Derbyshire Photographers: George S. Bristow of London Road, Derby

George Smart Bristow (1819-1870) was a portrait painter who moved to Derby in late 1857 or early 1858 with his wife Lois and four young children from Lewes in Sussex, arriving shortly before the birth of their fifth child.

Although he described himself in the 1861 census simply as a portrait painter, it is clear from an advertisement appearing weekly in The Derby Mercury from 4th July until 6th October 1858 that besides "portraits in oil, water colours, and crayon; miniatures painted on ivory," he also offered "photographic portraits, in light and shade, oil or watercolours." At the time he would probably have been using either mounted albumen prints or collodion positives, but in the early 1860s no doubt soon added cartes de visites to his repertoire.


This full length carte de visite portrait of an unidentified young woman in a crinoline dress holding a hat was probably taken some years later in the mid- to late 1860s, judging by the fact that a good proportion of her ears are revealed by her tightly drawn back hair. The studio furnishings are simple, and the what-not is one that appears in both of the other two examples that I have from Bristow's studio.


Bristow worked from "portrait rooms" at his home in 5 Regent Terrace, on the east side of London Road, close to the Wesleyan Methodist Chapel, and conveniently located on the main route into town from the railway station. Judging by the number of surviving photographs that I've come across attributable to Bristow, his business was not particularly successful.

Derby could not have been a happy place for the Bristow family. Although Lois bore another two sons and two daughters there, three children died between 1861 and 1867. On 3 November 1870 George himself died, and a mere six days later Lois too. Although their eldest son George Smart Bristow (junr) was shown working as a photographer at 57 London Road in April 1871, within five months he had died at Peterborough, and his elder sister was gone six months after that. At least two children survived: Angelo Ernest Bristow (1857-1922) was working as a tailor in Derby in 1881, and Lavinia Bristow was an art student in Peterborough in 1891.

References

1841-1901 UK Census from Ancestry
UK City & County Directories from Ancestry
White, F. & Co. (1857) History, Gazetteer and Directory of the County of Derby. Transcribed by Neil Wilson.
GRO Index from FreeBMD
IGI from FamilySearch
Historical Directories from the University of Leicester
The Derby Mercury, 19th Century British Library Newspapers, Gale CENGAGE Learning

A Hoby print revisited

Composite portrait of the Hoby family, New Plymouth, c.1866
Image courtesy of Philip Duke
In part 5 of my biographical sketch of George Hoby, photographer of New Plymouth and Nelson, I included this image of a composite photograph of the Hoby family, taken around 1866. It was sent to me by Hoby descendant Philip Duke, who told me that it was scanned from an original at the Puke Ariki Museum in New Plymouth.


Taranaki Museum photo index card with "Hoby composite portrait"
Image courtesy of Puke Ariki
I subsequently received a series of images from Kate Boocock, Pictorial Technician at Puke Ariki. The first image, taken from "file card drawers in the research centre," appears to be a Taranaki Museum (succeeded by Puke Ariki in 2003) photo index card with a very similar version of the "Hoby composite image" either printed on or affixed to it. Handwritten in the relevant spaces on the card are a File Number P.2.1436, Negative Number LN 672, the names of the subjects in each of the cameo frames, the number E.C.385 and a note "storage album 2, pg 37." The final note may refer to the location of an "original," but of course this location reference may no longer be valid.


Mounted photographic print of "Hoby composite portrait"
Image courtesy of Puke Ariki
Of much greater interest was a scan of "a black and white copy photograph, mounted on card that was on display in the old Taranaki Museum." I have made the following observations:
- the buff-coloured card mount measures approx. 234 x 296 mm
- the b&w photographic print, slightly smaller than the mount, measures approx. 231 x 293 mm, has three small pin holes at top right, top left and bottom centre, and slight flaking damage to the photographic emulsion at edges and corners
- part of a white rectangular passe-partout frame with rounded corners is visible, internal dimensions approx. 199 x 265 mm
- series of 10 elliptical-shaped cut-out vignetted head-and-shoulders portraits (each approx. 57 x 73 mm) arranged in 2-3-2-3 pattern, and overlapping from bottom to top, on a darker background


Edge of "Hoby composite portrait" frame, compared with typical 1850s/1860s ambrotype frame
The passé partout frame appears to be very similar in design to those sometimes used for ambrotype (collodion positive) photographs in the 1850s and 1860s (example here), probably somewhat more expensive than the standard wooden cases lined with velvet, with the glass positive image mounted behind a brass matt and pinchbeck surround (example here).

The largest format glass plate negative in general use during the 1860s was the full plate, measuring a standard 6½" x 8½" (or 165 x 216 mm). Since the internal dimensions of the frame visible in the photographic print are substantially larger than this, the print is most likely to have been an enlargement. This fact, in combination with the appearance of the photographic emulsion, suggests to me that the print was made some time later than the original composite was produced. It is possible that it was produced when the Taranaki Museum either acquired the original, or had it on loan, perhaps from a family member. The appearance of light and dark patches within the darker background may be due to reflections from a glass behind which the original was mounted.


