Executed at the Hobart Gaol: death warrants and photographs 1883-84

DEATH WARRANTS Tasmania Supreme Court 1883-1884
EXECUTIONS at the Hobart Gaol, Tasmania 1880s
T. J. NEVIN POLICE MUGSHOTS hand tinted cdvs

The prisoner photographs
This carte-de-visite in an oval mount is a booking shot of Henry Stock still wearing his fine street clothes. It was taken by government contractor T. J. Nevin when Stock was incarcerated at the Hobart Gaol in July 1883. Even as late as the mid 1880s, Thomas Nevin, assisted by his brother Constable John Nevin who was armed in sessions involving violent prisoners, continued to compose and print mugshots of prisoners for police and prison records within the conventions and techniques of 1870s commercial studio portraiture. This cdv may have been taken soon after Henry Stock's arraignment at the Supreme Court, Hobart, 24 July 1883, charged with forgery, and reprised a year later to accompany his death warrant when he was arrested for the murder of his wife in September 1884. Bequeathed from collector David Scott Mitchell's estate in 1907, both the photograph and death warrant were certainly the property of the Tasmanian government when collated in Volume 2, Tasmania Supreme Court Death warrants and related papers, 1818-1884 (C 203), held at the State Library of NSW.



Henry Stock: carte-de-visite photograph by T. J. Nevin in buff mount pasted opposite death warrant dated 13 September 1884
Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library C203.
Photos copyright © KLW NFC Imprint 2009

Thomas Nevin photographed James Sutherland immediately prior to his execution on 4th June, 1883 at the Hobart Gaol. The carte was hand-tinted in a similar fashion to the cdv mugshots taken by Thomas Nevin of prisoners Bramall aka Johnstone and Job Smith aka Campbell, held at the National Library of Australia and the Tasmanian Museum and Art Gallery. The colouring of these mugshots served two purposes: to render a more accurate image reflective of reality, i.e. blue for blue eyes, blue for the prison issue scarf, especially when the man was wanted on warrant; and to profit from the sale of the hanged man's image to the press and the public. These were called "ornaments of colour", a term used in reference to Thomas Nevin's tinting of prisoner photographs in the Mercury newspaper's account of Nevin's incident with the "ghost" (December 4, 1880).



Detail: hand-tinting on photograph by T. J. Nevin of James Sutherland, June 1883
Carte-de-visite in buff mount pasted on page opposite of Sutherland's death warrant
Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library C203.
Photos copyright © KLW NFC Imprint 2009

The death warrants



Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library SLNSW C203.
Photo copyright © KLW NFC Imprint 2009

Catalogue Notes: State Library of NSW

Tasmania. Supreme Court - Death warrants and related papers, 1818-1884
Creator: Tasmania. Supreme Court
Call Number: C 202 - C 203
Date: 1818 - 1884
Contents: 1818-1884; Death warrants for the execution of prisoners in Tasmania; with related papers including receipts for bodies received at hospitals, orders for sentences to be commuted to penal servitude for life, and for transportation to Macquarie Harbour. There are two photographs in volume 2 (C 203) which may be of James Sutherland in 1883 and Henry Stock in 1884. (Call No.: ML C 202 - C 203) Arrangement: The warrants and papers are not in chronological order within the two volumes; volume 1 contains documents dated between 1818-1855 and volume 2 between 1827-1884.
Source: Mitchell Bequest, 1907. State Library of NSW, Sydney.

Death Warrant for Henry Stock



Henry Stock: carte-de-visite photograph in buff mount pasted opposite death warrant, 13 September 1884
Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library Z/C203.
Photos copyright © KLW NFC Imprint 2009

TRANSCRIPT

To the SHERIFF of Tasmania and to the Keeper of Her Majesty's Gaol at Hobart in Tasmania, jointly and severally.
Whereas at a Session of Oyer and Terminer and General Gaol Delivery of the Supreme Court of Tasmania holden at Hobart in Tasmania aforesaid on Thursday the Twenty third day of September instant Henry Stock was convicted before me of the murder of Elizabeth Stock and thereupon for that Offence received Sentence to be hanged by the neck until he should be dead - NOW IT IS HEREBY ORDERED that executing of the said Sentence be accordingly made and done upon the said Henry Stock on Monday the Thirteenth day of October next at the usual Hour and Place of Execution, and that his body when dead be buried privately by the Sheriff.
Given under my Hand and Seal at Hobart in Tasmania aforesaid this Thirteenth day of September in the year of our Lord One thousand eight hundred and eighty four.
[signed by W. L. Dobson and stamped with the Royal Arms colonial seal ]

John Swan Sheriff, 10 October 1884: his authorisation for the execution of prisoner Henry Stock.
Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library Z/C203.
Photo copyright © KLW NFC Imprint 2009

TRANSCRIPT

To all to whom those present shall come Greeting. I John Swan of Hobart in Tasmania Esquire, Sheriff of Tasmania and its Dependencies hereby appoint, authorize depute Philip Samuel Seager of Hobart aforesaid Gentleman for me and in my stead to execute on the Thirteenth day of October instant the sentence of the Law passed on the prisoner Henry Stock at the last Session of Oyer and Terminer and General Gaol Delivery held at Hobart aforesaid before the Honorable William Lambert Dobson Acting Chief Justice of the Supreme Court of Tasmania aforesaid, and to do and execute and perform all things that may be necessary in or about the premises.
Given under my hand and Seal of Office this Tenth day of October One thousand eight hundred and eighty four. John Swan Sheriff.
[signed by John Swan and stamped with the Royal Arms colonial seal]

The use of the word "execute" in this warrant, given the circumstances, is misleading. At a glance, it might appear that Sheriff John Swan was authorising his deputy Philip Samuel Seager to perform the hangman's duty, to carry out the actual execution of the prisoner. His use of the word "execute" twice in this document, though unfortunate given the context, is correct idiomatic English, meaning to put a plan or order into action. John Swan had only deputised Seager to carry out the order - to "execute ... the sentence of the law", and to "to execute and perform all things that may be necessary in or about the premises" in preparation for the execution of Henry Stock; the actual hangman for this and several other executions at the Hobart Gaol was the socially shunned Solomon Bray (Breay, var. spelling of father's name). He pinioned the prisoner. i.e. tied his hands and legs with leather straps, according to this summary from the Daily Telegraph (Launceston):

