Thomas Nevin self portraits 1850s-1880

The "selfie" of the 1860s-1870s
Photographer Thomas J. Nevin's facial hair fashions

There are not many extant "self portraits" of Tasmanian colonial photographers of the 1850s-1880. The watercolour attributed to Alfred Bock of a young gentleman is held at the State Library of Tasmania; the stereograph of a supine Thomas J. Nevin and friend is held at the Tasmanian Museum and Art Gallery; and the rest are held in descendants' private collections. These portraits all exhibit interesting variations in male facial hair fashions.

1850s:
Watercolour of Thomas J. Nevin as a fresh-faced teenager:



[Portrait of a young gentleman]
Attributed to Alfred Bock.
Unsigned and undated.
1 drawing : pencil, pastel & watercolour on paper ; 25 x 19 cm within matt.
Source: https://stors.tas.gov.au/AUTAS001127111433w800
Allport Library and Museum of Fine Arts

This watercolour, unsigned though attributed to Alfred Bock, is included in the selection because it may well represent the young Thomas J. Nevin while apprenticed to Alfred Bock in the early 1860s. If dated to ca. 1859, it shows a 17 year- old youth's wispy set of mutton chops, a clean shaven chin, no moustache, and wavy hair parted slightly off-centre. These are the same facial fashions which characterised Thomas J. Nevin's style in his wedding photograph, aged 28 yrs, in 1871.

The violet bowtie with white spots in this painted portrait, which is expertly executed, is similar to the hand-tinting of neck wear in several photographic portraits of private clients and prisoners by taken by Thomas Nevin in the 1870s. See also this entry on the red and violet in Brewster's stereoscopy.

1860s:
This photographic portrait of Thomas J. Nevin, 23 years old, taken at an early stage of his career as a young stereographer, is pictured here wearing white gloves and holding a small stereoscopic viewer. The studio decor suggests it was taken in Alfred Bock's studio ca. 1865-8.



Thomas J. Nevin, seated, facing camera, holding a stereoscopic viewer in white gloves
Carte-de-visite on buff mount. Verso is blank.
Copyright © KLW NFC Imprint 2009 Private Collection

The studio decor differs in every respect from Thomas Nevin's portraits of his parents and private clientele taken at his studio, formerly Alfred Bock's,  the City Photographic Establishment in the 1870s. The drape is intensely floral with large motifs; the table has a single support and a beaded bevelled edge (it's not his table with the griffin-shaped legs); the carpet features a plain diamond pattern; his upright chair is from a dining set and behind his chair is a three-footed (head)-stand; and the painted backdrop is awash with a flowering bush and sketchy version of a balustrade. It is not the Italianate balcony with disappearing river vista of his later commercial portraits of private clientele. This suggests it was taken at Alfred Bock's studio ca. 1867 before Bock's departure to Victoria. By 1864, and prior to Bock's departure, Thomas Nevin had established a studio at New Town near his parents' family farm at Kangaroo Valley and advertised his stereographs for sale at the nearby New Town Post Office. He maintained the New Town studio concurrently until 1888.

Thomas J. Nevin's facial features are very clear. The mutton chops have thickened, he's grown a moustache and a beard possibly because this capture was taken during winter. He appears to be wearing a double layer of clothing underneath the belted waistcoat. At this close range, another facial feature becomes evident. His eyes do not align. One is turned, or one is not. He may have been in an accident, perhaps involving photochemicals, or developed a problem from excessive viewing of stereographs (which required crossing the eyes). Or it may be an effect from pinpricking of the eyes after printing, a common technique in early portraiture for light, or simply an effect of refraction from the camera lens as it caught his pose.

This stereograph (below) of a supine Thomas Nevin and friend on the Queen's Domain, Hobart was probably taken ca. 1868. By 1870, Thomas Nevin was producing commercial stereographs in large numbers, often travelling in the company of colleague and prolific stereographer Samuel Clifford.



The small bowler hat and patterned waistcoat are unmistakeable, so is the beard. Is this a supine "selfie" or was Thomas J. Nevin and his friend photographed with his own camera at the Queen's Domain (Hobart) by his brother Jack Nevin?





