Henry Geeves was an articled seaman, one of twenty-two (22) crew members who sailed from the Downs (UK) on 22nd August 1850 on board the barque Rattler, 522 tons, Captain Edward Goldsmith in command, arriving at Hobart, Van Diemen’s Land (Tasmania) on 14th December 1850. Cabin passengers numbered seven, with four more in steerage. The return voyage of the Rattler to London would commence on 19th March 1851, after three months at Hobart while Captain Goldsmith attended to his construction of the vehicular twin steam ferry SS Kangaroo and the development of a patent slip at his shipyard on the Queen’s Domain. Henry Geeves, however, had no intention of joining the crew on the Rattler’s return voyage to London when he went absent without leave (AWOL) on 31st December 1850. He returned to the ship three days later for his clothes. Appearing as the plaintiff in the Police Magistrate’s Court on January 20th 1851, his complaint against Captain Goldsmith was for wages which he claimed were due to him because he felt he had been discharged by the Rattler’s chief officer, having volunteered as an “old man-of-war’s man” to join the frigate H.M.S. Havannah when an officer from the Havannah boarded the Rattler seeking additional crew … More Captain Goldsmith, AWOL seaman Geeves, and HMS Havannah
” The prize cards had on them a large and well-executed photograph by Mr Nevin, photographer, of this city, of what is called in England a model canary; and, accepting that model as the correct one, the Judges found several birds which came well up to the standard — notably the variegated yellows of Mr Northcote, Mr Aldred, and Mr Walch’s buff, Mr Montgomerie’s yellow, and many others specified in the subjoined prize list. Much interest was taken in seven birds at the upper part of the room, which had been entered for a sweep of seven pounds …” … More Thomas Nevin at the Canary and Cage Bird Show 1869
During the 1970s publishers John Ferguson of Sydney commissioned established authors to research and collect old photographs to be published as a series of books called “Victorian and Edwardian [insert name here of an Australian city, e.g. Sydney, Adelaide etc] from old photographs”. Patsy Adam-Smith, for example, compiled the Melbourne edition, Victorian and Edwardian Melbourne from old photographs in 1979. Dan Sprod was commissioned by Ferguson publishers to compile the Hobart edition in 1976. The draft papers of his research for this book, published in 1977 as Victorian and Edwardian Hobart from old photographs , are held at the National Library Australia, Canberra, where he was Chief Librarian during the 1960s. The impetus behind this emergent interest in Australian 19th century and early 20th century photography was money. Old photographs and early cameras were commanding large prices at auctions. The Tasmanian Saturday Evening Mercury published this article – “Your old photos could be valuable” – on November 15th, 1975, listing the handsomely high prices fetched for old prints and photo equipment at Christies of London in the previous two years. Prints by Tasmanian photographers of the 1880s – Spurling, Anson and Beattie – were touted here as worthy collectables: … More Dan Sprod and Thomas Nevin’s photography in the 1970s
Taking a closer look at the captions to several of the photographs throughout the book which have the wording “Image attributed by Chris Long” and the sad reality behind the making of this book about the Friths by their descendant(s) emerges. Chris Long has perused a few museum and library archives looking for unattributed photographs of the period and convinced Noel Tozer they would most probably be the work of his ancestors, the Frith brothers Frederick and Henry. If Chris Long was at all aware of the negative criticisms directed at him because of all the errors and unsubstantiated claims he made in his A-Z publication Tasmanian Photographers 1840-1940 (TMAG 1995), he might have taken a more respectful stance towards the descendants of the Frith family and refrained from imposing his old, unresolved grievances on their one and only attempt at publishing a legacy for their future generations. As it stands, Chris Long seems to have suffocated much of this book with his flights of fancy, but the only markers in the text to make the reader aware of this – that it is Chris Long’s words and not the work of Frith descendant Noel Tozer’s – is a vertical grey bar alongside the paragraphs, markers both annoying and too frequent to ignore … … More The Long Con: Chris LONG and the FRITH family legacy 2018