EXECUTION OF STOCK. The execution of Henry Stock, who was convicted at the last Criminal Sessions of the murder of his wife and child, took place at 8 o'clock this morning, in the presence of Messrs. Seager, the Deputy Sheriff; Quodling, the Governor of the Gaol ; Hedberg, Sub Inspector of the Territorial Police ; Smith, the Under Gaoler : Rev. Geo. W. Shoobridge, Chaplain to the Gaol ; Rev. T. M. O'Callaghan ; the members of the Press, and the gaol officials. On Mr Seager asking Stock whether he had anything to say, he replied, 'All I have to say is that I am innocent.' When asked whether he had any message he would like taken to anybody, he replied ' .No.' He was then pinioned by Solomon Blay, and he followed Mr Shoobridge to the drop. The condemned man appeared somewhat faint, but his step was firm, and he walked on to the platform bravely and exhibited no signs of breaking down. In his right hand he carried a little bunch of flowers with the following text attached : ' He shall speak peace unto the heathen.' He then mounted the platform, the white cap was placed over his head, the bolt drawn, and the unfortunate man launched into eternity. The operation took over three minutes, Mr Shoobridge continuing the prayer during the whole time. Whilst in gaol Stock was respectful to all the officials. Up to the time of his death he made no confession. On Sunday night his rest was partially disturbed, but this morning he eat [sic - ate] a hearty breakfast of fish. The body was cut down after an hour's time and examined by Dr. Turnley, who pronounced the body to be dead. His remains were conveyed at 11 o'clock to Cornelian Bay. Mr A. J. Taylor took cast of his head.

Execution of Stock. Daily Telegraph (Launceston, Tas. : 1883 - 1928), Tuesday 14 October 1884, page 2

Death Warrant for James Sutherland



Death warrant and photograph of James Sutherland
Mitchell Library SLNSW Vol 2, C203
Photo copyright © KLW NFC Imprint 2009

TRANSCRIPT

To the SHERIFF of Tasmania and to the Keeper of her Majesty's Gaol at Hobarton jointly and severally.
Whereas at a Session of Oyer and Terminer and General Gaol Delivery of the Supreme Court of Tasmania holden at Hobart in Tasmania aforesaid on Tuesday the fifteenth day of May James Sutherland was convicted before the [blank] of the murder of William Wilson and thereupon for that Offence received Sentence to be hanged by the neck until he should be dead - NOW IT IS ORDERED that execution of the said Sentence be accordingly made and done upon the said James Sutherland on Monday the fourth day of June at the Usual Hour and Place of Execution and that his body when dead be buried privately by the Sheriff -
Given under my Hand and Seal at - Hobart in Tasmania aforesaid this twenty third day of May in the year of Our Lord One thousand eight hundred and eighty three.
[Signature of Francis Smith CJ (Chief Justice) and black seal of Royal Arms colonial warrant].

Justice Sir Francis Smith's and the Deputy Sheriff Philip S. Seager's signed confirmation of Sutherland's execution.
Death Warrants V.D.L. Tasmania Supreme Court. Mitchell Library SLNSW C203
Photo copyright © KLW NFC Imprint 2009

Press report of the execution

Launceston Examiner (Tas. : 1842 - 1899), Tuesday 5 June 1883, page 3

THE LAST SCENE IN THE EPPING TRAGEDY. (BY ELECTRIC TELEGRAPH.) HOBART, June 4. The prisoners James Sutherland and James Ogden, convicted of the murder of William Wilson and Alfred Holman at Epping Forest in April last, were executed this morning at the Campbell-street Gaol. The Rev. J. C. Mace had been with Sutherland from early morn, and the Rev. G. W. Shoobridge with Ogden. Neither of the prisoners had slept dur-ing the night, saying that they would see as much as they could of the world that was so soon to be left, and both softened in their demeanour during the night. This morning Sutherland requested Mr. Mace to send to Mrs. Wilson and Mrs. Holman and ask them to forgive him, and he also spoke bitterly of the treatment he had received during his lifetime, saying the world had not been a pleasant one to him, that he had had no parents to look after him, but had been kicked about by those who got as much work as possible out of him without caring in the least about him. He also said he had thought a good deal more about his position than people had given him credit for. Both prisoners seemed to realise their position. Only three spectators, exclusive of the officials, police, and representatives of the Press, were present at the final scene this morning. Before leaving their cells both prisoners were asked by the Deputy Sheriff, Mr. Seager, if they had anything to say, but both replied in the negative. There was little change in the appearance of Sutherland, but Ogden's features were heavy and swollen. At 8.5 a.m. they left their cells, after having been pinioned by Solomon Blay, the hangman ; and preceded by the Rev. Mr. Shoobridge, reading a portion of the Church of England burial service, both men walked calmly along the bridge leading to the scaffold, Sutherland's step being as firm as ordinarily, while Ogden, who carried in his right hand a bunch of flowers sent to him through the Rev. Mr. Shoobridge by a little girl attending Trinity Church Sunday-school, trembled violently, but otherwise made no sign. When the hangman placed the noose round Sutherland's neck he pulled himself together, never flinching, Ogden also keeping firm, and the muscles of neither of their faces moved as the fatal cap was drawn over their heads. The bolt was drawn at 8.10 a.m., and side by side the unfortunate lads were launched into eternity. Standing on the scaffold they looked more boyish than ever, making it difficult to believe them the perpetrators of the deeds for which they justly suffered death. Mrs. Ogden states that it was reading the history of the Kelly gang caused the boys to commit these crimes. After hanging an hour the bodies were out down, the little bouquet sent to Ogden being found tightly clenched in his hand, and Dr. Graham certified that both were dead. Casts of their heads were then taken by Mr. A. J. Taylor, and at 12.30 p.m. the bodies were placed in a hearse by Mr. W. F. Potterd, the Government contracting undertaker, and conveyed to the Cornelian Bay Cemetery, where they were interred by the gaol officials without any religious ceremony. The execution of these two prisoners makes over a hundred persons executed by Solomon Blay. The last execution at Hobart was that of Richard Copping, for murder at Sorell, on 21st October, 1878.

Librarian and collector Andrew Taylor took casts of heads for inclusion in his private museum. Solomon Blay was the hangman who was universally shunned by Hobart society. Both men repeated these actions a year later when Henry Stock was hanged for the murder of his wife and her child.

