Dictionary of South Australian Photography 1845

Transcription

Dictionary of
South Australian Photography
1845 – 1915
by R.J. Noye
Art Gallery of South Australia
© 2007
1
Foreword
I began researching the history of South Australian photography in the early 1960s, and
over the years I accumulated a large store of information and images, intending one day
to write a book on the subject. But how to present this information became a problem. I
could take the very best of what I had found and produce a volume that would appeal to a
publisher, but that would mean leaving out a large amount of useful information.
I felt the only way I could make use of the available information was to present it in the
form of a cyclopedia of South Australian photographic history, a straightforward
reference presented as a series of entries in alphabetical order, from Acetylene and
Adamson to Ziegler and Zoetrope.
Then about a year ago a Brisbane photo-historian, Marcel Safier, established contact with
me and we shared our research experiences. Through him I became aware of the infinite
opportunities that are available on the Internet, and soon realised that here was a way
that I could make my cyclopedia available to anyone interested in the subject. There would
be no royalties to help offset my expenses, but regular additions and corrections to my
work would be possible. My cyclopedia need never be out of date or out of print, and the
latest edition could be accessed instantly by anyone anywhere in the world.
R.J. Noye, 22 June 1998
On 22 June 1998 South Australia’s highly respected photo-historian R.J. (Bob) Noye made the
first stage of his website Photohistory SA available online and, as he stated in his website
introduction (above), he intended to regularly expand and update the site. Sadly, Bob died
suddenly in 2002, leaving his website and research incomplete. In 2004 the Art Gallery of South
Australia, with the generous assistance of Douglas and Barbara Mullins, purchased Bob’s
collection of South Australian photography, his research and website, in order to preserve his
legacy for future generations.
Amongst Bob’s research papers was a nearly complete draft of a dictionary of South Australian
photography from 1845 to 1915, representing over forty years of research. In a mammoth
undertaking he had systematically scoured nineteenth-century South Australian newspapers for
any references to photography, arranging the information in order before writing biographical
entries. Concurrently, he had amassed a large collection of mainly nineteenth-century South
Australian photographs, many of which – being cartes de visite and cabinet cards – had the
photographer’s name and studio address printed on the back. The information gained from the
images and the ‘backs’ of the cards supplemented the newspaper references, as did information
provided by descendants of photographers and other photographic researchers.
In order to complete Bob’s dictionary for publication, we have endeavoured to identify which
entries had yet to be written and, where possible, have referred back to Bob’s files to create an
entry. In identifying these gaps, we were guided by Bob’s ‘list of names’ of photographers on his
website; we also checked Joan Kerr’s Dictionary of Australian Artists, Painters, Sketchers,
Photographers and engravers to 1870 for any new names. Several other photographers came to
light as we undertook research for the exhibition, A Century in Focus: South Australian
Photography 1840s–1940s. As stated on his website, Bob intended the results of his research to be
broader than just entries on photographers and associations – to encompass many nineteenthcentury processes, materials and functions, from ‘acetylene’ to ‘zoetrope’, to create a ‘cyclopedia’.
Apart from a few scattered entries in his files, this aspect of his research was yet to be written, so is
not included here.
2
Bob’s website has been archived so that it remains just as he created it and is accessible through
the website of the Art Gallery of South Australia. It presents only the research that Bob had
uploaded to the site prior to his death and is therefore incomplete. The Gallery is in the process of
putting the R.J. Noye Collection of photographs online and it will be accessible via the Gallery’s
website in the foreseeable future. The online project has been generously sponsored by the Gordon
Darling Foundation.
In completing this dictionary we are indebted to Penelope and Tansy Curtin who undertook the
huge task of editing the publication over many months. Carolyn Lovitt has been of invaluable
assistance in formulating a definitive list of entries and writing many additional entries, as has
Maria Zagala in writing and editing entries. We are grateful to Marcel Safier for contributing
extensive research on the Duryea family and writing several entries. Howard Speed’s research on
the Nixon family has also been of assistance. Ken Orchard and Karen Magee have also written
entries and shared their ideas. Melbourne University Press has kindly allowed us to reproduce the
entry Bob wrote for them on Paul Foelsche. Antonietta Itropico has expertly facilitated the
production of the CD-ROM. We would like also to acknowledge Bob’s wife Jenny and son Peter
for enabling the Gallery to acquire the R.J. Noye Collection, and acknowledge too, the many
people who have contributed ideas and information to Bob over the years. Our final thanks, of
course, are reserved for Bob – for his foresight, perseverance, outstanding research and writing,
which have resulted in an essential reference on South Australian photography for years to come.
Julie Robinson
Senior Curator, Prints, Drawings & Photographs
Art Gallery of South Australia
R.J. Noye (1932–2002)
R.J. Noye was one of South Australia’s most prolific and respected historians. Bob was born in
Millicent 16 July 1932 and later lived in Saddleworth with his wife Jenny before settling with the
family in Clare in 1971. He worked for the Postmaster General’s Department (later Telecom) for
42 years. Bob became interested in history in the early 1960s and went on to publish the very
successful Clare: A District History in 1974. He also wrote a very popular weekly column for the
Northern Argus called ‘Talking History’. Bob died suddenly of a heart attack at his Clare home on
17 August 2002.
Bob amassed an impressive collection of over 5,000 nineteenth and early twentieth-century South
Australian photographs and glass-plate negatives, undertook extensive research on a vast number
of early South Australian photographers and created his website Photohistory SA. Now owned by
the Art Gallery of South Australia, this vast archive, known as the R.J. Noye Collection, is a rich
legacy for the people of South Australia, and indeed the nation.
3
A
ABFALTER, A.F.
Was associated with the Royal Picture Company (q.v.), Clare, from September 1911 to January
1913.
ADAMSON, David Beveridge
Born at Hawick, Scotland, in 1823, David Beveridge Adamson came to South Australia in 1839.
He was a member of the firm of Adamson Brothers who manufactured agricultural machinery, and
in his obituary he was described as a man who ‘studied science and mechanics for the love of
knowledge; he showed peculiar gifts, immovable patience, inexhaustible energy, and great
enthusiasm in whatever he undertook. In the course of his long and useful career he formed a
valuable collection of scientific instruments, mechanical appliances, and curious toys, designed
and made by himself.’1
In 1886 Adamson made a Newtonian reflecting telescope, which was described in detail in the
Observer’s Scientific Column on 16 October 1886. The telescope was erected on his premises in
Angas Street and covered by a galvanised iron shed which could be moved aside on a tramway.
What were probably the first lunar photographs made in South Australia were taken by Adamson
in April 1888.
Mr Adamson of Angas-street, has recently taken some photographs of the moon by means of his
large reflecting telescope. They show the enlightened portions of the lunar disc with remarkable
distinctness as it appears for several days before and after the new moon, from the thinnest crescent
to the entrance of the moon on her gibbous phase. The numerous lunar mountains, with their
summits brilliantly illuminated by the sun, stand out with astonishing clearness of outline from the
surrounding darkness of the adjacent country. We think we are correct in stating that this is the first
instance of lunar photography effectually executed in this colony.2
Adamson also photographed a partial eclipse of the sun in December 1890, but experienced some
difficulty when trying to determine the correct exposure.
On December 12, 1890, during the partial eclipse of the sun, Mr Adamson, of Angas Street, city,
obtained several photographs of the phenomenon at its different stages. As it was impossible to tell
exactly the time of the centre of the contact he took one a minute before the predicted time and
another three minutes later. The first happened to be a minute and a half prior to the real centre, and
from that one Mr Adamson has made a photographic enlargement with a diameter of six and a half
inches … The photographs came out very clear and sharp, and distinctly showed the irregularities
of the lunar surface against the sun’s disc. A great deal of difficulty was experienced in obtaining
the pictures on account of the great heat and light to be contended against. While experimenting a
few days beforehand in the first attempt with the telescope in its usual condition, though using the
slowest plates with instantaneous exposure, the gelatine was entirely burnt off the plate. After
various trials Mr Adamson was obliged to remove the silver from a large speculum (he having a
duplicate), leaving nothing but the glass to reflect, and reducing the aperture of the telescope to
seven inches. In this way he obtained the desired result.3
David Adamson’s son, Robert Beveridge Adamson (q.v.), and his brother James Hazel Adamson
(q.v.), were also photographers.
1
Observer, 27 June 1891.
Observer, 7 April 1888.
3
Observer, 7 March 1891.
2
4
ADAMSON, James Hazel
Although a member of a mechanically minded family, James Adamson was more artistically
inclined. He was born at Hawick, Scotland, on 27 June 1829, and came to South Australia on the
ship Recovery in 1839. While his father and brothers were laying the foundations of a successful
agricultural implement-making business in Adelaide, James Adamson was following his interest in
art. In the 1850s he worked as a topographical artist and portrait painter, exhibiting 75 of his
watercolours and sketches of the country around Adelaide in 1854.
In 1856 Adamson moved to Melbourne where he practised as a photographer as well as an artist.
By the late 1860s he was back in South Australia, at Auburn, where the expanding firm of
Adamson Brothers had established a branch of their business. He was president of the Auburn
Mutual Improvement Society when they held their Art Exhibition and Conversazione in December
1867. Among the exhibits were his prize painting, The Wreck of the Admella, and a display of
scientific instruments which he had probably borrowed from his brother, David B. Adamson (q.v.).
In January 1872 Adamson entertained the children of the Auburn Presbyterian Sabbath School
with views projected with his magic lantern. A month later the local auctioneer announced that Mr
J.H. Adamson was leaving the district and listed the goods he had for sale. Among the items
advertised were several hundred books; a ‘very chaste and well-finished buggy designed and built
by Mr Adamson for his own special use – the only one of the kind in the colony’; a portable gasworks, suitable for lighting large rooms at a small cost, and probably used to operate his magiclantern; and ‘a first-class photographic apparatus, complete, with every requisite.’ 4
It appears James Adamson moved to New South Wales, as he was exhibiting paintings in Sydney
in 1874–75. However, he eventually returned to Adelaide where he died on 2 May 1902. Further
details of his career as an artist, and as a photographer in Victoria, can be found in Kerr’s
Dictionary of Australian Artists5.
ADAMSON, Robert Beveridge
Robert Adamson (1864–1939) was the son of astronomical photographer David Beveridge
Adamson (q.v.), who was a member of the agricultural implement-making firm of Adamson
Brothers. He was a keen amateur photographer, and by 1889 had become a member of the South
Australian Photographic Society. In 1891 he exhibited ‘a very interesting collection of lunar and
landscape photos’ which were no doubt taken through his father’s telescope.
He was also a skillful lantern operator, and was at Kapunda in December 1891 with the ‘South
Australian Sunday-School Union’s most powerful oxy-hydrogen limelight dissolving view
apparatus’ projecting slides of photographs that A.W. Dobbie (q.v.) had made on his trip through
Europe. For many years Adamson was the official lanternist for the Photographic Society,
treasurer from 1894 to 1897, and assistant secretary and librarian in 1899. A report of the society’s
March 1897 meeting said, ‘Mr RB Adamson showed a magnificent new biunial optical lantern
which he has imported for use in limelight exhibitions. The apparatus, which is provided with
numerous accessories, is up to date in every respect, and it excited much admiration.’
Robert Adamson read a paper on lunar photography at the November 1897 monthly meeting:
Mr R.B. Adamson read a paper entitled ‘Photographing the Moon’. After describing the causes of
the peculiar features of the lunar landscape as accepted by the authorities of the day the apparatus
necessary for taking lunar pictures was shown and explained. A large number of direct
photographic views of the moon, and several types of the lunar landscape were shown by the
limelight lantern, and the nature and extent of the various craters, mountains, chasms and other
4
Northern Argus, 9 February 1872.
Joan Kerr (ed.), Dictionary of Australian artists, painters, sketchers, photographers and engravers to 1870, Oxford University Press,
Melbourne, 1992.
5
5
prominent features of the Queen of the Night were lucidly described. Interest in the paper was
added to by the showing of some beautiful astronomical slides by Mr Andrew Scott, B.A.6
At the society’s fifth annual conversazione and exhibition of work held in the Victoria Hall in
September 1898, he projected slides onto a 16-foot screen.
An unusual demonstration took place at the Society’s March 1899 meeting where:
… the principal subject for discussion was ‘Stereoscopic Lantern Projection’, which was illustrated
and explained by Mr A.W. Dobbie, assisted by Lanternist, Mr R.B. Adamson. By means of the
most powerful bi-unial limelight lantern two lantern slides made in the usual way, representing each
half of a stereoscopic negative, were projected and superposed on the screen. Each pair of slides
was provided with coloured glass screens to tint the light which projected them. Thus the slide of
one half of a negative was tinted a red shade and the slide of the other half green. By viewing the
combined coloured pictures, superposed as nearly as possible on the screen through a pair of
glasses of corresponding shades, with which every member of the audience was provided, a good
stereoscopic effect was obtained. Where the slides depicting the left-hand half of the stereoscopic
picture was projected with a red light and the right-hand half with a green light, a green screen for
the left eye and a red for the right enabled each eye to receive only the single picture intended for it,
in accordance with stereoscopic principles. Several of the numerous pictorial subjects displayed
rendered remarkably good effects. This being the first time an audience here has been privileged to
view stereoscopic pictures on a lantern screen, the exhibition was all the more appreciated.7
ADAMSON, W.J.
Mr W.J. Adamson of Angaston exhibited the best photograph at the Kapunda Show, 1901. The
prize was a magazine-type hand camera donated by Messrs S.P. Bond & Co. of Rundle Street,
Adelaide.
ADCOCK, Thomas
Born at Hindmarsh, South Australia, on 23 September 1856, Thomas Adcock was the nephew of
photographer George Burnell. During his lifetime he had a variety of occupations: minister of
religion, mattress maker, furniture retailer, photographer, estate agent and journalist.
On 20 July 1883 the Gawler Bunyip reported that a three-day magic lantern gospel service
conducted by Thomas Adcock had commenced at the Congregational Church. ‘Mr Adcock said as
that was the first time a service of that kind had been given in Gawler … he explained the method
adopted. Magic lanterns had not long gone hand in hand with religion, but his sole idea was to give
simply an illustrated address, and the lantern being the most suitable instrument for the purpose
was that used …’
Acting as an agent for the AMP Society, he gave a lecture in the Clare Town Hall in January 1884,
using the lantern to illustrate the benefits of life insurance. ‘Mr T.E. Powell introduced the lecturer
… referring to the novel manner in which the lecture was to be given. Mr Adcock then spoke for
upwards of an hour on the benefits of life assurance, and by means of a magic lantern showed what
a family may come to when the head of the house had neglected to provide for them after his
death.’ The following night he exhibited fifty splendid views on the life of Christ and St Paul.
In 1885 Thomas Adcock was a foundation member of the South Australian Amateur Photographic
Society and by 1887 was operating a photographic studio, making cartes de visite and cabinet
photographs, which were printed on the back: ‘Photographed by Thomas Adcock, Port Road,
Hindmarsh, opposite Bowden station. Enlargements or copies always obtainable. Buildings,
animals, groups, etc. photographed by appointment.’ By 1888 he was working as a portrait and
enlarging artist at Freeman Street, Adelaide, with an agent soliciting enlarging work in the near
6
7
Australasian Photo-Review, December 1897.
Australasian Photo-Review, April 1899.
6
country areas.
The Observer reported on 9 December 1890: ‘There is on view at Mr T. Adcock’s, photographer, a
collection of local celebrities, being the portraits of fifty-two members of the House of Assembly
grouped round the Premier and the Speaker. The likenesses are admirable, and the whole of the
execution is creditable to the establishment.’8 It was probably at this time that Adcock succeeded
to Saul Solomon’s well-known studio at 51 Rundle Street, the Adelaide School of Photography.
He used the back of his cabinet mounts to advertise his business, retaining the School of
Photography name and calling himself ‘Parliamentary Photographer’. He was also making
enlargements from six inches to six feet.
By April 1891 Thomas Adcock had opened a branch of his business in Taylor Street, Kadina,
managed by G.H. Medwell. His premises included a new studio provided ‘with all the instruments,
furniture, etc., to do a first class trade in rain or shine. Cabinets 14s 6d, C.D.V. 9s. per dozen.
Splendid enlargements at all prices. Free Sitting. Hours 9 am to 5 pm daily.’9
For a time all went well, the Wallaroo Times printing glowing reports on the work produced by the
Kadina branch, naming prominent local identities whose portraits and enlargements could be seen
at the studio. However, two advertisements inserted in the Wallaroo Times on 3 October 1891 tell
their own story:
KADINA STUDIO. New management and satisfaction by Mr Theo Korner [Koerner], late of Messrs
Hammer and Stump and Co., will now produce in Kadina as good pictures as in Rundle Street. Past
neglect is not the fault of our Town management as the public could well see. However we now offer to
retake without charge on production of receipt. Any who have not had their portraits please call …
KADINA PHOTO STUDIO. I, George H. Medwell, lately managing Mr Adcock’s photographic
business at Kadina, hereby declare that the delay in execution of orders and consequent disappointment
to customers has been caused solely by my own neglect, as the negatives were never sent to Adelaide,
and Mr Adcock was thereby unable to complete the work. I also apologise to Mr Adcock for my
misrepresentation of the facts of the matter, and express my sincere regret therefor. George H.
Medwell.10
The Kadina studio continued for a number of years, and was listed in directories from 1892 to
1895.
By the end of 1894 Thomas Adcock had moved to Frearsons Building on the western side of King
William Street, just ‘three doors from North Terrace’. Adcock was listed at this address in
directories from 1895 to 1899, and during this period had country branches, one of his cabinet
mounts saying ‘and at Gawler’, while another says ‘and at Moonta’.
For three years, 1900 to 1902, Thomas Adcock did not appear in the directories as a photographer,
but as a journalist and secretary for the South Australian Temperance Alliance. He returned to
photography for a few years, 1903–05, at the Alpha Studio, 143 Rundle Street, Adelaide, then
again directed his attention to the work of the Temperance Alliance. He produced a series of
stereographs, dates not known, ‘South Australian Stereoscopic Views’, showing scenes around
Adelaide and its beaches, and Victor Harbor. An isolated directory entry for just one year, 1918,
has Thomas Adcock listed as photographer, City Market, Grote Street.
Thomas Adcock died under unusual circumstances, on 14 November 1923. He was conducting a
marriage ceremony in his church at Southwark (he was ordained as a minister in 1889) and ‘had
just pronounced the words which made two members of his congregation one when he sank
quietly to his knees’. As there was some doubt as to the legality of the ceremony, another minister
8
Observer, 9 December 1890.
Wallaroo Times, 1 April 1891.
10
Wallaroo Times, 3 October 1891.
9
7
was found to complete the service.
ADELAIDE CAMERA CLUB
The Adelaide Camera Club, originally the Malvern Camera Club, is the oldest camera club in
South Australia. On the first page of the club’s first minute book is the entry:
On Tuesday Sep 19, 1902, about 8 gentlemen met together in the classroom at the back of the
Malvern Wesleyan Church with the intention of forming a photographic society. The meeting had
just begun when an interruption occurred in the form of an earthquake; but after the excitement had
subsided they then got to business. The following officers were appointed: President, Mr A. Moyle;
Secretary, S.G. Felstead; Treasurer, E. Pengelly; Librarian, R. Charlick … The name given to the
society was that of the ‘Malvern Photo Club’. After a good deal of discussion the subscriptions
were fixed at 7/6 for gentlemen, and 5/- for ladies.
A report in the Australasian Photo-Review for January 1904 said that the club had 24 members and
that ‘interesting and helpful meetings’ were being held fortnightly. At a recent exhibition over 100
competitive pictures had been exhibited. In February the club decided on a change of name and
venue, and on 15 March 1904 the members held their first meeting under the new name of
Adelaide Camera Club in rooms at the Citizens’ Life Office Building in King William Street.
The high level of the club’s activity was revealed in the 1904 annual report.
A fixed programme has been carried out which included practical demonstrations on developing
negatives, bromide printing, carbon, platinotype, double printing, mounting and framing, enlarging,
bromide-toning, and transparencies, and papers were read on:-The Camera and Appliances, History
of Photography, and Composition and Selection, and Forest Photography. Competitions were held
in bromide printing from the same negatives, lantern slides from the same negative, trimming and
mounting. Much interest was manifest by members in these competitions especially in the lantern
slides, when 32 slides were entered.11
Excursions were held at National Park Belair, Mount Lofty, Campbelltown and Fulham, and a
successful exhibition held in September.
In 1905 the name of the club appears to have been changed to Adelaide Amateur Camera Club, but
the club eventually reverted to its original name without the word ‘Amateur’.
A typical club outing took place on 1 September 1905, a holiday to the ‘Horse Shoe and Noarlunga
Township’ where ‘considering the disadvantages of the wind, dust, and the dull weather, the
quantity and quality of the work done was distinctly above the average’.12 The outing was
described by the secretary:
At 8.30 am … 31 members and friends of the club left King William Street (opposite Citizens’
Buildings) in two drags and drove to Noarlunga, arriving at about 11.15 near the church, when everyone
took their cameras, baskets, &c., and walked down the hill at the back of the church to a nice flat piece
of ground with the hills on one side to shelter from a rather strong wind and the river on the other side,
which was running very full after the recent rains.
Rugs were spread out on the green grass, the ladies prepared the lunch table while some of the members
gathered wood and set the billy boiling. After lunch cameras were to be seen in every direction … Some
of the party spent part of the time in games of different kinds, and parties of two, three, four and
upwards moved off in different directions to secure pictures of the scenery along the river, which is very
beautiful.
The party met at the Noarlunga Hotel and partook of tea after which they left for Adelaide, arriving
about 9 o’clock, having spent a most enjoyable day.13
11
Adelaide Camera Club, Annual Report, 1904.
Australasian Photo-Review, October 1905.
13
Advertiser, 10 August 1946, article by A.V. Clutterbuck.
12
8
By 1911 the Adelaide Camera Club was holding monthly meetings supplemented by a regular
monthly outing. On the 1911–12 programme outings were scheduled for Eden Hills, Glen
Osmond, Paradise, Blackwood, along the Torrens, Campbelltown, Lockleys and the Port River.
The activities of the club slowed during the First World War but did not stop. In September 1916
the secretary reported that ‘although we are living through a very troublous time, the members are
working well and helping to show that there is still a little brightness left’. Two months later he
reported that the annual exhibition had been a success, but that ‘through some of the members
being on active service, and others busy with war work, the members’ entry was not as great as
formerly’. However, the smaller entry was ‘more than compensated for by the higher standard of
the work shown’.14
The Adelaide Camera Club survived the great Depression and two World Wars, and in the 1990s
was offering a programme of fortnightly meetings, workshop nights, field trips, regular
competitions, guest speakers and judges, a programme that was much more modern, but in much
the same format as that offered when the club was formed almost a century ago.
ADELAIDE DAGUERREOTYPE AND PHOTOGRAPHIC INSTITUTE see LUKE,
Thomas
ADELAIDE PHOTO CO.
This company was at 101A Rundle Street, in a studio built by Charles Niesche (q.v.) in 1871, and
was not connected with the Adelaide Photographic Company, which was at 23 King William
Street from 1864 to 1879.
Although most directory entries were for The Adelaide Photographic Co., other directory entries
and all known cabinet photographs used the shorter name of Adelaide Photo Co. The company was
managed by Arthur Brown (q.v.) from 1895 to 1904, and by Townsend Duryea Jnr from 1905 to
1910. In different parts of the directory for 1901 both Arthur Brown and Townsend Duryea Jnr are
listed as manager, and it seems Duryea may have had an interest in the studio at that time, taking
control while he was moving his ‘home’ studio from 51A to 37A Rundle Street. From 1911 the
business was operated by Swiss Studios.
ADELAIDE PHOTOGRAPHIC CLUB
The following advertisement appeared in the Advertiser on 25 September 1878, under Music and
the Fine Arts: ‘Adelaide Photographic Club. 85 Rundle Street. Superior Oil paintings on the time
payment system. Rules can be had on application … C.A. Owen, proprietor.’ The oil paintings
were probably oil coloured portraits, similar to those available from a club formed at Port Pirie a
few months earlier by Thomas Barnard (q.v.).
While the name of the club has not been found on photographs made by Charles Owen (q.v.), it
was adopted some years later by Robert Marlor (q.v.) and printed on photograph mounts which
can be attributed to him. The printed inscription reads: ‘Adelaide Photographic Club. 691/2 Rundle
Street – next Hackett’s – (side entrance)’. In the directory for 1885 ‘R.J. Marlor, photographer’ is
shown as being in a right-of-way near 69 Rundle Street, and the following year, 1886, he is shown
at the same location but the entry has been expanded to ‘Adelaide Photo Club, Robert J. Marlor’.
For 1887 Marlor was listed as 174 Rundle Street.
14
Australasian Photo-Review, September, December 1916.
9
ADELAIDE PHOTOGRAPHIC COMPANY
This company had a studio at 23 King William Street, Adelaide, and was not in any way connected
with the Adelaide Photo. Co., sometimes listed in the directory as The Adelaide Photographic Co.,
which was at 101A Rundle Street from 1895 to 1910.
In December 1863 the Adelaide Photographic Company advertised that they were about to open a
photographic studio in Neales’ Building, King William Street, a few doors north of Hindley Street,
and that Frazer S. Crawford (q.v.) would be the manager. The company made alterations to the
building and Crawford went to Melbourne to obtain the best available chemical and apparatus.
Although at first described as a being a ‘Melbourne Company’ by the Register, this was corrected
a few days later as being ‘a local institution, the whole of the share-holders residing in Adelaide’.15
The Adelaide Photographic Company opened for business on 11 January 1864. The studio was on
the top floor and had a water-cooled skylight on the western wall to provide a measure of comfort
for their clients. Water could be made to run down the glass under the control of the operator, a
system designed by Crawford and built by Mr Fan’. The studio also had other devices which
allowed the operator to modify the light to such a degree that he could ‘work at all times of the day
and in all states of the atmosphere under the most favourable conditions’. On the same floor as the
studio were private dressing rooms for the ladies and rooms where the wet-plates could be coated
and developed after exposure. The ground floor and first storey were fitted up as waiting rooms
where visitors could inspect sample photographs and other works of art.16
The company was soon receiving complimentary newspaper reviews for their photographs of local
and visiting people of importance. The sittings were probably provided free of charge in return for
the right to sell copies to the public, a common practice in the nineteenth century. In February
1864 their ivorytype portrait of Bishop Patteson was described as ‘an excellent likeness … the
features and expression are beautifully caught, the softness in the finish, combined with the
richness of the toning and colouring, make the tout ensemble of the picture exceedingly pleasing.17
In May the Register mentioned three of their cartes de visite: an Aboriginal couple seated on the
ground with their two children, ‘a very life-like group’; a portrait of explorer John McDouall
Stuart; and a collection of seven miniature vignettes on one card showing the officers of the
Northern Territory expedition – Colonel Finniss, Dr Goldsmith, Messrs Manton, Pearson, Ward,
King and Davis.18
These were followed by two views of the interior of the North Adelaide Congregational Church,
‘exceedingly well executed’, and giving ‘a favourable impression of the beautiful interior of one of
the most elegant and commodious ecclesiastical structures in the colony’. A month later they
produced a series of views on Brownhill Creek, which gave ‘very faithful representations of
several of the wildest and most romantic spots to be found among the hills near Adelaide’. In
August Crawford made a series of photographs of the Morialta waterfalls: ‘Nothing can exceed the
minute delicacy with which each fragment of the precipitous rocks and every branch of the rude
tangled brushwood is depicted, while the character of the main feature in each view is so well
preserved that the water appears to be actually in motion. They are among the happiest attempts
we have witnessed at delineating South Australian scenery.’19
In September 1864 the company imported ‘a very superior instrument for taking large pictures’,
and as a result they were able to take large-sized portraits. They also had a member of their staff
permanently employed taking views in both the city and the country. Their large camera may have
been used when they photographed the twenty Wesleyan ministers who attended a district meeting
15
South Australian Register, 7, 31 December 1863, 2 January 1864.
South Australian Register, 31 December 1863, 11 January 1864.
17
Adelaide Express, 25 February 1864.
18
South Australian Register, 14 May 1864.
19
South Australian Register, 13 June, 19 July, 13 August 1864.
16
10
in Adelaide in October, and their photograph of the monument to the late Rev. Maurice Lencioni
brought the comment, ‘the inscription is plainly visible, and the picture will doubtless be cherished
by the numerous friends whom Father Maurice has left behind’.20
In 1865 the Adelaide Photographic Company produced a set of twelve photographs taken from
Adelaide artist Sophia Sinnett’s pen-and-ink sketches illustrating Tennyson’s poem Idylls of the
King. The Advertiser said the illustrations ‘are certainly worthy of all praise. They are conceived in
the purest taste; the execution is faultless, and the photographer has worthily fulfilled his portion of
the task. The photograms are mounted on separate pieces of cardboard, of a convenient size, and
the whole are enclosed in a small green portfolio, appropriately lettered, and tied with a ribbon.’
The Register reported, ‘The sketches themselves possess much merit, being chaste and pleasing in
conception, and worthy of all commendation in their execution … The sketches will bear looking
at again and again … To the Photographic Company the praise is due of having executed most
perfect facsimiles of the drawings.’21
When Crawford returned from a visit Melbourne in April 1865 he brought with him a Patent
Diamond Cameo camera, which could be used to produce four small shilling-sized oval portraits,
each in a different pose, arranged on a single cartes de visite in a diamond pattern, with each
individual portrait pressed up in cameo fashion.22
In July 1865 Frazer Crawford produced what could well have been the first artificial light
photographs ever made in Australia.23 After giving a brief account of the relatively recent
discovery of magnesium, and describing the amazingly brilliant light it produced when burnt in the
form of a ribbon or wire, Crawford selected the beardless Mr Platts from a group of invited guests
at the company’s studio, and made him the subject of his experiment. Using the light from a threewire magnesium lamp, Crawford obtained a portrait negative of Mr Platts, which he used to make
a positive transparency. He then used his camera as a projector, and showed his guests that the
light from an ordinary kerosine lamp was not strong enough to project a picture on the screen.
However, when the brilliant white light of burning magnesium was used, ‘the portrait came out
full and distinct, and was pronounced by all present to be an admirable likeness’.24 Crawford
repeated the experiment in November, at a bazaar held in the Methodist New Connexion Church
lecture room. He photographed Rev. James Maughan by magnesium light and, as before, made a
positive transparency from the negative. ‘The likeness was an excellent one, and was afterwards
exhibited as a transparency [on a screen of damp calico] to the apparent general approbation of
those present.’25
The Adelaide Photographic Company opened a temporary studio next to the Cornucopia Hotel,
Wallaroo, in August 1865, and when they left about three months later informed their customers
that extra copies could be obtained for £1 per dozen, posted, by forwarding the negative number to
the head studio in Adelaide.26
By September the company had engaged Mr George A. Appleton (q.v.) as their artist in oils, and
Henry Davis (q.v.), an experienced photographer from Melbourne. The following month Crawford
attended a meeting of the South Australian Society of Arts and pointed out that the prize winners
for photography at the last exhibition (1864) had been left out of the official report; this was
explained to be an oversight. As a result of his suggestion, it was resolved that ‘it should be
advertised that all photographs sent in for competition should be plain untouched proofs, and that,
if required by the Judges, the negatives be produced’. There was also to be a prize for the best
coloured photograph. At the next annual exhibition of the Society of Arts, held in December 1865,
20
South Australian Register, 16 September 1864; Advertiser, 24 October, 21 November 1864.
Advertiser, 22 March 1865; South Australian Register, 8 March 1865.
Advertiser, 3 April 1865; South Australian Register, 4 April 1865.
23
Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford University Press, Melbourne, 1985, p. 175.
24
Advertiser, 5 July 1865; South Australian Register, 5 July 1865.
25
South Australian Register and Advertiser, 21 November 1865.
26
Wallaroo Times, 12, 26 August, 25 November 1865.
21
22
11
Appleton won prizes for the best oil painting ‘illustrative of colonial life’ and the best landscape in
oils, while the company won prizes for the ‘best set of six photographic likenesses’ and ‘the best
tinted photograph’.27
In August 1866 the Adelaide Photographic Company photographed the streets of Adelaide with a
new type of lens which, it was said, ‘not only renders the views free from that distortion of the
perpendicular lines which is so common a defect in photographs of buildings, but also is so
constructed as to embrace an angle of 90 degrees, thus giving great breadth to the pictures’. After
examining thirty views of the cabinet-sized photographs the Register said:
We noticed in many of them that the clouds – which as all photographers know, are very difficult to
take – are faithfully rendered, and produce a softness and harmony of effect which favourably
contrasts with the hard staring white which generally does duty for the sky. The views are taken
from almost all parts of the city – looking up Hindley Street, up and down Rundle Street, along
King William Street from south to north and from north to south, across the squares, round the
corners, and, in short, wherever a characteristic view of the city or of its chief buildings is to be
found. With such incongruous materials as many of our rows of buildings afford, where a
handsome stone front is so often jostled by a one-storied, shingle-roofed, ramshackle reminiscence
of the olden time, it is impossible that many of these views can answer all the requirements of
artistic taste, but the photographer has certainly done his best to avoid any glaring defects, and in
some instances has produced really pretty pictures. We particularly noticed a view of the Town Hall
and King William Street from Victoria Square, which is thoroughly artistic in effect. We
understand that the Committee for the Paris Exhibition have selected several of these views, to be
reproduced on a larger scale and forwarded as illustrations of the appearance of the city.28
However, when the company’s photographs were exhibited at the Melbourne Inter-Colonial
Exhibition, the only entry in the class for panoramic views taken with a wide angle lens, one
observer was not very impressed. ‘These photographs exhibit a branch of the art little practised in
these colonies; and we much doubt their becoming very great favourites with the public if the
specimens before us shew the greatest amount of definition that can be obtained in the shadow by
the process. Could they be improved upon in this respect, they might become useful for the
representation of wide streets or views which have too extended a range for the compass of the
ordinary instrument.’29 Copies of the same photographs were probably included in the South
Australian exhibit at the Paris Universal Exhibition, as Crawford had been authorised to ‘supply 16
photographs in duplicate, half for the Paris and half for the Melbourne Exhibition’.30
In November 1866 Frazer Crawford applied for, and won, the position of Government PhotoLithographer, stating in his application that his term as manager of the Adelaide Photographic
Company was about to expire, and that he preferred the scientific branches of photography to
professional portraiture.
Crawford’s successor was Henry Davis, who was being advertised as manager by the end of
December. By February 1867 the company had a talented young artist, John A. Upton (q.v.)
working for them, and had enlarged their premises to cope with their increasing trade. The ladies’
dressing rooms were enlarged and made more comfortable, and Davis decided to reduce the size of
the negative collection to conserve space, and no doubt would have had a new supply of glass once
the old emulsion was cleaned off. In his advertisement Davis said, ‘Any Lady or Gentleman being
desirous of having his or her negative or negatives preserved for another twelve months can ensure
the same by forwarding an order or expressing a wish to that effect’.31
Repeat orders for cartes de visite of public figures, deceased or living, were a steady source of
27
South Australian Register, 23 November, 19 December 1865.
South Australian Register, 24, 25 August 1866.
29
Australian Monthly Magazine, no. 17, January 1867, quoted in Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford
University Press, Melbourne, 1985, p.48.
30
South Australian Register, 3 August, 26 October 1866.
31
South Australian Register, 2 February 1867.
28
12
income for photographers. When there was a surge in demand for portraits of the ‘late Dr Bayer’32
in September 1867 the Adelaide Photographic Company jealously guarded its right to sell the
genuine article and ran a series of advertisements warning the public that unauthorised copies were
being offered for sale. The company had purchased all of Henry Strother’s (q.v.) negatives of the
late Doctor,33 and in one of his advertisements Henry Davis said:
The Adelaide Photographic Company being in possession of all the original negatives of the late
Dr. BAYER, Caution the Public against purchasing impressions at any other establishment, as they
will get none but copies elsewhere. Some photographers (classing themselves among the best) are
copying the Company’s portraits, but it is to be hoped that the public will not encourage such a
disreputable practice. One establishment, classing itself next to our own, is advertising copies from
our own photograph for sale.34
The company’s advertisement was placed directly above one in which Townsend Duryea was
offering Dr Bayer’s portrait for sale, but a few days later Duryea responded by giving away cartes
de visite of the Doctor.35 That there was a large demand for the portraits was confirmed by the
Advertiser when describing the company’s large mezzotinto likeness of Dr Bayer. ‘The demand
for these memorials of one so respected in life, and now so sincerely mourned, is, as might be
expected, very large.’36
The company was the victim of a serious lack of communication when it lost its opportunity to
photograph Prince Alfred, Duke of Edinburgh, when he made the first ever royal visit to South
Australia in 1867, and as Adelaide was the Prince’s first port of call, the company would have
been the first studio in Australia to receive the honour of taking a royal portrait. The South
Australian Society of Arts had run advertisements inviting photographers to apply for the honour
of photographing the Prince under the auspices of the society and was to support their applications
with specimens of their work.37 The only competitors were Townsend Duryea and the Adelaide
Photographic Company, and when the honour was awarded to the company it went to some trouble
and expense to prepare a suitable reception for His Royal Highness.38 However, it appears the
Prince was not informed of this arrangement, and Duryea managed to obtain the royal sitting.39The
confusion may have arisen as a result of Duryea having been engaged some days previously to
provide the photographic record for an official account of the Prince’s visit to South Australia.40
The Adelaide Photographic Company continued winning prizes at the annual exhibitions of the
South Australian Society of Arts. In 1866 the company won three prizes, the best coloured
photograph, the best six views and the best six plain photographic portraits, and in 1867 they were
awarded six prizes, for the best mezzotint, water colour, oil colour, full-length and vignette carte
de visite, and also for plain portraits. At the society’s fifteenth annual exhibition, held in December
1871, the company was awarded prizes for the best full-length portrait, best eight untouched carte
de visite portraits, and the best water colour portrait.
In March 1866 the company introduced an unusual novelty, the Adelaide Rose. It was:
a very prettily executed representation on cloth of 32 views of buildings and scenery in and about
Adelaide. This we understand to be the first attempt to transfer the negative to drapery. The effect is
very soft and satisfactory. The Rose is folded up to a size which enables those who have friends in
England to forward a perfect representation of our wurleys and gunyahs, both public and private;
and they will be further gratified to know that the ruins of Adelaide will form beautiful studies for
tourists and artists next summer.41
32
Dr Frederick Charles Bayer arrived from Germany in 1847 on the Heloise.
Advertiser, 16 September 1867.
34
South Australian Register, 2 September 1867.
35
36
37
South Australian Register, 3 October 1867.
38
Advertiser, 9 October, 22 November 1867.
39
South Australian Register, 11 November 1867.
40
41
Pasquin, 7 March 1868; South Australian Register, 2 March 1868.
33
13
The presentation album of photographs was a popular and important item in the nineteenth
century. One album which the Adelaide Photographic Company assembled for members of
Chalmers Church, for presentation to the widow of their late minister, Rev. J. Gardner, was
described by the Register:
On the title-page, within a floral border, very tastefully emblazoned by Mr R.E. Minchin, is the
following inscription: ‘Presented to Mrs John Gardner by the ladies and friends of Chalmers
Church, Adelaide, on the occasion of her leaving for Tasmania; October, 1868’. Fronting this is a
beautifully executed cabinet portrait of Mrs Gardner, done by the Photographic Company; and in
the next compartment is a full length photograph of the Rev J. Gardner. It is an admirable and wellfinished likeness of the rev. gentleman. Then follows a large number of likenesses of members of
Parliament and men of position in the colony and connected with Chalmers Church. These have all
been obtained from Mr Duryea and the Company, and exhibit in a very marked degree the high
state of excellence to which the photographic art has been brought in the colony … We believe that
a few weeks may yet elapse before Mrs Gardner and her family proceed to Tasmania; but in their
new home this parting gift, and the familiar faces enclosed in it, will be a reminder to them of the
colony where they have so long resided, and to which they are bound by so many ties of memory
and friendship.42
In one of their advertisements the company provided advice on the colours and textures of material
that were most suitable for use in portraiture photography.
The best materials, and those which look the richest, are silks and satins. The most suitable colors
are the different shades of green, brown, drab, grey, or slate, provided they are not too light. Those
to be most avoided are white, blue, mauve, and dark pink; the only dark material unsuitable is black
velvet. Dark checks and plaids take very distinctly – sometimes too much so, as they form too
prominent an object in the picture. Lace scarfs, opera mantles, shawls, &c., greatly assist the artist
in securing graceful and flowing lines. Irish, Maltese, or Honiton laces are preferable to those of an
opaque white.43
Art unions were popular in the nineteenth century. They were usually in the form of a lottery in
which subscribers were guaranteed a photographic copy of a work of art, or some similar prize,
plus a chance to win the major prize, which, in the case of the art union run by the Adelaide
Photographic Company in 1869, was an engraving titled First Assembly of the free Church of
Scotland. Originally 150 subscribers were to be guaranteed a photographic copy of the engraving
and a chance in the draw for two of the originals, but enough names were not obtained, and
seventy-five subscribers were given a chance to win one engraving. The Register described the
method of selecting the winner:
In one vase were placed 75 small tickets, numbered so as to correspond with the numbers on the
subscribers’ tickets. In another 75 envelopes, each containing an order for a photogram of the
picture and a key to the same, and one only containing an order for the engraving. A gentleman
presided over each vase, and as one drew out a ticket the other drew out an envelope. A third person
marked on the envelope the number of the ticket. The winner of the engraving was Mr H. Law,
Manager National Bank, Penola.44
By July 1869 the company was using a solar camera to enlarge photographs, with the sun being
used as the source of light to project a negative image on to a sheet of photographic paper. Before
this enlargements were made by re-photographing an original carte de visite or daguerreotype with
a larger-format camera and making a positive print in the usual way.45
The Adelaide Photographic Company’s premises were severely damaged by fire in December
1870. The operating room was gutted, their stock of chemicals and 15,000 negatives destroyed,
and paintings and photographs downstairs were damaged by water. The company’s financial loss
was severe, as after having insured the stock for £2,000 for the previous seven years, the policy
had been allowed to lapse while a new lease was being negotiated. At the time of the fire the
proprietors were Henry Davis, photographer, and George Scrymgour Junior. The employees were
42
Boothby’s South Australian Directory for 1869.
45
South Australian Register, 24 July 1869, portrait of Captain Hutchison.
43
44
14
John Upton, artist, Alfred Vaughan, photographic printer, and Elliott Coppin, photographic
operator.46 The premises were repaired and re-opened for business on 8 February 1871, and the
company advertised that they would arrange a free sitting for anyone whose negatives had been
destroyed, and that the charge for copies would be the same as if the negatives had been in stock.47
The Adelaide Photographic Company conducted a more ambitious art union in 1871 under the
‘direction of an influential committee of management’. Agents were appointed in country towns to
help sell the 260 one-guinea tickets, and the prizes were ‘a handsome selection of water colour
paintings, chromo-lithographs and photographs, all elegantly framed’, and included ‘about half a
dozen of Raphael’s cartoons’. The total value of the prizes was said to be £273.48
On 8 February 1873 the partnership existing between Henry Davis and George Scrymgour Junior
was dissolved by mutual consent, and Henry Davis became sole proprietor.49
The company obtained a series of ‘large clear views’ of a railway accident in March 1874. The
Register reported:
These pictures give a good idea of the jumbled mass into which the train was cast, and enables a
person who has not visited the spot to realise how severe must have been the shock sustained by the
engine, trucks and carriages. The positions of the twisted and smashed rolling – stock, some parts
deep in earth, others high in the air, are distinctly shown. The work of the photographic artist, who
went by the special train that contained the Coroner’s Jury, has certainly well occupied his time,
and the public will appreciate the result, for even pen and ink descriptions, vividly though they may
bring events and details before the mind, fail in conveying the exact impressions that sun pictures
enable the onlooker to realise.50
When Henry Davis died at his Norwood home on 6 February 1878, the business continued under
the management of his widow, Mary Jane Davis. Neales’ buildings were offered for sale by the
trustees of the late John Bentham Neales in November 1878 and, in the notice of sale, Lot 4 was
described as ‘That valuable block of land, on which is erected the Shop and Building now
occupied by the Adelaide Photographic Company, having a frontage to King William-street of 15
feet 8¼ inches by a depth of 35 feet, together with the use of the right-of-way running at the back
into Hindley-street. Note – The second floor of Lot 3 is let with these premises. Tenant – Adelaide
Photographic Company; yearly rental £200; rent payable quarterly till December 1, then first every
month; term expires, monthly notice from any date.’ Lot 3 was the shop on the south side of the
company’s rooms, and was an identical structure rented by John Clark the tailor, but the second
floor of both had been opened up to form one large area which had been occupied by the company
as early as 1870.51
On 12 February 1879 fire again destroyed most of the Adelaide Photographic Company’s studio,
gutting the top floor and water damage spoiling most of the lower part of the building, but this
time the stock, furniture and negatives were insured for £1,150. The staff employed by Mrs Davis
at the time were Arthur Francis, the operator, Elizabeth Jane Morcom, an apprentice, and a lad
named Ernest Zeigler, a photographic printer who later became a photographer. In her evidence
given at the inquest Mrs Davis said that she had already made arrangements with Townsend & Co.
to sell the business by auction on 19 February. It was also stated that on the day of the fire George
Freeman had purchased some negatives from Mrs Davis for £14 10s, the same negatives he had
tried to buy from her husband some years earlier.52
46
South Australian Register, 10, 12, 14, 17 December 1870.
Kapunda Herald, 3 February 1871.
Northern Argus, 2 June 1871; Southern Argus, 16 June 1871.
49
South Australian Government Gazette, 20 February 1873, p.297; South Australian Register, 26 February 1873.
50
South Australian Register, 14 March 1874.
51
Advertiser, 30 November 1878.
52
Advertiser, 14, 17 February 1879; Observer, 15 February 1879.
47
48
15
ADELAIDE PHOTOGRAPHIC GALLERY
Located on North Terrace, opposite Parliament House, in 1864. See STONE, James Doveton.
ADELAIDE PHOTOGRAPHIC INSTITUTION see ANSON, Henry
ADELAIDE SCHOOL OF PHOTOGRAPHY
In 1873 Townsend Duryea of 66–68 King William Street, Adelaide, opened a second photographic
business studio at 51 Rundle Street which he called the Adelaide School of Photography. Duryea
sold the business to his manager, Saul Solomon (q.v.), in 1875. For details of Duryea’s
establishment of the studio and Solomon’s ownership from 1875 to 1890, see SOLOMON, Saul.
By 1891 the studio was in the hands of Thomas Adcock (q.v.), who continued to use the name
Adelaide School of Photography. In 1894 the studio was taken by Townsend Duryea Junior, who
conducted the business under his own name.
There is an isolated reference to ‘some very fine photographs’ which were exhibited by an
Adelaide School of Photography at the annual exhibition of the South Australian Society of Arts in
December 1865.53
ADEY, Spicer
The photographic studio at 83 Hindley Street, Adelaide, was established by ‘Professor’ Robert
Hall in November 1855, and when he retired it was taken over by Edward Farndell, in March
1866. Edward Farndell died suddenly in August 1874, and a few weeks later the following
advertisement was published in the Register: ‘The old friends and customers of the late Edward
Farndell are informed that Spicer Adey, who formerly conducted the business, will carry on the
portrait business as usual at 83 Hindley Street. Copies of portraits from the old negatives still
procurable.’54
Until new cards were printed, Spicer Adey used the studio’s existing stock with his own name
stamped above Farndell’s. He was listed in directories as photographer, 83 Hindley Street, from
1876 to 1885, and his early, highly decorated cartes, printed by Penman & Galbraith, said:
‘Photographed by Spicer Adey, (late Edward Farndell), 83 Hindley Street, Adelaide. Further
supplies of this portrait by post seven for 5/-. Stamps with order. Portraits from the late E.
Farndell’s negatives at the same price.’ Later cartes included, ‘Payment in Advance. After orders
of this portrait 1/- each, stamps may be sent.’ Still later, probably the 1880s, his plain, dark brown
cards were simply printed on the front, in gold, ‘Adey, Hindley Street, Adelaide’.
A one-sixth-size ambrotype (Noye collection), enclosed in an unusual folded brown paper
envelope, which has the front cut out to expose the image, has been inscribed with pen and ink,
‘View on East Terrace – Adelaide, by S. Adey’. As few ambrotypes were made in South Australia
after the carte de visite was introduced in the early 1860s, it would appear that Spicer Adey was
practising photography at least by the late 1860s.
AINSWORTH & SLATER
Listed as photographers at 75–76 Royal Exchange, King William Street, Adelaide, in the directory
for 1910.
ALLEN, C. William
Listed in 1858 directory as ‘photographic artist’, 201 Rundle Street, Adelaide. In August 1858
53
54
South Australian Register, 28 December 1865.
16
Allen advertised a small daguerreotype apparatus, quarter-size camera and instruction book for
sale. His photographs of the cricket match between the British and Colonial players in 1859 were
reported by the Register on 14 March 1859: ‘The grouping in them is very good, the attitude of the
players is very correct, and although the figures are generally small, the likenesses of the
spectators are, in many instances, evident without a glass’.
ALLEN & GOVE (ALLEN, GOVE, & Co.)
On 12 February 1879 the Adelaide Photographic Company’s (q.v.) studio at 23 King William
Street, Adelaide, was destroyed by fire, and as the business was to have been sold a few days later
it did not re-open when the damage had been repaired.
The restored premises were occupied by Allen & Gove, a firm of photographers who appear to
have specialised in making ferrotype (tintype) portraits; they were in business by the end of 1880,
being listed as photographers in the 1881directory. Their name is given as Allen, Gove, & Co. on
the carte de visite mounts for ferrotypes made at their King William Street studio, some of which
also show branch studios at 324 George Street, Sydney, and 95 Swanston Street, Melbourne. On
some of the mounts used by their Eastern States studios their name appears as Gove & Allen.
By the end of 1881 the studio was occupied by Poul C. Poulson and his brother Anders Poulson
(q.v.), who continued the ferrotype tradition, some of their carte de visite mounts being inscribed
‘American Studio, P.C. Poulsen, late Allen & Gove’.
ALPHA STUDIO
Studio name used on photographs made by Thomas Adcock (q.v.) when he was at 143 Rundle
Street, Adelaide, 1903–05.
ALTMANN, Dr. Carl August
A resident of Port Lincoln who was awarded commendations for two photographs he entered in
the portraiture section of the Observer 1897 Christmas Supplement photographic competition. Dr.
C.A. Altmann (b. 1859) is listed in the Biographical Dictionary of South Australians.55
AMERICAN GEM COMPANY
On 2 February 1882 The American Gem Company opened their photo-tent for making ferrotype
(tintype) portraits opposite the courthouse in Commercial Road, Port Augusta.56 The prices for
their portraits, which were finished in ten minutes, were 25 Gems for 3s; 12 double Gems 4s; 12
ninth Gems 6s; 6 carte de visite size 7s 6d; and 3 cabinet size for 12s. As special albums were
available for the Gems, they were not mounted on cards. The slightly larger double and ninth size
Gems were on cards so they could be put into the ordinary carte de visite albums. The carte de
visite and cabinet sizes were not mounted, being a standard size for albums. The completed
ferrotype portrait was handed to the customer just ten minutes after it was taken.
By March the company was at Port Pirie, their photo-tent erected at the corner of Alexander and
Ellen Streets. The local press reported:
Mr Miller, the manager, explained to us the working of the process, which is quite a new one as far
as the Port is concerned. A person goes to the studio, chooses the style of picture he prefers, and
before leaving the photos are handed to him finished and framed. All sizes of portraits are taken,
from a two-shilling piece to full carte de visite, and as many as 72 can be taken at one sitting, which
occupies but a short time. Some of the photos are marked by a beautiful softness of tone and
55
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986, p.
21.
56
Port Augusta Dispatch, 31 January 1882.
17
clearness of outline, and the price is very low.57
The next month the American Gem Company erected their tent at Gawler, in the Market Reserve
at the corner of Murray and Cowan Streets 58 and in June they were in Franklin Street, Kapunda,
opposite Crase’s Hotel. By this time they had added two very large size portraits to their range, 8 x
10 inches for 6s each, and 10 x 12 inches for 9s. These new sizes were intended for framing, and
were perhaps among the largest sizes offered by Australian photographers; Miller’s 72 portraits
per sitting was also an exceptionally large number.59
Due to bad light and wet weather, the company remained in Kapunda longer than intended, and in
July announced that, after making great alterations to photographic tent, they were able to take
good portraits in all kinds of weather.60
AMERICAN PHOTO NOVELTY CO. (AMERICAN PHOTO CO.)
Listed as photographers at 147 Rundle Street, Adelaide, in the directories for 1901–03, with
Wilton Swift as manager for 1901, and E.J. Dacre for 1902–03. The wet-stamp inscription on the
back of one of their photographs (Noye collection) reads: ‘Negatives preserved, copies may be had
at any time, American Photo Co, 147 Rundle Street’. The photograph mount is the same height as
for a carte de visite, but one-half inch wider.
AMERICAN PHOTOGRAPHERS
In the Gawler Bunyip for 4 January 1889 the American Photographers advertised that they had
arrived in Gawler and had taken Mr Woodman’s Portrait Gallery for a short period. They were
open from 10 am to 5 pm, and supplied three large photographs for one shilling. One week later
they advertised: ‘The American Photographers (opposite the Rink), Gawler, still doing 3
photographs for 1s, also cartes de visite at 5s 6d per dozen’.
AMERICAN STUDIO see POULSON, Anders
ANDERSON, Charles F.
The undated mount for a whole-plate albumen print (Noye collection) of a residence near Mount
Barker carries the printed inscription ‘C.F. Anderson, Mount Barker’. The directories list a Charles
F. Anderson, ironworker, Mount Barker, for the years 1889–98. Before this there was a C.
Anderson, plumber, listed for 1887–88.
ANDREW, David (also ANDREW, William, ANDREW, Wm & Son and ANDREW, W.A.)
Listed as ‘Andrew, Proprietor of York Photo Studio, 174A Rundle Street, Adelaide, in 1902. And
Wm., photo materials and rubber stamps’, James Place, Adelaide, in the directory for 1899, then as
an importer and dealer in photographic materials at Colonial Chambers, King William Street, for
1900 and 1901. From 1902 he was listed as Adelaide Arcade, off Rundle Street, and from 1907 to
1910 the business was in the name of W. Andrew & Son. From 1911 the name changed to W.A.
Andrew, presumably the son, whose entry for 1914 was ‘importer of cameras and photographic
materials; picture framer and enlarger, 42 Arcade, Rundle Street’.
William Andrew exhibited lantern slides at the May 1902 meeting of the South Australian
Photographic Society, and at the July meeting it was reported that a letter had been received from
Mr W. Andrew, ‘importer and dealer in photographic materials and an enthusiastic member of the
57
Port Pirie Gazette, 10 March 1882.
Gawler Standard, 22 April 1882.
59
Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford University Press, Melbourne, 1985, p. 113. Alan Davies refers
to ferrotypes as large as 61½x 81/½ inches, and to 36 gems being made on the one plate.
60
Kapunda Herald, 6, 16, 23 June, 7 July 1882.
58
18
Society’. In his letter he said, ‘With the object of stimulating the amateur photographer of South
Australia towards working more with colour, I should like your committee to offer, on my behalf,
at the forthcoming annual exhibition, two gold medals, as follows, under section II of the
prospectus – A gold medal for (1) the best example of three-color photography by any system; and
a gold medal for (2) the best set of six lantern slides by carbon process.’ The last mentioned to be
open only to those who have not already won a prize for lantern slides in the society’s
exhibitions.61 The offer was accepted.
In January 1903 he was named as one of the ‘well-known high-class camerists’ who would be
exhibiting photographs at the Kapunda Photographic Club’s exhibition in the Kapunda School of
Mines building.62 He also provided a gold medal for the ‘most meritorious collection of exhibits in
the competitive sections’ of the exhibition, and showed pictures by the ‘bichromate process’ in the
non-competitive section.
ANGASTON CAMERA CLUB
A report of a meeting of the Kapunda Photographic Society held in August 1905 said ‘A letter was
received from the recently-formed Angaston club, asking for information as to rules, &c. The
secretary (Mr T. Warner), said he had sent the information’.63
In September another report referred to the Kapunda Photographic Club receiving letters from ‘the
Broken Hill and Angaston clubs’ notifying their intention of sending exhibits to the forthcoming
Kapunda Art and Industrial Exhibition, and a later report confirmed the receipt of pictures from
‘the Angaston club’.
However, in July 1906 the Kapunda Herald reported: ‘A photographic club was formed at
Angaston about 12 months ago. Officials were elected, rules were drawn up, membership fees
were paid, and the club passed from the initial or inauguration stage to the lethargic condition.’
ANSON, Henry
When Dr Benjamin Frankis came to Adelaide from England in 1850 he brought with him his
nephew, Henry Anson, who had been born in Bristol, England, in 1838. Doctor Frankis established
a medical practice in Adelaide and Henry was apprenticed to him as a chemist. On 17 August 1861
Henry Anson married Emily Louisa Francis, daughter of George Francis, first director of the
Adelaide Botanic Garden. Two of his brothers-in-law, Arthur and William A. Francis, became
professional photographers.
By January 1863 Henry Anson was practising photography, his photographs of the John McDouall
Stuart demonstration being for sale at Mullett’s stationery shop in Rundle Street.64 The following
month Henry was advertising his Adelaide Photographic Institution at 45 Rundle Street, which was
open from 11 am to 4 pm. He was making portraits on glass for 2s 6d, stereoscopic photographs,
cartes de visite, vignette portraits, and could take views in both the city and country areas. He also
provided what would have been an unusual service for the time, making photographic prints from
negatives made by amateur photographers. He made and sold his own brand of collodion, along
with other photographic chemicals guaranteed to be of ‘absolute purity’.65
The Adelaide Photographic Institution had moved to 97 Rundle Street by December 1863, and
Henry Anson had taken his brother-in-law, William Augustus Francis (q.v.), as partner. On 3
December they advertised their new style of coloured photograph which, they claimed, ‘for
61
Australian Photographic Journal, July 1902.
Kapunda Herald, 23 January 1903.
63
Kapunda Herald, 11 August 1905.
64
South Australian Register, 23 January 1863.
65
62
19
accuracy of portraiture and artistic effect have hitherto been unequalled in this colony’. The
photographs were painted with water colours by A.B. (Gus) Peirce, a photographer who had
recently arrived from Melbourne.66
In March 1864 Anson & Francis photographed George Hamilton’s series of drawings called Life of
the Australian Horse, which were described as ‘eleven sketches [that represent] a complete history
of the Australian horse from the period of his entire freedom to the last stage of equine bondage.67
They may have supplied the photographic prints which were inserted as real photograph
illustrations in Hamilton’s books for horse owners, published in 1864 and 1866, and therefore
could have been the first in Australia to provide original photographs for books.68
In July 1864 Anson & Francis announced that, as a result of repeated requests for album views,
they had photographed nearly all the public buildings ‘in and adjacent to the City of Adelaide’.
These photographs, they said, were of carte de visite size, and ‘especially suitable for transmission
by mail to England’.69
In a full-page advertisement in the directory for 1865, Anson & Francis (Adelaide Photographic
Institution) said they now had 4,000 registered carte de visite negatives on file from which copies
could be made at a reduced rate, by forwarding the number written on the card. When orders for
six or more cartes de visite were received, they made two negatives from which proofs were
supplied for selection, and if neither met with approval they were prepared to continue making
negatives until the customer was satisfied. A printed form was used to confirm the date and time of
appointments. Anson & Francis also had for sale a large collection of portraits of South Australian
natives and stereoscopic views of colonial scenery, and claimed they had the largest camera in the
colony for taking photographs of scenery and gentlemen’s residences.
By January 1866 only W.A. Francis was named as proprietor in advertisements for the Adelaide
Photographic Institution, and it may have been about this time that Henry Anson changed
occupations to become a traveller for Bickford & Son, the chemists. He was listed as a traveller,
Hindley Street, in directories for 1868–70. In October 1866 he had applied for the position of
Government Photo-lithographer, but was not successful.70
At this point it is not clear what happened to the Adelaide Photographic Institution. William
Francis may have given up the business, as Thomas Jackson advertised in January 1867: ‘Mr
Jackson having purchased the whole stock of negatives belonging to Messrs Anson & Francis, is
now prepared to supply parties with duplicates of the same at reasonable rates’.71
Henry Anson moved to Kadina where he advertised in the Wallaroo Times on 13 March 1867 that
he taken F.W. Elliott’s dispensary, where he would carry on business as a chemist, druggist and
stationer. However, he must have moved back to Adelaide later in the year and briefly revived the
Adelaide Photographic Institution, as the National Directory for 1867–68, probably published in
late 1867, carries an advertisement which says: ‘First-class portraits … at H. Anson’s Adelaide
Photographic Institution, 97 Rundle Street, Adelaide’. There is also a diamond cameo portrait, a
style of carte de visite introduced to Adelaide in April 1865, made by the Adelaide Photographic
Institution under the name of H. Anson, not Anson & Francis, and the negative number on the card
is much later than those seen on cartes made by Anson & Francis.
At the age of 31, and perhaps possessed by the spirit of adventure, Henry Anson left South
66
Advertiser, 2 December 1863; South Australian Register, 3 December 1863.
South Australian Register, 23, 29 March 1864.
68
Melbourne, 1992, p. 180, attributes these photographs to Frazer S. Crawford, with Townsend Duryea named as another possibility.
There is also a reference to them on p. 344.
69
South Australian Register, 12 July 1864.
70
PRO, GRG 35, SGO 965/1866, SGO 1161/1866.
71
67
20
Australia in June 1868 to try his luck on the Gympie goldfields in Queensland. He travelled from
Wallaroo to Newcastle on the SS Kadina, then by the City of Morpeth to Sydney from where he
sailed for Brisbane on 12 July aboard the Lady Bowen. In the company of friends Henry walked to
the Gympie diggings over rough bush tracks, only to find most of the gold had been worked out.
At one stage he found employment with a tobacconist–photographer named Mueller, and some of
Henry’s photographs of the primitive early settlement with its rough bush shacks and tidier public
buildings have survived. Returning to Brisbane he sailed for Sydney on the SS Brisbane, and after
a ‘rough but rapid passage’ of three days, reached Sydney Harbour. From there it was on to
Melbourne on the City of Adelaide, then to Adelaide on the Coorong. Henry wrote, ‘full of hope
we left, like the proverbial bad penny we returned’. All Henry brought back was enough gold to
make a ring for his wife and the stories of his experiences to relate to his children.72
In October 1868, while Henry was away and apparently without his knowledge, Bernard Goode
(q.v.) applied on his behalf for the position of photographer on the South Australian Government
expedition to the Northern Territory, another opportunity for adventure. In his letter to G.W.
Goyder, Surveyor General, Bernard Goode said:
I beg to submit to your favourable notice Mr H. Anson … as a steady industrious photographer and
one well up in all its branches. I might say that as his work will be chiefly views, that he took the
prize at the New Zealand Exhibition for the best collection of views shown. He is at present at the
Gympie Creek diggings … I have sent this quite on my own responsibility but should you think
there is any chance of his being appointed I will find means to communicate with him … and get
him over here at once.73
Henry was not appointed to the position, but when he returned from the diggings he was given
work in the portrait department of Goode’s Rundle Street studio. This, said Goode, would allow
his other staff to concentrate on outdoor photography, transparencies for the magic lantern, and
photographic enlargements, ‘which latter style of portrait they are producing by an entirely new
process … up to life size’.74
By January 1873 Henry Anson was back on the Peninsula as a chemist. The Adelaide firm of
Bickford & Sons, for whom Henry had worked as a traveller, acquired William Hartley’s chemist
shop at Kadina and installed Henry as their manager.75 Later that year he branched out on his own,
erecting his own chemist shop in Taylor Street, which must have had a photographic studio
attached. The studio eventually claimed too much of his time, so in August 1879 he employed
Matthew Mitchell (q.v.) as an operator in what he advertised as ‘The Taylor-Street Photographic
Studio, H. Anson proprietor’.76 The chemist side of his business was known as the Kadina Medical
Hall.
While at Kadina Henry Anson often gave lectures and magic lantern entertainments. In May 1881
he gave an ‘interesting and instructive’, lantern show to the scholars attending Mr R. Willshire’s
school at Wallaroo Mines. ‘The views exhibited were varied in character … astronomical,
botanical, and zoological, besides photographic views of scenes in and around Paris … Mr Anson
described each picture as it was shewn in a brief and intelligent manner … The last picture thrown
on the screen was the photo of Mr R. Willshire, taken by Mr Mitchell, and the children at once
called out the name of their schoolmaster.’77
On 12 May 1883 the Wallaroo Times reported:
72
A long account of Henry Anson’s experiences at the Gympie goldfields and two of his photographs appeared in Brisbane’s Sunday
Mail Colour Magazine, 6 August 1972. A brief article was also published in the journal of the Gympie & District Historical Society,
July 1981.
73
PRO, GRG 35, SGO 1185/1868. B. Goode to Goyder, 23 October 1868.
74
75
Yorke Peninsula Advertiser, 3 January 1873.
76
Wallaroo Times, 30 August 1879.
77
Wallaroo Times, 9 May 1883.
21
The numerous friends of Mr Anson, of Kadina, will regret to learn that he is about to leave the
district. During his residence in Kadina he has been known as a man of strict integrity. He was ever
ready to lend a hand in matters which interested, or were for the benefit of the town. He has from
the first taken a lively interest in the affairs of the Yorke’s Peninsula Agricultural Society, of which
he is vice-president … In all charitable movements, also, he has been ever to the front; and in
numerous entertainments … no name was more welcome on the programme than that of Mr Anson.
Professionally he was a man of wide experience, and he will be greatly missed by the scores of
persons who at times are troubled with small ailments, which, although not serious enough to
necessitate the calling in of a doctor, require relief. In this respect there has never been a chemist on
the Peninsula who possessed a larger share of public confidence. The district can ill afford to lose
such men.78
Fifty gentlemen were present at a farewell held in the Wombat Hotel, where Henry was presented
with an illuminated address, a purse containing seventy sovereigns, and an inscribed locket.
After leaving Kadina Henry Anson took Charles Downer’s chemist shop on North Parade, Port
Adelaide, but when this location proved unsuitable he moved to a shop in St Vincent Street. Henry
died in June 1893, leaving a widow, three sons and five daughters.
ANSON & FRANCIS see ANSON, Henry
APPLETON, George A.
In September 1865, the Adelaide Photographic Company advertised that they had ‘engaged Mr
Appleton as artist in oil colours, in addition to their artist in water colours. Mr Appleton was for
several years a student at the Royal Academy, London, and was, when he left Melbourne, the
leading artist in oil photographs there.’
In December 1865 Appleton was awarded two prizes at the Royal Society of Arts Exhibition,
Adelaide, one for the best oil painting illustrative of colonial life, the other for the best landscape
in oils. His stay in Adelaide appears to have been brief, as one month later the company announced
that Mr Appleton ‘intends shortly to return to Victoria’.79
AREAS PHOTOGRAPHIC COMPANY
During the 1880s George Frederick Jenkinson, manager of the Areas Photographic Company,
toured the northern agricultural areas of South Australia using a large tent for a studio, and for a
few years he had a second studio on the road operated by Arthur Francis (q.v.). Jenkinson was a
very popular figure and received more and better newspaper coverage in the northern areas than
any other travelling photographer. The quality of his work and his personal attributes were
frequently praised, and numerous excerpts from newspaper paragraphs have been included to
describe this exceptional man and his work in the language and style of the 1880s.
The earliest known reference to George Jenkinson as a South Australian photographer is a
paragraph in the Notice to Correspondents column of Frearson’s Weekly for 10 April 1880: ‘G.F.
Jenkinson, Terowie. – We are greatly obliged to you for the excellent picture of the Terowie
Institute, but regret to state that the subscriptions to our papers from your district would not justify
incurring the expense necessary to reproduce it. Views of scenery or local events would be more
suitable.’ At that time photographs were reproduced in the form of engravings, the modern halftone process not coming into general use in South Australian newspapers until the 1890s.
By October 1880 Jenkinson was at Port Augusta, where the local paper reported:
78
Melbourne, 1992, p. 22.
79
22
The Areas Photographic Company’s Studio is a great attraction to the public. The high-class work
executed by the company cannot fail to give satisfaction, whilst the price charged for ‘Cabinets’ and
Carte de visites are such as to enable every class of the community to preserve the portraits of
friends and relatives. The work already completed is a sufficient warranty of the artistic finish of all
orders entrusted to them, whilst visitors will receive every courtesy and attention. We have just
been shown some beautiful landscape views taken by the company. Among others were some cards
of charming woodland scenery from the Melrose district, which would prove a credit to any album.
The views of our rising seaport are of such undoubted excellence that we anticipate a general call
for copies, especially as the prices bring them within reach of most of our citizens. Mr Jenkinson is
to be complimented, as is also the operator, Mr Francis, upon the general character of the work
emanating from their studio.80
George Jenkinson returned to Terowie in May 1881 where he erected his ‘new and commodious
studio’ in the main street, opposite Bleechmore Bros. store.81 The local paper described the
company’s use of dry-plates:
We had an opportunity the other day of visiting their studio, and also of witnessing some
experiments in portraiture. They established so good a reputation for the quality of their work on
their former visit that anything we can say here will be of no service in commending it to the
public; but they have added some very important improvements to their apparatus which will render
it easier to obtain good pictures. One of the most important of these is to be found in the new and
extremely sensitive Bromo-Gelatine plate. Instead of the slides being treated in the usual way with
Nitrate of Silver and Collodion they are sensitised with the Gelatine, and great care must be
exercised in handling them; light shining from the veriest chink for an instant only, being sufficient
to spoil a negative. The time for exposure in order to develop a proper picture being only about a
second, a much better portrait is secured than by the old process. Though it was very cloudy on the
occasion of our visit we saw a perfect picture taken in a little over that time, and it is on record that
one has been taken by gaslight. Our readers might do worse than pay them a visit.82
By July 1881 Jenkinson was at Port Pirie, opposite the Central Hotel, advertising that children, ‘no
matter how young or troublesome’, could be photographed in one second with the new bromogelatine process. As it was winter and the light was poor, the studio was only open from 10 am to 3
pm. The local press reported:
During the week the Areas Photographic Company have pitched their ‘moving tent’ in Port Pirie. It
is not strictly correct to say ‘tent’, because their studio is far in advance as regards completeness
and comfort of anything which has yet visited the Port. In going inside one could almost imagine
himself in a city photographer’s apartment, so well is everything arranged. On Monday, by
invitation of Mr G.F. Jenkinson, the manager, we had a look over the affair, and Mr [E.W.] Belcher
[q.v.], the operator, explained to us the nature of the working of the new bromo-gelatine process.
By means of this invention any moving object, even an express train at full speed, can be
transferred to paper, the time occupied in transmitting the picture to the prepared plate being so
short as the fiftieth part of a second. It will, therefore, be seen how valuable the process must be in
the case of children. In other respects the company is well worthy a visit, for the other classes of
work are really excellent. 83
When Jenkinson left Port Pirie at the end of August he received a glowing report in the Gazette:
During the time the company has been in Port Pirie a large number of people have had the shadow
caught before the substance faded, and in no case have we heard a complaint as to the work turned out;
indeed some of the portraits shown us are quite works of art, the operator being especially successful
with children by means of the instantaneous process. The obliging manager, Mr Jenkinson, has
forwarded us a complete set of views of the town taken from the flagstaff balcony and Sucker’s look
out. These are really most excellent, conveying as they do a faithful delineation of the place and its
facilities. They would be still more valuable if the manager could mount them in proper order, forming
one large picture. For presentation to friends they are just what has been long wanted, and they should
80
Port Augusta Dispatch, 15 October 1880.
North-Eastern Times, Terowie, 20 May 1881.
North-Eastern Times, Terowie, 3 June 1881.
83
Port Pirie Gazette, 1, 8, July.
81
82
23
have a large sale, for nothing approaching them has before been offered the public.84
In September 1881 the Areas Photographic Company had two travelling studios, one at Port
Augusta, the other at Jamestown. The Port Augusta studio was erected on the corner of
Commercial Road and Flinders Terrace, and the Dispatch said that on the company’s first visit
their work had given ‘universal satisfaction’, and as Mr Francis, ‘the obliging operator’, was still
in charge, the public could expect similar results on this second visit to their town. On their first
visit, said the Dispatch, the company had been using the old wet-plate process, but had since
adopted the new gelatine bromide (dry-plate) process by which ‘children of tenderest age and
given to exhibitions of waywardness and irritability can be photographed with the greatest ease
and success’.85
At Jamestown Jenkinson had erected his tent on a vacant allotment next to Mosely and Edwards’
butcher shop. Children, he said, no matter how young or troublesome, could be photographed in
one second. By the end of November the company’s studio had been moved to Yongala, and was
expected to return to Jamestown in about eight months’ time.86
In September 1882 Jenkinson made another visit to Port Pirie, erecting his tent opposite
Trapmann’s hotel, and before moving on to Jamestown received a good review in the Gazette:
Mr G.F. Jenkinson, manager of the Areas Photographic Co., has forwarded us a couple of pictures
of Miss Marion Melrose, one of the actresses recently in the Port with the Adelaide Theatre Royal
Dramatic Co. One is carte size and the other a cabinet, and both are really very superior productions
of his art, the likeness being faithful and the expression of animation very natural, while the
posturing is very good. Mr Jenkinson has also sent us a photograph of the interior of the local
Church of England, showing the Terrell memorial window. The figuring comes out very plainly,
and even the small lettering can be easily read with the naked eye. This photo is an excellent one for
presentation, as a good idea of the ornamentation of the church is conveyed.87
While Jenkinson was at Port Pirie, Arthur Francis was making the company’s third visit to Port
Augusta, where the studio was located on the corner of Commercial Road and Flinders Terrace.88
Soon after the Areas Photographic Company arrived at Jamestown in November 1882, Jenkinson’s
second visit to the town, the local paper said specimens of their work could be seen in various
parts of the town. ‘One glance at these will suffice to convince the public that talent and good
material form the backbone of their unprecedented success in the North.’89 One month later the
paper said the company was ‘turning out portraits of even greater excellence than on the occasion
of their previous visit. We can say with confidence that we have never seen their work surpassed in
South Australia, and we believe there are only two Adelaide firms which can touch this Northern
Company in style and finish. The manager has shown us a photograph of the illuminated address
which was recently presented to Mr Thyer, and truly this is a marvel of photographic skill.
Although on a very small scale every word and signature can be read.’90
In March 1883 Jenkinson placed a preliminary advertisement in the Clare newspaper informing the
public that he was about to make his first visit to Clare with one of his studios. He said, ‘Our
numerous engagements in the North have until now prevented us from visiting Clare, but I feel
confident that the reputation we have earned in the Areas during the past three years for high-class
work will be a sufficient guarantee that we shall give you every satisfaction.’91
The proprietor of Clare’s Northern Argus, Henry Hammond Tilbrook (q.v.), an amateur
84
Port Pirie Gazette, 26 August 1881.
Port Augusta Dispatch, 2, 9 September, 14 October 1881.
86
Jamestown Agriculturist, 24 September, 1 October 1881, 30 November 1881.
87
Port Pirie Gazette, 13 October 1882.
88
89
Jamestown Agriculturist, 15 November 1882.
90
Jamestown Agriculturist, 13 December 1882.
91
Northern Argus, 9 March 1883.
85
24
photographer, gave Jenkinson a generous verbal welcome:
This is an age of progress, and in some respects the progress may be designated marvellous. There
are men who by their inventive genius or artistic skill startle their fellows by their rare productions;
but others catch the inspiration and take a premier position. In artistic photography the Areas
Photographic Company has distinguished itself by keeping to the fore. Mr G.F. Jenkinson, manager
of the company, has of late visited several of the Areas townships where he has gained a popularity
that has made him famous in the North. Until the company visited the North no one could get firstclass photos unless they visited the City. The company, however, turns out work equal in artistic
merit and finish to any house in Adelaide. We had for some time heard that the company had
gained a reputation for superior work, and now that it has come to Clare we have had an
opportunity of seeing for ourselves, and we find that the company merited all the praise that had
been given it. The studio is erected on the open ground between Messrs. Hill & Co’s booking office
and Messrs Robin & Co’s establishment, Main Street. It is a neat, commodious, and substantial
structure, affording every comfort to the public and convenience to the operator. In complimenting
the company on the excellence of its work we may say the residents of Clare and district have an
opportunity of judging whether we flatter or state bare facts, for the photos taken by the company
are exhibited in the principal business houses in the town, and experts in the art of photography
state unhesitatingly that they will not suffer by being placed alongside the productions of the best
City houses.92
A few weeks later the Northern Argus said that Jenkinson’s photographs of the town were ‘by far
the best we have yet seen of Clare’, and went on to describe some of them.
The photo, of the new Catholic Church is a masterpiece of the photographer’s art. Every line and
feature is well brought out, and also the foreground with fencing and grave enclosures, together
with a view of the old building. Next in point of merit in our opinion is a view of Messrs J. Hill &
Co’s booking office and portion of the Stanley Hotel. The mail coach, with a large number of
outside passengers, is seen in front, and about a dozen persons on the footpath are all taken so
accurately as to be easily recognised. Another gives an excellent view of a portion of Main Street,
including Mr Gray’s Northern Hotel, the Town Hall, and adjacent buildings. A fourth embraces the
Clare Hotel, National Bank, and the intermediate business places – Messrs Lewcock’s, Williams’s,
and Jacobs’s – also taking in Ford’s Hotel and other buildings on the same line, while a tree on the
opposite side at a distance completes the background view.
Another photo, gives most of the last-mentioned buildings from another point of view. A second
picture of the Town Hall, including adjacent houses and an admirable street view with distant
wooded scenery, makes a capital picture. Several pedestrians are seen walking along, and the mail
coach and four [sic] as it dashes along at the rate of eight miles an hour is taken distinctly by the
instantaneous process. Another photo, gives a view of the E.S. & A.C. Bank, and a long stretch of
buildings on the same side of Main Street. Mr J. Fels’s premises and Mr Paetke’s, including the
adjoining stores, make also an admirable picture. Then we have another fine view of Inchiquin Hill
road, with the brewery and Mr Victorsen’s villa on one side and cottages on the other, as also an
extensive view along Main Street. The others give comprehensive views of different parts of the
town, including New Clare.93
Another report said Jenkinson’s photograph of the Saddleworth coach ‘dashing into the town at the
rate of eight miles an hour’ had been made with an exposure of one twentieth of a second.94 When
leaving Clare Jenkinson said that, while all northern towns would be visited periodically, his
permanent address would be Jamestown.95
In May 1883 Jenkinson arrived at Port Pirie, on his third visit to the town, erecting his tent ‘on the
old spot once more, opposite Trapmann’s Hotel’. In a welcoming paragraph the Port Pirie Gazette
said: ‘Although the work turned out by this company has always been first-class it is only fair to
say that it is getting better and better every year, and is proof that the go-ahead manager means to
keep pace with the rapid strides that are being made in his most fascinating art. We have no
92
Northern Argus, 3 April 1883.
Northern Argus, 24 April 1883.
Port Pirie Gazette, 25 May 1883.
95
Northern Argus, 18 May 1883.
93
94
25
hesitation in saying that taking Mr Jenkinson’s work all round it would be hard to beat in the
colony.’96
While Jenkinson was at Port Pirie, Arthur Francis was at Farina taking cabinet-size views for the
company. ‘There are two beautiful wood and water scenes and others of camels, giving one
altogether a very flattering idea of Farina. The prevalent idea regarding Farina is that it is nothing
but desert, and immediately around the town this is the case; but a little way off are the
“Government Gums,” and these with the water in the creek Mr Francis has succeeded in capitally
photographing.’97
Before Jenkinson left Port Pirie the Gazette published a tribute to both his photography and his
personality:
That he deserves the popularity he enjoys is undoubted, for not only is his work of a very superior
character but his unfailing good temper and obliging disposition have gained him many friends;
while his vocal capabilities, which are of no mean order, have become quite an institution in the
Port, and will cause his departure to be regretted by the concert-going portion of our community.
We wish Mr Jenkinson a continuance of the success he thoroughly deserves, for to him is certainly
due the credit of revolutionizing the photographic art in the North. One has only to come across
some of the productions that were turned out in the Areas some three or four years back to
understand how people of any taste preferred waiting until they could go to town or doing without
portraits altogether. Now we have the Areas Photo. Co. this certainly cannot be said, for Mr
Jenkinson’s photographs would really be a credit to any crack town establishment. We shall have
pleasure in welcoming Mr Jenkinson back to the Port again.
Before he left Port Pirie Jenkinson assisted Rev. W.T. Carter with an illustrated lecture in Howe’s
Assembly Room, projecting his photographic transparencies of the Port by limelight on 10 ft
scale.98
In September 1883 Jenkinson and his studio were at Jamestown, once again occupying the
allotment next to Butler’s butcher shop, and by February 1884 he had reached Gladstone, where he
spent six weeks taking portraits next to Goodliffe’s store. The Gladstone newspaper mentioned
two of his photographs: ‘One gives a good view of this town taken from the [Gladstone] gaol hill,
and all the buildings come out very clearly. The other was taken in the Laura station yard, and
shows all the station buildings etc., very faithfully, with the ballast engine and trucks in the
foreground. A special feature of the latter picture is the clearness with which all the faces of the
railway people are depicted, almost every one being easily recognisable.’99
Jenkinson returned to Port Pirie in May 1884, once more settling on his ‘old spot’ opposite the
Central Hotel. When he left the Port ten weeks later he received another glowing report in the
Gazette:
We have received from Mr G.F. Jenkinson a fine photograph of the Point Lowly Lighthouse, taken
during a recent pleasure excursion across the Gulf. Part of the picnic party forms a capital
foreground, and makes Point Lowly look anything but desolate. The lighthouse itself stands out
with remarkable clearness, even the lenses in the lantern being plainly visible, while the steam
launch Victoria, close in shore, serves to complete a really striking picture, and one that fully
sustains Mr Jenkinson’s reputation as an artistic photographer … The high class of Mr Jenkinson’s
photography is now so well known that we feel comments as to their excellence on our part would
be superfluous. That he is fully appreciated is evident from the fact of his yearly visits being each
time prolonged, and his jovial face (to say nothing of his dogs) has become quite a feature in the
town. We wish him a continuance of his well-merited success, and shall look for him again next
year with pleasure.100
In November and December 1884 Jenkinson was at Jamestown, at his usual spot opposite Butler
96
Port Pirie Gazette, 25 May 1883.
98
99
Areas Express, 6 May 1884.
100
Port Pirie Gazette, 11 July 1884.
97
26
the butcher, and the Jamestown paper noted that ‘Mr Jenkinson has, during his visits to
Jamestown, earned the enviable notoriety of being as clever in his art as he is gentlemanly in his
manner’.101
The Areas Photographic Company arrived at Port Pirie in June 1885 on its fifth visit to the Port,
and as usual was located opposite the Central Hotel. Jenkinson’s views of the Port were well
received by the town’s second newspaper, the Advocate:
We have received from Mr G.F. Jenkinson a series of eight charming wood and water scenes which
he has most appropriately designated picturesque Port Pirie. They certainly present our Port in a
new and at the same time most flattering light, and a stranger on seeing them would form a very
favourable estimate of our surroundings. They are all taken in the mangroves opposite the Queen’s
Wharf, and not many hundred yards away from the Post Office, yet very few would imagine in
walking down our main street that such charming scenes were within a stone’s throw of him. With
true artistic perception, Mr Jenkinson has caught to perfection the various effects of light and shade
on the water and through the bushes, and at the same time has sufficiently localised them by
bringing in a peep of Dunn’s Mill in one instance and in another a barque at one of the jetties. Mr
Jenkinson deserves great credit for the taste and skill displayed in their production, and forming as
they do, in addition to their artistic merit, a really valuable advertisement for our Port as a summer
resort. We feel sure that all those who can appreciate anything really good will be anxious to secure
copies. Mr Jenkinson particularly requested us in the event of our publishing a notice of these views
to say that he had received the most valuable aid in securing them from our local amateur Mr J.
Inglis [q.v.], and without whose kind assistance they had very likely never been taken. We would
take this opportunity of drawing our readers attention to the advertisement in our business columns
notifying that Mr Jenkinson’s visit is drawing to a close once more. That his work has met with
unqualified approval here for the last five years speaks more for him than any praise we can bestow,
so we wish him a continuance of the success he undoubtedly deserves, and look for his coming
again with pleasure.102
By September 1885 Jenkinson was at Gladstone, where he advertised: ‘Our Studio is once more
open here for a short time on the old spot, next to Mr Catt’s Store. The hearty support accorded me
on my last visit to Gladstone, and during the past six years in the Areas is, I venture to think,
sufficient proof that my efforts to please are appreciated, and it will be my constant endeavour to
merit a continuance of the confidence so generously reposed in me hitherto. Business hours 10 to
4. All classes of work on view at Studio. Inspection respectfully invited G.F. Jenkinson,
Manager’.103
Twelve months later, in October 1886, Jenkinson returned to Jamestown where his studio was
located in Ayr Street, next to Carter’s implement yard. In his advertisement he said:
I have much pleasure in announcing that owing to the generous support I have received in the Areas
for the last six years I am enabled, now that times are dull, to execute the same First-Class work at
reduced prices. I would also draw the attention of Lovers of the Picturesque to the fact that I have
now a collection of over 160 different Cabinet Views of the Northern Areas townships, and Scenery
from Clare to Port Augusta, including a beautiful scene of the Beetaloo Water Scheme, all of
which, in consequence of the increasing demand, I am now selling at One Shilling each; they can
also be had unmounted for scrap albums, if preferred.
Jenkinson left Jamestown at the end of December.104
In directories from 1887 to 1899 G.F. Jenkinson’s address was given as West Terrace, Laura, and
when he was awarded a first order of merit at the 1887 Adelaide Jubilee International Exhibition, it
was under the name of the ‘Areas Photographic Company, Laura’. However, it is likely that during
this period he established a home for his family at Laura, from where he made his periodical visits
to the northern country towns, and possibly Broken Hill. His son Charles Frederick had been born
101
Jamestown Agriculturist, 24 December 1884.
Port Pirie Advocate, 15 August 1885.
Areas Express, 15 September 1885.
104
Jamestown Agriculturist, 27 October 1886.
102
103
27
in 1880,105 and Arthur Wilberforce was born c.1883.
Some biographical information on George Jenkinson appears in the Australasian Photo-Review for
June 1894:
He was born into a family of lawyers, the name being an old and well-known one in Gracechurchstreet, London. He was also educated for the law, but liked it not, and chose the sea for a
profession. Of this he tired and came out to Australia to learn sheep-farming, paying, as he says, ‘a
heavy premium for the privilege of living in the men’s hut and doing a rouseabout’s work’. As a
sheep-farmer he may have blossomed, but never bloomed, for before that time came he migrated
across the border to the Barrier Ranges and filled with satisfaction the complicated position of
overseer, dog-poisoner, mailman, and lamb-minder on a station then being formed. This was
followed by cattle-droving, gold-mining, a spell at hawking, and then book-keeping for a wholesale
grocer in Melbourne; but after a variety of experiences, he found his vocation in photography, and
practised it – first with a travelling gallery, and eventually at Broken Hill, where he settled down in
1888 and has since remained. Here he has been thoroughly successful, and does every description
of work, claiming throughout to raise the standard of photography, instead of degrading it by
quoting cut-throat prices and offering gilt frames as an inducement to gain custom. He is an
enthusiast in his work and claims with many others that photography is a profession and not a trade.
Finally, and with a modesty entirely his own, he says; ‘What little success I may have achieved as a
photographer, I attribute to sparing neither plates nor pains to secure the best results, and to not
making either myself or my work TOO CHEAP’.106
Jenkinson made news at Broken Hill in 1896 when he advertised a ‘free babies day’ for children
under 12 months. ‘Working hard as long as the light was favourable, he succeeded in getting 210
negatives, with no other help than one girl to attract the attention of the victim, and another to keep
up the plate supply. Some of the extra good mother’s darlings were taken at the rate of three a
minute, but a few of the born imps nearly broke his heart and made him think strange thoughts’.107
An advertisement for The Jenkinson Studio on page 178 of The History of Broken Hill, L.S. Curtis
1908, states ‘Established 1885’, and this could be taken as the date that Jenkinson established a
studio at Broken Hill. However, it could also mean that when he settled at Broken Hill in 1888
Jenkinson had taken over a studio which had been established in 1885 by another photographer. A
likely candidate is photographer Edward Alexander Archbald who, after spending two years at
Silverton, opened a studio at Broken Hill in 1886 and continued until 1889, when he became a
clerk at the Broken Hill Town Hall.108
Most of the cards that Jenkinson used as mounts for his Areas Photographic Company photographs
carry the company name, his name as manager, but no address, as he was constantly on the move.
One exception is cards printed post-1887, which refer to his Jubilee exhibition award and carry the
usual Areas Photographic Co. emblem and motto and his address, Argent Street, Broken Hill.
In 1991 the Broken Hill City Council published Photographs by G.F. Jenkinson, Fifteen Years at
Broken Hill, 1885–1900, by Alan R. Dunstan, which contains numerous examples of Jenkinson’s
photographs of the Broken Hill mines and of the embryo city.
ARMSTRONG, Miss
Photo-colourist who received a second degree of merit for ‘a frame of seven portraits’ she entered
in the Water-Coloured Photograph section of the 1881 Adelaide Exhibition.109
105
839, gives date of birth as 1880. Alan Dunstan’s Photographs by G.F. Jenkinson, Fifteen Years at Broken Hill, 1885–1900, pub. 1991,
p. 18, quotes 1885 as the date of birth.
106
Australasian Photo-review, June 1894.
107
Australasian Photo-Review, April 1896, p. 14.
108
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol. 2, (1909), p. 1071.
109
Observer, 17 September 1881.
28
ART PICTURE FRAMING AND ENLARGING CO.
In the directory for 1894 the ‘Art Picture Framing Co. – Hammer & Co.’ is listed at 149 Rundle
Street, Adelaide, and for 1895 and 1896 it is the ‘Art picture Framing and Enlarging Co – Charles
Newman, manager,’ at 168 Rundle Street. It then became the Art Picture Framing Depot, same
address, with Charles Newman as manager from 1897 to 1899 and T.E. Martin manager for 1900.
Charles Newman was also listed as manager of the Art Portrait Co., 174A Rundle Street, in the
directory for 1896.
ART PORTRAIT CO.
Listed in directories as 174A Rundle Street, Adelaide, with Charles Newman as manager for 1896
and W.A. Francis manager for 1897. In 1895 the studio was known as the Bijou Photographic
Studio and in 1898 it was occupied by the Kora Photographic Company.
ASHWORTH, H.
Described as ‘recently from Melbourne, and a high-class worker in carbon’ when his work was
exhibited at the Kapunda Photographic Club’s exhibition in January 1903. He was a member of the
South Australian Photographic Society when he exhibited ‘five excellent studies’ in that society’s
exhibition held in October that year, and ‘it is to be regretted that they were not entered in one of
the competitive classes, as they must have scored to the honor of the society’. A criticism of the
exhibition written by ‘A Candid Critic’ said that Ashworth’s picture, ‘Close of a Rainy Day’, was
the ‘finest picture in the exhibition’. Three of his other exhibits were described as ‘admirable, full
of feeling, cleverly executed, and artistically rendered’.110
ATKINSON, August
Listed as photographer, Collins Street, Semaphore, in the directories for 1896–98.
ATKINSON, H.J.
Listed as manager of the Hammer & Co. studio at St Vincent Street, Port Adelaide, in the directory
for 1888.
AUSTRALIAN MUTOSCOPE CO.
The mutoscope was a machine for viewing motion pictures, introduced in America by Herman
Casler in 1897. Instead of using transparent celluloid film, the machine used 1,500 paper
photographs arranged as a vertical reel and operated on the old ‘flip-book’ principle. The coin-inslot and then turn-the-handle machines, often associated with dubious ‘What the Butler Saw’ type
subjects, were a feature of amusement arcades for many years.
In 1904 the South Australian directory listed the Australian Mutoscope Co. at 123 Rundle Street
and also at the Arcade. From 1906 to 1914+, No. 15 Arcade, Rundle Street, was listed simply as
‘Mutoscopes’, suggesting a public amusement parlour had been established there with a number of
coin-operated viewers.
AUSTRALIAN PHOTOGRAPH COMPANY see BARNETT, Mr
AUSTRALIAN PHOTOGRAPHIC COMPANY
In September 1867 ‘Professor Thwaites, late of Victoria’ advertised that he had occupied the
110
Australian Photographic Journal, November 1903.
29
portrait studio opposite the Town Hall in King William Street, Adelaide.111 The ‘Professor’ was
Hector James Thwaites (q.v.) and the studio had previously been known as the Town Hall
Photographic Gallery (q.v.). By October 1868 Professor Thwaites was operating as the Australian
Photographic Company,112 and by January 1869 he had moved to 29 King William Street, near
Hindley Street. Here he advertised that he took portraits, with views of shipping and gentlemen’s
residences taken to order, cartes de visite 15s per dozen and cabinets 25s per dozen.113
In January 1872 James Thwaites, as manager of the Australian Photographic Company, advertised
that he was opening a studio at Port Victor for a short time.114 At some stage he must have taken
F.E. Bucknall (q.v.) as a partner, as a notice in the Government Gazette said that the partnership
between Thwaites and Bucknall, trading as the Australian Photographic Company, had been
dissolved on 18 June 1872. Thwaites apparently went into business on his own and the company
continued with Bucknall as ‘proprietor’ in the original studio opposite the Town Hall.
By the end of 1873 the Australian Photographic Company had a new manager, E.G. Tims (q.v.),
who moved out of the studio opposite the Town Hall and began touring the country areas during
1874. (See TIMS, Edward George for the company’s activities while he was manager.)
A reference to ‘Mr Barnett, photographer, travelling for the Australian Photograph Company’,
being well patronised at Laura in 1874 may have been intended for the Australian Photographic
Company.115
Cartes de visite for the Kapunda Photograph Company (q.v.), probably c.1876, exist which have
been overprinted in letterpress with ‘The Australian Photographic Company, E.G. Tims, Manager’.
In April 1877 W.A. Francis advertised that he could make enlargements from any of 14,000
negatives that had belonged to the ‘S.A. Company’,116 and later that year A.S. Doolette advertised
that he had once worked for the Australian Photographic Company.117 In September 1878 the
company was at Jamestown where Tims, as manager, informed the residents that they should
contact ‘Mr Dunden at the rooms’.118 Cartes de visite (Noye collection) exist with two different
printed inscriptions for the ‘Australian Photographic Company. W.C. Dunden, Manager’.
In 1879 the following complaint about the company’s photographer working on the Sabbath
appeared in the press: ‘Wilmington has recently been favoured with a visit from a photographer
representing the establishment of which Mr E.G. Tims is manager; and I regret to say that that on
Sunday last portraits were being taken in the centre of the town, within a stone’s throw of the
Wesleyan chapel. As in a neighbouring township the same course was followed, I think it is high
time publicity was given to the fact.’119
The company made its first visit to Port Pirie in October 1880, where its studio was next to
Magor’s hotel, but the name of the manager was not given.120
Cartes de visite with a highly decorated imprint for ‘C.W. Haehnel & Co., Australian Photographic
Company’, probably belong to the mid-to-late 1880s. Edmund Diederich (q.v.) worked for
Haehnel and was, according to his daughter, the ‘Co.’ in Haehnel & Co.
111
PRO, GRG 35, SGO 1226/68.
113
South Australian Register, 18 January, 19 February 1869.
114
Southern Argus, 26 January 1872.
115
South Australian Register, 12 June 1874.
116
Advertiser, 24 April 1877.
117
Port Pirie Gazette, 9 November 1877.
118
Jamestown Review, 26 September 1878.
119
120
Port Pirie Gazette, 29 October 1880.
112
30
B
BABBAGE, Benjamin Herschel
Born in London, England, in 1815, the son of Charles Babbage, professor of mathematics at
Cambridge University and inventor of calculating machines. In 1851 he brought his wife and
children to South Australia, and in February 1852 he was appointed Government Assayer,
receiving gold from diggers returning from the Victorian goldfields. He produced the first gold
coinage in Australia, almost 25,000 Adelaide sovereigns.
Babbage led an expedition in search of gold both in and north of the Flinders Ranges in 1856, and
in 1857 he was selected to lead an expedition to explore the country between Lake Torrens and
Lake Gairdner. His plans provided a means for coping with every difficulty he thought might arise.
To ensure a sufficient supply of water he had a boring apparatus and pump, four stills for distilling
salty water, eight pounds of filtering paper, and a special tank cart which could carry more than
1,100 gallons of water.
Details of his plans were outlined in South Australian Parliamentary Paper No. 25, 1858, including
his plans for taking photographs on the expedition. In his letter to the Commissioner of Crown
Lands, dated 8 December 1857, Babbage wrote: ‘I should take a photographic apparatus to bring
back faithful representations of the country traversed by the expedition, and pictures of any rare
animals, birds, or vegetable productions that might be met with’.
Also published was a paper Babbage read before the Philosophical Society on 2 February 1858 in
which he said that should photography fail, then sketches would have to do:
My collector is also somewhat of an artist, as is the case with another of my party, likewise a
German. Thus, should the intense heat of the interior prevent my photographical preparations from
acting, the sketch-books of myself and my comrades may yet bring back some valuable
reminiscences of the country. I take with me a camera, which I have constructed expressly for this
excursion, so arranged as to avoid the necessity of taking any frames or slides for the paper; and a
stock of paper iodized beforehand, in order as to leave as little as possible to be done when upon the
journey, and to save the weight and risk of extra chemicals. To avoid as much as possible chances
of failure, I have, after many trials, decided upon iodizing my paper with nine different
preparations, in the hope that should the heat prevent one preparation from giving satisfactory
results, another may be found to succeed. I have been experimenting upon this subject for some
months past with a view to the present expedition, and have found that the great heat makes it much
more difficult to obtain good paper photographs here than it is in England. One of the difficulties I
have had to contend with is the necessity of getting such a preparation as will enable the paper to be
kept in a sensitive state for some days notwithstanding exposure to great heat; as it would be out of
the question in bush travelling to prepare each morning the paper required for the day’s work. I
cannot expect, under these circumstances, to bring back photographs possessing any great artistic
merits; but I hope at least to obtain such faithful views as may give a true idea of the nature of the
country traversed by the expedition.
From Babbage’s description it can be seen that he was not taking a cumbersome wet-plate
apparatus with him, which required heavy, fragile glass plates for negatives, delicate coating and
sensitising equipment, and a supply of clean water for processing. Instead he was hoping to
produce paper negatives by using Fox Talbot’s calotype process.
The expedition left Port Augusta on 1 March 1858, and several months later he met two exhausted
men who had lost their companion, Coulthard. Babbage went in search of Coulthard, and on 16
June found his remains under a tree, with a canteen beside him on which he had scratched his
dying message. The inscription on the canteen was later photographed in Adelaide by Townsend
31
Duryea.
Babbage’s expedition was making such slow progress he was eventually replaced and recalled to
Adelaide, and it seems that any attempts at photography he may have made along the way were a
failure.
Babbage died at St Mary’s, South Australia, on 23 October 1878.121
BAILEY, J.M.
Listed as a photographer at Naracoorte in the directories for 1886 and 1887, and described on his
cartes de visite as ‘successor to J.R. Letchford’ (q.v.).
BAINES, C.
Advertisement in the Advertiser, 25 August 1864: ‘Stereoscopic Views of South Australian and
Tasmanian Scenery, by Mr C. Baines, on sale at Shawyer’s, King William Street. Postage to
England of 14 views, 8d.’
BAKER & ROUSE
Baker & Rouse, a Melbourne firm of photographic material manufacturers and importers, opened a
branch in Rundle Street, Adelaide, in 1888.122 Mr T. E. Griffiths is listed as manager in the
directories for 1889 and 1890, his only staff being H.H. Wight (q.v.), a messenger boy who later
rose to the position of manager, and Paul Strelitz, who is listed as manager in directories from
1891 to 1893. Mr W.H. Freeman (q.v.) was manager from 1894 until his death in March 1898.
The firm’s original location is shown in directories as being in a right-of-way between 71 and 73
Rundle Street, although their address was given as 69 Rundle Street. The 1896 directory says ‘69
Rundle Street (upstairs)’.
A photograph of what appears to be the firm’s new premises at 65 Rundle Street was published in
a supplement to the Australasian Photographic Review for 20 March 1897.
By 1901 Mr H.H. Wight had been appointed manager, and the following year the firm was
advertising optical lanterns and phonographs, and had a telephone number, Central Exchange 944.
The firm’s address had changed to 37 Rundle Street by 1903, with Townsend Duryea Junior (q.v.)
occupying the upstairs portion for a photographic studio. Duryea’s address was 37a Rundle Street,
and access to his studio may have been via stairs from Rundle Street or a side entrance from Union
Lane.
Baker & Rouse was acquired by Kodak Ltd, and in the directory for 1911 both firms are listed as
37 Rundle Street. However, only Kodak Ltd is listed in 1912. Mr H.H. Wight continued as
manager for Kodak, and was still occupying that position in 1928.
Kodak’s premises at 37 Rundle Street were extensively renovated in 1912:
Wunderlich art metal ceilings have been installed throughout, and the walls are finished in an
artistic shade of grey, setting off to the greatest advantage the magnificent display of enlargements
made on the famous Pearl bromide papers, the originals of which were taken on Australian made
Austral Standard dry plates.
Viewed from the entrance to the store, the first thing to catch the eye is a handsome all-glass showcase, mounted on a receding base of American oak, in which are displayed a high-grade selection of
121
122
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986, p.50
Baker & Rouse are listed in the directory for 1889.
32
cameras manufactured by the firm, including Graflex, Premo, and special models of Kodak
cameras. Immediately on passing this case a magnificent array of fittings, all-mirror lined and filled
with all manner of photographic novelties and accessories, are presented for inspection.
One notable feature of the store is the longest glass counter case in the city, having an unbroken line
of 30 feet in length. A great many difficulties had to be overcome in the transportation and placing
in position of such a weighty thing, but by means of a specially constructed lorry and a number of
men it was accomplished satisfactorily.
The walls are fitted with the very latest design of showcases, all being mirror-lined and showing the
least possible amount of wood.
The idea throughout has been to combine convenience with beauty of appearance. Everything is
within easy reach of the assistants, and no case is above seven feet from the floor. All fittings are
nickelled, and only the best American oak has been used.
The entry to the wholesale and country department is made by means of an ornamental stairway,
and it is surprising what an immense stock is here revealed. The offices of the company are situated
on this floor, where a busy band of helpers are at work dispatching Kodaks, films, photographic
123
materials to all parts of the State.
Baker & Rouse published a journal of photography which was distributed free to both amateur and
professional photographers. It began in 1894 as an Australian edition of the British Photographic
Review of Reviews and by 1897 had become the Australasian Photographic Review, later
shortened to Australasian Photo-Review, more commonly known as the A.P.-R.
The magazine advertised the firm’s products, ran competitions, usually with prizes of cash or
equipment, published readers’ photographs, gave advice on the technical and aesthetic aspects of
photography, and published reports on the activities of camera clubs and photographic societies. It
appeared monthly until 1956.
BALAKLAVA PHOTOGRAPHIC CLUB
On 15 May 1912 a meeting was held at Mr B. Dunstone’s establishment at Balaklava to consider
the formation of a photographic society. In the Australasian Photo-Review for June 1912 a report
from the Balaklava Photographic Club said: ‘A very promising amateur photographic club has
been formed in Balaklava. There are about a dozen members, with probabilities of increase as soon
as seeding operations are completed on the farms, for this is an agricultural district. The Rev. A.H.
Reynolds M.A. has been elected president. The club has been formed by Mr B.R. Banyer [q.v.]
who, until his departure for Balaklava two years ago, was a leading member of the Kapunda
Photographic Club. As the camerists here are mere novices Mr Banyer has been appointed
demonstrator and hon. secretary. Mr Banyer is editor of the local newspaper, The Wooroora
Producer.’
The club was listed in the directory of photographic societies published by the Australasian PhotoReview until 1916, but may have been active after that date.
BALL, George Arnold (BALL & CO., BALL, George A., BALL & FEGAN)
Born on 6 February 1868, George Ball was listed in directories as a schoolteacher at Crystal Brook
from 1888 to 1892, after which he was listed as photographer:
1893–96
Ellen Street, Port Pirie
1897–1905
Port Pirie West
1906–14+
Port Pirie
123
Australasian Photo-Review, 22 October 1912.
33
He was a partner of J.W. Fegan (q.v.) in the firm of Ball & Fegan, listed as photographers at Ellen
Street, Port Pirie, in directories from 1895 to 1900, and was also associated with Ball & Co. at the
same address from 1901 to 1902. One of his sons, Arnold Ball, a photographer who worked for the
BHP smelting company at Port Pirie, has told how his father liked photographing babies and
would go anywhere ‘to shoot a child’. He has also described how Fegan taught his father
photography and convinced him he should give up teaching to become a photographer. Fegan had
‘jumped ship’ at Port Pirie and been sheltered by the Ball family until it was safe to emerge from
hiding.
During the 1930s George Ball moved to Adelaide where he managed a photographic studio. He
died on 27 December 1848. It appears he had taken some photographs of a family reunion then
returned home, developed the film and made some proofs, but died when he returned to the family
gathering.
BALL, Robert Henry
Manager of the National Bank, Angaston, and an enthusiastic amateur photographer. In March
1894 the Observer reported: ‘We have received from Mr R.H. Ball, of Angaston, who is an
amateur photographer, five excellent views giving a splendid idea of Angaston after the recent
hailstorm. The photographs remind one forcibly of an English landscape in the winter season, and
also bear evidence to the extensive devastation wrought by the unprecedented terrific hurricane
which passed through the district.’ He was awarded a commendation for his photograph, ‘Western
Punt; Stage, Blanchetown’, which he entered in the Observer 1897 Christmas Supplement
photographic competition.
R.H. Ball actively promoted the cause of constructing a railway from Gawler to Angaston, was a
witness at the Royal Commission in 1889, and secretary of the Angaston Railway Committee. To
celebrate the opening of the railway in 1911 the Barossa News published a 120-page souvenir, and
of the 250 photographs reproduced, 51 were supplied by R.H. Ball. His portrait appears on page 23
of the souvenir book.124
BALLARD, H.B.
Advertisement in the Border Watch, 1 September 1880: ‘Portraits! For a few weeks only. H.B.
Ballard, artist photographer from Melbourne, has the honour to announce to the residents of Mount
Gambier and vicinity that he has erected his Mammoth Studio, fitted with the latest scientific
appliances, next Mr Hood, Bookseller, Commercial Street, Mount Gambier. Articles of dress best
suited for photography are black, brown (of all shades), drab, grey, or green’. A similar
advertisement appeared in the South Eastern Star in July 1880.
BANYER, Benjamin Robinson
Ben Banyer was born on 23 July 1860 and was employed by the Gawler Bunyip newspaper until
he moved to Kapunda in June 1883 125 to work as a compositor for the Kapunda Herald. He
married Alice Maud Mary Arnott on 5 August 1883.
He was a very active member of the Kapunda Photographic Club (q.v.), formed in 1901, often
giving practical demonstrations of photographic processing techniques at club meetings, and was
appointed club president in 1903. In 1902 he was awarded the prize for champion picture at the
Kapunda Show.
By March 1910 Ben Banyer had moved to Balaklava to become manager of the local newspaper,
the Wooroora Producer. He was instrumental in forming the Balaklava Photographic Club (q.v.)
124
125
Bunyip, 29 June 1883.
34
in 1912, was its first secretary, and because of his photographic skills was appointed official club
demonstrator.
At a farewell social held in his honour by the members of the Kapunda Photographic Club he was
described as a ‘keen and enthusiastic worker’ who had been a member since the club was formed
and who had ‘an almost unbroken record of attendance at meetings’. He was made a life member
of the club and presented with a portfolio of photographs, two from each member of the club and
one from leading Adelaide pictorialist John Kauffman (q.v.), a total of 29 photographs. At the
social Banyer said that it was ‘more than 40 years since he first entered Kapunda’, and that he had
been connected with the Herald office for 35 years, and that he had ‘almost sole editorial control’
for the last 20 years.126
In a letter published in the Kapunda Herald in February 1932, Banyer recalled his years with the
Kapunda Photographic Club and the late Thomas Warner (q.v.). ‘Tom was an enthusiastic camerist
and had an artistic temperament with a personality that was truly infectious. I was president of the
photographic club for 12 months [and] I recall my associations with that club with the greatest
pleasure, and I may say that in these depressed times I have found my knowledge of photography
(my introduction to which pastime was through the enthusiasm of Tom) a valuable revenue
producer in the way of film developer and printer for amateurs who have less knowledge than I
have of camera work.’ See also CAMERIST for Ben Banyer’s use of this word.
BARBER, S.J.
Listed as a photographer at Kingston SE in directories from 1910 to 1916.
BARBOUR, S.
Originally from Leeds in England, Mr S. Barbour was a manufacturing chemist for F.H. Faulding
& Co., Adelaide. He was an ‘enthusiastic photographer’ and when he returned from a holiday in
Europe and America in May 1896 he brought with him two Crookes tubes for generating X-rays,
or Röntgen Rays as they were then called. He became the first person to apply the rays to
anatomical subjects in South Australia. As the rays were a new discovery, the tubes were in great
demand and difficult to obtain, but he managed to obtain two from the makers, Reynolds and
Branson of Leeds, his home town. The results of some of his experiments have been described
under Röntgen Ray Photography.
BARLOW, William (BARLOW & CRISP)
References to photographers named W. Barlow, Mr Barlow and William Barlow operating in the
Northern Territory and South Australia appear in documents and newspaper items between 1866
and 1895. As these references are more or less continuous and without overlap, it is believed they
all refer to the one person.
On 29 August 1866 the Register reported that at a meeting of the Miscellaneous Sub-Committee of
the Paris Universal Exhibition, ‘some very excellent photographs of natives, by Messrs Barlow &
Crisp, of Mount Barker, photographers, were placed before the Committee, and the meeting being
unanimous in favour of purchasing a set, Dr Walker undertook to obtain it, and see that it was
properly arranged’. One of the partners of Barlow and Crisp was William Barlow, and the other
could have been R. Crisp. The directory for 1871 lists both W. Barlow, coach painter, and R.
Crisp, gardener, as residents of Walker Street, Mount Barker.
Two years later William Barlow and F. McLachlan applied for positions with the Government
expedition being sent to the Northern Territory to establish a settlement at Port Darwin. The leader
126
Kapunda Herald, 4 March 1910.
35
of the expedition was George W. Goyder, the Surveyor-General, who has been described as small
of stature, lean, wiry, a man who was thorough in his attention to detail, a fast worker and a strict
disciplinarian. Goyder demanded, and received, the authority to select his own officers and men,
and he chose them for their experience, self-reliance and loyalty.
In their letter to Goyder, dated 8 September 1868, Barlow and McLachlan said:
We take this liberty of writing to you in reference to the survey about to be made in the Northern
Territory. We very much wish to go as members of such a party, either under the Government or
private tenderer. We have knocked about the Colony for about six years and the experience thus
obtained we think might fit us for members of a survey party. We are working as general carpenters
now and could obtain plenty of references or recommendations as to ability and character having
made Mt Barker our home and being teetotallers of many years standing we are pretty generally
known here. We intend to apply either by letter or personal application to whoever gets the tender,
but seeing the daily newspapers regular we are of the opinion that the work will not be done by
private parties.
In a follow-up letter that he sent to Goyder late in October Barlow said:
On looking over the Register a few days ago it occurred to me that I omitted to mention in my letter
I have practised out-of-door Photography for the last 3 years. I therefore take the liberty of
enclosing [some] proofs in the above branch. The natives were taken for [the] late Dr Walker. I
took … views and portraits for that gentleman [before] he left on his visit to England. Some of my
views of natives were purchased by the Paris Exhibition Committee and they would have taken a
larger quantity if I had had apparatus capable of taking larger pictures. I have had some experience
in stereoscopic photography and my opinion is that a stereo view showing as it does with a good
glass everything in relief would give anyone a better idea of any scene than single views. Besides
this [a] stereoscopic lens by contracting [so] many rays into such a small focus enables the
manipulator to take his subjects almost instantaneous … You will see by these I should be able to
assist the photographer or fill his place if illness or anything else happened to him in the Northern
Territory.
William Barlow supplied three references in support of his application. William Barker,
gentleman, who had known Barlow for three years, wrote, ‘He is steady and industrious, a man of
frugal habits and good constitution; has had considerable experience as a photographer and is, I
should think, well fitted for the office which he seeks to fill’. Mount Barker banker William Gray,
said, ‘I have very much pleasure in stating that I have known [Barlow] about five years during
which period he has conducted himself in a steady, sober and industrious manner, and I have no
doubt of his proving a useful and diligent man should it suit you to employ him on the party you
are organizing.’ And J.G. Ramsay of the Mount Barker Foundry and Machine Factory said he had
known William Barlow for several years and had found him ‘a respectable, steady, trustworthy
young man. He has worked for me occasionally during that time and is a very useful man at
general work such as erecting galvanised iron buildings, painting, rough carpentering &c. I have
also seen several very creditable specimens of his work as a photographer.’
