david coombe history
SUMMARY: William Anderson Cawthorne (1824-1897) was a school teacher and amateur artist. His 1840s writings and paintings are among the most valuable records of Aboriginal culture made by a South Australian colonist. Cawthorne is known also for his assistance given in 1844-1845 to George French Angas' project 'South Australia Illustrated'. This article mainly concerns his relationship with ST Gill, his art master from February 1845 and shows his development as an artist. The article identifies further Gill works, plus six Cawthorne works in the British Museum.
NOTE: Members of Aboriginal communities are advised that this article includes names and images of deceased people.
Article type: CATALOGUE, NARRATIVE, ANALYSIS
In this article ...
William Anderson Cawthorne (1824-1897) was a school teacher and amateur artist. His 1840s writings and paintings are among the most valuable records of Aboriginal culture made by a South Australian colonist. And he was an art student of ST Gill.
Cawthorne arrived in Adelaide in May 1841, aged 16, with his mother.1 He kept detailed and extensive personal diaries – some entries being highly personal and youthful. The diaries record much about the artist George French Angas who visited South Australia in 1844/1845. They also contain important snippets about his relationship with ST Gill, his art master from February 1845.
Cawthorne isn't mentioned by earlier Gill authorities Bowden, Appleyard et al and Grishin, but one would not expect him to be. A few Gill works have previously been identified in Cawthorne's album collection in the Mitchell Library, State Library of New South Wales. This article attributes more works to Gill from Cawthorne's albums as well as an album of EW Belcher who was a student of Cawthorne.
Cawthorne initially practiced his art by observing and copying Angas on his first visit to South Australia, but in the end sought out Gill as his art master. The focus of this article is Cawthorne and the connection with Gill. (More of Cawthorne's interactions with Angas are discussed in the above-mentioned S.T. Gill and George French Angas, 1844-1845.)
Limitation of the research method: I visually scanned the microfilmed pages of Cawthorne's diaries for entries of interest, so it's likely I've missed some things. His handwriting is not the easiest to read, as Cawthorne himself admitted. I've transcribed about 30,000 words.
Cawthorne likely had an interest in Aboriginal culture from the moment of his arrival in May 1841. His extant diary doesn't begin until 22 October 1842, but as early as 15 November he describes in detail a corrobory he attended that evening. He was a keen correspondent to the newspapers – often on matters of Aborginal culture – using nom-de-plumes such as "W.A.C.", "C" [in Old English C], "Zyne" and "A.A.A". (His diary contains clippings of, and references to, his letters.)
In one newspaper letter of August 1843, Cawthorne refererred to a shop poster: "Correct Likenesses taken in ten minutes.–Hall's Gallery, Currie-street, West end." He had unwittingly drawn attention to what was probably the first commercial Daguerreotype in South Australia.
An intriguing artwork is dated to the same year.
This silhouette (see also List of Works below) is inscribed on the back "W.A. Cawthorne 1843" – probably by Cawthorne himself. If the date is correct, this humble silhouette was cut in Adelaide. (And in far less than ten minutes!) I am not aware of any silhouette artists operating then in Adelaide. It could perhaps be by Gill, "late Draftsman and Water Color Painter to the Hubard Profile Gallery of London", but his professional focus was painting. It's a puzzle.
For a a couple of months in early 1843 Cawthorne worked as a clerk2 for Anthony Forster, the South Australian agent for George Fife Angas. Later that year, Angas' son, George French Angas, was on his way from England to South Australia.
