Showing posts with label National Gallery of Victoria. Show all posts
Showing posts with label National Gallery of Victoria. Show all posts

T. Nevin cdv at the "Who Are You" exhibition, NGV and NPG 2022

Photographs by T. J. NEVIN 1860s-70s
WHO ARE YOU Exhibition NGV & NPG 2022
Wesley ENOCH contributor of cdv by T. NEVIN



Photographic works extant in public collections taken by Thomas J. Nevin  (1842-1923) in Tasmania during the 1860s and 1870s are regularly displayed at exhibitions held by Australian national galleries and museums. In many cases, a publication in book form accompanies the exhibition. For example, for their 2015 exhibition of The Photograph and Australia, the Art Gallery of New South Wales, Sydney chose a stereograph taken by Thomas J. of Nevin of his studio in Elizabeth St. Hobart ca. 1868, one of at least a hundred rare stereographs and portraits by Nevin housed at the Tasmanian Museum and Art Gallery, Hobart.



Stereograph by Thomas J Nevin bottom of page 270
Catalogue for the exhibition The Photograph and Australia, Judith Annear (ed)
Art Gallery of NSW, 21 March - 8 June 2015.
Photo copyright © KLW NFC 2015 ARR



The accompanying publication to the exhibition, The Photograph and Australia, listed the stereograph on page 296 with these details:
Thomas J Nevin
Elizabeth St 1860s
stereograph
7.3 x 7 cm (each)
8.5 x 17.4 cm (card)
Tasmanian Museum and Art Gallery, Hobart
Q1994.56.12

"Who Are You" 2022
This year's exhibition titled WHO ARE YOU includes a hand-tinted carte-de-visite of a woman yet to be identified, taken by Hobart professional photographer Thomas J. Nevin in the 1860s. The exhibition of 230 works - 79 from the National Portrait Gallery in Canberra, and 160 from the National Gallery of Victoria, Melbourne - represent photography, painting, sculpture, works on papers and video.

The curatorial rationale of the exhibition:
WHO ARE YOU: Australian Portraiture is the first exhibition to comprehensively bring together the rich portrait holdings of both the National Gallery of Victoria, Melbourne, and the National Portrait Gallery, Canberra. Revealing the artistic synergies and contrasts between the two institutions’ collections, this co-curated exhibition considers portraiture in Australia across time and media....
WHO ARE YOU: Australian Portraiture questions what constitutes a portrait - historically, today and into the future. The connection between the artist, sitter, and viewer is considered throughout the exhibition, creating opportunities for new perspectives to emerge from this relationship. The curators have organised the works into five key themes, each one occupying a separate area of the exhibition space.

Person and Place examines the connection between identity and the land on which we live.
Meet the Artists celebrates self-portraits and portraits that artists have made of fellow artists.
Intimacy and Alienation reflects on love, family, friendship, isolation, mourning and nudity.
Inner Worlds considers how identity can be perceived through psychology, imagination, surrealism and fetish.
Icons honours the sitter portrayed in each portrait, emphasising who is remembered and who has been forgotten.





Screenshots: Virtual Tour of Who Are You: Australian Portraiture
https://www.ngv.vic.gov.au/virtual-tours/who-are-you/
National Gallery of Victoria, Melbourne from 25 March 22 to 21 August 2022
National Portrait Gallery, Canberra from 1 October 2022 to 29 January 2023
Visit: https://www.ngv.vic.gov.au/exhibition/who-are-you/


The Book of the Exhibition
The exhibition is accompanied by a publication produced by the NGV and features written reflections by some of Australia’s foremost writers, thinkers, artists and poets. Each author was invited to choose an artwork in the exhibition that resonated with their lived experience. This publication centres portraiture within contemporary conversations around identity, belonging and representation in Australia.
Source: NGV Fact Sheet 1: WHO ARE YOU




WHO ARE YOU
Edited by Sophie Gerhard, Joanna Gilmour, Penelope Grist, David Hurlston, Hannah Presley and Beckett Rozentals, with contributors
NGV | National Portrait Gallery | Thames & Hudson



Who Are You: Australian Portraiture,NGV 2022
Introduction, p. xiii

Tony Ellwood AM
Director, National Gallery of Victoria

Karen Quinlan AM
Director, National Portrait Gallery

EXTRACT, Introduction
... With works spanning disciplines and chronologies, WHO ARE YOU challenges conventional assumptions around portraiture. The project celebrates the art form, revealing themes of inner worlds, intimate selves, identity, isolation, politics, celebrity and the social sphere. WHO ARE YOU features more that 200 works by renowned Australian artists, including Patricia Piccinini, Anton Ahem, Nora Heysen, Howard Arkely, Vincent Namatijira and Tracey Moffatt, and sitters including Cate Blanchett, Helena Rubenstein, Eddie Mabo, and Marcia Langton....

Carte-de-visite by T. Nevin



Who Are You: Australian Portraiture, pps 164-165
A selection of photographs by contributor Wesley Enoch.
Caption:
(left to right) T. Nevin, Hobart No Title (woman wearing a bonnet with a pink bow), carte-de-visite 1865-67 National Gallery of Victoria, Melbourne
John Bishop-Osborne No title (Child standing on a chair and holding a whip), carte-de-visite 1879-83 National Gallery of Victoria, Melbourne
Burman & Co., Melbourne No title (Man) , carte-de-visite 1876-77 National Gallery of Victoria, Melbourne
James E. Bray Madame Sibly, Phrenologists and mesmerist ca. 1870 National Portrait Gallery, Canberra



Who Are You: Australian Portraiture p.270
T. Nevin, Hobart Australia 1865-67
No Title (woman wearing a bonnet with a pink bow), carte-de-visite (1865-67)
albumen silver photograph,
watercolour
9.5 x 5.8 cm (image and support)
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation
by John McPhee, Member 2003
(2003.395)

Contributor Wesley Enoch



Who Are You: Australian Portraiture p.275
WESLEY ENOCH AM is a writer and director. He hails from Stradbroke Island (Minjerribah) and is a proud Quandamooka man. Enoch was artistic directror of Sydney Festival from 2017 to 2020, and was previously artistic director at IIbijerri Aborginal and Torres Strait Islander Theatre Cooperative and associate artistic director at Belvoir Street Theatre. He was creative consusltant, segment director and indigenous consultant for the 2018 Gold Coast Commonwealth Games. Enoch has written and directed numerous Indigenous theatre productions; his most recent is the Australian premiere of Appropriate by Branden Jacobs-Jenkins at the Sydney Theatre Company.