Detail of "Hoby composite portrait" print
Image courtesy of Puke Ariki
The overlapping nature of the vignetted cameo portraits, as well as the appearance of shadows at the edges of the cameos (see detail above) suggests that the individual head-and-shoulders portraits were originally printed separately using the vignetting techniques that Hoby displayed in other portraits (see Hoby Part 4). They were then cut out and arranged on a plain, darker backgroundbefore being mounted behind glass and in the ambrotype-style frame.


Reverse of "Hoby composite portrait" print card mount
Image courtesy of Puke Ariki
The reverse of the card mount shows a series of label remnants, inscriptions and annotations, obviously created at different times and by a variety of hands, as follows (and not necessarily in the order they were created).
(1) The remnants of a rectangular label are visible close to the top of the mount, its approximate original extent visible from the
(2) What may be the earliest extant inscription is handwritten in pencil:

Mr + Mrs Geo Hoby + family
Mr + Mrs H + the elder members
of family arrived in N.P. from
London, of which they were citizens,
by the "Fatima" in 1851.
The names of family starting from
second row from top + from left to right
Oliver, Amy (Mrs Keeling), George
Clara (Mrs Merridge) Lilla,
Arthur, Percy, Hubert

(3) Handwritten in pencil at the top, probably in several different hands, different again from that of (2) above, is the text "EARLY SETTLERS: groups and reference numbers, "P2/1436" and "LN 672."
(4) Handwritten in black ink, possibly felt tip, at top right, is the number "25."
(5) The list of subjects has been re-written, by a different hand, in black ink.
(6) The reference number E.C. 385, handwritten in black ink, has been added.
(7) A purple stamp, "TARANAKI MUSEUM," is at the bottom of the mount.
(8) A number, possibly "26," is handwritten in black ink close to the bottom edge of the mount, appearing to have been crossed out in slightly different black or brown ink.
(9) A thin, irregularly trimmed rectangle of white paper, measuring roughly 289 x 129 mm and with typewritten text (image above), has been glued by its left hand edge to the back of the card mount. The text - relating to George Hoby junior rather than his father, who died in 1882 - reads as follows:

MR G. HOBY AND FAMILY Page 49 Obituaries
He died on the 4th October, 1927.
The death of Mr. G. Hoby, one of the oldest settlers in the Bell Block, occured in the N.P. Hospital yesterday. Mr. Hoby was in his 85th year. He was one of the earliest settlers in Bell Block and there he had his schooling. As youn g man he found himself in the thick of the Maori War. he immediately joined Captain Deveaux's Mounted Corps and served with it from 1861-1866. Mr. Hoby went right through the Maori War, taking an active part in the famous battle of Waireka.
Trooper Hoby gained the reputation of being one of the most daring fighters in the district. He flirted with danger.
After the way, he continued his military duties, being Captain of the Volunteer Corps at Bell Block for some years after Captain Cornwall had retired. Later in life he carried on a contracting firm and then a land commission business. he was a good type of settler, a fine, hard-working man in his prime, and straight in his dealings. he married Miss H. Chapman whose parent emigrated from England, and who predeceased him by about two years. Mr Hoby leaves eight children, Mrs G.E. Grover (Fitzroy), Mts Motteram (Opotiki) Mrs Wood (Whareroa), Mrs Somerville (Okoia), Mrs Addenbrooke (Ngaere), and Messrs G. Hoby (Nelson), P. Hoby (Tataraimaka), and R. Hoby (Bell Block). Another son Stanley, was killed in the Great War.

Not being familiar with the Taranaki Museum and Puke Ariki cataloguing and refencing systems and practices, I can't comment on the several numbers present, except to say that several different number sequences may have been employed over the years. The handwritten number "26" (8) appears to have been partly truncated, which may indicate that the mount has been trimmed at some stage. The pin holes are probably a relict of its being used for display purposes in the old Taranaki Museum.

Conclusions

An anlaysis of a scan of the mounted photographic print of the "Hoby composite portrait" provided by Puke Ariki has revealed that it is a later copy of a pre-existing composite portrait. The mounted copy print appears to have been produced (possibly by Puke Ariki's predecessor, the Taranaki Museum) by photographing either the framed print or a print of that. The "original" may have been constructed by George Hoby senior himself, by photographing and printing portraits of the family members, cutting out the cameos, and mounting them on a darker background, probably under glass, and then within an ambrotype-style frame. What has happened to that "original" is another matter altogether, perhaps best left to Hoby descendants to pursue if they wish. It may well not have survived, which makes the documentation of this print, possibly the best surviving copy, all the more important.

Treatment of the Photograph as an Artefact

Researching this article has been a timely reminder - to myself as much as I hope it will be to the readers of Photo-Sleuth - that thorough examination and analysis of a photograph as a physical object, or artefact, is often just as important as are discussions about the photographer/originator or the subjects. Such a description will provide a firm base on which all future work can be done, and an analysis will often provide very useful clues regarding provenance, photographers, dates and subjects featured in the photograph. To conduct these examinations, it's obviously best to have the artefact in your hand, suitably gloved, or many details and subtleties may be lost. However, when this is not possible much can be deduced from digital scans, provided they are done properly.