The black seal attached to these Supreme Court of Tasmania warrants is the Royal Arms insignia used by the colonial government on all their judicial documents. It was also designated for use as Thomas J. Nevin's government contractor studio stamp which was printed on the versos of prisoner photographs (one per batch of 100 was submitted for his commission while still operating as a commercial photographer), and on the versos of photographs taken of government officials and their families. For more detail on Sutherland's crime, see this article on this site: Execution of Sutherland and Ogden

RELATED POSTS main weblog

• John Nevin at inquest for James Thornton 1889
• Two mugshots of convict Hugh COHEN or Cowen/Cowan 1878
• Prisoner Richard COPPING and Hobart Gaol executions
• Prisoner Robert aka James OGDEN, photographed by T. J. Nevin 1875
• Two histories, two inscriptions: Tasmanian prisoners 1874
• Nevin's mugshots: the transitional pose and frame
• Execution of Sutherland and Ogden, Hobart Gaol 1883

Margaret Glover and the fabrication of photohistory

THE "PORT ARTHUR" EXPERIMENTS
CHILDREN'S FICTION cited as factual document
NO PHOTOGRAPHS of prisoners or anyone else exist by A. H. BOYD
PRISONER PHOTOGRAPHS by THOMAS J. NEVIN 1870s

The true origins of the photographic misattribution to non-photographer and Port Arthur official A. H. Boyd of Thomas J. Nevin's police mugshots of Tasmanian prisoners taken in the 1870s-1880s lies with a reference to the art historian Margaret Glover's article "Some Port Arthur Experiments" (1979) by Chris Long and/or Warwick Reeder (1995).

In 1979, Margaret Glover published an article about Port Arthur titled Some Port Arthur Experiments (In: T.H.R.A. Papers and Proceedings, vol. 26 no. 4, Dec. 1979, pp. 132-143).

The article deals with plants and animals and steam engines and the tenure of Commandant James Boyd (during the years 1853-1871). No mention is made of his successor Commandant A. H. Boyd, no mention is made of prison photography, and no mention is made in this article of A. H. Boyd's niece E.M. Hall, nor is her children's story, "The Young Explorer" (1931/1942).

Read the article by Margaret Glover (1-8)









Yet this same article by Glover and this same children's story by E.M. Hall have been cited since the 1980s by Chris Long as evidence that A.H. Boyd not only had his own photographic studio but photographed prisoners at Port Arthur in 1873 or was it 1874? Those who believe this "belief" cannot quite settle on the date - because it did not happen!

The unpublished children's "tale" in typescript form was written by Edith Mary Hall nee Giblin, a daughter of Attorney-General W.R. Giblin and niece of A.H. Boyd. It is fiction, but more than a few gullible minds believe it purports to be an account of Edith Mary's childhood visits to Port Arthur. Born in 1868, Edith Mary Hall nee Giblin, would have been no more than five years old when her uncle A. H. Boyd vacated the position of Commandant at Port Arthur in December 1873 (Walch's Tasmanian Almanac 1873; ABD online).

The root of the notion that A.H. Boyd had any skills relating to the making of photographs arose from this children's story forwarded to the Crowther Collection at the State Library of Tasmania in 1942 by its author, Edith Hall. It was NEVER published, and exists only as a typed story, called "The Young Explorer." Edith Hall claimed in an accompanying letter, dated 1942 and addressed to Dr Crowther that a man she calls the "Chief" in the story was her uncle A. H. Boyd, and that he was "always on the lookout for sitters". Hopeful Chief! The imaginative Edith and her description of a room where the child protagonist was photographed (and rewarded for it) hardly accords with a set-up for police photography. The photographing of prisoners IS NOT mentioned in either the story or the letter by Edith Hall. In the context of the whole story, only three pages in length, the reference to photography is just another in a long list of imaginative fictions (many about clothes and servants) intended to give the child reader a "taste" of old Port Arthur, when both the author and her readers by 1942 were at a considerable remove in time. Boyd is not mentioned by name in the story, yet Reeder 1995 (after Long, 1995) and Clark (2010) actually cite this piece of fiction as if it contains statements of factual information. A. H. Boyd has never been documented in newspapers or validated in any government record of the day as either an amateur or official photographer.



E.M. Hall. The Young Explorer, typed script courtesy SLTAS
Photo © KLW NFC 2010 ARR
Click on images for readable version

This tale has been misinterpreted as the witness account of a five year old when the fact of the matter is that it was written by a 62 year old woman in 1930 (?), submitted to the Crowther Collection (State Library) in 1942, and probably transcribed in typescript (again) at an even later date. It is a composite of general details that concord more with the imagery in the postcards sold by Albert Sergeant in the late 1880s, and Port Arthur as the premium tourist destination of the 1920s, than with the site during its operation in 1873. In short, it is FICTION.

Chris Long and Warwick Reeder wrongly assumed that Edith Hall's tale was cited in Glover's article as a true account of a "Port Arthur Experiment" by A. H. Boyd. It came to be a "belief" in A. H. Boyd as some sort of amateur photographer who only needed to press a button on a camera to be included in art photo histories as an "artist" while the REAL photographers, the professionals such as  Thomas J. Nevin were just the copyists of Boyd's arty point-and-shoot prototypes (! seriously - see Tasmanian Photographers 1840-1940, 1995:36).

By 1985, the "aura" Chris Long and Warwick Reeder had spun around A. H. Boyd spread to the Tasmanian Museum and Art Gallery, and to the Queen Victoria Museum and Art Gallery who then created databases of their holdings of T. J. Nevin's prisoners' photographs but with Boyd's name as the "creator". By 1995, Warwick Reeder had actually cited Glover's 1979 article without checking either its contents or the children's tale written in the 1940s, and assumed that Edith Hall had written a factual account called "Reminiscences" of her childhood. Reeder thus adopted without question Chris Long's reference to Margaret Glover that "Experiments" in photography were conducted on prisoners at Port Arthur by A.H. Boyd, when Glover made no such statements.

No such "Experiments" took place: when Thomas J. Nevin was contracted by tender in mid 1872 to commence the photographing of offenders, a systematic approach was already in place which centred on the Hobart Town Goal (Campbell St) inmates, whether those incarcerated long-term, or whether those booked on arrest for a second offense, or whether those released with a TOL and other conditions. Those employed on probation in the greater Hobart region who reoffended were photographed as a priority according to the regulations adopted from the Victorian Reform of Penal Discipline 1871. So, there was no "Experiment" in prison photography conducted at Port Arthur in 1873; the numbers of the criminal class there were negligible, and those returning to the site in subsequent years until 1876 had been processed through the central Police Office in Hobart and photographed prior to their return to Port Arthur. By September 1873 Nevin had photographed 109 transferees returned from Port Arthur at the Hobart Gaol amongst a much larger number of offenders already incarcerated, in addition to those discharged (with a TOL etc) from the central police office at the Hobart Town Hall. Extant mugshots of these men (around  300) are random estrays from this much larger corpus and prisoner population.

