Showing posts with label Women prisoners. Show all posts
Showing posts with label Women prisoners. Show all posts

Mugshots of Women Prisoners, Tasmania 1897-1910

Elizabeth ORLANDO, murder charge and MUGSHOT
Booking shots of WOMEN in hats, 1890s-1910, HOBART GAOL
MARION camera, Hobart Gaol 1890s

Marion Camera Hobart Gaol 1900s

Marion's Excelsior Camera, 22 & 23 Soho Sq., London WW1D 3QR
The firm operated from this address between c.1866 - 1913.
Held at Penitentiary Chapel Historic Site, Campbell St., site of the former Hobart Gaol and Supreme Court.
Photos copyright © KLW NFC 2015 ARR

This camera was used by the (as yet) unidentified photographer at the Hobart Gaol from the 1890s. Prior to the 1890s, prisoners were photographed by Constable John Nevin who was resident and salaried at H.M. Gaol until his death from typhoid fever in 1891, working with his brother, commercial photographer, government contractor and civil servant Thomas J. Nevin who attended the gaol and Supreme Court Oyer and Terminer sessions on a monthly and quarterly roster. One of two rooms used by the photographers at the Hobart Gaol was located above the women's laundry. Before it was demolished in 1915, government contractor John Watt Beattie salvaged the majority of photographs taken by Thomas J. Nevin in the 1870s from the laundry and the Sheriff's Office. He displayed them at his "Port Arthur Museum", located in Hobart, and toured them at intercolonial exhibitions from the Royal Hotel, Sydney, 1916 in conjunction with convictaria exhibited on the floating museum, the fake convict ship Success.

1897: Elizabeth Orlando aka Eliza Poole
In 1887 Elizabeth Orlando stabbed to death her husband Victor Orlando at the breakfast table in Mrs Parker's lodging house, Campbell St. Hobart, Tasmania. She was sentenced to life in prison. She was previously known to police as Eliza Poole, charged with minor offences.

1887: sentenced to life

TRANSCRIPT
THE INQUEST.
An inquest touching the death of Victor Orlander, or Orlando, was hold this afternoon before Mr. P. W. Mitchell, coroner, and a jury of seven, of whom Mr. G. F. Hiddlestone was foreman.

The jury viewed the body, after which the following evidence was elicited.
Dr. C. J. Parkinson deposed that the cause of deceased's death was loss of blood from a deep wound behind the left ear.
Mrs. Mary Parker deposed she was proprietress of Parker's lodging-house in Campbell-street, where she resided with her husband; deceased and his wife had been staying in witness's lodgings; last Monday week deceased went there alone and lodged, and the following Monday his wife went there also; and they boarded and lodged together until that morning; they sometimes quarrelled they would go out sober and return under the influence of drink, and then quarrelled. Mrs. Orlander used to aggravate deceased, who seemed a very quiet man; on Thursday night they quarrelled more than usual, and thinking they had better be separated, witness between 12 p.m. and 1 am. that morning separated them, taking Mrs. Orlander into her own room and leaving deceased down stairs; when witness arose at 8 that morning deceased and his wife had left the house; at 8.45 they returned deceased went into the kitchen and asked for breakfast; so did accused; the table was already laid, knives, forks etc., being upon it; Orlander and his wife were sitting at the table, the wife being on his left hand; upon Mrs. Orlander also asking for breakfast, deceased said three times -" No, she shall not have any;" witness said to Mrs. Orlander, "Take no notice, he is only joking;" she then served Mrs. Orlander's breakfast, and then turned her back to where they were sitting, in order to attend to the household work at another table; she next went to the door, and was going to an adjoining room, when, hearing a scuffle, she turned round, and saw Mrs. Orlander with a table knife in her hand, though still sitting down; she appeared to be prodding deceased in the neck; witness thought at first that Mrs. Orlander was doing this for a lark, but on the third thrust she noticed blood spurt, and exclaimed, "Oh my God, the man is stabbed ;" she could not say that at the first or second thrust the knife entered deceased's neck, but she saw the third thrust enter the flesh, and saw Mrs. Orlander pull the knife out from the wound; a man named Clark was in the room at the same time, sitting at another table; witness raised the alarm, and some lodgers came out of an adjoining room, and took deceased to the hospital; deceased said nothing; nor made any noise whatever; witness took the knife, which was stained for 4in. in blood and wiped it; she subsequently gave it to the police; after deceased was removed Mrs. Orlander was like a mad woman about the house, and in ten minutes time went up stairs where she remained until the police came; when deceased came in to breakfast they did not appear much under the influence of drink : they knew what they were doing; the wife appeared more sober than the husband, who was perhaps half drunk; she had never heard Mrs. Orlander use any threats or acts of violence against her husband beyond the fact that she would strike him, which she did with her closed hand.
To the Coroner - No time elapsed between the three thrusts; they being made immediately after each other.
John Edwards deposed he was a licensed victualler residing at Bothwell; he knew Mrs. Orlander for between four and five years, and deceased for about three or four years; deceased was a labourer; they lived together as man and wife at Bothwell, where they were married three years ago; they were absent from Bothwell for 11 months, but returned to Bothwell three months ago; they lived a very unhappy life ; witness attributed their unhappiness to drink on the part of the wife; he never knew any violence occur between them;; he saw them together in Bothwell about 16 days ago; Mrs. Orlander there received a sentence of 14 days imprisonment for abusive language towards another female, and was sent to the Hobart lock-up; deceased remained in Bothwell for two or three days, and then witness missed him; he next saw them together on Thursday morning, about 10 o'clock, in a hotel in the city; he saw them again that (Friday) morning; between 8 and 9 that morning deceased was walking up Campbell-street towards Parker's lodging-house; he appeared to be perfectly sober; witness also saw Mrs. Orlander sitting in the bar of Clay's Union hotel smoking a pipe, and she seemed to be quite stupid from drink; he had often seen her in liquor; when in that condition she seemed to become perfectly mad.
John Clark, a labourer, deposed he lodged and boarded in Parker's lodging house; he was in the same room as the Orlander's when they were having breakfast that morning, but he was not observing them; hearing Mrs. Parker scream, he looked round and saw Mrs .Orlander draw a knife away from the neck of deceased, from which blood was spurting.
Richard Webb, a cook lodging at Parker's lodging-house, deposed to that morning hearing cries of "she has stabbed him" repeated twice, coming from the direction of the kitchen ; he hurried to the spot, and saw deceased sitting at the table and blood issuing from a severe wound in the neck, and also from his mouth; he then, with the assistance of others, conveyed him to the hospital.
Mr . P. Pedder, superintendent of police, deposed to arresting Mrs. Orlander at Parker's house. She was in a half stupid state; there was a quantity of blood on her hands; with Constable Chomley he took her to the police-station ; she asked where her husband was; witness replied that her husband was dead, and he would charge her with the murder; she became distressed and said her husband had been kind to her.
This concluded the evidence, and the coroner summed up. The jury, after a few moments retirement, returned a verdict of " guilty of manslaughter." Mrs Orlander was present during the taking of the evidence but asked no questions . The inquiry commenced at 4.30 pm. and terminated at 8 pm.