Goyder chose Joseph Brooks (q.v.) for the position of official photographer, and it is interesting to
note that the photographs he took on the expedition were stereographs, the type of photograph
Barlow had recommended in his letter to Goyder. McLachlan missed out on an appointment, but
William Barlow was made photographist’s assistant by Goyder, who in return received an
experienced carpenter-cum-bush-builder as well photographer for his expedition. One of the
carpentering jobs Barlow did when in the Territory was make a desk on which W.W. Hoare could
sketch and paint specimens of native flora and fauna. The ship Moonta left Port Adelaide on 23
December 1868 with Goyder’s party on board, and concerts were organised to relieve the boredom
on the way north. In her book The Surveyors, which describes the founding of Darwin, Margaret
Goyder Kerr says, ‘The concerts were helped along because W. Barlow – a rather shy but useful
member of the party who had been engaged primarily as assistant photographer – had smuggled a
portable harmonium on board. This must have called for dexterity; he could never have fitted it
into his canvas sailor’s bag. He was too self-conscious to play before 140 men plus the ship’s
crew, but William Fisher was glad of the opportunity.’
36
William Barlow returned to South Australia after an absence of eleven months, arriving at Port
Adelaide in the Gulnare on 15 November 1869. It appears he could have been one of the young
men who joined the expedition with the intention of getting married on their return to South
Australia, as on 2 December 1869, barely three weeks after the Gulnare reached Adelaide, one
William Barlow married Emily Sladden at Mount Barker.127
William Barlow appears to have returned to the Northern Territory in the 1870s. He was one of the
three councillors elected when the first district council was formed early in June 1874, and in
September that year the Register referred to Mr Barlow of the Virginia mining company ‘putting
in a drive and preparing for the erection of machinery now on its way from Melbourne’. On 26
April 1875 the Claud Hamilton sailed from Port Darwin with 58 passengers, including ‘Mr and
Mrs Barlow’. Then on 19 May 1875 the Register had to report that the Virginia Company’s
machinery at Stapleton Creek had broken down, and as a result work at the mine had ceased.
‘Considerable sympathy is expressed for Mr Barlow, the manager, who has proved himself an
active energetic man.’
In August 1877 the teacher at the Palmerston school (Port Darwin) asked the Board of Education if
he had to admit Aboriginal children. Both the teacher and the Government Resident were against
such a move, believing the parents of white children would object and not allow them to attend
school. Mr Barlow, apparently a member of the board, said that he could not see how Aboriginal
children could be excluded, as there were compulsory clauses which required children to attend
school. After some discussion the board passed the motion: ‘That aboriginal children be allowed to
attend public schools’.
On 14 October 1878 an advertisement in the Northern Territory Times said: ‘For two weeks only
Mr Barlow’s photographic portrait room will be open daily, from 9 am till 3 pm. A large
assortment of Frames, Cases, and Northern Territory Views on hand.’ A news item in the same
issue of the Times said, ‘Mr Barlow has entered into partnership with Mr Mander, as general
builders, wheelwrights, &c. We wish the new firm success … If any of our friends wish their
photographs taken they must decide at once, as Mr Barlow will close his studio in a fortnight from
this date. We hear that, by the last steamer, he received several new preparations, which will
enable him to produce first-class pictures.’ One of his carte de visite portraits of a man (Noye
collection) has the printed inscription, ‘Barlow, Photo. Pt Darwin’.
By May 1879 Mander and Barlow were busy building the new police quarters, and were
advertising their Palmerston Steam Saw Mills. However, the partnership could not have lasted
long, as when Herbert Mander died in March 1881, at the age of 33, the Times reported that the
partnership with Mr Barlow had been ‘dissolved by mutual consent some 12 months since’.
William Barlow appears to have returned to Adelaide from Palmerston by late 1879, as there is a
directory entry for a W. Barlow, Gouger Street, Adelaide, in the directories for 1880 and 1881, his
occupation given as photographer for 1881. Entries for W. Barlow, photographer, Hilton, are listed
from 1882 to 1886, and in the Commercial and Traders Directory for 1882–83 he is identified as
William Barlow. Then, from 1887 to 1889, there is W. Barlow listed as carpenter, Aldgate, and
from 1895 to 1899 as carpenter, Norwood. In November 1895 W. Barlow joined the South
Australian Photographic Society.
BARNARD, Thomas Legh
Dr L.L. Smith’s Museum of Anatomy, from Melbourne, billed as ‘the most wonderful and
instructive exhibition ever exhibited’, was taken to the Yorke Peninsula mining towns in January
1872 by T.L. Barnard, the lessee. Three months later the museum was at Gawler, where Barnard
127
37
fell foul of the local newspaper, the Bunyip, which claimed Barnard had left the colony owing
large sums to printing firms for advertising. ‘It is a pity that travelling showmen who take large
sums of money away with them, should neglect to pay their printers’. The problem must have been
resolved as a few months later Barnard was back on the Peninsula, at Kadina, advertising as an
artist willing to give lessons in drawing and painting.
In an advertisement in the Wallaroo Times, 12 March 1873, Barnard said he was formerly drawing
master at the Calton School, Melbourne. His classes were to be held at night in Mr Gaskell’s
schoolroom, and included instruction in drawing, painting, modelling in wax and clay, and
photography.
An entry in the directory for 1874, ‘T.L. Barnard, artist, Stephens Place’, suggests he may have
moved to Adelaide for a time, then returned to Kadina. From 1875 to 1878 he is listed as photo
artist, Kadina.
In October 1877 he became manager of the Yorke Peninsula School of Photography in Taylor
Street, Kadina, previously operated by Arthur Francis, where he produced a number of views of
Kadina in carte de visite size, ‘to fit easily into any album’.
In June 1878 Barnard moved to Port Pirie, where he formed a club similar to one he had at Kadina.
By paying a small sum weekly for several months subscribers could obtain a ‘life-size oil
painting’, presumably a portrait. A similar club, the Adelaide Photographic Club (q.v.), was
conducted in Adelaide by R.J. Marlor around the same time. Barnard’s new studio was located at
the rear of the Port Pirie post office.
When Barnard advertised cartes de visite for 12s a dozen in July 1880 he closed with the line,
‘Don’t discard the local man’, which would have referred to the travelling photographers who
often pitched their tents in the town, then moved on when business fell off.
A few months later Barnard went to Adelaide and returned with new instruments which allowed
him to ‘turn out photos by a new and rapid process’. He reduced his price for cartes to 10s. a dozen
and advised the public, ‘Don’t let your money go out of Port Pirie’.
The Port Pirie Gazette said, in February 1881, ‘Tommy Barnard has shown us some fine photos of
views in Ellen Street, taken by himself. His modesty is such that he wishes us to say nothing about
them, but we will; they are capital, and would make good presentation pictures.’ In November that
year he commenced duties as a letter carrier, but must have continued with photography, being
listed as photo artist, Kadina, from 1881 to 1884.
A drawing room entertainment in Howe’s Assembly Rooms in June 1883 featured songs and
recitations by lady and gentleman amateurs, but the main item on the programme was a
demonstration of the ‘marvellous effects’ that Messrs Carter, Barnard and Jenkinson produced
with their ‘Polyopticonaphengescope’. Rev. W.T. Carter was a gentleman with a keen interest in
science, and the other was probably G.F. Jenkinson of the Areas Photographic Company,
travelling photographers who had recently arrived in the town. The apparatus appears to have been
a locally constructed episcope, where the light from their two powerful oxy-calcium lights was
focused on an object, and the image projected on a screen in a darkened room. Some of the objects
projected at the demonstration were photographs, statuary, the works of a watch in motion, and a
cat’s face!
Barnard gave a lecture on photography at a meeting of the Port Pirie Parliamentary and Scientific
Society where, the Port Pirie Gazette said, ‘the mysteries of photography were clearly elucidated,
and the “dodges of the trade” were exposed. Still it is not expected that there will be any less
demand for the machine which cannot lie, but which can be coaxed into being merciful to the
defects of poor humanity.’
38
In December 1883 the Port Pirie Dramatic Club held a benefit night to honour Mr Barnard, who
was leaving the town. He had been stage manager and scenic artist since the club’s formation. In
his speech the Mayor described Barnard as ‘a desirable citizen and one who would be missed’. He
had worked hard for the Institute and local charities, and had collected specimens and curios for a
proposed Port Pirie Museum. The Port Pirie Gazette referred to his skill as an artist: ‘One of the
latest evidences of Mr Barnard’s talent as a scenic artist has been the painting of a proscenium for
the stage, which is executed in a masterly style with a conspicuously handsome coat-of-arms. This
addition renders the inside of the hall a great deal more attractive, and we feel sure there is not a
finer proscenium in the North.’
In the directory for 1884, T.L. Barnard of Port Pirie is listed in the ‘Artists, not Photographer’
trade section, and in the same section as Goodwood North from 1885 to 1889.
BARNET, F.
One of the founding members of the Gawler Camera Club in 1904.
BARNETT, Mr
‘Laura, June 8. Mr Barnett, photographer, travelling for the Australian Photograph[ic?] Company,
seems to be well patronised.’128 He may have been Henry Barnett (q.v.)
BARNETT, H.J. & CO.
Listed as photographers at Leigh Chambers, Leigh and Hindley Streets, Adelaide, in the directory
for 1884, with H.J. Barnett at Ann Street, Stepney, probably a residential address. See also
BARNETT Henry.
BARNETT, Henry (BARNETT, J.H.)
Listed in directories for 1874–75 as photographer, Little Sturt Street, Adelaide, then at Kingston,
SE, in 1876, where he is presumed to have been the partner of James Bull (q.v.) in the firm of Bull
& Barnett (q.v.). He may be the J.H. Barnett listed as a photographer, Witcombe Street, Adelaide,
1880–81; Gouger Street 1882; and in the 1882–83 Traders and Commercial Directory as Henry
Jno. Barnett, photographer, Ann Street, Stepney (probably residential address) and at Gouger
Street. He could also be the ‘Mr Barnett’ (q.v.) who called at Laura in 1874, and connected with
H.J. Barnett & Co. (q.v.) of 1884.
BAROSSA CAMERA CLUB
The Barossa Camera Club, Nuriootpa, listed in the Australian Photographic Journal directory of
photographic societies from 1895 to 1898, was the second photographic society formed in South
Australia and the earliest recorded in a country town. The secretary was Walter J. Ponder, manager
of the National Bank at Nuriootpa.
BARRY, Thomas
Listed as photographer, College Road, Kent Town, in the directory for 1889.
BARRY, W. Scott see SCOTT-BARRY, Walter
128
39
BATCHELOR, William Henry
Born at Portsmouth, England, on 3 September 1830, W.H. Batchelor arrived in South Australia in
1854. Although directory entries from 1864 to the time of his death in 1889 give his occupation as
storekeeper at Kooringa (Burra), he did work as a photographer in the late 1860s, and probably
later. The National Directory of South Australia for 1867–68 lists him as storekeeper in the
alphabetical section, but also carries an advertisement which emphasises the photographic side of
his business: ‘W.H. Batchelor, Photographer, Kooringa. Glass, paint, oils and all descriptions of
colourman’s stores on hand’. His printed carte de visite mounts have the same shield and motto,
‘de coelo veritas’, as used by E.B. Cardell (q.v.) in the 1860s. He may have photographed the train
derailment at Peake’s Crossing, south of Burra, which was reproduced as a lithograph in the
Illustrated Adelaide News on 9 February 1876 after a sketch by Batchelor. At that time the term
‘sketch’ was sometimes used by the press when referring to a photograph. William Batchelor died
at Burra on 25 August 1889.129
BAUER, A.E.
Listed as a photographer at George Street, Moonta, in directories from 1896 to 1935+. There is
also a separate listing for Bauer & Simmons (q.v.) at George Street, Moonta, for the years 1899 to
1902.
BAUER & SIMMONS
Cabinet photographs exist with the printed inscriptions ‘Bauer & Simmons, George Street,
Moonta’ and ‘Bauer & Simmons, Hutt Street, Adelaide and George Street, Moonta’. There is a
directory listing for Bauer & Simmons at Moonta from 1899 to 1902, but not for Hutt Street. One
of the partners could have been A.E. Bauer (q.v.) of Moonta, and the Adelaide branch may have
been connected with Adolph Bauer who was listed as a wine merchant in Hutt Street in the 1890s
and 1900s (believed to be the father of A.E. Bauer).
BELCHER, Edward William (BELCHER BROTHERS, BELCHER & CO., BELCHER,
Alfred Cooper)
In June 1866 photographer George Freeman advertised that he would soon be moving from 97
Hindley Street to his new Town Hall Photographic Gallery (q.v.) in King William Street.
However, by the time the studio opened on 7 July it was operating under the name of Freeman &
Belcher.130 In September they produced some ‘sculpture photographs’ which were said to be ‘of a
new description, intended to give the subjects a statuesque appearance’.
The Belcher in the partnership is believed to have been Edward Belcher, although it could have
been his younger brother Alfred, who would have been 20 years old at the time. The partnership of
Freeman and Belcher was short-lived, and their premises were occupied as temporary offices by
the newly appointed government photo lithographer, F.S. Crawford (q.v.), for four months from 16
February 1867.131 By 30 October the photographers Freeman and Hall (Richard Hall [q.v.]), of
Adelaide, had been at Eden Valley for several weeks, and were doing a good trade, ‘especially on
Sunday’.132 Edward Belcher joined his brother Alfred to form Belcher Bros., storekeepers and
photographers.
Edward William Belcher (1842–1936) and Alfred Cooper Belcher (1846–1911) were the sons of
William Henry Belcher, who had arrived in South Australia in 1839 and who for some years
129
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986, ,
p.93.
130
South Australian Register, 2 August 1866.
131
PRO, GRG35, SGO 190/67 Crawford to Surveyor General.
132
40
owned a hardware and fancy goods business in Hindley Street. On a Lands Department document
dated 5 June 1868 Alfred Belcher is named as a photographer of Willunga, and in July it was
reported that the Belcher Brothers had left Willunga after ‘a highly successful professional visit,
their ivorytype portraits being “chef d’oeuvres” in their way …’ On some of their cartes de visite
they said that further copies could be had by sending name and number to their father, W.H.
Belcher in Adelaide, who presumably re-directed the order to wherever it was the brothers were
working.
Belcher Brothers were listed in the directory for 1870 as storekeepers at Willunga, and in January
Edward made a brief photographic visit to Wallaroo, where he stayed at the Cornucopia Hotel.
Although an insolvency notice for E.W. and A.C. Belcher, storekeepers of Willunga trading as
Belcher Brothers, appeared in the Government Gazette in September 1870, Belcher Brothers, the
photographers, were alive and well a month later, when they made two water-coloured
photographs of Rev. J.L. Parsons for the North Adelaide Baptist Church Bazaar.133 There are
cartes de visite for ‘Belcher & Co., O’Connell Street, North Adelaide’, dates unknown.
The Belcher brothers separated, and while Edward pursued a career in art and photography, his
brother Alfred appears to have had a change of direction and worked as an iron-founder and
painter. Edward Belcher’s directory entries as a photographer, and later as an artist, were:
1875–78
Prospect
1879–81
St Vincent Street, Port Adelaide
1882–83
Hart Street, Port Adelaide
1884–85
Prospect
1888–89
‘artist’, Clara Street, Wallaroo
1890
‘artist’, Hall Street, Wallaroo
1891–1914
Assist. Government Photo-Lithographer
Although he was listed as having an Adelaide address from 1875 to 1885, Edward Belcher spent
some of his time working as a travelling photographer. In May 1874 the Northern Argus said, ‘Mr
Belcher, photographer, has pitched his tent in the township [of Caltowie] and appears to be well
patronised’. And in October 1876 he was at Kooringa, where he pointed out that he respected the
Sabbath and did not work on Sundays.
In March 1877 Edward Belcher erected his portrait room next to the Travellers’ Rest Hotel in the
Main Street at Clare. When the local photographer, Walter Rowe, advertised that he had imported
a large batch of chemicals direct from London and was therefore able to reduce his prices for a
short time, Belcher placed his own advertisement next to Rowe’s. It said: ‘E.W.B. would remind
the public that to possess the best colours and brushes does not make a man a painter, nor the best
chemicals a photographer. ABILITY TO USE THEM MAKES THE ARTIST. E.W.B.’s charges
will not be reduced even for a short period; first-class work demands a reasonable charge. An
inferior article is dear at any price.’134
When Edward Belcher was married at North Adelaide on 26 September 1877, his bride did not
change her name, as she was Catherine Elizabeth Belcher, daughter of Joseph Moulden Belcher,
the postmaster at Kooringa.
On 13 September 1880 the Rev. S. Green delivered a humorous lecture full of local interest to a
crowded house in the Port Adelaide Town Hall. Called ‘Horful Masaker’, it was imaginary
account of two Russian ships attacking Port Adelaide in which he sketched prominent local
residents, emphasising their foibles and peculiarities.
The lecture was illustrated with some forty dissolving views of the residents named, photographed
by Mr Belcher and dressed in mirth-suggestive costume. The lecturer prefaced his remarks with the
statement that the gentlemen so dealt with had given permission for the photographs to be used as
133
134
41
he liked, and for him to make what comments he chose about them. It could scarcely be possible,
however, that some of them knew when they gave permission, the manner in which they would be
exhibited, for in not a few instances the hits were broad and hard.135
By July 1881 Edward Belcher was at Port Pirie working as an operator for the Areas Photographic
Company, and using the newly introduced dry-plate process. Their studio was described by the
local press:
During the week the Areas Photographic Company have pitched their ‘moving tent’ in Port Pirie. It
is not strictly correct to say ‘tent’, because their studio is far in advance as regards completeness
and comfort of anything which has yet visited the Port. In going inside one could almost imagine
himself in a city photographer’s apartment, so well is everything arranged … Mr Belcher, the
operator, explained to us the nature of the working of the new bromo-gelatine process. By means of
this invention any moving object, even an express train at full speed, can be transferred to paper, the
time occupied in transmitting the picture to the prepared plate being so short as the fiftieth part of a
second. It will, therefore, be seen how valuable the process must be in the case of children.136
By June 1882 Belcher was at Terowie trading under the name of Excelsior Photographic Studio.
The local press said that all of his photographs were taken by the bromo-gelatine process,
‘consequently greater clearness of detail is secured than by the old method’.137 In May 1883 his
Excelsior studio was erected behind the Commercial Hotel at Burra and open between the hours of
9 am and 5 pm. Five months later he was at Kadina, opposite the mill in Taylor Street, next to Mr
Cornish’s. In his advertisement he pointed out that he did not make ‘tin types’ (ferrotypes), which
were often regarded as a cheap and inferior form of photograph.138 At the time Laming & Kenny
were visiting the northern country towns making ferrotypes. In November he announced he would
be at Wallaroo for the Christmas holidays. He produced a four-piece panorama of Port Lincoln
c.1889.
By 1891 Edward Belcher had been appointed Assistant Government Photo Lithographer. He was
elected vice-president of the South Australian Photographic Society in 1893 and 1894, and in 1895
became president. He was a very active member of the society, giving lectures on both the artistic
and technical aspects of photography, acting as judge, and exhibiting photographic prints,
stereographs and lantern slides.
BELL, George
Advertisement in the Yorke’s Peninsula Advertiser, 25 October 1872: ‘George Bell. Hairdresser,
Photographer, etc. George Street, Moonta’. Bell’s career as a photographer may have been very
short, as five months later he advertised: ‘For sale – Cheap, A complete photographic plant
including a first-class Dallmeyer lens. Apply to George Bell, George Street, Moonta.’ Two months
later Townsend Duryea advertised that he had opened a studio for a short period at the rear of Mr
Bell’s in George Street.
BELL, James W.
On 7 December 1878 James Bell was a witness to the dissolution of partnership of George
Freeman and E.J. Wivell, who had been trading as the Melbourne Photographic Company at 16
Rundle Street, Adelaide. In March 1879 he gave evidence at the inquest into a fire which had
destroyed Freeman’s studio where he had been employed as an ‘operating photographer’.
In June 1883, after Freeman had moved his Melbourne Photographic Company to premises at the
corner of King William Street and Hindley Street, James Bell bought the business and continued
trading under the same name. He had new carte de visite mounts printed, using the same design
135
Port Pirie Gazette, 8 July 1881.
North-Eastern Times, 2 June 1882, 30 June 1882.
138
136
137
42
featuring eight of Freeman’s prize medals, but with ‘J.W. Bell’ substituted as proprietor in place of
George Freeman.
James Bell’s term as proprietor of the Melbourne Photographic Company must have been short, as
the directory for 1885 lists the studio as occupied by Henry Jones and his Children’s Photograph
Company. Directory entries for James Bell, photographer, and probably residential, were:
1882–83
George Street, Stepney
1884
Chapel Street, Norwood
BELLINGER, T.H.C.
Listed as photographer, Millicent, for 1911–13. The Biographical Index of South Australians
records Thos Henry Clinton Bellinger (1883–) as the son of Arthur Herman Bellinger, farmer,
Millicent.139
BENINGHAM, Mr
In September 1862 the Wallaroo correspondent for the Register wrote from Kadina, ‘Mr
Beningham, the photographic artist, has lately been taking some views of the mines, separately,
which will be seen … with great interest by many in Adelaide … as also by English capitalists
who might feel inclined to enter into speculations in connection with the colony’.140
The name Beningham may have been a typographical error; no photographer of that name has yet
been recorded. However, there was a Walter Bermingham, boot and shoemaker, listed at Kadina in
1862, and in the 1860s several tradesmen owned cameras, although it is not known how successful
they were as amateur photographers.
BENTLEY, William Friend
Born in St Clement’s Dane parish, London, on 8 October 1836, William Bentley was only three
years old when he first came to South Australia. He was later sent back to London where he was
trained at the Royal Academy, where he also learnt the art of photography. By 1853 he is said to
have been back in Australia, at the Victorian goldfields with his father, where he took photographs
and sketched mining scenes. Biographical notes on Bentley in the Dictionary of Australian Artists
(1992) refer to him being commissioned to take photographs of South Australian scenes for
George Fife Angas.
On their return from the goldfields William Bentley lived with his parents at Burra, where his
father worked in the mine. The papers of the South Australian Mining Association, owners of the
Burra copper mine, have an entry for 14 June 1858, ‘Paid £5 to lad (Wm Bentley, 21) for drawing
of mine’.
By 1862 William Bentley was practising photography at Burra. An item in the Advertiser for 25
April that year describes how 300 children of the Redruth Wesleyan Sunday school celebrated
their 14th anniversary. As part of the celebrations they formed a procession and ‘on arriving at an
open elevated spot in Kangaroo Street they formed a group for the purpose of having their likeness
taken by Mr Bentley, one of our photographers, but for some cause or other it proved a failure’.
One of Bentley’s cartes de visite gives his address as ‘Kangaroo Street, Kooringa’. The mining
company’s private township south of the mine was called Kooringa, and Redruth was a
government township north of the mine. Today they are both part of what is known as Burra.
William Bentley’s first wife, Louisa, died at Kooringa in May 1863 aged 26, and about 18 months
later he married Elizabeth Bald.
139
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986, vol.
1, p. 109.
140
South Australian Register, September 1862.
43
William Bentley was listed as a water carrier at Kooringa in directories from 1864 to 1867, then as
a photographer at Moonta, a copper-mining town on Yorke Peninsula, from 1868 to 1879. In
February 1869 the Wallaroo Times reported that severe flooding had occurred at Moonta. The rain
had started as a steady shower at 11 pm, but by midnight had become a torrent which continued for
several hours, producing ‘a flood of water such as no person now in Moonta ever saw running
down George Street, for the street was a foaming torrent, and in some places water was from three
to four feet deep’. Most of the buildings and cellars in George Street were flooded, including that
of ‘Mr Bentley, photographer’. Almost twelve months later, in January 1870, the summer flooding
of Moonta was repeated, and a report in the Kapunda Herald said Mr Bentley, the photographer,
again had to move his family to a place of safety. Fortunately this flood was not as dangerous as
the last one, as it happened during daylight hours. In October 1872 Bentley advertised: ‘New
Photographic Studio, (Next Mr Emerson’s), George Street, Moonta’, and we assume it was built
on higher ground.
From 1880 to 1910, the year of his death, Bentley was listed as a photographer at Redruth and
Burra. In March 1881 the Burra newspaper reported that Mr Bentley of Redruth had ‘erected a
new gallery’, and in May 1883 it said, ‘Mr Bentley who for a long time practised his profession of
photographic artist at Redruth has removed to next the Burra Hotel, Kooringa, where he has fitted
up his studio comfortably and where with new appliances and appropriate fittings he is prepared to
receive visitors’.
Information about William Bentley’s work as a painter in oils, chalk and watercolours is given in
The Dictionary of Australian Artists, p.65. He died at Burra on 20 June 1910 at the age of 73.
BERKHOLZ, W.
On 29 October 1894, W. Berkholz presented St Aidan’s Church, Saddleworth, with an account for
‘four dozen photos at 7/6, £1-10-0’. The printed form of account (Noye collection) is headed
‘Morwell Photo Studio, Tarwin Street, Dr. to W. Berkholz, Photographer’. It would appear that
Berkholz had a studio at Tarwin Street, Morwell, Victoria, before moving to Saddleworth. In the
directories there is a F.W. Berkholz, Saddleworth, listed as carpenter for 1895, and as a tobacconist
for 1896. He was probably a relative of Hermann A. Berkholz who had the Railway Hotel at
Saddleworth c.1894–95. The four dozen photographs were probably views of St Aidan’s Church,
which had been opened a few months earlier, on 23 August 1894.
BERLIN, George
In his book The Pictures Tell the Story (1995), Winton Irving has reproduced a half-tone
photograph of a train derailment which occurred at Young in New South Wales, and which
originally appeared in the Sydney Mail on 15 September 1888. This, he says, was the first
photograph ever used in an Australian publication, and was taken by George Berlin, a travelling
commercial photographer from South Australia.
BERLIN STUDIO and BERLIN PHOTOGRAPHIC CO. see BEYTHIEN, Julius
BERNARD, Henry
Listed as a photographer at Davenport Terrace, Wayville, in the directories from 1907 to 1909.
BERTOUCH, S.C. von
A member of the South Australian Photographic Society by February 1891, and listed as a
photographer at 5 Flinders Street, Adelaide, in the directory for one year, 1895. The previous year
he had been listed as a postage stamp importer of the same address. He was probably the S.C. Von
44
Bertouch who appeared in directories as a sharebroker, Pirie Street, from 1897.
BEYTHIEN, Julius
By September 1880 Julius Beythien and his partner Francis Edward Wear (q.v.) were travelling
photographers visiting the townships in South Australia’s northern agricultural areas under the
business name of Berlin Photographic Co. Beythien and Wear (q.v.) were listed as photographers
at Wirrabara in the Commercial and Traders Directory 1882–83, which had been published by
October 1882, but had parted company by 1886, when Beythien was listed as a photographer in
Gawler and Wear was at Burra.
At some stage Julius Beythien alone was managing the studio, either before or after the partnership
of Beythien & Wear (q.v.), as two styles of cartes de visite have survived, one with the inscription
‘The Berlin Photographic Co., Julius Beythien Manager, South Australia’, the other ‘Julius
Beythien, Artist and Photographer, Berlin Studio’.
Newspaper references to photographs have been found which mention Beythien but not Wear, but
these could have been made during the period they were operating together as Beythien & Wear.
Mr Beythien exhibited ‘a nice assortment of photographs’ at a show held in the Riverton Institute
in November 1881, and in December 1883 he was at Auburn where it was reported: ‘A pleasing
memento of the Auburn children’s visit to Clare will shortly be obtainable here [at Clare], Mr
Beythien having taken a photograph of the two coaches laden with children before they started on
their journey’.141 In May 1886, the year in which the directory listed him as being at Gawler, Julius
Beythien had a temporary studio at one of the camps for men working on the earthworks for the
new Beetaloo reservoir near Jamestown. The Gladstone newspaper reported: ‘We have been
shown some well executed views of Beetaloo, taken by Mr Beythien, who has a studio at Pott’s
Camp. The pictures are octavo size, and represent the whole surroundings. They may be joined
together forming one large picture.’142
By 1887 Julius Beythien was working as a photographer at Port Adelaide, and was awarded a
second order of merit for photographic views he exhibited at the 1887 Adelaide Jubilee
International Exhibition. He married Josephine Buck, aged 19, on 25 November 1889, and on the
marriage certificate his age was given as 32 (i.e. born c.1857), and his father’s name was Carl
Beythien.
Directories list Julius Beythien as a photographer at the following addresses:
1888–90
Commercial Road, Port Adelaide
1891
Divett Street, Port Adelaide
1893
Exmouth Road, Exeter
1894
Ring Street, Semaphore143
1895
Divett Street, Port Adelaide
1896–97
Commercial Road, Port Adelaide
1898
Elder Street, Birkenhead
1900–15+
Cannon Street, Port Adelaide (corner of Ship Street)
In the street section of the directory for 1907 Julius Beythien is also listed as ‘marine photo artist’
at North Parade, Port Adelaide.
One mystery photograph (Noye collection) which is difficult to explain is a cabinet portrait of a
bearded man which has on the back, printed in gold, ‘Tuttle & Co., Fremantle, W.A. – Sydney,
Adelaide, Melbourne’, and on the front, also printed in gold, is ‘Julius Beythien, Photo Artist, Port
141
Northern Argus, 7 December 1883.
Areas Express, 28 May 1886.
Ring Street is not shown in present-day directories. It ran south from Semaphore Road, between Water and Young Streets, and may
have been what is now Swan Street.
142
143
45
Adelaide’. Tuttle & Co. had a studio at Fremantle, Western Australia, in 1892.
BEYTHIEN & WEAR
A carte de visite portrait made by Beythien & Wear (no studio address) bears the pen and ink
inscription on the back, ‘September 23rd 1880’. It is a very early record of the photographic work
of Julius Beythien (q.v.) and Francis Edward Wear (q.v.). The 1882–83 Commercial and Traders
Directory, published by October 1882, lists them in the trade section as photographers at
Wirrabara. One of their carte de visite mounts has the printed inscription, ‘From the Berlin
Photographic Studio, Beythien and Wear, South Australia’, and the absence of a fixed address
suggests they did not expect to be at any one place for very long.
Julius Beythien and Francis Wear had parted company by 1886, Beythien going to Gawler and
Wear to Burra.
BIGGS, James Hesketh
In a letter published in the Advertiser on 1 August 1859, photographer ‘Professor’ Robert Hall
criticised a report which said that Townsend Duryea had discovered the art of crayon photography.
Professor Hall wrote: ‘I have myself for the last five years been working the same process; and a
gentleman amateur, Captain Biggs, to my knowledge has worked the same process for four years’.
J.H. Biggs, it seems, had been practising photography since 1855, or earlier.
James Hesketh Biggs had been a captain in the 49th Foot Regiment, and during the 1860s was
Colonel-Commandant of South Australia’s Volunteer Military Force. In June 1867 the Register
reported that Colonel Biggs, ‘who is known to be an adept in the elegant and useful art of
photography’, had reduced and lithographed a copy of an amendment to the Volunteer Act. A few
months later Colonel Biggs produced a ‘beautifully drawn and coloured series of plans, sections,
&c., of the proposed fort at Port Adelaide; also a complete model of the fort’.
At the 1866 exhibition of the South Australian Society of Arts Colonel Biggs was awarded the
prize for the best landscape in oils. He also exhibited photographs, lithographs, wood engravings,
and received a prize for his stereoscopic photographs. Colonel Biggs was also a successful
exhibitor at Society of Arts exhibitions held from 1867 to 1871.
In March 1879, at the inquest into a fire which had destroyed George Freeman’s Rundle Street
studio, Captain Biggs (now no longer an Honorary Colonel) was called upon to give a technical
opinion regarding the spontaneous combustion of photographic materials.
BIJOU STUDIO
This studio was located at 174A Rundle Street, opposite the York Hotel, with Alfred Schroder as
manager, and was only listed in the directory for 1895. The French word ‘bijou’ means something
small and choice, a jewel.
BIRD, Samuel Henry Alexander
Listed in the directory as ‘family draper and importer, Murray Street, Gawler’. On 24 January
1890 the Bunyip reported:
We have been shown a photographic picture taken by Mr S.H.A. Bird, who partly employs his
leisure with a photographic instrument. It was taken near Williamstown on the occasion of the
Congregational picnic on New Year’s Day. It represents a group of ladies and gentlemen in
picturesque attitudes assembled under the shade of a gum tree, with the bus in which they arrived
on one side. The picture is a very clear one, and the individuals are easily recognisable, the features
46
being clearly marked.144
In another report, on 23 June 1893, the Bunyip said: ‘Mr S.H.A. Bird has forwarded to us a
photograph of the Gawler Public School children who took part in the cantata, “White Garland.”
As an amateur in the art Mr Bird has been very successful, the 46 faces being clearly brought out
and easily recognisable.’
BLISS, C.
Listed as a photographer at Victor Harbor in the trade section only of the directory for 1912. There
was a C.H. Bliss, painter, listed in the Victor Harbor township and the alphabetical sections from
1910 to 1914, but no C. Bliss, photographer. An undated cabinet photograph with the printed
inscription ‘C. Bliss, Albert Lane, off Hutt Street’ has been seen.
BLOOD, John Henry Smyth
Born in Ireland on 10 December 1840, John Blood was the third son of Doctor Matthew Henry
Smyth Blood (q.v.), and arrived in South Australia with his parents on the Success in January
1848. Soon after their arrival the family went to live at Kapunda where Dr Blood had been
appointed mine doctor. One old resident of Kapunda remembered John Blood as a youth of about
16 who had a long scar down one cheek where it had been torn by the horn of a charging bullock.
By September 1867 John Blood had joined with Kapunda photographer Stephen Nixon (q.v.) to
trade as Blood and Nixon, and was busy taking photographs for a royal presentation album. The
Kapunda Herald reported:
We have been favoured by Messrs Nixon and Blood, photographers of this town, with an inspection
of a series of views of Anlaby, taken by order of Captain Bagot, M.L.C., for presentation to H.R.H.
Prince Alfred. We can unreservedly say that we have rarely seen better photographs than those to
which we now refer, the tone being so beautifully soft and the lights and shades very nicely defined.
The series includes views of all the principal portions of the well-known Anlaby Station,
comprising several from different points of the manager’s residence – the storehouse, sheepfolds,
shepherd’s hut, the woolshed; and last, but not least, a picture which deserves more than passing
notice – viz., that of the burial by the blackfellows of the aboriginal shepherd Tommy Dutton,
which took place the week before last. It is not often, indeed we believe this to be the first occasion
on which the natives have allowed the ‘whitefellows’ to witness their funeral obsequies, much less
photograph the scene. These pictures will at least redeem the credit of Kapunda in royal estimation,
so far as the art or science of photography is concerned.145
The burial was mentioned in reminiscences published in 1929: ‘[At Anlaby] there was also a
number of aborigines, subjects of King William … They were a very decent lot, and lived in their
own wurlies. On one occasion, although they objected to white people witnessing their burial
ceremonies, we were successful in ascertaining the time of the funeral of one of their number
(Tommy Dutton), and Mr John Blood, being at Anlaby with a camera, managed to obtain some
interesting photographs.’146 In December 1867 Blood & Nixon exhibited ‘12 lithographs’
(photographs?) at the Auburn Mutual Improvement Society’s art exhibition held in the Auburn
Town Hall. Blood & Nixon used carte de visite mounts printed with a design engraved by Joshua
Payne of Adelaide, ‘Blood & Nixon, Photographers, South Australia’, and one handwritten
example has been found (Noye collection).
John Blood began his career in the Postal Department by becoming involved in the construction of
the southern section of the Overland Telegraph line. In 1871 he was at Blinman when the local
Aborigines were given a New Year treat:
On January 5 the natives frequenting Blinman were collected by an intimation given through the
144
Bunyip, 24 January 1890.
Kapunda Herald, 20 September 1867.
146
Memories of Kapunda, 1929, p.36.
145
47
Sub-Protector, Mr Butterfield, S.M., and were regaled with bread, mutton, and plum pudding, and
an unlimited supply of tea. A booth for the provisions, and a camp for the blacks, were prepared
about half a mile from the upper township, where about 70 aborigines put in an appearance, and
speedily disposed of 16 quarters of mutton, and 70 to 80 1 lb. loaves of bread, and 12 large plum
puddings, the last affording about half a pound to each. They appeared well pleased, and the event
was the means of collecting a number of the white population to the spot. Some of the natives were
very decrepit and infirm, and one or two totally blind. They had amongst them very few children.
There were several half-castes, one of whom, a stalwart young fellow, known as Toby,
distinguished himself as an athlete, winning several prizes that were distributed for foot-racing,
jumping, throwing the waddy, spear, &c. The festival was suggested at a meeting on Christmas
Day, and on a subscription list being opened, the amount required was freely contributed, the whole
having been accomplished for less than £10. Mr Blood, of Kapunda, was on the ground with a
photographic apparatus, and we hope succeeded in getting a faithful picture of the gathering.
From 1871 to 1876 John Blood was stationmaster at the Peake telegraph station on the Overland
Telegraph line, near the north end of Lake Eyre. On 8 July 1873, while still at the Peake, John
Blood went to Blinman to marry Mary Enoch. By 1877 they had moved south to Beltana, where he
was both postmaster and telegraph operator, and in October the following year he laid the
foundation stone of the new store being built for Thomas Pearce.
After Blood and Nixon separated, John Blood had his own carte de visite mounts printed with
‘J.H.S. Blood, Photographic Artist’ inside an ornamental design. Five very similar but different
designs have been seen, some of which are on the backs of carte de visite views of Blinman and
Beltana.
Saturday, 2nd July 1881 was an important day for Beltana. It was the day the railway from Port
Augusta to Beltana was officially opened, a ceremony performed by Mrs Blood. ‘The opening of
the second section of the Port Augusta and Government Gums railway, viz. from Hawker to
Beltana, is an accomplished fact, and was duly celebrated on Saturday last, 2nd July, when the first
Government train arrived at Beltana Railway Station … Immediately on the stopping of the engine
a circle was formed on the ‘nose’ of the engine, when C.L. Klisser, Esq., the chairman of the
committee, acting on behalf of the residents of Beltana, introduced Mrs J.H.S. Blood (the wife of
John H.S. Blood Esq., J.P., the resident post and telegraph-station master) who had been requested
by the committee and had consented to declare the line open.
The chairman said that Mrs Blood had been elected to the honour of declaring that section of the
railway line open, and to perform the formal ceremony, not only on account of her long residence in
Beltana, but more especially from the fact of the very great respect and esteem in which she was
held by all classes in Beltana, and it was his pleasure to be able to explain to the large number of
people then assembled that this lady would by breaking a bottle of wine in the orthodox manner
declare the line open. A bottle of champagne was then placed in the hands of Mrs Blood, who
declared the second section of the Port Augusta and Government Gums Railway Line to be open
for traffic, and cracked the bottle on the fender of the engine, amidst great cheering.147
John Blood moved to Auburn in July 1882 where he was postmaster for eight years, then moved to
Brighton where he died on 16 May 1890. His funeral was reported in the Kapunda Herald:
On Sunday afternoon last the remains of Mr J.H.S. Blood, who died at Brighton, at the age of 49
years, on the previous Thursday, were interred in the Clare-road Cemetery. The body was brought
to Kapunda on Saturday evening and was left overnight at the railway station, from whence the
funeral started, there being in the cortege between eighteen and twenty vehicles, but it was largely
increased in the Main Street by the addition of about forty Masons – members of the St. John’s
(Auburn), Clare, and Light Lodges – the deceased gentleman being an active member of the St.
John’s Lodge, and by a number of traps joining … Mr Blood had been telegraph station master at
Auburn for some years, and was also clerk to the Local Court. He took a very lively interest in
everything tending to the advancement of the town; and, among other positions, he was on the
committee of the Auburn Institute, and was secretary to the Freemasons Lodge. The deceased
147
Port Augusta Dispatch, 8 July 1881.
48
gentleman, who was a son of the late Dr M.H.S. Blood, was very highly respected at Auburn,
where, as also at Kapunda, deep sympathy is felt for his wife and family and relatives.148
John Blood’s name, and his association with the Far North, are perpetuated in Bloods Creek, north
of Oodnadatta in South Australia, and Bloods Range, west of Ayers Rock in the Northern
Territory.
BLOOD, Matthew Henry Smyth (Doctor)
Doctor Blood was born in Springfield, County Clare, Ireland, c.1808, and arrived in South
Australia with his family on the Success in January 1848. He was ship’s surgeon on the voyage,
and soon after his arrival was appointed surgeon at the Kapunda copper mine.
In the reminiscences of one old Kapunda resident Dr Blood was described as:
one of, if not the best known, of old Kapunda identities. At one time in the sixties he left Kapunda
for New South Wales,149 where his eldest son, William, had settled, but after two or three years
returned and lived in a house on the west side of the Burra Road, a short distance north of the
Prince of Wales Hotel. He had been an officer in the Volunteer Force, and rode a handsome old
charger when carrying out his work of a general practitioner. He was a very genial Irish gentleman,
very kind hearted, everybody’s friend, and a profuse snuffer. He was also an enthusiastic amateur
photographer in the days of wet-plates, when results were much less certain or satisfactory than in
these modem days of films and daylight developing tanks. Most of his friends had to submit
themselves to the ordeal.150
On 15 October 1869 the Kapunda Herald described a camera James Uren had made for Dr Blood:
Photography has become quite an institution of the colony in the present day. In almost every small
village at least one photographer is to be found, whilst in many of the larger towns their number is
almost too great to allow of that branch of industry being carried on to a profit. Now, every one of
these photographers must have his various cameras, and these so far have usually been imported
from home. There is no reason, however, why the imported article should not be superseded by
those of colonial manufacture.
We were shown yesterday, by Dr Blood, an outsize camera, made for him entirely by Mr James
Uren, of this township, which for excellence of workmanship and general utility is quite equal to
any ever imported – the dark slide being made of oak. This camera will take pictures up to fifteen
inches, and has been supplied at a cost not exceeding that of the imported article; so that if the
demand was increased the probability is that the colonial manufacture would be cheaper than the
imported. Dr Blood was so much impressed with the merit of this production that he took the
trouble to send it to our office for inspection, and he also informs us that a whole-size camera by
the same maker has been in satisfactory use by Mr Nixon for some time past. If colonial consumers
would only patronise colonial workmanship we should soon cease to have any clamouring after
Protection.151
In May 1874 Dr Blood and James Uren photographed the interior of the Kapunda Institute Lecture
Hall on the opening day of a bazaar.
Doctor Blood died on 29 March 1883, two weeks after he and Mrs Blood had celebrated their
fiftieth wedding anniversary, and on the day they were to have had their portraits taken by James
Uren. In its obituary the Observer said, ‘The geniality and kind-heartedness of his disposition, and
the thoroughness with which he fulfilled the various duties he undertook for the well-being of his
fellow townsmen, endeared him to many personal friends, and secured for him the esteem of a
much wider circle. As a clever and careful medical man he inspired confidence; as a Magistrate his
decisions commanded respect; and as Mayor his usefulness was generally recognised.’152
148
Kapunda Herald, 20 May 1890.
Left Kapunda 6 March 1862, Advertiser, 18 March 1862.
150
Memories of Kapunda, 1929, p.14.
151
Kapunda Herald, 15 October 1869.
152
149
49
On 14 April 1883 Frearsons Weekly published a full-page lithographed portrait of Dr Blood, and a
long obituary:
The decease of the late Matthew H.S. Blood, medical practitioner, of Kapunda, where he had
practised his profession for over thirty years, was very sudden, and occurred at his own residence
on the morning of the 29th March, just as he had returned from visiting a patient. Deceased was
much esteemed in Kapunda and surrounding districts as a skilful, painstaking, and kind-hearted
physician. He interested himself in the public affairs of his own special neighbourhood, but rarely
figured in the strife of general politics. It was only a fortnight before that he and Mrs Blood
received the congratulations of their friends on having reached the fiftieth anniversary of their
wedding day. His age was 76, he having been born in Limerick, Ireland, on November 26, 1806.153
He had been on the point of going out professionally when he was heard to cry out. Mrs Blood and
Miss Howe ran into his room; he vomited slightly, and could only say, ‘Oh! Mary, I cannot see
you,’ after which the only signs of animation were a few gasps. Affection of the heart had put an
end to his career, and an inquest was deemed unnecessary.
Dr Blood arrived in the colony in 1848, almost at once settling in Kapunda, where for many years
he was the sole medical officer of the mine and town. In 1862 he removed, with his family, to
Sydney, whence he returned in about two years, and has ever since continued to reside in Kapunda.
He was one of the founders, and the first W.M. of the Kapunda Masonic Lodge of Light, founded in
1860, a warm supporter of the movement for constituting Kapunda a corporate town, and was its
first Mayor (1865), welcoming in that capacity, H.R.H. the Duke of Edinburgh on his visit to the
locality. In 1866 and also in 1878 deceased was again Mayor, serving another two years. For many
years he was a magistrate, but resigned the position some time since. Of his earlier life, we may
mention that he obtained his diploma as early as 1831, when he commenced the practice of his
profession. He was one of the doctors to the Cholera Hospital, in Ennis, County Clare, in which
county he resided till 1847, when he left, as already stated, for South Australia, he being the
appointed medical officer of the emigrant vessel Success, which arrived in Adelaide early in 1848.
His family of course accompanied him. Dr Blood has had a very large family. His eldest son, Mr
Matthew Blood, originally intended for the ministry, afterwards embraced the medical profession,
and was on his way out to join his father in practice, but died of consumption on the voyage. The
second son, William, is away in the other colonies, the third son being Mr John Blood, J.P., of
Auburn. The married daughters are Mesdames Christoe, Salter, Galloway, Mrs Pitcher having died
some years back. There are also two single daughters residing in Kapunda.
Doctor Blood’s third son, John H.S. Blood (q.v.), was employed by the Post Office and was also
an active photographer.
BLOOD & NIXON see BLOOD, John Henry Smyth and NIXON, Stephen Edward
BOASE & PAYNTER
A half-plate farmyard scene carries the printed inscription on its mount, ‘Boase & Paynter,
Photographers, Gawler, South Australia’. One of the partners could have been A. Paynter (q.v.).
BOND, A.E.
Listed in directories as photographer, Commercial Road, Port Adelaide, from 1901 to 1914+. In
1902 his advertisement said: ‘Old photographs copied, enlarged and framed complete. All classes
of outdoor and interior photography.’
BOND, Charles R
By 1889 W.H. Hammer and Charles Bond were partners in the firm of Hammer & Co. (see
HAMMER, William Henry), photographers, with studios at 6 Rundle Street and St Vincent Street,
153
These details of Dr Blood’s birth differ from those given in Jill Statton (ed.), Biographical Index of South Australians, 1836–1885,
South Australian Genealogy and Heraldry Society, 1986, page 133.
50
Port Adelaide. Charles Bond’s residential address was College Road, Kent Town, and he was still
a partner in 1907,154 perhaps even later, and was listed as a photographer at his residential address,
by now Kensington Park, until 1914+. He may have been connected with Bond & Co. (q.v.).
BOND, S.P. and S.P. BOND LTD.
He was first listed in the directory for 1895 as a photo-material importer at 11 Alma Chambers, off
Grenfell Street, Adelaide, an address he shared with photographer Ernest Gall (q.v.).
In May 1895 he became a member of the South Australian Photographic Society. He showed
prints and lantern slides at the society’s monthly meetings, conversaziones and annual exhibitions,
and also provided displays of cameras and general photographic supplies. He was made a member
of the executive committee in 1896, elected treasurer in 1897, 1898 and 1899, then elected
secretary in 1900, but had to resign in February 1901 ‘owing to the pressure of business’. He was
elected president in 1904, for one year.
By 1896 S.P. Bond was advertising a darkroom for the use of amateur photographers, to which
enlarging facilities were added around 1898. In 1897 his directory entry included a showroom at
48 Pirie Street; in 1901 he also had temporary premises at 103 Rundle Street, near the Arcade.
At the society’s December 1896 meeting he demonstrated a simplified form of the collotype
process which was suitable for the use of amateur photographers. ‘By means of the photoautocopyist Mr Bond showed how to obtain, in printing ink, permanent prints from any negative’.
In June 1899 he provided a one-guinea prize for ‘the best single photograph of an existing early
South Australian landmark’ which was won by F.A. Joyner’s picture, The Last Cottage at Klemzig.
A major advance took place in August 1901 when the firm, now S.P. Bond Ltd. moved into a new
building which had been built at 51 Rundle Street for Griffiths Bros, the tea and coffee merchants.
The facilities available in the new premises were described by the Kapunda Herald:
The needs of amateur photographers and novices in that pleasant and popular pastime
[photography] are to receive even greater attention than in the past. For this purpose commodious
and completely-equipped instruction rooms have been set apart, under the supervision of one of the
most capable lady photographers in the State, who will devote the whole of her time to the thorough
instruction of purchasers of appliances at the establishment in all branches of amateur photography
… A darkroom for developing negatives is also provided for patrons who may not have the
accommodation at their homes. In stock are to be seen appliances for all grades of photographers,
from the 5s. Kodak amateur to the most proficient of professional men.155
A month later the firm informed the society: ‘With reference to the forthcoming exhibition to be
held by your society, we have pleasure in making you the offer for intending exhibitors of the use
of our enlarging room free; also, for work intended for the exhibition, the free use of any 12 x 10
bromide paper, Wellington & Ward make’. The offer was accepted.
The firm also supplied a magazine type hand camera as the prize for the best picture entered in the
photographic section of the 1901 Kapunda Show, and Mr Bond spoke on ‘printing for winter
evenings’ at the June 1902 meeting of the Kapunda Photographic Club. The firm also supported
the Kapunda club’s January 1903 exhibition by supplying a set of eight sepia-platinotype views
made by the late H.P. Robinson, one of England’s leading pictorial workers. Another picture on
loan from S.P. Bond was A Daughter of Eve made by another prominent English pictorialist David
Blount. It had won several gold medals and was highly regarded by critics in England and
Australia.
Around 1903 club demonstrations and trade displays previously done by S.P. Bond himself were
154
155
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol.1, (1907), p.624.
Kapunda Herald, 23 August 1901.
51
taken over by one of the firm’s employees, A.H. Kingsborough (q.v.). However, after
Kingsborough’s death in 1910 this business appears to have been resumed by the firm’s principal,
who gave a lantern entertainment at the Semaphore Photographic Society’s April 1913 meeting
and demonstrated the Pasget colour process before the same club six months later.
S.P. Bond Ltd. was still a major supplier of photographic material and equipment in the 1930s.
BOND, W.F.
Listed as a photographer at 19 Globe Chambers, Grote Street, Adelaide, for 1891 and 1892, then
24 Globe Chambers in the directory for 1896. The following year, 1897, the premises were
occupied by photographers Bond, Findley & Co.
BOND & CO
On 27 March 1897 the Observer described an amusing scene which occurred when members of
the Federal Convention held in Adelaide posed for a group photograph. The report, which was
given the heading ‘The Battle of the Cameras’, said:
The scene was rendered amusing by the presence of a rival enterprising photographer, who had not
made any arrangements for taking the picture, the result being a battle royal. One operator removed
the cap from the other’s machine and threw it over the fence and the other returned the compliment.
An ingenious person tried to discover a relation to or suggestion for the bi-cameral controversy in
the chamber. We are informed that Messrs Bond & Co.’s representative was present at the desire of
the President of the Convention. Ultimately the picture was fixed up. In the chamber the public
gallery was decorated with a flashlight apparatus and the gangway blocked with a couple of tripods
and machines. The Convention was first photographed in sections to right and left of the chamber
and then twice as a whole by the flashlight. During the luncheon the visiting and local journalists
were brought before the camera …
Bond & Co. were listed as photographers, 91 Rundle Street, Adelaide, in directories from 1889 to
1903, and as ‘Bond & Co., Crown Studios’ from 1904 to 1909. From 1910 the entries became
‘Crown Studios, late Bond & Co.’, then as ‘Crown Studios’ only for 1914+. There was also a
branch of Crown Studios listed at St Vincent Street, Port Adelaide, for 1904 and 1905, with A.R.
Lyle (q.v.) as manager, in premises previously occupied by Mora photographers.
Outdoor night pictures taken by T.C. Cleave (q.v.) of Bond & Co. were described in the Science
Notes column of the Observer on 17 September 1898.
BOND, FINDLEY & CO.
Listed as photographers, 24 Globe Chambers, Grote Street, Adelaide, in the directory for 1897.
The previous year, 1896, the premises were occupied by W.F. Bond.
BOON, R.F.
Listed in the directory for 1901 as photo enlarger, No. 9 Melvin Chambers, King William Street,
Adelaide.
BORCH, Detective Leopold von der
The identification of the unfortunate man August Wachter, who was lately found dead on the beach
near Glenelg, furnished a good instance of the usefulness of photography. By the city Coroner’s
order a photograph of the deceased was made by Detective Von der Borch with a view to his
recognition should any of his relatives appear. One day when Mr Von der Borch was in the street he
saw a man whose face struck him as bearing some resemblance to Wachter’s, and he therefore
accosted him. The man said his name was Wachter, but appeared to know nothing about his
supposed brother’s fate, as he was suffering from sore eyes, and did not read the papers. He was
52
shown the photograph of the dead man, and immediately recognised it as that of his brother, of
whose untimely death he might never have heard had it not been for the sun picture.156
In 1880 Leopold von der Borch became the first official police photographer. He was born in
Prussia on 12 April 1846, and died on 18 December 1919. 157
BOSCO APPARATUS COMPANY (BOSCO AUTOMATIC PHOTO MACHINE CO.)
The Bosco Apparatus Company, represented by Mr W.H. Newnham, has on exhibition in the
Arcade one of the latest and most wonderful developments of photography. The apparatus can take
a photographic likeness which is fixed, framed, and delivered in three minutes. The subject takes a
seat, a coin is inserted in a slot, which completes a circuit of electricity, the photograph is taken,
releases the mechanism, and allows the chemicals to perform their part. When all is finished a bell
rings, and the photograph is delivered. The whole process is automatic.158
The directory for 1901 lists the Bosco Automatic Photo Machine Co. as 32 Arcade, Rundle Street,
Adelaide.
BOSTON STUDIO (Port Lincoln) see SECOMBE, J.H.
BRADLEY, William
Born in England on 25 April 1858, arrived in South Australia on the Corona in 1882. Died in
1936. Listed in the directory for 1889 as photographer, 31 King William Street, Adelaide. The
Biographical Index of South Australians,159 lists his occupation as plumber and photographer.
Previous occupants of his studio are listed under Paterson & Goldsmith.
BRAGG, Professor William Henry
Born on 2 July 1862 at Wigton, Cumberland, England, Professor Bragg was a graduate of
Cambridge University. In January 1886 he left England for South Australia on the P&O ship Rome
to take up the position of Professor of Mathematics and Physics at Adelaide University. On 1 June
1889 he married Gwendoline Todd, daughter of Sir Charles Todd, Government Astronomer and
Postmaster General.
Professor Bragg was a patron of the South Australian Photographic Society in 1893, possibly
earlier, and in 1896 made the first Röntgen ray (X-ray) photographs in South Australia in 1896. He
left South Australia in 1909 to take up a position at England, and died there on 15 March 1942.
BRAYSHAW, Thomas
A half-plate outdoor photograph (Noye collection) of a family group has the blind stamp
inscription ‘T. Brayshaw, 24 Charles Street, Norwood’ on its mount. Directories list T. Brayshaw,
carpenter, as 26 Charles Street, Norwood, for 1912 and 1913 after which he moved to 24 Charles
Street, on the other side of the creek, for 1914+.
BRISTOW, William C.
Listed as a photographer in directories:
156
Observer, 23 February 1878.
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986,
p.1651.
158
159
161.
157
53
1900
1901–03
1904–07
1909–14
Margaret Street, North Adelaide
Tynte Street, North Adelaide
53 Lefevre Terrace, North Adelaide
37 Melbourne Street, North Adelaide
BROAD, Frederick Scott
In 1891 F. Scott Broad won the prize for ‘a dozen plain photos’ at the 1891 Moonta Show.
Directories list him as photographer, Moonta, from 1891 to 1899, then at King William Road,
Unley for 1900 and 1902. He may have been related to Alfred Scott Broad, the artist, as directory
entries indicate they shared the same, or adjacent, premises at Unley.
BROADBENT, Samuel D
Listed as a photographer at Port Pirie in the directories for 1907 and 1908.
BROOKMAN, Benjamin, Snr
Born in Glasgow, Scotland, on 16 September 1826, Benjamin Brookman arrived in South
Australia in 1852. From 1864 to 1882 he is listed in directories as ‘printer of stamps’, in the Postal
Department’s list of employees.
By August 1885 Benjamin Brookman was a partner of W.H. Hammer in the firm of Hammer &
Co. (see HAMMER, William Henry) which had photographic studios at 6, 44 and 184 Rundle
Street. His private address was given as Eliza Street, Prospect. By 1889 he had been replaced as
Hammer’s partner by C.R. Bond, and had opened a printing business in Hindmarsh Square,
Adelaide. He died on 11 June 1917.160
BROOKS, Joseph
In 1868 the South Australian Government sent an expedition to the Northern Territory to survey
land and establish a settlement at Port Darwin. Leader of the expedition was George W. Goyder,
the Surveyor-General, who was given the authority to select his own officers and men. At least six
South Australian photographers applied for the position of photographer to the expedition: William
Barlow; Henry Anson; George Freeman; E.J. Wivell; W.W. Thwaites Junior and Captain S.W.
Sweet. Goyder chose a draftsman from his own survey department, Joseph Brooks, who was given
the dual duties of ‘photographist and draftsman’, and William Barlow (q.v.) was recruited as
photographist’s assistant.
The members of the expedition left Port Adelaide for the Northern Territory in the sailing ship
Moonta on 23 December 1868, which dropped anchor at Port Darwin on 5 February 1869. On 1
March Brooks wrote an official letter to Goyder in which he listed the photographs he had taken:
Sir, I have the honour to report that the following views have been taken during the month in addition to
which I have been engaged preparing plans of township &c.
1 – Fort Point shewing timber partly removed from top prior to erection of trig station.
2 – Point Elliott from bottom of Fort Point showing native canoe.
3 – Point Elliott from top of Fort Point near the trigl. [sic] station.
4 – View of rocks and thicket at Point Elliott.
5 – Point Emery from Point Elliott.
6, 7 & 8 – Panoramic view from Point Emery of coast north & northwest to East Point.
9 – Fort Point and ship with dingy in foreground from Point Elliott.
10 & 11 – Fort Point from Stokes’s Hill shewing camp in saddle, Moonta at anchor & tops of huts
& store.
160
182.
54
As yet sufficient time has not been available to enable me to photograph views of the country &
vegetation inland but they will be taken during the progress of the Survey. I beg also to state that by
Friday next I shall have my boxes packed ready to accompany any party – one of them containing
sufficient chemicals to take about 40 negatives & the two small ones holding enough to take about
20.
The following day Brooks placed an order, through Goyder, for photographic paper and chemicals.
He also needed some printing frames, but said these could be made locally, presumably by his
assistant William Barlow, who also happened to be a carpenter. Goyder sent the requisition to
Adelaide, to the photo-lithographer in his Survey Department, Frazer S. Crawford, who packed the
materials in June and sent them north on the Gulnare with Captain Sweet. Crawford enclosed a
memo in which he detailed the materials sent – gold chloride, four dozen sheets of albumenised
paper, silver nitrate, carbonate of soda, hypo and one pound each of Blanchard’s and Mawson’s
negative collodion. ‘A similar quantity of same chemicals’, said Crawford, ‘is with the exception
of there being no collodion was packed up in Mr Wigg’s case and forwarded by the April mail en
route to Timor’. On 1 September 1869 Brooks made a note on Crawford’s memo: ‘Received case
per Gulnare containing the articles enumerated within. One bottle of collodion broken & part of
albumenised paper damaged.’
Prints Brooks had made from his negatives were sent to Adelaide where the Government photolithographer, made copies. This was reported by the Register on 6 September 1869: ‘Mr F.S.
Crawford has reproduced by the photo-lithographic process Mr J. Brooks’s photographic views
taken at Port Darwin. Although plain and unadorned in their character, they give an intelligible
idea of the country bordering upon what is destined to be the nucleus of Northern Territory
settlement. The conformation of the country and the character of the harbour and its indentations
are clearly indicated.’
When Captain Samuel White Sweet arrived at Port Darwin as master of the supply ship Gulnare
Goyder had another source of photographs. In a report dated 3 May 1869 he said, ‘Captain Sweet
is an able, active, energetic officer … He is also an expert photographer, and has taken several
views in the locality, of which I am glad, as Mr Brooks has been fully occupied preparing plans
and documents for the field parties during the past two months.’
Entries in the diary of William Webster Hoare show that Brooks was taking photographs in May
and as late as 18 September, ten days before he left Port Darwin on the return trip to South
Australia in the Gulnare. Some of the entries Hoare made in his diary are:
5 May Helped Brooks photograph Stokes Hill
6 May Brooks out photographing
6 Sept. Went on Gulnare and got some photos from Capt. Sweet
8 Sept. Captain Sweet busy taking photos of the camp. I have been taken in a view of our iron
house on a tub
18 Sept. Mr Brooks and Captain Sweet took photographic views of the monument to Bennett and
Hazard.
24 Sept. I payed Captain Sweet 3 [?] for photo of banyan tree and grave of Bennett.
25 Sept. Mr Joseph Brooks gave me a photograph of the bower bird bower and Bennett’s grave
[taken] by himself.
The Gulnare left Port Darwin on 28 September and arrived at Port Adelaide on 15 November 1869
with most of the original party on board, including Goyder, Brooks, and Barlow. Another of
Goyder’s reports published in the Register and probably written on the voyage down from the
Territory said, ‘I also append a few photographs to show the road and buildings at the camp, but as
the negatives are being brought to Adelaide by Mr Brooks they will all be printed, and form the
subject of a separate communication’.
Brooks appears to have made only stereographs while at Port Darwin, and an examination of one
55
particular pair of images suggests he used a single lens camera which was moved between
exposures, and not a dual lens stereo camera. Copies of some of the stereographs are held in the
Mortlock Library and the National Gallery of Australia, Canberra.
BROWN of BROWN & CLAYTON, BROWN & CLAYTON see MORA studio
BROWN, Arthur
In the directory for 1894 Arthur Brown, photographer, was listed as Orange Lane, Norwood, and
from 1895 to 1904 he was listed as manager of the Adelaide Photo Company (q.v.) at 101A
Rundle Street. From 1905 to 1907 he may have been associated with Brown & Co., photographic
enlargers at Water Street, Semaphore. Other directory entries for Arthur Brown, photographer,
were:
1912–16
1917–18
1896–11
Rose Street, Glenelg
Rundle Street, Adelaide
8 Edward Street, Norwood (appears to be a residential address).
BROWN, E. see MORA Studio
BROWN, Henry
Listed as a photographer in Commercial Road, Port Augusta, in the directories for 1895 to 1897.
BROWN, James H.E.
An exhibition of dissolving views was shown in the Adelaide Town Hall by James Brown during
March 1873. The views showed Gustav Dore’s well-known illustrations of the Life of Christ, and
the glass transparencies, which had been coloured by Melbourne artist James Moore, were
projected on the screen by a powerful oxy-hydrogen limelight. The views had been brought from
Melbourne after being shown at the Inter-Colonial Exhibition earlier that year. The dissolving
views were later shown to the inmates of the Adelaide Hospital for the Insane, where the disc of
light projected on a curtain was twelve feet in diameter.
In February 1874 James Brown arrived in Clare where he advertised in the Northern Argus that he
was a ‘landscape and portrait photographer and colourist from Victoria’ and was prepared to
photograph ‘gentlemen’s houses, invalids and family groups’. A few weeks later Brown produced
his ‘Leporello’ album, sold for 8s.,which contained views of Clare: the Town Hall, Police and
Telegraph Stations, public school with teachers and pupils, the Institute, churches, Wesleyan
parsonage, and John Hope’s residence, ‘Wolta Wolta’.
In his advertisement in the Northern Argus on 26 June 1874 Brown published a list of testimonials
which he had received while in Melbourne, including: Johnstone, O’Shannessy & Co., portrait
photographers; J. Tanner Esq., Jas. Moore, and Miss Noble, leading portrait painters; Davies &
Co, photographers; and W.I. & F.C. Burman, landscape photographers.
In December 1874 the ‘Clare astronomers’ turned out to witness the transit of Venus. Brown took
several photographs at different phases of the transit using exposures around one-quarter of a
second, and the results were described as ‘very distinct’.
On 8 January 1875 the Northern Argus reported damage done by vandals on New Year’s Eve: ‘Mr
Brown, photographer, had his tent torn open, and nearly everything destroyed, so that he is a loser
of about £15. This was done opposite the police station, where the tent was erected … it is clear
that those who were bent on making havoc were too smart for the police [who had been on duty
until 3 am], for they actually proceeded to the stables of the police, took their buggy from a shed,
56
dragged it into the quarry adjoining, and backed it over the rocks into the pool adjoining, so that
only a portion of the pole was visible.’ By March 1875 James Brown had left Clare and his
business had been taken by Walter Rowe.
BROWN, Miss B.A.
Listed in directory for 1915 as photographic retoucher, Netter Building, Gresham Street, Adelaide.
BROWN & CO.
Listed as photographic enlargers, Water Street, Semaphore, in the directories for 1905–07. Arthur
Brown (q.v.) may have been associated with the business.
BUCKNALL, Frederick Estcourt
In June 1866 Freeman & Belcher opened the Town Hall Photographic Gallery which, as its name
implies, was opposite the Town Hall in King William Street, Adelaide; then for a short time the
studio was used as a temporary government photolithographic office. By September 1867 the
studio premises had been occupied by Hector James Thwaites (q.v.), who used the name Professor
Thwaites on his cartes de visite.
By January 1869 James Thwaites had moved to 29 King William Street, on the southern corner of
Hindley street, where he was manager of the Australian Photographic Company. At some stage he
had formed a partnership with Frederick Estcourt Bucknall, as the Government Gazette for 20 June
1872 said: ‘The partnership existing between Hector James Thwaites of Adelaide and Frederick
Estcourt Bucknall of Port Adelaide, in business of photographers under the firm The Australian
Photographic Company, has this day been dissolved by mutual consent. 18 June 1872. Witness,
J.H. Symon.’
Bucknall was now the sole proprietor of the Australian Photographic Company, which was
recorded on his cartes de visite, and he moved the business back to the old studio opposite the
Town Hall. He is recorded as a photographer in the directory for one year only, at (103?) King
William Street in 1873. In 1874 the studio was listed as being occupied by E.G. Tims, who carried
on as manager of the Australian Photographic Company.
In 1874 F.E. Bucknall married Mrs Rosa Haussen, a widow with six children, and from her he
acquired a half-share in the Hindmarsh Brewery. He went on to become Mayor of Hindmarsh from
1880 to 1883, and from 1881 to 1887 was a member of Parliament. In 1881 he built the 17-room,
two-storey mansion now known as Estcourt House, Tennyson, near West Lakes.
F.E. Bucknall was born in London, England, on 6 July 1835, arrived in South Australia in 1860,
and died on 4 June 1896.161
BULL, James
Listed as photographer at Kingston, South-East, in the directory for 1876, and presumed to be
partner of Henry Barnett (q.v.) in the firm of Bull & Barnett of the same township.
BULL, K.
Artist and photo colourist reported variously in the newspapers as R., E., K., and J.K. Bull, with
the initial ‘K’ predominating.
161
p.198.
57
In April 1874 Townsend Duryea informed the public that he had engaged an ‘eminent artist’, Mr
Bull, who had been trained in the fine arts at the Academy of Copenhagen, and then studied in
Dresden under the ‘celebrated Professor Dahl’. Mr Bull had already finished colouring several
portraits which were on display at his studio.162
A week later the Register reported:
There is now to be seen at Mr Duryea’s studio, King William Street, a three-quarter length painting
of His Excellency the Governor. The likeness is admitted to be excellent, and the manner in which
the details of the picture have been presented reflect high credit on the artist. A half-length portrait
in crayons of Mrs Holloway, as Kate Arden, is excellent, the lights and shades being depicted in a
life-like manner. Another portrait of the same description worthy of notice is that of Mr Dan Carter,
at one time a resident in South Australia. These works are by Mr Bull, who has lately arrived in
Adelaide under engagement with Mr Duryea, and that gentleman is to be congratulated on having
secured the services of an artist who is unquestionably happy in his delineations.163
On 18 April 1875 Duryea’s studio was destroyed by fire, and at the inquest he said that both he
and Mr Bull smoked, and had smoked in the workroom during the day before the night of the fire.
The cause of the fire, which destroyed Duryea’s valuable negative collection, was never
determined. The studio was rebuilt and occupied by S.E. Nixon (q.v.) and C.H. Manning (q.v.),
who had ‘a large oil painting finished by Mr K. Bull, the artist of the firm’ on display in April
1876.164 It was an enlargement made from a small portrait of the late wife of R.D. Ross, Esq., MP.
It appears Bull did not work exclusively for the one studio, as a week later another of his works
was on view at the Adelaide School of Photography in Rundle Street, Duryea’s second studio,
which had been bought by his manager, Saul Solomon, in 1875. This was a ‘life-size’ portrait of
the late Chief Justice, Sir R.D. Hanson. ‘The artist’s skill is particularly noticeable in the softness
of the facial lines and the naturalness of the flesh tints. There is none of the solid smoothness and
the extreme freshness about the broad dashes of colour that too often mar modem portraits in oil.
The painter has well caught the thoughtful, kindly expression of the deceased Judge’s face, and has
produced a faithful resemblance.’165
In addition to his work as a photographic colourist, Bull produced paintings of local scenery. One
of these, a panoramic scene at sunset as seen from ‘the top of the gully just below Eagle-on-theHill Hotel’ was exhibited at Duryea’s studio in 1875.166 Bull appears to have branched out on his
own by 1877, as two of his oil paintings of scenery near Adelaide were on view at Mr Culley’s, the
picture-framer, in Flinders Street.167
BULL & BARNETT
A carte de visite mount has been sighted which bears the printed inscription ‘Bull & Barnett,
Kingston’. The South Australian directory for 1876 lists James Bull and Henry Barnett (q.v.) as
photographers, separately, at Kingston, South-East, and they are presumed to be the partners of
Bull & Barnett.
BUONAVISTA
An undated cabinet portrait (Noye collection) carries the printed inscription ‘Buonavista, Stanley
St., North Adelaide’ on the front of the mount.
BURKHILL see COLES, William, Edward E.
162
South Australian Register, 20 April 1874.
164
South Australian Tablet, 13 April 1876.
165
166
167
163
58
BURNELL, George
George Burnell was born on 27 September 1830 168 at Guiseley, Yorkshire, England, and arrived in
Australia at Port Adelaide in 1849 aboard the Florentina with his father and siblings, his mother
having died on the voyage. Burnell first encountered photography in the late 1850s while living in
Castlemaine, Victoria, where he had resided with his family in a tent since about 1854, trying to
make a living around the diggings.169 There he met a Mr Golightly, a travelling photographer who
gave him three days of lessons. By the time the photographer returned to the area, Burnell ‘could
beat him at his own game’.170 Having purchased a spare set of equipment from Mr Golightly and a
horse and cart from his former employer, Burnell decided to set off as a travelling photographer171
around the central Victorian Goldfields. Travelling with his friend E.W. Cole as his assistant –
whom Burnell trained in developing and printing172 – they are known to have worked at Dunolly
and at Echuca, then a major port on the Murray River.
In late 1861 Burnell and Cole173 exchanged their horse and cart for a row boat eighteen feet long,
which they adapted to enable them to travel down the River Murray to take photographs. They set
off from Echuca on New Years Day 1862,174 taking stereographs of Murray scenery, Aborigines,
Aboriginal bark canoes, paddle steamers, principal towns and residences.175
They eventually crossed Lake Alexandrina and arrived at Point Mcleay on 2 May 1862.176 They
stayed at Point McLeay Aboriginal Mission Station with Burnell’s sister and her husband, the
Reverend George Taplin, who was the founder and superintendent. They stayed for three days,
taking photographs of the Aboriginal residents and the grounds of the mission station. On 5 May
Burnell and Cole left Point McLeay for Goolwa and travelled by coach to Adelaide, where they
stayed with Burnell’s relatives at Hindmarsh. Burnell determined that there was sufficient scope
for him to set up as a professional photographer in Adelaide. He accompanied Cole back to
Melbourne, collected his own family from Castlemaine, and in December 1862 settled in
Hindmarsh. Cole remained in Melbourne and subsequently became a successful bookseller and
well known for publishing Cole’s Funny Picture Book.177
There was considerable public interest in the stereographs which Burnell began printing and
selling in late June 1862.178 Although Burnell is not listed as having a photographic studio,179 the
stereographs could be ordered from his Hindmarsh residence or from Rigby Bookseller in Hindley
Street, where the photographs were displayed. Originally offered as a set of fifty-six stereographs,
fifty-one of a broken set numbered as a sequence of sixty stereographs are now held by the Art
Gallery of South Australia.
168
Most biographical sources cite Burnell’s birth date as 1831 (for example, Joan Kerr (ed.), Dictionary of Australian artists, painters,
sketchers, photographers and engravers to 1870, Oxford University Press, Melbourne, 1992.). However, in A Short Sketch on the Life
of George Burnell by his daughter Fanny Lincoln (1947, handwritten), she states that her father: ‘… says he was told that he was born
… on September 27 1830’. This is corroborated by J. Thomas (ed.), South Australians 1836–1885, book one A–L, South Australian
Genealogy and Heraldry Society, Adelaide, 1990, p.106.
169
Fanny Lincoln, The Burnell Family. Three Generations in Australia, Published by the Author, Adelaide, 1948, p. 27.
170
171
172
Cole Turnley, Cole of the Book Arcade: A Pictorial Biography of E.W. Cole, Cole Pubs, 1974, p. 21.
173
Many sources refer to the ‘partnership’ as ‘Cole and Burnell’. However, it is clear that Burnell was the professional photographer
and Cole his assistant. Their joint venture on the Murray may well not have been a business partnership as such. The convention of
citing Cole’s name first appears to have arisen from an incorrect cataloguing entry in the past (conversation with photo-historian Ken
Orchard, who has researched Burnell extensively).
174
175
South Australian Register item 10 June1862.
176
177
For further information on Cole, see E. Cole Turnley, ‘Cole, Edward William (1832–1918)’, Australian Dictionary of Biography,
volume 3, Melbourne University Press, 1969, pp. 438–40.
178
South Australian Register advert 24 June 1862.
179
There is a suggestion in Joan Kerr (ed.), Dictionary of Australian artists, painters, sketchers, photographers and engravers to 1870,
Oxford University Press, Melbourne, 1992, p. 118 that Burnell was employed by another photographer in Adelaide, but there seems to
be no firm evidence of this.
59
Burnell soon received a commission from Sir Dominick Daly, the Governor, to undertake a second
Murray trip in order to take a series of views for him. He set off in January 1863 with his younger
brother James as his assistant, most probably on board a paddle steamer. He retraced his steps
along the Murray to Wentworth in New South Wales and returned via Goolwa, delivering the
stereoscopes to the Governor on his return to Adelaide. What became of these 1863 Murray
photographs is uncertain, although some copies are known to have been in the possession of
various Burnell family members.180
Following the success of the 1862 Murray stereographs and excellent reviews in the press, Burnell
took a series of eleven stereoscopic views from the observation tower above the newspaper offices
of the South Australian Register in Grenfell Street in April 1863.181 These were said to be ‘very
beautifully executed’182 and formed the first complete panorama of Adelaide. Burnell announced
his intention to release a monthly series of views of significant streets and buildings of Adelaide,
subject to there being sufficient demand.183 However, just as his photographic career was taking
off, his father died suddenly and Burnell was forced to take over the family affairs and
management of a fellmongering business at Hindmarsh. Thus Burnell’s career as a photographer
came to an end, although he is known to have taken at least one fine stereographic portrait of his
sisters, now in the collection of the Hindmarsh Historical Society. He gained some notoriety in the
1880s when he invented an industrial wool-washing machine. George Burnell’s wool-washing
business later fell victim to the depression in the wool trade. He set out to remake his fortune in
Western Australia but was soon taken ill and returned to Adelaide where he died on 24 November
1894, aged 64.
Karen Magee
BURNELL & COLE See BURNELL, George
BURRA JUNIOR CAMERA CLUB
A photograph exists of members of the Burra Junior Camera Club (1909 or 1919?). Those in the
photograph are: Ted Reed, Harold Foote, Mr Foote, Jack Bartholomaeus, Stan Foote, Cliff Foote,
Carl Pearce and Bob Radford.
BUSSELL, Joseph William
Born in England in 1840, Joseph Bussell lived in Western Australia for several years before
coming to South Australia. He entered the public service in Adelaide in July 1868 and rose to the
position of assistant storekeeper with the South Australian Railways. He was a member of the
South Australian Photographic Society, specialising in the field of photo-micrography. He showed
microscopic studies at the society’s exhibition held in the Victoria Hall in September 1895, and in
May 1899 one of his microscopes was on display at the society’s monthly meeting.
He died on the Military Parade Ground in December 1902 while walking to work from his home in
Kermode Street, North Adelaide. The report of his death said he was:
… a well-known and highly respected citizen … He was a most zealous officer, and highly
esteemed by all with whom he came into contact. For many years he was connected with the
geographical and photographical societies of South Australia … He devoted considerable time to
scientific research. He was a member of the Royal Society, and secretary to the microscopical
section of that body. He was also associated with the field naturalist section … Mr Bussell
possessed some magnificent microscopes, and many excellent specimens of his scientific
180
South Australian Register item 30 April 1863.
South Australian Register item 30 April 1863.
183
South Australian Register item 15 May 1863.
181
182
60
investigations.184
BUSSELL, William John (Rev.)
Rev. Bussell, later Archdeacon Bussell, came from a distinguished Western Australian family, was
educated at St Peter’s College, Adelaide, ordained in 1877, and began his clerical at Mount
Gambier. He was later Rector at Strathalbyn.
From 1894 to 1904 he was missionary chaplain in charge of the riverboat church Etona, which
serviced the new village settlements along the banks of the River Murray. At that time the river
had no weirs and locks and was subject to periods of seasonal flooding and low water during dry
spells.
The equipment on the Etona included a gramophone, magic lantern and screen. In the nineteenth
century magic lanterns were used for both entertainment and instruction, and the apparatus carried
on the Etona was no doubt put to good use by Rev. Bussell.
On one occasion, in 1898:
the energetic navigator missioner Mr Bussell delighted the pupils of Tormore School by an
exhibition of a number of photographic views of the Murray … Sets of lantern slides on many
subjects can be purchased for money, but slides to picture forth the Murray can only be had for
love, aided by patience and work. Many, if not all of the photographs were taken by Mr Bussell
himself from the deck of the Etona under difficulties more easily imagined than overcome. The
broad surface of Lake Alexandrina, the high cliffs of the ancient gorge, the treacherous snags, the
shifting sandbars, the rows of village settlers’ houses, the trim fruit gardens all excited keen interest
as they fell upon the magic screen.
On a visit to New Residence in 1896 a service made up of magic lantern views with prayers,
hymns and descriptive lecture had been arranged, and the villagers had prepared the pine and
canvas village hall by lighting a large fire in it. But because the light of the fire was so bright the
pictures could not be seen on the screen, so the service was held in the open air. It was a very cold
night and the congregation was either standing or seated on stools and boxes, and when the service
was over they happily carried the lantern and screen back to the Etona.
After leaving the river Rev. Bussell married Bishop Harmer’s sister, who described her husband as
‘tireless in energy, continually on the move, the friend of all, especially of the very poor …
naturally cheery with a tenacious memory for faces and family histories’. He died on 6 June
1936.185
BUTLER, F.J.
Teacher and amateur photographer of Parilla whose photograph, The Morning’s Wood, shows
three small boys with an axe and wheelbarrow gathering wood, and was reproduced in the
Australasian Photo-Review for December 1913. It was Highly Commended in the Australasian
Photo-Review competition for October.
184
The information on Rev. Bussell has all been taken from M.E. Fenton’s Etona and the River Murray Mission, 1891 to 1912,
Adelaide, 1977.
185
61
C
CAIRE, Nicholas John (CAIRE & GELL)
Born on the Island of Guernsey (UK) on 28 February 1837, Nicholas Caire was an apprentice
hairdresser by the age of 14. In 1858 he came to South Australia with his parents and nine brothers
and sisters. His father, also named Nicholas John Caire, established a hairdressing business in
King William Street, Adelaide.
In August 1860, at the age of 23, Nicholas Caire junior opened as a ladies’ and gentlemen’s
hairdresser and perfumer in Main Street, Kapunda, opposite Fawcett the chemist,186 and on 3
September he opened a photographic room at the same address.187 In March 1862 he purchased
and occupied premises on a fifteen-foot wide allotment in Graves Street, Kadina, where he
established a hairdressing business.188 His premises in Graves Street were known as the Kadina
Fancy Bazaar, where he was also an agent for W.H. Rains, the colonial wine manufacturer of
Adelaide.189
In his book The Story of the Camera in Australia Jack Cato devotes one chapter to a racy account
of Nicholas Caire’s life. In it he romantically states that Caire was affected by the ‘madness of
photography’, and ‘refused to work or train at any other vocation’, unaware, it seems, that Caire
had trained as a hairdresser, used this skill to support himself for several years in South Australia,
and had his occupation given as ‘hairdresser and photographer’ on his marriage certificate in
1870.190
Nicholas Caire also had an interest in art. Two of his oil paintings were on display at Kohncke’s
shop, Hindley Street, in August 1865:
The largest, which is a view of the Wallaroo Mine, measures 21 inches by 32. The smaller, said to
be a very good representation of Wallaroo Bay, measures 14 inches by 20. They are both in
handsome gilt frames. The local interest in the subjects, and the really excellent manner in which
they are executed, render them well worthy of notice. They are said by persons familiar with the
localities thus represented to be very accurate. The perspective is good, and the objects introduced
are drawn with distinctness and minuteness … The artist is, we understand, engaged on a larger
work of similar character, though of greater pretension.191
In December 1865 Nicholas Caire advertised in the Wallaroo Times that he had ‘resumed his
former profession as a practical photographer and photographic artist’, having purchased R.S.
Stacy’s photographic apparatus and negatives.192 Stacy was a travelling photographer who had
been working in the area since October.
By the end of June 1866 the partnership of Caire and Gell, travelling photographers, had been
formed and was working at Moonta. Nicholas Caire had put his Kadina Fancy Bazaar up for sale,
informing the public that ‘this is a good opportunity for any one wishing for a well paying and old
established business, the present proprietor only relinquishing it on account of ill-health’. While it
is not known who the Gell in the partnership was, he may well have been a relative of R. Gell, the
186
Northern Star, 25 August 1860.
Northern Star, 1 September 1860.
Registrar of the Supreme Court in South Australia, Bill in Equity 1865/3.
189
Wallaroo Times, 1 March 1865.
190
Anne and Don Pitkethly, N.J. Caire, Landscape Photographer, The Authors, Rosanna, Vic., pp. 7–8.
191
192
Wallaroo Times, 16 December 1865.
187
188
62
chemist at Moonta, who was to receive orders for prints from their negatives when Caire and Gell
left the town for Wallaroo in mid-July.193 A report of proceedings in the Moonta Local Court in
August 1867 contains a reference to a Mr Haines using a portable darkroom when taking
likenesses at Mr Gell’s premises.194
By mid-July Caire and Gell had erected their ‘large and commodious photographic tent’ next to
Mr Messent’s store at Wallaroo, and soon had carte de visite views of Wallaroo and Moonta for
sale at Wilkinson’s chemist shop, ‘in sets of six cartes, at one shilling each’. Their work was
reviewed by the Wallaroo Times in September, which had been shown some of their ‘cleverly
executed photographs of the various mines around Kadina, as well as some of the principal
buildings and residents of the place’. The reporter went on to say that Caire and Gell, ‘who had
formerly been in business here’, had devoted a lot of time to the art, and had now adopted it as a
profession. ‘If local talent is to be appreciated their photographs deserve especial
commendation.’195
The partnership was short-lived, and Nicholas Caire had moved into George Freeman’s old studio
at 97 Hindley Street, Adelaide, by December 1866. His move to the city may have been due to his
own poor health, or concern for the failing health of his parents. Six months after he arrived in
Adelaide his father died, aged 57; then in February 1869 his mother died, aged 56. For much of his
life Caire did not enjoy very good health, and was plagued by constant stomach pains. It was not
until he embarked on a fitness and diet programme at the age of 51 that his health improved.
In September 1867 Caire advertised a wide variety of cartes de visite for sale for insertion in
albums: ‘colonial views and native scenes, comicalities, Royal and Public personages,
frontispieces, &c. On receipt of 3s. in stamps, 13 cards will be forwarded, post free, to any part of
the colony. Card portraits taken on the premises at 10s. per dozen.’196
For twelve months Caire devoted a lot of his time to preparing and presenting dissolving view and
magic lantern lectures. In September 1868 the Rev. H.H. Merriman gave a lecture on ‘The Dark
Deeds of the Dark Ages’ in Whites Rooms, King William Street, which was supported by ‘a
number of very beautiful dissolving views, which had been specially prepared for the purpose by
Mr NJ Caire, of Hindley Street’.197 In December Rev. J. Maughan delivered a lecture on
‘Earthquakes, Volcanoes and Tidal Waves’ in the new council chamber at Aldinga, where the
dissolving view apparatus was operated by Nicholas Caire, ‘whose valuable aid tended greatly to
lessen the lecturer’s heavy work’.198
In March 1869 Caire exhibited the ‘Dark Deeds in the Dark Ages’ programme in the Norwood
Town Hall,199 then took it to a number of country centres, where he was both lecturer and lantern
operator. In June he was at Gawler, Kapunda, Clare and Spring Farm, and at Meadows in July.200
The lecture referred to the ‘early persecution of the Church, and to some of the horrible tortures to
which Christians were subject in the reigns of Henry VIII and Queen Mary’. By the time Caire
reached Clarendon in July he had added ‘A Tour Through Switzerland’ and ‘Phrenology’ to his
repertoire, exhibiting busts, model heads and the skulls of Aborigines to explain the ‘science’ of
phrenology.201 The ‘Ascent of Mont Blanc’ was shown at Bugle Ranges in August, and ‘Doctor
Livingstone’s Travels in Africa’ at Woodside in September.202
Nicholas Caire appears to have spent several weeks at Mount Gambier. On 23 November 1869 he
193
Wallaroo Times, 14 July 1866.
195
Wallaroo Times, 5 September 1866.
196
197
198
199
200
South Australian Register, 24, 26 June, 19 July 1869; Northern Argus, 2 July 1869.
201
202
South Australian Register, 21 August, 28 September 1869.
194
63
advertised his ‘Grand Polytechnical Entertainment’ in the Mount Gambier Standard, which later
gave a report on the programme:
After exhibiting a number of excellent dissolving views by means of a pair of powerful magic
lanterns, Mr Caire proceeded with a lecture descriptive of the ascent of Mont Blanc. Views
illustrative of the various stages of the tourist’s progress were shown … after which a large number
of comic and other interesting pictures were exhibited. ‘Shocks’ [electric] were administered to
those of the audience who desired it by means of a galvanic battery, and the magnesium light
having been exhibited, the entertainment was brought to a close.203
In the last week of December Caire delivered his ‘Dark Deeds of the Dark Ages’ in the Mount
Gambier Institute Hall, perhaps his last showing in South Australia before leaving for Melbourne,
where he married Louisa Masters on 10 March 1870. On the marriage certificate his occupation
was given as hairdresser and photographer, his present address as Talbot, and the usual address of
both himself and his bride was given as Adelaide, South Australia.
Nicholas Caire’s subsequent career as a photographer in Victoria has been well documented, and a
list of references is given on page 126 of Joan Kerr’s Dictionary of Australian Artists.
CALLOW, Emily Louisa
In 1876 Louisa Callow was an assistant printer at the Paris Photographic Studio, 164 Rundle
Street, Adelaide, which was managed by William James Lott (q.v.). Her name was mentioned in
court in 1877, when Mrs Lott was granted a divorce from her husband on the grounds of cruelty
and adultery. Six months later Miss Callow reported Lott for assault, a case which attracted
widespread public interest, but by 1884 they were married.
CAMERA CLUBS see PHOTOGRAPHIC SOCIETIES
CAMERIST
The term ‘camerist’ appears to have been a favourite of B.R. Banyer (q.v.) but is hard to find in
dictionaries. Ben Banyer was working as a journalist on the Kapunda Herald and a member of the
Kapunda Photographic Club and probably club reporter when the following phrases appeared in
the Herald: ‘It was thought by some of the older “camerists” of Kapunda that the formation of this
club was desirable’ (16 August 1901); ‘During the coming week the lower dam will become quite
a rendezvous for camerists’;204 and ‘well-known high-class amateur camerists’.205
Banyer moved to Balaklava in 1910 to manage the Wooroora Producer, and probably wrote the
report206 of the Balaklava Photographic Club’s June 1912 meeting which said ‘the camerists here
are mere novices’. Then, twenty years later, he wrote a letter to the Kapunda Herald in which he
recalled his years with the Kapunda Photographic Club and the late Thomas Warner (q.v.) and
said, ‘Tom was an enthusiastic camerist’.
CANADIAN PHOTOGRAPHIC COMPANY
In April 1883 Walter Rowe advertised a service for copying cartes de visite by mail order. ‘12
cartes de visite, 4s 2d; six, 2s 8d. Send carte with stamps. Perfect copies and original returned free.
Canadian Photographic Co., Parkside. W. Rowe, Manager.’ His address at Parkside was
Kenilworth Road, and on the back of his cabinet photographs he attached a label which said his
company was ‘practising outdoor photography exclusively’. He also said that his charges were
very reasonable, and suggested land agents with properties for sale should consult his price-list.
203
Mount Gambier Standard, 23 November 1869.
206
Australasian Photo-Review, June 1912.
204
205
64
The Observer for 19 May 1883 reported the Canadian Photographic Company had taken a series
of nine photographic views of the Woodside mines, which could be seen at two localities in the
city. ‘These comprise the Bird-in-Hand, Ridge, Two-in-Bush, and Nest-Egg, and it is evident from
the pictures that a large amount of money … must have been laid out on operations above ground.
The views are very clear, and give an excellent idea of what has been done in the locality.’
In the directories for 1884 and 1885 Walter Rowe’s address is given as Albert Street, Goodwood,
and this address is also found on the some of the company’s photographs.
CARDELL, Charles William Edmund Boys (known by initials E.C. and E.B.)
Born in Cornwall in 1842, E.B. Cardell arrived in South Australia in 1857. He was apprenticed to
Dr Frankis, of Adelaide, and practised as a chemist and druggist on completion of his indenture in
1861.
In January 1863 Cardell was in partnership with E.H. Cornock (q.v.) at the Photographic Gallery
and Medical Dispensary, 201 Rundle Street, Adelaide, having acquired the business from William
Reylin, including Reylin’s stock of negatives. They made cartes de visite, were prepared to take
views ‘in all parts of the colony’, and the price of their portraits began at 2s.
By October 1865 Cardell was at Kapunda, where he burnt magnesium wire at night in front of the
Sir John Franklin hotel. Public demonstrations of the brilliant white light that could obtained by
burning magnesium were popular in both city and country at that time.
In the Kapunda Herald Cardell informed the public that he was going to start taking photographs
on 6 November, at Mr Unverhau’s (q.v.), in the Main Street opposite Cameron’s factory. He
probably used the studio that Unverhau had built for his own use in 1861. Cardell’s hours of
business were 9 am to 5 pm, and he had for sale carte de visite views of churches and public
buildings in Kapunda which, he said, were ‘suitable for transmission home’.
Cardell could not have been self-employed for more than a few months, as Stephen Nixon,
Kapunda’s resident photographer, issued the following warning on 21 April 1866: ‘CAUTION.
Stephen E. Nixon begs to inform the public that he has dismissed Mr Cardell from his
employment; and that he has no connection whatever with that barber-ous attempter of the art.’
From Nixon’s deliberate use of ‘barber-ous’ we may conclude that Cardell also practised
hairdressing.
Cardell photographed the laying of the foundation stone of the Kapunda Baptist church in May
1866. The local press said, ‘Considering the difficulty which attaches to taking such views, where
some persons out of so large a number gathered together are sure to move, the picture is a very
good one, many of the likenesses having been admirably caught, including those of Messrs
Claxton, Mellor, Gates, Cumming, Tyrie, and some others’.207 By January 1867 Cardell was
insolvent and described as ‘late of Kapunda’, and by February had sold his negatives to Stephen
Nixon, from whom the public were able to obtain further copies for 10 s. per half-dozen.208 Cardell
later practised photography in Queensland, from the 1870s to the 1890s, at Maryborough, Roma
and Cloncurry.
CARPENI, Caesari
The report of a fire at the Rundle Street premises of Mr Veroli, looking-glass manufacturer, in
February 1879 said, ‘Caesari Carpeni, of Adelaide, photographer, through an interpreter said he
was working for Mr Veroli on the night of the fire in the workshop at the rear of the premises. He
207
208
Kapunda Herald, 1 June 1866.
65
was in the silvering-room framing some pictures …’209
A month earlier, in January 1879, Miss M. Pearce (q.v.) opened her new photographic studio in St.
Vincent Street, Port Adelaide, where her assistant operator was ‘Senor Carpena’ who was probably
the same person as Caesari Carpeni.
CASELY, Elwyn Sherbrook
Listed as a photo material importer at 6 Arcade, Rundle Street, Adelaide, in the directory for 1908.
By 1909 he had moved to 69 Gawler Place where he was listed as an importer of photographic
materials and sole agent for Harringtons Ltd (q.v.), and his shop in the Arcade had been occupied
by another photo materials dealer, W. Andrew. By 1910 the business had been acquired by
Harringtons Ltd and Casely was acting as their Adelaide manager, a position he still occupied
when the firm moved to 43 Rundle Street in 1914.
CAZNEAU(X), Harold
Born at Wellington, New Zealand on March 1878, Harold Cazneau was the son of photographer
Pierce Mott Cazneau (q.v.). By 1890 he was living in Adelaide with his parents where at the age of
18 he went to work as a photo-colourist and retoucher at Hammer & Co.’s studio in Rundle Street
where his father was chief operator. In the evenings he attended classes at the Adelaide School of
Design under H.P. Gill, who also had Hans Heysen as one of his students.
When a young Adelaide architect named John Kauffman (q.v.) returned to Adelaide in 1897 after
studying photographic processes in England and Europe, he brought with him examples of the
work of photographers who belonged to the new Pictorial Movement. The following year
Kauffman exhibited the photographs in Adelaide, and Cazneau went along to see them out of idle
curiosity. ‘They held him spellbound and left him inspired. Here was a new beauty beyond
anything he had ever dreamed of in terms of photography. That the camera could really be used for
such creative work was a revelation. He came away like a convert from a revival meeting, with
one fixed idea in his mind, and one that never left it. That to this cult of self-expression he would
devote his energies.’210
In 1904 Cazneau went to work at Freeman’s in Sydney, where his father had worked some years
before, and it was at this time that he added the ‘x’ to his name, to become Harold Cazneaux.211
His father also added an ‘x’ to his name, which was first recorded in the directory for 1912. In
1905 Cazneaux married a photographic printer, Mabel Winifred Hodge, whom he had met while
working at Hammer & Co.
Cazneaux’s career as a well-known and highly respected Sydney photographer has been well
documented in a number of books written about him. In the late 1930s he returned to South
Australia three times to photograph the Flinders Ranges and other places that attracted him, and it
was in the Flinders that he made what he later called his most Australian picture, The Spirit of
Endurance, a study of a giant gum tree scarred by the elements. The tree which Cazneaux
photographed in 1936 still stands and is a popular subject for the tourist’s camera.
Harold Cazneaux died in his sleep on 19 June 1953, aged 75 years.
209
Advertiser, 10 February 1879.
Australasian Photo-Review, December 1952, p. 727.
211
Harold Cazneaux, Cazneaux: The Quiet Observer, introduced by Helen Ennis, NLA, Canberra, 1994, p. 2.
210
66
CAZNEAU(X), Pierce Mort (Mott)
Born at Liverpool,212 England, in 1849, Mott Cazneau started his photographic career as a boy
working at Freeman’s studio in Sydney. He eventually became chief operator, and it was at
Freeman’s that he met his future wife, Emily Florence Bently, an expert colourist and miniature
painter.
Towards the end of the 1870s Mott Cazneau moved to Wellington, New Zealand, where he was a
partner in a photographic business. He was soon joined by Florence Bently, they were married, and
together they later opened their own studio in Wellington.
On 30 March 1878 their son Harold Cazneau (q.v.) was born, and by 1890 Mott his family had
moved to Adelaide, brought there by Townsend Duryea Junior to manage his Rundle Street studio.
He later took up a position with Hammer & Co. in Rundle Street, and it was at Hammer’s studio
that Mott’s son, Harold, began a career which led to him becoming one of Australia’s leading
photographers.
While working at Hammer’s studio Mott was exposed to an embarrassing occupational hazard
when he was chased down Rundle Street with a horse whip by the ‘incensed father’ of a ‘buxom
young client’.
P.M. Cazneau is listed in directories as a photographer at the following addresses, which would
have been residential.
1890–94
Halifax Street, Adelaide
1899–1903
Rugby (now part of Payneham)
1904–06
Cheltenham Street, Malvern
1907–10
Railway Terrace, Mile End
1912–15
52 Ebor Avenue, Mile End
Until 1910 his surname was listed as Cazneau, but from 1912 an ‘x’ was added to give Cazneaux,
perhaps to acknowledge his French ancestry. Mott Cazneaux died at Adelaide in 1928 at the age of
78 years.
CHANDLER & CO.
Listed as photographers at Cowell in the trade section of the directory for 1913, and as ‘house
furnishers and timber merchants’ in the alphabetical and Cowell district sections.
CHAPMAN, Charles
Listed as a photo-enlarger in Rundle Place (now part of Gawler Place) in directories from 1900 to
1903.
CHAPPELL, James Jnr
Listed in directories as photographer, Ryan street, Moonta, in directories for 1885 and 1886.
CHIDLEY, William J.
An advertisement in the Southern Argus for 31 January 1884 said: ‘Crayon Portraits. W.J. Chidley,
artist, is now staying at the Robin Hood hotel [Strathalbyn] and is prepared to do portraits in
crayons or water colours, from life or photographs’.
212
All sources consulted state that Pierce Mott Cazneau was born at Liverpool, except his obituary in the Australasian Photo Review, 15
June 1928, which says he was born at Bristol, England.
67
The Gawler Bunyip for 29 May 1885 described two ‘life-sized’ portraits of a lady and gentleman
which had been ‘taken in crayons by Mr Chidley of Adelaide’. They were on view at Marchant’s
Studio, Gawler, and were ‘more to be admired as they were not taken from life, but from
admirable photographs that had been previously taken by Mr Marchant’.
CHIRNSIDE AND WAGSTAFF
A ferrotype portrait, 2 X 15/8 inches, in a carte de visite mount with oval cut-out (Noye
collection), carries the printed inscription ‘CHIRNSIDE AND WAGSTAFF, The Lightning
Photographers, Rundle Street, Adelaide’. It was probably made in the early 1880s when the
ferrotype enjoyed a brief period of popularity in South Australia.
CHURTON, F.
Listed in directories as:
Frank Churton, photographer
1900
1901
182 Franklin Street, Adelaide
Glen Osmond
Frederick Churton, photographer:
1902
1903–04
Glen Osmond
Hope Valley
F. Churton, photographer:
1913–14+
Third Creek, Magill
CLAIR, James W
Listed in directories:
1907–10
1911–13
1914
photographer, Cowell
hairdresser & photographer, Cowell
hairdresser, Cleve
CLAMP, Mrs E.
Listed as photographer at 8 Maxwell Street, Adelaide, in the directory for 1910.
CLARK, G.
A resident of Angaston who was awarded a commendation for his photograph, ‘Beached, Port
Lincoln’, entered in the marine section of the Observer 1897 Christmas Supplement photographic
competition.
CLARK, John Howard
At the March 1864 conversazione held by the Adelaide Philosophical Society a ‘handsome
photographic apparatus’ was presented to John Howard Clark by the Chief Justice, on behalf of the
Society.213
213
68
In a letter written to F.S. Crawford in November 1866,214 J.H. Clark referred to the many
conversations they had together on the subject of photography. At that time Crawford was
manager of the Adelaide Photographic Company, and the following month was appointed
Government Photo-Lithographer.
J.H. Clark was a partner and editor of the Register and Observer newspapers. He was born in
Birmingham, England, on 15 January 1830, arrived in Adelaide in 1850, and after suffering from
consumption for a number of years, died on 20 May 1878.
CLARK BROS
Listed as photographers at 33 East Terrace, Adelaide, in the directory for 1901.
CLAYFIELD, W.J.
The directory for 1899 lists William Clayfield Junior as a photographer at Millicent, and W.J.
Clayfield, Millicent, appears in the 1899–1900 South Australia Trades Directory and the 1905
Post Office Directory.
He left Millicent for Western Australia in May 1904 and is listed as a photographer at 121 High
Street, Fremantle in the Western Australia directory for 1907. He apparently returned to Millicent
before moving to Adelaide where he died on 1 February 1912 as a result of complications arising
from an operation for appendicitis. His obituary said:
Deceased was about 33 years of age. He was born at Millicent, spending the whole of his life here
until leaving for Adelaide about three years ago, and with the exception of a sojourn of about five
years in Western Australia. His parents, Mr and Mrs W. Clayfield, were amongst the most highly
respected residents of the district. They now reside at Prospect. The late Mr Clayfield was an
exceedingly clever photographic artist. He adopted photography as a means of earning a livelihood,
and at the time of his death was occupying probably the highest position open to young men of his
calling in Adelaide. He was married in Adelaide about two years ago, and leaves a young widow to
mourn her loss.215
The Australian Photographic Journal for May 1904 contains the following notice: ‘A smart little
booklet, containing nine beautiful half-tone reproductions of the Naracoorte Caves, South
Australia, has been recently published and issued by Mr W.J. Clayfield, photographer, Millicent.
Over and above the interest and enchantment of these cave scenes we discern the able
photographic hand of Mr Clayfield in a clever rendering of these mysterious underground interiors.
The booklet is nicely printed throughout, and at a popular price will become a cherished souvenir
in numerous homes.’
Seventeen of Willam Clayfield’s photographs were reproduced and individually acknowledged in
volume two of The Cyclopedia of South Australia (1909).
CLAYTON of BROWN & CLAYTON see MORA studio
CLAYTON, J.
Two photographers named J. Clayton have been identified. One was a resident of Yankalilla who
was awarded a commendation for his entry in the portraiture section of the Observer 1897
Christmas Supplement photographic competition.
The second J. Clayton was one of the partners of Brown & Clayton who founded the ‘Mora’ studio
(q.v.) in Rundle Street in 1892.
214
215
PRO, GRG 35, 1095/66, J.H. Clark to F.S. Crawford, 24 November 1866.
South Eastern Times, 28 May 1904, 2 February 1912.
69
CLEAVE, Thomas Charles
An article in the Australian Photographic Journal, 23 August 1909, provides some biographical
information about T.C. Cleave’s career as a photographer before and after he worked in South
Australia – his work at studios in London before coming to Australia, then at studios in Sydney
from 1885. The article also refers to a ‘four years’ engagement at Hammer & Co., Adelaide. In
South Australian directories he is listed as a photographer, 12 Buxton Street, North Adelaide, for
1898 and 1899.
In its Science Notes column, 17 September 1898, the Observer gave a detailed report on a series of
time exposure, outdoor night pictures taken by Mr T.C. Cleave, of Messrs Bond & Co., 91 Rundle
Street, Adelaide.
CLOUGH, C.F.
A member of the South Australian Photographic Society who was elected president in 1893 and
1894, after which he was made a member of the committee in 1896 and 1901.
On 26 April 1895 the Mount Barker Courier reported:
Mr C.F. Clough, of Mount Barker, has been awarded by the judges at the Chamber of Manufactures
Exhibition, Adelaide, first prize for the best three instantaneous photographs. The subjects chosen
by Mr Clough were yachting scenes, which are at all times difficult to portray in a photograph, and
it is therefore the more to the credit of our townsman that he was so successful in this competition.
When he returned from a holiday in England and on the Continent in 1899 the society held a social
in his honour. The room was decorated with photographs by club members and a collection of
English, European and Egyptian prints purchased by Mr Clough during his travels. ‘The president
… referred to the great services which Mr Clough had rendered to the society and individual
members, and the esteem in which he was held, and expressed the pleasure felt by all at the
physical benefit he had derived from the trip. Inasmuch as Mr Clough had left Adelaide armed
with a hand camera, the members would expect shortly to see some of the photographic results of
his holiday.’
In responding, Mr Clough said he always derived great pleasure from doing what he could for the
society and that although the society had provided him with a letter of introduction he had not been
able to visit the photographic societies in England. However, he had ‘made a number of
observations on the progress of photography and lantern projection, which he recounted in an
interesting manner’.216
In July 1902 the society arranged another social to ‘do honor to one of their oldest and most active
colleagues’, Mr Clough, M.I.C.E., who was again taking his family to England, but this time with
‘the intention of permanently residing there’. The president referred to Mr Clough’s long
association with the society, having been elected a member in 1889, since when ‘his name had
appeared as a lecturer on every syllabus issued by the society’, and ‘that fact alone was the best
evidence of his whole-souled interest in the work of the Society’. As a parting gift he was
presented with ‘a large and handsomely bound album containing on the first page a beautiful
address which was the work of Mr Harry P. Gill, A.R.C.A., Director for Technical Art, indicative
of the feelings that members entertained for him. The remaining pages contained pictures supplied
by members, who each contributed his or her best picture. These varied in size, tone and quality,
but the same spirit and sentiment.’ At the next meeting he was unanimously appointed a life
member of the society.217
216
217
Australian Photographic Journal, June 1899.
70
The lectures he gave at society meetings included ‘Collodion Emulsion for Lantern Slides and
Transparencies’, ‘Plantinotype Work’, and ‘Instantaneous Photography’, and at the 1896 annual
conversazione he gave a demonstration of flashlight photography. In the directory for 1902 C.F.
Clough is listed as a civil engineer of Second Avenue, East Adelaide.
COCKBURN, John Alexander
Born at Corsbie, Scotland, on 23 August 1850, J.A. Cockburn studied medicine at King’s College
London. He came to South Australia in 1876 and settled at Jamestown where he practised his
profession, and was appointed first mayor of the township. He was elected member of the House
of Assembly in 1884, appointed Minister of Education in 1885, became premier for fourteen
months from June 1889, then went to London as Agent-General for South Australia in 1898. His
recreational interests were given as cycling, archaeology, bookbinding and photography.
In May 1894 the Observer reported:
[During] the recent visit paid by Ministers and others to the village settlements on the Murray …
the Hon. Dr Cockburn [took] photographic views which came under the notice of the party. These
views have now been developed, and … give a faithful and striking representation alike of points of
scenery and of villagers artistically grouped for photographic purposes. A very correct idea can be
formed from these pictures of the various descriptions of settlers, young and old, who have taken up
their quarters on the river, and of their natural and artificial surroundings. The only photograph …
which is representative of the achievements of civilised life is a view of the recently completed
bridge over the Darling at Wentworth … Dr Cockburn is to be congratulated on the success of his
efforts to obtain permanent pictorial souvenirs of a pleasant and instructive trip.218
Dr Cockburn was a member and patron of the South Australian Photographic Society from its
inception in 1885, and became its first life member in 1894. When he left for England in 1898 the
society reported that ‘by the departure from the colony of the Hon. Dr Cockburn (an esteemed
patron and life member) the society lost one of its best friends and well-wishers, and one by whose
kindness and hospitality the members had benefited in past years. Before leaving the colony an
illuminated address, expressing the congratulations and best wishes of the society, was presented
to him.’
For six years, 1892 to 1897, the society held regular annual excursions to Fairfield, Dr Cockburn’s
home near Mount Barker. Members travelled to Mount Barker by train and spent the day
photographing local towns and scenery. A report in the Australasian Photo-Review during 1897
said: ‘Since the institution of the picnic at Mount Barker many of the charming towns in the
vicinity have been visited, and glimpses of Mount Barker Springs, Ambleside, Balhannah,
Hahndorf, Mylor, Echunga, Littlehampton, and Blakiston, have been immortalised, while grazing
cattle, drinking horses, and ruined cottages have been carried away on countless negatives’. Lunch
was usually held under one of the old oak trees at Fairfield, or on the banks of the River
Onkaparinga. Dr Cockburn died in England on 26 November 1929.
COHEN, Hy
Several photographers named Cohen are listed in the directory for 1906 and from 1910 to 1915,
and while different initials are used they are all presumed to be the same person. The name Hy
(Henry?) Cohen is used from 1912 to 1916, and for this period he is described as picture framer as
well as photographer.
1906
Bunyip Buildings, Gawler Place
1910–11
Pulteney Street North, Adelaide
1912–14
266 Rundle Street, Adelaide
1915
96 Gawler Place, Adelaide
218
Observer, 26 May 1894.
71
COLE, Miss E.M.
Photographed the scholars of Freeling public school after ceremony on Arbor Day, 1 July 1892.
COLE, E.W. See BURNELL, George
COLE, Samuel
Listed in directories as photographer:
1889
James Street, Glanville
1890
Field Street, Adelaide
1891–98
116 Gouger Street, Adelaide
COLE & BURNELL See BURNELL, George
COLES, William Edward E. (COLES AND BURKHILL)
Although listed in directories as an accountant, Willam Coles practised photography at Naracoorte
for a number of years. In November 1871 the Register reported: ‘Nearly Poisoned. – At
Naracoorte Mr Coles, photographer, early one morning lately on returning home slept in his
studio, and by mistake for water took a glass containing cyanide of potassium, a deadly poison
used in his trade. He has since almost entirely recovered from the effects of his unpleasant
draught.’
In November 1873 the firm of Coles and Burkhill commenced business in Naracoorte. The new
partner for Coles was probably John Burkhill, chemist, who had recently moved to Naracoorte
from Mount Gambier, where he had been the dispenser at the hospital.
The partnership appears to have been short-lived, as two years later Coles was advertising alone,
his studio being the assembly room at W. Savage’s Naracoorte Hotel in Ormerod Street.
William Coles died at Naracoorte on 7 January 1878, when he was about 38 years old.219
COMBE, Ernest James
Ernest Combe was born in Adelaide on 23 May 1871, and married Frances May Cinoris on 30
March 1893. He was listed as a photographer in directories at the following addresses, which were
probably residential:
1895
Young Street, Parkside
1896
Young Street, Parkside, (initial is ‘W’, not ‘E.J.’, for this entry)
1898
Marion Street, New Parkside
1899
208 Halifax Street, Adelaide
1900–01
He worked as an operator and retoucher for Stump & Co., Adelaide, from about 1895 to 1898,
when he moved to Bond & Co.’s studio at 91 Rundle Street. In 1901 he left Adelaide for Sydney
where he found work with Swiss Studios, and by 1906 had become operator-in-charge. He retired
during the 1930s and died at Darlinghurst, New South Wales, on 6 March 1951.
Three references he took with him when he left Adelaide for Sydney have survived. They were all
dated May 1901 and one, on a Stump & Co. letterhead and presumably written by A.A. Stump
said, ‘The bearer Mr E. Combe was a pupil of mine. I always found him painstaking and attentive
to his duties, with marked ability. I consider him to be a first class operator and retoucher, with a
219
p.298.
72
good knowledge of the mechanical part of the profession. At one time he had charge of one of my
studios, for some three to four years, during which time he gave every satisfaction both to myself
and sitters.’
Another, from Bond & Co, said, ‘Mr E.J. Coomb has been in our employ as operator and retoucher
for about 2 1/2 years. During the whole of that time he has given us every satisfaction in both
departments of the business. We have always found him gentlemanly, trustworthy and industrious.
He leaves us of his own accord [and] we regret the loss of his services.’
The third reference, from Charles Bond of Bond & Co. was addressed to E.J. Combe himself: ‘Sir,
I cannot permit you to leave Adelaide without complimenting you on the efficient manner in
which you have fulfilled the position of operator at the above studios, having always been attentive
to duties, courteous to sitters and producing work of high standard and with every confidence can
recommend you to any firm requiring the services of a capable and painstaking operator, retoucher
and one having a good general knowledge of the profession.’
