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- Mugshots removed: William Ford 1886
- Morrison, John or Norman, John
- Tasmanian prisoner records from TAHO at Flickr
- Two mugshots of Hugh Cohen/Cowen/Cowan 1878
- “Lines on the much lamented death of Rebecca Jane Nevin” by John Nevin 1866
- Prisoner mugshots by Constable John Nevin to 1890
- Mugshots of James Geary 1874 and 1889
- Mugshots removed; Reilly or Riley, Thomas
- Convict portraits by Thomas J. Nevin at the National Library of Australia
- Two couples, two dogs by A. Bock and T. Nevin
- Robert aka James Ogden, photographed by Nevin 1875
- Paris Expo 1855: Captain Goldsmith’s blue gum plank
- Thomas J. Nevin’s Blue Ink Series
- Cousins Edward and Elizabeth baptised at St Mary’s Rotherhithe
- Captain Edward Goldsmith and the wreck of the James 1830
Thomas J. Nevin produced large numbers of stereographs and cartes within his commercial practice, and prisoner ID photographs on government contract. He was one of the first photographers to work with the police in Australia, along with Charles Nettleton (Victoria) and Frazer Crawford (South Australia). His Tasmanian prisoner vignettes ("mugshots") are the earliest to survive in public collections.
DisclaimerWe have not voluntarily contributed to any publication which supports the misattribution of Nevin's prisoner/convict photographs (300 extant) to the non-photographer A.H. Boyd, nor do we condone any attempts by public institutions or private individuals to co-opt the work on these Nevin weblogs and associated sites to apply the misattribution.
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Tag Archives: Clifford & Nevin
A modern viewer would assume that these portraits all have their provenance in a family album, and that a small childish hand had been at work with a paintbox. And perhaps that was the case, but there may yet be another explanation for why the portraits below, all bearing Thomas Nevin’s studio stamp, should exhibit such crude hand colouring when the hand-tinting of his other portraits – of family members, of himself, and even of a few convict cartes – is remarkably fine and delicate. The four examples here were all sold commercially, and were painted over after their purchase by their owners who had enough knowledge of stereoscopy to experiment, and may have possessed a stereo viewer. Single cartes were also viewed using a stereoscope, and the addition of colour and lines enhanced the depth of field. They were not painted by Nevin during printing, and they are not stereographs. None of Nevin’s stereographs were coloured in this manner. Continue reading
This is an interactive display at the Narryna Heritage Museum. The stereos are truly 3D. The visitor gains an immediate understanding of the Victorian fascination with this “advanced” photography. Three images can be seen, not just one: the central image appears in deep perspective, with the image split into halves on either side. Continue reading