Reference: see Sir Thomas Brisbane, Augustus Earle and Australia's first lithographs, by Roger
Butler. The Australian Connoisseur & Collector, no.3, 1982, pp.94-99, 130-131.
On 1 December 1821, Sir Thomas Brisbane succeeded General Macquarie as the sixth governor of New South Wales. Brisbane not only had a distinguished military career, rising to the rank of general, but was also a respected amateur scientist. He specialised in mathematics and astronomy and had papers published in learned journals.(1)
When appointed governor of New South Wales Brisbane asked the British government to build and equip an observatory in the colony. The money was not forthcoming so Brisbane purchased at his own expense the necessary astronomical equipment and on his arrival in Sydney had an observatory built at Parramatta. This became operative on 2 May 1822. He appointed two professional astronomers - Carl Rumker (1788 1862) and James Dunlop (1793 1848) both of whom had accompanied him to the colony.(2)
Amongst the equipment procured for Parramatta observatory were two lithographic presses, presumably to be used to publish astronomical observations such as a star map of the southern hemisphere.(3) Lithography in England in 1820 was still an infant process. Invented by Aloys Senefelder (1771 1834) in Bavaria in 1798, it was first demonstrated in London in 1801. After a flurry of experimentation early in that century, the technique fell into almost complete disuse and it was not until after the patent expired in 1815 that any real commercial use was made of the process. In 1819 Rudolph Ackerman published Senefelder’s A complete course of Lithography and in 1819 Charles Hullmandel, who was to have such an influence on the subsequent development of lithography, began printing.(4)
Considering this short history it is remarkable that Brisbane had seen enough lithography to know its potential and bring the process to his new command. Although lithography was little known to the English or American public a number of magazines and books concerning its techniques and merits had been published.(5) A more important factor was that Brisbane saw practical examples of the use of lithography while serving as brigadier general in the Peninsula War. After first using lithography in 1807, the Quarter-Marshal-General’s office in London had maps and diagrams printed for use in the war under the supervision of D.J. Redman, an early printer of lithographs in England.(6)
The presses Brisbane brought to Sydney have been described as being designed by Morrison and of improved constructions.(7) They were probably intended to print sheets of half crown proportion 38 X 25cm,(8) but do not appear to have been used at the observatory.
The English trained artist Augustus Earle (1793 1838)(9) arrived in Sydney on 14 May 1825, at the very end of Brisbane’s four years as governor. With his academy training, sense of humour and social ease he was accepted immediately, receiving a number of important commissions, including a portrait of Brisbane. Probably Earle’s acceptance by society was made easier by Brisbane, who was a close friend of Captain (later Admiral) Smyth (1788-1865), Earl’s half brother and companion of earlier years.(10) l
Before leaving Sydney Brisbane sold his astronomy equipment to the colonial government.(11) The sale included only one press, the other having been given by Brisbane to James Dunlop, his astronomer. Dunlop passed this press on to Augustus Earle some time before August, 1826,(l2) possibly in exchange for a portrait by Earle. We know that he painted a portrait of Dunlop as the Reverend John McGarvie saw it in Earle’s studio in that same year.(l3)
Earle already had some contact with printmaking, and indeed his watercolour technique closely follows the standard aquatint style popularised by the Daniells. A fine outline was drawn in pencil or ink, followed by a monochrome wash to establish tone, and then local colour was added. This technique was paralleled in engraving where the outline was etched, aquatint tone applied and hand-colouring added after printing. Aquatints after Earle's drawings are known from c.18l5.(l4)
There is also a close family link with printmaking, Earle’s sister Phoebe (1790 1854), also an artist, had married Denis Dighton (1792 1827), and a military painter, draughtsman, engraver and it was he who prepared some of Earle's drawings for engravers.(l5) Dighton had also been associated with the lithographic printer Hullmandel since the early 1820s, and probably Earle gained practical information and books on lithography via him. The likely texts would be The Art of Drawing on Stone by Hullmandel and A Complete Course in Lithography by Senefelder, which were almost the only informative books on the subject published at that time in English.(16)
Earle’s first lithographs were small handbills, produced after considerable experimentation, in August, 1826. The idea of a competitor did not please some letterpress printers and the Sydney Gazette(17) reported: “Several prints have emanated from this press, and it is thought the Australian and Monitor will institute proceedings law against Mr Earle for having the temerity to knock of circulars”.