I don't intend to provide an exhaustive list of scanning Dos and Don'ts (perhaps in a later article), but these are the most important things to keep in mind. To produce useful, I strongly recommend that the user familiarise his/herself with the scanner control software, and that the scanning operations be carried out from within the software, rather than using the buttons on the scanner. It just isn't possible to manipulate the scanner parameters when using the scanner buttons.

• Scan in full 24-bit (or 48-bit) colour, even if the photograph itself is black and white.
  
• Always include the full extent of the print, mount and any enclosing folders.
  
• Scan the reverse as well, even if there are no obvious marks or inscriptions.
  
• Scan at the highest resolution (optical, not interpolated) the scanner can manage; a minimum resolution 300dpi is just acceptable, 600dpi better, but 1200dpi is best. Note that the smaller the original, the larger resolution you need to use to capture detail.
  
• Save all files in TIF format, and optionally in JPG format at the same time, although you can easily convert them subsequently.
  
• Number and file the scans meaningfully.

Acknowledgements
Many thanks to Kate Boocock of Puke Ariki and Philip Duke for their assistance in this project.

Somebody's grandfather, by E.I. Baker of Hailsham

In response to the carte de visite that I posted yesterday, Diana Burns sent me this most appropriate rejoinder, which she secretly hopes is her 3x-great-grandfather Daniel Talbot (1797-1871).

The things I have noticed are his thread-bare right trouser knee (apparently on one side only - why?); the photographer's use of the head support, which surprised me as he is seated, and his ferocious expression (grandmothers are not the only ones who can be forbidding!) The lower part of his walking stick is oddly serrated ... I believe the sitter's style of beard and frock-coat date also to the 1860s, but he does not strike me as a style icon!

Diana is right that this is a typical 1860s photograph. The full length seated portait with a studio setting consisting of patterned carpet, painted backdrop, curtain, plain wall, moulded skirting board, side table with tablecloth and basket of flowers, and chair with turned legs are what one would see in most studios in the larger English towns by the mid-1860s.

This man looks to me to be at least in his sixties, perhaps even early seventies. He is dressed, I think, in a frock coat with matching waistcoat and trousers, and possibly a bow tie, although his white chin beard is in the way. A watch chain is visible, and he is holding a walking stick, apparently carved with something twined around it, at least on the lower section.

Regarding the damaged right trouser knee, it's difficult to be sure without a more detailed scan whether this is on the original, or if the print has suffered some abrasion. It is tempting to think that he might have fallen over on the way to the studio - hence his grumpy countenance. His left arm is resting on the side table in a slightly uncomfortable looking, perhaps to steady it!

The base of the neck support (also known as a head clamp) which is just visible between the legs of the chair, together with the rather uncomfortable-looking angle at which he's holding his head, suggests that his head needed steadying too. While a head support is perhaps less frequently observed in portrais taken in the late 1860s than in the early 1860s, it would not be too unusual to have one available in the studio. I note, too, that both of his hands are clenched fairly tightly. One could theorise, therefore, that the subject might have been suffering from a nervous system ailment, perhaps just due to old age, resulting in tremors which were difficult to control.

Edwin Isaac Baker started work in the 1860s and I suspect the glued-on label on the reverse shows that this was an early photo.

According to David Simkin's detailed biography of Edwin Isaac Baker, he started operating a photographic studio from the premises of his booksellers and stationery business in Hailsham's High Street around 1868. David includes an example of an early carte de visite by Baker from c.1869, using a pre-printed mount rather than a plain mount with an affixed label. This portrait has an almost identical studio setting as Diana's CDV - all that is missing are the side table, tablecloth and flower basket.


The use of the printed label pasted on plain white card may indeed suggest an early example of his work, before he had built up enough of a reputation and clientele to warrant the slightly higher prices of printed card stock. The misprint of his second initial as "J" instead of "I" also suggests it may have been done on the cheap. Indeed the label is almost reminiscent of a book plate. Another example of a pasted label can be seen in my profile of the early Bradwell (Derbyshire) photographer Joshua Evans. Diana has more cartes de visite by E.I. Baker in her family collection, including the portrait of a different, but also unidentified, man - shown above - in the same studio setting, but now using printed card stock.

So if the portrait of the older man was taken in 1868 or 1869, and I estimate that he was perhaps between 63 and 73 years old, this would imply a birth date of c.1795-1806. Diana's ancestor Daniel Talbot was born in 1797 and the portrait could therefore well depict him. However, I would be looking for further information to corroborate this theory. For example, where was he living at the time this photograph was taken? If he wasn't living in Hailsham, what could have been a plausible reason for his visiting the town? Are there other photographs in the family collection depicting Daniel Talbot, and do they show the same man? Can any of other E.I. Baker CDVs in the collection be identified, and can they be related in some way to this one? As with all good genealogical enquiries, approaching the problem from as many different angles as you can think of gives you a much greater chance of success.