Who Are You: Australian Portraiture p.161

Contributor to the exhibition and publication, Wesley Enoch prefaced his choice of items from the NGV and NPG collections with this statement in which he raises the question significant to memorialising the deceased. The carte-de-visite by T. Nevin was one of a dozen included in his selection.

EXTRACT: Wesley Enoch's Preface, p. 161
Portrtaits are an act of love and care, of memory and storytelling, of finding a physical form to display the invisible and, most of all, a demonstration of belonging ...
... A long-ago tradition dictates that the death of a family member heralds the cessation of speaking their name and the burning or abandonment of their few treasured belongings. This tradition has slowly evolved into new cultural practices that respond to technological advances like photography (though we are slower to respond to video and social media - what do we do with Facebook pages of the deceased? The birthday reminders? Their online collection of pics, vids and comments?) ....

T. Nevin's cdv of Woman with Pink Bow
Apposite, perhaps, that the question posed by the exhibition's title "Who Are You?" applies to this unidentified woman who wore a houndstooth check dress and floral bonnet with large ribbons when she was photographed in the Hobart studio of Thomas J. Nevin. The drape, table, chair, carpet and pose featured in this cdv are identical to the decor and pose in a cdv of a younger woman he photographed around the same time, held at the Tasmanian Museum and Art Gallery, Hobart. This item, however, unlike the cdv of the younger woman, was delicately hand-tinted. The original presenter of this cdv to the NGV in 2003, John McPhee, who curated the exhibition of Nevin's 1870s photographs of Tasmanian prisoners (mugshots of "convicts") at the Queen Victoria Museum and Art Gallery, Launceston in 1977, has dated this portrait to the mid 1860s.





National Gallery of Victoria Catalogue Notes
No title (woman wearing a bonnet with a pink bow), carte-de-visite
T. NEVIN, Hobart (1865-1867)
Medium albumen silver photograph, watercolour
Measurements 9.5 × 5.8 cm (image and support)
Place/s of Execution Hobart, Tasmania
Inscription printed in ink on support on reverse c. AD ALTIORA / CITY PHOTOGRAPHIC ESTABLISHMENT / T. NEVIN. / LATE / A. BOCK. / 140 ELIZABETH ST / HOBART TOWN. / Further copies / can be obtained at / any time.
Accession Number 2003.395
Department Australian Photography Credit Line National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by John McPhee, Member, 2003

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Convict photographs by T. J. Nevin at the Art Gallery NSW Centenary Exhibition 1976

AGNSW 1976 Centenary Exhibition
T. J. NEVIN 1870s photographs of Tasmanian prisoners
G. T. STILWELL State Library of Tasmania





Art Gallery of NSW, Sydney
Photos copyright © KLW NFC 2013

Photographs of Tasmanian "convicts" - i.e. prisoner mugshots - taken by T. J. Nevin in the 1870s were exhibited at the Centenary of the Art Gallery of New South Wales, Sydney and at the National Gallery of Victoria, Melbourne in 1976. The Exhibition Catalogue was written by Daniel Thomas,  Senior Curator and Curator of Australian Art, Art Gallery of NSW. The Tasmanian contributor was antiquarian Geoffrey Stilwell, a Trustee of the Centenary Celebrations of the Art Gallery of NSW and Special Collections curator of the Allport Library and Museum of Fine Arts, State Library of Tasmania.



Ian North, artist, Archibald finalist 2005
Title: Daniel Thomas at home, Northern Tasmania
Art Gallery NSW: https://www.artgallery.nsw.gov.au/prizes/archibald/2005/28102/

Daniel Thomas AM, Emeritus Director Art Gallery of South Australia, Adelaide, retired in 1990 and now lives in Tasmania. From 1958 he was the curator in charge of Australian art, and later chief curator, at the Art Gallery of New South Wales, Sydney. From 1978 to 1984 he was the inaugural head of Australian art at the National Gallery of Australia, Canberra.
From: ART MUSEUMS IN AUSTRALIA: A PERSONAL RETROSPECT by Daniel Thomas 2011

The Centenary Exhibition Catalogue 1976
These photos were taken at the National Library of Australia, 8th June 2017. The Exhibition Catalogue Australian art in the 1870's / by Daniel Thomas - N 709.94 T455  is available through Trove.  Photos copyright © KLW NFC Imprint 2017



Cover: Australian Art in the 1870s



Title page: "Australian art in the 1870s by Daniel Thomas. An exhibition to mark the centenary of the Art Gallery of New South Wales, Sydney. Art Gallery of New South Wales, Sydney: 25 June-2 August 1976; National Gallery of Victoria, Melbourne: 28 October-21 November 1976"



Page 27: list of three photography exhibits by T. J. Nevin Nos. 116-118

TRANSCRIPT
T. J. Nevin active 1870s
Tasmanian convicts (1874)
116. William Turner, Transported Lord Goderich (Boy's ship), 1811-1841.
117. Nathan Hunt, Transported Elphinstone (Boys), 28.7.1842, Larceny
118. Thomas Harrison, Idle and disorderly.
Three photographs, carte-de-visite size 10.5 x 6.5 cm, 4½ x 2½ in, each inscribed (on back) as above, and printed T. J. Nevin, 140 Elizabeth Street, Hobart Town. From a set of over 40 convict portraits made in 1874.
Queen Victoria Museum and Art Gallery, Launceston, Tasmania



Page 41: Entry for T. J. NEVIN,



Paragraph on T. J. Nevin and his photographs of "still-living transported convicts", p. 41 of the Exhibition Catalogue for Australian art in the 1870s : an exhibition to mark the centenary of the Art Gallery of New South Wales, Sydney by Daniel Thomas 1976.

