Monday, January 4, 2016

Sideshow Alley: Thomas Nevin at the NPG exhibition 2015



Ten Tasmanian prisoner mugshots by T. J. Nevin, 1870s
Exhibited at the NPG, Canberra, Sideshow Alley: Infamy, the macabre and the portrait,
4th December 2015 – 28th February 2016.
Photo copyright © KLW NFC Imprint 2015

Prisoners' names per the NPG card on left:
TOP ROW (l to r):
William Walker per Asia 4, James Calhoun native, James Geary native, Charles Dawnes [sic] per Rodney 2, William Hayes per Asia
BOTTOM ROW (l to r):
George Willis per Neptune 2, John F. Morris per Pestonjee Bomanjee 2, George Fisher per Stratheden, Samuel Evans native, Leonard Hand native.

The National Portrait Gallery (Australia) at Canberra is currently displaying this wooden frame containing ten "convict portraits" under glass at the exhibition, Sideshow Alley: Infamy, the macabre and the portrait, 4th December 2015 – 28th February 2016.The NPG web page for this exhibition is: http://www.portrait.gov.au/exhibitions/sideshow-alley-2015.

Misattribution
When the decision arose to borrow a handful of carte-de-visite mugshots of Tasmanian prisoners from the National Library of Australia's collection of 84 "Convict portraits, Port Arthur 1874", it was for reasons to do with cronyism, specifically involving the NLA's reliance on the negligent errors in print of its paid advisers and valuers (eg. Warwick Reeder, 1995; Helen Ennis, 2000 et al) that the NPG curator of this exhibition, Sideshow Alley ensured their inclusion of the irrelevant name "A. H. Boyd" in the credits as a photographer. On the blue card on the wall at left (in photo above), Adolarious Humphrey Boyd's name is printed above and before the name of the real photographer, government contractor Thomas J. Nevin, whose historically correct accreditation at the NLA was intact (Sprod papers NLA MS 2320, 1964) until staff there were bullied into colluding with the sycophantic Julia Clark at the Port Arthur Heritage Site in an abrasive attack on Thomas J. Nevin (and his descendants) to suppress Nevin's name in order to promote A. H. Boyd into the annals of photo-history as some sort of gifted point-and-shoot amateur snapping shots of convicts on a Sunday for personal pleasure.

Read the "essay" Julia Clark sent to the NLA in 2007: click here.

The "essay" by Julia Clark (2007) bears no evidence that Boyd ever took a photograph of a man in prison clothing at any time in his sad, chequered career as a prison official. No photographs by this individual A. H. Boyd were extant in the 19th century, nor in the 20th century, nor now in the present. Not one photograph has ever been published or proferred by Clark or Boyd's descendants to claim his talent as a photographer in any genre. Julia Clark's efforts at personal abuse and plagiarisation of our extensive research from these Thomas J. Nevin weblogs evince a shabby game of playing the Port-Arthur-1996-events sympathy card in tandem with her parasitic aspiration of getting a PhD on the back of Nevin's extensive photographic works (held at the SLNSW, TMAG. QVMAG, NZLIB, TAHO etc). The term currently used to describe the modus operandi of the NLA advertising Clark's insistence that Nevin's name be suppressed (against every catalogue entry for their convict portrait collection), an insistence which affects all users of the NLA collection including the NPG in the Sideshow Alley exhibition - is "apprehended bias". Given the force which Julia Clark has mustered to legitimate her toxic attitude towards the descendants of not just one but the two police photographers, brothers Thomas Nevin and Constable John Nevin jnr who produced these mugshots for the Tasmanian government from 1872-1888 - we can readily add "academic fraud".

Because Adolarious Humphrey Boyd was a much-despised public administrator, sacked from the position of Superintendent at the Queen's Orphan School, New Town for misogyny in 1856, and sacked again from the position of Commandant at the Port Arthur prison for graft, corruption and bullying in 1873, the PAHS decided in their commercial interests and quest to gain World Heritage status in 2007 that they should claim all these "convict portraits" as the work of their own disgraced Commandant A. H. Boyd with the intention of bringing him up from history smelling like roses. Of course they knew the attribution to be a baseless rumour; that A. H. Boyd was not a photographer by any definition of the term; that no records, documents, or photographs exist of his involvement at any level or stage in the production of these extant police identification photographs taken in 1870s Tasmania; and that his name in relation to these prisoners' photographs had only surfaced as a rumour circulated by his pretentious descendants in the 1980s not long after the QVMAG's exhibition of similar photographs from their collection in Nevin's name in 1977. So the decision to make the NLA believe in A. H. Boyd had to be mounted with considerable aggression, and Clark - like one of those dogs tethered at the isthmus guarding Port Arthur back in the day - was their barker. This inclusion in the current exhibition, Sideshow Alley, of a photographer attribution to A. H. Boyd at yet one more Canberra exhibition (e.g.Mirror with a Memory, Heads of the People, Opening of the new NPG 2008) is best termed acquiescent corporate psychopathy, from and by those who readily promulgate misinformation to protect commercial interests.

