Showing posts with label Aboriginal Tasmania. Show all posts
Showing posts with label Aboriginal Tasmania. Show all posts

Lost and found at the American War Mirror 1879

Thomas J. NEVIN, Hobart Town Hall Keeper 1876-1880
WHITTINGTON's Panoramas of Dickens' life and work
BACHELDER's dioramas of the American Civil War
THOMPSON's dioramas of the American Civil War and Zulu War
Diorama of Tasmanian Aboriginal Group at campfire 1930s, medallion of 1976

1876-1880: Thomas J. Nevin, Keeper of the Hobart Town Hall
Professional photographer and government contractor Thomas J. Nevin (1842-1923) was appointed to the position of Hobart Town Hall Keeper in January 1876 over 24 applicants. He took up residence in the Keeper's apartment (top of diagram below) with wife Elizabeth Rachel (Day) Nevin (1847-1914) and the first two of their seven children - Mary Florence Elizabeth (aka May) Nevin (1872-1955) and Thomas James (aka Sonny) Nevin (1874-1948). Three more children were born at the Hobart Town Hall - Sydney John Nevin who died within months of birth (1876-1877), William John Nevin (1878-1927) and George Ernest Nevin (1880-1957). Their sixth child Mary Ann (aka Minnie) Nevin (1884-1974) and seventh, Albert Edward Nevin (1888-1955) were born after their father's dismissal for alleged inebriation from the position of Town Hall Keeper in December 1880. Family BDM documents, including the marriage licenses of his children Albert and Minnie and his own burial registration, consistently recorded Thomas J. Nevin's occupation as "Photographer" up to the time of his death in 1923.



Plan of Hobart Town Hall signed by the architect Henry Hunter. nd
Item Number: NS78/1/2
Start Date: 01 Jan 1860
Format: map/plan
Link: https://stors.tas.gov.au/NS78-1-2

Panoramas & dioramas in 19th century Tasmania
The Theatre Royal in Hobart, the Mechanics Institute in Launceston, and the Hobart Town Hall hosted the newest technological innovations in visual entertainment during the 1860s-1880s.

1863-1868: Bachelder's Grand Historic Mirror
John Bachelder brought dioramas of the American Civil War to Hobart, and W. H. Thompson showed dioramas of both the American Civil War and the Zulu Wars. These were a staple of popular entertainment during the 1870s-1880s. Newspaper advertisements attracted huge crowds with enticements of free gifts including papier-mâché tables, work boxes, picture frames, new clothing, watches and baked cakes.

John Badger Bachelder (1825-1894) was a portrait and landscape painter, lithographer and photographer, best known as the preeminent 19th-century historian of the Battle of Gettysburg in the American Civil War. He was a dominant factor in the preservation and memorialization of the Gettysburg Battlefield in the latter part of the century.

Read more at Wikipedia, https://en.wikipedia.org/wiki/John_B._Bachelder



Bachelder's grand historic mirror of the American war and the wonderful dioramas
Publication Information: Hobart : Mercury Steam Press, [1863].
Physical description: 1 print (poster) on silk : Black text on cream ; 450 X 170 mm.
Format: poster image (online)
Notes: "Tonight, Thursday, Aug 27 ... illustrating the great naval engagement between the ironclad monsters Merrimac & Monitor, and the terrific naval combat off the coast of France between Kearsage & Alabama ... funeral procession of the late President Lincoln in the city of Washington"
"Under the especial patronage of Colonel Gore Browne, C.B., and Mrs. Gore Browne, and suite".

Measurement including fringe: 510 X 225 mm.
Citation: Digitised item from: Tasmaniana Library, Tasmanian Archive and Heritage Office
Link: https://stors.tas.gov.au/AUTAS001126074780w800

NEWSPAPER REPORT: TRANSCRIPT
TOWN HALL.
BACHELDER'S DIORAMA
The Town Hall was again crowded last evening to witness Bachelder's Grand Historic Mirror of the American War. This complete and magnificent moving panorama cannot fail to instruct and amuse the beholder, the representations throughout are lifelike and beautifully painted. The exciting scenes and events in the memorable rebellion as they appear before the audience, call forth long and loud applause. Mr. Bachelder takes considerable pains to describe each scene as it is presented to View, which adds considerably to the interest of the picture, as also does the appropriate music arranged expressly for the exhibition. The concluding portion of the entertainment as upon former representations, was well received and loudly cheered by all present. We again recommend our readers to pay a visit to this first class exhibition, it must be seen to be appreciated. This evening is announced as a grand million night at prices to suit all classes, reserved seats 2s. body of the hall 1s. Children half prices to reserved seats.
Source: TOWN HALL. (1868, August 22). The Tasmanian Times (Hobart Town, Tas), p. 2.
Link: http://nla.gov.au/nla.news-article232862600

1871-1877: H. J. Whittington's Panoramas of Charles Dickens
Exhibited in Hobart and Launceston during the 1870s, these panoramas utilised innovative techniques illustrating scenes from Dickens' life and works to the accompaniment of live performances delivered by actors and musicians:



"Mrs. Gamp Propoges a Toast" by Phiz, June 1844
Steel-engraving 11.9 cm high by 10.5 cm wide, vignetted
Frontispiece for Dickens's Martin Chuzzlewit in the Gadshill Edition, Vol. 2. Chapter XLIX, facing page 563, 1844 edition.
Source: https://victorianweb.org/art/illustration/phiz/mc/37.html

NEWSPAPER REPORT: TRANSCRIPT
TWO HOURS WITH DICKENS.
An entertainment bearing the above title, being a, combination of music and Panoramic scenes, illustrative of the works of Dickens, will be opened in the Mechanics' Hall on Monday evening next. The agent of the company, Mr H. J. Whittington, arrived here from Hobart Town on Tuesday, and at once took steps to advertise the entertainment. Mr Whittington is both energetic and novel in his styles of advertising, his most original mode being to utilise the large mirrors of the principal hotels. Across the glass of these reflectors he writes, with a piece of common soap, the startling warning, " Look out for Charles Dickens !" The panorama has been painted in New Zealand by a well-known artist, Mr Massey, who has very ably depicted a number of beautiful scenes, including the following :—
A view of Gadshill Place, the favorite residence of Charles Dickens; Election of Beadle; Mr Pickwick on the Ice; Oliver Twist asking for more; the country manager rehearsing a combat; Quelp and Dick Swiveller; Condin and Snort; Sarah Gamp and Betsy Prig; Captain Cuttle sees a shadow on the wall; David Copperfield visits his aunt; Ham Pegoty and the wrecked ship; Micawber throws off his allegiance with Uriah Heep; rescue of Stephen Blackpool from the old shaft Little Dorrit's visit to her father in the Marshalsea prison; capture of prisoners on the Kentish Marshes; the Bird of Prey; the Opium Smokers; Poet's Corner, Westminister Abbey. Mr W. L. Skinner, one of the proprietor, lectures on the scenes, and vocal music is rendered by Messrs Skinner, Barrington, and Turner. We understand the company have been well patronised in Hobart Town, where the views were first exhibited. Each evening a number of valuable gifts are distributed, upwards of £90 worth having been given away in Hobart Town during last week. Some of those intended for distribution here are on view at Davies', Havana House, where tickets may be secured.
Source: TWO HOURS WITH DICKENS. (1877, May 11). Cornwall Advertiser (Launceston, Tas. : 1870 - 1877), p. 2.
Link: https://nla.gov.au/nla.news-article232915636

1871: C. B. Charles' Panorama of the Franco-Prussian War
Originally from Melbourne, C. B. Charles was living in London when he commissioned a moving panorama of the Franco-Prussian War. He returned to Melbourne as the panorama's proprietor in mid January 1871. The first half of his program exhibited pictures of the Suez Canal and the Nile painted by Charles James after David [Daniel ?] Roberts.

Charles' Panorama of Franco Prussian war 1871

NEWSPAPER REPORT: TRANSCRIPT
CHARLES'S PANORAMA - This really meritorious panorama, illustrative of Egyptian and African scones and of the recent Franco-Prussian War, was again exhibited yesterday evening to an appreciative audience, though one by no means so large as the merits of the entertainment should command. The various African views, the Suez Canal, the Nile, the great bazaar at Cairo, the Mosque of Sultan Haroun, the pyramids, the sphynx, Siout, Alexandria, the temple of Isis, Thebes, and the ruins of Karnac, the temple of Edfon are all well executed works of pictorial art, and both the colouring and perspective exhibited a fidelity to nature attainable only by an experienced artist. The war scenes were painted by Daniel Roberts, R. A. of St James's Theatre, London, and the scenes representing " The death of General Douay" and " The soldier's dream of home," by Mr Mason, R. A. , of the Drury Lane Theatre. These war scenes were taken from the original sketches by Gray, which were exhibited in the War Court of the Crystal Palace, Sydenham. Most of these scones have their merits enhanced by clever dioramic effects, and were the exhibition without anything else to commend it, these should in themselves attract crowded houses. The performances of Signor Luigi Ferrari's trained Brazilian monkeys are most remarkable, and occasioned reiterated laughter. Miss Florence Beresford s vocal efforts served to vary the evening's entertainment, and were most favourably received. The following songs were rendered with much felicity -"The silver shining moon," "Away, trumpets are sounding," " The Vivandiere," " The Rhine Watch," and " The Marseillaise " This afternoon and evening the programme will be repeated.
Source: Advertising (1871, July 8). The Mercury (Hobart, Tas.), p. 2.
Link: https://nla.gov.au/nla.news-article8868557



COVER: A satirical Panorama of the Franco-Prussian war. Illustrated by Percy Cruikshank, 1870.
The Franco-Prussian war panorama’s cover, printed in blue and red ink, shows an assembly of kings and leaders gathering to watch a bloody birds’ fight in a pit. The German double-headed eagle, in spiked helmet, is grabbing the head of the French rooster, bearing a Phrygian hat with a tricolour rosette. He has already vanquished the French imperial eagle. King Edward VII tells his neighbour, the American President Ulysses S. Grant: “Two heads are better than one”
Many large-scale painted panoramas of the Franco-Prussian war and the Siege of Paris (hundreds of meters long) were produced and circulated in the UK, Australia and New Zealand, France, Europe and the United States, from 1870 to the 1890s. Cruikshank’s Panorama of the Franco-Prussian war is only 12.5 cm high, though it does measure more than 3 meters and hardly fits on our large items Rare Books Reading room table! It folds down to a concertina book of 13 x 15 cm, a ‘pocket’ format which means it was probably intended for the personal use of a private collector, rather than for public display.
Source: Cambridge University Library

W. H. Thompson's Confederate Mirror

1876: "... an excellent piece of mechanism..."

