A full-length carte-de-visite studio portrait of a young girl, possibly nine years old wearing a dark dress with a white collar and braiding along the sleeve, showing the lace of her bloomers at the hem against her bare legs. Spats cover her shoes. Her hair hangs loose in ringlets, and her gaze is slightly dropped and held steady to the viewer’s left. The studio decor includes an occasional table on wheels to the viewer’s right of frame on which sits a book, and a dining chair on the left on which the child rests her right arm. In her left hand she holds a thickly folded card. Charles Woolley’s signature technique was to produce prints in rich dark tones which made his portraits especially appealing. The verso bears Woolley’s “Advance Tasmania” studio stamp with emu and kangaroo animal iconography flanking the Tasmanian colonial insignia. His studio address for more than two decades was 42 Macquarie St. Hobart where he also ran a furniture business with his father. He must have supplied furniture, carpets and wall-hangings to all the Hobart photographic studios during the 1860s, and even sold items from his own studio when he ceased professional practice in the 1870s, because the same items appear in different photographers’ studio portraits. … More Portraits and landscapes from T. J. Nevin’s cohort
Amy Bock and Agnes Ottaway married on 21 April 1909 in Dunedin, NZ. Four days later Amy Bock was arrested at the Ottaways’ boarding house. She was convicted in the Dunedin Supreme Court on 27 May on two counts of false pretences and one of forgery, and was finally declared an habitual offender. The marriage was annulled on 17 June 1909. Was it a bid for “marriage equality” or not? … More Amy Bock’s bid for marriage equality in 1909 in New Zealand
These two photographs of an unidentified woman who posed for photographer Alfred Bock ca. 1865-1867 in his Hobart studio were taken minutes apart. The provenance of the top cdv where the woman is gazing directly at the camera/photographer, was local: it was purchased for KLW NFC Imprint Private Collection on eBay in 2017 from a seller located in South Australia. The provenance of the second cdv in which the woman’s gaze is directed 15 degrees to the viewer’s left, was the United Kingdom, according to Douglas Stewart Fine Books (Melbourne) who catalogued it for sale in July 2017. Here, on this webpage, exactly 150 years after these two photographs were taken in Bock’s glass house at 140 Elizabeth Street, Hobart, and probably printed within the hour on the same day, they are reunited in the hope they may excite recognition from a descendant who can provide this striking woman with a name and an account of her travels. … More Second Thoughts: one session, two poses at the City Photographic Establishment
By 1877 Elizabeth Mayson was petitioning for separation. She filed an application for protection of her earnings and property in 1879, citing Alfred Mayson’s alcoholism, gambling and loss of his job as Stipendiary Magistrate as reasons. She separated permanently from Alfred T. Mayson in 1877 taking both children with her to the residence of her father, John Amos. Alfred T. Mayson used Dobson & Mitchell lawyers in response to the petition. They claimed Elizabeth Mayson could not be found by June 1882, so Mayson’s claim to set aside his wife’s application was discharged. Elizabeth Mayson married Charles Borradale (1845- 1917) sometime after gaining a divorce from Alfred T, Mayson (date ?), and resided in Victoria. She died at the Borradale family home, 33 Morah St Parkville, Melbourne in 1907, aged 62 years. Widower Charles Borradale then remarried to Margaret McGregor who survived him and continued to live at the house in Morah St. Parkville. Charles Borradale died on 22nd April 1917, aged 71 years. He was wealthy enough to erect a large tombstone for his wife Elizabeth Mayson Borradale nee Amos and himself in the Melbourne General Cemetery, Victoria. His estate was considerable, although his last occupation was simply “cabdriver”. … More Marriage breakdown: Elizabeth Amos v Alfred Threlkeld Mayson 1879-1882
Stephen Budden, commercial agent from Lyttleton, New Zealand for the Canterbury Acclimatisation Society arrived at New Wharf, Hobart, Tasmania, on 4th August 1873, the sole passenger aboard the brig Chanticleer under command of Capt. G. A. Phillips. His mission was to superintend a shipment of salmon and salmon trout ova back to New Zealand. With assistance from the Tasmanian Acclimatisation Society and naturalist and amateur photographer, Morton Allport, who was instrumental in the introduction of salmon ova and European fish to Tasmania in the 1860s, two shipments were sent: the first of salmon trout ova was accompanied by Stephen Budden on the Clematis, departing 29th August; and the second of 500 brown trout ova destined for the Auckland Climatisation Society left on the Bella Mary on the 23rd August 1873 . As a result of Stephen Budden’s successful mission, Morton Allport was made an honorary life member of the Otago Acclimatisation Society. … More Trout and salmon ova for New Zealand 1873