Place and date of each photographic capture
The National Library of Australia has repeatedly chosen the same set of photographs from their collection of 85 Tasmanian prisoners' mugshots (catalogued as "convicts") for loan to the National Portrait Gallery because they are clean examples of the professional photographer's use of the albumen process. Other examples in the NLA's collection are damaged and dirty, and some are unmounted, e.g. Searle's album. Most of the NLA's collection is online, yet the versos of these photographs, which can provide researchers with valuable information. have not been digitised. The NLA believes that the absence of a photographer’s studio stamp on the versos – of police mugshots no less – is reason enough to engage in puerile political games of re-attribution, despite historical documentation, expert curatorial validation, and the presence of T. J. Nevin’s government contract stamp on several of these mugshots held in other national collections. The versos of the majority of these photographs were incorrectly transcribed in 1915-1916 with the wording “Taken at Port Arthur 1874” to promote penal heritage tourism to Tasmania when they were sent as exhibits to the Royal Hotel, Sydney, in conjunction with an exhibition of convictaria from the transport hulk, the Success. The majority of the 85 mugshots in the NLA collection consists of copies either duplicated from the originals – or missing from – the collections held at the Tasmanian Museum and Art Gallery, Hobart and the Queen Victoria Museum and Art Gallery, Launceston.



Prisoners' names per the NPG card on left:
TOP ROW (l to r):
William Walker per Asia 4, James Calhoun native, James Geary native, Charles Dawnes [sic] per Rodney 2, William Hayes per Asia
BOTTOM ROW (l to r):
George Willis per Neptune 2, John F. Morris per Pestonjee Bomanjee 2, George Fisher per Stratheden, Samuel Evans native, Leonard Hand native.

1. Prisoner William Walker



William Walker was photographed at the Mayor’s Court, Hobart Town Hall by Thomas Nevin on discharge, 22 July 1874, having served 7 yrs of a 10 year sentence. He was convicted again 23 October, 1875, sentenced to 6 months for larceny, and incarcerated at the Hobart Gaol. His age was listed as 68 yrs; his occupation as “painter”.See these original records for prisoner William Walker

2. Prisoner James Calhoun



James Calhoun, aged 21, native, (.i.e. locally born) was photographed by Thomas Nevin on discharge from the Hobart Gaol, 21st November 1874, having served a sentence of 6 years for sheep-stealing.  See these original records for James Calhoun.

3. Prisoner James Geary



James Geary served a short sentence of less than two years at the Port Arthur prison, arriving there on the 1 August 1868: he was “transferred to the House of Correction for Males Hobart Town to complete his sentence” on 28 March 1870, per record signed James Boyd Civil Commandant. He was photographed in the last weeks of incarceration at the Hobart Gaol by Thomas J. Nevin prior to discharge in February 1874. See these records for James Geary; mugshots and rap sheet 1865-1896

4. Prisoner Charles Dawnes [sic] i.e Downes



Charles Downes was found guilty on a charge of feloniously assaulting Dorothy Smith, aged 9 years, in Stacey’s revolving circus in the Queen’s Domain, and remanded for sentence (15 Feb 1872). Charles Downes was photographed at the Hobart Gaol by Thomas J. Nevin before his death sentence was reprieved to life imprisonment, May 1875.See these original records for prisoner Charles Downes and this article:Carnal knowledge of children

5. Prisoner William Hayes



William Hayes’ prison ID photograph was among the first taken by Thomas J. Nevin at the Hobart House of Corrections when William Hayes was discharged from a 2 year sentence for indecent assault in the week ending 24 April 1872. See these original records for prisoner William Hayes.

6. Prisoner George Willis



George Willis, aged 48 yrs, and originally transported in 1838, was convicted in the Supreme Court at Hobart on 10th September 1872, sentenced to six years for larceny, sent to the Port Arthur prison, and then relocated to the Hobart Gaol in October 1873 where he was photographed by T.J. Nevin on incarceration. See these original records 1872-1880 for prisoner George Willis.