On the last day of 1843 George French Angas arrived in Adelaide for his "South Australia Illustrated" project and he initially stayed with Forster. Cawthorne noted he soon met Forster in the street:
Wednesday 17 January [1844] ... Yesterday I strolled about for one hour and walked into my former august Master Anthony Forster Esq. He told me that as soon as his imperial highness George French Angas author of a "Tour through Malta & Sicily" &c &c &c &c (* Now being at the River Murray sketching &c. *) he should condescend so low as to introduce me to his Majesty for the ostensible purpose of "telling him all I know about the Natives for his intended work". So you see to what an immense height my talents have raised me – see the unparalleled distinction that is awaiting me. Observe the remunerating employment I shall be engaged in but for all this I would rather press real talents of gold or silver than to all the intellectual ones that his august majesty can command. Book making now-a-days is sheer dross – unless they comprise flippant subjects then indeed they sell like wild-fire – but as to books that really possess worth – historical or scientific of any other sort that hath solidity and sense about them are all unsaleable ...
In his reference to "talents", Cawthorne alluded to his need for an actual income. Although he bumped into Forster, it's clear Forster and Angas had already planned his role.
On beginning to work with Angas, Cawthorne contrasted the visiting artist's ability with his own. Regarding his visit to Angas on 7 February 1844, Cawthorne wrote:
At 10 a.m. went up to Mr Angas. I saw as usual his workings. Really they are first Rate. I have never seen such beautiful drawings. Oh that I could do half as well. The more I see of this gentleman's doings, the more I become disgusted with my own futile, puerile attempts. What a thick, dull porridge skull I possess to be sure. Oh what would I not do if I had the one fiftieth part of the talent that Angas has.
One painting is of particular interest here – a watercolour done about a week later of Port Adelaide. Cawthorne helped Angas by drawing the ships in the original sketch at the Port and, days later back in Adelaide, even taking the watercolour home to finish them. (For detail see AGSA 0.620 below.)
After seven months in South Australia, Angas left for New Zealand on 31 July, and then had two large projects to juggle.
In August 1844 the ships Taglioni and Augustus were in port loading for London and afforded an opportunity to export items and works representing Aboriginal culture. On 23 August Cawthorne recorded:
6 of my paintings are going to London – 6 to Berry in Bury and one to Wiltshire. I have also an order to draw and paint 2 white children as soon as I can. If I am not becoming a noted character I don't know who is.
Cawthorne had grown in confidence. Can the numeric clumsiness be explained by the seventh picture going not to Wiltshire but to JD Willshire in Adelaide? Berry was a passenger on the Augustus which sailed for London on 13 September.3 The cargo included boxes and packages of ("native") "curiosities" as well as wax cast models of Aboriginal people by Theresa Walker.4
Through 1844 Cawthorne continued to document Aboriginal culture and correspond to the newspapers. He also prepared a manuscript for a book of his own with title page (obviously a draft!):
The Natives of South Australia by W. A. Cawthorne with 20 plates (of Implements besides Portraits) Oct. 1844.
Dedication to Mr Anthony Forster. I forget the rest.
One page is often referenced for its particular sporting interest and referred to two illustrative plates:
No 8 and 9. The "Pando" – ball – made with a piece of oppossum skin – flattish in shape and about the size of a common ball. The play of the Pando is as follows. The players stand together in a ring or line. One of them kicks the ball in the air sometimes to the height of 50 feet. The rest strive to catch it – or else beat it about until it falls to the ground – when again it is sent up – and caught or thrown to one another – generally to those who are not attentive and if it falls to the ground a scuffle ensues and a deal of fun. The merit of the game is to kick the ball perpendicular & to keep it in the air as long as possible.
On 22 January 1845 Cawthorne wrote of Angas' surprise return from New Zealand. "News – astounding – George French Angas has arrived!!!! 6 or 7 months before any one expected him." According to Cawthorne, Angas then made a quick trip to "the Country" before returning in time for the Agricultural and Horticultural (A&H) exhibition on 14 February on the Adelaide Park Land. Cawthorne diarised seeing Angas and young Charlie5 there and ST Gill portrayed them.
Agricultural and Horticultural Exhibition, Adelaide, 1845 | NGA 2012.25Gill was at the A&H show to capture this scene featuring Angas and Charlie. And the man with the dog on a lead could well be Gill himself (compare with AGSA 0.648).
