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
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
Mount Wellington was commonly referred to as Table Mountain by explorers to Van Diemen’s Land (Tasmania) from Bligh’s visit in 1791 until 1832 when Matthew Flinders renamed it after the Duke of Wellington. Under dual-naming policy, the mountain is known as kunanyi in Palawa-kani, the revived composite language of Tasmanian Aborigines. Copies of this selection of stereographs taken by Thomas J. Nevin, late 1860s, on and around the summit of kunanyi/Mount Wellington, were sourced from the Tasmanian Museum and Art Gallery Collection in 2015. … More Thomas Nevin on kunanyi/Mount Wellington 1860s
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
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
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
Clients of early photographers were not the only ones to pose with the photographer’s own stereoscope(s). Two extant cartes-de-visite self-portraits by Thomas J. Nevin from The Nevin Family Collections captured his treasured stereoscopes, one with him holding a small viewer, possibly a Brewster, ca. 1868, and another with him standing next his large table-top stereoscopic viewer, possibly a Beckers (ca 1875). … More Posing with a stereoscopic viewer
This stereograph on salt paper, which was produced by Thomas J. Nevin in the late 1860s of Tasmanian ferns, bears his blind stamp on the viewer’s left side, viz. “T. NEVIN PHOTO”. It belongs to a series of ferns taken around the foothills of Mt Wellington now held at the Tasmanian Museum and Art Gallery. This example is held in a private collection of Nevin descendants. … More T. NEVIN Photo: the blindstamp on stereographs
DOUGLAS STEWART FINE BOOKS LTD HOBART BOOK FAIR was held on February 12 – 13, 2011 with three items on sale pertaining to Thomas J. Nevin’s commercial photography.
STEREOGRAPH of CLIFFORD’S CAMERA
The first was this stereograph attributed to Samuel Clifford but ostensibly showing Clifford’s camera. Who took the photograph? Did Clifford carry two cumbersome cameras with him into this dense bush setting at Brown’s River, or was he accompanied – as so often he was around Tasmania – by Nevin? If so, the stereograph deserves the double attribution of Clifford & Nevin, an inscription which appears on several items also held in private collections. … More Samuel Clifford, Thomas Nevin and two cameras
Although this image is faint – it is a scan of a print pasted into the scrapbook of his son George Ernest Nevin (1880-1957) which is held by Thomas and Elizabeth Nevin’s descendants in the Shelverton family – it shows clearly enough that George’s father, photographer Thomas J. Nevin, was rather fond of his big box table top stereograph viewer. It provided clientele with a ready amusement, a novel experience of 3D. The Victorian fascination with this “advanced” photography is quite understandable. Viewing a static stereograph, three images can be seen, not just one: the central image appears in deep perspective, with the image split into halves on either side. A double lens stereograph viewer of this size could hold a large number of stereograph cards; turning the wooden handle changed the card being viewed, providing a motion picture effect. In Nevin’s self-portrait – not a selfie in the strict sense, of course, taken probably by his younger brother Jack Nevin – a frame holder on top is propped up. In the two portraits below, the holder is flat. An earlier portrait of Thomas Nevin, taken ca. 1868, shows him wearing white gloves, posing with a smaller portable stereoscopic viewer, similar in size to a stereoscope camera. … More T. J. Nevin’s big tabletop stereograph viewer
A modern viewer would assume that these portraits all have their provenance in a family album, and that a small childish hand had been at work with a paintbox. Perhaps that was the case, but there may yet be another explanation for why the portraits below, all bearing Thomas Nevin’s studio stamp, should exhibit such crude hand colouring when the hand-tinting of his other portraits – of family members, of himself, and even of a few mugshots of convicts – is remarkably fine and delicate. The four examples here were all sold commercially, and were painted over after their purchase by their owners who had enough knowledge of stereoscopy to experiment, and may have possessed a stereo viewer. Single cdv’s were also viewed using a stereoscope, and the addition of colour and lines enhanced the depth of field. They were not painted by Nevin during printing, and they are not stereographs. None of Nevin’s stereographs were coloured in this manner. … More Red and violet: the impact of Brewster stereoscopy
“AUGUSTA (Co. Buckingham) is a postal village and residential suburb of Hobart Town, in the police district of Hobart, and electoral district of Glenorchy. It is situate on the main road from Hobart Town to Launceston, about 2 miles from the former place, and on the New Town Rivulet, which empties itself in to the Derwent, near Risdon. A portion of Mount Wellington overlooks the district. There are no mills or manufactories in Augusta at present, except a pottery. The surrounding district is agricultural to a large extent. There are several coal seams in the district; two or three are being worked, and produce very good domestic fuel. The communication with Hobart Town is by ‘busses and other conveyances which run hourly. The city of Hobart Town adjoins Augusta N.W. There is one hotel in the village, the Harvest Home. The surrounding country is undulating and hilly. The population numbers about 300 persons. There are places of worship as follows: Church of England, Church of Rome, and Wesleyan Church…” … More The Kangaroo Valley house & New Town stereographs ca. 1868
Clifford & Nevin appears as a handwritten inscription on the versos of several studio portraits in public and private collections, but their collaboration was principally in stereography, especially in the late 1860s. Several stereographs held at the State Library of Tasmania, collated in “The Clifford Album”, whether unattributed or which bear Clifford’s stamp may be original photographs by Nevin produced during their partnership.
The Tasmanian Museum and Art Gallery holds a sizeable collection of Thomas Nevin’s stereographs dating from 1868. Nevin exhibited at the Wellington Park Exhibition in 1868, and at the Hobart Town Hall Bazaar in 1872. This stereograph titled Hobart from Lime Kiln Hill looking down Harrington Street carries his New Town studio stamp on verso, taken in the mid to late 1860s. … More Hobart Town from Lime Kiln Hill
Two studio stamps and one label have survived from their brief partnership. The first stamp featuring the Royal insignia of three feathers and a coronet, banded with the German “ICH DIEN” (I Serve) dates from the visit of Prince Alfred Ernest Albert, the Duke of Edinburgh, second son of Queen Victoria, in 1868 on H.M.S. Galatea.
These two children were probably photographed for an album of forty-eight photographic prints depicting the children of Tasmania which was gifted to Prince Alfred at his final reception on 18th January 1868 before returning to NSW where he was to survive an assassination attempt weeks later (at Clontarf, 12th March 1868). According to Jack Cato (1977:58), a group of Tasmanian photographers was invited to contribute to the Children’s Album … … More Nevin & Smith studio Elizabeth St. Hobart 1865-1868