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C1865
Hokitiki Diggings, New Zealand. sic
Rare engraved view of Horiatiki on New Zealand’s west coast. In 1864, two Māori named Ihaia Tainui and Haimona Taukau, discovered gold near the Taramakau River. The following year, gold was also found in other locations, including Okarito, Bruce Bay … Read Full Description
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Details
Full Title:
Hokitiki Diggings, New Zealand. sic
Date:
C1865
Condition:
In good condition
Technique:
Hand coloured engraving.
Image Size:
235mm
x 108mm
AUTHENTICITY
Genuine antique
dated:
1865
Description:
Rare engraved view of Horiatiki on New Zealand’s west coast.
In 1864, two Māori named Ihaia Tainui and Haimona Taukau, discovered gold near the Taramakau River. The following year, gold was also found in other locations, including Okarito, Bruce Bay (the site of the Hunt’s Duffer gold rush), along the Grey River, and in Charleston. The Otago Gold Rush and the nearing end of the Victorian gold rush in Australia attracted miners to the West Coast, and by the end of 1864, approximately 1800 prospectors had arrived in the region, with many settling in the Hokitika area. Hokitika quickly became the most populous settlement in New Zealand in 1866, with over 25,000 inhabitants and more than 100 pubs.
From the original edition of The Illustrated Sydney News.
References:
Gibbs & Shallard. Illustrated Sydney News. ISSN 2203-5397.
Collections:
State Library New South Wales: F8/39-40
State Library Victoria: PCINF SLVIC=1853-1872
National Library Australia: Bib ID 440
Arthur Levett Jackson (1834 - 1888)
Documentary detail on Jackson’s personal life is comparatively sparse, a common situation for c.19th engravers, whose labour underpinned illustrated publishing but who rarely received the individual attention given to painters or draughtsmen. What can be reconstructed places him firmly within the skilled artisan class that supported Sydney’s expanding print culture in the mid to late Victorian period.
Born in 1834, likely in Britain, Jackson would have served a formal apprenticeship in wood engraving, a trade demanding precision, patience, and close collaboration with publishers. Training involved mastering engraving tools (burins and gravers), working on dense end-grain boxwood blocks, and learning to translate tonal wash drawings into systems of line, hatch, and stipple. Such training suggests a background in an urban craft environment rather than an academic art school.
His migration to New South Wales probably occurred during the great waves of skilled British emigration to Australia in the 1850s–60s, when the colonial press was expanding rapidly.
