. CB211/72, Canterbury. Landonline.

Press. [online] Available at http://paperspast.natlib.govt.nz/cgi-bin/paperspast.

Rice, G. W., 2012. Thacker, Henry Thomas Joynt – Thacker, Henry Thomas Joynt. [online] Available at: http://www.TeAra.govt.nz/en/biographies/3t28/thacker-henry-thomas-joynt.

Sharpe, D., 1992. Remember That Heavenly Ginger Beer? A History of Sharpe Bros. Impact Printing: Melbourne.

Thames Star. [online] Available at http://paperspast.natlib.govt.nz/cgi-bin/paperspast.

Wise’s New Zealand Post Office Directories. [microfiche] Held at Christchurch City Libraries.

Wellington Antique Bottle & Collectables Club., 2003. Sharpe Bros. [online] Available at http://www.wellingtonantiquebottles.org.nz/companies/sharpe.shtml. 


Let me tell you a story…

Historical archaeology has many facets, it includes recording buildings and features, artefact analysis, names and dates, but if you take a moment, collaborate all that data, you have a powerful tool for telling someone’s story. Some call this type of analysis ‘interpretative archaeology’ or ‘storytelling’ and both of these are right in a way. In its most simplest form, it is an attempt tell the story of those ordinary moments lost in time. When an assemblage containing a large number of children’s toys came through our doors we believed we had a topic to blog about. If we could, through the analysis of both the archaeological remains and the historical documents, identify the children who had played with these toys, how interesting would that be, what stories could be told. I’ll be the first to admit it, this proved more difficult than I initially anticipated.

Selection of children's items from Moorhouse Ave. Image Gwen Jackson.


Selection of children’s items from Moorhouse Ave. Image: Gwen Jackson.

These artefacts were part of an assemblage from Moorhouse Avenue, where over 600 artefacts were recovered, many of them domestic in form. Preliminary historical research showed that there was a house on the section in 1877; however, the vague nature of land transaction records and land occupation records mean that we can’t definitively pin down who lived in this house. This was complicated further by a range of other factors: the owner of a section was not always its occupant in 19th and early 20th century Christchurch; the next map or plan that shows the area in question wasn’t published until 1915 (LINZ 1915); and, worst of all, the street numbers in central Christchurch changed completely in 1911 – the streets were numbered from a different end, and the odd and even numbers switched sides. One can only describe this as a researcher’s nightmare.

Street Adress Numbers 2


Wise’s Directory (left to right) 1910, 1911 and 1912 – note 1911 changes from odds to evens and from higher to lower numbers.

In spite of these complications, we know that the section was the site of domestic occupation until the mid 1910s (when ownership was taken over by the Tai Tapu Dairy Company), and we have at least two potential candidates: Jason and Maggie Isbester, who may have lived on the site from 1905-1908; and Frederick Hammond, who may have lived on the section from 1908 to at least 1913. But both proved elusive in the historical records, so we had no way to confirm our hypotheses.

 Aynsley tea cup. Moorhouse Ave. Image: Jaden Harris.


Aynsley tea cup. Moorhouse Ave. Image: Jaden Harris.

So in absence of definitive historical records we turn to artefacts: what do the artefacts tell us, what story do they unravel to both the trained and untrained eye? A number of artefacts can be identified as ‘early’ due to their functional nature. The presence of candlesticks, gas lanterns and chamber pots suggest occupation of this house predated the advent of utilities such as sewerage and electricity. Moorhouse Avenue was connected to Christchurch’s sewerage system by 1882 (Wilson 1989) and electricity was available in the early 1900s. These artefacts represent Christchurch prior to the installation of modern services.

Tea pot, Moorhouse Ave. Image: Jaden Harris.


Tea pot, Moorhouse Ave. Image: Jaden Harris.

Whoever was living at the site in the late 19th and early 20th century appear to be reasonably affluent and may have been from the middle class. This assumption is based on the composition of the artefact assemblage, with a number of food serving dishes and the large number of children’s toys and other personal items. A number of serving platters or deep square dishes, champagne bottles, vinegar bottles and food vessels suggest the occupants liked to entertain at dinner parties, as was common for the middle and upper classes in the 19th and early 20th century. To find such a concentration of children’s toys in a single archaeological deposit is rare, as children are often surprisingly invisible in the archaeological record. Items of personal hygiene included everything from a toothbrush and accompanying toothpaste jar but also numerous perfume and cosmetic jars.

plate


Dinner plate, Moorhouse Ave. Image: Gwen Jackson.

