The Standard Hotel: beer, burlesque and a “sketchy kind of farce”

This week we’re delving into the seedier side of the life in early Christchurch with the story of the Standard Hotel, an establishment that found itself on the fringes of Victorian respectability during its short existence in the 1860s. At the heart of this tale are two brothers, James and William Willis, who appear to have trod very different paths to success (or not, as the case may be) after their arrival in the city.

Portrait of Joseph Brittan, founder of the Canterbury Standard. Image: Wikimedia Commons & Rolleston 1971.

Portrait of Joseph Brittan. Image: Wikimedia Commons & Rolleston 1971.

The story begins with James Willis, a printer by trade, who arrived in Christchurch in the early 1850s (Lyttelton Times 7/5/1853: 6). By 1855, he was the official printer to the Canterbury Provincial Council (Lyttelton Times 20/01/1855: 4). It’s here that he probably made contact with Joseph Brittan, one of Christchurch’s prominent early citizens and the founder of the Canterbury Standard, the third newspaper to be established in the city (Lyttelton Times 13/8/1853: 12). James went on to work with Brittan on the paper, becoming the printer, part owner and eventual proprietor of the publication in the late 1850s and early 1860s (Burke Manuscript n.d.: 114).

An article in the Lyttelton Times in 1853, announcing the establishment of the Canterbury Standard, to be

An announcement of the Canterbury Standard‘s founding in the Lyttelton Times in 1853 claimed that “the public good will be it’s guiding principle [and] the advancement of the interests of the Province its constant aim.” Image: Lyttelton Times 13/8/1853: 12.

The Canterbury Standard was produced and printed in a building located on the corner of Hereford Street and Oxford Terrace in central Christchurch, just across the road from Brittan’s home on the other side of Hereford Street. Early images of the building show a two storey façade at the front, facing onto Oxford Terrace, with the printing sheds (to house the printing press) extending along Hereford Street.

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Sketch of the Canterbury Standard building and proprietor, James Willis. Image: Burke Manuscript: 114, accessed through the Christchurch City Libraries.

James continued to operate a printing press in this location until his death in 1866, under the eventual auspices of the Telegraph Printing Press (Press 8/12/1866: 2). During the last few years of his life, however, he shared the premises with his brother, William Willis, who took the old Standard offices at the front of the building and transformed them into a hotel.

The old Canterbury Standard building, transformed into the Standard Hotel in 1864. Image: Dr. A. C. Barker Collection, Canterbury Museum. Permission of the Canterbury Museum must be obtained before any re-use of this image.

The old Canterbury Standard building, transformed into the Standard Hotel in 1864. Image: Dr. A. C. Barker Collection, Canterbury Museum. Permission of the Canterbury Museum must be obtained before any re-use of this image.

Well, I say hotel…

Advertisement for the opening of the Standard Hotel in July 1864, emphasising the selection of alcohol available. Image: Lyttelton Times

Advertisement for the opening of the Standard Hotel in July 1864, emphasising the selection of alcohol available. Image: Lyttelton Times 9/7/1864: 5.

The Standard Hotel, which opened in July 1864 (Lyttelton Times 9/7/1864: 5), appears to have had very little to do with offering accommodation and a great deal more to do with drinking beer and providing ribald entertainment. Only one reference to accommodation at the hotel was found in the newspapers of the period and this from an unemployed man staying at the hotel, suggesting that the accommodation available was fairly cheap (LytteltonTimes 6/8/1866: 1). In contrast, advertisements for the opening of the hotel in 1864 place particular emphasis on the selection of ales and wines available for consumption (Lyttelton Times 9/7/1864: 5). We excavated the section next to the hotel earlier this year, where we found a lot of beer bottles. While many of these are associated with the warehouse on that section in the 1870s, some of them may also have been debris from drinking sessions at the Standard in the 1860s.

Some of the black beer bottles excavated from the Standard Hotel site in May 2013. Image: J. Garland.

Some of the black beer bottles that may have been related to the Standard Hotel, excavated from the adjacent site in May 2013. Image: J. Garland.

Advertisement for a performance of Poses Plastique at Willis's Assembly Rooms in 1866.

Advertisement for a performance of Poses Plastique at Willis’s Assembly Rooms in 1866. Image: Press 10/4/1866: 1.