TRANSCRIPT
T. J. NEVIN
A Hobart photographer who in 1874 made a set of over 40 photographs of still-living transported convicts. They are included as an example of the strong interest in Australian history which is characteristic of the 1870s. These small photographs are also examples of the standard "Carte-de-visite" size used for almost all portraits in the 1850s and 1860s, but going out of favour after 1870 for the larger "Cabinet" size , 4½ x 6½ inches. After 1875 "Panels". 8½ x 6½  inches also became common for family groups. Carte-de-visite and Cabinets of royalty, actresses, bishops, convicts and other celebrities were widely available and were collected in albums as well as portraits of one's own family.
The Mugshots
Working on government contract and as full-time civil servant, Thomas J. Nevin photographed many hundreds of Tasmanian prisoners - or "convicts" as they are termed in art history and heritage tourism discourse - between 1872 and 1886, and not just the set of forty (40) indicated in this brief Exhibition Catalogue note dated 1976. The author(s) were referring to the set of 40 prints from Nevin's glass negatives of prisoners arranged in three panels held at the Queen Victoria Museum and Art Gallery, Launceston. See this article - Thomas J. Nevin's glass plates of prisoners 1870s.







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 originals of these forty (40) individual prints of Tasmanian prisoners, photographed at the Hobart Gaol by the commissioned photographer Thomas J. Nevin in the 1870s, were intended to be pasted to the criminal record sheet of each prisoner. It was customary to photograph a person before conviction and after it, and again on discharge, by order of the Tasmanian Attorney-General from 1872 onwards, and since the men whom Nevin photographed were repeat and habitual offenders, the same glass negative was used again and again. The plates were handled repeatedly to produce duplicates for distribution to regional prisons and police stations, and for the many administrative copies required by the central Municipal Police Office at the Town Hall, the Supreme Court and the Hobart Gaol.

The forty individuals whose police photographs from the 1870s were lined up in this manner and pasted to dark green cardboard were all chosen by convictaria collector John Watt Beattie in 1915 because they were repeat offenders convicted of serious crimes who had been arraigned in Supreme Court sessions in the 1870s and incarcerated at the Hobart Gaol, Campbell St. Beattie chose them because he wanted to sell their images to tourists at his convictaria museum located in Murray St. Hobart, and to include them in intercolonial exhibitions associated with the fake convict ship the Success. He falsely touted these men as representative of the pre-1853 convict transportation era, hence the labelling on each of these panels, “Types of Imperial Convicts” and "Photographed at Port Arthur", when the reality was far less fascinating. By the 1870s, these men were common criminals and “prisoners”, not "convicts" and they were photographed on sentencing at the Supreme Court Hobart and Hobart Gaol, a judicial process funded and administered by the Colonial government, not the British government.

Although the Exhibition Catalogue assumes it was Thomas Nevin in the 1874 who "made a set of over 40 photographs of still-living transported convicts", it was Beattie & Searle who collated the original prints which they removed from the prisoner rap sheets  in the early 1900s and created these panels from Nevin's original first-captures on glass negatives of the 1870s. None of the forty prisoners featured in each of these three panels, however, was exhibited. Just three photographs from the QVMAG collections were selected for the Centenary Exhibition of the Art Gallery of NSW in 1976.

These three black and white copies (below) were made at the QVMAG in 1985 from Nevin's original sepia prints, and placed online in the early 2000s. The original 1870s prints of these black and white copies were exhibited at the AGNSW in 1976 (listed on page 27 in the Exhibition Catalogue). The curator chose these three photographs possibly because the full frontal pose and the frank stare captured more of the prisoner's "personality" than the conventional pose where the sitter's sightlines were deflected either left or right, the pose typical of Nevin's commercial studio practice and evident in the more than 200 (two hundred) prisoner cdvs held in the Beattie collection at the QVMAG. Not that the frontal frontal pose was uncommon in Nevin's practice: these two cartes-visite of young women, for example, are equally compelling for their full frontal stare at the camera and photographer.






On left and verso below left: 
Plain oval mount, head and shoulders to below waist cdv: A teenage girl [unidentified] with ringlets, wearing a dark dress with wide stripes banded in white and white cuffs, holding a hand coloured posy of flowers tinted yellow. Her gaze is direct to camera. The verso of this cdv bears Nevin's most common commercial studio stamp "T. Nevin late A. Bock" etc and dates to ca. 1871-1874. Courtesy of © The Liam Peters Collection 2010. All rights reserved.

On right and verso below right: 
Head and shoulders cdv on plain oval mount : A young woman [unidentified] with a chin dimple, wearing an elaborately frilled bodice, brooch on a ribbon wound round her neck and chain to the waist, hair curled in layers across the top of head, her stare dramatic, solemn and strongly directed at the photographer/camera. Studio portrait by Thomas J. Nevin ca, 1870-1875. Verso with the handwritten inscription in Samuel Clifford's orthography: "Clifford & Nevin Hobart Town". The original was taken by Thomas Nevin before 1876, and reprinted by Samuel Clifford until 1878, per his advertisement in The Mercury, 17th January 1876:
Mr T. J. Nevin's friends may depend that I will endeavour to satisfy them with any prints they may require from his negatives.
S. CLIFFORD
Photos recto and verso copyright © KLW NFC Imprint 2014-2015
TMAG Ref: Q1984.294

In addition, the three prints of prisoners exhibited at the Centenary of the AGNSW in 1976 were possibly chosen because they had escaped the rebranding on the versos with the inscription "Taken at Port Arthur 1874" for Beattie's tourism trade of the 1900s and for the 1938 QVMAG exhibition which commemorated his death and bequest to the people of Launceston. A year after the 1976 AGNSW Centenary Exhibition, in 1977, many more of these "convict portraits" by T. J. Nevin from the Beattie collection were exhibited at the QVMAG, curated by John McPhee.

