Edward Nicholas 

Mount Ida Chronicle, Volume II, Issue 63, 15 April 1870 
[this notice continued in the Mount Ida Chronicle until 3 July 1874]

Edward Nicholas born circa 1835 St Stephens, Cornwall, England, bapt. 4 August 1835 St. Stephens-in-Brannel, Cornwall, lived in Naseby, New Zealand and went to Tasmania about 1883, died aged 81 on 13 June 1917 at his residence in Queen Street, Invermay, and was privately interred at Carr Villa in Section C 113, married Mary Ann Sidebottom, died 5 July 1924, Invermay aged 85. She was privately interred with her husband.


3a. Sarah Ann Nicholas born 1861 Victoria, Australia
3b. Eliza Jane Nicholas born 1863 Victoria, Australia
3c. Elizabeth Amy Nicholas born 1865 Victoria, Australia
3d Jeremiah Edward Joseph Nicholas (storekeeper) born circa 1867, reg. 1867/32840, married 25 December 1895, Church of St Oswald, Trevallyn, Tasmania, Amy Isobell Davis
3e. James Noble Nicholas (photographer) born circa 1869, reg. 1869/31567
3f. George Augustus Nicholas born circa 1871, reg. 1871/33796
3g.Cyril Ernest Nicholas born circa 1881 reg. 1881/480 

We hear that Mr Nicholas, photographer, has met with decided success since he came up to the [Blue] Spur, and has succeeded in making some remarkable "takes" which it is impossible to individualise. One, however, is so striking that we cannot forbear mentioning. A noted inhabitant is taken in his shirt and trousers, and has been taken to the life, the artist preserving his own reputation and the immaculate purity of the clean shirt.

Bruce Herald, Volume VI, Issue 299, 19 January 1870

The 'Mount Ida Chronicle' reports the departure from Naseby of Mr E. Nicholas, who had resided in that district for the last 16 or 17 years. "We understand" says our contemporary "that it is Mr Nicholas” intention to go into farming operations, and the Gore district will probably be the scene of his new home, "Wherever he goes he will always carry with him the hearty wishes of a numerous section of the Naseby community." 
Mataura Ensign, Volume V, Issue 239, 20 March 1883

Mr E. Nicholas and family left Naseby for Invercargill on Tuesday morning, March 6th. Mr Nicholas has resided in Naseby for the last 16 or 17 years, where he has profitably carried on the business of a general storekeeper. He also dabbled a little in agricultural pursuits. We understand that it is Mr Nicholas' intention to go fully into farming operations, and the Gore district will probably be the scene of his new home. Wherever he goes he will always carry with him the hearty wishes of a numerous section of the Naseby community. 
Mount Ida Chronicle, Volume XIII, Issue 701, 15 March 1883


Noel Habgood
Fellow of the Royal Photographic Society

born 1 March 1911, Christchurch[1], New Zealand, reg.1911/11022
third son of Nellie Barrett and William Frederick Habgood
died 21 August 1975, possibly in Eastbourne, England aged 66 years
reg. July-September 1975, vol. 18 page 708 Eastbourne, England 

Noel Habgood
Harvest Pattern, Canterbury

118 x 196mm
Collection of Christchurch Art Gallery Te Puna o Waiwhetu

Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]

A handcoloured photograph of the Hampshire village of Wherwell by Noel Habgood.
These are some of the oak frame, wattle and daub cottages in Wherwell that were built in the early 16th century using reclaimed stone and oak beams from the local abbey after Henry VIII disbanded it.

Press, Volume LXXI, Issue 21584, 21 September 1935, Page 1

 Noel Habgood
Moorland Cottage Upper Teesdale, Co. Durham
200 x 255mm

 Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]

Noel Habgood
Harlech Castle, Merioneth, Wales
200 x 255mm
Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]


Noel Habgood
  Fairy Glen near Betws-y-Coed, Caernarvonshire
200 x 255mm

 Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]

Kiwis darkroom on tour
Take a Picture by F. Keith Manzie  
NOEL HABGOOD, who plays lead saxophone and clarinet with the Kiwis Revue Company, is also an amateur photographer of outstanding ability.

The fact that he is almost always on the move with the company never interrupts his shooting or his processing.

A portable enlarger, processing trays, safe lights, chemicals, and all the other darkroom requirements are part of his regular luggage, and are quickly set up wherever he takes up lodging.

His large exhibition prints, both in color and in black and white, go along, too, in large cases specially designed to accommodate his "mobile salon."

He uses three cameras: A Rolleiflex for everyday black-and-white work, a retina 35 mm. for color transparencies, and a recently acquired 4x5 Linhof Technika for really serious photography.