NEWSPAPER REPORT: TRANSCRIPT
THOMPSON'S DIORAMA OF THE AMERICAN WAR.
Since the great civil war between the Northern and Southern States of America, and which resulted in the abolition of slavery throughout the dominions of the great republic, we have had in Hobart Town several dioramic exhibitions of the leading incidents of the fearful struggle ; but we remember none that was more largely patronised than was that of Thompson's Diorama of the battles which took place in the Southern States, presented last night for the first time at the Town Hall. The hall, in every part, was crowded to excess, and when the curtain unveiled the first picture, a bird's eye view of New Orleans, a favourable impression of the ability of the artist was at once created, only to be enhanced as the more thrilling incidents of the war were unfolded. The scene representing the march of General Stewart's body of irregular cavalry on Richmond to oppose General McLellan's well-known attack upon that city at the head of a Federal detachment, afforded a graphic idea of the smartness of the cavalry, which the lecturer (Mr. Thompson, who, by the way, discharged his duties very efficiently), said had been described by the English press as " the finest body of regular cavalry in the world." Another equally effective picture was that representing the engagement of the 69th New York regiment under General Thomas Francis Meagher, who, after a gallant resistance, retreated before Pittsburg, with a loss of 1,400 out of 1,000 men. The battle between the famous Confederate cruiser the Alabama, and the Hattrass, off Galveston, was more than a picture, it was an excellent piece of mechanism, and the way in which the whole affair was worked proved highly interesting, particularly to the junior portion of the audience'. The funeral procession of the great southern commander General Stonewall Jackson, whose death sealed the fate of the Confederate army, is a very elaborate piece of mechanism, the movements of the soldiery forming the cortege being regulated with wonderful precision, and drawing forth warm expressions of approval. In fact, the whole diorama proved a success; and though the music in some respects was not up to the mark, still, it added much to the enjoyment of the evening. At the close of the diorama Mr. Thompson proceeded to present the prices to the holders of tickets, in accordance with the announcements in the show-bills. These consisted of some really valuable and, at the same time, useful articles, including tea and coffee service (4 pieces), two presentation cups, two sovereigns, large liqueur frames, two cruet stands, a couple of opera glasses, and an infinity of other things which we need not describe. One singular circumstance in connection with the prizes was that the great bulk of them went to the shilling part of the hall, thus doing away with any suspicion of favouritism. The exhibition will be on view again to-night.
Source: The Mercury Tue 26 Sep 1876 Page 2 THOMPSON'S DIORAMA OF THE AMERICAN WAR
Link: https://trove.nla.gov.au/newspaper/article/8948153

1879: Crowded Houses !!!
W. R. Thompson, later known as "Zulu" Thompson, was back at the Hobart Town Hall in February 1879 to present his Confederate Mirror of the American War. Advertisements in the Mercury ran throughout February 1879. The large crowds presented logistical challenges to the organizers, not least to Town Hall keeper Thomas J. Nevin:



Source: THE MERCURY. (1879, February 14). The Mercury (Hobart, Tas.), p. 2.
Link: https://nla.gov.au/nla.news-article8973703

1879: Mr. Nevin and the lost portmonnaie
The week ending February 14th, 1879, was an eventful one for Thomas J. Nevin. As Town Hall keeper he was contending with huge crowds attending performances of Thompson's Diorama of the American War. An incident involving the loss of a purse and its restoration to its rightful owners was the result of Thomas Nevin's due diligence.



Source: THE MERCURY. (1879, February 14). The Mercury (Hobart, Tas.), p. 2.
Link: https://nla.gov.au/nla.news-article8973703

NEWSPAPER REPORT: TRANSCRIPT
LOST AND FOUND. - A resident of Cambridge and his wife who had come to town for the holidays, visited Mr. Thompson's Diorama at the Town Hall on Wednesday evening, when the good lady had the unpleasantness of dropping in the hall her portmonnaie containing money to the amount of £9 or £10. Next morning the parties applied to Mr. Nevin hall-keeper at the Municipal Buildings about the loss, and search was made through the Assembly Room for the property without avail. Mr. Nevin advised that information should be given to the police, and that the loss should be advertised in the newspapers with the offer of a reward. The parties acted accordingly, and an advertisement was left at The Mercury office promising a reward of two pounds for the restoration of the treasure. Not long afterwards Mr. John Johnston, grocer, residing in Elizabeth-street, called at The Mercury office to know if enquiries had been made for a lost portmonnaie, saying that his little daughter had picked up one the previous night in the Town Hall containing money, and he (Mr. Johnston) had tried all he could to find an owner. He was directed to Mr. Nevin, who accompanied Mr. and Miss Johnston to the house in Liverpool-street where the Cambridge people were temporarily staying, and the lost property was restored to the owners, who were on the point of returning to Cambridge without money. In the exuberance of their joy they wished to give the promised reward of £2, which Mr. Johnston declined to take, but he allowed his daughter to accept ten shillings for the purchase of a memento of the lucky find, and as encouragement to young people to respect the axiom "Honesty is the best policy."
NEWSPAPER REPORT: TRANSCRIPT
THE WAR MIRROR - The largest audience which has witnessed the American War Mirror since its exhibition at the Town Hall was present last night. The Hall was literally packed, many persons standing on both the back and front seats, while numbers had to be refused admission. The views of war which graphically depict its notable events, assisted by stage effects and suitable music, as usual formed a most useful and impressive synopsis of the bloody internecine struggle. Lieutenant Herman's humorous ventriloquial impersonations furnished an agreeable relief from the darker illustrations of the devastating progress of the war. His Irish character figures carried on the funny dialogue in a very laughable and life-like manner. The distribution of a gift to each visitor took place as usual. A grand Matinee is announced for Saturday, when every child will receive a present.
Source: THE MERCURY. (1879, February 14). The Mercury (Hobart, Tas.), p. 2.
Link: https://nla.gov.au/nla.news-article8973703

Addenda 1: mechanical marvels

1881Thompson’s Diorama of the Zulu War at Adelaide, South Australia



Source: The Zulu War: Zulu warriors method of advancing to the attack
Link: https://iln.org.uk/iln_years/year/1879.htm

NEWSPAPER REPORT: TRANSCRIPT
Mr W.H. Thompson’s "Colossal Mirror of the Zulu War in South Africa" was shown at Garner’s Theatre (formerly White’s Rooms) in King William Street, Adelaide, in May 1881. The Advertiser reported: ‘The diorama consists of many well-executed pictures representing scenes that occurred during the bloody war in South Africa in 1879, during the course of which the brave Prince Imperial fell victim to the murderous assegais of the Zulu warriors.’ The views were said to faithfully represent the different scenes, and after each view was wound on to the stage it was explained by Mr Thompson. The scenes were said to occupy 30,000 (square) feet of canvas.

One part of the programme was advertised as ‘The mechanical marvel showing 8,000 figures on the march,’ and a quotation from the Sydney Daily Telegraph included in the advertisement said, ‘The mechanical portion of the diorama is constructed with marvellous cunning, and far excels anything of the kind shown in this city.’ The ‘8,000 figures’ were miniature wooden representations of soldiers en route to the battlefield. However, the Advertiser reported a small hitch in the operation of the mechanical marvel. ‘The figures are worked by persons underneath the stage, and owing to some trifling imperfection in the arrangements one or two regiments stuck fast and refused to proceed on the warpath. One troop of marines was especially obstinate and, to the great delight of the "gods," instead of advancing the insubordinate soldiers fell down flat, and only moved on after a little gentle persuasion had been brought to bear on them by a human head and arm that appeared from the depths beneath and administered the necessary progressive push.’

Another problem arose when it was time to distribute the ‘gold watch, silver watch, and 100 other beautiful gifts,’ which were to be given away ‘at the discretion of the proprietor,’ not by lucky numbers marked on a programme, which was the usual practice at most entertainments of that kind. When Mr Thompson began his haphazard distribution of gifts the audience became very noisy and disorderly. ‘Persons located in the back seats of the pit and gallery crushed forward in order to bring themselves into prominence, and so secure one of the gifts. The people in the front seats were considerably inconvenienced, and a by no means creditable scene ensued. The rush from behind, the general disorder, the whooping and catcalls being the reverse of enjoyable to orderly disposed persons.’

Advertisements in the Adelaide papers said the paintings were the work of the eminent London artists Telbin, Walter Hann, Ballard, Rogers, Gordon and Harford, and that the diorama had been seen by over 200,000 persons in the past 6 months. The description of incidents portrayed on the canvas were described in advertisements as thrilling, and contained some stirring patriotic statements...