The Sydney Gazette had no such objections unless, that is, Earle began to print newspapers. Earle was advertising that he would print circulars as late as November 1826. None of these commercial items have been identified.(18)
Bungaree, a native of New South Wales (cat 1) was Earle’s — and indeed Australia’s — first pictorial lithograph. The Monitor not only described the subject but gave one paragraph to telling about the invention of lithography and concluded by wishing Mr Earle every success.(19) Both The Monitor and the Sydney Gazette(20) agreed that the likeness to Bungaree was admirable. The print was dedicated to General Darling, the new governor, and was offered for five shillings.(21)
The success of this lithograph inspired Earle to publish a series of views in monthly parts. He may have been encouraged by friends in England who were working on similar projects. His brother-in-law, Denis Dighton, was engraving plates for the lighographic printer Hullmandel(22) and his step brother, Captain Symth, had recently published a book of views of Sicily and its island.(23) Of more local interest was the publication of Joseph Lycett’s Views of Australia issued from London in parts between July 1824 and June 1825. Earle also sold travel books from his gallery in George Street.(24)
In September 1826, the Sydney Gazette notes Earle’s intention of publishing views of Sydney and suggests “. . . the propriety of extending his views to the magnificent scenery in the vicinity of the King's Table Land, the great Campbell Cataract, and the Regent Glen.”(25) To help him in the project Earle asked that the convict engraver Edmund Eager(26) be assigned to him.
The first part of Views in Australia published early in November, 1826 consisted of two hand coloured lithographic prints: Sydney Heads (cat 3) and View from the Sydney Hotel (cat 4). The views were bound in a pictorial wrapper and included a descriptive text.
The first part was reviewed by The Monitor in not very flattering terms. They described the colouring of Sydney Heads as:
“Defective—Georges Head in the foreground is soft and natural, but the North Head has a sterile harshness—a kind of ‘Plummet and rule’ regularity winch this stupendous cliff though extremely symmetrical, does not really possess; the sky does not show that brilliancy of colouring, which forms the constituent beauties of landscape—but the whole partakes too much of formality—The second view [View from the Sydney Hotel] is more natural, but an unpleasant glare of light pervades it, which the locality of scene may render unavoidable: still the execution is superior to the first view”.(27)
The writer considered that seven shillings and sixpence per view was too expensive and recommended five shillings as more acceptable.
The Sydney Gazette(28) was more positive and recommended that “Such efforts should be liberally patronised”. They also noted that the artist in his view of the Sydney Heads has introduced a drawing of the British warship Warspite, but this seems to be a way of capitalising on the ship's recent arrival in Sydney as the tiny dot between The Heads in Earle’s lithograph is certainly not recognisable as a specific ship. The second and last part of Views in Australia was reviewed by the Sydney Gazette:
“Mr Earle’s Monthly Lithographic Specimens of the Australian Arts presents two very pretty views, and are entitled to the consideration of a liberal public. One is a View of Sydney from Pinchgut Island [cat. 5] and the other shows Macquorie Tower, or The Light house, [cat, no. 6l ] off to great advantage"(29)
Although Earle now claimed in an advertisement to have a “competent knowledge of the art of Lithography”(30) it seems that the publication was not a financial success since no more |in the series were issued. These are the last lithographs Earle produced in the colony, and on 15 January1827, Edmund Eager, his assigned helper, left his employ.(31)
It is not known what happened to the press when Earle left the colony on 10 October 1828. Probably it is the same press that John Austin, a copper plate printer, used when he began printing lithographs in Sydney in 1834. We do know that, before finally leaving the colony in October 1828, Earle tried to sell the press.
The following advertisment appeared in The Monitor:
“To be disposed of by a Gentleman leaving the Colony, a LITHOGRAPIC PRESS, complete in all its appurtenances; an object well worthy of the attention of the scientific or professional man. To be seen at No. 96, George Street”.(32)
Someone was interested, but the purchase fell through, and the press was offered to the Government.(33) The Surveyor General thought the price reasonable at fifty guineas but he did not recommend its purchase:
“as the Press is too small(34) for the purpose for which it would be most required, namely the printing of Parish Maps”(35) The Surveyor General also pointed out that “Success in Lithography is precarious without a lithographic printer.”(36)
A catalogue of the prints drawn on stone by Augustus Earle.