COMMON, John
In August 1867 John Common, shoemaker at Moonta, gave evidence in a dispute between James
Uren (q.v.) and a man named Haines over ownership of a portable darkroom for photography.220
He said, ‘I know something of photography … I have purchased an apparatus’. He also said that
James Uren had hired a photographic apparatus from him. It is not known whether John Common
produced any photographs with his wet-plate camera. The Biographical Index of South
Australians221 states that he was born in Scotland c.1847, arrived in South Australia in 1864, and
died at Moonta on 30 May 1894.
CONNOLLY, Miss Agnes
Listed as ‘photographic colorist and retoucher’ at 53 Royal Exchange Building, King William
Street, Adelaide, in directories from 1905 to 1909.
COOK, George
Listed as a photographer at Park Avenue, Goodwood Park (possibly residential) in directories from
1896 to 1900, then as a bill poster and agent.
COOKE, Ebenezer
A report of the South Australia Photographic Society’s conversazione held in September 1898
said, ‘The Audit Commissioner, Mr Ebenezer Cooke, evidently makes a specialty of colouring
photos, and his work, which was much admired, gave evidence of the delicate touch of a master’.
He had previously showed ‘three large painted photographs’ in 1893, and ‘coloured photographs’
in 1894 and 1895. In 1894 he delivered a two-part lecture, ‘The Influence of Photography on the
Progress of Art’, at the June and August meetings of the society.222
Ebenezer Cooke was born in London on 14 May 1832, arrived in South Australia in 1862, and
died in Adelaide on 7 May 1907.
COOKE, R.E.
Listed as ‘picture framer and photographer’ at Unley Road, North Parkside, in the directory for
1904.
220
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986.
222
Australian Photographic Journal, August and September 1894.
221
73
COOPER, Ernest Samuel
Chemist and amateur photographer at Magill Road, Norwood, who was born at North Adelaide in
1868. Biographical notes and a portrait can be found in The Cyclopedia of South Australia
(1909),223 which says, ‘Mr Cooper is an enthusiastic amateur photographer, and devotes
considerable time to this fascinating pastime’.
COPPIN, Elliott
Photographic artist at Townsend Duryea’s King William Street studio in March 1868, and
described as ‘photographic operator’ at the Adelaide Photographic Company’s studio in December
1870. He is listed as a photographer at Lockleys in directories from 1875 to 1880, then at
Mackinnon Parade, North Adelaide, for 1881 and 1882. Born 1843, died 1892.
CORNOCK, E.H. (CORNOCK & PEIRCE)
On 24 February 1862 the Register reported that Mr E.H. Cornock had taken a very good likeness
of the prisoner Seaver, which could be seen at the Gresham Hotel, and in August the same
newspaper said: ‘We have seen a very beautiful photograph of Government House and Domain,
which was taken from the Gresham Hotel by Mr E.H. Cornock, photographer. The house, the
garden, the guardhouse, the gate, the flagstaff, and the sentinels are shown with great distinctness,
and on the whole the picture is a most creditable production.’
Cornock advertised his partnership with E.C. Cardell (q.v.) in the Register in January 1863:
Photographic Gallery and Medical Dispensary, 201 Rundle Street, opposite Tavistock buildings – E.H.
Cornock, late of the Gresham Portrait Rooms, begs to inform his customers and the public that he has
taken the premises lately occupied by Mr William Reylin, which he has, in conjunction with Mr E.C.
Cardell, opened with a new stock of drugs and photographic chemicals, and they hope for a share of that
patronage so liberally bestowed on their predecessor.
Cornock & Cardell having purchased the whole of Mr Reylin’s negatives, are prepared to give proofs on
application, Cartes de visite etc. Views taken in all parts of the colony. Portraits in all the newest styles
from 2s. and upwards. Note the name and address – Cornock and Cardell, Druggists and Photographers,
201 Rundle Street, opposite Tavistock Buildings.224
Cornock also advertised in J.B. Austin’s Mines of South Australia, published in 1863, but without
Cardell, ‘The cheapest photographic establishment in Adelaide, 201 Rundle Street East. E.H.
Cornock, druggist and photographer, photographs on glass, paper or talc, from 2s. Every
description of photographic chemicals always on hand, warranted chemically pure.’
At some time in 1863 he must have been in partnership with A.B. Peirce as an advertisement in the
Adelaide Express for 12 December that year said, ‘To Photographers. To be let, premises in
Rundle Street, lately occupied by Cornock and Pierce [sic]’.
In December 1864 Cornock was present when an oxygen-making experiment in George Freeman’s
cellar in Hindley street went terribly wrong. The resulting explosion was described by the Register
in July 1866 as a warning to people experimenting with dangerous substances:
Three photographic artists, Messrs. Freeman, Cornock, and Stone, were engaged in making oxygen
on Mr Freeman’s premises in Hindley street [in 1864], when a loud report was heard, a cry of fire
was raised, the fire-bell was rung, the engines brought to the spot, and a general alarm was raised in
the city. On investigating the cause of the explosion, it was found that the gentlemen named had
placed upon the fire a retort filled with gas-making materials. The retort was scarcely heated, when
it exploded with a loud report. The room with its furnishings was almost entirely destroyed; Mr
223
224
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol. 2, (1909), p.144.
74
Freeman was seriously injured, and lost the sight of an eye; and Mr Cornock subsequently
experienced a long illness, brought on by inhaling the suffocating gases which the explosion
produced. The manganese in this case had been procured from a respectable chemist in Adelaide.
A week or two ago [June 1866] Mr Cornock, a little daunted, but not intimidated by his previous
experience, procured from the same chemist a second supply of manganese, with the usual
proportion of chlorate of potash. Having been duly assured of the purity of the materials he
commenced, in conjunction with Mr Dobbie [q.v.] of Gawler Place, a second gas-making
experiment. As in the previous case great care was taken in the adjustment of the apparatus, but the
fire had scarcely obtained access to the retort when the whole thing again violently exploded, nearly
destroying the premises, the operators having a narrow escape with their lives.
In the nineteenth century oxy-hydrogen limelights were used extensively for theatre spot-lights and
in magic lanterns. When an oxy-hydrogen flame was played on a block of lime, the lime gave off
an intense white light, which could be focused on hand-painted or photographically prepared slides
in a magic lantern, which were then projected on a white calico screen.
CORNOCK & CARDELL see CORNOCK E.H. and CARDELL, C.W.E.B.
COWARD, George
In his publication Australians Behind the Camera, Sandy Barrie lists a photographer, Coward, as
being at Bathurst, New South Wales, in late 1859. He may have been the same person as the
George Coward who advertised in the Kapunda Northern Star, in September 1860: ‘Mr George
Coward, photographic artist, from Sydney, begs to inform the residents of Kapunda and its
environs, that he intends to visit and make a short stay in their township, and will be happy to
receive their commands’.225 Coward was located at Jones’s Sir John Franklin Hotel until
November, then was reported as being in Gawler during 1861.
On 3 September 1864 an advertisement in the Bunyip said:
George Coward, practical photographic artist, Alma House, Murray Street, Gawler, returns his
sincere thanks to the inhabitants of Gawler, and neighbourhood, for the liberal support he has
received since commencing business, and begs to intimate that he has made additions to his
establishment which will enable him to take portraits in a style equal to any other establishment in
the colony. Cartes de visite ten shillings per half-dozen.
George Coward may also have been a shoemaker by trade, as a George Coward, shoemaker,
Murray Street, Gawler, is listed in the directories for 1864 and 1865.
G. Coward, photographer, is listed as Rundle Street, Adelaide, for 1867 and 1867, then at Palmer
Place, North Adelaide, for 1871 and 1872. The listing reverts to bootmaker by trade for 1875 to
1881. His occupation changes to ‘artist’ for 1882 and 1883, and in the directory for 1884 George
Coward is listed in the trade section under ‘Artist, not Photographer’.
COWDALL BROS
On 12 August 1887, when describing the festivities held in Gawler to celebrate Queen Victoria’s
Jubilee, the Bunyip said: ‘We are glad to know that although our decorations are now taken down
most of them will live in the admirable photos of them taken by Cowdall, of Cowdall Bros.,
Adelaide, of whom copies may be procured. Our local photographer, Mr Wear, was also busy with
his instrument.’
In Australians Behind the Camera Sandy Barrie has listed ‘Cowdell Brothers, The Oceana
Photographic Works, Leigh Street, Adelaide, S.A., – 1880s’, and ‘Cowdell Joseph T., Broken Hill,
NSW, 1889–1890’.
225
Northern Star, 4 September 1860.
75
COWELL CAMERA CLUB
This camera club was listed in the Australasian Photo-Review directory of photographic societies
from 1911 to 1916 with E.W. Sullivan, the local chemist, as secretary for 1911 and C.S. Skipworth
secretary from 1912 to 1916.
COWLING, Albert Bright
Chemist and amateur photographer who was born at Moonta in 1873. Biographical notes and a
portrait are given in The Cyclopedia of South Australia 226 which says, ‘Mr Cowling is interested in
photography, and spends many of his leisure hours in the pursuit of this fascinating pastime’.
CRAWFORD, Frazer Smith
Born in Scotland c.1829, Frazer Crawford was working as a photographer in Melbourne by 1859.
He was a council member of the Photographic Society of Victoria in 1860, then moved to Sydney
later that year.227 In 1861 he advertised that he was leaving for New South Wales, after which he
must have moved to Tasmania, as his obituary states that he came to South Australia ‘many years
ago from Tasmania’.228
By December 1863 the Adelaide Photographic Company had been formed with Crawford as
manager and some rooms in Neales’ Building (in King William Street, a few doors north of
Hindley street) were converted for use as a photographic studio. Crawford went to Melbourne
where he procured chemicals and apparatus, and the studio opened for business on 11 January
1863. Details of the Adelaide Photographic Company’s innovative and other work while Crawford
was manager will be found under ADELAIDE PHOTOGRAPHIC COMPANY, including
Diamond Cameo portraits and portraits by artificial light.
When Townsend Duryea purchased the right to make sennotypes from the ‘inventor’ of the
process, Charles Wilson, in January 1864, Crawford became involved in a war of words with
Wilson and Duryea. Crawford claimed the sennotype process was simply a revival of the older
ivorytype system of photography, which was hotly denied by both Wilson and Duryea. The drama
was played out in the advertising columns and letters to the editor of the local press. Crawford said
that Wilson’s attempt to obtain a patent for the process in Victoria had failed after being opposed
by a group of photographers, on the grounds it was really the ivorytype process. Crawford implied
he could make ivorytypes that were as good as Duryea’s sennotypes, and Wilson said he could not,
and in an advertisement in the Register Duryea said the only reason Crawford was complaining
was because he had missed out on obtaining the exclusive right to use the process in Adelaide.
Eleven months later the argument was revived. Thirteen of Duryea’s sennotypes were excluded
from the annual exhibition of the South Australian Society of Arts held in December 1864 on the
grounds that they were not photographs, which said the Chairman of the society was confirmed by
the fact that Duryea himself had been saying ‘a sennotype was not merely a photograph’. Duryea
complained of unfair treatment by the society, and Crawford responded with a long letter to the
editor of the Register in which he again insisted that ivorytype was the proper name for a
sennotype. Crawford also offered to donate £50 to the Society of Arts if the Photographic Society
of London judged Duryea’s sennotypes to be better than the photographs which were awarded the
prize at the exhibition.229
Frazer Crawford gave a lecture on photography in relation to the fine arts at a Society of Arts
226
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol. 2, (1909), p.145.
228
Observer, 1 November 1890.
229
South Australian Register, 18, 20 January, 22-24, 27, 28 December 1864.
227
76
meeting in January 1866. When discussing portraiture he said that ‘one of the boons of
photography to mankind was affording cheap portraiture’, and pointed out that ‘photography gave
a likeness, but the artist only a painting’. He also said that ‘photographs had been blamed for
having a degree of stiffness about them, but he thought that if visitors to the photographic studio
were to go in their ordinary wearing clothes, they would have much better portraits’.
In his lecture Crawford expressed some interesting views on noses and portraits of mechanics
(tradesmen). He said that:
there was scarcely ever an ordinary portrait or photograph with a straight nose, and that he had a
theory of his own upon that subject, and he recommended any matrons whom he might be
addressing, if they wished their young progeny to grow up with straight and handsome noses,
always to insist upon their sleeping from their infancy alternately on each side, which would
regulate the growth of that important feature with exactness in a straight line down the face; and he
could only account for the multitude of crooked noses by supposing that the owners of them had
always been accustomed to sleep on one side, instead of sleeping on each side alternately. He
exhibited several photographic pieces to illustrate his subject, and in concluding, the lecturer
considered that when mechanics went for their photographs to be taken, they would show better
taste, and would be sure to get a more truthful representation of themselves if they went in their
everyday working costume, instead of dressing in black to make themselves appear ‘gentlemen’,
which they could never be, and he could not see why a mechanic could not be represented in his
proper character as an honest hardy son of toil, rather than attempt to imitate a gentleman which he
could never do, although he might be something better – a worthy and honest man. When a
mechanic sat for his photograph, in almost all cases the effect was liable to be spoiled from the fact
that he never knew what to do with his hands.230
On 13 November 1866 Frazer Crawford wrote to the Commissioner of Crown Lands:
Understanding that the Government intend to introduce the practice of photolithography in the
survey office, and as my term of engagement as manager of the Adelaide Photographic Company
will shortly expire, I beg leave to offer my services for that purpose. I have hesitated for some time
in making this application on account of the lowness of the salary placed on the Estimates, but as I
greatly prefer the scientific branches of photography to professional portraiture I am willing to
undertake the duties for one year in the hopes that the government will find so much advantage
derived from its introduction, as to cause them to recommend a salary more commensurate with the
importance and requirements of the office. My character and qualifications are I trust sufficiently
known to make it needless for me to enclose testimonials, but should such be desired I will be
happy to forward them.
Crawford felt he had been unjustly treated when he learnt that the government had written to the
Surveyor General in Victoria for an opinion on the relative merits of himself and Herbert Deveril,
who appears to have been another applicant for the position. In a letter written to the Surveyor
General of South Australia on 26 November he said:
As I conclude that Mr Deveril might have been engaged temporarily in the [Victorian]
photolithographic department under Mr Noon, the latter gentleman might be expected to have a bias
in favour of an employee more especially as Mr Noon knows nothing of my researches in
photolithography. I enclose with this letter two testimonials from gentlemen both acquainted with
photography. One of them, Mr May of the College, is our best amateur photographer, and I shall
write to two of the leading photographers in Melbourne to request testimonials to that effect. But
after all I should consider that the proper method of arriving at the proof of my fitness would be by
your visiting this establishment and witnessing the whole process performed by myself.231
Frazer Crawford was appointed Government Photo-Lithographer and commenced duties on 1
January 1867.
In December 1870 he was one of the two judges in photography at the South Australian Society of
Arts annual exhibition, the other being Charles William May (q.v.). In 1887 Crawford was
chairman of jurors appointed to judge the photographs exhibited at the Adelaide Jubilee
230
231
Advertiser and South Australian Register, 20 January 1866.
PRO, SGO 1095/66. The Mr May referred to was Charles William May (q.v.), a master at St Peters College.
77
Exhibition.
Frazer Crawford was over 70 and still occupying the position of Government Photo-Lithographer
when he died suddenly from heart disease at his Norwood home on 29 October 1890. His
successor was his assistant, Alfred Vaughan (q.v.), and a Public Service Commission inquiry had
earlier recommended that Vaughan be made head of the department and other work found for the
ageing Mr Crawford.232
Fraser Crawford did not marry and his obituary said that he was recognised as an authority on fruit
and vegetable pests.
His name is well-known not only in this colony but throughout Australia as that of a highly
practical entomologist. On fruit and vegetable pests Mr Crawford was accepted as an authority, and
nothing pleased him better than microscopical analysis of parasite germs. As a member of the
Royal Society, he contributed many papers that led to the spread of much useful information, and
only lately he read a paper on red-rust before the Congress of Agricultural Bureaus. Several of his
interesting pamphlets on fruit diseases have been published.233
CREIGHTON, J.
CRISP See BARLOW William
CROSSLAND, Mrs Augusta
Listed as a photographer in Wakefield Street, Adelaide, in the directory for 1888.
CROWN PHOTO CO.
The Crown Photo Co. was listed for one year only, at 174A Rundle Street, in the directory for
1901.
CROWN STUDIO
An undated cabinet portrait (Noye collection) carries the printed inscription ‘Crown Studio,
Norman Street, Port Pirie’.
CROWN STUDIOS see BOND & CO.
CURTIS, Leonard S.
Listed as photographer at 20 Industrial Chambers, King William Street, Adelaide, in directories for
1907 and 1908, and as journalist from 1909.
232
233
Observer, 31 January 1891.
78
D
DABOVICH, Andrew
Listed as a photographer at Port Lincoln in directories from 1903 to 1918.
DACRE, E.J. see AMERICAN PHOTO NOVELTY CO.
DAILEY, S.J.
Samuel John Dailey was born in 1842. In 1861 he married Mary Ann Battley at Clarendon. From
about 1861 to the early 1870s he operated a photography studio in Clarendon in partnership with
Thomas Moorhouse Fox. Fox ceased photography some time after his marriage in 1869 to work in
the Clarendon general store with his father.234 However, Dailey maintained an interest in
photography. Dailey continued to work as a carpenter until 1882. In 1883 Dailey moved into
Adelaide, listing his residence in the directories at 151 Franklin Street. He gave his profession as
Town Hall porter. He then joined the new South Australian Photographic Society. In 1885 he
became its first president, holding the position until about 1890. He was elected a life member in
August 1899 235 and died in September that year aged 57. One of his sons, Samuel John Junior
(q.v.) became a professional photographer and two of his daughters, Flora Jane and Susannah
Edith, were both elected members of the South Australian Photographic Society in 1894.
Carolyn Lovitt
DAILEY, Samuel J. Junior
Samuel John Dailey was born June 1865, the oldest son of photographer S.J. Dailey. From 1900,
after the death of his father, Dailey operated a photography studio at 151 Franklin Street, Adelaide,
the home of his mother and former home of his father. In about 1902 a pamphlet of Adelaide
views was published, with photography by S.J. Dailey. This publication, A Photographic Souvenir
of Adelaide, Containing 44 Views of the Principal Streets, Buildings, &c,236 may have contained
images by both father and son. In 1904 he moved to 159 Franklin Street and remained listed in the
directories until 1906. His photographs regularly appeared in The Chronicle, an Adelaide weekly
newspaper during these years.
Carolyn Lovitt
DAILEY & FOX
S.J. Dailey and Thomas Moorhouse Fox were partners in a professional photography studio at
Clarendon from about 1861 to the early 1870s. During these years Dailey also worked as a
carpenter, and Fox as a shoemaker. In February 1862 Fox’s brother wrote a letter stating, ‘I learn
from your December letter that you are enlarging your photographic premises. I suppose business
must be increasing’.237 An ambrotype depicting S.J. Dailey & Thomas Moorhouse Fox in their
Clarendon studio (c.1862) is held in the collection of the Art Gallery of South Australia.
234
Ern Carmichael (ed.), Happy Was Our Valley: The Douglas Family History, Gillingham Printers, Adelaide, unpag.
Australian Photographic Journal, September 1899.
236
Dailey, S.J. (photographer), A Photographic Souvenir of Adelaide, Containing 44 Views of the Principal Streets, Buildings, &c,
published by Robert A. Thompson, c.1902.
237
Letter from William Fox, 24 February 1862, quoted in Ern Carmichael (ed.), Happy Was Our Valley: The Douglas Family History,
Gillingham Printers, Adelaide, unpag.
235
79
In February 1867 the South Australian Register reported a flood in Clarendon that ‘almost
submerged the photographic rooms of Messrs. Dailey and Fox, who, with much personal risk,
removed their cameras, &c.’238
Fox ceased photography some time after his marriage in 1869 to work in the Clarendon general
store with his father,239 although the partnership may have continued into the early 1870s. One
example of a carte de visite (Noye collection) bears an advertisement which states that Dailey &
Fox were patronised by Sir James Fergusson (Governor of South Australia) and Governor Du
Cane (of Tasmania). This carte must have been designed after 1869 as Du Cane was appointed
Governor of Tasmania from January 1869 until 1874, and Sir James Fergusson was Governor of
South Australia from February 1869 until 1873.
Carolyn Lovitt
DALWOOD, Thomas C.
Listed as an ‘artist’ at Alfred Street, Parkside, in the directory for 1902, then as photographer:
1903
Freeman Street, Adelaide
1905
Salop Street, North Kensington
DANA STUDIO See KOOK, Peter C.
DAVEY, William Jenkin
Born in South Australia in 1864, W. J. Davey was proprietor of the Burra Record newspaper by
1892. By 1897 he had combined photography with printing, calling his photographic business the
Record Studio. Being proprietor of a newspaper, Davey did not have to consider the cost of
advertising, and his advertisements were much larger and more wordy than the average country
photographer could afford.
In May 1897 he advertised, ‘For your picture go to WJ Davey. He will produce a true and faithful
likeness in any position, and in any size, all of which are beautifully and artistically finished in
such a style as to satisfy the most fastidious. Wedding Groups, Picnic Parties, Clubs, Farm and
other houses (exterior or interior) and stock of all kinds photographed by arrangement. Distance no
object.’ Three months later he thanked his patrons for supporting his business which, he said, had
grown much larger than expected and, due to the ‘overwhelming demand’ for photographs, his
operating room was kept busy both night and day. By the end of June Davey was providing a
developing and printing service, developing glass plates and making, toning and mounting prints
for his customers.
His enamelled cabinet photographs cost 10s 6d per dozen, including one mounted on a 9 x 10 inch
plate sunk fancy card. He also made and sold stereoscopic views and the stereoscopes required to
view them. ‘Stereoscopic views’, he said, ‘are something never before seen in the town. Every
building stands out in bold relief and presents a most enchanting picture. Scores of these have been
sold and are still selling.’
In January 1898 the printing machinery was moved into a new building in Market Square. ‘We are
moving about eight yards from the “dear old spot”, so that it will not be hard for old and new
customers to find us.’ Four months later Davey opened a new studio. ‘W.J. Davey has much
pleasure in informing the public generally that owing to support beyond the most sanguine
expectations … he has erected a studio of modern design and procured the latest appliances for
executing all kinds of Photography … The Studio has been erected at the rear of the Record office
where patrons will be courteously received, well attended to, and the best possible Cabinet Picture
238
239
South Australian Register, 17 October, 1867.
80
taken from 7s per dozen; Larger size, 10s 6d. per dozen. Opening Day, Wednesday next, May 18.
In all cases satisfaction guaranteed, and all sittings free.’ By the end of the year he was making
enlargements for 15s.
In June 1899 Davey advertised his own style of remembrance card.
A New and Novel Idea.
After long and patient study combined with experiments, the proprietor of the Burra Record Studio has
much pleasure in informing the public generally not only in the Burra District, but throughout the
colony of South Australia, that he has now successfully accomplished a new and highly artistic design
in Remembrance Cards, which includes a beautiful photographic picture of the departed on top of a
black and gold-edged cabinet card, under which is printed the name of the deceased, the date of death,
and suitable verse, of which we produce over 100 to select from.
We are the only firm in South Australia where the letterpress and photographic departments are
combined, and the innovation is entirely new, and will, we are sure, place the ordinary memoriam cards
beyond recognition. The introduction of these cards have caused a furore, and already we have more
orders than we can attend to expeditiously.
We are executing orders from Adelaide and Broken Hill, and intermediate towns for these beautiful and
appropriate cards. The friends of the departed of many years ago are now waking up to the fact that the
opportunity is one that must not be missed, and are ordering accordingly. Inspection cordially invited.
DAVIES, L.A.
Listed as a chemist in the Main Street, Clare, in directories from 1900 to 1914+. Circular labels
pasted on the back of his photographs give his occupation as ‘chemist and stationer’. His half-plate
photographs of snow scenes at Clare were made in either 1901 or 1905, heavy falls being
experienced in both years. L.A. Davies was awarded both first and second prizes for collections of
photographs he exhibited at the Stanley A. & H. Society shows held at Clare in 1907 and 1910.
DAVIS, George E.
A cabinet photograph (Noye collection) of a tall stone chimney being constructed, probably for the
Marrabel flour mill, shows that George Davis was an amateur photographer with above average
technical and artistic ability. His imprint, ‘G.E. Davis, photographer, Marrabel’, was printed in
gold on the lower front of his mounts. George Davis was listed as a draper, grocer and general
storekeeper at Marrabel in the directories from 1896 to 1914+. He also had a branch of his
Enterprise Stores at nearby Hamilton.
DAVIS, Henry
After working as ‘principal assistant to Messrs Batchelder and O’Neill, Melbourne’, for several
years, Henry Davis came to Adelaide and was working for the Adelaide Photographic Company
(q.v.) under F.S. Crawford (q.v.), manager, by September 1865.240 He may have been the H. Davis
who advertised nine cartes de visite for half a guinea at a London address in July 1862.241
When Crawford left the company to become Government Photo-Lithographer in January 1867,
Henry Davis became the new manager. By December 1870 Henry Davis and George Scrymgour
Junior had become joint owners of the company, but their partnership was dissolved by mutual
consent on 8 February 1873, leaving Davis as the sole proprietor.242
After a prolonged period of ill health Henry Davis died at his Norwood home on 6 February 1878,
240
Jewish Chronicle (London), 11 July 1862.
242
South Australian Register, 26 December 1870, 26 February 1873; South Australian Government Gazette, 20 February 1873.
241
81
at the age of 46.243 After his death the company was managed by his widow, Mary Jane Davis
(q.v.), until the studio was destroyed by fire on 12 February 1879.
DAVIS, Mary Jane
As widow of the late Henry Davis (q.v.), proprietor of the Adelaide Photographic Company (q.v.),
Mrs Davis continued as manager of the company from the time of his death in February 1878 until
the studio was destroyed by fire in February 1879. From evidence given at the inquest held after
the fire, it was obvious that Mrs Davis had little or no knowledge of the photographic side of the
business, and that her role was to take care of the company’s finances.244
DAVISON, George Henry
Was related by marriage to photographer brothers Arthur and William A. Francis (q.v.), and was
no doubt the G.H. Davison who managed Mendelssohn & Co. from 1890 to 1891. Family records
say that he was never married and at one time worked for Stump & Co. in Rundle Street.
DEARDON, Mr
An item in the Port Pirie Advocate for 23 July 1886 said: ‘A beautiful specimen of the
photographic art is now on view at Mr Dungey’s, the work of Mr Duryea [junior], of Adelaide,
whose representative has pitched his tent in Port Pirie for a short season. It is a specimen of the
opal-type style of photography in which the high lights, half and full shade and relief are
stereoscopically developed, resulting in true and perfect representation. Mr Deardon, from
Ballarat, is in charge of the studio, and his samples of work undoubtedly keep up the prestige
attaching to Mr Duryea’s establishment.’
DELAND, Mr
The following item appeared in the Kapunda Herald for 14 February 1896:
On Tuesday morning Mr J. Provis brought from Gawler some excellent photographs of mines and
miners and others at Hannan’s and other West Australian Goldfields. One view is of the Great
Boulder Mine, which has come into prominence during the last week or so in consequence of the
claim having been jumped. Two of the photographs have some unconscious humour about them.
One is of two diggers ‘dryblowing’, a method of recovering gold where water is scarce, and the
other of a number of speculators and others at a bush banquet, where empty champagne bottles are
in prominence. A joker has called this ‘wet-blowing’ – a method of extracting gold from the
innocent public. The photographs were taken by Mr Deland, of Gawler, an amateur, who has
recently returned from the West. The photos have been on view in Mr T. Green’s window.
The identity of Mr Deland is not clear. Edward Campbell Deland of Gawler had gone to the
goldfields in Western Australia in June 1895 and was still there when the item appeared in the
Kapunda Herald; his younger brother Charles Combe Deland was about to leave Gawler to join
him on the goldfields. And in letters home to their parents in Gawler the brothers refer to having
their photographs taken by others but make no reference to having or using their own camera.245
DeSOUZA, Albert
Albert DeSouza was born at Portland Estate, near Port Adelaide, on 12 October 1875, and was the
son of mariner Antonio DeSouza. He was listed as a photographer in the following directories:
1900
Charles Place, Alberton
1901–02
Torrens Road, Alberton
243
This conclusion has been drawn after reading the letters of E.C. and C.C. Deland published in A Lost Glitter, Ed. Michael R. Best,
Wakefield Press, 1986. However, it is acknowledged that not all of their letters may have been included in this book.
244
245
82
1903–06
1907–11
1914+
George Street, Alberton
Charles Place, Alberton
Coburg Road, Alberton
Charles Place no longer exists. It was a short section of Grand Junction Road just west of the old
road bridge over the railway line near Port Road, and was closed when the present road bridge was
built a little north of the old one.
Albert DeSouza died on 10 October 1945 and was buried in the Cheltenham cemetery.
DE VATTE see SULLIVAN AND DE VATTE
DICKENSON, Mrs
In May 1891 the Elder Scientific Exploring Expedition led by David Lindsay set out from
Warrina, a station on the Marree-to-Alice-Springs railway line. A township was surveyed there in
1890 but never proclaimed.
In Lindsay’s report of the expedition, published as South Australian Parliamentary Paper no. 45 246
(House of Assembly), 1893, Lindsay wrote, ‘May 2nd. Left Warrina at 1.45 pm, after being
photographed by Mrs Dickenson …’ On 29th April ‘Dr Dickenson of Warrina’ had treated one of
Lindsay’s party, and it is presumed Mrs Dickenson, the photographer, was his wife.
DIEDERICH, Richard Rudolph Edmund
Edmund Diederich was born in Berlin on 5 February 1854. As a young man he learnt lithography,
a profession followed by his father, but as prospects were dull he turned to photography. He had a
studio at 97 Neuer Steinweg in the city of Hamburg.
At the age of 27 Diederich emigrated to South Australia, arriving on the Catania on 26 July 1881.
Soon after his arrival he must have been employed at W.H. Hammer’s studio at 172 Rundle Street,
Adelaide, as a memo from Hammer to Diederich on the studio letterhead, dated 14 August 1882,
said, ‘When you left me to work for yourself some months since, we talked it over about your
coming back again. I will give you £3 per week and a steady place. If you will come let me know
at once or I must advertise as I am in want of a retoucher.’
For a time Diederich worked for C.W. Haehnel & Co. (q.v.) where, his daughter said, her father
was the ‘Co.’. Diederich then branched out on his own again, advertising as ‘R.E. Diederich,
Australian Photographer’. He had a studio on wheels built, a box mounted on a four-wheel trolley,
with a telescopic section that could be retracted for travelling but drawn out to give more length
when the studio was in use. Sash windows in the side walls gave light and ventilation.
About 1890 Diederich dismantled the mobile studio and turned it into a portable unit by cutting the
walls into sections and adding a pitched iron roof with a glass skylight. From about 1892, when his
daughter was two years old, to about 1894, Diederich toured the mid-northern towns, and is known
to have called at Port Wakefield, Balaklava, Snowtown, Redhill, Port Germein, Wirrabara, Appila,
Booleroo Centre, Georgetown, Melrose and Yongala.
The studio was taken from town to town on a hired wagon, assembled and erected on a vacant
block and secured with stakes and fencing wire. Diederich distributed handbills which said that ‘E.
Diederich, artist and photographer, had erected his studio in the town and promised he would
‘execute only good portraits’. When business fell off, he put out his ‘Last Week’ sign, dismantled
the studio, and with wife and daughter moved on to the next location, where they rented a small
246
South Australia, House of Assembly, 1893, Parliamentary paper, no. 45.
83
cottage or stayed at a lodging house or hotel.
About 1895 Diederich completed his tour and settled on a twenty-acre section near Hahndorf
where he erected a small two-room slab cottage. From here he combined photography and life as a
small farmer, photographing people and places in the neighbouring districts. Edmund Diederich
died on 24 April 1923, and in 1966 some of his half-plate glass negatives (Noye collection) were
recovered from above the ceiling of his old cottage at Hahndorf.
DIMOND BROS
Although Dimond Bros are listed as ‘photographers’ in the trade section of every directory from
1892 to 1914+, it is not certain that they actually operated a photographic studio for the full period.
Entries in the street and alphabetical sections gave their occupation as ‘picture framers’ and ‘photo
enlargers’, even when they moved to 146 Rundle Street, premises previously used as a studio by
photographer Walter Scott-Barry. It was not until ‘Dimond Bros photo. studio’ (listed from 1909)
opened at 150 Rundle Street that there was a definite connection with portrait photography.
Their large entry in the 1905 Post Office directory said they were ‘portrait painters, photo.
enlargers on porcelain, etc., and picture framers’, with branches in Adelaide, Melbourne, Perth and
Brisbane. Directory entries:
1892–94
56, 58 Pirie Street, Adelaide
1895–97
1898–05
1906–14+
Arcade, Rundle Street, Adelaide
1909–14+
DITTRICH, Hermann
In 1885 explorer David Lindsay made plans for a journey across Australia from Adelaide to the
Gulf of Carpentaria. The expedition was fitted out at Lindsay’s expense, with the South Australian
branch of the Royal Geographical Society and the government bearing the estimated expense of
taking a botanical collector.
Lindsay chose Hermann Dittrich for the position of botanical collector. He had been a lieutenant in
the German army and was a resident of Melbourne, and had been highly recommended by the
internationally famous botanist Baron von Mueller and the Austrian Consul in Victoria. Dittrich’s
career had been full of adventure. He had fought in the Franco-Prussian war, and his love of
foreign countries and foreign customs had taken him to Turkey, Syria, Egypt, the Soudan and
Abyssinia. It was believed his previous experience of desert travelling would be of value to the
expedition.
Lindsay’s objective was to trace the course of the Finke River, explore some of the country around
Lake Eyre, search for traces of the lost explorer Ludwig Leichardt, and survey the boundaries of
some cattle stations in the Barkly Tablelands, where there was a dispute over the ownership of
important watering places.
Towards the end of October 1885 the party left Adelaide by train for Hergott Springs, and on
Monday 2 November Dittrich photographed the caravan of six men and twelve camels before it
left for the interior. The following day they passed the last railway construction camp, which was
two miles from the southern end of Lake Eyre. On 11 November Dittrich photographed the Peake
telegraph and cattle station and ‘three other interesting spots’, and on 16 November they decided to
camp at Gilbert & Co.’s station where they could have a rest day and photograph the natives and
the waterholes. Lindsay’s entry in his journal for 25 November (Mitchell Library) said, ‘Dick,
Bagot, Dittrich and I went duck shooting. Photographed the Hot Spring’.
84
Christmas was spent at Dalhousie Station, and in one of a series of articles published in the
Observer Lindsay wrote:
Christmas at Dalhousie is an institution in the North-West. Every year the whites come from
adjoining stations and the natives come from east, north, and south to take part in the festivities;
even from the unexplored country to the north-east the unclad savage finds his way in yearly
increasing numbers to the feast, and all find a welcome from the genial gentlemen on the station …
Before breakfast on Christmas Day the Macumba natives came in. After breakfast all the men
having spears and other weapons in their hands were dancing and marching about, led on by an old
hand dressed in a page coat – and nothing more. All the others were naked. We obtained some
photographs of them.
On 15 February they camped at Crown Point Station and ‘photographed the hill called Crown
Point, with the gorge of the Finke’. On 24 February, said Lindsay, their Afghan camel driver,
Joorak, ‘had a slight sunstroke and was very ill. We applied the usual remedies, and he was able to
travel that night on a pack-camel. Poor fellow! he thought he was going to die, and he gave us
directions how to bury him. Lieutenant Dittrich was also very faint and weak; I had to administer
some brandy to him. He finds exploring in Australia very different from travelling as a passenger
with a camel caravan through the Soudan, with plenty of refreshments and a servant to wait upon
him.’
On March 22nd they were near the Marshall creek where, Lindsay said, ‘the natives promised to
bring me a wei or small boy in exchange for our dog Toby … Some photographs of natives were
taken here.’
After 4,000 miles of travelling over mostly waterless country, which could never have been
crossed without camels, the party reached Boroloola in the Gulf of Carpentaria. From here they
sailed to Port Darwin in the schooner Ellerton, arriving there on 2 November 1886, from where
Lindsay, Dittrrich and two others returned to South Australia via Sydney. They arrived back in
Adelaide exactly thirteen months and one day after their departure.
Dittrich’s glass negatives were developed in Adelaide, and the results were a severe
disappointment for Lindsay. Before he left on the expedition he had sent a letter to Baron von
Mueller in which he had said, ‘we are taking a photographic camera and intend photographing the
natives all through Australia’. Now, in a letter to von Mueller dated 17 December 1886, he had to
pass on the bad news. A press-copy of the letter survives in Lindsay’s water-damaged letter book
held in the Mitchell Library. In it he says, ‘Your refer to Lieut. Dittrich’s extensive collection of
photographs and his diaries. Let me inform you that all the photographs save one or two are
complete failures the plates being mere [smudges?] and that no one here gains any benefit from his
diaries as he has not given them to anyone … He also stated (I believe to the Hon. the Minister of
Education) that I had had copies made of the photographs and sold them – of course that was a
deliberate falsehood as I have had nothing to do with them, besides as I mentioned before they are
all worthless.’
Lindsay also mentioned his disappointment with Dittrich in a paper he read before the Royal
Geographical Society in Adelaide on 29 June 1887, in which he described his experiences on the
expedition:
Some public interest was attached to my work, as the South Australian branch of the Royal
Geographical Society and the Government had decided to bear the estimated expenses consequent
upon my having offered to take a botanical collector … Sir Thos. Elder, in that generous spirit
towards explorers which always characterizes him, came forward with the offer of two camels for
the use of the collector; thus, I was enabled to accept the services of a gentleman, Lieutenant
Dittrich, who had volunteered to accompany me. His attachment to the party proved to be a serious
mistake, because he had no knowledge of the duties he had undertaken, and lacked that enthusiasm
which is so necessary for the successful pursuit of any scientific object. His collection of plants was
poor and badly preserved, and the photographs of natives and interesting natural scenery which he
had taken right across Australia proved, on being developed in Adelaide, to be quite worthless, the
majority of the plates being blanks.
85
The failure to produce satisfactory photographic negatives on the expedition was not necessarily
all Dittrich’s fault, as he was using the new dry-plate process which had only been in use in
Australia for a few years. The new plates were much more sensitive to light than the old wet-plates
that photographers had been using, and this, coupled with the intensely bright sunlight experienced
in central Australia, could have led to severe over-exposure, resulting in a dense, unusable
negative. Also, the keeping quality of the new dry-plates varied, and Dittrich’s plates, if
manufactured overseas, could have been many months old when he received them. They had also
been carried on an expedition for thirteen months in temperatures which, Lindsay said, had
sometimes reached 110 to 125 degrees in the shade. In the early 1880s George Eastman (of Kodak
fame) and some other manufacturers encountered difficulties with their plates. Little was known
about their keeping qualities, sensitivity varied between batches, and at one stage Eastman’s plates
suffered such a serious loss of sensitivity his factory had to be shut down and large stocks of
defective plates recalled.
DOBBIE, Alexander Williamson
Born in Glasgow, Scotland, on 12 November 1843 A.W. Dobbie migrated to South Australia 1851
on the Slains Castle in 1851. In 1864 he was married to Esther Catherine Elizabeth Wallace, and
outlived at least six of their eight known children.
He established a brass foundry in Gawler place where, in 1866, there was a violent explosion while
he and a photographer, E.H. Cornock (q.v.), were experimenting with the manufacture of oxygen,
a gas commonly used with hydrogen as an illuminant for the magic lantern. His business grew and
in 1872 he erected a new shop and brass-founding factory on the Gawler Place site.
Dobbie was a keen amateur optician and astronomer and, after devoting ‘many hours to diligent
reading and work’, in 1874 he completed a large Newtonian telescope. He made several
telescopes, ‘grinding the lenses, casting the necessary brass fittings, and silvering the mirrors
himself’. In 1904 he completed ‘by far the largest telescope in South Australia’ after spending ten
years of leisure time on the project.247
In 1876 he travelled to Europe and America, spending some time at the Philadelphia exhibition,
the object of the trip being to inspect some of the larger factories, ‘enlarge his ideas,’ and find
labour-saving machinery which suited ‘colonial requirements’. An account of his trip was
published in the Methodist Journal then in book form in 1877 under the title of Rough Notes of a
Traveller.248
In the late 1870s A.W. Dobbie made experimental telephones, phonographs and other devices
working only from instructions he found in publications such as Scientific American. He gave
lectures and demonstrations of the instruments at gatherings such as the Young Men’s Society at
the Norwood Baptist Church and North Adelaide Congregational Church. He also gave
‘instructive and amusing’ lectures on Mesmerism and Clairvoyance.249
After a trip to Europe in 1891 Dobbie wrote another book on his travels using the same title of
Rough Notes of a Traveller. One review of the book said more about the author than about the
book:
In all South Australia I know not of any more exemplary citizen or versatile man than this same Mr
Dobbie. As a mere stripling he established a large and lucrative business, in some of whose best
departments he instructed himself by the aid of books into which most young men would hardly
have troubled to look. What little leisure he has allowed himself he has devoted to many diverse
recreative pursuits. He is an accomplished botanist and floriculturist, a clever scientific
247
South Australian Register, 21 September 1874; Observer, 26 February 1876, 30 April 1904; Observer, 25 February 1888
249
South Australian Register, 27 August 1879; Observer, 11 October 1879; Bunyip, 6 November 1885.
248
86
mechanician, and the maker of the largest privately-constructed telescope in Australia; he is an
exceedingly powerful magnetist or hypnotist, whose performances have formed subject for
comment in many of the English magazines, and notably in the copy of the Review of Reviews
which came by the English mail before last; he is an eloquent speaker, an indefatigable religious
worker and member of important secular societies, and his literary style is so very racy that – as is
the case in this latest book of his – he beguiles you on to read chapter after chapter until your
bedroom candle, like the night itself, is almost spent. Every page of the five hundred which are
enveloped between attractive covers contains proof of the remarkable energy and activeness of
observation with which Mr Dobbie has been blest, and of his gifts as an interesting narrator. In a
strange place he would see more in twenty-four hours than an average man would see in a week. He
is as active as a pea in a hot frying pan; and (consistent action in a seller of time-saving machines)
he studiously tries to avoid losing a single minute. If he should have to walk half a mile in the
streets, or wait for a tramcar, he occupies every second of the time by reading a book. Yet he sees
everybody whom he passes, will look up in the middle of a sentence about electro-biology to say
courteously ‘G’d-day,’ will smile cheerfully, and rush along as though he were under contract to do
his journey in a certain time.250
In December 1891 he gave a talk on his trip to Europe in the Hill Street church at Kapunda. Mr
R.B. Adamson projected slides of Switzerland and other places he had visited on his trip using the
South Australian Sunday School Union’s ‘powerful oxy-hydrogen limelight dissolving view
apparatus’. It is possible that by this time he had become a member of the South Australian
Photographic Society, which made him a committee member in 1893 and 1894, vice-president in
1895, president in 1896 and 1897, and committee member again in 1901.
On 21 February 1893 the Kapunda Herald published an item under the heading, ‘Which Story is
Correct?’ The Herald copied reports from the Register and the Advertiser, both of which had
described a photograph Mr A.W. Dobbie had taken in the Botanic Gardens. The Register said:
We have been shown by Mr A. Adamson, jnr, a photograph taken by Mr A.W. Dobbie, of little
Miss ‘Dot’ Adamson, seated on one of the floating leaves of the Victoria Regia plant in the Botanic
Gardens. The picture is not only artistic in effect, but singular in association, for few people would
have believed that the tray-like leaf of even so large a water-plant as the Victoria Regia could have
supported the weight of a child of nine years, and the little one must have had some courage to have
ventured to pose even as a fairy in such a precarious position. There are, we believe, cases on
record of the weight of a man being supported on a waterlily in South America, and some years ago
a sketch was made of a child standing on one in the London Gardens.
However, the report in the Advertiser suggested that in this photograph the camera may not have
been telling the truth:
Mr A.W. Dobbie has taken an excellent photograph of the Victoria Regina pond at the Botanic
Gardens. The attractiveness of the picture is heightened by the presence of a little girl sitting on one
of the leaves. This is not the first time that a child has been photographed while apparently seated
on a leaf of the big waterlily, but on the previous occasion the effect was marred by the fact that the
board which really supported the weight was placed in view of the camera. In the present instance,
however, it is out of sight underneath the leaf, and to all appearance the little one is held up by the
plant itself.
Towards the end of 1893 Dobbie spent three months touring India, returning to Adelaide on the
mail steamer Himalaya in January 1894. ‘Like most travellers,’ a report said, ‘he was impressed
with the magnitude of the country, the richness of its buildings, and the character of the people. He
is a keen observer, and there was nothing of interest which escaped his notice. Mr Dobbie, who is
an enthusiastic amateur photographer, has brought back with him a collection of pictures
illustrative of India and the customs of her people.’251
Using a set of lantern slides made from photographs taken on his trip, Dobbie presented an
250
251
87
illustrated lecture at the December 1894 monthly meeting of the South Australian Photographic
Society. The society’s report in the Australian Photographic Journal said: ‘A country like India
with its great wealth, its swarms of people, the oriental magnificence of its architecture and the
varied nature of its scenery offers a special field for the photographer, and that Mr Dobbie was
particularly successful in securing typical views of many phases of Indian life and scenery was
evidenced by the number of beautiful lantern slides with which he illustrated his remarks.’ The
views included street scenes of Calcutta showing ‘thoroughfares crowded with dilapidated shops
with mosques in the background’ which gave ‘a good view of the native quarter of the town’ while
‘internal and external views of a bungalow or villa residence showed the style of house favoured
by European, Parsees and the richer Hindoos’. Thousands of trees festooned with creepers,
beautiful shrubs and grasses, flowers, tree ferns, ‘stupendous mountains’ covered with luxuriant
growth, and ‘representations of the curious customs and habits of the natives, all were shown on
the canvas screen by means of an oxygen-hydrogen limelight. Those which attracted special
interest were the Nautch dancing girls, the Fakeers or religious beggars, the procession of the Jani
gods, and jugglers performing the basket trick.
In November 1895 he gave a lecture on ‘The Stereoscope and Stereoscopic Photography’, which
included several methods of producing what he considered to be the most perfect reproduction of
nature that was obtainable – the stereo transparency – and twelve months later members were able
to view his stereoscopic transparencies of the Jenolan Caves. In December 1896 he exhibited
transparencies of lightning flashes.
At the South Australian Photographic Society’s 1896 conversazione Dobbie gave a demonstration
of Röntgen ray (X-ray) photography, which was only a few months after the first photographs of
this nature had been taken in Adelaide. They included photographs of a little girl’s hand and keys
and watch chains handed up by the audience. After being developed, the photographs were
projected on a screen by means of a magic lantern, and the results were described as ‘fairly
successful’. This was followed by another demonstration at the harvest thanksgiving celebrations
of the Kapunda Wesleyan Church in March 1897.
A cabinet photograph of Master Leslie Newman’s hand, a pocket knife, a watch chain, and a couple
of coins were taken by means of the rays. This took about twenty minutes, a little additional
exposure having been given on account of the battery not working quite so well as it should. The
negative was then taken to Mr S.E. Nixon, who developed it, so that it could be seen by the
audience. Mr Dobbie intended cutting [the] plate up for the purpose of showing the portraits
through a lantern, but the photograph was so successful that he thought it would be a pity to carry
out his intention. He, however, passed it around, and it was examined with a light at its back. Mr
Dobbie promised to take the plate to Adelaide and have some lantern slides made from it, the
exhibition of which in Kapunda will be arranged for.252
Dobbie exhibited prints, lantern slides and stereoscopic photographs at society meetings during the
late 1890s, and gave lectures and demonstrations on a wide variety of subjects: ‘Trimming and
Mounting Prints’; ‘Lantern Stereoscopy’; ‘Photography in Colours’; and ‘Photography Without
Light’. His illustrated address and practical demonstration of ‘Stereoscopic Photography’ at the
society’s meeting in September 1901 was exceptionally well organised:
In Mr Dobbie’s hands the operations appeared exceedingly simple, and from the number of
members who questioned him at the close of his remarks and inspected his apparatus it would
appear that many of them intend to take up the subject. If any one thing were required to quite
convert the doubtful ones, that was abundantly supplied by the magnificent sets of stereoscopic
transparencies supplied in hundreds by Mr Dobbie, together with dozens of stereoscopes and the
necessary small tables and lamps. Members were seated at these lamps until a late hour, travelling
all over the world by stereoscope.253
Dobbie was seriously ill with fever when he returned from a holiday in New Guinea in October
252
253
88
1899 and, although still an invalid, some weeks later managed to find the strength to develop and
print the photographs he had taken on the voyage. His legendary energy and multitude of hobbies
often caught the attention of the press, and in 1901 the Bunyip reported:
What a busy hobby man is Mr A.W. Dobbie. His hobbies, too, are intensely useful and practical. He
has built up a really lucrative business and factory on a study of The Scientific American, for he had
no opportunity to graduate in ologies; his education was of the take-it-when-and-where-you-canget-it order. He made the first telescope constructed in the colony from a description he read in a
newspaper; it was a little affair. He has now one of the largest distance-shorteners in Australia, but
is not satisfied. In his leisure – oh mark the word relative to an Edison-like activity! – he is making
a mammoth telescope, grinding the lens himself – such tedious, delicate, exasperating work. An
artist may spend years upon it and find it blemished at the end of his toil. In photography, in
mesmerism, and in a score of isms Mr Dobbie is a master mind. Yet he is absent minded. Once he
tied his pair of ponies – so the story runs – to a post outside the G.P.O. and having transacted his
business inside walked to his shop in Gawler Place. Subsequently he went outside the shop to step
into the trap and it was not there; so he rang up the police and informed them of the robbery. They
replied that if he called at the police station he could have the ponies and trap, as they had been
removed from outside the G.P.O. in the absence of the owner unknown.
Alexander Williamson Dobbie’s legendary life came to an end at College Park on 18 July 1912.
DOBSON, James R.
By the end of 1875 James R. Dobson & Co. had opened a new photographic studio over
Witowski’s music store at 44 Rundle Street. The premises were described by the Register on 1
January 1876.
There are eleven rooms, comprising receiving, dressing, and retiring apartments for ladies and
gentlemen, with a saloon and work and other necessary rooms. The entrance is up a light and
spacious staircase, tastefully hung with a choice selection of oil paintings, oleographs, and other
pictures and works of art, while at the base and on the staircase itself are placed a number of pines
and ornamental shrubs, also plants in pots. The whole of the rooms are well furnished, and in all the
appointments comfort and taste have been effectively studied. The principal saloon is 40 by 19, and
16 feet high, and is fitted up in a style novel here, somewhat like a conservatory, there being, apart
from an elegant suite of furniture and various accessories, foliage plants and plants in bloom and in
pot, singing birds, and works of art, the whole giving a pleasing and attractive appearance to the
place. One end of the apartment is divided off by an ornamental arch decorated in rustic fashion,
and having a pretty effect. Behind the arch is the sitter’s recess, which is richly upholstered.
Effective arrangements are made for the management of light and shade, and the most modem
appliances are introduced. The proprietors have shown considerable enterprise in their undertaking.
Mr I.C.M. Stone, who has come from England, has the superintendence of the studio, and
specimens of his work prove him to be a successful artist. In the arrangements of the establishment
Sarony’s well-known studio at Scarborough has been taken as a model.
By July 1876 Dobson & Co. had applied Captain Sweet’s method of waxing photographs to their
portraits. The Advertiser said, ‘The effect is very good indeed, quite equal to that of varnish on an
oil painting, and at the same time it helps to preserve the pictures. We have seen some beautiful
photographs prepared in this way, one especially good, of the late Mr. C. Balk. Messrs Dobson &
Co. have made an arrangement with Captain Sweet for the exclusive right to use this process.’
Dobson and Co. called their new style of photographs ‘Enamelled Portraiture’.
In July 1877 the Temple of Light was making enlarged portraits which could be finished in oil,
watercolor or mezzotint. Cartes de visite cost from 10s 6d per dozen, and they were now sole
agents for Captain Sweet’s views of Adelaide. By January 1879 the Temple of Light had opened a
second operating gallery to ‘obviate the usual loss of time and detention at photographic studios’.
The introduction of ‘instantaneous photography’ at Dobson’s Temple of Light was reported in the
Register on 9 November 1880.
We were shown some sixty portraits of adults and children, and all of them were remarkable for the
minuteness of detail as well as naturalness of expression, rendering them very fruitful portraits. For
89
photographing children this instantaneous process must be an invaluable aid, as the fleeting
expression of the restless child’s face can be taken in a second; and for adults it is very much more
comfortable to sit for only a moment to have a portrait taken, without the inconvenience of having
the head pilloried in an iron rest. In the photography produced by the instantaneous process, the
natural expression of the eyes, the texture of the garments, and the softness of the lights and shades
were particularly noticeable. The only fault some people could find with the process would be that
it might too accurately portray the features, but they could remedy that by calling up their sweetest
expression, and assume a virtue if they have it not.
The so-called instantaneous photographs were made possible by the introduction of the new dryplate process, which was ten times faster than old wet-plate system that had been in use since the
1850s. Although called instantaneous, which is normally taken to be a fraction of a second, the
exposures used at the Temple of Light were much longer. Their advertisement in Frearson’s
Weekly on 26 February 1881 said, ‘We have now perfected our new instantaneous process, and are
surprising our patrons with the novelty of having their portrait taken in about two seconds’.
In February 1881 Frearson’s Weekly published the following story.
A young man at Clare had long been in love with a young lady in that town, but had been too
bashful to declare his passion. To make matters worse he stuttered, and could not say the word
‘love’ without dividing it into three syllables. So he hit on this plan – when in Adelaide recently he
had his photo taken, and having selected some amatory lines from one of the warmest-hearted of
British poets, wrote them on the back, and sent it to his lady-love, who at once saw the situation.
She received the note on Valentine’s Day, accepted him the next, and they are to be married
tomorrow. Need I add that his photo was taken at that Instantaneous Portrait Gallery, the ‘Temple
of Light’, Rundle Street.
Prince Albert Victor and Prince George of Wales, the two eldest sons of the Prince of Wales, came
to Australia as midshipmen on the Bacchante in 1881. When they arrived in South Australia they
were photographed by James Dobson & Co., and in their honour Dobson called his studio at 68
King William Street the Royal Princes’ Studio. On 2 July 1881 the Observer reported: ‘We have
been shown some excellent photographs, cabinet size, of the Royal Princes, taken by Messrs.
Dobson & Co., at their two establishments, The Temple of Light and Royal Princes’ Studios. As
many as ten negatives were taken in twenty minutes; and the result has been some very superior
likenesses.’
The studio that Dobson named The Royal Princes’ had been established in the 1860s by Townsend
Duryea, destroyed by fire in 1875, re-opened by Nixon and Manning, then continued by C.H.
Manning before being occupied by Dobson & Co. Until new carte de visite cards were printed,
Dobson used the studio’s remaining stock with J.R. Dobson & Co. printed over Manning’s name.
At some time, probably in 1882, James Dobson acquired Otto von Hartitzsch’s stock of 20,000
negatives and his unused carte de visite mounts. ‘J.R. Dobson & Co.’ was printed over
Hartitzsch’s name on the back of the cards and Dobson began using them as his own. In December
1882 he entered into an agreement to sell the equipment and goodwill of his two photographic
studios to a newly formed company, The Photographic Company of South Australia, his reason
being that he wanted to concentrate on his furniture and decorating business. He was prepared to
serve as a supervisory director for six months, and also agreed not to return to the photography
business for a term of seven years. Details of his dealings with the new company were given in a
prospectus which appeared in the City and Country, and has been reproduced in full under
Photographic Company of South Australia.
DODGSON, Robert
Although listed in directories as a plumber, Robert Dodgson sold a wide variety of materials at his
warehouse, 42 Hindley Street, Adelaide, on the corner of Leigh Street. Goods advertised in
Dehane’s almanac for 1861 included ‘photographic glass’, and for 1864 he said ‘photographic
artists supplied with all materials’. Dodgson may have been an active amateur photographer.
90
DOLLMAN, William P.
Was awarded a prize for the best six stereoscopic views at the Society of Arts exhibition in
December 1870, receiving a special mention by the judges, and again at the society’s 15th annual
exhibition in December 1871.
In March 1873 the Register described ‘amateur artist’ W.P. Dollman’s photograph of a cricket
match between the Register team and the Advertiser newspaper cricket club. Again, in May 1874,
the Register mentioned a ‘clearly executed’ photograph of a match between the Register team and
a Theatre Royal Company eleven. In the South Australian directories there is a William P.
Dollman, compositor and printer, who was no doubt the photographer and also an employee of the
Register.
Dollman was a member of the South Australian Photographic Society, a judge at their annual
exhibitions in 1899 and 1903. In 1906 he exhibited stereo photomicrographs at the society’s
August meeting. It was a field in which he specialised, and his work had been recognised by the
Royal Microscopial Society and Queckett Society of London.
DOOLETTE, Abraham Sims (DOOLETTE A.S. & CO.)
On 28 September 1877 A.S. Doolette & Co. advertised in the Port Pirie Gazette that they would
shortly open a photographic studio in Ellen Street, Port Pirie, where in addition to taking
photographs they would be trading as tobacconists and jewellers. On November 9th they said:
Procure the Shadow ere the Substance Fade. Glorious News! … having opened new and extensive
premises in Ellen Street, Port Pirie, [we] are now in a position to execute orders in photography in
first-class style. This department is under the immediate supervision of Mr Doolette, whose long
experience in the establishments of Mr Duryea, The Australian Photographic Company, and various
other places, will be sufficient to ensure his patrons of satisfaction being given.
By the beginning of December V.E. Nesbit, of Laura, had joined Doolette & Co. as a watchmaker
and jeweller, but a few weeks later, on 20 December 1877, Nesbit and Doolette advertised the
dissolution of their partnership. Doolette continued in the photographic side of the business, while
Nesbit went his own way as a watchmaker, jeweller, and tobacconist.
From 1881 to 1883 the Boothby directories give A.S. Doolette’s address as East Street, Norwood,
but with no occupation shown, and the Commercial and Trader’s Directory 1882–83 lists him as
‘artist, East Street, Norwood’.
Mr A.S. Doolette was nominated ‘by Great Britain and other countries’ as a juror on the panel
which judged the photography section of the 1887 Adelaide Jubilee International Exhibition.254
In Australians Behind the Camera Sandy Barrie records A.S. Doolette as Broken Hill from 1894 to
1896, and Kanowna, Western Australia, from 1896 to 1901. South Australian directories list him
as photographer, Unley Road, Unley, from 1902 to 1916.
Doolette was awarded second prize in the animal life section of the Observer Photographic
Competition held in 1902. ‘The second prize has gone to Mr A.S. Doolette, who is doing
remarkably good work. His selection is a pointer at work, and he has been successful in catching
the dog in an attitude rarely to be obtained for the purpose of a photograph. The study is full of life
and purpose and merit, and Mr Doolette must be congratulated on the achievement.’255
254
255
Observer, 15 October 1887.
91
Abraham Sims Doolette was born c.1857 and died on 4 July 1938256 and Vincent Ed Nesbit was
born in Adelaide on 25 April 1858, and died at Cottesloe, W.A., on 29 August 1893.257
DRAPER, Joseph
Listed as a photographer at Grey Avenue, New Hindmarsh, in directories for 1899 and 1901, then
at Jervois Street, New Thebarton, for 1904 and 1905. The inscription on one of his cabinet mounts
(MSC) is ‘J. Draper, Adelaide, South Australia’.
DRAPER, Philip
In May 1863 Philip Draper informed the inhabitants of Mount Gambier that he had taken Abraham
Wallace’s bakery and confectionery business which was located on Commercial Road, Mount
Gambier, near the South Australian Hotel.
In September 1867 Draper opened a photographic studio next to McPhail’s lodging house in Sturt
Street, and was prepared to take views as well as portraits. For two weeks in December that year
he had a studio at Mr Locke’s in Port MacDonnell. His photographic business appears to have
been short-lived, or became secondary to his other interests, as he was only listed in the directories
as a photographer for 1868, being a draper for 1869 and a baker for 1870.
DREW, Henry W.
Listed as a photographer at Charles Street, Norwood, in the directory for 1884.
DUNDEN, W.C.
An advertisement in the Jamestown Review for 26 September 1878 informed the residents of
Jamestown that the Australian Photographic Company, manager E.G. Tims, had arrived in the
town and was located near Saunders’s Commercial Hotel. ‘For further particulars apply to W.C.
Dunden at the rooms.’
In April 1879 the Wilmington correspondent for the Observer objected to a photographer taking
portraits in the township on a Sunday. ‘Wilmington has recently been favoured with a visit from a
photographer representing the establishment of which Mr E.G. Tims is the manager and I regret to
say that on Sunday last portraits were being taken in the centre of the town, within a stone’s throw
of the Wesleyan Chapel. As in a neighbouring township the same course was followed, I think it is
high time publicity was given to the fact.’ The offending photographer was probably Dunden.
The printed inscriptions on two different carte de visite mounts (Noye collection) used by the
Australian Photographic Company name W.C. Dunden as manager.
By June 1880 W.C. Dunden was at Clare, trading under the name of Victorian Photographic
Company, his studio erected on the grounds next to Hill & Co.’s booking office in the main street.
Dunden was back at Jamestown in September 1881, this time as manager of the Northern Gem
Photographic Company, who specialised in American Gem ferrotype (tintype) portraits. His
studio, probably a tent, was erected next to James’s store, where he used the ‘newest appliances
from the American agents in Sydney’ to produce gem portraits for 5s. per dozen, ‘finished and
delivered to you in 15 minutes’. Dunden was also making the usual carte de visite portraits for 10s
per dozen.
256
420.
257
1172.
92
By November Dunden had moved his studio to Kooringa (Burra) and erected it in Henderson’s
machinery yard, where he made gems and cartes de visite, but had added cabinet and locket
photographs, and enlargements from one pound each, to his list. He advised customers that the
forenoon was the most suitable time for photographing families and children.
The directory for 1884 lists W.C. Dunden as photographer at Saddleworth.
DUNN BROS, DUNN, J. see IDEAL PHOTO STUDIO
DURYEA, Edwin
Edwin Duryea was born at Norwood, Adelaide, in May 1857, the second child of photographer
Townsend Duryea (Senior) and his second wife Elizabeth Murray Smith. Edwin trained in
photography under his father, who had two studios operating in Adelaide and a branch studio at
Moonta. He and his three brothers, Townsend Junior, Frank and Richard, all became professional
photographers.
From 1883 he became the owner of a studio at Ryan Street, Moonta, first established by his father
Townsend Duryea Senior in 1875 and owned by his brother Townsend Duryea Junior from 1879.
The transaction of the studio to Edwin was announced in a newspaper advertisement in January
1883: ‘Mr T. Duryea in thanking his numerous patrons for the very liberal support accorded him
during the past seven years, begs to intimate that he has disposed of his Photographic Business to
E. Duryea, who will in future conduct the business’.258 Due his ill health, Edwin was assisted by
his brother Townsend for several years before taking complete control in 1885.259 The directories
reflect this dual management, listing both brothers in Moonta until 1885, while from 1884
Townsend was also operating his new studio in Rundle Street, Adelaide.
Edwin worked quickly to establish his reputation and was praised for his new techniques in the
local newspaper:
We have inspected at Mr. Duryea’s studio, a new style of portraiture taken on the instantaneous
process which for size style and finish is certainly far superior to anything before seen in Moonta.
The pictures are of four children, to all of which appropriate names are given indicating the idea in
view when the portrait was taken. The first is a little girl in a swing, the evident enjoyment is so
manifest, that the title ‘Youthful Bliss’ is quite appropriate. The next picture is also that of a little
girl, who is attentively occupied with her doll, to this portrait the designation of ‘The little Mother’
is given, ‘Tired and thoughtful’ also represents another young lady, after the bliss is over probably,
it is a very successful effort in depicting youthful seriousness, another picture which Mr Duryea has
entitled ‘Chiaro oscure’ is the full length picture of a little boy and is intended to represent the art of
light and shade which the artist regards as the most difficult part of photography and, as far as he is
a judge of their own productions and we confess to a weakness for one of the young ladies but not
wishing to bias the judgment of Mr Duryea’s visitors we leave it an open question as to which we
liked best. It is only fair to say that we were exceedingly pleased to find that such really creditable
photos could be turned out in Moonta, Mr Duryea will be pleased to show the pictures to any of his
friends who may wish to see them.260
In 1885 he received similar praise in the local paper: ‘We have had the great pleasure of inspecting
four portraits executed at Mr Duryea’s studio on a new style, viz., Opal Oil Paintings. The
likenesses are about half-size and are really excellent works of art, reflecting great credit on our
local townsman.’261 The process referred to here is the opaltype, an enlarged photograph usually
printed on a 12 x 15 inch milk glass plate and was intended to be framed. It is likely that Edwin
258
The Yorke’s Peninsula Advertiser, 9 January 1883. This article was located and supplied by Marcel Safier.
Information supplied by Marcel Safier, October 2007.
The Yorke’s Peninsula Advertiser, 8 June 1883.
261
The Yorke’s Peninsula Advertiser, 23 June 1885.
259
260
93
was obtaining his photographic supplies at this stage in concert with his brother Townsend Duryea
Junior who was operating a studio at Rundle Street, Adelaide.
In 1887 Edwin married a local Moonta girl, Eleanor Purling. While living in Moonta they had five
children: Coralie, Evelyn, Eleanor, Lance and Gion. Their child Eleanor passed away at the age of
15 months in January 1893.262
Edwin continued to receive strong praise in the local newspapers; Moonta was proud to have a
photographer capable of quality work in its midst:
We have been shown some excellent work in photography, turned out by Mr. E. Duryea, of Ryan
Street, Moonta. A large portion consists of children of all sizes and ages taken in many varied
styles, and without exception, are all ‘lovely gems’ of real life. Several groups and pictures of
adults of both sexes were among the collection, and in every instance the work entrusted in the
hands of his artist had been carried out in a thorough realistic style … Altogether, the display was
excellent, and we can assure our readers that there is no need while we possess such an artist in our
town, to go away from here to have photos taken.263
In 1888 Edwin listed his studio address at Caroline Street, Moonta, although in 1889 he was again
listed at Ryan Street and remained there until 1896. Edwin was not listed in Moonta after 1896 and
he was in Kadina for the birth of his son Richard in 1899 where he had opened a studio in Graves
Street. A studio cabinet portrait mount with the address of Archer Street, Wallaroo, may indicate
where Edwin practised during the intervening years.264
In 1900 he set up in Elizabeth Street, Wallaroo, although the Kadina studio was still listed in the
directories that year. From 1901 to 1907 he remained at Elizabeth Street, Wallaroo. From 1908 his
studio was listed at Wildman Street, Wallaroo. Another two children were born in Wallaroo:
Muriel and Nelson. Edwin remained at this address until 1914, continuing his usual portrait work,
but also photographing the surrounding district, including the mines.
He then moved into Adelaide and was listed in the directories as a photographer at 21 Bartels
Street, off Gouger Street, until 1924. It is possible that Edwin’s daughter Coralie assisted her father
in his business.265
Edwin is next listed in the directories at a residential address in Grote Street, probably having
retired. Edwin died on 26 August 1945 at Enfield, Adelaide, aged 88.
Marcel Safier and Carolyn Lovitt
DURYEA, Frank
The son of photographer Townsend Duryea (Senior), Frank Duryea was born 1 June 1861 at
Norwood. His brothers Richard, Edwin and Townsend (Junior) were all professional
photographers.
For some time Frank worked in partnership with his brother Richard, advertising under the name
Duryea Bros. This travelling company was briefly in Petersburg in January 1892 (see DURYEA
BROTHERS [JUNIOR]). Some time between 1891 and 1897 the Duryea Brothers had a studio in
262
The People’s Weekly, 7 January 1893.
The People’s Weekly, 6 May 1893.
Marcel Safier collection, Brisbane.
265
Photographic Historian Jack Cato wrote that Townsend Duryea’s great grand-daughter, Coralie, worked with her father Clyde. But as
Clyde had no children, Cato was probably referring to Edwin’s daughter Coralie working with her own father. This analysis of Cato’s
text provided by Marcel Safier. See Jack Cato, The Story of the Camera in Australia, 2nd edn, Institute of Australian Photography,
263
264
94
Mildura.266 Frank Duryea worked alone in Mildura from 1902 to 1906, with his studio listed in the
directories at Deakin Street in 1906.267 Frank never married and died in 1936 at Port Augusta.
DURYEA, Richard
Richard (Dick) Duryea was born 25 October 1859 in Stepney, Adelaide, the third child of
photographer Townsend Duryea and his second wife Elizabeth Murray Smith. He was named after
his uncle Colonel Richard C. Duryea, who became a distinguished civil war veteran.
Richard, like his three brothers, Townsend, Edwin and Frank (Francis), no doubt learnt
photography under his father Townsend Duryea who had two Adelaide studios during Richard’s
teenage years and a third studio permanently established in Moonta in 1875. Ownership of the
Moonta studio passed to Richard’s brothers Townsend Junior (q.v.) and Edwin Duryea (q.v.) in
1879 and 1883, respectively. Whether Richard worked with either of his siblings at Moonta or in
another studio in Adelaide is unknown.
The first evidence of Richard Duryea working under his own name is from the early 1880s – a
cabinet photograph (now owned by his descendants) with a mount states ‘R. Duryea’ but gives no
location. This suggests a travelling status. Cabinet photographs from this stage in his career, now
in his family’s possession, show that he photographed his father Townsend 268 and also his father’s
former employee Saul Solomon.269
On 22 August 1886, his travelling business, now named R. Duryea & Co, visited Wentworth in
New South Wales.270 He also visited Orroroo in South Australia.271 Richard was in High Street,
Echuca, from 1888 to1891, and then in business with his brother Frank as Duryea Brothers (q.v),
who for a time were based in Mildura. Richard Duryea also operated alone in Langtree Avenue,
Mildura.272 In 1897 he relocated to Western Australia and set up a studio in York Street, Albany,
which operated until 1904.273 His uncle Sanford Duryea had set up the first studio in Western
Australia some forty years earlier.
After returning east Richard worked in Adelaide and then plied his trade along the River Murray.
His studio mounts give the following locations: River Murray, Renmark and Mannum.274 He was
listed in the directories as a photographer at Gibson Street, Port Augusta, from 1925 until 1941.275
Richard never married and died in Adelaide on 7 May 1951.
Marcel Safier
Acknowledgements:
Robert J. Noye, Sandy Barrie, Richard McCool, Lorraine Baker, Cathy McBey, Ann Brown and
Mike Butcher.
266
Printed details on a mounted landscape photo sold at auction.
Sandy Barrie, Australians Behind the Camera: Directory of Early Australian Photographers 1841–1945, self-published, Booval,
Queensland, 2002.
268
Cabinet photo in family’s possession.
269
Cabinet photo formerly in family’s possession.
270
A dated and inscribed cabinet photo in the collection of Marcel Safier gives this information.
271
Queensland, 2002, p. 58 notes an undated carte de visite with this information.
272
Cabinet photo in Marcel Safier collection, Brisbane.
273
Queensland, 2002.
274
Various cabinet photographs in Marcel Safier collection, Brisbane.
275
Queensland, 2002.
267
95
DURYEA, Sanford
Sanford Bennett Duryea was born in Long Island, New York, on 22 February 1833, the eldest son
of Hewlett Duryea and Ann Bennett and the younger brother of photographer Townsend Duryea.
The Duryeas were early French Huguenot settlers of the New York region.276
Sanford joined his brother Townsend in his daguerreian studio at 140 Grand Street, Brooklyn, in
1851. The studio had opened in 1840 within a year of the first announcement of the daguerreotype
process in France. His nephew Alva Adee Pearsall (b.1839) worked in the studio, as did Alva’s
brother, G. Frank E. Pearsall (b.1841), who had trained in the studio from the age of 11.277
Following Townsend Duryea’s departure for Australia in 1853278 Sanford managed the studio for a
year, subsequently following his brother, sailing aboard the Nightingale. He arrived in Melbourne
on 4 August 1854.
The New York studio was left in the hands of David C. Tunison, who had his own daguerreian
studio at 99 South First Street.279 The young nephews Alva (then aged 15) and Frank Pearsall
(aged just 13) continued to work in the studio, although it is suggested in a published biographic
sketch of Frank Pearsall that they actually ran the studio.280 The studio remained listed in
directories under Townsend Duryea’s name until 1858 and then until 1860 under ‘Duryea and
Pearsall’. Tunison is said to have moved to Tiffin, Ohio, in 1854 281 where he continued to work as
a photographer.
Townsend and Sanford established several photographic studios in Melbourne during 1854 in
partnership with Archibald McDonald, a native of Nova Scotia. The first Duryea and McDonald
studio opened at 3 Bourke Street East and was followed by another at 9 Collins Street West. It
appears that the Duryeas and McDonald had gauged the demand for daguerreotypes wisely, as it
wasn’t long before another studio was established in Yarra Street, Geelong. Townsend travelled to
Tasmania during November aboard the City of Hobart II and opened a studio in Campbell Street,
Hobart, on 11 December 1854. Charles Nettleton, who went on to become one of Australia’s best
landscape photographers, worked in one of the Duryea and McDonald Melbourne studios and took
the outdoor photographs.282
Townsend left Melbourne for Adelaide in early 1855 and Sanford remained behind to slowly wind
up the business. The Geelong and Hobart operations were sold during early 1855, and the Hobart
studio was sold to Alfred Bock, the son of convict artist turned photographer, Thomas Bock. It
wasn’t long before Townsend announced the opening of the Duryea studio on the corner of King
William and Grenfell Streets in Adelaide on 10 February 1855.
The studios in Melbourne continued to operate for a time, and the firm of Duryea and McDonald
made a final visit to Tasmania in May 1855, setting up a temporary studio in Liverpool Street,
Hobart. This appears to have been the end of the business association. Sanford then joined his
brother in Adelaide where they then traded as the Duryea Brothers. Having established themselves
amongst the earliest of daguerreotypists in Adelaide, the Duryea Brothers’ business prospered, and
after seven months they were able to offer an extensive array of services, including the new
collodion on glass ambrotypes.
276
Several published biographies on Townsend Duryea incorrectly state he was of French Canadian origin. Richard McCool has traced
the family origins back to the arrival of Joost Durie in New York in 1675.
277
Henry Reed Stiles (ed.), ‘The Civil, Political, Professional and Ecclesiastical History, and Commercial and Industrial Record of the
County of Kings and the City of Brooklyn, N.Y., from 1683 to 1884’, vol. II, W.W. Munsell, New York, 1884, p. 1167.
278
Townsend probably arrived in Melbourne on 23 August 1853 aboard the Canton, curiously described as Duryea Bennett aged 28, on
the shipping list.
279
1854 New York directory lists Tunison at both 99 South First St and at 140 Grand St as ‘the principal operator for T. Duryea’.
280
Stiles, p. 1167.
281
History of Seneca County, Ohio, Warner, Beers & Co., Chicago, 1884.
282
Jack Cato, The Story of the Camera in Australia, 2nd edn, Institute of Australian Photography, Melbourne, 1977, p. 31.
96
During 1856 they undertook a tour of country towns, taking in Clare, Burra, Kapunda, Strathalbyn,
Mt Barker and Port Elliot. Continuing to spread their operation further afield, Sanford travelled
aboard the Swan to Perth, Western Australia, where he landed on 21 October 1857. It was not
uncommon for Adelaide photographers to visit Perth; the early Adelaide daguerreotypist
‘Professor’ Robert Hall was probably the first photographer to visit Perth, in 1846 setting up in the
rear of Mrs. Leeder's Hotel for eight days to take photographs.
Sanford established the first actual studio in Perth, taking both portraits and landscapes and while
there he married Ellen Amelia Leeder (the daughter of the owner of Leeder’s Hotel) on 18 March
1858. He announced the re-opening of temporary rooms in Fremantle on 29 July.283 Two weeks
later he was back in Perth and announced that he had ‘rooms in Hay street before retiring from his
profession in this colony. Daguerreotypes halotype crayons and stereoscopic views, jewellery.
Prices from 10/6.’284 Sanford remained in Perth for the birth of his first child, Carlton Bennett
Duryea, in 1859. On 16 September Sanford announced that he was ‘about to leave Mount Eliza’.285
On 11 November 1859 Sanford and his family departed Perth aboard the Champion, returning to
Adelaide.
During the time of Sanford’s absence from Adelaide, Townsend formed a partnership with
William Millington Nixon, a former gunsmith, and they traded as Nixon and Duryea at 68 King
William Street. Their friendship was to become close and long-lived. When Sanford rejoined
Townsend in business, William Nixon then set up in a studio by himself in the Adelaide Arcade. It
is known that one of the Duryea brothers, probably Sanford,286 made further temporary working
visits to Perth during the next three years.
In 1863 the business partnership between the Duryea brothers came to an end,287 despite the studio
becoming established as one of Adelaide’s premier establishments. The studio was known for the
fine quality of its carte de visite portraits, which had been introduced during that year.
Sanford, who had three more children while in Adelaide (Alice Amelia French Duryea in 1860,
Hewlett Frederick Duryea in 1862 and Ellen Maude Elvira Duryea in 1863 288) gathered up his
family and returned to America via London, departing Adelaide on 11 November 1863 with his
wife Ellen, the four children (the youngest being just six weeks old) and a servant aboard the Sea
Star. The family settled in the Queens District of New York.
In 1868 Sanford Duryea was listed in partnership with a man named John A. Naylor as carriage
makers on Broadway (Cnr. Union St) in Flushing, New York.289 In the 1870 census of
Brooklyn290 Sanford was listed as a Patent Right Agent, but by the following year he had formed
the Duryea Ink Manufacturing Co. at 40 Dey Street, listing himself as president, his older brother
Richard as treasurer and younger brother and lawyer, William H. Duryea, as secretary. The firm
was short lived. By 1872 Sanford is listed as a machinist at 171 Fulton Street, and then, in 1874, as
a broker. In the following year his occupation was given as ‘flour and feed’, presumably an agent
or merchant.
283
Perth Gazette, 2 July 1858, p. 2.
Perth Gazette, 13 August 1858, p .2.
285
Perth Gazette, 16 September 1859, p. 2.
286
Jack Cato, The Story of the Camera in Australia, 2nd edn, Institute of Australian Photography, Melbourne, 1977, p. 179 asserts it was
Townsend.
287
288
Sanford and Amelia had another child named Jesse Townsend on 11 November 1865. His children Alice, Hewlett, Jesse and
Frederick Duryea (or was there just Hewlett Frederick?) were all baptised at St George's Episcopal Church in Flushing on 18 June 1868.
Although there is a gap in years, the births of further children were recorded in Queens, namely, Mabel in 1875, Chester Ford in 1877
and Sanford Jnr. in 1878.
289
Flushing Directory 1868.
290
1880 census Ward 13, Brooklyn, New York where his name is given as Alfred.
284
97
By 1876 Sanford had finally returned to his trade as a photographer and opened a studio at 253
Fulton Street in Brooklyn.291 Sanford initially produced carte de visite and cabinet photograph
portraits, the staple trade of most photographers of the time. It is likely that he carried some
negatives, or at least prints back from Australia, as at one point he offered cartes de visite of
Australian Aborigines for sale.
Within a few years of his opening, Sanford’s studio was gutted by a fire on 28 March 1878, a fate
similar to that of his brother Townsend’s main studio just three years earlier in Australia. Sanford
was insured for $3,000, although his losses were estimated at $4,000. Nevertheless, he rebuilt and
continued trading.
By the summer of 1884 Sanford had began advertising in the Brooklyn Daily Eagle. The carte had
faded from popularity by this time and most of Sanford’s output comprised cabinet photographs.
He also offered the new larger imperial size of photograph, with special half-price deals during the
summer.
Sometime during the late 1880s Sanford opened another studio, trading as ‘The Duryea’ at 297
Fulton Street, Brooklyn. The studio was eventually taken over by Charles B. Conant and C. E.
Schmidt. Their partnership was dissolved on 17 December 1896 and the business was continued
by Conant who still traded as ‘The Duryea’.292 The studio, which occupied the three upper floors
of the building, was damaged by a fire on 21 August 1898.293 It would appear that the studio was
eventually re-opened and continued trading but changed ownership. A photograph dated 1907
reveals the photographer’s imprint ‘Schultze, Duryea Studio’, 297–299 Fulton St, Brooklyn.
Sanford's son Hewlett (Frederick) went to California and became a Kodak agent. His brother
Chester learnt photography from his father and became a pioneer in the field of radiology. Jesse
Duryea became a doctor and superintendent of the Kings County Hospital in New York.
Sanford retired around the age of sixty, having spent over twenty-five years working in
photography in New York, Melbourne, Adelaide and Perth. He was involved with the Greene
Avenue Presbyterian Church, for which he was elected a deacon in 1874.294 He died on 20 March
1903 at 427 Third Street, Brooklyn aged 71.295 He was described as ‘an old-time photographer
whose career commenced in the days of the daguerreotype’.296 His spouse Ellen died aged 85 on
16 June 1924.
Holdings: No works from the Duryea daguerreian studio in Brooklyn have so far been located. A
full plate daguerreotype by the Duryea Brothers of a family group is held in the Art Gallery of
South Australia, otherwise no other identifiable daguerreotypes or ambrotypes by Sanford Duryea
during his nine-year tenure in Australia are known. A daguerreotype of John Ross & family of
Stanley Flat taken in 1856, attributed to the Duryea Brothers, is held in the Mortlock Library of
South Australiana in the State Library of South Australia. Numerous early cartes de visite from the
Townsend Duryea studio in Adelaide survive in public and private collections, including cartes of
Sanford’s son Carlton and his daughter Ella.297 No portraits of Sanford himself have come to light.
Marcel Safier
291
‘1876/1877 Brooklyn City Directory’, Lain & Co., New York, 1877. It is possible Sanford took over the studio in late 1874, but did
not get his name into the 1875 directory.
292
Brooklyn Daily Eagle, 20 September 1896.
293
Brooklyn Daily Eagle, 22 August 1898.
294
Brooklyn Daily Eagle, 24 May 1899.
295
New York Times, 22 March 1903.
296
National Cyclopedia of American Biography, James White & Co., New York, 1904.
297
Private collection, Canberra, ACT.
98
Acknowledgements: Information supplied by Robert J. Noye, Sandy Barrie, Alan Davies, Gael
Newton, Paul Costigan, Richard McCool, Cathy McBey, Marifrances Trivelli, Howard Speed and
Liz Coole.
DURYEA, Townsend (Junior)
Townsend Duryea (Junior) was born at Melbourne in 1853, one of five children born to Townsend
Duryea and his second wife Elizabeth Murray Smith. He and his three brothers, Edwin, Frank and
Richard, as well as his stepbrother in New York, Henry Augustus Duryea, all became professional
photographers.
Townsend Duryea Junior first began working as a photographer in a studio established by his
father in Moonta. This studio was first opened in October 1875 when Townsend Duryea Senior
purchased a business initially operated by S.E. Nixon (q.v.). The first advertisement for this
permanent studio reads: ‘Mr Duryea … Having purchased from Mr. Nixon his Moonta
Photographic Business, together with all his Negatives, trusts by his long experience and former
success in the business to merit a continuance of the support so liberally bestowed under the
management of Mr Manning. By appointment to H.R.H. the Duke of Edinburgh, and their
excellencies the Governors.’298 Prior to this, Townsend Duryea Senior had made brief visits to
Moonta as part of the travelling arm of his business (See DURYEA, Townsend).
By 1877 Townsend Senior had relocated to Balranald in New South Wales, becoming an absent
partner in his photography business. In July 1877 another Moonta studio was absorbed by
Townsend Duryea’s business: ‘Mr T. Duryea, in thanking the Public of Moonta and surrounding
districts for their very liberal patronage during the past two years, begs to intimate that his is now
the only Photographic Establishment in Moonta. He having secured the services of Mr. Wm.
Bentley, and purchased the goodwill of his business with all Negatives …’299 This advertisement
seems to imply that William Bentley (q.v.) may have managed Duryea’s studio until 1879, after
which the directories show he had moved to Redruth.
In 1879 the Lands Office records show a transfer of ownership of the studio from father to son.300
Exactly when Townsend Duryea Junior first joined this business is unclear, because from 1875
through to 1882 the advertising remained unchanged, always listed in the name ‘T. Duryea’.301 In
1894 the Australasian Photo-Review ran a short profile of Townsend Duryea Junior, stating that
the young Townsend Duryea ‘started in business for himself some twenty odd years ago at
Moonta’.
In 1880, while based at Ryan Street, Moonta, Townsend Duryea Junior travelled to other regional
towns, setting up a mobile studio in a tent. In March and April 1880 he was at Port Augusta. A
report in the Port Augusta Dispatch stated: ‘We have no hesitation in saying that the specimen
portraits which we have seen there are much better than any which have been taken in Port
Augusta before. We understand that Mr Duryea has arranged to take the civic council, so that the
citizens will be able to obtain in one group the likenesses of all the municipal functionaries.’302
From late April to early May Duryea was advertising his services in Quorn.303 He then returned
briefly to Port Augusta:
On returning from Quorn he will erect his tent for a few days only, sufficient inducement offering.
Those desirous of availing themselves of this last opportunity to receive really good portraits are
298
The Yorke’s Peninsula Advertiser and Miners’ and Farmers’ News, 22 October 1875.
The Yorke’s Peninsula Advertiser, July 17, 1877.
300
301
The advertisements do not reflect this change of ownership; between 1875 and 1882 they are phrased as though there was only ever
one owner. For example, an advertisement in 1877 thanks the clients for their ‘patronage during the past two years’. An advertisement
in 1881 states: ‘This business has been conducted by Mr Duryea for the last six years’.
302
Port Augusta Dispatch, 16 April 1880.
303
Port Augusta Dispatch, 23 April 1880, 7 May 1880.
299
99
respectfully requested to leave their names at Mr Cobbin’s, Commercial Road. Extra copies
obtained by forwarding order to Moonta.304
From January 1881 Duryea advertised his Moonta business for sale in the local newspapers: ‘T.
Duryea has returned from a tour through Northern Areas. Unprecedented Success in the North.
Positively giving up business in Moonta. Open for one Month longer only.’305 In March 1881 he
was still advertising the business: ‘For Sale. Duryea’s Photographic Business. Ryan Street Moonta.
This business has been conducted by Mr Duryea for the last six years with great success. Over
8000 negatives in stock. Rare opportunity for enterprising man. Centre of a large population.’306 In
May Duryea had extended his occupation of the studio, stating in an advertisement: ‘T. Duryea …
begs to apprise the public that owing to an unexpected increase in business, he finds it impossible
to carry out his purpose of closing his studio.’307 He again advertised the sale of his business in
August. By September and early October 1881 he had erected a studio at the back of the Kadina
Post Office. By mid-October he advertised a studio at Wallaroo to be open for ‘a few weeks’.308
In 1883 Townsend Duryea Junior’s brother Edwin took ownership of the business in Moonta
independently. The sale of the studio was announced in a newspaper advertisement: ‘Mr T. Duryea
in thanking his numerous patrons for the very liberal support accorded him during the past seven
years, begs to intimate that he has disposed of his Photographic Business to E. Duryea, who will in
future conduct the business’.309 However, due to Edwin’s ill health, Townsend assisted his brother
for several years before Edwin took complete control in 1885.310 The directories reflect this duel
management, listing both brothers in Moonta until 1885.
By July 1884 Townsend Duryea Junior had purchased a photography studio from Rushton & Just
at 150 Rundle Street, Adelaide. He advertised ‘Duryea’s Photographic Studio’, capitalising on the
reputation of his father: ‘The unrivalled position as a photographer held by Mr Duryea, sen, for so
many years in King William street will be an inducement for his successor to rank amongst the
foremost photographers in South Australia’.311
In August 1885 Townsend Junior married Glasgow-born Catherine McCorquodale, and together
they had six children, two of whom died young.
By 1886 Townsend’s studio had moved to 158a Rundle Street and he was also advertising a
branch business in Port Pirie, ‘for a short time only’.312 The Port Pirie branch was operated in a
tent by ‘his representative’, a Mr Deardon, from Ballarat. A specimen of Deardon’s work was on
display at a local business, ‘of the opal-type style of photography in which the high lights, half and
full shade and relief are stereoscopically developed, resulting in true and perfect representation …
his samples of work undoubtedly keep up the prestige attaching to Mr Duryea’s establishment’.313
By March 1887 Duryea announced that he had ‘decided to relinquish his travelling business in the
northern areas’.314 From 1894 Duryea’s studio was listed at 51 Rundle Street, and in 1896 he was
listed at 51a Rundle Street.
In 1894 the Australasian Photo-Review published a written profile of Duryea: ‘His present studio
in Rundle Street is one of the front rank resorts for people who want their photos taken in that
corner of the continent; for somehow it has come to be generally understood that “Duryea”
believes in sending out nothing but good work and getting a good price for it.’315 In June 1896
304
Port Augusta Dispatch, 28 May 1880.
The Yorke’s Peninsula Advertiser, 17 January 1881.
306
Port Augusta Dispatch, 25 March 1881; Wallaroo Times, 24 August 1881.
307
308
309
The Yorke’s Peninsula Advertiser, 9 January, 1883. This article was located and supplied by Marcel Safier.
310
311
312
Port Pirie Advocate and Areas News, 23 July 1886.
313
Port Pirie Advocate and Areas News, 23 July 1886.
314
Port Pirie Advocate and Areas News, 11 March 1887.
315
Australasian Photo-Review, February 1894.
305
100
Duryea reduced the price of his cabinet portraits, but his prices were still higher than those charged
by Stump & Co. He also stated that all portraits were taken by ‘Mr Duryea himself’.316
Duryea remained at 51a Rundle Street until 1900. In 1901 he may have briefly become the
manager of the Adelaide Photo Co. at 101 Rundle Street, although the directories also list Arthur
Brown as manager from 1895 until 1903. In 1903 Duryea’s studio was at 37a Rundle Street, above
Baker & Rouse (q.v.), and remained at this address until 1910. From 1905 to 1910 Townsend
Duryea was also listed as the manager of the Adelaide Photo Co. at 101a Rundle Street.317
The studio at 37a was taken over and renamed the Thelma-Duryea Studios in 1911, reflecting an
amalgamation of the Thelma and Duryea businesses and it remained there for many years. This
studio was listed at 39 Rundle Street from 1938.
In 1911 Townsend Duryea moved to Port Pirie and was listed in the directories as a photographer
working in Alexander Street. His main competition was long-term resident photographer George
A. Ball. Duryea continued to be listed as a photographer at this address until 1924. According to
historian Jack Cato, his hobbies were racing trotters, yachting, fishing and chess.318 Duryea died in
May 1924 at Port Pirie and was buried the following day in Port Pirie Cemetery. His wife
Catherine worked as a receptionist in her husband’s studio, and following his death moved to
Adelaide to live with her daughter Jean Lapthorne. Catherine died in 1942 and was buried in the
West Terrace Cemetery in Adelaide.
Duryea’s son Alva also became a photographer. Born January 1888 in Malvern, South Australia,
he was named after his father’s cousin, New York photographer Alva Pearsall. He started working
as a photographer in Adelaide, subsequently working at the Broothorn Studios in Collins Street,
Melbourne, during the First World War. He moved to Brisbane in 1919 and continued to practise
photography. Alva’s brother Clyde, born March 1898 in Lower Mitcham, South Australia, became
a photographer in Adelaide, specialising in home portraiture.319
Acknowledgements: Information supplied by Robert J. Noye, Sandy Barrie, John Duryea, Mary
Willis, Liz Coole and the Port Pirie Family History Society.
DURYEA, Townsend (Senior)
Townsend Duryea was born at Glencoe, Long Island, New York, in 1823, the eldest of five sons
born to Hewlett Duryea, and Ann (née Bennett). Townsend first worked as a daguerreotypist in
1840 at 140 Grand Street, Williamsburgh (Brooklyn), within a year of the first announcement of
the daguerreotype process reaching America from France.320 His nephew Alva Adee Pearsall
(b.1839) worked in the studio, as did Alva’s brother, G. Frank E. Pearsall (b.1841), who had
trained in the studio from the age of 11.321
On 20 March 1844 Duryea married Madelina Paff in Christ’s Presbyterian Church, Hempstead,
Long Island, New York.322 He trained as a mining engineer and photographer in New York, where
he also studied art. He listed his profession as degrotyper’ (sic) in the 28 August 1850 census, and
his place of living, Hempstead, Queens. In 1851 he was operating a studio with his younger
316
Also see Jack Cato, The Story of the Camera in Australia, 2nd ed, Institute of Australian Photography, Melbourne, 1977, p. 174.
318
319
320
Marcel Safier, in correspondence with the Art Gallery of South Australia, 10 October 2007.
321
Henry Reed Stiles (ed), ‘The Civil, Political, Professional and Ecclesiastical History, and Commercial and Industrial Record of the
County of Kings and the City of Brooklyn, N.Y., from 1683 to 1884’, vol. II, W.W. Munsell, New York, 1884, p. 1167.
322
The couple had four children: Susan Anne, Frances A., Henry Augustus, and following their first daughter’s death in 1851, Susan
Violet. Henry Augustus became a professional photographer in New York.
317
101
brother Sanford (1833–1903) at 166 Grand Street, corner of Fifth Street, Brooklyn.323 In 1852
Duryea married Elizabeth Murray Smith, before migrating to Australia. On 15 June 1852 he was
granted patent No. 9,018 for a ‘machine for polishing daguerreotype plates’, at which time his
address was given as Williamsburgh, New York.
Duryea arrived in Melbourne on 23 August 1853 aboard the Canton.324 In 1854 he set up a
photographic business with Archibald McDonald (c.1831–73), at 3 Bourke Street East. His
brother, Sanford arrived in Melbourne on the Nightingale on 4 August 1854, and probably joined
the firm of Duryea and McDonald, which by that time had branches in Bourke and Collins Streets
in Melbourne, and another in Geelong. Duryea and McDonald exhibited ‘daguerrean portraits and
views’ at the 1854 Melbourne Exhibition, for which they received a medal.
The firm made visits to Tasmania at the end of 1854 and in May 1855, after which Duryea and
McDonald’s business association ended. Duryea and his family arrived in Adelaide from
Melbourne on 8 January 1855, and in mid-February advertised his daguerreotype ‘Portrait Saloon’,
on King William Street above Prince’s.325 By mid-April he had moved into specially designed and
lit rooms on the corner of King William and Grenfell Streets, almost directly abutting the offices
of the South Australian Register, in Grenfell Street. An advertisement placed in the South
Australian Register on 25 April 1855 announced that ‘fifteen years’ practical experience’ in the art
of making daguerreotypes enabled him ‘to make Portraits not to be surpassed by any artist in
Europe or America’. By December 1855 he was joined by his brother Sanford and was trading
under the name, Duryea Brothers.
During 1856 the brothers undertook a tour of South Australian county towns, in order to take
portraits of town residents using the daguerreotype process. Places visited included Gawler,
Auburn, Kapunda, Burra and Auburn to the north of Adelaide, and to Macclesfield, Mt Barker,
Woodside, Lobethal, Strathalbyn, Port Elliot, Goolwa, Aldinga, Milang and Yankalilla on the
Fleurieu Peninsula. A portable studio was set up in or alongside the major hotels in these
townships, and Duryea was careful to advertise his arrival in advance and the exact location of his
itinerant outfit.
During the period October 1857 to 1859 when Sanford Duryea was in Perth, Western Australia,
operating a photographic studio, Townsend joined forces with William Millington Nixon (1814–
1893) whom he had met aboard the boat on which they travelled from Melbourne to Adelaide.
Notably they produced a photograph of Coulthard’s tin canteen (now in the collection of the State
Library of South Australia). It was described as ‘an impressive memento of the hazards of
exploration … for transmission to England, where it would not only tell a thrilling tale, but furnish
proof of the perfection at which the art of photography has arrived in South Australia’.326
Sanford Duryea returned to Adelaide in 1859 and worked in partnership with his brother. It is
known that one of the Duryea brothers,327 made further temporary working visits to Perth during
the next three years. In 1863 their partnership was formally dissolved328 and Sanford returned to
New York where he eventually resumed photography. From 1864 Townsend Duryea, flamboyant
and always fashionably dressed, embarked on a one-man enterprise, marked by considerable
marketing acumen. Employing a number of staff, Duryea’s studio became the busiest photographic
business in Adelaide. By late 1863, the extent of his portraiture work was indicated in The
Advertiser, which announced that Mr. T. Duryea had ‘prepared upwards of 700 cartes de visite and
323
Marcel Safier, in correspondence with the Art Gallery of South Australia, 10 October 2007. Safier also notes that Townsend was ‘…
curiously listed as Duryea Bennett aged 28 on the shipping list’.
325
South Australian Register, 10 February, 1855.
326
South Australian Register, 4 August, 1858. William Coulthard, a surveyor, perished when exploring country north of Port Augusta in
1858. His body was found by a party led by B.H. Babbage, who also found his time piece and canteen. Coulthard’s body was buried at
Pernatty Creek, west of Lake Torrens.
327
Jack Cato (Jack Cato, The Story of the Camera in Australia, 2 nd edn, Institute of Australian Photography, Melbourne, 1977, p. 179)
asserts it was Townsend, while Marcel Safier believes it was Sanford (see Sanford DURYEA footnote 286).
328
324
102
other likenesses for transmission by the last English mail’. By early 1865, following further
improvements to the studio, Duryea could boast that he had 10,350 registered negatives from
which additional copies could be obtained for 18s per dozen. By April 1866, this number had
increased to 19,000 and by December 1870 this number exceeded 47,000 registered negatives.
In addition to his portraiture work, Duryea imported sophisticated studio equipment and camera
hardware during the mid-1860s, including Ross’s Improved Wide Angle Lens, and Woodward’s
Patented Solar camera, which minimised distortion when manufacturing life-sized portraits. As
early as 1859 he was experimenting with a new process he designated ‘improved crayon
photography’, which ‘by chemical means alone, and without colours, [secured] a depth of shade in
the center of the picture, [placing] the portrait in very strong relief’. This, and the introduction in
1864 of the licensed sennotype process for the colour finishing of photographs, proved to be very
popular for his portraiture work; his claims for originality, however, bought him into conflict with
other operators, including Professor Hall and Fraser Crawford, who queried Duryea’s published
statements in the pages of the South Australian Register.
In 1865 Duryea executed his most ambitious photographic project, a 360-degree panorama of
Adelaide, taken from the newly completed Albert Tower of Adelaide Town Hall. This panorama,
although not the earliest made of Adelaide, was nevertheless one of the most technically advanced
and artistically executed panoramas made in Australia during the 1860s.329
This first of three panoramas by Duryea was possibly produced using the Ross Double Whole Size
Improved Lens, which Duryea had imported in April 1865. First noted by the South Australian
Register on 16 December, it consisted of fourteen views, which ‘embrace[d] the sea line on the
west and the beautiful Mount Lofty range of hills on the east’ and was proclaimed to be ‘a fresh
triumph of photography … very ingeniously done … the whole arranged so as to form a panorama
of the city 13 feet long.’330 It was exhibited almost immediately, forming part of the annual eighth
South Australian Society of Arts exhibition, held at the Adelaide Town Hall in late December
1865.
Concurrent with these developments, Duryea, in Joseph Boothby’s 1865 edition of Adelaide
Almanack Town and Country Directory, and Guide to South Australia, innovatively pasted his
own gem portrait at the end of an advertisement for sennotypes in lieu of a signature. This was one
of the earliest Australian examples of an original photograph being used in a published book.
Introduced by Duryea in September 1864, these gems, which were about the size of a ten cent
piece and with an adhesive back, enabled them to be used in letter writing, ‘or to insert into the
books of a library’, and were offered at the moderate charge of 50s per 100.
Duryea made use of his gem portrait again in 1866 when he published Duryea’s Adelaide Album,
consisting of seven Adelaide street scenes, a photograph of an ink drawing depicting the death of
R.O. Burke by A.G. Ball, and a five-sheet ‘Panoramic View of the City of Adelaide and its
Suburbs, three feet in length’, taken from Montefiore Hill, showing South Adelaide in its entire
length. This panorama was employed as a frontispiece to copies of his View Albums, which were
neatly bound in cloth and able to be made up to order from ‘a large Album of 90 of the most
interesting and picturesque Views of Adelaide and the Country’.331
Undoubtedly Duryea’s most important commission was obtained in 1867, when he was appointed
by the Royal Reception Committee to be the official photographer throughout the royal tour of
329
George Burnell (1830–1894) made an eleven-sectioned stereoscopic panorama from the tower of the South Australian Register
building in 1863, and Bernard Goode made a seven-sectioned panorama, present whereabouts unknown, from the Albert Tower in
September, 1865.
330
South Australian Register, 16 December, 1865. The announcement states fourteen views, but fifteen were made, the fifteenth
showing an overlap of subject photographed in the first image of the sequence.
331
South Australian Register, 24 August, 1866. The entry for Duryea, in Joan Kerr (ed.), Dictionary of Australian artists, painters,
sketchers, photographers and engravers to 1870, Oxford University Press, Melbourne, 1992, states that Duryea’s 1865 360-degree
panorama was inserted into Duryea’s Adelaide Album. This is incorrect; the same Register article states that ‘a panoramic view of the
city of Adelaide and the suburbs, three feet in length, has been used as a frontispiece’.
103
Prince Alfred, HRH Duke of Edinburgh, the son of Queen Victoria and Prince Albert, to the
Colony of South Australia. The Prince sat for Duryea at his King William Street studios on 9
November, and Duryea was thereafter appointed ‘Photographer in the colony to His Royal
Highness’. Hundreds of copies of the Prince’s autographed portrait photographs in a variety of
styles were marketed. Duryea was not only the first Australian photographer to take a likeness of
the Prince, but was granted the privilege of travelling to the Lakes district on the Lower Murray
with the royal entourage to record the Prince and the progress of his tour.
Using a large-format camera he obtained many fine views, capturing the Prince and his hunting
party just prior to their setting out on a kangaroo hunt. This photograph titled ‘Prince Alfred
starting for Kangaroo Hunt at Campbell House Station, South Australia’, formed part of a
handsome leather-bound album, manufactured by Platts, Stationers, in red morocco, decorated in
gold, measuring 23 by 20 inches. Now in the Royal Archives, Kew, London, it contains 149 views
of South Australia, and was presented by Duryea to the Duke of Edinburgh following the Duke’s
departure for Melbourne. A large wood engraving based on this photograph, along with four other
Duryea images, appeared as illustrations in the Illustrated London News, 22 February 1868.
Ever astute in trade, Duryea moved quickly to secure formal registration from the General Registry
Office for his royal tour photographs, under the Trade Marks Act of 1863. He applied for a
trademark, namely a ‘T’ over a triangle, to be registered on 28 November 1867.332 Duryea’s
trademark is apparent in the photographs from the royal tour album that record the image of the
Prince, minute in most instances and cleverly placed to be apprehended by the knowing eye,
against the white of a canvas tent, or on the white tarpaulin cover of the South Australian
Government wagons that appear in the backgrounds of two of the images from the series.
In 1867 Duryea was also awarded a medal at the Paris Universal Exhibition for photographs of
Australian Aborigines and landscape scenes, and he entered another group of related works in the
Melbourne Exhibition. In March he had been engaged by the South Australian Society of Arts to
prepare a photograph for presentation to each member of the society to mark its tenth anniversary.
He obtained a view of Government House, ‘the upper portions of the vice regal residence
peep[ing] through the trees’, from one of the upper windows of the Institute Building, and the
photograph was deemed by the South Australian Register to be ‘a fine specimen of photographic
art’.333
At the end of 1870 Duryea was advertising a New Series of Photographic Views of Adelaide, taken
from the newly completed Post Office Tower, mounted in a handsome 12 x 10-inch volume. This
series was among a group of photographic works sent by the South Australian Commissioners to
the 1873 London International Exhibition.334
In 1871, like his former employee Henry Jones (1826–1911), Duryea photographed South
Australia’s male pioneers who had attended Emanuel Solomon’s famous banquet in December to
honour those pioneers who had arrived in the Colony prior to 1 January 1841.335 These were
divided into five groups, for the years 1836–40, and he took a further two sets, containing 600 and
800 portraits, ‘the former of actual pioneers of South Australia, and the latter of pioneers and those
of their children who may fitly called old colonists, but who arrived at too early an age to be
dignified by the title given to others’. The latter measured four by five feet. Sittings for this major
undertaking were still being advertised in March 1872, and the completion of the commission was
332
This was granted by 2 December, and announced by public notice in the South Australian Register on 6 December, 1867.
South Australian Register, 8 March, 1867.
The present whereabouts of this panorama is unknown.
335
These photographs were arranged into mosaics of various patterns, and were an extension of the same methodology he had used to
construct the commissioned photographic mosaics of Members of the South Australian Legislative Council, and House of Assembly in
1868.
333
334
104
announced in mid-October.336 During this period Duryea was married, for a third time, to
Catherine Elizabeth Friggins (1851–1925) of Adelaide on 17 June.337
Duryea’s regional arm of his business was serviced by his contracted employees who, operating
under Duryea’s business name, made commercial portraiture journeys, notably to the mid north
mining towns of Moonta, Kadina, and Wallaroo. Saul Solomon was operating for Duryea in
Wallaroo and Moonta in mid-1873. In Moonta, for example, Duryea advertised that he would open
a branch photographic studio at George Street on 1 June 1873, to be run by Saul Solomon, closing
three weeks later, on 23 June 1873.338
Both Henry Jones and Robert Stacy (1834–1890) had probably also worked for Duryea as
contracted employees from the mid-1860s, prior to setting out on their own individual careers. The
well-known Victorian photographer, Nicholas Caire (1837–1918) also worked for Duryea at this
period. Henry Jones, Duryea’s near contemporary, worked for Duryea from July 1866 to February
1868, before establishing his own studio in King William Street, opposite the Town Hall, and for a
period advertised his credentials in connection with having worked in the studios of Duryea. In
1874 Townsend Duryea opened a second Adelaide studio, the Adelaide School of Photography, at
51 Rundle Street, which was run by Saul Solomon.
In 1874 a composite photograph of five oval portraits of Aboriginal people photographed by
Townsend was published as the frontispiece of Reverend George Taplin’s The Narrinyeri: an
account of the tribe of South Australian Aborigines inhabiting the Country around the Lakes
Alexandrina, Albert, and Coorong, and the Lower Part of the River Murray: their Manners and
Customs, also an account of the mission at Port Macleay, printed by J.T. Shawyer in Adelaide.339
Another important aspect to Duryea’s very successful portraiture business was his employment of
highly skilled artists, which included the London trained artist John Hood (c.1839–1924) and Knut
G. Bull (1811–1989), the academically trained Norwegian artist.340 After an active artistic career in
Hobart and Sydney and Victoria, Bull was employed by Duryea from April 1874, until a disastrous
fire on 18 April 1875 destroyed the premises and all of Duryea’s stock and records, amassed over a
20-year period.
While the King William Street studio was being rebuilt, Duryea advertised that his business would
be carried on in his second establishment, the Adelaide School of Photography.341 By August 1875
Saul Solomon, previously the manager of this studio, now advertised that he had purchased the
business from Duryea.342 In October 1875, S.E. Nixon, the son of Duryea’s former partner William
M. Nixon, announced that he would be running Duryea’s rebuilt King William Street studio with
his partner, C.H. Manning. By September 1876 the studio was managed by C.H. Manning, while
Nixon ran the travelling arm of the business. In March 1878 Duryea’s Photographic Studio
advertised, ‘a branch of the … establishment will be opened in the Areas’, starting at Gladstone,
under the able supervision of Mr Nixon, with whom is connected an efficient staff of artists and
operators’.343 By September 1878 C.H. Manning was sole proprietor of the studio,344 although the
location finally closed in 1881, when Manning relocated to 150 Rundle Street.
Bull continued to work for the studio, which continued to use Duryea’s royal and vice-regal
patronage associations for a time. A large oil painting by Bull of a panoramic scene from the top of
336
The State Library of South Australia holds a collection of the various mosaics by Duryea.
Marcel Safier notes, in correspondence with the Art Gallery of South Australia 10 October 2007, that Townsend had become
estranged from his second wife in 1869 and that she returned to America.
338
Wallaroo Times, 11 June 1873
339
340
Bull had originally been transported to the penal settlement of Norfolk Island under a fourteen-year sentence for forgery, and was
later transferred to Van Diemen’s Land.
341
342
343
Areas Express, 6 March 1878.
344
The Advertiser, 30 September 1878.
337
105
the gully just below the Eagle on the Hill Hotel was exhibited in the studio windows of the new
premises and attracted much praise.
Within a week of the opening of Duryea’s rebuilt King William Street studios he acquired the
Moonta studio recently disposed of by S.E. Nixon, who had just taken over management of
Duryea’s King William Street Studio. Duryea advertised the purchase of Nixon’s Moonta studio in
the local paper: ‘[Duryea] having purchased from Mr Nixon his Moonta Photographic Business,
together with all his negatives, trusts by his long experience and former success in the business to
merit a continuance of the support so liberally bestowed under the management of Mr
Manning.’345 In 1877 Townsend Duryea took up a selection at Yanga Lake, near Balranald in the
Riverina district of New South Wales, becoming an absent owner of his Moonta studio. In August
1877 he absorbed another Moonta studio, owned by William Bentley and may have left the
management of his studio to Bentley.346 In 1879 the Lands Office records show a transfer of
ownership of the Moonta studio to his son Townsend Duryea Junior.347
In his final years Duryea was in poor health, having suffered from paralysis from the mid-1880s.
He died on 13 December 1888 following a buggy accident when being conveyed by his daughter
between his homestead lease at Parkside and Jaunbang Station. He was survived by eight sons and
four daughters from his three marriages, including the four photographer sons whom he had
taught, Townsend Junior (who continued the family name in photography in Adelaide, Moonta and
Port Pirie) and Edwin, Richard and Frank. William M. Nixon, of the Riverina District in New
South Wales and Thomas McDonald of Adelaide were nominated as executors of his estate.
Despite the loss all of his valuable negatives, prints and equipment in the fire of 1875, it was been
possible to estimate the extent of Duryea’s activities in the art of photography largely from his
numerous newspaper advertisements. His artistry as a photographer is evidenced by the high
quality of his portraiture and landscape photography that have survived.
Ken Orchard, with contributions by Marcel Safier and Carolyn Lovitt
DURYEA BROTHERS
Also see entries for DURYEA, Sanford and DURYEA, Townsend (Senior)
Brothers Sanford and Townsend Duryea (Senior) first began trading under the name Duryea
Brothers in December 1855, setting up their studio on the corner of King William and Grenfell
Streets, Adelaide.348 One advertisement stated they were making portraits in various styles:
‘daguerreotype, halotype, stereoscopic or solid pictures, crayon pictures, and all the new processes,
on glass and paper’.349
While maintaining their studio in Adelaide they also toured extensively through regional towns. In
December 1855 they advertised the opening of a studio at the Burra Burra Hotel: ‘They also intend
opening rooms at Clare, Kapunda, and Gawler Town, for a limited time, of which due notice will
be given’.350 In May 1856 the Duryea brothers were in Gawler and announced the opening of
‘Dagerreotype rooms next door to Mr Smith’s Hotel on the 2nd day of June for a limited time only’.
In September they had opened rooms in Yakalilla ‘at Mr Hibbert’s Hotel on the 22nd of September,
for a limited time’.
345
The Yorke’s Peninsula Advertiser and Miner’s and Farmers’ Journal, 22 October, 1875.
The Yorke’s Peninsula Advertiser, 17 July 1877.
Marcel Safier in correspondence with Art Gallery of South Australia, 9 October 2007.
348
Sanford and Townsend Duryea had worked together previously but not under the Duryea Brothers name. See the separate entries for
each photographer.
349
350
346
347
106
In January 1957 they had set up briefly in Strathalbyn. They had recently completed a tour of
‘Macclesfield, Mount Barker, Woodside, Lobethal, Port Elliot, Auburn’ and had ‘resolved to make
a second tour through the same before retiring from their profession in this colony. Due notice will
be given of the dates, and limited time allowed for a visit to each township.’351
From October 1857 to November 1859 Sanford Duryea moved to Perth, Western Australia, and
operated a photography studio there. In April 1861 there is evidence that the brothers still owned
their King William Street studio. In 1861 Townsend formed the Duryea Mining Company at
Wallaroo, in which Sanford was also involved. In an advertisement for mining shares, they gave
their contact details as ‘Messrs Duryea’s Rooms, King William Street’.352
In April 1863 the brothers ended their partnership: ‘Notice is hereby given that the partnership
heretofore subsisting between the undersigned, under the firm of Duryea Brothers, Photographists,
is this day dissolved by mutual consent … The business in future will be carried on by T. Duryea,
who will pay and receive all accounts due by and to the late firm’. This notice was dated 25 April
1863.353
Carolyn Lovitt
Acknowledgements: Information supplied by R.J. Noye, Ken Orchard and Marcel Safier.