ONCE MORE ... THE FACTS
Chris Long and Warwick Reeder began this "industry" of the A.H. Boyd attribution which has confused a generation and seriously misled the public and public institutions, even when they had no evidence to support their hypothesis; Boyd had no reputation as a photographer in his lifetime, no photographic works by him are extant, and no document exists that testifies to his training, skills in using a camera or facilities for developing and printing the final carte-de-visite which was pasted to the prisoner's rap sheet. This fictional tale by Edith Hall, delivered as a talk in 1930, and reprised by Chris Long and Warwick Reeder by the late 1980s and 1995 as a factual account, is the kernel and genesis of the myth of A. H. Boyd as an amateur photographer of convicts. In the light of police history in Tasmania, and the activities of both Thomas J. Nevin and his brother Constable John Nevin at the Hobart Gaol, such childish nonsense has to be put to rest.

T. J. Nevin's attribution as the commercial photographer and civil servant who worked with police in Hobart prisons and produced prisoner identification photographs for the Colonial Government was common knowledge in the 19th century, and firmly re-established in the 20th century through publications and exhibitions, most recently in 1977, and thereafter in 1982, 1992, 1995, 2000, 2003, 2005, 2007, 2009 and 2010. Current estimates of extant examples of Nevin's "convict portraits" number more than 300 in public and private collections. These extant mugshots are estrays from a much larger corpus of over a thousand prisoner identification photographs taken by Thomas Nevin and his brother, Constable John Nevin in prisons, including the Port Arthur prison, the Supreme and City courts, and the Town Hall Municipal Police Office, Hobart between 1872 and 1886.

The only two extant photographs of Edith Mary Hall nee Giblin's father W.R. Giblin and her uncle A.H. Boyd dated to 1873-4 were taken respectively by T. J. Nevin (Archives Office Tasmania collection) and Charles A. Woolley (TMAG collection). Between 1872 and 1876, Nevin's purpose at Port Arthur was to photograph prisoners who were newly sentenced, who were being transferred back to the prison in Hobart, or who were being released with various conditions. Nevin had visited the prison at Port Arthur on several occasions, and in the company of other photographers and government contractors from the mid-1860s to its devolvement under Dr. Coverdale in 1877.

The A. H. Boyd misattribution has taken hold in the imagination of art historians who have failed to see that these extant "convict portraits" were not a fanciful one-off ethnographic portfolio (Crombie, 2004) taken by some dabbling Sunday amateur such as Boyd is portrayed (Long, 1995; Reeder 1995; Ennis 2000), but were police mugshots, taken over a decade in the usual circumstances and for the same reasons that all mugshots are taken today, and by professional photographers contracted or employed for the purpose, as were the brothers Thomas and John Nevin between 1872 and 1886.

When Warwick Reeder submitted an MA thesis (ANU) in 1995, the same date which saw the publication of Chris Long's promotion of A. H. Boyd and trivialisation of Nevin (TMAG 1995), he clearly stated that Chris Long was the first to suggest a photographer attribution of convicts to A. H. Boyd, based on Margaret Glover's article which he cites along with Edith Hall's children's tale of a five year old sister and her brother at Port Arthur. Reeder's research on Nevin adopted Chris Long's tenor and text, and his few details were extremely inaccurate and deliberately misleading. His thesis promulgated the A. H. Boyd shibboleth, displaying a breath-taking ignorance of police history in the process. .

Below: page 69 of Warwick Reeder's MA thesis (The Democratic Image, ANU 1995) which contains just three pages of relevant discussion. The error re A. H. Boyd's tenure is repeated here: he was not at Port Arthur in 1874, he had resigned from the post of Commandant by December 1873 (ADB online; Walch's Almanac 1873).



And the footnote 65: Margaret Glover's role. Reeder had not checked Glover's article, nor Edith Hall's "story". He assumes its title was "Reminiscences" i.e. written within the genre of memoirs when the actual title is "The Young Explorer" and the genre is children's fiction. Glover's article contains no mention of either E.M. Hall, A.H. Boyd, photography or prisoner photographs.



Reeder assumed that (a) A. H. Boyd ordered photographic equipment himself, although no government document shows payment of the order; (b) the equipment, specifically glass plates, actually arrived at Port Arthur, when there is evidence they did not leave Customs in Hobart; (c) these specific photographic plates were used to photograph prisoners in situ at Port Arthur, despite the evidence suggesting commercial photographers Clifford & Nevin were on site in 1873-74 for the purpose of photographing the buildings, the surrounds, and visiting dignitaries, and that Nevin was there again in May 1874 working with Dr. Coverdale (d) and that Boyd took the photographs himself, again despite a complete lack of evidence that he ever held a camera, let alone used one for official records. The so-called "room" set up as a studio is an archaeological fiction now in print as a full-blown fantasy (Clark, JACHS 2010). There was originally a building constructed in 1865, by an earlier official, Commandant James Boyd (presumed to be no relative of A. H. Boyd) as the Literary Institute for officers and families, of which James Boyd was the founder and president. By the 1890s, this "room" or any of the others constructed by James Boyd may well have functioned as a place where tourists were photographed by postcard producers such as Albert Sergeant and E. Little into the 1890s, but there was never a place constructed by A.H. Boyd as a photographic studio designated for the production of prisoner mugshots in 1874.

Warwick Reeder's account of his efforts to fully research the involvement of A. H. Boyd contains the often repeated phrase that by 1995, there was just ONE prisoner photograph held at the QVMAG Launceston (among 112) bearing T. J. Nevin's (government) stamp on verso. But previous researchers at the QVMAG maintained there were quite a few, in addition to photographs by Nevin of commercial products, trader's advertisements, and private clientele (John McPhee, curator of Nevin's CONVICTS Exhibition at the QVMAG, 1977; Chris Long, letter to Nevin descendants 1984). Many more convict cdv's have surfaced with Nevin's stamp, and some of these stamped items were "removed" from the public collection between 1977 and 1995 (by whom? Long indicated in an email to Nevin descendants in 2003 that he had a lot more on Nevin in boxes in his garage which never made it past his editor Gillian Winter, TMAG 1995). One album of prisoner cdvs had found its way to the National Gallery of Victoria (McPhee, verbal communication 1986), accessioned at the National Library of Australia in Thomas Nevin's name by 1982 (see the NLA's accession records), and misattributed to A. H. Boyd under Long and Reeder's influence in two instances (In a New Light online exhibition 2003; Clark "essay" 2007).

There is of course the assumption, ingrained in the art historian's psyche, that a photographer's stamp proves authorship. Yet the Mitchell Library SLNSW which also holds a collection of Nevin's prisoner photographs, had been influenced enough by Long and Reeder's determination not to let it go that they placed a catalogue note next to the two prisoner photographs which are printed verso with Nevin's government contractor Royal Arms colonial warrant stamp, suggesting Boyd took the originals (SLNSW, PXB 274). Boyd's name has since been removed. It is perversity to ignore the photographer's stamp in matters of attribution; but it is corruption which seriously prefers in lieu an attribution based on a paragraph in a children's story.