PRESS REPORTS
THE INQUEST. (1887, February 26). Launceston Examiner (Tas. : 1842 - 1899) p. 3.
Link: https://nla.gov.au/nla.news-article39527652
SHOCKING TRAGEDY. (1887, February 26). Launceston Examiner (Tas. : 1842 - 1899), p. 3.
Link: https://nla.gov.au/nla.news-article39527649

1897: sentence commuted
Elizabeth Orlando aka Eliza Poole was tried and imprisoned for murder at the Supreme Court Hobart, sentenced to life on 29 March 1887. Her Hobart Gaol rap sheet shows she was photographed (in prison dress) on 22 December 1897 and discharged on 23 December 1897. The photo's registration number was "793" and dated "22 .12. 97". The annotation in red ink at the foot on this record, not quite legible, is - Dis ? charged to the Probation - ? Launceston - see "Ticket of Leave".

Elizabeth Orlando prisoner Tasmania 1897



Orlando, Elizabeth identical with Eliza Poole
Record Type: Prisoners
Year: 1895-1897
Record ID:NAME_INDEXES:1450014
Resource: GD128/1/2
Link: https://libraries.tas.gov.au/Record/NamesIndex/1450014

1890s: discharged but "Photo not taken"
In this Hobart Gaol series - Book No. 1 GD63/2/1 - the records of men and women prisoners showing their discharge dates in the 1890s are listed in the same volume. Many of the men's records include a full-frontal mugshot with arms folded across their chest.

The women's records have a pencilled note written in the Remarks column - "Photo not taken" - which may have been written years, even decades later, including this record for Elizabeth Orlando aka Eliza Poole dated 22 December 1897.Yet she was photographed on discharge, as the record above clearly shows. A number of women, and a few were violent offenders like Elizabeth Orlando, must have been photographed on admission and discharge from the Hobart Gaol in the 1870s-1890s, but their photographs are yet to surface. Elizabeth Orlando's photograph has survived probably because she was released on probation with a ticket-of-leave. The last contemporary note in the Remarks column on her record states: "To freedom by Ticket of leave: 22 December 1897."



Discharged: prisoner Elizabeth Orlando
Pencilled inscription: Remarks - "Photo not taken"
Murder conviction SC on 29 March 1887, sentenced to life, commutation
"To freedom by Ticket of leave: 22 December 1897"
Link: https://libraries.tas.gov.au/Digital/GD63-2-1/GD63-2-1P146JPG

1906-8: women prisoners in hats
Mugshots taken of women imprisoned at the Hobart Gaol were commonplace by the early 1900s. They were routinely photographed even if their sentence was little more than a week, a fortnight or month, and for the most minor offences such as indecent language and riotous behaviour.  The pose and dress of the prisoner in these series differ only slightly. Many wore their own hats, some wore the prison standard issue striped dress and straw boater. The dress code of the era proscribed a hat as a customary item of clothing, a social marker of personality and propriety, and retained as such to aid further identification in booking shots. Clearly, by this decade, the Bertillon method of posing the prisoner for two photographs, one in profile and one full-frontal facing the camera, was conventional procedure, augmented with a numerical classification of the prisoner's fingerprints. 