Prisoner William TURNER



Prisoner William TURNER
QVMAG Ref: QVM 1985: P: 90 or 1985_p_0090
Catalogue No. 116. William Turner, Transported Lord Goderich (Boy's ship), 18/11/1841.



Verso: Prisoner William TURNER
QVMAG Ref: QVM 1985: P: 90 or 1985_p_0090
Catalogue No. 116William Turner, Transported Lord Goderich (Boy's ship), (18/11/1841).
See more here of this collection held at the QVMAG
Read more about prisoner William Turner in this post here

Prisoner Nathan HUNT



Prisoner Nathan HUNT
QVMAG Ref: QVM 1985_p_0073
Catalogue No. 117. Nathan Hunt, Transported Elphinstone (Boys), 28.7.1842, Larceny 9-1-79



Verso: Prisoner Nathan HUNT
QVMAG Ref: QVM 1985_p_0073
Catalogue No. 117. Nathan Hunt, Transported Elphinstone (Boys), 28.7.1842, Larceny 9 -1-79
Read more about this prisoner Nathan Hunt here in this article.

Prisoner Thomas HARRISON



Prisoner Thomas Harrison
QVMAG:1985_P_0113
Catalogue No. 118. Thomas Harrison, Idle and disorderly. P.O. Sorell 3 months Jany 1875



Verso: Prisoner Thomas Harrison
QVMAG:1985_P_0113
Catalogue No. 118Thomas Harrison, Idle and disorderly. P.O. Sorell Jany 1875
Read more about prisoner Thomas Harrison here in this article

Collector and Trustee G. T. Stilwell



G.T. Stilwell (1931-2000)
Special Collections librarian and Allport Museum curator
State Library of Tasmania
Mercury photo 1990 (?)

The National Library of Australia's online catalogue notes for Daniel Thomas' AGNSW Centenary Exhibition Catalogue do not include the names of the individual artists whose works were shown in 1976. The State Library of Tasmania, however, lists T. J. Nevin's name along with other Tasmanian artists in their catalogue notes for the publication Australian art in the 1870s - available via  Linc. The State Library of Tasmania's online entry also mentions which items came from G. T. Stilwell's private collection, viz:
Title: Australian art in the 1870s : an exhibition to mark the centenary of the Art Gallery of New South Wales, Sydney / by Daniel Thomas.
Author/Creator: Thomas, Daniel, 1931- author.
Publication: Sydney : Trustees of the Art Gallery of New South Wales, [1976]
Physical description: 60 pages : illustrations ; 19 x 18cm.
Provenance: From the collection of Geoffrey Thomas Stilwell. Item IDs 146035183 & 146035233
Notes: "Art Gallery of New South Wales, Sydney: 25 June-2 August 1976; National Gallery of Victoria, Melbourne: 28 October-21 November 1976" --Title page.
Contains 12 illustrations out of the 143 listed in the exhibition catalogue.
Includes bibliography, index and short artist biographies.
Partial contents: Includes Tasmanian artists or works on Tasmania: Robert Beauchamp -- Robert Dowling -- J. Haughton Forrest -- Henry Grant Lloyd -- Louisa Meredith -- T. J. Nevin -- W. C. Piguenit -- John Skinner Prout -- James Scurry -- Eugen von GuĂ©rard -- Frederick Woodhouse.
ISBN: 0724010564 (paperback)
Subjects:
Art, Australian -- Exhibitions.
Art, Modern -- 18th century -- Exhibitions
Art, Modern -- 19th century -- Exhibitions.
Art, Australian -- 18th century -- Exhibitions
Art, Australian -- 19th century -- Exhibitions.
Artists -- Australia -- Exhibitions.
Artists -- Tasmania -- Exhibitions.
Tasmania -- Pictorial works.
Exhibition catalogs -- Tasmania.
Exhibition catalogs.
Other Authors/Creators: Stilwell, Geoffrey Thomas, 1931-2000, former owner.
Contains : Dowling, Robert Hawker, 1827-1886. Unequally yoked.
Contains : Piguenit, W. C. (William Charles), 1836-1914. Mount Wellington from New Town Bay.
National Gallery of Victoria.
Art Gallery of New South Wales.
Record ID: SD_ILS:1216315
 Researchers are indebted to the late G.T. Stilwell for his creation of the Stilwell Index during his service at the State Library of Tasmania. G.T. Stilwell also published a short biography of Thomas Nevin with J. S. Kerr outlining the Town Hall dismissal and the misattribution by Chris Long of Nevin's convict portraiture to A.H. Boyd in The Dictionary of Australian Artists: painters, sketchers, photographers and engravers to 1870, edited by Joan Kerr. (Melbourne: Oxford University Press 1992).



Photo copyright © KLW NFC 2010

Entry for Thomas J. Nevin, pp 568-9
The Dictionary of Australian artists : painters, sketchers, photographers and engravers to 1870, edited by Joan Kerr.
Publisher: Melbourne : Oxford University Press, 1992.
Description: xxii, 889 p. : ill., facsims., ports. ; 27 cm.