This carte-de-visite of an unidentified older woman, one of many older women who favoured Thomas Nevin’s services for this type of full-length studio portrait, is unusual in that the pink tint applied to her bonnet ribbons is the same shade of pink applied to the ribbons worn by Pangernowidedic in a reprint, ca. 1875 of four Tasmanian Aborigines who were photographed originally in 1864 as a series taken at Government House. … More Woman with pink ribbons by Thomas Nevin 1870s
Captain Edward Goldsmith performed the burial rites at sea in the presence of the only other family member on board, younger brother Richard Landale, b. 1831, barely seventeen years old. Presumably the body was disposed of soon after death rather than kept on board until first landfall, which might have been the Falkland Islands where Captain Goldsmith routinely berthed to resupply his crew. On arrival in the Derwent at Hobart ten weeks later, Port Officer Lawrence recorded the names of all passengers at the time he boarded the vessel, but recorded nothing about the death at sea. Although death notices had appeared in the press by the 9th December 1848, the death itself was not listed in official death and burial registers, making it difficult to ascertain both the cause of the teenager’s demise and location of a cemetery memorial. … More Captain Edward Goldsmith, the diarist Annie Baxter and a death at sea 1848
This stereograph of a tent pitched on the lawn in front of the Government Cottage, with one gentleman in a top hat standing at a short distance, facing a young girl and another gentleman in a top hat outside the tent’s entrance, bears traces of multiple printings in different formats. The darkened round corners of the print suggest it was printed first in a double oval or binocular stereoscopic mount, and reprinted with squared corners. The dress fashion of the men and girl suggests day trippers in their Sunday best rather than the work-a-day dress of prison officials or local employees. If Nevin had taken this photograph in April 1874, the tent listed on the government schooner’s way bill definitely belonged to him, because he was away at Port Arthur and not in Hobart when the birth of his son Thomas James Nevin jnr in April 1874 was registered by his father-in-law Captain James Day, the only birth registration of his children he did not personally sign… However, if Nevin photographed this group two years earlier, on 1st February 1872, the more likely date, the girl and bearded man standing in front of the tent could be identified as Jean Porthouse Graves, the man as barrister Byron Miller (her future father-in-law), and the clean-shaven man facing them, solicitor John Woodcock Graves, Jean’s father. … More The photographer’s tent at Port Arthur: 1872 or 1874?
The black and white print from another negative taken ca. 1872 of the same location from the same viewpoint with a telegraph pole (?) now evident in the centre of the image is correctly identified as the abbatoirs at Cattle Jetty, Queens Domain, owned and managed by the Hobart City Council. Thomas Nevin would have taken the original photograph a few years earlier under commission as government contractor for the Lands and Survey Dept. of the HCC, and supplied the Council with prints in various formats including a stereograph and unmounted cdv, with at least one photograph printed verso with the Royal Arms insignia of his official government contract stamp. The hand-coloured stereograph to survive bears no stamp verso, which suggests it was randomly saved from the HCC archives, or even studio rejects, and subsequently coloured by family members of a commercial client of Samuel Clifford’s (see stereo below) when reprinted from Nevin’s original sometime before 1878. … More The abbatoir and cattle yard stereograph ca.1870
An unusual photograph taken ca. 1868 by Thomas J. Nevin which combines a close-up portrait of a male adult seated extreme right foreground who hides his face as if to avoid recognition, with a background vista of New Norfolk (Tasmania) taken from across the River Derwent of the bridge and the substantial residence, Woodbridge, of Mr William Stanley Sharland (1801-1877), Assistant-Surveyor, pioneer hop grower, and Member of the House of Assembly. This photograph may have been an attempt by Nevin at a “selfie” in the loose mid-19th century sense of the term, or indeed it may be the figure of friend and colleague Samuel Clifford with whom Thomas Nevin travelled around Tasmania taking stereographs and portraits from the mid-1860s until Clifford’s retirement in 1878. … More Bridge over the Derwent at New Norfolk 1850s-1890s
A selection of stereographs taken by Thomas J. Nevin, late 1860s on and around the summit of Mount Wellington, Hobart, Tasmania.