As an aside, I wonder if the scene depicted in the backdrop might be recognisable to those familiar with the geography of the country around Hailsham. Painted backdrops did sometimes portray real scenes, and this one could well be of a local view. It appears to show a river crossed by a high bridge or viaduct. A search on Geograph for bridges within 10 kilometres of Hailsham produced a wealth of photographs, but a quick browse failed to turn up any showing suitable candidates. It would be nice to hear from anyone who can identify the bridge or scene.

Somebody's grandmother, by Fred Smith of Chesterfield

This carte de visite portrait of an unidentified elderly woman (with a look that you want to hide from) was taken by Fred Smith in his studio on the corner of Brewery Street and Tapton Lane, Chesterfield, Derbyshire. Smith was operating from those premises from c.1869 till c.1879, and judging from the square corners and design on the reverse of the mount, the studio setting and style of portrait, I estimate a date of no later than 1873.



Fred was actually Alfred Edward Smith, born in Coventry in 1846, who moved to Chesterfield in the 1860s, and married Scottish schoolteacher Martha Hughes in 1872. By 1881 they had left Derbyshire and were in Holdenhurst near Bournemouth (Hampshire).

It is possible that his studio was then taken over by the celebrated Chesterfield photographer Alfred Seaman, who operated from premises at that ocation from the late 1870s.


Post Script
I was indeed being a little unkind, but then I'm allowed to be a little provocative, occasionally, if it gets people commenting? An enlargement shows quite different left and right sides to her face. If you cover the right hand side, the baleful stare has almost disappeared and she looks substantially younger. I wonder if she'd had a stroke?

George Hoby, Part 5: Hard Times

Continued from Part 4, which dealt with his busiest period as a photographer, catering to the military personnel stationed in Taranaki. Once the soldiers departed, however, he had to look for more clients and come up with new marketing ideas.


The Taranaki Herald, Saturday, 8 December 1866
In early December 1866, Hoby announced that he was offering portraits using the stennotype [sic] process, "combining real permanency with the advantage of colouring." [71] The sennotype process had been introduced to Australia by Charles Wilson, who sold rights to use it in the Australian colonies in 1863 [72]. The London Portrait Rooms in Dunedin, operated by Messrs. Peyman and Irwin, were the first to "purchase the secret" in New Zealand in August 1863, inviting the public to inspect a selection at their gallery [73,74]. In September 1863 William Meluish of Dunedin was offering to divulge the "secrets" of the process for £5 [75], but there is little evidence that the many practitioners took it up. Henry Frith, recently arrived in Dunedin, offered sennotypes in May 1866 [76].


Composite portrait of the Hoby family, New Plymouth, c.1866
This composite portrait of members of the Hoby family shows the parents and eight of their children [77]. They are, from left to right and top to bottom, George Hoby Sr., Hannah Hoby, Oliver, Amy (Hannah Amy), George Jr., Clara, Lilla (Eleanor Mary Ann), Arthur, Percy and Hubert. Percy, shown in the centre of the bottom row, was born in Nelson on 5 February 1863; assuming he was about 2 to 3 years old in this portrait, the sitting was possibly around 1865 to 1866. George and Hannah's youngest child Minna Sarah was born at Woolcombe Terrace, New Plymouth on 12 October 1865, and died on 28 February 1866. Since she does not appear, it is likely that the composite portrait was produced after her death.


Bullock team hauling house along Devon Street, New Plymouth, Unidentified photographer, c.1860s [78]
After the removal of troops from New Plymouth, business for the studio declined drastically, and the Hobys moved back to the farm on the Bell Block, their house from Woolcombe Terrace being moved there in 1868 in sections [4,78]. Although it's unlikely to be the Hoby's house, the unattributed photograph above shows a building being transported in a similar manner [79].

Later that year a fire burnt twelve houses in Devon street to the ground, including the photographic studio, which must have significantly added to their woes [80]. George tried his hand at dentistry from the premises of Keeling & Co., a shop belonging to his son-in-law, while still selling accumulated portraits at a shilling each, but business remained very slow [81].


Nelson Evening Mail, Thursday, 23 September 1869
George Hoby returned to Nelson, looking for customers for his photographic business, and on 15th June attempted to revive the partnership with William Davis, offering free sittings for the first three days [82,83]. To drum up business, they even tried raffling photographs [84] but it soon became clear that partnership would not work and it was dissolved on 10th September [85], Hoby announcing that he was building his own studio on Trafalgar Street [86].


Colonist, Friday, 8 October 1869
By early October he was at the premises of Mr. John in Trafalgar Street, offering cartes de visite at half price for the rest of the month [87].