This catalogue only includes works actually drawn on the stone by Earle. For lithographs engraved after Earle’s drawings see Ellis E.M. and D.G. Early prints of New Zealand, Christchurch, Avon Fine Prints Ltd., 1978 [E 248-257]. The related works are all house in the National Library of Australia. They are identified by their Nan Kivell collectionnumber (NK) and the catalogue number designated by Hackforth Jones.l
1. (Bungaree, a Native of New South Wales), August 1826.
lithograph|
image size unknown
There is no known impression of this lithograph.
Related works: Bungaree, a Native of New South Wales,
oil on canvas c.1826 (NK 188) Hackforth Jones (illus 1)
Bungaree, lithograph 1830 (cat 12).
Views in Australia
The only sighted impressions of these prints are bound into a volume once in the collection of General Sir Ralph Darling. This book passed into the hands of James Edge Partington and was sold by him through Francis Edwards Lid London in 1934, cat no 766. John Alexander Ferguson acquired this volume and it was purchased from his estate in 1970, by the National Library of Australia. It was from this corrupted volume that Ferguson made his collation for the Bibliography of Australia. |[F1070].
Bound in a half morocco oblong folio are four plates, a pictorial wrapper and three pages of text. All have been mounted on larger sheets before binding. The contents are:
Pictorial wrapper [cat 2]
Advertisement
Sydney Heads [cat 3]
Description of Sydney Heads
View from Sydney Hotel [cat 4]
Description of view from Sydney Hotel. [This description was originally printed on the same sheet as the description of Sydney Heads.]
Coming to anchor off Sydney Cove [cat 10]
Sydney, HMS Warspite. [A manuscript note by Darling says this title was on the back of the frame when the print was purchased. Its correct title is Sydney from the Pinchgut Island [cat 5].]
From newspaper reviews and the prints in the volume the following collation can be ascertained VIEWS / IN / AUSTRALIA [title on boulder, kangaroo at left, artist palette and sketchbook] A. Earle.
Oblong folio 36 x 24cm (the prints bound along top edge) issued in two parts with pictorial wrappers, as described above, Sydney, Earle’s lithography.1826.
First part: pp[ii] 1 p. advertisement, 1 p. description, 2 plates [1] Sydney Heads [2] View from Sydney Hotel. [November 1826]
Second part: 1 p. description, 2 plates [1] Sydney from Pinchgut Island [2] Sydney Lighthouse [December 1826]
Advertisement, descriptions and plates lithographed. The plates hand coloured.
The plates in this series are in a combination of chalk and line lithography. The technique is crude and hand colouring has been used to hide faults.
2. (Pictorial Wrapper)
[Views in Australia], 1826
lithograph, 1826
image size 10.7 x 19.2cm
lithographed inscriptions
in image, VIEWS/IN/AUSTRALIA
beneath image 1.1. A. Earle
3. Sydney Heads
[Views in Australia, part 1, view 1] November 1826
lithograph, hand coloured
image size 19.5 x 31.1cm
lithographed inscriptions below image, 1.1., Earle's
Lithography, l.c., SYDNEY HEADS, l.r. Pub at Sydney
NSW.
Related work: Port Jackson, New South Wales,
watercolour c.1825 (NK 12/22) Hackforth lones (illus 60).
This lithograph is extensively hand coloured, the printed
image being almost invisible.
4. View from Sydney Hotel
[Views in Australia, part 1, view 2] November 1826
lithograph, hand-coloured
image size 19.2 x 31.9cm
lithographed inscription below image
l.l. Earle's Lithography, l.c. VIEW from the SYDNEY/ HOTEL, l.r. Pubd at Sydney NSW.
5. Sydney from Pinchgut lsland
[Views in Australia, part 2, view 1] December 1926
lithograph, hand-coloured
image size 18 X 30.6cm
lithographed inscription below image
l.l. Earle's Lithography, l.c. SYDNEY LIGHTHOUSE, l.r.Pubd at Sydney NSW.
Related work: Coming to anchor off Sydney Cove, lithograph 1826 (cat 10).
The ship in the foregound is HMS Warspite, the first warship to enter Sydney Cove. It was under the command of Sir James Brisbane (1774 1826).
6. Sydney Lighthouse
[Views in Australia, part 2, view 2] December 1826
lithographed, hand-coloured
image size unknown
lithographed inscription below image
l.l. Earle's Lithography, l.c. SYDNEY LIGHTHOUSE, l.r. Pubd at Sydney NSW/1826.