One expects Cawthorne saw Gill there too, for the following day, Saturday 15 February, he wrote:
I have this morning visited an artist to see whether he will take and learn me painting. He asks 12g. per annum. I have drawn a rough sketch to show my future master (Mr Gill) on Monday. Oh! ye Gods grant that it may please and be the means of lowering his high price and become within the limited range of my pocket ammunition. Grant it Jupiter for Plutus' sake. Amen.
The next Saturday, as well as recording his interactions with Angas, he noted: "I took my first lesson with Gill today." And the following week:
Thursday Feby [27?] My Master Mr Gill – go ahead very well – what he thinks of me I know not but I think rather favourable – inferring from his conduct.
Cawthorne met with Gill six times that week!
Sunday March 9 ... Only saw Gill once last week instead of 6 times. Getting muddling on with my painting. Angas has been bothering me to come and stay with him a couple of weeks to help in the letter press of his work ...
[Wednesday] March 12/45. I have not seen Angas for three days. He is an unstable friend. If he does not mind – Him and me will separate company. I hate people proferring so much and then doing nothing. He gains nothing by his hypocrisy. I have several sketches in a small book taken by myself – which I shall take precious good care not to let him have them for nothing. I like a friend who will treat me as friend ... I have been [once?] to Gill's this week. Must go to morrow or else I shan't get on. I am exceedingly anxious myself to go ahead. [] one thing or another has kept me back – just sickness.
Woody range near Government Farm S. Australia March 26/45 | SLNSW-M PXD 39 f.07In one of Cawthorne's albums the are two pictures from this time: two sepia sketches of the Tiers (Adelaide Hills), dated 11 and 26 March 1845 in reverse inscriptions. They have been attributed to Cawthorne. But they are almost certainly by his art master and I attribute them to Gill.
What prompted Cawthorne to take up under Gill? Angas wouldn't have made a good art master for Cawthorne – he was too focussed on his own project and Cawthorne was becoming disenchanted with him. I think Cawthorne's ambition to become a good artist, and the prod of Angas' return, likely made him seek out the more senior Gill. At the time Cawthorne was 20, Angas 22 and Gill 26.
Under Gill, Cawthorne grew as an artist. On 7 June 1845 he booked sales:
Saturday night ... let me enumerate my earnings which I am proud to say amount to the following: Emus, wild dogs, Corrobberee of the natives, Portrait of native, Implements, amounted to 8/- (for Mrs Bean). A large picture of the Victoria schooner in a gale of wind (in sepia) 8/-. One large picture of the Dorset (Brig) off Sydney heads (watercolour) 15/-.* View on the Onkaparinga River 5/-. One Corrobberee 4/-. In all £2/0/0. This is the first sum of money I have earnt by my talent!!! I have at the present a lottery in hand – got seven members want [...] 2/6 each – two watercolours, landscapes [in?] S.A.
* Well worth £1/10.
Cawthorne was still studying under Gill as Angas' prepared to depart South Australian.
Sunday June 22. The principal events since last time of writing. Angas has behaved like a mean spirited rascal and I feel much inclined to kick his shame part. During this week he has had an exhibition of his paintings. One shilling admittance!!!!! What a gentleman. The papers speak of his things / favour it ... I shall blow him up nicely when he leaves the colony. Everyone is astonished at his shabby treatment of me ... I am still at Gill's – receiving his instruction in the shape of opinion.
After his Adelaide exhibition, on 2 July 1845, Angas sailed for Sydney and thence for London.
Cawthorne's pages appear quieter following Angas' departure.
On 8 November 1845 he noted: "[lent?] some of my implements to Mr Allen". (See also July-November 1845 : Allen's Commission.)
In April 1846 Cawthorne recorded meeting with Gill (noted also in S.T. Gill, November 1845 to June 1846):
[Saturday 18 April] Saw Mr Gill today. My painting master has been to the Murray and taken some fine views.
