Who is this child?
Nine children were born to Camille Del Sarte and Ann Caroline Conroy between 1861 and 1874. Of the six boys, three are known to have survived to adulthood – Leopold Zavier, Camille Frederick and Ernest Ashley; and three did not live longer than 16 months – Francis Henry, Rolland Augustus (registered at birth as Gustavus Rowland at Hobart in 1864 but died in Sydney, 1865, 12 months old), and Henry John (twin of Henrietta Daisy). Of the three girls, Marie Albertine survived to adulthood, Henrietta Daisy (twin of Henry) died before the age of 12 months, and the third – Madalene – is known to have married as Madeline [sic] Ethel in 1918. The first to survive was Marie Albertine Del Sarte. She was likely a Francophone, or more competently bilingual than her younger siblings, an important factor in what follows. If this confident lad who visited Thomas Nevin’s studio is indeed a son of Camille Auguste and Ann Caroline Del Sarte nee Conroy, his identity could be established from the ages of two of their sons who were 3 to 6 yrs old between 1874-1876 while Thomas J. Nevin was still active at his Elizabeth St. studio. He could be Leopold Zavier (born 1866 in Sydney NSW who died in Victoria 1936). Or he could be Camille Frederick (born Sydney 1873, died Victoria 1960). The third son, Ernest Ashley (born Sydney 1874), was still a baby, less two years old and too young to be a contender. … More Thomas J. Nevin at his finest: Camille Del Sarte and family 1860s-1870s
Who is this child?
Between 1865 and 1868, the partnership advertised the firm Nevin & Smith with three types of verso stamps. The most rare and unusual is this one printed for the visit to Hobart Tasmania of Alfred Ernest Albert, the Duke of Edinburgh, second son of Queen Victoria, in command of his yacht HMS Galatea, a steam-powered sail-equipped frigate arriving on 6th January and departing on 18th January 1868 for NSW where, on his return to Sydney, he survived an assassination attempt at Clontarf (12th March 1868). The Children’s Song of Welcome to Prince Alfred. a choral march, was written with lyrics by Louisa Anne Meredith and music by Frederick A. Packer for the occasion. The score was printed with a cover illustration depicting a laurel wreath in green ink encircling the name “Alfred of England”, L.A.M. Del. et Lith. and marked with L.A. Meredith’s monogram. The inside page was printed as a direct address to Queen Victoria. Prince Alfred was presented with an album containing “eighty-three photographs illustrative of the scenery of Tasmania, forty-eight portraits of children born in the colony, and nine plates immediately connected with the Prince’s visit” at his final reception, 18 January 1868. … More Gifts for Prince Alfred’s visit to Hobart, 1868
“The Flying Squadron arrived at Hobart Town on Sunday 2nd January. The Squadron consists of H.M.S. Liverpool, 30 gun steam, frigate, 2,056 tons; -H.M.S. Endymion, 21-gun steam frigate, 2,480 tons; H.M.S Scylla, 10-gun steam- corvette 1,467 tons; H.M.S. Liffey, 30-gun steam frigate, 2,654 tons; H.M.S. Barrosa, 17-gun steam corvette, 1,700 tons; H.M.S. Pheobe, 30-gun steam frigate, 2,800 tons. Large numbers of spectators assembled in various spots to watch the little fleet coming up the harbour under full sail. His Excellency the Governor and suite paid a visit to Rear-Admiral Hornby on board the Liverpool. During the stay of the Squadron, the vessels were thrown open for public inspection and thousands of persons availed themselves of the opportunity. The Liverpool was of course the ship which attracted the greatest number of visitors. The officers had a gay time of it during their eight days stay. They were entertained by the Governor to several dinner parties, to a grand ball at Government House, to a lawn party at the same place, followed by an old colonists’ ball, a regatta, a cricket match, in which both the Governor and Admiral Hornby took part, concerts theatrical entertainments, a picnic at Fern Tree Gully, &c., so that time did not by any means hang heavily on their hands, and they must have left the “tight little island” with the impression that they had a jolly time of it, and had been exceedingly well treated….” … More Thomas Nevin, Sam Clifford and the Flying Squadron at Hobart, January 1870
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
City Band.- A large concourse of people gathered at the Barrack-reserve last evening to listen to the first concert of the season by this popular band. Mr. W. Tennyson Bates conducted, and it was a pleasure to many to see his familiar face once again at the bandstand. The members, some 30, acquitted themselves admirably, and found favour with the assemblage. Mr. Bates has again introduced the clarionette into his band, an instrument which of late has been discarded by Hobart bandmasters. The amount collected at the gate on behalf of the uniform fund exceeded expectations. … More Tom Nevin and father-in-law bandmaster Walter Tennyson Bates
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 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
A Grand Ball was held at the Victoria Theatre, Hobart on 20th December 1855 in honour of the service rendered to the colony by the 99th Regiment on the eve of their final departure, attended by Captain Goldsmith among a distinguished group of invitees.
The First Waltz on the Programme, “Les Adieux,” was composed by Miss J. V. Smith for the occasion of the “Departure of the 99th Regt. from Hobart Town”. … More Departure of Captain Goldsmith and the 99th Regiment 1855
“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