From the Tasmanian Museum and Art Gallery Collection 2015 … More Thomas Nevin on Mount Wellington 1860s
How cheap was “cheap”? Three years previously, when Thomas Nevin was assistant in Alfred Bock’s studio at 140 Elizabeth St. Hobart before Bock’s departure and Nevin &Smith acquiring the business, he would have taken exception to the word “cheap” directed at Alfred Bock’s practice. The dispute about the ownership and copyright of the sennotype process between Henry Frith and Alfred Bock in 1864-1865 embittered both to the point of deciding to quit Tasmania. Frith’s rates for carte-de-visite portraits were expensive, two for 10/-, and his disdain for “cheap trash palmed off on the public as cheap photography” was loudly proclaimed in this advertisement in the Mercury of 6th April 1864. … More Tombstones copied, Terms: – Cheap!
Robert Smith and Thomas Nevin established the firm of Nevin & Smith soon after Thomas Nevin acquired the stock, studio and glass house of Alfred Bock at 140 Elizabeth St. Hobart Town in 1865. The partnership was brief, lasting less than two years. It was dissolved by Nevin’s family solicitor, the Hon. W. R. Giblin, in February 1868.
Robert Smith may have operated a studio prior to his partnership with Nevin, as Mrs Esther Mather referred briefly to the “coloured ones from Smith’s” in a letter to her step-son, dated October 1865. On Robert Smith’s departure to Victoria, where he took up farming and politics, Thomas Nevin pasted the verso of a few more photographs with the label bearing their name, but with Smith’s name struck through, and the word “Late”added. … More The firm of Nevin & Smith stamps and label 1867-1868
Amateur photo-historian Chris Long was among the first to be targeted by A. H. Boyd’s descendants in 1984 with only their hearsay offered as proof, and together with co-editor Gillian Winter, assumed that there would be extant photographs by A. H. Boyd, if indeed he had photographed prisoners. Strangely enough, they found none. Gillian Winter found mention of THREE photographs of parliamentarian George William Keach, his wife and daughter, with a Boyd attribution in the Archives Office Tasmania. But those photographs were missing from the original Allport Album when she listed its contents. Those photographs were taken by Sydney photographer Thomas H. Boyd, loosely collated originally with other carte-de-visite items taken of Allport family members and their friends by photographers in Hobart, Melbourne, Brisbane, Rome and elsewhere … … More Blame it on Beattie: the Parliamentarians photograph
“This part of the country unknown” was printed on the Surveyor-General’s map of Van Diemen’s Land in 1824. Artists such as John Glover (in 1834) and Skinner Prout (in 1845) had travelled in the region and represented Lake St Clair and surrounding mountains in sketches, but it was not until the 1860s when photographs taken … More Captain Edward Goldsmith’s land at Lake St Clair
When the Nevin family of Kangaroo Valley, Hobart, sat down to read The Mercury on the 4th October 1865, they must have despaired at the notice it contained about their application for aid of £25 p.a. to open a school at Kangaroo Valley, especially Mary Ann Nevin, 18 years old, and determined to start her working life as a teacher. The reporter had mispelt the family name – McNevis instead of Nevin. A week later, when The Mercury reported that Mary Ann’s application was rejected, the reporter again mispelt her name as NEVEN. … More Miss Nevin and Morton Allport