‘The Battle of Isandula, the last order given was -- Fix bayonets, Men, and die like English Soldiers; and so they did.
‘The Buffalo River - Saving the Colours. They lost their lives, but they saved the colours.’
Source: https://noye.agsa.sa.gov.au/Lantern/Lan_pano.htm

1898-1906the moving panorama



Above: Diagram showing a typical arrangement for unrolling the canvas of a moving panorama. Dotted lines show the position of the framework that concealed the mechanism. The picture represents the first scene of the Burke and Wills panorama.

EXCERPT
Although not photographic in nature, the 19th century moving panorama was a form of entertainment that was similar in some respects to the magic lantern show, and in many newspaper reports it is difficult to know whether the reporter was describing a moving panorama painted on a canvas roll or a series of lantern slides projected on a canvas sheet.

The moving panorama, or diorama, consisted of a series of paintings on canvas which were then joined together to form one very long canvas sheet that was wound onto a vertical roller. From this roller the canvas was moved across the stage and wound up on a similar roller on the other side. The canvas could be illuminated from behind, from the front, or by a combination of both, using oil or gas lamps.

Above: Diagram showing a typical arrangement for unrolling the canvas of a moving panorama. Dotted lines show the position of the framework that concealed the mechanism. The picture represents the first scene of the Burke and Wills panorama.

Some panoramas were very large. Charles’s panorama (1871) occupied 10,000 square feet of canvas, and each painting was 17 feet by 8 feet. Mankiewicz’s Pantascope used paintings that were 18 feet wide by 9 feet high, and Riseley and Humphrey’s Mirror of England had 120 paintings that were 25 feet long by 14 feet high, making a canvas that was 3,000 feet long and took two hours to unroll.
Source: The R.J. Noye Collection of Photography 1998
Art Gallery of South Australia
Link: https://www.artgallery.sa.gov.au/noye/Lantern/Lan_pano.htm

Addenda 2: diorama of Aboriginal group
The diorama of a Tasmanian Aboriginal group in the Tasmanian Museum and Art Gallery was modelled by E. J. Dicks and presented to the museum by John Arnold in 1930. It was photographed by K. Wilby.
In January 1931, E.J. Dicks, a sculptor hailing from Melbourne, was hard at work in a studio in Tasmania’s capital city of Hobart. The task-at-hand for Mr. Dicks was to build representations of (some would say surrogates for) the “Lost Tasmanian Race.” The Hobart Mercury of January 17, 1931, reports that Mr. Dicks [had] already completed the man for the group, and is occupied with the female figure. It is a strange commentary on life to see the modeler at work with his clay, and beside him the skeleton of the last of the true Tasmanian aborigines, Truganini, while at odd intervals skulls peep out here and there, all contributing a moiety of past life to give reality to a present figment. (The Hobart Mercury, January 17, 1931: 6) Made possible by a gift of £500, the largest given to the Tasmanian Museum and Art Gallery (hereafter referred to as TMAG) to that point, the group exhibit1 sought to give Hobartians a glimpse into the “life and habits of a vanished people” (ibid.). Void of clothing and with jet-black skin, these three figures, designed to represent a natural familial unit, were a visual depiction of a people who had come to represent the lowest and most primitive culture2 ever documented (see fig. 1). In this working paper I argue that the 1931 group exhibit at TMAG sought to enact, consecrate, and consolidate one form of Tasmanian Aboriginality by literally building surrogate representations of the “Lost Tasmanian Race” (who one author poetically, and androcentrically, describes as the “Men Who Vanished” [Dunbabin 1935]).
Source: Building Bodies in the Australian Periphery: The Enactment of Aboriginality in Tasmania
Christopher Berk, University of Michigan 2012
UM Working Papers in Museum Studies, Number 9 (2012)
Link: https://ummsp.rackham.umich.edu/wp-content/uploads/2022/06/Berk_Final.pdf

1930the TMAG diorama



Photograph - Postcard - Diorama of Tasmanian Aboriginals on the bank of the River Derwent modelled by E J Dicks.
Item Number: LPIC147/1/5
Start Date:01 Jan 1930
Source: Archives Office of Tasmania



Description: Photograph - Hobart Museum, "Mother and child", from Diorama
Item Number:AB713/1/1763
Start Date:01 Jan 1953
End Date:31 Dec 1953
Source: Archives Office of Tasmania
Link: https://stors.tas.gov.au/AB713-1-1763

1976the Powerhouse Medallion of Diorama



Source: Powerhouse Museum, Sydney NSW
https://collection.powerhouse.com.au/object/422272
The Truganini medallion was commissioned by the Tasmanian Numismatic Society in 1976, and was struck by Pobjoy Mint Ltd., U.K. in both bronze (225 examples) and sterling silver (100 examples). A commemorative brochure states that it was "the [society's] most ambitious undertaking to date and the third issue struck for the Tasmanian Numismatic Society. A high medallic relief and polished field have been employed for the first time." The depiction of Truganini on the obverse was taken from a line engraving, copied from a photograph by C.A. Woolley in 1866. The camp scene on the reverse was taken from a diorama of a Tasmanian Aboriginal group in the Tasmanian Museum and Art Gallery, photographed by K. Wilby; the diorama itself was modelled by E.J. Dicks and presented to the museum by John Arnold in 1930.
Source: Powerhouse Museum, Sydney NSW
https://collection.powerhouse.com.au/object/422272

Addenda 3: External References

ART WORKS
Tasmanian Museum and Art Gallery (TMAG)
19th century colonial watercolours and drawings collection
https://www.tmag.tas.gov.au/__data/assets/pdf_file/0014/124313/PRINT_Panoramic_views_room_brochure.pdf

Commemorative Medallions
Powerhouse Museum, Sydney NSW
https://collection.powerhouse.com.au/object/422272

BOOKS
Colligan, Mimi (2002) Canvas documentaries : panoramic entertainments in nineteenth-century Australia and New Zealand . Carlton South, Vic. : Melbourne University Press.
Panoramas, pages 73-74-75.

ARTICLES
"Building Bodies in the Australian Periphery: The Enactment of Aboriginality in Tasmania"
Christopher Berk, University of Michigan 2012
UM Working Papers in Museum Studies, Number 9 (2012)
https://ummsp.rackham.umich.edu/wp-content/uploads/2022/06/Berk_Final.pdf

ONLINE
The R.J. Noye Collection of Photography 1998
Art Gallery of South Australia
https://www.artgallery.sa.gov.au/noye/Lantern/Lan_pano.htm

Archives Office of Tasmania
Diorama of Tasmanian Aboriginals on the bank of the River Derwent modelled by E J Dicks.
Photograph and postcard
https://stors.tas.gov.au/AB713-1-1763

Timespanner (NZ)
https://timespanner.blogspot.com/2011/02/william-henry-zulu-thompson-1841-1887.html



Source: Brown University’s John Hay Library received an enormous gift: a 273-foot-long 19th century panoramic painting depicting the dashing exploits of Italian patriot Giuseppe Garibaldi.
Brown's University staff and an outside contractor photograph the painting 6 feet at a time.
Link: https://aesthetic.gregcookland.com/2007/12/garibaldi-panorama-at-brown.html

RELATED POSTS main weblog

Indigenous elder Truganini and poet Ann Kearney, 1875

For NAIDOC WEEK July 2022

Genocide and the European aesthetic
It was only two decades ago that the Archives Office of Tasmania displayed online scratchy black and white photographs of Tasmanian Aborigines with the catalogue tag "Flora and Fauna" in the same category as the extinct thylacine (Thylacinus cynocephalus), known as the "Tasmanian Tiger".

The confections of the 19th century colonists of lutruwita/Van Diemen's Land/Tasmania displayed in public archives and museums of photographic images, sculptures and literary texts that represent Aboriginal people continue causing distress to viewers, whether proferred by these institutions as the antique artefact memorializing the reality of historic genocide, or as benchmarks in a progressive national narrative moving forward the Western reformation of indigenous peoples. The most frequently reproduced images since the 1860s have featured Tasmanian Aboriginal elder and leader Truganini, a Nuenonne woman from Bruny Island also known as Trucaninni, Lallah Rookh and Trugernanner (1812-1876).

This plaster bust representing Truganani was cast in 1836 by Benjamin Law. It was purchased at the time by Jewish merchant and former convict Judah Solomon. Law's sculptural aesthetic was simple: dressing down Truganini's right breast to reveal a naked nipple was only to dress up her femininity better in the neo-Classical tradition of beauty, the European ideal.



Cast plaster bust of "Trucaninny" [NPG, sic] 1836 by Benjamin Law (1807-1890)
Purchased by the National Portrait Gallery, 2010.
Photo taken at the National Portrait Gallery 2021
Copyright © KLW NFC Imprint & KLW NFC Group Private Collection 2021



Information re bust of Truganini by Benjamin Law, National Portrait Gallery, Canberra 2021.
Photo copyright © KLW NFC Imprint & KLW NFC Group Private Collection 2021.



Cast plaster bust of Woureddy, companion to bust of Truganini by Benjamin Law, 1835
Photo taken at the National Portrait Gallery July 2022
Copyright © KLW NFC Imprint & KLW NFC Group Private Collection 2022

The poem below titled simply "Lines", written by Ann Elizabeth Kearney in June 1875, is another representation of Truganini confronting to 21st century sensitivities, though the author might not have had the least inkling of the degree of racism she was parlaying with her celebration of the fair skin and rosy lips of 10 year old non-indigenous Trucannini Graves - the "TASMANIAN BELLE" - over and against the "dusky" darkness of the race believed soon to become extinct, represented by Truganini whose name John and Jessie Graves had appropriated for their daughter at birth in 1864.