DURYEA BROTHERS (JUNIOR)
In 1892 several advertisements promoted the photography of the Duryea Brothers. This company
was formed by Richard and Frank Duryea, two of the five children born to Townsend Duryea
(Senior) and his second wife Elizabeth Murray Smith. Richard Duryea (q.v.) was born 25 October
1859 at Stepney, Adelaide. Frank was born 1 June 1861 at Norwood, Adelaide.
They appear to have been travelling photographers in regional country towns. In January 1892
they advertised in The Petersburg Times newspaper: ‘Messrs Duryea Bros have opened a
photographic studio near Gall’s Hotel for a short time’.354 Another advertisement in the same
newspaper announced ‘that they have opened their Photographic Studio at Petersburg, opposite
Railway Station, for a few weeks only. Every requisite necessary for the production of artistic
pictures.’355
Some time between 1891 and 1897 the Duryea Brothers had a studio in Mildura.356 Richard also
had his own studio in Langtree Avenue, Mildura, in this period.357 Richard was based in Echuca
prior to that and then departed for Albany, Western Australia, in 1897. Frank Duryea worked alone
in Mildura from 1902 to 1906, with his studio listed in the directories at Deakin Street in 1906.358
Frank never married and died in 1936 at Port Augusta.
351
353
Notice published in South Australian Register, 11 May 1863.
354
The Petersburg Times, 8 January 1892.
355
The Petersburg Times, 8 January 1892.
356
Printed details on a mounted landscape photo sold at auction.
357
Cabinet photo in Marcel Safier collection, Brisbane.
358
Queensland, 2002.
352
107
E
EAVES, F.P.
Won third prize in the Photographic Competition held by the Chronicle in early 1905. His
photograph, ‘A wet day at Sevenhills’ was reproduced in the Chronicle on 18 February, and his
three pictures which received commendations were reproduced in later issues.
EDWARDS, Arthur R.
Listed in the directory as a photographer:
1904
1905–07
1905–10
1912
1914–15
in right-of-way beside 71 Rundle Street
75, 76 Royal Exchange, King William Street, Adelaide
41 Kensington Rd, Norwood (residence)
Clare
33 Charles Street, Unley
In 1906 he was listed as ‘Animal, Outdoor and General Photographer’, and four hundred and
twenty of his photographs were reproduced and individually acknowledged in volume two of The
Cyclopedia of South Australia (1909). They included portraits and photographs of shops, factories,
residences and homesteads from Ceduna to Mount Gambier.
There is a reference to ‘Mr Edwards, photographer’, in the Clare Corporation minutes, March
1911, and in March 1912 Mr A.R. Edwards was judge of the photography section of the Northern
Agricultural Society’s show at Auburn.
Although the Northern Argus has references to a Mr Edwards (no initials) who was associated
with the Royal Picture Company (q.v.), it is believed he was Arthur Edwards the photographer. In
association with J.W. Abfalter he screened the Royal Pictures in the Clare Town Hall from
September 1911 to July 1912.
EDWARDS, E.
Listed as a photographer, Queen Street, Adelaide, for 1868–72. Was probably a partner in the firm
of Hall and Edwards (q.v.)
EDWARDS, W.H.
Became a member of the Mount Gambier Photographic Club on 12 March 1903, a few weeks after
the club was formed, and was still an active member in January 1905. A family group photograph
taken at Nangula in the South East has the imprint ‘WH Edwards, Touring Photographer’.
He was listed as a hairdresser and photographer at Millicent in the directory for 1914 and as a
photographer at Petersburg (Peterborough) for 1917 and 1918.
EDWARDS and ERRINGTON
Listed as photographers at 52 Flinders Street, Adelaide, in the directory for 1915.
108
ELECTRIC PICTURE FRAMING & PHOTOGRAPHIC COMPANY see WILLIAMS &
THOMAS
ELITE PORTRAIT COMPANY
Kapunda Herald item, 10 October 1882:
Mr McDonald of the Elite Portrait Company, has shown us some beautifully executed painted
portraits, executed by a new process in India Ink and watercolours. The object of the Company is to
produce enlarged permanent portraits from small photographs, and the samples shown us were
really well executed and accurate reproductions on a large scale from the small photographs
annexed to the pictures.
ELLERY, Arthur M.
Listed as a photographer at Commercial Street, Mount Gambier, in directories from 1904 to 1906.
He was elected committee member at the inaugural meeting of the Mount Gambier Photographic
Club in February 1903.
ELLIOTT, Joseph William
Joseph Elliott Junior was born at North Adelaide on 14 March 1859, and after the death of his
father in 1883 he became editor and proprietor of Strathalbyn’s Southern Argus, which had been
owned by his father. Joseph Junior was an accomplished musician, an amateur photographer, and
was mayor of Strathalbyn for twenty years. He was awarded a second degree of merit for
photographs he exhibited at the 1887 Adelaide Jubilee International Exhibition.
In his book Southern District of South Australia (1892), E.H. Hallack refers to a small building
[WC?] which spoiled the view of the beautiful Church of St Andrews:
Without doubt it is one of the prettiest and best situated churches to be seen in any southern town or
elsewhere in the colony. There is but one handicap to its appearance, and that is a small building
within its landed boundaries, which ought either to be removed or covered with ivy or some such
growth, as it is unfortunately specially prominent, and though a necessity, asserts itself as an
eyesore, as it abuts on the main road close to the river’s bank. Still a photo of the Church taken by
that excellent art amateur, Mr Elliott, from the balcony of his Southern Argus premises on the
opposite side of the river, would tend to remind many a visitor of some of the village churches in
the motherland.
Joseph Elliott Junior died in January 1939.
ENGLISH & GERMAN PHOTOGRAPHIC STUDIO see HAMMER, William Henry
ERRINGTON, Ernest See also EDWARDS AND ERRINGTON
Listed as a photographer at 204 Gilles Street, Adelaide in directories from 1909 to 1912.
EVANS, Francis J.
The printed inscription on one of his cabinet photographs is ‘Francis J. Evans, Photographer,
Sedan’. The poor quality of the faded image suggests it was the work of an inexperienced amateur.
Directories list F.J. Evans of Sedan as store assistant from 1904 to 1906, and as draper from 1907
to 1912.
EVERITT, A.G.
An undated cabinet portrait (Noye collection) carries the printed inscription ‘A.G. Everitt,
Commercial Street, Mount Gambier’ on the front of the mount. There was an A.G. Everett listed as
109
watchmaker in Commercial Street, Mount Gambier, in directories from 1886 to 1914+, but no
listing as photographer. He became a member of the Mount Gambier Photographic Club in April
1903, was elected vice-president in April 1903, and became president of the club in 1905.
110
F
FARNDELL, Edward
Born in Bermondsey, London, on 14 May 1837, Edward Farndell came to South Australia in 1859
on the James Jardine, five years after his photographer brother, Francis Farndell (q.v.) had arrived
in Adelaide.
Shortly after his arrival in 1859 Edward Farndell opened a studio at Kent Town, and in July 1864
advertised his Kent Town Portrait Rooms, thanking the public for their patronage over the past five
years and informing them that he had made improvements to his studio. He also said that he was
prepared to teach the art of photography and could supply photographic chemicals if required.359
In 1865 he advertised cartes de visite ‘in a superior style’ at 12 for 15s, or 8s 6d per half dozen. He
also pointed out that his Kent Town Portrait Rooms had ‘no connection with any other
establishment’, which has generally been taken to mean that he was not on friendly terms with his
brother, who at the time had a studio at 167 Rundle Street.360
When the popular and well-known photographer Professor Robert Hall (q.v.) retired from the
profession in December 1865, his studio at 83 Hindley Street was taken by Edward Farndell, who
moved there from Kent Town on 25 March 1866.361 Professor Hall became publican at the
Gresham Hotel in King William Street, but died in August 1866.
By April 1869 Farndell was dealing in photographic goods, advertising: ‘To Photographers. A
great variety of photographic goods always on hand at lowest rates. Catalogues on application …
Agent for Melbourne Albumen paper. Just arrived, Photographic Almanacks for 1869.’362 Three
months later he said that all negatives were kept and carefully registered, with ‘upwards of 8,000
in stock’ from which copies could be had for 1s each. Some of the negatives could have been made
by Professor Hall.
In June 1870 Edward Farndell took two photographs of the Morphett Street bridge which gave ‘a
fair idea of the structure and of the interesting demonstration’, and in July the following year he
was on the ground with his camera when a crowd of 20,000 saw Mr Gale, the hot-air balloonist,
make an ascent near the cattleyards on North Terrace. Farndell’s photograph showed the balloon
as it was about to leave the ground, and he advertised copies for 2s 6d on an 11 x 10 card, and for l
s each as cartes de visite. Postage was 2d extra.
By December 1871 Farndell’s cartes de visite portraits were 10s 6d per dozen, and he was making
cabinet portraits for 21s per dozen. He photographed gentlemen’s residences ‘for the stereoscope
or otherwise’, made life-size enlargements, was still dealing in photographic chemicals, and did
solar enlarging for the trade.363
Edward Farndell died suddenly at William Wood’s blacksmith shop in Grenfell Street, Adelaide,
on 28 August 1874, at the age of 38. Cause of death was given as ‘effusion of the brain’. His
studio was taken by Spicer Adey (q.v.) in September 1874.
359
Advertiser, 4 July 1864.
Advertiser, 22 May 1865.
361
Advertiser, 6 March 1866, 28 March 1866.
362
363
360
111
FARNDELL, Francis (Frank)
Born in London, England, on 12 July 1831, Francis Farndell arrived in South Australia in 1855 on
the Sea Queen. His brother, photographer Edward Farndell (q.v.), arrived in Adelaide five years
later.
Frank Farndell, as he was named on his cartes de visite, was operating a photographic studio at
167 Rundle Street East by December 1864. In the directory for 1865 he advertised cartes de visite
for 8s 6d per half dozen, but his price had fallen to 7s per half dozen and 12s per dozen by
September 1867.364 He was listed as a photographer, Rundle Street, in the directory for 1869, and
five different carte de visite inscriptions for his studio at 167 Rundle Street are known.
From the early 1870s to 1886 Frank Farndell is listed in directories (sometimes as Frederick) as a
farmer at Highbury but, as the Commercial and Traders Directory 1882–83 lists him as a
photographer at Highbury, it appears he still took photographs while farming. From 1887 to 1898
he is listed as ‘photographer, Highbury, Paradise’, but if he made cartes de visite in this period
they were either unmarked or few in number, as none has so far come to light. Frank Farndell died
at Highbury on 29 January 1907.
FAWCETT, Mr R.H.
Was an ‘amateur operator of the camera’ who took a snapshot of a procession from the top of the
verandah of Nock Bros.’ store at the corner of Main Street and South Terrace, Kapunda, in June
1897.
FAWCETT & ROBERTS
Listed in the directory for 1868 as ‘photographic artists’ in King William Street, Adelaide, then as
stationers at the same address from 1869 to 1872.
FEEHAN, Patrick Jnr
Listed as a photographer at Port Victoria in directories for 1899 and 1900, before which his
occupation was given as wheat buyer. In Australians Behind the Camera by Sandy Barrie Patrick,
J. Feehan is listed as a photographer at Nelsons Hill, Victoria, from 1903 to 1908.
FEGAN see THOMAS & FEGAN
FEGAN, James W.
Was a partner with George A. Ball (q.v.) in the firm of Ball & Fegan, listed as Ellen Street, Port
Pirie, in directories from 1895 to 1900. In addition to cabinet photographs made under the name of
Ball & Fegan, he produced cartes de visite and cabinets of his own which were inscribed ‘J.W.
Fegan, Photographic Artist, Port Pirie’, and cabinets inscribed ‘J.W. Fegan, Artistic Studio, Ellen
Street, Port Pirie, Photographer’.
South Australian directories list J.W. Fegan as a photographer under his own name at Ellen Street,
Port Pirie, for 1894–95 and 1899–1900. He may have been a partner in the firm of Thomas &
Fegan (q.v.). In Australians Behind the Camera Sandy Barrie has listed James W. (‘Jack’) Fegan,
as a photographer at Brisbane, Queensland, for 1889, and at other Queensland addresses from
1897 to 1922.
According to Arnold Ball, son of Fegan’s partner G.A. Ball, Fegan was a Frenchman who had
364
112
‘jumped ship’ at Port Pirie and was sheltered by G.A. Bali’s parents for 6 months, after which he
emerged from hiding. Fegan, he said, became attached to the daughter of well-to-do Port Pirie
auctioneer who did not approve of the match, so the couple eloped with a pair of horses and buggy
hired from a livery stable. The father pursued the couple but did not catch them, and Fegan later
wrote to Ball from a studio he had set up in Brisbane. Arnold Ball remembered Fegan as being a
Maurice Chevalier type of character, refined and polished in his ways.
FIELD see NEW YORK PHOTO CO.
FINCH, Joshua
Born in England in July 1834, Joshua Finch arrived in South Australia on the John Henderson in
1849. Although a carpenter by trade, and only listed as such in the directories, he also figured
prominently as a Gawler photographer in the 1860s.
In 1861 the congregation of St George’s Anglican Church decided to have a photograph of their
new church ‘sent home’ to the London International Exhibition, which was to be held in 1862.
Coombe’s History of Gawler, says: ‘a discussion took place as to whether or not it was necessary
to “point” the church before it was photographed for the great exhibition, and it was at last decided
that the south side of the church should be done, since that was all that would appear in the
photograph’. In December 1861 the Register reported that Joshua Finch’s photographs of the south
side of the church had been ‘handsomely framed’ and were ready to be sent to London.
An advertisement in the Bunyip, 11 February 1865, said: ‘Joshua Finch, photographer, Jacob
Street, Gawler, in returning thanks to the public for their patronage, hopes to continue to receive a
share of the same, by turning out a good article at a moderate price. Photographs taken on glass or
paper. Works of art copied. Portraits taken for lockets, brooches, &c. Carte de visite and vignette
portraits 10s per half-dozen.’
In June that year he copied an engraving of the late General Wiseman that had appeared in the
Illustrated Times, reducing it to carte de visite size for inclusion in family albums. The Advertiser
was quite impressed, saying, it ‘reflects great credit on his knowledge of the art’.
The Gawler Institute held a grand ‘fancy fair, on the parklands in November 1865, and to
commemorate the event produced a pamphlet which included photographs taken by Joshua Finch.
Loyau’s Gawler Handbook describes one photograph, which was of ‘a noble arch of large
dimensions’, on which was displayed ‘on a colossal scale, the music or notes of “The Song of
Australia”, supported by the mottoes “Willkommen in Gawler”, and “Te Revidere Spero”’.
Joshua Finch died at Gawler on 15 February 1920.365
FINDLEY see BOND, FINDLEY & CO.
FINE ART PHOTO CO.
Listed as photographers at 45 Exchange Building, Pirie Street, in the trade section of the directory
for 1901, with W.J.R. Hilton (an accountant) as ‘agent’. The firm may not have operated a studio,
but acted as an agent for the Fine Art Photo Co. in Sydney.
FISHER, Alfred
Listed as a wood merchant at 13 Fisher Street, Norwood, in directories to 1909, then as a
photographer at the same address from 1910 to 1926.
365
p.499.
113
FISHER, S.C.
The printed inscription on his outdoor cabinet photograph (Noye collection) of a family group is
‘R.S.C. Fisher, Mead Street, Peterhead’. Directories for 1897 and from 1900 to 1907 list a Thos. C.
Fisher at Mead Street, near the Peterhead railway station, and he is presumed to be the Thomas
Coltman Fisher recorded as having a son,366 Richard Scholar Coltman Fisher (1883–1923), who is
almost certain to be the person who took the group photograph.
FLEGELTAUB, Aaron
On 14 August 1885 the following advertisement appeared in the Advertiser: ‘Photography – A first
and general meeting will be held at A. Flegeltaub’s office, Freeman Street, on Friday, August 15,
at 7 pm, for the purpose of forming a photographic society. All amateurs wishing to become
members are requested to attend or send in names.’ As a result of this meeting the South
Australian Amateur Photographic Society was formed, and Aaron Flegeltaub was its first vicepresident.
In the Australasian Photo-Review for June 1949, F.C. Krichauff said that it was Flegeltaub who
originally suggested the formation of a photographic society, and it is possible he may have been
commercially motivated. The directories for 1885 and 1886 give his occupation as ‘importer of
photographic material’.
1882–84
Little Collins Street, Melbourne
1885–86
Bertha Tce, Freeman Street, Adelaide
1888–89
Sturt Street, Ballarat
FLORANCE, Alfred Harrill
In October 1873 Alfred H. Florance of the Millicent Dispensary advertised as ‘chemist and
druggist, stationer and photographer’. He was almost certainly the proprietor of the Millicent
Photographic Studio which opened in November, and which a few months later was advertising in
the Mount Gambier Standard, ‘Cartes de visite from 5s. per dozen. Family Groups at reasonable
prices’.
On 15 February 1874 Alfred Harrill Florance married Emily Bosher at Mount Gambier.
FLYNN, J.D. see STANDARD ENLARGING COMPANY
FOELSCHE, Paul Heinrich Matthias
Paul Heinrich Matthias Foelsche (1831-1914), police inspector, was born on 30 March 1831 at
Moorburg, near Hamburg, Germany, son of Matthias Foelsche. At 18 he enlisted in a German
Hussar Regiment and at 25 migrated to South Australia. In November 1856 he was appointed
trooper third class in the Mounted Police. He was transferred to Strathalbyn where on 5 January
1860 he married Charlotte Georgina Smith. He devoted much time to firearms and as an expert in
colouring stocks and barrels his services were in great demand by local volunteer corps. While at
Strathalbyn he was appointed sub-inspector in charge of the newly-formed Northern Territory
Mounted Police. In January 1870 he arrived in the Northern Territory where he spent his
remaining years apart from brief visits to Adelaide in 1884 and China in 1897.
After establishing a modest home in Palmerston (Darwin) Foelsche sent for his wife and two
daughters. He adapted well to the difficult environment and set an example to the settlers. He
366
p.503.
114
remained cheerful and optimistic when others were complaining of hardship and sacrifice. As 'the
very best man that could have been selected for the position at that time' he became a great force in
the community. He was an excellent conversationalist, speaking and understanding English as well
as his German and was very popular. He became 'a perfect encyclopedia on Northern Territory
affairs and people'. He also won repute as a dentist and had a large collection of the best dental
instruments.
As a policeman Foelsche was a 'veritable sleuthhound of the law', with a natural detective instinct
and mental powers that made him dreaded by criminals. His knowledge of the law was such that
he was said to be the best lawyer outside the South Australian Bar. He had a keen intellect,
studious habits and a retentive memory. When stationed at Strathalbyn he was often selected for
special duty where exceptional tact and discretion were required. Police Commissioner George
Hamilton (1812-1883) considered him one of the most capable men in the police force, and Lord
Kintore, governor of South Australia, described him as intelligent and efficient. In pursuit of his
police duties Foelsche was unrelenting and displayed exceptional energy and courage when he led
the search for native murderers. His cunning stratagems invariably led to the apprehension of
suspects. Soon after he arrived in the Northern Territory he realized the difficulty in administering
justice to the natives and made a systematic study of Aboriginal customs and language. On 2
August 1881 his authoritative paper, 'Notes on the Aborigines of North Australia', was read to the
Royal Society of South Australia.
About 1873 Foelsche succeeded Captain Samuel White Sweet as leading photographer of the
Northern Territory where his work became the main pictorial record of natives, scenery and
industries for the next twenty years. At his own expense he distributed thousands of his
photographs to prominent persons and societies at home and abroad, spreading his belief in the
potential of the northern colony. Anthropological studies sent to Germany earned him the gratitude
of the Kaiser, who presented him with a gold hunting watch and signed portrait. As late as 1920
copies of Foelsche's Aboriginal studies were being sent to universities overseas. Many of his
original prints survive in Australian archives, and many negatives are in the Noye collection
(PLSA) and in the South Australian Museum.
Foelsche was a useful botanical collector and correspondent for F. Mueller, who named in his
honour Euc. Foelscheana, a well-known Northern Territory tree. In the territory a mountain, river,
headland and street in Darwin bear his name. A notable Freemason, he helped to found the Port
Darwin Lodge which was named after him. He retired from the police force in January 1904, and
was awarded the Imperial Service Order. In his last two years he was confined to his chair and
suffered much pain before he died on 31 January 1914.
R.J. Noye, 'Foelsche, Paul Heinrich Matthias (1831-1914)', Australian Dictionary of Biography,
volume 4, Melbourne University Press, 1972, pp. 192-3. Reproduced with permission.
FOOKS, Dr E.V.R.
One of the founding vice-presidents of the Gawler Camera Club in 1904.
FORGIE, M.W.
FOX, Edgar
(Thomas) Edgar Douglas Fox was born at Hoyleton on 14 June 1875.367 The son of photographer
Thomas Moorhouse Fox, he became an amateur photographer and member of the South Australian
367
Dates given in Ern Carmichael (ed.), Happy Was Our Valley: The Douglas Family History, Gillingham Printers, Adelaide, unpag.
115
Photographic Society. He was also an active and one of the first members of the Adelaide Camera
Club, serving in various office-bearing roles. Known as ‘Edgar’, he built his own camera that
could adapt to various plate sizes.368 His profession was carpentry until the age of 23, when he
sailed to Fremantle for the goldfields in Western Australia, although he soon returned to Adelaide.
He spent eighteen months in Adelaide building houses, and then worked as a carpenter at Moonta
Copper Mines and Broken Hill. In 1906 he took up land on Kangaroo Island and married there in
1914. In 1938 his family moved to Hectorville and two years later to Woodville. He died in 1967
at Woodville.
Carolyn Lovitt
FOX, Thomas Moorhouse
Thomas Moorhouse Fox was born in 1840 in South Australia, the son of English-born parents.369
From about 1861 to the early 1870s he operated a photography studio in Clarendon in partnership
with S.J. Dailey. At the same time he also worked as a shoemaker for several years. In 1869 he
married Lydia Douglas. After his marriage he joined his father, Thomas Fox, in the Clarendon
general store,370 and gave up photography. In February 1881 he purchased the Coobowie farm, but
died in September that year at Hoyleton, South Australia. His son Thomas Edgar Fox (1875–1967)
later became an amateur photographer.
Carolyn Lovitt
FRANCIS, Arthur
Born in South Australia on 1 July 1853, Arthur Francis was the son of G.W. Francis, first director
of the Adelaide Botanic Garden. His older brother, William Augustus Francis (q.v.), and his
brother-in-law, Henry Anson (q.v.), were also photographers.
In September 1875 Stephen Nixon, manager of the Yorke Peninsula Photographic Co., advertised
that his Moonta and Kadina studios were to be ‘disposed of’,371 and by September the Kadina
studio had been taken by Arthur Francis, who advertised: ‘The Yorke’s Peninsula School of
Photography, Taylor Street, Kadina. – The studio, lately occupied by Mr S.E. Nixon, will in future
be conducted by Mr A. Francis, whose long experience with the best artists in Adelaide, will
enable him to produce results unsurpassed at any atelier in the colony. Mr Nixon leaves all his
negatives with his successor, who will be happy to execute orders for duplicate copies.
Photographs enlarged and finished in oils, water colours, or mezzotint. N.B. Alterations have been
made in the lighting of the studio, with a view to ensure the most beautiful results.’372 Arthur
Francis must have taken up photography at an early age, probably with his brother William, as he
was only 22 years old when he advertised his ‘long experience with the best artists in Adelaide’.
Arthur Francis was working as a ‘photographic operator’ for the Adelaide Photographic Company
(q.v.) when its studio at 23 King William Street was destroyed by fire in February 1879. At the
inquest he said he lived at Glenelg and had been working for the company since 9 September
1878. He also said that he had ‘been 14 years in the profession’, that is, since he was 12 or 13
years old, as his birth date is given as 1853. The manager of the company, Mrs Davis, described
Francis as a ‘very steady and careful man’.373
By October 1880 Arthur Francis was working as an operator for George Jenkinson, a travelling
photographer who was manager of the Areas Photographic Company (q.v.). At the time company’s
368
370
371
372
Wallaroo Times, 25 September 1875.
373
369
116
tent-studio was at Port Augusta, where the local newspaper, the Dispatch, reported: ‘The highclass work executed by the company cannot fail to give satisfaction, whilst the price charged for
cabinets and cartes de visite are such as to enable every class of the community to preserve the
portraits of friends and relatives. The work already completed is a sufficient warranty of the artistic
finish of all orders entrusted to them, whilst visitors will receive every courtesy and attention Mr
Jenkinson is to be complimented, as is also the operator, Mr Francis, upon the general character of
the work emanating from their studio.’374
For several years the Areas Photographic Company had two studios on the road, one of which was
under the supervision of Arthur Francis, who arrived at Port Augusta in September 1881 on the
company’s second visit to the Port. The Port August Dispatch said:
The artistic finish of the work at the Company’s atelier during the first visit gave universal
satisfaction, and as Mr Francis, the obliging operator, is still in charge, the public may reasonably
expect equally satisfactory results upon this occasion, especially as they have added a new process
– known as the Gelatine Bromide [dry-plate] process – by which pictures can be taken
instantaneously. Children of tenderest age and given to exhibitions of waywardness and irritability
can be photographed with the greatest ease and success. Those who are desirous of securing
photographs of themselves or friends of unquestionable merit should visit the Company’s studio.375
Arthur Francis paid a third visit to Port Augusta in October 1882,376 and was at Farina in August
1883: ‘Mr Jenkinson has favoured us with some cabinet views he has received from Mr Arthur
Francis, of the Areas Photo Co., now in Farina. There are two beautiful wood and water scenes and
others of camels, giving one altogether a very flattering idea of Farina. The prevalent idea
regarding Farina is that it is nothing but desert, and immediately around the town this is the case;
but a little way off are the Government Gums, and these with the water in the creek Mr Francis has
succeeded in capitally photographing.377 Directory entries for A. Francis, photographer, were:
1878
1887
1888
1890–92
Kadina
Port Lincoln
Petersburg (Peterborough)
Ellen Street, Port Pirie
Arthur Francis would have been one of the partners of Francis Brothers (q.v.) and, as he died
(unmarried) on 13 April 1893,378 an entry for ‘Arthur Francis, photographer, Grace Street,
Goodwood Park’ in the directory for 1898 is either an error or a reference to another person.
Two styles of his cartes de visite (Noye collection) have not been dated: a blue card inscribed
‘From the National Photographic Studio, Hindley Street, Adelaide. Arthur Francis, Manager.’; and
a pink card with a design by Carey & Page inscribed ‘Great Northern Photo. Co. A. Francis,
Manager’.
FRANCIS, William Augustus (FRANCIS, W.A. & CO.)
Born in London, England, in 1842, William Francis was the son of G.W. Francis, first director of
the Adelaide Botanic Gardens, and came to South Australia with his parents on the Louisa Baillie
in 1849. His younger brother Arthur Francis (q.v.) and brother-in-law Henry Anson (q.v.) were
also photographers.
Henry Anson established the Adelaide Photographic Institution early in 1863 and by the end of the
year had taken William Francis as his partner and they worked together as Anson & Francis at 97
374
Port Augusta Dispatch, 9 September 1881.
376
377
378
525.
375
117
Rundle Street until 1865. Details of their partnership can be found under ANSON, Henry.
By January 1866 Henry Anson had left the partnership, as William Francis alone was named as
proprietor in advertisements for the Adelaide Photographic Institution,379 but he too must have
given up the business a little later, as Thomas Jackson (q.v.) advertised in January 1867 that he had
‘purchased the whole stock of negatives belonging to Messrs Anson & Francis’.380
On 28 October 1868 the Register reported: ‘Specimens have been left at our office of a series of
landscape photographs taken on the Barossa diggings by Mr Francis, for Mr T. Jackson, of Rundle
Street. The artist has selected very characteristic points and been very successful in producing
effective views. The series includes the township of Yatta, German Hill, Spike Gully, and all the
most prominent features in the district.’
In April 1874 Bernard Goode advertised his lucrative portrait studio and photographic warehouse
at 69 Rundle Street for sale. ‘Lenses, Chemicals, and apparatus, to be sold. The lease has over 11
years to run. There are over 13,000 Negatives, also negatives of Views and Blacks, and numerous
accessories, the whole of which can be taken at valuation.’381 Francis purchased the business and
expanded his collection of negatives. In 1877 he advertised, ‘W.A.F. is prepared to supply extra
cards or execute enlargements from the following Carte-de-Visite negatives now in stock:–14,000
taken by S.A. Company [Australian Photographic Company?], 12,000 by B. Goode & Co., 20,000
by himself. The Profession supplied with Chemicals, Apparatus, &c., as usual. A complete Set of
Apparatus, with Chemicals, &c., for £10, with instructions.’382 In 1878 he was advertising ‘lifesize portraits in oil, water colours or plain, finished in superior style’, and called himself
‘photographer and importer’. On 12 October that year he married Jessie Marion Withers, daughter
of the taxidermist at the Museum.
In April 1881 William Francis advertised that he was going to retire from portrait taking and
invited offers for the purchase of his negative collection. A month later he had moved to Leigh
Street where he continued his business as an importer of photographic materials, but by the end of
the year had moved again to a location opposite Dobbies in Gawler Place.383
Francis may have resumed portrait taking by 1887, as a report of a fire on his premises that year
called him a photographer, and referred to chemicals he used, not that he sold. He occupied the top
two floors, about five rooms, of a three-storey building on the eastern corner of a right-of-way near
65 Rundle Street. The fire started in the room in which he stored his chemicals.384
Directory entries for W.A. Francis and W.A. Francis & Co. after 1881 were:
1882–85
1886–87
1888–90
1891
1892
1893–94
1895
1896
1897
1898
1899–00
1901
Gawler Place, Adelaide
right-of-way, off Rundle Street, Adelaide
Grenfell Street, Adelaide.
George Street, Norwood
Beulah Road, Norwood
47 Osmond Terrace, Norwood
Parade, Norwood
55 William Street, Norwood
13 Stevens Street, Adelaide
Albert Street, Goodwood Park
379
Advertiser, 6 and 10 January 1866.
381
382
383
Advertiser, 25 April, 10 May, 3 October 1881.
384
380
118
1902
1903–06
1907
1908
1910–14
1915
10 Sturt Street, Adelaide
231 King William Street, Adelaide
87 Wright Street, Adelaide
Chatham Street, Adelaide & Naracoorte
Naracoorte
Naracoorte & 114 Gray Street, Adelaide
There also an entry for W.A. Francis as manager of the Art Portrait Co. (q.v.), 174A Rundle Street,
in the directory for 1897.
Directory entries for W.A. Francis, photographer, at Kadina from 1876 to 1880 must be an error,
possibly due to confusion between him and his brother, Arthur Francis, who had a studio at Kadina
in 1875.
Francis died at Adelaide on 5 June 1918.
FRANCIS BROS
Two different printed inscriptions have been found on their cabinet photographs: ‘Francis Bros.,
photographers, Norwood and Country’; and ‘Francis Bros., Town and Country … copies [from]
Francis Bros., Adelaide’. The partners in the firm would have been William Augustus Francis,
listed as photographer at Norwood in directories from 1890 to 1896, and his brother Arthur, the
country partner, listed at Port Pirie from 1890 to 1892. Although Arthur died on 13 April 1893,
there is an entry for Francis Bros., Gawler, in the directory for 1894.
FRASER, Robert
Amateur photographer and Port Adelaide draper who was a member of the Semaphore
Photographic Society. The report of an exhibition of the society’s work which appeared in the
Australasian Photo-Review for August 1912 said: ‘Mr Fraser, who is widely known in the State as
a photographer, was represented by some particularly worthy land and seascapes, general work
and copies’. The titles of four of his photographs and processes used were given.
He gave a lecture on ‘The Ideal in Composition’ at the society’s monthly meeting in February
1913. He was described as ‘an enthusiastic advocate of pictorial methods’, and his lecture
‘comprised a number of diagrams sketched to represent the correct and incorrect manner in the
composition of picture making. The lecturer explained the diagrams as they were exhibited in a
clear and concise manner, which proved interesting, and will undoubtedly have the desired effect
of setting the members thinking and help them to compose pictures in a more efficient manner.’
At the society’s monthly meeting in June 1916 Robert Fraser demonstrated the carbon process, a
favourite with pictorial workers, and at the annual meeting in July he was re-elected president. He
was also president when, in January 1923, he reported that ‘the Board controlling the National Art
Gallery of South Australia had, on the advice of the Fine Arts Committee, purchased one of his
pictures, a bromide enlargement titled “A Busy Port”, for inclusion in the new section now being
established for Pictorial Photography’.385
FRAUTSCHY, R
An undated cabinet photograph carries the primed inscription ‘R. Frautschy, Caltowie’. The
photographer was probably Reinhold Frautschy, listed as a tailor at Caltowie in directories from
1886 to 1909. He was born c.1856 and died on 23 December 1929.386
385
2, p.530.
386
119
FREEMAN, George John
George Freeman was born in London on 17 January 1842 and was educated at Bayswater
Grammar School. On 30 November 1857, when he was fourteen years old, he wrote a letter to his
father in which he said he would be home for a few weeks in the Christmas vacation.
I trust that I have made great progress in my Drawing and English which I hope will meet your
approbation. I have tried to get on in my French and hope at the termination of my holidays you will
think me fit to go to France. In return for the great kindness you have shown me this year in buying me
a set of apparatus for Photography and allowing me to take lessons in the same I have tried to get on in
it and in my other studies which efforts I hope you will not find fruitless. In my holidays I hope to take a
portrait of you to send to New Zealand.
Freeman came to South Australia with his father and stepmother, Selina, née Francis,387 on the
Countess of Fife, arriving at Port Adelaide on 3 January 1861, and in a very brief diary he kept on
the way out he noted: ‘Nov. 17: A calm, light winds. Printed some photographs. Nov. 18: A calm.
Print photographs.’ Although only nineteen years old, he lost no time in establishing himself as a
photographer, and in October informed the inhabitants of Kapunda that he would ‘shortly arrive at
the North Kapunda Hotel’ where he would ‘take photographic portraits at reduced prices’.388 By
the end of the year he was advertising his ‘Cheap Portrait Rooms’, which were two doors from the
Clarendon Hotel in Hindley Street West, Adelaide. His portraits cost ‘from two shillings and
sixpence’ and could be on glass, paper, leather or talc, and he proved miniature portraits for
lockets, rings and brooches. The portraits could be taken ‘in any weather’ and his hours of business
were from ‘9 a.m. until dusk’.389
Freeman made another professional trip to Kapunda in May 1862. He sent three boxes of
photographic apparatus and chemicals to Kapunda by rail, but when he opened them on arrival he
found that two bottles had been broken and corrosive acid had spilled over his camera. He took
legal action against the railways contractor, claiming £6 11s damages for injury done to his
equipment and £30 ‘for loss of time, as he ‘could not pursue the duties of his profession as a
photographist in consequence of the damages inflicted to the camera’. He lost the case, as the court
considered the box was ‘not strong enough for the purpose for which it was employed’.390
In August 1862 Freeman produced several photographs ‘in quite a novel style’, using a process
said to be discovered by a Mr Forwood, but which appears to have been Herschel’s cyanotype
process or a variation of it. ‘All previously employed photographic reagents are dispensed with,
and a blue tinted portrait is the result. Mr Freeman is, we understand, enabled by the invention to
take likenesses in red and yellow also; and although the effect cannot be pronounced pleasing, it is
certainly a step towards producing coloured portraits.’391
Freeman was severely injured and lost the sight of an eye in an explosion which occurred during
an oxygen-making experiment in the cellar under his studio in December 1864.392 By this time his
studio was identified as being at No. 97 Hindley Street where he was making cartes de visite and
carrying out ‘photographic work in all its branches’.393 In May 1865 Freeman made Adelaide’s
earliest recorded double portrait, a novelty that was soon picked up by other city photographers.
The South Australian Register reported that ‘the carte contains two portraits of the same
gentleman, one sitting, without his hat, and looking upward, and the other standing, with his hat
387
388
389
His mother Eliza Alderson Douglas had died in 1854.
Northern Star, 12 October 1861.
The Lewis Book Almanac for 1862.
The Advertiser, 22 May 1862.
391
South Australian Register, 19 (29?) August 1862.
392
South Australian Register, 31 December 1864, 19 July 1866.
393
Directory for 1865, advert. p. 125.
390
120
on, and looking downward. They are evidently portraits of the one person … the thing is
ingenious.’394
In June 1866 George Freeman advertised that he was leaving Hindley Street to open his new Town
Hall Photographic Gallery opposite the Town Hall, in King William Street, but by the time he
opened there on 7 July he had acquired a partner, thought to be Edward Belcher, and was trading
as Freeman and Belcher.395 On 20 July 1866 they advertised in the German language newspaper
Tanunda Deutsche Zeitung that the proprietors of the Town Hall Photographic Gallery were
(translated): ‘Messrs Freeman (previously in Hindley Street) and Belcher (of North Adelaide)’. In
September 1866 the partners produced what were called ‘sculpture photographs’, which were
‘intended to give the subjects a statuesque appearance’.396
By 16 February 1867 Freeman and Belcher had vacated their studio opposite the Town Hall and it
had become a temporary office for the newly appointed Government Photo-Lithographer, F.S.
Crawford. In October 1867 Messrs Hall and Freeman, believed to be George Freeman and Richard
Hall, spent several weeks at Eden Valley where they appeared to be ‘doing a good trade, especially
on Sunday’.397 (This correspondent was not the only one to report on a photographer who worked
on the Sabbath.) By the end of November Hall and Freeman had reached Tanunda, where they
opened a photographic studio at the Tanunda Hotel. They had samples on display and advised
residents that, because their stay would be brief, bookings would be necessary.398
In October 1868 George Freeman had opened a studio at 201 Rundle Street, and on the back of
one of his cartes de visite (Noye collection) for this address the characters ‘& Co.’ appear to have
been over-printed under ‘Geo. J. Freeman’. During 1868 Freeman applied for the position of
official photographer with the government’s expedition to the Northern Territory (dated 23
October 1868) but was rejected by the South Australian Government Surveyor, George Goyder, in
favor of J. Brooks and W. Barlow.399
In 1872 Freeman moved to premises at 16 Rundle Street and began operating as the Melbourne
Photographic Company. He advertised an art union of oil paintings and prints, whereby: ‘Every
order of six cartes-de-visite will secure One Ticket for Art Union …’400 Throughout the 1870s the
Melbourne Photographic Company maintained links with the fine arts through art unions and
exhibitions, and by 1876, having expanded to occupy premises at 16, 18 and 20 Rundle Street, was
advertising as the Melbourne Photographic Company and Gallery of Fine Art.401 E.J. Wivell (q.v.)
was Freeman’s partner in the Melbourne Photographic Company. It is unclear when the
partnership began; however, Wivell was involved with the business by 1874 and he remained a
partner until December 1878.402
In 1873 Freeman presented a ‘dissolving view and oxyhydrogen light show of dissolving
illustrations from the Life of Christ (after Dore, painted by James Moore, of Melbourne), The
Bottle and the Drunkard’s Children (after George Cruikshank), and Bunyan’s Pilgrim’s Progress.
He received some strongly worded criticism in the local press.403 During this period Freeman also
394
The Advertiser, 28 June 1866.
396
397
398
Tanunda Deutsche Zeitung, 29 November 1867.
399
PRO, GRG35, SGO 1188/1868.
400
401
Directory advertisement 1876.
402
SAGG 18 December 1878.
403
Portonian, 8 March 1873. ‘SACRED PICTURES. – We must really object to the notorious trading upon sacred subjects. The
Melbourne Photographic Company advertise in the dailies Gustave Dore’s dissolving illustrations of the Life of Christ ... The whole
thing is a vulgarly sensational dodge to raise money by appealing to weak minds ... The "Temptation on the Mount" scene was simply
blasphemous – the Devil being represented as something between an idiot nigger and a drunken Christy Minstrel ... The pictures, on the
whole, are no more Dore’s than Adam Ball’s … The room is in total darkness during half the time, so that one can hardly see how the
people are amusing themselves – but from the jingle of glasses on the platform one would almost think that there was something more
than water in the two decanters standing upon the reverend lecturer’s table.’
395
121
began to consolidate his trade stock of South Australian views into small portfolios, which could
be sent to England by the penny post. By June he was distributing a set of eighteen views, which
included the Town Hall, Post Office, Supreme Court, the Advertiser Office, and buildings in the
Botanic Gardens.404
By 1874 the Melbourne Photographic Co. was the sole South Australian agent for the Art Union of
Victoria, in association with Edward James Wivell, and during this year Freeman presented a very
successful exhibition of British and Colonial paintings and nearly 800 large photographs at the
Adelaide Town Hall. This included views of the Holy Land, Egypt, the Alps, Scotland, and scenes
of British castles, abbeys and cathedrals. It also included paintings by ‘J.W. Curtis, H.J. Johnstone
and other colonial artists ...’405 Wivell had been previously associated with Johnstone in
Melbourne.
In March 1875 Freeman secured some beautiful ‘instantaneous’ views of the rocks and sea at Port
Elliot, capturing the action of a breaking wave, a feat not easily achieved with the slow emulsion
of the wet-plate process and, according to a press report, it was the first time this type of
photography had been attempted in South Australia.406
These pictures include a passing and a coming squall ... ‘The Lover’s Seat’, a picturesque retreat,
high up among the rocks, overlooking the mighty ocean, and well-known to many fond couples in
the south; and a view of the old jetty at Port Elliot itself. The angry sky, scudding mist, and dashing
waves and spray in the storm scenes are excellently reproduced, and equally faithful are the
representations of Nature in her calmer moods, with the fleecy clouds, quiet sea, and regular wash
of the waters on the shore. The localities are at once recognisable, and persons acquainted with
Encounter Bay will readily notice the Bluff as a bold and familiar feature of one of our most
striking and attractive landscapes: One view, supposedly representing a moonrise, was probably a
‘moonlight effect’ produced by photographing against the sun in daylight. The rising moon with
huge billowy clouds, their edges lighted by the pale orb, is very striking and a triumph of art.407
In June 1875 Freeman photographed a scene at Mount Gambier and used it to produce a moonlight
effect similar to that seen in photographs of Venice recently imported by Wigg & Sons and
previously described by the press.408 Freeman’s latest moonlight effect, it was said, was better than
his earlier Port Elliot effort and had been completed only twenty-four hours after he had ‘inspected
Wigg’s Italian photographs. The peculiar greenish tint observable in the moon’s rays is faithfully
represented. Although the picture exhibits slight traces of haste, it is a very creditable work, and its
merit deserves recognition.’ 409
Freeman completed extensive alterations and additions to his studio in August 1875. A compact
entrance hall for displaying samples of his work was formed at the foot of the stairs leading to his
rooms, which were all upstairs. The studio now looked over Rundle Street and was modelled on
the plan of Loeschen & Paesch’s premises in Berlin and, ‘at considerable expense’, Freeman had
imported one of Wester’s rotary burnishers to give a fine gloss to his photographs; this brought out
the lights and shades in the same way as varnishing did with a picture.410
A few weeks later Freeman completed two panoramic views of Adelaide, made to the order of the
South Australian Commissioners for the Philadelphia Centennial Exhibition of 1876. The largest
panorama, almost twelve feet long by two feet wide, had been photographed from the lookout on
top of the Advertiser and Chronicle offices in King William Street. It commenced with the General
Post Office, taking in the Town Hall, Eagle Chambers, White’s Rooms, the National Bank, West
Terrace flagstaff, and all minor buildings within range of the camera. The second panorama, six
feet long and two feet wide, was taken from the home of Mr. S.J. Way on Montefiore Hill, looking
404
The Advertiser, 7 June 1873
South Australian Register 14 August 1874.
407
The Advertiser, 10 March 1875; South Australian Register, 10 March 1875.
408
409
The Advertiser, 10 June 1875; South Australian Register, 10 June 1875.
410
405
406
122
over the city and taking in the view from St Peter’s Cathedral to the gaol, with the cricketing oval
in the foreground. The panoramas, together with a number of photographs of Adelaide’s ‘finest old
buildings’, were sent to Philadelphia by the California mail.411 By mid-December Freeman had
made three more sets of the two panoramas. One set, framed in oak, was securely packed in strong
zinc-lined cases and shipped to London on the Hesperus, where they were to be hung in the Agent
General’s office to give intending immigrants and old colonists ‘a faithful bird’s-eye view’ of the
capital of South Australia. The third set was held in the Adelaide office of the local Philadelphia
Exhibition Commissioners, and the fourth set was for Freeman’s Melbourne Photographic
Company rooms in Rundle Street.412
On Christmas Eve 1876 Freeman married Mary Sarah Goodhart. They had five children.413 In mid1877 Freeman produced specimens of what he termed ‘academy photographs’. ‘In the pictures’,
The Advertiser reported, ‘we saw the likenesses are surrounded by settings representing literature,
art, the drama, and masonry. The effect is very pleasing. This is a new feature in photography, and
for its introduction into this colony we are indebted to Mr. Freeman, who, like the Athenians of
old, is always looking out for something new.’414
In 1878 Freeman won a Bronze Medal at the Exposition Universelle Internationale, in Paris, with a
collection of views of South Australia. They were praised by J. Boothby, the Special South
Australian Commissioner, from Paris, who wrote ‘that the photos attract much attention, [being]
beautifully mounted in plain oak frames. Several people said: ‘They suppose it is the clear
atmosphere that makes them so beautiful’.415 In February 1879, in a period during which his
fortunes see-sawed, Freeman’s Rundle Street premises were destroyed by fire. A coronial inquest
followed. Later that year, in a lengthy demonstration executed for a journalist from The Advertiser,
Freeman debunked the new craze for ‘spirit photographs’ by showing how these could be faked by
partially exposing the photographic plates prior to their use.416
By 1880 Freeman had produced a number of views of public buildings intended for the Melbourne
International Exhibition (1880). The Advertiser reported that there were twenty-three in number,
‘principally of public buildings in the city, Port Adelaide, North Adelaide, and other places. They
included the vice-regal residence at Marble Hill, the Bank of South Australia, the Bank of
Adelaide, the new Exchange, the Town Hall at Port Adelaide, and the Sailors’ Home.’417 The
photographs measured 18 x 22 inches (44 x 54 cm), and sixteen of these photographs are now in
the collection of the Art Gallery of South Australia. A selection of about 80 views, which included
some of those listed above, was also sent to the 1879 International Exhibitions held in
Philadelphia, Paris and Sydney, and Freeman was awarded a Bronze Medal for his Sydney entry.
In connection with the Melbourne International Exhibition, Freeman also recorded the stranding of
the SS Sorata, which was swept up on to rocks off Cape Jervis, Backstairs Passage, on the night of
3 September 1880 while en route to Melbourne. 418
In 1881 Freeman was commissioned to record the official opening exhibition of the National Art
Gallery, Adelaide, by Prince Albert Victor and Prince George. He took two views of the ceremony
and, in one, the younger prince is shown with Sir Henry Ayers, Lieutenant Jervois, and Abraham
411
The Advertiser, 1 October 1875; South Australian Register, 1 October 1875.
413
Mary, George, Anna, Gertrude, and Arthur.
414
The Advertiser, 14 July 1877.
415
BRG 146/2/42, SLSA; copy in R.J. Noye file. Letter to the South Australian offices, dated 8 May 1878.
416
The Advertiser, 22 November 1879.
417
The Advertiser, 31 August 1880. The South Australian Register, 31 August 1880, also lists the Gawler Town Hall, and Gawler
Institute, and the Marine Board Offices, Port Adelaide as being among the collection viewed. See Gael Newton, Shades of Light:
Photography and Australia 1839–1988, Australian National Gallery, Canberra, 1988, p. 42 for reproduction of Port Adelaide,
downstream, c.1880.
418
The Argus, Summary, 14 September, 1880. On board were Sir H. B. Sandford, the British Commissioner for the Melbourne
International Exhibition, and the Duke of Manchester, and in its cargo were parts of the Swiss, Belgian and British Courts being ship to
the exhibition. The State Library of South Australia holds a copy of the photograph.
412
123
Abrahams, the latter’s head noted to have ‘vanished in space’.419 Abrahams’s portrait was later
montaged into the scene by the Melbourne Photographic Co. studio.420
In 1882 Freeman’s work was praised for its technical skill; he was producing images using the
instantaneous process, which he had first advertised using in 1879.421
The street views are remarkably clear and sharp, the outlines of both men and animals in motion
being just as precise as those of buildings or other stationary objects. But perhaps the greatest
marvel of the whole is a photograph of a railway train taken while it was travelling at the rate of
fully thirty miles per hour. In this view the engine, with its driver and the attached carriages, are
shown with extraordinary clearness; in fact, a casual observer would probably regard it as a very
successful picture of a railway train at rest ... The apparatus which regulates the flash of light to the
sensitive plate was manufactured in the colony, and, we are informed, only admits the light for the
space of one-fiftieth part of a second.422
By January 1883 Freeman had moved his business to the corner of King William and Hindley
Streets.
The Melbourne Photographic Company continued to operate until 1884, although Freeman was
proprietor only until June 1883, when he sold the business to his operator J.W. Bell.423 By May
1884 George Freeman had moved to Newcastle where he intended settling down as soon as he
could find suitable premises. The Newcastle paper reported:
The acme of photographic skill seems to have been reached in the splendid artistic triumph of Mr.
Freeman delineating the Synod group at Newcastle. The perfect likeness of so many well known
clergymen and laymen cannot fail to strike the eye as something almost marvellous and speaks
highly for the taste and research of Mr Freeman in his profession. The sooner he obtains suitable
premises in Newcastle, for the display of his splendid pictures and the general exercise of his art,
the better for the public. 424
However, Freeman moved on and was listed as a photographer at Balmain, Sydney, from 1886 to
1887, and Parramatta from 1887 to 1889.425
By the end of 1891 George Freeman had returned to Adelaide, and was listed as a photographer in
the directory for 1892, and in December that year erected the first camera obscura in South
Australia, at Glenelg, on the beach opposite the Institute. He was listed as a photographer, ‘off
Fisher Street, Norwood’, in the directories for 1893 and 1894, and at Rodolph Terrace, Glenelg,
for 1895. Freeman died on 5 April 1895 and was buried in the West Terrace Cemetery, Adelaide.
R.J. Noye and Ken Orchard
FREEMAN, William Hardy
W.H. Freeman is listed as the manager of Baker and Rouse (q.v.), 69 Rundle Street, Adelaide, in
the directories for 1894 and 1895.
His obituary and portrait were published in a supplement to the Australasian Photo-Review for
March 1898:
Mr Freeman was connected with the photographic business for many years, and has been a trusted
employee of Messrs. Baker and Rouse since 1892. He was well-known and universally respected
both in Sydney and subsequently for a long time in charge of the Brisbane branch of the firm’s
business. In 1894 he was appointed manager of the South Australian branch, and has resided
419
South Australian Register, 20 June 1881
The State Library of South Australia holds a copy of this photograph.
421
South Australian Register 16 July 1879. Note also that his views of Port Elliot and Mount Gambier in 1875 were described in articles
as using the instantaneous process. See South Australian Register 10 March 1875.
422
South Australian Register, 30 January1882:
423
Frearson’s Weekly, 9 June 1883.
424
Newcastle Despatch, 1, 10, 17 May 1884.
425
Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford University Press, Melbourne, 1985
420
124
continuously in Adelaide since that time, where he made a host of friends by his straightforward
honesty, practical sympathy with all photographers, and genial manner of conducting the business.
Latterly he had suffered greatly in health from lung troubles, and came to Sydney for a muchneeded rest, where he died at his mother’s residence in Lewisham on the 18th instant. He leaves a
wife and one child … He was trusted and liked by all with whom he came in contact. The funeral
took place at Waverley Cemetery on Saturday 19th March. The Adelaide branch was closed for the
day in token of respect for the memory of the deceased.
FREEMAN & BELCHER see TOWN HALL PHOTOGRAPHIC GALLERY
FIDGE, Ernest Lewis
A farmer and amateur photographer who lived near Pedlers Creek, south of Noarlunga, and who
photographed scenes of Adelaide and his local area. He was born in c.1881 and died suddenly in
1925.
FRUHLING & CO. (FRITZ IDEA)
The directory for 1894 lists 62 Rundle Street as ‘Portrait and Enlarging Co., Fritz Idea’, and an
undated cabinet photograph (Noye collection) carries the printed inscription ‘L’Amico Fritz, 62
Rundle Street, Adelaide’.
The following year, 1895, the entry changed to ‘Portrait and Enlarging Co., Fruhling & Co.’,
which continued until 1913, when the address was changed to 62A Rundle Street. From 1918 to
1927 the address was given as 103A Rundle Street. Although listed as Fruhling & Co. in
directories, the name Fruhling Studios was usually printed on their photographs.
FURNER, Luke Lidiard
In August 1867 L.L. Furner, draper at Moonta, gave evidence in a dispute between James Uren
(q.v.) and a man named Haines over the ownership of a portable photographic darkroom.426 In his
evidence he said, ‘I know something about photography. Am acquainted with every part of the
business … I have bought an apparatus myself’. It is not known whether Furner produced any
photographs with his wet-plate camera. Biographical details can be found in the Biographical
Index of South Australians.427
426
p.539.
427
125
G
GABRIEL, Franklin
Was a member of the South Australian Photographic Society where he showed specimens of his
work at the May 1901 monthly meeting. His picture, Tranquillity, exhibited at the January 1903
exhibition of the Kapunda Photographic Club was described as ‘a very pleasing study’.
He was listed as an ‘outdoor photographer’ at 107 Pulteney Street, Adelaide, in the directories for
1904 and 1905, and at 38 Wright Street from 1907 to 1910, after which his address was 40 Wright
Street, the change being due to re-numbering.
His last entry as a photographer was in the trade section of the directory for 1922, which suggests
he was probably the Franklin Gabriel who died at Adelaide on 17 September 1923. He was born in
Victoria on 21 April 1858 and arrived in South Australia in 1875.428
GALL, David
Father of photographer Ernest Gall (q.v.). He has been described by various sources as journalist,
printer, engraver and amateur photographer. He was born 23 December 1824 at Woodbridge,
Suffolk, England, and arrived in South Australia in 1850. After his death on 21 December 1887 his
residence at 17 Tynte Street, North Adelaide, was occupied by his son Ernest and known as
‘Woodbridge’.429
GALL, Ernest
The son of David Gall (q.v.), journalist, printer, engraver and amateur photographer. Perhaps
influenced by his father’s interest in photography, Ernest Gall had become a member of the South
Australian Photographic Society by 1889. The society’s letter book (State Library of South
Australia) contains a copy of a letter of introduction dated 20 January 1890. ‘Mr E. Gall (who is on
a visit to England) is an old and highly esteemed member of the South Australian Photographic
Society. Anything you do for him will be considered a favour by the society, which wishes him to
report on what he has seen on his return.’
Ernest Gall was listed in the directory for 1890 as an ironmonger’s assistant residing at his father’s
address, 17 Tynte Street, North Adelaide. For three years his address was recorded in directories,
but not his occupation.
1893
Hutt Street North, Adelaide
1894–95
282 Flinders Street East, Adelaide
However, he must have been active professionally in this period, as the Observer referred to his
work in July 1893: ‘Artistic Photography. – We have been shown … photographic views … of the
Synagogue Bazaar done by Mr Ernest Gall for Mr Scott Barry. They are remarkably clear in detail
and soft in tone. Each of the stalls forms a picture in itself, and the faces of the people grouped
about are clearly recognisable …’ The photographic views were probably enlargements made by
Gall from photographer Walter Scott-Barry’s negatives.
428
541a.
429
543.
126
By 1896 Ernest Gall had acquired the skills of photo-engraver, and was the only member of that
trade listed in the mercantile section of the directory for 1896, the first year that photo-engravers
were listed. The directory also included a small glossy insert which gave details of his photoengraving service and samples of his half-tone and line illustrations. His address was given as 11
Alma Chambers, off Grenfell Street, directly behind Brookman’s building, and he appears to have
been located in the same building as photo-materials dealer S.P. Bond (q.v.).
He produced at least three publications illustrated with half-tone photographs: Photo Glimpses of
Adelaide (1896); Gall’s Gambier Glimpses, 16 pages, (1903?); Souvenir of Adelaide, 36 views,
descriptions & illustrations with panoramas (c.1906).430
The Observer for 7 November 1896 reviewed Gall’s Photo Glimpses of Adelaide, which it said
had just been published by Hussey & Gillingham.
Tastefully arranged with pretty backgrounds of drapery and floral designs on fifteen plates there are
about 100 reproductions from photographs of streets, public buildings, landscape and marine
scenes, illustrative of Adelaide, Port Adelaide, Glenelg, Largs Bay, Port Elliot, Port Victor, The
Mount Lofty Range, &c. The views are the work of Mr Ernest Gall, who has executed the delicate
task with remarkable skill. The Zoo and its denizens, the Botanic Park, the historic gum tree, the
University, Government Buildings, the newspaper offices, and many of our finest Churches are
depicted with the greatest faithfulness. A view from the General Post Office of Victoria Square and
King William Street south has probably never been excelled for clearness of outline. The Children’s
Hospital and the Sunbeam Society, with ‘Uncle Harry’, receive gratifying notice. The booklet is
unmarred by advertisements, and the plates are on thick toned paper, pink in colour, and bound in
handsome light-blue covers, with the title-page printed in navy-blue and gold. An excellent index is
given to the views, which are published at a popular price.
By 1898 Gall was advertising in the directory that he had a selection of 500 views of Adelaide and
South Australia available.
Ernest Gall’s directory entries described him as photographer, designer and photo -engraver at
Alma Chambers from 1898 to 1911, and from 1911 his directory entry also included, ‘Portrait
Studio and Residence, “Woodbridge”, 17 Tynte Street, North Adelaide. Sittings by appointment
only.’ From 1912 his business address was 58 Grenfell Street.
Ernest Gall assisted the members of the Kapunda Photographic Club (q.v.) in their formative
years. He gave valuable advice on how to form the club and acted as a judge and critic of their
competitions. After he judged the club’s portraiture competition in July 1902 and a report stated
that he:
… accompanied his awards with a detailed criticism of every picture. His standard was high, but
not by any means beyond the attainment, and certainly not above the ambition, of enthusiastic
members, and while his criticisms were trenchant they were not in the least hypercritical, and
formed a very valuable lesson to the competitors. The club is greatly indebted to Mr Gall for the
trouble he went to make the competition a useful lesson in the art of photography.
Several members expressed ‘their delight at the thorough and instructive criticism of their pictures
and the happy manner in which faults were pointed out and remedies suggested.431
An item in the Australasian Photo-Review for January 1912 said: ‘Ernest Gall, the well-known
Adelaide photographer, holds the centre of the stage in the November number of “Wilson’s
Photographic Magazine’, New York, with five full-page illustrations and a couple of pages of
descriptive matter. In the latter he gets in a fine “boost” for Sunny Australia. Mr Gall produces
some of the soundest portraiture in this country, and it is good to see his work recognised abroad.’
Ernest Gall seems to have been scaling down his business from 1913, when his directory entry
430
431
Copies are held in the ‘Z’ Collection, SLSA.
Kapunda Herald, 25 July 1902.
127
said, ‘… photographer and engraver. City address – office only – 58 Grenfell Street (Koehncke’s
Fine Art Depot) … Direct all postal communications to North Adelaide.’ His listing as a
photographer in the mercantile section of the directory continued until 1919, Ernest Gall’s year of
birth is given as 1863.432
GALVIN, J.P.
Directory entries for Jno. Galvin, J.P. Galvin, and J. Galvin, are presumed to be for the same
person. He may have been associated with Galvin Bros (q.v.).
1901–02
1907–13
1913–14
1918–20
221 Gilbert Street, Adelaide
192 Sturt Street, Adelaide
37 Frederick Street, Maylands (res.)
190 Gilbert Street, Adelaide
Sandy Barrie has recorded a ‘J Galvin 12 O’Brien St, Adelaide’. A cabinet photo of a family in
front of a cottage bears the inscription: ‘J Galvin, PHOTOGRAPHER, O’BRIEN STREET’.
GALVIN BROS
Many undated cabinet photograph examples of their work can be found, outdoor pictures of
families posed in front of their homes. Most, if not all, suffer from the effects of poor processing,
the images in some cases almost completely faded’. The printed inscription on the mounts is
usually ‘Galvin Bros., Photographers, Adelaide and Sydney’. Sandy Barrie has recorded a
photographer ‘Galvin’ at Sydney for 1894 and 1895. Photographer J.P. Galvin (q.v.) may have
been a member of the firm, as his cabinet photographs also show the effects of poor processing.
GARDEN, John Hazen
‘Mr J.H. Garden, photographer, of Ascot Street, Dulwich, has had a branch establishment in Clare
for some time past, which during the last week has been removed to the Burra. During his sojourn
in Clare Mr Garden has taken many photographs of the residents of the town and neighbourhood,
and also many excellent views of various parts and buildings of the town.’433 J.H. Garden was
listed in directories as storekeeper, Norwood, before becoming photographer in 1896. Born
Scotland c. 1864, died December 1933.434
1896–98
1899
1904
Ascot Street, Ascot Vale (now Dulwich)
Jervois St, Petersburg (Peterborough)
Brunswick St, Dulwich
A cabinet photograph in the possession of the author bears the mark ‘John H. Garden, Petersburg’.
GARROOD, Charles
1884
1885
Margaret Street, North Kensington
Salop Street, North Kensington
432
543.
433
Northern Argus, 30 July 1897.
434
p.547.
128
GAWLER CAMERA CLUB
The Gawler Camera Club was founded on 8 December 1904 with the following officers and
members: Patron, Hon. John Warren MLC (q.v.); President, Rev. T. Geddes White; VicePresidents, Dr E.V.R. Fooks and Mr S.H. McMillan; Hon. Secretary and Treasurer, Mr G.F.
Rogers; members, Messrs P. Potter, R. Sheedy, J. Creighton, F. Barnet, M.W. Forgie, A.A.
Johnson, J.S. McLean, F. Rippin and N. Wilkinson.
In 1905 amateur photographers living in or visiting Gawler had free access to two well-equipped
darkrooms. One was provided at the Gawler Pharmacy by the pharmacist, S.H. McMillan, who
was also a club member, and included the free use of chemicals. The other was at the stationery
shop of J. Fletcher Rogers, who may have been a relative of the secretary, and both places stocked
photographic equipment and offered instruction free of charge.
On 8 November 1906 the ‘camera fiends’ (club members) held an excursion to One Tree Hill,
arriving in time to photograph the laying of the foundation stone of the One Tree Hill Institute. It
was reported that one member ‘secured 6 pictures on one plate’.435 The members then moved on to
the cricket ground, then travelled to Smithfield, where R.E. Sheedy and P. Potter, ‘the club’s
celebrated flashlight members’, took flashlight photos of the Smithfield Hotel. The members
arrived back at Gawler ‘in the smallest hour of the morning’.436
The club was listed in the directory of photographic societies published in the Australasian PhotoReview for November 1916 and may have been active after that date.
GAZARD, John
A professional photographer and very active member of the South Australian Photographic
Society. He was made a member of the executive committee in 1895 and elected secretary each
year from 1896 until the demands of his photographic business forced him to resign at the monthly
meeting held in November 1899. His resignation was accepted:
with great reluctance and regret, several of the members testifying to the excellent way in which Mr
Gazard had acted as secretary, and the feeling of the meeting was that it would be exceedingly
difficult to find anyone to carry on the work with the same efficiency as the retiring secretary had
done. Although they knew nothing of the secretary’s intended resignation, the members had
arranged a little surprise for him in the shape of a presentation, which was intended to mark their
appreciation of the zeal and enthusiasm shown by Mr Gazard in connection with the Society’s
recent exhibition. A substantial sum of money had been collected, and this was handed to Mr
Gazard by the President, who assured him of the high esteem in which he was held by all the
members of the Society, and of their regret that circumstances have compelled him to resign.
However, he was made a member of the committee again in 1901, and was elected vice-president
in 1903 and 1904.
John Gazard frequently showed specimens of his work at the society’s meetings, gave lectures and
demonstrations, and entered slides and prints in competitions. He showed views of Melbourne at
the February 1894 meeting, and in September exhibited views of the Adelaide Botanic Gardens
and the Zoo at the annual conversazione. In December 1894 he won the ‘rapid rectilinear’ lens
donated by Baker and Rouse as a prize for the best six lantern slide views of Adelaide, and a few
months later was awarded second prize for the best three pictures taken on the society’s excursion
to Mount Barker. In January 1897 he gave a demonstration of ‘burnishing’ and in August 1899
delivered a lecture on ‘the use and care of the camera and its accessories’ that had been specially
prepared for beginners.
435
436
May have achieved six images on one plate by using a repeating back.
Bunyip, 23 November 1906
129
In September 1898 he exhibited ‘whole plate, 12 x 10, and stereoscopic pictures and
transparencies’ at the society’s fifth annual conversazione and exhibition and at the society’s May
1899 competitions was awarded the prize of one guinea for ‘prints larger than half-plate’, and also
received second prize for ‘the best single photograph of an existing early South Australian
landmark’ with his picture, ‘An Early City Residence, River Torrens’. He showed ‘some beautiful
transparencies depicting the illuminations of the General Post Office’ at the 1902 annual meeting
and won a print-trimming competition at the August 1903 meeting where he also demonstrated the
development of bromides using Amidol developer. In September 1906 his address on ‘Trifles’
consisted of ‘hints not to be found in the ordinary textbooks’.
John Gazard was listed as a photographer at Mutual Chambers, King William Street, Adelaide, in
directories from 1897 to 1913, and at Eagle Chambers, King William Street, from 1914.
GELL of CAIRE & GELL see CAIRE, Nicholas John
GEORGE AND WALTON (GEORGE, Fred W.)
When Tuttle & Co. vacated their studio at 65 Rundle Street, it was taken by Fred W. George and
Thomas Walton, who traded as George and Walton. In May 1883 the Register reported having
received some ‘boudoir’ photographs of the Governor which, they said, were ‘excellent likenesses
and most beautifully finished pictures’. The boudoir was a British size photographic mount, 8½ x
5½ inches.
In January 1885 the price of their photographs was reduced to ‘Cartes, 10s 6d, Cabinets 17s 6d,
Panels 30s’. The prices quoted were presumably per dozen copies. A few months later they
advertised: ‘This new establishment is constructed with all the latest American appliances.
Miniature, ivory, and locket paintings. Porcelains a specialty, also enlargements in crayon and
ink.’ They also advertised patronage by their Excellencies, Governor Jervois and Governor
Robinson.
GERMAN PHOTOGRAPHIC CO. see LARSEN AND HIRSCH
GILL, Henry (Harry) Pelling
Harry P. Gill became a member of the South Australian Photographic Society in October 1894
where he acted as a judge, critic and lecturer on the artistic aspects of photography, and while he
may have been interested in assisting and encouraging the pictorial workers he does not appear to
have shown any of his own work.
He was one of the judges in the landscape, seascape, portrait, genre and enlargement classes of the
society’s 1899 exhibition, and at the November 1900 meeting gave a ‘masterly criticism’ of the
work shown at the last annual exhibition, handling ‘the shortcomings of the various prizetakers
with consummate tact, flavoured merely with delightful sarcasm’.437 With two other judges he
spent nearly two days selecting exhibits from the 296 pictures entered in the 1903 exhibition. In
March 1901 he gave ‘a most instructive and interesting address’ on composition, illustrating his
subject by displaying ‘a great many examples of good and faulty composition’. His address was
described as the best ever delivered before the society. In July 1902 he delivered a second address,
‘Composition as Applied to Art and Photography’, which was also illustrated by diagrams and
sketches. ‘The lecture was intently followed, and at its close members expressed themselves
deeply indebted to Mr Gill for the enlightenment afforded on so many points as to which in the
past they had been completely in the dark’, and he was asked to favour them with ‘more
composition’ at some future date. He was made a member of the executive committee in 1901, and
elected vice-president in 1906, 1907, 1908 and 1909.
437
Australasian Photo-Review, January 1901.
130
In various sections of the directory for 1900 he was listed as Honorary Curator of the Art Gallery;
Director and Examiner for Technical Art; Headmaster of the School of Design, Painting and
Technical Art; and Vice-President of the Society of Arts.
Harry P. Gill was born at Brighton in Sussex, England, on 9 March 1855 and arrived in South
Australia in 1882. He died at sea on 27 May 1916.
GILL, Samuel Thomas
Born in England in 1819, S.T. Gill arrived in South Australia in 1839. He is known for his
paintings of Adelaide street scenes, copper mines at Kapunda and Burra, and of the ill-fated
Horrocks Expedition. An item in the Register for 8 November 1845 said: ‘A daguerreotype has
been sent to the colony, and is in the hands of Mr Gill, the artist. It appears to take likenesses as if
by magic. The sitter is reflected in a piece of looking glass, and suddenly, without the aid of brush
or pencil, his reflection is “stamped” and “crystallized”. That there should be an error is absolutely
impossible. It is the man himself. The portrait is, in fact, a preserved looking-glass. We understand
Mr Gill will soon be prepared to show us as we are, and beyond a doubt his wonderful machine
will be “the glass of fashion and the mould of form”’.
Although it may have been Gill’s intention to provide daguerreotype portraits, it is likely he failed
to master the complicated process, and his camera may have been the instrument Norman &
Heseltine used when they opened their studio in King William Street, Adelaide, on 22 December
1845. Their partnership was shortlived, and by the end of February 1846 Heseltine had joined with
Edward Schohl (q.v.), who had brought his own daguerreotype apparatus from Germany, and as
Gill’s camera would have become surplus it could have become the one ‘lately imported from
Paris’ that Robert Hall (q.v.) bought in April 1846.
GILL, Walter
Born in England on 13 October 1851, Walter Gill arrived in South Australia in 1876, and was
appointed Conservator of Forests in 1890. In The Cyclopedia of South Australia he was described
as ‘a skilful and enthusiastic photographer, having made it a special private hobby for many years.
As in other matters, he has turned his personal inclination to good account, for his numerous
photographs of forest scenery in various parts of the State, of trees at different ages, showing
rapidity of growth and similar objects have been extensively useful. They have furnished
illustrations for periodicals and lantern slides for lectures thus enabling him to stimulate public
interest in the aspects of forestry of which he is an indefatigable advocate.’
In August 1899 Walter Gill gave a free public lecture, ‘Our Forests, Natural and Artificial’, in the
Exhibition Building under the auspices of the Chamber of Manufactures. The Observer of 19
August 1899 reported:
As it is impossible to take but few people to the forests … the Conservator brought the forests to his
audience by means of numerous magnificent lantern slides, made from photographs taken by
himself on the reserves. Mr Gill evidently believes that illustrations beautifully representing nature
impress the mind more than a descriptive lecture without the aid of the photographer’s art, and he
made his highly interesting and instructive chat pictorial and explanatory rather than technical and
argumentative … The limelight views gave an excellent idea of the growth and character of the
towering sugar and red gums, stringybark, and other trees grown in the natural forests, [and] of
those produced in the [Government] plantations at various periods of development of experimental
work.438
438
p.571.
131
GINNINGS, H.
Listed as a photographer, Mount Gambier, in the directories for 1868 and 1869, and at Glencoe for
1870. He may have been connected with or related to the photographer J.T. Ginnings (q.v.), who
was in the South-East from 1867 to 1870.
GINNINGS, J.T.
In June 1867 J.T. Ginnings opened his portrait rooms in Mount Gambier, opposite Mrs South’s
Farmers’ Inn. On 24 August the Border Watch described some of the photographs he had taken:
Our attention has been drawn to several views of Mount Gambier West, emanating from the
photographic rooms of Mr J.T. Ginnings, Commercial Road, which for artistic execution could not
be excelled anywhere. One view commences at the corner of Ferres-street, extending east,
embracing the Commercial Road and the lines of building; another from the Post-Office and the
National Bank, at the corner of the McDonnell Bay Road, and extending southerly in that direction,
combining in the view the Telegraph Office, Christ Church, Local Court House, &c. There were
also several other views of a similar character, but taken from different points of view. The whole
were artistically finished. They were in the possession of a respectable German burgess, who
intended forwarding them to the Fatherland.
On 6 December 1867 Ginnings announced his intention to visit the neighbouring districts, but by
March 1868 he was back in Mount Gambier. In April the Mount Gambier Standard referred to his
carte de visite copies of Alexander Tolmer’s sketch of Mount Gambier:
Mr Ginnings has sent us an excellent photograph of a sketch by Mr A. Tolmer, of one of the best
pieces of our grand local scenery. It is taken from the highest point of the Blue Lake banks, on the
east side, and includes a considerable part of the Lake itself, the road across the cutting, the whole
of the Mount Gambier Range, and a bird’s eye view of the country beyond; the whole forming a
very pretty picture – the best we have yet seen of any of our beautiful Mount scenery. The
photograph is carte de visite size, and as such will be found admirably suited to send to friend at a
distance, as a souvenir of this part of ‘The Garden of South Australia’. Mr Ginnings will no doubt
be prepared to supply any number of pictures.
In June 1868 Ginnings advertised in the Border Watch that he would open his studio at Robe about
1 July, and then at Penola about the beginning of August. From January to October 1869 the
Mount Gambier Standard published an advertisement which said, ‘Now Open. Ginnings’
Photographic Rooms, Mount Gambier’. This could have been J.T Ginnings or H. Ginnings (q.v.), a
photographer the directories say was in the same area at the same time. J.T. Ginnings was listed as
photographer, Robe Town, in the directory for 1870. An undated carte de visite has been seen with
the imprint ‘J.T. Ginnings, Gray St, Hamilton, Victoria’.
GINNINGS, John W.
Listed as photographer, Jamestown, in directories from 1892 to 1899. He may have been the
‘Gennings’ that G.F. Jenkinson referred to in an advertisement he placed in the Gladstone Areas
Express on 5 May 1885: ‘CAUTION. As several disappointing mistakes occurred in Laura owing
to a slight similarity of names I find it necessary to remind my customers than my name is NOT
Gennings, neither do I possess a Calico Tent; and further, that press of business will not allow of
my visiting Gladstone for some weeks yet.’ Examples of his work include carte de visite and
cabinet photographs with ‘Ginnings Photo Jamestown’ written in red ink on the back of the mount.
GOLDING, H.
Listed as photographer at Port Elliot in directories from 1911 to 1914.
132
GOLDSMITH, Mr
See also PATERSON & GOLDSMITH
On 17 October 1884 the Mount Barker Courier reported:
For the last few days Mr Goldsmith has been engaged in taking photographs of Mount Barker, and
he succeeded in producing some very excellent pictures. The positions from which the panoramic
views have been obtained have been well chosen in each instance, and as the work has been carried
out in an artistic fashion, the result is a series of photographs, which are at once a credit to Mount
Barker and to the operator. The series consists of two views of Gawler Street, looking east from the
intersection of Stephen Street; two views from the hill above the railway station; and photographs
of the principal public and private buildings in the town. It is likely that a ready sale will be found
for these pictures, as they offer an easy and very effective means of advertising the attractions of the
town to distant friends of its residents, and to the world at large. Well-executed views of the scenery
about Mount Barker have an intrinsic merit beyond their fidelity to the place represented, for their
beauty makes them valuable as works of art. It can never do a neighbourhood like this anything but
good, if it is well photographed, and the wider these photographs are distributed, the better both for
the town, its residents, and the artist.
GOOD, Joseph
Listed as photographer in directories:
1896–97
King William Street, Kent Town
1901
209 Gilles Street, Adelaide
1903–14+
Leicester Street, Parkside
There is an undated cabinet portrait (Noye collection) which carries the printed inscription ‘Joseph
Good, 128 Rundle Street, Adelaide. (opposite McRostie’s).’ In directories 128 Rundle Street is
listed as being occupied by picture-frame maker Albert Hooper from 1896 to 1913+, with no
reference to Joseph Good. However, Good the photographer obviously shared the premises with
Hooper in the early 1900s, as McRostie the grocer was across the road at 133 Rundle Street from
the 1890s to 1907.
GOODALL & CO.
On 3 July 1896 the Northern Argus reported: ‘Messrs Goodall & Co., the well-known
photographers, of Adelaide, are touring the country, and have opened a studio in Main Street,
Clare, at the shop lately occupied by Mr H. Koerner, for a short season only. The work turned out
by this firm is of the highest order and merit, and all those in want of first-class portraits should not
miss this opportunity of “catching the shadow ere the substance fades”.’
Some weeks later the newspaper reported: ‘Their windows are well stocked with photographs of
local people and scenery, and every Saturday evening a large crowd gathers at their premises in
Main Street to inspect the portraits’.
On 2 September 1896, Goodall & Co. left Clare, returning on 7 November after a tour of the
district, which included the area around Snowtown. It was reported that ‘the firm have improved
their working plant, and therefore have better opportunities of producing good photographs. They
are making enlargements a specialty.’ The public was informed that they were located in Main
Street opposite the Globe Hotel, for two weeks only, and that cabinet photographs were 12s 6d per
dozen. One of their cabinet photographs (Noye collection) has the printed inscription, ‘Goodall &
Co., Adelaide, and at Main Street, Clare’.
Using the half-tone process, the Critic published some of their photographs of Goolwa, Victor
Harbor and Port Broughton on 18 December 1897.
133
GOODE, Bernard and GOODE, B. & CO.
From about March 1862 Bernard Goode had a photographic studio near the Turf Hotel on Glen
Osmond Road, Parkside, where he made a portrait ‘in a neat frame’ for two shillings (probably a
small ambrotype), or a superior one in a case for three shillings.439
By February 1863 Goode had moved to I55 Rundle Street, ‘four doors below the York Hotel’,
where he made cartes de visite for 10s per half dozen.440 In September his business hours were 9
am to 4 pm, portraits for brooches or lockets were 2s each, and he was calling his premises
‘Goode’s Photographic Warehouse’. Here he had a wide range of photographic chemicals and
apparatus for sale to both professionals and amateurs.441 In 1864 Goode published a
comprehensive eight-page catalogue of photographic material for which he gave a five per cent
discount on cash purchases of £5 or more.442
By May 1864 Bernard Goode had two thousand registered negatives on hand, and his price of
cartes de visite had fallen to 8s per half dozen, or 15s per dozen. He also had photographs of local
Aborigines for sale, and the Register thought that he had been ‘very successful in his efforts to
catch the features, expression, and general appearance of the blackfellows, their lubras, and
picaninnies. It is interesting to have correct representations of a race which seems to be fast
disappearing from this land.’ Twelve different styles were available for 1s 6d each or 7s 6d per
half dozen.443 By September 1864 Goode had found that his premises at 155 Rundle Street were
too small to handle the large volume of business he had generated, so he erected a ‘first-class
studio’ at 69 Rundle Street and moved there on October 1st.444
While a few Adelaide photographers made double portraits as a novelty in 1865, Goode offered to
make them generally available to the public: ‘B. Goode begs to acquaint the public of South
Australia that he has now completed his experiments, and offers portraits of the same person in
two styles on the same card, which gives a very novel and pleasing effect, as they show no line of
separation … Specimens to be seen at his establishment.’ The results were described by the
Register:
They, in some respects, resemble a picture by Mr Freeman, noticed in this paper a few days ago, but
differ from that specimen of photographic art in some important details. In both cases the same
individual is presented in different costumes and attitudes, recalling to mind the legend of ‘The
Fetch’, or a man seeing the ghost of himself. In one of Mr Goode’s pictures the man and his double
are shaking hands – an effect which requires, we should imagine, very careful arrangement and
delicate manipulation to produce it. It is not uncommon to see men on very good terms with
themselves; but Toby Twinkle’s is the only previous instance we have met with of a man shaking
hands with himself. The other cartes illustrate the same system, and show persons in different
positions.
A later effort by Goode depicted a scene in which ‘a pretty little girl is seen seated in a
perambulator, and pushing it from behind, and offering herself a basket of flowers at the same time
… Of course the pictures must be taken separately, but it also must be a work of considerable
difficulty to preserve the uniformity of the background, and avoid all indications as to the line
where the junction between each picture is effected.’445
Goode made a self-portrait in which he appeared three times, reproduced in The Mechanical Eye in
Australia, but in this case the lines of separation are only too obvious, unlike Marchant’s double
439
South Australian Register, 2? January 1863.
441
South Australian Register, 16 and 17 September 1863.
442
An original copy of Goode’s catalogue is held by the State Library of Victoria. In 1962 this was reproduced by the State Library of
South Australia as its Facsimile No. 84.
443
South Australian Register, 3 & 18 May 1864.
444
South Australian Register 28 September 1864.
445
South Australian Register, item and advert., 5 June 1865; 30 September 1865.
440
134
self-portrait reproduced on an earlier page of the same volume, in which no line is visible.446
Bernard Goode built up a lucrative trade in photographic materials: cameras, collodion, silver
nitrate, gold chloride, plate glass, French varnish, frames, cards, all of which were of the best
quality and used in his own studio. The chemicals, he said, were made to his special order and
suitable for use in a hot climate. He received fresh supplies every month and his advertisements
usually included the name of the ship which brought them. In one advertisement he said,
‘Complete sets of apparatus suitable for Lady and Gentlemen Amateurs, with a quantity of
chemicals, all packed in box, with instructions in the Art for £10’, and in another it was a set
suitable for sheepfarmers for £10, with larger sizes for £15 and £20. His claim that the instructions
supplied were so simple ‘any person can soon learn the process’ seems over-optimistic, as the wetplate process was not easily mastered, and country clients receiving their outfit by mail order
would no doubt have had many failures before producing their first acceptable image.
Goode also sold magic lanterns, one of which he represented as being a ‘safe investment’ for
‘hawkers, photographers and others’. It was a ‘first-class dissolving view apparatus, with the best
set of slides in the colony, consisting of views of London and other parts of Europe, Moonlight
Scenes, Moving Figures, Comic Slides, Chromatropes, with ADIEU and GOODNIGHT in the
centre. This would be a good speculation for a person travelling in the country. The whole packed
in box. Price £30. Several very good Magic Lanterns also on Sale, with Slides and all complete,
from 12s. to 50s. each.’447
Bernard Goode called himself a photographer and importer for several years, then became B.
Goode & Co. about 1868, when he also used the name South Australian Photographic Warehouse
for his premises at 69 Rundle Street. In 1867 he advertised in a Perth newspaper that he was ‘now
the largest importer of photographic goods in the colonies’, and offered to send chemicals and
apparatus by ‘steamer or otherwise if requested’.448
In September 1865 Goode took his camera to the top of the partly constructed Albert Tower (Town
Hall, King William Street) and made a series of views of the city, which were listed in the
Register:
1. Flinders Street, including Baptist Chapel and Presbyterian Church, and part of Freeman Street,
and further on St Paul’s and Pulteney Street schoolrooms and Mt Lofty range
2. Franklin Street, including Methodist New Connexion Church
3. Part of Grenfell Street, Gawler Place, North Terrace and Parklands
4. South-eastern portion of city including Unitarian Church, St Andrews Church, and Roman
Catholic Cathedral
5. King William Street and City Bridge road, Bank of Australasia
6. Congregational Church, Hindmarsh Square, Hospital, part of Norwood and hills in distance
7. Part of Waymouth Street and north-eastern angle of city
As the photographs from the tower cost 2s 6d each as against ‘album views’ of churches etc. for 1s
6d, they may have been cabinet size.449
The following month Goode again went to the top of the Albert Tower, but this time he had a
stereoscopic camera and the Register said his photographs gave:
a more correct idea of our city than any description of the pen or any delineation of the pencil can
pretend to. They present the same phases as the larger photographs referred to a short time ago, but
possess the advantage peculiar to stereoscopic pictures in giving the idea of solidity instead of a flat
representation of each object. There are in the series also views of Government House, the Institute,
446
Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford University Press, Melbourne, 1985: Goode on p. 57 and
Marchant on p. 55.
447
South Australian Register, 30 September 1865
448
Perth Inquirer, 30 October 1867.
449
South Australian Register, 23 and 27 September 1865.
135
Parliament House, and the Railway Station, taken from the lookout on the new Club House, North
Terrace. We imagine few presents would be more acceptable to friends of colonists at home than
these faithful representations of Adelaide as it is.450
In 1866 Goode was using the Simpsontype process, and in 1867 he used his stereo camera to
record scenes during the Royal Visit of Prince Alfred, Duke of Edinburgh, including views of
King William Street and the Triumphal Arch, and interior views of the Grand Exhibition showing
the exhibits, ‘the only ones taken’.451
In September 1869 B. Goode & Co. advertised that ‘having secured the efficient services of Mr H.
Anson [q.v.] of the firm of Anson and Francis, to conduct the portrait department, they will be
enabled to pay special attention to outdoor photography, transparencies for the magic lantern, and
photographic enlargements, which latter style of portraiture they are now producing by an entirely
new process, that enables them to execute enlarged portraits up to life size of unequalled perfection
and at very low rates.’452 By the end of 1869 Goode had 12 000 registered negatives in his
collection.
At the annual exhibition of the South Australian Society of Arts held in December 1870 Goode
was awarded a prize for the ‘best six photographic views, 8 x 6 inches’, and copies of his
Aboriginal photographs were included in the South Australian exhibit at the 1873 London
International Exhibition.
B. Goode & Co. produced their Pocket Album of South Australian Views in 1872. As the Register
noted:
It consists of eight photographs, all of them of a high order of merit, and likely to give a stranger a
very favourable impression of the style of Adelaide buildings, the beauty of South Australia, and
some idea of the personal appearance of South Australian aboriginals. The first view is of the new
Post Office, taken from the eastern side of Victoria Square; the second of the Houses of Parliament;
the third of Stow Church and Parsonage; the fourth of a native encampment, with likenesses of
several well-known aboriginals; the next of one of the prettiest parts of the Botanic Garden,
showing the conservatories, and the Hospital, which adjoins, in the background; the next picture is
of the Tynte Street Baptist Church; and the last of the Onkaparinga bridge, on the Strathalbyn Road.
The whole of the views are contained in a very small compass, and are calculated to give people at
a distance a good idea of what is to be seen in the colony.453
In April 1874 the photographic business of B. Goode & Co. was advertised for sale and included a
lease that had 11 years to run and over 13,000 negatives. The business was taken by W.A. Francis
(q.v.), who operated the studio until 1881, when he retired from portrait-taking to concentrate on
dealing in photographic equipment. Bernard Goode moved to New South Wales where he was
associated with studios in Sydney from about 1879 to 1897.
GOODHART, Miss
Photo-colourist who received a second degree of merit for ‘a frame of six portraits’ she entered in
the water-coloured photograph section of the 1881 Adelaide Exhibition.454
GOODMAN, George Barron
In May 1841 the captain of a French ship made the first photographs in Australia when he
demonstrated the daguerreotype process in Sydney; in November 1842 George Barron Goodman
arrived in Sydney and became Australia’s first professional photographer. In August 1843 he took
450
452
453
454
451
136
his daguerreotype apparatus to Tasmania, but was back in Sydney by March the following year.
From 11 August to 31 December 1845 he was in Melbourne where he reportedly made 870
likenesses; he then sailed for Adelaide with his wife, daughter and servant on the Cleveland.
On 14 January 1846 the Register reported:
Amongst the recent arrivals from Melbourne we have the pleasure to announce that of Mr G.B.
Goodman the celebrated Daguerreotype artist, whose personal skill and the special advantage of
obtaining from the patentee in England every recent improvement in the art, have given him those
decided advantages which in Melbourne he had turned to profitable account for himself, with the
most complete satisfaction to the public. We are assured that in order to estimate the truthfulness of
the portraits produced by Mr Goodman they must be seen and compared with the living originals;
but portraits are not the only subjects upon which the artist exercises his skill, and the remarkable
processes confided to him, Mr Goodman being about to take sketches of South Australian scenery
or edifices, and groups of persons or animals, as well as with a view to the enrichment of private
collections, as for the purpose of publication in England.
By 20 January Goodman had commenced portrait-taking at the rear of Emanuel Solomon’s auction
house in Rundle Street where, it was said, ‘his likenesses are executed in a very superior manner,
and are perfectly true. This being the first opportunity that has been afforded to the colonists of
getting such likenesses taken, and one which may not again soon occur, we have no doubt that Mr
Goodman will have equal success in the prosecution of his art in this place as he had in the
neighbouring colonies.’455
Goodman provided the public with a brief explanation of the process in advertisements he placed
in the press:
The likeness is obtained by fixing the reflection of the face itself in a mirror, the consequence of
which is, that the resemblance must be unerring, and the lights and shades being produced by
Nature’s own hand, contain a delicacy and reality hardly to be imitated by art. The sitting is not
longer than ten seconds, and the whole is framed and delivered within five minutes, which can
scarcely be called an innovation, on the time of those most occupied by business; and Mr Goodman
guarantees to allow as many sittings as may be thought necessary until the likeness is thoroughly
approved of. Price of each portrait one guinea, including a handsome gilt and morocco casquet.
Hours of attendance from 10 to 4. N.B. Sitters are particularly recommended to avoid white as
much as possible in their dress.456
On 23 January the South Australian said that Goodman had taken nearly fifty daguerreotype
likenesses, and the following day the South Australian Gazette & Colonial Register reported that
Goodman’s atelier had been ‘crowded for the last three days, during which period … no fewer
than eighty ladies and gentlemen have sat’. The Gazette noted that Goodman had ‘more complete
means’ for making daguerreotypes than the local photographers Norman & Heseltine (see
NORMAN, R.H.) who a month earlier had been using two-minute exposures for daguerreotype
portraits, which was very long compared to Goodman’s claim of ten-second exposures for his
likenesses.
One week after Goodman had commenced portrait-taking he advertised that he had fifty morocco
cases left, and that because he could not guarantee ‘the safe transit of the pictures in open frames,
he will, when these are consumed, close the Daguerreotype; he would therefore urge the necessity
of an early application’.457 It seems strange that a week later, and probably with less than fifty
cases left, Goodman should advertise his intention to remain open for business for another three
weeks. He also pointed out that he had the benefit of ‘five years continual experience in the art in
these colonies’ and that he thought ‘he may now with safety state that he is above all present
competition’. The competition he referred to was Edward Schohl (q.v.), who had recently arrived
from Hamburg with the latest equipment, fresh chemicals and up-to-date practical experience
gained in Europe. Goodman also said that those people who had ‘favoured him by bespeaking
455
South Australian, 20 January 1846.
457
456
137
cases’ (reserving morocco cases) should arrange a sitting before he left, and that for those who
were waiting for him to reduce his price ‘he never has, and never will in any instance reduce his
charge’.458 In her diary Mary Thomas 459 refers to her mother’s visit to Goodman: ‘Feb. 16 – Mama
went to Mr Goodman’s with my brother Robert to have her portrait taken in daguerreotype’.
Goodman left Adelaide for Sydney with his family on the 131-ton brig Emma on 23 February
1846, and three days later Captain Fox noted in his diary that his passengers included ‘Mr
Goodman, the daguerreotypist, with his wife child and servant, who occupy the after cabin. He has
just completed a profitable tour of the colonies in the exercise of his art, having taken 870
likenesses in Port Phillip and upwards of 400 in Adelaide.’460 From the early figures quoted in the
Adelaide press, and assuming he had only fifty cases left a week after he opened and was not
pretending there was a shortage of cases to hurry people into a sitting, a more realistic figure for
Adelaide would have been about 200 daguerreotypes.
Sandy Barrie has brought together most of the available information on Goodman in a pamphlet461
which includes copies of advertisements published in colonial newspapers.
GORDON, C.J.
Listed as photographer, Angas Street, Adelaide, in the directories for 1882–85.
GOVERNMENT PHOTO-LITHOGRAPHER
In July and August 1866 Walter William Thwaites senior (q.v.) discussed the possibility of
establishing a government photolithographic department with the Surveyor General, G.W. Goyder,
hoping his son Hector James Thwaites (q.v.) could be employed as his assistant.462 Other
photographers who applied for the position were Henry Anson and F.S. Crawford.463
Frazer Crawford (q.v.) of the Adelaide Photographic Company was appointed to the position, and
by December 1866 he was in Melbourne looking for the equipment needed to establish the new
department,464 but could not find a large camera or supply of large glass plates. An order for a 16 x
18-inch camera and accessories was sent to London, and with his order for glass plates he
instructed the supplier to pack them carefully, as some plates imported from England for the
Adelaide Photographic Company had been spoiled ‘owing to the glass sweating on the voyage’.
Chemicals and processing equipment were ordered from Johnson & Co. of Melbourne.
On 7 December, while staying at the Globe Hotel in Swanston Street, Crawford wrote to John
Noone, the newly appointed Victorian Government Photo-Lithographer, asking if he could
‘witness the practical details’ of Noone’s department and take ‘such notes of buildings, apparatus,
&c.’ that he thought may be of use in a similar department in Adelaide. In his reply Noone said he
had spent a lot of time learning the process and would not ‘impart such information unless your
government is willing to remunerate me’.
When told that Crawford did not have the authority to promise remuneration, Noone relented,
informing Crawford that he would provide all the necessary information and leave it to the South
Australian Government to provide appropriate remuneration. Noone told Crawford that ‘many
persons have asked me for the information I now offer to impart to you and expressed their
willingness to pay for the same. Amongst others a Mr Deveril … at Ballarat who informed me that
458
South Australian, 6 February 1846.
Mary Thomas, ‘The diary and letters of Mary Thomas’, held in the State Library of South Australia.
460
461
ISBN 0 9587883 7 5
462
PRO, GRG 35, SGO 418/66, 688/66, 845/66, 1145/66, 1183/66, and 1192/66; SGO 740/66 and 1066/66 refer to equipment and
chemicals that would be required.
463
PRO, GRG 35, SGO 965/66, 1161/66 (Anson) and 1095/66 (Crawford).
464
PRO, GRG 35, SGO 1254/66.
459
138
he had made an application [for] the appointment you now hold, and who in the event of obtaining
it would have been willing to pay me a considerable sum for my trouble in teaching him.’465
By the end of December 1866 Crawford had been shown the process and had returned to Adelaide.
He rented Freeman & Belcher’s former studio opposite the Town Hall in King William Street for a
temporary photolithographic office, taking it for a period of four months from 16 February at £2
per week until a new office was built. A Mr (H.?) Perry was engaged as an assistant on a weekly
salary of £3, to be paid from the labourer’s list.466
One of Crawford’s first assignments was to photograph the prisoners at the stockade (Yatala) and
at the Gaol. In a letter to the Surveyor General, dated 25 March 1867, Crawford wrote:
I have the honor to inform you that in obedience to your instructions I visited the stockade on the
21st and the gaol on the 22nd inst. and likewise consulted the Sheriff and Superintendent of Convicts
as to the best method of carrying out the wishes of the Government in regard to taking photographs
of the prisoners in these establishments. I found in the stockade 147 and in the gaol 110 prisoners –
of these say 120 in the stockade and 70 in the gaol, in all 190, would be such characters as the
Sheriff or Commissioner of Police might desire to have photographs of for police purposes. There
would be no practical difficulty supposing I had suitable apparatus in taking separate likenesses of
the prisoners in either the gaol or stockade, as long as the prisoners did not object to submit to the
operation. The best method to be adopted would be to take vignette portraits of them in the open air
on the shady side of one of the courts, using a blanket for a background. Such portraits would be
little inferior as works of art to those taken in the best lighted studios, and the work might be
proceeded rapidly in fine, tolerably calm weather. A dark cell would do for a photographic dark
room. As the convicts in the stockade are kept closely shaven and with their hair cut close, the
likeness would not be so satisfactory as if taken in their ordinary style of [- - ]ing the hair, so that I
would recommend that future convicts be taken at the gaol after conviction and prior to their being
sent to the stockade. The convictions average about 20 each criminal sitting … I do not think that
more than 10 negatives on the average could be taken daily, so that it would take 12 days at the
stockade and 7 days at the gaol to complete taking the negatives of the present prisoners. As my
assistant Mr Perry has been well accustomed to out of door photography he is quite competent to
undertake these duties and I could spare him at present for a day or so occasionally without greatly
interfering with the work of the photolithographic department. The negatives once taken, we could
print copies from them at our leisure without interfering with our ordinary work. As the instruments
used in portraiture are entirely different from those used in copying it would be necessary to
purchase apparatus for the purpose such would cost between fifteen and twenty pounds. When once
the prisoners in the stockade are taken such might be kept at the gaol to be used when required. The
cost of printing each card picture would amount to about twopence – for chemical, cards, & c.467
When it was learnt that South Australia was to receive its first royal visit, a Prince Alfred
Reception Committee was formed. One of the committee’s recommendations to the Government
was that a gentleman be engaged to ‘furnish a narrative of the Duke’s visit, and to be accompanied
by a photographer to illustrate the events it is proposed to record’.
The committee recommended J.D. Woods as writer and suggested that Crawford, as government
photographer, could take the photographs. After some discussion on the availability of Crawford’s
time and the suitability of his instruments, the committee was told to arrange for a private
photographer. Townsend Duryea received the official appointment on 26 September 1867.
Similarly, in June 1868, when the South Australian Society of Arts asked if the Government
Photo-Lithographer could use his large camera to copy an engraving for the society, the request
was denied. The Surveyor-General noted that ‘all applications of this nature must be refused as its
allowance might interfere with the business of private operators’, even though it had been pointed
out that the government camera was the only instrument in the colony large enough to make the
copy.
465
PRO, GRG 35, SGO 1281/66.
PRO, GRG 35, SGO 190/67.
467
PRO, GRG 35, SGO 288/67.
466
139
On 29 May 1869 a long letter from a correspondent, ‘Publico’, was published in the Register. In it
Publico criticised the government’s photo-lithographic department, calling it a white elephant and
an expensive pet project of the Surveyor-General, G.W. Goyder. He claimed that the cost of the
department was too high and that the work should be done by private photographers. Crawford
drafted a detailed reply to Publico’s claims and asked for permission to forward it to the Register
for publication. His request was denied, and he was told by the Deputy Surveyor-General:
The letter which you wish to reply to is only one out of many foolish and ignorant attacks and
criticisms made by obscure persons on the Officers of this Department, and on their performance of
their public duties. It is contrary to the regulations of the Service that Officers should write to the
Public Papers on matters connected with their Department and in the present case while admitting
the justice of your reply, I cannot sanction any departure from the established Rules.
Frazer Crawford was over seventy year of age and still employed as Government PhotoLithographer when he died suddenly from heart disease at his Norwood home on 29 October 1890.
His successor was his assistant, Alfred Vaughan. A Public Service Commission inquiry had earlier
recommended that Vaughan be made head of the department and that other work be found for the
ageing Mr Crawford.
GRAY, Duncan K.
Was a member of the South Australian Photographic Society, and demonstrated bromide enlarging
at the society’s monthly meeting in October 1893. Directory entries as photographer were:
1893
5 Rundle Street, Kent Town
1894–96
Beaconsfield Buildings, 66 King William Street, Adelaide
In The Mechanical Eye in Australia he is listed as a photographer at 237 Collins Street,
Melbourne, for 1899+.
GREEN see HOLDEN & GREEN
GREEN, Joseph John
A leather merchant who was a patron of the South Australian Photographic Society from about
1892 to 1900, and after his death at North Adelaide on 11 February 1903 the society noted that ‘for
many years [he] was a useful member of the Society’.
GREENFELD, Maximilian William
Listed in the directories as Greenfield, but the printed inscription on his cabinet photograph
mounts is Greenfeld. In the directory for 1886 his name appears in the Mercantile section under
‘Artists, not photographers’. Directory entries as photographer:
1872–81
Sydney, NSW
1884
Parade, Norwood, SA
1885–86
William Street, Norwood, SA
1891–97
Melbourne, Victoria468
GREEVE, Johann Friedrich Gustav (Augustus)
From 1895 to 1897 his directory entry was G. Grieve, hairdresser, Angaston, and from 1898 to
1907, G. Greeve, hairdresser, Tanunda. Although not listed as a photographer in directories,
Gustav Greeve carried on a photographic business at both Angaston and Tanunda. In the Kapunda
Herald for 2 April 1897 there is a reference to his premises being destroyed by fire. ‘On
468
Interstate entries are taken from Sandy Barrie, Australians Behind the Camera: Directory of Early Australian Photographers 1841–
1945, self-published, Booval, Queensland, 2002.
140
Wednesday morning a fire occurred in the shop and dwelling occupied by G. Grieve, hairdresser
and photographer, Angaston. The premises were completely wrecked. The building, which was the
property of Charles Trescowthick, was insured in the office of the Cornwall Company, but the
stock and furniture were uninsured.’ Cabinet photographs made at his Tanunda studio carried the
imprint ‘G. Greeve, Photographic Studio, Tanunda’, and in the Biographical Index of South
Australians469 his surname is given as Greve. In the directories for 1908 and 1909 he is listed as
bookbinder, Croydon West.
Gustav Greeve was born in Germany c.1860, and came to South Australia on the Catania in 1882.
He died at Double Bay, New South Wales, in May 1934.
GRESHAM PORTRAIT ROOMS
In January 1863 E.H. Cornock (q.v.) described himself as ‘late of the Gresham Portrait Rooms’
and in 1862 photographs he had taken were associated with the Gresham Hotel, which was at
corner of King William Street and North Terrace, opposite Parliament House.
In 1863 William Reylin (q.v.) was in business as a photographer on North Terrace, opposite
Parliament House, and in 1864 J.D. Stone also had a photographic gallery on North Terrace,
opposite Parliament House. It would appear that the Cornock’s Gresham Portrait Room was the
same studio as that used by Stone and Reylin.
GREWAR & STILLING, GREWAR BROS, GREWAR, Wilfred
The Grewar brothers, one of whom was named Wilfred, were the sons of Rev. Archibald Grewar,
Methodist minister, listed in directories as living in Willunga from 1899 to 1901. A cabinet portrait
with the printed inscription ‘B.J. Grewar, Willunga’ may have been made by one of the brothers.
There are directory entries for Rev. B.J. Grewar at Frances for 1914, and B.J. Grewar a teacher at
Gulnare for 1915.
Rev. Grewar was listed as Saddleworth from 1902 to 1904, and Orroroo from 1905. Their
photograph mounts carried the letterpress inscription ‘Grewar Bros., Saddleworth’, and their work
included a whole-plate photograph, ‘Snow scene, Saddleworth, July 28, 1901.’ and a set of six
cabinet photographs of a comic sketch arranged on the waters of the ‘Top Hole’, Coghill Creek,
Saddleworth, c.1905.
Five of the six photographs carried the Grewar Bros. inscription, while the sixth said ‘Grewar and
Stilling’, indicating one or both of the brothers had joined Henry Stilling (q.v.) in partnership.
According to Saddleworth identity Ray Hannaford (1894–1969), one of the Grewar brothers died
in a boating mishap at Port Wakefield in the early 1900s.
GRIFFITHS, R.F.
Was Assistant Observer at the Observatory on West Terrace, and a member of the South
Australian Photographic Society. He showed lantern slides of astronomical photographs at the
society’s conversazione in September 1894. He was elected vice-president of the society in 1897,
1898 and 1899, and was a member of the committee in 1902 and again from 1905 to 1907.
At the society’s April 1898 meeting he delivered an astronomical lecture entitled ‘Midst Swirling
Suns in Boundless Space’, which was ‘fully illustrated by limelight, with numerous lantern slides
of skyscape photographs’. After pointing out that astronomy was the oldest science, he traced its
progress from ancient to modern times, then emphasised the importance of photography as a
recorder of the varying phenomena of nature and of the special value of the camera to the modern
469
Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society, 1986.
141
astronomer as an auxiliary to ordinary methods of research.
In January 1903 his lecture, ‘Story of the Sun’, was reported at length in the Australian
Photographic Journal, where he pointed out that photography had revealed the existence of
enormous quantities of stars which are invisible when viewed through the most powerful
telescopes. But when a photographic plate is exposed in a camera turned to a particular part of the
sky in which no stars are visible through the telescope, ‘thousands of points of light representing
stars’ will be captured on the plate if sufficient exposure is given. He showed slides which
represented portions of the sky to which exposures of three minutes, three hours and 24 hours
(over three nights) had been given, and they showed how long exposures by photography can
detect the existence of bodies emitting faint light. He also explained how the telescope and camera
were controlled to counteract the effect of the rotation of the earth and so obtain a sharp image.
GRUTZMACHER, F.L.
Listed as a ‘photographer and slide maker’ at 44, 45 Pirie Chambers, Pirie Street, Adelaide, in the
directory for 1907. Both before and after 1907 his occupation was given as ‘civil service’.
GURR, Alex
Although cabinet photographs with the printed inscription ‘Alex. Gurr, Adelaide’ have been found,
it is not known where his studio was located or when it was operating. It is thought he may have
been based in Adelaide and used these printed mounts at the centres he visited on his country
tours.
The directories for 1895 and 1897 list him as a photographer, Caroline Street, Moonta, with no
listing for 1896. His advertisement in the Gawler Bunyip for 21 February 1896 said: ‘Last Week!
Two Cabinet photos for two shillings. Groups or single sitters same price. We leave Gawler on
Monday, March 2nd. Alex Gurr, photographer, Jacob Street, opposite [Salvation?] Army
Barracks.’
On 19 June 1896 the Kapunda Herald said that Alex Gurr, who has been established as a
photographer near the Bible Christian Church in Hill Street for several weeks, was about to leave
Kapunda for Eudunda. However, business must have improved, as a later announcement said that
his Kapunda studio would not close until Saturday 25 July. His movements between 1896 and
1904 are not clear. The Mechanical Eye in Australia lists him as a photographer at Broken Hill for
1900, and there is an undated cabinet photograph (Noye collection) of the Blumberg (Birdwood)
hotel which has the printed inscription ‘Gurr & Middleton, Adelaide’ on the mount, which
suggests he could have been in partnership with Alfred Middleton (q.v.) in this period.
Alex Gurr was back at Gawler in September 1904, when his advertisement in the Bunyip said that
cabinet photographs were 1s. each; Groups or single sitters the same price and no deposit; and six
‘Forget-me not’ photos were sixpence. His address was ‘off Block road, opposite the Mill Inn,
Gawler South’. By 9 December he had moved to a location opposite the Gawler Salvation Army
Barracks and was preparing for several weeks’ holiday.
His advertisement in the Gawler Bunyip for 17 February 1905 was brief and to the point. ‘No more
photos taken after Tuesday next, February 21st, so good-by till I return again. Alex Gurr,
photographer, Jacob Street.’
GURR & MIDDLETON
An undated cabinet photograph (Noye collection) of the Blumberg (Birdwood) hotel carries the
printed inscription, ‘Gurr & Middleton, Adelaide’. The partners may have been Alex Gurr (q.v.)
and Alfred Middleton (q.v.).
142
GUY, Lieutenant Michael Stewart
In 1864 the South Australian Government sent an expedition to the Northern Territory to survey
land and establish a settlement at Escape Cliffs on Adam Bay. Two members of the expedition,
Arthur Hamilton (q.v.) and Charles Hake, had photographic apparatus and took photographs of the
settlement. Lieutenant M.S. Guy of the surveying schooner Beatrice also had a camera and three of
the photographs he took have been mentioned in different documents. The Beatrice had explored
the Adelaide River in 1864, and on 13 May 1865 left Adam Bay with the Government Resident on
board to examine the upper part of the river.
In one of his reports, Marine Survey of the Northern Territory of South Australia, the master of the
Beatrice, F. Howard, wrote:
We proceeded to ascend the Adelaide River … [and] arrived at an anchorage about 6 sea miles
above the farthest point reached by the Beatrice last year … On the 25th of May a small party of
natives – one man and four boys – came down on the east bank of the river. They belonged to a
tribe we had not seen before. The man, after some time, ventured on board, crawling along one of
the stern warps, and Mr Guy succeeded in getting a photograph of him.
The Beatrice returned to Adam Bay on 16 July and took a survey party of 20 men up the Adelaide
River until 28 July. R.H. Edmunds must have been one of the men in the party, as an entry in his
diary for 23 July 1865 reads: ‘Worked up during the morning tide – Lieut. Guy photo-graphed
Manton, Watson and I’.
Edmunds was also a member of John McKinlay’s exploring party of fifteen men which left Escape
Cliffs on 14 January 1866 with forty-five horses and rations for ten weeks. They were caught in
heavy rainstorms, their horses bogged and dying, struggling through waist deep water infested by
sharks and crocodiles. To escape their predicament Edmunds constructed a large punt from a
framework of saplings covered with the skins of the remaining horses and canvas from their tent.
In this frail craft the fifteen men made a dangerous, epic voyage back to Adam Bay, arriving there
on July 5th. At some time between 31 July and 14 August 1866, when the Beatrice was at Adam
Bay, Lieutenant Guy photographed the framework of the punt. A copy of the photograph is in
Edmunds’ diary (State Library of South Australia) and reproduced in The Farthest Coast by C.C.
Macknight.470 Inscribed on the photograph is ‘Photo by Lieut Guy R.N. Craft built by Mr R.H.
Edmunds as it lay at Escape Cliffs’.
Lieutenant Guy died at North Adelaide on 4 July 1869 from ‘inflammation of the lungs’. He was
29 years old. Some details of his naval service are given in The Dictionary of Australian Artists.471
470
C.C. Macknight, The farthest coast, 1969, p. 154
471
143
H
HAEHNEL, C.W., HAEHNEL & CO.
Cartes de visite with a highly decorated imprint for ‘C.W. Haehnel & Co., Australian Photographic
Company’, probably belong to the mid-to-late 1880s. Edmund Diederich (q.v.) worked for
Haehnel and was, according to his daughter, the ‘Co.’ in Haehnel & Co.
HAINES see UREN, James
HAKE, Charles see HAMILTON, Arthur Richard
HALDANE, John
Listed as a photographer in Gilbert Street, Adelaide, in directories from 1892 to 1896. For 1896 his
address was given as 95 Gilbert Street.
HALL see HALL & EDWARDS, HALL & FREEMAN
HALL, Mr
In a letter dated 5 April 1871 the Hookina correspondent for the Northern Argus said: ‘We have
just had a photographic artist (Mr Hall) here. I believe nearly everyone is taking the opportunity of
having their cartes de visite taken.’ He may have been Richard J.A. Hall (q.v.).
HALL, Richard John Alexander
Richard Hall was the son of ‘Professor’ Robert Hall of Hindley Street, one of South Australia’s
early photographers. He was born in Adelaide on 28 December 1845, nine years after the state was
founded, and within months of the first photographs being taken in the colony.
When only 16 years old Richard Hall had a narrow escape when returning from practice at the rifle
butts. The horse drawing his phaeton bolted down Hindley Street, throwing out the occupants, the
empty vehicle then capsizing at Morphett Street and, being lightly constructed, it was a total
wreck.
In March 1864 the Illustrated Melbourne Post published an engraving of Government House,
Adelaide, engraved by Samuel Calvert from a stereoscopic photograph taken by Richard Hall, who
by this time appears to have been working in his father’s studio in Hindley Street.
Another of Richard Hall’s photographs, copied by a less competent engraver, appeared in the
Illustrated Melbourne Post for September 1865 with the caption ‘Mons. Vertelli walking across
the Mount Lofty Waterfall on a wire’. The engraving was criticised by the Register for being
‘neither truthful nor spirited’, and for giving an incorrect representation of the scene for which
there was no excuse, as a photograph of the wire-walking feat had been supplied to the ‘artist’.
At the South Australian Society of Arts annual exhibition in December 1865, when just twenty
years old, Richard Hall was awarded two prizes: one for the best set of six photographic views; the
other for the best set of six stereoscopic photographs.
Richard Hall’s photographer–father, Professor Robert Hall, died in August 1866, and references to
144
a photographer named Hall after that date would almost certainly belong to Richard Hall. The
photographers Hall & Edwards, Rundle Street, are listed in the directories for 1866 and 1867, and
in January 1867 Thomas Jackson (q.v.) engaged ‘Mr Hall, the well-known photographer’, to take
portraits for him. And towards the end of 1867 Hall & Freeman (q.v.) were taking portraits at Eden
Valley and Tanunda.
When the process of photo-lithography was attracting attention in 1867, the Register reported that
Richard Hall had photographically reduced a copy of Joseph Elliott’s Bygone Days, the negative of
which had then been photo-lithographed by Penman and Galbraith. Although each page of the
reduced copy was less than 3 x 2 inches in size, ‘every line and point, both of the words and music,
is there, in almost microscopic minuteness …’
An unusual event was reported by the Port Lincoln correspondent of the Register in July 1868. A
seal had come ashore ‘for the purpose of accouchement’, and after she had given birth ‘an
excellent photograph of the seal and her young was taken by Mr Hall, photographer, late of
Hindley Street, Adelaide’. The seal attracted a large crowd, was tied by rope at one stage, and
handled by sightseers, eventually abandoning her offspring which later died.
A photographer making carte de visite portraits at Hookina in April 1871, and known only as ‘Mr
Hall’ (q.v.), may have been Richard Hall.
The directories list Richard Hall, of Port Lincoln, as photographer for 1871–72; innkeeper for
1873; publican at the Northern Hotel 1874–76; then Pier Hotel 1877–79. It was about 1879, and
possibly near the time of his departure for Adelaide, that Richard Hall made a panoramic
photograph of Port Lincoln (Noye collection) – four whole-plate prints assembled to make a 30 x 5
inch view of the township and its harbour, a steamship at the jetty and Boston Island in the
distance.