The friendship between these two photographers, Thomas J. Nevin and John Watt Beattie extended back to 1887 on the death of Thomas Nevin’s father, John Nevin at the family house and farm adjacent to the Lady Franklin Museum at Kangaroo Valley (renamed Lenah Valley in 1922). It had long been a wish of John Nevin that the Franklin Museum be restored to its original purpose when first built on Jane Franklin’s land, named Ancanthe, as a library and botanical museum, but by 1887, it was little more than a storage shed for local orchardists and farmers. As a gesture towards reviving John Nevin’s wish, before his own death in 1930, John Watt Beattie approached the Hobart City Corporation with a proposal to house his vast convictaria collection in the Lady Franklin Museum at Kangaroo Valley (Lenah Valley) but the HCC declined. … More John Watt Beattie and the Nevin family legacy
In late March, 1866, photographer Alfred Bock was at the Port Arthur prison site on the Tasman Peninsula, 60 kms south of Hobart at the request of its Commandant, James Boyd. Alfred Bock’s studio – The City Photographic Establishment – at 140 Elizabeth Street, Hobart, was manned by his junior partner Thomas Nevin and his apprentice, younger brother William Bock, in his absence. Bock’s mission at Port Arthur was to provide a series of landscapes and portraits of officials. However, it was photographer Samuel Clifford, Nevin’s friend and mentor, of Liverpool Street, Hobart, who was the source and supplier of photographic materials to the Port Arthur prison administration, in this instance for Alfred Bock in March 1866, and again in August 1873, when Clifford himself visited the prison site. … More Photographers A. Bock, S. Clifford and T. Nevin at Port Arthur
The “T. Nevin Late A. Bock” portrait of a middle-aged couple with a dog was hand-tinted by the family who purchased it or by subsequent owners. Such inept colouring was not the work of Nevin himself. His own family portraits show delicate and precise tinting. Other heavily tinted portraits bearing the same studio stamp used by Nevin for commercial portraiture into the early 1870s show the owners’ preference for red and violet colours. This portrait of a couple with dog is unusual in that green and brown colours were used. In all these extant cartes-de-visite portraits bearing Nevin’s stamp which were coloured subsequent to purchase, it is the carpet which has received the most savage treatment. The strange blobs defy conventional perspective, although the intention may have been the opposite. This carte – as with many of the others bearing amateurish daubs – probably originated from the same family in northern Tasmania. … More Two couples, two dogs by A. Bock and T. Nevin
This photograph of a teenage girl with bare shoulders and ringlets may be one of the very last taken by Alfred Bock in Hobart Tasmania before his departure in 1865. The design of the studio stamp on the verso was altered only minimally by his younger partner Thomas J. Nevin who bought the lease of the studio, shop, the glass house and darkroom, the stock of negatives, camera equipment, backdrops and furniture etc at auction on August 2, 1865. Thomas Nevin continued to use the stamp’s design for his commercial studio portraiture for another decade, although he used at least six other designs for various formats and clients, including the Royal Arms insignia for commissions with the Colonial government. … More One of the last portraits by Alfred Bock in Hobart 1865
WILLIAM BOCK left Tasmania in 1868, returned in 1874 to marry his fiance Rebecca Finlay, and returned to Wellington New Zealand where he thrived as an engraver, lithographic printer,medallist, stamp designer, and illuminator. William Bock is considered the most important and innovative contributor to the development of New Zealand stamp production from 1875 to 1931, He died in 1932. … More Alfred Bock’s other apprentice: William Bock
DOUGLAS STEWART FINE BOOKS LTD HOBART BOOK FAIR was held on February 12 – 13, 2011 with three items on sale pertaining to Thomas J. Nevin’s commercial photography.