SERIES (1904-5):
Archives Office of Tasmania POL708-1-1
Link: https://libraries.tas.gov.au/Record/Archives/POL708-1-1



Prisoner Susan Brooks, or Williams
Photo: Inscribed Susannah Brooks, 19-6-1912, i.e. dated 19 June 1912
Discharged from the Hobart Gaol 26 April 1913, record date 12 May 1913
Link: https://libraries.tas.gov.au/Digital/POL708-1-3/POL708-1-3P08JPG

In this series for the years 1906-1908, the booking shot in many cases showed each woman still dressed in her own clothes and wearing her own hat in profile, but bare-headed for the full-frontal pose. Some showed the backs of their hands if tattooed. Mugshots taken two years earlier, in the years 1904 and 1905, showed women already wearing the striped prison dress, no hats, in both the full frontal and profile shots.



Prisoner May Evans, sentenced to 7 days for indecent language, Hobart Police Office
Date when photo was taken: 28 April 1908, stamped 26 May 1908
Link:https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P19J2K


MORE EXAMPLES:
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P35J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P76J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P89J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P107J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P136J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P147J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P149J2K



Prisoner Lily Lavelle, prostitution, riotous behaviour
Photo dated 28 August 1905, discharge stamped 1 Feb 1907
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P150J2K

MORE EXAMPLES
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P154J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P161J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P208J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P226J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P237J2K 1905 no hat prison dress 
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P258J2K ditto



Prisoner Margaret Steele, sentences from 1902 to 1905
Photo dated 1st April 1905, wearing prison dress
Record: POL708-1-1P278J2K

MORE EXAMPLES
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P278J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P279J2K ditto
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P286J2K
Link: https://libraries.tas.gov.au/Digital/POL708-1-1/POL708-1-1P304J2K 1904 no hat prison dress

ANOTHER SERIES
Series: GD63 PRISONERS RECORD BOOKS.
Item Number: GD63/1/1 (Book No. 2).
Further Description: Start Date: 01 Jan 1892. End Date: 31 Dec 1894
Link:https://stors.tas.gov.au/GD63-1-1



Prisoner Ellen Wilson alias Jones, sentences between 1893 and November 1919
Photo dated 10 January 1910
Record: GD63-1-1P747




Prisoner Isabella Keating, sentences from 1894 to 1914
Photo dated 1911 wearing prison dress and hat
Record: GD63-1-1P427




Prisoner Harriet Hardwicke or Cooper, sentences from 1994 to 1906
Photo dated 15 October 1906
Record: GD63-1-1P432




Prisoner Margaret Smith, sentences from 1892 to 1907
Photo dated 11 February 1907
Record: GD63-1-1P011




Prisoner Ann Kegan, sentences 1990 and 1993
The photo has been removed.
Record: GD63-1-1P248


"YOU MUST PROVE US PROSTITUTES"
Michael Lennen wrote this letter to the Superintendent of Police in May 1876 about two "little prostitutes" soliciting "boys" in Goulburn Street, Hobart Town. He claimed the girls were known - not only to him because one lived next door and the other opposite - they were also "well-known to all the men in the force" . Since, as he claimed, one of the girls called Lilias lived in a brothel, that brothel was either next to his house or opposite in the same street. His intention might have been to suggest to the Superintendent of Police that he was witness to policemen frequenting the brothel at their personal pleasure. Possibly, or simply that he wanted the two girls arrested, the brothel shut down, and peace restored to his street. All he needed, quoting the girls themselves - "you must prove us prostitutes" - was proof. If not proven, they could be charged with "riotous behaviour" and "indecent language", or being "idle and disorderly", sentenced to 7 days, a fortnight or a month in prison. The weekly police gazettes - Tasmania Reports of Crime for Police - do record a handful of female teenagers with these offences who faced court in Hobart from May to November 1876.

Letter to police 1876

TRANSCRIPT (punctuation not the writer's strongpoint) 

1876
Michael Lennen

Hobart Town
Monday 15 May 1876

Sir
I have to report for your information that I was in Goulburn street on Monday the 8th May I saw two females misconducting themselves I cautioned them I said you little prostitutes get away from this and let the boys go about their business they answered you must prove us prostitutes I said I could easily do that I have had to speak to yous on many occasions they then went away I know the girl Lilias to live in a brothel and they are both bad characters



TRANSCRIPT cont ...

well known to all the men in the force I make this statement as truth as one lives next door to me and the other opposite

Yours most Respectfully
Michael Lennen

The superintendant
of Police
Hobart Town

Source: Draft Minutes of the Police Committee
MCC16/63/1/1
9 Nov 1867-17 Feb 1879
Accessed 31 March 2014
Archives Office of Tasmania
Photos copyright © KLW NFC Imprint 2014

Women detained under the Licensing Act, UK 1902.
Whether in Tasmania or London or Birmingham, women prisoners were uniformly photographed wearing their own hats in the first decade of the 20th century. These women were processed under the Metropolitan Police District Habitual Drunkards Licensing Act 1902.





Sources: Library of Birmingham and National Archives UK
Link:https://www.search.birminghamimages.org.uk/details.aspx?ResourceID=11596

The Millbank Prison photographer, 1888

PRISONER POSES Tasmania 1870s and 1880s
PENTRIDGE PRISON Victoria 1874
MILLBANK PRISON UK photographic practices 1888



"Burial-Ground at Millbank Prison. From a Photograph by Herbert Watkins, 179, Regent Street." Wikipedia

When Thomas J. Nevin photographed prisoners in Tasmania in the decade 1870-1880, his preferred pose for photographing the prisoner was in semi-profile, torso sometimes visible to the waist. No particular emphasis was placed on capturing marks, tattoos, and disfigurement of the hands. Further reduction of information occurred when he printed the final image as a carte-de-visite in an oval mount, a format small enough to fit onto a criminal record.