The majority of T. J. Nevin's prisoner mugshots were reprinted in duplicate and even hand-tinted for heightened realism, and for reasons to do with informing the public at large of criminals wanted on warrant during the 1870s and 1880s.  Nevin was the only photographer in Hobart over the decade from 1873 to use a stamp which incorporated the Hobart Supreme Court's insignia of lion and unicorn rampant, the Royal Arms, signifying joint copyright under tender to the government. One photograph per batch (of 100) was required for copyright registration. Printing a stamp verso was unnecessary on his later prisoner mugshots which were taken exclusively within and for the prison administration once he became a full-time civil servant.

Below: Warwick Reeder's highly inaccurate information (1995) about Thomas J. Nevin: by 1888 Nevin was the father of seven children (six survived), not two. He did not cease photography in 1876, he ceased commercial photography temporarily to work full time as Hall Keeper for the Hobart City Corporation and police photographer with the Municipal Police at the Town Hall and Hobart Gaol with his brother Constable John Nevin. At the Town Hall he was also the Office Keeper (a position title denoting manager of an archive still in use at the Archives Office of Victoria). Reeder not once countenanced the existence of a police photographer in Hobart producing these mugshots, nor did he reference the work of earlier prison photographers Frazer Crawford (1867, SA) and Charles Nettleton (1874 onwards in Vic). Reeder fusses about the museological history of the photographs in this short thesis. Sadly, it is this solipsistic and self-referential preoccupation that prevents Reeder (and others in his profession) from adding real value to the history of the national heritage because they have pursued a parasitic attribution which leads to a dead-end. Establishing the plain facts about the jobbing photographer Thomas J. Nevin going about his work and supporting his large family should have been his starting point, joining the photographer on the ground, at ground zero, carrying out the daily routine with the police.



NB: do NOT quote or cite these excerpts (at Reeder's request)

Below: The Young Explorer (1931), by Boyd's niece Edith Mary Hall, the fictional story for children about a "Chief", i.e. the Commandant at Port Arthur which has been misinterpreted as evidence that A.H. Boyd photographed prisoners. In reality it was Edith Hall's father, W .R. Giblin, and not her uncle A.H. Boyd, who was keenly interested in the judicial uses of photography. Giblin was Nevin's family solicitor by 1868, neighbour at Kangaroo Valley, and referee for membership of the Australian and International Order of Odd Fellows Lodge and civil service with the HCC.



Below: Edith Mary Hall, born 1868 (Archives Office of Tasmania), daughter of Nevin's family solicitor and referee, Attorney-General William Robert Giblin:



Below: Margaret Glover (1979), Some Port Arthur Experiments, the publication which has been cited as evidence in support of an A.H. Boyd "attribution" as a photographer who took photographs of convicts as an "experiment". Glover's article contains nothing about A. H. Boyd, nothing about E.M. Hall and nothing about photography. In May 2010, Clark recast Glover's word "Experiment" into the idea that Boyd set himself a "project"- a new word for a passé deception. (JACHS 2010:83).




The A.H. Boyd misattribution has wasted the time and effort of a generation with an interest in forensic and police photography and will continue to do so until the gatekeepers of Nevin's prisoner photographs in public collections countenance the fact that fiction is not fact and that T. J. Nevin's legacy is extensive within the historical contexts of police photography in Tasmania.

RELATED POSTS main weblog

• Convict cartes by Thomas Nevin at the new National Portrait Gallery
• "In a New Light": NLA exhibition with Boyd misattribution
• Professor Joan Kerr (DAA ed. 1992)
• Prison photographers Nevin, Nettleton & Crawford
• ‘Tasmanian Photographers 1840-1940: A Directory’ (TMAG 1995)
• Two histories, two inscriptions (TMAG 1995)
• Anne-Marie Willis & Richard Neville on the A.H. Boyd misattribution
• The QVMAG, Chris Long and the A.H. Boyd misattribution
• Helen Ennis’ NLA publication ‘Intersections’ 2004
• Isobel Crombie and Helen Ennis: how misattribution can persist
• The A.H. Boyd misattribution at DAAO
• A Question of Stupidity & the NLA

Jack Nevin, the other photographer in Thomas Nevin's family

YOUNGER BROTHER JACK NEVIN

William John Nevin (1852-1891) was known to the family as Jack. Born in County Down Ireland, he was less than six months old when he arrived in Hobart, Tasmania with his father, pensioner guard John Nevin and mother Mary Nevin nee Dickson, the youngest of his siblings Thomas James, Rebecca Jane and Mary Anne Nevin, on board the Fairlie, 1852.  The children were all under 12 years on arrival. They settled soon after at Kangaroo Valley (now Lenah Valley, Hobart) where John Nevin built the family house on land owned by the Wesleyan Church adjacent to the Lady Franklin Museum, Ancanthe.



Constable John (W.J. or Jack) Nevin, ca. 1880 photographed by his brother Thomas J. Nevin.
Copyright © KLW NFC Private Collection 2009 ARR.

Constable John (William John aka Jack) Nevin was the younger brother of Tasmanian photographer Thomas J. Nevin and his assistant at the Hobart Gaol, Campbell Street during his brother’s commission as police photographer in prisons. They jointly maintained one of their photographic studios, in New Town until the mid 1880s. Constable John Nevin was employed on salary at the Cascades Prison for Males and the Hobart Gaol under the supervision of the keeper Ringrose Atkins from 1874 until his untimely death aged 39yrs from typhoid fever in 1891.



Last entry: the Electoral Roll of the Electoral District of North Hobart, North Hobart, year commencing 11th April, 1884 (Hobart Gazette)

NEVIN, William John | Place of Abode H.M. Gaol | Nature of qualification Salary | Particulars of Qualification H.M. Government.

Copyright © KLW NFC Imprint Private Collection ARR.

Eight contemporary generation portraits by Thomas Nevin:

From left, Thomas' brother Jack Nevin 1880
Top:  Elizabeth Rachel Day 1868; Thomas Nevin himself 1868; Elizabeth Rachel Day 1868 vignette
Lower: Elizabeth Rachel Day 1870; Thomas Nevin himself with wife Elizabeth Rachel Day 1871; Thomas Nevin himself 1873;
Extreme right: Thomas' sister Mary Anne 1874;

RELATED POSTS main weblog

• On board the Fairlie 1852 with the Parkhurst boys
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• Constable W.J. Nevin at inquest 1882

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The QVMAG convict photos exhibition 1977

These are some of the original documents and press release prepared for the 1977 exhibition of commercial and police photographer T. J. Nevin's prisoner mugshots at the Queen Victoria Museum and Art Gallery, Launceston, Tasmania, catalogued as "Convict portraits, Port Arthur 1874" in public collections:



Above:Letter to Specialist Collections Geoff Stilwell at the State Library of Tasmania from the Queen Victoria Museum and Art Gallery curator John McPhee, dated 24th February 1977.