Richard Hall died on 29 September 1881, aged 35 years, while landlord of the Southern Cross
Hotel, Adelaide.472
HALL, ‘Professor’ Robert
Robert Hall had arrived in South Australia by 25 August 1842, the day on which he married Ruth
Smith in Trinity Church on North Terrace, Adelaide. Ruth was the eldest daughter of Richard
Smith, a Hindley Street butcher.
From 1842 to 1846 Robert Hall is listed in directories as an was an ornithologist, Currie Street,
Adelaide, and in October 1842 J.B. Neales offered for sale by auction a portion of his collection of
birds which were mounted in glass cases,473 In March 1845 he appeared in court on a charge of
stealing ‘a variety of stuffed skins of birds’, but was acquitted by the July.474
Robert Hall returned from a professional trip to Melbourne in October 1845, and brought with him
some specimens of natural history including several platypus, and a live echidna which had been
caught near Mount Schank. The echidna was fed on bread, milk and white ants and although Hall
felt it would survive the change of diet and a trip to England, where a live specimen was worth
£100, it only remained alive a few weeks. The platypuses were stuffed and one was sent to
England.475
Hall had travelled to Melbourne on the Spartan but chose a small eight-ton craft for his trip home.
472
Refer to Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and Heraldry Society,
1986, p.648.
473
474
South Australian, 11 March 1845.
475
Shirley Cameron Wilson and Keith T. Borrow, The Bridge Over the Ocean, self-published, 1973, p.280.
145
The Register reported:
Mr Hall, whose travels on terra firma are generally out of the beaten track, has been equally
eccentric in the choice of his sea conveyance from Melbourne, having arrived here in the [eight-ton]
Ettrick, a ‘jewel of a craft’. But our adventurous fellow-colonist was not mistaken in his estimation
of the capabilities of the Ettrick, having made a short as well as safe passage [of] only eight days
from Melbourne to Port Adelaide, including 30 hours detention at Portland.476
In January 1846 Robert Hall acted as an agent for a newly arrived German daguerreotypist,
Edward Schohl (q.v.), who was taking portraits at Robert Sanders’ drapery shop in Hindley Street.
Three months later Hall was making his own daguerreotypes at the rear of his residence at the west
end of Currie Street, having purchased the daguerreotype apparatus ‘lately arrived from Paris’. He
could have received instruction in the art from Schohl, and his daguerreotype apparatus was almost
certainly the one which had belonged to S.T. Gill (q.v.), who left Penwortham in July 1846 as
artist to the Horrocks expedition which was to explore the northern part of South Australia.
Although the Register reported, on 22 April 1846, ‘a new triumph of colonial genius in the perfect
acquisition by Mr Robert Hall, of the Daguerreotype apparatus … which he operates in the most
successful manner’, a somewhat less perfect picture was recorded in the diary of Miss Mary
Thomas.
17 April 1846 – A Mr Robert Hall has been making experiments with a daguerreotype apparatus
lately, so Frances and I called upon him with the intention of sitting to him by way of a trial. He
took our likenesses three times. My sister and I sat together, and on two occasions little Fanny
Skipper was grouped with us.
23 April 1846 – Frances and I sat again to Mr Hall this morning and he took our portraits in
daguerreotype. He did not succeed very well, so that the plates will most likely be rubbed clean
again as the others were.477
The cost of Robert Hall’s daguerreotypes was one guinea each, including a ‘handsome frame’, his
hours of attendance were from 10 am to 4 pm, and he asked sitters to avoid wearing white. By 25
May 1846 Hall had moved his daguerreotype to premises adjoining Mr Pybus’s in Hindley Street.
Robert Hall paid a brief visit to Western Australia in November 1846 and made the earliest
recorded photographs in that colony. He arrived there on 9 November on the 141-ton clipper–
schooner Joseph Albino, and set up his daguerreotype apparatus ‘for eight days only’ at the rear of
Mrs Leeder’s hotel in Perth, his prices and hours of business being the same as they had been in
Adelaide.478 On 25 November he left for South Australia on the same ship, his visit having been
longer that the ‘eight days only’ that he had advertised.
For the next few years Robert Hall appears to have worked as a daguerreotypist at irregular
intervals, probably influenced by a fluctuating demand and the presence of visiting
daguerreotypists. In January 1847 he advertised that he would re-open his daguerreotype on 22
January ‘for four weeks only’ in the premises next to Mr Joshua’s store in Hindley Street that had
previously been occupied by Mr Mackie the bootmaker. His price for a portrait had been reduced
to 15s in a morocco case or 12s 6d in an open frame.479
In February 1847 an exhibition of the work of resident colonial artists was arranged to coincide
with the Agricultural and Horticultural Show. Robert Hall exhibited four daguerreotypes at the
exhibition: one titled Lord Brougham; two, each titled S.A. Native; and one called Four
Aborigines. He also arranged a lecture on astronomy complete with orrery (clockwork model of
the solar system), and a series of dissolving views to take place in the new Queen’s Theatre on the
476
Mary Thomas, ‘The diary and letters of Mary Thomas’, held in the State Library of South Australia.
Inquirer, Perth, 11, 18 November 1846.
479
South Australian Register, 16, 23 January 1847.
477
478
146
evening preceding the day of the show. Mr Cooper Searle delivered the lecture on astronomy,
supported by ‘transparent diagrams’, but the nonappearance of the orrery as promised by Robert
Hall caused general dissatisfaction. A number of dissolving views were shown, which were ‘very
good’, and Mr Nieman’s performance on the accordion was ‘creditable’.480 When Hall appeared in
court for not paying his account for advertising in the Register and Observer, he was facetiously
referred to as ‘the celebrated Ornithologist, Daguerreotypist, Professor of Phantasmagoria, and
lineal descendant of the Earl of Orrery’.481 Robert Hall may have been one of the partners of Hall
& Plush (q.v.) who exhibited dissolving views in ‘Mr Joshua’s large room’ in April 1847.
Another exhibition of paintings took place on 10 February 1848, again coinciding with the
Agricultural Show, and again Robert Hall exhibited daguerreotypes, all of which were outdoor
views: Government House, Trinity Church, the Bank of South Australia and the Exchange.
By February 1848 Hall had moved to Morphett Street, four doors south of Hindley Street, where
he was open for business ‘daily, from 10 o’clock till dusk’, and that having received a fresh supply
of chemicals and plates he was prepared to take portraits at a reduced price, half a guinea (10s 6d),
including a morocco case. A few months later his daguerreotype apparatus ‘including upwards of
200 plates, chemicals and instruction book’ were advertised for sale, and he announced that he
would continue taking portraits until 30 March unless his equipment was sold before that date. His
apparatus may not have been sold as he also had a daguerreotype for sale the following year, in
June 1849.482
Robert Hall must have decided there was more money in accommodation than in portraits. In July
1848 ‘Hall’s Boarding Establishment’ opened at the west end of Hindley Street, which was
claimed to be ‘the most healthy part of the city’, with ‘an extensive view of the sea and country in
every direction’, and within ‘five minutes walk’ of the banks and public buildings. Hall offered to
re-commission the former Signal Station which was on top of his residence if £15 could be raised
to provide the necessary flags and a good telescope. When the building had been occupied as the
offices of the Register, the signal station had signalled the arrival of ships in the gulf.483
This building may have been the one Octavius Skipper referred to in his reminiscences.
In the winter of 1846 we moved out to a section at Islington belonging to R.G. Thomas, who was
then in England, and in consequence of the great success attending the discovery of the Burra
Copper Mines, business began to hum in Adelaide, and Mrs R. Thomas, snr, let the house we lived
in to a Mr Prettyjohn, who obtained a publican’s licence in respect of it, and afterwards sold his
interest to Bob Hall, known at that time as Pegleg Hall from his having a wooden leg, and Hall in
turn being a speculative man parted with his interest to a Captain Maitland for £800, reckoned a
goodly sum in those days.484
Robert Hall’s establishment was renovated and on 21 December 1848 opened as the Clarendon
Hotel, but six months later he was making arrangements for a trip to England and under the
heading, ‘A Fortune for Anyone with a Small Capital’, advertised a complete daguerreotype
apparatus for sale.
On 26 June 1849 the South Australian reported that Robert Hall was to take a group of Aborigines
with him on his trip to England.
We hear that Mr Hall (the Naturalist), intends taking Denbry, the Murray chieftain, and several
other natives, to England, where they will no doubt become objects of passing curiosity. We believe
it was Denbry’s son who was presented to the Queen by Mr Eyre. The old fellow is a fine specimen
of the former lords of South Australia, and is said to be the only real chief among the natives. His
480
South Australian, 12 February 1847.
482
South Australian Register, 2 February, 25 March 1848.
483
Gazette & Colonial South Australian Register, 8 July 1848; Observer, 2 December 1848.
484
Octavius Skipper, ‘Reminiscences of Fifty-Two Years’ published in the Proceedings of the Royal Geographical Society of
Australasia (SA Branch), vol. 7, p,52.
481
147
authority seems to have been derived entirely from his personal prowess, and is acknowledged by
submission to his judgement and the rendering of tribute. What may become of these illustrious
strangers in England after the exhibition, it is difficult to say. The British government sometimes
requires persons landing savages to give security for their due return to their native land, but we
opine it could not do so in this instance, inasmuch as the ‘gentlemen in black’ are by law no aliens
but British subjects.
At the meeting of the Licensing Bench held on 10 December 1850 Robert Hall was granted a
licence for the Phoenix Hotel on the corner of Hindley Street and Clarendon Street. A report of the
meeting said that Hall had ‘paid a visit to England to procure furniture for the erection of a large
house [hotel]’. In August 1851 he advertised that he had ‘at considerable expense ornamented and
beautified his capacious Saloon with the matchless pencil of the great Australian artist, Mr Opie’,
and that he would be holding a series of balls at the hotel.485
By the end of January 1853 Robert Hall was back in the daguerreotype business, but for ‘one
month only’. His ‘Patent Colored Daguerreotype or Photographic Portrait Establishment’ was
located in Hindley Street, five doors west of the Phoenix Hotel.486 In August 1854 he returned
from another trip to England and advertised that he intended ‘shortly opening a Photographic
Establishment, for the purpose of taking Portraits, &c., either by the Daguerreotype, Calotype,
Talbotype, Albumen, or Collodion process, [and] pictures taken for the stereoscope’. He also had
on sale views of Venice, Paris, Syria, Rome and England, stereoscopes and stereoscopic pictures,
which could be inspected at his temporary residence in Currie Street, opposite the John Bull Mail
Office.487 A few months after his studio was opened, Robert Hall assumed the title of ‘Professor’,
which he used in an advertisement in the Register on 11 October 1854, and later advertisements
were all made under the name Professor Hall.
In December 1854 Professor Hall moved to ‘extensive premises’ on North Terrace, next to
Wyatt’s foundry, and eleven months later he made his last move as a photographer to 83 Hindley
Street, ‘lately occupied by Mr Muirhead and adjoining Dale’s Medical Hall’, where he remained
for the next ten years.488 He was elected councillor for the Gawler Ward in May 1856, forty-five
votes to two, but was replaced by another by the end of the year. He was again elected to Council
in April 1862 to fill a vacancy created when Mr English became Mayor of the city.489
On 6 July 1858 Professor Hall and his family returned from a trip to Melbourne on the 337-ton
Havilah, bringing with him a photograph he had taken of the ‘monster’ Welcome Nugget, and in
August he made a ‘well-executed and correct likeness on a large scale’ of the explorer ‘Mr
Gregory’ and sent a proof copy to the Illustrated London News.490 In 1863 he photographed
another intrepid explorer, John McDouall Stuart, who was the first man to cross Australia from
south to north. When The Journals of John McDouall Smart was published in London in 1864, a
carte de visite portrait of the explorer printed from Professor Hall’s negative was pasted in each
book as a frontispiece. Printed around the lower edge of each oval-shaped albumen photograph
were the words, ‘Professor Hall, Photo. Adelaide, Apr: 1863’.
The Professor’s difference with rival photographer Townsend Duryea over crayon photography
was publicly aired in the columns of the newspapers in August 1859, and later that month he
received by the Antipodes a camera with Ross lenses which could take photographs of 24 x 22
inches. ‘Mr Hall informs us that as soon as all the accompanying apparatus arrives, he will be able
to produce portrait busts nearly life size, and landscapes of proportionate dimensions. In addition
to this apparatus Mr Hall has shown us some microscopic photographs on glass which, when
observed with the naked eye were almost imperceptible, but when viewed through a powerful
485
South Australian, 5 August 1851.
Adelaide Times, 28 January 1853.
487
488
South Australian Register, 25 November 1854, 21 November 1855; Adelaide Times, 5 February 1855.
489
South Australian Register, 3 May 1856, 12, 23, 29 April 1862.
490
South Australian Register, 9 July, 16 August 1858.
486
148
microscope exhibited a perfect, distinct and beautiful picture.’491 In August 1861 he imported some
Stanhopes, micro-photographs attached to a minute magnifying lens which were concealed in
pieces of jewellery.
In August 1860 Professor Hall received from England some stereoscopic slides of a new style
which were known as ‘illuminated photography’ and in April 1862 he was making his own
stereoscopic photographs of local scenery. ‘They represent many picturesque and well-known
views; such as bridges in various parts of the country, the Reservoir, Glenelg Jetty, the Gorge seen
from Mount Lofty beyond Fordham’s, Oaklands, the Sturt, views on the Onkaparinga, the
Waterfall Gully, &c. We have no doubt many copies will be sent home to friends in England, as
they give a very pleasing and, of course, correct representation of several pretty and characteristic
pieces of colonial scenery.492
Professor Hall appears to have been the first to show carte de visite photographs in South
Australia, in February 1861.
A considerable number of persons was on Saturday assembled outside the establishment of
Professor Hall, in Hindley Street, the object of attraction being a case in which was displayed
specimens of a new description of visiting cards which have been recently introduced among the
aristocracy of England. The cards are none other than small paper photographs which are taken in
such sizes as to enable them to be slipped into morocco cases having embossed frames, or into
albums similarly provided, which are intended for the hall or drawing-room tables. A visitor
calling, instead of presenting the old-fashioned card, slips his photograph into one of the embossed
pages of the album or case. These pictures are mounted on cardboard, and the name can be written
underneath when necessary. The pictures exhibited by Mr Hall, are by Mayall of London, and are
principally members of the royal family. Among the collection is a very excellent likeness of
General Garibaldi.493
Photographs of local Aborigines always attracted interest, and Professor Hall’s portraits of the four
Aborigines who were to be executed for the murder of Mrs Rainberd and her children, taken in
May 1861 with the Sheriff’s permission, were described in the press.
The portraits, which have evidently been taken under the most advantageous circumstances as
regards light, are extremely clear, every feature being truly defined. They are interesting as
exhibiting varieties in native physiognomy, and those who have not themselves beheld the repulsive
countenances of those fiendish murderers, and are at all interested, would do well to pay the
Professor a visit. The portraits are half-length, and the blacks are stripped to the waist, exhibiting a
corpulency and powerful development of the muscles sufficient to set completely at defiance all the
descriptions of Australian natives which we have ever read. Professor Hall has also taken the four
men in a group, dressed in their prison clothes, which certainly imparts to them a more civilised
appearance, but withal represents four heads which could never be taken to belong to other than
individuals of the most savage type of humanity.494
In 1864 the Professor sent to the office of the Register:
… two interesting memorials of the once numerous and warlike Murray blacks. As portraits they
are fine specimens of the perfection which photography has attained, and they are doubly
interesting as pictures of a race that is fast ‘passing away’. The portraits are in the style of ordinary
cartes de visite, giving the ethnologist and physiognomist a clear idea of the aborigines ‘head and
front’, without so far adhering to nature as to dispense with decent attire.495
In 1861 the Professor experienced an unusual run of good luck. When he won a hack with saddle
and bridle at the Blenheim Hotel. It was the fifth horse he had won in a period of six weeks.496 He
was less fortunate a few years later. He was returning from a pigeon-shooting match at Semaphore
491
Advertiser, 30 August 1859.
493
494
Advertiser, 23 May 1861.
495
496
Northern Star, 8 June 1861.
492
149
when his horse-drawn trap capsized as he was negotiating a part of the road which had been
undermined by the tide. The shock of the accident forced his wooden leg hard up against the stump
of his thigh, causing serious injury, and he was in great pain for some considerable time.497
Many years later a pioneer recalled a story about the Professor’s wooden leg. ‘Bob Hall was the
first photographer in South Australia – a most facetious individual … A customer went into his
shop once. Hall remarked, as if in pain, ‘Oh, my leg is very stiff’. ‘What is the matter?’ enquired
the anxious customer. After more contortions from Hall, more pity from customer, Hall exposed
the offending member to the pitying customer – it was a wooden leg!’498
In January 1863 Professor Hall befriended a young Danish artist, Niels Peter Schourup (q.v.), who
had recently arrived in the colony, and employed him for a time as an artist to colour his
photographs. Later in the year Schoump opened his own photographic studio at Port Adelaide, and
it is likely he learnt the art of photography while working at the Professor’s studio.
Professor Hall retired from photography in December 1865 to become landlord of the Gresham
Hotel on the corner of King William Street and North Terrace. A report in the Advertiser said that
‘a large number of persons, including influential citizens’ were present at a supper held at the hotel
to ‘celebrate the advent as Host, of the well-known and popular professor of photography, Robert
Hall.,’ and that the hotel was ‘henceforth to be known as The Corner’.499
A month later Boord Brothers drew the attention of ‘Photographers, Chemists, Amateurs, and
Picture-frame makers’ to an auction sale of Professor Hall’s photographic equipment that was to
be held at his former residence at 83 Hindley Street on 23 January. Included in the sale were
cameras, stands, patent plate-glass, various sizes of cases and frames, passe-partouts, chemicals,
albumenised paper, mounts, cardboard, mats, preservers, dishes and pans.500 About a week later
Boord Brothers advertised another auction on the premises for 31 January, the material for sale
apparently being unsold items from the first auction and ‘six splendid painted scenes …
backgrounds, also Works of Art and curiosities’.501 Edward Farndell (q.v.) moved into the studio at
83 Hindley Street on 25 March 1866, and is possible he also acquired Professor Hall’s stock of
negatives.502
After a short illness Professor Hall died at the Gresham Hotel on 18 August 1866, aged 45 years,
and was buried in the West Terrace cemetery. The Southern Argus published the following tribute
to the Professor:
It was our painful duty last week to record the untimely death, in the prime of a vigorous manhood,
of Mr Robert Hall, whose soubriquet of ‘the Professor’ will be long and widely remembered in
connection with many a merry hour and benevolent action. Mr Hall was an old colonist. For many
years he conducted the business of a photographic artist in Hindley Street, Adelaide, and little more
than six months since he became landlord of the Gresham Hotel, which he rechristened ‘The
Corner’. Less than his memory deserves has been written of him by the contemporary press.
Although he cherished some few eccentricities, which may have placed him beyond the pale of
fashion, he had nevertheless peculiar virtues which will endear his memory to those who knew him
best, and ought to ensure respect from all. His social humor and good-fellowship were far exceeded
by his unostentatious benevolence and genial sympathy with the afflicted or distressed … few of us
exhibit in our daily lives the same practical endorsement of the sentiment that always distinguished
Robert Hall. It was his delight to assist and comfort those who were too much out of luck to profit
by ordinary charity, and many an unfortunate, discarded by the world, will mourn the loss of a
sympathising friend in the death of Mr Hall. The writer of these lines has had frequent opportunities
of witnessing the truth of what they express, and they are offered as the merest justice to the
497
Observer, 30 April 1910, ‘Fifty Years With One Firm – A Pioneer’s Reminiscences’.
499
Advertiser, 22 December 1865.
500
501
Advertiser, 31 January 1866.
502
Advertiser, 6 and 28 March 1866.
498
150
memory of an honest and kindly hearted, if somewhat erratic citizen.503
One of Professor Hall’s children, Richard John Alexander Hall (q.v.), followed his father by
becoming both a photographer and publican.
HALL & EDWARDS
Listed as photographers, Rundle Street, in Boothby’s directories for 1866 and 1867, and in the
National directory for 1867–68. The partners were probably Richard J.A. Hall (q.v.) and E.
Edwards (q.v.).
HALL & FREEMAN
In the Register for 1 November 1867 the Eden Valley correspondent reported: ‘Messrs Hall and
Freeman, photographers, from Adelaide, have been here for the last few weeks, and they appear to
be doing a good trade, especially on Sunday’. A few weeks later Hall and Freeman were at
Tanunda, advertising on 30 November that they had opened a studio at the Tanunda Hotel where
they would be taking portraits for a short time only. The partners were probably Richard J.A. Hall
(q.v.) and George J. Freeman. When ‘Richard Hall, artist, Port Lincoln’ married Lucy Hannah
Hobbs, also of Port Lincoln, in Adelaide in February 1872, George Freeman (see TOWN HALL
PHOTOGRAPHIC GALLERY), photographer of 16 Rundle Street, signed the certificate as a
witness.
HALL & PLUSH
On 20 April 1847 the South Australian reported that ‘Messrs Hall and Plush intend giving another
exhibition of their dissolving views &c., this evening, in Mr Joshua’s large room, and from the
general satisfaction we heard expressed at their first exhibition, we have no doubt they will have a
full house’. The promoters of the new exhibition appear to have been Robert Hall and Thomas
Hall Plush, a painter, gilder and artist of Morphett Street, Adelaide, who had arrived in South
Australia in 1839. The ‘first exhibition’ that the newspaper referred to could have been the
astronomical lecture that Robert Hall (q.v.) and Cooper Searle had delivered the previous
February.
In a follow-up item three days later the South Australian reported: ‘We attended Messrs Hall and
Plush’s exhibition of dissolving views and phantasmagoria, most of which are exceedingly
creditable and, judging from the uproarious laughter and applause of the younger audience, they
were exactly adapted to the taste of the juveniles. The house was crowded, and many fashionables
attended.’
However, a report of another exhibition they held in November was less favourable:
On Wednesday evening we were present at the exhibition of Messrs Hall and Plush’s dissolving
views, &c. The exhibition was a sort of mélange, consisting of optical illusions, phantasmagoria,
fun, and harlequinade. The dissolving views were numerous and diversified, but contained too few
representations of local objects. Some of the personal figures bordered upon indelicacy; so much
so, as, in our opinion to deter parents from treating their children to an otherwise harmless
amusement; and it struck us that the dance of death savoured too much of profanity … It is due to
Messrs Hall and Plush to state that they devoted the proceeds of their former exhibition to the fund
for the relief of British destitution; and a prudential change in their exhibition, with an improvement
in the mechanical arrangement, would make it worthy of general patronage.504
In May 1849 an advertisement in the South Australian Gazette and Colonial Register offered for
sale, by auction, ‘That same apparatus used by Messrs Hall and Plush about twelve and fifteen
months ago at Mr Joshua’s Rooms and at the Theatre. The Phantasmagoria lantern is one of
503
504
Southern Argus, 1 September 1866.
Observer, 13 November, 1847.
151
Carpenter’s Improved, brass adjusting tube, patent lamp, etc. The subjects are: Orrery, twelve
slides, with books; views &c., twenty slides; humorous moveable subjects, thirteen slides.’
HALLACK See PERRY BROTHERS (PERRY & HALLACK)
HALLIDAY BROS.
A firm of art printers and lithographers in Union Buildings, Waymouth Street, Adelaide, who also
had an entry under ‘Photographers’ in the trade section of the directory for 1912.
HAMBIDGE, Miss Helen
One of three talented sisters, Helen Hambidge (1857–1938) studied painting and photographic
tinting with photographer–painter John Hood (q.v.) of Glenelg.
She was awarded a second degree of merit for ‘frames of six, three, and one portrait’ she exhibited
at the 1881 Adelaide Exhibition, the Observer reporting, ‘Several of the photographic paintings are
very good. Notable among these are the portraits by Helen Hambidge, whose dainty rendering of
rosy lips and languishing eyes shows her to be an adept in the art of photographic flattery.’ She
also received merit awards for sixteen oil and water colour paintings she exhibited in the fine art
section of the same exhibition.505
In September 1893 the Advertiser said, ‘Miss Helen Hambidge has evidently acquired her
remarkable beauty of touch and modelling by long practice as a photographic retoucher or perhaps
miniature painting on a photographic basis’.506
HAMILTON, Arthur Richard
On 29 April 1864 Lieut. Colonel Boyd Travers Finniss led a government expedition to the
Northern Territory to survey land and establish a settlement at Escape Cliffs on Adam Bay, at the
entrance to the Adelaide River. Among the forty officers and men who sailed north with Finniss in
the Henry Ellis were Arthur Hamilton, deputy surveyor, and Charles Hake, a survey hand, who,
together known as Hamilton and Hake, took the earliest known photographs of the Northern
Territory.
What are presumed to be some of their photographs which had been sent to Adelaide were
described by the Register on 14 December 1864.
We have seen three photographs forwarded to the Government by Mr Finniss, Resident of the
Northern Territory. One of these presents a view of the first encampment of the expedition on the
Adelaide River, and whatever its imperfection it certainly shows that an abundance of grand timber
exists in the locality. Another of the views shows nine members of the party mounting guard and a
third portrays a group of naked aboriginals whose stature appears quite imposing. The views are not
well executed, and the last mentioned shows the figures as indistinctly as if it was a negative. The
only one of the guard party who is recognisable is Mr McMinn.
On 20 February 1865 the Advertiser reported that on the first page of the Melbourne Post there
was ‘a view of the first camp on the Adelaide River, Northern Territory, from a photograph by
Arthur Hamilton, the sketch having been drawn by Mr W. Wyatt, of the Adelaide Audit Office,
although not so stated by the Post’.
Finniss, the leader of the expedition, was ‘fated to do nothing that was right and everything that
was wrong’, and it was not long before his initials B.T.F. were taken to mean ‘Bloody Tom Fool’.
There were complaints about the choice of site for the settlement; land surveyed for sale was found
505
506
Observer, 30 July, 17 September 1881.
Quoted in Nancy Gemmell, The Hambidge Sisters, The Author, Strathalbyn, 1993.
152
to be under water during the rainy season; serious clashes occurred between whites and
Aborigines; problems arose with sanitation, food and discipline. Eventually an atmosphere of
confusion, quarrelling and disorganisation descended upon the camp, and by the time this state of
affairs had become known in Adelaide and Finniss relieved of his duties, most of the members of
the expedition had decided to leave by whatever means was available.
On 20 April 1865 the passenger and cargo vessel Bengal arrived at Escape Cliffs. Thirty of the
eighty people in the camp left on her bound for home via Singapore, and of the remaining fifty,
forty had decided to leave at the first favourable opportunity. One group of men, organised by a
private settler, Jefferson Pickman Stow, purchased a 23-foot open boat from the master of the
Bengal, their intention being to sail around the coast of Western Australia until they found a ship
which could take them on to Adelaide or Melbourne. Their small craft was dubbed the Forlorn
Hope, and their journey became one of the epic sea voyages of Australian history.
Among the seven men who sailed in the Forlorn Hope were Arthur Hamilton and Charles Hake, and
among the supplies stowed away on board was their chest of photographic apparatus. The Forlorn
Hope left Adam Bay on 7 May 1865 and, after a voyage fraught with danger, arrived at the small,
desolate settlement at Camden Harbour on 29 May, where they were received by Mr R.J. Sholl, the
Government Resident. Stow, Hamilton and McMinn were accommodated in the Resident’s tent,
but the four ‘men’ in the party, including Hake, apparently had to make their own arrangements. In
an official dispatch dated 2 June Mr Sholl said, ‘Mr Hamilton took some photographic sketches of
the camp, which are very good, taking into consideration all disadvantageous circumstances. I do
not send copies because I fear that the mail-bag may become wet during the passage. Mr Hamilton
will, however, I have no doubt, be willing to furnish you with copies.’ An advertisement in the
Register for 26 February 1866 said, ‘Card photographs of the Northern Territory and Camden
Harbour, taken by Messrs Hamilton and Hake, on sale by the Adelaide Photographic Company’.
After a short stay at Camden Harbour the Forlorn Hope sailed on to Champion Bay (Geraldton)
where, after three months and an eventful ‘coasting voyage of 2,500 miles’ since leaving Escape
Cliffs, Stow and four others went on to Fremantle in the Sea Bird, leaving Hamilton and Hake
behind to take photographs at Champion Bay.
In 1955 two views of the Escape Cliffs camp were reproduced in Jack Cato’s The Story of the
Camera in Australia, in which he told how some of Hamilton & Hake’s photographs had been
resurrected: ‘For nearly ninety years their pictures appeared to be lost. Various collectors
advertised for them in newspapers without avail. But a few years ago Mr E.M. Christie of the
Royal Victoria Historical Society discovered a considerable number of them in a private
collection. They were faded and in poor condition, but he took them to George Marchant of
Melbourne [son of Edwin Marchant and formerly of South Australia] who copied them with great
cunning and produced a set of new negatives from which perfect prints have been made.’ Another
of their photographs was reproduced in Pike and Stringer’s Frontier Territory507, and a description
of some of their surviving photographs is given in The Dictionary of Australian Artists.508
HAMILTON & HAKE see HAMILTON, Arthur Richard
HAMMER, William Henry (HAMMER & CO., HAMMER & RANCK)
Born at St Austell, Cornwall, England, c1844, W.H. Hammer arrived in South Australia c.1880,
seventeen years after his brother John. (Note: The Biographical Dictionary of South Australians
says that Hammer arrived on the Corona in 1880. I believe he was mistaken for his son William A.
who came out here with his mother and siblings.) Before coming to Adelaide he had a
photographic studio at 8 High Cross Street, St Austell, where he advertised on his cartes de visite
507
Glenville Pike and Col Stringer, Frontier Territory, Corey Books, Darwin, 1980, p. 10.
508
153
that he was both a portrait and landscape photographer.
In February 1879 he opened a studio at 162 Rundle Street, opposite the York Hotel and not far
from his brother’s grocery shop. By the end of the year he was in partnership with Ranck, and on
the back of their cartes de visite, printed in Adelaide by Herring & Co., they said: ‘From the studio
of the English and German Photographic Studio, Hammer & Ranck, portrait and landscape
photographers, 162 Rundle Street … photographs enlarged to any size’. The partnership must have
been short-lived, as at some time in 1880 Hammer had carte de visite mounts printed with ‘W.H.
Hammer, artist photographer, 162 Rundle Street’, on them, and by the end of the year he had
moved a few doors east, to 172, near the Synagogue, and had the same design printed with only
the street number changed.
In June 1881 fire destroyed a detached building at the rear of his premises. A report of the inquest
said that the fire had started upstairs in a room Hammer used for printing photographs, but as the
building was isolated from others and heavy rain had fallen, no other damage was done. At the
time Hammer and his family were living upstairs in the main building facing Rundle Street, and
after insurance had been paid his loss was said to be £320.
By the beginning of 1882 Hammer was making cabinet photographs for 15s per dozen, and cartes
de visite for 10s 6d per dozen, and by June that year the well-known firm of Hammer & Co. had
come into being. The firm received vice-regal patronage in March 1883, when South Australia’s
new Governor, Sir W.C.F. Robinson, was photographed at their studio.
By 1884 Hammer & Co. had opened a studio in St Vincent Street, Port Adelaide, and by 1885 they
had occupied one at 44 Rundle Street, which had been vacated by the Photographic Company of
South Australia. Some of their cartes de visite for this studio, at number 44, advertise it as the
‘Imperial Art Studios’, with a crest and note of Sir W.C.F. Robinson’s patronage.
Hammer & Co. now had two studios on the northern side of Rundle street and in June 1885 they
announced plans to open a third studio on the same side, at No. 6, which was to be bigger, better
and brighter than the others:
Messrs Hammer & Co., the well-known photographers, who already possess two establishments in
Rundle-street, intend opening a third studio on an extended scale of operations in the rooms until
recently occupied by the Working Men’s Club, and will enter on their new premises as soon as the
present Art Exhibition is concluded. The large apartment where the exhibition is now proceeding
will be used as a reception room, and fitted up as an art gallery, with choice paintings, engravings,
&c., to assist in passing the time of clients waiting their turn to be photographed. The upper room,
which is 90 x 30 feet, will be used as a studio, and is now being fitted with a lantern light, 22 x 24
feet, set in a galvanised iron framing, and with all the latest improvements in photographic
arrangements. The firm at present employs some thirty hands, and the starting of a new
establishment will cause an increase in that number.
The opening of the new studio was described by the Advertiser in August 1885:
Messrs Hammer & Co., the well-known photographic firm, have installed themselves in their new
Rundle-street premises, in the rooms formerly occupied by the Working Men’s Club. Their studio,
which is on the upper floor, is one of the largest in the colonies, measuring about 33 feet square,
and is admirably illuminated by a skylight roof 24 feet square, and constructed on a new method
without the use of putty by Mr Porter, who recently brought the knowledge of this useful adjunct to
photography from England. On the same storey are the sensitizing and printing room and several
other well lighted apartments, fitted with every necessary for the production of photographs of the
ordinary size as well as those colored or enlarged. In one of the rooms there is ample provision for
the storing of thousands of negatives. On the first floor, the large apartment which recently served
for the Society of Arts Exhibition is arranged as a pleasant and commodious waiting-room, the
walls being ornamented with several oil colors as well as good specimens of Messrs Hammer &
Co.’s photography. All the rooms have been repainted and tastefully decorated.509
509
154
The entrance hall opening on Rundle-street has ranged along its sides an interesting photographic
display in the usual glass cases. On Friday morning light refreshments were laid in the receptionroom, and the health of the incoming firm was drunk in champagne by a number of assembled
friends. The Hon. D. Murray, M.L.C., was the proposer of the toast, to which Messrs W.H.
Hammer and B. Brookman suitably replied.
Benjamin Brookman (q.v.) was Hammer’s partner from 1885 to 1888, when he was replaced by
Charles R. Bond, who remained with Hammer & Co. until at least 1907.
By 1886 renumbering of premises in Rundle Street had changed Hammer & Co.’s original studio
from 172 to 184 Rundle Street, so that they now had studios at 6, 44 and 184 Rundle Street. The
Port Adelaide branch was located on the northern side of St Vincent Street, against the western
side of the Presbyterian Church, and was operating by the end of 1883. By 1891 the business had
been moved to a studio on the south side of St Vincent Street, between Commercial Road and
Marryatt Street. Here it remained until 1908, when it closed and the premises were occupied by
Mora photographers. Known managers of Hammer & Co’s Port Adelaide studio were H.J.
Atkinson, 1888; W.H. Hammer, 1889; and A. Ward, 1890.
On 11 December 1886 the Observer reported: ‘Mr Hammer is busily engaged with the portraits of
the pioneers, and has found it necessary to confine himself to those who came to South Australia
during the first ten years, as the demand upon his time is so great. In many cases he received
photos, which can be returned afterwards. He proposes to have a large panel with the earliest
leading colonists in the centre, and the others grouped round according to the chronological order
in which they arrived. Appended to each photo will be the name of the individual, the ship, the
date of arrival, also other particulars if possible.’ At a meeting of the Old Colonists’ Association
reference was made to the need to restrict the portraits to the period between 1836 and 1846 due to
the excessive demands being made on Mr Hammer’s studio.
In May 1888 Hammer & Co. advertised that, due to their leases expiring, they had moved the
whole of their business to the one location at 6 Rundle Street, where they had ‘erected new and
additional galleries, fitted up to produce finer work than ever’. In the directory for 1894 there is an
entry for the ‘Art Picture Framing Co. (q.v.) – Hammer & Co.’ at 168 Rundle Street.
When the two-volume Cyclopedia of South Australia was published, 1,120 photographs by
Hammer & Co. were included and individually acknowledged. In volume one (1907, p. 624), there
is a photograph of their reception room at 6 Rundle Street, and the following descriptive article:
HAMMER & Co. (W.H. Hammer and C.R. Bond), 6, Rundle Street, Adelaide, photographers to
The Cyclopedia of South Australia. The firm of art photographers under notice occupies a foremost
place in the front ranks of Australia’s leading artists of the day. Its name has become a household
word throughout the length and breadth of the State, and is also widely known in the several States
of the Commonwealth. From a very modest beginning the firm, by the excellence of its work, has
attained the premier position in the Central State, which if present indications are any guide, they
will retain for many years to come.
The business was originally established by Mr W.H. Hammer in premises opposite the York Hotel,
in Rundle Street, in February, 1879, and from the very first grew in public favour, so that before
long increased accommodation became necessary, which was secured in the conveniently situated
premises now occupied by the firm near King William Street. Photography, as successfully
conducted by Hammer and Co., is at once an art, a science, and a commercial undertaking. A
natural artistic gift, developed by skilled training and close study of their particular branch of the
work in hand, is a necessary qualification for each member of the staff engaged in the principal
parts of the delicate process, from the dexterous operator under the skylight, who first composes,
lights, and forms the pictures, to the talented retouchers, printers, and clever finishers of both large
and small portraits, some of whom in the latter department possess a skill equal to that of the
miniature-painters. The highest excellence is thus obtained. Messrs. Hammer & Co.’s collection of
negatives now numbers tens of thousands, and their photographs command the highest prices in the
State.
155
This studio remained open until the mid-1940s.
In August 1910 William H. Hammer was elected president of the Cornish Association. He died on
12 January 1919 and was buried at Payneham.
HANSSEN, N.G.A.
Between June 1866 and 4 May 1867, when their partnership was dissolved, Otto von Hartitzsch
and N.G.A. Hanssen were taking photographs under the name of Hartitzsch & Hanssen (q.v.). A
month after they separated Hanssen was at Gawler, at Muller’s Commercial Hotel, where, the
Bunyip said, his cartes de visite exhibited ‘that clearness and delicacy which is characteristic of the
highest style of photographic art’. In an advertisement published in German in Tanunda’s
Deutsche Zeitung, Hanssen said he wished to notify his ‘fellow-countrymen’ that he was taking
portraits at Gawler.
On 29 June 1867 the Bunyip said that Mr Hanssen had photographed the ruins of the Victoria Mill.
‘The confusion noticeable after a fire – the ruins ever where about, staring one in the face – the
bare and blackened walls, and the still smouldering fires, are all very clearly shewn. A number of
the townspeople are standing about, who will at once be recognised by all familiar with the place.’
On 5 October Hanssen said that it was his last week, positively, at the Commercial Hotel, Gawler.
On 8 February 1868 the Southern Argus reported that ‘Mr Hanssen, the well and favourably
known photographic artist’, was on another visit to Strathalbyn. ‘There can be no doubt, from the
well-known talents of that gentleman in the production of first-class portraits, landscapes, etc., that
he will be largely patronised at his very convenient marquee, on the grounds of the Robin Hood
Hotel.’
By January 1869 Hanssen was back at his old spot in Gawler, Muller’s Commercial Hotel, where
he was now prepared to take ‘the new style of cabinet photograph’. His ‘well executed panoramic
view of Gawler Town’ caught the eye of the Bunyip, which said, ‘It was taken from an eminence at
the rear of the Commercial Inn, and includes an entire range of view from Duffield’s Mill near the
railway station to Willaston. The execution is clear and distinct, and the position from which it is
taken shows Gawler to advantage. The windings of the Para River and the foliage of the trees just
springing above its banks have a very pretty effect in the picture.’
In January 1870 the Tanunda correspondent for the Kapunda Herald wrote: ‘A new attraction is
now open to the public, Mr Hanssen, photographer, having taken up his quarters here for the
present. We wish him every success, and have no doubt that he will succeed in charming among
others a few of the unwary, whose vanity is larger than their purse.’
An advertisement in the Register for 7 December 1870 may have signalled the end of Hanssen’s
career as a photographer. ‘To Photographers. A complete set of instruments, with all other
requisites, fitted out for travelling. Three instruments. Dallmeyer’s lenses. Apply to N.G.A.
Hanson, Gawler Place.’ Three years later, in an advertisement he inserted in the Register, Hanssen
issued a challenge to one of Adelaide’s leading watchmakers and jewellers. ‘I the undersigned do
hereby challenge Mr Sawtell or any of his establishment to turn in cylinders against me for time
and good workmanship, and I’ll lay £5 to £1 against Mr Sawtell or any of his establishment, giving
half an hour’s start. This challenge to stand for one month. N.G.A. Hanssen.’ From 1873 to 1879
N.G.A. Hanssen is listed in directories as a watchmaker at Gawler.
HARDING, George
Listed as ‘photographist’ at Grenfell Street, Adelaide, in the directory for 1862.
156
HARRINGTONS LTD
A firm of photographic material importers and manufacturers which had its origins in Western
Australia where John Harrington was a photo dealer in Perth in 1888. He moved to Sydney and the
firm eventually had branches in every capital city.
In the directory for 1909 E.S. Casely (q.v.) of Gawler Place, Adelaide, was listed as the sole agent
for Harringtons Ltd, and from 1910 to 1914 the premises were listed as Harringtons Ltd with E.S.
Casely as manager. By 1915 the firm had moved from 69 Gawler Place to 43 Rundle Street.
From 1892 Harringtons published a photographic magazine, the Australian Photographic Journal,
which by 1911 had been re-named Harringtons Photographic Journal and was continued until
1927. The firm also produced illustrated catalogues of photographic equipment they had for sale.
HARRIS, Charles Hope
Born in Suffolk, England in 1846, he was a surveyor by profession and laid out several South
Australian country towns. Harris was author of the Handbook for Government Surveyors, and
spoke on ‘Photogrammetry’ at the Science Congress meeting held in Adelaide in 1893.
Biographical notes and a portrait are given in The Cyclopedia of South Australia510(1907, p. 621).
HARTITZSCH, Otto von
When giving evidence in a court case in Adelaide during August 1867, Townsend Duryea said that
he had employed Otto von Hartitzsch as an assistant photographer for two years before he left to
‘set up in business on his own account on 29 April 1866’. At the time of the court case von
Hartitzsch was 29 years of age, that is, born c.1838. Duryea also said that from February to March
in 1866 von Hartitzsch had been in the Willunga district taking views for him (Duryea), and while
there von Hartitzsch had taken portraits at Dr Mackintosh’s house on 16 March.
After leaving Duryea in April 1866 von Hartitzsch joined with N.G.A. Hanssen (q.v.) to take
photographs under the name of Hartitzsch & Hanssen. By June that year they were taking portraits
at Mr Gosling’s private residence at Strathalbyn, where they also had for sale a range of watches
and jewellery as agents for Adelaide jeweller J.M. Wendt. Hanssen later gave up photography to
become a full-time watchmaker and jeweller.
By February 1867 Hartitzsch & Hanssen had become established as travelling photographers and
were at the copper-mining town of Kapunda, where they had opened a ‘photographic room’ at the
Lord Palmerston Hotel. Photographs taken by the ‘beautiful ivorytype process and views of
buildings’, they said, ‘would be taken to order on moderate terms’. However, their partnership was
short-lived, and on 4 May 1867 it was dissolved by mutual consent and the public informed that in
future the business would be wholly conducted by N.G.A. Hanssen.
In February 1868 the new photographic firm of Hartitzsch & Co. was established at 113 Rundle
Street, Adelaide. They advertised that having procured from England, Germany, and America the
‘very best instruments (latest inventions) and photographic chemicals’, and having built an ‘Atelier
according to the newest improvements’, they were able to produce first-class photographs at
moderate charges. They had waiting rooms and dressing rooms for ladies, and were taking children
by ‘the instantaneous process’. When G.G. Steinthal (q.v.) died in April that year, his obituary
stated that he had been ‘latterly associated with the photographing firm of Hartitzsch & Co’.
510
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol.1, (1907), p. 621.
157
In April 1869 the Register reported that Hartitzsch & Co. had taken cartes de visite group portraits
of all the members of the company performing at the Theatre Royal, and some single cartes de
visite of individual actors portraying the characters they played. In November Hartitzsch & Co.
advertised that they could supply copies of the ‘only authorised portrait, and the last taken, of the
late Mr E.R. Mitford’, formerly editor of the journal Pasquin.
‘Portraits Given Away! (Almost)’ was the eye-catching heading to an advertisement Otto von
Hartitzsch inserted in the Register on 10 July 1872. ‘The number of establishments that have lately
appeared in Adelaide for the supply of low-priced photographic portraits’, said Hartitzsch, had
induced him to enter into competition with them. The price of his cartes de visite was reduced
from 14 for 14s to 12 for 7s 6d, and from 7 for 8s 6d to 6 for 5s.
In December 1875 von Hartitzsch went to Victoria for three weeks to obtain better photographic
equipment which, he said, would allow him to cope with the increased demand for his portraits.
On his return the Observer reported seeing a framed case of his carte de visite portraits which had
been ‘taken in uniform style by the ordinary process, but enamelled and embossed by the latest and
most improved methods … The pictures are excellent, the features being clearly shown.’
During 1877 Hartitzsch moved from 113 to 125 Rundle Street, where, the Observer said, ‘Mr
Wedler has had handsome new premises built in accordance with designs by Mr G. Joachimi. The
new building has an imposing frontage to Rundle-street … One half is occupied by Mr O.
Hartitzsch, photographer, whose atelier is admirably constructed, and is very roomy, being 26 x 18
[feet].’ When Hartitzsch moved from 113 Rundle Street what is presumed to be the design of his
last carte at that address was reused for number 125, the only alteration being in the number.
However, two versions of his next cartes de visite design exist which are identical, except that one
is for 125, the other for 127 Rundle Street. It is believed the cartes with 127 Rundle Street on them
were the result of a typographical error.
On 25 December 1878 Otto von Hartitzsch was married, by special licence, to Harriet Maria
White, third daughter of James White of Kensington. He was then 40 years of age. The birth of
two children is recorded in newspaper notices: the first, James, survived for 22 days; the second,
Flora Harriet, died at the age of 7 months.
It appears Hartitzsch & Co. had ceased to exist before the end of 1882, at which time his entire
stock of 20,000 negatives was in the hands of James R. Dobson (q.v.), and about to be transferred
to the newly formed South Australian Photographic Company (q.v.). Otto von Hartitzsch’s
remaining stock of carte de visite mounts was used by Dobson after Hartitzsch’s name had been
overprinted with ‘J.R. Dobson & Co.’, and later some of his cabinet mounts were overprinted with
‘S.A. Photo Co., 44 Rundle Street’, when they bought Dobson’s two studios.
HARTITZSCH & CO. see HARTITZSCH, Otto von
HARTITZSCH & HANSSEN
In April 1866 Otto von Hartitzsch (q.v.) and N.G.A. Hanssen (q.v.) began taking photographs
under the name of Hartitzsch & Hanssen, the name being pressed into their cartes de visite mounts
with a blind stamp so that the words stood up in relief on the front of their cartes. By June that
year they were taking portraits at Mr Gosling’s private residence at Strathalbyn, where they also
had for sale a range of watches and jewellery as agents for Adelaide jeweller J.M. Wendt. Hanssen
later gave up photography to become a full-time watchmaker and jeweller. In August Hartitzsch &
Hanssen presented a set of five views to the Strathalbyn Rifle Association, to be used as prizes in
their competitions.
By February 1867 Hartitzsch & Hanssen had become established as travelling photographers and
were at the copper-mining town of Kapunda, where they had opened a ‘photographic room’ at the
158
Lord Palmerston Hotel. Photographs taken by the ‘beautiful ivorytype process and views of
buildings’, they said, ‘would be taken to order on moderate terms’. However, their partnership was
short-lived, and on 4 May 1867, while still at Kapunda, their partnership was dissolved by mutual
consent and the public informed that in future the business would be wholly conducted by N.G.A.
Hanssen.
HARTWIG, W.
1899
1900
1909–14+
Hartwig, Wm., Crystal Brook
Hartwig, Walter, Crystal Brook
Hartwig W., Main Street, Petersburg (Peterborough).
HASLER, F.
Listed as a photo-enlarger in Rundle Place (now part of Gawler Place) in the directories for 1898
and 1899.
HAWES, George Alfred
A carte de visite in the Macleay Museum collection (Sydney) has had the printed name of the
photographer carefully scraped away and ‘G.A. Hawes’ written in ink in its place. The rest of the
printed inscription, including ‘Robert Street, Moonta’, has been left intact. The name of the
original photographer may be identified if a matching, unaltered carte de visite mount can be
found.
A painter named G.A. Hawes is listed as being at Yongala before being shown as living at Moonta
in the 1882–83 Traders and Commercial directory, published October 1882. Directory entries as
painter, Moonta, continue until 1895.
A George Alfred Hawes, painter, Moonta, is listed as arriving in South Australia in 1854. He died
at Moonta in 1894.511
HAWTHORN Y.M.C.A. CAMERA CLUB
The Australasian Photo-Review for March 1902 reported: ‘We are glad to know that a camera club
has been started at Hawthorn, SA, in connection with the Young Men’s Christian Association of
that place, and that a dark room for the use of the members has been provided, which will be also
available for visitors who, on application to the general secretary of the Y.M.C.A., may obtain
permission to use the room’.
HAYLEY, Edwin
Listed in directories as a gardener at Longwood until 1907, then as gardener, painter and
photographer from 1908 to 1914+.
HAYWARD, Richard
Richard Hayward of Bordertown was admitted to the Adelaide Hospital on 1 November 1886 and
discharged a month later. Details recorded by the hospital were: occupation photographer; born in
Kent; arrived in South Australia by the Border Chief in 1875.512
511
p.697.
512
From hospital records, letter from John Bishop to R.J. Noye, 28 January 1990.
159
HEAIRFIELD, Jos.
Also listed as HERRIFIELD, HEARFIELD, and HEIRFIELD presumed to be errors. Listed in
directories, as photographer as follows:
1905
1906
1907
1908–09
1910
1910–13+
Willis Street, Norwood
Melbourne Place, Alberton
Duke St, Alberton
Cummins St, Mile End
not listed
Shipster St, Torrensville
HEARN, J.T.
His cabinet photographs have ‘J.T. Hearn, Photo., Laura’, printed inside a fancy border on the
front of the mount. He also used tissues to protect the photograph. There was a Jno. Hearn listed as
a locomotive engine cleaner at Laura in directories for 1899 to 1901, then under the same
occupation as J.T. Hearn, Wallaroo, from 1906.
HESELTINE, George Augustus Frederick
George Heseltine was born in 1820, arrived in South Australia in the Taglioni in 1844, and died on
23 March 1904.513 He is believed to have been the partner of Robert Hastings Norman (q.v.), who
was also a passenger on the Taglioni in 1844. Norman & Heseltine opened a daguerreotype studio
at the rear of Norman’s dental practice and residence in King William Street on 22 December
1845.
One month later George Heseltine was still making daguerreotypes in the studio at the rear of
Robert Norman’s premises in King William Street, but with a new partner, Edward Schohl (q.v.).
HEWITT, Mr
Mount Gambier photographer, bookseller and stationer George Watson (q.v.) advertised in the
Border Watch, on 5 August 1891: ‘Reopening of Studio – G. Watson desires to inform his
numerous patrons that he has secured the services of Mr Hewitt, a thoroughly efficient artist, who
has had large experience in the studios of Messrs Yeoman & Co., also the Royal Studio, Royal
Arcade, Melbourne, and is now prepared to turn out first-class work in the latest and most
improved style of photography. Enlargements artistically finished and framed in latest style. Not
wishing to exhibit the work of a former employee, I am desirous of getting an entirely new set of
specimens, and in order to do so will photograph free of charge all sitters (adults or children) for
two weeks.’
HIGGINS, David W.
Listed as photographer, Port Pirie, in directories from 1900 to 1903, then as veterinary surgeon,
Port Pirie, for 1904. The Post Office directory for 1905 also had him listed as photographer, Port
Pirie.
HILTON W.J.R. see FINE ART PHOTO CO.
HIRSCH see LARSEN AND HIRSCH
513
728.
160
HOINVILLE, Frederick
The entry for No. 42, Arcade, Rundle Street, Adelaide, in the street section of the directory for
1909 is ‘Hornville, Fred (stickybacks) photographer’. In the alphabetical and trade sections the
name is given as Hoinville, with his private address 7 College Road, Kent Town.
HOLDEN, William George
1911–13
1918
1919
25A Sydenham Road, Norwood
Petersburg (Peterborough)
Port Pirie
He may have been a partner of Holden & Green (q.v.)
HOLDEN & GREEN
A photograph (Noye collection) of Ray Hannaford’s brother and sister was taken by Holden &
Green ‘about 1900 or 1902’. Although their wet-stamp inscription on the back of the mount,
‘Holden & Green, Photographers, Saddleworth’, appears to have been assembled from a child’s
lettering set, their photograph has a very professional appearance. The children were carefully
posed and sharply focused; a painted backdrop and other typical studio accessories have been
used, and the print has been carefully trimmed to an oval shape and accurately placed on the
cardboard mount. Although no reference to Holden & Green has been found in available
directories, a John Green of Saddleworth, no occupation given, is listed in directories from 1903 to
1906, and he may be the John Green, who departed for Victoria in 1907.514
HOLDSWORTH, James
James Holdsworth was town clerk for the Corporation of Port Augusta and an amateur
photographer who photographed Port Augusta and district around the turn of the century, from
about 1890 to 1912.
HOLMES, W.G.
1908–13
1914
Shipster’s Road, North Kensington
Bexley Heath, Shipster’s Road, North Kensington Park
HOOD, John
In June 1867 the Register reported that Townsend Duryea had engaged a London artist to colour
his photographs: ‘We understand that Mr Duryea, with his usual desire to keep pace with the
progress which is being made in his profession, has engaged an artist of high character in London
to paint his photographs in oil and water colours. Some specimens of this gentleman’s skill may be
seen at Mr Duryea’s studio. They are exquisitely painted, and well deserve examination. We
believe Mr Hood, the artist, will be here in about a couple of months.515
514
p.611.
515
161
In his advertisements Duryea proudly announced the appointment of his new artist, but neglected
to state his name, and alluded to poor work being done by artists at other Adelaide studios:
Mr Duryea has the pleasure of announcing that he has concluded an engagement for a term of years
with a First Class London Artist, who will shortly be added, as a further acquisition to his already
extensive Photographic Establishment, for the purpose of highly-finishing photographs in oil, as
well as all the branches of Colours, including mezzotint, coloured chalk, &c.; and in consideration
of the liberal patronage bestowed upon Mr Duryea by the inhabitants of the Australian Colonies for
the past 14 years, it is his intention to supply the works of this talented Artist at as low a
remunerative charge as possible – not exceeding that now being paid for work by third and fourth
class self-taught Artists.516
By January 1868 Duryea was able to announce that his ‘eminent artist’, whom he had ‘engaged at
considerable expense from England for a term of years’, had arrived and that his services were
available to the public.517 Soon after his arrival John Hood coloured three portraits for Duryea, and
the Register was impressed by the high standard of his work:
We have had an opportunity of examining three photographs, painted in oils, from the studio of Mr
T. Duryea, which are in the highest style of portraiture. One is a fine portrait of H.R.H. the Duke of
Edinburgh, in ordinary morning costume, and is carefully finished; another is an exquisite likeness
of Lieut. B. Lodwick, R.N.R., of the Darra, in the Royal Navy Reserve uniform; and the third is the
portrait of a lady. We believe Mr Duryea has recently secured the services of a gentleman from
London who stands high in the artistic world, and these specimens of his skill and delicate
manipulation will at once give him a good position in this colony. The pictures have all the softness
and delicacy of a miniature on ivory. As portraits those of the Duke and Lieut. Lodwick are most
striking. We are bound to say, however, that that of the lieutenant is the more pleasing picture of the
two. There is a grave expression on His Royal Highness’s face, which, though very natural and
characteristic, somewhat detracts from the work as a pleasant picture. Still it is an interesting face,
and the likeness is as near perfection as possible. We congratulate Mr Duryea on being able to turn
out such fine works of art in a young colony like this, and we have no doubt his success will reward
his enterprise.518
Although the judges awarded a prize to John Hood at the annual exhibition of the South Australian
Society of Arts, held in December 1870, his exhibit did not impress the critic from the Register: ‘A
prize of five guineas, given by His Excellency the Governor for the best oil painting illustrative of
colonial life, is awarded to No 18, by John Hood. It is called Black to Move, and appears to be
some boys shooting crows; but the light is so dazzling and the picture so indistinct that we could
scarcely see the point in the name.’519
John Hood’s term of engagement with Townsend Duryea appears to have expired at the end of
1872, when he advertised: ‘Drawing and Painting. – Mr John Hood, (of Duryea’s) will shortly
have leisure to give instructions in Drawing and Painting in Oils, Water Colours, Pastels Sketching
from Nature, &c. Experience in the Government Art Schools of South Kensington and on the
Continent has qualified Mr H. in the most modern and improved methods of Art Tuition. For terms
and other particulars, address Clyde Street, Glenelg.’520 John Hood drew cartoons and caricatures,
and some of these which appeared in the Lantern in 1876 were reproduced in Dulcie Perry’s
history of Glenelg, The Place of Waters (1993).
John Hood remained at Clyde Street until July 1876, when he moved to ‘more commodious
premises’ in Jetty Road, Glenelg.521 His advertisement in John Lee’s Glenelg Historic Guide and
Directory, 1883, said he was a miniature painter and photographer who specialised in ‘portraits of
deceased or absent relatives painted in oils or watercolour from photos and descriptive particulars’.
By May 1883 his studio at Glenelg was vacant: ‘To Photographers or Amateurs – To be Let or
516
518
519
520
521
Advertiser, 5 July 1876, and directory entries 1876–77.
517
162
Sold, the old-established business, Jetty-road, Glenelg, known as Mr Hoods’.522
Jack Cato devotes two pages of his book 523 to a breezy account of John Hood’s life. He mentions
the family background in England, where Hood was born in 1839, but was supplied with some
incorrect dates which, as sometimes happens, have crept into other works. The Dictionary of
Australian Artists states that Hood moved to Sydney in 1883 but ‘appears to have maintained his
studio in John Street, Adelaide (presumably with one of his four sons in charge)’. If this was the
case, then John Hood’s eldest son was in charge of the North Adelaide studio at the age of eleven
when his father went to Sydney.524
In the directory for 1884 John Hood is listed as photographer at John Street, North Adelaide, and
also at Jetty Road, Glenelg, and both addresses appear on one of his cabinet portraits (Noye
collection). Only his John Street, North Adelaide, studio is listed from 1884 to 1887, and his
‘private residence’ is given as Scarborough Street, Glenelg, from 1885 to 1887. He was awarded a
first degree of merit for ‘photographic portraits’ he exhibited at the 1887 Adelaide Jubilee
International Exhibition.525
John Hood died at Sydney on 15 May 1924, at the age of 85 years. His son, Samuel Hood, was
also a photographer in Sydney.
HOOPER, James
Listed as manager of the London Picture and Photo. Framing Co. (q.v.) at 150 Rundle Street,
Adelaide, in directories from 1900 to 1904, then as a photographer at 212 Gilles Street for 1906.
From 1912 to 1918 he was listed as picture framer and photographer at 138 Rundle Street,
Adelaide, an address he shared with photographer G.A. Rogers (q.v.)
HÜBBE, Martha Mary
Born 1 August 1848, at Macclesfield, South Australia, the daughter of Dr Ulrich Hübbe (a German
lawyer) and Martha Gray. She worked in the studio of Townsend Duryea, possibly as a
colourist,526 where she met John Hood (q.v.). Hübbe married Hood on 19 September 1871. Hübbe
died 27 January 1881.
HURST BROS
A firm of photo-engravers situated off Leigh Street, Adelaide, who also had an entry under
‘Photographers’ in the trade section of the directories for 1893 and 1894.
HUSBANDS, Charles F.
An undated, printed carte de visite mount (Noye collection) is inscribed: ‘New Photographic Coy.,
Adelaide. Travelling Branch, Chas. F. Husbands, manager’.
522
Register, 17 May 1883.
Jack Cato, The Story of the Camera in Australia, Georgian House, Melbourne, 1955, p. 104–5.
770, John Hood’s oldest son, Samuel John, born 1872.
525
526
523
524
163
I
IDEAL PHOTO STUDIO
Listed in directories from 1906 to 1913 as 143 Rundle Street, Adelaide, and managed by A.G.
Rose from 1906 to 1909, then by Dunn Bros. from 1910 to 1914. The studio was previously
occupied by Thomas Adcock. There is an entry for A.G. Rose, photographer, 143 Rundle Street, in
the 1905 Post Office directory, and J. Dunn of Stuart Road, Dulwich, 1915, may have been
associated with Dunn Bros.
IHEUP, Brian
Photograph shows address at 93 Waymouth St with a date of 1903. No other details known.
ILLERT, David
Listed as a photographer at Hallett in the directories from 1882 to 1885.
ILLMAN, Herbert
Listed as photographer at Aldinga in the 1905 Post Office directory.
IMPERIAL ART STUDIOS see HAMMER, William Henry
INGLIS, Mr J.
A ‘local amateur’ who helped visiting professional photographer G.F. Jenkinson obtain ‘charming
wood and water scenes’ in the mangroves opposite Queen’s Wharf, Port Pirie, in August 1885.
The directory for 1886 lists J. Inglis as a clerk in the Telegraph Department at Port Pirie.
INSTANTO PHOTO COMPANY see MITCHELL & CO.
164
J
JACKSON, Thomas
On 31 January 1867 Thomas Jackson, hairdresser, advertised in the Register:
Mr Jackson begs to announce to the public of Adelaide, that having engaged Mr Hall (presumed to
be Richard J.A. Hall [q.v.]), the well-known photographer, he is now prepared to supply them with
portraits in a superior style to any heretofore attempted, and at a cheaper rate. He is also prepared to
photograph Gentlemen’s Residences, Country Seats, etc., on the shortest notice.
Mr Jackson having purchased the whole stock of negatives belonging to Messrs Anson & Francis,
is now prepared to supply parties with duplicates of the same at reasonable rates, by their sending
names and numbers to 25 Rundle Street, next door to the Norfolk Arms. A large assortment of
views etc., always on hand.527
On 28 October 1868 the Register reported that Jackson had Mr Francis 528 taking photographs at the
Barossa goldfields:
Specimens have been left at our office of a series of landscape photographs taken on the Barossa
diggings by Mr Francis, for Mr T. Jackson, of Rundle Street. The artist has selected very
characteristic points and been very successful in producing effective views. The series includes the
township of Yatta, German Hill, Spike Gully, and all the most prominent features in the district. An
advertisement in our business columns gives the necessary information as to where the photographs
may be obtained.529
Thomas Jackson’s alphabetical directory entries list him as hairdresser, at 25 Rundle Street from
1865 to 1872, and at 77 Rundle Street from 1873. Howell’s almanac for 1872 lists him as ‘barber
and photographer, Rundle Street’. The address of his photographic business was given as 25
Rundle Street in January 1867, but had changed to 77 Rundle Street by October 1868. The
inscriptions on Jackson’s carte de visite mounting cards were printed in perfect copperplate, and
two almost identical designs are known (Noye collection), the only difference being that the street
number on one is 25, and on the other it is 77. Thomas Jackson died at Kent Town on 2 May 1889.
The National Gallery of Australian, Canberra, has a carte de visite by Jackson which is a copy of a
much larger mosaic of portraits. The original mosaic which Jackson copied consists of a central
group of forty-one small portraits surrounded by twenty-two full-size, full-length portraits, and all
were almost certain to have been taken from carte de visite. The original mosaic, which would
have measured 24 inches high by 18 inches wide, could have been assembled in Thomas Jackson’s
studio.
JAY, Mrs Melville
A member of the South Australian Photographic Society (SAPS) who won a silver medal for the
best picture in the ‘ladies class’ of Section One (restricted to SAPS members) at the society’s
October 1903 exhibition. ‘Mrs Melville Jay530 has been selected, and rightly, by the judges as the
most meritorious exhibitor. For the second year in succession this lady has taken the silver medal
for the best picture in the section, and the award for her “A Study” met with general approval.’ The
judges were John Kauffmann, H.P. Gill and Alfred A. Stump.531
Earlier in the year she had been one of a group of ‘well-known high-class camerists’ who were
527
Probably William Augustus Francis, aged about 26 at the time, his younger brother being only 15 years old.
529
530
Mrs Jay was apparently the wife of Dr Melville Jay.
531
Australasian Photo-Review, November 1903.
528
165
expected to send pictures to the Kapunda Photographic Club’s 1903 exhibition, where her exhibit,
“Blue Eyes Lit with Laughter”, attracted ‘many admirers’.532
JENKINSON, George Frederick see AREAS PHOTOGRAPHIC COMPANY
JENNINGS BROTHERS (JENNINGS, Messrs)
Jennings Brothers were taking portraits and views at Naracoorte in November 1872. They opened
a studio at Penola in January 1873, then in August that year opened a studio in Strathalbyn,
‘adjoining the Institute and fronting Mr Catt’s Drapery Mart’.
Their studio was due to close in October 1873, but ‘in accordance with a general request’ it was
announced that their stay would be extended a week or two. Their stay turned out to be somewhat
longer, as an entry for ‘Messrs Jennings, photographers, Strathalbyn’ appears in the directories
from 1874 to 1885.
JOHNSON, A.A.
JONES, Henry
Born in Bristol, Gloucestershire, England, in 1826, Henry Jones arrived in Victoria in the late
1850s. In 1859 he was listed as a daguerrean and photographic artist in Melbourne, and after
working in other studios in Victoria he came to South Australia in 1866.
From July 1866 to February 1868 Henry Jones was an operator at Townsend Duryea’s studio in
King William Street, Adelaide,533 but by September 1868 had his own studio in King William
Street, opposite the Town Hall. Here he made cartes de visite for 15s per dozen, extra copies 1s
each; cabinet portraits for 30s per dozen; and carte de visite copies of photographs, paintings or
engravings for 12s per dozen. By July 1871 he was so making lifesize portraits for £3 each.
At the fifteenth South Australian Society of Arts exhibition, held in December 1871, Henry Jones
was awarded a prize of one guinea for the best ‘eight untouched carte de visite full-length
portraits’, which were portraits of children. By July 1876 he had named his business the Children’s
Photographic Company, with a minor change, to Children’s Photograph Company by June 1879.
Henry Jones is perhaps best known for the two large mosaics he assembled after the 1871 Old
Colonists Banquet. On the 35th anniversary of the founding of the colony of South Australia, 28
December 1871, Emanuel Solomon gave a banquet to 520 old colonists in the Adelaide Town
Hall. Solomon was a successful Adelaide merchant who had come to South Australia from New
South Wales in 1838, and the reason he gave for giving the banquet was his desire, as an old
pioneer, ‘to once more meet some of his old associates’. He asked all old colonists whose date of
arrival was before 1841 to forward their names to him so that he could extend a formal invitation
to the banquet.
In March 1872 Henry Jones advertised that portraits of ‘the gentlemen who had been invited to the
Old Colonists Banquet’, which were to be presented as a group to Mr Solomon, would continue
being taken for one month after his new studio opposite White’s Rooms had been opened. He was
in his new studio by the middle of April and in May announced that June 15 would be the last day
for taking portraits of the Old Colonist gentlemen, ‘after which the Lady Old Colonists would be
invited to sit for a companion group’. Townsend Duryea also made a large mosaic of the male old
colonists in 1872, and Hammer & Co. commenced portrait-taking for another in 1886.
532
533
Kapunda Herald, 23, 30 January 1903.
166
While the portraits of the male Old Colonists appear to have been finished and presented to Mr
Solomon in reasonable time, the mosaic of female Old Colonists had not been completed when
Emanuel Solomon died in 1873. Almost ten years after the banquet was held, the mosaic of ladies
was finished. The Observer for 23 July 1881 reported:
On Wednesday we had an opportunity of inspecting a group of portraits of old lady colonists. Mr H.
Jones, of Wakefield Street, who is the possessor of the group, has been nearly ten years in
producing the whole, having taken the first in June 1872. The portraits, which form a companion
group to that completed some years ago of the old gentleman colonists, have all been taken from
life, and this fact naturally makes them more valuable. There are altogether 656 of them, and having
been well taken they will be readily recognised by those who were acquainted with the originals.
Unlike those which Mr Jones formerly took, they are arranged in alphabetical order, and not
according to the length of time which the originals have been in the colony. In the case of Mrs
Stephens, who arrived in the colony by the first vessel in 1836, an additional portrait has been
taken, or rather more than double size, and placed at the head of the group. Mr Jones certainly
deserves great credit for the trouble he has taken in making this collection, which, no doubt,
hereafter will prove a valuable memento of those who were the pioneers of the colony.534
Although Henry Jones opened his new studio at 85 King William Street, opposite White’s Rooms,
in March or April 1872, he must have operated two studios at some stage, as he had carte de visite
mounts printed which showed both addresses, ‘opposite the Town Hall and opposite Whites
Rooms’. He also used an identical design on another mount, but with only the ‘opposite White’s
Rooms’ address on it.
On 4 January 1877 Henry Jones received vice-regal patronage. His Excellency Sir Anthony
Musgrave, Governor of South Australia, was photographed in his studio in both carte de visite and
cabinet size. The Advertiser said, ‘The likeness is a very faithful one. We have seen at the same
establishment another likeness of His Excellency in half-life size. The latter portrait is an
enlargement of the carte-de-visite, but the expression of the face in the larger portrait is not so
good nor so pleasant as that of the smaller one.’535
By September 1880 Henry Jones had moved his Children’s Photograph Company to Wakefield
Street East, near Hutt Street, opposite Oliver’s Timber Yard. The omnibus that passed his studio,
he said, left the corner of Rundle and King William Streets every hour. By May 1881 the price of
his cartes de visite had been reduced to 7s 6d per dozen, extra cards 6d, and cabinets were 15s per
dozen.
By January 1885 Henry Jones had moved the Children’s Photograph Company to the northern
corner of King William and Hindley Streets, where he occupied the studio that had been vacated
by the Melbourne Photographic Company. However, he did not stay long, and by 1886 the studio
had been taken by R. Laming, and later by Stump & Co. Henry Jones died on 18 October 1911,
and was buried in the West Terrace cemetery.
JONES, Thomas
In directories from 1868 to 1872 Thomas Jones is listed as a ‘photo. artist’ at Robert Street,
Adelaide. From 1875 to 1879 T. Jones, presumed to be the same person, is listed as a photographer
at 105 King William Street, between the Advertiser Building and Criterion Hotel. A studio at this
location had previously been occupied by the Town Hall Photographic Gallery (1866–67) and the
Australian Photographic Company (1868, and again in 1873–74), and Henry Jones (1869–72).
534
535
Observer, 23 July 1881.
The Advertiser, 4 January 1877.
167
JOYNER, Frederick Allen
Frederick Allen Joyner was born at North Adelaide on 29 December 1863 and was educated at the
North Adelaide Grammar School. He studied law at the University of Adelaide and for fifty years
was a successful legal practitioner.
Joyner appears to have become a member of the South Australian Photographic Society by
September 1894, when he exhibited lantern slides of children at the society’s annual
conversazione. For several years his name rarely appeared in reports of the society’s activities
until, in the late 1890s, he became very active in the administration of the society. He was
appointed one the society’s auditors in July 1898, elected vice-president in 1899 and then became
President in 1906.
In December 1898 he read a paper, ‘Suggestions for the Future of the Society’, briefly outlining
the aims and objectives of the society, then proposing a number of ideas ‘for the advancement of
the art and for the extension of privileges of members’. These included the formation of a definite
policy each year; more assistance for beginners; quarterly excursions, each with a definite aim and
a competition connected to it; more general competitions; the public to be admitted to the annual
exhibition for a small charge, and presentation of prizes at these exhibitions. He also recommended
establishing ‘friendly relations with foreign societies’ to obtain their best pictures for the society’s
exhibitions. All of these things, he hoped, would ‘result in a considerable influx of new members,
and the building up of a fund which in the course of time would enable the society to establish
rooms of its own’. The committee was asked to report on the ‘advisability and practicability’ of
carrying out the suggestions.536
According to directory entries F.A. Joyner and Ernest Gall (q.v.) both took up residence in Tynte
Street, North Adelaide, in 1895, and were close neighbours for many years. Gall was one of
Adelaide’s leading professional photographers and a photoengraver, a member of the society ‘prior
to 1889’, and from about 1911 had a studio and darkroom at his Tynte Street residence, where he
took portraits ‘by appointment only’. No doubt the presence of this photographic activity so close
to his home helped stimulate Joyner’s own interest in photography.
Joyner developed a keen interest in pictorial photography, possibly after seeing the work of John
Kauffmann, a South Australian who had spent ten years abroad and who had become an
accomplished pictorialist by the time of his return in 1897. In July that year Kauffmann became a
member of the society and showed specimens of his work at that and subsequent meetings. Among
Joyner’s friends were H.P. Gill of the School of Design and Honorary Curator of the Art Gallery
(1892–1909), and Hahndorf artist Hans Heysen, and no doubt they also influenced the
development of his artistic photography.
Joyner’s pictorial work must have progressed rapidly, as one of his prints was accepted by the
Philadelphia Photographic Salon of 1898, where the work included only ‘such pictures produced
by photography as may give distinct evidence of individual artistic feeling and execution’. In that
year a report of the society’s fifth annual exhibition said: ‘Mr F.A. Joyner had on view some very
fine figure studies and studies of old-time buildings. This gentleman evidently has a weakness for
children also, and some of his pictures of juveniles were very interesting. His “motive pictures”
were very artistic, as were also some views of picturesque spots on the River Torrens.’537
At the society’s meeting in September 1899 Joyner was a judge of the photographs taken on the
Fulham excursion, and also read a paper dealing with composition, developing, fixing, reduction,
and the production of enlarged negatives, which was followed by a demonstration of the reduction
of an over-developed negative. In May 1901 he gave a demonstration of carbon printing, a process
he felt was not used enough by professionals and amateurs alike.
536
537
168
In 1900 Joyner won a gold award in the English Amateur Photographer competition, a bronze
medal at the Photographic Society of New South Wales exhibition in 1903, and a first and two
third prizes at the Amateur Photographic Society of Victoria exhibition in 1905. He paid a visit to
New Zealand in 1901, the only time he left Australia, and in his published report of the trip said
that he had carried 22 pounds of camera equipment.538
In 1904 Joyner was disappointed by the way the society was dominated by scientific and technical
workers, and the lack of support for pictorial photography. In a letter to J.S. Stening, a leading
Sydney pictorialist, he wrote, ‘the pictorial workers of our society are in a minority as opposed to
the f.64 photographers’, and proposed the formation of a breakaway camera club made up of
pictorialists, but this did not eventuate.539
By 1906 membership of the society had fallen and the pictorialists had gained control with Joyner
as president. In November he delivered a lecture on pictorial photography where he ‘dealt with the
enjoyment of pictorial photography over the mere mechanical representation of facts as practised
by the great majority of camera workers’. Not all members would have agreed with his claim that
‘the ordinary photograph taken by the tourist possesses mere topographical value and, after a
while, ceased to interest even the person who had taken the view’. His view was that the serious
pursuit of pictorial work was ‘an endless delight’, educating the eye and broadening the mind so
that it ‘widens the scope of life, enabling the worker to see beauty in the commonplace places of
every-day life’.540
In 1906 Joyner purchased a property at Bridgewater in the Adelaide Hills where he was able to
pursue his interest in gardening, and where he found subjects that suited his pictorial style among
the rustic rural scenery and farm workers. He used garden produce as subjects for still life
arrangements and for illustrations in gardening magazines. He also experimented with colour,
writing and lecturing about it, and had an article about the process published in the Register on 28
December 1907.
Joyner continued with photography until the early 1930s, by which time he was seventy years old,
and died at Medindie on 16 December 1945. An exhibition of his work held at the Art Gallery of
South Australia in 1981 included colour lantern slides, and the catalogue prepared for the
exhibition, Real Visions, the Work of F.A. Joyner, South Australian Photographer, 1863–1945,
detailed his work as a dedicated and successful pictorialist.
JUST E.A. & CO. and JUST, Elizabeth Ann see RUSHTON & JUST
538
The Critic, 27 April 1901.
Real Visions: The Life and Work of F.A. Joyner, South Australian Photographer, Art Gallery of South Australia catalogue, Adelaide,
1981, note 18.
540
539
169
K
KADINA STUDIO see ADCOCK, Thomas
KAHLBAUM, Carl
An undated cabinet portrait (Noye collection) carries the printed inscription ‘C. Kahlbaum, Ellen
Street, Port Pirie’. Directory entries, sometimes given as C. Karlbaum, are:
1888–03
miller, Port Pirie
1904–11
photographer, Port Pirie
The Post Office directory for 1905 gives his name as Carl Kahlbaum, photographer.
KAPPLER, Carl Gottlieb
An undated cabinet photograph (Noye collection) carries the printed inscription ‘C.G. Kappler,
Photographer, Wilmington’. The photographer was C.G. Kappler, listed as cabinetmaker,
Wilmington, in the directories from 1886 to 1909. He was born on 4 June 1861 at Rowland Flat
and died 27 October 1909.541
KAPUNDA PHOTOGRAPH COMPANY see THWAITES, Hector James
KAPUNDA PHOTOGRAPHIC CLUB
In June 1901 a group of amateur photographers formed the Kapunda Photographic Club and
elected the following officers: President, Mr M. Thomson; Secretary, Mr T. Warner; Committee,
Messrs R.S. Hawke, F. Meinke and W. Gropler. The stated objects of the club were ‘the exchange
of photographs, interchange of suggestions and experiences relating to photography, the formation
and maintenance of a photographic library, the promotion of a closer acquaintance among
photographers in this and other states, and photographic excursions’, and it was hoped that it
would be possible to ‘bring the amateurs of Angaston, Tanunda, Tarlee and Eudunda in touch with
the club’.
Although fortnightly meetings were originally intended to be a means of helping beginners during
the first half-year, the annual report for 1910 stated that ‘as in previous years, a fixed programme
of fortnightly demonstrations’ had been carried out.542 Club rooms were established in Hill Street
and by August 1901 it was reported that the club was doing ‘splendid work’ and that the number of
members was ‘far larger than expected’. The club was well represented in the large photography
section of the Kapunda Agricultural Show held in September 1901 which was judged by Adelaide
professional photographers Ernest Gall and S.P. Bond.
In January 1902 a competition was held with the lower dam between Hill and Coghill Streets as
the subject. Residents living near the dam were told that they should not be alarmed by a sudden
influx of visitors to the area ‘at rising, midday, and afternoon suns’. Judging was carried out on a
points system, with handicap points awarded to ‘as near as possible equalise the chances of old and
new members’. The prints entered in the competition were constructively criticised by Mr White
of Baker and Rouse at a special meeting of the club.
541
874.
542
Australasian Photo-Review, September 1910.
170
Ernest Gall (q.v.) assisted the members of the Kapunda Photographic Club in their formative
years. He gave valuable advice on how to form the club and acted as a judge and critic of their
competitions. After he judged the club’s portraiture competition in July 1902 a report stated that he
‘accompanied his awards with a detailed criticism of every picture. His standard was high, but not
by any means beyond the attainment, and certainly not above the ambition, of enthusiastic
members, and while his criticisms were trenchant they were not in the least hypercritical, and
formed a very valuable lesson to the competitors. The club is greatly indebted to Mr Gall for the
trouble he went to make the competition a useful lesson in the art of photography.’ Several
members expressed ‘their delight at the thorough and instructive criticism of their pictures and the
happy manner in which faults were pointed out and remedies suggested.543
At the 1902 Kapunda Show club members accounted for all of the 170 entries in the photography
section, no competition being received from outside the club. The judge, Mr H.H. Wight of Baker
and Rouse, reported that the pictures exhibited were ‘highly creditable, and considering the few
facilities in the country, the exhibition compared more than favourably with the recent exhibition
in the city’.
The Kapunda Photographic Club held its first exhibition at the Kapunda School of Mines in
January 1903, where ‘all the best workers [in the state] were represented, almost every known
process of production was demonstrated, and the pictures ranged in dimensions from an inch or
two inches square to life-like proportions’. The exhibition was an outstanding success and its two
objectives were achieved. One was to ‘enable the members to be brought in touch with a higher
class of work than they were likely to otherwise see in Kapunda’, and the other was to ‘enable
residents of Kapunda to see a branch of photography that was not to be found in ordinary trade
pictures. The expense of their production was too high for general trade purposes.’544
Non-competitive exhibits were received from E. Gall, C. Radcliffe, C.L. Whitham, H. Ashworth,
W. Andrew, J. Kauffmann, A.H. Kingsborough, Andrew Scott, A.W. Dobbie, Douglas Scott, S.
Smeaton, and E. Stokes. Dr H.H. Norman exhibited colour stereographs and ‘colour transparencies
for placing in a window’ and W.S. Wedd exhibited ordinary stereoscopic pictures. Exhibitors in
the open competitive section included F.C. Joyner, Mrs (Dr) Jay, Miss Kingsborough, E.W.
Belcher, A.E. Ayers, W.D. Clare, F. Gabriel, C.L. Whitham, and C.F. Rainsford. A separate
section was reserved for members of the Kapunda Photographic Club.
Adelaide photographic equipment supplier S.P. Bond sent eight sepia-platinotype views made by
one of England’s leading pictorial photographers, the late H.P. Robinson, and a photograph by Mr
David Blount, Daughter of Eve, which had won several gold medals and had been ‘most highly
spoken of by critics in England and Australia’.
The exhibition ran for several days and in the evenings lantern slides were shown in a large room
at the rear of the premises where a powerful acetylene gas lantern was operated by Mr W.M.
Shakespeare of Adelaide.
In December 1902 the instructor in art at the Kapunda School of Mines, Mr S.H. James, gave a
lecture on pictorial composition, describing it from the painter–artist’s point of view and then
explained its application to photography. Mr James also assisted with the club’s exhibition,
supervising the grouping and hanging of the photographs, and in appreciation of his assistance the
club made him an honorary member. In April 1903 the club’s meetings were transferred to a room
at the School of Mines.
At the third annual meeting held in July 1904 the president reported that in the past year the
membership had doubled and was now 33, which probably included the junior members. Several
competitions had been held, photographs and lantern slides had been sent to exhibitions connected
543
544
Kapunda Herald, 25 July 1902.
171
with the Mount Gambier and Port Pirie photographic societies, and practical demonstrations had
included developing all kinds of plates, making lantern slides by contact and reduction, toning
bromides, carbon process, toning printing-out paper by gold and platinum, postcard work,
flashlight photography, and enlarging negatives.545 In 1905 the club established a library of
photographic books with Mr M. Thomson as librarian.
A total of 110 pictures were hung in the photography section of the Kapunda Agricultural Show in
September 1904, most of it the work of members of the Kapunda club. One of the reasons for the
club’s dominance was the rule that all photographs had to be taken within 35 miles of Kapunda, a
restriction that was expected to be removed the following year.
At the Art and Industrial Exhibition held at Kapunda in October 1905 the photography section was
‘by far the largest and most attractive exhibit’. Photographs were received from amateurs at
Broken Hill, Mount Gambier, Gawler, Port Adelaide, and the Adelaide Camera Club, a total of
265 pictures, 125 local and 140 from outside the district. The judge was leading Adelaide pictorial
photographer John Kauffmann who ‘expressed surprise at the all-round excellence of the pictures
and the large display which would in certain classes hold its own against city work, whilst some
others showed much promise, and his remarks applied to the junior work as well as to the senior’.
The most successful exhibitor of prints was Thomas Warner of the Kapunda club and, when the 60
lantern slides were judged, Warner was awarded first prize.546
John Kauffmann judged another competition at Kapunda in May 1907 and travelled to Kapunda in
search of subjects for his camera (see under WARNER, Miss Dorothy). He became a member of
the Kapunda club, probably in an honorary capacity, and his assistance was acknowledged at the
club’s meeting in October 1907, where the president referred to:
‘… the success of Mr J. Kauffmann, a member of the club, who had three pictures accepted by the
Royal [Photographic] Society of London’. In response to remarks about the success of Kapunda
amateurs at recent exhibitions the secretary, Thomas Warner, said that:
whatever success his daughter or members of the club had achieved in pictorial photography, was
mainly due to the great assistance rendered by Mr Kauffmann. Last year we had the pleasure of
congratulating Mr Kauffmann on getting two of his pictures accepted by the London Royal; but this
year he has gone one better, and we are delighted to hear that three examples of his work have
found their place on the walls of the Royal … two [of the] pictures accepted were ‘The Lonely
Cottage’ and ‘The Brow of the Hill’ … views of Baker’s Flat, Kapunda. That the club send its
hearty congratulations to Mr Kauffmann (who is on a visit to Victoria) was unanimously agreed
to.547
A valuable club member was lost when B.R. Banyer (q.v.) left Kapunda for Balaklava in 1910 and
over the next few years further transfers from the town gradually eroded the club’s existing and
potential membership. In December 1914 it was reported that although the club was financially
sound its membership was small, and it was noted that the club’s one and only secretary, Thomas
Warner, had only missed one meeting in 13 years, a remarkable record, considering that for most
of the time the club had been meeting fortnightly. The club appears to have dissolved during the
First World War when most of the younger members joined the armed forces, leaving only a few
older members to carry on.
KASPER, Adolf
Advertised in the Australasian Photo-Review, February 1894, as ‘A. Kasper, retoucher, Osborne
Street, St. Peters. Adelaide, S.A. Retouching done at strictly moderate rates. Price list on
application. First-class work guaranteed.’ From 1898 to 1910 he is listed as photographer, Harrow
Road, College Park, and for 1912 and 1913 as photographer, Henley Beach Road, Torrensville.
545
Australasian Photo-Review, August 1904.
547
546
172
KAUFFMANN, John
Art photographer John Kaufmann was born at Truro, near Kapunda in South Australia, on 30
December 1864, the son of Alexander Kauffmann, the local storekeeper. The family moved to
Adelaide in 1868 and in the early 1880s John Kauffmann worked as a clerk in the office of
Adelaide architect J.H. Grainger. In 1886 he attended evening art classes run by Harry P. Gill,
director of the Adelaide School of Design.
In 1887 Kauffmann travelled to England where he worked in the office of a firm of London
architects. Here he spent time photographing and sketching on weekend and holiday excursions to
rural England, and it was here that he became interested in Pictorial photography and decided to
pursue a career as an artist photographer. He spent three years studying chemistry at Zurich
University, followed by experience at a fashionable Vienna portrait studio and a year studying
photo-technology in Bavaria. By the time he returned to Adelaide in 1897 he was well versed in
the art of Pictorial photography and had the necessary technical knowledge to practise it
successfully.
Kauffmann was elected a member of the South Australian Photographic Society (q.v.) in July 1897
and showed specimen prints at that meeting. The Austral Company of Melbourne made bromide
enlargements for Kauffmann which he submitted to the Society of Artists in Sydney for inclusion
in their annual exhibition, but the society would not accept photography. However, the prints were
shown in Sydney by the photographic firm of Baker and Rouse and were described by one Sydney
newspaper as ‘some of the most perfect photographic work ever seen … clear and truly artistic’.
A week later the Australasian Photographic Review said the prints were ‘full of detail, yet
beautifully soft … Mr Kauffmann is an artist as well as a photographer’.548 The prints were also
shown in Adelaide, where the Observer reported:
In the course of his studies abroad Mr Kauffmann, jun., made a number of beautiful photographs of
scenery, principally in Switzerland; and Messrs. Baker and Rouse, the well-known photographers in
Rundle-street, have produced enlargements of them on the Pearl bromide paper specially
manufactured by the firm in Melbourne. These reproductions are exquisite in the delicacy and
gradation of the tones, giving a depth and softness singularly attractive to the eye of the lover of
artistic effect, bearing eloquent testimony to the quality of the paper and the process. There are
views of Lake Maggiore, Moravian village scenes, and a most delightful sketch of an old village
near Zurich. The majority of the pictures present alluring landscape, water, and cloud
interpretations of Nature, and are well worth inspection.549
In 1899 Kauffmann won first and third prizes in the landscape category of the New South Wales
Photographic Society’s Inter-Colonial Exhibition, and in 1901 was a judge, along with his former
art teacher H.P. Gill, at the South Australian Photographic Society’s annual exhibition, the first at
which awards were made.
At the May 1902 meeting of the South Australian Photographic Society lantern slides made by
members were shown and subjected to criticism. A ‘novelty’ introduced by John Kauffmann was a
series of slides produced by the carbon process. ‘The colours were numerous, and in some
instances peculiarly suited to the subject of the picture.’
John Kauffmann’s work stimulated the South Australian Photographic Society’s interest in
Pictorial photography and, while he did act as a judge and show his work at the society’s meetings
and exhibitions, he did not write articles or give lectures and demonstrations at meetings of either
his own or other photographic societies.
548
549
The Australian Star, 8 October 1897; Australasian Photographic Review, 20 October 1897.
173
An interview with John Kauffmann was published in the Australian Photographic Journal on 20
December 1907:
When Mr Kauffmann, of Adelaide, arrived in Sydney a week or so ago, we felt that it was our duty
to levy on the gifted and accomplished photographer so that our readers should know more of the
man and his work, much of which has been reproduced in the A.P.J. for some years past and, it
goes without saying, has created quite a circle of admirers. It will be already known to our readers
that Mr Kauffmann has had three pictures accepted this year at the Royal Photographic Society,
London, being one more than last year …
Mr Kauffmann, a South Australian by birth, has had the supreme advantage of a ten years’ sojourn
in Europe, where he has had the opportunity of studying the works of advanced pictorialists, both
on the Continent and in England. Inspired by their aims, he found the camera held a new meaning
for him, and he indefatigably sought for technical perfection of method, so that he could render
nature according to his own lights. He acknowledges being largely influenced by such powerful
workers as Drs. Heneberg and Spitzer, Hans Watzek, Heinrich Kuhn, and other leading members of
the Austrian school, which school, at the present time, holds an unique position for strength and
originality amongst the great pictorial schools of the world …
Asked as to his opinion of pictorial photography in Australia, Mr Kauffmann said it is but slowly
gaining ground … Of the club of which he is a member, the Kapunda Camera Club, he speaks in
warm terms, and states that the members are aiming high, and many of them will yet be heard of.
We had the pleasure of looking through Mr Kauffmann’s portfolio of [photographs] and must say
that it is a rare treat to see such extremely excellent all-round work by one man.
Kapunda was a former copper mining town about 12 miles from Truro, the town where Kauffman
was born, and a short train journey from his home in Adelaide. A Kapunda amateur photographer,
Dorothy Warner (q.v.), has recalled camera excursions she had with Kauffmann when she was a
teenager.
The Camera Club held exhibitions from time to time and received entries from city and country
areas and Mr Kauffmann came there as judge and came many times later as guest of my parents. He
and my father toured the country nearby in search of good subject matter. His home was at that time
with his sister in North Adelaide. Later he went to Melbourne where he set up a studio and did
some very fine work … It was from him that I learned so much, for on his visits to us we developed
and printed together, much of it carbon work. He and I visited Baker’s Flat, an old Irish settlement
the other side of the Kapunda copper mine. The houses were quaint thatched places where very
aged Irish born people lived. Pigs, poultry and humans all had access to these places. A
photographer’s paradise. It was from a photograph I took there, a carbon print, that I got the
champion prize of a silver medal at the Women’s Work Exhibition.550
At the October 1907 meeting of the Kapunda Photographic Club the president referred to ‘the
success of Mr J. Kauffmann, a member of the club, who had three pictures accepted by the Royal
[Photographic] Society of London. He believed that two of the three subjects were Kapunda
pictures – views of Baker’s Flat.’ In response to remarks about the success of Kapunda amateurs
at recent exhibitions, the secretary, Thomas Warner, said that:
…whatever success his daughter or members of the club had achieved in pictorial photography was
mainly due to the great assistance rendered by Mr Kauffmann. Last year we had the pleasure of
congratulating Mr Kauffmann on getting two of his pictures accepted by the London Royal; but this
year he has gone one better, and we are delighted to hear that three examples of his work have
found their place on the walls of the Royal. It is undoubtedly a great honour, especially as one of
his pictures, ‘Thro’ the Woods’, accepted by such a powerful body as the Royal Society Hanging
Committee, had been adversely criticised in one of the Adelaide papers recently. It showed that in
England they had very different opinions of the work to what somebody in Adelaide had. The other
two pictures accepted were ‘The Lonely Cottage’ and ‘The Brow of the Hill’, the two latter being
view of Baker’s Flat, Kapunda. That the club send its hearty congratulations to Mr Kauffmann
(who is on a visit to Victoria) was unanimously agreed to.551
550
551
Dorothy Spencer to R.J. Noye, 20 January 1966.
174
Around 1909 John Kauffman moved to Melbourne where he exhibited in local and international
salons and where he eventually opened his own studio c.1917. In 1919 The Art of John Kauffmann
was published, the first monograph about an Australian photographer. The book contained twenty
of his photographs and a text written by Leslie Beer, editor of Harrington’s Photographic Journal.
To those outside his circle of friends John Kauffmann appeared to be vain and aloof, but to those
who knew him well he was affectionate and entertaining. Melbourne photographer Jack Cato
described him as:
… never quite one of us, those years in Europe having left him a confirmed Continental. He was
6ft. 3 ins. tall, very dignified and quiet, and seriously preoccupied with his thoughts. I knew him for
thirty years, saw him almost every week, yet never knew him to smile. He was one of the bestdressed men in Melbourne; one would always note his ‘Red Indian’ profile as he strolled ‘The
Block’ complete with yellow gloves, cane, spats and his pince-nez on a silk cord. He was usually
off to an art exhibition, a chamber music recital, or an alfresco lunch in the Botanical Gardens,
where he could find again something of the spirit of the Vienna Woods.552
John Kauffmann died in Melbourne in November 1942.
In 1996 a travelling exhibition of John Kauffmann’s work, Soft But True, was arranged by the
National Gallery of Australia, and to mark the occasion the Gallery published John Kauffmann, Art
Photographer written by Gael Newton, the Gallery’s Curator of Australian Photography.
KELLY, Mr
The Auburn correspondent for the Northern Argus reported on 22 September 1890: ‘A Mr Kelly,
who is now stopping in Auburn, took a photo of the scholars attending the State school on Friday
morning last. He afterwards took one of the school residences.’ A few days later, at the St John’s
Church Sunday School picnic held at Undalya, ‘Mr Kelly arrived on the scene and took a photo of
the children’.
KENT TOWN PORTRAIT ROOMS see FARNDELL, Edward
KEY, C.
Listed as a photographer at 71 Sussex Street, North Adelaide, in directories from 1909 to 1914+.
KING, R.
Listed as photographer, Jacob Street, Gawler, in directories for 1866 and 1867.
KINGDON, Mr
Mr Kingdon, the Photo King, has opened a studio in Main Street, Kapunda, opposite the Fire
Brigade station. He has done a large amount of outdoor work in the scenic beauties of Kapunda,
groups of schoolchildren, public buildings, street scenes, etc, besides portraiture of local celebrities.
Mr Kingdon is making a special feature of stereoscopic views, and has good selection of Kapunda
pictures. He is now preparing Christmas greeting cards, with views or portraits on them …553
Kingdon offered the chance of a prize to purchasers of coupons for photo sittings. The prizes were
a bicycle, an Edison phonograph, and ‘ten golden sovereigns’. His cabinet photographs were 10/6
per dozen, and photographs with Christmas greetings from 5/- a dozen.
In Australians Behind the Camera Sandy Barrie has recorded an F. Kingdon who used the name
‘Photo King’ at various towns in New South Wales between 1908 and 1919.
552
553
Jack Cato, The Story of the Camera in Australia, Georgian House, Melbourne, 1955, p. 149.
Kapunda Herald, 24 November 1905
175
KINGSBOROUGH, Miss
Became a member of the South Australian Photographic Society in July 1895 and was named as
one of the ‘well-known high-class camerists’ who would be exhibiting work at the 1903 exhibition
of the Kapunda Photographic Club.554 She won the award in the Flower and Fruit Study section
with her ‘little gem entitled “Marguerites”.’
KINGSBOROUGH, A. (Alfred?) H.
At the twenty-first birthday celebrations of the South Australian Photographic Society (q.v.) held
at Bricknell’s Care in Rundle Street on 15 August 1906 ‘the popular secretary of the society’, Mr
A.H. Kingsborough, was presented with a cutlery set. When making the presentation the president
said Mr Kingsborough had been ‘a tower of strength’ for the society and its members.
From 1891 to 1895 he was honorary secretary, and then took office as a committee man. In 1896 he
was appointed vice-president. During the next three years he acted on the committee, and in 1900
was again vice-president. He was elected to the presidential chair in 1901; afterwards he again
served on the committee; and today he is again hon. secretary. No better secretary could be found,
and it would be cheerfully admitted by every member that no one had done as much for the society
as he had. Mr Kingsborough had ever been an ideal officer, and to him in a large degree must be
attributed the present success of the society … The gift was acknowledged by the recipient in a neat
speech, in which he declared that his membership in the society extended back 19 years [to 1887].
Besides the assistance it had been to him in photographic work, he had formed some of the closest
friendships of his life among its members.555
Mr Kingsborough continued as secretary and was listed as such in the directory for 1910, which
was the last in which officers of the society were listed.
Mr Kingsborough was employed by Messrs S.P. Bond & Co., the photographic material dealers,
and often acted as a guest judge, lecturer or demonstrator at camera club meetings, probably
representing the interests of his employer at the same time.556 He showed stereoscopic views at a
society meeting in 1896, gave a lecture on cyanotype printing in March 1898, and at the society’s
1898 conversazione ‘exhibited a complete lot of cyanotype printing and stereoscopic views, and a
representation of every conceivable use to which the blue system of printing can be put. He also
showed a collection of general photographic views, and some fine toned bromide enlargements
and transparencies.’557 He was judge at the Kapunda Photographic Club’s large and highly
successful exhibition of photography which was held at Kapunda in January 1903.
In September 1910 the Kapunda Photographic Club reported: ‘It is with the deepest regret that we
record the death of Mr A.H. Kingsborough, although everyone knew that his health was far from
satisfactory. As secretary, and later president, of the South Australian Photographic Society, he did
all he possibly could to help us on in our early days, and for years he came to Kapunda to judge the
photographic section at the annual shows.’558 It may have been more than mere coincidence that
his death and the demise of the South Australian Photographic Society occurred in the same year.
KINGSLEY, E.H.
Listed as photographer at Snowtown in the directory for 1905, and he may be the E.A. Kingsley
listed at 19 Queen Street, Unley, for 1915.
554
556
For example, Kapunda Photographic Club, Kapunda Herald, 22 April 1904.
557
558
Australasian Photo-Review, September 1910.
555
176
KINGSLEY, Edward
1905
North Road, Nailsworth
1910
20 Charles Street, Norwood
KLEEMAN BROS. see NEW YORK PHOTO CO.
KLOSE, J.E.A.
An amateur photographer who was president of the Kapunda Photographic Club in 1910. His
photograph, To the River, was reproduced in the July 1910 issue of the Australasian PhotoReview, which said in its criticism, ‘A good example of the concentration of interest on the
principal object or group of objects, illustrating the “shut-in” style of treatment, though it is far
from so shut in that there is no “way out” …’ In the same month he spoke on ‘Gradated Color
Screens (a fallacy in the use of light filters)’.559
KLUGE, E.
An active amateur photographer who became a member of the Mount Gambier Photographic Club
a few weeks after it was formed on 23 February 1903. He was elected secretary of the club in
February 1904, a position he held for a number of years. In the club’s July 1903 competition he
won the Baker & Rouse special prize of half a guinea for the best print on Pearl bromide paper.
KNIGHT, G.H.
An advertisement in the Northern Argus, Clare, for 17 October 1884 reads: ‘KNIGHT!! Portrait
and Landscape Photographer, artist in Oil, Crayon, and Water-colour, begs to announce that he
will … open a first-class photographic atelier next door to Mr Blair’s. No Prepayment. Children a
specialty.’
A few weeks later the newspaper reported that Mr G.H. Knight had artistically photographed the
horses and cattle at Hill River station, and that when he reached England he would enlarge the
pictures in oils, and thus have some valuable paintings, which he expected would fetch a large sum
of money. He must have intended staying at Clare for some time, as he is listed in the directory for
1885 as a photographer in the Main Street, Clare.
During November 1884 G.H. Knight was at Port Pirie, where he had opened a studio in Florence
Street, opposite Coombe Bros. timber yard. He was also looking for a smart, intelligent young
man, with references, to act as his assistant in the studio. His advertisements included M.R.P.S.
(Member of the Royal Photographic Society, England?), and said that Mr Knight was on a
photographic tour around the world. He was prepared to make cabinet and panel photographs, as
well as the usual cartes de visite.
KODAK (AUSTRALASIA) Ltd See BAKER & ROUSE
KOERNER, Theo.
Manager of Thomas Adcock’s (q.v.) Kadina studio in 1891, when he was described as having been
previously employed by Hammer & Co. and Stump & Co. He was also listed in directories as
photographer:
1905–13
42, 44 King William Street, Kent Town
559
Australasian Photo-Review, July 1910.
177
1914+
46 King William Street, Kent Town
KOOK, Peter C.
Peter Kook was listed as a photographer at Power Street, Mount Gambier, in directories from 1893
to 1897, then at Commercial Street from 1898 to 1914. He then moved to Adelaide.560 He was first
president of the Mount Gambier Photographic Club when it was formed in February 1903, after
which he was vice-president for several years. For six months the Photographic Club’s meetings
were held at his Dana Studio, where a darkroom was available for practical demonstrations of
photographic processing; the club then transferred to the committee room at the Institute.
However, the absence of darkroom facilities at the Institute resulted in a move back to the Dana
Studio in May 1905.
KOPSCH & MAY
In the Register for 26 December 1853 Messrs Kopsch & May informed the public that they were
ready to make daguerreotype portraits in their glasshouse opposite the Southern Cross Hotel in
King William Street, Adelaide, between 8 am and 5 pm.
In an advertisement in the Observer for 21 January 1854 they said they were taking:
… likenesses by daguerreotype on silver plates, in rings, lockets, brooches etc., and up to a size of
eight inches by ten … Mr Kopsch, an artist of long and practical experience, has brought with him,
on his recent arrival in the colony, the best and newly improved apparatuses, by which means, and
combined with his skill in the above art, portraits can now be obtained which in perfection never
before were equalled in the colony. Orders to take the likenesses of deceased relations will be
punctually attended to. Sketches of estates and landscapes taken when desired. Open daily from 9
am till 4 pm. The weather will make no difference whether cloudy or bright.561
In February the Observer devoted a lengthy item to Kopsch & May:
We have had hasty visits from several daguerreotype artists, who, having caught up what stray
guineas the people of Adelaide and country districts would suddenly spare, have run away to other
colonies, or sought different occupations. This peripatetic mode of the camera obscura is the most
unfortunate possible, as the taking of portraits through its agency is as much a science as an art, and
one which requires great experience in the particular locality where it is exercised. Not only the
light, but the state of the atmosphere, has to be considered; and every skilful daguerreotypist is
aware that he must choose his time with judgement if he would rely upon producing a successful
likeness.
We are glad, therefore, to find that two accomplished gentlemen from Germany, Messrs Kopsch
and May, who possess every possible appliance, have established themselves in King William
Street, and erected a glass-room, so well provided with blinds that the light can be admitted or
excluded from any quarter of the compass. We have seen several of their portraits, which are
singularly characteristic, and some of their copies from pictures, which are equally happy. The
latter have been found in some instances particularly valuable, as enabling residents of Adelaide to
send their English friends the likenesses of those who have passed from this mortal scene, and of
whom the only remaining memorial is a portrait or a miniature.562
In May and August 1854 Kopsch and May’s advertisements said that they ‘continue to take
likenesses by Daguerreotype in any size. The winter season is strongly recommended, as there is
now no more heat and dust, which, in the summer, are the two great evils that have to be
overcome. The weather will in no instance make any difference, whether raining or sunshine.
Open daily from 9 till 3.’ One aspect of photography that they played down was that, although
daguerreotypes could still be made in the winter months, much longer exposure times were
necessary, and this is reflected in their hours of closing, which were 5 pm in December and 3 pm
560
Border Watch, 17 June 1914.
Observer 21 January 1854.
562
Observer, February 1854.
561
178
in the winter months.
Kopsch’s partner may have been Charles William May (although the Observer referred to Kopsch
& May as ‘two … gentlemen from Germany’).
KORA PHOTO CO.
The studio at 174A Rundle Street was listed in the directories as The Art Photo Co. for 1897, the
Kora Photo Co. for 1898–1900, then as the Crown Photo Co. for 1901.
KOSMINSKY AND SMITH (KOSMINSKY, M.)
Advertisement, Border Watch 17 June 1865: ‘Kosminsky & Smith, watchmakers and
photographers, Penola. Photographs after the newest styles in family groups, familiar sketches,
views, cartes de visite, vignettes, etc. Watches and time-pieces of every description carefully
repaired by an experienced workman. Penola, 1 June 1865.’563
The partnership was short-lived. The following notice appeared in the Government Gazette, 22
March 1866: ‘Dissolution of partnership of Kosminsky & Smith, photographers and watchmakers
of Penola, by mutual consent. 12 March 1866. M. Kosminsky, A.P. Smith.’
KRANTZ, Harry
Listed in directories as a photographer ‘off Commercial Street’, Mount Gambier, from 1912 to
1914.
KREISLER, Harry see KREUSLER, H.
KREUSLER see TEAKLE & KREUSLER
KREUSLER, H.
1909–10
1911
1912–14
1915
1919
Erskine Street, Goodwood Park
Denial Bay, Eyre Peninsula.
Streaky Bay, Eyre Peninsula
Waranda Well, Eyre Peninsula
Murat Bay, Eyre Peninsula
Although the Goodwood Park entries were listed under the name of Harry Kreisler, he is presumed
to be the same person as the H. Kreusler on Eyre Peninsula. He may also have been a partner in the
firm of Teakle & Kreusler (q.v) who were listed in 1909. Waranda Well was described in the
directory as ‘Hundred of Chillundie, County Way, 481 miles west of Adelaide’.
KRICHAUFF, Friedrich Charles
An architect by profession, F.C. Krichauff was also an enthusiastic and accomplished amateur
photographer. When interviewed for an article which appeared in the Australasian Photo-Review
for June 1949 he was 88 years old, and still ‘vitally interested’ in photography. ‘Although he has
operated a camera over all those years, he takes great pride in saying that he never sold a picture in
his life. He has given them away, no doubt, in hundreds, but he has never sold one – surely and
amateur in the true sense of the word.’564
563
564
Border Watch, 17 June 1865.
179
Krichauff was a foundation member of the South Australian Amateur Photographic Association,
formed in August 1885, and a report of the society’s twenty-first birthday celebrations held in
1906 names him as the society’s first treasurer. He later served as secretary for several years.
Krichauff was often called upon to judge competitions and in 1887 was awarded the First Order of
Merit for photographic work he exhibited at the Adelaide Jubilee Exhibition. The previous year he
received a bronze medal at the London Colonial and Indian Exhibition.
When Krichauff first practised photography, his darkroom safe lamp was a candle inside an amber
bottle which had the bottom removed, and one of his idiosyncrasies was that he invariably wore
his hat when working in his darkroom.
Friedrich Charles Krichauff was born at Bugle Ranges, South Australia, on 27 June 1861, and died
in 1954.
KRISCHOCK, H.L.F. (Harry)
Born in Adelaide in 1875, Harry Krischock was first listed as a photographer, at Gresham Street,
Adelaide, in the directory for 1904. For several years from 1906 his large directory entries (in the
alphabetical section) detailed his photographic repertoire – flashlights, exteriors, interiors, animals,
birds, landscapes, groups, copying, enlargements, snapshots, postcards, instantaneous photographs
for reproduction, press and ‘all other descriptions of photo-graphy’. He also informed the public
that he was the South Australian photographer for the Australasian, the Critic and the Garden and
Field. He became official photographer for The Advertiser, fulfilling contracts there for thirty
years.
Outdoor photography was Harry Krischock’s proclaimed specialty, although he did take some
portraits, and later turned to cinematography. More than 370 of his photographs were reproduced
in the two volumes of the Cyclopedia of South Australia (1907 and 1909), including views of
townships, business premises, residences and homesteads from Renmark to Goolwa, Kangaroo
Island, Naracoorte and Bordertown, the Adelaide Hills and Mid-North of the state.
He worked as a cinematographer from 1911 until the 1920s.
His feature films include:
Remorse, a Story of the Red Plague (1917)
Our Friends, the Hayseeds (1917)
What Happened to Jean (1918)
Why Men Go Wrong (1922)
Short films, newsreels and documentaries:
Adelaide in a Hurry (1911)
From Pasture to Table H.K. Wondergraph 6 September 1913
Earthquake in Adelaide H.K. Wondergraph 3 June 1914
Melbourne Cup 1914 H.K. Wondergraph November 1914
Lindsay Kemble’s Adelaide Escapades Adelaide Star 23 January 1915
Great Eastern Steeplechase Wondergraph 6 April 1915
Three Oakbank Steeples Adelaide Star 14 April 1915
Shells Wondergraph 8 March 1916
Hunting Kangaroos by Motor Car (1916)
Opening of Port Adelaide Electric Trams Port Adelaide Empire 4 April 1917
Oakbank Steeple 10 April 1917
Australia Today 30 July 1917
Adelaide Show – Daily Coverage 12 September 1917
Prospect’s Australia Day 24 September 1917
180
Australia Day Pageant 31 July 1918
Oakbank Steeplechase 6 April 1920
The Prince in Adelaide 18 August 1920
Oakbank Steeplechase 29 March 1921
Wine Industries of South Australia Clare 9 April 1921
Oakbank Steeplechase 18 April 1922
Interstate Football 2 July 1923
His residential address was given as 20 Grenfell Street, Kent Town, to 1908, then as 25 Hughes
Street, North Unley to 1915+. He appears to have maintained his business address at Netter
Building, Gresham Street, Adelaide from 1904 until his death in 1940.
Harry Krischock’s two sons Keith and Bill joined the Krischock Studios in the 1920s and
continued the business until 1950, when it was sold to The Advertiser. The Krischock Studios was
a leading provider of images to The Advertiser and The Chronicle newspapers.
181
L
L’AMICO, Fritz see FRUHLING & CO.
LAMB, W.H.
In November 1857 Mr W.H. Lamb was at One Tree Hill, advertising in the Observer that on the
16th of that month he would ‘open photographic rooms at Mr Steel’s, schoolmaster, Golden Grove
… Portraits taken from 8s 6d each and upwards.’565 He was there only a few weeks, then returned
to One Tree Hill where he had a studio at Mr Lofte’s.
The Advertiser described photographs Mr Lamb took when the Governor called at Auburn on his
way back to Adelaide after a visit to Clare in March 1859: ‘Mr Lamb, the photographist, had, in
anticipation of His Excellency’s arrival, placed his apparatus at some distance in front of the hotel,
but the bustle of all parties at his arrival prevented the production of a good plate. The
circumstances having been intimated, however, to His Excellency, he kindly consented to aid in
the object, and remained after lunch for about 10 minutes outside, during which time Mr Lamb
took two calotypes [more likely ambrotypes], the latter of which is an admirable plate. There was a
group of upwards of 100 persons, in front of which His Excellency, with Miss Gleeson, sat in his
carriage … nearly everyone in the group can be easily recognised.’566
The following month Mr Lamb was taking the ‘likenesses of the officers of the Gawler Lodge of
Oddfellows, habited in their several insignia of office, for the purpose of their being permanently
placed in the new Hall, and forming a heirloom to their successors’. Mr Lamb also photographed
the front of the new hall, with the officers on the balcony. ‘This pleasing picture is unavoidably so
small that the figures are little more than half an inch in height, yet such is the surprising accuracy
of the productions of this wonderful art that the distinctive full-lengths are perfectly recognisable
and when viewed through a microscope are found as complete as the larger likenesses’. 567
The Kooringa [Burra] correspondent for the Advertiser reported on 7 October 1859, ‘The
photographist Mr Lamb has been amongst us about six weeks, and seems to be an artist as well as
naturalist; he visited a remarkable cave … near the Princess Royal Mine. The party were
judiciously equipped for such an underground exploration, and brought to Burra some beautiful
specimens of stalactite from that hitherto unknown cave.’568
LANGHTON, George
George Langhton was president of the Adelaide Amateur Camera Club at the time of his death in
August 1908. His obituary in the Australian Photographic Journal for August 1908 included his
portrait and the comment that ‘he was one of the band of old workers who have been faithful to the
art from the very beginning, and the club will find it difficult to fill his place’.
LANGSFORD, H.
An undated cabinet portrait (Noye collection) carries the printed inscription ‘H. Langsford,
Photographer, Norman Street, Port Pirie’. There is a Hy. Langsford, grocer, Port Pirie, listed in
directories from 1899 to 1909, and a Herbert Langsford listed as photographer, Port Pirie, in the
565
Observer, November 1857.
The Advertiser, March 1859.
568
The Advertiser, 7 October 1859.