Stereograph by Thomas J. Nevin, ca. 1868-70
Self portrait (in hat) and male friend reclining on the Queen's Domain, Government House in distance.
Verso blank, inscription "Domain Hobart per G. T. Stilwell, Librarian, SLT."
Photos recto and verso copyright © KLW NFC Imprint 2014-2015
Taken at the Tasmanian Museum and Art Gallery, 10 November 2014
TMAG Ref: Q16826.3



Full-length standing portrait of Thomas J. Nevin with hat and table-top box stereoscopic viewer
Copyright © KLW NFC Imprint & Shelverton family private collection 2007 -2009 ARR

Thomas J. Nevin's impressive equipment is on show here. This full-length portrait was taken in his studio at the City Photographic Establishment, 140 Elizabeth St. Hobart Town, probably by his younger brother Jack (John) Nevin. Visible in this portrait is the familiar table with the griffin-shaped legs. On the table is a large box stereoscopic viewer with the stereograph holder open.

The variations of facial hair continue, this time Thomas has grown a denser set of mutton chops, shaved off the beard and kept the moustache. By 1868 he was contracted to the Lands and Survey Dept. His contractual agreement, which lasted 14 years, continued with the Office of Inspector of Police within the Municipal Police Office at the Hobart Town Hall when he was appointed Hall and Office keeper in 1876. This image was scanned from a copy pasted into his son George Nevin's scrapbook. .

"Self-portrait" shutters were not introduced until the early 1900s so this photograph, or indeed many taken in the 1860s-70s, cannot strictly be termed a "selfie". The supine pose in these outdoor photographs of the period, of men in particular, was due partly to the size, the focal length, width and aperture of stereo lens types available and partly because a standing rather than reclining figure in the foreground deflects the eye from a distant focal point, which in this example (above) of a supine Nevin was one carrying a salient message about Empire and Colonial stability, the new Government House (completed 1857). The invisible photographer was present in at least five extant photographs of Thomas J. Nevin in various poses and formats, held in family collections, and there may be several more in public collections waiting to be identified, such as this one first viewed at the Tasmanian Museum and Art Gallery, November 2014.

1871:
The full-length portrait of Thomas James Nevin with Elizabeth Rachel Day taken on July 12, 1871, has survived doodling and photochemical damage in decendants' collections. Now a married man and professional photographer, he managed two studios, one near the Nevin family farm at Kangaroo Valley, New Town, and one in the city at 140 Elizabeth St., Hobart:



Thomas Nevin and Elizabeth Rachel Day, July 12, 1871.
Wedding photograph, full-length carte-de-visite. Verso is blank.
Copyright © KLW NFC 2005-2009 ARR.

Thomas James Nevin married Elizabeth Rachel Day on July 12, 1871, at the Wesleyan Chapel, Kangaroo Valley, Hobart Tasmania, in his finest suit and top hat. This photograph shows his mutton chops are wispy again, suggesting he periodically shaved them off. He has kept the moustache, but reverted to the clean-shaven chin, and brushed the wavy hair straight back. The couple was photographed in his studio, The City Photographic Establishment, 140 Elizabeth Street, Hobart Town, possibly by his younger brother Jack Nevin (1852-1891). The verso is blank.



Thomas Nevin wedding group portrait 1871
Unmounted paper print
Copyright © KLW NFC Imprint Private Collection 2009

A clean-shaven chin, mutton chops and moustache were favoured by all the adults males in this group portrait of Elizabeth Rachel Day and Thomas J. Nevin, also taken at their wedding in 1871. The clean-shaven young man at extreme right, was Jack Nevin (by 1875, known as Constable John Nevin), Thomas' younger, barely 19 yrs old. This unmounted print was for private family viewing, and has survived, albeit badly damaged, in descendants' collections.

1873-1876:
This formal portrait printed in an oval buff mount was Thomas J. Nevin's business card. Now a young father and government contractor, this cdv accompanied his renewal of government contracts, and commercial circulars advertising his services and prices to private clients and patrons.



Photographer T. J. Nevin ca. 1873
Self-portrait in oval buff mount
Copyright © KLW NFC Imprint Private Collection 2005

This self-portrait of Thomas J. Nevin was printed and mounted as a standard commercial carte-de-visite. The same format was used by professional photographers commissioned to work for police and prisons in Victoria, South Australia and NSW from the late 1860s (eg. Frazer Crawford and Charles Nettleton). Thomas Nevin used the same oval mount format from 1872 to the 1880s for printing the final identification photos of Tasmanian prisoners to be pasted to the prisoner's record or rap sheet, a format which persisted into the 1890s at the Hobart Mayor's Court and Municipal Police Office when the prisoner was photographed on arraignment and discharge. Thomas J. Nevin was the government contractor for this work from 1872 at the Port Arthur prison, Tasman Peninsula and Hobart Gaol, Campbell Street, Hobart. His other contractual work with the Lands and Survey Department and the Hobart City Council was photographing damage from floods, mining operations, HCC personnel, and the Royal Mail coach operated by Samuel Page whose service included the carriage of prisoners into custody at the Hobart Gaol.