Related work: South Head and Lighthouse. Port Jackson, N.S. Wales.
Watercolour c.1825 (NK 12/21) Hackforth Jones(illus59).
This lithograph is only known by a photograph held by the National Library of Australia. The lithograph depicts the signal station as well as the lighthouse.
Views in New South Wales and Van Diemen’s Land
Views/in/New South Wales/and/Van Diemen's Land./Australian/Scrap Book,/1830 [Australian Scenery and plants, palette, artist's folio and kangaroo]/London, Published August 10th, 1830, by J. Cross, 18 Holborn, opposite Furnivals Inn./Printed by C. Hullmandel. Oblong folio.
28 x 38 cm. Issued in two parts, each with pictorial brown wrappers, as described above. First part: pp. [iii] 1p. plan of work, 1p. dedication (to Sir Thomas Brisbane), lp of description, all in letterpress,4 lithographed plates, [1] The North Head of Port Jackson; [2] View of Point Piper; [3] Coming to anchor off Sydney Cove; [4] Natives of New South Wales.
Second part: lp of description in letterpress, 4 lithographed plates, [1] Bungaree, [2] Government House, [3] A Government Jail Gang, Sydney N.S. Wales, [4] Mrs Macquarie's seat, Government Domain, Sydney, N.S. Wales.
Ferguson [F 1342] does not mention the plan of work in part 1, and makes mistakes in the number of preliminary pages. The lithographs were issued plain and hand coloured. There was also a deluxe edition printed on India paper, issued either plain or hand coloured.
Although the title of the series includes New South Wales and Van Diemens Land, all the views are of Sydney. The plan of the work issued with the first part says it will take the reader on a tour through New South Wales, taking in Sydney, Parramatta, Emu Plains, the Blue Mountains, Bathurst and the Wellington Valley. Earle went on this tour probably in early 1826 after completing the Brisbane portrait. The plan of the work does not mention Van Diemens Land.
The title of the work reminds one of Lycetts’ View in Australia, or New South Wales and Van Diemens Land delineated, published in London in 1824 25. This book did not find a ready market and was remaindered in October 1830. Ironically, this was the date of publication of Earle’s views. These views were equally unsuccessful and no further parts were issued.
Ther drawings of these lithographs is in the skilled tonal chalk style favoured by Hullmandel.
7. (Pictorial wrapper)
[Views in New South Wales and Van Diemens Land],
1830
lithograph printed on brown wove paper
image size 19 x 30.2cm
lithographed inscription above image
Views/in/NEW SOUTH WALES/and/VAN DIEMENS LAND on folio in image AUSTRALIAN/SCRAP BOOK./1830
below image l.c., London. Published August 10th, 1830, by J. Cross, 18 Holborn opposite,/Furnivals Inn.
l.r. Printed by C. Hullmandel.
8. North Head of Port Jackson
[Views in New South Wales and Van Diemens Land, part 1, plate 1] 1830.
Lithograph
image size 20 x 28.8cm
lithographed inscription below image
l.l A. Earle, l.c. THE NORTH HEAD OF PORT JACKSON/New South Wales/London, published August 10th.1830, by J. Cross, 18 Holborn opposite,/Furnivals' Inn. l
9. View of Point Piper
[Views in New South Wales and Van Diemens Land, part 1, plate 2] 1830
lithograph
image size 21 x 29.7cm
lithographed inscription below image
l.l A. Earle, l.c. VIEW OF POINT PIPER/PORT JACKSON/London, Published August 10th, 1830, by J.Cross, 18 Holborn opposite,/Furnivals' Inn, l.r. Printed by Hullmandel.
Related work: Point Piper near Sidney [sic] New South
Wales, watercolour c.1826, (NK 12/53), Hackforth Jones
(illus 73).
10. Coming to anchor off Sydney Cove
[Views in New South Wales and Van Diemens Land, part 1, plate 3] 1830
lithograph
image size 20.2 x 28.9cm
lithographed inscription below image
l.l. A. Earle, l.c. COMING TO ANCHOR OFF SYDNEY COVE/London, Published August 10th, 1830, by J. Cross, 188 Holborn opposite,/Furnivals' Inn, l.r. Printed by C.Hullmandel
Related work: Sydney from Pinchgut Island, lithograph, 1826 (cat 5).
The ship in the foregound is probably not the HMS Warspite, even though that ship was cut down from 76 to 50 guns in 1830. Earle does not mention the Warspite.