This carte-de-visite of prisoner George Willis online at the NLA (above) appears to differ from the rest in this set only because of the different technology used in its digitisation. A photograph taken in situ at the NLA of Nevin’s cdv of George Willis shows the same portraiture and printing techniques applied by Nevin to the rest of the cdvs of prisoners in this set, e,g, Fisher, Evans etc etc, viz:





Recto and verso:
George Willis, transported to VDL (Tasmania) on the Neptune 2
Photographed by T. J. Nevin for the Municipal Police Office and Hobart Gaol 1873-4.
National Library of Australia Collection
NLA Identifier: nla.pic-vn5020355
Photos taken at the National Library of Australia, 7th Feb 2015
Photos copyright © KLW NFC 2015 ARR

7. Prisoner John F. Morris



John F. Morris was photographed by Nevin on discharge from the Hobart MPO Town Hall, 28th April, 1875 when his sentence of life for murder was remitted. See these original records for prisoner John F. Morris.; and this exhibition: In a New Light (NLA)

8. Prisoner George Fisher



T. J. Nevin took this photograph of George Fisher in December 1874 on Fisher’s incarceration at the Hobart Gaol Campbell St. for “forging an order to defraud J. E. Risby“. It was reprinted and re-issued for his re-arrest in 1877 for the burglary at Sir Francis Smith’s home. Fisher had been sentenced to 12 years in December 1874 by the Chief Justice Sir Francis Villeneuve Smith , and sent to Port Arthur, arriving there on Christmas Day. He was transferred back to the Hobart Gaol one year later in December 1875. In August 1877, he managed to abscond, broke into the Chief Justice’s home and stole several articles of clothing and other items of personal property. See these original records for prisoner George Fisher.

9. Prisoner Samuel Evans



Samuel Evans was photographed by Thomas Nevin at the Hobart Gaol, 9th December, 1874, on the prisoner’s discharge from an eight-year sentence for sheep-stealing. See these original records for prisoner Samuel Evans.

10. Prisoner Leonard Hand



Leonard Hand was convicted in the Supreme Court Launceston in April 1866 and sentenced to 15 years for the offence of “Attempting to commit sodomy". Thomas J. Nevin photographed Leonard Hand on or about the 5th August, 1875, on the occasion of Hand’s transfer to H.M. Gaol, Campbell Street Hobart from the Port Arthur prison. Leonard Hand died "from natural causes" in custody, aged 26 yrs at the Hobart Town Gaol Campbell Street on 20th March 1876. See these original records for prisoner Leonard Hand.

Wednesday, December 30, 2015

Prisoner James BRADY 1873-1874

James Brady was photographed at the Hobart Gaol by Thomas J. Nevin on two different occasions. Three extant images from those two sittings in 1873 and 1874 are held in three public collections, viz. the Queen Victoria Museum and Art Gallery, the Tasmanian Museum and Art Gallery, and the National Library of Australia. James Brady was a former soldier of the 2/14 Regiment, 31 years old, when he arrived in Tasmania on board the Haversham in 1868.



Detail: print of James Brady from T. J. Nevin's negative 1874
From forty prints of 1870s Tasmania prisoners in three panels
Original prints of negatives by T. J. Nevin 1870s
Reprints by J. W. Beattie ca. 1915
QVMAG Collection: Ref : 1983_p_0163-0176

The photograph taken in 1874
The photograph (above) is an unmounted sepia print from the negative of Thomas Nevin's sitting with James Brady taken on discharge in the week ending 21st January 1874. It is held at the Queen Victoria Museum and Art Gallery.  In 1916, John Watt Beattie salvaged this unounted print from the Hobart Gaol records for display at his "Port Arthur Museum", located in Hobart, and for inclusion in exhibitions of convictaria associated with the hulk, Success, in Hobart and Sydney. Beattie pasted this print on one of three panels displaying forty prisoner in total.



The print of James Brady is bottom row, second from right.
Panel 1 of forty prints of 1870s Tasmania prisoners in three panels
Original prints of negatives by T. J. Nevin 1870s
Reprints by J. W. Beattie ca. 1915
QVMAG Collection: Ref : 1983_p_0163-0176

Thomas Nevin also printed this photograph of prisoner James Brady as a carte-de-visite in a buff mount, now held at the Tasmanian Museum and Art Gallery. The mounted cdv was held at the QVMAG until it was removed in 1983-4 for an exhibition at the Port Arthur prison heritage site, returned instead to the TMAG. Both formats - the unmounted print and the mounted cdv - were pasted to the prisoner's criminal record sheets over the course of his criminal career, held originally at the Hobart Gaol and in Photo Books at the Municipal Police Office, Hobart Town Hall which issued Thomas Nevin with this commission to provide police identification photographs from 1872.



Prisoner James BRADY
Photographer: Thomas J. Nevin
Taken at the Hobart Gaol, January 1874
TMAG Ref: Q15604



Verso of cdv: Prisoner James BRADY
Photographer: Thomas J. Nevin
Taken at the Hobart Gaol, January 1874
TMAG Ref: Q15604

The verso of this cdv shows evidence of removal from thick grey paper or board. Transcribed subsequently over the grey scraps with "James Brady per Haversham Taken at Port Arthur 1874" is incorrect information, written in 1916 after this cdv of Brady was exhibited by Beattie, using the terms "Types of Imperial Convicts", "Port Arthur" and the date "1874" to appeal to local and interstate tourists by association with Marcus Clarke's novel of 1874, For the Term of His Natural Life, which was filmed at the prison site at Port Arthur. Renamed as Carnarvon,  it was promoted as Tasmania's premier tourist destination. In short, the transcription of the verso of this prisoner mugshot, as with hundreds more from Beattie's estate acquired by the QVMAG on his death in 1930, is tourism propaganda which reflects neither the actual place and date of the photographic capture nor the prisoner's criminal history.