People/Orgs: Williamson, Allan Matthew
Places: Campbell Street Gaol, Hobart (Tas.)
Institution: Penitentiary Chapel Historic Site Management Committee
Object number: PCH_00033



Prisoner Robert Ogden (1861?-1883), known as James Odgen, executed on 4th June 1883 at the Hobart Goal for murder.
Photographed by Thomas J. Nevin at the Hobart Gaol, 23 September 1875.
Source of image: State Library of NSW
Miscellaneous Photographic Portraits ca. 1877-1918
36. James Ogden
Call Number DL PX 158:

Studio portraiture by commercial artists such as Thomas Nevin was requested by prison and police authorities during the early years from the late 1860s to the 1880s, for economic reasons, as stated in the case of the Pentridge photographer in Victoria.



Source: Launceston Examiner 22 Aug 1874

TRANSCRIPT
VICTORIA. The system of taking photographic likenesses of prisoners at the Pentridge Stockade is stated to have proved of great assistance to the police department in detecting crime. The system was commenced at Pentridge about two years ago, and since then one of the officials who had a slight knowledge of the art, with the assistance of a prisoner has taken nearly 7000 pictures, duplicates of which have been sent to all parts of this and the adjacent colonies. But it has been considered rather too expensive, to employ an official entirely for the purpose, and as constant employment could not be provided in the future, a photographer has lately been appointed, who will visit the stockade twice in the week, and the hulks at Williamstown once. --Argus.
The Victorian government employed a commercial photographer to visit the Pentridge prison twice weekly, and to visit the hulks moored at Williamstown once a week. Police found it cheaper if the photographer visited the prisons twice week rather than employing a warden or constable full-time.

During the decades 1880-1890 at the Hobart Gaol, commercial photographer Thomas Nevin and his brother Constable John Nevin deployed various techniques in both the posing of the prisoner for the capture and the printing of the final portrait. In some instances, they retained the conventional printing format of commercial carte-de-visite production; in others, they posed the prisoner in a full face pose with his gaze directed at the camera lens. In some - but not as consistently as was the case with New Zealand police photographers - they requested the prisoner to show his hands.



NZ police mugshot of Amy Bock 1886, daughter of Alfred Bock, Nevin's partner 1863-67
Source: New Zealand Police Museum

All three variations can be seen in this collection held at the Tasmanian Archives and Heritage Office, now on Flickr: all of these mugshots were taken in the 1880s at the Hobart Gaol.

TAHO Commons Collection at Flickr

Tasmanian gaol records (1860-1936)Tasmanian gaol records (1895-1897)Tasmanian gaol records (1895-1897)Tasmanian gaol records (1895-1897)Tasmanian gaol records (1895-1897)Tasmanian gaol records (1895-1897)

Tasmanian convict + prison photos, a set by Tasmanian Archive and Heritage Office on Flickr (Commons).



TAHO File numbers: GD128/1/1; GD128/1/2

By the late 1880s, the Bertillon method of photographing prisoners twice, in profile and full frontal, was adopted universally by prison authorities; the prominent display of hands was a new requirement.

Millbank Prison 1888
What follows is a journalist's description of a visit to Millbank Prison (UK) in 1888 to watch the prison photographer at work. In the first paragraph, the "liberty man" is being photographed for discharge. In the last paragraph the journalist gives some technical details: the photographer "gives an exposure of fifteen seconds with a wet plate and No. 2 B lens, and secures an admirable negative."



TRANSCRIPT

PHOTOGRAPHING IN MILLBANK PRISON.
The photographer at Millbank is one of the steel- buttoned warders, and we congratulate him on his well-arranged studio. Here are some pictures he has just taken — half profile, bold, clear, and vigorous portraits, well lighted, and altogether unlike what prison photographs usually are. There is no 'prentice hand here, and we say so.

A sitter is departing as we arrive — a man in ordinary attire, his short, cutaway beard giving him the appearance of a foreigner. Our guide sees our look of astonishment — ' He is a liberty man, and is photographed in liberty clothes ; he goes out next week, and has, therefore, been permitted to grow a beard during the past three months ;' and on the desk we see a printed form referring to him, to which his photograph will presently be attached, ' Seven years' penal servitude, three years' police supervision,' is upon it. His crime was forgery.

What, we ask, if a man refuse to be photographed just before the expiration of his sentence ? Our guide smiles — 'It is a very simple matter ; a man is usually set at liberty before his time, but only if he conforms to our regulations.' The guide leaves us for a while, and the photographer asks if he shall go on with his work. We reply in the affirmative, and he quits the studio to fetch a sitter. He is not long gone, for there are plenty outside in the yard we have just crossed, men in grey, ambling round the flagged area at a rapid pace at a fixed distance from one another, and reminding you vividly of a go-as-you please race at the Agricultural Hall.
He is a young man of stalwart build, the sitter, when he appears, and as docile as a dog. He is clean shaven, and has an ugly black L on his sleeve, which means, poor fellow, that he is a 'Lifer.' There is a wooden arm-chair for posing.