When captured, escapee John Finlay or Finelly was sentenced at the Mayor’s Court, Hobart Town Hall, to six months to be served once more at the Port Arthur prison. He was photographed by Thomas J. Nevin at the Municipal Police Office, Hobart Town Hall [P.O. Hobart] on 17th March 1874 as soon as the conviction was recorded. Finelly was received at Port Arthur on 29th March 1874. In December 1874 he was committed twice to spells of 24 hours and seven days in solitary confinement at Port Arthur for disobedience and insubordinate conduct respectively. He was transferred back to the House of Corrections for Males (the Hobart Gaol, Campbell Street) on 17th April 1877 on the closure of the Port Arthur prison. John Finelly was discharged in January 1879 and returned to Launceston where he died on 8th March 1883. … More T. J. Nevin’s mugshot of John FINELLY taken at the Police Office Hobart March 1874
The point here is to negate any speculation that the document above which shows John Nevin paid £5 for the passage of two relatives on a family ticket on 11th July 1854 is the actual same document that proves he paid for three members of the Hurst family who arrived on 3rd February, 1855 on board the Flora McDonald viz. John Hurst, 16 years old, a designer, with Eliza Hurst, 40 years old, a needlewoman, and 14 year old house servant Mary Jane, despite the claims of the author of a Wikipedia page about William Nevin Tatlow Hurst (viz. serial troll Karen Mather who also references irrelevant documents in pursuit of her claims). These are two separate events, two different dates, and two separate groups of passengers. Even if the Hurst and Nevin families had associations in both Ireland and Tasmania before and after both families emigrated, the list clearly shows these three Hursts arrived in 1855, not 1854, at Launceston via Hobart. So, if their sponsor was the same John Nevin (no address given on this document below) who had sponsored two emigrants on a family ticket the previous year, in 1854, the document cited above with his address at Kangaroo Valley (http://stors.tas.gov.au/CB7-30-1-1 Nevin John 1854 image 27) does not reference this document below dated 1855 which names the three Hursts: … More John Nevin snr and family 1851-1854: shipping documents
The inscription ‘Taken at Port Arthur 1874” is Beattie’s confabulation of facts in the name of tourism. Beattie prepared copies of these prisoner cdv’s for display in his collection of Tasmanian convictaria at his “Port Arthur Museum” located at 51 Murray St. Hobart (and not at Port Arthur) to coincide with the first of two early 20th century film adaptations (1908-9, 22 minutes – see theatre poster below; the second was filmed at Port Arthur in 1927) of Marcus Clarke’s popular fiction For The Term of His Natural Life which appeared as a serial in 1870 and in novel form in 1874. Hence the date “1874” and the place “Taken at Port Arthur” written on the verso of this cdv when the actual date and the actual place of photographic capture were respectively 1873 and the Hobart Gaol in Campbell Street. Beattie fabricated this fake history for several dozen original mugshots taken in the 1870s by government contractor T. J. Nevin because he was required under the terms of his own commission as government contractor (from ca. 1900) to market photographic imagery of Tasmania’s penal heritage to the intercolonial tourist. The loose cdv’s such as this one of prisoner John Appleby were prepared for sale and exhibition at Sydney’s Royal Hotel in 1915 to be displayed as Port Arthur relics, alongside relics and documents associated with the fake convict hulk Success which visited Hobart, Melbourne, Sydney and Adelaide. The collection of “convict portraits” held at the National Library of Australia Canberra and at the State Library of NSW in the Mitchell Collection are the estrays from these exhibitions. … More Prisoner John APPLEBY 1873
WARNING & DISCLAIMER:
The resources in this article contain offensive language and negative stereotypes. Such materials should be seen in the context of the time period and as a reflection of attitudes of the time. The items are part of the historical record, and do not represent the views of this weblog. These primary historical documents reflect the attitudes, perspectives, and beliefs of different times. Please note that this example of a mid-19th century performance genre called “blackface” and the use of the “N” word here will offend 21st century readers; proceeding is your responsibility.