The Kearney and Graves families
John Woodcock Graves the elder (1795-1886), famous for his composition of the song "D'ye ken John Peel", was a family friend and frequent visitor of Thomas Kearney's father, William Keaney (1795–1870) of Laburnam Park, Richmond, Tasmania. His son, lawyer and townsman John Woodcock Graves the younger (1829-1876), defended Thomas Kearney (1824-1889) in a dispute in 1875 over the conveyancing of a lease five years earlier, in 1870, to neighbour William Searle for use of a road on his property. The defense was Kearney's state of intoxication and severe delirium tremens prevented him from knowing what he was doing. Thomas Kearney's wife, Ann Elizabeth Keaney nee Lovell, showed her gratitude to John Woodcock Graves for his defense of the case in June 1875 by writing a poem praising his pretty youngest daughter Trucaninni Graves.

Though not indigenous, two of the four daughters born to solicitor John Woodcock Graves the younger and Jessie Graves nee Montgomerie were named after the two notable Tasmanian Aboriginal women who survived the colony's history of genocide, Truganini (1812-1876) and Mathinna (1835–1852). When Anne Elizabeth Kearney published this poem titled "Lines" in June 1875, Trucaninni Graves was ten years old, named at birth (with the variant spelling) to honour Truganini who was thought to be "the last one of a doomed race" by many, if not most, including Ann Elizabeth Kearney in this poem. The role John Woodcock Graves the younger played in Truganini's life was to provide comfort or "succour" in her last years, the poem suggests, and a promise of protection of her remains in death. She died aged 73 yrs, on 8th May 1876. He died six months later, aged 47 yrs, on 30th October 1876. The poem as displayed here from a private collection, was printed on silk.
Lines written on seeing the beautiful daughter of Mr. Graves, who is named after the last Tasmanian Native, and afterwards meeting Queen Trucaninni at the corner of Elizabeth and Macquarie Streets by Kearney, Anne Elizabeth, author.
Date 1875.


TRANSCRIPT

Lines
Written on seeing the Beautiful Daughter of MR.
GRAVES, who is named after the last Tasmanian
Native, and afterwards meeting Queen Trucaninni
at the corner of Elizabeth and Macquarie Streets.

I SAW thy dusky namesake, gentle child,
And still more fair by contrast did'st thou seem,
With rosy lips that on me sweetly smiled,
And eyes more lovely than a poet's dream.

I gazed upon poor Trucaninni's face,
And thought how sad her heart at times must be,
To think she was the last of all her race
Who once had wandered through the forests free.

I looked upon her, and I wondered not
That Trucaninni now is known to fame -
The last Tasmanian may not be forgot
While thou, fair girl, inheritest her name.

Thy noble Father, with a generous hand,
Succoured the last one of a doomed race -
Made her be happy in her native land,
And reign a Queen, if only for a space.

In after years, when I have passed away,
And other lips than mine the tale may tell;
Thou shalt be known in every poet's lay,
As "TRUCANINNI - THE TASMANIAN BELLE!"

ANN ELIZABETH KEARNEY.
June 19th, 1875.

Source: Extract from "THE AUSTRALIAN CHURCHMAN"
Published in the Jeanneret family files (p.75)
Link: https://ianjeanneretphoto.files.wordpress.com/2019/06/jeanneret_book-1.pdf



[Above]: Truganini (1812-1876) and John Woodcock Graves jnr (1829-1876)
Tasmanian Archives and Heritage Office. https://stors.tas.gov.au/NS407-1-54
Photo copyright © KLW NFC Imprint 2015 ARR

Above: An unattributed photograph of Tasmanian Aboriginal woman Truganini seated, with John Woodcock Graves the younger standing over her, taken shortly before her death, aged 73 yrs, on 8th May 1876. He died six months later, aged 47 yrs, on 30th October 1876 of congestion of the lungs and pneumonia.

Ann Elizabeth Kearney née Lovell (1827-1898)
When Ann Elizabeth Lovell married Thomas Kearney on 30th March 1848 according to the rites and ceremonies of the Wesleyan Church at the private house of her father, Esh Lovell of Carrington, Richmond (Tasmania), she was 20 years old. Her sister Margaret Rachel Lovell, 18 years old, married William Kearney the younger, Thomas Kearney's brother, on the same day.

Ann Elizabeth's husband Thomas Kearney (1824-1889) was a farmer, 24 years old, living on his grant of 32 acres at Richmond (Tasmania) at the time of their marriage. Thomas Kearney's father, William Kearney, ran a horse stud at Laburnam Park, Richmond until his death in 1870. The 1851 census registered nine people at Thomas Kearney's property, identified as Colebrook, Lower Jerusalem in the district of Richmond. Two daughters, Catherine who died at 10 days from convulsions in 1850, and Clara who died of "atrophy" (genetic disease causing spinal muscular weakness and wasting) also at 10 days in 1851 were born before their son William Kearney (named after his father's father) was born on 29th March 1852 . Their births were all registered by their father, Thos. Kearney, whose addresses varied from "Colebrook", Coal River, to "Colebrook Dale", Lower Jerusalem in the district of Richmond. The birth of William was countersigned by medical registrar Dr John Coverdale whose own wife Ann Harbroe had given birth at Richmond three days earlier to a son, William Percy Coverdale. More births followed, registered by their mother at various addresses either on the same property or in the same district: "Spring Hill Bottom", Coal River, and Enfield where her death was registered in 1898. In all, eleven births were registered to Ann Elizabeth Kearney between 1849 and 1866. For details, see Resources below and visit this wiki: https://www.wikitree.com/wiki/Kearney-1237

The circumstance of these addresses given by Thomas Kearney of his property at Richmond assumed critical importance in 1870 when he was approached by William Searle from a neighbouring property to sign a lease over an area of land which was later disputed as to whether it was a public or private road. The case brought by the plaintiff, Searle's trustees, before a jury five years later, in 1875 called on the defendant's wife Ann Elizabeth Kearney as a witness, who identified herself straight up as a poetess. Under cross-examination by the Attorney-General for the plaintiff, she told how she now regretted having written lines in thanks to Mr Searle when he had paid her husband Thomas for the lease in 1870 at a time he was heavily in debt and desperately ill from alcoholism because she thought Searle had saved her husband from committing suicide, but by 1875, she thought Searle's singular objective was to get hold of the Kearney's property by fraudulent means.

The Case, 17th June 1875
The plaintiffs are the trustees of the late William Searle, of Richmond, and they claimed to recover from the defendant the sum of £100 damages for the wrongful obstruction of a certain high road and right-of-way on the Laburnum Park estate at Richmond.



1974. Animals - Horses - Neptune Stud, Colebrook, Tasmania.
Copyright © National Archives of Australia 2022

The Case 1875
LAW INTELLIGENCE.The Mercury (Hobart, Tas) 17 June 1875: page 2.
https://nla.gov.au/nla.news-article8937970.
LAW INTELLIGENCE.
SUPREME COURT.
CIVIL SITTINGS. WEDNESDAY, 16TH JUNE, 1875.
Before His Honor Mr Justice Dobson, and juries of seven.
SIMMONS AND OTHERS v. KEARNEY.,

The hearing of this case was resumed.

The plaintiffs are the trustees of the late William Searle, of Richmond, and they claimed to recover from the defendant the sum of £100 damages for the wrongful obstruction of a certain high road and right-of-way on the Laburnum Park estate at Richmond. Defendant pleaded six pleas. (1.) That the plaintiffs were not possessed of the messuage or land as alleged. (2.) That they were not entitled to the said right-of-way. (3.) That plaintiffs claim to the said alleged right-of-way was made by virtue of a deed of agreement in writing made with William Searle, which agreement he (defendant) was induced to make by fraud, and had repudiated and abandoned. (4. ) That he was so intoxicated when he made the agreement as to be incapable of executing it. (5.) That the road was a public highway. (6. ) A general plea of not guilty. On these pleas issue was joined.

The ATTORNEY-GENERAL, instructed by Mr C. Butler, appeared for plaintiff ; and Mr BROMBY, instructed by Messrs Graves and Crisp, for the defendant.

Frederick James Windsor deposed : I am the chief draftsman in the Lands and Works department, and have the charge of charts and plans. I produce the original volume of diagrams of surveys in 1848, from which the grants were made. That contains the diagram of 32A acres of land granted to Thomas Kearney. It shows that the land was intersected by the main road from Richmond to Jerusalem, and it also shows the road from the main road to the road claimed. The road was surveyed by Mr Shaw, then contract surveyor, and now in New Zealand.

To Mr BROMBY : That plan merely shows the survey of the land in 1848. Of my own knowledge, of course, I know nothing about it.