This portrait of Thomas J. Nevin was lightly tinted with rose on the cheeks. The mutton chops are gone, and the beard (which was red) is longer. The off-centre part and wavy hair recall the style of the early watercolour image ca 1859.



The verso carries the "T. Nevin late A. Bock" stamp with kangaroo design.

RELATED POSTS main weblog

• Key chronological events in Thomas J. Nevin's life 1842-1923
• The Nevin group portrait and wedding photo 1871
• Thomas and Elizabeth Nevin's Wedding Photographs 1871

Thomas J. Nevin, seated, facing camera, holding a stereoscopic viewer in white gloves
Carte-de-visite on buff mount. Verso is blank.
Copyright © KLW NFC Imprint 2009 Private Collection

NLA holdings of Thomas J. Nevin's "Convict portraits, Port Arthur 1874"

National Library of Australia collections & documents
The National Library of Australia has a long history of attribution to commercial and police photographer Thomas J. Nevin for their holdings of 84 Tasmanian "Convict portraits 1874". Information has been archived in these areas:

The Digital Collection displays 82 images (of 84) online;
The Pictorial Catalogue lists additional names and information; and
The Photographers' Files include accession details, correspondence, and worksheets.
The Picture Australia site has so far harvested 157 convict photographs from the NLA Collection and the Archives Office of Tasmania with Thomas J. Nevin's attribution.

1. NLA - Picture Australia 2010
Digital harvest 8th February 2010 (NLA and AOT, 157 images)



Digital harvest from the National Library of Australia’s Picture Australia service of photographs - i.e. mugshots - of Tasmanian prisoners catalogued as "convict portraits" taken by Thomas J. Nevin, Hobart, Tasmania between 1872-1886, held in public libraries: performed 8th February 2010. Webshots only.




2. NLA - Catalogue, April 2007



TRANSCRIPT

[Header] Nevin, Thomas J., 1842-ca. 1922.
Title: Convict portraits, Port Arthur, 1874 [picture] / Thomas J. Nevin.
Date: 1874.
Extent: 78 photographs on carte-de-visite mounts : albumen, some col. ; 9.3 x 5.7 cm.
Summary: 78 identification photographs of 70 Port Arthur convicts taken at about the time the settlement was closed. All are annotated on reverse with the subject's name, the ship they were transported on, and 'Taken at Port Arthur 1874'. The photographs bear Thomas Nevin's studio stamp.
Notes: P1029/56 - 62, 64-67 from the Gunson Collection.
Twenty-two portraits were exhibited: "In a New Light: Australian Photography 1850s-1930s";

Example of individual file: Charles Dawnes [sic - Downes]- see more below.



MISATTRIBUTION
These webshots taken in May 2007 of the National Library of Australia's holdings for 78 photographs of Tasmanian prisoners by photographer Thomas J. Nevin between 1872-1886 show correct attribution from accession records dating from 1982. A further six photographs were digitized in 2009. The reproduction online of the 22 photographs digitized for the exhibition "In A New Light", 2000 are better in quality than the more recent digitization of the remaining 60 or so in the NLA's collection. This later exhibition in 2000 was the first of the NLA's misattribution of the photographs to the non-photographer A.H. Boyd, a result of pressure brought to bear on Pictorial staff by Warwick Reeder (MA thesis ANU 1995) among others who had used Chris Long's "belief" in A. H. Boyd as "new evidence" without checking any of his sources; if they had bothered, they would have discovered that he had cited statements which were never made by those whose work he cited, eg. Margaret Glover.

The NLA persists with this misattribution to A.H. Boyd under pressure from an individual called Julia Clark seeking personal advantage over any other PhD student, school student, researcher, or member of the public. The current NLA catalogue ADVERTISES her name with this entry on every convict portrait, overkill indicative of the lack of any real evidence. The dead-end anomaly about A.H. Boyd was first noted on our weblogs in 2005. Clark has had five years to PROVE Boyd's attribution, which she hasn't. The wording here - "... considered more likely" is not evidence; it is evidence only of the lack of evidence. See this article on the PARASITIC ATTRIBUTION to A.H. Boyd and other articles dealing with this misattribution issue.