… More Captain Edward Goldsmith and the conundrums of the Ethiopian Serenaders 1851
To contemporary Western eyes, each of these two carved ornaments might look like 19th century funerary artefacts, flower vases for example, which were customarily placed on the graves of the dearly departed. To the Sinophile, however, they are more likely to be brush washers used by a calligrapher or a watercolourist. Each appears to have a narrow pot and a wider one carved deep into the interior of the chunk of stone, where the narrow one might have held the brushes, and the wider pot the water to wash them. The age of these two “vases” – assuming their provenance goes back as gifts to the two daughters of Captain James Day in the 1860s-1870s – is at least 150 years old, and perhaps much older. If they were gifted as a pair of brush washers, why would they be deemed appropriate for these two young sisters? The answer now seems quite obvious: they were the colourists working in Thomas J. Nevin’s studio at 140 Elizabeth Street, Hobart from the late 1860s when Elizabeth Rachel Day became Thomas J. Nevin’s fiancée … … More Treasures passed down from Captain Edward Goldsmith and Captain James Day
TASMANIAN POULTRY SOCIETY—We may remind our readers that the annual exhibition of this society, under the patronage of his Excellency the Governor and his Worship the Mayor and Aldermen commences tomorrow, and will be continued the following day. A very large number of entries have been made, so that a first-rate exhibition may be expected, and to add to its attractiveness valuable gifts of poultry, pigeons, canaries, &c. will be distributed each evening. The prize cards, which we have been permitted to inspect are beautifully executed photographs of poultry, pigeons, &c., by Mr Nevin, of this city, from engravings of model birds. … More Thomas Nevin at the Tasmanian Poultry Show 1869
Where on the vast estate of 2560 acres granted to George Hull in 1824, 5.2 miles or 4.5 nautical miles north of Hobart was the house called “Tolosa” built? Was it on the Kangaroo Valley (now Lenah Valley) side adjacent to the 400 acres he sold to Lady Jane Franklin (1834) which she named Ancanthe and where she built her museum, or was it located further north on the Glenorchy side of what is now Kalang Avenue, 8 miles north of Hobart? Where was the house located in relation to the present Tolosa Street, Glenorchy? What was its architectural style and why was it called “Tolosa”? Do two photographs of houses taken by Thomas J. Nevin ca. 1868 in the area where his father John Nevin built a house at Kangaroo Valley in 1853 show off the house called “Tolosa”? This lithograph of 1859, though not clear, shows enough of the house to indicate that its facade had a verandah with a series of arches, and eight entrances and windows in total, all facing north. … More The house called “Tolosa” on the Hull estate
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 One session, two poses
This black and white copy of William Turner’s prisoner identification mugshot was made at the Queen Victoria Museum and Art Gallery in 1985 from Thomas Nevin’s original sepia print, and placed online at the QVMAG in the early 2000s. The original 1870s print of the b&w copy was exhibited at the AGNSW in 1976 (listed on page 27 in the Exhibition Catalogue). The curator chose this one (and another two photographs) possibly because the full frontal pose and the frank stare captured more of the prisoner’s “personality” than the conventional pose where the sitter’s sightlines were deflected either left or right, the pose typical of Nevin’s commercial studio practice and evident in the more than 200 (two hundred) prisoner cdvs held in the Beattie collection at the QVMAG. In addition, this print was possibly chosen because it had escaped the rebranding on the versos with the inscription “Taken at Port Arthur 1874” for Beattie’s tourism trade of the 1900s and for the 1938 QVMAG exhibition which commemorated his death and bequest to the people of Launceston. A year after the 1976 AGNSW Centenary Exhibition, in 1977, many more of these “convict portraits” by T. J. Nevin from the Beattie collection were exhibited at the QVMAG, curated by John McPhee. … More Prisoner William TURNER 1841-1879