Charles Searle deposed : I am the second son of the late William Searle, and the present tenant of Laburnum Park, under the trustees of my father's will. The plan produced represents the three roads near Laburnum Park. The road " B " is the road in general use by the public. Road " C " is a private road which leads from the main road to Laburnum Park. We have used that private road a little more than ten years. For some years before the lease was made, the road was in actual use. At the point where that private road joins the main road, my father had a large painted gate put up, upwards of ten years ago. That was the road always used by my father and family going to Richmond ; it was the carriage-way to the house. At the other end of the road, a ford was made at considerable expense. Kearney, frequently, before the lease in 1870, used the private road, and therefore knew of it and the gate and ford. We used the road up to July, 1874. Kearney asked me to use the old public road marked "A," saying at the same time that we had a right-of-way through the sixty acres called "The Park." I told him I would consult with my mother, and did so, after which I told Kearney that I would agree to his proposal. The old public road had been practically unused for years, it had a post-and-rail fence on one side and a hedge on the other. The private road was, however, a little nearer Richmond, and we seldom, if ever, therefore, used the old public road. Kearney's proposal to me was this - I met him in March, 1874, and he asked me whether mother would mind using the old public road, as he wanted to cultivate the sixty acre paddock. I said I did not think she would mind using it if he would make it good, and he then said that we had a right of way through the paddock. Between March and July, however, Kearney did not make the road good. In July I spoke to the defendant about the road. I asked him why his sons had ploughed it up, and he said that as soon as they had time they would make the old public road good. After that the gate was locked at the Jerusalem end. At the latter end of July, Kearney told me that he had had a fence put up across both the private and the old public roads. I formally told him that I should require him to open the road. He said he would not do so. The next morning I went to him and asked him for the key, and he said he would not give it. I then told one of my men to draw the fastening of the gate, and with that Kearney threatened to knock either of us off our horses if we threatened to touch the gate. That was the gate on the private road "C". We have never used the road since. The gate had been locked some months before, Kearney telling me it was to prevent other people going through. Kearney's house is just opposite the gate ; the key was kept there, and for some months the gate was always unlocked when we wanted to pass through. The fence across both roads " A" and " C" is still there and they are both ploughed up. We have now to come to Richmond by the road "B," and to cross by a different ford. The difference is half-a-mile. Besides the distance, the ford affects the value of the Laburnum Park property. The ford at the junction of reads "A" and "C" is a much better one ; it is the one made by my father, and is not so steep as the one on road "B." The closing of the road would make a difference in the value of the property of £10 a year. On the white gate, at the end of road " C," there was written " Private entrance to Laburnum Park."

To Mr BROMBY : I have been in possession of Laburnum Park for two years. I am 23 years of age. My father had the painting put on the gate more than ten years ago.

To His HONOUR : My mother has the house and garden, and I have the rest of the estate. I pay her £150 a year for it, under a verbal agreement.

Alexander Goldie deposed : I reside in Victoria, and was formerly the owner of Laburnum Park. I have known the old public road "A" since 1826. "B" was the public road from 1826 to 1846. Kearney is a very old resident. His father was one of a committee with me in 1833 to fix the roads in the neighbourhood: I made the road " B " in order to avoid the inconvenience of people passing just past my house along road "A," and I also made a good bridge. The road " B " was then used by the public, who ceased to use road " A," but I continued to use it. Neither the defendant nor anybody else ever interrupted me using that road. The Enfield people always used that road during the time I was there. It was a decided loss to the estate to have the road closed, a loss, I should say, of quite £10 a year. I knew the late Mr William Searle well ; he was as thoroughly honest as any man that ever lived.

John Gitters deposed :-I was last year in the employ of Mr Chas. Searle, of Laburnum Park. In August last I went, with Mr Searle to the gate at the entrance of the private road. Kearney was there. Mr Searle asked him for the key of the gate, but he refused to give it, and he took a panel out of the fence, and threatened to knock us both down if we attempted to go through.

Winston Churchill Simmons : I am a farmer at Richmond, and one of the plaintiffs in this action. I am well acquainted with the three roads "A," "B," "C." I consider the road "A," the old public road, to be of permanent advantage to Laburnum Park property, and I don't think the previous witnesses have over-estimated the loss to the estate by the closing of the road. The private road, " C," was a better road than "A"; it is more direct, and not so steep. Mrs Searle's lease has about two years to run, the unexpired term of a seven years lease.

That was the case for the plaintiffs.

Mr Bromby submitted that the plaintiffs should be non-suited on two grounds- (1) that they were reversioners of the property, and not in possession according to the first count of the declaration, and that therefore they could not bring the action ; (2) that the old public highway had not been a public highway, for more than 20 years.

The ATTORNEY-GENERAL contended that the reversioners, and not the persons who had transitory possession of the property, were the proper persons to sue ; and with regard to the second point, if a public way was once established, no amount of non-use by the public could extinguish that way. The learned counsel applied to be allowed to amend the declaration on the first count.

His HONOUR overruled both objections, and permitted the declaration to be amended.

Mr BROMBY addressed the jury for the defendant, resting his defence mainly on the allegation that the defendant was in a state of intoxication, and therefore did not know what he was doing when he signed the agreement in question. He called Thomas Kearney, who deposed : I am the defendant in this case, I remember the month of August, 1870, when I was asked to sign a lease by Mr Searle. Bills came in from Richmond, and I went to Mr Searle and asked him to advance me some money to pay them. He had previously advanced money on my wife's property, at eight per cent, and he said he would advance money on my property at the same rate. Just before the lease was signed Mr Searle asked me if I would allow him a right of road through the land. I said " no," but I told him he could use the road he was then using until I wanted to cultivate the land. I got the money from him on the 3rd of August. I had been drinking for some days before that, and when I got up that morning I told my wife that I would turn over a new leaf and not drink any more. I felt delirium tremens, however, coming on me, and I went to Richmond to get some more drink. When I got back at three o'clock, my wife told me that Mr Searle wanted me to go over to his house. I went there, I have an indistinct recollection of signing a lease then. I don't remember how many times I signed my name. Some cheques were given to me. I was anxious to get the money to pay the bills I owed, and the cheques were made out in the names of the various parties, and one also in my wife's name. The sixty acres are nearly all cultivated now. If there was a road through that land, it would greatly diminish its value, I was born on the property, 51 years ago. I remember the public road " B" being made by Mr Goldie. My father made the old public road " A " through my property ; but after Mr Goldie made his road " B," the public used it. The public used the other road, but only on sufferance. Mr Searle asked me to sell him the sixty acre piece ; he offered me £450, but I refused it.

To the ATTORNEY-GENERAL : The sixty acre paddock had not been in cultivation till last year. I never promised to make good the old public road, nor did I first make a proposal to young Searle about the road. He first came to me. I have now ploughed up both roads. I knew long before 1870 that Mr Searle was using the private road " C," and I knew it was a great convenience to him. I have been of intemperate habits for 35 years; I began young. Mr Searle on many occasions tried to induce me to give up drinking. In 1865, he got me to sign the pledge, and had been very kind to me in a variety of ways ; in fact he was so all the time I knew him, except on this one occasion. I think he cheated me then, because I was not in a fit state to sign an agreement. There are three signatures, and they are written in a firm hand. Mrs Searle and Sarah Roberts are mistaken in saying I was sober when I signed the lease. I went to Mr Searle's for the express purpose of signing the lease and obtaining money. I don't remember whether the lease was read to me or not. When my wife told me what I had done in signing the lease, I thought I had been tricked ; but I said nothing about it, nor should I have said anything, had not this action been brought.

John Woodcock Graves deposed : I am the attorney to the defendant. I have known the defendant a long time, and knew his father before him. During the time I have known the defendant, he has been frequently intoxicated. His property was being damaged by his intemperate habits, and I drew up a settlement of some property on Mrs Kearney. By that document I made Mr Searle the trustee. At that time Mr Searle had not made a claim of the right-of-way.

Ann Elizabeth Kearney, examined by Mr BROMBY : I am the wife of defendant, and have been married to him 27 years. I have lived a great many years in Richmond. My husband was given to intemperate habits, very much so five years ago. In 1870, in the month of July, my husband was suffering from delirium tremens, and continued drinking to the 2nd of August. On that day Mr Searle asked me where he was, that he had the lease ready for him to sign. I told him I was afraid he was not in a fit state to sign it. On the 3rd of August he was ill in bed, and begged of me for God's sake to get up and give him a drink. He went out while I was getting his breakfast ready, and did not return home till the afternoon. Mr Searle came to the house after, and I had a conversation with him about the lease of the land. I arranged with him about the rent to be paid for the 60 acres, and how it was to be paid in advance. Mr Searle spoke to me about the condition of my husband, saying that he was on the verge of insanity, and that if something was not done at once he would surely go mad. When my husband came home in the afternoon with the cheques he was very much agitated, and when I hesitated to sign the cheque drawn in my favour, he become so excited that I thought he would have murdered me. After Mr Searle died I saw Mrs Searle in reference to the document containing the right-of-way, and subsequently saw it at the office of Mr C. Butler. I remember the disturbance in reference to the fences of the public road being destroyed, but I have never seen that road used by the public since.

Cross-examined by the ATTORNEY-GENERAL : I fix upon the period the 3rd August from the violence of my husband, which was unusual, and from the date of the cheques which he brought, home, the reason the cheque I have spoken of was made payable to me was that he should not have the money, and he became violent because I refused to sign it, and he wanted to have it cashed. When he went to sign the lease he did so with the one idea of getting the cheques to pay his debts, and he did pay them. I cannot tell if the public road was used by the Enfield people for taking cattle to water. Mr Searle at one time I thought was very kind to us ; but I think differently now. I am a poetess. I wrote the lines produced in thanks to Mr Searle because he had saved my husband from committing suicide. I think now the object Mr Searle had was to get hold of our property.

Annie Kearney, daughter of defendant, gave evidence corroborative of the last witness as to the condition of her father on the 3rd of August.

Cross-examined : He was very tipsy before he went to Mr Searle. He had been drinking for three or four days before then. It was his custom, when he went to Richmond to return home drunk. I fix the date the 3rd of August, from the way in which he behaved to my mother on that date. The first I knew of the deed about the road was when my mother came from Mr Butler's, and said that Mr Butler had produced the paper, but that it was illegal. I cannot tell if she said that the paper was signed on the 3rd of August, 1870.