Entertaining ad for Kruschen. The Evening Post 16/01/1928: 19

Ad for Kruschen Salts (Evening Post 16/01/1928: 19).

A variety of pharmaceuticals were found in the deposit, which suggests a reliance on selfmedication for ailments – this is a common feature in historic New Zealand sites and as common as finding a Panadol box in your rubbish. Some of those bottles found included Jeyes Fluid, which acted as a disinfectant and antiseptic, Wood’s Great Peppermint Cure for coughs and colds and one called Kruschen salts which, well, let’s say it dealt with the more unpleasant side of the digestive tract.

bottle1


Bottle with the label of J. Berry, a Christchurch chemist. Image: Jaden Harris.

A number of paint supplies were also collected from the site, with one paint dish identified to Reeves and Son Ltd, a firm which started operation in 1891 (Grace’s Guide 2007). It is assumed that the paint brushes found in the site were used at the same time as the paint dish, due to their functional association.

Ad for Reeves and Son Ltd. Grace's Guide: 1924

1924 ad for Reeves and Son Ltd (Grace’s Guide 2007).

So what does it all mean really? I did say we tend to use numbers, dates and names.  But we also tell stories. Perhaps what we have is a story of a girl in the late 1890s who grew up in a somewhat affluent Christchurch home. As a daily chore she would exit the rear of her house and empty the chamber pots and as payment for her daily chores her father, the painter, rewarded her with toys (given New Zealand’s “servant problem”, there was probably no servant). As she sits with her figurine dolls and her tea set, her parents entertain with food served in large Willow patterned and Wild Rose vessels with candles glimmering in the night light. The cold air means the Wood’s Great Peppermint Cure will be on hand tomorrow. Actually, her mother’s bad cooking probably means Kruschen will be used as well. As the wine pours, the little 19th century girls heads to bed, she brushes her teeth and says her prayers, for tomorrow is another day of more chamber pots and the promise of new toys.

This is only one interpretation, and yes, it is a story but it’s that one moment lost in time given life for a brief moment. Perhaps I could encourage you to offer us your interpretation?

 Kimberley Bone

 References

Evening Post. [online] Available at http://paperspast.natlib.govt.nz/cgi-bin/paperspast

Grace’s Guide, 2007. Reeves and Sons. [online] Available at: http://www.gracesguide.co.uk/Reeves_and_Sons [Accessed on 14th June 2013].

 LINZ, 1915. DP 4334, Canterbury. Landonline.

National Portrait Gallery, 2013. British Artists’ Suppliers, 1650-1950 -R. [online] Available at: http://www.npg.org.uk/research/programmes/directory-of-suppliers/r.php [Accessed on 14th June 2013].

Wilson, J., 1989. Christchurch Swamp to City: A short history of the Christchurch drainage board 1875-1989. Te Waihora Press: Lincoln, New Zealand.

Wise’s New Zealand Post Office Directories. [microfiche] Held at Christchurch City Libraries.

Christchurch: a global city

Udolpho Wolfe’s Aromatic Schnapps. It sounds pretty exotic, right? As it happens, bottles that contained this schnapps are frequently found on 19th century archaeological sites all over the western world. The particular example of the bottle we’re featuring today was found during the excavation of the site of H. F. Stevens Ltd’s premises. Stevens was a wholesale chemist who was based in Worcester Street, near Cathedral Square, from the early 20th century And no, the chemist wasn’t drinking on the side – the schnapps was marketed as a medicine, and its presence at the site is representative of Christchurch’s position within a global trade network.

A Udolpho Wolfe's Aromatic Schnapps bottle found at the former site of H. F. Stevens's wholesale chemist. Image: J. Moyle.

A Udolpho Wolfe’s Aromatic Schnapps bottle found at the former site of H. F. Stevens’s wholesale chemist. Image: J. Moyle.

