These stereographs taken between 1865 and 1876 by professional photographer Thomas J. Nevin are held in the Tasmanian Museum and Art Gallery collection, Hobart. Some were taken as commercial photographs for private clientele, for example those which bear verso his New Town studio stamp and those which bear recto his blind stamp impress. At least two in this collection were taken ca. 1867-1868 in partnership with Robert Smith operating from Alfred Bock’s former studio at 140 Elizabeth St. Hobart as the firm “Nevin & Smith”. Others which bear Nevin’s government contractor stamp featuring the Royal Arms insignia were taken during his commissions with the Hobart City Council and Tasmanian colonial government. Several bear no photographer identification but are similar to others in terms of the pictured subject photographed several times around the same date, for example the group photographs of visitors to Adventure Bay, January 31st, 1872. … More Thomas Nevin’s stereographs: TMAG Collection
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
Two tall thin metal statues of a beggar and a harlequin flank the group on either side. Their significance and provenance is not known. Perhaps they were cast by a local sculptor for private decorative use, or they may have featured as props in a theatrical production, or even confiscated by Lukin Boyes at the Customs and Tariff Office. But it is the lion statue in the foreground which is the focal point of the image. It belonged to John Woodcock Graves’ family of Caldew, West Hobart. A later photograph taken of Jean Porthouse Graves ca. 1877 shows it placed near the doorway of the house. This stereograph taken by Thomas Nevin and the one immediately below it of members of the Graves, Miller and Boyes families were possibly taken on the same day, ca. 1870 and in the same location, at the back of Caldew when West Hobart was still a sparse “wilderness”. … More With Jean Porthouse GRAVES 1870s West Hobart
This carte-de-visite of William Kellow, one of the extant hundreds of Tasmanian prisoners taken in the 1870s and printed in an oval mount, is held at the Tasmanian Museum and Art Gallery, Hobart. It was originally held in the Queen Victoria Museum and Art Gallery, Launceston, together with another three hundred or more 1870s mugshots taken at the Hobart Gaol by government contractor Thomas J. Nevin which were acquired by the QVMAG as part of the bequest from the estate of John Watt Beattie in the 1930s. When this cdv, along with 55 more now at the TMAG, were removed from Beattie’s collection and taken down to Port Arthur for an exhibition in 1983, it was not returned to the QVMAG. It was deposited instead at the TMAG . The QVMAG list (2005) showed a total of 199 mugshots, but only 72 were physically held at the QVMAG when the list was devised. A total of 127 mugshots were missing by 2005. This carte-de-visite of William KELLOW is one of those listed as missing, number 143. … More Prisoner William KELLOW 1872
The verso gives no indication of the name of the prisoner, but from the inscribed details, this prisoner fits the physical description of John Pope, the ship on which he arrived in Tasmania, the sentence served of 2 years, and discharged free with conditions (FC). This photograph was not reprinted by John Watt Beattie from Nevin’s original negative, or from Nevin’s duplicates of his own cdv produced for gaol records from his single sitting with the prisoner. Its verso shows it was removed from paper, probably the prisoner’s criminal record sheet. Many of the later Hobart Gaol records books dating from the mid 1880s retain the prisoner’s mugshot(s) intact (held at the Archives Office Tasmania), but the earlier 1870s mugshots have survived mostly only as loose duplicates, so this loose carte is unusual in that respect. This photograph’s late date of production, 1881-83, is possibly one reason it appears to be an original prisoner identification photograph by Nevin, typical of his commercial posing and printing in an oval cdv mount. … More Prisoner John POPE 1881