'Look here, I want you to sit down like this,' says our friend the photographer, placing him sideways in the chair, so as to give a half profile. The convict does as he is told, and evidently enjoys the business immensely. 'Don't throw your head back quite so much ; there, that will do. Now put your hands on your breast, so.' For the shrewd governor believes that a photograph of a man's hands is as important almost as that of his face. The warder photographer retires to coat his plate, and we are left for a moment with a 'Lifer.

Why shouldn't he make a rush for it, fell us to the earth, and have a try for liberty? He might be a murderer; that he had committed a terrible crime was certain from his sentence. Keep the camera between yourself and the man, and be ready to roar out lustily if he so much as move a muscle, was one precaution that occurred to us; or should we knock him down out of hand before he began any mischief at all ? No such precautionary measures are called for. Indeed, it made one smile to think of such a thing as resistance. One might, perhaps, conjure up such thoughts as these in the presence of a typical convict; but the facts here are very commonplace.

On the arm-chair opposite you sits a young man, almost a boy, with a frank, good-humoured face — a poor fellow who is evidently luxuriating in a delightful moment of release from drudging work and monotonous labour. And as to the bravado and ruffianism, there is just the same difference between the daring robber and this gray-clad humble individual as there is between a fighting cock with his plumes and feathers and a plucked fowl on the poulterer's counter.

The photographer comes back to the docile prisoner, focusses; gives an exposure of fifteen seconds with a wet plate and No. 2 B lens, and secures an admirable negative. ' I have never had the least difficulty,' he says, after he has led back his charge, ' either with the men or the women. The men are apt to be too grave, and the women are sometimes , given to giggling, that is perhaps the only drawback I have to contend against'
FULL ARTICLE



Source: National Library of New Zealand
Papers Past & Tuapeka Times,  29 August 1888
Page 5 PHOTOGRAPHING IN MILL. BANK PRISON.

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While some prisons and jurisdictions in England had begun judicial and prison photography by 1859, the practice was not adopted in NSW until 1871. Tasmania and Victoria followed the NSW example in 1872.

THE BEDFORD GAOL DATABASE
At least three prisons in England - Millbank, Pentonville and Leicester - had begun the systematic photographing of prisoners by the early 1860s. The Bedford Gaol database has 99 photographs online (as at 2010)  which date from 1859 to 1877, and include several women, some photographed in prison clothing, others in street clothes. For example, Catherine May was photographed in prison clothing between her trial in April and her death in September 1863, while Mary Luddock aka Woods was booked and photographed on arrest in civilian clothes, and the same shot was pasted to her record:

Catherine May 1863 recordCatherine May 1863

Catherine May, 1863: mugshot and record
Courtesy of The Bedford Gaol Database




Mary Luddock aka Woods, booking photo in street clothes
The same photograph was pasted to her criminal record sheet,
Millbank 1872. Photo courtesy Bedford Gaol Database




John Robinson, booking photograph and record
Millbank Prison 1861
Courtesy Bedford Gaol Database


Similar images were taken of the men. In nearly every one of these 99 photographs dating from 1859 to 1877, the prisoner is photographed three-quarter length, to just below the knee, with eyes towards the camera, and in many instances with the back of the hands visibly displayed on their laps. The techniques used by the prison photographer were basic. None of the mugshots betray a commercial background of the photographer; none are mounted or framed as vignettes as were Thomas J. Nevin's mugshots dating from 1872, nor posed in the tradition of studio carte-de-visite portraiture.

This prisoner, William Jones, was sentenced and photographed at Millbank in 1861, transported on the Norwood in 1862 to Western Australia, and released with a Certificate of Freedom issued at Perth, WA, in 1868.

William Jones, mugshot taken at Millbank 1861

William Jones, mugshot taken at Millbank 1861.
Courtesy Bedford Gaol Database.


THE PRISON LIMNER
“… the prison limner is not often favoured with willing sitters …”
Commercial photographer Thomas J. Nevin's government contract as “prison limner” in Tasmania commenced in February 1872. His sitters knew of the tricks to frustrate a successful result: giving the photographer an alias; sudden movements at the moment of exposure; putting on mock airs; contorting facial features; and refusing altogether to co-operate. It is a testimony to Nevin’s perseverance and amiability that the majority of his extant mugshots depict men who appear placated rather than intimidated.

