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
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
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
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
The true origins of the photographic misattribution to non-photographer and Port Arthur official A.H. Boyd of Thomas J. Nevin’s police mugshots of Tasmanian prisoners 1870s-1880s lies with a reference to the art historian Margaret Glover’s article “Some Port Arthur Experiments” (1979) by Chris Long and/or Warwick Reeder (1995).
In 1979, Margaret Glover published an article about Port Arthur titled Some Port Arthur Experiments (In: T.H.R.A. Papers and Proceedings, vol. 26 no. 4, Dec. 1979, pp. 132-143).
The article deals with plants and animals and steam engines and the tenure of Commandant James Boyd (during the years 1853-1871). No mention is made of his successor Commandant A.H. Boyd, no mention is made of prison photography, and no mention is made in this article of A.H. Boyd’s niece E.M. Hall, nor is her children’s story, “The Young Explorer” (1931/1942).
… More Margaret Glover and the fabrication of photohistory
A. H. Boyd had no reputation in his own lifetime as a photographer, none subsequently, and no works by him are extant, yet he suddenly entered photo history as an “artist” in 1995 due largely to a sentence in a children’s fictional tale, and a cargo list. Thomas J. Nevin, well-known within his lifetime as a contractual commercial photographer, civil servant, and special constable with the Municipal and Territorial Police, and with a sizeable legacy dating from the 1860s held in State, National and private collections, was effectively dismissed as a “copyist” by Chris Long. Authoritative commentators who were aware of the problem ensured Chris Long was named as someone in error on this matter when Nevin’s biographical details were published in 1992 ( Willis, Kerr, Stilwell, Neville, etc). … More About those photographic glasses 1873 …
“Sometimes the entries are not clear. His important argument that Adolarious Boyd, the superintendent at Port Arthur, was the photographer of the well-known portraits of Port Arthur convicts rather than Thomas Nevin is not found in the Boyd entry, but rather under “convict photographs”. No “see also” reference is provided to that entry – rather one is given to Charles Woolley for whom one can see no obvious link. It would be very easy, therefore, to miss the substance of his argument. To a certain extent the book has the look of something produced by desktop publishing, and it seems to have the usual infelicities and typo’s of that genre. Editor Gillian Winter’s description of its publication history suggests that it was a difficult birth, and indeed she describes it as a “draft publication”, which is not altogether reassuring.” … More Anne-Marie Willis & Richard Neville on the Boyd misattribution
Professor Joan Kerr (1938-2004) conducted research in collaboration with Special Collections Librarian at the State Library of Tasmania, G. T. Stilwell, on Thomas J. Nevin’s life and career for inclusion of an entry in her massive two volume biographical dictionary of Australian artists and photographers which she published in 1992 (page 568): Photo KLW NFC … More Professor Joan Kerr 1992-4
The Queen Victoria and Albert Museum and Art Gallery, Launceston, seemed so intent on abrogating the name of Thomas J. Nevin as photographer from any association with its holdings of the “Port Arthur convicts” photographs which were exhibited there in 1977 as Nevin’s work that in a letter to a Nevin descendant dated 17th November 2005, the technical officer showed considerable confusion and made contradictory and incorrect statements. … More The QVMAG, the NLA, Chris Long and A.H. Boyd