Thirty-three year old John Mayne was a Member of the Table Cape Road Trust when he was wrongfully convicted for rape in January 1874. A sentence of death was recorded which was remitted to 15 years. He was released 10 months later, in December 1874 after protracted protests in the press and several juror capitulations, the same jurors who had initially returned a verdict of guilty after two hours’ deliberation at the trial (13 January 1874), a case strongly defended by John Mayne’s barrister R. Byron Miller. Thomas Nevin photographed John Mayne on arrival at the Hobart Gaol from the Supreme Court, Launceston, in February 1874 before Mayne was sent to the Port Arthur prison, from where he was discharged as “Free.” The release was effected by barrister R. Byron Miller and Attorney-General W. R. Giblin, two key members of the legal fraternity along with John Woodcock Graves jnr, whose endorsement of Thomas J. Nevin as government contractor for the provision of prisoner identification photographs was effected in 1872 and extended through to the late 1880s. Thomas Nevin also provided portraits of these lawyers, including members of their respective families. … More Miscarriage of justice: the case of John MAYNE 1874
Captain James Bayley’s first marriage to Emma Elizabeth Butchard, daughter of Captain Tom Butchard, on December 30th 1856 ended at her death ten years later, on 4th December 1866. She died of pulmonary consumption, aged 27 yrs at Battery Point. Witnesses at the marriage were his brother-in-law Alexander McGregor and his brother Charles Bayley. Her daughter Harriet Louisa Bayley, named after the Bayley brothers’ sister, was motherless at just 5 years old. Her widowed father took her to England and when they returned on the Harriet McGregor in 1872, he was accompanied by a prospective new wife and stepmother to Harriet, his distant relative Miss Elizabeth Bayley. … More Elizabeth Bayley at Runnymede, New Town 1874-1875
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
Thomas Nevin was married and a first-time father by June 4th, 1872 when heavy rains and the great landslide at Glenorchy destroyed houses, farms, businesses and streets and tore boulders and vegetation from the slopes of Mount Wellington. He was living at his city studio, The City Photographic Establishment, 140 Elizabeth St. Hobart with his wife Elizabeth Rachel Day and their new-born daughter May (Mary Florence) who was born just a fortnight earlier on the 19th May 1872 (she died to the day exactly 83 yrs later, on 4th June 1955). That Tuesday night of the great flood in Glenorchy, photographic stock at Nevin’s old studio in nearby New Town was probably saturated by the heavy rain, if water damage on some of his extant photographs taken a few months earlier in January 1872 at Adventure Bay, is any indication. But his anxieties would have been far greater concerning his parents living in the cottage his father had built at Kangaroo Valley on land above the Lady Franklin Museum, in the northern foothills of Mount Wellington. … More The Glenorchy Landslip 1872
Alfred Bock used a rarely seen blindstamp impress on this stereograph of two women and three children, members of the Wilkinson family, ca. 1860, standing outside Elwick House, Glenorchy, Tasmania. The Elwick Race Track was established on land owned by pharmacist John Wilkinson in 1875. … More Elwick House and Elwick Bay
The Press described William Ryan as “respectably attired” in September 1870 at his appearance in court on charges of forgery. They also reported that he was someone who showed deep emotions when given sentence, and someone even prone to dissembling, fakery and over-acting. Care for his personal appearance was not attentuated by a prison sentence, it seems. When Thomas J. Nevin photographed Ryan for police and prison records at the Hobart Gaol during Ryan’s six years of incarceration, the resulting photograph showed a clean shaven, nicely groomed and neatly dressed man in a prisoner’s uniform, someone with a quiet and self-contained demeanour all round. … More Prisoner William RYAN wholesale forger at the TMAG
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
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
This camera was used by the (as yet) unidentified photographer at the Hobart Gaol from the 1890s. Prior to the 1890s, prisoners were photographed by Constable John Nevin who was resident at the Gaol until his death from typhoid fever in 1891, working with his brother, commercial photographer and civil servant Thomas J. Nevin who attended the gaol and Supreme Court sessions on a weekly roster. They used two rooms above the women’s laundry as a studio. The cameras they used were wet plate, multi-lens cameras such as the 1860s American Scovill (possibly Peck) style wet-plate camera with four Darlot No.4 lenses, a Simon Wing ‘Repeating’ camera, or a stereoscopic, sliding box type, wet plate (wood, brass & glass), by Ottewill & Co, lenses manufactured by A Ross, London, England, 1860 – 1870. … More Hobart Gaol camera and mugshot books 1891-1901
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
Great-grand-daughter of photographer Thomas J. Nevin and Elizabeth Rachel Day, Di Drew, directed this episode of the Australian TV series 1915 in 1982.