566
567
182
1905 Post Office Directory.
LARSEN AND HIRSCH
‘The German Photographic Co., managers Larsen and Hirsch … announce their arrival in Gawler
… and are prepared to take photos in every branch of the photographic art. Fifty new styles to
choose from (including positives by transparency or direct). Reproductions and enlargements from
nature. Outdoor work and groups by arrangement … Our tent, which is erected in Mr Frankel’s
Hotel yards [Murray Street], is furnished with all modern appliances, apparatus, and machinery.
Cartes de visite from 8s. per dozen.’569
LEHMANN, E.H.
Advertised as a photographic artist when he opened his photographic atelier (studio) in O’Connell
Street, North Adelaide, next to Mr H. Just. Cartes de visite were 10s 6d per dozen, and he was
prepared to execute paintings in water colour etc., at reasonable prices.570
LETCHFORD, John R.
In December 1881 J.R. Letchford, of Naracoorte, exhibited ‘samples of photographic art’ at an
exhibition held in the Mount Gambier Institute. While directory entries list him as a photographer
at Norwood from 1882 to 1884, his advertisements in the Naracoorte Herald show that he was
working as a photographer in the South-East district during this period, moving between
Naracoorte, Bordertown and Kingston. His advertisements described him as being ‘of Naracoorte,
Tatiara [Bordertown], and Kingston’, and the names of these three localities also appear together
on the backs of his cartes de visite. It was not until the directory for 1885 was issued that his
address was given as Naracoorte. His successor at the Naracoorte studio was J.M. Bailey, who
used the same design on his cards as Letchford had. Letchford may have been a photographer at
Norwood before moving to Naracoorte in 1881.
LEWIS, Henry
In August 1865 Mr C. Heritage gave a lecture on phrenology in the Gumeracha Institute. At one
stage of the lecture, and to illustrate a point, ‘a pleasing exhibition took place. The lights were
turned down, and a number of transparent photographs, taken by Mr H. Lewis, of noted persons
were shown by means of a magic lantern.571 Boothby’s Directory for 1865 lists a Henry Lewis,
tinsmith, at Gumeracha, who may have been the person who took the photographs.
LEWIS, S.L.
Listed as a photographer at Unley Road, Parkside, in the directories for 1895 and 1896, and at
Oxide Street, Broken Hill, for 1899.
LIGHTNING PHOTOGRAPHERS see CHIRNSIDE AND WAGSTAFF
LIGHTNING PHOTOGRAPHIC CO. see MILEWSKY, Myer
LINGWOOD-SMITH, W.T.
Listed as police photographer under the name of ‘Smith, W.T. Lingwood’ at 140 Grote Street,
Adelaide, in directories from 1891 to 1896, then as ‘Lingwood-Smith, W.T.’ at the following
addresses:
569
Advertisement in the Bunyip, 9 April 1880.
571
570
183
1897–1903
1904–12
1913+
140 Grote Street, Adelaide
Goodwood Road, Wayville
Frederick Street, Parkside
LITTLE See PERRY BROTHERS (PERRY & LITTLE)
LITTLE, Mr
In October 1875 Messrs Perry & Little were at Blinman and had ‘taken a number of well-executed
photographs of scenery, stations and townships in [the] district’.572
LITTLE, William
On 26 August 1845 the South Australian gave details of the earliest known photographic images
made in South Australia: ‘DAGUERROTYPE – Mr W. Little, North Terrace, who has acquired
considerable reputation as an ingenious mathematical and optical instrument maker, has just
succeeded in acquiring the above important art. Thus parties who wish to send accurate likenesses
to England, will probably be enabled to do so at very trifling expense.’573
However, a few weeks later, on 19 September, the paper said that a shortage of silvered plates had
forced Mr Little to use the calotype process:
A few weeks ago we noticed Mr Little’s having succeeded with the daguerreotype. The difficulty of
getting the requisite silvered plates in the colony presenting an obstacle to the bringing of this art
into general use here, he has directed his attention to processes on paper. We have just seen a few of
Mr Little’s specimens, from which it is evident how important this art will eventually become for
the copying of plans, maps, drawings, engravings, &c. In an impression of a piece of lace, the
smallest threads are distinctly marked, and the outlines well defined. The usual time for taking an
impression is about ten minutes: the first impression is negative, consequently a second operation is
requisite to bring out the shades in their natural order. In an experiment which we witnessed, a
piece of white paper was transformed by the solar rays into a perfect picture in one minute. Mr
Little has not yet tried portraits, but will probably do so soon. Photogenic drawings on silvered
plates, and on paper, have each their peculiar merits. The former are remarkable for their delicacy
of outline and the minute accuracy of their detail, but they cannot be transferred, and the least
friction obliterates them. The latter can be transferred with the greatest facility, and books are now
actually published in England, illustrated by these drawings: besides, their cheapness and durability
render them of great utility for ordinary purposes.574
William Little’s telescope was the centre of attention at the exhibition of colonial produce and
manufactures held in Adelaide on 19 February 1846. In its report of the exhibition the South
Australian said, ‘Above all, we do not think anything, in point of ingenuity, skill and labour,
surpassed the Gregorian, or reflecting, telescope (power 50 times), by Mr Little, the talented
mathematical and scientific instrument maker. Having had the privilege of testing the powers of
this instrument, we can state that it has been executed with very great skill, and that Mr Little has
produced a very perfect instrument. We understand that this is the only instrument of this kind that
has been manufactured here, and there are only two others of the kind in the colony. We should
rejoice much to see an artist like Mr Little adequately encouraged.’575 Four weeks later the paper
was able to report that, on the recommendation of Captain Frome, Mr Little had been awarded a
prize for his Gregorian telescope.
In July 1846 William Little advertised an exhibition of the oxy-hydrogen microscope, which
would allow the public to see magnified images of ‘Australian insects, animalculae, etc.’ in the
large room behind the Freemason’s Tavern, admission charge two shillings.
572
South Australian, 26 August 1845.
South Australian, 19 September 1845.
575
South Australian, ?? February 1846.
573
574
184
When samples of emery discovered on the Mount Remarkable survey were brought to Adelaide
for analysis in 1847, William Little was considered the person best qualified to test it. He
submitted the emery to a variety of tests and then examining it under a powerful microscope at his
North Terrace premises he was able to supply a favourable report.576
LLOYD, John
Teacher and Welsh Congregational minister, John Lloyd exhibited magic lantern views in the
Bible Christian Chapel, Wallaroo, in February 1866. In June 1867 he showed magic lantern slides
in his schoolroom, the Wallaroo Commercial School, which he said would ‘surpass the previous
ones for brilliancy and effect’. His intention then was to obtain a limelight for use at future
exhibitions.
In June 1868 he advertised that he ‘takes likenesses every Saturday, and on public holidays, from 8
am to 3 pm. Cards 12s. per dozen.’ He appears to be the John Lloyd, born 1831, died 25 November
1905.577
LONDON PICTURE & PHOTO. FRAMING CO. (LONDON PHOTO. & FRAMING CO.)
The London Picture & Photo Framing Co. was listed in directories as 150 Rundle Street, Adelaide,
from 1900 to 1908 with the following managers:
1900–04
James Hooper (q.v.)
1905–06
Mrs E.J. Wilson (q.v.)
1907–08
C.R. Wheeler (q.v.)
In October 1901 the firm advertised in the Northern Argus, Clare, under a slightly different name:
‘London Photo & Framing Company, 150 Rundle Street, Adelaide. Cheapest house and most
artistic in Australia for photos, enlargements, and picture framing. 1 doz. cabinet photos and
bromide, 9s 6d. Enlargements made from any photo. from 12s 6d, framed complete. Ex-trooper
J.E. Petrie, late S.A. contingent (now touring with Bugler and Nelson), operator.’578
Troopers J.E. Petrie and A.S. Bates were soldiers who had returned from the Boer War in South
Africa, and were touring the country districts with ‘the celebrated horse Bugler and the soldiers’
dog Nelson’, collecting money for a national war memorial. By day the horse and dog led patriotic
parades through the streets, and at night Bates would speak about the war in the local hall,
supported by photographs Petrie had taken in South Africa and made into slides which were
projected by limelight. The Auburn correspondent for the Northern Argus reported, ‘Trooper Bates
described in graphic and earnest language the pictures thrown upon the sheet … [and] that time has
not worn our enthusiasm or tarnished our loyalty to King and country was evidenced by the shouts
of applause which greeted the familiar pictures of the English and Australian officers, as well as in
the groans and hisses which were the fate of those [pictures] of prominent Boer generals’.
Cabinet photographs (Noye collection) exist with the following printed imprints: ‘London Photo
Co., Studio, 150 Rundle Street.’; ‘The London Studios, 150 Rundle Street, Adelaide’. Dimond
Bros. photo, studio was listed as 150 Rundle Street from 1909. There are also cabinet photographs
with the printed inscription ‘J. Ellis Petree, photographic artist, Adelaide’.
LONDON PHOTO CO. and LONDON STUDIOS see LONDON PICTURE & PHOTO.
FRAMING CO.
576
979.
578
Northern Argus, October 1901.
577
185
LOSER, Jno. Joseph
His letterpress imprint on the back of a cabinet portrait reads: ‘J.J. Loser, Photographer,
Langhorne’s Creek. Additional copies obtainable at any time’. Jno. Joseph Loser was listed in
directories as a farmer at Langhorne’s Creek from 1891 to 1909, after which there was an entry for
J. Loser at Brighton Road, Brighton in 1910.
LOTT, Mrs Frances
Worked as a general assistant and negative printer in the Paris Photographic Studio which was
managed by her husband, William James Lott (q.v.). She eventually obtained a divorce from her
husband on the grounds of cruelty and adultery.
LOTT, William James
When Frances (Fanny) Symons married William J. Lott in the Kooringa Wesleyan Chapel on 10
April 1864 she did not know of the pain and suffering she was to endure at the hands of her new
husband, or that he was to become South Australia’s most notorious photographer.
After their marriage the couple moved to Adelaide, Gawler, then George Street, Moonta, where
Lott had a small drapery store in 1867. The following year he was declared insolvent. By July
1872 Lott had moved into the photographic studio at 164 Rundle Street, Adelaide, which had
previously been occupied by Philip Marchant (q.v.), who was as righteous as Lott was evil.
In February 1873 Lott’s Paris Photographic Studio was advertising portraits on glass from 1s 6d
each and cartes de visite, ‘finished by first-class artists’, for 7s 6d per dozen, or 5s per half-dozen.
Portraits could be finished in either oil or water colours.
For a time Lott’s photographic business enjoyed a degree of success, with favourable comments in
the press. In November 1874 the Register referred to the studio’s ‘admirable cabinet likeness’ of
John Forrest, the leader of the West Australian Exploring Expedition. A week later the same paper
reported, ‘Mr W.J. Lott … has shown us a large-sized and particularly bold, clear and faithful
mezzotint likeness of the late Mr J.H. Barrow. The features are remarkably distinct, the expression
is excellent, and the head stands well out from the background, so as to look more like a bust than
a photograph.’ Newspaper items and advertisements referred to Lott’s business as the Paris
Photographic Studio until 1875, after which it was called the Paris Photographic Company.
In October 1876 the Observer said Lott now had a new studio, which:
… incorporated all the latest improvements … The operating room is 30 feet by 16, and a board six
feet high at the lower end of it produces a reflected and subdued light not obtainable by any other
means; while a number of shutters and blinds, which can be drawn up and down easily by a spring,
give facilities of throwing light on a subject of any character. The camera used was made by Messrs
French, of London, to Mr Lott’s special order, and has the rack and pinion movement throughout.
The double repeating back is so arranged that every part of the figure can be brought into focus, and
four pictures can be taken in different positions in the time it usually occupies to take one. Mr Lott
has also one of Weston’s patent burnishers fitted up with gas, by which a photograph can be
thoroughly burnished in very little time, and Marion’s cameo press enables him to press his
portraits into any size or shape which may be required.579
In June 1877 Mrs Lott sought a divorce from her husband on the grounds of cruelty and adultery.
When reporting the case the Observer said:
The annals of Matri-monial Courts here or elsewhere never produced a more flagrant instance of
shameful depravity, wanton cruelty, and pitiful cowardice – in short, of utter baseness – than the
evidence disclosed. A small portion of that evidence we have printed, but the bulk of it is so gross
as to be utterly unfit for publication. It depicts a creature thoroughly steeped in sensuality, lost to all
579
Observer, October 1876.
186
sense of moral restraint, natural affection, and common decency.
The Judge said it was ‘one of the most filthy and brutal of all the cases that had come under his
notice’.580
In her testimony Mrs Lott said, ‘From the first my husband was not kind to me, and 12 or 18
months after our marriage he beat me with his fists about the head and face. He used to knock me
down and drag me about by the hair of my head. He has frequently given me black eyes, and I
have had two at once.’ She described how she left her husband several times, but always returned
‘on account of his constant solicitations and promises never to strike me again’.
‘He has often said he would think no more of blowing my brains out than taking his dinner … In
April, 1874, he knocked me down in the shop with his fists in the presence of Miss Hardy, an
assistant, and afterwards jumped on me, although he knew I was in an advanced state of
pregnancy.’ Mrs Lott told the court that they had six children of whom only two were still living,
Julia (12), and Edith (3).
In October, 1875 … he came into the room, locked the door, and said, ‘Now, you wretch, I’ve got you;
I’ll murder you’. He caught hold of me by the hair and dashed me on the floor, and before I could get
up he knocked me down again. He did this repeatedly while I was trying to get up. He took hold of me
by the hair and dashed me against the wall. I was smothered in blood and almost insensible. About this
time a woman named Louisa Rebecca Hebblewhite was an assistant in my husband’s shop. Mr Lott
was very kind, attentive, and loving to her. He treated me like a dog … He frequently said he would
think no more of shooting me than eating his dinner, and that if ever I went into Court against him he
would shoot me in the witness-box. He carried a loaded revolver about with him …
When describing her husband’s treatment of their oldest daughter, Julia, Mrs Lott said. ‘He often
used to strip her naked and lash her with a whip’. The Observer also reported twelve-year-old
Julia’s description of the treatment she received from her father, who ‘would sometimes thrash her
till the blood came. On one occasion he took her portrait in a disgraceful manner, and told her if
she said anything about it he would murder her … [she] related numerous instances of impropriety
between the respondent and the young women assistants in the establishment.’
A former employee, photographer James Marshall, supported Mrs Lott’s testimony, and said,
‘There was nothing in her conduct to justify this treatment. She worked from 6 in the morning until
12 at night.’ He had seen Lott ‘behaving familiarly’ with Miss Hebblewhite and Emily Louisa
Callow, an assistant printer, and had also heard him talking indecently to Miss Callow. The court
found that cruelty and adultery had been proved and the divorce was granted.
Six months later Lott was again in court, this time for ‘alleged brutal assault’ on Louisa Callow.
The Port Augusta Dispatch reported, ‘it appears that Lott was in the habit of treating the poor girl
in a manner which would have horrified a savage’. He was found guilty by the jury and sentenced
to six months’ imprisonment. However, the Judge thought Miss Callow was an unreliable witness
and that Lott had been judged on public opinion and not the facts of the matter. He arranged a
pardon and early release for Lott, which aroused widespread public indignation. The Jamestown
Review said, ‘Is the administration of justice a “Lottery”, and is a great rascal let out?’ The
newspaper described Lott as an adulterer, a brutal coward and debauchee, and ridiculed the
lightness of his original sentence and the subsequent lack of justice.
By 1884 Lott had married Louisa Callow and they were living together at 164 Rundle Street with a
ten-year old girl who was described mostly as Lott’s niece, but sometimes as his daughter. Lott
was financially embarrassed, his business premises were insured for £500, but his insurance
company had told him it would not renew the policy. Attempts to insure with other companies
were rejected. ‘The answers had this feature in common, “the moral risk was not good enough”;
580
Observer, June 1877.
187
the objection was personal rather than connected with the construction of the building or the
business carried on’.
On 13 November 1884, four days before the insurance policy was due to expire, Lott left the
studio with his wife and niece. Shortly afterwards a fire broke out but was quickly extinguished.
When Lott returned he rushed upstairs and was acting so strangely he had to be ordered from the
premises. Soon afterwards another fire broke out. At the inquest the jury returned a verdict to the
effect that the fire had been caused by Lott, but when he was tried in the Supreme Court the case
against him broke down, due, it was said, to the inefficient way in which the coroner’s inquiry had
been conducted.
Lott was involved in yet another sensational court case while being tried for arson. An English
barrister ‘of dissipated habits’, Mr C.L.H. Joy, had been lodging with Lott’s mother. When Lott
discovered he had private means Joy was well supplied with alcohol and eventually went to live
with Lott and his wife at 164 Rundle Street. Here Joy was given a ‘small, meanly furnished, dirty
bedroom’, where he was kept in a state of intoxication, and in a period of three months was
induced to sign cheques in the Lott’s favour to the value of £500. In the same period Lott’s
photography business only returned £80, and he was greatly overdrawn at the bank.
Joy was brutally ill-treated by Lott and his family. Typical of the evidence heard in court was an
instance in which a cab driver described driving Lott and his niece and the unfortunate Joy to
Henley Beach. Lott stopped the cab, dragged Joy out on the road, punched him in the face, held
him against the wheel and told his ten-year old niece to beat poor Joy with a stick which had a nail
in the end. She did this until Joy begged for mercy and Lott told her to stop. Joy was eventually
found dead on his bedroom floor as a result of alcohol poisoning.
In court Lott claimed that before Joy died he had made out a will in Mrs Lott’s favour, and while
he was not able to produce the original document he did submit a photograph which he claimed
was a genuine copy of the will. The report of the case said that much of the evidence given by Lott
and his wife was suspect, and that ‘when the photograph was looked into still more fishy features
were discernible, and the Special Magistrate intimated that he thought Joy’s signature had been
pasted on or otherwise affixed to the alleged agreement before it was photographed’. Lott’s claim
for money under the so-called will was thrown out of court.
The Kapunda Herald used Lott’s latest appearances in court to review his unsavoury past, and
express its opinion of his character. At one time, said the Herald, Lott used to conduct open-air
religious services in Botanic Park, but since then he had ‘managed to squeeze more hypocrisy,
filthy immorality, and knowledge of our law courts into a few years than many a wicked man is
able to do in a long lifetime …for far-reaching wickedness, William James Lott is without a peer.
Popular prejudice against him is so marked that the first dozen men you meet in the street would
readily find him guilty of any crime a little short of murder without the formality of a charge being
preferred … in a less law-abiding community than this Lott would have doubtless had an
application of the shot gun argument.’
It seems that Lott’s unsavoury reputation did not deter women from patronising his studio, and it
may even have had the opposite effect by arousing their curiosity. One survey of fifty cartes de
visite taken by Lott provides an interesting, but not necessarily accurate, result. Almost all the
portraits were of women, children or babies, and less than ten per cent were portraits of, or
including, a man.
A brief note in the Kapunda Herald on 16 December 1885 said, ‘The notorious Lott is said to have
joined the Salvation Army’.
188
LUKE, Thomas
Thomas Luke, ‘daguerreotype and photographic artist on silver-plates, ivory, and vases, collodion
on glass etc.’ advertised that his Adelaide Daguerreotype and Photographic Institute, opposite the
Southern Cross Hotel in King William Street, would open on 22 November 1853. He assured the
public that his apparatus was ‘in good working order’, and that ‘his experience on the continent
and some of the principal establishments in England renders comment unnecessary … Time of
sitting from 7 seconds.’ He was at his studio daily, between the hours of 10 and 4.
However, Luke had only been in business for one week when he had to announce that, ‘in
consequence of recent advice from home’, he had to return to England. On 3 December 1853 his
advertisement in the Register offered ‘the whole of his daguerreotype instruments, materials,
plates, boxes, passe-partouts, glasshouse, etc.’ for sale, and said that he was leaving for England in
a few days. Although his name appears in the directory for 1854, he may have been gone from
South Australia by the end of 1853.
LUND & CO.
After Charles Niesche (q.v.) died on 16 November 1891 his studio was taken by Lund & Co., who
overprinted his remaining stock of cabinet cards with their own name. Although renumbering of
premises in Rundle Street had changed his address to 101A Rundle Street by 1887, Niesche’s old
number, 97, appears on the cards overprinted by Lund & Co. Niesche’s studio was used by Lund
and Co. for about 12 months. It was occupied by William Spence by 1894, then by the Adelaide
Photo Co. (A.Brown) and Townsend Duryea Junior.
LYLE, A.R.
Listed in the trade section of the 1905 Post Office directory as A.K. Lyle, manager of the Crown
Photo Studio, St Vincent Street, Port Adelaide. The Critic Souvenir for September 1906 has a
small item about the photographic business that A.R. Lyle had recently established in Murray
Street, Gawler, ‘opposite Messrs Harris & Co’s premises’. The item includes a photograph of his
studio shop front, and he was described as being ‘late Hammer & Co.’, meaning he had previously
worked for the Adelaide photographic firm of Hammer & Co. In the directory for 1908 A.R. Lyle
is listed as music seller. Main Street, Kapunda, and he may have been connected with Lyle
Brothers (q.v.). See also BOND & CO.
LYLE BROS.
Listed as 73, 74 Royal Exchange, King William Street, Adelaide in the directories for 1897 and
1898. A.R. Lyle (q.v.) may have been connected with Lyle Bros.
189
M
McCONNELL, D.M.
Listed as photographer at No. 4 Commercial Chambers, Gilbert Place, in the directory 1906.
MacCORMAC, M.
Listed in the trade section of the Commercial and Traders Directory for 1882–83 as a
photographer at Barton Terrace, North Adelaide, but was probably the same person as A.
MacCormack, artist, of the same address, listed in the alphabetical section. The Dictionary of
Australian Artists581 has a detailed biography of Andrew MacCormac, South Australian artist and
portrait painter, which contains no reference to photography, so his association with the camera
must have been short-lived.
In the Fine Arts column of the Observer for 12 September 1885 there is a review of MacCormac’s
painting of the late Sir Robert Richard Torrens in which a photographer is blamed for certain
deficiencies in the artist’s work. The review said that whether the portrait ‘is a perfectly faithful
one or not, it is certainly the best production of that artist in the way of portrait painting without a
sitting from the subject’. He complained that:
it is the fault of the photographer in the first instance that the attitude of Sir R.R. Torrens is neither
easy nor graceful’, but then admitted that the artist had not worked from an original photograph.
‘Mr McCormac has faithfully followed the copy supplied him, which by-the-way, is a photograph
of a lithograph of a photograph. Lady Torrens sent this photo out as a good portrait, and doubtless
it is, but it leaves the artist heavily handicapped, especially when the instructions supplied are so
meagre. They merely state that the age is 65, the height 5 ft 11 in., and eyes brown … The face in
the photo [of a lithograph of a photograph] is rather pinched and the cheeks hollow, but the artist
has given less of that appearance of age … In the hands he has followed the photographer rather too
closely …
Perhaps the artist would have been better off had he worked from an original photograph, rather
than a photograph of a lithograph taken from a photograph.
McDONALD, Mr see ELITE PORTRAIT COMPANY
McGANN, Terence
When Terence McGann arrived at Auburn in February 1889 he was representing the Intemational
Photo. and Fine Art Publishing Company. He was prepared to take photographs of residences,
groups and scenery, and make enlargements if requested. Two months later the Auburn
correspondent for the Northern Argus referred to McGann as ‘our local photographer’ when
reporting he had photographed the River Wakefield in flood.
Although listed as photographer, Kanmantoo, in the directories for 1890 and 1891, McGann could
not have been there very long, as the Observer for 24 January 1891 gave his address as Leigh
Street, Adelaide, when describing his ‘life-like oil painting’ of a champion carrier pigeon which
had been ‘done from an instantaneous photograph taken by the artist’.
In May 1891 the Kapunda Herald reported McGann’s presence in the town, where he was
soliciting orders for photographs and enlargements. The newspaper referred to some clearly taken
group photographs he had taken on his previous visit to the town. McGann also had on display
581
Melbourne, 1992, pp. 493–4.
190
what was described as one of his ‘specialities’, an enlargement coloured with water colours. A few
days later he exhibited an oil painting of Llanelly in Wales, birthplace of a local identity who had
given him a photograph of Llanelly to copy.
In October 1893 McGann was at the Gawler Show taking photographs of horses in the act of
jumping. He acted as the judge of photography at the Northern Agricultural Society’s show held at
Auburn in 1905. In directories he is listed as a ‘photo. and enlarging artist’ at the following
addresses:
1892
Leigh Chambers, Leigh Street, Adelaide
1893–1906
Leigh Street, Adelaide
1907–13
One of his photographs of Victor Harbor was published as a full-page half-tone on the front cover
of the Critic on 4 December 1897, and 80 of his photographs were reproduced and individually
acknowledged in volume two of The Cyclopedia of South Australia.
Terence McGann was born in County Clare, Ireland, c.1848, came to South Australia c.1886 and
died in June 1913 at the age of 65.
MACHAN James (MACHAN BROS.)
Three different forms of his surname have been found: MACHIN in the Biographical Index of
South Australians582 (p.993); MACHEN in directories and on cartes de visite; and the most
common form, MACHAN, was also printed on cartes de visite and in newspaper items and
advertisements
In the national directory for 1867–68 he is listed as James Machen, photographer, Hindley Street,
private residence West Terrace. From 1868 to 1870 he is listed as photographist, Port Elliot.
During January and February 1867 he advertised in the Southern Argus, informing the residents of
Port Elliot and district that he had recently, presumably 1866, visited the district for the Adelaide
Photographic Company, and was now prepared to take card portraits, glass pictures and views at a
reduced rate. His photographic tent was located behind John Born’s Globe Hotel in Port Elliot,
which was the stopping place for Cobb & Co. coaches daily coach service to Adelaide. In August
his portrait tent was next to ‘Smallacombe’s Assembly Rooms’ (Fred Smallacombe’s Port Elliot
Hotel) and he was prepared to ‘teach the pianoforte and harmonium’. A few months later his tent
was next to Golding’s boot store in Port Elliot, suggesting one of his portraits would make a good
Christmas present. Glass pictures were from 2s 6d, and views of the district were available. In
March 1868 he moved his tent to Victor Harbor for one month.
In November 1868 James Machan informed the residents of Goolwa, Port Elliot and Port Victor
that ‘having had his portrait tent repeatedly destroyed by the violent gales prevalent on this coast’,
he had erected a photographic room opposite Hart’s Railway Hotel at Port Elliot, where he would
be able to take portraits in any weather. He said that as ‘quick light’ was necessary for
photographing children, their portraits would be taken between 11 am and 1 pm, while portraits of
adults could be taken between 9.30 am and 4 pm. Copies made from the 200 to 300 negatives he
had already taken in the district were available for ls. each, the price of his glass pictures had fallen
to l s 6d each, and card portraits of the one person cost 9s. per half-dozen. Machan could also take
portraits for insertion in lockets and brooches, and he was expecting some ‘cartes of notables and
frontispieces for album’. He also gave intending customers a few hints from Mr Ruskin, the
London art critic: ‘Have no oil on the hair. Sober colours produce the best effect in photographs.
Mauve, magenta, violet, puce, and blue in dress always come out in various shades of white’.
582
993.
191
Advertisements for Machan’s Portrait Rooms, near the Port Elliot Railway Station, appeared in the
Southern Argus from January 1869 to November 1870, and at one stage he was working in a
partnership with his brother under the name of Machan Bros. He was also a partner in the firm of
Stacy & Machan (q.v.)
MACHRAY, J.R.
Advertisement in the Advertiser, 28 February 1881: ‘For Sale. Photographic Studio on wheels,
Lenses, Headrest, etc. Apply Mr J.R. Machray, G.P.O.’ Mr Machray may not have been a
photographer.
McLEAN, J.S.
McLENNAN, Mrs G.F.
Was conducting the Millicent Art Class at her studio in Davenport Street, Millicent, in 1911 where
she taught ‘oil painting, landscape and photograph tinting’.583
McMAHON, James
1895–96
1897
1898–1901
Currie Street, Adelaide
284 Currie Street, Adelaide
280 Currie Street, Adelaide
His cabinet photograph of a football team (Noye collection) has the printed inscription ‘J.
McMahon, Currie Street, Adelaide’ and in pencil, ‘June 20 95’.
McMILLAN, S.H.
Was a founding vice-president of the Gawler Camera Club in 1904. He was the pharmacist at the
Gawler Pharmacy and provided members of the Club with access to a dark room at the pharmacy.
McNEILL, Frank A.
Became a member of the South Australian Photographic Society in July 1893. From 1898 to 1898
he was listed as a photographer at Hannah Street, Kalgoorlie, Western Australia,584 and in 1908
and 1909 was listed as a photographer at his private residence in Castle Street, Parkside. He had a
bold entry in the directory for 1910: ‘New Photo Studios and Art Picture Framing; children’s
photos a specialty, Gawler Place’. By 1915 Frank McNeill had two studios, one at 72A Gawler
Place, the other at 227 St Vincent Street, Port Adelaide.
His mosaic of several hundred small baby faces arranged around his own portrait was reproduced
in the Australasian Photo-Review for November 1913. The caption was: ‘A Harvest of Nature’s
Choicest Buds Culled by Frank A. McNeill, “The Baby King”, at his Studio in Gawler Place,
Adelaide, between Harris Scarfe and Simpsons’.
583
South Eastern Times, 24 February 1911.
Queensland, 2002.
584
192
McNEILL, Thomas H. (McNEILL’S ‘SUPERB’ STUDIOS)
A picture-framer, carver and gilder by trade, Thomas McNeill added photography to his business
in 1903. In 1889 he had moved into premises at 182 Rundle Street which had once been used by
Hammer & Co., photographers. The street number was changed to 184 in 1896. His photographs
usually carried the imprint ‘McNeills’, although some did have ‘McNeills “Superb” Studios’
printed on the mount. From 1904 to 1919 he was listed in directories as 184 Rundle Street, and
from 1920 to 1923 as 80 Hindley Street.
MALLYON, C.K.
Listed in directories as:
1905–09
1910–12
agent, Port Pirie
photographer, Port Pirie
MALVERN PHOTO CLUB see ADELAIDE CAMERA CLUB
MANNING & PANG
From about one year from July 1881 photographer Charles Manning (q.v.) and artist Chang Pang
(q.v.) had a studio at 150 Rundle Street. It was sold to Rushton & Just (q.v.) in June 1882.
MANNING, Charles Henry
Before coming to South Australia Charles Manning had worked for Messrs Hughes Brothers, the
‘eminent artists’ of Madras, India, and for the Melbourne photographers Johnstone &
O’Shannessy. By 1875 he was managing Stephen Nixon’s studio at Moonta where, on 16 April, he
married Emma Louise Noble, a photo-colourist from Melbourne.
In April 1875 Townsend Duryea’s well-known studio at 68 King William Street was destroyed by
fire, but was rebuilt and reopened in October under new management. In September the Yorke’s
Peninsula Advertiser reported:
Mr S.E. Nixon, who has made for himself a name on the Peninsula in his peculiar department of the
arts, is just upon the point of leaving for Adelaide. He has succeeded in creating the most
favourable impression in the minds of his constituents, and of late his Moonta establishment, which
has been under the management of C.H. Manning, has been thronged with sitters anxious to avail
themselves of that gentleman’s special talent as an artist during their brief opportunity. Mr
Manning’s pictures considered as works of art are admirable. They are high class in every sense of
the word – pose of sitters, tone, and finish, and convey in themselves their highest praise. We make
no doubt but a prosperous future awaits him in Adelaide, where Mr Nixon, with Mr Manning as a
partner, enters upon the business recently conducted by Mr Duryea.585
Although the studio was operating under the new name of Nixon and Manning, their carte de visite
mounts advertised all of the distinctions achieved by Townsend Duryea. On 13 April 1876 the
South Australian Tablet reported having seen ‘two beautiful works of art, one of them a large oil
painting finished by Mr K. Bull, the artist of the firm, the other a water colour executed by the
skilful lady artist, Mrs C.H. Manning. Both of these pictures are enlargements from a small portrait
[carte de visite] of the late wife of R.D. Ross Esq., M.P. They have been much admired, and as
colonial productions we have seen nothing to surpass them in the colony.’
Stephen Nixon left Adelaide in March 1878 to establish a branch studio in Gladstone, but within a
month had left it in the hands of manager. At about this time Nixon and Manning parted company,
Nixon being reported as having the Flagstaff Hotel on South Road in July 1878, and only
585
Reprinted in Kapunda Herald, 1 October 1875.
193
Manning’s name was used in reports of prominent personalities having their portraits taken at the
King William Street studio. In September Manning was advertising as sole proprietor, and until
new carte de visite mounts could be printed he ruled three lines through Nixon’s name on the back
of the cards they had been using.
In September 1878 Manning received vice-regal patronage when the Governor, His Excellency Sir
William Jervois, was photographed at his studio. A few months later he was able to display a large
copy of the Governor’s coat of arms, 6 feet by 4 feet on canvas, outside his studio.
On 4 June 1881 Charles Manning severed his connection with the King William Street studio,586
which was then taken by James Dobson (q.v.) and named the Royal Princes’ Studio. Until new
mounting cards could be printed, Dobson’s name was printed over ‘C.H. Manning’ on the studio’s
remaining stock of cards. Manning moved to 150 Rundle Street where, in partnership with the
celebrated artist Chang Pang (q.v.), he opened a studio under the name of Manning & Pang. The
partnership was short-lived, and the studio was sold to Rushton & Just in June 1882. Although
Manning & Pang were only in business for about 12 months, they produced at least five different
printed designs on their cartes de visite.
MANNING, Mrs C.H. (Emma Louise)
Melbourne photo-colourist (nee Noble) who married photographer Charles Henry Manning (q.v.)
at Moonta in April 1875. Later that year her husband and Stephen Nixon (q.v.) moved into
Townsend Duryea’s studio in King William Street, Adelaide, where she became the studio’s artist
in watercolours. She was described as a ‘skilful lady artist’ when an enlarged portrait of the late
Mrs R.D. Ross she had coloured was displayed at the studio in 1876.587
MANSELL, Samuel Day
From 1865 to 1882 S.D. Mansell was listed in directories as having a variety of occupations:
mason, baker, verger, landholder, coach painter and coach proprietor. In December 1881 he
exhibited ‘samples of photographic art’ at an exhibition held in the Mount Gambier Institute. From
1883 to 1904 he was listed as a photographer at William Street, Mount Gambier, with a branch at
Naracoorte for the years 1886–89. He was born in Shropshire, England, c.1835, and arrived in
South Australia in 1856.588
MARCHANT FAMILY
Philip Marchant was the first of five Marchant photographers in three generations who practised
studio photography for the unbroken period of 110 years. Philip’s two sons Samuel and Ebenezer
took up photography, followed by Ebenezer’s son Trevor. Although not studio photographers,
Trevor Marchant’s two daughters added another generation to the family tradition of photography,
Coralie as a talented colourist and Janine as a photo laboratory technician.
In 1875 Philip’s brother Edwin learnt photography in his brother Philip’s studio, and Edwin’s son
George also became a photographer.
See separate entries for:
George Lionel Marchant
Edwin Walter Marchant
Ebenezer Tasman Marchant
Samuel Bowering Marchant
586
South Australian Register, 6 April 1876; S.A. Tablet, 13 April 1876.
1014.
587
588
194
Philip James Marchant 589
MARCHANT, Ebenezer Tasman
‘Ebb’ Marchant was one member of a large family of South Australian photographers. He was the
son of Philip Marchant (q.v.) and brother of Samuel Bowering Marchant, also a photographer.
Ebb Marchant was born at Latrobe, Tasmania, on 8 December 1887 and was the youngest child of
photographer Philip Marchant. His mother died before he was three years old and in 1895 his
father returned to Gawler with his family where he re-established himself as a photographer in the
town. Ebb worked in his father’s studio and, when his father’s health began to fail, he
progressively assumed more responsibility until 1910, when his father died and he had to take over
the running of the business. In the late 1920s he used a Cirkut panoramic camera to produce onepiece 180-degree panoramic photographs six feet long and ten inches wide.
Ebb was a very talented person with a wide variety of interests: conjuring, hypnotism, gardening,
and music, playing the piano, organ and violin. On 2 September 1922 he married Elvira Elsa
Klaebe and in 1923 their only child Trevor was born. Trevor continued the family tradition of
studio photography at Gawler until moving to Adelaide where he became deeply involved with
photographic printing and processing, thus ending three generations and 110 years’ involvement
with photographic portraiture.
MARCHANT, Edwin Walter
Edwin Marchant was one member of a large family of South Australian photographers. He was a
brother of Philip Marchant and his son, George Lionel Marchant, also became a photographer of
note.
Edwin ‘Ned’ Marchant was born in Colyton in Devonshire, England, on 9 December 1849, and
was eleven years of age when he came to South Australia with his family, arriving at the
Semaphore anchorage on 17 February 1861. From the Semaphore jetty the family walked over the
sandhills to Port Adelaide. They then made their way to Gawler where the father, John Marchant,
was to manage the Victoria flour mill.
After unsuccessfully trying his luck on the Victorian goldfields he spent some time at Brisbane
before returning to Adelaide where he worked in his father’s Light Square flour mill. In 1875 he
learnt the art of wet-plate photography in the studio of his brother Philip Marchant, and may have
worked there until May 1879 when he advertised in the Northern Argus: ‘E.W. Marchant, from
Adelaide, is now at Clare, and will remain two weeks or more if inducement offers’. His studio,
probably a tent, was ‘adjoining Main Street’, and sufficient ‘inducement’ must have materialised
as he was still there in July when the Argus reported:
We are pleased to notice that Mr Marchant’s studio in Clare is well patronized by the public. He is
very successful in the art, his photos being much admired. Previous to coming to Clare many
people were prejudiced against travelling photographers, who from time to time visit the place. Mr
Marchant has shown that as far as he is concerned there can be no ground for prejudice, for he has
by his work proved himself to be a first class artist.
By the end of March 1880 Edwin Marchant had completed and opened ‘new and substantial
portrait rooms’ in the Main Street of Clare, opposite Gray’s Hotel (now Bentley’s Hotel). Here he
advertised, ‘Portraits copied or enlarged to any size, and finished in oil or water colours. Animals
and residences photographed’.
Edwin Marchant’s brother Philip manufactured dry-plates and was offering them for sale by
August 1880 under the name of Adelaide Instantaneous Dry Plates, and it would have been these
589
Refer also to Vera Marchant and Roger Thomas, John Adams Marchant Family History, Naracoorte, 1994.
195
plates that Edwin was using in December 1880 when he advertised: ‘Instantaneous portraiture.
Children photographed in any weather by the instantaneous dry process’. He also stocked his shop
with albums, Berlin wool, homeopathic medicines, organs, pianos, accordions and concertinas, and
was repairing musical instruments as a sideline to his photography business.
On 22 August 1881 Edwin Marchant married a Clare girl, Catherine Hooper, and in November
1882 their son, George Lionel Marchant (q.v.) was born, who, like his father, became a
photographer. The couple had five children while at Clare, but two of their daughters died at an
early age.
Edwin Marchant’s photograph of the triumphal arch which had been erected to welcome the
Governor in September 1884 was described as a picture ‘well worthy of a place in anyone’s
album’, and his photograph of Kimber’s six-horse team leaving the Clare preserving works on 1
April 1885 was called a ‘faithful representation of the load, the factory, and surroundings, the
whole making a capital picture’. While at Clare he produced a number of stereoscopic views of
Clare and a folding panorama of the town made of five cabinet-size sections with tape hinges.
His studio narrowly escaped destruction by fire in January 1896 when an oil lamp which had been
left burning in his darkroom overheated. It was only through the prompt action of a man who
happened to be on the premises that a disastrous fire was averted, the main damage being a burnt
window and door frames and the loss of a large number of photographic plates. Six months later
Edwin Marchant was holding a clearance sale of stock as he was about to leave Clare, and he
advertised his ‘dwelling house, studio and shop to let after July’. By September 1896 the studio
had been taken by the local tinsmith, Solomon Williams, an amateur photographer who had
become a part-time professional.
Edwin Marchant was listed as a photographer at Petersburg (Peterborough) in the directory for
1896, which would have been printed six months before he closed his Clare studio. He had been to
the Peterborough district two years before leaving Clare, photographing the scene of a train
accident at Orroroo and the foundation stone ceremony for the Petersburg Town Hall additions in
1894. While at Petersburg he also had a branch studio in Jamestown.
Edwin Marchant moved to Kadina in 1904 where, assisted by his son George, he operated a studio
in Taylor Street under the name of E.W. March & Son. By 1910 George had married and moved to
Adelaide, and in October 1912 the Wallaroo Times reported that ‘Mr E.W. Marchant, who has
been in business in Graves [?] Street, Kadina for about 10 years, contemplates retiring and will
take up his residence on one of the [Adelaide] suburbs in a few weeks’.
However, it appears Edwin Marchant did not retire as he was listed as a photographer at 5 Hughes
Street, North Unley, in 1914. This listing as a photographer continued until 1935, which must be as
error as he was an invalid for ten years before his death on 20 June 1932.
MARCHANT, George Lionel
George Marchant was born at Clare on 6 November 1882 and was the son of photographer Edwin
Marchant (q.v.). His parents moved to Petersburg (Peterborough) in 1896, by which time he was
probably assisting his father in the studio. The family moved to Kadina in 1904 where Edwin
Marchant had a studio in Taylor Street and, although the studio was operated under the name of
E.W. Marchant & Son, there are photographs in existence inscribed G.L. Marchant, Kadina.
In February 1906 George Marchant left for England on a wheat ship but was back in Kadina by
July 1907 when he was involved in a motor accident. He was one of a party of men who had just
left Kadina for Bute in an open chauffeur-driven car when they met a teamster with a load of long
posts. The teamster’s horse took fright and turned the load into the path of the vehicle, which
struck the poles and overturned. George Marchant was thrown clear and was able to raise the car
196
and release the driver who then helped the other two passengers crawl from underneath the
vehicle. Although George Marchant’s camera had been thrown about 20 years, it was intact, so he
quickly set it up and took a photograph of the damaged car, which was reproduced in the
Chronicle.
On 11 September 1908 George Marchant married Martha Jane Chellew and moved to the city
where he was listed as a photographer at 65 Tynte Street, North Adelaide, in the directory for
1910, then at 164 Hanson Street, Adelaide, from 1911 to 1913. From 1914 his address was
‘Francis Street, off Rundle Street’ with a ‘private residence’ at 164 Hanson Street.
In 1923 George Marchant and his family moved to Melbourne where he ran a very successful
photographic business. He had retired by 1954 and died on 2 March 1958. An item in the Adelaide
press which recorded his death described him as ‘one of Australia’s most versatile photographers’
and a ‘master of magic’. It said, ‘Many South Australians will remember him as a cheery funloving fellow who could produce pennies from your ear or entertain you with his Auto harp which
was always carried as part of his photographic equipment. George was a competent photographer
and some of his clients included the Prince of Wales, later King Edward VIII, Lord and Lady
Jellico, Sir Archibald Weigall and Admiral Field.’
A few years before George Marchant died Jack Cato included a paragraph about him in his Story
of the Camera in Australia. ‘George Marchant, price of entertainers, who played fourteen different
musical instruments, photographed the Picnic Races, the prize stock, the agricultural shows; and
once spent two months as the guest of the Admiral of the Fleet recording the trials of HMS Hood
under cyclonic conditions in the Pacific Ocean. George was the only photographer–musician who
could make the camera disappear before the eyes of the sitter.’
MARCHANT, Philip James
Philip Marchant was born at Charmouth in Devon, England, on 19 December 1846. His father,
John Adam Marchant was a miller, and a few weeks before Philip’s fourteenth birthday the family
left London on the 613-ton sailing ship Harwich bound for South Australia where John Marchant
had a contract to manage Walter Duffield’s Victoria mill at Gawler. On 17 February 1861, after a
voyage of thirteen weeks, the Harwich anchored off Semaphore.
After living at Gawler fir two years the family moved to Adelaide where John Marchant leased the
Light Square flour mill and the house and shop next door, and it appears that at about this time
Philip learned the art of wet-plate photography. In September 1864, at the age of 17 years, Philip
Marchant left Adelaide on a photographic excursion to the hills districts south of the city. With
him were two companions, one named Webb and the other named Harry, who was probably his
younger brother Henry, commonly known as Harry.
The excursion commenced on 6 September and ended on 4 November, and sketchy details were
recorded in a pencil diary kept by Philip. They travelled through Echunga to Macclesfield, then on
to Mount Barker and Nairne, picking up whatever photographic work they could on the way,
eventually settling at the Bremer copper mine (Callington) for several weeks before returning
home. One of the greatest difficulties they faced was the weather. Because they had no permanent
studio and no doubt took portraits out in the open against a temporary backdrop, there were many
days when they were unable to operate because it was either too wet or too windy, or both. On
some days they had to turn away customers because of the weather, on others the weather was fine
but the customers did not come. On a few rare occasions they were busy all day with no time to
stop for dinner.
The diary also contains a list of Philip Marchant’s stock on hand at 14 November 1864. He had
three cameras: a whole-plate camera for views, and one-half plate and one-quarter plate for taking
portraits. A piece of carpet and a background appear to be all he had to create the illusion of a
197
studio: a ‘looking-glass’ for customers to check their appearance; a ‘darkhouse’ for sensitising and
developing his plates; a box of paints and tube of gold powder for colouring photographs; a
‘diamond’ for cutting glass to size; a long list of chemicals and photographic glassware; several
cases for ambrotypes; carte de visite frames and albums; hobbles for the horse, a tomahawk and
baking tin.
Philip Marchant was the first in the family to become a photographer, and was followed by another
five Marchants over three generations who operated photographic studios continuously for a
period of 110 years (see MARCHANT FAMILY).
In March 1866 Philip Marchant opened a studio in Waymouth Street, Adelaide, presumably in the
shop rented by his father. He advertised: ‘If you would like a good and cheap portrait, call at P.J.
Marchant’s next to Light Square Mill, Waymouth Street’. In the same month he assembled a
mosaic of 29 carte de visite head and shoulder portraits titled ‘Members and Representatives of the
Bible Christian Meeting, Adelaide, March 1866’. Each portrait was numbered and named.
On New Year’s Day in 1869 Philip Marchant married Mary Bowering, a straw hat bonnet-maker,
and by the end of January the couple had moved into ‘more commodious premises’ at 164 Rundle
Street, opposite the York Hotel, where Philip had ‘erected a first-class studio’. He thanked his
customers for their ‘liberal support during the past three years’ and asked for their patronage at his
new establishment. Carte de visite portraits, he said, were 12 shillings per dozen. Mrs Marchant
also moved her straw hat bonnet-making business to their Rundle Street premises, where she
advertised, ‘feathers cleaned, dyed and curled’.
By December 1871 Philip Marchant had reduced the price of his carte de visite to ten shillings per
dozen, with the added bonus of receiving 14 to the dozen, or 6s 6d per half dozen. In 1871 he
purchased a property on the north side of Waymouth Street, a little east of Light Square where, in
February 1872, he advertised ‘Marchant’s Photographic Gallery’. Now that his ‘first-class
premises’ were finished, he said, he hoped his customers would continue to patronise him at the
new address. After he moved to Waymouth Street the studio at 164 Rundle Street was occupied by
William James Lott (q.v.) who was without doubt South Australia’s most notorious photographer.
In the late 1870s dry-plate technology was beginning to replace the old, inconvenient and
technically demanding wet-plate process. While photographers overseas were able to take
advantage of the new plates as soon as they were available, they did not gain immediate
acceptance in Australia. Batches of the plates were often spoiled by the time they reached
Australia, due to the effects of ageing on the voyage to Australia and the effect of heat and
humidity while passing through the tropics.
Philip Marchant experimented with the manufacture of dry plates and by August 1880 had enough
confidence in his product to be able to offer them for sale – without doubt the first commercial dry
plates made in Australia. His advertisement said: ‘Babies, or anyone else photographed by my
extraordinary quick process, in sunshine or dull weather, any style and position, beautifully
burnished. 14 cards for 7s 6d. Photographers supplied with the guaranteed Adelaide Instantaneous
Gelatine Dry Plates, all sizes; and they are invited to come and test them free of charge. P.J.
Marchant, Waymouth Street.’ On the instruction sheet packed with his plates Philip Marchant
recommended an exposure equal to one-seventh the time used for a wet-plate.
On 30 August 1881 George Freeman of the Melbourne Photographic Company in Rundle Street
photographed fifty-five members of the Theatre Royal company at a picnic near the rocks at
Brighton (another item says Marino). The picture was described as ‘an excellent specimen of
instantaneous photography taken by means of gelatine plates especially prepared by Mr Marchant’.
The exposure had ‘occupied a second of time’ and a report said ‘the likeness of each individual is
very clear and distinct’.
198
By July 1882 Philip Marchant had purchased the luxurious 12-room Gawler residence of the late
James Dawson, known as ‘Mars Hill’, and had also taken a shop in Murray Street for a
‘photographic atelier’, adjoining the Bank of Adelaide and next to Bett’s boot shop. He continued
making his Adelaide Dry Plates at Mars Hill, but eventually ceased production for a number of
reasons. It is said import duty on glass was one reason, and the improved keeping-qualities of
cheaper imported dry-plates, another. His photographer–son Ebenezer once said that his father
‘was a photographer, not a chemist’, and that, while he was able to produce batches of plates
which were of uniform sensitivity, the degree of sensitivity varied from one batch to another.
Philip Marchant opened his Gawler studio for business in October 1882, and in November he
advertised that he had ‘erected a first-class studio’ and possessed ‘all the latest appliances’ which
enabled him to confidently solicit public patronage. ‘Special attention given to baby portraiture.
Prices from 10s. per dozen. Outdoor groups, carriages, animals, &c., photographed by the
instantaneous process, by appointment, on the grounds at my private residence, Mars Hill. Portraits
copied, and enlargements made up to life size. Manufacturer of the Adelaide Instantaneous Dry
Plate.’ In February 1883 the Bunyip said that his photograph of the unveiling of the Dawson
memorial was ‘very clear and distinct, and the features of a great many are easily recognized. This
picture adds one more to the many Mr Marchant has taken of places in Gawler, and proves him to
be an artist of no mean order.’
In December 1884 Philip Marchant moved his photographic business to a studio opposite the
Bunyip printing office, which had previously been occupied by another photographer, James
Taylor (q.v.), who had moved to Port Augusta. Business must have been dull because here, at his
‘Gawler Portrait Rooms and Musical Instrument Repository’, he was prepared to photograph
‘anyone that will favour him with a sitting provided they will take one copy at the following prices
– Cabinets 2s and carte de visite 1s’. Gone was the usual dozen or half dozen order, and extra
copies were at half the price of the first single copy.
In July 1886 Philip Marchant moved his business to Cowan Street, directly opposite Hilfers &
Co.’s flour mill, his third Gawler studio in four years. Here he advertised a charge for proofs:
‘New studio erected and lighted according to the latest improved design, afternoon light especially
good. Prices – Cabinet, 15s per dozen, proof 5s.; Carte de Visite 7s 6d per dozen, proof 2s 6d.’
Nine months later Philip Marchant’s household goods and some photographic apparatus were
offered for sale by auction as he was about to leave Gawler. At a farewell social ‘a very eulogistic
address accompanied by a purse of sovereigns’ was presented on behalf of the Baptist Church and
Sunday School, where he had been organist and librarian.
Philip Marchant and his family moved to Latrobe in Tasmania and on 21 June 1887 he opened the
Latrobe Photographic Studio, where his wife Mary also resumed her trade of feather dressing. In
addition to Philip and his family, his parents, two married sisters, two of his married brothers and
six children all moved to Tasmania in the next few weeks. A few months after arriving in
Tasmania Philip and Mary Marchant’s last child was born, Ebenezer Tasman Marchant, then three
years later Mary contracted tuberculosis and died, leaving Philip with a family of eight children
whose ages ranged from 20 years to 2 years and 10 months.
Life in Tasmania was difficult for the Marchant family. There was a period of depression, trade
was slow, and eventually Philip’s parents and some other members of the family returned to South
Australia. Finally, in April 1895, Philip Marchant held a sale of household goods ‘prior to leaving
the Colony’.
Philip Marchant returned to Gawler where he once again opened for business as a photographer.
He rejoined the Baptist Church as organist and librarian, but after a few years his health began to
fail and the running of the business was left to his youngest son, Ebenezer. On 23 December 1904
he advertised in the Bunyip: ‘Marchant’s Studio, Gawler. – Many and sincere thanks to all who
199
have favoured me with their patronage in years gone by, and now again I ask for a continuance of
their support, also wish them to note our price and see our specialties in up-to-date photography in
1905. P.J. Marchant, temporary address, Glenelg.’ He was nursed at home by two of his
daughters, one of whom wrote in a letter, ‘The doctor said he is better today, but I would like to
know where’. Philip Marchant died on 7 August 1910 and was buried in the Gawler cemetery.
MARCHANT, Samuel Bowering
Samuel Bowering Marchant was the oldest surviving son of photographer Philip Marchant (q.v.).
He was born in Adelaide on 26 June 1870 and in 1882 the family moved to Gawler where his
father opened a portrait studio. In addition to his normal schooling Samuel Marchant received
special training from Mr Levy, the head draftsman at James Martin’s heavy engineering works at
Gawler, and from F.W. Heaps, an architect. He worked as a painter and decorator at Balaklava
where some of his relatives were living. In 1887 he went to Latrobe in Tasmania where his father
opened a photographic studio.
On 3 June 1887 the Gawler Bunyip reported:
News from an Old Friend. – We have been shown a letter from Mr P.J. Marchant, who left here for
Tasmania. He, with his son Sam, have taken up their residence in La Trobe, Tasmania, where Mr
Marchant intends to start his old line as a photographer. These is no other photographer there,
although the place is as large as Gawler. His son, Sam, has taken to signwriting and is achieving
success, earning nine shillings a day. What is thought of his work may be understood from the
following clipping from a Launceston paper: ‘A young man, not quite a new chum in Latrobe, is
literally beautifying certain stores with an ornamental and improved style of letter writing’.
While in Tasmania he won three first prizes for painting and graining at the Ulverstone Exhibition.
Samuel Marchant married a Latrobe girl, Ethel Piper, on 25 December 1894 and on the following
day left for Balaklava in South Australia where he established a painting and decorating business.
He also opened a portrait studio and was listed as a photographer and signwriter at Balaklava in
directories from 1900 to 1913. By 1905 he was also well established as a coach painter, and a
feature article in the illustrated supplement of the Kapunda Herald for 2 June 1905 said that eleven
vehicles in his workshop were in various stages of ‘decorative renovation’, and that he had done
work for some of the most influential men in the district. He also kept a spare vehicle on hand to
be used by customers while their own was being painted.
When referring to his photography the Herald said:
One wonders how Mr Marchant finds the time to attend to the photographic branch of his business.
Mr Marchant explained that he had to be very methodical. He has reserved one day per week for
finishing all photographic work. Of course, he takes photos at any time that patrons choose to
appoint, but that part of the business only takes a few minutes. Customers may have their portraits
taken, enlarged, painted in oils, and framed on the premises. He keeps a horse and vehicle to attend
wedding parties, and for photographing family groups.
His wife Ethel died in June 1904, and on 6 April 1907 he married Audrey Blanche Sumner at
Mallala. He had two daughters from his first marriage and another three after he re-married.
Samuel Marchant also wrote illuminated addresses, prepared plans and specifications for builders,
and supervised the erection of buildings. By 1910 he had become interested in the use of concrete
as a building material for walls as well as floors and had begun submitting applications for a
variety of designs from race starters and indicators to concrete mixers and elevators, some of
which were granted. By 1913 most of his time was being spent on building construction, both in
Adelaide and at Balaklava, and his photographic studio had been leased by J. Wooler. He
eventually moved to Adelaide where he worked as a painter, signwriter and building contractor
and died there on 1 August 1850.
200
MARCHANT’S STUDIO GAWLER
The Marchant family first established a photographic business at Gawler in July 1882 when Philip
Marchant took a shop in Murray Street adjoining the Bank of Adelaide and next to Betts’s boot
shop. Over the next five years he moved his studio three times, and in June 1887 he moved his
family to Latrobe in Tasmania.
In 1895 Philip Marchant returned to Gawler where he once again opened for business as a
photographer. But after a few years his health began to fail and the running of the business was left
to his youngest son, Ebenezer (1887–1973). On 23 December 1904 he advertised in the Bunyip:
‘Many and sincere thanks to all who have favoured me with their patronage in years gone by, and
now again I ask for a continuance of their support, also wish them to note our price and see our
specialties in up-to-date photography for 1905.’590
Ebenezer (Ebb) worked in his father’s studio from a young age, and when his father’s health began
to fail, he progressively assumed more responsibility until 1910, when his father died and he took
over the running of the business.591 According to Vera Marchant and Roger Thomas, biographers
of the Marchant family history, Ebb’s sisters also worked in the studio, printing, retouching and
tinting the portraits. Ebb employed his niece Tas in 1905 and she continued to work there for 22
years.592 In 1913 Marchant’s Studio Gawler received a mention in Australasian Photo-Review
praising his recent acquisition of a whole-plate Ruby outfit: ‘Mr Marchant’s equipment for all
purposes is more than usually complete, particularly so for so small a centre.’593 In September
1922 Ebb married Elvira Elsa Klaebe and in 1923 their only child Trevor was born. Trevor worked
in the studio from the age of 12. He worked in all sides of the business, including photographing
weddings nearly every Saturday. The business soon expanded beyond a portrait studio, catering for
the growth in snapshot photography with the operation of a successful developing and printing
service with about 50 agencies in the country towns north of Gawler.594 Ebb retired in the late
1950s, with his son Trevor taking over the family business.
In 1953 Trevor married Lorna Morris who also became involved in the business. Trevor was a
technically innovative photographer and businessman. He embraced new technology quickly,
including colour photography and the new electronic flash invented by Professor Edgerton,
building possibly the first unit in South Australia for studio use. In 1975 he sold Marchant’s
Studio Gawler, and opened a printing and processing business in Gilles Street, Adelaide. Trevor
and Lorna retired in 1990.
Carolyn Lovitt
MARGETTS, Miss Florrie
Listed as ‘photo artist’ at 94 Royal Exchange Building, King William Street, Adelaide, in the
directory for 1912.
MARLOR, Robert James
Born on 4 March 1858 at Bathtown, now part of the suburb of Exeter, Robert Marlor was a
photographer, pharmacist and artist. He died on 27 March 1919.595
From 1885 to 1886 directories list Robert Marlor as a photographer in a right-of-way near 69
590
Bunyip, 23 December 1904.
Bunyip, 12 August 1910.
Vera Marchant and Roger Thomas, The John Adams Marchant Family History, Naracoorte, 1994, p. 58
593
Australasian Photo-Review, 21 June 1913.
594
Vera Marchant and Roger Thomas, John Adams Marchant Family History, Naracoorte, 1994, p. 58.
595
1019.
591
592
201
Rundle Street, and for 1886 he is at the same location as manager of the Adelaide Photographic
Club (q.v.). The following year, 1887, he is listed as manager of the Sydney Photographic Co. at
174 Rundle Street. Other addresses where he appears as photographer are:
1884
Sussex Street, North Adelaide
1888
2 Hampstead Place, Adelaide
1889–90
Park Street, Hackney
1891
Sturt Street, Adelaide
1892–95
Industrial Chambers, King William Street, Adelaide
1896–98
5 Symonds Place, Adelaide
1899–1901
73, 74 Royal Exchange, King William Street, Adelaide.
Some of the above addresses may be residential.
MARLOW, C.R.
A cabinet photograph (Noye collection) of a picnic party among sand dunes has the printed
inscription ‘C.R. Marlow, Photo studio, Minlaton’. There was a C.R. Marlow, carpenter, Minlaton,
listed in directories during the 1880s and 1890s.
MARSHALL, James
When giving evidence in the divorce case of W.J. Lott (q.v.), manager of the Paris Photographic
Company, 164 Rundle Street Adelaide, photographer James Marshall, of Glenelg, said that Lott
had employed him as an operator from 1 January to October 1876.596
MARSHALL, Jos.
1904
1905–09
1910
73, 74 Royal Exchange, King William Street, Adelaide
Private residence listings were 178 Halifax Street for 1908 and Clifton Street, Malvern, for 1909.
For 1908 his entry said, ‘Landscape and General Photographer, Special photographer to The
Chronicle’.
MARTIN, T.E. see ART PICTURE FRAMING CO.
MASON, Charles
Listed as photographer at the following addresses:
1890
1891–92
1895
1897–98
1901
Eliza Street, Adelaide
Globe Chambers, Grote Street, Adelaide
Austin Street, Adelaide
Austin Street, and Pulteney Street, Adelaide
In the Kapunda Herald for 17 July 1896 he advertised: ‘24 Stamp Photographs for 2s. Send
Cabinet photo, and Postal Note. Returned in 7 days. C. Mason, Austin Street, Adelaide.’
MAY see KOPSCH & MAY
596
Observer, 30 June 1877.
202
MAY, Charles William
In April 1850 Charles May was appointed to the position of the Third Master at St Peters College,
Adelaide, but friction between May and another master, Allom, is believed to have been the cause
of May’s resignation in June 1852. Six months later Allom left the college in disgrace, but it was
not until April 1855 that Charles May rejoined the staff at the college, this time as Second Master.
Little is known of Charles May’s movements from 1852 to 1855, the years he was not at the
college, although it has been said he returned to Victoria. His interest in science, knowledge of
chemistry and skill as a photographer in the 1860s make it possible for him to have been one of the
partners of Kopsch & May (q.v.) who had a daguerreotype studio in Adelaide from December
1853 to August 1854, perhaps later. Although May described himself as an amateur and one news
item said the partners were German, other factors which point to his being Kopsch’s partner should
not be ignored.
The third annual exhibition of the South Australian Society of Arts was held in the House of
Assembly in October 1859. The opening took the form of a conversazione where
Mr May read a very interesting paper on the Art of Photography. The paper commenced with an
account of the first discoveries of Sir Humphrey Davy, in his experiments with light upon the
solution of nitrate of silver; traced the idea until further developed in the wonderful discoveries of
Daguerre; glanced at the more advanced processes of the art, the Talbot-type, calotype, and
stereoscope, which the lecturer considered so far from superseding the works of painters and artists,
would afford greater facilities that they had hitherto been able to command, and enable them to
produce pictures more accurate in detail and supply material for studies which had all the merit of
being truthful representations of nature. The paper was interspersed with several suitable reflections
on the benefits resulting from a study of the fine arts, and contained some very eloquent passages
which were much admired.597
At the society’s seventh exhibition, held in December 1863, C.W. May’s photographs, Colonial
Scenery, were awarded a one guinea prize for ‘the best six photographic pictures’.
When Frazer S. Crawford of the Adelaide Photographic Company applied for the position of
Government Photo-Lithographer in 1866 he submitted two testimonials. One of these, he said, was
from ‘Mr May of the college [who] is our best amateur photographer’. In his letter to Crawford,
dated 24 November 1866, Charles May said, ‘Having myself been for some years engaged in the
practice of photography, as an amateur, I feel competent to express an opinion upon your
qualifications …’ Crawford’s application for the position was successful, and four years later
Crawford and May were the judges in photography at the South Australian Society of Arts 1870
exhibition.
Charles May has been credited with being the person who was mostly responsible for the
introduction of science and chemistry into the curriculum at St Peters College, subjects which were
gaining more general support in the second half of the nineteenth century. Shortly after he died on
7 February 1873, at the age of 42, a May Memorial Fund was formed ‘to fund an annual exhibition
in chemistry’, and from that day on the school award in chemistry has been the May Prize.
A description of Charles May as seen by Alexander Buchanan in the years 1858 to 1861 was: ‘He
was not very tall but sturdily built and active – neat and dapper in his dress and wore moustaches
the waxed ends of which he had the habit of pretty constantly twisting into a point with the thumb
and index finger of first one hand then the other; and he wore glasses’. Another remembered him
as ‘a warm-hearted friend, universally loved and respected’ with ‘the great gift of imparting
knowledge readily … he was cheerful and lively in disposition, a good disciplinarian, yet kind and
597
Advertiser, 4 October 1859.
203
sympathetic’.
MEDWELL, George H.
Managed Thomas Adcock’s branch studio at Kadina for several months. For the circumstances
which led to his apology for business negligence see ADCOCK, Thomas. He was listed as
publican, Governor Hindmarsh Hotel, Port Road, Hindmarsh, for 1897, and in the early 1900s as
bookseller, then painter, at Hindmarsh. For 1900 only, G.H. Medwell was listed as photographer,
Drayton Street, Bowden.
MELBOURNE AND EXPEDITION PORTRAIT GALLERY see WIVELL Edward James
MELBOURNE PHOTOGRAPHIC COMPANY See FREEMAN, George John
MELBOURNE PORTRAIT GALLERY
On 20 October 1865 an unknown photographer advertised in the Kapunda Herald: ‘Photography –
A Melbourne operator, of great experience, will very shortly open in Kapunda. Card Portraits will
he produced equal in style to any from England, and at moderate prices.’
In the next edition of the newspaper he told the public that ‘he would open on 1 November, next to
Brewster’s store, where he would have every appliance for the production of the popular carte de
visite portraits’. The Melbourne Portrait Gallery was open from 8 am to 5 pm, and claimed that all
of its portraits were ‘produced in a style far superior to any previously taken in Kapunda’, a claim
which would have irritated Kapunda’s resident photographer, Stephen Nixon (q.v.).
A small item in the Kapunda Herald at the end of September may refer to the still unknown
photographer and his Melbourne Portrait Gallery: ‘The gossip is that a certain photographer of
Kapunda, who prided himself on his Melbourne experience, has evidently made a journey into a
far country, of which his friends are anxious to know the whereabouts’.
MELLER, Gilbert I.
Gilbert Ince Meller initially trained as a metallurgist and began working as a photographer shortly
after the turn of the twentieth century on an expedition following the Overland Telegraph;
according to his son, photographer Donald Meller, ‘the photographer with the expedition was
injured by a camel and died of septicemia’.598 Meller’s body of work includes photographs of
Mount Gambier and Adelaide during the era of the First World War, the Port Adelaide wharves,
bullock trains, and draft horses.599 He also had a studio in Mount Gambier. From 1925 to 1928
Meller was invited to judge the photographic competition at the annual Adelaide Camera Club
exhibition. The Gilbert Meller trophy for portraiture was named in his honour. He also
occasionally delivered lectures to the Camera Club.600
Meller’s son Donald has described an incident involving his father and flash powder. His father’s
assignment was to photograph an official reception at the Adelaide Town Hall, where 400
gentlemen dressed in ‘penguin suits’ were having dinner. To provide enough light for his large
glass-plate camera, Gilbert Meller had organised some workmen to set off magnesium flash
powder in gutters specially arranged along the Town Hall balcony. After the photograph had been
taken he rushed back to his studio and returned to the dinner proudly bearing a contact print of the
photograph, but was thrown out. ‘What he didn’t know’, his son said, ‘was that 4-and-a-half
598
Donald Meller cited in Tim Lloyd, “Focus on the State,” The Advertiser, 17 November 1990.
Tim Lloyd, “Focus on the State,” The Advertiser, 17 November 1990.
600
“Adelaide Camera Club”, Australasian Photographic Review, June 1928.
599
204
ounces of magnesium powder puts out about nine-and-a-half ounces of ash. All 400 gentlemen in
the Town Hall were now wearing grey suits, and had inedible food.’601
Meller was elected mayor of St Peters and later became foundation president of the Australian
Professional Photographers’ Association.602 Meller and his son Donald were partners in the
business Don Meller’s Mora Studios.603 His grandson Brett also became a professional
photographer.
Gilbert Meller died on 4 June 1967 aged 75 years. His work received some attention during the
1970s when several newspaper articles gave details about a collection of glass negatives known as
‘the Meller collection’.604 There is uncertainty about the origin of some of these glass negatives.
Meller may have accompanied photographer Charles P. Scott on an expedition from Adelaide to
Darwin between 1903 and 1905 and also taken some photographs. However, his friend,
photographer D. Darian Smith stated that Meller was too young to have been a photographer on
this expedition and had purchased the glass negatives from Charles P. Scott.605
Carolyn Lovitt
MELROSE CAMERA CLUB
In February 1913 the president of the Kapunda Photographic Club reported that a ‘communication’
had been received from ‘a newly formed camera club at Melrose’.606
MENDELSSOHN & CO.
Described on their cabinet mounts as ‘High-Art Photographers’, the company was located at 17
Adelaide Arcade from 1890–93, with G.H. Davison (q.v.) listed as manager from 1890–91. One of
the business partners may have been Max Mendelssohn, tobacconist, of 124 Rundle Street. There
is also a directory entry for 1893, ‘Milewsky M., and Mendelssohn, artists and photographers’, at
128 Rundle Street.
MENKENS, H.G.
Advertisement in the Advertiser, 23 January 1878:
‘A complete set of Photographic apparatus for sale cheap. Apply, H.G. Menkens, No. 167 Rundle
Street, Adelaide.’ Mr Menkens may not have been a photographer.
MENPES, Mortimer Luddington
Menpes, also spelt Mempes. An item in the Register for 12 November 1874 says: ‘Mr W.J. Lott
[q.v.], of the Paris Studio, has shown us a large-sized and particularly bold, clear and faithful
mezzotint likeness of the late Mr J.H. Barrow. The features are remarkably distinct, the expression
is excellent, and the head stands well out from the background, so as to look more like a bust than
a photograph. Mr Menpes finished the picture, which we are informed has been prepared on an
improved method.’ He was born in 1855.607
601
Donald Meller cited in Tim Lloyd, “Focus on the State,” The Advertiser, 17 November 1990.
Obituary, The Advertiser, 6 June 1967.
603
Obituary, The Advertiser, 6 June 1967.
604
Ray Polkinghorne, “The Outback in Pictures,” The Advertiser, 16 March, 1976.
605
Ray Polkinghorne, “Who was behind the lens?” The Advertiser, 5 October 1977.
606
607
1093.
602
205
MERLIN, Henry Beaufoy
An item in the Border Watch, 17 February 1869, announced the arrival of ‘Mr Merlin, an artist and
landscape photographer, of Victorian fame, who will stay here for a few days only. We understand
Mr Merlin is at present engaged in filling up an album of landscapes for His Excellency the
Governor of Victoria, which is now drawing near completion; and is under engagement to be in
Sydney during the visit of the Prince [Alfred] to take a series of sun pictures of the leading
incidents connected with that visit. We may further state that Mr Merlin is highly spoken of by the
press in the Western District of Victoria.’
A few days later the newspaper reported that Mr Merlin ‘has not allowed the grass to grow under
his feet, for we had the pleasure of inspecting a large number of very superior views of the lakes,
of our streets, and principal public buildings yesterday’.
MIDDLETON, Alfred
1889
1890
1894–95
1896
1897–98
Sturt Street, Adelaide
Charlotte Street, Adelaide
Hurtle Square, Adelaide
105 Hanson Street, Adelaide
Winchester Street, Malvern
He may have been one of the partners of the firm of Gurr & Middleton (q.v.).
MIDGET PHOTOGRAPHIC CO.
Listed as 123 Rundle Street, Adelaide, in the Sands & McDougall directory for 1901. A doubtful
entry appears in the trade section of the Post Office directory for 1905.
The ‘midget’ was a British photographic mount size, what was called the Carte de visite midget,
being 15/6 x 2 ¼ inches. There was also a series of other midget sizes, the largest still being
smaller than a normal carte de visite mount.
MILBOURN, Samuel Junior (also spelt Milbourne or Milburn)
Samuel Milbourn Junior was born 29 December 1863 at Liverpool Street, Adelaide. His father,
Samuel Milbourn Senior, emigrated from Bolton, Lancashire, England and worked as a train
driver. Milbourn Junior was very interested in music and began piano lessons at the age of 14. He
tried other professions before settling down to music and for a while was a professional
photographer employed by Duryea & Co., Dobson, and Hammer & Co.608 Milbourn was later
based in Glenelg, and between 1890 and 1894 609 was listed with a studio in the directories. He is
renowned for his photographs of poets, which include Adam Lindsay Gordon, Alfred Chandler,
Henry Kendall, Douglas Sladen, George Gordon McCrae, Marcus Clarke, and Alexander
Sutherland. Milbourn printed a long list of poets on the back of his mounts.610
As a music teacher he worked in Petersburg (now Peterborough), Broken Hill, Port Pirie, Terowie
and Yarcowie. He returned to Adelaide and opened a music shop, ‘Victoria Music Depot’, at
Victoria Square. He wrote music and also verse.611
608
‘Mr S. Milbourn, Jun’, obituary published in Music, vol.1, no.II, September 1897, p. 8.
Alan Davies and Peter Stanbury, The Mechanical Eye in Australia: Photography 1841–1900, Oxford University Press, Melbourne,
1985.
610
611
‘Mr S. Milbourn Jun’, obituary published in Music, vol.I, no.II, September 1897, p. 8.
609
206
He died in August 1897 at Glenelg.
Carolyn Lovitt
MILEWSKY, Myer
Listed as photographer at 128 Rundle Street from 1893 to 1897. For 1893 the entry was ‘Milewsky
M., and Mendelssohn, artists and photographers’. The business name used on his cabinet-size
mounts was ‘The Lightning Photographic Co., 128 Rundle Street, Adelaide’. In the directory for
1894 his address, probably residential, is listed in the alphabetical section as 21 Young Street, Kent
Town.
From 1898 to 1900 he was manager of the Kora Photo. Co. at 174A Rundle Street, in a studio
previously occupied by the Art Portrait Co. It appears he then left South Australia, as Sandy Barrie
has M. Milewsky listed at addresses in Victoria and New South Wales from 1901 to 1920.
MILEY, Miss G.
An amateur photographer who became a member of the South Australian Photographic Society in
October 1896. In November 1898 her picture One of Nature’s Enemies was awarded the prize in
the society’s competition for ‘photographs illustrating a tree and a human figure in combination’.
MILLER, Mr see AMERICAN GEM COMPANY
MILLICENT CAMERA CLUB
An advertisement inserted in the Millicent local newspaper in February said: ‘PHOTOGRAPHY –
All those interested in the formation of a photographic club are invited to attend at the Institute on
Thursday, March 2, at 8 p.m’.
The Australasian Photo-Review listed the Millicent Camera Club in its directory of photographic
societies from 1911 to 1916 with Mr C. Willshire as secretary.
MILLICENT PHOTOGRAPHIC STUDIO see FLORANCE, Alfred Harrill
MITCHELL, Matthew
In addition to his normal profession of chemist and druggist at Kadina, Henry Anson (q.v.) was
also the proprietor of the Taylor Street Photographic Studio. In August 1879 he advertised in the
Wallaroo Times that ‘finding the demand for artistic portraiture necessitates the constant
attendance of an operator at my studio, I have entered into arrangements with Mr M. Mitchell, who
will devote the whole of his attention to that department’. In April 1881 the same newspaper
reported that ‘ Mr Mitchell … has left at our office several well executed photographs of well
known gentlemen in Kadina, taken by his new American process’. The new process would have
been the ferrotype, or tintype, which enjoyed a brief period of popularity in South Australia in the
early 1880s.
Henry Anson left Kadina in 1883 and by January 1884 Matt. Mitchell was advertising his new
portrait studio, which was opposite F.W. Gurner’s shop in Graves Street. For three weeks during
the holidays, he said, he was reducing the price of his photographs: cartes de visite were now 9s
per dozen, cabinets 18s., with babies under 4 years and ‘bust heads’ costing a little more. His
directory entry for 1885 gives his address as Taylor Street, Kadina, while an earlier entry, in the
Commercial & Traders Directory 1882–83, lists him as ‘Mitchell Matthew Jun., photographer,
New Town’. New Town was a subdivision laid out in 1871 and is now part of Kadina township.
207
Matthew Mitchell’s photography was featured on the front page of the Y.P. Country Times on 6
May 1981. The article included his portrait, a photograph of miners working underground, and the
following details of his life as a photographer: ‘The late Mr Mitchell … was born in Cornwall,
England, on May llth, 1860, and came to Kadina with his parents in 1867 … On the discovery of
gold in W.A. he went there with his brother. A period of prospecting in the outback followed …
He successfully conducted studios at Broken Hill, Newcastle, Glenelg and Kadina. He finally
became the official photographer for the Wallaroo Mining and Smelting Company. On that firm’s
cessation he engaged in photographic work for Holdens for a number of years, but subsequently
returned to Kadina and lived in retirement. He died in 1942.’
On page 115 of H.K. Bailey’s The Wallaroo Mine, published in 1985, there is an undated
photograph of Frank Tamblyn working in Matt Mitchell’s darkroom at the Wallaroo mine.
(Some biographical information which appears to relate to Matthew Mitchell junior and senior can
be found in the Biographical Index of South Australians612)
MITCHELL & CO. (MITCHELL BROTHERS)
On 25 April 1889 the Mitchell Brothers advertised in the Laura Standard that they had opened a
studio in Herbert Street, Laura, and on 9 May the Standard reported: ‘We have been shown some
exceedingly nice views of the Beetaloo waterworks taken by the Instanto Photo Coy., also some
good photo-crayon enlargements, and cartes de visite. The Company have lately erected a
temporary studio on the comer block to the north of the Standard office …’
Two months later the Standard reported that the company had taken some photographs at night,
presumably using magnesium ribbon or powder. ‘We have been shown some exceedingly
beautiful photos of the late “Tableaux Vivants” taken at night in the Town Hall by the Instanto
Photo Company by a new system of artificial lighting called by the inventor, Mr Mitchell, the
“Magno Flash”. The light employed was estimated as equal to several thousand candlepower, and
can only be compared to a lightning flash.’
By October the firm was trading under the name of Mitchell & Co. The studio closed for a few
weeks over Christmas and when it reopened the public was informed: ‘Cabinet Photographs at 12s
6d per dozen from any negatives in stock … We have just obtained special apparatus for outdoor
work, such as family groups, homesteads, private residences, etc. Enlargements on Opal in water
colors, oils, or photocrayon as usual.’ By March 1890 Mitchell & Co. had moved to Gladstone.
MOORE, Murray
Listed as a photographer at Balaklava in the directories from 1893 to 1896.
MOORE, T.J.
Teacher at the Stanley Flat School, near Clare, and advertised in the Northern Argus, 5 October
1888: ‘Crystoleum Painting! A Rare Novelty! Photos painted in above style, Cabinet or Carte de
visite size, in Oil Colours, by the undersigned. Samples of work on view [at] Mr E.W. Marchant,
Main Street, Clare, who will receive orders. Prices 2s 6d and 4s … T.J. Moore, Stanley Flat.’
Crystoleums were photographs coloured to give the appearance of direct paintings on glass. An
albumen paper print was pasted behind a piece of convexo-concave shaped glass, then the paper
backing removed carefully with sandpaper. The remaining photographic surface was then rendered
transparent with wax, and the fine detail, such as lips, eyes and jewellery, was coloured in oils. A
612
3, p. 1120.
208
matching piece of glass was then fitted behind the first piece, separated from it by a small space.
The broad areas of colour were then brushed on the back of the second sheet of glass. After a
backing piece was added the picture was then set in a fancy gilt frame.
MORA STUDIO
The Mora photographic studio opened at 83 Rundle Street with E. Brown of 5 Botanic Terrace,
North Terrace, Adelaide, and J. Clayton of 147 Grote Street, as the original proprietors. They were
also referred to as Brown & Clayton in some directories. Their first directory entry was in 1892,
where they claimed to be ‘the leading photographers, highest grade in portraiture’, and the
following year, ‘vice-regal and leading photographers’. They also had a picture-framing
department.
Their studio name of ‘Mora’ was almost certainly borrowed from the studio of the same name
which was on Broadway, New York, from 1870 to 1889, and the logos printed on the cards of both
studios were identical. The New York studio was operated by Jose Maria Mora, who specialised in
photographing New York stage celebrities and selling copies to the public. Directory entries, some
as Brown and Clayton, were:
1892–1901
1899–1903
St Vincent Street, Port Adelaide
1902–21
51A Rundle Street, Adelaide
1922–45
49A Rundle Street, Adelaide
MORCOM, Elizabeth Jane
Employed as an apprentice and general assistant by Mrs Davis of the Adelaide Photographic
Company in February 1879.613
MORROW, Miss T.
Listed as a photo dealer, Arcade, Rundle Street, for 1906.
MORTON, James
In May 1913 James Morton was advertising his Morton Studio in the Main Street of Clare, and in
January 1914 Solomon Williams (q.v.) advertised that his studio, ‘now occupied by Mr Morton’,
was to be let.
On 13 February 1914 the Northern Argus reported that a few months earlier Messrs Paterson Bros
of Adelaide had purchased the store and business of the late Miss Ellen Bowley, in Main Street,
Clare, and that they had since erected a new store alongside the old one and that ‘the old store had
been let to Mr Morton, photographer, for whose use a large photographic studio has been erected
on the back portion of the premises’.
By September 1916 another Clare photographer, Herbert E. Tonge (q.v.), advertised that ‘having
purchased the stock of negatives from Mr Morton (who is leaving the town), I now hold (and thus
preserve) the complete record of all portraits taken during the last 30 years. Reorders can be
booked and delivered to any part of the State.’614 It appears that Morton had acquired the negatives
taken by earlier Clare photographers such as Edwin Marchant and Solomon Williams (q.v.)
613
614
Northern Argus, 8 September 1916.
209
James Morton was listed as a photographer at Strathalbyn in directories from 1921 to 1945, and he
has also been recorded as James Morton Junior, his father, James Morton Senior, having died at
Clare in September 1913. James Morton Junior was born in 1877.615
MORTON, Thomas, Junior
Listed in the directories for 1911 and 1912 as a photographer at Snowtown.
MORWELL PHOTO STUDIO see BERKHOLZ, W.
MOUNT GAMBIER PHOTOGRAPHIC CLUB
On Monday 23 February 1903 fifteen amateur and professional photographers met in
Rubenkonig’s coffee room at Mount Gambier in response to advertisements placed in the local
papers. The purpose of the meeting was to consider the formation of a photographic club. The
Australian Photographic Journal reported: ‘The idea of starting it originated with Mr Newling,
who was one of the promoters of the first society in Melbourne, which is now a large and highly
prosperous body … Mr Newling pointed out some of the principal objects of such a club and the
advantages it would confer upon its members, and expressed his surprise that in a district like this,
possessing such beautiful and varied scenery, and so many amateurs in the art, a photographic club
had not been formed years ago. The gentlemen present appeared to be enthusiastic in favor of the
establishment of a club and … it was resolved that “The Mount Gambier Photographic Club”
should be formed and all present become members.’616
Officers elected were: President, Mr P. Kook; Vice-presidents, C. Newling and J.I. Underwood;
Secretary, Mr E.D. Senior; Treasurer, Mr G. Webber. After Mr Kannenberg had taken some
flashlight photographs of the gathering with his ‘fine new Watson and Sons Acme camera’ the
meeting closed with a coffee supper.
The stated objects of the club were ‘the promotion of the Photographic Art by the holding of
Exhibitions and Competitions, the delivery of Lectures and reading of Papers, Excursions, Lantern
Exhibitions and Entertainments, the formation and maintenance of a Library, and generally the
promotion of closer acquaintance among Photographers and the interchange of photographs,
suggestions, ideas and experiences.’ The rules stated that members ‘may consist of either sex’ and
that they were expected to ‘attend meetings of the Society, take a personal interest in its
proceedings and show their work for criticism’.
The Adelaide photographic supply houses lost no time in making contact with the new club, and
within a few months Mr H.H. Wight, manager of Baker & Rouse, had travelled from Adelaide to
demonstrate the firm’s toning products and to offer a half-guinea prize for a competition using the
firm’s paper. A month later Mr S.P. Bond, of S.P. Bond & Co., demonstrated platinotype printing
and provided a prize for competition among club members. He also took a flashlight photograph of
members at the meeting and later sent them an enlarged copy.
For the first six months meetings were held at Peter Kook’s Dana Studio, where a darkroom was
available for practical demonstrations of photographic processing; meetings were then held at the
committee room at the Institute. However, the absence of darkroom facilities at the Institute
resulted in a move back to the Dana Studio in May 1905.
Club meetings consisted of practical demonstrations, lantern slide and print competitions, and
general talks and discussions on hand and stand camera work. In October 1904 the members were
given a demonstration of x-ray photography at the residence of Drs F.D. and W.H. Jermyn.
615
Northern Argus, 20 February 1931; Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian
Genealogy and Heraldry Society, 1986, p. 1136a.
616
Australian Photographic Journal, March 1903.
210
MOUNT GAMBIER PHOTOGRAPHIC STUDIO See NORMAN, Henry
MUGG, Mr
The annual day-school examination at Stockport took place on 2 November 1865. ‘Mr Mugg, who
was present with a photographic apparatus, took the children in several groups, also the
schoolhouse. In the evening the children were greatly amused by the exhibition of the magiclantern by Mr Mugg, which brought to a close the day’s proceedings.’617
MULLER, Theodor
From 1863 to 1869 Theodor Muller (Mueller) of Tanunda advertised, in German, in the South
Australian newspapers Sud Australische Zeititung and the Australische Deutsche Zeitung.
In January 1863 Muller offered portraits of the late Pastor Meyer for sale, copies on paper for 3s
each, on glass 7s 6d. Six months later he informed the public that he was bookbinder as well as
photographer, and now residing at the home of Mr Schuett, opposite the Tanunda Mill.
By April 1864 Muller was making cartes de visite for 12s 6d per half-dozen, and advised intending
customers to take advantage of the prevailing good weather, adding that ‘direct sunlight is not
absolutely necessary’. In less than a year Muller had dropped the price of cartes to 10s for a full
dozen, advertising that ‘through the acquisition of an outstanding apparatus and as the result of a
thorough and indefatigable study of photography in the latest photographic journals’, he was able
to produce photographs equal to the best in Adelaide.
On 2 November 1865 the Register reported receiving photographs sent by Dr Muecke of Tanunda
to illustrate his letters on ‘Root Blight in Cereals’ and ‘The South Australian Corn Disease’. The
Register said, ‘The photographs bear the stamp of Herr Muller, Tanunda, and their distinctness
certainly reflects much credit on his atelier’. Engravings made from Muller’s photographs of
Muecke’s illustrations were published in the Illustrated Melbourne Post.
In January 1867 Muller was producing 6 x 4 inch photographs of the Evangelical Lutheran
Mission Expedition for 2s 6d each, with a free extra copy for every dozen ordered. As well as
producing the usual carte de visite and glass portraits Muller said he had acquired a ‘large new
apparatus’ to make 10-inch sized photographs, ‘especially beautiful large bust portraits which
measure up to all expectations’.
Although Theodor Muller was listed as being at Tanunda in the directory for 1869, he advertised
on 2 April that year that he was transferring his business to Marrabel for an ‘unspecified length of
time’.
MURRAY, R.L.H. see STANDARD ENLARGING COMPANY
617
211
N
NEALE, C.C.
A cabinet group photograph (Noye collection) carries the printed inscription ‘C.C. Neale,
Riverton’. An entry for Robt. Jas. Neale lists a son, Charles Cyril Neale (1887–1952), who is
presumed to be the photographer.618 Robert J. Neale is listed as a teacher at Riverton in directories
from 1902 to 1907, the year of his death. In the directory for 1913 Charles C. Neale is listed as
proprietor of the Maitland newspaper, The Maitland Watch, which was established in December
1911.
NEEDHAM, R.J.
Advertisement in the Guardian for 19 May 1871: ‘North-Eastern Photographic Gallery. Cartes de
Visite, Landscapes etc, on the shortest notice. Gentlemen’s seats photographed. The townships in
the district will shortly be visited, of which due notice will be given. R.J. Needham, Gumeracha.’
NEILSON, J.M.
Advertisement in the Northern Territory Times, 19 November 1887: ‘J.M. Neilson wishes to notify
to the residents of Port Darwin and the surrounding districts that he has opened a Photographic
Establishment in Palmerston, and is prepared to execute views of scenery and buildings, groups,
cabinets, and all other phases of the art, at the most moderate rates. As his stay in Port Darwin will
be a short one, those intending to take advantage of the presence of a photographer in the Territory
are requested to send in their orders early.’ The MEA lists J.M. Neilson as being at Charters
Towers, Herberton and Thursday Island, Queensland, between 1880 and 1892.
NESBIT, Vincent Ed see DOOLETTE, Abraham Sims
NEW YORK PHOTO CO.
Directory entry for 1902: ‘New York Photo Co., No. 7 Melvin Chambers, King William Street,
Adelaide. Kleeman Bros. and Field, proprietors’.
NEW YORK PHOTOGRAPHIC COY.
An undated printed carte de visite mount (Noye collection) is inscribed: ‘New Photographic Coy.,
Adelaide. Travelling Branch, Chas. F. Husbands, manager’.
NEWLING, Charles
Before coming to Mount Gambier Charles Newling worked as a photographer in Victoria. He
appears to have been a partner of Lancaster & Newling at Bairnsdale in 1883, and at Carlton
c.1887–88. Although he is only listed as a photographer at Wyatt Street, Mount Gambier, in
directories from 1891 to 1899, he was there in February 1903 when the Mount Gambier
Photographic Club (q.v.) was formed.
When reporting the formation of the club the Australian Photographic Journal said: ‘The idea of
starting it originated with Mr Newling, who was one of the promoters of the first society in
618
1168.
212
Melbourne, which is now a large and highly prosperous body … Mr Newling pointed out some of
the principal objects of such a club and the advantages it would confer upon its members, and
expressed his surprise that in a district like this, possessing such beautiful and varied scenery, and
so many amateurs in the art, a photographic club had not been formed years ago.’
Charles Newling was one of the two vice-presidents elected at the inaugural meeting, and the
following year he was elected president, a position he held until he left Mount Gambier in July
1904. His departure was recorded in the club minutes: ‘Several members expressed regret that the
club was losing such a useful member as Mr Newling, and the meeting passed a resolution of
thanks to him for his services to the club. Mr Newling in reply encouraged the members to go on
improving their photographic work and gave instances to show how amateurs had attained high
positions in the art.’619 In November 1904 the president received a postcard from Mr Newling who
was ‘at present in Auckland’.
NEWMAN, Charles see ART PICTURE FRAMING CO.
NEWMAN, Philip
A news item, with portrait, in the Australasian Photo-Review for 22 November 1911 said:
Phil Newman, bright and breezy as ever, blew into Sydney during the month on his way to
Auckland, and although he is well-known to many of our readers a few notes about his career will
be interesting. Mr Newman, some years ago, was a partner with Mr A.A. Stump, of Adelaide, and
feeling a desire to conquer new worlds, twelve years ago sold out his interest and migrated to
Brighton, England, where he purchased the old-established business of Mayall & Co., and
conducted this with great success. Now Mr Newman has returned to Australia to establish Natural
Colour Photography on a thoroughly sound basis, the specimens he has brought with him being a
revelation to those privileged to inspect them.
A report of a meeting of the South Australian branch of the Royal Geographical Society in
February 1892 states: ‘A large album of photographs of the [Elder] expedition taken by Dr Elliot,
the photographer of the party, and developed and mounted by Mr Philip Newman, late of
Mendelssohn & Co. (?), was laid upon the table’.620
Directory entries for Philip Newman, photographer, probably residential, were:
1890
1899
Kensington Terrace Norwood
Robert Street, New Glenelg
The Aldine History of South Australia (1890)621 states that Mr P. Newman originally learnt
photography in England ‘under the well known artist Savoury (?)’.
NEWNHAM, W.H. see BOSCO APPARATUS COMPANY
NICHOLLS, F.
An advertisement in the Wallaroo Times, 15 January 1870, said: ‘Extraordinary Opportunity for a
young man with small capital. In consequence of ill-health Mr R.V. Rodda is obliged to relinquish
his occupation as photographer and assayer at Kadina. Mr R. will be glad to treat with a person as
his successor for the sale of his first-rate photographic apparatus and appliances, and all his assay
apparatus, chemicals and stock, with the lease of photographic-room and assay office. He will
teach anyone with whom he may thus agree, the art of photography, and the assay of copper ores,
in three months.’
619
Minutes of Mount Gambier Photographic Club 1903–06; photocopy held in Noye Collection.
621
Aldine History of South Australia, edited by W.F. Morrison, Aldine Pub. Co., Adelaide, 1890, vol. 2, p. 810.
620
213
Rodda’s successor was F. Nicholls who advertised in July 1870 that he was continuing the
business in Graves Street as an assayer and photographer, and that he could supply copies from all
of Rodda’s collection of negatives.
Although Nicholls’ occupation listed in the directories changed from photographer to assayer in
1876, he was still advertising as a photographer, Kadina, in September 1877.
NICOLLE, Thomas Helier Sarre
Was a schoolteacher at Auburn who used his own magic lantern to screen slides for lecturers
visiting the district. He later became an inspector of schools.
In 1904 he screened slides at Clare and Auburn for a lecture on Japan given by Mr W.J. Sowden,
editor of the Register newspaper, and slides of a trip to England at Riverton for Rev. J.J. Nicholls;
in 1906 he showed slides of a trip to Rome for a lecture given at Clare by Lieutenant-Colonel
Castine.
Every year from 1905 to 1908 he was awarded both first and second prizes for lantern slides in the
photographic section of the Northern Agricultural Society’s show at Auburn.
T.H.S. Nicolle was born on 7 October 1866 and died at North Adelaide on 12 July 1925.
NIESCHE, Charles Frederick
On 4 June 1869 Messrs. L & C. Niesche (Nieschke) placed an advertisement, in German, in the
Tanunda Deutsche Zeitung, in which they informed readers that they would be at Tanunda on 7
June, and that sample photographs could be seen at their studio. The photographers were the
brothers Charles Frederick Niesche (c.1852–91) and Louis A. Niesche (c.1851–1916).
On 3 January 1871, in an article describing new shops in Rundle Street, the Register said, ‘Mr
Niesche has put up a couple of well-finished shops between Messrs Northmore & Co’s and
Mayfield and Sons, one of which is occupied as a fruiterer’s, the other as a tobacconist’s. They
comprise dwelling apartments at the rear and on the second floor, a third being arranged for
photographic atelier. The front is protected by a verandah, and completed with cement facing. Mr
D. Garlick was the architect.’
On his carte de visite mounts Charles Niesche described himself as an ‘Art Photographer and
Portrait Painter’, and the studio at 97 Rundle Street was his ‘photographic atelier’. From 1875 to
1880 directories list his occupation as ‘photographer and fruiterer’. In 1879 he advertised
‘photographs finished to life-size in oil, watercolour, mezzotint or other process from any carte de
visite, £3 and upwards. Framing done as usual.’ In April 1880 Frearson’s Weekly reported,
‘Having recently visited the photographic atelier of Mr C. Niesche, 97 Rundle Street, which is
complete in every particular, we can speak in eulogistic terms of the artistic work turned out at this
establishment. Those who desire to retain true portraits of the human form Divine will do well to
patronise this establishment.’
After Charles Niesche died on 16 November 1891 his studio was taken by Lund & Co., who
overprinted his remaining stock of cabinet cards with their own name. Although renumbering of
premises in Rundle Street had changed his address to 101A Rundle Street by 1887, Niesche’s old
number, 97, appears on the cards overprinted by Lund & Co. Niesche’s studio was used by Lund
& Co. for about 12 months. It was occupied by William Spence by 1894, then by the Adelaide
Photo Co. (A.Brown) and Townsend Duryea Junior.
Charles Niesche’s obituary in the Observer said:
214
We regret to announce the death of Mr Charles F. Niesche, photographer, of Rundle Street, at the
early age of thirty-nine years. Besides being well known as a business man, he was during the last
twenty years a member of the leading Musical Associations of the time, and up to his death, which
occurred at the residence of his brother (Dr Niesche, of Carrington Street) on Monday, was an
active member of the Adelaide Liedertafel and the Orpheus Society. Owing to ill-health he has been
missed from the concert platform as a soloist for about two years, but prior to that lent his valuable
aid to many charitable and other concerts, and for many years was closely identified with St
Patrick’s Church choir at West Terrace, where his full baritone voice was often heard to great
advantage in the principal solos. Being a colonial born he was also a member of the Australian
Native’s Association.
NIESCHE, Louis A. see NIESCHE, Charles Frederick
NIESCHE & CO.
A carte de visite portrait of a woman in a crinoline which has ‘C. Niesche & Co., Photographers,
Adelaide’, could have been made by the brothers Charles Frederick Niesche (q.v.) and Louis
Niesche c.1869. Charles Niesche had directory entries in his name only from 1871 to 1891, except
for 1883, when the entry was for ‘Niesche & Co’.
NISSEN, Hans
Listed as a photographer at 23 Wall Street, Norwood, in the directory for 1898, and as a toymaker
at the same address for 1899. From 1900 to 1902 he was listed as photographer, 9 Bristol Street,
Adelaide.
NIXON, Miss Beryl
Listed as ‘photographic colorist and retoucher’ at 53 Royal Exchange Building, King William
Street, Adelaide, in the directories for 1910 and 1911.
NIXON, Charles Millington
Charles Nixon was born at Kapunda on 12 February 1870, the son of photographer Stephen
Edward Nixon (q.v.). His grandfather, William Nixon, and his father’s two brothers, Joseph and
Samuel, were also photographers.
By October 1886, at the age of 16, he was advertising as a photographic artist and landscape
photographer near the Church of England at Kapunda. By March 1887 he was working from
premises opposite the E.S. & A.C. bank in Main Street.622 Cartes de visite exist with imprints
‘Stephen E. Nixon & Son’ that show he was in partnership with his father and that they also had a
branch studio at Tanunda. He attended art classes at the Kapunda School of Mines and in 1892
passed the State examinations with good results. He was a member of the Junior Division of the
Kapunda Literary Society and at the June 1892 meeting gave ‘a very interesting paper on
Photography’. Two months later the society reported that the vice-president, Mr C.M. Nixon, had
gone to Western Australia.623
He began practising as a photographer at Fremantle but returned to Kapunda and married Annie
Blanche Newman on 12 September 1894. Charles Nixon returned to Fremantle with his bride and
remained there as a photographer for over forty years. Nixon opened at studio at 7 William Street,
Fremantle, with partner Henry Merrilees, trading under the name ‘Nixon & Merrilees’ until about
1900.624
622
Kapunda Herald, 1 October 1886, 29 March 1887.
Kapunda Herald, 7, 10 June, 19 August 1892.
624
Howard Speed, W.M.Nixon & Sons Photographers, unpublished manuscript, 2007, p.60.
623
215
Nixon returned to Kapunda and married Annie Blanche Newman on 12 September 1894. They
both returned to Fremantle where Nixon continued to work as a photographer for over forty years.
In 1897 or 1898 Charles Nixon and partner Henry Merilees published a book of photographs
entitled 100 glimpses of Western Australia. From 1901 Merrilees managed a branch in Piesse
Street, Boulder City, for two years, and the partnership appears to have been dissolved. From 1903
Charles operated premises in Fremantle and a branch at Northam for many years.625
Charles Nixon was described as ‘a quiet and unassuming man … a keen musician and a pillar of
the Presbyterian Church in East Fremantle’.626 His father also moved to Western Australia about
1905 and had a photographic business at Wagin for several years. Charles Nixon died at Fremantle
on 3 February 1934.
NIXON, James
A James Nixon was listed as a photographer at Edithburg in the directory for 1881, and at
Yorketown from 1882 to 1885.
NIXON, Joseph Henry
Joseph Nixon was born in Birmingham, England, on 21 April 1844, and was the son of gunsmith
William Millington Nixon (q.v.) who arrived in Adelaide with his family on 8 January 1855. His
father gave up gun-making to become a photographer, then moved to a farm at Pomanda near
Wellington about 1859. Two of his brothers, Stephen Edward and Samuel Nixon, also became
photographers, and for a time some or all of the brothers worked together under the name of Nixon
Brothers (q.v.).
In May 1867 ‘Mr J. Nixon’ was at Noarlunga where he took an ‘admirable photograph’ of the
children celebrating the anniversary of the Wesleyan Sunday School.627 He has been listed as a
photographer at Robe in 1867–68,628 and was taking views and portraits at Mount Gambier in
March 1870.629 A carte de visite of Naracoorte630 which has the imprint ‘W.M. Nixon & Son,
Travelling Photographers. Copies [from] W.M. Nixon near Wellington’ shows the front of
McFayden & Peake’s general store and in the background can be seen a photographer’s tent, flag
fluttering overhead, and the sign ‘J.H. Nixon, Photographer’.
Cartes de visite exist for ‘J.H. Nixon, Travelling Photographer. Copies [from] W.M. Nixon near
Wellington’, and ‘J.H. Nixon, artist photographer, Wellington, S.A.’, and another printed carte de
visite mount give his address as Kapunda. On 21 April 1871 the Illustrated Adelaide Post
published a woodcut depicting the construction of the Overland Telegraph line to Port Darwin
which was based on a photograph taken by J.H. Nixon.
On 27 January 1873 Joseph Henry Nixon married Sophia Short at the John Knox Church at
Morphettvale and they moved to Kapunda. A photograph from this period is held in a private
collection, is inscribed ‘Coopers Creek’, and shows two Aboriginal ochre traders at Coopers
Creek.631
The family moved to the Riverina in 1875 and was photographed by Joseph as they approached
Echuca, travelling in a horse-drawn caravan. Joseph purchased the property next to his father
625
R. Reece and R. Pascoe, A Place of Consequence – A Pictorial History of Fremantle, Fremantle Arts Centre Press, 1983, This also
contains some information about Charles Nixon’s life in Western Australia and some of his photographs.
627
628
629
Mount Gambier Standard, 11 March 1870.
630
State Library of South Australia B9400.
631
626
216
William. Joseph and his wife were forced off the land by the severe droughts at the turn of the
century and retired to Brighton in Melbourne. 632 He died on 28 April 1926.
NIXON, Samuel
Samuel Nixon was born in Birmingham, England, on 12 September 1847, the son of William
Millington Nixon, a gunsmith who arrived in Adelaide with his family in January 1855. William
Nixon became a photographer then moved to a farm at Pomanda near Wellington about 1859.
Three of his sons, Stephen Edward, Joseph Henry and Samuel also became photographers. Samuel
was probably a member of the photographic firm of Nixon Brothers (q.v.) in the early 1860s, and
could have been associated with his father who for a time was working as W.M. Nixon & Sons.
In August 1869 Samuel Nixon spent several weeks taking portraits at Saddleworth where it was
reported that ‘considering the dullness of the times’ he had been well patronised. ‘He has
succeeded in taking some very fine portraits and has given general satisfaction to those who have
favoured him with a visit. He will be welcome to come to this part again.’633 In February 1871 he
was again at Saddleworth. ‘Mr Samuel Nixon, the travelling photographer, has paid us his yearly
visit and gave, as usual, satisfaction.’634
When Samuel Nixon married Rose Hannah Ireson at Norwood on 28 January 1873 his address was
given as Pomanda. It is thought he moved to New South Wales when his father took up land in the
Deniliquin district in the late 1870s, and in 1882 he selected blocks of Crown Land beside Lake
Gunbar and called his property Gunbar Farm. One of his cartes de visite (Noye collection) has the
imprint ‘S.Nixon, Photographer, South Australia and New South Wales. Residence, Harbourne
near Deniliquin’.
Samuel Nixon died at Hillston, New South Wales, on 27 December 1922.
NIXON, Stephen Edward
Stephen Nixon was born in Birmingham, England, on 10 August 1842. He was the son of William
Millington Nixon (q.v.), a gunsmith who came to South Australia with his family in January 1855.
By 1858 Stephen Nixon’s father had turned from gun-making to photography to make a living, and
about 1859 moved from Adelaide to a section of land at Pomanda on the River Murray near
Wellington. Two of Stephen Nixon’s brothers, Joseph Henry and Samuel Nixon, also became
photographers.
Stephen Nixon married Mary Ann Ellis at her father’s farm near Macclesfield on 2 April 1863, and
on the marriage certificate his address was given as Pomanda and his occupation as photographic
artist. By August 1863 he was living at Woodside and had taken a series of four views of the
Bremer Mine and smelting works. The photographs were ‘clear and well defined’, and described in
detail by the Advertiser. Among the figures that could be recognised were Mr Alfred Hallett the
manager, Captain Prisk, Messrs. Thomas the former superintendents and some of the men.635
Stephen Nixon had moved to Kapunda by April 1864, when his first child was born, and in May
the following year he was practising photography at his studio in the main street opposite the Sir
John Franklin Hotel. His hours for portrait taking were 9 am to 3 pm, and he also stocked a wide
range of stationery, fancy goods and musical instruments.636
In November Nixon advertised portraits and views and said that he had made ‘great alterations’ to
632
Kapunda Herald, 20 August 1869; South Australian Register, 21 August 1869.
634
635
Advertiser, 8 August 1863; South Australian Register, 4 September 1863.
636
Kapunda Herald, 5 May 1865.
633
217
his studio and employed a person ‘of very superior talent’ to assist him. Cartes de visite were 8
shillings per half-dozen. Six months later Nixon dismissed Edmund Cardell (q.v.) from his
employment, and informed the public that he now had ‘no connection with that Barber-ous
attempter of the art’, from which we may assume that Cardell was both hairdresser and
photographer. Cardell set up his own business in opposition to Nixon but in less than a year had
given up and his negatives were in Nixon’s possession.637
For some years Stephen Nixon was Kapunda’s resident photographer and did not like itinerants
intruding on what he considered was his territory. When the Melbourne Portrait Gallery opened a
studio a short distance from his, Nixon advertised that his portraits were ‘for durability Superior by
far to any in Kapunda’. His opposition responded by claiming that their portraits were ‘produced in
a style FAR SUPERIOR to any previously taken in Kapunda’.638
Nixon received ‘superior instruments for winter use’ direct from England in May 1866, probably
cameras equipped with new and faster lens. He also had over 2,500 registered negatives from
which copies could be obtained for one shilling each and a range of photographs for sale, including
the Catholic chapel, railway station, and ‘a good assortment of aboriginal portraits’. When he
photographed the laying of the foundation stone of the Kapunda Baptist Church that month his
photograph was described as ‘a very good picture, though a number of the lower figures are
spoiled, owing to an accident at the time, which caused a pretty general movement of the people, a
large stone having fallen on a small boy’s leg, and he not being martyr enough to bear the pain
rather than spoil the picture, someone ran across to his rescue, thereby causing the movement
referred to. In the upper part, however, the figures are exceedingly well taken.639
By November Nixon’s collection of registered negatives had increased to 3,700 and he would send
six copies to any part of the colony on receipt of five shillings in postage stamps. To ‘place this
beautiful and popular art within the range of all classes of society’ he reduced the price of his
cartes de visite by one-third.640
In September 1867 photographers Nixon and Blood, presumed to be Stephen Nixon 641 and John
Blood (q.v.), were at Anlaby taking photographs of the property for presentation to Prince Alfred
who was to make an official visit to the town. The local paper said:
We have been favoured by Messrs Nixon and Blood, photographers of this town, with an inspection
of a series of views of Anlaby, taken by order of Captain Bagot, M.L.C., for presentation to H.R.H.
Prince Alfred. We can unreservedly say that we have rarely seen better photographs than those to
which we now refer, the tone being so beautifully soft and the lights and shades very nicely defined.
The series includes views of all the principal portions of the well-known Anlaby Station,
comprising several from different points of the manager’s residence – the storehouse, sheepfolds,
shepherd’s hut, the woolshed; and last, but not least, a picture which deserves more than passing
notice – viz., that of the burial by the blackfellows of the aboriginal shepherd Tommy Dutton,
which took place the week before last. It is not often, indeed we believe this to be the first occasion
on which the natives have allowed the ‘whitefellows’ to witness their funeral obsequies, much less
photograph the scene.
These pictures will at least redeem the credit of Kapunda in royal estimation, so far as the art or
science of photography is concerned.642
In February 1869 Nixon sought publicity by leaving specimen photographs with the Kapunda
Herald, and was almost certainly motivated by the arrival of E.J. Wivell, a dancing teacher-cumphotographer from Adelaide who opened a studio a short distance from his. The Herald described
637
Kapunda Herald, 3 November 1865, 27 April 1866, 1 March 1867.
Kapunda Herald, 3 November 1865.
639
640
Kapunda Herald, 9 November 1866.
641
One of Stephen Nixon’s brothers, Joseph Henry Nixon, may have been John Blood’s partner, as carte de visite exist with the imprint
‘J.H. Nixon, Artist Photographer, Kapunda, S.A’.
642
Kapunda Herald, 20 September 1867; see also Memories of Kapunda, Kapunda Herald, 1929, p. 36, quoted under Blood J.H.S. An
album of Nixon’s photographs made for the occasion is held by the State Library of South Australia.
638
218
the photographs and referred to Nixon as ‘the old-established photographer of Kapunda … These
pictures fully sustain the reputation Mr Nixon acquired by his really beautiful pictures of Anlaby,
taken in 1867 for presentation to the Prince. Mr Nixon has also forwarded us a number of samples
of infantine portraiture, taken by an instantaneous process. All who know how difficult it is to keep
a child still for the time required for taking a portrait by the ordinary process will appreciate this
new plan.’643
Nixon’s large advertisement in the same issue was addressed to ‘connoisseurs and lovers of the
photographic art’. In it he said that he ‘kindly solicits public comparison between his artistic and
well finished productions with the inartistic and unprofessional ones now being exhibited in the
town’, meaning Wivell’s. Copies of any of his 7,412 registered negatives, he said, could be had at
any time for one shilling each, and added that all of his pictures were guaranteed not to fade.
Wivell responded with his own large advertisement which said he could guarantee the permanency
of his portraits because he used ‘Wivell’s Anti-Fading Solution, used only on pictures taken by
himself’. Nixon’s next advertisement was printed in very large bold type and carried the message
‘Just Received and for Sale Cheap at Mr S.E. Nixon’s Studio TWO AMERICAN BUCKETFULS
OF BUNKUM!! or Anti-Fading solution!! Which is not used by himself.’644 Nixon also ridiculed
others parts of Wivell’s advertisement. Wivell advertised his School of Photography where he was
prepared to teach Ivorytype, Simpsontype, Calotype, Talbot Type and Sennotype processes, which
Nixon answered by saying his own school was quite full but that more ‘Types’ would soon arrive
from ‘Snobland’.
Wivell moved on, photography in Kapunda returned to normal, and in October the Herald reported
that Nixon was using a ‘whole-size’ camera (6½ x 8½ inch plate) made by local craftsman James
Uren.645
Stephen Nixon’s name appeared as an assignment in the Insolvencies and Assignments column of
the Register in May 1870, and by the end of the year he had moved to Wallaroo where he opened a
studio near the Globe Inn. He moved to Kadina, then Moonta, where he was taking portraits in
April 1871. By July he had returned from his ‘professional tour’ and resumed his photographic
business at Kapunda, but sold out to James Uren on 1 September. Uren also acquired Nixon’s
collection of negatives.646
Stephen Nixon returned to Kadina and had opened a studio in Taylor Street by October 1872. In
April 1874 his photographs of the mines and miners were described by the Register:
There is one representing the ring meeting opposite the Post and Telegraph Office in Kadina
waiting for the news expected from Adelaide. It gives an idea of the appearance of the ring
meetings, and Mr Gray, the Chairman of the Wallaroo Strike Committee, as well as other
prominent men, are easily recognisable among the central figures. The Telegraph Office and Police
Station are well shown, and a number of neat cottages form a pleasing background. Views of
Hughes’s and Taylor’s large engine-houses, with horse whims and other important parts of the
machinery of the Wallaroo and Moonta Mines, are shown; also the Doora engine house and mine.
The workmen are placed in various positions, and the photographs being excellently taken give a
correct idea of the places they represent. In one picture the process of ore dressing is seen in full
operation, railway trucks being also noticed half-loaded. The series also includes representations of
the Smelting Works and the jetty at Wallaroo Bay, with several vessels taking in and discharging
cargo. The scenes altogether give a good impression of places which have lately on account of the
proceedings connected with them become the subject of a wide-spread interest.647
Stephen Nixon advertised his Yorke’s Peninsula Photographic Company for sale in July 1875. It
643
Kapunda Herald, 19, 26 February, 12 March 1869.
645
646
South Australian Register, 23 May 1870; Wallaroo Times, 10 December 1870, 15 February 1871; Kapunda Herald, 21 April, 28
July, 15 September 1871.
647
TheYorke Peninsula Advertiser, 22 October 1872; South Australian Register, 29 April 1874.
644
219
included a branch at Moonta which had been managed by C.H. Manning (q.v.) and the studio at
Taylor Street, Kadina, which had been operating under the name of The Yorke’s Peninsula School
of Photography. The business, he said, ‘was situated in the largest, richest, and most populous part
of South Australia, and doing a first-class and paying trade’ which offered ‘a splendid opening for
a good artist or two energetic gentlemen’. The Kadina studio and its negative collection were taken
by Arthur Francis (q.v.).648
In October 1875 Nixon sold his Moonta business to Townsend Duryea (Senior) and announced
this transaction in the local paper: ‘I HAVE DISPOSED of my Moonta Photographic Business,
together with all the Negatives to Mr. T. Duryea, whose name will be sufficient guarantee that the
reputation established under the able management of Mr. Manning will be fully sustained.’649
Stephen Nixon, with Charles Manning as partner, moved to Adelaide where they took over the
operation of Townsend Duryea’s well-known studio at 66 King William Street, which had been
rebuilt after being destroyed by fire earlier in April 1875. After the fire Duryea had retired from
photography and moved to New South Wales.650 Although cartes de visite printed by the new
owners were clearly marked Nixon & Manning, they also included ‘late T. Duryea’ and carried the
crests of four South Australian Governors, who had previously patronised Duryea, surrounding a
central emblem which highlighted the studio’s earlier association with the Duke of Edinburgh.