Joan Kerr and Geoffrey Stilwell's entry on page 568 of The Dictionary of Australian Artists: painters, sketchers, photographers and engravers to 1870 dismisses the claim made by Chris Long in the mid 1980s, published in 1995, that A.H. Boyd was the photographer of the cdvs known as the Port Arthur convict cartes, 1874, or that he was a photographer at all. They state:

Some of the seventy cartes-de-visite identification photographs of Port Arthur convicts taken in the 1870s (QVMAG) at about the time the settlement was closed (1876) have been attributed to Nevin because they carry his studio stamp. He possibly held the government contract for this sort of criminal recording work, although Long believes that he was merely a printer or copyist and suggests that the most probable photographer was the commandant A.H. Boyd. However, professional photographers were employed to take identification photographs in Australian prisons from the beginning of the 1870s (see Charles Nettleton) and while a collection of standard portrait photographs and hand-coloured cartes-de-visite undoubtedly by Nevin is in the Archives Office of Tasmania no photographs by Boyd are known.
Information: J.S. Kerr, G.T. Stilwell
Read more in these posts:

The G. T. Stilwell Private Collection Auction 2015
This oil on canvas of a native bird with mountain berries and native flora with  Mount Wellington in the background was painted by Florence Williams ca. 1873. It was estimated to sell for $6,000 - $10,000. The price realized, including buyer's premium, was $93,000.



Description: Florence Williams. (British / Australia 1833 – 1915)
A native bird with mountain berries and native flora, backed by Mount Wellington oil on canvas
Signed with initials FW
Original gilt frame, the image 59.8 x 45.2cm.
Florence Williams was born in the UK and exhibited at the Royal Academy. Williams moved to Australia in 1863 and lived in New Town, Tasmania from 1873 – 1875, during which this work would have been painted.
Provenance: W.N. Hurst Hobart,
The Sale of Michael Sharland. 1987. Michael Sharland (Tasmanian. 1899 – 1987) wrote as “Peregrine” for the Sydney Morning Herald and Hobart Mercury. Sharland was a passionate environmentalist for the built and natural environment, author and ornithologist. He was the author of nine volumes concerning Tasmanian bird and wildlife, as well as the definitive “A Guide to the Birds of Tasmania” and the architectural classic “Stones of a Century”. He was Superintendent of Scenic Reserves from 1947 and The Scenery Preservation Board (later formed as Parks and Wildlife Service).
Lot closed - Price Realized incl. BP:$93,000
ESTIMATE:  $6,000 - $10,000

Auction notes sources;
  • Moss Green Auctions:  http://www.mossgreen.com.au/m/lot-details/index/catalog/177/lot/74181/Florence-Williams-British-Australia-1833-ndash-1915
  • ABC News: http://www.abc.net.au/news/2015-11-13/tasmanian-art-curators-private-collection-open-for-viewing/6939272

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The desecration of Minnie Carr's grave 1898

DEATHS of MARY ANN CARR and DAUGHTER
DESECRATION of GRAVE
MARTHA NEVIN, formerly SALTER, nee GENGE



Thomas Nevin's stereo of his sister Mary Anne Nevin ca. 1870 dipping a glass at the creek, Kangaroo Valley Hobart
Photo copyright © KLW NFC 2012. Private Collection.

There was tragedy awaiting Thomas Nevin's younger sister Mary Ann, though they would hardly have anticipated what it might be when he took this photograph - almost as a snapshot - of her ca. 1868-1870 at the New Town Creek, Kangaroo Valley (Tasmania). The family had  already lost one sister, Rebecca Jane Nevin to illness by 1865, the year that Mary Ann applied unsuccessfully to the Board of Education to establish a school at Kangaroo Valley with the support of family friend Morton Allport. But she persisted on her own account with support from her father, John Nevin snr, and used the schoolhouse adjoining the Wesleyan Chapel close by the house her father had built on land owned by the Wesleyan Trust, up the hill from the Lady Franklin Museum at Ancanthe.

In 1875, her father John Nevin snr was granted a license to teach adult males at night at the Wesleyan schoolhouse, Kangaroo Valley. His wife Mary Ann nee Dickson, (sister of the Newtonards nurseryman Alexander Dickson) and mother to Mary Ann and her two brothers, photographer Thomas Nevin and Constable John Nevin, had died in the same year. By May 1877 their surviving sister Mary Ann Nevin had married mariner Captain John Carr at the Wesleyan Chapel, Kangaroo Valley, and moved to Victoria. In 1878, she died of peritonitis 22 days after delivering her daughter Mary Ann Carr at Railway Place, Sandridge. Her husband, mariner John Carr, remained in Victoria and surrendered the child to his father-in-law. Her daughter was returned to the care of Thomas and Jack Nevin's father John Nevin snr in 1879 at Kangaroo Valley, New Town, Tasmania. John Nevin snr made the heartfelt decision in 1879 to remarry in order to provide his grandchild Mary Ann Carr with a maternal presence. He married Martha Genge, the widowed daughter of his close friend, Wesleyan preacher William Genge. At the time of their marriage and their adoption of his daughter's daughter, John Nevin snr was 71 yrs old, and Martha Genge, (widowed as Salter) was 46 years old. The grandchild was named Mary Ann after her mother (Mary Ann Carr nee Nevin, 1845-1878), her grandmother (Mary Ann Nevin nee Dickson, 1810-1875) and later nicknamed Minnie after her cousin Mary Anne Drew nee Nevin (1884-1974), who was born to Thomas and Elizabeth Nevin in 1884.



Archives Office of Tasmania
Marriage of John Carr to Mary Anne Nevin, 3 May 1877
NAME_INDEXES:884210
Resource RGD37/1/36 no 359

[Above:] Marriage of Mary Anne Nevin, 31 years old, gardener's daughter, to John Carr, 37 yrs old, seaman, on 3rd May 1877 at the Wesleyan Church, Kangaroo Valley, New Town Hobart.
Witnesses were her father John Nevin snr, her brother John Nevin jnr, her sister-in-law Mary Sophia Day (sister of Thomas Nevin's wife Elizabeth Rachel Nevin nee Day) and Mary Hurst  (1839-1925), sister of Thomas Nevin's friend, surveyor John Hurst.