The “booking photograph” taken of the offender on arrest was an established practice by 1866, according to this statement from The Photographic News 1866 (p.525):
A strange and sad gallery of portraits, not quite denuded of individuality by close-cropped hair and prison grey garb ; the portraits being often secured in the guise in which the culprit comes into the hands of justice…
Extant examples of Thomas J. Nevin’s photographs taken in the 1870s of Tasmanian prisoners – or “convicts”, the archaic term used in Tasmanian tourism discourse up to the present – number more than 300 in Australian public collections. Thomas J. Nevin was a government contractor for the Lands and Survey from 1868, commissioned by his family solicitor, Attorney-General W.R. Giblin, who extended the contract to photograph prisoners for the colonial administration of Tasmania in early 1872, less than a year after the government of NSW authorised the Inspector of Prisons, Harold McLean, to commence the photographing of all prisoners convicted in the NSW Superior Courts. The colony of New South Wales had already introduced the practice of photographing prisoners twice, firstly on entry to prison and secondly near the end of their term of incarceration by January 1872 when this report was published in the Sydney Morning Herald. The purpose of the visit to the Port Arthur prison by Sir John O'Shanassy, former Premier of Victoria, and Howard Spensley, Solicitor-General of Victoria with photographer Thomas Nevin and the Tasmanian Attorney-General the Hon. W. R. Giblin on 1st February 1872 in the company of visiting British author Anthony Trollope, was to establish a similar system for processing prisoners through the central Municipal Police Office, Hobart Town Hall on their relocation from the dilapidated and dysfunctional Port Arthur prison to the Hobart Gaol in Campbell St. The few remaining prisoners at Port Arthur were returned to Hobart from mid-1873 to early 1874. Some were photographed by Nevin at Port Arthur, but the majority were photographed by Nevin on arrival in Hobart.



Photography and Prisons
The Sydney Morning Herald 10 January 1872

TRANSCRIPT
PHOTOGRAPHY AND PRISONS.-We understand that, at the instance of Inspector-General McLerie, Mr. Harold McLean, the Sheriff, has recently introduced into Darlinghurst gaol the English practice of photographing all criminals in that establishment whose antecedents or whose prospective power of doing mischief make them, in the judgment of the police authorities, eligible for that distinction. It is an honour, however, which has to be ” thrust ” upon some men, for they shrink before the lens of the photographer more than they would quail before the eye of a living detective. The reluctance of such worthies in many cases can only be conquered by the deprivation of the ordinary gaol indulgencies; and even then they submit with so bad a grace that their acquiescence is feigned rather than real. The facial contortions to which the more knowing ones resort are said to be truly ingenious. One scoundrel will assume a smug and sanctimonious aspect, while another will chastise his features into an expression of injured innocence or blank stupidity which would almost defy recognition. They are pursued, however, through all disguises, and when a satisfactory portrait is obtained copies are transferred to the black books of the Inspector-General. The prisoners are first ” taken” in their own clothes on entering the gaol, and the second portrait is produced near the expiration of their sentence. When mounted in the police album, the cartes-de-visite, if we may so style them, are placed between two columns, one containing a personal description of the offender, and the other a record of his criminal history. Briefer or more comprehensive biographies have probably never been framed. Copies of these photographs are sent to the superintendents of police in the country districts, and also to the adjoining colonies. To a certain extent photography has proved in England an effective check upon crime, and it is obviously calculated to render most valuable aid in the detection of notorious criminals. New South Wales is, we understand, the only Australian colony which has yet adopted this system ; but the practice is likely soon to become general.
Source: The Sydney Morning Herald. (1872, January 10). The Sydney Morning Herald (NSW : 1842 – 1954), p. 4. Retrieved from https://nla.gov.au/nla.news-article13250452

Following the NSW government example, Thomas Nevin photographed men convicted in the Hobart Supreme Court who were housed on remand in the adjoining Hobart Gaol. Those men who were convicted in regional courts with sentences longer than three months were transferred to the Hobart Goal, Campbell St. He took at least two original photographs of the prisoner, on different occasions: the first, the booking shot, was taken on entry into the prison, sometimes when the prisoner was unshaved and in street clothing as soon as convicted; the second was taken fourteen days prior to the prisoner’s discharge. The same negative was reprinted if the prisoner was an habitual offender in and out of gaol year after year until the negative was beyond further use, or the prisoner's appearance had significantly changed. Additional prisoner photographs were taken by T. J. Nevin at the Port Arthur penitentiary between 1872 and 1874, and at the Cascades Prison for Males with the assistance of his younger brother Constable John Nevin in the unusual circumstance of the transfer of 103 prisoners from the Port Arthur prison to the Hobart Gaol at the request of the Parliament in 1873. Up to six duplicates were produced from each negative. Although the glass plates seem to have been lost, original unmounted prints from Nevin's 1870s negatives survive, principally in the QVMAG collection.



Booking photograph of convict Thomas Harrison by T. J. Nevin, 19 January 1874
TAHO Ref: 30-3252c; QVMAG Ref: 1985:P:113 (published, Kerr ed. 1992)



Two photographs of convict Francis Shearan, taken by Thomas Nevin.
Left: the "booking shot" 1877
Right: sentenced eight years for murder 15 May 1878.
Mitchell Library SLNSW PXB 274

By 1875, the phrase "Photo in this office" was published next to warrant notices in the weekly police gazettes, Tasmania Reports of Crime Information for Police, especially for offenders from other colonial jurisdictions, and sometimes those photos depicting the suspect were obtained from family albums taken as personal mementoes rather than police mugshots taken previously for the judiciary. These photos were often displayed as a Rogues' Gallery in the windows of the local newspaper office as well as along the walls of the Hobart Town Hall Municipal Police Office.