Nixon & Manning were doing their best to use Duryea’s name to obtain public patronage for
themselves.
In September 1876 the studio was still being called ‘Duryea’s Photographic Studio’ with Stephen
Nixon as proprietor and Charles Manning the supervisor. Duryea’s colourist, Mr K Bull, was still
with the studio and as 50,000 of Duryea’s negatives had been destroyed in the fire Nixon informed
the public that a fireproof room had been constructed for the safekeeping of future negatives, and
that any that had been destroyed would be re-taken free of charge.651
In March 1878 Stephen Nixon paid a brief visit to Gladstone, still using the name ‘Duryea’s
Photographic Studio’ and Duryea’s list of royal and vice-regal patronage, medals and awards to
attract public patronage. The following month J.S. Seymour was in charge of the studio and in July
an insolvency notice for Stephen Edward Nixon of Flagstaff Hotel, South Road, was published in
the Government Gazette.652 In April 1878 Charles Manning became sole proprietor of the King
William Street studio,653 which closed forever in 1881.
On 19 October 1878 ‘S.E. Nixon (late of Duryea’s Photographic Studio, King William Street)’
advertised that he would be resuming his profession of photography at Port Adelaide ‘in a few
days’. He opened a studio near the Port Adelaide Town Hall where he took portraits of children
between 11 and 3, and of adults between 9 and 6. A month later he said he would be leaving Port
Adelaide in a few weeks’ time, and on 11 January 1879 he said it was his last week at the Port.654
Stephen Nixon is listed as a photographer at Yorketown in the directory for 1881, and at Kadina
from 1882 to 1885, where he appears to have been working in Taylor Street under the name of The
South Australian Photographic Association.
By 1886 Nixon was back at Kapunda and had opened a branch studio at Tanunda which was listed
in directories from 1886–94. Cartes de visite were printed for The South Australian Photographic
Association, Stephen Nixon manager at Tanunda, and S.E. Nixon & Son, Artists, at Kapunda.
Nixon had apparently been joined by his son Charles Millington Nixon (q.v.) who had begun
648
South Australian Register, 5 July 1875; Wallaroo Times, 25 September 1875.
TheYorke's Peninsula Advertiser and Miners' and Farmers' News, October 22, 1875.
650
651
Northern Mail, 29 September 1876.
652
Areas Express, 16 February, 6, 16, 27 March, 10 April 1878.
653
Howard Speed, W.M.Nixon & Sons Photographers, unpublished manuscript, 2007, p.32. Manning also advertised himself as sole
proprietor in the Advertiser, 30 September 1878.
654
Port Adelaide News, 19 October, 23 November 1878; 11January 1879.
649
220
advertising as a photographer in Kapunda at the youthful age of 16. Although Charles Nixon had
moved to Perth in 1892, the sign on the front of Stephen Nixon’s Kapunda studio was still ‘S.E.
Nixon and Son’ when the start of the walking race from Kapunda to The Pines was photographed
in 1900.
Stephen Nixon’s wife, Mary Ann, died at Kapunda on 28 December 1897 and some years later he
re-married. In September 1899 his photographs of the abandoned Kapunda copper mine were
included in a report which was sent to English capitalists who appeared interested in the property.
His photographs included the Buhl engine-house, blacksmith’s house, manager’s house and parts
of the mine.655
In February 1905 Sidney Oats purchased Nixon’s photographic business, which included all of
Nixon’s negatives and those of James Uren (q.v.) which Nixon must have acquired when Uren left
Kapunda about 1887.656 After selling his business Nixon moved to Western Australia where two of
his sons were living, Charles Nixon the photographer and Stephen Edmund Nixon, a butcher.
From about 1908 to 1910 Stephen Nixon Senior practised photography at Wagin, a town southeast of Perth, then for some reason went to the city and was found dead in bed at a lodging house
in Josephine Street, Fremantle, on 5 February 1910. The cause of death was a self-administered
dose of potassium cyanide, a poisonous chemical used in photography.657
NIXON, William Millington
William Nixon was born in Birmingham, England, on 4 August 1814. When he married Eliza
Wood at Edgbaston, County Warwick, on 26 April 1838, his occupation was given as ‘engraver’.
He later became a gunsmith, and the information printed on the account forms he used in the 1850s
was ‘Willm. M. Nixon, Gun and Pistol Maker, 9 Duddleston Row, Birmingham. Rifles made on
the best principal. Every attention given to the bend and length of the gun-stocks used by
Noblemen and Gentlemen.’
In 1854 William Nixon and his family migrated to South Australia. They left Liverpool on the
large three-masted sailing ship Champion of the Seas, which was on its maiden voyage, but being
too large to berth at Port Adelaide, the ship proceeded to Melbourne where passengers and goods
for Adelaide were transferred to the 256-ton Havilah.
The Havilah left Melbourne on 4 January 1855 and arrived at Port Adelaide four days later. While
the eight members of the Nixon family were among the 140 passengers in the steerage, more
comfortably accommodated in the cabins was a photographer, ‘Mr Duryea’, and his wife. On their
arrival in Adelaide ‘Mr Duryea’ quickly established a photographic studio, while William Nixon
set himself up in business as a gunsmith.
By the end of March 1855 William Nixon had purchased land at Stepney where he erected a
wooden house he had brought with him from England, and family legend has it that, because the
crane at Port Adelaide could not lift the crates from the ship, they had to be unpacked in the hold
and the contents removed piece by piece.
Nixon’s advertisement in the Observer for 3 March 1855 said, ‘W.M. Nixon, Hindley-street west,
near the Phoenix Hotel, respectfully invites Gentlemen and Sportsmen to inspect his extensive and
varied stock of Guns, Pistols, and other weapons for sport and defence, which have been made
with every possible care to ensure their safety and their good quality of shooting, in carrying the
shot with strength and regularity’. In September that year an item on firearms described him as a
655
Kapunda Herald, 15 September 1899.
657
West Australian, 15 February 1910.
656
221
gunmaker of ‘Exchange-colonnade’.658 Meanwhile Mr Duryea, the photographer, had been joined
by his brother, and by the end of 1855 Sanford and Townsend Duryea had formed the
photographic firm of Duryea Brothers, operating at their studio on the south-eastern corner of King
William Street and Grenfell Streets.
William Nixon gave up gun-making and learnt the art of daguerreotyping, no doubt by working for
the Duryea brothers, and by the end of 1857 had taken over their King William Street studio. His
advertisement in the Royal South Australian Almanac for 1858 said: ‘W.M. Nixon (late Duryea
Brothers) Daguerrian and Photographic Artist … begs to inform the public that the Portrait Rooms
have been arranged and lighted with special reference to their use for photographic purposes.
Portraits complete 10s 6d taken in all weathers. Warranted to please or no charge made.’
In August 1858 the photographers ‘Messrs Duryea and Nixon’ received a mention in the press,659
which would have been William Nixon and Townsend Duryea, as Sanford Duryea was in Western
Australia at the time. In October 1858 Townsend Duryea purchased a section of land at Point
Pomanda on the western bank of the River Murray, where the river enters Lake Alexandrina, and
six weeks later transferred it to William Nixon. The land, section 377, was partly flooded when the
barrage across the mouth of the River Murray was built and the level of the lake rose, and today is
known as Pomanda Island, separated from the mainland by 1½ kilometres of water. Nixon also
purchased lots 789, 721 and 791 in the nearby township of Wellington.
It is thought that William Nixon moved to Pomanda soon after he purchased the land, tried
farming, then returned to photography. In April 1861 ‘Mr Nixon, the photographic artist’, was
‘busy taking the “counterfeit presentment” of the good folk in and around Wellington’.660 This is
presumed to have been William Nixon, but could have been his eldest son Stephen (q.v.), aged 19
at the time, who was practising photography in 1863.
In September 1864 ‘Mr Nixon’ was takings views of the township of Macclesfield. ‘This
gentleman has been extremely successful in taking likenesses, and has experienced a good deal of
encouragement here, which he so well deserves, either as a gentleman or artist.’661
W.M. Nixon & Son were at Port Elliot in April 1866 where, said the Southern Argus, they had
‘succeeded in photographing some excellent views of adjacent scenery. Several of them are before
us as we write, and we can testify to their faithfulness and artistic execution. One of the best is a
view of Victor Harbor, embracing also a portion of the tramway, the Hindmarsh River and bridge,
and the township of Port Victor, with the celebrated “Bluff” and Granite Island in the distance. We
believe the Messrs. Nixon have their headquarters at Wellington, but their next place of call will be
Yankalilla.’662 As Stephen Nixon was by this time married and settled at Kapunda, the ‘son’ would
have been one of William Nixon’s other sons who became photographers, Joseph (22) or Samuel
(19).
Two months later the Argus reported: ‘We have received from Messrs. W.M. Nixon and Sons,
who are now temporarily located at Yankalilla, a series of photographic views they have taken of
that township. One of these represents the street looking towards Butterworth’s Mill, and another
the street in which the church and hotel are situated. It is, we believe, Messrs. Nixon’s intention to
take another view from the hill near Mr Heathcote’s residence and they will certainly obtain a
more complete and varied picture from that point. The views we have received are exceedingly
pretty, and convey an accurate idea of the appearance of so much of the township as they
represent.’663 The use of ‘Sons’ in the report suggests William Nixon now had both Joseph and
Samuel working with him.
658
660
661
662
Southern Argus, 21 April 1866.
663
Southern Argus, 16 June 1866.
659
222
By January 1868 ‘Mr Nixon’ was at Wellington, ‘exercising his art very successfully owing to the
excellence of his portraiture’.664 However, this could have been William Nixon’s son, Joseph
Henry Nixon, as cartes de visite exist which have the imprint ‘J.H. Nixon, Artist Photographer,
Wellington, S.A.’
W.M. Nixon was listed as a photographer at ‘Pomanda, near Wellington’ in directories from 1868
to 1871, and as a photographer at Wellington for 1872, after which his occupation changed to
‘farmer’ at Pomanda from 1873 to 1875. His cartes de visite at this time are imprinted ‘W.M
Nixon & Son, travelling Photographers’ with copies available by applying to W.H. Nixon, ‘near
Wellington’. In May 1875 he sold his last parcel of land to Mr E. Stirling, giving his occupation as
‘photographer’.665 He had no directory entries after 1875, and by the end of this year he had moved
to the Deniliquin district in New South Wales 666 to join his old photographer friend Townsend
Duryea, who had taken up a selection there after a fire destroyed his King William Street studio in
April 1875.
William Nixon’s three sons Stephen, Joseph and Samuel all pursued their own photographic
careers, although for a short time some of them did work together as Nixon Brothers (q.v.).
Eventually Joseph and Samuel joined their father in New South Wales, while Stephen remained in
South Australia. Stephen Nixon’s son Charles Millington Nixon (q.v.) was also a photographer,
and some years after Charles moved to Western Australia his father followed him, so that two
branches of the Nixon family were living on the opposite sides of the continent. William Nixon
died at Harborne, near Deniliquin, on 7 April 1893, aged 79 years.
NIXON BROTHERS
Photographer William Millington Nixon had three sons who also became photographers – Stephen
Edward Nixon, Joseph Henry Nixon and Samuel Nixon.
In December 1862 Nixon Brothers took two group photographs of the Kapunda Rifles. In one
several officers were sitting around a table and in the other the company was drawn up in a line.667
One of the Nixon Brothers would have been Stephen, who was 20 years of age at the time and four
months later was listed as a photographic artist on his marriage certificate. Joseph was 18 years old
and Samuel 15.
Two weeks later the Auburn correspondent for the Register reported: ‘Messrs. Nixon, the wellknown photographers, are staying in the village for a few days. Their views and portraits are
strikingly accurate.’ Then a few days later the editor of the Register reported having seen two of
their views of ‘the pretty little township of Angaston and another of Mount Torrens Church, all of
which were finished in a superior style’. From Auburn the Nixon Brothers moved to Clare where
they made ‘likenesses’ and gave ‘general satisfaction’. 668
NOCK, A.W.
In October 1885 the Areas Express described photographic scenes that had been taken by an
‘amateur artist’, Mr A.W. Nock of Gladstone. Two months later the paper commented on another
five ‘very artistic photographs’ which Mr Nock had taken. He was probably the Arthur William
Nock who was listed as a draper at Gladstone in the 1886 directory.
664
Howard Speed, ‘W.M.Nixon & Sons Photographers’, unpublished manuscript, 2007, p. 4.
666
In November 1875 Townsend Duryea had made W.M.Nixon executor of his will and listed Nixon’s address as ‘Riverina’.
Information given in Howard Speed, ‘W.M.Nixon & Sons Photographers’, unpublished manuscript, 2007, p. 4.
667
668
South Australian Register, 6, 10, 21 January 1863.
665
223
NORMAN, Abraham John
The son of photographer Henry Norman and Harriett née Chapman, Abraham John was born in
1844 at Downham, Norfolk, England. He arrived in Portland, Victoria, on the Priam in 1852 with
his parents and siblings, and settled in Mount Gambier in 1860.669 In 1864 he joined the
photography studio his father had first established in 1860 in Commercial Street East, Mount
Gambier, and was connected to this studio for 40 years.670 He was also a professional watchmaker
and jeweller in his father’s business, eventually becoming proprietor of the firm.671
In 1864 he advertised the family studio, managed jointly with his brother William, in the Border
Watch, ‘W.C & A.J. Norman, Photographic Artists, (from Chas. Nettleton, Prize Medallist of the
London Exhibition, 1862,) wishes to call the attention of the public to their Unequalled Album
Portraits. Large Views, Stereoscopic Views, Life-size Portraits, and Instantaneous Photographs of
Children, on Glass, Paper, Transfer Cloth, & c. A great variety of Fancy Cards on hand.’672
From 19 November 1864, W.C & A.J. Norman gave notice that the Mount Gambier Photographic
Studio would be closed within one month of that date.673 However, in June 1865 A.J. Norman was
advertising that the Mount Gambier Photographic Studio was open every day from 10.00 am until
4.00 pm. He died at Mount Gambier in October 1825.
Carolyn Lovitt
NORMAN, F.E.
Francis Edward Norman was born in July 1879 to parents Edward Norman and Christina Steele.
He was an active amateur photographer who became a member of the Mount Gambier
Photographic Club a few weeks after it was formed on 23 February 1903, and was later described
as one of the club’s ‘enthusiastic workers’. By July 1904 he had moved to Penola, but made a
special trip to Mount Gambier to give a lecture and demonstration of enlarging, in which he
exposed pieces of bromide paper with the aid of a lantern.
NORMAN, Harriett Anne
Miss Harriett Ann Norman was born c.1834 in London, the daughter of photographer Henry
Norman. She arrived with her parents and siblings in Portland, Victoria, on the Priam in 1852 and
settled at Mount Gambier in 1860 with her family.674 She was listed in the directories as a ‘photo
artist’ in Mount Gambier from about 1876 until 1886, working in the photographic business her
father had first established in 1860, but there is evidence that she began working as a photographer
before her name was listed in the directories.
The Mount Gambier Standard reported in June 1868 that ‘we have been shown a couple of cartes
de visite, from the studio of Miss Norman, Commercial road, beautifully coloured in a style which
would do credit to many a more pretentious establishment’.675 She entered two examples of her
photography in the Victorian Inter-Colonial Exhibition of 1875. She died in November 1915 at
Mount Gambier.
Carolyn Lovitt
669
Mount Gambier Public Library, online database of photography,
<http://mtgambier.spydus.com/spydus.html?http://mtgambier.spydus.com/cgi-bin/spydus.exe/MSG/PIC/BSEARCH.HTM>.
670
Les Hill, Mount Gambier: The city around a cave, Investigator Press, Leabrook, SA, 1972, p. 206.
671
672
Border Watch, 3 June 1864, 19 August 1864, 19 November 1864.
673
Border Watch, 19 November 1864.
674
675
Mount Gambier Standard, 23 June 1868.
224
NORMAN, Henry
Born 1809 in Wandsworth, London, England, Henry Norman arrived in Portland, Victoria, on the
Priam in 1852 with his wife and children, and settled in Mount Gambier in 1860.676 He established
a business in Commercial Street East, Mount Gambier, as a watchmaker, jeweller and
photographer. The Mount Gambier Photographic Studio was first established in 1860 (as stated on
the reverse of his cartes de visite). There is little evidence that he worked as a photographer
beyond the mid-1860s,677 and he was listed in the directories as a watchmaker until 1886.
However, the photography studio was continued by several of his children into the early twentieth
century. He died in March 1887. The Mount Gambier Public Library holds a collection of
photographs assembled by Les Hill that includes several works by Henry Norman and images of
members of the Norman family.
Carolyn Lovitt
NORMAN, Herbert Hayes
Born in England in 1843, the eldest son of Robert Hastings Norman (q.v.), and arrived in South
Australia with his parents on the Taglioni in 1844. In 1859 he exhibited photographs at the third
annual exhibition of the South Australian Society of Arts, and it is said his father taught him how
to make daguerreotypes. A letter in the records of the South Australian Photographic Society,678
dated 5 August 1901, refers to Dr H. Hayes Norman and his lecture on ‘Colour and its relation to
Light and Optics’. He exhibited photographs at the third annual exhibition of the South Australian
Society of Arts in 1859, and it is said his father taught him how to make daguerreotypes.679
At an exhibition of photography held at Kapunda in January 1903 Dr Norman showed some
‘magnificently tinted transparencies for use with a stereoscope’, and two transparencies ‘for
placing in a window’ which were views ‘in natural colors’ of the Adelaide Botanical Gardens. He
also entered a collection of 52 lantern slides in the open section. One of the slides was picture of a
coleus, ‘a sample of his three-color photography’.680
NORMAN, Robert Hastings
After practising as a surgeon dentist in England for eighteen years, Robert Norman came to South
Australia in the Taglioni in 1844, and opened the colony’s first dental practice in Wright Street,
Adelaide. By October 1845 he had demonstrated his mechanical skills by finishing ‘in elaborate
style of art a beautiful [ivory] snuff-box, with receptacle for tobacco-pipe, and means for striking a
light’, which was to be a prize for the ‘best growth of tobacco’. Norman also constructed a
mechanical hand for a ‘veteran retainer of his Excellency’. When the Governor heard of the hand
he paid Mr Norman a call and was so impressed by the ‘ingenious invention’ he decided to have it
charged to ‘his private purse’.
By the end of 1845 Robert Norman’s surgery and residence had been moved to King William
Street where, on the 22nd December, together with a partner named Heseltine, he opened South
Australia’s first photographic (daguerreotype) studio. His partner is presumed to be George
Augustus Frederick Heseltine (q.v.), who was believed to have been a fellow passenger on the
voyage to South Australia in 1844. It is likely the camera they used was the one that had been
imported by S.T. Gill (q.v.) in September. For the short time they were in business together,
676
Mount Gambier Public Library, online database of photography.
677
678
State Library of South Australia, PRG 55.
679
680
225
Norman & Heseltine advertised extensively in the Adelaide newspapers, pointing out that, unlike
an artist’s miniature painted portrait, a daguerreotype was a faithful likeness, ‘as perfect as the
reflection of a face in the mirror’. Their studio was open every day from 10 am to 4 pm.
On 24 December 1845 the South Australian Register reported:
We had, yesterday, an opportunity of seeing a few portraits taken by the Daguerreotype process,
and were much struck with the clearness, sharpness of outline, and striking correctness of the
likenesses exhibited by this novel application of the arts. The effect is altogether pleasing, and as
the plates are not liable to any change from atmospheric effects of any description, but will present
the same faithful representation of the features at any distance of time, we should think that the
enterprising artist will meet with the patronage of everyone who is desirous of handing down a
correct likeness of himself or his friends to his family as a heirloom. There is one other great
recommendation in this process, namely, that the whole time occupied in taking the likeness, as
perfect as the reflection of a face in a mirror, does not exceed two minutes.
Norman and Heseltine’s advertisement in the South Australian Gazette and Colonial Register for
27 December said:
A perfect likeness, and unchangeable, is ensured, neither flattering nor detracting; literally ‘holding
the mirror up to nature’. All the latest improvements of Sir John Herschell, Mr Fox Talbot, Mr
Robert Hunt, Daguerre, Claudet, and other distinguished philosophers are made to co-operate in
this most favorable climate. The extreme beauty and delicacy of the pictures, coupled with the
infallible certainty of a likeness, will not fail to procure for the proprietors the approval and support
of every person of correct taste. As a present to dear but absent friends, a legacy to children, or a
general remembrancer, wherein you are represented as you are, and not as the fancy of the artist
would make you, the daguerrotype portraits must ever be held in the highest esteem.
A news item in the same Gazette said, ‘We are glad to learn that this invention (daguerreotype) has
at length been introduced into South Australia, and that the colonists are now enabled, at very
moderate cost, to procure facsimile portraits of themselves and friends. We have seen two very
correct portraits taken the other day [by the] ingenious managers, Messrs Norman and Hesseltine’.
A few weeks later, on 24 January 1846, the Gazette reported:
Messrs Norman and Hesseltine have for some time been exercising their skill in the application of
this wonderful process, which may be called the royal road to miniature painting; and when it is
considered that whatever of the art these gentlemen have acquired has been self-taught in a great
measure, the highest credit is due to their ability and perseverance. The likenesses especially taken
within the last few days are very marked improvements upon their earlier efforts. The arrival of Mr
Goodman, however, with more extensive experience and more complete means, has given a new
impetus to the general desire to obtain likenesses by this summary and effective process, and Mr
Goodman’s atelier has in consequence been crowded for the last three days, during which period we
are informed, no fewer than eighty ladies and gentlemen have sat. Specimen portraits of wellknown colonists, by Mr Goodman and by Messrs Norman and Hesseltine, may be seen at the
Gazette office.
It is thought that George Heseltine was the principal photographer of the partnership, with Robert
Norman being an amateur and assistant.
One month later George Heseltine was still making daguerreotypes in the studio at the rear of
Robert Norman’s premises in King William Street, but with a new partner, Edward Schohl (q.v.).
In 1849 Robert Norman laid out the township of Normanville on his property on the River
Bungala, and when he died on 31 October 1883 he was buried at Normanville. The Dictionary of
Australian Artists (1992) says that Norman ‘apparently retained an amateur interest [in
photography] and taught at least his son Herbert to take daguerreotypes’. Herbert Hayes Norman
(q.v.) was also a dentist and amateur photographer.
226
NORMAN, William Chapman
The son of photographer Henry Norman and Harriett, née Chapman, William Chapman was born
in 1837 in London. He arrived in Portland, Victoria, on the Priam in 1852 with his parents and
siblings, and settled in Mount Gambier in 1860.681 He joined his father’s watchmaking, jewellery
and photography business, and in 1864 jointly managed the photography studio with his brother
A.J. Norman. They advertised the studio in Border Watch, ‘W.C & A.J. Norman, Photographic
Artists, (from Chas. Nettleton, Prize Medallist of the London Exhibition, 1862,) wishes to call the
attention of the public to their Unequalled Album Portraits. Large Views, Stereoscopic Views,
Life-size Portraits, and Instantaneous Photographs of Children, on Glass, Paper, Transfer Cloth, &
c. A great variety of Fancy Cards on hand.’682 He may have managed the studio until his sister
Harriet joined in the late 1860s. In 1882 he established his own photography studio in Naracoorte,
which closed about 1884. In 1897 he was listed in the directories as a jeweller at Bordertown. He
died in July 1905.
Carolyn Lovitt
NORMAN & HESELTINE see NORMAN, Robert Hastings
NORRIS, F.S.
Listed as photographer, Austin Street, Adelaide in the directories for 1897–1900.
NORTH-EASTERN PHOTOGRAPHIC GALLERY see NEEDHAM, R.J.
681
682
Border Watch, 3 June 1864, 19 August 1864, 19 November 1864.
227
O
OATS, Sidney Albert Boriston
When the Kapunda School of Mines and Industries council held a competition in 1894 to find a
suitable design for a certificate, the only entry received was from Sidney Oats, a student in its
assay and mineralogical class, and a former member of the mechanical and architectural drawing
class. Because his entry was considered most appropriate and representative of the work done by
the school, it was unanimously accepted by the council.
By March 1898 Sidney Oats had become an active photographer, his views of the exterior and
interior of the Kapunda Congregational Church being mentioned in the Kapunda Herald, which
said that ‘as the work of an amateur, the photographs are very creditable’. His photographs of the
crowd present at the sale of the horse ‘Bugler’ were reported in February 1900. His father was
William Oats, the manager of a large boot factory in Kapunda, where Sidney Oats was employed
as a foreman, and he later had his own bootmaking business in the main street of Kapunda,
opposite Stephen Nixon’s studio. While Sidney Oats was a very active photographer, it was more
as a professional than as an artist. As a sideline to bootmaking he ran a developing and printing
service for local amateur photographers.
Sidney Oats was an active member of the Kapunda Photographic Club, formed in 1901, and a
regular exhibitor in the photographic sections at district agricultural and horticultural shows. He
was awarded prizes in the ‘objects in motion’ (snapshot) section of the Kapunda show in 1902 and
1903, and in 1904 he was awarded first prizes for collections of photographs in both the half-plate
and quarter-plate sections at the Tarlee Show.
In 1905 Oats purchased Stephen Nixon’s photographic business, which included all the negatives
made by Nixon and James Uren, some of which had been taken in the 1860s. Although he was
listed in the trade section of directories as a photographer for the years 1912, and 1918 to 1935+,
his nephew has said that Sidney Oats was never a full-time photographer. He continued with his
bootmaking shop opposite the studio, which was in the care of an assistant, Miss Emily Crawford,
who ran across the road to fetch him whenever a customer arrived to have a portrait taken. After
learning photo-colouring in Adelaide, his daughter Millie used to colour her father’s photographs.
Sidney Oats was born on 2 July 1874, died on 29 June 1936, and was buried in the Clare road
cemetery, Kapunda.
OGLESBY, S.
On 14 July 1849 an item in the Mercury & Sporting Chronicle said: ‘We strongly recommend our
fellow colonists pay a visit to Mr Oglesby’s Daguerreotype establishment at the rear of the
Clarendon Hotel, where the sight of the specimens which adorn his room – coupled with the truly
wonderful improvements that have been introduced by him into the method of taking them will
amply repay the trouble. His portraits are exceedingly beautiful, and are really first-rate likenesses,
not having the cadaverous look so common to these productions.’ In another column Oglesby
placed an advertisement in which he identified himself as ‘S. Oglesby’ of London, and said that his
daguerreotype portraits were being fixed by a new chemical process and would not fade. ‘Invalid
ladies and gentlemen waited upon at their own residences. Terms moderate. Hours from 10 till 5.’
A few months later he was advertising hand-coloured daguerreotypes, possibly the first to be made
228
in South Australia.683
In his Story of the Camera in Australia (1955) Jack Cato states that ‘William Oglesby, whose
advertisements are to be found in the papers of most states, opened in Adelaide at the end of 1849’.
With but one exception, all known references in South Australian newspapers are for a Mr
Oglesby, the exception being the Mr S. Oglesby who advertised in the Mercury and Sporting
Chronicle, and it seems the references to him working in other states have yet to be re-discovered.
Carte de visite portraits (Noye collection) exist which were made by a photographer, S. Oglesby,
who called himself ‘Photographer to the Queen and Emperor of the French’ who had a studio at
Preston, north of Liverpool in England, and then at Llandudno in Wales.
At the end of December 1849 Oglesby left Adelaide on a tour of South Australian country
districts, and his ‘establishment’ was removed from the back of the Clarendon Hotel and merged
with Norwood Potter’s daguerreotype establishment in Rundle Street.684 Oglesby had returned to
Adelaide by May 1850 and taken rooms at Doran’s Family Hotel in Currie Street where he was
again making coloured daguerreotype likenesses. These, he said, were made ‘in the latest and most
approved style, well put up in Morocco cases of the best quality. Entrance by the private door. A
separate waiting room for ladies. Invalids, Ladies and Gentlemen, waited upon at their own
residence. Terms Moderate. Portraits taken daily from ten o’clock until dusk. N.B. – To remove an
erroneous impression, it is distinctly announced that portraits can be taken by Mr Oglesby, with
certainty and accuracy, in all weathers, and in half the usual time.’685
In August Oglesby moved to Mr Dyke’s Freemason Tavern in Pirie Street, where his coloured
daguerreotype portraits cost 15s and the Adelaide Times reported: ‘We heartily recommend our
fellow-colonists to wait upon this gentleman [Oglesby] and see his likenesses. They are not what is
sometimes the case with daguerreotype pictures, flat unmeaning faces, with correct outline, and
features confused and distorted, but real portraits, the result of scientific adjustment, and artistical
treatment. Besides, the colouring is a great improvement, the tints being clear warm and natural,
and rendering
the pictures true specimens of art.686
By October Oglesby had moved again, to Morphett Street, nearly opposite Trinity Church, where,
he said, ‘a new and commodious glass room has been constructed for the purpose of introducing
all the recent improvements, and to which the most perfect colouring is now added. Persons
desirous of sending to their friends those invaluable remembrances of themselves, can send them
per post to any part of Europe. Open daily, wet weather being no objection.’ He also pointed out
that he could made ‘the most faithful copies’ for ‘families possessing valuable portraits’.687
On 5 April 1851 the Observer reported: ‘Daguerreotype Likenesses. We have just seen a sketch of
a jovial party, taken by Mr Oglesby, at the pavilion lately erected for the Old Colonist’s Festival,
wherein are introduced three well known persons; but as all seem half seas over, we refrain from
giving their names; so true to life are the portraits, that nothing but a looking glass can come up to
the style in which Mr O. has finished them off.’
OLDEN, J.H.P.
A photograph of his Tanunda studio facade is reproduced in The Barossa District – Souvenir of the
Gawler to Angaston Railway Opening.688
1909–10
Angaston
1911–13
Tanunda
683
Adelaide Times, 3 October 1849.
South Australian Register, 3 October 1849, 18 January 1850.
685
Adelaide Times, 14 May 1850.
686
Adelaide Times, 10 August 1850.
687
Adelaide Times, 15 October, 2 December 1850.
688
The Barossa District: Souvenir Gawler-Angaston Railway Opening, Barossa News, 1911, p. 85.
684
229
1914–16
Angaston
OLIVER, Thomas Benjamin
Thomas Oliver was born in Buckinghamshire, England, in July 1854, and was the son of William
Henry Oliver. He must have arrived in South Australia by the early 1870s, as a portrait of him
exists which was taken by Adelaide photographer Edward Farndell who died in 1874. Thomas
Oliver was practising photography by the late 1880s, and an entry in one of his account books
records the sale of half a dozen cabinet photographs, ‘with child in arms’, to Mrs Brown of
Bowden for 6s 3d on 8 August 1887. His account book also shows that he was taking ‘1/1’
photographs (whole-plate) as well as cabinets.
Thos. B. Oliver is listed as an auctioneer at Commercial Road, Port Adelaide, in the directory for
1886 and at New Street, Queenstown, from 1887 to 1890. His directory entries as a photographer
are:
1891
1893–95
1896–97
1899–1904
1901
1905–10
Victoria Chambers, cnr Flinders Street & Victoria Square, Adelaide
Linde’s Lane, off Rundle St, Adelaide
New Street, Queenstown
High Street, Queenstown
Commercial Rd, Port Adelaide
New Street, Queenstown
From the directory entries it appears he operated a studio at his home at High Street (now Port
Road) and New Street, Queenstown. In the directory for 1901 he is also listed as a photographer on
the western side of Commercial Road, Port Adelaide, between Dale and Leadenhall Streets. About
1905 Thomas Oliver opened a new store, ‘The Empire Trader’, at the northern end of Commercial
Road, Port Adelaide, where he built up a sound business as a ‘general dealer’, and eventually
photography became a sideline which he continued to operate from the studio at his home in
Queenstown.
One of T.B. Oliver’s photographs has an unusual card mount. It is a cabinet photograph of
Pickford’s general store which has the letterpress imprint ‘T.B. Oliver, Linde’s Lane, Rundle
Street, Adelaide’ on the front, and the ornate imprint of ‘Harrington Fane & Co., Perth, Western
Australia’ on the back, and ‘Harrington Fane & Co., Perth’ showing through the top of the
photograph at the front.
OLSEN, Thomas P.
Listed as ‘photo artist’ at No.8, Third Floor, Hindmarsh Building, Grenfell Street, Adelaide, in the
directory for 1913.
O’MALLEY, James
Manager of the Wivell & Co. (q.v.), photographers, 65 Rundle Street, listed in the directories for
1888–89. Cabinet mounts also state “Wivell and O’Malley, proprietors’.
ORTLOFF, W.F.
Listed as a storekeeper at Moonta in 1884 directory. A note from John Bishop indicates that
Ortloff may have been in Kapunda from 1865 to 1871 (?) and also 1886 to 1900 (pers. comm. with
the author).
230
ORTLOFF, W. & J.
A carte de visite photograph689 of an Aboriginal family sitting on the ground by their shelter on the
bank of a river has the printed inscription on the back: ‘W. & J. ORTLOFF, Photographer,
Tanunda and River Murray. Copies can be had on application at Tanunda.’
OWEN, Charles Arthur (OWEN & CO.)
The following advertisement appeared in the Advertiser on 25 September 1878, under Music and
the Fine Arts: ‘Adelaide Photographic Club. 85 Rundle Street. Superior Oil paintings on the time
payment system. Rules can be had on application. Cartes de visite from 10s 6d per dozen. C.A.
Owen, proprietor.’ The oil paintings were probably oil-coloured photographic portraits, similar to
those available from a club formed at Port Pirie a few months earlier by Thomas Barnard (q.v.). By
December Owen had reduced the price of his cartes de visite to 7s 6d per dozen.
In June 1881 Charles Owen claimed he had discovered a new source of chemical artificial light for
photography, which he had named the pyrograph. His discovery, he said, has ‘the qualities of rapid
action, certainty, and regularity of results; the production of photographic likenesses in any
appliances, and at any time’. Although demonstrated with fair success, the apparatus appears to
have quietly faded away.
By October Owen had again dropped the price of his cartes de visite, to 6s 6d per dozen, and was
producing the larger cabinet format for 12s 6d per dozen. Directory listings for Charles Owen are:
1878
photographer, Franklin Street, Adelaide
1879–82
photographer, 85 Rundle Street, Adelaide
1883
Owen & Co, photographer, 85 Rundle Street, Adelaide
1884+
watchmaker & jeweller 137 Rundle Street, Adelaide
Although the alphabetical section of the directories for 1884–86 shows him at 85 Rundle Street,
the street section shows he had moved to 137 Rundle Street (later renumbered 153) where,
probably without a studio, he is listed as only watchmaker and jeweller. While working at 85
Rundle Street, he combined watchmaking with his photography, and also had a jeweller’s shop at
47 Hindley Street.
In Australians Behind the Camera, Sandy Barrie has listed C.A. Owen as a photographer at Mora
Studio, Zeehan, Tasmania, for 1901 and 1902, and 100 Puckle Street, Moonee Ponds, Victoria, for
1904.
689
Original held by the Mildura & District Historical Society.
231
P
PACKER, E.G.
Listed as ‘photographer, hairdresser and tobacconist’ at Tailem Bend in directories from 1911 to
1915.
PAGE, Arthur J. (PAGE & CO.)
1895–1905 Taylor Street, Kadina
1906–19
Graves Street, Kadina
Although most of the directory entries were under the name of A.J. Page, the inscription printed on
his cabinet photographs was usually ‘Page & Co.’, followed by the studio address.
PALTRIDGE, Faith
A resident of Mount Barker who was awarded a commendation for a photograph entered in the
marine section of the Observer 1897 Christmas Supplement photographic competition.
PANG, Chang
The prospectus of the Photographic Company of South Australia (q.v.), formed in December 1882,
said: ‘The objects of this company are to purchase from Mr J.R. Dobson the goodwill of the
photographic business carried on by him … at the “Temple of Light” in Rundle Street, and “Royal
Princes’ Studio”, corner of King William and Grenfell Streets … Mr Chang Pang, the celebrated
artist in oils, is under engagement to Messrs Dobson & Co. to paint exclusively for them, which
said agreement can be transferred to the company.’
C. Pang is listed as ‘artist, Bent Street’ (off Rundle Street) in the directories for 1881 and 1882,
which is presumed to be a residential address.
For a short time he was in partnership with Charles Manning (q.v.), as a carte de visite mount
(Noye collection) carries the inscription ‘C.H. Manning & Pang, 150 Rundle Street’. They are
listed as ‘Manning & Co., 150 Rundle Street,’ for 1882, but by June that year their firm had been
purchased by Rushton and Just. For 1883 there is a listing, ‘Pang, Chang, artist, 2 Marlborough
Place, Waymouth Street’.
Chang Pang may have worked for Saul Solomon (q.v.), at the School of Photography, 51 Rundle
Street, as Solomon’s entry in the Dictionary of Australian Artists, says: ‘a descendant stated that
Solomon’s wife is known to have coloured at least one profile portrait and that Solomon employed
a Japanese artist to tint his photographs’.690
PANTON, Henry
Henry Panton was a photographer at Port Pirie for Broken Hill Associated Smelters before taking
over H.E. Tonge’s studio opposite Bentley’s Hotel in the main street of Clare. He opened for
690
232
business at Clare in September 1920,691 advertising a developing, printing and enlarging service
for amateurs, as well as outdoor and scenic photography. In 1922 he installed a ‘lovely seaside
scene’, which he claimed was ‘so realistic that a sailor could not tell it from the real thing’. He
urged parents to ‘bring the kiddies and have them taken on the Clare beach at the Clare Studios’.692
By December 1924 the Clare Studio was being operated by L.G. Sladdin (also spelled Sladden in
some directories).
PAPPIN, T.G.
The inscription printed on the back of his cartes de visite reads, ‘Photographed by T.G. Pappin,
Adelaide’. One source records a Thomas Green Pappin who was born c.1830, and died c.1912 at
Perth, listed in directories as a pianoforte tuner at various Adelaide and suburban addresses from
1867, then as a publican at Kensington.693
PARIS PHOTOGRAPHIC COMPANY and PARIS PHOTOGRAPHIC STUDIO see LOTT
William James
PATERSON & GOLDSMITH
Listed as photographers, King William Street, in the directory for 1886. Although no street number
is given, the sequence of entries given in the street section indicates they would have been located
at 23 King William Street, in the studio occupied by the Adelaide Photographic Company until
1879, then Allen & Gove, followed by the Poulson brothers and Alfred Withers. By 1889 the
studio appears to have been re-numbered 31 King William Street and occupied by William
Bradley.
PAYNTER, A.
Advertisement in the Gawler Bunyip, 25 May 1900: ‘Latest in Photography! 16 Photos for ls.
Opposite Messrs E. Lucas & Co.’s, open tomorrow (Saturday), May 26th. Photos taken by day and
night. Those taken by night equally as successful as by day. A. Paynter, photographer, Gawler.’ He
may have been a partner of the firm Boase & Paynter (q.v.).
PEARCE, E.A.
Listed as a photographer at Kooringa (Burra) in the directories from 1899 to 1905.
PEARCE, Miss M.
On 27 July 1878 the Port Adelaide News reported: ‘Our local readers will be glad to see by an
advertisement elsewhere that the photographic art has been revived in Port Adelaide by Miss
Pearce who has re-opened the old photographic studio on North Parade’. Three months later the
same newspaper said, ‘Miss Pearce will resume her professional pursuits at her new studio, now
erecting in a convenient central position near the Episcopalian Church, St. Vincent Street. Her
patrons will find the same artistic care, skilled effectiveness as this lady has always shown.’ Miss
Pearce opened her new studio in January 1879, with ‘Signor Carpena’ (see Caesari CARPENI) as
assistant operator, and Mr Samuel Pearce named as her agent.694 Her advertisement in the directory
for 1879 said her Port Adelaide Photographic Studio was next to the Church of England, St.
Vincent Street, Port Adelaide, and gave her name as Miss M. Pearce.
PEARSON, Arthur Frederick
691
Northern Argus, 27 August, 10 September 1920.
693
1235.
694
Port Adelaide News, 2 November 1878, 11 January 1879.
692
233
Amateur photographer born in Adelaide on 6 June 1863, and manager of George Robertson & Co.,
booksellers, since 1891. Biographical notes can be found in The Cyclopedia of South Australia.695
PEIRCE, Augustus Baker
Augustus Baker Peirce was born in West Medford, Massachusetts, on 7 October 1840. He arrived
in Melbourne aboard the Oriental in late 1859 and spent over thirty years in Australia working as a
travelling photographer, scene painter, theatrical performer and sailor. His autobiography
Knocking About (published posthumously in 1924) describes his varied career and adventures in
Australia.
He worked briefly as a photographer in the Melbourne studio of Batchelder & O’Neill (active
1857–63) under Charles Johnson, and then in Bendigo with Benjamin Batchelder. After working
in the theatre in Bendigo and a visit to New Zealand, he returned to Melbourne. He resumed
service at Batchelder in Bendigo on photographs of Aboriginal subjects for the London
International Exhibition. By December 1862 he was in Adelaide, and for a short time worked for
the photographic firm Anson & Francis (q.v.). He ‘executed several well-finished and developed
pictures in watercolours … taken in the first instance by the apparatus and then coloured.’696
He was commissioned to chart the Murray River from Albury to Goolwa, and undertook the long
voyage with an Aboriginal guide. Upon his return to Adelaide he became the pilot of the Lady
Daly. From late 1864 until May 1865 he was again engaged as a photographer for Townsend
Duryea Senior, whom he claimed in Knocking About to have taught the ambrotype technique. For
the next four years he travelled the Murray-Darling river as a captain of the steamboat Lady Daly,
the Corowa and the Jane Elizabeth.
In the late 1860s, Peirce painted a 65-metre long panorama of the Voyage Around the World,
which he exhibited over several years in the Riverina District.697 In 1872 he painted another
panorama Mirror of Australia, which illustrated miners, pastoralists and Aboriginal subjects. In the
1870s he travelled the goldfields in New South Wales, and worked as a river captain on the
Murrumbidgee River. Peirce returned to Adelaide and found work in advertising and as an
illustrator for the Lantern and became co-owner of the Figaro. In 1879 he settled in Geelong,
Victoria, where he painted another version of his panorama Mirror of Australia. In 1891 he
became a publican in Melbourne, although the Depression forced him to close his business. He
returned to the United States, where he died in 1919.
This account is based on Anita Callaway ‘Augustus Baker Peirce (1840-1919)’ in The Dictionary
of Australian Artists, Painters, Sketchers, Photographers and Engravers to 1870, edited by Joan
Kerr, Oxford University Press, Melbourne, 1992, pp. 614–16.
PELL, Henry W.
1895–96
1899
1900
1901
1906–15+
Glenferrie Road, Malvem, Victoria
Grace Street, Goodwood Park
Foundry Street, Goodwood Park
Harley Street, Hyde Park
Graves Street, Kadina
695
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol.1, (1907), p. 464.
Advertiser, 2 December 1862.
Mimi Colligan, Canvas Documentaries: Panoramic Entertainments in Nineteenth-Century Australia and New Zealand, Melbourne
University Press, Melbourne, 2002, p. 75.
696
697
234
In January 1912 he advertised: ‘Mr H.W. Pell, photographic artist, pictureframer, etc., desires to
announce that he has added two new and up-to-date dressing rooms and a waiting room to his well
equipped studio, to enable him to compete with his increasing business. He has also engaged an
assistant operator from the city, and patrons can be sure of satisfaction and quick dispatch … ’698
PERRY BROTHERS (PERRY & HALLACK, PERRY & LITTLE, PERRY, Frank Parr,
PERRY, Harry Roscola)
The following article appeared in the Eyre Peninsula Tribune on 6 June 1919:
TWO REMARKABLE BROTHERS
In a secluded but pretty spot on the Gumbrutla Creek, in the Hundred of Mangalo, in the Franklin
Harbour district, there lived for a number of years two brothers, Messrs. Harry and Frank Perry, better
known as Perry Brothers. Born near Adelaide about 70 years ago, they had a great desire for travelling
and bush life, and after a few years’ work in the city started a business as travelling photographers in the
Northern Areas and on the West Coast. They also travelled the Broken Hill district and right through
New South Wales, and were also in Tasmania and New Zealand. The gold discoveries attracted them to
Western Australia where they bought several camels and went prospecting, but not being so successful
as they expected, returned to South Australia where they prospected at Tarcoola and also in the
MacDonnell Ranges. For several years they farmed at Port Pirie and Erskine in the north. Later on they
selected land in Mangalo [c.1909], where they lived quietly and happily …
They were two remarkable men. They were so attached to one another that it seemed one could not live
without the other. Whatever they did they did together. Working, walking, driving, resting, reading,
washing, cooking, etc., was all done together. They were both unmarried. They were fine old English
gentlemen, honest and brave, and real good bushmen. Their health had always been good, but lately the
younger brother, Mr Frank Perry, had several bad turns with chest trouble, but died rather suddenly on
Sunday June 1st, and was buried the next day in the Cleve cemetery. Much sympathy is felt for the
surviving brother, Mr Harry Perry, who is going to Adelaide to live.
Frank Parr Perry was born at Kensington, near Adelaide, c.1850, and died at Mangalo on 1 June
1919 at the age of 69 years. His brother, Harry Roscola Perry, was born c.1846 and died in
October 1936.
References have been found for a photographer known only as Mr Perry who could have been
either one of the Perry brothers, and these have been included with the following references to
Perry Brothers.
When Fraser S. Crawford was appointed as South Australia’s first Government PhotoLithographer on 1 January 1867, one of his duties was the formation of a new photo-lithographic
department. To assist him he engaged a Mr H. Perry as his assistant at a weekly salary of £3, to
commence on Monday 25 February 1867. In a letter to the Surveyor-General dated 25 March 1867
Crawford said that his assistant, Mr Perry, was ‘well accustomed to out of door photography’.699
The task of photographing the prisoners was quite likely delegated to Perry by Crawford.
In the Beltana Station diaries 700 there are references to a photographer taking photographs in the
area between the end of May and mid-September 1875, and although he is only referred to as Mr
Perry certain evidence points to him being H.R. (Harry Roscola) Perry. A diary entry for 29 May
states ‘Perry photographer arrived’, and July 27 and 28, ‘Mr Perry operating.’; August 3,’ Mr
Perry gone to Aroona Waters to photo (?)’.
In October 1875 Messrs Perry & Little were at Blinman where they had ‘taken a number of wellexecuted photographs of scenery, stations and townships’ in the district.701
698
Wallaroo Times, 20 January 1912.
PRO, GRG 35, SGO 190/67, and SGO 288/67.
State Library of South Australia, BRG 133/1, Beltana Station Diaries 1867–76.
701
699
700
235
Perry Brothers were at Port Pirie in February 1876, where they informed the public that their
‘temporary studio is now pitched behind Wood and Olivers’. In June 1877 they ‘opened their
Atelier at Gladstone’ for a short time where they were ‘prepared to execute Cartes de visite in a
style that must ensure satisfaction’. By January 1878 they had moved north for a ‘return visit’ to
Port Augusta, erecting their ‘temporary studio’ on the Corporation Block next to the Institute. Two
months later they had moved south again, to Jamestown, where they said that ‘their numerous
engagements prevent their making a long stay on this occasion’, which may also mean it was not
their first visit to that township. At Jamestown they had ‘a large collection of views on hand,
selections from which have been made by the Government and Leading Firms of Adelaide for
transmission to Europe, as they are considered to convey an excellent idea of the Scenery and
Industries of the Colony’.
In June 1878 Mr Perry, the photographer, was at Yongala and ‘doing a good trade,702 and in
October Perry Brothers made another visit to Port Augusta where their studio was erected in the
Town Council Yard. In April 1879 Perry Brothers announced they were making their ‘annual visit’
to Jamestown and that they could be found at Jureit’s Hotel. This was followed by another visit to
their old spot opposite Wood and Oliver’s at Port Pirie in August 1879, by which time they had
progressed from a ‘temporary studio’ to a ‘Photographic Gallery’.
Although Perry Brothers told their ‘very large circle of Patrons and Friends’ at Jamestown in
January 1880 that they would soon return for their ‘periodical visit’, five months passed before
they opened for business at Jamestown’s Globe Hotel. In July 1880 they made another visit to Port
Pirie.
On 20 May 1887 the Mount Barker Courier reported:
Arrangements have been made with Messrs Perry Bros., who have just returned from doing similar
work at Bookmark and Mildura for Messrs Chaffey Bros. to take a series of photographs of Mount
Barker and its neighbourhood for exhibition at the Adelaide Jubilee Show. It is likely that they will
begin today. About twenty-five views will be taken, the size agreed upon being ten inches by eight
inches. They have submitted samples of their work, and it is evident that they are capable of
producing very excellent results. Suggestions concerning the most suitable positions from which to
secure good and attractive photographs will be gladly received by Mr von Doussa, Mr Daw, or Mr
Wilton. When in town a few days ago, Mr von Doussa saw the Secretary of the Exhibition and
ascertained that there will be no difficulty in getting wall-room in a prominent position. It is certain
that the money (£12) voted by the Council will be insufficient to meet the costs of the photographs,
frame and space for its display. Several gentlemen, however, have intimated their willingness to
take their share of the expense, and little difficulty will be experienced in raising the sum needed.
Two weeks later the Courier reported 703 that Mr H.R. Perry had been driven around Mount Barker
and was about to begin ‘active work’. However, it was six weeks before the paper was able to
report the visible results of the Perry Brothers visit.704
Owing to the continued wet weather, which began with their visit and continued for the whole of
the time they were in the district, Messrs Perry Bros. were greatly delayed in the work of
photographing Mount Barker. They have now completed about fifty views, and forty of these have
been culled out and sent for the inspection of the committee, who will decide as to how many of the
photographs will be accepted for exhibition in Adelaide. The arrangement made with Messrs Perry
is so much for each negative together with the payment of necessary expenses, while on the other
hand they covenant to supply what photographs are needed at a reasonable price per dozen. It is
hoped that sufficient profit will be made out of the sale of the views to meet a large proportion of
the cost. One or two fine panoramic pictures of the town are in the collection, but the bulk of them
treat of distinctive local scenery.
On 19 February 1898 the Observer reported:
702
Northern Argus, 7 June 1878.
Mount Barker Courier, 3 June 1887.
704
Mount Barker Courier, 15 July 1887.
703
236
Mr Perry, the photographer from Port Augusta, has succeeded in obtaining an excellent photo of
four aboriginals in a most peculiar corroboree get-up. Each man is in Nature’s dress with the
exception of a sort of apron, and his only weapon a boomerang. From shoulder to ankle and across
the chest and abdomen, a pattern is worked in white feathers in either two or three lines. The
feathers are stuck on with blood, obtained by cutting the body and smearing a pattern, then sticking
on the feathers. Each man wears an extraordinary headdress. It is a sort of cap made of rushes, and
surmounted by an erection that is crowned with a tuft of feathers. The chief man’s cap is over 5 ft.
in height, and is shaped like a double cross; the other three are something like an emu’s neck, and
the tuft of feathers looks like the head of the bird.
A carte de visite portrait (Noye collection) of a man has the letterpress inscription ‘H.R. Perry,
Photographer’ on the front, while another two carte de visite portraits of different men (Noye
collection) leaning on the same studio pedestal have similar purple wet-stamp inscriptions on the
back with the photographers’ names enclosed in scrolls: one, ‘Perry & Hallack, Photographers’;
the other ‘Perry Brothers.’
PETERSEN, Chris
Listed as a photographer at Bridgewater in the 1905 Post Office directory.
PETREE, J.Ellis see LONDON PICTURE & PHOTO. FRAMING CO.
PETTS, Charles Alfred
Listed as photographer at Blythwood Road, Mitcham, in directories from 1911 to 1914, and he was
probably a partner in the firm of Petts, Rawling & Wollaston (q.v.). He was born in Manchester,
England, on 10 July 1876, and at one stage was an art teacher at the Manchester School of
Technology.
Charles Petts arrived in Melbourne in 1909, spent some time at Broken Hill, then moved to
Adelaide. He died on 22 June 1943. The Mitcham District History Collection has biographical
notes on Charles Alfred Petts and family.
PETTS, RAWLING & WOLLASTON
Listed as photographers at Morialta Chambers, Victoria Square West, in directories for 1914 and
1915. James Rawling (q.v.), C.A. Petts, and K.H. Wollaston (q.v) may have been associated with
the company.
PFUND, Mick
Born c.1893, Michael Jacob Pfund operated a studio in Eudunda. Several of his glass plate
negatives are held in the Noye Collection in the Art Gallery of South Australia.
PHOTOGRAPHIC ASSOCIATION OF SOUTH AUSTRALIA
This organisation appears to have been an attempt to form an association of South Australian
professional photographers. On 6 December 1882 the Advertiser reported: ‘At a largely attended
meeting of photographic artists … it was decided to inaugurate a society to be known as the
Photographic Association of South Australia. Office-bearers were appointed and a sub-committee
was nominated to draft rules for the consideration of members.’
In January 1883 a meeting was held at George Freeman’s studio in King William Street where it
was reported that twenty-four persons had sent in their names for enrolment, and forwarded their
subscriptions to the secretary. In May the ‘usual monthly meeting’ was held at E.J. Wivell’s rooms
where ‘various subjects relating to instantaneous photography were discussed in a spirited
237
manner’.
PHOTOGRAPHIC COMPANY OF SOUTH AUSTRALIA
The following advertisement appeared in the City and Country on 5 January 1883:
PROSPECTUS
of the
PHOTOGRAPHIC COMPANY OF
SOUTH AUSTRALIA, LIMITED.
To be Registered under the Companies’ Act of 1864.
CAPITAL – £10,000; in 10,000 shares of £1 each (with power to increase.) The amount of
Purchase-money is £6,000, of which 1,000 fully paid up Shares are to be issued to the vendors in
part payment. Two shillings per Share to be paid on Application, to be considered as Application
and Allotment Fee; balance in Calls not exceeding 2s. 6d. per Share, at intervals of not less than
two months.
PROVISIONAL DIRECTORS: Jas. H. Cunningham, Esq., George Scrymgour, Jun., Esq.
BANKERS: Town and Country Bank. MANAGERS: (To be Appointed.) SOLICITOR: E.J.
Ronald. BROKER: John Moule.
The objects of this Company are to purchase from Mr J.R. Dobson the goodwill of the photographic
business carried on by him, under the style or firm of Jas. R. Dobson and Co., at the ‘Temple of
Light’, in Rundle-street, and ‘Royal Princes’ Studios, corner of King William and Grenfell streets,
and to carry on such photographic business, introducing that of photo-lithography. The purchase
includes the leases of the said two studios in Rundle, King William, and Grenfell streets, and the
jeweller’s shop adjoining the same; and also all the instruments, stock, and furniture used in the
said business. Messrs. Jas. R. Dobson & Co. have carried on their well-known business for a
number of years, and it is now in first-rate working order, both as regards the staff employed and
the business done. The reason for selling is having purchased the lease of Messrs. Buttery Bros.
commodious premises in Rundle-street, together with the plant and machinery, it is their intention
to carry on a high-class furnishing business in connection with their well-known aesthetic
decorative business, which has so largely increased since the purchase from Mr W.J. Williams,
some twelve months ago, as to need more personal superintendence. Mr Dobson will be happy to
assist the company as supervisory director, if such should be a wish expressed at the first general
meeting, without extra fees, for the term of six months; and besides showing his faith in the success
of the company by taking £1,000 in paid up shares, will take 1,000 contributory ones, which he
guarantees to hold for at least twelve months.
Arrangements are pending to secure the services of an able and experienced Photo Lithographer as
Manager, and it is intended to enter into the photo-lithographic business at once, for which there is
a first-rate opening; and the demand for this class of work is increasing.
The negatives number over 90,000, which includes 20,000, the whole of Herr von Hartitzsch’s
stock. Repeat orders are being constantly received.
The apparatus and appliances are of the most improved and modern description, and very complete;
and these are the only establishments in South Australia where the instantaneous process is used in
its entirety. The stock is ample and well-selected. Mr Chang Pang, the celebrated artist in oils, is
under engagement to Messrs J.R. Dobson & Co. to paint exclusively for them, which said
agreement can be transferred to the company.
The premises are situated in the best parts of the city, and the rentals low. There are no
encumbrances on the property, and the business will be handed over free from all liabilities. A
valuation of the instruments, stock, furniture, and leases of both establishments has been made by
Mr J.H. Parr, which can be seen at the office of the Broker, Mr J. Moule, Waymouth- street.
An agreement has been entered into between Mr Dobson as vendor, and Mr John Moule, on behalf
of the company, a copy of which agreement can be seen at the office of the solicitor, Mr E.J.
238
Ronald, Waymouth-street, in which agreement Mr Dobson agrees not to enter into the photographic
business for a term of seven years. The Company has been formed. Adelaide, December 15th,
1882.
The position of full-time secretary was advertised and 23 applications received. Mr F. Atha
Westbury was appointed to the position, but he was later replaced by Mr G.T. Lane. Their
photograph of a chess game played with living pieces was described by the Register on 6 January
1883. The game was played in the Town Hall as part of the North Adelaide Congregational
Church Bazaar. ‘The photo measures 10 inches by 8, and considering that the view was taken
inside the building, with a mass of human figures who should have been, but were not, immovable,
it is a remarkably accurate and distinct representation. The faces of those who took part in the
show, and of many well-known citizens who were spectators, are easily recognisable.’
In March 1883 their cartes de visite were 10s 6d per dozen, cabinets 20s per dozen, and their work
included animal studies, landscape views as well as portraits. Enlargements cost from 15s and
portraits in oil or mezzotint from 21s. Although the company advertised in the newspapers during
January 1884, it had ceased to exist by the end of the year. In the directory for 1885 no studio was
listed at 68 King William Street, and Hammer & Co. had moved into the studio at 44 Rundle
Street, formerly the Temple of Light.
PHOTOGRAPHIC PORTRAIT ROOMS
An advertisement in the Register for 26 December 1853 said: ‘Photographic Likenesses. The
Photographic Portrait Rooms, in Currie Street, are now open for taking likenesses which can be
sent to England in a letter, without the payment of additional postage. They are taken in from 10 to
40 seconds, and from one sitting any number of portraits may be had, at a greatly reduced price.
The Portrait-rooms are opposite the end of Rosina-street, adjoining Mr Magarey’s Hindmarsh
Steam-mill Store. Open from 10 till 4.’
Three weeks later, on 12 January, the photographer advertised: ‘For Sale, a very superior
photographic apparatus, which will be sold a bargain, as the proprietor intends returning to
England immediately. Apply at the Photographic Portrait Rooms, Currie-street.’
PHOTOGRAPHIC SOCIETIES
see the following clubs and societies:
ADELAIDE CAMERA CLUB
ANGASTON CAMERA CLUB
BALAKLAVA PHOTOGRAPHIC CLUB
BAROSSA CAMERA CLUB
COWELL CAMERA CLUB
GAWLER CAMERA CLUB
HAWTHORN Y.M.C.A CAMERA CLUB
KAPUNDA PHOTOGRAPHIC CLUB
MELROSE CAMERA CLUB
MILLICENT CAMERA CLUB
239
MOUNT GAMBIER PHOTOGRAPHIC CLUB
PORT PIRIE PHOTOGRAPHIC SOCIETY
SEMAPHORE PHOTOGRAPHIC SOCIETY
SOUTH AUSTRALIAN PHOTOGRAPHIC SOCIETY
PHOTO-LITHOGRAPHER, GOVERNMENT See GOVERNMENT PHOTOLITHOGRAPHER
PIPER, Charles J.
Listed as a photographer and fancy goods dealer at 88 Hindley Street, Adelaide, in directories from
1888 to 1894. He may be the same person as James Piper (q.v.), or a relative.
PIPER, James
Listed as photographer at 3 Gilbert Street, Adelaide, in the directory for 1897. He may be the same
person as photographer Charles J. Piper (q.v.), or a relative.
PLACE, H.T.W
A carte de visite portrait of a child on a chair (Noye collection) has the letterpress inscription on
the front ‘H.T.W. Place Photo. Adelaide.’
PLAYER, W.J.
Listed as photographer at Henley Beach Road, Torrensville, in the trade section of the directory for
1913, but in the alphabetical section of directories around that period his occupation is given as
‘hotel keeper’.
PONDER, Walter J.
Manager of the National Bank, Nuriootpa, and secretary of the Barossa Camera Club (Nuriootpa)
from 1895–98. The Barossa Camera Club is the earliest recorded country camera club in South
Australia.
POOLE, W.B.
Showed ‘enlarged photographs of micro-subjects’ at the annual conversazione of the South
Australian Photographic Society in September 1894, and delivered a lecture on PhotoMicrography to the members in May 1895.705 He became a member of the society in July 1897 and
was elected vice-president in 1903.
He gave a lecture on ‘Photomicrography’ at the Chamber of Manufactures in September 1899
where he exhibited over 140 pictures of ‘insects, parasites, marine life, vegetable tissues, bacteria,
phylloxera, and other microbes’. These were probably lantern slides, as the article stated that ‘Mr
R.B. Adamson had charge of the limelight portion of the lecture’.706
In September 1903 he demonstrated photomicrography to members of the society, explaining ‘the
formation and working of the apparatus, consisting of lamp, paralleliser, condenser, microscope
705
706
Australian Photographic Journal, June 1895.
240
and camera – much of which had been made and the whole of which was put together by him. He
also took a “micrograph” of a blow-fly’s tongue, which was developed right away … and handed
round by the audience.’707
POORE, Charles
A resident of Murray Bridge who was awarded a commendation for his photograph, ‘Ship Torrens,
Port Adelaide’, entered in the marine section of the Observer 1897 Christmas Supplement
photographic competition. Directories list a Charles Poore as postmaster at Murray Bridge from
1888 to 1905.
POPULAR PICTURE COMPANY
From 1911 a local company had screened silent motion pictures in the Clare Town Hall under the
name of the Royal Picture Company. The name of the business was changed to the Popular Picture
Company in January 1918, the change of name being made ‘at the request of the authorities’.
Arthur Whiteman (q.v.) had been appointed manager of the Royal Pictures in February 1913 and
in January 1919 the Northern Argus reported that Arthur Whiteman had returned from the front
(the First World War) and had resumed his duties as secretary and manager of the Popular
Pictures.
In August 1920 tenders were invited for the purchase of ‘the plant and goodwill of the Popular
pictures at Clare. Plant includes 8 h.p. Lewis engine, with 70 volt x 60 amp dynamo, and
accessories. Austral biograph, with iron stand and accessories, and arc lamp.’ The business and
plant were bought by Albert E. Smith (q.v.) who continued showing pictures in the Town Hall
under the name of Smith’s Pictures.
PORT ADELAIDE PHOTOGRAPHIC STUDIO see PEARCE, Miss M.
PORT PIRIE PHOTOGRAPHIC SOCIETY
An entry in the letter book of the South Australian Photographic Society dated 9 October 1903
refers to the formation of a photographic society at Port Pirie, and in September 1904 the Kapunda
Photographic Club received a letter from Mr Lionel B. Knight, secretary of the Port Pirie
Photographic Society, asking for assistance with the photographic section of the forthcoming Port
Pirie Art and Industrial Exhibition.708
PORTRAIT AND ENLARGING CO. see FRUHLING & CO.
POTTER, Norwood
The following advertisement appeared in the Observer, 8 December 1849: ‘Daguerreotype.
Norwood Potter, from the school of Mons. de Poilly, Montevede, the celebrated French Artist.
Portrait and Landscape painter by aid of the Daguerreotype, Rundle Street, Adelaide. Artist in
electrotype and practical assayer … By his improved process, portraits are taken with equal beauty
in any weather, or at any hour of the day.’
In the same issue the Observer said, ‘Judging by Mr Potter’s performances, which have been
submitted to our inspection, we would say that whether the object is animate or inanimate, a local
scene, or an article of vertu, the artist has the ability and the appliances to produce a most
surprising copy. The portraits are admirable, and the villa residences of Mr Dutton, on East
Terrace, and Mr Tinline, North Adelaide, present specimens of exactitude, which the unassisted
707
708
Australian Photographic Journal, September 1903. 375 Australian Photographic Journal, October 1904.
Bunyip, 13 July 1883.
241
effort of man could never accomplish.’
In January 1850 Norwood Potter announced that he had ‘obtained such command over the light of
this country, as to warrant him in announcing that he will … take the portraits of each person at
their private residence, in any weather and at any hour of the day. Such improvement in the art of
the daguerreotype, he ventures to suggest, will be found a great accommodation to ladies. A letter
will receive prompt attention.’ He also stated that Mr Oglesby’s photographic business at the rear
of the Clarendon Hotel had been merged into his own establishment in Rundle Street.
POTTER, P.
POTTER, W.J.
Listed as a photographer at Bordertown in directories from 1896 to 1898. There is also a carte de
visite portrait with the printed inscription ‘W.J. Potter, Mount Gambier’ on the front of the mount,
which was probably made between 1886 and 1895.
POULSON BROS (POULSON, Anders, POULSON, Poul C., P.C. POULSON BROS)
The photographer brothers Anders and Poul C. Poulson (Poulsen) were taking portraits in Adelaide
by December 1881, having taken the ferrotype (tintype) studio at 23 King Wiliam Street, Adelaide,
previously occupied by Allen & Gove (q.v.). In Boothby’s directory for 1882, compiled by
December 1881, T(P) C. Poulson was listed as having the studio, but this changed to A. Poulson in
the Commercial and Traders Directory 1882–83 (published by October 1882). For 1883 Poul was
listed, then for 1884 it was Anders Poulson again.
All carte de visite mounts for their King William Street ferrotypes seen so far refer to their
business as the ‘American Studio, P.C. Poulsen’, some as ‘Poulson’, some with ‘late Allen &
Gove’, and others include a branch studio at 7 Queen Street, Brisbane. One departure from their
usual ferrotype portraits is a normal paper print carte de visite (Noye collection) inscribed with
gold letterpress ‘P.C. Poulson Bros, American Studio, 23 King William Street, Adelaide’.
In July 1883 ‘A. Poulson of the American Studio, Adelaide’ opened for a short time in the studio
situated at the rear of Mr A.J. Woodman’s at Gawler, opposite the Gawler Arms hotel. ‘All
photographs taken and finished in ten minutes [ferrotype]. Prices ranging from ls 6d per dozen
upwards.’709
PRECHT, Julius
Listed as photographer, Clare, in directories from 1865 to 1874. In his reminiscences Rev. Kelly
has described Precht as Clare’s first resident photographer whose work was ‘of a primitive
character’ and in the Northern Argus for 20 October 1944, J.J. Simons said Precht’s ‘very
appearance stamped him as being an unusual man. He had a wax-like complexion and an Uncle
Sam beard. He was proud that he was a Bavarian.’ Precht’s main occupation was that of painter,
glazier and grainer. In December 1888 he advertised two cameras for sale, one quarter-plate, the
other half-plate.
PREMIER ENLARGING CO. see YATES, A.A.
709
Southern Argus, 2 January 1869, 5 November 1870.
242
PROFESSOR OF PHOTOGRAPHY
In the nineteenth century some highly skilled photographers assumed the title of ‘Professor’ even
though they had no formal qualifications. Some of the cartes de visite and advertisements of
Hector James Thwaites and Robert Hall (q.v.) carried the names Professor Thwaites and Professor
Hall and, although they did not assume the ‘title’ of Professor, Samuel White Sweet included
‘Professor of Out-Door Photography’ in one of his advertisements and Edward William Belcher
had ‘Professor of Photography’ printed on some of his carte de visite mounts.
PROSSER, James Henry
In January 1869 James Prosser opened for business as a tent and tarpaulin-maker in High Street,
Strathalbyn, and by November 1870 J.H. Prosser was advertising as ‘hairdresser and photographer,
High Street, cartes de visite 6s per half dozen. By June 1871 he had moved his business to a shop
opposite the Commercial Hotel and was also selling ‘prize wines’ for ‘from 5d per bottle’. A
month later he had erected a ‘convenient photographic room’ at the rear of his premises and was
‘turning out some photographs in capital style, including several picturesque views of the
township’.710
At the end of December 1873 Prosser advertised that he was closing his Strathalbyn studio for
three months so he could make a photographic tour of the surrounding district. His studio,
probably a tent, was at Port Victor (Victor Harbor) in January 1874, Port Elliot in February, and at
Goolwa in March.
He re-opened his studio at Strathalbyn on 13 April 1874, advertising it as the Strathalbyn School
of Art in the Southern Argus and on the backs of some of his cartes de visite, which cost 10s per
dozen. Cabinet portraits were 21s per dozen.711
In October 1874 Prosser again closed his Strathalbyn studio and toured the surrounding districts,
starting at Callington. In most years his country visits began in January and finished in March or
April, during which time his Strathalbyn studio was closed. When he returned from his 1876 tour,
which included Port Victor and Milang, he erected a new studio. The Southern Argus reported:
Mr Jas. Prosser, the local photographer, has just completed a new and commodious erection for
photographic purposes in High-street, Strathalbyn, opposite his former residence. We had the
pleasure of inspecting his new studio a few days ago, and were pleased to find it infinitely superior
to the old establishment, both as to comfort and convenience of visitors and the necessary
manipulation that is required in the production of portraits. Advantage has been taken to introduce
the latest improvements, and particularly as regards the quality of light required Mr Prosser has
now every facility to suit himself to a T. We also inspected a large number of his recent portraits of
local and other celebrities, and amongst them were some really splendid pictures, such as could
scarcely be surpassed, even by his metropolitan rivals. His endeavours are certainly deserving of
success, and in our opinion we see not the slightest reason why travelling photographers should get
any customers in this district at all whilst we have so competent an artist resident amongst us.712
Prosser repeated his tour of the district early in 1877, and his 1878 tour included Meadows and
Echunga. In 1878 the Southern Argus said that Prosser’s photograph of the Strathalbyn
Presbyterian Church, a favourite subject for photographers, ‘surpasses all his previous pictures in
artistic merit. The picture is taken from the stepping stones in Swale Street, and includes a very
pretty bit of rock scenery. The water looks very nice, especially where the shadow of the church is
reflected. In the portrait department Mr Prosser is acquiring also great success, and those who wish
710
Southern Argus, 30 June, 21 July 1871.
Southern Argus, 10, 17 April 1874.
712
Southern Argus, 25 May 1876.
711
243
to secure a faithful likeness should pay him a visit.713
By April 1879 Prosser had moved to Port Victor, where he opened for business near the Post
Office, stocking a range of goods from albums and accordions to clocks, cigars, and cricketware,
advertising that his motto was ‘Plenty of custom, small profits and quick returns’. By December
1880 he had opened a branch studio at Goolwa, which he attended on Mondays and Tuesdays.714
James Prosser returned to Strathalbyn in February 1881 and resumed his old business as
photographer, hairdresser and general storekeeper in High Street, and according to directory
entries he continued the photographic side of his business until his death on 10 November 1897.
On some of his cartes de visite he printed the line, ‘Secure your shadow ere the substance fade’,
which can be found in the advertisements of nineteenth-century photographers in many parts of the
world.
PRYOR, Ernest
Listed as a photographer at Tower Street, North Adelaide, in directories from 1909 to 1914+.
PUDDY, H.E.
Listed as a photographer at Mill Street, Clarence Park (probably a residential address), in
directories from 1906 to 1914, and as manager of Talma Studio at 31 King William Street,
Adelaide from 1915 to 1921.
713
714
Southern Argus, 12 September 1878.
Southern Argus, 3 April 1879, 18 November, 2 December 1880.
244
R
RADCLIFFE, Charles
Charles Radcliffe was a homoeopathic chemist and importer of Rundle Street, Adelaide, and a
member of the South Australian Photographic Society. He was the society’s auditor in 1896 and
1897, was elected vice-president in 1902, served on the committee in 1906, again vice-president in
1907, and president in 1908 and 1909.
His paper, ‘Byways in Photography’, was presented at the March 1895 meeting. At the September
1906 meeting he read ‘an interesting paper on “Floral Photography” illustrated by examples
showing the many applications of photographs of flowers to decorative work, including friezes,
calendars and book-covers’. At the 1903 Kapunda Photographic Club exhibition Mr C. Radcliffe,
‘with one exception, confined himself to flower studies’.
RADCLIFFE, Ernest
Ernest Radcliffe was manager of Frearson’s Printing Works at Hindmarsh and a member of the
South Australian Photographic Society. He exhibited coloured photographs at the society’s
conversazione in September 1894, and in March 1895 delivered a lecture, ‘Obtaining Tones and
Colours on the Various Known Processes of Photographic Prints’, where he ‘described the actions
on different kinds of photographic papers caused by varying the time of exposure, and by altering
the developing and toning reagents either by increasing or decreasing the quantity of the various
chemicals or by adding other substances. The toning and colouring baths used by experts in this
branch of photographic work were quoted by Mr Radcliffe, who also added a number of formulae
which he had found useful in his own experiments.’
A report on the society’s twenty-first birthday celebrations held in 1906 said an ‘adaptation of
color photography, new to many of the visitors, were the slides shown by Mr E. Radcliffe by
means of the kromscop, which, with three positives seen by the aid of a magnesium lamp and
suitable coloured glasses, represents articles in their natural solidity.715
RADFORD, Frederick T.
On 23 March 1888 Tuttle & Co. (q.v.) advertised in the Kapunda Herald, ‘Mr Radford will be in
Kapunda today, (Friday), and will be glad to execute any commissions left at the Sir John Franklin
Hotel’. In directories from 1889 to 1891 Fred. T. Radford is listed as a photographer in Pulteney
Street, Adelaide, near the comer of Austin Street. He may have been the Mr E. (F?) Radford who
delivered a ‘well-written paper on Photography, dealing extensively with the progress of the art
from its infancy’, at a meeting of the Stow Guild held in Kapunda in April 1897.716
In 1903 Fred Radford left for America, England and Paris after spending four years with Freeman
& Co, Sydney, his purpose being to ‘further his knowledge and practice in artistic photography’.717
Photo-historian Jack Cato states that Radford ‘was trained in the studio of John Hood at North
Adelaide and so gathered his experience from an expert. Early in this century he became proprietor
of Fruhling’s Studio in Rundle Street … He was a serious man with a drooping moustache and a
715
Kapunda Herald, 9 April 1897.
717
Australian Photographic Journal, 20 March 1903.
716
245
pointed beard … He died in Adelaide in 1953 when he was over 80 years of age.718
RAGLESS, T.B.
An amateur photographer who was a member of the South Australian Photographic Society, he
showed samples of his work in January 1903 and later that year his picture Spirae was awarded a
medal in the ‘flower, fruit or still life’ section of the society’s annual exhibition. He was made a
member of the society’s committee in 1903 and 1904, then in 1905 was elected vice-president for
one year. He showed slides of Niagara Falls at the July 1905 meeting, but by this time he appears
to have become more interested in the Adelaide Camera Club, perhaps as a result of the South
Australian Photographic Society’s increasing emphasis on the new ‘Pictorial photography’.
When Thomas Ragless gave a demonstration on ‘Sepia Toning of Bromide Prints’ at the August
1903 meeting of the Adelaide Camera Club, he was recorded in the minutes as being ‘a visitor’.
He gave a demonstration of the process of ‘double printing’ in January 1904, and became a
member of the club in March. A month later ‘Mr Hall proposed a hearty vote of thanks to Mr
Ragless for his efforts in entertaining and instructing several club members who on his invitation
visited his residence on the previous Saturday afternoon.’ In May he gave ‘a very interesting and
instructive practical demonstration’ on ‘Mounting Enlargements and Framing’, which he repeated
in October 1906. He also gave practical demonstrations of lantern slide making in 1904, 1906 and
1907, printing in clouds from a separate negative in 1907 and 1913, and flower photography in
1910. In September 1904 he received awards in the Flower Study, Genre and Lantern Slide
sections of the club’s second exhibition.
In July 1904 Thomas Ragless was elected vice-president of the Adelaide Camera Club, and in
September became president. In June 1906 he was again elected vice-president and lanternist, the
president in 1908 and again in 1911. His resignation was recorded in December 1913.
In the 1905 Chronicle photographic competition he was awarded second prize of one guinea for
his picture ‘Coast View, Cape Jervis’, which was reproduced in The Chronicle for 18 February.
He gave a demonstration of ‘Lantern Slide Making’ at the Semaphore Photographic Society’s
meeting in January 1913 where he was described as ‘an earnest worker in this branch of the art’.
At the society’s May meeting he lectured on ‘Combination Cloud Printing’ where it was reported
that ‘contrary to most writers on this subject, Mr Ragless advocates printing from the cloud
negative first, the landscape being printed over the sky’.719
Thomas Benjamin Ragless was born at Gawler River on 18 April 1849 and in 1873 he married
Adah Hutchinson. He was a builder and carpenter by trade and was contracted for the erection and
alterations to a number of government schools, both in the city and the country areas. He died on
18 June 1938.
RANCK of HAMMER & RANCK (RANK, George)
In 1879 W.H. Hammer (q.v.) and a partner named Ranck, operating as Hammer & Ranck, had the
English & German Photographic Studio at 162 Rundle Street, Adelaide. By the end of 1880 the
partnership had been dissolved and Hammer had moved to 172 Rundle Street and was working
under his own name. A carte de visite exists (Noye collection) with the letterpress imprint
‘Travelling Photographer, George Rank, South Australia’, and a George Ranck, photographer, has
been recorded (MEA) at addresses in New South Wales from 1886 to 1889.
718
719
Australasian Photo-Review, February, July 1913.
246
RANDALL, W.D.
Photographs taken by Douglas Randall were published by the half-tone process in the Critic for 11
December 1897. He was listed as a photographer at Howard Smith Chambers, 113 King William
Street, Adelaide, in the directories for 1900 and 1901.
RAWLING, James
Listed as photographer at 5 Queen Street, Goodwood Park, in the directory for 1914. There was
also a J.C. Rawling listed at James Place, Adelaide, from 1915 to 1918. He may have been
associated with the firm of Petts, Rawling and Wollaston (q.v.).
RECORD STUDIO see DAVEY, William Jenkin
REEVES, W.A.
Listed in the alphabetical section of the directories from 1911 to 1914 as ‘agent and photo stock
dealer’ at Pinnaroo, and under ‘photographer’ in the trade section for 1913 and 1914.
REYLIN, William
The royal almanack for 1858 lists William Reylin as a third class clerk with the Auditor-General’s
Department, salary £200. The following year he is listed as Colonial Storekeeper, and from 1860
to 1863 as analytical chemist with the Customs Department. Although the Lewis Almanack for
1862 gives his address as 156 Rundle Street, his advertisement in the Register for 27 March 1862
states: ‘Cartes de visite and Album portraits taken at Reylin’s, 201 Rundle Street, opposite
Tavistock Buildings’.
On 7 August 1860 both the Register and the Advertiser described William Reylin’s photographs of
the new Thorndon Park reservoir and the new railway bridge over the River Light. The photograph
which most impressed the Register was a stereoscopic view of the railway bridge which, it said,
‘makes an excellent picture, and would, perhaps, astonish some of our English friends, who
scarcely give us credit for engineers to erect such works or artists to represent them in
photography’. The Advertiser gave a very detailed description of Reylin’s four views of the
reservoir:
The first picture is a view from the service pipe looking south-west over the reservoir; the second,
taken from the valve-tower, shows the manager’s house with the hill in the distance; the third again
is taken from the keeper’s cottage and overlooks the reservoir in the direction of the valve-tower;
while the fourth overlooks the reservoir in a western direction. The set is executed with great
clearness, every point being brought out most effectually. In the foreground of two of the pictures
are several figures, four of whom we can recognise as life-like portraits; they are those of Mr
Gouge, the contractor; Mr England, the engineer; Mr Gallymore, and Mr James, of the Norfolk
Arms. We understand that it is Mr Reylin’s intention to supply paper copies of this interesting set of
pictures to whoever may be desirous of obtaining them, at a moderate figure. Besides this set the
same artist has also taken a view of the new railway bridge over the River Light. This picture is
very clear, the details being so perfect that a contractor, who was with us at the time it was shown to
us, stated that it would be perfectly possible to work from such a view. We are glad to see this art,
especially when applied to landscapes, making such rapid progress in South Australia, as through
its agency we can, at a small cost, impart to distant friends a tolerable idea of the land we live in.
On 30 August 1862 Mrs Reylin died suddenly of premature labour, and three weeks later a newlyborn male infant was found dead ‘in a water closet on the premises of Mr W. Reylin,
photographer’, in Rundle Street. Reylin and Winifred Lennon, a single girl he employed as a
servant, were arrested for ‘feloniously, wilfully, and of their malice aforethought, killing and
murdering the newly-born infant of Winifred Lennon’.
247
Although the Coroner’s Court declared the death of the baby had been caused by a person or
persons unknown, Reylin and the girl were told that strong suspicion was still attached to them. In
November Reylin was being held in gaol awaiting trial, and by January 1863 his studio had been
taken by E.H. Cornock (q.v.) and E.C. Cardell, who carried on the business of photographic
gallery and medical dispensary.
William Reylin must have been cleared of charges, or served a short sentence, as he advertised in
the Register for 3 September 1863: ‘On and after the 5th inst., first-class photographs may be
obtained at the establishment of the undersigned, at London prices. Wm. Reylin. F.C.S.
Photographer and Analytical Chemist to the Government, North Terrace, opposite Parliament
House. Carte de Visite 6s. per half-dozen.’
RICHARDS, J.
An advertisement in the Wallaroo Times for 19 May 1869 described the goods to be sold at
auction on behalf of J. Richards of George Street, Moonta, who was leaving the district. Included
in the sale were four tons of flour, one grey horse, and ‘photographic apparatus, with camera and
chemicals’. It is not known whether Richards, listed as a storekeeper at Moonta in the directory for
1869, was a practising photographer.
RIDDLE, R.
Listed as a photographer at Yorketown in directories from 1907 to 1912. There is also an undated
cabinet photograph (Noye collection) with the printed inscription ‘W. Riddle & Son,
photographers, Yorketown’. Biographical notes and a portrait of William Riddle can be found in
the Cyclopedia of South Australia720 (1909, vol.2). An entry for William Riddle in the
Biographical Index of South Australians names one of his five sons as Ray Riddle.721
RIDDLE, W. & Son see RIDDLE, R.
RIEGERT D. (or B?)
Known only from the wet-stamp imprint on the back of an undated carte de visite portrait (Noye
collection) – ‘D. Riegert, South Australia’.
RIGBY see RUSSELL & RIGBY
RIPPIN, F.
ROBE PHOTOGRAPH ROOM see WARREN, W.
ROBERT, W.
Was a resident of Edithburg who was awarded a commendation for his photograph, A Busy Day at
Edithburg Jetty, which he entered in the marine section of the Observer 1897 Christmas
Supplement photographic competition.
ROBERTS see FAWCETT & ROBERTS
720
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol. 2, (1909).
1355.
721
248
ROBERTS, J.L.
Listed as a photographer at Port Road, Carrondown (now part of Brompton), from 1912 to 1915,
and at 90 Port Road, Hindmarsh, from 1916 to 1921.
RODDA, Ro(w)land Vounder
R.V. Rodda was born in England c.1822 and baptised on 1 January 1825. His father, Richard
Rodda, was a mining captain and engineer of St Austell, Cornwall. Rowland Rodda was an assayer
from the age of 15, assisting in his father’s assay office. In 1844 he was engaged as an assayer at
Bristol, and in 1846 was employed by the Chientla Mining Company of Guatemala in Central
America.722 Rowland Rodda arrived in Adelaide on the Aboukir in 1847, a year after his father,
Richard Rodda, had brought the rest of the family to South Australia.
In 1848 R.V. Rodda was a mineral assay master in Pirie Street, Adelaide, and by June 1850 had an
assay office in King William Street where assays of ‘gold, silver, lead, copper, tin and bismuth’
were made ‘with the greatest of accuracy’ for a population preoccupied with the search for
minerals. He also gave lessons in assaying.723
In 1853 Rodda applied for applied for the position of Inspector on the Gold Escort, and in the same
year was appointed Inspector of the Mounted Police. In 1855 he was the subject of a number of
charges, and statements included phrases such as ‘Mr Rodda unfit for public duties’, ‘Rodda
completely neglected or disregarded the standing rules’, and his subordinates found him suffering
from delirium tremens and ‘incapable from intemperance of performing his duty’. He was
eventually dismissed from the police department.724
In 1861 Rodda revived the abandoned Yatala Smelting works, near Alberton railway station, to
test a new method of smelting copper which had apparently been developed by his father, the late
Captain Rodda. By 1863 the process was being tested at the New Cornwall mine on Yorke
Peninsula, and Rodda was living at Kadina.
By 1865 he was both photographer and assayer, advertising ‘cartes de visite and other portraiture
on reasonable terms’. On 10 May 1865 the Wallaroo Times reported: ‘We have received a
photograph, by Mr Rodda, of Kadina, of the officers of the Kadina Rifles, which appears to be
creditably executed. The likenesses are excellent.’
By August he had also paid visits to Moonta, and cartes de visite were 18s per dozen, 10s per half
dozen. In July 1866 he announced that he had made ‘important alterations and improvements’ to
his studio, and that he was ‘prepared to take first-class portraits in any weather except heavy rain
and dust. In winter from 10 to 4 o’clock, in summer from 9 to 6 o’clock. Open every day except
Sundays.’
The following year R.V. Rodda opened a new studio in Graves Street, Kadina, opposite the
National Bank. ‘New Photographic Studio. R.V. Rodda … has just opened one of the best lighted
photographic rooms in the colony … there being about 300 feet of glass lights, almost any sort of
weather will be favourable for sitting for portraits. Up to 4 o’clock in winter and 6 o’clock in
summer. Children easily taken, IF THE LITTLE DEARS ARE ONLY GOOD.’725
He opened a studio at Moonta in January 1868, near Beaglehole’s hotel, to save the inhabitants of
Moonta ‘the expense of coming to Kadina for the purpose of having their cartes de visite taken’.
At first he spent three days a week each at Kadina and Moonta, then two at Moonta and four at
Kadina.
722
Rodda’s advertisement, South Australian Register, 13 April 1869.
Mercury & Sporting Chronicle, 29 June 1850.
Information supplied by G. Spencer.
725
Wallaroo Times, 31 July 1867.
723
724
249
An advertisement in the Wallaroo Times, 15 January 1870, offered R.V. Rodda’s business for sale:
‘Extraordinary Opportunity for a young man with small capital. In consequence of ill-health Mr
R.V. Rodda is obliged to relinquish his occupation as photographer and assayer at Kadina. Mr R.
will be glad to treat with a person [sic] as his successor for the sale of his first-rate photographic
apparatus and appliances, and all his assay apparatus, chemicals and stock, with the lease of
photographic-room and assay office. He will teach anyone with whom he may thus agree, the art
of photography, and the assay of copper ores, in three months.’
Rodda’s household furniture and effects were put up for sale in July, and one month later he was
working as an assayer at Faulding & Co., Adelaide. His successor was F. Nicholls, who acquired
Rodda’s collection of negatives from which he was prepared to make copies at any time. He also
continued the assaying side of the business.
R.V. Rodda died from the effects of heavy drinking at the Western Peak Downs copper mine in
Queensland on 10 September 1872.
ROGERS, George A.
Listed as photographer at Northcote Street, Torrensville, in the directory for 1911, then at 138
Rundle Street, Adelaide, from 1912 to 1918, an address he shared with James Hooper (q.v.), a
picture framer and photographer.
ROGERS, G.F.
Honorary secretary and treasurer of the Gawler Camera Club in 1904.
ROSE, A.G. see IDEAL PHOTO STUDIO
ROSE, James Frederick
In March 1863 the Port Lincoln correspondent for the Advertiser reported, ‘The last trip of the
Lubra brought an addition to the place in the shape of a photographic artist, who intends taking up
his stand in the district for a short time, I suppose as long as it will pay him. It will give the
residents an opportunity of having themselves, children, and homesteads taken to send to their
friends.’
Three months later the correspondent reported the death of Mr James Frederick Rose, a
photographic artist who had died suddenly. A mortuary return described Rose as ‘tall and stout,
gentlemanly appearance … a native of Surrey, England’. He died on 23 June 1863.
ROSS, Edward
Edward Ross was born c.1845 Edinburgh, Scotland and died after 1866, he arrived in 1863 on the
Adamant, his occupation given as photographer. Residence in Riverton.
ROTCHFORD, Charles
The inscription on his cabinet photograph of a group of tennis players (MSC) is ‘C. Rotchford,
Tarlee, (South Australia)’. A Charles Rotchford was listed as the manager of the Tarlee creamery
in directories from 1898 to 1901, and in November 1899 it was reported that Mr T.H.S. Nicolle
had ‘given an address with lantern views’ at a meeting of the Tarlee literary society, and that
250
included in the program were ‘some local scenes on slides made by Mr C. Rotchford’ which
‘called for more than usual interest’.726
ROW, Allan and G.T.
Directory listings are:
1912
1913
1913
ROWE, A., Port Pirie. (‘Alan Row, Port Pirie’ on studio mount.)
ROW, Allan, Irvine Street, Jamestown
ROW, G.T., Irvine Street, Jamestown
There is a listing for Allan Row as a photographer at 179 Elizabeth Street, Sydney, from 1928 to
1930, and George T. Row at the same address from 1931 to 1932.727
ROWE, Walter
Born in England in 1847, Walter Rowe arrived in South Australia on the Earl Dalhousie in
1875.728 On 23 March 1875 he advertised in the Northern Argus that he had succeeded to the
business of Jas. H.E. Brown, of Main Street, Clare, and that he was prepared to execute all classes
of photography. His cartes de visite were priced at 12s per dozen, and local views were 7s 6d per
dozen. At the end of April he advertised his full range of services: carte de visite portraits;
vignettes and cameos; the new Rembrandt or shadow portraits; miniatures for brooches and
lockets; cabinet portraits; enlargements finished in any style; pictures, architectural drawings,
plans, and models could be photographed and either enlarged or reduced. He also said that he had
‘a very superior apparatus’ for taking views and out-of-door groups, and he was prepared to travel
a reasonable distance to take photographs at pastoral properties around Clare.
Walter Rowe made the earliest known South Australian ferrotype photographs (tintypes) in May
1875. The Northern Argus reported, ‘Mr Rowe, photographer, of Clare, has introduced a process
of taking likenesses which is much admired, and is known as the ferrotype style. It has many
advantages, and not the least is that the pictures can be finished very quickly. Customers can have
their picture taken and get them in ten minutes. Mr Rowe has produced some excellent ferrotypes.
Those who have seen them think it a decided improvement on the old style.’ However, it was not
until the early 1880s that the ferrotype was produced in any numbers in South Australia, and then
only for a brief period by a few specialist Adelaide studios and travelling photographers. Some
photographers considered the ferrotype a ‘cheap’ type of photograph, and refused to use the
process.
In August 1875 Walter Rowe advertised that he was making preparations for a tour of the towns in
the agricultural areas north of Clare. He began his tour with a visit to Mintaro at the beginning of
September, from where the correspondent for the Northern Argus wrote on the 15 August, ‘The
most active business at the present time is photography. Mr Rowe, from Clare, is here. He is doing
a splendid trade, and will have no occasion to regret having visited Mintaro.’
From Mintaro Walter Rowe went to Georgetown, and on 22 October he published the rest of his
itinerary in the Northern Argus, something rarely seen in South Australian newspapers. His
itinerary was: ‘Gladstone, Oct 23 to Nov 4; Clare, Nov. 5 to Nov 12; Gladstone Nov 13 to Nov 22;
Laura, Nov 23 to Dec 4; Jamestown Dec 5 to Dec 31’. He was then to return to Clare for January
before visiting Redhill and Port Pirie in February 1876.
726
Kapunda Herald, 10 November 1899; Tarlee News.
Queensland, 2002.
728
1395.
727
251
By March 1876 Walter Rowe was back in Clare and had erected a ‘commodious studio’ at the rear
of the Institute building. Although it is obvious photography was his main profession, directories
from 1877 to 1879 list his occupation as Secretary of the Clare Institute. In 1876 Walter Rowe’s
wife, Selina, advertised that she gave instruction on the pianoforte and attended soirees.
When Walter Rowe imported a large batch of chemicals and materials direct from London in
March 1877, he announced a temporary reduction in the price of his photographs. He advertised
carte de visite portraits for 7s 6d per dozen, views of Clare ls each or 8s per dozen, and told the
public ‘It is therefore absurd paying any more’. This latter comment suggests another photographer
had arrived in the town and that Walter Rowe was feeling the effects of competition, and that this
was the real reason for his reduction in prices. Business had picked up by July when he suggested
appointments should be made, and when he said children definitely not to be brought in after one
o’clock in the day. This may have been the time of day that the low July sun began casting the
shadow of the two-storey Institute over his studio. In November the Institute Committee said that
their forthcoming art exhibition was bound to be a success, as many people had promised support,
including Mr Rowe, who had taken ‘thirty good negatives of well-known residents for exhibition’.
Walter Rowe used the following lines on the backs of some of his Clare cartes de visite:
Blest be the art that can immortalise. COWPER.
How little is the cost I have bestow’d
In purchasing this semblance of myself
SHAKESPEARE.
In January 1878 Walter Rowe’s home was destroyed by fire. The house had two front rooms built
of stone and roofed with iron, and a third at the back was mostly wood. Some of the best furniture
was saved and some of Mr Rowe’s clothes, but all of the clothing belonging to Mrs Rowe and the
children was destroyed.
By October 1882 Walter Rowe was in Adelaide, as in the Commercial and Traders Directory
1882–83, published in October 1882, he is listed as a photographer at Killua Place, Adelaide.
Killua Place was off the south side of Halifax Street, and has been known as Ada Street since
1901.
A large portrait of Dr J.W.D. Bain, once described as ‘England’s greatest gift to Clare’, signed ‘W.
Rowe 1883’, appears to be a photographic print pasted to a canvas backing on a wooden frame,
and overpainted in oils. For well over a century the original occupied a prominent position over the
fireplace in the Clare Institute reading room, but was replaced by a copy when the Public Library
was opened.
By April 1883 Walter Rowe was manager of the Canadian Photographic Company (q.v.),
Kenilworth Road, Parkside, a firm which specialised in outdoor photography. In that month he
advertised his mail-order copying service in the Northern Argus, ‘12 Cartes de visite, 4s 2d; six 2s
8d. Send carte with stamps. Perfect copies and originals returned free.’ In the directories for 1884
and 1885 his address was given as Albert Street, Goodwood, which also appeared on cabinet
photographs of the Canadian Photographic Company. The 1885 entry was an error, as Walter
Rowe died of typhoid fever at Hobart on 11 May 1884.
ROYAL PICTURE COMPANY
Travelling picture show proprietors supplied the people of Clare with silent movie entertainment
from 1897 until a local picture show company was formed in September 1911.
The local paper reported that with ‘commendable enterprise Messrs Edwards and Abfalter, of
Clare, have determined upon running a picture show under the style of “The Royal Pictures”
252
weekly in Clare, and at stated intervals in the surrounding towns … Providing the weather is
favorable Messrs Edwards and Abfalter will have snapshots taken of the football match for the
premiership of the Mid-Northern Association to be played at Auburn on Saturday … and these will
be shown at Clare on Wednesday and Auburn on Thursday.’729 The pictures were also to be shown
at Blyth every fortnight, and at Mintaro and Watervale.
The Clare Town Hall 730 was packed on the opening night and a number of people had to be turned
away. ‘The show was an absolute success. The pictures were a very fine lot, flickerless, and
showing distinctly on the screen … First class music was provided by Mr Bishop’s orchestra.’ It
seems the promised slides of the football match did not materialise. As an added attraction for one
show a ‘popular young contralto singer’, Miss Ruby Scott, was engaged to ‘render her
masterpieces’.
The types of picture advertised were variously described as comic, scenic, industrial, instructive
and dramatic. There was a tour of the Zoological Garden in Antwerp, a reel showing Baker’s
Comic Acrobats, and another showing how Dutch cheese was made. When the pictures were
shown at Blyth the local brass band rendered selections outside the hall before the program
commenced.
Because November 1911 had been an unusually hot month the management of the Royal Pictures
set up an open-air pavilion on Mr Bentley’s vacant lot adjoining the south side of the Town Hall.
The only entrance to the pavilion was through the hall, and pictures were first shown there on one
hot night at the end of the month when the day temperature had been 101 degrees. The Northern
Argus reported that despite the moonlight most of the films were clearly visible on the screen.
In 1912 the Royal Pictures ran a series of three beauty competitions. The first offered a prize of
one guinea for the prettiest girl, and their advertisement said:
All we want, girls, is your photograph, and you can leave the rest to us. Don’t delay. We have a lot
of entries already … only a limited number of entrants will be screened. Send your photo with
name and address to Royal Pictures, Clare. If you have not got a photo let us make an appointment
for you with our photographer, and we will take your photo free.
The photographs were probably taken by one of the proprietors, Mr Edwards. Although his initials
were never given in local newspaper reports, it is believed he was the local photographer, Arthur
R. Edwards (q.v.).
Slides of the entrants in the ladies’ beauty competition were screened over four nights and patrons
were provided with voting slips at the door and which were collected in a ballot box. On the first
night the hall was packed with people and some had to be turned away. The portraits of nine young
ladies of Clare and districts, ‘most of them of very pleasing appearance’, were projected onto the
screen, and the number of votes for each was reported by the Northern Argus. The highest vote
recorded on the night was 186, with two entrants gaining only one vote each!731 On the fourth and
final night, so hot that the open-air pavilion was used again, Miss Charity Fidge was declared the
winner.
A gentlemen’s beauty competition followed to find the ‘most handsome man in town’, and slides
of the ‘beautiful boys of Clare’ were screened over several nights. To conclude the series, a
competition was held to find the most beautiful baby, who was to be ‘no older than four years nor
younger than 12 months’. The Argus reported that ‘a number of attractive children were shown on
the canvas’, and that the audience had selected Hazel Allan, ‘a pretty little child of three years’, as
the winner.
729
Northern Argus, 8 September 1911.
The old Town Hall, near Bentley’s Hotel (Northern Argus, 15 September 1911).
731
Northern Argus, 26 January 1912.
730
253
In July 1912 Mr A.F. Abfalter purchased Mr Edwards’ interest in the Royal Picture Company and
became the sole proprietor. However, by September the Royal Pictures had been formed into a
company, with Abfalter appointed manager, and a new 12-horsepower electric plant installed at a
cost of £250. The Argus reported that the electric light had made a ‘wonderful difference’ to the
appearance of the pictures, and that the Royal Pictures Weekly had been introduced, a segment of
films depicting interesting events in Australia and overseas. A popular item introduced was the
screening of slides of local interest, which included snapshots of Clare residents and scenes
photographed around town during the week. Occasionally photographs of general interest taken in
the surrounding districts were shown, such as the salt industry at Lochiel.
In December 1912 a major change was made to the screening of the pictures. The hall was rearranged so that the films were projected through an aperture in the wall of the dressing room
behind the stage onto a screen on the western wall of the hall, and some of the audience were
provided with seats on the stage.
In January 1913 the Northern Argus reported that Mr Abfalter was leaving Clare for Melbourne,
and the following month the pictures were presented under the management of Arthur Whiteman
(q.v.).
The corporation purchased 30 feet of land on the south side of the Town Hall in 1914 and in
November 1915 Whiteman was given permission to erect a screen and use the allotment as a
pavilion for screening films in the open air during the summer months. The land had already been
used for this purpose in 1911. However, the practice was not without its drawbacks, as mosquitoes
were a problem and one show was washed out by a sudden heavy fall of rain during a
thunderstorm.
In March 1917 the company began showing pictures with ‘a new and up-to-date Biograph’ which
they claimed was ‘absolutely flickerless’, a claim they had also made for some of their earlier
projection machines.
In January 1918 the name of the business was changed to the Popular Picture Company (q.v.), the
change of name being made ‘at the request of the authorities’.
ROYAL PRINCES STUDIO see DOBSON, James R.
RUSHTON & JUST (RUSHTON, John Charles)
An advertisement in the Register for 24 June 1882 informed the public that Rushton & Just,
formerly of Solomon’s Adelaide School of Photography, had purchased Manning & Pang’s (q.v.)
photographic business at 150 Rundle Street. They said they hoped their many years’ experience in
business in Adelaide would secure them a share of public support, and that special attention would
be given to enlargements and oil paintings. On their cartes de visite they described themselves as
‘artists and photographers’.
In February 1883 their studio was destroyed by fire. ‘The brigade … was quickly in attendance,
but it was not before Messrs Rushton’s place had been completely gutted that the fire was in any
way subdued.’ In May they advertised: ‘Portraits in oil, water colour, mezzotint, etc. by first-class
artists at reasonable prices. Cartes de visite from 10s 6d per dozen. Cabinets from £1 per dozen.’
By July 1884 the business was in the hands of Townsend Duryea Junior. ‘Mr T. Duryea having
purchased the photographic business lately carried on by me, all accounts due to the late firm of
Rushton & Just, and subsequently to E.A. Just & Co., must be paid to Mr Duryea … E.A. Just.’
One of the partners in the firm of Rushton & Just was John Charles Rushton, who may have been
254
the John C. Rushton listed in Australians Behind the Camera 732 as a photographer in Victoria from
1903 to 1924. The other partner was Elizabeth Ann Just, who may also have been the Miss Just,
possibly an employee of Townsend Duryea Senior, who was referred to in the evidence given at
the inquest into the fire that destroyed Duryea’s King William Street studio in 1875.
RUSSELL, F.T.
Listed as photographer at Carrieton in directories from 1896 to 1898.
RUSSELL & RIGBY
Two professional photographers, Messrs. Russell and Rigby, intending to make a photographic trip
up the Darling River, N.S.W. [in November 1895], chartered a steam launch at Renmark, one of the
Irrigation Settlements at the junction [?] of the Darling and Murray Rivers.
They started from Renmark late one afternoon, with a complete outfit for the trip, consisting of
several cameras, an optical lantern, and all appliances, with a large stock of every requisite for
doing a brisk three months’ business. After calling for wood, they steamed for about an hour, and
tied up for the night six miles from Renmark, camping on the upper deck of the launch. Before
turning in, both voyagers carefully examined the condition of the boat, and found no serious
leakage. Shortly after midnight, however, Mr Russell was awakened by the sound of rushing water,
and having roused his companion, he jumped below, and found the boat full of water, and he had
only just time to get ashore in very scanty apparel before she sank. He was immediately followed
by Mr Rigby, who very narrowly escaped going down with the boat. Within half an hour a steamer
hove in sight, on her way upstream. She was hailed, and put in to the bank, the unlucky pair being
supplied with clothes and boots.
The cause of the sinking of the launch is attributed to having been loaded down heavier than she
had been for some years, causing some of her upper seams to open and leak rapidly. Messrs.
Russell and Rigby estimate their loss at about £80, though some of the articles are not damaged to
the extent they feared. They have decided to abandon the trip. While the loss of their valuable
instruments is much to be regretted, they are to be congratulated that their lives were saved, as if Mr
Russell had slept two minutes longer they would both have been drowned.733
RUSSELL PHOTO CO.
Listed as photographers at 78, 79 Royal Exchange, King William Street, Adelaide in the directory
for 1896.
732
Queensland, 2002.
733
Australian Photographic Journal, 20 November 1895.
255
S
SANDS, Edmund Lyne (SANDS AND SULLIVAN)
A son of the proprietor of publishing firm R. Sands & Sons, London and Warwick, England.
Listed as a photographer at North Parade, Port Adelaide, in the directories for 1875–77.
A notice in the South Australian Government Gazette states: ‘Partnership between Edmund Lyne
Sands and Thomas Sullivan, photographic artists of North Parade, Port Adelaide, under the style of
Sands & Sullivan, dissolved by mutual consent on 29 March 1877’. Directories from 1878 to 1885
list Sands as photographer at LeFevre Peninsula. Sandy Barrie has recorded an E.L. Sands,
photographer, at New South Wales towns from 1881 to 1915.
SCAMMELL, Luther
Listed in the directory for 1862 as chemist, druggist and photographer. Details are given in the
Biographical Index of South Australians.734
SCANLAN, Frederick John
Was a photographer at George Freeman’s Melbourne Photographic Company studio in Rundle
Street when it was destroyed by fire in February 1879. There is also an entry for F.J. Scanlan,
photographer, Marion Street, Adelaide, in the directory for 1882, and at Gover Street, North
Adelaide, for 1885.
SCHMID, Mr
The Register for 29 February 1872 published a letter from Port Darwin dated 18 November which
described the landing of the shore end of the British–Australia submarine telegraph cable on 7
November 1871. It was an historic occasion which was recorded for posterity: ‘Views were taken
of the scene by Captain Sweet, of the Gulnare, and Mr Schmid, and copies were sent home to the
Illustrated London News’. Copies of Captain Sweet’s photograph of the event have survived, but it
is not known if Mr Schmid used a camera or a pencil to record the scene.
A list of passengers booked to sail to Port Darwin on the Bengal, published in the Register on 20
May 1870, included a C. Schmid, and a report from the Government Resident dated 13 April 1871
refers to a ‘private settler’ named Schmid being supplied with rations from the government store.
SCHOHL, Edward (SCHOHL & HESELTINE)
On 28 January 1846 an advertisement in the Register informed the residents of Adelaide that
another daguerreotype studio was about to open in Adelaide:
Edward Schohl, of Hamburg and Paris, having just arrived in South Australia in the George
Washington with a Daguerreotype apparatus, including all the recent improvements, begs to
announce to the inhabitants of Adelaide and the vicinity, that he will commence operations
tomorrow morning on the premises of Mr Robert Sanders, draper etc, Hindley Street, and as he is
confident that his portraits will be found far surpassing anything hitherto produced in this colony,
and that no one will leave his studio dissatisfied with his performances, he confidently hopes to
gain a fair share of the patronage of the enlightened and discerning public of this town. The sittings
734
1433.
256
only occupy 10 seconds, and the finished portrait will be ready for delivery in ten minutes. Hours of
attendance from 10 to 1 and 2 to 5 daily. N.B.E. Schohl begs to intimate that he can execute
portraits upon a much larger scale than any which have been taken here up to the present time.
Sitters are advised to wear as little white in their dress as possible. Any communication made
through Mr Robt Hall will be carefully and punctually attended to.
Three months later Robert Hall (q.v.) bought a daguerreotype apparatus and opened his own studio
in Adelaide.
On 30 January Mary Thomas wrote in her diary (State Library of South Australia), ‘I was very
much pleased a few days ago by seeing some portraits beautifully thrown off in Daguerreotype, by
a German lately arrived with a number of his countrymen in the George Washington. These were
the second number of specimens of the Daguerreotype likenesses that have been shown to me.’ By
25 February Edward Schohl had moved to the studio at the rear of Robert Norman’s dental surgery
in King William Street, and was making daguerreotypes with George Heseltine (q.v.)
On 23 August 1870 ‘one Edward Schohl, photographer, was charged by the Victorian police with
deserting his wife at Castlemaine. Described as small and stout, with a nose “broken at the ridge,
large mouth, stooping gait and round shoulders”, he had last been seen en route to Melbourne
where he intended to leave the colony. His age was given as forty-seven.’735
SCHOLZ, Edwin A.
Born at Riverton in 1881, Edwin (Ted) Scholz was a wheelwright by trade and an amateur
photographer by choice. He was a regular and successful exhibitor in the photographic section of
local shows, usually entering scenic photographs in the ‘under half-plate’, ‘over half-plate’ and
‘postcard’ classes. Some of the shows where he is known to have won prizes were: Auburn, 1905
to 1908; Saddleworth, 1906 and 1907; Clare, 1919 and 1920. Edwin Scholz died in 1952, leaving
behind a collection of glass negatives (some in Noye collection) he had taken in different parts of
South Australia c.1900–10.
SCHOURUP, Niels Peter
Peter Schourup was born in Nykobing, on the island of Mors in Northern Denmark, in 1837. By
the time he emigrated to South Australia in 1862 he was an accomplished artist and cartographer
who had trained at the Royal Academy of Arts at Copenhagen. He left Copenhagen on board the
897-ton British sailing vessel William Jackson, which was carrying a cargo of timber to Port
Adelaide and had three passengers in the cabin, including Schourup.
In letters he wrote home to Denmark he described his experiences both on board the ship and after
he arrived in Adelaide. When the ship had reached South Australian waters he wrote:
Today we have been at sea for 95 days, and we expect to arrive at Port Adelaide in 5 or 6 days. It
will be quite nice to see land again after having seen only sky and water for a quarter of a year … I
have drawn portraits of the captain and the mates – to their great pleasure – and it is probably
because of that that I am their favourite …’
6th January, 1863 – Today we can see land again. Although we have been as comfortable as
possible, I feel an indescribable joy at seeing God’s dear earth again. It is Kangaroo Island we can
see – about 35 miles from Port Adelaide. We will probably not reach it until tomorrow as the wind
is against us, and we must tack.
Adelaide, 25th January – As you can see I have already been here for 3 weeks. We came ashore on
the 7th, and the voyage lasted a total of 101 days. The reason I have not written before is that the
mail does not leave until Wednesday morning; it is picked up only once a month.
735
257
The luck I had on the sea seems to follow me on land. After a few days I obtained a job with a
photographer, Professor Hall, and, curiously enough, the first thing I did in Australia was to paint
my own portrait – as a test. They do not ask for recommendations here, but rather, ‘what can you
do?’
You can see from the enclosed article which I have cut from a newspaper that the test turned out
well. I thought it might please you to see me favourably spoken of in the town’s principal
newspaper.
The newspaper Peter Schourup referred to was probably the Advertiser, which said: ‘We had an
opportunity on Saturday of inspecting some beautiful specimens of art at Professor Hall’s studio in
Hindley-street. They are portraits taken by the ordinary photographic process, and afterwards
painted in oils on the glass with great skill. The likenesses are correct and faithful, as photographic
portraits must be; and the subsequent oil colouring has an excellent effect. The artist employed by
Professor Hall is a young Dane, lately arrived in the colony, and the portraits painted by him are
very clever, and well worth inspection.736
The Register also referred to Professor Hall’s innovation. ‘It is a combination of portrait painting
and photography. The photograph, on glass, is first taken, and is then treated as a groundwork for
an oil painting, the colours being laid on by an artist skilled in this kind of work. The result in
many instances is shown to be a portrait possessing the correctness of a photograph and the
softness of an oil painting. But the process is somewhat expensive, and does not in all cases
preserve a striking likeness. Most of the portraits taken, however, in this instance are good, and no
doubt many persons to whom this mode of colouring is new will be glad to give it a trial.737
In his letter Schourup described some aspects of life in South Australia.
Some Englishmen are very nice people, and I live here in the house of the professor as though we
had known each other for many years. The first day I was there I was invited to go for a drive with
his family. We went to the seaside 2 Danish miles from the town where we enjoyed ourselves the
whole afternoon. Since then I have made many excursions together with them: in short, they show
me much attention, so you can see that I am very well off for the time being. But Paradise is never
perfect, and we are plagued by many things, such as mosquitoes, a kind of gnat, and a most terrible
heat which is sometimes as much as 30 to 40 C. I have never before been able to sweat – but here I
sit quietly and sweat the whole day. How it is possible to endure hard labour I do not understand.
I would like to give you a description of this strange country, but time and place do not permit and I
do not know much about it yet. Let me just tell you that it is not without reason that Australia has
been called the country of wonders. Here you can find animals, birds and plants of such strange
shapes, colours and characteristics as cannot be found anywhere else in the world …
I do not yet know how much money I will earn, but I feel certain I shall be able to repay the money
I borrowed from the Savings Bank within the time stated … You probably won’t see Uncle Niels,
but if you should, please give him my regards. To think I might have stayed at home because of him
and never have been so happy as I am here now – and I feel sure that in time I shall also be able to
earn some money. I must admit that it is perhaps more luck than wisdom which has led to my
success, as there are many emigrants here who are very badly off … My address is Mr Schourup
care of Professor Hall, Hindley Street, Adelaide, South Australia.738
It seems likely that Peter Schourup learnt the art of photography from his benevolent friend
Professor Robert Hall (q.v.), as on his arrival he was demonstrating his skill as an artist, but by the
end of the year was practising photography.
On 5 November 1863 an advertisement in the Register informed the public at Port Adelaide that P.
736
Advertiser, 19 January 1863.
738
Source not available.
737
258
Schourup had opened a portrait room at Mr Lavin’s on North Parade, Port Adelaide, business
hours 9 am to 4 pm. John Lavin was a grocer and confectioner on North Parade (Lewis directory
1862). Schourup’s directory entries as a photographer on North Parade did not start until 1867 and
the last was in the directory for 1874.