Our modern economic system is based on mass international exchange: the exchange of ideas, of labour and of goods. It’s all too easy to think that this system is a product of the late 20th century. In fact, international trade goes back to the Stone Age, but it was developments in the 19th century that really saw a global economy develop. Mass production, the forceful opening of new markets through colonial expansion and the rise of modern capitalist structures such as joint stock companies in the 19th century enabled the building of big business and the export of products all over the world.

Christchurch’s 19th century archaeology offers tangible evidence of this system. Many of the artefacts we find on 19th century sites in the city come not just from England – the country that most European settlers in Christchurch called home – but from all over the world. Amongst these, Udolpho Wolfe’s Aromatic Schnapps provides a particularly good example of the development of trade and industry in the 19th century.

Evening Post 21:6:1877 page 2

An 1877 advertisement for Udolpho Wolfe’s Schiedam Aromatic Schnapps. Image: Evening Post 21/6/1877:2.

The eccentrically named Udolpho Wolfe was a Jewish-American of German extraction. His family was notable in the United States even without their schnapps legacy. Udolpho’s father was a major in the Revolutionary War and the War of 1812, as well as being a friend of the fifth American president, James Monroe. Young Udolpho started his career in the 1820s, working for his elder brother Joel, a wine and sprit merchant. At the age of 21 Udolpho became a partner in the business. In 1839 the business went international when the brothers opened a distillery in Schiedam, Holland. And in 1848 Udolpho (now the senior partner) introduced Udolpho Wolfe’s Aromatic Schnapps to the world.

Unlike the sweet fruity schnapps many will be familiar with in New Zealand today, Udolpho’s schnapps was a grain-based alcohol, flavoured with juniper berry essence. The spirit savvy amongst you will realise that this means that it was just plain old gin. What made the schnapps special was the way it was marketed. Sold not as a ‘frivolous beverage’, Udolpho Wolfe’s Aromatic Schnapps was instead marketed as a wonderful medicine. In the (somewhat elaborate) words of the manufacturer:

As a tonic and corrective it is a positive specific, and will be found to prevent and remove the troubles occasioned by malarious influences or impure water, and is therefore an indispensable vade mecum for travellers and those who are unacclimated. At the same time its palatable flavour, and generally salutary qualities render it eminently desirable as a healthful substitute for the fiery potations which, in this country especially, are productive of such deleterious consequences.

            New Zealand Herald 29/9/1874: 3

Once described as a “vigorous advertiser” (Putnam’s Magazine 14 (23): 638), it seems that Udolpho Wolfe did everything he could to make sure that this was the perspective held by all potential consumers.

An 1874 advertisement for Udolpho Wolfe's Aromatic Schnapps. Image: Auckland Star 14/3/1874: 1.

An 1874 advertisement for Udolpho Wolfe’s Aromatic Schnapps. Image: Auckland Star 14/3/1874: 1.

His approach must have worked, as the business of schnapps went from strength to strength. Supposedly over 90,000 cases of a dozen quart bottles (or two dozen pint bottles) were being moved per year by the 1870s; that’s at least 1 million schnapps bottles sold around the world.

Aside from this prodigious quantity, the international aspect of the trade is quite remarkable. After being produced in Schiedam, the schnapps destined for consumption in the United States, Central America and the Caribbean was shipped to New York City for bottling and distribution. Meanwhile, schnapps to be sold in Europe, South America, Asia, Australia and New Zealand was sent from Schiedam to Hamburg, where it was bottled and then shipped away. This, then, was an American company, producing liquor in Holland, bottling it in America and Germany, and exporting it to the four corners of the globe. Because of this massive trade one can now find bottles bearing the label ‘Udolpho Wolfe’s Aromatic Schnapps’ in archaeological sites around the globe.

Having finished its long journey from Europe to Christchurch, the schnapps – and other medicines – would have been distributed by H. F. Stevens to chemists in the city, thus enabling the citizens of Christchurch to indulge in the ‘healthy benefits’ of Udolpho Wolfe’s Aromatic Schnapps, along with the rest of the world. Even in the 19th century, Christchurch was part of the global economic system.

Jeremy Moyle

Bibliography

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Carter, M. and Moyle, J., 2012. 103-105 Worcester Street, Christchurch: Report on archaeological monitoring. Unpublished report for Nikau Contractors Ltd.

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Marcus, J. R., 1989. United States Jewry 1776-1985. Wayne State University Press, Detroit.

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