11. Natives of New South Wales
[Views of New South Wales and Van Diemens Land, part 1, plate 4] 1830
lithograph
image size 20.8 x 29.3cm
lithographed inscription below image
l.l. A. Earle, l.c. NATIVES ON N. S. WALES/ as seen in the Streets of Sydney, l.r. Printed by C. Hullmandel
12. Bungaree
[Views in New South Wales and Van Diemens Land, part 2, plate 1] 1830
lithograph
image size 28.9 x 19.9cm
lithographed inscription below image
l.l. A. Earle, l.c. BUNGAREE/a Native Chief of New South Wales/London, Published August 10th 1830, by J. | Cross, 18 Holborn opposite,/Furnivals' Inn, l.r. Printed by J C. Hullmandel
Related works: Bungaree, a native of New South Wales, oil on canvas, c.1826, (NK 118), Hackforth Jones, (illus 1). Bungaree, a native of New South Wales, lithograph, 1826 (cat 1). A Native Family of New South Wales, watercolour, c.1826 7, (NK 12/5), Hackforth Jones, (illus 90). The
woman behind Bungaree resembles the female figure in | this watercolour.
13. Government House
[Views of New South Wales and Van Diemens Land, part 2, plate 2] 1830
lithograph
image size 20 x 29.1cm
lithographed inscription below image
l.l. A. Earle, l.c. GOVERNMENT HOUSE./And Part of the Town of Sydney/London, Published August 10th 1830, by J Cross, 18 Holborn opposite,/Furnivals’ Inn, l.r. Printed by C. Hullmandel I
Related work: Government House and Part of the Town of Sydney, watercolour, 1828, (NK 12/31), Hackforth Jones, (illus 142). The lithograph has only slight variations from this watercolour.
14. Government Gaol Gang
[Views in New South Wales and Van Diemens Land, part 2, plate 3] 1830
lithograph
image size 20.2 x 28.6cm
lithographed inscription below image
l.l. A. Earle, l.c. A GOVERNMENT JAIL GANG./Sydney l N.S. Wales/London, Published August 10th 1830, by J Cross, 18 Holborn opposite,/Furnivals' Inn, l.r. Printed by I C. Hullmandel
15. Mrs. Macquarie’s Seat
[Views in New South Wales and Van Diemens Land,
part 2, plate 4] 1830
lithograph
image size 20 x 29.0cm
lithographed inscription below image
1.1. A. Earle, l.c. Mrs. MACQUARIE'S SEAT GOVEnt DOMAIN./Sydney N. S. Wales/Published August 10th 1830, by J. Cross, 18 Holborn opposite,/Furnivals' Inn, l.r. Printed by C. Hullmandel
Footnotes
1. Brisbane was a member of the Royal Society of London, Royal Astronomical Society, Royal Irish Academy, and the Royal Society of Edinburgh. Papers by him were published by these societies.
2. For biographies of Dunlop and Rumker see Australian Dictionory of Biography, Melbourne, Melbourne University Press, 1966. For a history of Parramatta Observatory see Goodin, V.N.E., Parramatta Observatory. Journal of the Royal Historical Society, Vol.33, 1947.
3. A Catalogue of 7385 Stars, chiefly in the Southern Hemisphere, prepared from observations made 1822 6 at the observatory at Parramatta, was finally published in London in 1835.
4. See Twyman, M., Lithography 1800 1850, London, O.U.P., 1970.
5. Lithography was first practised in America in 1818. See I Joseph Jackson "Bass Otis, America's First Lithographer", Pennsylvania Magazine of History and Biography, XXXVII {19131, pp.385 94. For magazines: and books published on lithography before 1820 see Twyman, Op.Cit., pp.256 262. “Literature on the history and techniques of Lithography 1801 1820”.
6. Ibid, pp.33 36.
7. See entry under Astronomy, The Australian Encyclopaedia, Sydney, Angus and Robertson, 1958, vole, p.279. There was a firm known as ‘Morison's Lithographic Press’ operating in Glasgow in the early 1820s. Twyman, Op.Cit., p.200.n. Brisbane’s home in 1820 was at Largs about 50 kilometres [30 miles] from Glasgow.
8. The largest sheet size used by Earle was 36 X 24cm [141/2 X 91/2 inches]. (See note 34.)
9. For biographical details of Earle see Hackforth Jones, J., Augustus Earle, Canberra, National Library of Australia, 1980, and Buscombe, E., Artists in early Australia and their portraits, Sydney, Eureka Research, 1978, pp.49 68.