He saw Gill again the following Saturday. But then in July Gill left Adelaide on John Horrocks' expedition: 1846. The Camel, Horrocks's Expedition, Gill's Parting Supper and a Newspaper Reporter.
Cawthorne met up again with Gill on his expedition return and on 7 November wrote:
I have seen Gill for the first time since his arrival from the expedition. With his 25 pictures of the same dreary country. He has set up again close by [Leigh Street] as Artist Laureate. There is going to be an "Amateur Artist Exhibition". I am going to paint for it.
In December, Cawthorne retold anecdotes from the Horrocks expedition. And more importantly he got to copy some of Gill's pictures before they were finished for exhibition. (See List of Works below.)
After this I find no further references to Gill as Cawthorne's art master and perhaps that relationship formally ended when Gill left with Horrocks in July 1846.
For more on the February 1847 exhibition, in which Cawthorne had three entries, see: S.T. Gill - 1847 Exhibition of Pictures.
There are other artworks of interest from 1847, especially those portraying a group of 45 Aboriginal people who were in court charged with trespassing. Are they by Gill rather than Cawthorne? (See List of Works below.)
On 14 November 1847 Cawthorne noted he himself would be an art instructor: "I have undertaken to teach a class of 12 men drawing in connection with the [Mechanics] Institute."
In January 1848 there was a call6 for "artists residing in South Australia" to submit entries for the forthcoming second annual art exhibition. Cawthorne still lamented his lack of artistic skill:
Jany 23 [1848]... I would give anything to paint well. To get a happy, correct and effective style. To be able to dash off a thing ...
Only a portion of the exhibition catalogue is extant and it's not known whether Cawthorne enterred any works.
Cawthorne continued life as a school teacher / headmaster and keen amateur artist. He was gifted a cabin upgrade on his steerage ticket on the steamer Juno on a pleasure trip to Port Lincoln in December 1848, documenting the trip in his diary.
Cawthorne pursued interests in the temperance movement, Youth's Birkbeck, the Bible Society and the Mechanics Institute. He married in 1848 and became a father in 1849.
He sailed for Melbourne and the Victorian goldfields on 27 January 1852,7 about a week before Gill.
I haven't found any continuing personal connection between Cawthorne and Gill after 1847.
However in 1855 Cawthorne spoke to the Adelaide Philosophical Society "On the North-west Region of South Australia; with a Plan for its Exploration" and "exhibited several interesting sketches, taken by Mr. Gill, an artist who accompanied Mr. Horrocks on his ill-starred expedition."8 Although we have Cawthorne's own versions of a couple of expedition scenes, there's no evidence for what Cawthorne may have exhibited on this occasion. Given Cawthorne's financial means they are unlikely to be from the original series of 33 Horrocks watercolours of the 1847 Adelaide exhibition.
The State Library of New South Wales has an extensive collection of Cawthorne material including diaries, sketchbooks and artworks. Cawthorne's "Personalia" (microfilm frame 1232) includes a sketch of a man with top hat, cane, coat and checked trousers which is very much like Garling's portrait (Bowden, 87) of Gill! Perhaps this was a standard practice piece Gill employed with his students.
The State Library of South Australia also has some Cawthorne works.
William Henry Belcher was such a close friend that Cawthorne once "willed" him his diaries (23 January 1844)! The Belchers are mentioned several times in the diaries. Their son Edward William Belcher (b. 1843) was a student at Cawthorne's Pulteney Street school9 and was a chief mourner at Cawthorne's funeral.10 EW Belcher's album in the Dixson Library, State Library of New South Wales (DGA 58) contains many works by Cawthorne, strongly suggesting Cawthorne was Belcher's art teacher. And since Cawthorne was Gill's student, it's not surprising to find a few Gill works in this album.