The catalogue states (as at May 2010):



TRANSCRIPT - webshot

Title
Charles Hayes, per Moffat, taken at Port Arthur, 1874 [picture].
Description
No photographer name or studio stamp appears on these photographs. Formerly attributed to Thomas J. Nevin, the portraits are now considered more likely to have been taken by A.H. Boyd. See: Julia Clark. A question of attribution: Port Arthur's convict portraits in Journal of Australian Colonial History, Vol 12, 2010, p77-97.; Part of collection: Convict portraits, Port Arthur, 1874.; Title from inscription on verso.; Inscription: "75 ; Charles Hayes, per Moffat [?], taken at Port Arthur, 1874"--In ink on verso.; Condition: Some foxing.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4506217.
Subject
Hayes, Charles -- Portraits.
Subject
Convicts -- Tasmania -- Port Arthur -- Portraits.
Publisher1874.
Image number
nla.pic-vn4506217
Contributor Boyd, A. H. (Aldolarius Humphrey), 1829-1891..

COMMENT
It is futile chasing Clark's anomalous vacuities to their inevitable dead-end regardless of the NLA cataloguist's personal opinions (and the petty politics which inform them). A.H. Boyd just happened to be the man in charge at the Port Arthur prison, sixty kms from Hobart, when some glass negatives supposedly arrived as cargo destined for government stores in 1873, although evidence suggests they did not arrive. It is simplistic in the extreme to assume that the men whose photographs survive were photographed with these same glass negatives, when glass negatives were imported by the thousand for use by local photographers from the 1860s and hundreds of photographs, original negatives and duplicates, of prisoners were in existence in Tasmania by 1874.

There is no factual connection between photography and A.H. Boyd who had no reputation in his lifetime as a photographer, no works by him are extant, and no documents exist that associate him personally with taking photographs of "convicts" at Port Arthur or with the Tasmanian Government's 19th century police photographic activities dating from Thomas J. Nevin's commission in 1872 and the introduction of the related legislation in NSW and Victoria by 1873. A. H. Boyd played no role in the creation of these police mugshots which the NLA insists on calling "Convict Portraits, Port Arthur 1874". The assumption that these men were photographed at the Port Arthur prison is fundamentally incorrect. They were photographed on arrest and incarceration at the Hobart Gaol and criminal trial in the adjoining Supreme Court. These men were recidivists and repeat offenders whose extensive criminal careers in the open prison of the island of Tasmania earned them a further sentence and a mugshot by Thomas J. Nevin working with police on a daily basis at the Hobart Gaol and Municipal Police Office located at the Town Hall.

The NLA acquired some of their collection from Dr Niel Gunson as archival estrays in the 1960s from the Sheriff's Office, Hobart Gaol and Benevolent Society (Dan Sprod papers NLA MS 2320 1.5.64 Missionary history), but most of their current holdings of Tasmanian prisoner photographs in T. J. Nevin's name were acquired ca. 1982 in an album from the QVMAG exhibition 1977, although the album was not accessioned until 1995, by which time the provenance was supposedly forgotten. The curator of the QVMAG exhibition (John McPhee 1977) of Thomas Nevin's prisoner photographs indicated that this album was sent first to the National Gallery of Victoria, and then forwarded to the NLA a year or so before 1984 (personal interview at NGA, 1984*). This album was still intact in 2001: the cdv's were still positioned in mounts on album leaves, witnessed by a visitor.*

Many of these Tasmanian prisoner mugshots (styled "convict portraits" in tourism discourse as the 20th century progressed) which are held at the National Library of Australia are copies of the same prisoner photographs held at the Queen Victoria Museum and Art Gallery, Launceston (QVMAG); the Tasmanian Museum and Art Gallery (TMAG), and the Archives Office of Tasmania (AOT) in Hobart. This simple fact underscores the extensive copying which has taken place since the mid 20th century, principally from the QVMAG collection: 1958, 1977, 1982, 1985, 1987 and most recently for a digital database.