Ada Kearney, another daughter of the defendant, also testified that her father was tipsy on the 3rd of August, 1870. She fixed upon the date from the violent behaviour of her father towards her mother.

Alexander Gibbons, storekeeper, examined by Mr BROMBY : I have known defendant for 35 years. I have lived in the neighbourhood of Richmond a great length of time. I remember in August, 1870, meeting Kearney in the paddock coming from Mr Searle. He said he had been signing articles at Mr Searle's, and seeing that he was under the influence of drink, I made the observation, " I hope you knew what you were signing." Defendant had a piece of paper in his hand. I had frequently seen defendant tipsy before.

Cross-examined : It was Kearney who remembered our meeting in the first instance I remembered it afterwards.

S.B. Fookes, rector of Richmond, examined by Mr BROMBY, deposed to knowing defendant for many years as a very intemperate man. He did not know of the road in dispute ever having been used as a public road.

John Stonehouse, examined by Mr BROMBY, deposed that he knew Kearney's property. Knew it for 42 years. The road used to go to the Falls from the public road leading from Richmond to Jerusalem was abandoned in 1840, and the road called the public road, and now known as such, was adopted.

Richard Cook corroborated the last witness.

This concluded the case for the defendant, and Mr BROMBY summed up the same, contending that the evidence established beyond a doubt that the defendant when he made the agreement conveying the road to the late Mr Searle, was not in a fit state to execute such a document, and that therefore it was null and void, and ought to be so declared. As to the question that the road was a public road, he submitted that there was no evidence of that, and, further that if it was a public road it had been abandoned.

His HONOR : Do you contend, Mr Bromby, that a public road can be abandoned ?
Mr BROMBY ; Yes.
His HONOR : Have you any authority ?
Mr BROMBY : I have but I have not the books with me.

His HONOR said that the authorities laid down that a public road, even though it might have been fenced across, could not be abandoned, excepting by Act of Parliament. The principle was that " Once a highway, always a highway."

Mr BROMBY, (after some discussion) said he would confine his contention to the allegation that the road never was a public road.

The ATTORNEY-GENERAL replied on the whole case pointing out that the non-use of a public road did not amount to a cession of it as such, and in support of his view quoted Shelford on Real Property. He then proceeded at length to deal with the allegation contained in the defendant's plea that he was so drunk at the time he made the agreement as to be incapable of executing it, submitting that it was monstrous to suppose that a man having entered into a legal contract should be allowed to turn round and say - when the person with whom that contract was, laid in his grave, and was unable to confront him-that he was induced to enter into the agreement while under the influence of drink. It must be shown that he was so far drunk as to be wholly incapable of comprehending the meaning of the contract, and that Mr Searle must have known that he was in that state. He submitted that the evidence for the plaintiffs was entitled to belief, and if so, then the jury must find their verdict in their favour.

His HONOUR then summed up the whole case to the jury, telling them that if the defendant was so drunk when he signed the deed as not to know what he was doing and that Searle knew he was so drunk, there could be no doubt whatever that the deed would not hold water. He then reviewed the evidence on either side on that point, and left the case in the hands of the jury ; directing them if they found the road was a highway still it could not be abandoned by non-user, and plaintiff would be entitled to compensation for any damages they had sustained from the obstruction of that highway.

Mr BROMBY asked His Honour, to direct the jury in finding on the plea of drunkenness, to say whether the defendant when he executed the deed was drunk only, or whether he was drunk to the knowledge of Mr Searle.

HIS HONOUR assented, and desired the jury to decide on the plea as suggested by the learned counsel.

The jury retired at 5 p.m., and at 6 o'clock they came into Court with a question on which they desired His Honour's ruling. The question was whether, if the defendant was drunk, but not drunk within the knowledge of Searle, that would invalidate the deed.

His HONOUR replied that it would. That was how he had directed the jury in his summing up, and he had been fortified in his opinion by other authorities than that mentioned in the case, since the jury had retired. If the jury found simply that defendant was drunk, but that he was not drunk within the knowledge of Searle, then the bargain would stand good so far as Searle was concerned.

The jury again retired, and after twenty minutes deliberation, they sent to ask for information as to what damages would carry costs.

The ATTORNEY-GENERAL offered no objection, and the reply was forwarded that anything above £7 would carry costs.

Shortly after, the jury returned a verdict for the plaintiff on the first count, with 40s. damages. On the second count they found that defendant was drunk when he signed the deed, but not to the knowledge of Mr and Mrs Searle; and on the third count that the road marked "A" was a public highway, but that it had ceased to be used ai a highway since 1863.

The ATTORNEY-GENERAL asked what damage was assessed on the second count. The jury were bound to state some damages.

The Foreman : One shilling.

Mr BROMBY asked His Honour to take a note of his objection as to whether drunkenness with or without the knowledge of either was a good defence or not. If he could maintain that it was, then he should submit, on the finding of the jury on that count, that plaintiffs were not entitled to a verdict.

His HONOUR said he would do so.

The Court then adjourned until 10 o'clock next (this) morning.
Source: LAW INTELLIGENCE. The Mercury (Hobart, Tas. : 1860 - 1954) 17 June 1875:page 2.
https://trove.nla.gov.au/newspaper/article/8937970
SUPREME COURT - TERM SITTTNGS. TUESDAY, JUNE 20.
Before their Honors the Judges. SIMMONS AND OTHERS V. KEARNEY.
A rule nisi had been granted last week for arrest of judgment and nonsuit in this case, the right to a road being in question. The rule was enlarged for a week, and the Court strongly recommended that the parties should come to terms.
Source: SUPREME COURT—TERM SITTINGS. (1875, July 1). Launceston Examiner (Tas. : 1842 - 1899), p. 3.
https://nla.gov.au/nla.news-article52900123

The final decision in this case was published on 10th July 1875. Thomas Kearney as the defendant was fined 40 shillings for obstructing the road which he had signed over to the plaintiff Searle in 1870, but since the jury believed that Searle claimed that Kearney to his knowledge was not intoxicated at the signing of the deed, the accusation that Searle had acted fraudulently was dismissed.
Simmons and Others v. Kearney was a suit in which the plaintiffs sought to recover damages, assessed at £100, for the obstruction by the defendant of a certain private road and public highway in the Richmond district. The defendant pleaded several pleas, but that on which the greatest reliance was placed was that wherein he alleged that the deed of agreement, by which he had parted with his right to the plaintiff to use the private road, he being to the knowledge of the late Mr. Searle (whose trustees the plaintiffs are), intoxicated at the time it was executed, and therefore, unable to comprehend its meaning. The jury found a verdict for the plaintiffs on the first count alleging the obstruction, and awarded them 40s. costs. On the defendant's plea of drunkenness, they found that he was drunk when he executed the deed, but not to the knowledge of Mr. Searle ; and as to the obstruction of the highway, they stated that the highway was a public road, but that it ceased to be used as such in 1873. The verdict substantially is therefore for the plaintiff.
Source: LEGAL. Mercury (Hobart, Tas. : 1860 - 1954), Saturday 10 July 1875, page 1
https://nla.gov.au/nla.news-article8938453



https://stors.tas.gov.au/LPIC13-1-88_35
Photograph - Colebrook Mansion
Item Number:LPIC13/1/60
Start Date:01 Jan 1880 End Date: 31 Jan 1880
Location:Launceston 34 1 4
Creating Agency: Anson Brothers, Photographers (NG143)
Archives Office Tasmania
Link: https://stors.tas.gov.au/LPIC13-1-88_35

The four Graves sisters
It was during these court proceedings in June 1875, in which her husband Thomas Kearney was defended by solicitor John Woodcock Graves' instructions (to Mr. Bromby) that Ann Elizabeth Kearney wrote her poem about meeting Aboriginal elder Truganini (1812-1876)) on a street corner, prompting her to celebrate her namesake, the non-Aboriginal daughter of solicitor John Woodcock Graves, Trucannini Graves. The first-born of these four sisters, Jean Porthouse Graves, was photographed by Thomas J. Nevin in 1872:



Jean Porthouse Graves, 14 yrs old,
Detail of photograph (below) printed as both a stereograph and carte-de-visite
Stereograph in double oval buff mount with T. Nevin blindstamp impress in centre
Photo copyright © KLW NFC 2014 ARR
Taken at the TMAG November 2014 (TMAG Collection Ref:Q1994.56.5)

Jean Porthouse Graves, born 20th January 1858 at Hobart to John Woodcock Graves, solicitor, Upper Bathurst St Hobart, and Jessie Graves formerly Montgomerie. She was unnamed at birth. Jean Porthouse Graves married solicitor Francis Knowles Miller at Melbourne, Victoria in 1885. She died at her residence, Rembrandt Square London, aged 91 yrs, on 30th July 1951.

Mathinna Isabella Graves, born 1st August 1859 at Hobart to John Woodcock Graves, solicitor, Bathurst St Hobart, and Jessie Graves formerly Montgomerie. Mathinna Isabella Graves died at her residence, Orrong Rd, St Kilda Victoria, aged 88 yrs, on 29th June 1948.

Mimi Graves was born on 20th November 1862 at Hobart to John Woodcock Graves, solicitor and Jessie Graves formerly Montgomerie. Her birth was registered by a friend - H J D Baily (?) Argyle St.

Trucaninni Graves was born on 2nd November 1864 at Hobart to John Woodcock Graves, solicitor, Bathurst St Hobart, and Jessie Graves formerly Montgomerie. Her birth was registered by her mother Jessie Graves, Princess St. Hobart.