Thomas Nevin's niece, known thereafter as Minnie Carr who survived her mother's death three weeks after birth was raised by her grandfather John Nevin snr and his second wife Martha Nevin, formerly Salter,  nee Genge, When John Nevin snr died in 1887 (b. 1808), Martha Nevin moved from Kangaroo Valley (New Town) to 76 Patrick Street, Hobart and continued to care for her step-granddaughter Minnie Carr, but within a decade Minnie Carr would also "join the great majority", to use her grandfather's poetic turn of phrase. In 1898 and just  20 yrs old, she died suddenly of gastric poisoning and haemorrhage. The funeral notice simply stated that at the time of her death she was living at her mother's house, though that was not strictly correct. Martha Nevin was her step-grandmother by way of her grandfather John Nevin snr's 'second marriage, not her mother or even step mother, but because of Martha Nevin's relative youth in 1879 when she married John Nevin, she was most likely considered a step-mother rather than step-grandmother to the child whom she had raised, practically from birth.



[Above] Thomas Nevin's stereograph of his sister Mary Ann Nevin ca. 1870
Photographed with four children, one holding a toddler, and a tall man in shirt sleeves at the Kangaroo Valley school (in background) where both she and her father John Nevin snr were teachers.
Tasmanian Museum and Art Gallery Collection
TMAG Ref: Q16826.1.2 [scan 2015]. Verso below.



Verso: Thomas Nevin's stereograph of his sister Mary Ann Nevin ca. 1870
Photographed with four chidren, one holding a toddler, and a tall man in shirt sleeves at the Kangaroo Valley school (in background) where both she and her father John Nevin snr were teachers.
Tasmanian Museum and Art Gallery Collection
TMAG Ref: Q16826.1.2 [scan 2015].



Death of Thomas J. Nevin's sister Mary Ann Carr (1845-1878)
Public Records Office of Victoria No. 9830

Details: Death certificate of Mary Ann Carr nee Nevin, of Railway Place, Borough of Sandridge (Victoria), dated 27th July 1878. Buried at Melbourne General Cemetery. Registered as a married woman, 33 years old, born in County Down, Ireland, formerly of Kangaroo Valley, New Town, Tasmania, lived 6½ months in Victoria. Wife of mariner John Carr. Death due to peritonitis 22 days after the birth of her daughter, Mary Ann. Parents registered as John Nevin, listed here as a labourer, and mother Mary Ann Nevin formerly Dickson.



Mercury, 9th August 1878
CARR. - On July 27, at her residence, Sandridge, Victoria, in the 34th year of her age, Mary Ann, the beloved wife of John Carr, the only surviving daughter of Mr. John Nevin, Kangaroo Valley, New Town.
The Grandfather's Second Marriage
Four years after the death from bladder complications of Thomas J. Nevin's mother Mary Ann Nevin nee Dickson (1810-1875), his father John Nevin snr (1808-1887) re-married, and to a much younger woman, widow Martha Salter nee Genge (1833-1925), daughter of his close friend, Methodist lay preacher and church sexton William Genge. At the time of their marriage in October 1879, John Nevin was 71 yrs old, and Martha Salter was 46 yrs old. The age difference  might even stir comment in this day and age, but there was an urgent reason behind this marriage which centered on John Nevin's grand-daughter, Minnie Carr.



John Nevin snr, (1808-1887)
Tasmanian Archives and Heritage Office
TAHO Ref: NS434/1/155 copy
Original photo by his son Thomas J. Nevin taken at his New Town studio October 1879
Photo copyright © KLW NFC 2012

Martha Nevin, formerly Salter, nee Genge (1833-1925)
Tasmanian Archives and Heritage Office
TAHO Ref: NS434/1/194 copy
Original photos by Thomas J. Nevin taken at his New Town studio October 1879
Photo copyright © KLW NFC 2012



Archives Office Tasmania
Marriage of John Nevin snr and Martha Salter 23 October 1879
Kangaroo Valley New Town Tasmania
Record ID: NAME_INDEXES:888757
Resource RGD37/1/38 no 711

[Above]: The marriage registration of John Nevin snr and Martha Salter nee Genge, 23rd October 1879 at Kangaroo Valley New Town. His age was 71, and his status/rank was listed as gardener. Her age was 46, living with her father, Sexton of Church, Description given was John Nevin, widower, Martha Salter, widow. Her mark X was inserted between her first name and surname, possibly indicating that her maiden name was to be added. Witnesses were James Genge, Martha Salter nee Genge's father, and F. R Alomes, a 30yr old farmer. Henry Moore officiated as Clergyman.

Disambiguation: Mary Ann Carr
Four women across three generations in Thomas Nevin's family were given the name "Mary Ann" at birth:

1. Thomas J. Nevin's mother, Mary Ann Nevin nee Dickson (born Edinburgh 1810, sister of Alexander Dickson, nurseryman of Newtonards, Ireland) who died in Hobart on 13th April 1875, aged 65 yrs, wife of John Nevin snr, and mother of Thomas James, Rebecca Jane, Mary Ann and William John Nevin. The family arrived as free settlers on board the Fairlie in July 1852.



[Above:] Thomas Nevin's photograph of his mother Mary Ann Nevin ca. 1873
Copyright © KLW NFC Imprint and Shelverton Family Collections 2007

2. Thomas J. Nevin's sister, Mary Ann Carr nee Nevin (born Newtonards Ireland 1847) who married John Carr, son of Captain James Carr, at Kangaroo Valley, New Town, Hobart in May, 1877 and died at Sandridge Victoria in 1878 giving birth to her daughter, also named Mary Ann Carr..



