The Nevin farm burglariously entered 1881

Less than a month after the death of his friend, Wesleyan preacher William Genge on the 17th January 1881, Thomas Nevin's father, John Nevin (1808-1887) was burgled at the Nevin cottage in Kangaroo Valley, Hobart, which adjoined his orchards, school and Wesleyan chapel.

My Cottage in the Wilderness

"My Cottage in the Wilderness" by John Nevin, 1868. Mitchell Library NSW
Photo © KLW NFC 2009 Arr


John Nevin's two surviving adult sons, Thomas and Jack, had long resided elswhere in North Hobart, and his wife Mary (b. 1810), mother of his four children, had died in 1875. His two daughters were also deceased: Rebecca (1868) and Mary Anne (1879), but he did not live alone. John Nevin's second wife, widow Martha Salter nee Genge, aged 46 when they married in 1879, was the daughter of his recently deceased friend and preacher William Genge (Source: Tasmanian Pioneer Index: 711/1879/RGD:37). John Nevin was 71 yrs old when he married Martha, and 73 yrs old at the time of the burglary.

John Nevin by Thomas Nevin ca 1874

John Nevin (1808-1887) from the scrapbook of grandson George Nevin
Photo by his son Thomas Nevin ca 1874
Copyright © The Private Collection of Denis Shelverton ARR.


Thomas Nevin took this photo of his father John Nevin in the studio at 140 Elizabeth Street, Hobart Town, ca. 1874. He must have decided it appropriate to capture his father in the pose of writing as John Nevin was indeed a writer. His early poem, published in 1868 and titled "My Cottage in the Wilderness", is held at the Mitchell Library, SLNSW, in the David Scott Mitchell Collection.

A fortnight after William Genge's death, John Nevin published another poem, a ten stanza lament, dated 31st January 1881, entitled:

"Lines written on the sudden and much lamented death of Mr William Genge who died at the Wesleyan Chapel, Melville-street, Hobart on the morning of 17th January 1881, in the 73rd year of his age" .

Lament on Genge by John Nevin 1881

Lament by John Nevin 1881
Copy courtesy of the State Library of Tasmania 2006
Click on image for readable version

So, on the night of the burglary, February 16th, 1881, in all probability Martha, the grieving daughter of the deceased, and her husband John Nevin were elsewhere in Hobart, at Martha's parents' home or at the Wesleyan Chapel, Melville Street, attending to William Genge's estate, and consoling his widow Mary Slade.

William and Mary Genge late 1870s

Pictured here are Martha's parents, Wesleyan preacher William Genge (1808-1881), the subject of John Nevin's lament, taken with wife Mary Slade (d. 1891) in Hobart. It possibly dates to the late 1870s, and is unattributed. Genealogical information on the Genge family and photo provided by Louise Genge (November 2007).

John Nevin reported the burglary to the police and to his youngest son Jack, Constable W. J. Nevin. This notice appeared on the front page of the weekly police gazette, Tasmania Reports of Crime Information for Police, two days later on 18th February 1881:

John Nevin burgled 1881

Burglary on 16 Feb 1881 at the Nevin farm, Kangaroo Valley
Tasmania Reports of Crime 18 February 1881.

TRANSCRIPT
During the night of the 16th instant the dwelling of John Nevin, Kangaroo Valley, was burglariously entered, and the following articles stolen there-from: - 2 white shirts, one much worn; 2 Scotch twill shirts, one has a patch of different material across the shoulder, the other broken at the elbow; 1 old flannel shirt, stained in front; 1 white pillow-slip; 2 jars of raspberry jam; 2 lbs. soap; 2 lbs. bacon; the property of and shirts identifiable by John Nevin.

The burglar may well have known why John Nevin and his wife Martha would not be at home. The stolen goods were life's basic necessities - old shirts, soap, bacon, raspberry jam - so the culprit intended no harm to John Nevin who would have given the intruder the shirt off his back in any case, just for the asking. The stolen goods were not recovered, and no one was prosecuted, not at least according to the police gazettes for the years 1881-1885.

John Nevin father of Thomas 1879 electoral roll

Glenorchy district electoral roll 1879, John Nevin,

occupancy of the School House and dwelling at Kangaroo Valley
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The cottage that John Nevin built at Kangaroo Valley
“T.J. Nevin Photo” inscribed on verso, 1868.
Copyright © KLW NFC Imprint & The Liam Peters Collection 2010.

Vernacular or art? Nevin at the threshold in 1874

Vernacular photographies are anything that is not used as "art" ...

Geoff Batchen Genius of Photography BBC

TV snapshot of Geoff Batchen
Episode 1, The Genius of Photography: Fixing the Shadow (BBC 2007)
Broadcast on ABC HDTV February 2010.