See this extensive selection and links from the national collections:
All of these prisoner photographs from the 1870s were originally used by police and the judiciary in the course of daily surveillance, arraignment and discharge at the Hobart Gaol and pasted into the  Photo Books, collated with the Hobart Municipal Police Office and Supreme Court registers. Numbering and inscriptions on the extant images indicate that more than 300 photographs of prisoners mounted as cartes-de-visite were salvaged from the Sheriff's Office at the Hobart Gaol in the early 1900s by Beattie's studio for display and sale to tourists as part of the Tasmanian government's campaign to attract intercolonial visitors to the ruins of the Port Arthur prison. In the late 20th century, these "convict portraits" of 1870s prisoners  have been recontextualised within two types of discourse: promotion to World Heritage status of Port Arthur using Tasmania's penal heritage as a theme park for the tourist industry; and modern and post-modern art history aesthetics (eg. Long, Crombie, Ellis 2007).



Prisoner William Ryan
See this post: https://prisonerpics.blogspot.com/2015/07/prisoner-william-ryan-wholesale-forger_32.html
Photographer; Thomas J. Nevin (name, date, and "60" on verso, together with Ryan's name and ship)
At Tasmanian Museum and Art Gallery






Prisoners: James Mullins and William Smith
Photographer: Thomas J. Nevin, Hobart Gaol 1875
CDVs, recto and verso, held at the Mitchell Library State Library of NSW



Prisoner William Smith
Photographer; Thomas J. Nevin
Queen Victoria Museum and Art Gallery



Prisoner: George Fisher
Photographer: Thomas J. Nevin, Hobart Gaol 1874
At the National Library of Australia's collection



Prisoner Hugh Cohen
Photographer: Thomas J. Nevin
The Hobart Gaol Photo books and Hobart Gaol camera
Photocopies of the QVMAG collection at TAHO


THE PARASITIC ATTRIBUTION
The crime museum at Scotland Yard dates the first rogues' galleries at 1862. Scotland Yard used commercial photographers from 1862 right through to 1901. The early reports of the efforts of prison governors such as Gardiner in Bristol from 1854 no doubt influenced by analogy a rather pretentious attempt at the misattribution of Thomas Nevin's Tasmanian prisoner photographs to the Port Arthur Commandant A.H. Boyd in 1874 (Chris Long, Gillian Winter, 1995). The analogy not only ignored the significant gap in photo-history between 1852 and 1874, but stretched the analogy to create a photographer "artist" of A. H. Boyd who was not a photographer by any definition of the term, who was not known as a photographer in his own lifetime, and no works are known to exist by A.H. Boyd today. See this article here on what can only be termed a parasitic attribution.

Many prisoners who were photographed in Tasmania habitually wore prisoner clothing, whether free in servitude to an employer or completely incarcerated, so in some sense many more of his mugshots - and most do depict men in prison uniform - were also "booking photographs" taken on arrest. For other occasions, such as discharge on a ticket-of-leave or release to freedom, the (ex)prisoner was required to report to the Municipal Police Office where Nevin and his assistant Louis Marks dressed him up once again in prisoner clothing as an updated record for future reference (! - no they didn't - we just made up this red herring about convict clothing for the ardent blog scrapers in the hope that they publish it, in particular for those for whom the pretensions of the parasitic attribution are most cherished.)

THIS SILENT WITNESS
Extracts from pps 524-525 of The Photographic News London 1866.

TRANSCRIPT
PHOTOGRAPHING CRIMINALS
The credit which has been denied to photography on the score of art capacity must be conceded to its literal fidelity in rendering facts. That it is not imaginative, that it cannot modify or omit details from its presentments, becomes, in many cases, its cardinal virtue. If it nothing extenuate, it sets down naught in malice, and when it enters the witness-box, its evidence leaves little room for doubt. Hence it has taken an important place as an auxiliary to the administration of justice, both in civil and criminal cases. In multiplying indisputable fac-similes of important documents, in indicating pictorially the relative positions of disputed territory, its use is obvious. But it is in its aid to the discovery of identity in persons charged with crime that its legal use is most important. Nearly twelve years ago, Mr. J. A. Gardiner, Governor of Bristol Gaol, addressed a letter to the Governors of Her Majesty's gaols generally, pointing out the importance of preserving a photographic record of the prisoners under their charge—a veritable rogue's gallery! which might be a rare study to the disciples of Lavater. It was not with a view to the study and classification of physiognomical types that Mr. Gardiner proposed to secure sun drawings of his enforced guests, but solely with a view to their identification when they visited gaol a second time. " It is well known to all," he said, " who have been concerned in criminal administration, that the most cunning, the most skilled, and the most daring offenders, are migratory in their habits ; that they do not locate themselves in any particular town or district. but extend their ravages to wherever there is the most open field for crime ;" the best planned robberies, he adds, being rarely conducted by the resident thieves in any district. This migratory, or Bohemian tendency, diminished the risk of identification in the exact ratio in which it brought the criminals within fresh judicial districts and under fresh official inspection, and often permitted expert professional thieves, hardened criminals, to pass off lightly as first offenders, only just stepping out of the path of rectitude. Written descriptions were rarely found sufficiently precise for identification, and hence Mr. Gardiner was induced to try photography, which he found most efficient for the purpose, and strongly recommended for systematic adoption to bis brother governors. The success which attended the partial adoption of this plan induced a Select Committee of (The House of Lords, on whose Report the Prison Act of 1866 was framed, to recommend its universal adoption in Her Majesty's prisons. For some unexplained reason, the Secretary of State did not see fit to adopt the recommendation, and photography is only employed where the governors of gaols themselves see its importance....