Which is just about the perfect set-up, although it was an inexpensive Zeiss camera with 4.5 Nettar lens, which he bought for £4/15/ in London before the war, that secured for Mr. Habgood most of the fine exhibition pictures which have been on show in Adelaide, Brisbane, Sydney, and in his native New Zealand.

Although he now possesses just about everything that "opens and shuts" in the way of precise photographic equipment, Mr. Habgood is convinced that you don't have to have expensive cameras to produce good pictorial work.

His favorite camera for roving work is the Rolleiflex, but he says that almost any reasonably priced camera with a good lens can be made to produce good pictures.

Not only did his technically limited Zeiss get him many excellent shots, but he was able to enlarge these to the dimensions of his best exhibition photographs with a cheap "bitser" enlarger, using the lens from an ancient V.P.K. camera.

"It's the temperament and patience of the operator that makes the picture," contends Mr. Habgood.

"An impatient, and untidy worker, who tries to take short cuts to becoming a photographer, will never produce good prints.

"And it's important to be consistent.

"Decide on what film, paper, and developer you're going to use and STICK to it. You've got to know your material and become 'friends' with it."

MR. HABGOOD first began taking a real interest in photography during the war. He'd almost always had a camera, but, like many others who own cameras, took his pictures haphazardly, and didn't bother to find out very much about how his camera worked.

His acquisition of the £4/15/ Zeiss camera whipped up his photographic enthusiasm . . . and as Mr. Habgood knew more (just a little more!) about photography than anyone else in the Kiwis Company in the Middle East, he was appointed unit photographer.

This was only a part-time job, to be worked in with his other duties.

But he really got the photographic "bug" during six months' leave in New Zealand in 1943. He became a member of the Christchurch Photographic Society (probably the strongest photographic club in New Zealand), and as a result his work improved rapidly.

After the war, Mr. Habgood became a member of the club's executive committee, and took part in lectures and demonstrations.

His firm belief in the future of color photography prompted him to go to London, with rehabilitation assistance, and study carbro print making, color film processing, and other aspects of color with two leading London studios.

He rejoined the Kiwis in Melbourne four years ago, but continued his photographic activities in his spare time.

Mr. Habgood aims at a medium to soft negative. He believes that a soft negative printed on hard paper will produce a better print than a hard negative on soft paper. He normally uses a fast panchromatic film, like H.P.3, develops in a medium fine-grain developer (I.D.11), and prefers a warm chloro bromide paper, such as Ilford Plastika.

The Argus (Melbourne), Friday 5 December 1952, page 23


Show to Aid Parcel Drive
An exhibition of 60 photographic studies by Kiwi saxophonist Noel Habgood will be opened in the Curzon Theatrette, Gawler place, on Friday. The Lord Mayor (Mr. Rymill) will open the exhibition at noon. It will continue from 10.30 a.m. to 5.30 p.m. every day next week. Admission will be a silver coin, and proceeds are for the Kiwi contribution to the Hoyts-Ozone Theatres' drive for parcels for servicemen in Korea. Mr. Habgood will show 30 photographs of English scenes, hand-colored in oils by Miss Grace Jackson, of Auckland, NZ.

Another 30 pictures will be black-and-white studies of the Middle East, Italy, and England. Costume sketches by Kiwi costume designer and female impressionist Ralph Dyer, and caricatures of Kiwi members by impressionist Red Moore also will be shown.

News (Adelaide, SA), Wednesday 5 December 1951, page 4 

The "Sagres"
V356 The "Sagres" Portuguese entrant, Torbay to Lisbon Race
a photo by the New Zealand born photographer Noel Habgood FRPS

The following photographs by the late Noel Habgood (1911-1975) have been presented (to The Robert McDougall Art Gallery) by the photographer's sister. Mrs D  Smith of Sumner, Christchurch:

Noel Habgood
Colins (sic) Street, Melbourne 1948
Bourke Street on Sunday 1948
Bourke Street from Parliament Buildings 1948
Front view of St Patrick's Cathedral, Melbourne 1948
View of St Patrick's Cathedral 1948
Yarra River, Melbourne 1948
Exhibition Building, Melbourne 1948
The Yarra and Princess Bridge, Melbourne 1948
Captain Cook's Cottage, Melbourne
Fitzroy Gardens, Melbourne
Taranga Park, Sydney 1948 [possibly - Taronga Park Floral Clock Sydney 1948]
Sydney from Taronga Park 1948
Sydney from the Bridge 1948
Red Leaf Pool, Sydney 1948
Farm Cove Sydney and the City Skyline 1948
Harbour Bridge, Sydney 

Harvest Pattern, Canterbury 1936
Bulletin - The Robert McDougall Art Gallery, January/February 1984