Photographs of Tasmanian “convicts” – i.e. prisoner mugshots – taken by T. J. Nevin in the 1870s were exhibited at the Centenary of the Art Gallery of New South Wales, Sydney and at the National Gallery of Victoria, Melbourne in 1976. The Exhibition Catalogue was written by Daniel Thomas Senior Curator and Curator of Australian Art, Art Gallery of NSW. The Tasmanian contributor was antiquarian Geoffrey Stilwell, a Trustee of the Centenary Celebrations of the Art Gallery of NSW and Special Collections curator of the Allport Library and Museum of Fine Arts, State Library of Tasmania. … More Convict photographs by T. J. Nevin at the Art Gallery NSW Centenary Exhibition 1976
By 1880, officials at the Police Department were complaining about the extra work involved in listing the name of the prisoner’s ship on which he/she arrived in Tasmania, the height of the prisoner, and his or her associations etc on the Returns of Persons on Trial under the Petty Offences Act 21 Vic 12. Their reluctance to record this aspect of a prisoner’s past for cases tried at the Police Court was attributed to the time consumed while trying to resurrect the information from old records when the offenders were not known to the younger generation on staff. When the issue arose in correspondence (see below) between the Mayor and the Police Department in February and March 1880, photographer Thomas J. Nevin was both Hall Keeper and Office Keeper for the Mayor’s Court and the Municipal Police Office, each housed under the one roof at the Hobart Town Hall with cells in the basement. He too would have felt overworked in his position of supervising inebriated constables on night watch, of making sure the chimneys were swept, of preparing the Hall for exhibitions and concerts, of maintaining the grounds and watering the trees out front, and for keeping police photographic records taken by him at the MPO current with those taken at the Hobart Gaol, mostly with his brother Constable John Nevin. … More Weekly Returns, the police forms 1880s: no more ships’ names please
In 1859, John Nevin snr was granted ten acres one rood and seventeen perches in the parish of Bedford on the Huon River near Cygnet, about 60 kms south west of Hobart, but it appears he never moved his family from Kangaroo Valley to take up permanent residence on the grant. He may have used the land, however, to cultivate orchards, grow vegetables, and make jam for export. In 1870 he exhibited marrows at the Industrial Bazaar at the Hobart Town Hall. In 1873 he presented an exhibit of peat to a meeting of the Royal Society of Tasmania, and in 1877, he exported jam on the Southern Cross to the colony of Victoria. The peat may have been extracted from Kangaroo Valley, known originally as Sassafras Gully in the 1840s, a valley rich with the type of flora that grows as ‘wet’ and/or mixed forest in Tasmania. … More John Nevin senior’s land grant 1859 at Port Cygnet
THE LARGEST VAN DIEMEN’S LAND NUGGET. – The Messrs Stevens have returned from the Fingal diggings, with a small nugget, weighing seven grains, value one shilling; it is, however, the largest lump found in this colony. If we receive the testimony of Messrs. Stevens, not only one, but hundreds of nuggets will be found – the inference is just, the deduction is clear. We believe it is just probable the diggers have been working at the fag end of the range – being about twenty miles too far to the southward. This specimen of Van Diemen’s Land gold was picked up at Stanfield’s Nook, about fourteen miles from Avoca. We have heard a gentleman say, whose geological acquirements are considerable, and whose judgment is not likely to be biassed by the excitement of the gold mania, that the precious metal will be found in large quantities, and probably in a few weeks, and that great changes may be anticipated in the moral and social position of this colony, from the reaction that will take place, and the stimulus that will be given to industry. Australian and New Zealand Gazette. … More Captain Edward Goldsmith and the gold mania of the 1850s
A PHOTOGRAPHIC FEAT. – Mr T. J. Nevin, of Elizabeth-street, has performed a feat in photography which may be justly regarded as a literary curiosity. He has succeeded in legibly producing the front page of The Mercury of Wednesday, the 23 inst., on a card three inches by two inches. Many of the advertisements could be read without the aid of a glass, and the seven columns admit of a margin all round the card. … More Thomas Nevin’s Christmas feat 1874