STEREOGRAPH of CLIFFORD’S CAMERA
The first was this stereograph attributed to Samuel Clifford but ostensibly showing Clifford’s camera. Who took the photograph? Did Clifford carry two cumbersome cameras with him into this dense bush setting at Brown’s River, or was he accompanied – as so often he was around Tasmania – by Nevin? If so, the stereograph deserves the double attribution of Clifford & Nevin, an inscription which appears on several items also held in private collections. … More Samuel Clifford, Thomas Nevin and two cameras
THE ODD FELLOWS’ HALL – A very fine photograph of the Odd Fellows’ Hall (corner of Davey and Harrington-streets) has been taken for the Society by Mr. Nevin, of Elizabeth-street. The view is taken from Davey-street, opposite the corner of the Freemasons’ Hotel, and thus shows the entrance to the rooms, with the whole front and side of the buildings. A well-known member of the institution, and a less known youth, have come within the range of the camera, and their presence greatly assists in conveying an idea of the dimensions of the hall. The picture is undoubtedly creditable to the artist. … More The Odd Fellows’ Hall photograph 1871
“… portraits of prisoners taken in the dock …” THOMAS BOCK Police artists worked in the Supreme Court of Tasmania from as early as 1824. An album of portraits of “prisoners taken in the dock” (Dunbar, QVMAG catalogue 1991:25) by Thomas Bock, the father of Thomas Nevin’s mentor Alfred Bock, was on sale at the … More From Thomas Bock to Thomas Nevin: Supreme Court prisoner portraits
Tasmanian professional photographers Thomas J. Nevin and Samuel Clifford were close friends and business partners from the 1860s until Samuel Clifford’s death in 1890. On this tour, they travelled on the main road north from Hobart to Launceston via Bothwell. In the final week of September 1874, while passing through Bothwell, 45 miles north of Hobart, they were enjoined to photograph the procession of Templars attending a large meeting. The Mercury reported their arrival in the town in a long account of the meeting, published on 26 September, 1874 … More On the road with Sam Clifford and Thomas Nevin 1874
Commercial photographer Alfred Winter (1837-1911) was fond of fashionable society and grand landscapes. On Saturdays and Sundays he would travel to beauty spots with his apprentice, Frank Miller, who had a prison record, and who ended up in Detective Connor’s custody for the appropriation of Winter’s photographs, valued at 6 shillings: … More Apprentices: The Good, The Bad and The Careless
From the early 1860s Thomas Nevin operated a photographic studio at New Town with the business name of “Thomas Nevins”. By 1865 he was apprenticed to photographer Alfred Bock whose residence and studio he leased from A. Biggs at 138-140 Elizabeth Street, Hobart Town on Alfred Bock’s departure for Victoria in 1867 (Hobart Town Gazettes 1870s). Nevin maintained the business name of the studio, The City Photographic Establishment, 140 Elizabeth St. Hobart Town. With partner Robert Smith, they formed the firm Nevin & Smith, producing stereographic views and hand-tinted studio portraits (TMAG and Private Collections). The firm Nevin & Smith was commissioned to take an album of Tasmanian children in 1868 to be presented to the Duke of Edinburgh (State Library of Victoria Collection). The firm of Nevin & Smith was dissolved on 22nd February 1868, undersigned by Thomas Nevin’s solicitor, later Attorney-General, W.R. Giblin. Thomas Nevin exhibited photographs of Melville St under snow (1868) and A Party at the Rocking Stone Mt Wellington (1870) at the Wellington Park Exhibitions (TMAG Collection). He also exhibited stereoscopic views and cartes at the Town Hall Bazaar on 1st April, 1870 (Mercury). For his work as the firm of Nevin & Smith, he was granted a colonial Royal Warrant, and for his work with the Lands and Survey Department of the colonial government, he was granted another colonial Royal warrant by authority. By 1870 Nevin was providing photographs of mining and reservoir works at the Huon and Cascades on government commission, as well as providing group portraits and landscapes for groups of tourists to Lady Franklin’s Museum and Kangaroo Valley. … More Key dates in Thomas Nevin’s life
Thomas Nevin set up the firm Nevin & Smith ca. 1865 at the City Photographic Establishment, 140 Elizabeth Street, Hobart Town, in partnership with Robert Smith. However, by February 1868, the partnership was dissolved. … More The firm of Nevin & Smith 1867-1868
Albert most likely chose the black and white photograph as the best representation of himself he could give his fiancee Emily Maud Davis in 1914, and having succeeded in winning her hand, presented the painted version to Emily on their wedding day, March 5th 1917 in Launceston. By August 13, 1917, they were back in Hobart and Albert was racing again, at Moonah in the Derwent Handicap … … More Portraits of youngest son Albert with horse 1914-17