Thomas J. Nevin began his photographic career in the mid 1860s within the urban free-settler society of a British penal colony - Hobart Tasmania. His apprenticeships were served with the highly commercial portrait photographers Alfred Bock, H. H. Baily and Charles A. Woolley. A lifelong partnership with the prolific Samuel Clifford, who advertised the sale of thousands of street views and landscape stereographs, ensured Nevin's livelihood as a stereographer during the late 1860s to the early 1870s. In 1872 his portraiture services were requested by the Nevin family solicitor and Attorney-General W.R. Giblin to provide the police and prison authorities with mugshots.

Thomas J. Nevin is somewhat remarkable in that his photographic records for the police, especially from the years 1872-1880s, are among the earliest to survive in Australian public collections and that his prisoner portraits are claimed as both art and vernacular photography. His portraiture techniques applied to judicial photography were "artistic" in a way that the mugshots produced by prison photographers in jurisdictions elsewhere  such as Victoria & NSW, in Australia, and Millbank and Pentonville, in the UK were unequivocal, documentary captures. Nevin's prisoner photographs were not only posed, printed and framed as commercial portraits - either soft-focus framing or vignetted with darker backcloths - in some instances, they were also hand-coloured for heightened realism.

.

William Campbell, hanged as Job Smith 1875
NLA Collection nla.pic-vn4270353
Hand-tinted vignetted and mounted prisoner portrait by T.J. Nevin 1874
Photos taken at the National Library of Australia, 7th Feb 2015
Photos copyright © KLW NFC 2015 ARR. Watermarked.



Recto and verso in vignetted format within a dark mount of the hand-coloured carte-de-visite of prisoner Job Smith aka William Campbell .
Photographer: T. J. Nevin 1874. TMAG Collection Ref: Q15578.



Recto and verso of the same hand-coloured carte-de-visite in a buff mount of prisoner Job Smith alias Campbell alias Boodle.
Photographer: T. J. Nevin 1874. TMAG Collection Ref: Q15572



Walter Johnstone aka Henry Bramall aka Taylor
NLA Collection nla.pic-vn4270027
Vignette on left, not tinted but mounted, and hand-tinted mounted cdv
Original prisoner mugshots by T. J. Nevin 1874
Photos recto and verso taken at the National Library of Australia, 7th Feb 2015
Photos copyright © KLW NFC 2015 ARR. Watermarked.

Thomas Nevin displayed these images in his shop window at 140 Elizabeth St. Hobart to aid the public in recognizing a man wanted on warrant, as well as arranging a Rogues Gallery at the Town Hall Municipal Police Office where he was Hall and Office-keeper by 1876. "Photograph in this office" was announced accompanying warrants in the weekly Tasmanian police gazettes by 1874. A number of extant examples of T. J. Nevin's photographs of prisoners were stamped verso with the wording "T. J. Nevin, Photographic Artist" inside the government's Royal Arms insignia to signify joint copyright as government contractor with the Lands and Survey Department, the Police Department, and the Hobart City Corporation's Municipal Police Office at the Hobart Town Hall.



Prisoner photographs by T. J. Nevin 1875-78
David Scott Mitchell Collection, SLNSW Ref: PXB 274)

Scant attention has been accorded to Thomas J. Nevin's original place in Australian photography as one of the first photographers working with police. Petty arguments in the late 20th century have arisen around his photographer attribution by art-trained photohistorians and their essentialist neo-modernist notions of aesthetics, power and the artist. Apart from Ann-Marie Willis and her "concern for the ordinary" exemplified in her discussion of police inspector Paul Foeschle's Northern Territory images of Aborigines, few have wondered why there has never been a strong focus on our vernacular photographies. This is the challenge set forth by Geoff Batchen in his publication Each Wild Idea (MIT Press, 2002):

Geoff Batchen Genius of Photography BBC

TV snapshot of Geoff Batchen
Episode 1, The Genius of Photography: Fixing the Shadow (BBC 2007)
Broadcast on ABC HDTV February 2010.

Geoff Batchen Each Wild Idea 2002

Extract: Preface by Geoff Batchen,
Each Wild Idea p. viii (MIT 2002).
Limited preview at Google Books.

In the first episode of the six-part series The Genius of Photography: Fixing the Shadow(BBC 2007), the "vernacular" is defined as any photography that is not "art": postcards, insurance records, passport photos, touristic photos, court documents, scientific images, forensic photographs taken at crime scenes etc etc.



The Genius Of Photography Deel 1 from Marcel Wiegerinck on Vimeo.

Below are more TV snapshots from Episode 1:



Genius of Photography BBC

Genius of Photography BBC

Genius of Photography BBCGenius of Photography BBC

Genius of Photography BBCGenius of Photography BBC

Genius of Photography BBCGenius of Photography BBC

Genius of Photography BBCGenius of Photography BBC

TV snapshots from Episode 1, The Genius of Photography: Fixing the Shadow (BBC 2007), broadcast on ABC HDTV February 2010.