The younger prisoner, also known as George Neal, was 33 years old when he was photographed by Constable John Nevin on incarceration at the Hobart Gaol, sentenced for three years on 11th December 1888 for embezzlement. He was therefore born in 1855, in Hobart, and if the birth record below is his, on the 31st August just months before George Neal senior was imprisoned for ten years, in December 1855. If this was George Neal snr’s son, his height here was recorded as 5 feet 8½ inches tall, while his father – if it was George Neal – was recorded in 1876 as 5 feet 3 inches, and in 1879 as 5 feet 2½ inches tall. There’s nothing unusual in this intergenerational height difference, whether in families with two generations or more of offenders, or in families of free settlers, in 19th century Tasmania up to the present day, despite common misconceptions and contrary expectations (see Maxwell-Stewart below). … More Prisoners George NEAL (aka Neill) and George NEAL
After more than twenty years as master and commander of merchants vessels between London, Sydney, NSW and Hobart, Van Diemen’s Land (Tasmania), Captain Edward Goldsmith (1804-1869) retired to his ancestral estates at Chalk and the house at Gad’s Hill (variations eg. Gadshill, Gads Hill), Higham, Kent, UK. Within months of resuming residence at Gad’s Hill House in mid 1856 with his wife Elizabeth Goldsmith nee Day, and son Edward Goldsmith jnr,, he was the subject of a curious threat about the lack of water to the house of his new neighbour Charles Dickens down Telegraph Hill at 6 Gad’s Hill Place: “Goldsmith or I must fall, so I conceive”, Dickens avowed in a letter to Henry Austin on 6th June 1857. … More Captain Edward Goldsmith and Charles Dickens’ well pump
This voyage would be Captain Edward Goldsmith’s last round-trip as master of his fastest and finest barque, the Rattler, 522 tons, from London to the port of Hobart, Van Diemen’s Land (Tasmania). The barque was cleared at the Western Dock, London on 3rd July 1850 and sat mid-stream in the Thames while lightermen loaded the cargo until ready to sail from the Downs by 22 August, 1850. Cabin passengers numbered seven, and four in steerage. They arrived at Hobart three and half months later, on 14th December 1850. The return voyage of the Rattler to London would commence on 19th March 1851, after three months at Hobart while Captain Goldsmith attended to his construction of the ferry Kangaroo and the development of a patent slip at his Domain shipyard. … More Captain Edward Goldsmith’s cargo ex London Docks per Rattler 1850
“A very fine day” was how journalist and playwright David Burn described Tuesday, November 5th 1844, in his diary (SLNSW Call No. B 190 / 2). He was watching the signals on Flagstaff Hill, Millers Point, for news of Captain Goldsmith’s arrival in Sydney Harbour. The Marryat flag for the Parrock Hall, No. 9376, signalled the barque as it sailed on towards Fotheringham’s Wharf “in the Cove” where it would remain until being cleared out for London on January 15th, 1845. … More Captain Goldsmith, the Parrock Hall & playwright David Burn 1844
The National Portrait Gallery (Australia) at Canberra is currently displaying this wooden frame containing ten “convict portraits” under glass at the exhibition, Sideshow Alley: Infamy, the macabre and the portrait, 4th December 2015 – 28th February 2016. The National Library of Australia has repeatedly chosen the same set of photographs from their collection of 85 Tasmanian prisoners’ mugshots (catalogued as “convicts”) for loan to the National Portrait Gallery because they are clean examples of the professional photographer’s use of the albumen process. Other examples in the NLA’s collection are damaged and dirty, and some are unmounted, e.g. Searle’s album. Most of the NLA’s collection is online, yet the versos of these photographs, which can provide researchers with valuable information. have not been digitised. The NLA believes that the absence of a photographer’s studio stamp on the versos – of police mugshots no less – is reason enough to engage in puerile political games of re-attribution, despite historical documentation, expert curatorial validation, and the presence of T. J. Nevin’s government contract stamp on several of these mugshots held in other national collections. … More Sideshow Alley: Thomas Nevin at the NPG exhibition 2015