What are presumed to be Schourup’s first cartes de visite carry the printed inscription, ‘P.
Schourup, of the Royal Academy of Arts, Copenhagen, Portrait Painter and Photographer, Port
Adelaide’. On his later cards, of similar design, was ‘P. Schourup, Artist Photographer, Port
Adelaide’.
In September 1867 the Register commented on his photographs of the new press boat: ‘We have
seen an artistic production from the atelier of Mr Schourup, Port, representing the new boat
recently built by Mitchelmore for the Shipping Reporter. This boat is the largest ever laid down for
the beach service, and although under jury-rig when taken presents a very fine appearance,
especially as the artist has succeeded in producing a good picture with all sail set …’
When Prince Alfred, Duke of Edinburgh, arrived in South Australia a few months later, Schourup
was able to obtain photographs of the Duke’s frigate, HMS Galatea. The photographs were on sale
at E.S. Wigg’s stationery shop in Adelaide and at Schourup’s Port Adelaide Photographic Rooms.
The photographs were reported in the Register on 25 November 1867: ‘By the courtesy of the
Commander every facility was afforded [Schourup] in producing a series of pictures which are
highly interesting, and as works of art reflect great credit on the artist …’ A detailed description of
the views then followed: one taken with the camera on one of the steamer’s paddle-boxes; another
from the fore bridge showing the drummer, commander, and the deck fittings; and a view from the
starboard gangway, showing a group of officers standing beneath the bridge.
Schourup’s views of Port Adelaide were also noticed by the Register on 5 January 1872: ‘Mr
Schourup has made it a specialty of his profession to pay particular attention to photographing
nautical scenes, and the positions of some of his ships are excellently chosen. Lately he has taken
several views of the Port as it is seen from the opposite river bank … Should the views stand the
lapse of time, in a few years hence they will prove interesting records of the past.’ The article went
on to describe the photographs, detailing the vessels and buildings recorded by the camera.
‘Altogether the pictures are gems of art reflecting great credit on the photographer.’
A few months later the Register reported that Schourup, ‘who has long been favourably known to
the public because of his artistically arranged shipping views as well as the clearness of the
portraits he takes’, had made improvements to his studio, using an ingenious arrangement of
curtains to give a softness of light and shade which greatly improved his portraits. Some of
Schourup’s views of the Port were included in the South Australian exhibit at the 1873 London
International Exhibition.
By June 1882 Peter Schourup had moved to New Zealand and established a flourishing
photographic business at 150 Colombo Street, Christchurch. His health failed before he had an
opportunity to return to Denmark, and he died on 24 January 1887, at the age of 49.
There is a portrait of P. Schourup in Fifty Years of the Port Adelaide Institute.739
SCHRADER, Hermann Friedrich
Painter and photographer of 167 Rundle Street, Adelaide, died from strychnine poisoning in ‘one
of the most deliberate and determined cases of self-destruction which has occurred in the colony’.
740
Schrader was born c.1813, arrived in South Australia in 1849, and died 17 October 1863.741
739
740
F.E. Meleng, Fifty Years of the Port Adelaide Institute, The Institute, Pt Adelaide, 1902, p. 80.
259
SCHRODER, Alfred
An advertisement in the commercial directory of the Northern Argus for 8 September 1882 said,
‘A. Schroder, photographer, adjoining N. LeFeuvre’s, Clare, cartes de visite from 7/6 per dozen’.
Alfred Schroder was listed as photographer, Main Street, Clare, in directories from 1882 to 1887,
then as manager of Rothwell & Co., Rundle Street, Adelaide, from 1891 to 1899. His residential
address was given as Harriet Street, Adelaide, from 1889 to 1895, then as Freeman Street, 1896–
99. The change to Mrs Schroder, Freeman Street, in 1900, and the disappearance of Rothwell &
Co. from the same directory could mean that Alfred Schroder died at some time in 1899.
For one year, 1895, Alfred Schroder was shown as manager of the Bijou Studio, 174A Rundle
Street, while still listed as manager of Rothwell & Co.
An ‘A. Schroder’, presumed to be the same person, was also associated with two other
photographic businesses. There are carte de visite portraits (Noye collection) which appear to have
been made in the 1880s which have the printed inscription ‘A. Schroder, Victorian Portrait
Studio’. There are also cabinet and carte de visite portraits with the rubber stamp imprint
‘Victorian Photo Company, A. Schroder, manager, copies can be had on application’. The words
are enclosed in a scroll design, and one of these photographs, J. Wilson’s Jubilee Store at Riverton,
was taken c.1889.
SCOTT, Andrew
Born in Edinburgh, Scotland, on 31 May 1851, Andrew Scott arrived in South Australia on the
Medina in 1852. In March 1894 he became a member of the South Australian Photographic
Society, at which time he was Instructor of Pupil Teachers at the Education Department’s Training
College in Grote Street, Adelaide. In 1895 he was elected vice-president of the society and again in
1896, 1898, and 1906, and was elected president in 1899 and 1902.
At the May 1897 meeting he read a paper on lantern slides in which he dealt with the process of
making a slide from selecting the negative to mounting the finished slide, then exposing and
developing a plate which was later projected onto a screen. In June 1901 he gave a lecturette on
lantern-slide making, in which he used ‘some beautiful slides’ to illustrate different methods of
toning and development.
In January 1901 the society held a social to welcome home Andrew Scott and his son Douglas who
had returned from a trip to England. The society congratulated him on his ‘improved state of
health’ and in reply he briefly outlined his trip through England and Scotland, and described the
Royal Photographic Society’s exhibition held in London. He noticed that in the amateur section
there was a prevalence of bromide and platinotype prints and the comparative absence of the silver
print.742
He was named as one of the ‘well-known high-class camerists’ who would be exhibiting work at
the 1903 exhibition of the Kapunda Photographic Club.743 During the exhibition he gave a short
lantern lecture, ‘A Trip Through Scotland’. His son, Douglas G. Scott (q.v.), was also a member of
the South Australian Photographic Society.
Andrew Scott died on 8 October 1907, his death being recorded in the society’s minute book.
741
1445.
742
Australasian Photo-Review, February 1901.
743
260
SCOTT, Charles P.
Listed as photographer at 21A Waymouth Street, Adelaide, in directories from 1909 to 1915+, his
‘private residence’ being given as 10 Grace Street, Goodwood Park.
SCOTT, Douglas G.
Was the son of Andrew Scott (q.v.) and accompanied his father on a trip through England and
Scotland towards the end of 1900. He was described as a ‘young member’ of the South Australian
Photographic Society who ‘gives promise of good work’ when his ‘praiseworthy’ picture, A
Highland Farm, was a prizewinner in the landscape section of the society’s annual exhibition in
1903.
SCOTT & TEAKLE
The following advertisement appeared in the Renmark Pioneer 22 January 1904:
We have seen some of the photographs taken by Messrs. Scott and Teakle of Renmark orchards and
vineyard and they are very good ones. Their bromide pictures come out very well indeed, and the
figures even in the landscape are easily distinguishable. Those taken of Col. Morant’s and Mr J.W.
Clark’s and others are particularly fine. These photographers will be here until the first week in
February, and orders left at the Renmark Hotel will be promptly attended to. Family and other
groups, animals, homesteads, interiors, etc. –
SCOTT-BARRY, Walter
In the directory for 1882–83, published October 1882, ‘Scott Barry’ advertised his photographic
business at 69 Rundle Street, at the rear of the Town and Country Bank. For 1884 he was listed as
Scott & Barry, off Rundle Street, in a location which matches his previous entry. From 1889 to
1894 he was listed under “B” as ‘Barry, Scott’ in the photographers’ trade section.
1885–88
1889–90
1891–97
1898–1900
unlisted
149 Rundle Street
146 Rundle Street
Mount Gambier
His photograph, Scene at the Mount Gambier Hunt Club Races, was published by half-tone in the
Critic on 23 October 1897. In Australians Behind the Camera, Sandy Barrie refers to a Scott
Barry, ‘from Adelaide’, who was listed as a photographer at Warrnambool, Victoria, from 1903 to
1912.
SCRYMGOUR, George, Jnr
Was a partner with Henry Davis in The Adelaide Photographic Company (q.v.), King William
Street, when the premises were destroyed by fire in December 1870. Insurance on the property had
lapsed and the loss, which included 15,000 negatives, was very severe. However, the premises had
been rebuilt within two months and reopened for business. On 8 February 1873 the partnership
between George Scrymgour Junior and Henry Davis was dissolved by mutual consent.
George Scrymgour Junior, his father George Scrymgour and Edmund Scrymgour, a brother,
acquired the priming and bookbinding business of Gall & Sheridan at 89 King William Street in
July 1875. George Junior continued his association with photography by becoming a director of
the newly formed Photographic Company of South Australia in December 1882, which for several
years operated the Temple of Light Studio in Rundle Street, and the Royal Princes’ Studio in King
261
William Street.744
SECOMBE, J.H.
His postcard photographs of Port Lincoln were identified by a wet-stamp inscription on the back,
‘J.H. Secombe, Boston Studio, Port Lincoln’, on a design which included an artist’s palette and
brushes. A separate wet-stamp said, ‘This photo must not be re-produced’. J.H. Secombe was
listed as chemist and druggist in directories from 1906 to 1914.
SELLWOOD, John
John Sellwood, ‘from Dent’s, London’, advertised as a watchmaker and jeweller, Mount Gambier,
in the Border Watch in December 1864. Mrs Sellwood was in business next door as a milliner and
dressmaker. In August 1865 Mr Sellwood delivered a lecture on astronomy in the Port
MacDonnell schoolroom, which was crowded for the occasion.
John Sellwood provided Mount Gambier with its first Town Clock, outside his premises in
Commercial Street, in May 1867, and in the same month the Mount Gambier Standard reported
that Mr Sellwood had been ‘making considerable alterations and improvements to the front of his
premises, and we understand he contemplates adding the business of photographer to his present
concern, which will necessitate a further enlargement of his shop’. John Sellwood died two months
later, on 31 July 1867. He must have had time to commence business as a photographer, however,
as a carte de visite photograph exists with the following inscription penned in ink on the back
‘Sellwood & Son, Watchmakers and Photographers, Mount Gambier’.
SEMAPHORE PHOTOGRAPHIC SOCIETY
The Semaphore Photographic Society appears to have been formed in 1908, as the eighth annual
report was presented in July 1916, and the report of a meeting held at the residence of Captain
Creer in August 1912 stated: ‘The society, since its formation some four years ago, has been doing
quiet work amongst amateur photographers of the district, and the collection of between 60 and 70
framed pictures shown at the meeting evidenced considerable skill in the art’.745
The society was assisted by members of the Adelaide Camera Club who gave talks and instruction
in the technical aspects of photography. One of the members, Mr R. Fraser, ‘an enthusiastic
advocate of pictorial methods’, gave a ‘clear and concise’ lecture on composition in February 1913
which, it was said, ‘will undoubtedly have the desired effect of setting the members thinking and
help them to compose in a more efficient manner’.
Photographic material supplier S.P. Bond (q.v.) also entertained the members with lantern slide
demonstrations and gave technical assistance. In November 1913 he demonstrated the complicated
Paget colour process.
In 1916 the committee decided that, ‘owing to the depressing influence of the war’, the society
would not hold an exhibition that year. On a more cheerful note, however, it was reported that ‘a
local branch of the Y.M.C.A. “Snapshots-From-Home” League was formed under the auspices of
the Society’.746 The society was still operating in 1923 with Mr R. Fraser as President.
SEYMOUR, Mr J.S.
‘Mr S.E. Nixon’s photographic studio is now under the able supervision of Mr J.S. Seymour, late
744
4, p. 1457.
745
Australasian Photo-Review, August 1916, August 1912.
746
Australasian Photo-Review, August 1916.
262
of Melbourne. Mr Seymour’s long connection with the leading photographic firms of Victoria
should be sufficient guarantee of the work he will turn out.’747
SHACKLEFORD & SON
The printed inscription on the back of an undated carte de visite of a man and a woman, which
appears to have been taken in the 1870s, is ‘Shackleford & Son, Photographers, Mount Barker
Springs, South Australia. Copies can be had on application.’ In directories from 1864 to 1868
James Shackleforth is listed as ‘licensed school, Mount Barker Springs,’ and the entry continues
from 1869 to 1876 under the name of James Shackleford. From 1877 to 1879 the entry changed
from ‘licensed school’ to ‘public school’.
SHAW, James
James Shaw was born at Dumfries, Scotland, on 12 January 1815 to James and Isabella Shaw. His
father trained as a lithographer and engraver and may have taught these skills to his son. Shaw
studied law at the University of Edinburgh and in 1836 moved to Jamaica where he worked as a
bookkeeper. As a hobby Shaw practised drawing and painting and soon he received commissions
to draw the planters’ estates.
Shaw returned to Edinburgh in 1847 and may have learnt the skill of photography from his brother
George; he then went into business as a painter and photographer. He married Janet Liddle
Paterson in 1850 and together they emigrated to South Australia aboard the Sacramento.
In South Australia Shaw continued to work as a painter, sketcher and photographer, while also
working as a clerk in the Adelaide Post Office. From 1857 he exhibited regularly with the Society
of Arts. In the 1860s Shaw produced several works that combined painting and photography. South
Australian Parliament; the House of Assembly (c.1867) and City Ball in Honour of Prince Alfred
(1867) both incorporate small photographed faces glued onto each of the painted figures. These
photographs may have been obtained from Townsend Duryea who, in the mid-1860s, was
producing small gem portraits, about the size of a ten-cent piece with adhesive backs that could be
pasted into letters or published books.
James Shaw died on 1 September 1881.
This account is based on Ron Appleyard, ‘James Shaw’ in The Dictionary of Australian artists,
painters, sketchers, photographers and engravers to 1870, edited by Joan Kerr, Oxford University
Press, Melbourne, 1992, pp.718–20.
SHEEDY, R.E.
SIMMONS see BAUER & SIMMONS
SIMMS, Abraham
Listed as photographer at Edward Street, Norwood, in the directory for 1884.
SIMPSON, S.J.
A rubber wet-stamp, ‘S.J. Simpson, Manoora’ was used to identify his photographs. He was listed
as railway porter in directories from 1895 to 1903, and was active around 1903, having
747
Areas Express, Gladstone, 10 April 1878.
263
photographed William Knauerhase’s Manoora general store (Noye collection) which was not listed
in directories until 1903.
SLADDIN, George (Also spelt Sladden in some directories)
Born c.1833 George Sladdin had arrived in South Australia by 1862. A photographer in Mount
Gambier from 1872 until about 1900,748 he also listed his occupations as mason, policeman and
storekeeper. Two of his sons, John and Thomas, later became photographers.
In January 1873 Sladdin advertised his studio: ‘Photography to Meet the Times! Carte de Visites,
5s per dozen at G. Sladdin’s, Commercial-street West. Ministers taken gratis.’749 A year later
Sladdin gave notice that his photographic business and stock was for sale,750 but six months after
this advertised an expanded business, including stationery:
G. Sladdin still continues to take his unrivalled cartes de visites, vignettes, cameo vignettes,
miniatures for lockets and brooches, and life-sized pictures. For samples of workmanship see
upwards of 700 on exhibition in window. N.B. All kinds of miniature painting done neatly and with
dispatch.751
Between 1876 and 1880 his studio was listed in the directories at Mount Barker Springs. George
Sladdin died in 1907 at Mount Gambier.
Carolyn Lovitt
SLADDIN, John (Also spelt Sladden in some directories)
The oldest son of photographer George Sladdin, John Sladdin was born in 1861, Mount Gambier.
He joined his brother Thomas’s photography studio in Lyndoch, working there between 1893 and
1900. In 1903 he opened a studio at Port Elliot and then moved to Victor Harbor where he was
listed in the directories between 1916 and 1924. He was in Clare between 1936 and 1937. Two of
his sons, Lindsay George and Robert Sinclair, also became photographers, Lindsay operating a
studio in Clare and Robert operating studios in Victor Harbor, Mount Gambier and Tanunda.752
George Sladdin died August 1947 in Victor Harbor.
Carolyn Lovitt
SLADDIN, Thomas (Also spelt Sladden in some directories)
Thomas Sladdin was born in Robe in 1859, the son of photographer George Sladdin. He was first
listed in the directories as a photographer in Littlehampton from 1889, and at Sedan between 1892
and 1894. In 1893 he listed a new studio at Lyndoch and was soon joined by his brother John.
Between 1895 and 1900 the studio was listed jointly under both of their names. In 1904 Sladdin
listed his studio at Frances, and between 1905 and 1914 his studio was listed at Blumberg.
The photography of Thomas Sladdin received attention in August 1901 when the Bunyip
advertised a display in their office windows of some of his photographs: ‘Mr T. Sladden of
Lyndoch succeeded by aid of his camera in immortalising some of the snow scenes which recently
presented themselves in the neighbourhood of Murray Vale, Williamstown, and Lyndoch … the
scene is picturesque in the extreme.’753 He died in 1945 at his residence in Murray Bridge.
748
Sandy Barrie, Australian Behind the Camera: Dictionary of Early Australian Photographers 1841–1945, self-published, 2002, p.
173.
749
Mount Gambier Standard, 4 January 1873.
750
Mount Gambier Standard, 16 January 1874.
751
Border Watch, 27 June, 1974.
752
See Sandy Barrie, Australians Behind the Camera: Directory of Early Australian Photographers 1841–1945, self-published, Booval,
Queensland, 2002, p. 172.
753
‘Snow Photographs’, Bunyip, 9 August 1901.
264
Carolyn Lovitt
SLADDIN, John and Thomas (Also spelt Sladden in some directories)
Bothers John and Thomas Sladdin were sons of the photographer George Sladdin. Thomas opened
a photography studio in Lyndoch in 1893 and was joined there by John. The business was listed
in the directories in both their names between 1895 and 1900.
Carolyn Lovitt
SLATER see AINSWORTH & SLATER
SMALL, J.W. & Co.
A firm of photographic material importers and manufacturers who had stores in Sydney,
Melbourne, Brisbane and Adelaide. The Adelaide branch was listed as the Central Photographic
Store, 27 Rundle Street, in directories from 1894 to 1897.
SMEATON, Stirling
Stirling Smeaton, BA, was an amateur photographer and member of the South Australian
Photographic Society. He showed work at the society’s monthly meetings in June 1895 and
October 1899, and in May 1901 he gave an address on ‘Hand Camera Work’. He was elected vicepresident of the society in 1901 and 1902, president in 1903, and was made a member of the
committee in 1904, 1905 and 1907. In 1903 he exhibited Tasmanian and other views at the
Kapunda Photographic Club’s exhibition of photography.
In March 1902 he delivered a ‘highly interesting and up-to-date address’ on ‘Photography in
Natural Colours’, exhibiting a kromskop, through which ‘sets of three transparencies were viewed
as one object, with the result that the combination of three primary colours produced the various
shades and blends of colour as seen by the human eye’.754 This was followed by a practical and
humorous paper on ‘Failure, the Best Developer for Beginners’, in which he emphasised the
important part that failure played ‘as a stepping-stone to knowledge’, and explained how some of
his present practical methods had evolved from his own failures. He referred to the annual
exhibitions and the failures of competitors. By these failures, and by comparison with the winning
pictures, he said, members should be able to learn what they needed to do to gain prizes, although
he lamented the fact that in his case he had produced more failures than successes.755 He gave a
demonstration of bromide development using ferrous oxalate in August 1903, and spoke on
‘Exposure v. Development as the Controlling Factor in Negative Making’ in November 1906.
He may have been the Stirling Smeaton (1860–1909) who was a son of Thomas D. Smeaton listed
in the Biographical Index of South Australians.
SMITH, Albert E.
Albert Smith purchased the business and plant of the Popular Picture Company (q.v) at Clare in
September 1920, and continued showing pictures in the Clare Town Hall under the name of
Smith’s Pictures. His application for the sole right to show moving pictures in the Town Hall for
60 nights per annum for £100 was approved by the Clare Corporation, effectively limiting the
opportunities for travelling picture shows to be screened in the town.
754
755
Australian Photographic Journal, February 1903.
265
From January 1917 Albert Smith had carried on a business as a mail contractor and general carrier
using motor vehicles, and the picture show was an extension of his other business interests.756
SMITH, A.P. see KOSMINSKY AND SMITH
SMITH, George
Listed as photographer at Beulah Road, Norwood, in the directories for 1882 and 1883.
SMITH, John S. (SMITH, J.)
On 7 November 1868 J. Smith, ‘artist photographer’, advertised in the Southern Argus that he was
opening for business in North Strathalbyn, opposite Mr Bills, on 9 November. Glass portraits cost
ls., cartes de visite 8s 6d per half-dozen. By the end of December he had moved his photographic
tent to a more central position, in Swale Street, near Mr Sunter’s store, and the newspaper was able
to report: ‘Mr Smith, besides adding to his list of portraits of the inhabitants, has also been
engaged in taking views of various buildings and the residences in the town, and he has been very
successful in obtaining some very handsome pictures, every detail being brought out with a
distinctness which renders the views very pleasing to the eye’. The Argus also said that another
photographer, Mr W.W Thwaites senior, was also busy taking portraits in Strathalbyn.
In April 1869 the Southern Argus described some of photographs Smith had taken: ‘Views of the
Presbyterian Church, Dr Herbert’s late residence, the Post Office, “Southern Argus” office, and Mr
J. Kirkham’s prize fat cattle at the recent agricultural show … We understand that Mr Smith
intends visiting the southern townships next week’.
On 2 December 1870 J. Smith advertised in the Northern Argus that he was situated near the mill
at Clare and prepared to take portraits and every description of photographic work at Adelaide
prices. In March 1871 the Northern Argus reported that some excellent specimens of Smith’s work
could be seen. They included views of the Main Street in which the Post Office, Ford’s Hotel, the
National Bank and Globe Hotel were shown ‘with great distinctness’.
The directory for 1869, which would have been compiled while Mr Smith was at Strathalbyn, has
an entry for a J. Smith, photographer, Kermode Street, North Adelaide, and there was also a John
Smith, photographer, Kermode Street, North Adelaide, listed in directories from 1877 to 1879, and
1882 to 1889. A carte de visite portrait of a lady (Noye collection) has the printed inscription ‘J.S.
Smith, Kermode Street, North Adelaide. Negatives kept. Copies can always be had’. However, the
research has not shown definitively that all of these were the same person.
Mr J. Smith was nominated ‘by Great Britain and other countries’ as a juror on the panel which
judged the photography section of the 1887 Adelaide Jubilee International Exhibition.757
SMITH, W.T. Lingwood see LINGWOOD-SMITH, W.T.
SMITH, William Sydney
Listed in the directories as a photographer and fancy goods dealer while at the Arcade in Rundle
Street, then as photographer.
1901–04
12 Arcade, Rundle Street, Adelaide
1905–07
1908–10
13 Pulteney Street, Adelaide
1911–14+
293 Pirie Street, Adelaide
Smith worked for the Register from 1900 to 1927, probably as a freelance photographer, and died
756
757
Northern Argus, 27 August 1943 has some biographical information and a portrait of A.E. Smith.
266
at Adelaide in 1960 at the age of 96.758
SMITH, William Thomas
Was an apprentice at George Freeman’s Melbourne Photographic Company studio in Rundle
Street when it was destroyed by fire on 27 February 1879. Freeman said he was ‘a steady lad’, who
had a key to the premises and whose duties included turning off the gas at 6 pm, and returning at 9
pm to turn off the water – probably water used for washing photographic prints.
SOLOMON, Saul
Born in Knightsbridge, London, on 15 January 1836, Saul Solomon was the son of Joseph
Solomon, a dealer in photographic apparatus. As a youth Solomon learnt the art of
daguerreotyping from Victor Cargneville, a friend of Daguerre. He arrived in Victoria in 1852,
worked with some success on the goldfields, then settled at Ballarat as a storekeeper in 1854. By
1857 he had a studio in Ballarat where he made ambrotype portraits for 5s each. He was joined by
a partner, William Bardwell, and by 1862 they were trading as Solomon and Bardwell.
Saul Solomon married Martha Patti Kemp in October 1866, and c.1868 came to South Australia
where he worked as a photographer for Townsend Duryea, Adelaide’s leading photographer. In
1871 Saul Solomon, artist, of South Road, St Marys, was listed as insolvent in the Insolvencies and
Assignments column of the Adelaide press.759
In April 1873 Townsend Duryea opened a branch studio at Wallaroo with Saul Solomon as
manager. Duryea erected his studio opposite Bowe and Co.’s timber yards, where it was to remain
for only a short time. Negatives Solomon made at Wallaroo were sent to the head studio in
Adelaide for printing and finishing, so that ‘permanency and satisfaction’ were assured. At that
time clean water was a scare and expensive commodity on Yorke Peninsula, much of it produced
by distillation plants at the mines.
Soon after the studio was opened the local paper reported:
There would seem to be some spirits in Wallaroo who cannot resist the temptation to a joke under
any circumstance. During the first days the large flag over Mr Duryea’s photographic studio, where
presides Mr Solomon, has been a conspicuous object in the town, but on Tuesday morning it was
not to be seen at the accustomed time for it to be unfurled. The reason was that some wags had
found out its whereabouts during the night, broken the flagstaff off, and placed both over the
Wesleyan Church, across the square. 760
Solomon’s studio was at Wallaroo from 17 April to 26 May, then moved to Moonta and opened
for business on 9 June, at the rear of Mr Bell’s premises in George Street. By the end of June the
studio had closed and was offered for sale: ‘For Sale. A portable photographic house, built in
sections of wood, Glass side and top light, with roofs of canvas and iron. Specimen photographs,
equal to any produced by the best arranged studio, may be seen on application to Mr Solomon,
Duryea’s studio, Moonta.’761
A few weeks after leaving Moonta Saul Solomon was in Adelaide managing Duryea’s newly
completed second studio at 51 Rundle Street. Duryea’s new studio, opened on 21 July 1873, was
called the Adelaide School of Photography, and in advertisements Solomon said, ‘The glass-room
has been constructed with every care and regard to the delicate and pleasing distribution of light
and shade so essential to artistic effect. Photographs copied, enlarged, finished in oils, water
758
Wallaroo Times, 23 April 1873.
761
Wallaroo Times, 11 June 1873.
759
760
267
colour, mezzotint, chromographs, and all the various and newest styles’.762
When Duryea’s main studio in King William Street was destroyed by fire in April 1875, he
transferred all of his business to his ‘second establishment’, the School of Photography, until the
studio was rebuilt. As all of his King William Street negatives had been lost, he offered to make
replacements free of charge at his Rundle Street studio.
The shock of losing his life’s work as a photographer must have been the cause of Duryea’s
retirement from the business, for soon after his King William Street premises were rebuilt they
were taken by Nixon and Manning, and in July he put his Adelaide School of Photography up for
sale: ‘A Rare Chance. For Sale, The Adelaide School of Photography, 51 Rundle Street. With an
unexpired lease of Eight years. By subletting, these replete photographic premises are reduced to
the low rental of £91 for the first year, and £78 per annum for the remaining seven years. Price
£900, which amount is represented at a low valuation on the stock, instruments, negatives,
furniture, and improvements, doing an increasing business of £1,400 per annum.’763 The business
was purchased by Saul Solomon, and remained in his hands until 1890, and Townsend Duryea
started a new life as a farmer at Balranald in New South Wales.
Although Solomon’s Adelaide School of Photography produced large oil-coloured portraits which
were either painted from photographs, or were paintings made on an enlarged photographic base,
none of these appear to have been the work of Solomon himself. Available biographical notes
make no mention of training in art, and glowing newspaper reports of portraits in oils made in his
studio usually refer to an anonymous artist.764 One of these may have been ‘the celebrated artist in
oils’ Mr Chang Pang (q.v.), as a descendant of Solomon’s has said that Solomon employed a
Japanese artist to colour his photographs.765
In 1884 Solomon’s charges were 10s 6d per dozen for single figure carte de visite; 17s 6d for
single figure cabinet portraits. Other sizes, such as ‘promenades’ and ‘imperials’, were charged at
proportionate rates. By 1889 his prices had been reduced and the number of styles available
increased. ‘Cartes de visite were 7s 6 per dozen for a single figure, and 2s 6d for each additional
figure; cabinets 15s single plus 2s 6d for each extra figure; styles available were Plaques,
Boudoirs, Tademas, Panels, Promenades, Imperials and Millais’. Large pictures could be finished
on porcelain, or in mezzo, water or oil colours.
In addition to his photographic interests, Saul Solomon was a businessman, civic leader and
politician. Together with R.C. Castle he built the Academy of Music in Rundle Street; he was a
chairman of the company which built the Adelaide Arcade; an alderman on Adelaide City Council;
a member of Parliament from 1887 to 1890; a Councillor of the Adelaide School of Mines; and a
member of the Fire Brigade Board.
In 1890 Saul Solomon moved to Mount Gambier as proprietor of the Mount Gambier Hotel, and
the Adelaide School of Photography was taken by Thomas Adcock. A comment in a letter
published in Quiz said, ‘Hitherto, you have drawn faces, now you are going to draw beer.766 In
1894 he moved to Western Australia, settling at Northam, where he died on 2 May 1929 at the age
of 93 years.
762
Portraits of Sir R.D. Hanson, Observer, 22 April 1876; Carl Balk, Observer, 19 August 1876; Dr Moorhouse, Observer, 24 February
1877; Dr Benson, Observer, 29 September 1877; Pope Pio Ninio, Observer, 1 June 1878; Royal Family, South Australian Register, 12
July 1879; Mr A.J. Baker, South Australian Register, 14 October 1879; F.E. Bucknall, South Australian Register, 30 January 1880, and
although this says ‘by Mr Solomon’, it no doubt means ‘by Mr Solomon’s studio’. A complete search of newspapers for this period
should unearth more examples.
765
766
Quiz, 17 January 1890, quoted in Joan Kerr (ed.), Dictionary of Australian artists, painters, sketchers, photographers and engravers
to 1870, Oxford University Press, Melbourne, 1992, p. 746.
763
764
268
SOLOMON AND JUST
The entry, ‘Solomon and Just, Rundle Street’, in the photographers’ trade section of the
Commercial and Traders Directory for 1882–83 is almost certainly an error. It was no doubt
meant to be ‘Rushton & Just’ (q.v.), who had a studio at 150 Rundle Street by June 1882, and who
formerly had connections with Saul Solomon’s Studio at 51 Rundle Street.767
SOUTH AUSTRALIAN PHOTOGRAPHIC SOCIETY
On 14 August 1885 the following advertisement appeared in the Advertiser: ‘PHOTOGRAPHY –
A First and General meeting will be held at A. Flegeltaub’s office, Freeman-street, on Friday,
August 14, at 7 p.m., for the purpose of forming a Photographic Society. All amateurs wishing to
become members are requested to attend or send in names.’
The following day a report of the meeting appeared in the same paper:
Letters having been read from a number of town and country intending members, the chairman (Mr
Flegeltaub) stated that he had called the meeting with the view of forming a society, the object of
which should be to encourage amongst its members the exchanging of ideas, photographs, and
suggestions on all branches of photographic chemistry. It was resolved that either amateurs or
professionals should be eligible as members; and that the society be called the South Australian
Photographic Society. It was moved that the subscriptions be £1 for town and 10s. for country
members, but the decision on this matter was referred to an adjourned meeting to be held next
week.
In October the society’s secretary, H. Tamber, advertised a transparency night which was to be
held at Mr Flegeltaub’s office in Freeman Street.768 Mr A. Flegeltaub (q.v.) was a dealer in
photographic equipment.
Little is known of the early years of the society. Records of the society held by the Mortlock
Library are one letter book and one minute book. The first president (or chairman) was S.J. Dailey
who appears to have held the position until about 1890, and in August 1899 he was elected a life
member of the society.769
By October 1887 the society had included ‘Amateur’ in its title to become the South Australian
Amateur Photographic Society, under which name it was awarded a certificate of merit for
photographs exhibited at the Jubilee Exhibition held in Adelaide in 1887.770 At another exhibition
held in Adelaide in 1891 the South Australian Amateur Photographic Company (Society) had on
show ‘a picturesque department of photos of South Australian Scenery’.771
A copy of the ‘Rules and Bye-Laws’ of the South Australian Amateur Photographic Society was
reproduced in the Australasian Photo-Review for June 1949. A list of officers appeared above the
rules: ‘President – His Excellency the Right Honorable the Earl of Kintore, G.C.M.G. [the
Governor]; Vice Presidents – Prof. Bragg, Dr Cockburn, Dr Rennie; Chairman – Mr S.J. Dailey;
Secretary – Mr F.C. Krichauff; Vice Chairman – Mr G. Stace; Treasurer – Mr R.B. Adamson;
Committee – Messrs. A.R.S. Craig and J.Robertson.’ Some of the Rules and Bye-Laws were:
1. Name. That this Society be called the South Australian Amateur Photographic Society.
2. Objects. That its objects shall be the exchange of photographs, the interchange of ideas and
suggestions relating to Photography, the formation and maintenance of a photographic library, the
promotion of a closer acquaintance among amateur photographers in this and other Colonies, and
photographic excursions.
3. Members. That members may consist of either sex.
767
769
770
Observer, 15 October 1887, p. 37.
771
Observer, 23 May 1891, p. 38.
768
269
4. Definition of an Amateur. That an amateur photographer shall be considered one who practises
photography but does not make a livelihood thereby.
5. Members. That members will be expected to attend the meetings of the Society, take a personal
interest in its proceedings, and show their work for criticism.
The date given in the caption to the copy reproduced in the Australasian Photo-Review was 1883,
which was obviously incorrect as the Earl of Kintore did not become Governor of South Australia
until April 1889. The names of the officers suggest a date of 1890.
On an undated printed list (Noye collection) of officers of the South Australian Amateur
Photographic Society (1891 or 1892) the positions of president and vice presidents were merged
and they had become patrons, the chairman became president, and the vice chairman became vice
president. By this time the society had seven important figures as patrons: The Governor, Sir E.T.
Smith M.P., Mr (Sir) Charles Todd, Dr J.A. Cockburn M.P., Dr E.H. Rennie, Professor Bragg, and
Mr J.J. Green.
By August 1893 the society had removed ‘Amateur’ from its title, was in a ‘flourishing condition’,
and had 58 members on the roll.772 Annual conversaziones were being held where members,
friends and visitors could inspect an exhibition of members’ work hung on the walls and table
displays of sterescopic pictures, photographic apparatus, and other photographic items of interest.
An exhibition of lantern slides, with commentary, was usually a part of the proceedings.
In February 1894 twenty-four members of the society took part in the third annual excursion to
Mount Barker at the invitation of one of its patrons, Dr Cockburn.
After being welcomed by the doctor, the whole party, armed with their cameras, proceeded to
search for and photograph some of the interesting spots of the neighbourhood. The visitors were
first driven through the township and then along the road to Friedrichstadt. There some good views
of the quaint German homesteads were obtained. A charming spot on the banks of the Onkaparinga
was selected as a camping ground for lunch, and full justice was done to the good things provided
by the worthy host.
After wending their way for a little distance along the river, the blocker’s township of Naylor was
visited. The return journey to Mount Barker was by way of Echunga. At Mrs Barr Smith’s house a
halt was made, and some photographs of the house and grounds were taken. Mrs Barr Smith further
honoured the visitors by providing light refreshments.773
After a ‘substantial tea’ at Dr Cockburn’s home the Doctor and Mrs Cockburn were thanked for
their kindness and hospitality then, after a group photograph had been taken, the party left to catch
the train for Adelaide. The president offered two prizes for the best lantern slides taken during the
excursion.
At the annual meeting held in July 1894 Doctor Cockburn was made the society’s first life
member, and the secretary reported that the society was still ‘in a flourishing condition’. Monthly
meetings were being held at the Chamber of Manufactures, there had been ‘a marked increase in
the membership’ (to 65 on the roll), and an increased attendance at meetings and in the interest
taken in them. The library contained 58 volumes and five serials. The last conversazione and
exhibition of work had been a success with a marked improvement on previous years ‘both as
regards the quantity and quality of the work shown’.774
In August 1894 the Photographic Review of Reviews said, ‘The South Australian [Photographic]
Society is, perhaps, the best intercolonial sample of photographic progress. Its meetings are said to
be always well attended, and some of the members are always on the look-out for opportunities to
make membership additionally attractive; added to which it has an earl, two knights, and sundry
772
Australian Photographic Journal, August 1893.
774
773
270
professors on the list of patrons, a live secretary, and a committee that takes an actual interest in its
welfare.’
Despite the ‘trying weather’ twenty members of the society took part in the annual excursion to
Mount Barker in February 1895. They left Adelaide on the 7.30 train and reached Mount Barker at
9 am. After photographing the streets and beauty spots of the town, they were taken to Dr
Cockburn’s home, ‘Fairfield’, about a mile and a half from the town.
A luncheon was laid out under one of the fine old oaks, and the refreshments provided by the genial
host proved most acceptable after a rather hot morning’s work. The musical members of the party
having rendered songs, and a number of good stories having been told, cameras were again called
into requisition, and the afternoon spent in photographing the house and grounds, sampling the
fruits in the orchard, and wandering over the farm. After the inevitable group photograph had been
taken an adjournment was made to the dining-room, where a sumptuous tea had been prepared …
775
Shortly afterwards the visitors left to catch the train for home.
At the conversazione and exhibition held in 1895 ‘all branches of photography were ably
represented’ and ‘among the most noticeable were microscopic slides by Mr Bussell, views by Mr
J.J. Dailey, instantaneous yachting pictures by Mr C.F. Clough, almond blossoms by Mr E.W.
Belcher, transparencies by Mr A.H. Kingsborough, and coloured photos by Mr E. Cooke’. If
photographs belonging to the new Pictorial movement were on show, they were apparently
considered not worthy of mention.
At the 1896 annual meeting the secretary reported that the number of members on the roll had
reached 69, and that three had been struck off for non-payment of subscriptions. In this and
previous years the making and showing of lantern slides seems to have occupied a significant part
of the society’s programme, and evenings devoted entirely to the making or showing of lantern
slides were not uncommon.
The members were shown specimens of Röntgen ray (X-ray) photography in June 1896, and in
October the monthly meeting was held at the University of Adelaide where Professor Bragg, a
former patron of the society, gave a lecture on Röntgen ray photography and demonstrated the
effects of the rays by providing members with ‘an opportunity of inspecting their own limbs made
transparent by the invisible rays with the aid of a fluorescent screen’. A further demonstration of
the rays was given at the annual conversazione in November when the president, Mr A.W. Dobbie,
assisted by Mr Scott, took some photographs with the aid of the rays, developed them, then had
them projected on a screen with a magic lantern. ‘They included photographs of a little girl’s hand
and of articles such as keys, watch-chains, &c., handed up by the audience.’ The society’s 1897
conversazione and exhibition was held in the Victoria Hall in November. A report of the event said
that the society’s members ‘always provide an instructive, artistic, picturesque, and intellectual
treat for their friends at their annual conversazione, and that engagement invariably attracts a large
number of people’. The hall had been ‘tastefully decorated with flowers, foliage, and flags by the
ladies’ and
round the room were ranged tables upon which were disposed in the best position beautiful
photographs of natural objects, scenery, landscapes seascapes, portraits, and pictures of a most
artistic character. On smaller tables were stereoscopes and kindred instruments, which vastly
entertained the visitors. A series of transparent photos of pretty bits of water, plain, and forest,
compelled a great deal of attention; so also did a lavish assortment of small views of notable spots
and buildings in England, Italy, and South Australia, which had been remarkably well taken by the
hand camera without the tripod. Several surprising pictures of the moon through the Lick telescope
and a huge album of cloud effects delighted many who were interested in that branch of
photography. There were also photos of bullets in full flight, and these also excited wonder and
admiration.
On a table near to the platform was an instructive exhibition of beautiful process work, with the
blocks, proofs, prints, and completed picture all suitably set out. One of the treats of the evening
775
271
was the series of pictures exhibited by the oxy-hydrogen light under the management of Mr R.B.
Adamson, and cast upon a large screen. The members rallied up splendidly and the large attendance
of friends, including the ladies, was a proof of the popularity of the Society … A capital string band
played at intervals during the evening, and the programme carried out was an entire success.776
In 1898 the society’s meetings were still dominated by lectures and demonstrations concerned only
with the technical aspects of photography, including such subjects as: isochromatic photography,
instantaneous photography, cyanotype printing, photographing the moon, photo-micrography, and
photography in colours Photographic realism appears to have been the general aim of the society,
with members concentrating on the production of sharp, clear photographs which were full of
detail and with a wide range of tones. Although Harry P. Gill, Director of the School of Design,
Painting and Technical Art, and Honorary Curator of the Art Gallery had become a member of the
society in November 1894 there appears to have been little attention paid to the ‘artistic’ side of
photography.
In July 1897 John Kauffmann had become a member of the society when he returned to Adelaide
after living for ten years in England and Europe where he had become an enthusiastic worker in
pictorial photography. The pictures made by the new pictorialists, as they were called, were vastly
different from those the members of the society had been accustomed to making and seeing at
exhibitions. Instead of being sharp and full of detail, they were fuzzy and would have appeared as
if poorly focused, and instead of having a wide range of tones their tonal range was limited.
However, a few of the society’s members embraced the new photography, and it may be that the
arrival of John Kauffmann gave others the courage to bring out of the closet any experimental
pictorial pictures they had previously preferred to keep from the view of the ‘realists’. Kauffmann
had shown specimens of his work, presumably pictorial, at the July 1897 meeting of the society,
and at a number of subsequent monthly meetings.
A departure from the usual technical nature of the meetings did occur in June 1899 when E.W.
Belcher (q.v.) spoke on ‘Artistic effects in light and shade’. To illustrate the points made, lantern
slides of portraits, figure studies and flowers were projected. ‘Some were beautiful examples of
artistic lighting, the roundness and relief of the principal objects being particularly noticeable,
whilst general softness and the entire absence of harsh contrasts were the principal feature in
others.’ A photograph of Pichi Richi Pass ‘served to show the wealth which a repetition of form
added to a picture, while a number of exquisite flower studies were used to demonstrate the
advantages of controlling and modifying the strength of light in order to produce results without
excessive contrast, yet full strength and detail’.777
In December 1898 F.A. Joyner read a paper, ‘Suggestions for the future of the Society’, in which
he put forward a number of proposals for ‘the advancement of the art and for the extension of the
privileges of members’. They included: a definite policy each year; more help for beginners;
quarterly excursions with definite aims and an associated competition; an increase in general
competitions; the public admitted to the annual exhibition for a small charge; and prizes to be
given at the annual exhibition for competition ‘by members of all Australasian societies’. Joyner
believed that, if adopted, his proposals would produce a ‘considerable influx of new members’.
The committee was asked to report on the proposals and one of them, the introduction of prizes
and competition at the annual exhibition, was introduced the following year. At the 1899 annual
meeting five guineas was voted for prize money and the competition was to be open to ‘all
amateurs resident in South Australia, in addition to members of the Society’. The committee was
authorised to procure suitable dies for a special society medal and certificates for merit awards.
The society’s 1899 annual exhibition held in the Victoria Hall in Gawler Place was ‘a complete
success, and those who attended were unanimous in the opinion that the display was the best that
776
777
Australasian Photo-Review, November 1897.
272
the society has held’. The Governor was given a private viewing of the pictures before the public
was admitted, and ‘evinced much interest in the show, and congratulated the society on the
admirable work done by the members’. The pictures were arranged in six classes with landscape,
the ‘most popular with amateur artists’, considerably outnumbering the entries in other classes. Mr
J. Kauffmann was awarded the prize in this section for On the Lake Maggiore, and pictures of
European, English, Indian, Australian, Tasmanian and New Zealand scenery in this class made it
‘a most attractive display’. Mr A.H. Kingsborough and W.J. Cowell received awards in seascape;
J. Kauffmann for un-retouched portrait; F.A. Joyner and E. Gall for genre; Mr C.L. Whitham for
hand camera; and E.W. Belcher for lantern slides.
In 1901 the society changed the scope of their annual exhibition – ‘A special feature of this year’s
show is the enlarged range of competitors, resulting from the decision of the committee to throw
the gallery open to exhibitors from all parts of the Commonwealth, and indeed beyond Australian
shores …’778 Almost 300 photographs were entered, most being from South Australia, but there
were also numerous photographs from New South Wales, Victoria and Queensland. The press
reported on the new artistry evident in the submitted photographs:
An inspection of the collection gives a fairly adequate idea of the development which has during
recent times been achieved in photographic art. The old-time wooden, stiff, expressionless forms,
with hard, though clearly defined outline for long years made the camera an abomination to lovers
of art. They have passed away and the exposition shows how truly marvelous are the possibilities
of the process, which has evolved from the mechanical quasi-scientific stage and taken a worthy
place amongst the arts …779
The 1901 exhibition was arranged into three sections: an open section for competitive works from
members of photographic societies within Australia and overseas; one for competitive works by
members of the South Australian society only; and a third for non-competitive works from any
source. Within each section there were numerous divisions for types of photographs. The judges
were Harry P. Gill, John Kauffmann and Ernest Gall.
In the open section prizes were awarded to: F.A. Joyner’s, ‘Sheep at evening’ in the landscape
division; A.J. Campbell’s, ‘Off Phillip Island’ in the seascape division; and E.C. Joshua’s ‘The
rigour of the game’, which won the genre division, as well as champion prize for best photograph
in the exhibition.
Prizewinners in the South Australian section included: Lily Kingsborough for still life
(‘Marguerites’); Norman W. Beaney for landscape (‘Shadows dark and sunlight seen’), genre
(‘The naturalist’) and seascape (‘Let ocean bellow on his rocky shore’); C.L. Whitham for
enlargements (‘Venice’); Mr Douglass G. Scott for hand camera work (‘Scenes in Central
Australia’) and Dr Hayes Norman for a stereoscopic set. In the non-competitive section John
Kauffmann’s twenty-six photographs were praised in the newspapers ‘… as a little gallery of art in
themselves’.780
The exhibition ran for one week from 14 to 19 October, and each evening lantern exhibitions were
held. Some highlighted photographs by local and interstate competitors, while others addressed
scientific applications of photography, such as C.F. Clough’s lecture on flying bullets, W. Poole’s
lecture on microscopic photography and R.F. Griffiths’s lecture on the application of photography
to astronomy. A.W. Dobbie showed slides taken during his trip to the South Sea Islands.
F.A. Joyner produced a catalogue to commemorate this ‘first Inter-State Exhibition of the South
Australian Photographic Society’, which included photographic illustrations of some of the
displays as well as individual works.781 Joyner sent copies of the catalogue overseas to the
Philadelphia Photographic Society, The Amateur Photographer, The Photographic News, The
778
The Advertiser, 12 October 1901
The Advertiser, 12 October 1901
The Register, 12 October 1901
781
Catalogue S.A. Photographic Society’s Annual Exhibition, 1901, Adelaide.
779
780
273
Photogram and the New York Camera Club and to Vienna.782 At this time A.H. Kingsborough was
the president of the society and past-presidents documented in the catalogue were: S.J. Dailey,
C.F. Clough, A.W. Dobbie, Andrew Scott, G. Stace, E.W. Belcher, C.L. Whitham and R.F.
Griffiths.
The society’s 1902 and 1903 exhibitions were similarly divided into three sections and attracted
international entries. In 1903 exhibits were received from England, India, Cape Town (60),
Australian states and New Zealand. Fifty lantern slides were sent in for competition and lantern
slide exhibitions that were given throughout the week ‘drew crowded houses’.
A feature of the exhibition was ‘the marked absence of glossy prints whose place has been taken
by work on matte surface papers, carbon and gum bichromate, resulting in a display of artistic and
broad effects’. At the annual meeting held three months earlier, the retiring president, Mr Andrew
Scott, had referred to the ‘remarkable tendency of photography towards the pictorial instead of the
merely photographic, and urged members to aim high, to have some lofty ideal which they may
never reach, so that, if they cannot realise their ideals, they may at least idealise their reals’,783 a
statement which may have meant something to the pictorialists in the society but which was
probably lost on the ‘realists’ in the membership.
In his criticism of the exhibition ‘A Candid Critic’ said that the ‘standard of the whole show would
have been elevated if the selection committee had possessed a little more backbone’. He said the
committee had hung an extraordinarily large number of photographs that should have been
rejected. One that he said should not have been admitted was a photograph of a nude woman. If the
nude in art was to be inoffensive, he said, it must have ‘well-defined values’, and it must ‘represent
with nobility and without coarseness the beautiful symmetry of a well-balanced form’. He said that
photography of the nude is a very difficult matter and that ‘crude realism of the kind exhibited will
not only evoke contempt and ridicule, but is also likely to pander to the grosser side of human
nature’. He said that a second exhibit ‘of a similar class’ was also objectionable but not quite so
coarse.
It appears that by 1904 a division had occurred between the pictorialists in the society and the
scientific and technical workers who wished to produce ‘real’ pictures. In April 1904 F.A. Joyner,
a member of the society since 1906 and by now a confirmed pictorialist, wrote to the leading
Sydney pictorialist James Stening: ‘the pictorial workers of our Society are in a minority as
opposed to the f.64 photographers … The trouble has now come to a head.’784 He proposed
forming a new club dedicated to pictorialism but it did not eventuate. The f.64 photographers were
the ‘realists’, those who used the smallest aperture on their lens, usually marked f.64, to obtain the
maximum sharpness and detail in their pictures.
Although the South Australian Photographic Society had been the leading Australian society for
pictorial work and exhibitions at the turn of the century, its importance began to wane after 1903
as societies in the other states gained momentum.
The society had a membership of 53 in 1893, which rose to 65 the following year and then
remained around 65 until 1899, when it reached 70 with an average attendance of 25 at the
monthly meetings. By 1901 membership had risen to 110, then in 1902 peaked at 116 with an
average attendance of 38, not including visitors. Although the number of members had fallen to
105 in 1903, the attendance at meetings was the best since the society was formed, an average of
47 plus visitors. The roll fell to 98 in 1904 and appears to have steadily declined in the following
years.785
782
Annotated copy of catalogue in Art Gallery of South Australia library.
Real Visions: The Life and work of F.A. Joyner, p. 3.
785
Some membership figures were taken from the July annual reports, others from the societies section of South Australian directories.
783
784
274
Joyner was president in 1906 and it appears he tried to bring the two opposing groups of members
together. In a report he read in June that year he said that, in a few months’ time, the society would
celebrate its majority, its twenty-first year, and that, while they could reflect on many past
successes the society should not be bound to merely follow the path set by its predecessors. He
said that the real objectives of the society had not been stated and that it should now be declared to
be ‘The advancement and encouragement of pictorial, scientific and technical photography’, which
he no doubt thought would meet with the approval of all members.
The committee formulated a plan for a photographic record and survey of South Australia, to
represent ‘The social life and public events of South Australia of today, as well as the reproduction
of old prints, maps and records of the South Australia of the past’. It was hoped that in addition to
rendering a service to posterity the project would unite the members of the society by giving them
a common goal, would add to the status of the society in the eyes of the public, give point and zest
to excursions, and bring the society into touch with isolated workers throughout the state.786
In its appeal for historic photographs the society said, ‘It is highly desirable that photographs of
historical interest should be preserved for the benefit of the generations as yet unborn, and people
who have pictures to which they do not attach much value, and which might find their way to the
fire or dustbin, should give thought to posterity and forward them to the secretary of the society’.
A large number of historic photographs was received, including thirty from Sir Charles Todd
which recorded the construction of the Overland Telegraph line. The society applied to the Public
Library Board for space where the photographs could be ‘framed or bound and placed in safe
keeping for ever’.787
At the 21st birthday celebrations of the South Australian Photographic Society held at Bricknell’s
Cafe in Rundle Street on 15 August 1906 Mr A.H. Kingsborough, ‘the popular secretary of the
society’, was presented with a cutlery set. When making the presentation the president of the
society said Mr Kingsborough
had been a tower of strength. From 1891 to 1895 he was honorary secretary, and then took office as
a committee man. In 1896 he was appointed vice-president. During the next three years he acted on
the committee, and in 1900 was again vice-president. He was elected to the presidential chair in
1901; afterwards he again served on the committee; and today he is again hon. secretary. No better
secretary could be found, and it would be cheerfully admitted by every member that no one had
done as much for the society as he. Mr Kingsborough had ever been an ideal officer, and to him in a
large degree must be attributed the present success of the society.
In responding Mr Kingsborough said that ‘he believed four-fifths of the present members had been
connected with the society for ten years or more, and he thought that the fact that they had so
grown up together accounted for much of the society’s success. The fearless and candid friendly
criticism of each other’s pictures had resulted in their work having attained such a standard that the
Australian correspondent in Sydney of Photograms, one of the leading photographic papers, had
said that the South Australian Society should be called the ‘Australian Royal Photographic
Society’.788
The officers of the South Australian Photographic Society were listed in the societies section at the
back of directories from 1892 to 1910. There was no entry under ‘societies’ in the directory for
1911, but there was a brief one in the alphabetical section: ‘South Australian Photographic Society
(Bond Ltd.) – 51 Rundle Street’. Records of the Adelaide Camera Club contain a press cutting, the
Society of Arts report for 1912–13, which states that the South Australian Photographic Society
had been disbanded.
However, there may have been a revival, as one source records the society as being in existence
from 1912 to 1914 with F.A. Joyner as secretary, and from 1915 to 1917 with Charles Radcliffe as
786
788
787
275
president, with A.H. Kingsborough as secretary, although Kingsborough is on record as having
deceased in 1910.789
SOUTH AUSTRALIAN PHOTOGRAPHIC WAREHOUSE see GOODE, Bernard
SPENCE, William Morrison
Listed as a photographer at 101A Rundle Street, Adelaide, in the directory for 1894, and at
Wivell’s Academy in Rundle Place for 1895. From 1882 to 1893, and from 1896 to 1900, his
occupation was given as artist at various addresses in Adelaide and suburbs, and he may have
practised photography in these periods.
SPENCER, C.J.
Listed as a photographer at Kingscote, Kangaroo Island, in the directories for 1910 and 1911. By
September 1915 Spencer had occupied the studio in Paterson’s buildings in the main street of
Clare which had been vacated by photographer James Morton (q.v.). In November that year he
described himself as ‘the photographer with an art school training’ and was selling Christmas cards
which were ‘prettily designed and well executed, containing views of Clare very tastefully
arranged’.790 He moved to larger premises next to Salem Elias in 1916.
SPINK, Samuel G.
Advertisement in the Critic for 2 October 1897: ‘S.G. Spink. Vice-Regal Photographer, 69A
Rundle Street (opposite Wendt’s). Houses, drawing rooms, home portraiture (children a specialty),
weddings, groups, etc. Horses, Cattle, etc. photographed. Distance no object.’ In 1897 some of his
photographs were reproduced in the Critic using the half-tone process. Born 1868; died 1948.
His directory listings as photographer were:
1895–962
1897–1900
1901–03
1906
1907
1908
Birks Chambers, Gawler Place
69A Rundle Street (in right-of-way)
Gresham Chambers, King William Street
Gawler Place
4 Symonds Place, Halifax Street
20 O’Connell Street, North Adelaide
SPREAD, H.
In May 1866 Adelaide’s leading photographer, Townsend Duryea, advertised that he had obtained
the services of an English artist, Mr H. Spread, who was well known among London’s art critics
for his paintings in oil and water-colours. The artist, said Duryea, would also colour his sennotype
portraits which, although expensive, were proving very popular.791
Some of Mr Spread’s work was reviewed by the Register in June:
Mr T. Duryea, who has been so long established in Adelaide as a photographic artist, seems
determined to keep abreast with all the improvements in his branch of art. We have recently paid a
visit to his studio, and examined some beautiful specimens of oil painting on photographic pictures.
Mr Duryea has engaged the services of Mr H. Spread, an artist of considerable ability, who has
finished some portraits in oils in an admirable manner. Amongst these is one of the Chief Justices,
which is a perfect likeness and exquisitely finished. Captain Hart is there, too, as he might have
been seen in the Assembly any day during the last session, when he was battling for his squatting
789
Queensland, 2002.
790
Northern Argus, 24 September, 12 November 1915.
791
276
Bills. This is a capital likeness. Mr Duryea also exhibits some fine specimens of portraits finished
in water colours. But perhaps that which will most strike a visitor is a large-sized portrait of
Commodore Sir William Wiseman, done in mezzotint, which is of marvellous delicacy and
softness. This is a mode of finishing photographs which, we believe, will become highly popular.792
In August Mr Spread attended a meeting of the ‘Miscellaneous Sub-Committee’ which was
selecting exhibits which were to be sent to the Paris Universal Exhibition. On Duryea’s behalf he
showed the committee a collection of photographs depicting the streets, buildings and other places
in South Australia.
The reporter also paid Duryea’s studio another visit in November:
A visitor to Adelaide may spend a very pleasant and profitable half-hour in Mr Duryea’s
photographic studio, where a number of elegant photographs in every style of art are displayed.
There are portraits without end, large and small, landscapes, and public buildings. The latest
improvements in the art are at once adopted by Mr Duryea, and it is in a great measure owing to the
fact that he keeps pace with the almost daily growth of photography that he has made himself such
a good position in Adelaide. Mr Duryea is now taking portraits on prepared canvas, which are
worked up in oils, and present a very pleasing effect. On his walls are admirable oil paintings of the
Chief Justice, the Hon. W. Milne, Mr H. Hill, and others, which are very striking and faithful
portraits. There is also a portrait of the celebrated entire horse South Australian [sic], attended by
his groom, which is beautifully done. All the adjuncts of the picture are well managed, and this
noble animal seems to stand out in relief from the canvas. This picture is well worth going to see.
Mr Duryea also exhibits some superior examples of photographs worked up in water colours, which
are soft, and some of them exquisitely finished. Amongst these is a fine portrait of the late J.M.
Stuart, the explorer.793
Mr Spread’s stay at Duryea’s studio appears to have been short, as Duryea had another London
artist, John Hood, working for him by January 1868.
STACE, George
George Stace was president of the South Australian Photographic Society (q.v.) in 1892, and
before that held office as vice-chairman (vice-president). From 1893 to 1895 he was a member of
the executive committee. In 1894 he gave a lecture on ‘Developing’ and for a time used his magic
lantern to show members’ slides at society meetings. The illuminant used for his lantern was
acetylene which was produced on the spot by a ‘simple form of generator’. He was an active
member of the society and frequently showed photographic work at the society’s meetings.
In 1893 a Miss Stace was made a member of the society. She may have been a relative as their
names appeared together in a report of the society’s 1898 conversazione. At the February 1901
meeting of the society George Stace ‘exhibited an album of snapshots taken during a recent visit to
the eastern colonies, of Sydney Harbour, and street scenes in Sydney and Melbourne’. Later in the
year he was paid a ‘high compliment’ when Lady Tennyson, wife of the Governor, requested
duplicate copies of photographs he had taken on an outing to Norton Summit.
George Stace was born in 1844 and in the directory for 1904 was listed as a builder of 31 Finniss
Street, North Adelaide. In September 1904 the ‘late George Stace’ was named by the Adelaide
Camera Club as one of ‘the gentlemen who have very ably assisted the club in the educational part
of their work’.
STACY, Robert Sheppard Snr
When Thomas Smyth Stacy and two of his sons migrated to South Australia from England in
1839, the colony was only three years old, and the first practical photographic process, the
792
793
277
daguerreotype, was being introduced in Europe. Two years later, in 1841, the rest of his family
came to Adelaide on the Orissa, including his seven-year-old son Robert Sheppard Stacy, who had
been born at Exmouth, Devon, in 1834.
On 22 May 1857 Robert Stacy married Maria Tatham Dean at his father’s house in Kensington,
his occupation recorded as cabinet-maker on the marriage certificate. In the directory for 1858 his
address is given as Young Street, North Adelaide, and for 1862 he is listed as cabinet-maker, Ward
Street, North Adelaide.
Although not listed in directories as a photographer until 1864, he must have been practising
photography by the end of 1862, as both the Advertiser and Register described his portrait of
explorer John McDouall Stuart at the end of January 1863. The Advertiser said:
On Friday afternoon Mr Stacey, the photographer, called upon us with some very good
photographic likenesses of Mr Stuart. The interest of these portraits is greatly enhanced by the
accessories introduced by the artist. Mr Stuart is represented as standing near to the shore of the
Indian Ocean, grasping with one hand the flagstaff on which he has fixed the union-jack, and
holding in the other a compass. The scenery, both as regards land and ocean, is produced from a
painting prepared from sketches by Stuart himself, who vouches for its accuracy. The black lines
observable in the water represent the mud drifts brought down by the Adelaide River, which
discharges itself into the sea a little to the left of the clump of trees on the left of the picture. The
production is very creditable to the artist, and as it embraces not only a likeness of the gallant
explorer, but a correct picture of the scene where the flag was planted, we should think it would
command a good sale.
Although R.S. Stacy was listed in directories as a photographer at various Adelaide addresses
almost continuously from 1864 to 1890, he spent much of his time in the country districts of South
Australia. His directory entries as a photographer were:
1864–65
1866
1867
1868–70
1871
1872–79
1881
1882–83
1884
1885–87
1888–89
1890
O’Connell Street, North Adelaide
Marian Street, North Adelaide
Murray Street, Gawler
Strangways Terrace, North Adelaide
Strathalbyn
Melbourne Street, North Adelaide
Strangways Terrace, North Adelaide
Mackinnon Parade, North Adelaide
‘artist’, Gover St West, North Adelaide
Hawkers Road, Medindie
Spencer Terrace, St. Leonards
The Mall, New Glenelg
R.S. Stacy arrived at Gawler in May 1866 after a ‘16 months very successful tour of the large
townships in the north, and Wallaroo, with his large and commodious photographic tent’. With his
up-to-date equipment, he said, he could take portraits on glass and views of business premises or
private residences from ‘carte de visite size up to 12 inches’. He had been at Burra in 1865, and on
28 October of that year the Register reported having seen a series of Stacy’s views of the Moonta
mines which gave ‘a cool idea of the magnitude of that rich mineral deposit, as well as of the
extensive operations carried on there. The views embrace the surface workings at and near the
principal shafts, the new engine house, and a splendidly executed group of Captain Hancock and
the officers of the mine.’
Before leaving the mines on Yorke Peninsula Stacy sold his photographic apparatus and negatives
to Nicholas Caire (q.v.) of the Kadina Fancy Bazaar, who advertised in December 1865 that he
was resuming his former profession of ‘practical photographer and photographic artist’. By August
1866, however, Stacy was back on the Yorke Peninsula with ‘new carte de visite and view lens’
which he said would allow him to take photographs ‘equal to any in the colonies’. He pitched his
278
tent near the National Bank at Wallaroo with the intention of staying two weeks.
By the end of the first week Stacy had taken a series of views which were described by the
Wallaroo Times on 8 August.
We have seen a number of excellent photographic pictures, carte-de-visite size, of the principal
places of worship and buildings in Wallaroo done by Mr Stacy. The same artist has also succeeded
in taking a most admirable view of the Smelting Works, including a large extent of the hill behind,
and showing the sea front as well as end of the works. It is a very good photograph: the sharpness
of outline and clearness and minuteness of detail are excellent. The same may be said of an equally
well-executed picture of the jetty taken from the slope of the hill below the old blacksmith’s shop.
The wharf with the Company’s tanks and weighbridge are in the foreground; the handsome offices
are out of range of the picture, but the goods-stage is seen, loaded with merchandise just landed
from the Royal Shepherd. The Company’s well-known horse Boxer is easily recognisable a little
nearer the Jetty, and behind him a little boy, whose figure is unmistakable as that of the son of Mr
Austin, accountant to the Company. The new wharf in course of formation is also shown, but the
main feature of the picture is the jetty. Three vessels lie alongside – the Kadina at the end, next the
hulk Rebecca, and last the steamer Royal Shepherd. The Meander is seen in the stream. The
extension of the Jetty to the westward is also perceptible. On the Jetty is a train of trucks loaded
with coal, and on the wharf just off the Jetty is another train loaded with ore. The only thing to be
regretted is that not half the average number of vessels were in the harbour when the view was
taken.
A month later Adelaide photographer Townsend Duryea issued a warning to the public in the
Wallaroo Times: ‘It having been reported to Mr Duryea that several persons, more especially one
by the name of Stacy, formerly discharged from his employ, have been so unprincipled as to use
his name as a reference for their business, he begs to warn the public against such persons, also to
notify that he has not anyone at present engaged in the capacity of travelling photographer’.
Mrs Stacy gave birth to a daughter on 19 January 1867, and soon afterwards her husband
advertised his intention to pay another visit to his ‘numerous friends and customers on the
Peninsula’. At the beginning of November 1867 Stacy spent a fortnight ‘taking likenesses’ at
Robe, moved on to take portraits at Penola, then, by the end of the month, had his tent open for
business at Port MacDonnell.
Robert Stacy continued his wandering ways. In April 1868 the Saddleworth correspondent for the
Kapunda Herald reported the town had been visited by ‘glorious rain’ and Mr Stacy, who had
‘admirably succeeded in taking the pretty phizes of some of our young ladies’. A week later he had
erected his tent a few miles further up the road at Chinkford (Manoora), where the Register
correspondent said Stacy’s views and likenesses were ‘very correct’. The correspondent also
hoped that as the photographer had received some local custom this might encourage him to call
again on his next tour of the North, as it was not always convenient for people to travel to Adelaide
for their portrait. And he did think the photographer should advertise in advance the dates he
would be at each township. A month later Stacy was at Marrabel, ‘practising the photographic art
with merited success’.
On 12 March 1869 R.S. Stacy advertised, in German, in the Tanunda Deutsche Zeitung, that he
was at Angaston for a short while, pointing out at the end of his advertisement that ‘We speak
German’.
Stacy settled for a while at Strathalbyn. He occupied the old Angas Store at the comer of Swale
Street, had it renovated, and by November 1869 had opened it as the ‘Strathalbyn Photographic
Studio and Music and Fancy Bazaar’ where he sold stationery, music and musical instruments. His
final advertisement in Strathalbyn’s Southern Argus in January 1871 was followed a month later
by a notice in the Northern Argus which informed his ‘numerous friends and customers’ at Clare
that he would soon be back in their town with a new studio and instruments. Cartes de visite were
to be 15s per dozen, 8s 6d the half dozen. Stacy was in Clare by 10 February, at Port Wakefield in
June, and at Two Wells by the middle of July, where he had competition from W.W. Thwaites
279
Senr. who was on his way to Clare to take photographs.
At one stage, possibly the early 1870s, R.S. Stacy joined with James Machan to take photographs
under the name of Stacy & Machan. Two carte de visite views of their photographic tent have
survived, one of them showing it erected on the banks of the stream at Currency Creek.
By October 1871 Stacy was back at Clare. The Northern Argus told its readers that they now had
another chance of ‘seeing themselves as others see them’ by getting their portraits taken at Stacy’s
studio, which had been erected next to the Argus office in Main Street. The Argus said that ‘as
many good pictures are spoiled by the sitters choosing the wrong colours for their dress, we will
here give our views on the matter:–1st, dark brown, dark green, maroon and plain black goods,
without gloss, will take a rich black colour; 2nd, silk of the same colour will take considerably
lighter; 3rd, snuff brown, dark leather, dark drab, scarlet, cherry, dark orange, crimson, and slate
will take a very rich drab color; 4th, violet, blue, purple, pink and magenta will take very light, and
should be avoided in dressing for photographs; 5th, the hair should never be very wet or glossy.’
Within a week Stacy had views of local scenery and the Clare Juvenile Eleven for sale.
Stacy was at Milang in September 1872 where he again encountered opposition, this time from
E.G. Tims who was in the area taking views of the lake and the river steamers. He made another
brief visit to Clare in July 1878 where he erected his studio opposite the court-house. Here the
Northern Argus reported that Stacy had ‘taken several large views of the town, and also of the
principal buildings separately, and they are all splendidly executed. A large photograph of the E.S.
and A.C. Bank is much admired, the finish being excellent. We have also seen one of his large
colored photographs – a baby, taken only a few days before it died. As a work of art it is faultless,
and in consequence Mr Stacy has received several orders from persons in the town and
neighbourhood to execute, from the photos of their departed friends, large colored pictures. His
landscape views will no doubt be eagerly sought after on account of their distinctness and size.’
He called at Clare again for two weeks in November 1878, then went to Burra in March 1879 to
renew his acquaintance with his ‘old friends and customers in Kooringa, Redruth and Aberdeen’.
He erected his studio in Market Square opposite the Burra Record office. He said that while
portraits could be taken in any weather, children could only be taken between the hours of 11 am
and 1pm.
Stacy advertised cabinet portraits for the first time when he set up his ‘portrait room’ opposite the
Mount Barker police station in January 1881. They cost 15s per half dozen as against 12s 6d per
dozen for cartes de visite.
In February 1886 he had taken ‘some very excellent photographs of several of the buildings in
Mount Barker’ and had also been ‘very successful in his animal portraits’.794 By the time he
reached Jamestown in March 1886 he was using the instantaneous process which had been made
possible by the introduction of new, faster dry-plates. He opened a studio in premises previously
occupied by F.C. Smith, next to Mr Boucaut’s office in Ayr Street.
In November 1886 there was a Mr Stacy at the Teetulpa goldfields taking ‘views of the workings
and the canvas township’, but this may have been his son, Robert Sheppard Stacy Jnr (q.v.), who
was also a photographer. R.S. Stacy and his son Robert must have worked together at one stage, as
a carte de visite of a woman (Noye collection), which appears to have been taken in the late 1880s,
has the simple printed inscription on the front, ‘R.S. Stacy & Son, Photographers’. A Robert Stacy
is listed as a photographer at the Waukaringa goldfields in the directories for 1892 and 1893.
Twenty-six different printed inscriptions have been found on R.S. Stacy’s carte de visite mounts,
and no doubt there are more. Of these, eleven have no address, and these also appear to be his
794
Mount Barker Courier, 12 February 1886.
280
earliest. Thirteen are for North Adelaide, two of them O’Connell Street, and only one carries the
address of a country town, Strathalbyn.
Robert Sheppard Stacy Senior died on 20 May 1890, aged 56 years, and was buried at West
Terrace cemetery only a few yards from the resting place of Robert Hall, one of South Australia’s
pioneers of photography. Additional biographical information is given in the Biographical Index of
South Australians.795
STACY, Robert Sheppard Jnr (STACY, R.S. & SON)
Born in Adelaide on 6 January 1862, the son of Robert Sheppard Stacy (q.v.), photographer. At
one stage in the late 1880s he appears to have been working with his father as R.S. Stacy & Son,
photographers. He was listed as a photographer at the Waukaringa goldfield in the directories for
1892 and 1893, and may have been taking photographs at the Teetulpa goldfield in 1886.
STACY & MACHAN
The ‘photographic artists’ Stacy & Machan used at least three different styles of printing on their
carte de visite mounts, which suggests they were in partnership long enough to have their cards reprinted twice. The partners would have been Robert Sheppard Stacy (q.v.) and James Machan
(q.v.), both of whom were in the Strathalbyn and south coast area between 1869 and 1872. One of
their cartes de visite (Noye collection) is a view of buildings and their portrait tent on the flats at
Currency Creek.
STANDARD ENLARGING CO.
The following advertisement appeared in the Northern Argus on 8 October 1889: ‘The Standard
Enlarging Co., Leigh Chambers, Leigh Street, Adelaide. The above company beg to notify to their
friends and the public generally that they, having been successful in obtaining the best artistic
talent available in the colonies, and having secured those spacious premises known as Leigh
Chambers, Leigh Street, are now in a position to execute enlargements from the most minute
photographs. Faces can be taken out of groups and enlarged to various sizes to suit purchasers. Mr
Yates, our District Traveller, may be consulted at the Clare Hotel.’ Mr A.A. Yates showed sample
enlargements to the Argus which pronounced them to be ‘artistically finished, faithful pictures, and
nicely tinted with colours’.
By December 1889 the company had a representative, R.L.H. Murray, taking orders in the Laura
district, and the directories for 1890 and 1891 listed J.D. Flynn as the manager at Leigh Street. A
change of address must have occurred while the 1891 directory was being prepared, as the
Standard Enlarging Company was also listed as Office 26, Industrial Chambers, King William
Street, R.L.H. Murray, manager, a listing which last appeared in the directory for 1894.
Prices for enlargements varied from 20s to 85s. for black and white, 35s to 120s for colours, and
for oils on canvas the price ranged from 5 to 15 guineas, framed and delivered to any part of the
colony.
STEINTHAL, George Gottfried (Godfrey)
A former hotelier by occupation, G.G. Steinthal was involved with photography when he died on 9
April 1868 at the age of 39 years. His obituary said he was ‘formerly landlord of the Hotel Europe,
Gawler Place, and latterly associated with the photographing firm of Messrs Hartitzsch & Co …
795
1530.
281
Mr Steinthal was a colonist, we understand, of 19 years’ standing’.796
STICKYBACK PHOTO. CO. See also HOINVILLE, Frederick
STICKYBACK PHOTO. CO.
In September 1913 the Stickyback Photo. Co. of the Arcade, Adelaide, opened a studio next to the
Kapunda Post Office, where they made midget photos which were said to be ‘all the rage’ in
Adelaide. Their advertisement said: ‘One week only. Sticky Back Photos. All the rage, from
Arcade Adelaide. 12 for 1s. Highly finished midget photos of yourself. Taken today! Ready
tomorrow! Day or night! Wet or Fine! We guarantee these photos absolutely permanent.’ As a
sideline they sold cheap sheet music.
STILLING, Henry
For a short time in the early 1900s Henry Stilling, better known locally as ‘Harry’, practised
photography with one of the Grewar Bros. (q.v.). In October 1908 he won a prize for his collection
of photographs exhibited at the Saddleworth Show, and he was listed as photographer,
Saddleworth, in directories from 1910 to 1915. He produced numerous local scenes on
photographic postcards, and was assisted in his dark room by his sister, Alice. Harry Stilling died
in 1948.
STONE, J.C.M.
There is a listing for J.C.M. Stone, photographer, Stanley Street, North Adelaide, in the directories
for 1883 and 1884. He may be the I.C.M. Stone, ‘from England’, who was employed to manage
J.R. Dobson’s (q.v.) new studio, The Temple of Light, which opened in Rundle Street in
December 1875.
STONE, James Doveton
An artist and photographer, J.D. Stone was born near London c.1831. He originally intended
training for the medical profession, but this was abandoned for a career in art. He came to Victoria
about 1855, then moved to Adelaide where he married in March 1861.
All available South Australian directory entries list J.D. Stone as an artist, except for 1865, where
he is listed as photographer, and the following advertisement appears: ‘J.D. Stone, Photographic
Gallery, North Terrace, Cartes de Visite at very moderate prices’. An earlier advertisement in the
Register, 9 February 1864, may record his debut as a photographer: ‘Portraits. Adelaide
Photographic Gallery now open, opposite Parliament House. J.D. Stone artist’.
He was probably one of the photographers present when an oxygen-making experiment went
wrong in 1866. The incident was recorded by the Register: ‘Three photographic artists, Messrs.
Freeman, Cornock, and Stone, were engaged in making oxygen on Mr Freeman’s premises in
Hindley street, when a loud report was heard, a cry of fire was raised, the fire-bell was rung, the
engines brought to the spot, and a general alarm was raised in the city …’ Freeman lost an eye in
the explosion, Cornock was affected by fumes for a long time, but no mention of injury to Stone is
recorded. A flame produced by burning oxygen was played on block of lime to give a brilliant
white light, known as limelight. The limelight was used in nineteenth century ‘magic lanterns’ to
project hand-painted and photographic slides on to white sheets as a form of private and public
entertainment.
A detailed account of J.D. Stone’s career as an artist can be found in the Dictionary of Australian
796
1541.
282
Artists.797 His early years as an artist must have been very lean, as he is twice listed in the
Government Gazette under ‘Insolvency Notice’, in 1863 and 1867.
STOWARD, Tom H.
Thomas Hardy Stoward was born at Axbridge, Somerset, England, in 1874 to mother Martha
Hardy and father Fred Stoward. He came to Australia in 1888798 and immediately gained
employment with his uncle Thomas Hardy’s wine company.799 He was preceded by his older
brother Fred Stoward who had come to Australia 1883 and who was appointed chief winemaker in
1890. In 1911 Tom became secretary of the firm after working for several years as an accountant
there. Later he became a director. He retired in 1939.
Stoward first took up amateur photography in about 1899 and by 1904 he was associated with the
South Australian Photographic Society; the society’s records list him as submitting a photo to the
1904 Cape Town exhibition. He received praise in the 1904 edition of Photograms of the Year,
where he is listed with several other South Australian photographers as ‘doing well’.
In 1909 Stoward received a glowing report by ‘Valdon’ in the Australian Photographic Journal.
This article mentioned that he had just completed a private studio in his Adelaide home.800 The
works reproduced in this article are in the style of Pictorialism and include romantic genre studies
of rural labour, domestic scenes and landscapes. The titles of the photographs suggest a narrative
such as: ‘Ironing Day’, ‘The Latest Rumour’ and ‘Old Age’. Valdon praises these works for
‘seizing of the right instant, his selection of the model, and the natural posing, gesture and
accessories send home the conviction that behind the camera was a strong man’. Valdon also
reported that: ‘Mr Stoward is a prize-taker, not only locally, but in the European competitions. He
has bronze soup plates and silver coat buttons, and yards of good character documents to show for
his toil, and that’s about the only thing a man gets for knocking the wind out of all and sundry in
the photographic arena.’
In 1910 Photograms of the Year published his photograph Labour, an atmospheric study of road
workers. In 1922 Stoward joined the Adelaide Camera Club and exhibited his work with the club
in 1923 and in 1924. The Art Gallery of South Australia purchased one of his works, ‘An Even
Game’, from the 1924 exhibition. In 1928 and 1930 Stoward exhibited with the Adelaide
Photographic Society and was elected vice-president.
Tom Stoward was from an artistic family, his father a practising artist in the West of England, and
his son Clive Stoward, born in 1909, becoming a successful artist in South Australia. Tom H.
Stoward died in Adelaide in 1941.
Carolyn Lovitt
STRANGWAYS, Herbert Bull Templer
Item published in the Observer, 13 February 1897:
Recollections of South Australia. As showing the interest which the Hon. H.B.T. Strangways, one
of South Australia’s earliest premiers [1868–70] takes in the affairs of the colony, we publish the
following letter which that gentleman has addressed to the Editor of the Register under date
December 28, 1896, from Shapwick, Somerset, England:– “The date of this day reminds me that
some time ago on looking through a box of photographic negatives that I took in South Australia I
found a stereoscopic negative of the old gum tree. I enclose you two prints from it. They are not
797
Melbourne, 1992, pp. 761–2.
798
Obituary, The Advertiser, 29 March 1941.
799
Rosemary Burden, A Family Tradition in Fine Winemaking: One Hundred and Twenty Five Years of Thomas Hardy and Sons 1853–
1978, Published by the Board of Directors, Adelaide, 1978.
800
‘Valdon’, Australian Photographic Journal, 23 June 1909.
283
possessed of any artistic merit, but they are accurate representations of the tree at the time, which
was early in 1858, a few weeks after the memorial plate was affixed to the tree by Sir Richard
MacDonnell. I first saw this old tree in November 1853, when I was staying at Glenelg with my
relative, the late Thomas Bewes Strangways, who was present at the proclamation of the colony …
For further information see the Biographical Index of South Australians.801
STRATHALBYN PHOTOGRAPHIC STUDIO see STACY, Robert Sheppard Senr
STRELITZ, Paul
Listed as manager of Baker & Rouse (q.v.) in the directories for 1892 and 1893.
STRINGER, F.
The work of this advertising entrepreneur was reported in the Kapunda Herald on 21 January
1879:
Novelty is one of the chief features desirable in advertising sheets, and Mr F. Stringer has
succeeded in enlisting the aid of photography to render an advertising map just issued by him
decidedly attractive. We have before us a copy of the ‘South Australian Photograph Advertiser’, a
sheet about 5 feet by 3, mounted on rollers. The various advertisements therein are well displayed,
but the novelty consists of a large photographic centrepiece, two other large views at the sides, and
excellent portraits of the Governor and four other leading colonists by Mr Solomon.
In order to prevent sameness, the views, from the studio of Captain Sweet, are different in each of
the maps circulated in the same town. Many of the city advertisers have given Mr Stringer a
certificate expressing their satisfaction with the sheet, which containing as it does real works of
photographic art, has been allowed a place in the reading rooms of various important Institutes.
Mr Stringer now proposes to issue a northern edition of this map, in which the further novelty is
proposed of exhibiting in part of the space taken by each firm the photographs of the proprietors.
Judging by the orders endorsed on the skeleton map shown us the idea promises to take well, and as
the proprietor guarantees that at least 120 copies shall be exhibited in the various Institutes, hotels,
&c., it should answer the desired end of keeping the names of the advertisers before the public.
STROTHER, Henry
In the directory for 1858 Henry Strother is listed twice as a photographer, the second entry being:
‘Photographic and Chemical Institution, assay office, etc., H. Strother, Stephens Place, Rundle
Street’. During February 1858 he advertised in the Register as ‘Photographic Establishment, H.
Strother, Stephens Place, Rundle Street’. The existence of cartes de visite with his imprint shows
he was taking portraits in the 1860s, after the carte format was introduced.
An article in the Observer, 13 February 1897, described a photograph of the late Mr John L.
Young who for many years had conducted a school in Stephens Place, The Adelaide Educational
Institution, where many of Adelaide’s leading business men had been educated. ‘It consists of a
lifelike photograph on glass of the late Mr Young taken some forty years ago by Mr Strother,
whose photographic establishment was then situated in the building next to the school. Mr Strother
has a lively recollection of the way in which many of the old scholars used to make use of his
water butt filled from the Torrens at the rate of half a crown a load. Not only did they draw their
water supplies from it, but made it a repository for paper boats made out of luncheon wrappers,
brickbats, boy’s hats, and suchlike. The picture is highly prized by its owner … and we believe it
is intended to have it photographed in order that copies may be obtained by others who have
affectionate recollections of the old-time A.E.I.’
801
1556.
284
Henry Strother’s obituary in the Observer for 12 November 1910 said he had been a ‘prominent
figure’ on the Stock Exchange, of which he was a foundation member. ‘Forty-five years ago the
deceased was accountant for Messrs. Bayer and Gosse, well-known physicians at that time … Mr
Strother, who lived in Stephens Place for a long period, had a private photographic studio, in
which he spent many hours regularly. A Yorkshireman by birth the deceased was ever
straightforward in business, and generous and open hearted to his friends.’ His son, Charles Henry,
appears to have been ‘an artist of no mean order … his oil paintings and pencil sketches were
universally admired’.802
STULLEY, Thomas see STUTLEY, Thomas
STUMP, Alfred Augustus (STUMP & CO.)
Born c.1860, Alfred A. Stump arrived in Adelaide in 1883 and by the end of 1887 the firm of
Stump & Co. had occupied the studio at 35 King William Street, on the northern corner of Hindley
Street, which had been established in 1882 by George Freeman of the Melbourne Photographic
Company. Alfred Stump’s partner in Stump & Co. was Philip Newman (q.v.), who had learnt
photography in England, but who later sold his interest in the studio and returned to London.
The Aldine History of South Australia (1890)803 states that
Stump & Co., photographic artists, Adelaide, is a leading business of its class in the city, although it
has only been in existence three years. Yet the excellence of their work has been such that they at
once forged to the front rank of their profession. They opened business in King William Street,
where they have a most extensive suite of apartments, and have 20 members on their staff. The
reception rooms are fitted up in a most attractive manner, and their studio is supplied with all the
latest appliances for the practice of their art. They have in their possession one of the largest (if not
the largest) camera procurable, and on their premises are to be seen the largest direct photographs
taken in the colonies, especially two, which are now on view, of the Earl and Countess of Kintore.
The growth of Messrs Stump and Co.’s business has been phenomenal, and it has been found
necessary to secure additional premises, which they have done in Rundle Street, where a fresh staff
is engaged.
In 1893 Stump & Co. produced Christmas cards with a distinctly Australian flavour. The Observer
reported:
‘What on earth shall we send home at Christmas?’ is the question of people in South Australia who
appreciate the kindly custom of exchanging greetings in the festive season. The question is being
artistically and appropriately answered in Adelaide by Messrs Stump & Co., who are producing
Christmas cards characteristic of the country – cards representing the flora, the fauna, and the
features of sunny South Australia in a clear distinctive way. We have had an opportunity of
inspecting samples of these, which are on view at their photographic establishment in King
William-street. There are well-depicted typical groups of the aboriginals, ousted by the whites from
the soil we have usurped, and who will, ere long, be as great a curiosity as the extinct dodo and moa
bird; and there are equally excellent photographs of kangaroos, native birds, including singularly
faithful portraits of that jocular eccentric, the laughing jackass or kooyanna, beautiful landscape
effects of hill and plain, coastal views, and indeed a choice collection of local features eminently
interesting to the young or the old folks at home, and also calculated to convey a better idea of the
land we live in. The photos of birds and animals are from life, and the designs are as tasteful as they
are quaint; for instance, one is a composition in which there is a characteristic landscape with a
lubra and her picaninnie perfectly depicted, while flanking this scene is carried a boomerang with
four medallions of aboriginals and a street view. At the bottom is a ribbon with the inscription,
‘Greetings from Australia, Christmas, 1893’. It is a good notion to stamp these cards with ‘Wishing
you a Merry Christmas and a Happy New Year’, because the combination enables correspondents
to lump the two festive interchanges. It is a most sensible idea that of providing local artistic
802
Melbourne, 1992, p. 767; Jill Statton (ed.), Biographical Index of South Australians, 1836–1885, South Australian Genealogy and
Heraldry Society, 1986, p. 1559.
803
Aldine History of South Australia, vol. 2, p. 810.
285
material for exchanges with friends beyond the seas, and Messrs Stump and Co. should be
congratulated upon the valuable as well as interesting character of their productions, which are
varied and very good. As there is a large assortment open for inspection at their studio there is no
need for us to specify any individual samples where all are commendable, but we may add that this
idea of local colouring is an excellent one, especially as the cards are low priced.804
In May 1896 their prices for ‘the popular pictures of today’ were: Paris Panels, 17s 6d per dozen;
Midgets 5s per dozen; and Cabinets 10s 6d a dozen with a free 12” x 10” opal portrait.
In December 1900 Stump & Co.’s King William Street studio was damaged by fire. ‘It is only a
shell of a building, on which the flames soon got a fast hold, and in no time they were licking
through the windows facing Hindley Street. The studio was completely gutted.’805 There is a
photograph in the Mortlock Library collection showing Stump & Co.’s studio during the fire,
smoke coming from the windows and firemen on their ladders with a fire hose. The walls of the
building are well decorated with signwriting: ‘Cartes 7/6 doz.; cabinets 10/6; and at 65 Rundle
Street; Vice-Regal photographers; cabinets, cdv’s, platinotypes, midgets’.
At a meeting of the South Australian Photographic Society held in March 1908 Alfred Stump gave
a lecture and demonstration of Autochrome colour transparencies. He developed some previously
exposed plates and projected the finished autochromes on a screen.
Alfred Stump’s son Stanley (q.v.), also a highly respected photographer, states:
A.A. Stump was apprenticed to C. Wherrett the Hobart photographer, and at the same time attended
classes in drawing and portrait painting. Probably his greatest distinction was his family group
photographs rather in the manner of Winterhalter, with triangular, detached, informal grouping …
The camera used was a huge device, direct photographs 23 x 17 inches, triple extension and with a
carriage of inordinate proportions. These contact portraits were exceptional in quality, skin texture
and a gradation not excelled today … In the year 1909 A.A. Stump and W.H. Hammer merged their
portrait studios and formed a company known as Studios Ltd [a merger which absorbed many of
the smaller studios in Adelaide]. A.A. Stump made a visit to England and Europe in 1912 and
returned with a colour process which had been developed by Paget of London. It was in
transparency form and without the flamboyant colour exaggeration of most subsequent processes.
However the techniques and temperature controls were so precise that it was deemed not a
commercial proposition.806
Directory entries for Stump & Co. were:
1888–1905
35 King William Street
1890–1902
65 Rundle Street
1903–06
69 Rundle Street
1907–15+
67 Rundle Street
Alfred Stump died c.1925, at the age of 65.
STUMP, Stanley W.
The son of photographer Alfred Augustus Stump (q.v.). Cato writes, ‘Spencer Shier of Melbourne
and Stanley Stump of Adelaide who, inspired by the Pictorial Movement, set the standard of their
professional portraiture to salon quality … Stump was invited to Vienna to judge a great
International Salon’.807
STURCKE, Mrs Augustus
Listed as ‘photo artist’, Commercial Buildings, Gilbert Place, Adelaide, in the alphabetical section
of directories from 1902 to 1907. However, she also had an entry under ‘Artists (not
804
S.W. Stump to R.J. Noye, 10 February 1966 (pers. comm.)
807
805
806
286
Photographers)’ classification in the mercantile section of the same directories.
STUTLEY, Thomas
Listed as a photographer at Hawker Street, Yacka, in the trade section of the directories for 1893
and 1894. His surname is also given as Stulley in the alphabetical and Yacka township sections of
the directory for 1894.
SULLIVAN, Thomas of Sands & Sullivan see SANDS, Edmund Lyne
SULLIVAN AND DE VATTE
Known through the existence of a carte de visite (Noye collection) with the printed inscription on
the back: ‘Sullivan and De Vatte, Photographic Artists, North Parade, Port Adelaide’. The Sullivan
in the partnership was probably Thomas Sullivan, who had been a partner of E.L. Sands (q.v.), also
at North Parade, Port Adelaide.
SUTHERLAND, James
An item in the Northern Argus, 24 February 1899, said: ‘Mr J. Sutherland, photographer, [of
Clare] has shown us a small album containing numerous views of Clare. The book itself is a neat
one, and the photographs are excellently taken, showing conclusively that Mr Sutherland is a
master of his art.’ During March he advertised that, ‘for the convenience of holiday-makers’ he
would keep his studio open during the Easter holidays. One dozen cabinet photographs and one 12
x 10 inch enlargement cost 12s 6d.
His cabinet mounts were inscribed ‘James Sutherland, Clare’, and in Australians Behind the
Camera Sandy Barrie lists a James Sutherland, photographer, as being at Melbourne from 1897 to
1898 and from 1906 to 1916.
SWAIN, G.E.
Photographer, probably connected with Swain & Co. (q.v.). Addresses given in the directory are
probably for private residence: Westall Street, Hyde Park for 1906; and Northampton Cottage,
Unley Road, Parkside for 1907.
SWAIN & CO.
Listed as photographers and art framers, Arcade, Rundle Street, for 1906 and 1907. Probably
connected to SWAIN, G.E.
SWEET, Elizabeth
Elizabeth Tilly was born at Portsea in England, to parents George Tilly and Elizabeth Fabian.
There she met and married her husband Samuel White Sweet (q.v.). Together they left England in
1863, arriving in Australia in 1864. Samuel Sweet eventually became one of South Australia’s
most important and prolific ‘views’ photographers.
When Samuel Sweet was appointed Captain of the Gulnare and made voyages to the new
settlement at Port Darwin in the Northern Territory, he was sometimes accompanied by his wife
and some of his children. Whether Elizabeth assisted her husband’s photography during this time
is unknown. However, by 1875, after Captain Sweet had retired from seafaring and had become a
full-time photographer, advertisements made it clear that Elizabeth was making prints from her
husband’s negatives. In July 1875 a newspaper reported on ‘a number of pretty scenes in our
Botanic Gardens, photographed from almost every possible point of vantage. The pictures have
287
been printed by Mrs Sweet from Captain Sweet’s negatives … they are well adapted for
transmission to English friends, conveying as they do an excellent idea of the picturesque spots in
our public garden.’808
After Captain Sweet’s death in 1888 Elizabeth and her children continued to operate the studio at
31 Adelaide Arcade, trading under the name ‘Messrs Sweet & Sons’. Elizabeth registered many of
her husband’s photographs for copyright and continued to make prints from his negatives until
1896.
In 1907 Elizabeth wrote about her experiences in the Northern Territory, when she had
accompanied her husband on the Gulnare between 1870 and 1872.809
She died in January 1917, aged 88.
Carolyn Lovitt
SWEET, Samuel
Samuel White Sweet was born at Portsea, Hampshire, in England on 1 May 1825 to parents
William Timothy Sweet and Ann Eades. In 1863, after serving with the Royal Navy and then the
Merchant Navy, he departed from England for Australia aboard the Flying Cloud with his wife
Elizabeth Tilly. Arriving in 1864, they settled in Queensland to grow cotton, but by 1866 Sweet
was working as a professional photographer in South Brisbane.810 By June 1866 Sweet had a
studio in Rushcutter’s Bay, Sydney, and was advertising his services as an outdoor photographer:
‘Captain Sweet guarantees a first-class copy of your residence.’811 By the end of that year he and
his family were at Adelaide.812
From the start of his photographic career Sweet advertised as a specialist ‘views’ (or outdoor)
photographer. During the 1860s, with technical innovations in photography, the trade in
photographic views began to accelerate.813 Sweet always kept abreast of technical innovations and
received much attention for his city and country views. He also became an innovative portrait
photographer; his outdoor and group portraits, like his views photographs, reveal a love of unusual
compositions, interesting angles and novel subjects and display both a strong pictorial and
documentary quality.
By November 1866 Sweet had established a studio in a short-lived partnership with William
Gibson, trading under the name Gibson & Sweet. The partners sent examples of their work to the
South Australian Register and received some publicity: ‘One of them may be termed a miniature
panorama of Adelaide, and there are five or six spirited views of the Botanic Garden.’814 In
December 1867 Sweet entered examples of his work in the Society of Arts Exhibition815 and was
awarded two guineas for the six best untouched photographic views not less than 8 x 6 inches in
size.816 The prize generated commissions for the photographer, now listed independently in the
directories at a studio in Gouger Street. The prize-winning photographer spent some time taking
views in Gawler, and examples of his work were praised in the local newspaper: ‘We have never
808
Elizabeth Sweet, ‘Early Experiences in the Northern Territory’, Public Service Review, November 1907.
810
811
Sydney Morning Herald, 13 June 1866.
812
For a more detailed account of Sweet’s early years in Brisbane and Sydney, see Joan Kerr (ed.), Dictionary of Australian artists,
painters, sketchers, photographers and engravers to 1870, Oxford University Press, Melbourne, 1992, p. 774.
813
Gael Newton, Shades of Light: Photography and Australia 1839–1988, Australian National Gallery, Canberra, 1988, p. 40.
814
815
816
809
288
seen any photographs to equal them previously; they are distinguished by a clearness and delicacy
that we had no idea was attainable in pictures of this description.’817
In 1868 Sweet’s studio was briefly at Gouger Street before being relocated to 222 Rundle Street,
Adelaide.818 In November he applied to the Surveyer General, G.W. Goyder, for a position as
photographer on the Northern Territory Expedition, but by February 1869 had instead received a
captain’s commission to command the Government Schooner, Gulnare.819 The position of official
photographer was awarded to J. Brooks and W. Barlow. At the time of his application Sweet’s
business card read:
S.W. Sweet, Late of New South Wales, Professor of out-door photography to His Excellency Sir
John Young, K.C.B., Sir William Manning, and the Elite of Sydney. Gentlemen’s Residences
Photographed for the Wax Process, and perfect satisfaction guaranteed. Picnics and Parties
accompanied, and Photographed on the Ground. Tombs photographed. S.W.S. would beg to call
special attention to his Views and Samples.820
Sweet may not have had the official appointment as a photographer; however, the years he spent as
Captain of the Gulnare proved productive for his photography. Sweet set sail on 12 February 1869
with mail and supplies for Goyder and his staff at the new settlement of Port Darwin. Goyder
recorded that Sweet was ‘an expert photographer, and has taken several views in the locality of
which I am glad, as Mr. Brooks has been fully occupied preparing plans and documents for the
field parties …’821 He spent some time taking photographs of Darwin and received an extra
commission to survey the Roper River as a potential route for the overland telegraph. He arrived
back in Adelaide in June and on the evening of 21 February, Sweet gave an illustrated lecture
about his first trip on the Gulnare, describing Port Darwin and surrounding country: ‘His remarks
were rendered additionally attractive by the circulation of a number of beautifully finished
photographs, taken from his own negatives’.822
Captain Sweet departed in July 1869 for his second voyage to Darwin and Timor and sailed on his
third voyage on 2 December. When he returned from this third trip, on 13 March 1870, he
delivered another lecture on the Northern Territory and Timor, illustrated with his photographs and
‘a variety of specimens and curiosities’. The lecture took place on the evening of 25 March at the
Bible Christian Chapel, Young Street, with all proceeds going to the Sunday school fund.823
Sweet departed for his fourth trip on 28 April 1870 with his wife Elizabeth and Captain Douglas,
the new Governor Resident, aboard. The Gulnare brought supplies to Port Darwin, Roper River,
and sailed to Koepang in Timor for fresh meat and vegetables for government staff. On 15
September 1870 Sweet photographed the official ceremony of the planting of the first telegraph
pole at Port Darwin – by the Governor’s daughter, Miss Douglas. This outdoor group portrait
received attention and was regarded as interesting, ‘but the bright sun has somewhat dazzled some
of the features – a casualty which too often interferes with the beauty of open-air photographs’.824
This comment about overexposure reflects some of the difficulties of outdoor photography at this
time. Wet plates were over-sensitive to blue light, often causing over-exposure of the sky. Cloud
detail was therefore often printed in separately.
There is some evidence that Captain Sweet encountered the new member of the police, SubInspector Paul Foelsche (q.v.), while in Port Darwin in 1870 and may have passed on photographic
817
Bunyip, 4 January 1868.
South Australian Almanack and Advertiser, 1869. See also Alan Davies and Peter Stanbury, Mechanical Eye in Australia, Oxford
University Press, Melbourne, 1985, p. 236.
819
Document of Samuel Sweet’s commission held in the South Australian Archives, GRG 35, SGO Letters from the N.T. 32/1869, 10
February, 1869.
820
Sweet’s business card was attached to his application to the Surveyor General to join the Northern Territory Expedition, South
Australian Archives, GRG 35, 1394/1868.
821
Goyder’s official report, 3 May 1869, published in the South Australian Register, 8 June 1869.
822
823
824
818
289
knowledge to the young, budding photographer. Foelsche’s earliest photographs of Palmerston
(later Darwin) are certainly very similar to Captain Sweet’s.825
Sweet arrived back in Adelaide in July 1871 and soon exhibited his photographs from the Northern
Territory at Mr J. William, Stationer, in King William Street, advertising that copies were
available for purchase. Editorial in the newspaper suggested they ‘are worth possessing, not only
because of their execution, but the class of landscapes represented’. The photographs gave ‘a good
idea of the progress of settlement and the primitive style of architecture adopted in the Northern
Territory’.826 According to this report and subsequent advertisements, subjects included views of
Stokes Hill, Fort Hill, the camp and the Government Resident’s House.
Captain Sweet’s fifth voyage to Port Darwin, in 1871, accompanied by his wife Elizabeth, baby
and teenage daughter, resulted in the loss of the Gulnare and subsequently his commission. Late in
October the Gulnare had became stranded on a reef off Vernon Island and was wrecked. In
November, before returning to Adelaide, Sweet photographed the landing of the British-Australian
Telegraph cable at Port Darwin. Copies were sent to the Illustrated London News. Sweet then took
command of the Bengal and piloted the Overland Telegraph Company party to the depot, one
hundred miles up the Roper River.827 He also recorded the course of the river to produce an official
report and plan. Sir Charles Todd described Sweet as ‘indefatigable in his exertions as pilot’.
Despite Todd’s praise, Sweet lost his commission after an enquiry into the loss of the Gulnare.828
When he and his family arrived back in Adelaide in 1872, Sweet spent three months preparing the
Roper River charts, while also fostering his photographic business by selling his views of the
Northern Territory. The directories show his studio was briefly in Gilles Street, and then in
Flinders Street until 1874.829 In May 1872 Sweet appointed Mr Charles Knight as his agent ‘for the
disposal of photographs of the Northern Territory’ and in June Mr Knight visited the suburbs and
country districts to promote sales. Sweet’s Roper River photographs were reviewed in the South
Australian Register in May: ‘They are exceedingly well executed, and they convey a favorable
idea of the country, especially as regards the means of water transit.’ On the evening of 18 July he
again delivered an illustrated lecture on his Northern Territory and Timor experiences, this time in
the schoolroom adjoining St. Augustine’s Church, Unley.
During 1872 Captain Sweet joined the Black Diamond Line and captained the ship Wallaroo,
transporting coal from Newcastle in New South Wales. But on 11 May 1875 the Wallaroo was
destroyed at Port Wallaroo when it collided with another ship in rough weather. After an enquiry,
Sweet never sailed again and became instead a full-time photographer.
In January 1873 a collection of Sweet’s Northern Territory views were among the South
Australian photographs exhibited at the Institute Building on North Terrace prior to the display
being sent to the London Exhibition. In April 1873 he delivered a lecture at Riverton on the subject
of ‘our Northern Territory and Timor’. A newspaper reported on ‘the graphic way in which the
scenes, products, and inhabitants of the places depicted, together with curious and excellent charts
and photographs, enabled the lecturer to retain the attention of his hearers for two hours’.830 Sweet
also passed around examples of indigenous crafts to his audience.
Now at the end of his seafaring, Sweet entered his most prolific period as a photographer, with his
wife Elizabeth assisting the business. In July 1875 a newspaper report advertised:
825
See ‘Foelsche the Photographer’ at <http://www.samuseum.sa.gov.au/page/default.asp?site=1&id=742>. Evidence that Foelsche and
Sweet encountered each other is contained in the diaries of police trooper E.N.B. Catchlove held in the State Library of South Australia,
PRG 651.
826
827
Philip Pike and Julian Moore, Captain Sweet’s Adelaide, Longwood Media, Adelaide, 1983, p. 18.
828
Philip Pike and Julian Moore, Captain Sweet’s Adelaide, Longwood Media, Adelaide, 1983, p. 119.
829
830
290
... a number of pretty scenes in our Botanic Gardens, photographed from almost every possible
point of vantage. The pictures have been printed by Mrs Sweet from Captain Sweet’s negatives …
they are well adapted for transmission to English friends, conveying as they do an excellent idea of
831
the picturesque spots in our public garden.
Sweet also continued to sell work through Mr Williams, Stationer, on King William Street,
advertising ‘waxed views of houses and landscapes’.832 In October Sweet prepared 80
photographic views for the Philadelphia Centennial Exhibition (1876). Half of these photographs
were of the Northern Territory, and the others of the Botanic Gardens and other landscapes. ‘The
pictures are of a convenient size, and ought to give the Americans a fair impression of our Austral
land’.833 During 1875 Samuel and Elizabeth Sweet moved to a house in Parklands, Bowden, where
they resided for the rest of their lives. This address was listed as Sweet’s business address from
1875–77.834
Captain Sweet had previously developed his own glazing process, advertised as Sweet’s ‘wax
views’. His waxing process received some attention in 1876, with another photographic company,
Dobson & Co., applying to Sweet for the exclusive right to use this process. The effect of waxing
was reported as ‘very good indeed, quite equal to that of varnish on an oil painting, and at the same
time it helps to preserve the pictures’. 835 Dobson & Co proudly advertised their use of ‘Captain
Sweet’s waxing process’, also describing themselves as ‘Sole agents for Captain Sweet’s enameled
views of Adelaide’.836
Sweet’s professional reputation continued to grow, having ‘long since gained a high character for
the beauty and finish of his photographic views’, as one newspaper reported.837 He was inventive
and continued to keep up with the latest techniques. In September 1877 he prepared some
landscape photographs to send to the Paris Exposition Universelle (1878), which were reportedly
‘enhanced by a warm tint like that produced by sepia being imparted by a process of Captain
Sweet’s own invention’. These photographs included a view of the Adelaide Bridge, the Botanical
Gardens, a new Model School at Norwood, and ‘a delightful rural scene in the newly laid out
suburb of Upper Kensington’.838
Early in 1878 Sweet received a commission from Messrs J. Dunn & Co to photograph the mills
and wheat stores owned by the firm. ‘The series includes eleven views … photographed by
Captain Sweet in his usual artistic style. The pictures indicate the progress of the colony as well as
the development of the firm interested.’839
Captain Sweet remained a keen traveller and was warmly praised for his artistry and technical
innovation. He travelled through South Australia with a mobile dark room, photographing outback
stations and homesteads. In June Sweet added to his range of views with a trip to Tasmania. The
Tasmanian views were exhibited for sale in the window of E.S. Wigg and Son:
These, like others which have before been exhibited by him in Adelaide, are the result of his special
process, by which such exquisitely finished pictures are obtained, and unlike most photographs they
are absolutely stereoscopic in the effect produced. The pictures are 20 in number, and some of the
most lovely scenes in the beautiful southern island are represented with a fidelity to nature that is
but seldom attained.840
In July 1878 Captain Sweet visited Point McLeay where he had received several commissions.
The local newspaper excitedly reported: ‘The visits of photographic artists at this place are so few
and far between, that when one does pay us a visit it is quite an event. Last week Captain Sweet
831
833
South Australian Register, 18 October 1875..
834
835
The Advertiser, 29 July 1876.
836
Observer, 5 August 1876.
837
838
839
Western Times, 23 February, 1878.
840
Advertiser, 3 July 1878.
832
291
was over here taking landscape views. He came especially to take views of Bowman Brothers’
Stations at Campbell House Park, and also of Mr Richman’s Stations at Narung.’ Sweet also
visited the Aboriginal Mission Station ‘for the purpose of taking a view of it, for a frontispiece for
the Rev. G. Taplin’s book on the “Narrinyeri” that is now being published by Wigg & Son,
Adelaide … He also photographed the largest number of natives I saw taken together, there are
between 50 and 60 in the group.’841
A newspaper article in November suggested that the photographs of the Bowman Brothers’ Station
were taken using the ‘instantaneous process’, a term for dry-plate photography.842 Sweet is
generally regarded as amongst the first to use this process in South Australia, which allowed much
faster exposure times: ‘We have just been shown a splendid piece of photography executed under
the instantaneous process by Captain Sweet. It is a view of a herd of about 120 head of fine cattle
… Out of the entire herd there is only one beast whose likeness is not perfectly clear and
distinct.’843 This is a very early date for the use of dry-plate photography in South Australia; Sweet
may have been using imported plates, as the first locally manufactured plates to be commercially
available were produced in August 1880 by Philip Marchant.844
In 1879 Sweet was advertising his new Imperial Portrait Rooms on Flinders Street, opposite the
Government offices. The newspapers reported on him travelling widely, visiting Meningie, Port
Elliot, Port Victor, Goolwa, Milang, Strathalbyn, Willunga, and Mount Barker.845 He also
submitted a vast and encyclopedic contribution to the South Australian court of the Sydney
International Exhibition (1879); this included a panoramic photograph of Port Adelaide and ‘seven
albums containing 511 photographic views which form a complete representation of the scenery
and buildings of the colony’.846 He also returned to Port Darwin and photographed ‘many of the
building improvements that have recently been made at Palmerston’.847 By the end of 1879 Sweet
had over 500 views for sale.848
In 1880 Sweet visited Clare and Bungaree, photographing homesteads and stations.849 In late
October and early November, he was again at the mission at Point McLeay, and this time received
a request from the Ngarrindjeri themselves for portraits: Frederick Taplin had written to Sweet
saying that the Aboriginal people at the mission ‘would go in for having their pictures made’.850
By 1881 Sweet announced that he had engaged Mr Lindsey Tilley, ‘an operator of extended
experience just from England’, to take portraits at his Imperial Portrait Rooms. In this same
advertisement he announced that he had secured the sole right for taking photographs at the
Adelaide Exhibition (1881) and that ‘parties desirous of having their exhibits photographed should
make early application’.851 He later reported taking seven views of the exhibition and ‘various
things’ on display.852 These photographs were enamelled and marketed as souvenirs.853 In
February 1882 Sweet promoted the ‘lightning flash’ process, having recently used the technique to
photograph the interior of the German man-of-war, Carola. This process may suggest the use of
artificial light provided by magnesium flashpowder.854
841
Southern Argus, 18 July 1878.
843
844
Alan Davies has suggested that Sweet may have been using imported dry plates. Personal correspondence with the Art Gallery of
South Australia, 12 October 2007.
845
Observer, 23 November 1978, 5 April 1879.
846
South Australian Register, 1 July 1879, 11 September 1879.
847
848
849
Northern Argus, 29 October 1880.
850
Entry for 27 October 1880, Frederick Taplin letterbook, South Australian Museum Archives, cited in Philip Jones, ‘Ethnographic
Photography in South Australia’, in Julie Robinson, A Century in Focus: South Australian Photography 1840s–1940s, exhibition
catalogue, Art Gallery of South Australia, 2007, p. 106. See this article for a more sustained analysis of Sweet’s Point McLeay
photographs.
851
Frearson’s Weekly Illustrated, 24 July, 1881.
852
Observer, 30 July 1881 and FW, 6 August 1881.
853
854
See R.J. Noye, ‘Artificial Light Photography’ at< www.artgallery.sa.gov.au/noye/Misc/Artlight.htm>.
842
292
In July 1882 Sweet ventured up the Great Northern Railway, from Port Augusta to Farina,
photographing picturesque scenery using the instantaneous process. These views were sold
through his Flinders Street studio – ‘a most suitable present for friends at home’.855 Over the next
few years Sweet’s work continued to receive comments in the newspapers, which reported on a
wide variety of subject matter: a garden party in the grounds of Government House, the SS
Adelaide, and the interior of the Mount Barker Institute on the day of the art exhibition. Between
1884 and 1885 his studio was located at 25 Rundle Street. In 1885 he was briefly at 99 King
William Street 856 before moving into shop 31 on the ground floor of the newly completed Adelaide
Arcade.
Sweet died suddenly in January 1886 of an apoplectic fit (or heatstroke) while visiting his friend
Captain Adams at Halldale near Riverton, South Australia. His obituary described him as ‘a
peculiarly energetic character and of kindly disposition … very popular in the position in which he
moved’. Three weeks later the director of the Botanic Gardens forwarded an album containing 65
photographs of the gardens by Captain Sweet to the Colonial and Indian Exhibition in London
(1886).857 His widow and children continued to operate the studio at Adelaide Arcade, trading
under the name ‘Messrs Sweet & Sons’. Elizabeth Sweet registered many of her husband’s
photographs for copyright and continued to make prints from his negatives until she closed the
studio in 1896.
Carolyn Lovitt
SWIFT, Wilton see AMERICAN PHOTO NOVELTY CO.
SWISS PHOTO STUDIOS
Listed as photographers at 101A Rundle Street, Adelaide, in directories from 1911 to 1917. The
firm operated at other Rundle Street addresses until 1927. The name ‘Swiss Studios’ appears on a
cabinet photo under the name of the firm, Fruhling Studios.
SYDNEY PHOTOGRAPHIC CO. see MARLOR, Robert J.
SYKES, Harold F.
Born at North Adelaide in 1882. Employed by Faulding and Co. and studied chemistry for four
years. Practised photography as a hobby, then was associated with A.E. Bond’s Port Adelaide
studio for five years. After his health failed he spent 18 months travelling the country districts
before settling at Broken Hill, where he purchased a studio in Argent Street.858 In Australians
Behind the Camera, Sandy Barrie lists Sykes Studio, Argent Street, Broken Hill as 1900–33.
SYMONDS, E.A.
Was an assistant printer at George Freeman’s Melbourne Photographic Company studio in Rundle
Street when it was destroyed by fire in February 1879.
855
Address given in George E. Loyau, Notable South Australians, or, Colonists Past and Present, G.E. Loyau, Adelaide, 1885.
858
H.T. Burgess (ed.), The Cyclopedia of South Australia, Adelaide, vol. 2, (1909), p. 1085.
856
857
293
T
TALMA STUDIO see PUDDY, H.E.
TAMBLYN, Frank
In H.K. Bailey’s The Wallaroo Mine, published in 1985, there is an undated photograph of Frank
Tamblyn working in Matt Mitchell’s (q.v.) darkroom at the Wallaroo Mine.859
TAYLOR, Donald Robert Napier
Born at Gawler on 24 April 1877, Donald Taylor was the second son of photographer James
Taylor (q.v.). He founded the Donald Taylor Collotype Company in 1903. A detailed history of the
Donald Taylor Collotype Company, which produced postcards, is given in an article by Bronte
Watts in the February 1983 issue of the Australian Cartophilic Society newsletter.
TAYLOR, James
Born at Aberdeenshire, Scotland, in 1846, James Taylor arrived in South Aus

Dictionary of South Australian Photography 1845

Transcription

Similar documents

Between Orientalist Cliches and Images of

STOKE CITY FC Carlo Nash - National Literacy Trust

2012 Moorundie Park Poll Merino Stud Newsletter

JULY/AUGUST 2014

The control room of Deutsche Welle

DEPTH with Michael David Sturlin

Further information Hauchler Studio

Jacqui Kaese poster - Screen Actors Studio

5choices - FranklinCovey