Although the Nevin brothers - commercial photographer Thomas J. Nevin and Constable John Nevin - photographed at least 800 prisoners between 1872 and 1888, many of these mugshots were lost, destroyed or sold at private auction. The extant 300 in public collections, including 15 cdv's held in the Mitchell Collection, SLNSW, were selected or salvaged by John Watt Beattie ca. 1916 to sell to tourists from his Port Arthur convictaria museum located in Hobart. He selected only those prisoners whose sentences were severe enough to warrant a criminal sitting in the Supreme Court where the offender's apparent notoriety was the selling point. Beattie et al used documents such as the House of Assembly Report on Penal Discipline 1875 which listed the same names as those prisoners whose mugshots he chose to salvage in the name of tourism. They were not salvaged because they were an archive held at Port Arthur; they were never held at Port Arthur, nor taken there. In the majority of cases, Thomas J. Nevin photographed the prisoner once as a single capture in Hobart, produced prints from his original glass negatives at his city studio and later at studios in the Hobart Gaol and Municipal Police Office, and made at least four duplicates from his glass negative for circulation to other prisons and police in regional Tasmania, in addition to the copies needed to paste onto warrants, prisoner records sheets, and the central register photo books held in the MPO at the Hobart Town Hall.

Whether or not T. J. Nevin's stamp or handwriting appears on the verso of these photographs held at the NLA is not important unless you want to believe the indefensible Boyd furphy. Police photography has rarely been accredited, not even when a 19th century professional and commercial photographer was involved, as in Thomas Nevin's case in Tasmania, Frazer Crawford's in South Australia and Charles Nettleton's in Victoria. The documentation of Thomas Nevin's career is now extensive, and his photographic work, including 300 or so photographs of Tasmanian prisoners held in all other public and private collections, some of which bear his government contractor's studio stamp with the colonial warrant Royal Arms insignia (QVMAG, SLNSW), clearly attest to his employment both as a commercial photographer and civil servant under contract to the Hobart Municipal Police Office and Prisons Department for most of his working life (1864 -1886). Nevin's colonial Royal Arms warrant studio stamp, identical to the seal of the Hobart Supreme Court, was used to register joint copyright with the Customs and Patents Office and the Hobart City Corporation (one trade sample per batch of 100), to access his commission, and renew his contracts for 14 years after the first year on approval (1872-1886). Once he became a full-time civil servant with the HCC in 1876, the verso stamp on specimen mugshots for police and prison administration was unnecessary. His brother Constable John Nevin was his assistant at the Hobart Gaol for the later years of Thomas Nevin's service to the Municipal Police Office (1876-1886).

The NLA's accession records reveal how vague the NLA has been with regard to the provenance of their collection, and the meagre attention paid to accuracy, let alone veracity. First they asserted their these photographs of Tasmanian prisoners carried Thomas J. Nevin's stamp on the versos, now they say no photographer's stamp appears on the versos, as if police photographs are to be measured by the same standards as commercial art photography. Such expectations measure only the degree of ignorance of the staff in matters of attribution. A handful of the extant 300 mugshots do carry T. J. Nevin's government contractor studio stamp among those held in the Beattie collection, QVMAG, and Mitchell collection, SLNSW.

In addition to the digitised 82 convict portraits at the NLA by Thomas J. Nevin there are three more photographs in their collection taken by Nevin of prisoners William Lee, William Meagher and Charles Rosetta in the 1870s, incorrectly dated 1916. All three were pasted into an album created by Beattie and Searle, 1916, and have not been attributed to Nevin, although they should be, because these prisoners were well and truly dead by 1916.

The NLA has performed a batch edit on all 82 portraits currently online, with the misleading head entry "Convict portraits, Port Arthur, 1874." Not all photographs bear the copyist's and/or archivist's inscription on verso, "Taken at Port Arthur, 1874." The inscription was added in the 1890s-1900s when these images were copied as cdv's,  pasted to carboard wall mounts or arranged alphabetically by surname in albums for tourists to browse in search of their criminal forebears, and offered for sale at John Watt Beattie's "Port Arthur Museum" located in Murray St. Hobart. He also contributed copies to the travelling exhibitions of convictaria in the early 1900s on the fake convict hulk Success at Sydney, Adelaide and Hobart.



Recto and verso with carte insert
Incorrect information re place and date of capture
NLA collection of Tasmanian prisoner photographs by T. J. Nevin

This photograph (below) of prisoner John Edington is an example of the NLA's poor reproduction (recto) of the 50 recently Tasmanian digitised prisoner mugshots since May 2007, and of incorrect information re place and date of capture. The inscription on verso merely states that John Edington was a "native" - i.e. a local, and that his two-year sentence was for robbery. He was in fact 18 years old in 1881, and never sent to the Port Arthur prison, since it ceased operation altogether in 1877 and housed only paupers until then once the relocation of prisoners to the Hobart Gaol was begun in 1873 at the behest of Parliament.