On January 18th, 2014, this weblog posted an article with reference to two of Charles Dickens’ letters complaining about his neighbour, retired master mariner Captain Edward Goldsmith at Gadshill, in the village of Higham, Kent (UK). The first letter dated 1857 concerned Captain Goldsmith’s monopoly of the water supply in the village, and the second dated 1859 concerned the location of the village mailbox outside Captain Goldsmith’s house. It took just a few months in 2014, from January when we first posted the reference to Captain Goldsmith and the Higham mailbox in Charles Dickens’ letters, to December 2014 when this now famous mailbox found restitution as a fully operational service of the Royal Mail. Perhaps we played a small part in bringing the mailbox back into service. Our generous Captain Goldsmith, without doubt, is the ancestor who keeps on giving. … More A Christmas story: Captain Goldsmith, Charles Dickens and the Higham mail box
The Tasmanian Museum and Art Gallery constructed four wooden-framed collages under glass from their collection of Thomas Nevin’s prisoner mugshots for an exhibition titled Mirror with a Memory at the National Portrait Gallery, Canberra, in 2000. Henry Clabby’s image was placed top row, centre in this frame. However, for reasons best described as blind-sided, the TMAG staff who chose these mugshots sent three of the four frames to Canberra, six per frame, with labels on the back of each wooden frame stating quite clearly that the photographs were attributed to A. H. Boyd, the much despised Commandant of the Port Arthur prison who was not a photographer by any definition of the term, nor an engineer despite any pretension on his part and especially despite the social pretensions of his descendants who began circulating the photographer attribution as a rumour in the 1980s to compensate no doubt for Boyd’s vile reputation.
… More Prisoner Henry CLABBY and the TMAG frame-up
The verso of this photograph carries Thomas Nevin’s most common commercial studio stamp and the wording “This by W. J. T. Stops Esq.”which suggests that the photograph was presented to Frederick Stops by Nevin in 1868, perhaps as a gift to Emily Stops on the birth of their daughter, and was then passed down to his son W. J. T. Stops, who subsequently donated it to the Tasmanian Museum and Art Gallery from the Stops estate or even from the University archives (Royal Society Collection) where more of Nevin’s photographs are held. It was then inscribed by an archivist on accession with the note – “This by W.J.T. Stops Esq” … More Thomas Nevin and Frederick Stops, right-hand man to the A-G
The woman holding a toddler in this image is sitting equidistant between the man seated at centre and the man on extreme right. Because of Sprod’s caption, and conventions of reading texts and images from left to right, taking up meaning from the reme (the last signifier along the reading plane), one would assume that she is the wife of the man at extreme right because of Sprod’s sequential wording and because both are gazing towards some person or event outside the frame, unlike the four other crew members who all faced the camera at the point of capture. Or so it would seem to the viewer of the print, but what if the negative was viewed from the obverse? The tenor of interpersonal relationships between the people in the image and its context would acquire new and possibly more historically accurate meanings. … More On board the Harriet McGregor 1871-1880
One example of excessive damage to the original glass plate is evident in this print taken from the negative of Nevin’s only sitting with prisoner Peter Killeen in the week preceding the 20th January, 1875, when Killeen was discharged from the Hobart Gaol. He was given a life sentence for assault and robbery in 1856, and when discharged in 1875 with a ticket-of-leave, he was 64 yrs old. He subsequently re-offended, was sentenced to a further 6 weeks and discharged again on 29 September 1875. Peter Killeen offended again within six months of discharge. He was given a sentence of seven (7) years for larceny at the Supreme Court Hobart on 8th March, 1876, sent to the Port Arthur prison, arriving there on 6th April, 1876, and transferred back to the Hobart Gaol on 17th April, 1877. Peter Killeen died from senile decay, aged 76 yrs, as a Prisoner of the Crown at the Hobart Gaol on 27th June, 1889. See originals of these records here.