Aliases 1871-1873
When Thomas Nevin took this earlier photograph at the Hobart Gaol of a younger James Brady, 34 years old, with a full head of curly hair on Brady's petition for discharge to the Attorney-General in August 1873, his photographer's headrest was visible. James Brady's aliases were Edward James and James James. This prisoner was not sent to Port Arthur at any time in his criminal career. The Conduct Register records  (CON94/1/1  p44) show Port Arthur offences struck through because he was only ever incarcerated at the Hobart Gaol from where he lodged three petitions for discharge between 1871 and 1873 . This prisoner photograph by T. J. Nevin of James Brady is now held at the National Library of Australia.



This is an earlier photograph of James Brady, alias Edward James and James James, taken in August 1873 by Thomas J. Nevin at the Hobart Gaol.

NLA Catalogue Ref: nla.obj-142920868
Title James Brady, per Haversham, taken at Port Arthur, 1874 [picture]. NB: incorrect information.
1 photograph on carte-de-visite mount : albumen ; 9.4 x 5.6 cm. on mount 10.5 x 6.3 cm.
Inscription: "107 & 171 ; James Brady, per Haversham, taken at Port Arthur, 1874"--In ink on verso.

Police Records for James Brady
James Brady was a former soldier of the 2/14 Regiment, 31 years old, when he arrived in Tasmania on board the Haversham in 1868.
Brady, James
Convict No: 6647
Voyage Ship: Haversham
Arrival Date: 01 Jan 1868
Conduct Record:  CON37/1/10 p5765,  CON94/1/1  p44
Remarks: Soldier 2/14th Regiment. Tried Hobart July 1868\
Source: Archives Office Tasmania



James Brady record 1868-1873
His place of departure is not recorded. 
Brady lodged three petitions between 1871 and 1873 which were declined
TAHO Ref: CON94/1/1  p44



TAHO Ref: CON37/1/10 p5765

Within months of arrival [from?] in Tasmania in January 1868, James Brady was convicted of uttering a forged cheque on 7th July 1868, and sentenced to eight years at the Supreme Court, Hobart.



James Brady, Free to Colony [FC] , was convicted at the Supreme Court Hobart in the July 1868 sitting, sentenced to eight years for uttering a forged cheque. He was described as 34 years old,



James Brady had been discharged from sentence in July 1869. A warrant for his arrest with the alias James James was issued a month later on 26 August 1870, charged with stealing one cotton rug and two blankets.



James Brady, alias Edward James and James James was arrested on 26 April 1871.



James Brady alias Edward James and James James was convicted of larceny at Oatlands in the week ending 29 April 1871. His sentence being longer than three months, he was incarcerated once again at the Hobart Gaol. He had given a false name, age and ship of arrival when convicted in Oatlands. The Hobart Gaol corrected his record per the police gazette notice when he was discharged in 1874.

Between 1871 and 1873, James Brady lodged petitions to the Executive Council and the Attorney-General (W. R. Giblin) for freedom, but all three requests were declined. Once Giblin's refusal was on record, Thomas Nevin was required to photograph this prisoner (among the many others with similar declined petitions) by  the A-G, W. R. Giblin who had issued the police photographer commission to Nevin in February 1872 after the visit to Hobart by the judiciary and senior officials of the colony of Victoria (former Premier O'Shanassy and A-G Spensley). Thomas Nevin took and printed this photograph at the Hobart Gaol in August 1873, and not at Port Arthur, because James Brady was never incarcerated there (item held at the NLA).





Detail: James Brady convict record Hobart Gaol 1868-1873 
Brady lodged three petitions between April 1871 and August 1873 which were declined
TAHO Ref: CON94/1/1  p44



Source: Tasmania Reports of Crime Information for Police, J. Barnard, Government Printer



T. J. Nevin's second photograph of James Brady was taken on discharge from the Hobart Gaol in the week ending 21st January, 1874. TMAG collection.

Saturday, December 12, 2015

A Christmas Story: Captain Goldsmith, Charles Dickens and the Higham mail box.

THE HIGHAM VILLAGE MAIL BOX
CHARLES DICKENS and CAPTAIN GOLDSMITH at GADSHILL

Exactly one year ago, on December 10th, 2014, the mail box set into the wall outside Charles Dicken's house at 6 Gadshill Place, in the village of Higham, Kent (UK) where he died on the 9th June 1870, was recommissioned by the Royal Mail after more than twenty years of standing idle, decommissioned in the 1990s. The Charles Dickens Centre (Gads Hill) Charitable Trust, and the Letter Box Study Group alerted Royal Mail to the historical and cultural significance of the postbox, and asked if it could be put back into service.

