First- born child May Nevin and her China trade soapstone vase/brush washer

May Nevin (1872-1955)
Mary Florence Elizabeth Nevin (1872-1955) known as May Nevin, was born a fortnight before the great Glenorchy landslip which destroyed houses, farms, businesses and streets and tore boulders and vegetation from the slopes of Mount Wellington. She was born on 19th May 1872 and died to the day exactly 83 yrs later on the anniversary of the great landslip, on 4th June 1955. She was the first child born to Elizabeth Rachel Day and Thomas James Nevin who were married at the Wesleyan Chapel, Kangaroo Valley (Hobart) on July 12, 1871. May was born at Thomas Nevin's studio, The City Photographic Establishment, 140 Elizabeth Street, Hobart. She died in 1955 and was buried within the denomination of the Church of England at the Cornelian Bay cemetery.



May Nevin's soapstone vase/brush washer
Photo © KLW NFC Imprint Private Collection ARR 2003-2025

May was the child who witnessed the expansion of her father's commercial studio practice in the early 1870s to include his commissions with the Hobart City Council's Lands and Survey Department and the Hobart Municipal Police Office working in prisons. She was the child whose father was also a police photographer and whose uncle Jack (John Nevin jnr) was a Constable at the Cascades and Hobart Gaols. Her education was significantly enhanced by ready access to the world's newspapers and books held in the Public Library, housed within the Hobart Town Hall, when her parents took up residency there on her father's appointment to the civil service as Hall and Office Keeper in 1876.

In a sense, May Nevin was the beneficiary of her grandparents' military and merchant navy careers. Her maternal grandfather master mariner Captain James Day served in Australian and international waters for many years from the 1830s until his death in 1882. Her paternal grandfather John Nevin snr served in the Royal Scots from 1825-1841 in the West Indies and at the Canadian Rebellions. He arrived at Hobart as warden of Parkhurst boys on the Fairlie 1852 with his wife Mary Ann nee Dickson and four children under 12 years -  Thomas James Nevin, Jack (William John Nevin), Rebecca Jane Nevin and Mary Ann Nevin. 

May Nevin also inherited her parents' cultural interests and memorabilia. She lived long enough to witness the trajectory of her father's career from young photographer to police agent to civil servant to horse trainer, and saw as well the arrival of six more of her siblings. She saw the arrival of her siblings' children who knew her as Great Aunt May, and saw the arrival of their children in turn, who knew her as Great Great Aunt May. In 1955, her wake was held in the big house at the property 23-29 Newdegate Street, North Hobart, where her siblings George, William, and Albert also had resided from the 1920s, soon after their father Thomas' death in 1923. The house contained many beautiful objects and furniture pieces dating from the mid 19th century, including the China trade soapstone vase/brush pot (pictured below). Her wake in the big house was attended by the grand daughters of her siblings Minnie Drew nee Nevin, her youngest sister (1884-1974) and her youngest brother Albert Nevin who died in the same year (1888-1955. The longest survivor of all of May's siblings was Minnie Drew, born Mary Ann Nevin in 1884. Minnie Drew died in 1974, aged 90 yrs. See this article for photographs and details of her siblings, children of Elizabeth Rachel Nevin nee Day and photographer Thomas J. Nevin.

May Nevin never married. She inherited her looks from her father's side of the family rather than from her mother's side (tall and thin, the "cornstalk" look). Rumours were that she was a cross-dresser, but that might have been an occupational hazard. Her occupation on the Denison electoral rolls in 1905 was listed as "dressmaker". The "fur" jacket her young sister Minnie is wearing in this photograph, and which May is wearing in the two photographs below, one in her old age, the other with her Axup cousins, was probably her own creation from rabbit fur. It was passed down the female line too, but was tossed out in the 1960s, unlike the soapstone vase/brush washer.

Axup family cousins
May Nevin's closest friends were her cousins, the Axups. They were the daughters and sons of Mary Sophia Day, her mother's sister who married mariner Hector Axup in 1878 at the Wesleyan Chapel, Kangaroo Valley, Tasmania. A few photographs of May Nevin survive, held in the Shelverton Collection, the Axup-Davis Collection, and the private collections of Albert Nevin's descendants.