Colonist, Friday, 24 June 1870
In June the following year, he tried a new marketing tack, offering a subscription lottery, which would entitle a customer to a dozen portraits, presumably cartes de visite, and a chance of winning larger coloured portraits, pictures, etc. [88] Whether or not this strategy worked is unknown, but he continued to place advertisements in all three Nelson newspapers, the Nelson Examiner and New Zealand Chronicle, the Nelson Evening Mail and the Colonist until late October [89,90] when he announced his intention to leave Nelson "shortly" and end the "Art Union" lottery [91].


Nelson Examiner and New Zealand Chronicle, Friday, 3 March 1871
He was still practising in the town in early March when he urged customers not to delay, as he would "positively leave" on 10th March [92]. He actually departed on the 19th March aboard the steamer Phoebe, headed for "Picton and South" [93].


Steamer S.S. Lyttelton at Blenheim Wharf [94]
He probably spent the next eight months in Picton and the Marlborough district [4], before heading back from Wairau, near Blenheim, to Nelson aboard the steamer Lyttelton in mid-November [95].


Nelson Evening Mail, Saturday, 11 November 1871
His marketing skills invigorated, and "photography seeming to have gone mad in Nelson," George offered his cut rates (six pictures for 3/6) in Trafalgar Street "for a few days." [96] By mid-December he'd had enough, travelling by the S.S. Wellington via the port of Onehunga in the Manukau harbour, and arriving home in New Plymouth on the 14th December, after an absence of two-and-a-half years [97].


The Taranaki Herald, Saturday, 16 December 1871
He was not hesitant to advertise his services in both photography and dentistry to residents, in the latter possibly being assisted by his son Arthur [98], and by July 1872 was operating from new premises in Devon Street [99]. In November he had an accident in the street outside the studio, as reported in the Herald [100]:

ACCIDENT TO MR. HOBY. - Yesterday afternoon, as Mr. Hoby was mounting his horse in front of his photographic studio, the animal became restive, and before the unfortunate gentleman could gain his seat, he was thrown violently to the ground, his head coming in contact with the kerb-stone. When picked up, Mr. Hoby was insensible, so he was carried into his studio, and Dr. Rawson sent for. We learn he has received injuries such as will lay him up for some time, but we are happy to hear that no serious consequences are likely to result from his fall.

Nelson Examiner and New Zealand Chronicle, Monday, 8 September 1873
He must have recovered soon, because by August 1873 he was back in Nelson again, "ready to take portraits at the Gallery, opposite the Masonic Hall, Trafalgar street." [101] His intention was to remain there for a month taking portraits and selling new photographic views of Nelson, as well as offering to take views of houses [102,103], but he was still there in December [104]. On 31st December he set off again, this time aboard the S.S. Taranaki for Wakefield and Spring Grove (Mr Botterell's), near Havelock in the Marlborough Sounds, where he offered to "take portraits, views of houses, animals, etc." [105]

In the final part of this series, George Hoby returns to Taranaki and the family home at Beach Farm, Bell Block for good.

References

[4] Hoby, Arthur (1937) Memoirs of Arthur Hoby, Transcript of original held by Alexander Turnbull Library, Courtesy of Philip Duke.

[71] Stennotype (Advertisement), Taranaki Herald, 8 December 1866, p.2.

[72] Charles Wilson, Dictionary of Australian Artists Online (updated 14 November 2007)

[73] Portraits, &c. (Advertisements), Otago Daily Times, 17 August 1863, p.2.

[74] Rackstraw, Tony (2009) London Portrait Rooms, Early Otago Photographers (including Southland) and their successors.

[75] To Photographers (Advertisement), Nelson Examiner and New Zealand Chronicle, 15 September 1863, p.2.

[76] Frith's Sennotype Gallery (Advertisement), Otago Daily Times, 7 May 1866, p.3.

[77] Composite photographic portrait of the Hoby family of New Plymouth, Taranaki, New Zealand, Unknown format and size, attributed to George Hoby, Puke Ariki Museum.

[78] Tenders. To Carpenters, Builder, and others, Taranaki Herald, 1 February 1868, p.1.

[79] Bullock team hauling a house along Devon Street, New Plymouth, B/W negative, Undated, Unidentified photographer, ID: 1/2-110547, Alexander Turnbull Library/Timeframes.

[80] Another Great Fire in Devon-Street, Taranaki Herald, 28 November 1868, p.3.

[81] Notice, Taranaki Herald, 6 February 1869, p.2.

[82] Davis and Hoby, Photographers, Trafalgar Street (Advertisement), Colonist, 15 June 1869, p.2.

[83] New Plymouth. Departures, Taranaki Herald, 12 June 1869, p.2.

[84] Notice. Davis & Hoby, Photographers, Trafalgar Street (Advertisement), Nelson Evening Mail, 25 June 1869, p.3.

[85] Dissolution of Partnership, Nelson Evening Mail, 23 September 1869, p.3.

[86] Advertisement, Nelson Evening Mail, 23 September 1869, p.3.

[87] Advertisement, Colonist, 8 October 1869, p.2.

[88] New Advertisements. Photographic Art Union, Colonist, 24 June 1870, p.2.