The only image, whether extant as duplicates of the carte-de-visite or negative prints surviving from Peter Killeen’s criminal sentences is the one taken by Thomas Nevin at his single sitting with the prisoner in January 1875. The scratched condition of the glass plate by the time of Killeen’s death in 1889 at the Hobart Gaol is evidence of repeated use, the print showing even more wear and tear than the other 39 prints used by Beattie for the line-up of 40 on his three panels created in 1915. … More Thomas Nevin’s glass plates of prisoners 1870s
In 1915, commercial photographer, convictaria collector and private museum operator John Watt Beattie held government commissions to boost the tourism industry with photographs of Tasmania’s two key attractions: wilderness landscapes and convict heritage. When Beattie reprinted these mugshots taken by Nevin of prisoners who were incarcerated in the 1870s – sentencing, incarceration and discharge being the only reason the police required their photograph – he labelled them with the word not common to British Edwardian usage – “convicts” – to resonate with the narratives and cliches of Tasmania’s/Van Diemen’s Land penal history prior to 1853, thereby deliberately suppressing the very ordinary reality that these men were prisoners who had been sentenced in the 1870s and 1880s. Not only were they officially designated as “prisoners” for the police, by 1871 they were the responsibility of the colonial government of Tasmania, not the British government. Yet, by 1916, when Beattie had salvaged dozens of Thomas Nevin’s original glass plate negatives and mounted cartes-de-visite of prisoners from the Hobart Gaol’s photographers’ room above the women’s laundry before it was demolished, he was reprinting them as commercial studio portraits on postcards, some even as cartes-de-visite, and some as uncut prints, labelling them “Imperial convicts” who were “photographed at Port Arthur”, none of which was historically factual. … More Prisoner Cornelius GLEESON 1873 and 1916
These police mugshots taken by police and commercial photographer Thomas J. Nevin in the 1870s-80s at the Port Arthur prison, the Hobart Gaol (assisted by his brother Constable John Nevin) and the Hobart Municipal Police Office (Mayor’s Court, Hobart Town Hall) are held in the John Watt Beattie Collection at the Queen Victoria Museum and Art Gallery, Launceston, Tasmania. Most are Nevin’s originals and duplicates produced in vignette carte-de-visite format; some were reproduced from Nevin’s glass negatives by Beattie for sale and exhibition in Hobart at his museum and in Sydney at the Royal Hotel in conjunction with convictaria from the prison hulk Success (1916). An exhibition of these photographs by T. J. Nevin was held at the QVMAG in 1977. … More Rogues Gallery: the QVMAG collection
Of the many dozens of stereographs taken by Thomas J. Nevin in the late 1860s which are held in the Tasmanian Museum and Art Gallery collections, this particular one was chosen for display at The Photograph and Australia exhibition, Art Gallery of NSW, 21 March – 8 June 2015. … More Nevin’s photographs at the Art Gallery NSW exhibition 2015
Understandable, it seems, that a commercially produced photograph in 1860s-1870s Tasmania would show some sort of colouring to enhance its decorative or sentimental appeal, especially if the narrative suggested by the photograph was the civilizing of Tasmanian Aborigines who were thought to be near extinction by the last few decades of the 19th century, and that the photographic studio renowned for bold artistic experimentations with colouring was Friths on Murray Street, Hobart. Less understandable is the hand-tinting of photographs of prisoners – or “Convict Portraits” as they became known – taken expressly for police use as gaol records, unless, of course, the photographic studio engaged for the purpose of providing those mugshots was operated by Thomas J. Nevin, on Elizabeth Street, Hobart. … More Calling the shots in colour 1864-1879