The British Museum has a series of portraits of Aboriginal people, numbered 1 to 6 (via WatercolourWorld.org). At the time of writing they are misattributed to JC Coates or Isaac Coates presumably on the basis of appended monograms.11
These six are very similar to many of Cawthorne's watercolour portraits of Aborginal people in a Mitchell Library (SLNSW-M) album, PXA 1490. This album has a paper label inside the front cover: "Supplied by / The Museum Book Store, / 45 Museum Street, / London, W.C." – a museum connection. Of the portraits in the Mitchell album only one is numbered and it's number 7 (see List of Works below). So the two sets appear to be be part of one larger set that Cawthorne intended to illustrate a book such as his manuscript The Natives of South Australia by W. A. Cawthorne with 20 plates (of Implements besides Portraits) Oct. 1844.
The captions on the museum six are consistent with Cawthorne's handwriting, but are inconsistent with inscriptions on Isaac Coates' portraits of Maori in the Alexander Turnbull Library, National Library of New Zealand.12 The latter works also differ in being more finely executed. It's feasible Isaac Coates owned the museum six, having arrived in Adelaide in September 1845.13 The monogram may signify a Coates owner, in the same way as the EJ monogram associated with John Napier Magill. There is no evidence to link these six to Berry (above).
Cawthorne. William Anderson Cawthorne - journal, 1846-1849. Digitised at SLNSW: <https://collection.sl.nsw.gov.au/record/9gkdb3m9>
Cawthorne. William Anderson Cawthorne - diary, ca. 1849-1859. Digitised at SLNSW: <https://collection.sl.nsw.gov.au/record/9O4oBNAn>
Scroll down to see the pictures along with detailed notes or click a link to jump to a specific work from the list.
W.A. Cawthorne 1843 | Mitchell Library, State Library of New South Wales B 230
Artist: Unknown | Date: 1843
Main listing: S.T. Gill and W.A. Cawthorne
Captioned on reverse: "W.A. Cawthorne 1843". The caption is probably by Cawthorne and possibly added later. The handwriting differs from the formal ornate 1843 signature caption at https://collection.sl.nsw.gov.au/record/Yr8Rq58n/kaz0yVNjl6O4R#viewer.
This silhouette is slipped into the later 1849-1859 diary of William Anderson Cawthorne.
767
[Man on horseback, possibly hunting] | Dixson Library, State Library of New South Wales DGA 58 f.68
Artist: Gill, S.T. | Date: 1843~/1844~ | Appleyard cat. n/a
Catalogue: S.T. Gill and W.A. Cawthorne
A colonist on horseback riding through a gully with two hunting dogs in pursuit of unseen prey.
It is a similar period and the same subject as "Kangaroo coursing" (NLA NK7063/15), though the specific prey is not pictured.
"The kangaroo is the largest quadruped found in the country. This singular animal has already been so often described, that is that it is unnecessary here to give a particular account of it. Kangaroos are found in great numbers in most of the districts of South Australia; although they gradually seem to retire into the interior as civilisation advances. A kind of hound, something like the Scotch stag-hound, is common in the country, for hunting them. The kangaroo is very shy, and it is seldom the hunter can get one within rifle range. Most of them are therefore taken with the hounds." Bennett (1843) 44-45.
See also S.T. Gill's Set of South Australian Scenes – Bennett.
This wash drawing is in EW Belcher's album. Belcher was a student of WA Cawthorne who was in turn a student of Gill.
432
Port Adelaide in 1844 | Art Gallery of South Australia 0.620
Artist: Angas and Cawthorne | Date: 1844-02~/1845~ | 25.5(H) x 35.5(W) cm
Main listing: S.T. Gill and W.A. Cawthorne
A view generally south along Hindmarsh Reach to Gawler Reach and Port Adelaide. Prominent is the South Australian Company stores (McLaren warehouse, red building, left). Ships are at McLaren wharf. On the river side of the Customs House are the Queen's wharf warehouses. This view is probably from near the creek around Birkenhead (where the expressway and railway now cross the shore). The seized ship "Ville de Bordeaux" is not apparent but may be obscured at right of picture.