To commemorate the occasion, a plaque was attached next to the box, stating that -
‘This letterbox outside Gad’s Hill Place, home of Charles Dickens, was used by the author and his family between 1859 and 1870.
‘Proudly restored in his memory by Royal Mail, 10.12.14’
- and a special postmark was applied to mail posted in the box from the 15th to 18th December 2014 bearing the letters ‘CD’, in tribute to the way Dickens used to seal his mail before he posted it.



Source: right: The short-term handstamp, "CD" Postmark Bulletin, London Special Handstamp Centre, Ref 13298.
Source: left: Envelope front to Mr Sly, dated 1st October 1869. John Wilson Manuscripts

The postbox was officially opened by great-great granddaughter Marion Dickens who said on posting the first letter:
"In our digital world, handwritten letters are more appreciated than ever. Being able to post mine in the letterbox regularly used by my great-great-grandfather makes me feel thrillingly close to him.

He wrote a dozen letters every day and made excellent use of this box, and the new postal services that were developing all over the country in his lifetime.

144 years after he posted his last letter from Gad’s Hills, it’s wonderful that the Royal Mail have made it possible for me to do exactly the same..."
Source: The postbox of Christmas past: Royal Mail recommissions Charles Dickens’ postbox



Source: Charles Dickens’s personal postbox, outside his Kent home, has been recommissioned ahead of Christmas. Photograph: Royal Mail/PA



Source: Video at YouTube: Charles Dickens postbox reopened at Gad's Hill

Connections past and present
On January 18th, 2014, this weblog posted an article with reference to two of Charles Dickens' letters complaining about his neighbour, retired master mariner Captain Edward Goldsmith at Gadshill, in the village of Higham, Kent (UK). The first letter dated 1857 concerned Captain Goldsmith's monopoly of the water supply in the village, and the second dated 1859 concerned the location of the village mailbox outside Captain Goldsmith's house. It took just a few months in 2014, from January when we first posted the reference to Captain Goldsmith and the Higham mailbox in Charles Dickens' letters, to December 2014 when this now famous mailbox found restitution as a fully operational service of the Royal Mail. Perhaps we played a small part in bringing the mailbox back into service. Our generous Captain Goldsmith, without doubt, is the ancestor who keeps on giving.

For Captain Goldsmith's nieces Elizabeth Rachel Day and Mary Sophia Day, daughters of Captain Goldsmith's wife's brother, Captain James Day back in Tasmania, the relocation of the mailbox from Captain Goldsmith's house to the wall outside Dickens' house in 1859 would have been more than newsworthy concerning this famous neighbour of their illustrious uncle. It meant he would not be as closely associated with their family mail arriving and leaving the village as before. Both nieces at Captain Goldsmith's death in 1869, including photographer Thomas Nevin, husband of his niece Elizabeth Rachel Day, were named as beneficiaries to eleven houses in Vicarage Row (Kent) in Captain Goldsmith's will, an indication that correspondence between these family members in Hobart  Tasmania and Higham Kent was constant from February 1856 when Captain Goldsmith, his wife Elizabeth and son Edward Goldsmith jnr departed Tasmania for good to settle permanently at Gadshill.

Extracts from Captain Edward Goldsmith's will:



Pages 1,Captain Edward Goldsmith's will, 1871 and Bill of Complaint 1872
(Ref: National Archives UK C16/781 C546012)
TRANSCRIPT Frontispiece  1872
1872 D. 50
In Chancery
Between Mary Sophia Day (an infant under the age of 21 years) by Thomas Butler her next friend .. Plaintiff
and
Elizabeth Goldsmith, William Bell Bentley, Alfred Bentley, Edward Goldsmith and Sarah Jane his wife, Caroline Tolhurst, Matilda Tolhurst (inserted), Edward Tolhurst, Richard Tolhurst and Thomas Nevin and Elizabeth Rachel his wife (the four last named defendants being out of the jurisdiction of this Honorable Court) ... Defendants
I the undersigned Thomas Butler of No. 9 The Grove Gravesend in the County of Kent Genteleman (inserted) hereby authorize and request you Mr Thomas Sismey of No. 11 Sergeants Inn Fleet Street in the City of London Solicitor to institute the above suit on behalf of the above named infant plaintiff Mary Sophia Day who is now residing at Hobart Town in Tasmania and is a spinster and to use my name as her next friend for such purpose
Dated this twenty fifth day of March 1872
Thomas Butler



Page 4 of Captain Goldsmith's will re Vicarage Row.



Captain Goldsmith's will to bequeath 11 houses to Thomas and Elizabeth Nevin in Vicarage Row, near Gravesend. Google maps 2013.