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
On the 11th April, 1868, Louisa Hurst, formerly Tatlow, gave birth to William Nevin Tatlow Hurst in the district of Hobart. His father’s occupation was listed as “surveyor”. Their son’s birth was registered on 22nd May, 1868 by Thos Nevin, informant, Elizabeth St., where Nevin was operating from Alfred Bock’s former photographic studio at 140 Elizabeth St. Hobart Town. Neither parent was named “Nevin”, either as the bride’s maiden name or the father’s middle name. Yet the child was given “Nevin” as a middle name along with his mother’s maiden name “Tatlow”. As a surveyor, the father was most likely absent from Hobart on business, and requested Thomas Nevin to register his son’s birth at the Town Hall. This is the reason the name “Nevin” appears for the first time in the Hurst family of Tasmania, as a gesture towards to the family of John Nevin snr and his son Thomas J. Nevin, and for no other reason. … More Thomas Nevin, informant for surveyor John Hurst 1868
Mark Jeffrey (1825-1894) was called the “Port Arthur flagellator” by James Hunt, the man he was arraigned for wilfully murdering in February 1872 at the Supreme Court, Hobart. The verdict returned by the jury at the trial was manslaughter and the sentence was life. Mark Jeffrey may have been photographed at the Hobart Gaol while awaiting his sentence at this trial. Many of these “Supreme Court men” were photographed there by Thomas J. Nevin as early as February 1872.
However, the only known or extant prisoner identification photograph of Mark Jeffrey was taken five years later by Thomas J. Nevin in the first few days of Jeffrey’s relocation to the Hobart Gaol from the Port Arthur prison site in 1877. It was taken in the usual circumstances of gaol admission – a booking shot of the prisoner in street clothing – and reproduced from the negative in carte-de-visite format for pasting to the prisoner’s criminal record sheet. Duplicates were retained for the central Municipal Police Office registers at the Hobart Town Hall, and others were circulated to regional police stations.
The booking shot (below) of Mark Jeffrey, dated to 1877, has survived as a print from Nevin’s negative. It was salvaged from the photographer’s room and Sheriff’s Office at the Hobart Gaol by John Watt Beattie ca. 1900 and reproduced for display in Beattie’s convictaria museum in Hobart. Dozens of these negative prints of notorious criminals were reproduced by Beattie, plus two hundred or more in standard cdv format, which have survived from the donation of his collection to the QVMAG Launceston in 1930. This copy is held at the State Library of Tasmania … More Prisoner Mark JEFFREY, a Port Arthur flagellator
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
Master mariner and merchant trader Captain Edward Goldsmith (1804-1869) was a contemporary of Sir John Franklin who founded in 1839 the society which became in 1848 the first Royal Society for the advancement of science outside Britain. In the early years, the Society met at Lady Jane Franklin’s Museum which she had built on 400 acres of land acquired from Dr Hull at Kangaroo Valley (Tasmania) and named Ancanthe. By 1848, Captain Goldsmith had imported a wide variety of plants – many at his own expense – to provide the Royal Society’s Botanic gardens on the Queen’s Domain above his patent slip yard with the finest specimens from English nurseries.The Royal Society moved to permanent quarters at the Royal Museum in 1862, now the Tasmanian Museum and Art Gallery. … More Captain Edward Goldsmith at the Royal Society Gardens
“Wild legends are in circulation among the servants how that Captain Goldsmith on the knoll above–the skipper in that crow’s-nest of a house–has millions of gallons of water always flowing for him. Can he have damaged my well? Can we imitate him, and have our millions of gallons? Goldsmith or I must fall, so I conceive.”
Charles Dickens, Letter to Henry Austin, from Gad’s Hill, June 6th 1857 … More Charles Dickens and Captain Goldsmith at Gad’s Hill 1857