[89] Business Notices. Photographic Art Union, Nelson Examiner and New Zealand Chronicle, 26 October 1870, p. 1.

[90] Photographic Art Union (Advertisement), Colonist, 21 October 1870, p.1.

[91] New Advertisements, Colonist, 28 October 1870, p.2.

[92] Business Notices, Nelson Examiner and New Zealand Chronicle, 3 March 1871, p.1.

[93] Shipping Intelligence. Sailed, Nelson Evening Mail, 20 March 1871, p.2.

[94] Photograph of S.S. Lyttelton at Blenheim Wharf, Undated, Mounted albumen print, undated, unidentified photographer, Acc. No. C2152, Nelson Provincial Museum, Courtesy of The Prow

[95] Shipping Intelligence. Arrived, Nelson Evening Mail, 13 November 1871, p.2.

[96] New Advertisements, Nelson Evening Mail, 11 November 1871, p.2.

[97] Port of Onehunga. Arrivals, Daily Southern Cross, 12 December 1871, p.2.

[98] Dentistry. Photography (Advertisements), Taranaki Herald, 16 December 1871, p.3.

[99] Photography & Dentistry (Advertisements), Taranaki Herald, 13 July 1872, p.1.

[100] Accident to Mr. Hoby, Taranaki Herald, 6 November 1872, p.2.

[101] New Advertisements. Photography., Nelson Examiner and New Zealand Chronicle, 21 August 1873, p.2.

[102] Business Notices, Nelson Examiner and New Zealand Chronicle, 8 September 1873, p.2.

[103] Photography (Advertisement), Nelson Examiner and New Zealand Chronicle, 17 November 1873, p.1.

[104] Advertisement, Nelson Evening Mail, 22 November 1873, p.2.

[105] Shipping Intelligence. Sailed, Nelson Evening Mail, 31 December 1873, p.2.

George Hoby, Part 4: Unattributed carte de visite portraits

Part 3 evaluated a series of carte de visite portraits from the Puke Ariki Museum collection attributed to Hoby.


CDV portraits in Puke Ariki collection, unattributed, c. 1865-66
Capt. A.R. Close [52], Dr R.A.P. Grant (43rd Regt)[53], Capt. Page [54]
There are probably also a number of other, currently unattributed, portraits by Hoby in the Puke Ariki collection. For example, the carte de visites of Captains Close and Page, full length portraits with their caps resting on pedestals [52,54], were clearly taken in the same sitting as the half-length Hoby portrait shown earlier. The addition of a balustrade into the setting is the only item of studio furniture not observed previously. The full length portrait of Dr Grant [53] displays several familiar items in the studio, including the pedestal, patterned carpet and chair.


CDV portraits, Lt. Henry Bally, 70th Regiment, Puke Ariki collection,
unattributed, c. 1865-66 [55,56,57]
Likewise, the series of three portraits of Lt. Bally of the 70th Regiment, who appears to have visited on three separate occasions, use the same set of studio furniture [55,56,57].


CDV portraits, Puke Ariki collection, unattributed, c. 1865-66
Lt. W.deW. Waller (57th)[58], Ens. A. Duncan (57th)[59], John Black (Taranaki Bush Rangers)[60]
Further portraits from the same source show Lieutenant W.deW. Waller and Ensign A. Duncan (57th Regiment) and John Black (No. 2 Company, Taranaki Bush Rangers) with pedestal and patterned curtain [58,59,60] ...


Lt. G.J. Gosling (65th)[61], Lt. B. Gascoigne[62], Lt. R. Pitcairn (T.M.S.)[63]
... and Lieutenants G.J. Gosling (65th Regiment), Bamber Gascoigne and Robert Pitcairn (Taranaki Military Settlers), all with the pedestal [61,62,63].


Carte de visites portraits of W.H. Frere (58th Regt & T.R.V.)[64]
and Baron L. von Rotter (T.M.S.)[65], unattributed, c. 1865-66
This carte de visite (above left), also identifiable as from Hoby's studio from the characteristic chair, pedestal and carpet, is somewhat different in that the background wall has thigh-high wainscoting and a painted studio backdrop, the only such portrait by this photographer thus far discovered. It shows William Henry Frere, who served with the 58th Regiment and the Taranaki Rifle Volunteers, and the backdrop appears to depict, according the catalogue entry, Pukekura Park and Mount Taranaki [64]. Baron L. von Rotter (above right) was New Plymouth's first Postmaster and a member of the Taranaki Military Settlers [65].


CDV portraits of 43rd Regt. soldiers, Puke Ariki collection, unattributed, c. 1865-66
Lt. A. Longley [66], Capt. H.A. Bateman [67]
The vignetted head-and-shoulders portrait of Lieutenant Longley [66] shows him in the same clothes and very similar hair style to that depicted in the full length Hoby portrait displayed in Part 3. The shape of the vignetting "cut-out" in the Bateman portrait [67] is almost identical, suggesting that both were also from Hoby's studio.