The eldest, Jean Porthouse Graves (1858-1951) was an admirer in her teens of photographer Thomas J. Nevin. She made his acquaintance in January 1872 when he was assigned official photographer of VIP's on a day trip to Adventure Bay, Tasmania, a trip organised by her father John Woodcock Graves the younger. In her album of photographs and newspaper clippings, some documenting the history of her grandfather's fame as the composer of the English folk song "D'ye ken John Peel", John Woodcock Graves the elder, she kept a half dozen photos by Thomas J. Nevin of that trip in 1872, plus a few taken later of all four daughters at the family home, Caldew, in West Hobart, after her father's death in 1876.



One of four extant photographs taken on 31st January 1872 and printed in various formats from Thomas J. Nevin's series advertised in the Mercury, 2nd February, 1872, as the Colonists' Trip to Adventure Bay (Bruny Island).
[From lower left]: John Woodcock Graves jnr, solicitor; his daughter Jean Porthouse Graves; above her, R. Byron Miller, barrister; on her left, Sir John O'Shanassy, former Premier of Victoria;
[Centre top]: Lukin Boyes, son of auditor and artist G. T. W. Boyes, leaning on stone structure
[Extreme lower right]: James Erskine Calder, former Surveyor-General, Tasmania

Single unmounted carte-de-visite photograph of large group at Advenure Bay 1872
From the Miller and Graves family album
Photos recto and verso: copyright © KLW NFC Imprint 2015 Private Collection



Verso of above: One of four extant photographs taken on 31st January 1872 and printed in various formats from Thomas J. Nevin's series advertised in the Mercury, 2nd February, 1872, as the Colonists' Trip to Adventure Bay (Bruny Island).
Verso with T. Nevin late A. Bock , 140 Elizabeth St. Hobart Town commercial stamp
Verso inscriptions include these identifiable figures at the "Picnic":
Father = John Woodcock Graves jnr,
Sir John O'Shanassy = former Premier of Victoria,
Self = Jean Porthouse Graves, daughter of John W. Graves,
L. Boyes = Lukin Boyes (?), son of G.T. W. Boyes
From an album compiled by the families of John Woodcock Graves jnr and R. Byron Miller
Private Collection © KLW NFC Imprint 2015

Truca Graves
A lion sculpture greeted visitors on the steps of Caldew, West Hobart, home of the family of solicitor John Woodcock Graves the younger, first photographed by Thomas J. Nevin ca. 1870 as a stereograph with Byron Miller, Lukin Boyes, Frederick Boyes, and sisters Jean, Matte, and Truca Graves.



Above: Group portrait of two male adults, one boy and three girls, members of the Graves, Miller and Boyes family taken by Thomas Nevin ca. 1870 at Caldew, West Hobart.
Stereograph in arched mount on yellow card
TMAG Ref: Q16826.10


Possible identification as follows:
Frederick Lukin Boyes: the boy seated on the grass who died in 1881, aged 16 yrs, son of Lukin Boyes.
Lukin Boyes, Customs Officer: the man seated on right in light clothing who is patting a goat or deer.
Jean Porthouse Graves (born 1858): the teenage girl sitting next to Lukin Boyes, daughter of John Woodcock Graves jnr (not pictured here).
Robert Byron Miller, barrister: sitting on the same bench, whose son Francis Knowles Miller later married Jean Porthouse Graves.
Two more of John Woodcock Graves four daughters: the two other girls, one sitting on a chair at extreme left, and the other seated on the grass, were possibly Mimi (born 1862), Trucaninni as Truca (1864) or Mathinna as Matte (born 1859). The latter two were given Aboriginal names at birth.

This photograph (below) was taken of Jean Porthouse Graves about seven years later, noted as "self" along the edge of the page on which it was pasted in her family album. She stood in the doorway of Caldew ca. 1877, gazing directly at the photographer. Her father, solicitor John Woodcock Graves jnr by this time was deceased. He had died suddenly in 1876 of congestion of the lungs and pneumonia, leaving a widow, pictured here seated in the doorway and four daughters. Listed as present here by Jean are two of her sisters, Trucaninni (Truca) and Mathinna (Matte), with their father's former colleagues R. Byron Miller standing next to Jean, and Lukin Boyes, seated with one of the Graves' daughters. Lukin Boyes was a witness at the marriage of John Woodcock Graves to Jessie Montgomerie in 1857.

Inscribed on page: "Caldew, Hobart, Mother, Matte, Mister Miller, Lukin Boyes, Truca, self"



Inscribed on page: "Caldew, Hobart, Mother, Matte, Mister Miller, Lukin Boyes, Truca, self"
From the Graves and Miller family album, complete page below
Photos copyright © KLW NFC Imprint 2015 Private Collection



Inscribed on page: "Caldew, Hobart, Mother, Matte, Mister Miller, Lukin Boyes, Truca, self"
From the Graves and Miller family album
Photos copyright © KLW NFC Imprint 2015 Private Collection

Earlier poetry by Ann Elizabeth Kearney née Lovell
The first, published in 1849 was penned a year or so prior to Ann Lovell's marriage to Thomas Kearney in 1848. Written in the voice of an unnamed widow who is at that moment relinquishing her child Agnes to death, the poem may have been based on real events in Ann Lovell's family. Then again, it may be little more than a generic poem expressing grief at death in the Romantic tradition, produced by a young poet practicising her art.

1848: "A Widowed Mother’s Lament on the Death of Her Only Child"



Source: Argus (Melbourne, Vic. : 1848 - 1957), Friday 17 August 1849, page 4 Original Poetry

TRANSCRIPT
A WIDOWED MOTHER'S LAMENT ON THE
DEATH OF HER ONLY CHILD

And must I give thee up, my child ?
A fair young mother weeping said -
Long, long was this sad heart beguiled,
With hope, but that at last is fled.

Yes, death is stamped upon thy brow,
The clammy drops are gathering there,
And thou wilt leave thy mother now,
A pray to anguish and despair.

No more, no more, thy gentle smile
Shall wake this heart to hope again
No more, no more, wilt thou beguile,
With soothing words, thy mother's pain.

Thy lip hath lost its roseate hue,
Thy cheek 's deprived of healthful bloom,
And thy soft eyes, of heavenly blue,
Must soon be closed within the tomb.

Thou wert the only solace left,
Thy mother's widowed heart to cheer;
Death, cruel death, has me bereft
Of all, save thee, my Agnes dear.

I know 'tis useless to repine,
And murmur thus, 'gainst Heaven's decree
I must my only hope resign,
Yes, Agnes, I must part from thee.

I yield thee, though this bleeding heart
Can scarcely bear to let thee go,
Oh, Agnes ! thus from thee to part,
It is, indeed, excessive woe.

Forgive, dear child, my selfish love,
That would thy gentle soul retain,
That will not let it mount above
To that bright world, released from pain.

She wept in silence, as she gazed
Upon the corpse of that fair girl,
As, with her hand, she gently raised,
And parted back the clustering curl.

Then said - I will no more repine,
or murmur, 'neath the chastening rod,
Freely, my all I will resign,
And yield thee, Agnes, up to God.

A. E. Lovell.
Source: Original Poetry. (1849, August 17). The Argus (Melbourne, Vic. : 1848 - 1957), p. 4.
https://nla.gov.au/nla.news-article4769272

This second poem, written in 1872 can be taken as autobiographical in some part, written in the years when Ann Elizabeth Kearney suffered verbal and physical violence from her husband Thomas Kearney, details of which were stated before judge and jury in 1875 in the case SIMMONS v. KEARNEY (see transcript above of The Case). She told the court then of his alcoholism, his "intemperate habits" and her fear "he would have murdered me" when hesitating to give him money to buy more alcohol. His daughters Ada and Annie Kearney also testified to the violent behaviour of their father towards their mother. Richmond residents too remembered him as a "very intemperate man". Thomas Kearney's neighbour Mr. Searle thought " he was on the verge of insanity, and that if something was not done at once he would surely go mad". By his own admission Thomas Kearney said his intemperate habits began young, 35 years ago. His friend and lawyer John Woodcock Graves saw him frequently intoxicated and said in court that the damage he was causing to the property resolved his decision to draw up a settlement to sequester some portion for Ann Kearney. For her part, as this poem testifies, her life was a "harsh battlefield". She had grown old prematurely, without hope, her heart "stern and cold," betrayed by the inconstancy of "Man's love, ah!"

1872: "A Life's History: Sad but True"



Source: ORIGINAL POETRY. (1872, May 4). The Tasmanian (Launceston, Tas.), p. 2.
https://nla.gov.au/nla.news-article201344718

TRANSCRIPT
ORIGINAL POETRY

A LIFE'S HISTORY: SAD BUT TRUE

Life was once a scene of gladness,
All I look'd on bright and true;
Grief came not with brow of sadness
To mar the picture fancy drew.

The future seemed a landscape fair,
Deck'd with bright flowers that could not fade,
And loving friends were smiling there,
Who now are in the dark grave laid.

Yet even in childhood's happy day,
Too soon I learnt earth's joys are brief;
Death snatch'd my dearest friend away,
'Twas then I knew my first great grief.

But childhood's tears, though for a while,
In bitterness and sorrow flow,
Are quickly followed by the smile
Of roseate hope's delightful glow.

Then came a time, when at my feet,
One knelt my trusting heart to woo;
The words he spoke were passing sweet,
He fondly vowed he e'er be true.

Ah! then my girlish fancy dream'd
Of man's enduring love and worth,
And he I worshippped only seemed
A being all too bright for earth.

Alas! to see mine Idol fall,
To find he was indeed but clay,
Has strewn a dark funereal pall
O'er all that once was bright and gay.