This photograph (below) shows Thomas and Elizabeth's youngest daughter, Minnie Drew nee Nevin on left (b. 1884, so she would have been 55 yrs old here ), and their eldest daughter May Nevin on right (b.1872, so she would have 67 yrs old here) - a difference of twelve years separated their births. Their cousin Eva Baldwin nee Axup second from right was six years younger than May Nevin (b. 1878, so she would have been 61 yrs old here) and six years older than Minnie Nevin. Their aunt Mary Sophia Axup was born in 1853 and died in 1942, a few years after this photograph was taken. She would have been 86 yrs old on this occasion, which was possibly the wedding of Eva Baldwin's daughter Ella to Glynn Davis (1939). The Nevin sisters, who would have attended the wedding, posed here with their cousin Eva Baldwin and "Aunt Axup" as she was known, at the railway station on their way back to Hobart from Launceston.



From left to right:
Minnie Drew (born Mary Ann Nevin 1884), youngest daughter of Thomas and Elizabeth (Day) Nevin
Mary Sophia Axup (born Mary Sophia Day 1853), younger sister of Elizabeth Rachel (Day)
Eva Baldwin( born Eva Axup 1878), daughter of Mary Sophia (Day) Axup
May Nevin (b. Mary Florence Elizabeth 1872), eldest daughter of Thomas and Elizabeth (Day) Nevin
Copyright © KLW NFC Private Collections 2009 ARR.



[Above]: May (Mary Florence Elizabeth ) NEVIN (1872-1955), ca. 1952
Copyright © KLW NFC Imprint Private Collection 2005 ARR.




[Above]:Mary Florence Elizabeth Nevin, known as May Nevin, second from right in fur coat.
From left: Mary Sophia Axup's son Sidney Axup; behind him is his wife Emily Axup nee Tyson; in front of her is Sidney's mother Mary Sophia Axup nee Day; next in the fur is Mary Sophia Axup's niece May Nevin, (Thomas and Elizabeth Nevin's eldest daughter),and extreme right is Eva Baldwin nee Axup, Mary Sophia Axup's eldest daughter
Taken on the steps of St. John's 15.07.1939 at the wedding of Ella Baldwin to Glynn (David) Davis.
Copyright © Private Collections of Davis and Axup descendants 2007 ARR



[Above]: Webshot with photo insert:
Burial record for May Florence Elizabeth Nevin 4 June 1955
Southern Cemeteries Cornelian Bay Tasmania

Two soapstone vase/brush washers
This beautifully carved soapstone vase/brush washer depicting a tranquil mountain landscape was passed down from Elizabeth Rachel Nevin nee Day to her eldest daughter May Nevin, who died in Hobart in 1955. From May's estate it was passed on to her youngest brother Albert Nevin, who also died in 1955. It was then passed on from Albert Nevin's wife Emily Nevin nee Davis who died in 1971. From her estate it was passed on to one of Albert and Emily's daughters, who passed it on to her daughter - the present owner and great grand daughter of the original owner (now held in the ©  KLW NFC Group Private Collection).

The vase/brush washer's provenance may have been a gift from Elizabeth Nevin's father, master mariner Captain James Day, on one of his voyages between 1830 and 1880, or even from her uncle Captain Edward Goldsmith. A very similar vase is held by John Davis and the descendants of Mary Sophia Axup nee Day, Captain James Day's younger daughter. Both daughters - Mary Sophia Day and Elizabeth Rachel Day - were named as legatees in Captain Edward Goldsmith's will of 1869.



19th century China trade soapstone vase/brush washer
Provenance by descent from the collection of Elizabeth Rachel (Day) Nevin (1847-1914)
Photography and vase copyright © KLW NFC Imprint Private Collection.
NB: These images are watermarked 2015.



Back of 19th century China trade soapstone vase/brush washer
Provenance by descent from the collection of Elizabeth Rachel (Day) Nevin (1847-1914)
Photography and vase copyright © KLW NFC Imprint Private Collection.
NB: These images are watermarked 2015.