Watch an excerpt. … More ANZAC Centenary 1915-2015
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
‘Self-portrait’ shutters were not introduced until the early 1900s so this photograph, or indeed many taken in the 1860s-70s, cannot strictly be termed a “selfie”. The supine pose in these outdoor photographs of the period, of men in particular, was due partly to the size, the focal length, width and aperture of stereo lens types available and partly because a standing rather than reclining figure in the foreground deflects the eye from a distant focal point, which in this example was one carrying a salient message about Empire and Colonial stability, the new Government House (completed 1857). The invisible photographer was present in at least five extant photographs of Thomas J. Nevin in various poses and formats, held in family collections, and there may be several more in public collections waiting to be identified, such as this one first viewed at the Tasmanian Museum and Art Gallery, November 2014. … More A supine “selfie” by Thomas J. Nevin 1870
We are delighted to announce that a private collector and American resident has generously donated to the National Library of Australia, Canberra, a total of 45 photographs of Port Arthur convicts taken by Thomas J. Nevin, including the photograph of John Gregson, 1874 (pictured), together with original records, prison logs, prison ephemera and realia, and letters written to Thomas J. Nevin from the adiministration regarding his government commissions at both the Port Arthur penitentiary and Hobart Gaol, Tasmania during the 1870s-1880s. The donation was bequeathed from a large collection of 19th and early 20th century Pacifica, the bulk of which will remain in the United States. … More Donation of Nevin graphica from private collector to the NLA
Between 31st January and 2nd February 1872, Hobart photographer Thomas J. Nevin accompanied two parties of VIPs on boat trips down the Derwent River: to Adventure Bay at Bruny Island, and to Port Arthur on the Tasman Peninsula. On the 31st January he took a series of photographs of a party of “colonists” which included Sir John O’Shanassy, former Premier of Victoria, on their day trip to Adventure Bay on the eastern side of Bruny Island. They travelled on board The City of Hobart, commanded by Captain John Clinch. … More Thomas Nevin’s VIP commission 1872
Habitual criminal George Fisher was sentenced twice – in 1875 and 1877 – at the Supreme Court Hobart by Chief Justice Sir Francis Villeneuve Smith. These records are from the Supreme Court Calendars which were used by photographer Thomas J. Nevin as an indication of which prisoners needed to be photographed around the date of sentencing. A simple tick next to the prisoner’s name showed that a bill was issued and paid, and a photograph taken. … More Chief Justice Sir Francis Smith and prisoner George FISHER
Police photographer Thomas J. Nevin took this vignette of Richard Copping for prison records at the Hobart Gaol when Copping was remanded at the Supreme Court on 23rd July 1878. Copping was executed at the Hobart Gaol on 21st October 1878 for the murder of Susannah Stacey. Copping’s medical defence, Dr Benjafield, who sought clemency for the 19 yr old youth and was mindful of public discontent with the continuance of capital punishment, asserted Copping had softening of the brain. Dr Turnley disagreed, declared the youth sane, and the execution went ahead. Turnley’s post-mortem found no disease located in Copping’s brain. … More Prisoner Richard COPPING and Hobart Gaol executions
Julia Clark must face charges of academic fraud sooner or later. She has thrown essays and articles in the face of librarians and museum workers since 2007, assuring them that her belief in the existence of a photographer attribution to Mr A. H. Boyd was hypothetically possible and so should be shared by them. So what proof has she found during the last ten years? This photograph of a prison building, which we documented at length on these blogs in 2009-2010 is all she has found in eight years since she first set her game in play. On the lower margin is a pencilled inscription in a modern hand scribbled onto an enlargement of a stereoscopic landscape view of the Port Arthur prison, taken in 1873 by Samuel Clifford and Thomas Nevin, reproduced by the Anson Brothers photographers in an album published in 1889, held at the State Library of NSW. The inscription is a fake, put there in 1984 at the instigation of Chris Long, the originator of the myth that A. H. Boyd was THE photographer of these Tasmanian prisoner mugshots instead of Nevin, the real photographer (or any other real photographer, for that matter, in Nevin’s cohort). … More Julia Clark must face up to academic fraud