Man's love, ah! 'tis a thing of change -
The fleeting passion of the hour;
Inconstant still he loves to range.
And gather sweets from every flower.

There was a time I sadly wept
O'er each harsh word, each broken vow;
Then hope its cheering beacon kept
To guide where all is darkness now.

Now o'er my soul the waveless calm
Of cold despair is darkly spread;
The future cannot bring alarm
Or gladness for all hope has fled.

Ah! years of weary care and strife
Have made me prematurely old;
In the harsh battle-field of life
This heart has now grown stern and cold.

Well, let that pass, 'tis mine to yield
Submission to the Almighty's will;
He knows my lot, and He can shield
The sorrowing heart that trusts Him still.

A.E. KEARNEY

Ann Elizabeth Kearney's Will
The final apportionment of the combined properties of Ann Elizabeth Kearney's inheritance from her father's estate, Carrington, and the residue of her husband's estate at Laburnam, including her own portion at Enfield, Richmond, Tasmania, was finalised by her executor, her son Albert Kearney, at her death from influenza in 1898. This copy of her original will is held at the Archives Office of Tasmania.

TRANSCRIPT
In the Supreme Court of Tasmania
Ecclesiastical Division

Be it known unto all men by these present that on the fifth day of November in the year of our Lord one thousand eight hundred and ninety eight the last Will and Testament of Ann Elizabeth Kearney late of Richmond in Tasmania deceased (widow of the late Thomas Kearney) deceased who died at Enfield Richmond aforesaid at or on about the thirteenth day of June one thousand eight hundred and ninety eight (a true copy of which Will is hereunto amended) was exhibited and proved before this Honorable Court and that administration of all and singular the goods chattels rights credits and effects of the said deceased proven [?] the Island of Tasmania and the Dependencies thereof was and is hereby committed to Albert Edward Kearney of Richmond aforesaid farmer one of the executors in the said will named (Reserving nevertheless to Thomas George Kearney William Kearney and Ernest Charles Kearney all of Richmond aforesaid the other executors in the said Will named full power and authority at any time hereafter to apply for and obtain Probate of the said Will and administration of the goods chattels rights credits and effects of the said deceased either jointly with the said Albert Edward Kearney or otherwise as the case may require). The said Albert Edward Kearney having been first sworn well and truly to perform the said Will by paying first all debts of the said deceased and then the Legacies therein bequeathed so far as the estate shall therein to extend and the law finds him and to make and exhibit unto this Honorable Court a true and perfect inventory of all and every the goods and chattels rights and credits and effects of the said deceased on or before the fifth day of May ?? ensuing and to render a just and true account of his executorship when he shall be lawfully called thereunto And further that he believes the goods chattels rights credits and effects of the said deceased at the time of her death did not exceed in value the sum of Fifty pounds in Tasmania and the Dependencies thereof.

Given under my hand and seal of the Supreme Court of Tasmania on the fifteenth day of November in the year of the Lord one thousand and eighthundred and ninety eight. By the Court - Philip Seager - Registrar

This is the last Will and Testament of me Ann Elizabeth Kearney Widow of the late Thomas Kearney of Richmond Tasmania in the County of Monmouth Tasmania shall this twenty seventh day of September in the year of our Lord one thousand eight hundred and ninety three hereby revoke all wills made by me at any time heretofore. I appoint Thomas George Kearney William Kearney Ernest Charles Kearney and Albert Edward Kearney all of Richmond Tasmania to be my Executors and direct that all my Debts and Funeral Expenses shall be paid as soon as conveniently may be after my decease. I give and bequeath unto my son Thomas George Kearney the cottage where he now resides together with Ten acres of land including half the orchard the other half of the orchard I leave in trust to my son Albert Edward Kearney for the use of the house and to assist in the maintenance of my daughter Annie Lousia Kearney the cottage I now reside in known as Enfield Cottage together with the household furniture and all my personal effects also twenty acres of land adjoining house also eight cows and all young cattle I may be possessed of at the time of my decease. I bequeath to my daughter Florence Susanna ten acres of land adjoining Ada Emily's portion. I bequeath to my son Ernest Charles ten acres of land together with one horse iron harrows and D. F. plough. I bequeath to my son Albert Edward nine acres and one half of land with stables also one acre at present rented by P. Keady in the town of Richmond together with remainder of farming implements including winnowing machine plough dray etc I bequeath to my son William and my daughter Eva Alice thirty two and half acres adjoining the above properties to be equally divided between them I bequeath all my share and interest under the will of my father Esh Lovell deceased to my sisters to use or convert into money as they shall deem fit and expedient for the benefit of all my children share and share alike. Any sown [?] or growing crop on the property at the time of my decease to be left in trust to Albert Edward Kearney to divide as he may deem fit -

Signed by the said testator A. E. Kearney in the presence of us present at the same time who at her request in her presence and in the presence of each other have subscribed our names as witnesses - Samuel Skemp - Myrtle Bank - Rowland Skemp -
Last Will and Testament of Ann Elizabeth Kearney 1893
Archives Office of Tasmania
https://stors.tas.gov.au/AD960-1-23-5357_1.

Resources: external links

1. University of Tasmania papers donated from the estate of John Rowland SKEMP
Skemp, John Rowland (ed.), Letters to Anne: The story of a Tasmanian family told in letters written to Anne Elizabeth Lovell (Mrs Thomas Kearney) by her brothers, sister and other relatives during the years 1846-1872, (Melbourne, Melbourne University Press, 1956).
https://millennium.lib.utas.edu.au/record=b1318234~S67

Reference to the index of John Rowland Skemp (1900-1967), who was the son of Rowland Skemp
https://eprints.utas.edu.au/11065/1/skemp-S12_John_Rowland_Skemp.pdf

2. Australian Dictionary of Biography, entries on Keanery and Lovell
Kearney, William (1795–1870)
https://adb.anu.edu.au/biography/kearney-william-2290

Lovell, Esh (1796–1865)
https://adb.anu.edu.au/biography/lovell-esh-2374

3. Archives Office of Tasmania, BDM documents
Ann Elizabeth KEARNEY
Marriage 1848
https://stors.tas.gov.au/RGD37-1-7p206j2k

Birth of child Thomas George Kearney
https://stors.tas.gov.au/RGD33-1-28-p691j2k
Death of child Catherine Kearney 1850
https://stors.tas.gov.au/RGD35-1-19p120j2k

Death of child Clara Kearney 1851
https://stors.tas.gov.au/RGD35-1-20p55j2k

Census 1851 Richmond
https://stors.tas.gov.au/CEN1-1-115-119A

Death of child Catherine Kearney 1850
https://stors.tas.gov.au/RGD35-1-19p120j2k

Birth of child William Kearney 1852
https://stors.tas.gov.au/RGD33-1-30p094j2k

Births of twins of Annie Louisa and Ada Emily Kearney 1858
Registered by her mother, address given "Spring Hill Bottom"
https://stors.tas.gov.au/RGD33-1-37p581j2k

Birth of child Florence Susannah Kearney 1858
Registered by her mother, address Coal River.
https://stors.tas.gov.au/RGD33-1-38p042j2k

Birth of child Ernest Clark Kearney 1864
Birth registered by mother at Lower Jerusalem
https://stors.tas.gov.au/RGD33-1-42p222j2k

Birth of child Albert Kearney 1866
Birth registered by mother, address "Enfield"
https://stors.tas.gov.au/RGD33-1-44p709j2k

Death of Thomas Kearney 1889
https://stors.tas.gov.au/RGD35-1-58p193j2k

Death of Ann Elizabeth Kearney 1898
https://stors.tas.gov.au/RGD35-1-67p231j2k

Will of Ann Elizabeth Kearney
https://stors.tas.gov.au/AD960-1-23-5357_1

Thomas Kearney suffered severely from alcoholism in the 1870s, yet he survived to the age of 65, his death registered from "natural causes" in the district of Richmond. His wife Ann Elizabeth Kearney died nine years later of influenza. Her address given by her son Albert Kearney to the registrar as informant was "Enfield".

4. Newspaper publications of poetry and law reports re Anne Elizabeth Kearney nee Lovell
ORIGINAL POETRY. (1872, May 4). The Tasmanian (Launceston, Tas.), p. 2.
https://nla.gov.au/nla.news-article201344718

Original Poetry. (1849, August 17). The Argus (Melbourne, Vic.), p. 4.
https://nla.gov.au/nla.news-article4769272

LAW INTELLIGENCE. The Mercury (Hobart, Tas. : 1860 - 1954) 17 June 1875:page 2.
https://nla.gov.au/nla.news-article8937970.

LEGAL. Mercury (Hobart, Tas. : 1860 - 1954), Saturday 10 July 1875, page 1
https://nla.gov.au/nla.news-article8938453

5. Descendant families
Thomas Kearney (1824 - 1889)
https://www.wikitree.com/wiki/Kearney-1237
KEARNEY.— Died suddenly on December 26th, 1889, at his residence Enfield, Campania, Thomas, eldest son of the late William Kearney, aged 65 years.
Family Notices (1890, January 4). The Mercury (Hobart, Tas. : 1860 - 1954), p. 4.

Poem "Lines" addressed to Trucannini Graves 1875
Jeanneret family files (p.75)
https://ianjeanneretphoto.files.wordpress.com/2019/06/jeanneret_book-1.pdf



1966. Carrington House, Richmond, Tasmania, home of Esh Lovell, father of Ann Elizabeth Kearney nee Lovell
Photographs of Tasmanian Buildings and Individuals Taken by Sir Ralph Whishaw (NS165)
Archives Office Tasmania: https://stors.tas.gov.au/NS165-1-363


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