For more than 200 years, bushrangers have captured the imagination of storytellers and audiences alike. Their exploits have inspired songs, books, and, of course, plays. Read on to find out more about two forgotten bushranger plays that span the centuries and the globe, from the floorboards of the Royal Coburg Theatre in London to the airwaves of Tasmanian radio.
Nothing said ‘I’m important’ in 19th century Van Diemen’s Land more than having your portrait done.
The convict artist Thomas Bock was Hobart’s most fashionable portrait painter in the 1840s. The Allport Library and Museum of Fine Arts has possibly the largest collection of Bock’s works, and it has just expanded to include an extensive range of portraits of the Lewis family, made between 1835 and 1854.
A stop at The Steppes was once essential for every traveller in Tasmania’s Central Highlands. On our list of recently digitised materials is a sketchbook of birds and plants by Marjorie (Madge) Wilson, who was the last resident of the house at The Steppes.
Starting as just a small cabin in the bush, the Wilson family transformed their home into a way-station for travelers and a hub for the highlands community.
If you’ve been through the Allport gallery recently, you will have noticed the birds. They are familiar birds, with all of the endemic Tasmanian species represented – many visitors will recognise them from their own backyard. And they are lovely. But the thing that convinced us that it was worth getting these prints out for display is the controversy – whose hand created them?
Morton Allport (1830-1878) was an avid naturalist. You may have seen his collection of bird’s eggs on display as part of our exhibition Bird Woman. The eggs are on loan from the Tasmanian Museum and Art Gallery, where they form part of their natural history specimen collection.
So how did Morton’s collection of shells end up at the library? Continue reading “The many collections of Morton Allport”