On retirement from the merchant marine trade in 1856, Captain Edward Goldsmith (1808-1869) returned to the area around Chalk in Kent where he was born, settling back at Higham with Elizabeth his wife, to oversee his extensive freehold and leasehold properties. They were resident once more at Gads Hill House by 1857 when Charles Dickens made mention of Captain Goldsmith's abundant water supply, but by the 1861 Census, the Goldsmiths' were resident at Higham Lodge while renovations were made to Gads Hill House. The brick wall of Higham Lodge is visible in this postcard view (1905), adjacent to the Sir John Falstaff Inn at the corner of Telegraph Hill and Gravesend Road when the inn's wall was plastered with theatrical bills.



Postcard: Sir John Falstaff Inn, Gad's Hill, Published by Hartmann Saxony, 1905



Postcard, Gad's Hill, 1907. Source: CityArk, Medway, UK.



1861 UK Census: Captain Edward Goldsmith, retired master mariner, age 56, resident of Higham Lodge, together with his wife Elizabeth, age 54, and servant Louisa Eatten, age 21.



Higham Lodge 
Source: Medway Archives, Couchman Collection. Ref: DE 402/24/37 (L)

Higham Lodge and conservatory is clearly seen in this undated photograph taken before the cedar trees further down the Gravesend Road were removed in 1907.



Source: Medway Archives, Couchman Collection
The Gravesend Road, Gadshill cedars trees where Dickens' chalet was located.

Those cedar trees were located in the "Shrubbery" opposite Charles Dickens' house, accessed from No. 6 Gad's Hill Place by a tunnel under the road leading to his Chalet, 1865-1870. Dickens referred to the chalet's location as his "Wilderness", so it was not without an ironic nod to Dickens when John Nevin snr, father of photographer Thomas J. Nevin and soon-to-be father-in-law of Elizabeth Rachel Day, Captain Goldsmith''s niece, published his poem titled "My Cottage in the Wilderness" in 1868, referring to the family home he built in a real wilderness situated on land next to Lady Franklin's museum at Kangaroo Valley, Hobart, Tasmania.



Higham Lodge, foreground on right, Falstaff Inn on right in distance opposite Dickens' former house, Gadshill Place, now a school with sign where the mail box is located a little further down the Gravesend Road. Google maps 2013.

Gads Hill House was listed in Captain Goldsmith's will, 1869, as leased to Mr Andrew Chalmers Dods on a piece of land measuring 6a, 3r, 28p which was undergoing extensions and enlargement, payment for which was to be executed out of the Captain's other estates, excluding Vicarage Row. Originally named Mount Prospect, Gads Hill House was located at the top of Telegraph Hill with commanding views of the Medway to the north and Cobham Hall to the south west, hence Charles. Dickens' description of it as "that crow's-nest of a house". Outside the gates was a beacon and a ship's bell on a metal stand at the front door. Although Captain Goldsmith was one of the first owners of the house, if not the original owner in 1825, Mr John Townsend, MP for Greenwich and a Shakespearian actor of note ca. 1842, was thought to reside there. Captain Goldsmith's generosity in easing Townsend's considerable debts, among other acts of kindness in the district for which the Captain was known, was mentioned by  Cecil Fielding in 1882 on page 7 of his publication,  A Hand-book of Higham: Or the Curiosities of a Country Parish.



Cecil Fielding on Captain Goldsmith at Gadshill, A Hand-book of Higham: Or the Curiosities of a Country Parish (1882: 7)

A real estate journalist described Gads Hill House in these terms in 2002:
Gads Hill House, near Rochester, Kent. A long, sweeping drive, six bedrooms, magnificent full-length hall, huge reception rooms - what more could a City commuter want in a country residence? Land? There are more than four acres of woodland and gardens, including a croquet lawn and orchard. Somewhere to lay down the claret? There are three cellars and a wine store. And with regular commuter trains from Higham, two miles away, to London, you could still be back to bath the kids.
In 2009, Gads Hill House Telegraph Hill, Rochester, Gravesham, Kent, ME3 7NW was the most expensive house purchase in Telegraph Hill, sold for £1,395,000.



What remains of Captain Goldsmith's property at Gads Hill. 
Gads Hill House with yellow gravel in front and acreage behind
Google maps capture 2016





Captain Goldsmith's will 1872, Item 7: Gadshill House 

Charles Dickens' Water Supply and the Letter Box
When Charles Dickens (1812-1870) settled finally into the house at 6 Gad's Hill Place, Higham, Kent (UK) in 1857, his attention was drawn to Captain Goldsmith on two most urgent matters - the water supply to his house and the location of the mail box, both of which Captain Goldsmith seemed to monopolise.



Victoria & Albert Museum
Charles Dickens,
Coloured albumen carte-de-visite, J & C Watkins,[1863]
Museum no. 1712:21-1956

At first, Dickens' excitement at buying the property knew no bounds. These extracts are from his letters. On January 17th, 1857, he wrote -
[Sidenote: M. de Cerjat.]