TRANSCRIPT

Dear Geoffrey, Enclosed is a photostat of a convict history sheet, featuring a photograph. I think we have a couple of these.
Should you be interested in including them in your exhibition or any of our T.J. Nevin photographs, do let me know.
Best wishes, John
[24.ii.1977]

Geoffrey Stilwell in turn forwarded this letter with biographical information about Thomas J. Nevin to John McPhee, dated 4th April 1977:



Above: Letter from Geoff Stilwell to John McPhee, curator, QVMAG, dated 4 April, 1977.



Above: curator John McPhee
ABC TV snapshot 26 June 2009

TRANSCRIPT

Dear Mr McPhee,
At last I have some biographical details about Thomas Nevin though I am afraid these are somewhat late for your exhibition. These were mainly supplied by his granddaughter Mrs Shelverton.

Thomas Nevin was born on 28 August 1842 near Belfast, Northern Ireland (Mrs S[helverton]). He was the son of Private John Nevin and Mary his wife whom he accompanied on the convict ship Fairlie which arrived at Hobart Town in July 1852. John who was one of the guards of this vessel was also accompanied by his other children Mary A. and Rebecca both under fourteen and Will[iam] J under a year old (MB2/98).

The following marriage notice appeared in the Mercury of 14 July 1871.

NEVIN-DAY - On Wednesday, 12th July, at the Wesleyan Chapel, Kangaroo Valley, by the Rev. J. Hutchison [sic], Thomas, eldest son of Mr. J. Nevin, of Kangaroo Valley, to Elizabeth Rachael, eldest daughter of Captain Day, of Hobart Town.

Kangaroo Valley is now know as Lenah Valley. From about 1876 to 1880 he lived at the Town Hall, Hobart as caretaker. Two of his four sons were born at the Town Hall residence. He had in addition two daughters one of whom was Mrs Shelverton's mother.*

According to Mrs Shelverton he died about 1922, she is not sure of the date, and was buried at Cornelian Bay. The tombstone has now fallen over.

Yours sincerely, [signed] G.T. STILWELL Librarian, Special Collections

Both letters are from the files of G. T. Stilwell, courtesy of the State Library of Tasmania. Surprisingly, this information was not only forwarded to the QVMAG for their files, but addressed directly to John McPhee, yet his latest exhibition catalogue for the QVMAG exhibition, The Painted Portrait Photograph in Tasmania (November 2007-March 2008), which included a coloured carte with the Clifford and Nevin Hobart Town inscription on verso (p. 63), makes the erroneous statement that the arrival date of T. J. Nevin in Tasmania is not known (p.103)!.





Photos © KLW NFC 2009 ARR

Above: John McPhee's brief biography of Nevin, p. 103, published in the QVMAG exhibition catalogue, The Painted Portrait Photograph in Tasmania (November 2007-March 2008) with several incorrect statements which McPhee (and his editor) should have checked before publication. The following are established facts:

1. Nevin arrived with his parents and three siblings in Tasmania free to the colony on board the Fairlie in July 1852;

2. Nevin leased Bock's studio from fellow Wesleyan Abraham Biggs (Victoria). He sublet the former studio of Bock's in 1876 but maintained his studio at New Town, first established in 1864, where he resumed professional photography between 1881-1888.

3. Nevin worked as a commercial and government photographer until the late 1880s;

4. Three of Nevin's seven studio stamps make no mention of A. Bock;

5. Nevin produced an equally large number of stereographs, held at the TMAG. Many more were reprinted by Samuel Clifford from Nevin's commercial negatives from 1876, and thereafter by the Anson Bros and J.W. Beattie;

6. and 7. The photographs of convicts or "prisoner portraits" were legal instruments taken for the police to be used daily; they were not produced as ethnographic doco-artefacts of criminality for the middle-class gaze;

8. Nevin's position of keeper at the Town Hall included photographic services rendered to the Police Office on the premises, specifically the production of mugshots;

9. Nevin was not arrested the night he was detained by Detective Connor on suspicion of practicing spirit photography.

10. Nevin was not the person dressed as a ghost in a phosphorescent-coated white sheet. The name "George" was uttered when constables set off on the chase after the "ghost"; Edwin Midwood, Nevin's colleague at the Town Hall police office was the likely "ghost" though never apprehended or charged.

Thomas J. Nevin was also a special constable, a commercial designer for press advertisements with H.H. Baily, a Wesleyan and a Loyal United Brothers Lodge member.

The notice (below) appeared in the Hobart Mercury on March 10th, 1977, announcing the opening at the Queen Victoria Museum and Art Gallery of the first major exhibition of "convict photos" taken by Thomas J. Nevin, with the date "1874" written on the versos in the 1900s.



Convict photos at Launceston
Hobart Mercury March 10th, 1977

Most of these prisoner ID photographs were acquired by the QVMAG in 1927, as part of photographer John Watt Beattie's (1859-1930) collection from his estate and convictaria museum in Hobart. Beattie's sources in turn were the police gazettes, photo books and prisoner registers held at the Town Hall Municipal Police Office, where Nevin worked full-time 1876-1880, and from the Sheriff's Office and Supreme Court at the Hobart Gaol where his brother Constable John Nevin was his assistant. Beattie had ready access as official government photographer ca. 1900s to these documents.

Beattie also had access to Nevin's commercial negatives when he joined the Anson brothers studios in 1892. The Ansons had acquired Nevin's negatives from their purchase of Samuel Clifford's photographic stock which was advertised at auction in the Mercury, 16th March, 1878. Two years before that date, on 17th January, 1876, Samuel Clifford placed a notice in the Mercury, stating that he had acquired the interest in T.J. Nevin's negatives, and would reprint them for Nevin's friends and patrons on request. Nevin's civil service as bailiff, keeper and police photographer at the Hobart Town Hall from that date precluded income derived from active, independent commercial practice.

The collection of convict photographs featured in this exhibition remained intact at the QVMAG (witnessed*) until ca. 1984. A large old leather-bound photo album of 70 or so prisoner photographs was sent first to the National Gallery of Victoria in Melbourne (before 1985 - communication per the curator), and then to the National Library of Australia in Canberra where the album was intact in 1996 (witnessed*), rectos and versos photocopied) and was still intact in 2000 (witnessed*).