This collection of studio portraits taken by Thomas J. Nevin in the early 1870s of otherwise unidentified older women includes just one whose name is inscribed verso: Mrs Morrison. Who might she have been? A servant, a farmer, a post-mistress, some relation to Askin Morrison, ship owner, of Morrison Street, opposite Franklin Wharf, Hobart? Or Mrs Morrison, teacher of Kangaroo Point whose health had forced her to retire (Mercury, 6 December 1872). Perhaps she was Mrs Ellen Morrison, licensee of the Launceston Hotel, Brisbane St. on a visit south to Hobart? Whoever this sitter was, she appears to have worked hard all her life, no fuss or frills about it. … More Portraits of older women by Thomas Nevin 1870s
So many coincidences inform the existence of these photographs. This man and woman are both of East Asian appearance, and both wore clerical dress denoting religious affiliations when photographed in the 1870s. But were they known to each other? Both portraits were collected in Australia, despite one originating from India. And then there’s the question about the table. The male portrait poses many questions, since it was printed in Madras by the Maselawmoney Brothers photographers, but located amongst other cartes-de-visite taken by Thomas J. Nevin held in the private collection of a Tasmanian family (the Liam Peters Collection). The female portrait was acquired through a Douglas Stewart Fine Books dealers’ catalogue (Melbourne) for KLW NFC Imprint & Private Collection in 2013. … More Male and female clerics and Nevin’s table 1870s
Clients of early photographers were advised to wear clothing in strong patterns to distinguish the figure from the background in the final sepia print. This is a very small selection featuring unidentified women from dozens of Thomas J. Nevin’s commercial studio portraits dated from the early to mid 1870s. These clients differed in social status, as the cut and style and fabric of their dresses suggest, in addition to their jewellery and hair-dos, but they wore their finest day dress for the occasion. Some stared directly at the photographer, others gazed towards left or right of the frame. Most are young, but extant portraits of older women who seemed to favour his services also number in the dozens. Each of these cdvs shows variations in Nevin’s studio decor, his portraiture techniques, and printed frames. Some are also hand tinted. … More Nevin’s women clients and their dresses 1870s
James Geary was born in Hobart to Ellen and Stephen Geary, a labourer, on 12th March 1844. His career in convicted crime began with horse-stealing in 1865, at 20yrs old. He was photographed by Thomas Nevin in 1874 at the Hobart Gaol when he was 30yrs old. His next extant mugshot was taken by Constable John Nevin at the Hobart Gaol in 1889 when he was registered as 45 yrs old. His last police photograph was taken (by unknown) at the Police Office, Hobart in 1893 when he was 49 yrs old. Date of death unknown, possibly 1897 (see below), … More Prisoner James GEARY: mugshots and rap sheet 1865-1896
Thomas J. Nevin’s photographic commissions to provide documentary records for the Colonial Government’s Lands and Survey Department, date from the late 1860s (1868) while operating from his commercial studio at 140 Elizabeth St. Hobart. Nevin’s next commission from ca. February 1872 onwards was to provide prisoner identification photographs (mugshots) for the Prisons Department, Municipal Police Office, Hobart Town Hall and Hobart Gaol, which was also funded through the Hobart City Corporation’s Lands Department (Treasury). All of Nevin’s extant photographs bearing the Royal Arms insignia stamp were paid through his Lands Department contracts. Several prisoner photographs bearing this particular stamp were used to register joint copyright with the government (one sample per batch per year). Several extant portraits of HCC officials, their wives and children, all bear this Royal Arms insignia, for example, those of Constable William McVilly’s children, Laura and John. Thomas Nevin’s personal relationship with Lands Dept surveyor John Hurst, son of James Hurst who held the lease of the Salt Water Coal Mines on the Tasmanian Pensinsula until his death in 1876, extended to signing the birth registration of William Nevin Tatlow Hurst,John Hurst’s son, as informant at Hobart on 22nd May 1868. On the verso of the river scene below is inscribed the name of Alfred Pedder, son of Nevin’s colleague at the Municipal Police Office, Hobart Town Hall, Police Superintendent Frederick Pedder. Presumably, the cost for these portraits was funded jointly by the HCC and the families. Thomas Nevin was still being paid by the Lands Department in 1880 (Municipal Fund), by then receiving a full-time salary as a civil servant for the four years he served as Hall and Office Keeper of the Hobart Town Hall. … More Views and Portraits for the Lands & Survey Department
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!