The tone of this particular establishment becomes clear when we look at historical records for William Willis’s Assembly Rooms, opened in 1865 and located next to the Standard Hotel on Oxford Terrace (Press 8/11/1865: 1; 15/02/1866: 1). Although these rooms hosted public auctions and were used by the Canterbury Jockey Club for meetings (Lyttelton Times 1/01/1866: 3; Press 8/11/1865: 1), they were also the setting for a variety of musical entertainments, from vaudeville-style theatre and burlesque to the more risqué Poses Plastique (Lyttelton Times 10/3/1866: 2; 12/3/1866: 2; Press 10/4/1866: 1).

Entertainment at Willis's Assembly Rooms

Advertisements for entertainments held at Willis’s Assembly Rooms in 1866, including burlesque, a “sketchy kind of farce” and “nigger eccentricities”. Images: Lyttelton Times 12/3/1866: 2; 10/03/1866: 2.

While vaudeville theatre may be a form of entertainment familiar to many, the term ‘burlesque’ didn’t mean quite the same thing in a 19th century context as it does now. Rather than involving Dita von Teese-like figures and the sultry dance routines it’s now known for, burlesque in the mid-1800s was simply a form of musical entertainment, often involving elaborate or farcical costumes, parodies and caricatures of well-known historical and literary figures (Oxford English Dictionary).

Clockwise: Advertising poster from 1899 for a vaudeville and ‘hurly-burly’ extravaganza; 1870 advertisement for performance of an Aladdin burlesque at the Theatre Royal in Christchurch; 1897 excerpt from a burlesque titled ‘Doing a Moose.’ Images: Library of Congress Prints and Photographs Collection, accessed through Wikimedia commons; Star 16/5/1870: 3; Observer 15/5/1897: 10.

Poses Plastique, on the other hand, was definitely a form of entertainment that only flirted with the notion of respectability. It was a form of Tableau Vivant, or ‘living scene’, a 19th century performance in which the performers, both women and men, acted as living statues on stage. These performances often involved various states of undress, justified and made ‘classy’ by references to Classical mythology and the imitation of Greek and Roman statues (Anae 2008). Sometimes the performers would wear nude body stockings, so as to give the appearance of undress yet not be completely indecent.

Woodcut of a performance of poses plastique at the Coal Hole in the Strand, c. 1854. Image: Wikimedia commons.

Woodcut of a performance of poses plastique at the Coal Hole in the Strand, c. 1854. Image: Wikimedia commons.

tableau vivant

Advertisement for performances of tableau vivant based on well-known fairy tales. Image: Poverty Bay Herald 25/5/1881: 3.

I should mention that while Poses Plastique was a form of Tableau Vivant, not all examples of the 19th century living statue involved the same degree of undress or risqué material. Tableau Vivant was often used to present famous literary, artistic or historical scenes, such as battles, famous paintings or moments from well-known works like Cinderella (Poverty Bay Herald 25/5/1881: 3).

The performance at Willis’s Rooms in 1866 is one of only two examples of Poses Plastique advertised in New Zealand newspapers before 1900 (Nelson Evening Mail 25/2/1884: 2), although there are numerous references to burlesque and vaudeville shows being held throughout the country (see Papers Past). Clearly, the semi-nude living statue never really took off here, despite enjoying great popularity in London and Australia during the same period.

In Christchurch, at least, one reason for this may have been the disapproval with which such entertainment was viewed by the general authorities and community. While it was not illegal (that we’ve been able to find), we did note that William Willis had his liquor license refused in 1866 due to reports of “objectionable entertainment, low women and noisy people” in the vicinity of his Assembly Rooms late at night (Lyttelton Times 2/5/1866: 2). Interestingly, this notice came soon after the advertised performances of Poses Plastique. Coincidence? I think not.

License refusal

Details of the refusal to renew William Willis’s general license in 1866, citing objectionable entertainment, low women and noisy people. Image: Lyttelton Times 6/5/1866: 2.

The Standard Hotel, along with Willis’s Assembly Rooms, closed its doors in 1867 after only three years of operation (Lyttelton Times 4/7/1867: 1). Later that same year, a fire in the offices of the Telegraph Printing Press next door so badly damaged the building that it was abandoned and moved to Bealey Avenue in early 1869 (Lyttelton Times  4/1/1869: 3). For reasons unknown to us, the section on the corner of Hereford Street and Oxford Terrace remained empty and unused during the following decades, until a suite of offices was constructed there in the early 20th century (Press 16/9/1905: 9).