NLA Catalogue - incorrect information re date and place of photograph
nla.pic-vn4269866
John Edington, native, robbery 2 years, taken at Port Arthur, 1874 [picture] 1874.
1 photograph on carte-de-visite mount : albumen ; 9.4 x 5.6 cm. on mount 10.5 x 6.3 cm.



John Eddington, aged 18 yrs, his trade listed as a butcher, was convicted on July 2, 1881 for larceny and sentenced to 14 days at the Hobart Gaol. One year later, John Eddington, aged 19, was arraigned at the Supreme Court Hobart and sentenced to two years for assault and robbery. His alias was John Counsel, or Evans. He was photographed by Constable John Nevin on incarceration.

3. NLA - Photographers' Files



Webshot of Thomas Nevin's ephemera file containing accession sheets, work sheets, correspondence, and newspaper articles, included in the Photographers Files, held at the National Library of Australia.


4. NLA - Pictorial Lists
Catalogue entry (2003)
Nevin, Thomas J., 1842 – ca.1922  [sic-1923]
Convict portraits, Port Arthur, 1874




Link: https://pandora.nla.gov.au/pan/21336/20031011-0000/www.nla.gov.au/pict/list/nevin.html



Accession Nos.: P1029/1-55 AN11590418
* Indicates portraits also held in Archives Office of Tasmania

Accession number: convict's name:
P1029/1 William Adams
P1029/2 William Baker*
P1029/3 George Brown
P1029/4 James Calhaun
P1029/5 James Conlaw
P1029/6 Charles Dawnes* [sic -Downes]
P1029/7 Dennis Dogherty
P1029/8 John Doran
P1029/9 John Edington
P1029/10 George Fisher
P1029/11 John Fitzpatrick
P1029/12 James Foley*
P1029/13 William Forster*
P1029/14 Thomas Francis
P1029/15 John Funt
P1029/16 James Gearey [sic - Geary]
P1029/17a Michael Gilmore
P1029/17b Michael Gilmore
P1029/18 Michael Gilmore
P1029/19 Francis Gregson
P1029/20a John Gregson
P1029/20b John Gregson
P1029/21 Thomas Griffin
P1029/22 George Grawsett (missing) [sic Growsett]
P1029/23 James Harper
P1029/24 William Harrison*
P1029/25 William Hall
P1029/26a Walter Johnson
P1029/26b Walter Johnson
P1029/27a James Jones
P1029/27b James Jones
P1029/28 John Jones
P1029/29 Peter Killern [sic - Killeen]
P1029/30 Thomas Kelly*
P1029/31 Duncan McDonald
P1029/32 Luke Marshall
P1029/33 John Merchant*
P1029/34a Thomas Molineaux
P1029/34b Thomas Molineaux
P1029/35 John Moran
P1029/36 John F. Morris
P1029/37 William Mumford
P1029/38a John Murphy
P1029/38b John Murphy
P1029/39 Henry Page*
P1029/40 William Price
P1029/41 Thomas Reilly
P1029/42 Henry Singleton*
P1029/43 Sutherland
P1029/44 John Toomey
P1029/45 William Walker*
P1029/46 Charles Ward
P1029/47 John White
P1029/48 Henry Williams
P1029/49 John Williams (missing card and original pic)
P1029/50 George Wilson
P1029/51 John Appleby
P1029/52 Ephraim Booth
P1029/53 William Cambell [sic - Campbell aka Job Smith]
P1029/54 William Woodley
P1029/55 James Wynn

Gunson collection accession nos: P1029/ 56-62
Accession Nos: Convict’s Name:
P1029/56 Thomas Cahill
P1029/57 Samuel Evans (No neg)
P1029/58 John Finlay [or Finelly(sic)]
P1029/59 George Johnson
P1029/60 John Morrison
P1029/61 James Thomas
P1029/62 William Yeomans
P1029/63 Johns Williams

See detailed records of these prisoners here Prisoner Pictures.


5. NLA - Catalogue 2005.























NB: this was an early post in our research from 2007- 8. Much more factual documentation has been sourced for later posts using recently digitized archival holdings. Please consult the latest posts here on this subject of the NLA's misattribution to A. H. Boyd of mugshots correctly attributed to T. J. Nevin (updated May 2024).

RELATED POSTS main weblog (and later)

• The QVMAG, the NLA, Chris Long, and A.H. Boyd
• NLA 'native' convict 1874 with no attribution 
• Prisoner James CONLAW i.e. CONLAN
• Prisoner John FINLAY or FINELLY
• Prisoner Michael GILMORE and the NLA