Haughton Forrest (1826 – 1925)

17061
Haughton Forrest (1826 – 1925)
(Tasman’s Discovery Ships; the Heemskirk & the Zeehan)
Oil on canvas
51.5 x 80 cm
Signed lower left

Make enquiry

As the 19th century came to a close, Hobart society took on a renewed interest in the early European history of the Tasmanian colony. This interest saw the eminent painter Haughton Forrest’s first forays into historical painting. After exhibiting at the ‘Old Hobart’ exhibition of 1896 with paintings depicting Old Government House, Hobart and Sarah Island, Macquarie Harbour, Forrest turned his hand to the earliest chapter of the island’s European history; the sighting of the west coast of Tasmania by the Dutch explorer Abel Janzoon Tasman (1603 – 1659) in 1642.1

1. Brown, G D (1982), Haughton Forrest 1826 – 1925, Malakoff Fine Art Press, Melbourne

Albert Henry Fullwood (1863 – 1930)

15075
Albert Henry Fullwood (1863 – 1930)
(New Town, Tasmania)
Watercolour on paper
16.5 x 24 cm
Signed lower left: ‘A. H. Fullwood’

Make enquiry

Throughout the 1890s, Albert Henry Fullwood made a series of visits to Tasmania at the behest of the Art Society of Tasmania. His influence on the arts of the small colony was significant, so much so that by 1897 one reviewer for the Hobart Mercury noted that the Society had become ‘seized with a frenzy of impressionism’.1 In March of that year, Fullwood had begun taking painting classes to the then rural area of New Town, where his tuition centred on the rustic property of New Farm and, more specifically, on the dilapidated remains of Mezger’s Mill.2

The mill and its surroundings consequently became popular subject matter for both local and visiting painters, and has been depicted by a range of notable artists. Frederick McCubbin, produced a charming view of the mill when visiting the colony in 1899, and, from later correspondence between McCubbin and Tom Roberts, it is likely that Fullwood introduced him to the site.3

Fullwood’s two paintings, dating from his 1897 visit, depict the site from further afield, with the agricultural complex partly obscured by the willows growing along the New Town Rivulet. Today, while the core of the property remains intact and surrounded by trees, the outlying land has been engulfed by the suburbs of New Town and Moonah.

1. The Mercury (8 February 1897, Hobart),’Art Society of Tasmania: Annual Exhibition’, p. 4
2. Gray, A (1983), ‘Fullwood in Tasmania’, The Art Bulletin of Tasmania
3. MacKenzie, A (1990), Frederick McCubbin 1855-1917: ‘The Proff’ and his art, Mannagum Press, Melbourne

Haughton Forrest (1826 – 1925)

16121
Haughton Forrest (1826 – 1925)
(The Old Mill at New Town Creek)
Oil on board
31 x 47 cm
Signed lower left: ‘H Forrest’

Make enquiry

By the end of the 19th century, the mills and farmhouses of the New Town area were a favourite subject among local and visiting artists. Built in the early days of the colony, many of these buildings exhibited a rustic charm which no doubt appealed to the English sensibilities of the colonists.

The mill depicted in this work by Forrest was, during Forrest’s time, known simply as ‘The Old Mill’, however is believed to be the building used by the short-lived Constantia Distillery, which opened in 1824, advertising ‘a good, wholesome and pure spirit’ in The Hobart Town Gazette and Van Diemen’s Land Advertiser that year.1 In January 1825, Governor Sir Thomas Brisbane raised the excise on locally produced spirits and the distillery subsequently closed.

The building was then used to house orphans prior to the completion of the orphanage at St. John’s New Town, while the proprietor, William de Gillern (1787 – 1857) relocated, eventually to Longford, where he acted as a justice of the peace before returning to Hobart in 1857.

1. Hobart Town Gazette and Van Diemen’s Land Advertiser (24 September 1824, Hobart), p. 2

William Charles Piguenit (1836 – 1914)

16154
William Charles Piguenit (1836 – 1914)
(View of Adamson’s Peak from Esperance, South Tasmania)
Oil on canvas
50.8 x 91.8 cm
Signed lower right

Make enquiry

Following his departure to Sydney in 1880, where he enjoyed success as a leading painter of landscapes, Piguenit frequently returned to Tasmania on
painting trips. During one of these visits in 1887, Piguenit received a commission from Sir Edward Braddon to produce a series of oils for exhibition at the
upcoming Centennial International Exhibition in 1888. It was at this time that Piguenit made a number of sketches in the south of the state, including the
sketch that was later to be developed into this work. The sketch is now housed in the Tasmanian Museum and Art Gallery collection.1

1. Backhouse, S, Brown, T, Johannes, C (2012), A Passion for Nature: William Charles Piguenit, Tasmanian Museum & Art Gallery, Hobart, pp. 70 – 71