 Noel Habgood
Exhibition Building, Melbourne
153 x 148mm
88/178:9 OF 19

 Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]

 Noel Habgood
 Bourke Street, Melbourne on a Sunday
141 x 148mm
88/178:2 OF 19

 Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]

  Noel Habgood
Parliament Buildings, Melbourne
153 x 144mm
88/178:4 OF 19

  Collection of Christchurch Art Gallery Te Puna o Waiwhetu
Presented by Mrs D Smith [Dorothy Eva Smith nee Habgood]


Frederick Habgood, dairyman, born circa 1850 son of James Habgood,  arrived New Zealand 1873-1876, died 22 July 1911 Innes Road, St Albans, Christchurch, buried Addington Cemetery, plot 631B, (Frederick Habgood's cousin[2] Isaac Habgood c.1850-1894, gardener/bootmaker, also lived in St Albans, Christchurch) married 31 December 1872, Wimborne-Minster, Dorset, England [3], reg. Dec 1872, Wimborne vol. 5a page 624, Mary Elizabeth Foot, died 18 July 1889 Innes Road, St Albans aged 38, buried Addington Cemetery, plot 631B.

1. Ellen Mary Habgood, born 1876, reg. 1876/8658, married 1920, reg.  1920/7667,  William Henry Evans
2. Edwin James Habgood, born 1880, reg. 1880/3157, married 1912, reg. 1912/2092, Fanny Halligan
3. William Frederick Habgood, born 28 December 1882, reg. 1883/3672, see below
4. Herbert John Habgood, born 14 April 1884, Christchurch, reg. 1884/12321, died 16 September 1956 Kakaramea, Taranaki, married circa 1932, reg. 1932/8964 Rose Wood
5. Lucy May Habgood born 1887, reg. 1887/6924,  married 1910, reg. 1910/5781 James Duff Templeton 
6. others?

3. William Frederick Habgood, (farmer at Balcairn in 1925) born 28 December 1882 New Zealand, died 29 July 1964 aged 81 years, reg 1964/38020, married 7 September 1905, reg. 1905/2757,  Nellie Barrett, born circa 1883, died 23 August 1955 aged 72 years, reg. 1955/24822, issue:

3a. William Clifford Habgood, born 20 September 1906, reg. 1906/21119, died 4 April 1987 aged 80 years, reg. 1987/36077,  buried Memorial Park Cemetery, Christchurch, block 3, plot 206, married 17 October 1933, reg. 1933/7728 Mary Catherine Gertrude Peoples, born circa 1909, reg.  1909/6780 daughter of Julia Agnes Hoare and John Joseph Peoples, died 17 January 1974. 

3b. Ronald Cuthbert Habgood, born 22 February 1908, reg. 1908/3084, died 11 July 1987 aged 79 years, reg.  1987/45897. 

3c. Dorothy Eva Habgood, born 14 August 1909, reg. 1909/10747,  died 17 October 2005 aged 96 years, reg. 2005/25098,  married 27 May 1930, reg. 1930/3322, Leonard Ernest Smith.

3d. Noel Habgood, born 1 March 1911, New Zealand, reg. 1911/11022, died 21 August 1975, possibly in Eastbourne, England aged 66 years, reg. July-September 1975, vol. 18 page 708 Eastbourne, England.

3e. Patricia Habgood born 16 December 1921, died 26 April 1905 aged 83 years, reg. 2005/10174, married Dick Harley Pachnatz, born 10 August 1921, Oxford Hospital [4], Canterbury, New Zealand, son of Frederick William Pachnatz and Catherine Maria Stubbs [5], died 2000 aged 78 years, Christchurch reg.  2000/7827  

[1] The British Journal of Photography, Volume 116 page 1030.
[2] "That I was the only relation the said deceased [Isaac Habgood] had in the said Colony of New Zealand and I was his cousin as his father and my father were brothers and I was always on intimate terms with him" New Zealand, Archives New Zealand, Probate Records, 1843-1998, database with images, FamilySearch ( : accessed 26 September 2015), Christchurch Court > Probate records 1894 P2690/94-P2705/94 > image 116 of 333; Archives New Zealand, Auckland Regional Office. Isaac Habgood (registered as Hapgood) married 1879, reg.  1879/1330, Sarah Ann Barker. 
[3]  "England, Dorset, Parish Registers, 1538-1936," database with images, FamilySearch ( : accessed 26 September 2015), / in entry for Frederick Habgood and Mary Elizabeth Foot, 31 Dec 1872; Marriage, citing Wimborne-Minster, Wimborne-Minster, Dorset, England, Record Office, Dorchester; FHL microfilm 2,427,597.
[4] Press, Volume LVII, Issue 17222, 12 August 1921, Page 1