CDV portraits of Follett Carrington [68], Rachel Mace & baby [69]
Puke Ariki collection, unattributed, c. 1865-66
These two cartes de visite are among the few discovered which show civilian subjects. The unattributed portrait of Follett Carrington (1862-1948) is datable to c.1864-1866; the pedestal and chair are clearly Hoby's [68]. That of Rachel Mace, wife of Captain Mace of the Taranaki Rifle Volunteers, with a baby in her lap also displays Hoby's trademark pedestal and carpet [69]. It may be from mid-1865, as she gave birth to a son on the 21st February that year [70]. The statuary used in these two portraits has not been observed any other examples.

In Part 5, George Hoby has to cope with the departure of most of the military personnel from Taranaki.

References

[52] Photographic portrait of Captain Arthur R. Close, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1790, Puke Ariki Museum.

[53] Photographic portrait of Doctor Robert Alexander Peter Grant, Assistant Surgeon, 43rd Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-630, Puke Ariki Museum.

[54] Photographic portrait of Captain Page, Taranaki Military Settlers, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-553, Puke Ariki Museum.

[55] Photographic portrait of Captain Henry Bally, 70th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-623, Puke Ariki Museum.

[56] Photographic portrait of Captain Henry Bally, 70th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1711, Puke Ariki Museum.

[57] Photographic portrait of Captain Henry Bally, 70th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1804, Puke Ariki Museum.

[58] Photographic portrait of Lieutenant Walter de Warrenne Waller, 57th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-572, Puke Ariki Museum.

[59] Photographic portrait of Ensign A. Duncan, 57th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1679, Puke Ariki Museum.

[60] Photographic portrait of John Black, Taranaki Bush Rangers (No. 2 Company), Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-574, Puke Ariki Museum.

[61] Photographic portrait of Lieutenant George Johnson Gosling, 65th Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-597, Puke Ariki Museum.

[62] Photographic portrait of Lieutenant Bamber Gascoigne, Taranaki Military Settlers, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1788, Puke Ariki Museum.

[63] Photographic portrait of Lieutenant Robert Pitcairn, Taranaki Military Settlers, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1789, Puke Ariki Museum.

[64] Photographic portrait of William Henry Frere, 58th Regiment & Taranaki Rifle Volunteers, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1791, Puke Ariki Museum.

[65] Photographic portrait of Baron Louis von Rotter, Postmaster & Taranaki Military Settler, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1866, Puke Ariki Museum.

[66] Photographic portrait of Lieutenant Arthur Longley, 43rd Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1782, Puke Ariki Museum.

[67] Photographic portrait of Captain Hugh A. Bateman, 43rd Regiment, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1683, Puke Ariki Museum.

[68] Photographic Portrait of Follett Carrington, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2009-223, Puke Ariki Museum.

[69] Photographic portrait of Rachel Mace and baby, Carte de visite, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2007-033, Puke Ariki Museum.

[70] Birth, Taranaki Herald, 25 February 1865, p.2.

George Hoby, Part 3: The soldiers come to town

In part 2, George Hoby spent much of his first three years as a photographer in Nelson.


The Taranaki Herald, Saturday, 13 February 1864
In early 1864, after an exploratory visit back to Taranaki, George Hoby advised his Nelson customers that he would be absent during the month of February [33]. By the middle of that month he was advertising a "new gallery" in Courtenay Street, New Plymouth [34]. Over the next twelve months he continued to traipse back and forth between New Plymouth and Nelson and, since he ceased advertising in the Nelson newspapers, it is assumed that he was no longer operating there. In late October he put his Nelson freehold property, "with house and two shops" in Trafalgar Street on the market [35].


The Taranaki Herald, Saturday, 11 February 1865
While waiting for a buyer in Nelson, he was building a new studio in Devon Street, New Plymouth, and announced its opening on 10th February [36]. He also erected a house for the family on Woolcombe Terrace, so that Hannah and the younger children were able to make their way back to New Plymouth aboard the S.S. Otago on 23rd May, their five year exile in Nelson at an end [4,37].


CDV portraits of 43rd Regt. soldiers by Hoby, Taranaki, c. early 1865
Lt. A. Longley [38] and Major F.M. Colvile [39]
George Hoby's decision to move permanently back to Taranaki may have been influenced by the arrival of more Imperial troops in the district, in particular the 43rd and 70th Regiments in mid-November 1864.


Adj. H.C. Talbot and Ens. T.C. Miller [40] and Capt. F.C. Rowan [41]
The four carte de visite portraits shown above all depict soldiers from the 43rd Regiment, and were most likely taken at Hoby's Devon Street studio in early 1865. They must date from prior to that unit's departure from New Plymouth in February-March 1866.