During its life the Standard Hotel building was home to two very different sides of the social and commercial spectrum, personified in the figures of James and William Willis. From its origins in Joseph Brittan’s, and later James Willis’s, Canterbury Standard, with its guiding principles of “public good [and] the advancement of the province”, to its eventual demise in William’s den of alcohol and “low women”, it showcases a diversity of character and commerce in Christchurch’s early history that we don’t always get to see. Hopefully, as we work our way through the rest of the archaeological material from this site, even more of that variety will be revealed.

Jessie Garland

References

Anae, N. 2008., Poses, plastiques: the art and style of ‘statuary’ in Victorian visual theatre. Australasian Drama Studies. Available at http://eprints.usq.edu.au/7003/.

Andersen, J. 1949. Old Christchurch in Picture and Story. Simpson & Williams Ltd: Christchurch.

Burke Manuscript, 1860s. [online] Available through the Christchurch City Libraries Digital Collection at http://christchurchcitylibraries.com/Heritage/Digitised/Burke/

Canterbury Museum Digital Collections

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

Nelson Evening Mail. [online] Available at http://paperspast.natlib.govt.nz.

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

Oxford English Dictionary. Available online via the Christchurch City Libraries subscription service.

Poverty Bay Herald. [online] Available at http://paperspast.natlib.govt.nz.

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

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

Wikimedia Commons. [online] Available at http://commons.wikimedia.org.

‘It isn’t all beer and skittles’

– Thomas Hughes, Tom Brown’s School Days, 1857

It’s hard to picture what many of Christchurch’s buildings looked like before the earthquake. For many locals the torn down remains of a building or an empty lot remind them of a favourite hangout, a birthday or even the best burgers in town. The archaeology that has been excavated and collected from these sites and buildings provides evidence of earlier and equally personal stories and events, proving these buildings were full of life for over a century. One example of this is the Oxford Hotel, also known as the Oxford Family Hotel, the Oxford Victualling Co. and latterly as the Oxford on Avon.

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The Oxford on Avon Hotel post-earthquake, 8 November 2011. Photo: M. Hennessey.

The Oxford Hotel was located on the corner of Oxford Terrace and Colombo Street and was one of the city’s older hotels. Originally established as a boarding house by Antill and Sarah Adley in 1860 or 1861, the hotel gained a licence to sell alcohol in 1862 and began operating as a pub as well as a boarding house. It was at this time that the establishment was renamed the Oxford Family Hotel (Greenaway 2007: 14). Adley had proprietorship of the hotel until his retirement in 1873 (The Cyclopedia of New Zealand 1903) and continued to own the land and lease it out until 1903 (Christchurch Deeds Index C1 c.1853: 616). The hotel lease was purchased by Mr. and Mrs. Joseph Dann in 1875, who transferred the lease to Mr. Bately, who rebuilt the building in 1883 (this was the building that stood until the earthquake; Star 5/6/1883: 3). What we found from the archaeological data and historical records is that this building not only acted as a hotel but as a central hub for the wider community, which was not uncommon for 19th century hotels in New Zealand.

market place


View from the Colombo Street bridge looking south to the Cathedral: at left is the Oxford Hotel and at right is Market (Victoria) Square, c. 1885. Image: Christchurch City Library, File Reference CCL Photo CD 02 IMG0020.

 


Image: Star 22/4/1878: 4.

The hotel was nice and close to Victoria Square, first known as Market Square and a centre of activity in early Christchurch. This must have been good for business and it allowed the hotel to cater to the wider community, hosting meetings and events, acting as a morgue or emergency room in some cases (Press 15/4/1879: 2; Star 4/2/1890: 3), and all the while supplying cheap alcohol from the pub. During Dann’s operation of the hotel he offered membership to a skittle alley and often hosted skittle and quoit tournaments. Mail and messages could be left at the Oxford by or for patrons (Star 28/4/1869: 3), so it functioned as a post office too. Most importantly, though, the Oxford Hotel was a pub: Dann’s advertisements in the local newspapers constantly mentioned the array of spirits available, with an emphasis on the cheap prices.

Of the 925 glass artefacts recovered from the site, 395 were black beer bottles, 196 were wine bottles and another 99 were other liquor or spirit bottles. There were also 52 porter or stout bottles. Sounds like a lot of alcohol, right? Think again. To put it into context, even if only one bottle of alcohol were drunk a day, this would represent little more than two year’s drinking. So where did all the other bottles go, then? Well, the Avon River was conveniently close…


Adley advertisement. Image: Lyttelton Times 23/8/1862: 3.

 

black


Sample of black beer and wine bottle bases from the site. The black beer bottles that make up the bulk of this assemblage become less common after 1880. As such, it is likely that these bottles were associated with either Adley or Dann’s period at the hotel. Image: K. Webb.