Mary Sophia's vase/brush washer was carved from a smaller chunk of stone than her sister's. Each is unique though similar in conception and execution. The motifs are identical, although the watchtower/pagoda at top right on the larger vase is missing on this smaller one. Both feature hanging willows, trees in blossom, shady bamboo, tea houses perched precariously on paths at the edge of steep cliffs, a cloudy sky, and two separate self-contained pots carved deep into the chunk of stone, leaving the centre void except for the lattice between them. This stone is also light grey overall, but unlike the larger vase which has streaks of pink and dark grey, this one is shot through with pink and bright blue streaks which the carver expertly used to fashion into the theme's motifs as the edges of paths, the tops of trees, and clouds.



19th century China trade soapstone vase/brush washer
Provenance by descent from the collection of Mary Sophia (Day) Axup (1853-1942)
Photography and vase © John Davis Private Collection 2017
Copyright © KLW NFC Imprint 2017

These companion vases/brush washers may have arrived in Tasmania aboard a barque such as the Lufra which was built in 1870 for the China trade and bought by Captain Alexander McGregor in 1874. The barque "plied the Hobart-London route for 23 years, her [its] fastest trip lasting only 79 days" according to Dan Sprod, Victorian and Edwardian Hobart From Old Photographs, (1977 Ferguson).



State Library of Tasmania
Title: Clipper ship “Lufra,” 672 tons
Creator: Baily, Henry Hall, fl.1865-1880
Title: printed below image., Mounted size 31 x 38 cm.,
Notes: Believed to have been photographed by H.H. Bailey., Built in 1870 by McGregors Shipyard ; re-rigged as a barque in 1874 ; sold 1887 to L. Castellano of Naples ; broken up in 1905.
Location: W.L. Crowther Library, State Library of Tasmania

RELATED POSTS main weblog

Cartes-de-visite photographs of convicts by Nettleton and Nevin

Charles Nettleton's Patents (Victoria)





National Archives of Australia Ref: A2388
Registers of Proprietors of Paintings, Photographs, Works of Art and Sculpture

Charles Nettleton’s government commission to take photographs of the Benevolent Asylum, 
National Museum, the Royal Mint (1873) etc
Photography © KLW NFC 2008 ARR

PATENTS REGISTRATION
The numbers appearing on these cartes-de-visite (below) taken by commissioned prison photographers Charles Nettleton (Victoria) and Thomas [T.J.] Nevin (Tasmania) are the copyright registration numbers. Where Nevin's original 1870s glass negative has been reproduced by copyists such as John Watt Beattie and Edward Searle in the 1910s, the number written on the prints from the glass negative pertains to their claim of patent. In some instances, the same number was used by archivists when numbering copies at the holding institutions, eg. the QVMAG, to circulate to other institutions such as the NLA in the 1960s and 1980s. James Geary's carte is an example, below.

Charles Nettleton's vignette of the convict Lowry bears the verso inscription The convict 'Lowry'. The copyright was registered in 1870, and the photograph received the number "190" handwritten on the recto inside the copyright stamp, a practice which continued in Victoria until 1873.

In Tasmania, Thomas Nevin's vignettes of prisoners were registered with his government insignia trademark at the Customs House, which housed the Office of the Registrar of Patents, now at the Archives Office of Tasmania Series RGD9/1/1, RGD12, from 1859-1904.



Webshot: Office of the Registrar of Patents (AOT)