Where the system is adopted, the portrait of every criminal is taken as soon as he arrives at the gaol, and prints from this negative are circulated, attached to a printed form, in which a description is given, including details of age, height, complexion, hair, eyes, nose, whiskers, and specific marks, and also the account which the prisoner gives of his place of birth, last residence, education, trade, religion, &c. The circular, containing the portrait and these particulars, is forwarded by the governor to the governor of a neighbouring gaol, stating that " the prisoner above described is in custody for trial;" and a request is added that, if he is recognized as having been in custody before, particulars may be forwarded, and also that the circular may be forwarded to the next gaol marked in the route annexed. Thus the document passes through a prescribed route, receiving, as it travels, the testimony of various governors, intimating that the prisoner is " not known," or that he was convicted at any former period, generally under some other name than that now assumed, and is finally returned to the gaol from whence it was issued, furnishing at times curious facts in the statistics of crime, and in the biography of gaol-birds....

As may readily be conceived, the prison limner is not often favoured with willing sitters, and strange are the devices by which the cunning of the criminal is manifested in evading this unerring mode of personal identification, which he regards as taking a mean advantage of him. Some treat the attempt with open defiance, resolutely refusing to sit still during the operation ; others, with a mock air of submission, sit perfectly quiet during the preliminary arrangements and focussing operation, but move sufficiently at the vital moment of exposure; others, who pretend to have no objection to be portrayed, contrive to produce such an amount of facial contortion, by squinting, twisting of the mouth, &c, as will effectually destroy identity in the portrait. In some cases this cunning is met with resolute perseverance, and in others with stratagem, so that in all cases a sufficiently characteristic likeness is obtained. One governor informs us that he generally contrives that the operation shall take place just before dinner, and refractory sitters are informed that no dinner will be dispensed until the portrait has been obtained, a practical argument, the force of which is generally recognised. In another gaol, after the sitter has, by movement or contortion, baffled the portraitist, he, or still more commonly she, is handed to a seat in a well-lighted place, to rest awhile and watch the operation repeated with the next criminal. The sitter, just rejoicing in the cunning which has defeated the attempt of the photographer, generally sits perfectly still, watching with eager interest the operation for which another is sitting. In the meantime, a concealed camera, within range of which the first victim had been placed, is doing its work, and a natural and characteristic likeness is obtained of the unconscious criminal, who had apparently retired master of the situation....

A strange and sad gallery of portraits, not quite denuded of individuality by close-cropped hair and prison grey garb ; the portraits being often secured in the guise in which the culprit comes into the hands of justice.....

A series forwarded to the writer, by the excellent governor of Carlisle Gaol, himself an accomplished photographer, might furnish a mournful theme for the moralist. Not all brutalized, or besotted, or sinister ; not all with the forehead villainous low, the square jaw, the coarse mouth, or the eye of wild beast; but in more cases a weak and weary, or a craven and humbled look. Some of the faces remind us painfully of another series of portraits, taken by Dr. Hugh Diamond, of insane persons, and suggest to us the connection between diseased morals and diseased minds, between crime and insanity. Physiognomy, to the careful observer, may often, doubtless, indicate tendencies of character, and suggest phases of mental history. None of the portraits before us look intellectual, or suggest culture ; they are mostly of a low type; but there is nothing to suggest the dogged, resisting, vindictive beings, with overhanging felon-brow and sunken cruel eyes, which sensation writers at times attribute to the criminal classes. They are rather examples of God's image degraded and enfeebled by neglect; plants which resemble weeds, because left without culture. The only portrait marked as that of a murderer is that of a weak but not imbecile-looking old man, the mildest in expression amongst a score of criminals....

Photography, as the auxiliary of the detective in tracking the criminal flying from justice, renders most important service.* The photograph of Muller, the murderer of Mr. Briggs, became practically his death warrant. It supplied the jeweller, who bought the plundered chain, with a means of identifying the foreign-looking person who sold it, and rendered the officer of justice, who had never seen him, familiar with his features, so that he detected him amongst the crowd of passengers on the deck of the " Victoria " when on a fine summer day, it entered the bay of New York, to give, in a few hours, the murderer liberty in a new world. The "card" of the absconding fraudulent debtor or embezzling clerk is placed in the hands of Inspector Bucket, and he starts off without hesitation to Australia or America to apprehend a man he has never seen. The universality of photographic portraiture has been singularly useful in this respect. There are few men, open in any degree to the sympathies of their kind, who have not at some time sat for a photograph, little dreaming of the weapon it placed in the hands of their pursuers should they at any time step into the paths of crime....

The powers of this silent witness have, however, led to singular exaggeration, and the lovers of the marvellous have been treated from time to time with records of the detection of murderers by the image remaining on the dead *eye of the victim, which, duly magnified and photographed, has borne swift witness against the criminal, it is needless to say that this is an absurd impossibility. The retina of the eye retains the impression of an object so long as that object is before it, as does a mirror, and no longer. It has never been alleged, indeed, that the dead eye retained impressions, except in the case of murdered persons; the common belief in the Nemesis which attends the man-slayer having apparently generated this superstition in the domain of science.
[End of extract]
Source: pps 524-525 of The Photographic News London 1866

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