Henry Curzon Allport (1788-1854)
“In Wales” 1811
Watercolour on paper
41 x 58.5 cm
Signed & dated lower right: ‘H. C. Allport / 1811’

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William Charles Piguenit (1836 – 1914)
‘Shades of Evening’
Oil on academy board
37 x 56 cm
Signed lower left: ‘W. C. Piguenit’

The colony’s first Australian born landscape artist of note, William Charles Piguenit (1836 – 1914), is known for his glorious scenes of mountains, rivers and lakes, capturing the topography of Tasmania in colonial times.

Born in Hobart in 1836, Piguenit was the son of a convict, Frederick Le Geyt Piguenit, who was transported in 1830. Piguenit joined the Lands and Survey Department as a draughtsman in 1850, where he worked for the next 23 years. Despite leaving the Department to focus on his painting, Piguenit’s background in surveying continued to influence his art, and throughout his artistic career he took part in a number of treks through Tasmanian wilderness areas, producing sketches of remote scenery which he later developed into larger paintings

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Ken Johnson (b. 1950)
Acrylic on canvas
61 x 71 cm
Signed lower right

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Ken Knight (b. 1956)
‘Glimpse of Hobart & Mt. Wellington’
Oil on board
14 x 49 cm
Signed lower right

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Haughton Forrest (1826 – 1925)
(Mount Wellington from Hobart Rivulet)
Oil on academy board
30.7 x 47 cm (board size)
Signed lower left

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Girolamo Pieri Nerli (1860 – 1926)
‘Italian Peasant’
Oil on board
30.7 x 23.2 (sight)
Signed upper right

Literature: Peter Entwhistle, Michael Dunn & Roger Collins, Nerli: An exhibition of paintings and drawing (Dunedin Public Art Gallery, 1988), cat. no. 170, illustrated in black and white pg. 164

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Frederick Strange (c. 1807 – 1873)
(Mount Wellington and St. John’s from New Town Bay) 1851
Watercolour on paper
22 x 29.5 cm (sight)
Signed with initials and dated lower left: ‘F.S. 1851’

Frederick Strange (c. 1807 – 1873) was sentenced to transportation for life in 1837 for stealing a watch. He arrived in Hobart Town in 1838, where he served as a government messenger. Prior to his departure from England, he was a portrait and house painter, a profession he was able to return to following his move to Launceston after obtaining a third class pass in 1841.

He struggled to make a living, particularly following the introduction of photography to the colony, and soon found a more comfortable existence as a grocer on Charles Street, Launceston. His former studios were taken over by a photographer. Strange died in Launceston in 1873.

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Haughton Forrest (1826 – 1925)
‘Derwent River, New Norfolk, Tasmania’
Oil on canvas
29 x 45 cm
Signed lower left: ‘HForrest’

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Edward Parker Bedwell (Australian, 19th Century)
‘Salmon Ponds, New Norfolk. 1873’
Watercolour on paper
17 x 24.5 cm
Signed lower right

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William Duke (1815 – 1853)
(The Barque Derwent of the Coast of Dover) c. 1849
Oil on canvas
62 x 92.5 cm

The Simon Brown Collection, Ellenthorpe Hall, Ross, Tasmania
Private Collection, Launceston

Although William Charles Duke (1814 – 1853) spent only seven years in the colony of Van Diemen’s Land, his impact on the maritime art of the island was enormous. Duke arrived in Hobart in May 1845, having travelled from New Zealand aboard the Sir John Franklin.  As a painter of some talent, he quickly took up portraiture commissions and found employment creating theatre sets. As the decade progressed and the whaling industry entered its peak, he found local fame after publishing four lithographs depicting the whaling activity in the area.

Duke’s style was deeply indebted to the work of English maritime artist William John Huggins (1781 – 1845). One of the four prints, titled The Flurry, was a direct copy of a whaling scene by Huggins. Despite this, the series drew the attention of local ship owners. In 1849, when the Hobart whaling fleet reached its peak of 34 Hobart owned and operated vessels, Duke produced his best-known whaling scene, Offshore Whaling with the Aladdin and Jane, now housed in the collection of the Tasmanian Museum and Art Gallery.

That same year, on the 22nd of August, 1849, the Hobart Courier reported the launch of the Derwent, a 140 foot barque built by Messrs. H. Degraves, Brown & Co.. The article goes on to report ‘Her figure-head was carved by Mr. Duke, and represents a female in a beckoning attitude, and is 6 feet 3 inches in height’. 1 The ship was intended for regular trade between Hobart and London, and in September that year Henry Degraves and Brown & Co. placed an advertised freight services to London in the Colonial Times.

In depicting the The Derwent, Duke has taken a direct cue from the work of Huggins by placing the ship off the White Cliffs of Dover and having ship repeated, sailing into the distance, on the right-hand side of the work. The painting was discovered following the dispersal of the Simon Brown collection, Ellenthorpe Hall, in 2006. 3

1. The Courier (22 August 1849, Hobart), ‘The “Derwent”‘, p. 2
2. Colonial Times (28 September 1849, Hobart), ‘Advertising’, p. 3
3. Stevenson, M, The Examiner (1 July 2006), ‘Rare 1825 Sideboard is sold for $94,000’