State Library of Victoria
"H96.160/1584, a vignette bust portrait.
He [Lowry] wears a shirt and unbuttoned jacket, and has a moustache."
State Library of Victoria
Nettleton, Charles, 1826-1902, photographer.
Title: The convict ’Lowry’ [picture] / Charles Nettleton.
Accession number(s): H96.160/1584
Date(s) of creation: 1870.
Medium: photograph : albumen silver ;
Dimensions:10 x 6 cm.
Collection: Victorian Patents Office Copyright Collection
Notes: Title inscribed on verso.
Date of copyright registration ascertained from Victorian Patents Office Copyright Collection (VPOCC) Index: Aug. 6 1870.
VPOCC registration number inscribed on item l.c. & l.r.: 189 & 190.
Registered by Frederick Secretair, Russell Street, Melbourne.
Original Picture Collection location number: Env. 24, no. 39 & 40.
Source/Donor: Transferred from The Victorian Patents Office to the Melbourne Public Library 1908. The files which now comprise the Victorian Patents Office Copyright Collection were begun by the Victorian Patents Office in 1870. In order to register copyright, a copy of the photograph, print or illustration was lodged with the Victorian Patents Office at the Melbourne Town Hall. A number was assigned and the photographs were mounted in scrapbooks. The photographs were stamped with the date of registration but this ceased in 1873. The original registers are now in the National Archives of Australia. The Picture Collection holds photocopies of these registers. The registers or indexes contain the following information: Date of registration, name and address of proprietor or author, description of the work and date of first publication. Images were registered from 1870 until 1906. The collection was transferred to the Melbourne Public Library in 1908."


Tasmanian convict photographs by T. J. Nevin



NLA Catalogue [incorrect information]
Title James Gearey, native, taken at Port Arthur, 1874 [picture]
Date1874. Extent 1 photograph on carte-de-visite mount : albumen ; 9.4 x 5.6 cm.
Incription on reverse "149" , Pictorial: P1029/16,
NEVIN, Thomas J. 1842-1923, photographer

Thomas [T.J.] Nevin photographed James Geary (the NLA has mispelt his name) no earlier than the 20th February, 1874 on the occasion of Geary's discharge from the Hobart Gaol where he was incarcerated for escaping from the House of Corrections, and no later than his arrest, recorded in the police gazette for the week of 13th November, 1874. He was listed as "Free" when arraigned for horse-stealing in the Supreme Court, Hobart on 1st December, 1874. Mr Superintendent Richard Propsting, Nevin's supervisor at the Town Hall's Municipal Police Office, recovered the stolen horse etc.

POLICE GAZETTE RECORDS



James Geary absconded from the Hobart Commissariat Stores, police gazette notice of 22nd April 1870. He was serving a sentence of 6 yrs for cattle-stealing, tried 7th July 1868, Hobart.



James Geary was arrested by Sub-Inspector Dorsett, 20 May 1870. Thomas Nevin often accompanied Sub-Inspector Dorsett as assistant bailiff, a service he continued through to 1886.



Geary was photographed by Nevin on being discharged from the Police Office on 20th February 1874.



But Geary reoffended. Warrant for his arrest issued on 6th November 1874



Geary was arrested again on 13th November, 1874, Supt Propsting etc



Geary was arraigned and photographed again by Nevin at the Hobart Supreme Court on 1st December, 1874.

A reproduction of the carte by government photographer John Watt Beattie in the early 1900s for his trade in convictaria at his Hobart museum included the inscription verso "Taken at Port Arthur, 1874" which was the Edwardian equivalent of a batch edit, applied regardless of the actual time and place of original photographic capture. The details that this convict was "native" (a local offender), as well as the patent number assigned to Beattie, were transcribed from the patents registrar, and not from the prisoner's record sheet or police documents which bore an entirely different set of numbers.

The 1870s originals were intended to be pasted to the prisoner's record sheet. A similar photograph (unattributed) of convict George Miller dated 1881 is held in the State Archives of NSW. All three of these vignettes were produced within the conventions of commercial studio portraiture typical of 1870s prison photography in Australia when professional photographers were contracted under tender: the use of albumen, an oval frame, a darkened background in many instances, and the subject posed with sight lines to either semi-left or semi- right of frame. Very few absolute profile photographs were taken by these 1870s photographers, a feature of later prison photography influenced by the Bertillon method. See also this entry “Prison photographers Nettleton, Nevin and Crawford” for the vignette of Ned Kelly attributed to Nettleton, and for Frazer Crawford’s account of his methods used to photograph prisoners in South Australia in 1867.



Gaol Photograph of George Miller [NRS 2138 Vol. 3/6044 Photo No. 2688 p. 219]
Unattributed photo: NSW State Archives