[Above] Thomas Nevin's mounted carte-de-visite portrait of his sister Mary Anne Nevin ca. 1874
Married John Carr 1877. Photo copyright © KLW NFC 2005. Private Collection.

3. Thomas J. Nevin's daughter, Mary Ann Nevin (Hobart 1884-1974), known as Minnie to the family, and as Minnie Drew when she married. Grand daughter of John Nevin snr, and cousin of Minnie Carr.



Minnie Nevin (1884-1974), aged 15yrs, ca. 1900
Daughter of Thomas and Elizabeth Nevin
Photo by Thomas Nevin, New Town Studio
Tasmanian Archives Collection (TAHO)
Black and white copy deposited 30/8/1974
Ref: NS434/1/230

4. Thomas J, Nevin's niece, Mary Ann Carr, known as Minnie Carr (born Sandridge Victoria 1878 - died Hobart 1898), daughter of his deceased sister Mary Ann Carr nee Nevin, She was brought back to Tasmania in 1879. Her grandfather John Nevin snr  married Martha Salter nee Genge in October 1879, who then became her "mother", young enough at 46 yrs old to cope with a  toddler, hence the reason for the marriage between John Nevin snr  and Martha Salter nee Genge, sister of Mary Chandler nee Genge.

The loss to Thomas Nevin and his younger brother Jack (William John) of their sister Mary Ann in childbirth in 1878 was a sudden shock,and yet one more loss to the family of immediate female relatives. Their only other sister Rebecca Jane Nevin had died in 1866 at Kangaroo Valley, aged 18 years, and their mother had died in 1875. In 1879, their father John Nevin made the in loco parentis decision to adopt his motherless grand-daughter Mary Ann Carr by bringing her back to Tasmania from Victoria, and marrying Martha Salter nee Genge, as a means of providing the child with a maternal carer. She became the fourth female in the Nevin family over three generations to be known as Mary Ann, and the second with the moniker "Minnie".

Mary Ann poisoned
Living at Kangaroo Valley, New Town Tasmania, Mary Ann or Minnie Carr, John Nevin's granddaughter was brought up within the family circle of her cousins of about the same age, the children of her aunt and uncle, Elizabeth Rachel Nevin nee Day and photographer Thomas J. Nevin. But she was soon to lose her grandfather John Nevin. When he died in 1887 at Kangaroo Valley, she moved to 76 Patrick Street, Hobart, with her step-grandmother, Mrs Martha Nevin (formerly Salter, nee Genge) who was a widow again at 54 yrs old. Minnie Carr was not listed in the Post Office Directories at Martha Nevin's house in 1898, the year of her death or earlier because she was under 21 years old.



Martha Nevin, mispelt as NIVEN, 76 Patrick St Hobart
Post Office Directories, p.100, 1897 and p.106, 1898

At 76 Patrick Street, Hobart, widowed Mrs Martha Nevin took in a lodger, a young clerk called Arthur William Thomas Edwards, aged 22 yrs old. He was living there under the same roof in 1898 when Mary Ann or Minnie Carr, 20 years old, died suddenly of gastric poisoning and haemorrhage. The funeral notice said she died at the home of her mother, which was incorrect because her mother had died giving birth to her in 1878, twenty years previously. Her step-grandmother, Mrs Martha Nevin, 63 years old by this time, was regarded as her mother. The Post Office directories of the years preceding and following 1898 mispelt her name as Mrs Martha "Niven". Other variations recorded in 19th century documents for Thomas Nevin's family include "Nevan" and "Navin".

So what really caused 20 year old Minnie Carr's death in 1898? Had she self-administered poison because she might have fallen pregnant to the 22 yr old Arthur W T Edwards? Did Minnie Carr want to end an affair going on under the nose of her "mother" Mrs Martha Nevin  because the eligible Arthur W. T. Edwards had  met Jane Wale and loudly proclaimed his intention to marry said Jane. who also resided in Patrick Street. Strange indeed that Arthur W. T. Edwards had moved out of Mrs Martha Nevin's house to another lodging in Melville Street between the time of Mary Ann's death and his marriage to Jane Wale just a few months later, on February 19th, 1899. Had Mary Ann been raped, to have suffered such haemorrhaging? Had he poisoned her? Was Arthur more than just a cad? Was he totally innocent of the misadventure, or was his fiancee the perpetrator and his accomplice?



Marriage certificate of Arthur William Thomas Edwards to Louisa Jane Wale, 19th February 1899.
Marriages, Australia, Tasmania, Hobart. Archives Office Tasmania.



Title: Photograph - Panoramic view of Hobart from Holy Trinity tower- shows Church Street and Patrick Street buildings and details of St Andrew's burial ground and city centre in background
Description: 1 photographic print
Format: Photograph
ADRI: NS2960-2-3
Source: Archives Office of Tasmania

Desecration of Mary Ann's grave
By the time of his cousin Minnie Carr's death in September 1898, Tom Nevin, known as Sonny (i.e. Thomas J. Nevin jnr), the eldest son of photographer Thomas J. Nevin was the closest she had to an older brother. The death notice stated that her mother's residence was at 76 Patrick Street, Hobart but in fact that was the address of her grandfather's widow, Martha Nevin who became her step-parents when Minnie's mother Mary Ann Carr died soon after giving birth in Victoria. Family members had left ribbons and cards at her graveside but within days, these tokens were stolen.



Death notice for Mary Ann Carr
Mercury 30 September 1898

TRANSCRIPT
DEATHS
CARR. - On September 28, 1898 at her mother's residence, 76, Patrick -street, Mary Ann Carr (Minnie), aged 20 years. Funeral will leave her late residence on SATURDAY, at 3 p.m., for Cornelian Bay Cemetery.
Sonny Nevin inserted an angry notice in the Mercury, offering a reward to anyone who knew about the thief responsible for the desecration of his cousin's grave.


