Robert Stevens

Victorian chairman Robert Stevens reports on a November 2022 tour to the Central Goldfields region.

Between arriving in Hobart Town as a convict on 3 August 1831 and the last evidence of his residing in Van Diemen’s Land in 1847, Meshach Stevens painted a very competent copy of a famous print after William John Huggins titled Northern Whale Fishery, published in London in 1829 (plate 1).1 For almost a century, Stevens’ painting has been in the Queen Victoria Museum and Art Gallery in Launceston, acquired in 1927 from the collection of photographer John Watt Beattie (1859–1930).

Australiana Society members visited the Ballarat region of Victoria in May, as part of a tour carefully planned by Victorian branch chair Robert Stevens. Luckily, it fell into a gap between COVID lockdowns, and gave members from several states a chance to get out, mingle and enjoy what the Victorian Central Goldfields region has to offer. Robert Stevens shares the experience with those who could not attend this time, and promises to continue to plan other tours in better times.

Dublin-born William Paul Dowling (c 1822–1877) worked in London as a draftsman and artist before his Irish Nationalist political activities led to his being transported to Van Diemen’s Land for sedition. Here, the Irish Catholic convict established a reputation as a portrait artist, gradually adapting to the new technology of photography. For the first time, Robert Stevens combines a look at his life, well documented through the many letters he wrote home, with an analysis of his art and photography, to reveal the story of this talented Irish patriot who made a new life in Tasmania.

Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.

Charles Rodius began his prolific art career in Paris and London. Convicted of thefts in 1829, he was transported to Sydney, where the convict artist produced landscapes, portraits of leading Sydney settlers as well as notable portraits of Aboriginal people, many translated into lithographs. Rodius had a good singing voice. From 1839, aged about 37, he began to suffer a series of strokes that severely affected his ability to draw. To compete with the new technique of popular, cheap but generally unsympathetic photographic portraits, in 1850 he travelled through NSW and Victoria offering his emotive hand-drawn portraits. Robert Stevens analyses his career in more detail than previously, alongside a selection of images from his large output.

Edmund Edgar Bult (alias Edmund Edgar, c 1804–after 1852), a talented and respectable young London engraver cum cat burglar, ransacked the house of a young lady, only to be apprehended by a police constable while making his getaway. HRH Frederick Duke of York was among those who supported a plea for clemency, and his death sentence was commuted to transportation for life. On arrival in Sydney he was immediately employed as an engraver by the artist Augustus Earle, then by the engraver John Carmichael. He became an art teacher and accomplished portrait painter.

London jeweller's apprentice James Walsh, convicted of theft and forgery, drew on the walls of Fremantle Gaol images of European art, perhaps taken from his own treasured artist's sketchbook. After his release from gaol, his later subjects were taken from his surroundings: landscapes and the fringe-dwelling Indigenous people of Western Australia.

The works of Elizabeth Hudspeth are largely unknown, like those of many early Australian women artists. Robert Stevens remedies this, and illustrates some of her works which have been rarely or never published nor seen. Her sketches of some early Tasmanian buildings, which have since been destroyed, may be the only record of them.