10. See letter from Smyth concerning his friendship with Brisbane since 1815 in Tasker, W., Reminiscences of General Sir Thomas Makdougall Brisbane, Bart, Edinburgh, 1860. Smyth was also an amateur astronomer.
11. Sydney Gazette, October 13,1825, p.2.
12. W. Dixson MSS Notes, D.L. MSS 469/A, p.189, letter dated May 26,1828.
13. Reverend John McGarvie, Diary, MS A1332, p.235 M.L.
14. The first that we know of is ‘Grand Harbour of Valletta’, c.1815, cited by Hackforth Jones, J., Op.Cit, p.4. The Australian National Gallery owns two aquatints engraved after Earle, in America, by John Rubens Smith (1775 1849) in 1818.
15. Dighton prepared Earle’s drawings for Graham, M., Journal of a voyage to Brazil, London, 1824; Graham, M., Journal of a residence in Chile, London, 1824. See notes regarding Dighton's drawings after Earle in Printroom of British Museum in Abbey, J.R., Travel in Aquatint and Lithograph 1770 1860, London, Maggs, 1956 57. [A 708 and 714].
16. Senefelder, A., A complete course of lithography, London, Ackermann, 1819. Hullmandel, C., The art of drawing on Stone, London, 1824. A copy of the latter book was included in a shipment of lithographic equipment to Tasmania in June 1830. See Craig, C., Old Tasmanian prints, Launceston, Foot and Playsted, 1964, pp.324 6.
17. Sydney Gazette, November 3, 1826.
18. The Monitor, November 3, 1826
"Mr Earle . . . will be ready to execute any orders
he may be favoured with, for drawing circulars, etc . . ."
The Monitor, September 29, 1826, mentions that Earle
was to produce a map of the colony.
19 .The Monitor, August 11,1826.
20. Sydney Gazette, August 23,1826.
21. Sydney Gazette, August 23,1826, records the price as 50 shillings. This is an obvious typographical error.
22. Such as Lyon, G.F., A Narrative of travels in North Africa, London, 1821 [A 304]. Svedman, K.V., Costume of Sweden, London, 1833 [A 259]. Brooke, A., Travels through Sweden, Norway and Finland, London, 1823 [A 248].
23. Smyth, W.H., Sicily and its Islands, London, Murray, 1824. Aquatints by William Daniell. [A263].
24. Sydney Gazette, 27 December 1826. A large advertisement placed by Earle mentions the sale of original prints by Vandyke, Caracci, Roosa, Rembrandt and illustrated books including Wathen, J., A series of views illustrative of the Island of St. Helena, and Westall, W., Views from the Banks of the Thames.
25. Sydney Gazette, 27 September 1826.
26. Colonial Secretary Letters Received 1826 NSWA 4/1903 letter no.6021. Cited by Buscombe Op.Cit., p.56, Edmund Eager arrived in the colony September 13, 1826. Known also as Edmund Edgar, he is probably the engraver of the frontispiece of the Australasian Almanack, Sydney, 1827. See W. Dixon MSS Notes, DL, WD 53.
27. The Monitor, 3 November1826.
28. Sydney Gazette, 25 November1826.
29. Sydney Gazette, 6 December 1826.
30. Sydney Gazette, 27 December 1826.
31. Colonial Secretary, Letters Received 1827, NSWA 4/1920, letter no.27/712 dated 11 January 1827 cited by Buscombe Op.Cit., p.60.
32. The Monitor, 21 May1828.
33. Colonial Secretary Letters Received 1828, NSWA 4/1994, letter no.28/7784 dated September 30,1828. Cited by Buscombe, Op.Cit., p.66.
34. The size of Earles’ press was probably of half crown dimension (38 X 25cm,15 X 10 inches). The lithographic press ordered by the Tasmanian Government for the Survey Department was of “colombier size” (60 X 87.5 cm, 231/2 X 341/2 inches). Tasmanian State Archives CS01/910/19174 letter dated June 24,1830, cited by Craig Op.Cit., p.324.
35. Colonial Secretary Letters Sent 1828 29, NSWA 4/3533,
no.28/7784 dated October 8,1828, cited by Buscombe Op.Cit., p.67.
© Roger Butler, 1982.
Published in The Australian Connoisseur and Collector, no.3, 1982
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