Ten years ago we started blogging about Tasmanian photographer Thomas J. Nevin (1842-1923). We look forward to another two years at least as the project draws closer to completion. Contributions and donations are most welcome, and many thanks for your involvement. … More Our Tenth Anniversary
Untitled, and held at the Tasmanian Museum and Art Gallery, this example by Thomas Nevin of a popular and much photographed vista of the Queen’s Orphan School and St John’s Church, New Town Tasmania, could be titled “Long shadow with guard at the entrance to St John’s Avenue, New Town“. Its uniqueness as an artefact is the very rare studio stamp on the verso.This is the only extant example (to date) of Thomas Nevin’s earliest photography which bears the design with the wording “Thomas Nevins New Town Tasmania” set against a ribbon in three flat loops, enfolding a flowering plant, and printed in bright blue ink. Nevin was barely out of his teens, still a bachelor, and living with his parents in the house built by his father John Nevin next to the Lady Franklin Museum at Kangaroo Valley (New Town, Hobart, Tasmania.) … More A remarkable New Town studio stamp: Thomas Nevin+s
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
This untitled stereograph by Thomas J. Nevin, taken ca. 1868 of a group of 19 people sitting by a stream, including a woman holding a concertina, is held at the Tasmanian Museum and Art Gallery, Ref: Q1994.56.31. Photographed together with its blank verso on 10th November, 2014 at the TMAG (by this weblog), the stereo is one of a series, some bearing Nevin’s New Town stamp, some blank, originally attributed and sequenced by Specialist Collections librarian G. T. Stilwell at the State Library and Archives Office of Tasmania in the 1970s while preparing an exhibition of Nevin’s portraits of convicts (at the QVMAG with John McPhee 1977). … More The concertina player 1860s
Failure of trust had marked Captain Goldsmith’s experiences with Hobartonians since the year of departure of his good friend, Lieutenant-Governor Sir John Franklin and his wife Jane Franklin in 1843. Sir William Denison, the Colony’s governor in 1849 was most enthusiastic about Captain Goldsmith’s plans for a patent slip, but the government’s refusal to recompense him fully for expenses in building the twin steamer the Kangaroo, had already led to major disappointment. The final insult came with the government not meeting their own terms of agreement in promising assistance to build the patent slip. … More Captain Edward Goldsmith and the patent slip 1855
HOBART TOWN. Two civil cases were tried in the Supreme Court on Monday before the Chief Justice. The first was Goldsmith v. Downing, for the conversion of certain diving apparatus, &c. lent to Mr. Downing to enable him to recover property from the wrecked Catherine Sharer, and which the defendant had appropriated; £220 claimed for the value of the apparatus, £22 ifs. I Od. for certain other articles; and a sum for the use of the apparatus to the present time. Verdict for plaintiff. … More Captain Edward Goldsmith and the diving apparatus 1855