Sergeant Thomas James Nevin jnr, aka “Sonny”  ca. 1940s, in Salvation Army uniform.
Son of Thomas and Elizabeth Nevin, and cousin of Minnie Carr,
Taken shortly before his death in 1948.
Copyright © KLW NFC Pivate Collection 2009 ARR.



Sonny Nevin's notice in the Mercury 3 October 1898
Not to be confused with his father with same name
Desecration of his cousin Minne Carr's grave at Cornelian Bay cemetery.

TRANSCRIPT
DESECRATION OF A GRAVE
Ribbons and Cards have been STOLEN from the grave of my cousin, Miss M. A, Carr, who was interred in the Cornelian Bay Cemetery on Saturday last, a reward will be paid for information as to the thief.
Apply
T. J. NEVIN, Elizabeth-street.
Source: Mercury 3 October 1898

Martha Salter nee Genge, relict of John Nevin snr
Martha Salter, widow, 42 years old, sailed from Plymouth (UK) on 21st June 1878 on board the Somersetshire. She disembarked at Melbourne (Victoria) and boarded the Tamar for Hobart Town, arriving on 16th August 1878 (Edward Freeman, agents). She was listed an an immigrant, 43 yrs old, without children, a Wesleyan who could read and whose stated qualification was "needlewoman".  She was born in Taunton, Somersetshire, England, to William Genge, her father who was already resident in Hobart, the sponsor who paid the bounty of £16 for her ticket (No. 215). His application, as noted on this document, was signed off by B. Travers Solly on 16th August 1878, and forwarded to Treasury on 22nd August 1878.



Salter, Martha
Record Type:Arrivals
Age:42
Arrival date:16 Aug 1878
Departure port:London
Ship:Somersetshire
Record ID:
NAME_INDEXES:1532439
Resource:
CB7/23/1/1 p124
Archives Office Tasmania

Little more than a year after arriving in Tasmania, Martha Salter nee Genge, daughter of William Genge stonemason at the Wesleyan Chapel, Melville St. Hobart, Tasmania, married John Nevin snr of Kangaroo Valley (now Lenah Valley), Tasmania.



John Nevin snr, (1808-1887)
Tasmanian Archives and Heritage Office
TAHO Ref: NS434/1/155 copy
Original photo by his son Thomas J. Nevin taken at his New Town studio October 1879
Photos copyright © KLW NFC 2012

Martha Nevin, formerly Salter, nee Genge (1833-1925)
Tasmanian Archives and Heritage Office
TAHO Ref: NS434/1/194 copy
Original photos by Thomas J. Nevin taken at his New Town studio October 1879
Photos copyright © KLW NFC 2012

 Martha Nevin formerly Salter nee Genge, was photographed at Thomas Nevin's studio, New Town in 1879, aged 46 years, on the occasion of her marriage to her second husband John Nevin, aged 71 yrs.

Martha Nevin nee Genge ca 1900

Martha Nevin nee Genge widow of John Nevin, taken ca. 1887-1890
TAHO Ref:NS434/1/194

By the early 1920s, Martha Nevin, formerly Salter nee Genge (1833-1925) was in her late eighties when her nephew James Chandler photographed her with his mother, Mary Chandler nee Genge.

Martha Nevin nee Genge ca 1920

Martha Nevin nee Genge ca. 1920
TAHO Ref: NS434/1/248

Martha Nevin nee Genge and Mary Genge ca 1920

Photographer: James Chandler
TAHO Ref: NS434/1/103
Martha Nevin nee Genge (left) and her sister Mary Chandler nee Genge (right) at Mt Stuart, Hobart – ca. 1920.
Photos copyright KLW NFC 2012

Title: JAMES CHANDLER, PHOTOGRAPHER
Start Date: 01 Jan 1910
End Date: 31 Dec 1935
James Chandler was a Hobart photographer. For many years he was a member of the Photographic Society and well-known on the Hobart waterfront as a marine photographer in the 1930’s and 1940’s. He was the youngest son of William Chandler, a bootmaker, and his wife Mary (nee Genge), the first couple married at the New Town Methodist Church on the 14 Jan 1868. His uncle was Jacob Chandler, a ship builder in Battery Point. He died in Hobart on 8 July 1945 and was cremated at Cornelian Bay 9 July 1945 aged 67, having been born on the 12 August 1877 in Hobart
Information Sources: Mercury 30 March 1945 p16 [Archives Office Tasmania]
 A short notice reporting the death of Martha Nevin nee Genge appeared in the Mercury, 9 March 1925, with incorrect information. It stated she was the relict of William Nevin: she was the relict of the late John Nevin snr, father of photographer Thomas J. Nevin.
NEVIN. -On March 7, 1925, at the residence of her brother (Mr. J. Genge), Boden [sic- should be Bowden]-street, Glenorchy, Martha, relict of the late William [sic – should be John] Nevin, in the 92nd year of her age.
Source: Family Notices. (1925, March 9). The Mercury (Hobart, Tas. : 1860 – 1954), p. 1. Retrieved March 1, 2014, from https://nla.gov.au/nla.news-article23802630

Martha Nevin nee Genge burial 1925

Cemetery record for Martha Nevin, 9 March 1925

Sandridge, Victoria, 1870s,  a busy port where Mary Ann Nevin's husband, mariner John Carr worked, and where he remained after her death, surrendering his new-born daughter to his father-in-law, John Nevin snr, back at Kangaroo Valley, New Town, Tasmania in 1878.



View Sandridge Pier Melbourne (c. 1870s)
National Gallery of Victoria, Melbourne
Accession Number 2002.406

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