Reverse of carte de visite by Mr. Hoby, Photo.,
Taranaki, New Zealand, c.1865 [39]
Several features of the studio setting are shared by two or more of the portraits: plain back wall (4) with moulded skirting board (2), curtain (4), patterned carpet (2), waist-high pedestal (3) and a chair (2). [38,39,40,41]


CDV portraits of soldiers by Hoby, Taranaki, c. early 1865
Capt. W.A. Hussey (Taranaki Military Settlers) [42] and Capt. A.R. Close (43rd Regiment) [43]
A further two carte de visite portraits by George Hoby in the Puke Ariki collection, in a slightly different style - half-length and displaying a more spartan studio setting - were almost certainly also taken in early 1865 [42,43]. Captain Hussey was killed at Omaru-hakeke, near Wairoa on the East Coast on 25th December 1865 [44], and Captain Close on 28th July 1865, inland of the Warea Redoubt in Taranaki [45].


The Taranaki Herald, Saturday, 20 May 1865
In May he advertised, "A large number of likenesses having accumulated, Mr. H. offers them at 1s. each," which suggests that he may have been offering portraits of the soldiers for general sale [46]. Several cartes de visite in the Museum of New Zealand/Te Papa Tongarewa collection, including one of Hussey attributed to George Hoby [47], are identical images to those in the Puke Ariki collection shown above [48,49], although most have additional strips of paper with the names and affiliations of the subjects affixed to the foot of the card mount.

It is obvious that a copies were indeed made, probably with collectors in mind, but when and by whom remains unclear. The Te Papa copies are a small sample from a large photographic album depicting several hundred "Soldiers of the Queen" who served in New Zealand during the Maori Wars, compiled by W.F Gordon of New Plymouth around 1900, but possibly collected by him some years earlier [50].


CDV portrait of Capt. E.F. Hemingway, 43rd Regiment, c.1865-1866
attributed to Arthur Hoby [51]
A carte de visite photo of Captain Hemingway of the 43rd Regiment in the Puke Ariki Museum collection is attributed to Arthur Hoby [51]. Philip Duke points out that Arthur would have been in his early teens at the time it was taken, and there is no other evidence of him working as a photographer. Despite discussing his father's photographic business at some length in his memoirs, he makes no mention of his own involvement [4], leaving the attribution of this portrait as something of a mystery.

In Part 4, I investigate a number of unattributed portraits which are almost certainly also from George Hoby's New Plymouth studio.

References

[4] Hoby, Arthur (1937) Memoirs of Arthur Hoby, Transcript of original held by Alexander Turnbull Library, Courtesy of Philip Duke.

[33] New Advertisements, Nelson Examiner and New Zealand Chronicle, 19 January 1864, p.2.

[34] New Advertisements, Taranaki Herald, 13 February 1864, p.2.

[35] New Advertisements, Nelson Examiner and New Zealand Chronicle, 22 October 1864, p.2.

[36] Mr. Hoby, Photographic Artist. (Advertisement), Taranaki Herald, 11 February 1865, p.2.

[37] Shipping Intelligence. Arrivals, Taranaki Herald, 27 May 1865, p.2.

[38] Photographic portrait of Lieutenant Arthur Longley, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1779, Puke Ariki Museum.

[39] Photographic portrait of Major Fiennes Middleton Colvile, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1657, Puke Ariki Museum.

[40] Photographic portrait of Captain Henry Charles Talbot and Lieutenant Taverner Charles Miller, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-552, Puke Ariki Museum.

[41] Photographic portrait of Captain Frederick Charles Rowan, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1799, Puke Ariki Museum.

[42] Photographic portrait of Captain William Augustus Hussey, Taranaki Military Settlers, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1739, Puke Ariki Museum.

[43] Photographic portrait of Captain Arthur R. Close, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-1780, Puke Ariki Museum.

[44] Cowan, James (1922), The New Zealand Wars: A History of the Maori Campaigns and the Pioneering Periods: Volume II (1865-1872), Wellington, New Zealand: R.E. Owen.

[45] Wells, B. (1878) The History of Taranaki, Early New Zealand Books, The University of Auckland Library.

[46] Mr. Hoby, Photographer, Devon-street (Advertisement), Taranaki Herald, 20 May 1865, p.2.

[47] Photographic portrait of Captain Hussey, Taranaki Military Settlers, Carte de visite (Image 61x92mm; Mount 63x102mm) by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. O.013013, Museum of New Zealand/Te Papa Tongarewa.

[48] Photographic portrait of Captains Talbot and Miller, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. O.011906, Museum of New Zealand/Te Papa Tongarewa.

[49] Photographic portrait of Colonel Colvile, 43rd Regiment, Carte de visite by G. Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. O.012382/01, Museum of New Zealand/Te Papa Tongarewa.

[50] Gordon, W.F. (1900), Some "Soldiers of the Queen" who served in the Maori Wars and other notable persons connected herewith, Photographic album, Acc. No. AL.000076, Museum of New Zealand/Te Papa Tongarewa.

[51] Photographic portrait of Captain Edward Frederic Hemingway, 43rd Regiment, Carte de visite by Arthur Hoby, New Plymouth, Taranaki, New Zealand, c.1865, Acc. No. PHO2008-618, Puke Ariki Museum.