The QVMAG prisoner photographs are largely Thomas Nevin's originals and duplicates which were taken of men sentenced at the Supreme Court adjoining the Hobart Gaol (Campbell Street Hobart) and then circulated to police and regional prisons including Port Arthur. They were duplicated for the central criminal registry at the Town Hall Municipal Police Office on the prisoner's discharge. But many have been copied and circulated and accessioned in the last thirty years: the Archives Office of Tasmania has both originals and copies (92 online as at April 2009); the National Library of Australia has both originals and copies, including an early donation of twelve (12) or so similar photographs, estrays from a government archive and part of the Gunson Collection (80 were listed online in April 2009); the Mitchell Library NSW holds thirteen, some stamped verso with Nevin's government contract studio stamp (with Royal Arms insiginia); the Penitentiary Chapel Historic Site in Hobart next to the old Gaol has a few, including one pasted to a criminal record written on parchment; and a few are held in private collections. The numbers which appear on the loose mounted cartes-de-visite mugshots range from 1 to 322, and are clear evidence of extensive copying by archivists from Beattie's time onwards. The two major cataloguing events at the QVMAG which affected the versos of their collection were in 1958 and 1985, visible as stamps and inscriptions on the versos, eg:



Prisoner Thomas Fleming
Print from Nevin's negative, taken at the Hobart Gaol on the prisoner's discharge, 7 January 1874.
QVMAG Collection Ref: 1985:P:0169



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

Fleming was tried at the Supreme Court Hobart of 9 September 1867, sentenced to 7 years, and photographed by Nevin prior release from the Hobart Goal, in the first week of January 1874. He was NOT photographed at Port Arthur.



Prisoner Thomas Fleming
Mounted carte-de-visite by Thomas Nevin from his negative



Above: recto and verso of T. J. Nevin's mugshot of Thomas Fleming, QVMAG Collection with three archival inscriptions from different periods:

1."Taken at Port Arthur 1874" dates from Beattie's time, ca. 1916. These prisoners were photographed in Hobart and not at Port Arthur. Beattie hyped these cartes as convictaria of notoreity for sale to tourists at his convictaria museum in Murray St. Hobart.
2.The square stamp dates from 1958 catalogued at the QVMAG as 1958:78:22
3. QVM 1985:P:67 is the third catalogue date - 1985 at the QVMAG

This prisoner photograph of William Smith with T. J. Nevin's government contract studio stamp with the Royal Arms insignia is held at the QVMAG.






Above: Another photograph of the same prisoner William Smith, wearing the prison black leathern cap and grey jacket issued at the Hobart Gaol. This photograph with Nevin's Royal Arms stamp is held at the Mitchell Library NSW. The official stamp of T. J. Nevin, Photographic Artist, 140 Elizabeth St. Hobart Town, was used to register his government commission to provide identification photographs of prisoners, most with Supreme Court records who were incarcerated and released from Tasmanian prisons, January 1871-3; the copyright endured 14 years from the second year of registration (1874). Nevin's earliest prisoner identification photographs were taken in 1871, as soon as the prison system was transferred from Imperial to Colonial government control.

The Tasmanian Museum and Art Gallery, Hobart, acquired over fifty (50) of Nevin's convict photographs (apart from his commercial cartes and stereographs) from several sources. Some were estrays from the Town Hall Police Office (next door), some were lantern slides reproduced from the original glass negatives by Beattie for his lecture tours on Tasmanian history, and some were duplicates donated by Beattie from his convictaria museum ca. 1916 (noted by a South Australian visitor in The Mercury February 3rd, 1916). Some were copies by the Ansons Bros dating to ca. 1878. And some were copies acquired and accessioned from the QVMAG collection ca. 1985-87, deposited at the TMAG instead of being returned to the QVMAG.

The TMAG erroneously attributed their convict photographs to the Civil Commandant at Port Arthur A.H. Boyd (May 1871-December 1873, ADB). Boyd's function as the former accountant at the prison was to sign for the purchase and delivery of goods into and from government stores. Boyd had no reputation in his life-time as a photographer, and there are no extant photographic works by A.H. Boyd. The "Port Arthur convicts" as the men whose images survive in this collection are called at the National Library of Australia, were not photographed by Boyd, nor were they photographed at Port Arthur. The majority were habitual criminals, repeat offenders and recidivists whose criminal careers at large in the open prison of the island of Tasmania earned then a further sentence and a mugshot, taken by Thomas Nevin at the Hobart Municipal P.O. (Police Office) and Mayor's Court at the Hobart Town Hall, and at the Supreme Court and adjoining Hobart Gaol. The Boyd misattribution was published in the TMAG publication Tasmanian Photographers 1840-1940: A Directory (1995:36) and was thereafter mistakenly assumed to have some credence by later authors on this subject of "Port Arthur". The Boyd shibboleth was based on nothing more than a sentence in a short story about a children's holiday at Port Arthur, written by a niece of Boyd, unpublished and submitted by her in typescript to the State Library in 1942: the story mentions neither Boyd by name nor the photographing of prisoners. It is generically FICTION, yet has been used as if it is a document of historical fact. There are no official documents which associate Boyd as a photographer of prisoners.



Photo © KLW NFC 2009 ARR

Above: The QVMAG lists of 72 convict cartes from the 1977 exhibition,worksheets acquired here in 2005, courtesy of the QVMAG. The physical number at the QVMAG now totals 112. The list here might give the impression that there were 199 items, listed by the number written on the carte itself, eg. George Nutt or White, no. 1, but in fact the person at the QVMAG who prepared this list ran a sheet with numbers from 1 to 199, and inserted the prisoner's name by the number on the carte, totalling 72. What is missing therefore, are cartes with numbers on recto or verso which were circulated to the NLA, AOT and TMAG, and those that bear numbers greater than 199, and there are quite a few; for example, the NLA carte of convict Henry Cavanagh is numbered "306" on verso. He was photographed by Nevin on admission to the Hobart Gaol on 17th September, 1873.

At present (April 2009), the QVMAG states they hold 112 physical copies of the original cartes: 72 were exhibited at the QVMAG exhibition with Nevin's attribution in 1977. Another 40 were included in the National Portrait Gallery's exhibition, Heads of The People, Canberra, 2000 with Beattie's attribution, despite the fact that Beattie had arrived in Tasmania in 1878, and did not join the Ansons as a photographer until the early 1890s. Beattie was never involved in the actual photographing of prisoners for the police; he merely exhibited or copied those mugshots he found in the police, courts and prison registers, divorcing them in the process from their contemporaneous written references, and reprinted several for sale as tourist tokens.