Robert Smith may have operated a studio prior to his partnership with Nevin, as Mrs Esther Mather referred briefly to the “coloured ones from Smith’s” in a letter to her step-son, dated October 1865. On Robert Smith’s departure to Goulburn, NSW, where he opened a small photographic studio before taking up farming and politics, Thomas Nevin pasted the verso of a few more photographs with the label bearing their name, but with Smith’s name struck through, and the word “Late”added. … More Thomas Nevin and Robert Smith 1865-1868
This studio stamp – with the Prince of Wales insignia – is the second type of stamp from Thomas Nevin’s studio that bears an official insignia. His other government stamp, which he used on the verso of several portraits of Tasmanian convicts while contracted as prison photographer at Port Arthur and the Hobart Gaol, features the Royal Arms insignia with lion and unicorn rampant. The Prince of Wales emblem was used on decorations for official functions during the Duke of Edinburgh’s visit in 1868 … … More Another rare Nevin & Smith studio stamp
This is a rare hand-tinted portrait taken by Thomas Nevin of his fiancee while in partnership with Robert Smith, who may have been an independent photographer prior to his partnership with Nevin between ca. 1865 and its dissolution in 1868. By about 1863, according to Esther Mather (d.1872, aged 77 years), Smith was providing the citizens of Hobart Town with coloured photographs. … More Nevin & Smith tinted vignette of Elizabeth Rachel Day
Below is an example of the same photograph printed twice, once as a single image, the other as a stereograph.The black and white copy is dated 1869 and held at the Archives Office of Tasmania with attribution to Samuel Clifford. The stereograph (double image) is held at the Tasmanian Museum and Art Gallery, and carries the impress of T. Nevin on mount. … More Nevin & Clifford identical views
The verso of this portrait of a standing child bears Alfred Bock’s studio stamp for the City Photographic Establishment which is identical in design to one of the stamps adopted by Thomas Nevin while working with Bock in the early 1860s. Nevin continued to use this design when he acquired Bock’s studio and stock, The City Photographic Establishment, in 1865 on Bock’s departure from Tasmania. … More With Alfred Bock mid 1860s
PERSONAL: – Mr Alfred Bock, writing from Auburn, Victoria, intimates that he is not dead, neither is he “the late Mr. Bock”, as stated in a note under a picture of the late Mr Boyd in a recent copy of “The Tasmanian Mail.” He adds:- “I suppose by the ‘late Mr. Bock’ it means to refer to my father, but he never took a photograph in his life. The picture was actually taken by me on the occasion of my visiting Port Arthur at the request on the officers of the station for the purpose of painting a portrait of Mr Boyd for presentation to that gentleman; I think about 1863 or 1864; I am not quite sure as to the year. I should be glad if you could make the correction, especially as some of my friends have been inquiring about my decease.
… More Alfred Bock & Thomas Nevin at Port Arthur 1860s
Published in London, The Photographic News contained a wealth of news and technical information about processes and equipment. The volume spans a year in the development of dry-plate photography, solar photography, photolithography, glass house construction and a thousand other items of interest in advanced photophysics and photochemistry. Alfred Bock and Thomas Nevin had reconstructed Bock’s glass house at their studio, The City Photographic Establishment, 140 Elizabeth-street, Hobart Town, by 1865, and produced some extraordinary solar photographs. Samuel Clifford, also a partner of Thomas Nevin, applied information from such a source to produce his much praised dry plate photographs using Russell’s Tannin Process, which were exhibited at the Melbourne Intercolonial Exhibition in 1866. … More Dry plate photography 1860s
“There are three rooms literally crammed with exhibits … The question which pressed itself on my mind time and again was, how comes it that these old-time relics which formerly were Government property, are now in private hands? Did the Government sell them or give them away? The same query applies to the small collection in a curiosity shop at Brown’s River. Whatever the answer may be, I hold the opinion that the Government would be amply justified in taking prompt steps to repossess them, even though some duplicates may be in the State Museum. Today the collection is valuable and extremely interesting. A century hence it will be priceless. It would surely be unpardonable to allow it to pass into the hands of some wealthy globe-trotter which is the fate awaiting it, unless action be taken to secure it to the State.” … More John Watt Beattie’s Museum ca 1916