BALCAIRN. It is seldom that the Balcairn Hall has been so taxed for room as it was on Wednesday, when practically all the families in the district were represented at the public presentation and farewell to Mr and Mrs Habgood and family. A pleasant evening was spent with songs, competitions, and dancing, the music for which was supplied by Habgood's Orchestra. Songs were given by Mrs L. Fleming and Miss Munro. Miss Rhodes and Mr N. Clark were accompanists. Supper was served by the ladies. In presenting Mr and Mrs Habgood with two handsome seagrass chairs on behalf of the residents of Balcairn, Mr J. Fitzpatrick referred to their good work while members of the School Committee. In addition to school work, Mr and Mrs Habgood had taken their full share in the social life of the, district and had always been ready to assist any movement that was for the benefit of the district. He sincerely regretted their departure and trusted that they would meet with every prosperity in the future. He also asked them to accept a book for little "Pattie." In asking Mr C. Habgood to accept a music cabinet on behalf of the residents of Balcairn. Mr J. Fitzpatrick expressed their regret at the departure of Habgood's Orchestra, which had always given their services to freely when wanted in any part of the district.
Press, Volume LXVI, Issue 19872, 8 March 1930, Page 3  

  Noel Habgood
Coastguard Cottages at Duntulm, Skye by Noel Habgood
Country Life, November 1968


John Pascoe
Photography in New Zealand

As an instrument of social reportage the camera has uses. In the hands of salon competitors or people who are tied to technical apron strings it has affectations that at the best are irritating. An interest in people related to their physical environment is more healthy than the ability to fake million dollar clouds in skies that were gray when the photograph was taken.

An effective, as opposed to a merely ‘good’ photographer can examine life dispassionately, but he will always be limited by the mechanics and optics of his medium, and will lack the objectivity of a good novelist or artist. The reporting of social and economic upheavals needs interpretation, and the camera can help.

When Mrs Eleanor Roosevelt’s official photographer told me that he had heard a cameraman described as a bum reporter whose brains had been blown out, he was agreeing that photographers as a race sometimes passed off banalities as art. In sensitive hands the camera can supplement written histories and verify the background of what may one day be famous paintings or fiction. On this assumption, landscapes are of value in integrating land with life. In the absence of this test, methods of judging landscapes are exercises in criticism of form, balance, and tone. If the photographer with a feeling for the land is to capture its atmosphere, he will need to be in touch with contemporary events. To my mind, indifferent technique, ignorance of retouching, and disregard for orthodox composition are less than crimes if the photographer has the imagination to give sincerity to the vitality of the scenes and peoples he records.

Critical self-examination for honesty of purpose is a virtue, if carried out without undue earnestness. Too much indulgence in purely technical considerations is a handicap. To break rules of pictorial composition it is an advantage to be familiar with them. Arthur Hammond, Associate Editor of American Photography, says that pictorial photo graphs are pictures made with a camera by an artist for the benefit of other artists.’ This definition not only confuses artists with heifer-dust merchants, but does not admit of the mechanical limitations of all cameras, and, if it did, is a piece of self-congratulating escapism. Pedantic photographers who flourish almost everywhere will rule that only one object should be of prominent interest, that skies must harmonize in their cloud shapes with the lines of land objects, that masses must have a pleasing design, that skin textures should be beautiful, that photographic art (sic) is ‘the beautiful representation of nature for the purpose of giving disinterested pleasure’, that exhibition photographs I the best, and so on.

If the cameraman is aiming at imitating an artist he deserves an artist’s reproach: Photography apes everything and expresses nothing of itself. It is blind in the world of thought. It is up to photographers to leave the darkroom and the retouching pen and to mix with the outside world. Is a field merely a design, or is it land where men have explored, fought, worked, where timber has fallen and I crops have succeeded? Are mountains barriers to walkers or masses of intricate design where men find joy in struggling against natural forces they respect?

New Zealand in the past has suckled men who have photographed barrels of lush pastureland dominated by posterish Egmont, trainloads of pseudo-Maori dances, while Mount Cook from the bathroom window of the Hermitage hr sadly slunk through lots of lenses. Where are the documentary stories of the gold prospectors, the deer killers, the growth of a dairy factory, the monotony of wharf labour, the discomfort of a miner’s calling, the adaptation of the Maori worker to city life and environment? In such subjects may lie the future of a valid contribution by photography to the course of our next decade.

Landfall - A New Zealand Quarterly, December 1947, The Caxton Press

Unknown Photographer

Hand Coloured Portrait 
by an
Unknown Photographer

Hand coloured portrait by an unknown photographer of an unidentified man
272mm x 355mm