TAVISTOCK HOUSE, _Monday Night, Jan, 17th, 1857

MY DEAR CERJAT,
...Down at Gad's Hill, near Rochester, in Kent--Shakespeare's Gad's Hill,
where Falstaff engaged in the robbery--is a quaint little country-house
of Queen Anne's time. I happened to be walking past, a year and a half
or so ago, with my sub-editor of "Household Words," when I said to him:
"You see that house? It has always a curious interest for me, because
when I was a small boy down in these parts I thought it the most
beautiful house (I suppose because of its famous old cedar-trees) ever
seen. And my poor father used to bring me to look at it, and used to say
that if I ever grew up to be a clever man perhaps I might own that
house, or such another house. In remembrance of which, I have always in
passing looked to see if it was to be sold or let, and it has never been
to me like any other house, and it has never changed at all." We came
back to town, and my friend went out to dinner. Next morning he came to
me in great excitement, and said: "It is written that you were to have
that house at Gad's Hill. The lady I had allotted to me to take down to
dinner yesterday began to speak of that neighbourhood. 'You know it?' I
said; 'I have been there to-day.' 'O yes,' said she, 'I know it very
well. I was a child there, in the house they call Gad's Hill Place. My
father was the rector, and lived there many years. He has just died, has
left it to me, and I want to sell it.' 'So,' says the sub-editor, 'you
must buy it. Now or never!'" I did, and hope to pass next summer there,
though I may, perhaps, let it afterwards, furnished, from time to time....

But serious issues soon emerged "on the great estate" a few months later. On June 6th, he wrote -

[Sidenote: Mr. Henry Austin.]

GAD'S HILL, _Saturday, June 6th, 1857._

MY DEAR HENRY,
Here is a very serious business on the great estate respecting the water
supply. Last night, they had pumped the well dry merely in raising the
family supply for the day; and this morning (very little water having
been got into the cisterns) it is dry again! It is pretty clear to me
that we must look the thing in the face, and at once bore deeper, dig,
or do some beastly thing or other, to secure this necessary in
abundance. Meanwhile I am in a most plaintive and forlorn condition
without your presence and counsel. I raise my voice in the wilderness
and implore the same!!!

Wild legends are in circulation among the servants how that Captain
Goldsmith on the knoll above--the skipper in that crow's-nest of a
house--has millions of gallons of water always flowing for him. Can he
have damaged my well? Can we imitate him, and have our millions of
gallons? Goldsmith or I must fall, so I conceive.

If you get this, send me a telegraph message informing me when I may
expect comfort. I am held by four of the family while I write this, in
case I should do myself a mischief--it certainly won't be taking to
drinking water.

Ever affectionately (most despairingly).



In a letter to Henry Austin on 15 August 1857, the water supply problem had been solved with a bore. Dickens wrote -

[Sidenote: Mr. Henry Austin.]

GAD'S HILL PLACE, _Saturday, Aug. 15th, 1857.

MY DEAR HENRY,
At last, I am happy to inform you, we have got at a famous spring!! It
rushed in this morning, ten foot deep. And our friends talk of its
supplying "a ton a minute for yourself and your family, sir, for
nevermore."

They ask leave to bore ten feet lower, to prevent the possibility of
what they call "a choking with sullage." Likewise, they are going to
insert "a rose-headed pipe;" at the mention of which implement, I am
(secretly) well-nigh distracted, having no idea of what it means. But I
have said "Yes," besides instantly standing a bottle of gin. Can you
come back, and can you get down on Monday morning, to advise and
endeavour to decide on the mechanical force we shall use for raising the
water? I would return with you, as I shall have to be in town until
Thursday, and then to go to Manchester until the following Tuesday.
I send this by hand to John, to bring to you.
The cause of the water supply problem for Dickens' house at Glads Hill Place at the bottom of Telegraph Hill is best explained by former resident Carole Turner in the 1980s of Captain Goldsmith's Gads Hill House at the top of Telegraph Hill:

The water table at the top of the hill was very high and the cellars of the house regularly flooded. The strange thing was that they only flooded in times of drought not in times of very wet weather. I researched it and there is a suggestion that in drought times they stopped pumping from Higham marshes and this somehow caused the water table to rise at the top of the hill. Presumably properties at the bottom i.e Dickens Gads Hill Place would have had empty wells. There were three wells at Gads Hill House and they were always full....as was the cellar for a good deal of the time! as once flooded the water did not drain away for a very long time. Suddenly in the middle of a very hot summer I would go down to the cellar and find it flooded...quite bizarre. 
Source; courtesy of Carole Turner, personal correspondence, 4th February 2016

The second problem Charles Dickens discovered with regard to Captain Goldsmith's dominating presence in the village was the location of the mail box. Dickens is thought to have sent 2000 letters through the mail box at Gad's Hill Place, Higham between its installation there in March 1859 and his death in 1870. Before its installation in his wall fronting Gravesend Road which he requested from the Post Office, the mail box was located outside Captain Edward Goldsmith's house, the garden wall of which abutted the high road, but the box itself was located some distance up Telegraph Hill. Dickens wrote this letter complaining of the inconvenience to Edmund Yates of the Post Office, dated 29th March 1859: -



[Sidenote: Mr. Edmund Yates.]

