Tasmanian photographer | Thomas J. Nevin (1842-1923)

19th century Australian police and commercial photographer

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Biographies

 

A brief summary of generational levels of the immediate families of Tasmanian photographer Thomas J. NEVIN and his wife Elizabeth Rachel Nevin nee DAY, 1830s-1920s.

(a) GENERATION ONE: Dickson, Nevin, Day, Pocock and Goldsmith

Mary Ann Nevin nee Dickson (1810-1875) and John Nevin snr (1808-1887) had four children, all born near Belfast, Ireland between 1842 and 1852, prior to arrival as free settlers at Hobart, Van Diemen’s Land (Tasmania) in July 1852. Born in England, Mary Ann Dickson was the sister of rose grower Alexander Dickson, established at Newtonards, Ireland. John Nevin snr was a former soldier (Royal Scots First Regiment), a journalist, poet and gardener.

Children of Mary Ann Nevin nee Dickson and John Nevin snr

1. Thomas James (Thos) Nevin (1842-1923) m. Elizabeth Rachel Day (1847-1914)
2. Mary Ann Nevin (1844-1878) m. John Carr
3. Rececca Jane Nevin (1847-1865)
4. William John (Jack) Nevin (1852-1891)

Children of Rachel Day nee Pocock (ca. 1812-1857) and Captain James Day (1806-1882). Rachel Day nee Pocock died of “consumption” at Hobart in 1857, and Captain James Day died in 1882 at the home of his younger daughter Mary Sophia Axup, Battery Point, Hobart. Photographer Thomas James Nevin married Elizabeth Rachel Day on 11th July, 1871 at Kangaroo Valley, Hobart.

1.Elizabeth Rachel (Lizza) Day (1847-1914) m. Thomas J. Nevin (1842-1923)
2. Mary Sophia Day (1853-1942) m. Hector Charles James Horatio Axup (1843-1927)

Children of Elizabeth Goldsmith nee Day (1802-1875), sister of Captain James Day, and Captain Edward Goldsmith (1804-1869). These were the Goldsmith cousins of the Day sisters, Elizabeth Rachel Day and Mary Sophia Day. Richard died in Hobart, 24 yrs old, in 1854 and Edward jnr died in Rochester (UK) in 1883.

1. Richard Sydney Goldsmith (1830-1854)
2. Edward Goldsmith jnr (1836-1883) m. Sarah Jane Rivers (1835-1926)

(b) GENERATION TWO: Day, Nevin, and Axup

Mary Sophia Axup nee Day (1853-1942) and Hector Charles James Horatio Axup (1843-1927) had five children between 1878 and 1891.

Children of Mary Sophia Axup nee Day and Hector C. Axup
NB: These dates may not be totally accurate.

1. Rachel Frances Eva Axup (1878-1978) m. P. Baldwin
2. Sidney James Vernon Axup (1882-1975) m. Emily Tyson
3. Edward Harold Leslie Axup (1885-1964) m.
4. Patience Ella Mary Axup (1889-1913)
5. Olive Lilian Ethel Axup (1891- ? ) m. Charles Wilshire (10 March 1920)

Elizabeth Rachel Nevin nee Day (1847-1914) and Thomas James Nevin (1842-1923) had seven children, six surviving to adulthood. Three sons – Sydney, William and George – were born at the Hobart Town Hall during their father’s residency as Office and Hall Keeper. Sydney died four months after birth.

Children of Elizabeth Rachel Nevin nee Day and Thomas J. Nevin:

1. Mary Florence Elizabeth (May) Nevin (1872-1955)
2. Thomas James (Sonny) Nevin (1874-1948) m. Gertrude Tennyson Bates (1883-1958)
3. Sydney John Nevin (1876-1877)
4. William John Nevin (1878-1927)
5. George Ernest Nevin (1880-1957)
6. Mary Ann (Minnie) Nevin (1884-1974) m. James Henry Alfred Drew (1878-1963)
7. Albert Edward Nevin (1888-1955) m. Emily Maud Davis (1891-1971)

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Young man at Nevin & Smith's studio, Hobart 1868

NEVIN & SMITH, 1868: the client with white fingernails

October 21, 2021

Robert Smith was known to Mrs Esther Mather. She was not happy about the colouring he had applied to a portrait of her brother when he visited the studio she called “Smith’s” in Hobart. She said so in a letter to her step-son, dated 1865. Nothing was known about this partner of Thomas J. Nevin called Robert Smith until recently when portraits and stereoscopes bearing the business name NEVIN & SMITH came to light. Robert Smith may have been an independent photographer prior to forming a partnership with Thomas J. Nevin at Alfred Bock’s former studio. The partnership lasted less than a year and was promptly dissolved in February 1868 following the Royal visit to Hobart, Tasmania of Alfred Ernest Albert, Duke of Edinburgh, second son of Queen Victoria, in late 1867 on his first command, H.M.S. Galatea. Thomas J. Nevin continued the photographic business in his own name at Alfred Bock’s former studio, 140 Elizabeth St. Hobart Town, while Robert Smith departed for Goulburn NSW where he set up a photographic studio before taking to farming and politics. … More NEVIN & SMITH, 1868: the client with white fingernails

Barque Sir Charles Napier

Captains, emigrants and convicts: the summer of 1842-3 in Hobart, VDL

October 10, 2021

Among the 220 bounty emigrants who disembarked at Hobart from the Sir Charles Napier on 29 November 1842 were members of the JUDD family from Barkway, Hertfordshire (UK). Parents Thomas Judd snr and Elizabeth Judd nee Cane [var. Cain] arrived with eight of their children: Elizabeth, Thomas, John, Ann, Rebecca, Susan, Martha and Henry. A remarkable account of the voyage and the tragedy which followed was documented by twenty-year-old Thomas Judd in his diary, from departure in August 1842 to arrival and aftermath, in January 1843. Twenty five years later, Hobart photographer Thomas J. Nevin would hear about this family from one of his sitters, Joseph THOMAS, farmer of Cygnet who married a daughter of the JUDD family, Rebecca Judd, in 1852 only to lose her in childbirth in 1864 … More Captains, emigrants and convicts: the summer of 1842-3 in Hobart, VDL

Emma Pitt cdv June 1866

Best of friends: Emma PITT and Liz O’MEAGHER 1866

September 24, 2021

The verso inscription on this carte-de-visite – “I say Captain Mackie is not to show his face in Nelson without you Liz O’Meagher” – signed by Emma Pitt, dated 6th June 1866, has created differences in perception as to the identity of the young woman in the photograph, first by the seller (DSFB) on the one hand, and second by the purchaser (KLW NFC Imprint) on the other. Is it a photograph of Emma Pitt’s addressee “you Liz O’Meagher”, or does it represent the sender Emma Pitt herself? The cdv as a multimodal message is quite complex in tenor and text. Emma’s single sentence is a powerful theatrical gesture. She uses the deictic “you” as a cataphoric pointer forward to the name “Liz O’Meagher” without reference to the photograph itself or to the name of the woman it portrays. “This is you” or “this is me” are absent pointers which could identify the subject of the photograph. Liz O’Meagher is clearly intended as the receiver, the addressee, the “you” in script, in textual form on the verso of the cdv but there is the addition of a visual signifier in the message, the photograph of a young woman on the recto of the cdv, whose identity is not altogether straightforward despite comparisons with extant photographic records taken in the same decade and into the 1880s of (potentially) both young women … More Best of friends: Emma PITT and Liz O’MEAGHER 1866

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