Above: Press release for the QVMAG Exhibition 1977

John McPhee, curator of the QVMAG exhibition of Thomas J. Nevin's Port Arthur convict portraits in 1977, announced in his press release (above) that these photos have "a quality far beyond that of records" - i.e. police records - and that these photographs -

"... are among the most moving and powerful images of the human condition." They also "represent the 19th century's great interest in phrenology and the belief in various other quasi-scientific methods of identifying the criminal 'type'".

This statement was certainly true by 1882 when a reporter for the HobartMercury (8th July 1882) wrote a lengthy account of his visit to the Hobart Gaol, detailing the layout and the procedures, past and present, fr om the prisoner's reception, bath and issue of clothing, the areas isolated specifically for men awaiting Supreme Court trials, and the general physicality of the prisoners' features:

In their dark-grey uniform and black leathern caps, with their criminal visages, shaven of the covering Nature had given to aid them in the concealment of their vicious propensities and villainous characters, they were, in truth, a forbidding, repulsive lot. Yet very far from unintelligent, at least, in some marked instances. A villainous shrewdness and a perverse cleverness writ in many a cunning, gleamy eye and heavy brow ; and a dogged determination to be read in the set of the jaw, and the style of the gait, were as the translated speech of artfully calculated, daring crime.

The Mercury, 8th July 1882

Old police identification photographs taken on arrest, arraignment and discharge, commonly called mugshots now, are enjoying a renaissance of interest in this decade of the 21st century. Even though they were legal instruments taken for the police to be used daily, they became doco-artefacts of criminality for the middle-class gaze in the age of Bertillonage and the portrait parlé in the 1900s. They can be seen on the walls of art galleries, and in coffee table glossy volumes such as Pellicer's Mugshots (2009). But what of the photographer? Anonymity was de rigeurin the job, although Nevin's work with police was common knowledge in the 19th century. It is only in the late 20th century and continuing today that acknowledgement of his work has been compromised by the error made by Chris Long and those who have "believed" in his belief about Boyd based purely on a piece of fiction. Because of this dead-end misattribution, the Nevin brothers' total involvement in police photographic work in Tasmania from ca. 1865 to the mid 1880s has yet to be fully appreciated.



Photo © KLW NFC 2009 ARR

Above: from Mugshots 2009 by Raynal Pellicer: on the left, Bertillon's own front and profile mugshots used to demonstrate the non-commercial photographic pose for criminals he advocated to the Paris police, 1888, and on the right the Commissioner of Police, 1903, trying out the system of Bertillonage for himself.

*Witnessed in the course of research 1977-2007
First published 27th April 2007. Updated May 2009. Last update August 2010

Prisoner William HAYES 1872

William Hayes' prison identification photograph was among the first taken by Thomas J. Nevin at the Hobart House of Corrections (Hobart Gaol) when William Hayes was discharged from a 2 year sentence for indecent assault in the week ending 24 April 1872.

The same image in these two cartes was printed at different times from Nevin's original glass negative. In the first carte, Hayes' image was straightened, eliminating the lean to the right in the carte below. Hayes' petty minor offences between 1873-1875 after release from the Hobart Gaol were tried in Launceston, where the reprint of his ID photograph was sent in 1874.



NLA catalogue notes: (incorrect information)
Title William Hayes, per Asia, taken at Port Arthur, 1874 [picture].
Date 1874.
Extent 1 photograph on carte-de-visite mount : albumen ; 9.4 x 5.6 cm. on mount 10.5 x 6.3 cm.

The carte below lacks a number and bears the inscription on verso, per NLA catalogue notes:



Title from inscription on verso (incorrect information)
Inscription: “William Hayes, per Asia, taken at Port Arthur”–In ink on verso.
Condition: Foxing.

POLICE RECORDS

1872

William Hayes' prison ID photograph was among the earliest taken by Thomas J. Nevin at the Hobart Gaol when William Hayes was discharged from a 2 year sentence in the week ending 24 April 1872.



1873

William Hayes was discharged after a week as a pauper from the Brickfields Invalid Depot on 25 March



1874

Two years later, Hayes was imprisoned for 14 days for "Threatening" and discharged at Launceston on 1st May 1874. Nevin reprinted his negative of Hayes for the Launceston courts and for the central Office of Inspector for Police in Hobart.





A few months later, in July 1874, he was imprisoned for one month for resisting a constable and discharged in August 1874.

1875

A year later he was imprisoned for 3 months for threatening to stab with a discharge from Launceston on 22 September 1875.



Nevin's original cdv of William Hayes (per Asiatic) was reprinted again for Hayes' discharge 22 September 1875 from a 3 month sentence, at the Launceston Police Office.

Prisoner Henry CAVANAGH 1873

NLA Catalogue (incorrect information)
Title Henry Cavanagh at Port Arthur, Tasmania, 1874 [picture]
Date 1874.
Extent 1 photograph : albumen ; 10.5 x 6.5 cm.
Published in 1909

Henry Cavanagh was sent to Port Arthur in December 1873. His name does not appear in the House of Assembly Journals, Nominal Return of Prisoners sent to Port Arthur since its transfer to Colonial Government in 1871, tabled in Parliament on 11th June, 1873. He was discharged before that date, on the 14th June 1872 after sentencing of one month in Hobart, and arraigned in Launceston nine months later, on the 3rd September 1873. He was received at the Hobart Gaol, sentenced to 6 years, and photographed there on 17th September 1873 by T. J. Nevin.

The numbering on the verso of this carte, according to the NLA notes is "306". This is an archivist's number which could date from 1909-1916, sourced from John Watt Beattie's "Port Arthur Museum" located in Hobart (and not at Port Arthur), or from the 1930s when the QVMAG acquired Beattie's Collection, or from the 1960s with the Gunson Collection acquisition by the NLA, or from the 1980s when the QVMAG copied and/or distributed more than seventy (70) of these cdvs of Tasmanian prisoners to the Port Arthur site, the NLA, the AOT, and the TMAG etc.

POLICE RECORDS



Henry Cavanagh from Victoria, 18 years old, charged at Burnie, Tasmania on 4th May 1872, with being on premises for an unlawful purpose, was discharged from the Hobart Gaol on 14 June 1872.



But a year or so later, Henry Cavanagh, aged 19 yrs, was arraigned at the Recorder's Court Launceston on 3 September 1873 and sentenced to 6 years for stealing a posted letter and uttering. He was admitted to the Hobart Gaol (Campbell St Gaol) and photographed by T. J. Nevin on 17th September 1873.