A number of smoking pipes were also found, confirming that the combination of alcohol and tobacco was just as common in the 19th century as it is today. Many of the pipes were made by Charles Crop, a manufacturer from London whose pipes have been found on hotel and residential sites in both New Zealand and Australia (Brassey 1991: 30; Macready et al. 1990: 57). Tantalisingly, the embossing on some of the pipe stems hints at the origins of some of the smokers: “QUEENSLANDER” and “LACHLANDER”. Perhaps the smoker purchased these as a reminder of home.


‘Crop’ smoking pipes. Image: K. Webb.

 


Examples of pharmaceuticals. Image: K. Webb.

One surprising aspect of the archaeological assemblage was the large array of pharmaceutical bottles. The bottles included anything and everything, from Barry’s Tricopherous – which claimed to preserve, restore and beautify the hair, preventing baldness and grey hair (Nelson Evening Mail 29/1/ 1870: 3) – to items such as Piesse and Lubin’s perfumes. Items of medicinal use were also recovered, such as Kay Brothers Essence of Linseed, for those pesky coughs, and J. C Eno’s Effervescing Fruit Salts for indigestion. A toothbrush and toothpaste jar were also recorded. Perhaps these were personal items used by the proprietor’s family, or by guests who stayed there. Or perhaps these were offered to guests in the way that complimentary shampoo and conditioner are offered today – after all, it was advertised as first class accommodation.


Image: Star, 24/12/1874: 4.

A significant quantity of cups and saucers were also found, indicating that the hotel was serving more than just alcohol. The tea cups and saucers collected from the site were largely porcelain and decorated with a gilt tea leaf or sprigged design. A number of whiteware teawares were also gilt-banded and it may have been that the hotel had a gilt decorated tea set.

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Porcelain ‘sprigged’ ware. Image: K. Webb.

Efforts to provide a first class establishment are also evident in the ceramics used as serving ware. Serving wares, such as tureens, and dining ware, such as plates, were also recorded in large numbers. A number of ceramics were decorated with the Asiatic Pheasants, Willow or Beauty patterns, suggesting that the hotel may have had several matching dinner sets. Although all these patterns are common in 19th and early 20th century archaeological sites, they would have completed the dining room experience and that feeling of first rate service for hotel patrons.

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A plate decorated with the Asiatic Pheasants pattern. Image: K. Webb.

 

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Faunal remains. Image: K. Webb.

Like many New Zealand hotels, the Oxford Hotel appears to have offered some more ‘exotic’ meats on its menu, including birds, cockles, oysters and a little bit of fish. The remains of these non-mammalian meats are rarely found at 19th century European archaeological sites in Christchurch, except at hotel sites. As today, people went out to eat more exotic meals than they might have had at home. From the sheep bones, we know that roast legs of lamb or mutton were being served, and may have been the most popular meal at the hotel, followed by cuts from the shoulder.

The evidence from the Oxford Hotel says many things. It tells us how the hotel operated as just that, a hotel. It provided guests with a first class dining experience that included matching dining sets and porcelain tea sets. It was a place where people drank beer and wine while overlooking Victoria Square and the Avon River. But the evidence also remembers the building and the people who operated and frequented a local and successful pub, where alcohol was consumed in quantities, where pipes were smoked leisurely and a game of skittles echoed in the background. It was a hub, a central link to Christchurch’s development and maybe, just maybe, someone’s favourite place in 19th century Christchurch.

Kim Bone

References

Brassey R. 1991. Clay Tobacco Pipes from the Site of the Victoria Hotel, Auckland, New Zealand. Australian Journal of Historical Archaeology 9: 27-30.

The Cyclopedia of New Zealand [Canterbury Provincial District] 1903. [online] Available at: <http://nzetc.victoria.ac.nz//tm/scholarly/tei-Cyc03Cycl.html>.

Greenaway, R.L.N., 2007. Woolston/Heathcote Cemetery Tour. [online] Available at: <http://christchurchcitylibraries.com/Heritage/Cemeteries/Woolston/HeathcoteCemetery.pdf>.

Macready, S. and Goodwyn, J., 1990. Slums and Self Improvement: The History and Archaeology of the Mechanics Institute, Auckland, and its Chancery Street Neighbourhood. Vol 2: The Artefacts and Faunal Material. Science and Research. Internal Report No 92. Department of Conservation.

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

Star. [online] Available at: <http://paperspast.natlib.govt.nz>.