TAVISTOCK HOUSE, TAVISTOCK SQUARE, LONDON, W.C.,
Tuesday, March 29th, 1859.

MY DEAR EDMUND,
1. I think that no one seeing the place can well doubt that my house at
Gad's Hill is the place for the letter-box. The wall is accessible by
all sorts and conditions of men, on the bold high road, and the house
altogether is the great landmark of the whole neighbourhood. Captain
Goldsmith's house is up a lane considerably off the high road; but he
has a garden wall abutting on the road itself.

Source: Letters of Charles Dickens 1833-1870



The Higham mailbox, Google maps photo, May 2014 before its renovation and recommission in December 2014.

Were Charles Dickens and Captain Edward Goldsmith well-acquainted, even on close terms? Most assuredly, it can be assumed at this point, and for these reasons:

WATER SUPPLY: Dickens would have approached Captain Goldsmith as soon as he realized he had a problem supplying water to his new purchase at Gad's Hill. Captain Goldsmith was knowledgeable about springs, bores, pipes and pumps; his own household enjoyed "millions of gallons", as Dickens complained at the time. Only a skipper of great merchant and passenger ships at sea for months on end would understand pumps, not to mention 20 years' experience on the driest continent on earth, the Australian colonies, where bores provided the only solution to endless drought. And as a shipyard and patent slip operator, he was handy with machinery. Dickens would have welcomed his assistance as one of his "friends" who had overcome the problem with a bore by July and promised him "a ton a minute for yourself and your family, sir, for nevermore".

LETTER BOX: The village mail box was still located up the lane outside Captain Goldsmith's house in 1859 until Dickens requested its placement at his wall on the Gravesend Road. In those two years or so, from 1857, Dickens would have needed to post and collect his burgeoning mail daily by visiting Captain Goldsmith's house. And while the Captain might have put questions to Dickens about his fictional characters, Dickens in turn would have learnt a great deal from Captain Goldsmith about transported convicts' miseries and settlers' prosperity in the Australian colonies. During the Gad's Hill Place years until his death, Dickens wrote these great works of fiction:

Little Dorrit (Monthly serial, December 1855 to June 1857)
A Tale of Two Cities (Weekly serial in All the Year Round, 30 April 1859, to 26 November 1859)
Great Expectations (Weekly serial in All the Year Round, 1 December 1860 to 3 August 1861)
The Uncommercial Traveller (1860–1869)
Our Mutual Friend (Monthly serial, May 1864 to November 1865)
The Mystery of Edwin Drood (Monthly serial, April 1870 to September 1870. Only six of twelve planned numbers completed)

There were tales too told of Sir John Franklin, Lieutenant Governor of Van Diemen's Land (Tasmania) who was a close friend and dinner companion of Captain Edward Goldsmith. Franklin's disappearance in 1847 in the Canadian Arctic inspired Wilkie Collins and Charles Dickens to write and perform the drama, The Frozen Deep (1856). Their performances in the play bookend the 2013 film The Invisible Woman  (dir. Ralph Fiennes).



Tom Hollander as Wilkie Collins, and Ralph Fiennes as Charles Dickens in The Invisible Woman (BBC Films)

CHALK CHURCH: Both men favoured the little Chalk Church (St Mary's) above all others in the area. Dickens would make a greeting to the carving of a tipsy monk above the Church  porch on his walks back from Rochester. Captain Edward Goldsmith, his wife Elizabeth, and their son Edward Goldsmith jnr were all buried in the Chalk Church graveyard.

RENOVATIONS, extensions, leases on meadows and fields etc: These were extensive on the part of both Captain Goldsmith and Charles Dickens, intertwining their lives right up to their deaths, respectively in 1869 and 1870. In the 1881 UK Census, Edward Goldsmith jnr, aged 44 yrs,  and his wife Sarah Jane Goldsmith, aged 43yrs, born at Deptford, Kent in 1838, were resident at 13 Upper Clarence Place, Rochester, Kent, next door to the house at No. 11 Upper Clarence Place where Charles Dickens’ mistress Ellen Ternan was born (she first met Dickens in 1857). Edward’s income was “HOUSES” in 1881. He had inherited extensive leaseholds and real estate from his father Captain Edward Goldsmith, and mother Elizabeth Goldsmith nee Day, but by 1883, Edward was dead, aged 46yrs old. He was buried with his parents at Chalk Church.

EXTERNAL REFERENCES:
And many thanks to Carole Turner, former resident of Gads Hill House in the 1980s. for personal communications.

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