Attributed to George French Angas and William Anderson Cawthorne (Tregenza 33; Jones 128-131).
On Saturday 10 February 1844, Angas went to Port Adelaide on a painting excurson with young artist W.A. Cawthorne, who records in his diary: "We proceeded down to the first bend of the River and then beached boat and our apparatus - and set too - for 5 or 6 hours we sat in the boat he sketching and painting and I "lending a hand" - such hitherto having the water paint box, umberella &c - but I had an honour conferred on me that I little expected that was to draw off the ships in his sketch which formed rather a prominent part of the picture being in the foreground nearly - I being rather more nautical than he. In an hour's time I finished." And: "Went to Mr Angas at 10 am acc[ording] to request. I helped a little in painting the ships + (In Saturday's view of the Port) - of which I must say nothing about... At one returned home - to finish what I had begun viz the ships - he wanted me to stay dinner - but I did not like. He particularly requested me not to mention to any person that I did the ships in his sketch. I [promised because] for what is there in painting a few vessels... [[I was] sent for] & painted the ships [a lot]." (Diary, 13 February)
This work matches the diary description. It corresponds with the prominent ships "in the foreground nearly". The February date also matches a title "Port Adelaide, February, 1844" that Angas exhibited in London.
The work is heavily captioned "Port Adelaide in 1844", but this is a later addition and is clearly on top of lost colour. A large area in the lower left of the picture seems damaged (in the scan). I have only examined this work online.
Authorship. Although Cawthorne's contribution seems established this work is superior to Cawthorne's own Port: SLNSW-M PXD 39 f.15. The foreground vegetation is reminiscent of Gill and perhaps he also had a hand in this work. However there is insufficient evidence to challenge Angas as the overall artist.
Map | S. T. Gill - Port Adelaide
341
No. 3. Female / Australian. Murray River Tribe. South Australia. Aged 40 years | British Museum Oc2006,Drg.51
Artist: Cawthorne, W.A. | Date: 1844~/1845~
Main listing: S.T. Gill and W.A. Cawthorne
Caption: "Australian. Murray River Tribe. So[uth] Australia. Aged 40 years". By Cawthorne, but at the time of writing attributed to Coates. One of several illustrations likely to accompany an intended book such as his manuscript The Natives of South Australia by W. A. Cawthorne with 20 plates (of Implements besides Portraits) Oct. 1844.
796
No. 7. Winkouwinkou | Mitchell Library, State Library of New South Wales PXA 1490 f.20
Artist: Cawthorne, W.A. | Date: 1844~1845~
Main listing: S.T. Gill and W.A. Cawthorne
Portrait of Winkouwinkou, an Aboriginal person.
One of several illustrations likely to accompany an intended book such as his manuscript The Natives of South Australia by W. A. Cawthorne with 20 plates (of Implements besides Portraits) Oct. 1844.
795
A native corroboree at night | National Library of Australia NK2124
Artist: Gill, S.T. | Date: 1844 | Appleyard cat. 37 | 42.7(H) x 63.5(W) cm
Catalogue: S.T. Gill and George French Angas, 1844-1845
An Aboriginal corroboree around a fire on a full moon; sparsely treed hills in the background; men dance with spears and wirris; spectators seated at left provide accompaniment. Three main characters at right watch the corroboree: an aboriginal man standing with long spear and two white men behind him, one standing with curly hair and fat tummy, the other mounted on a horse.
This is a very large watercolour. Although extremely difficult to see in its dark background, the picture is signed lower left "STG ..." (possibly but not confidently "Nov/44") in black. Given the approximate date and the men's appearance we have a reasonable chance of identifying them. They are likely to be (left to right): Kadlitpinna (Captain Jack), George French Angas, W.A. Cawthorne.
"Mr Angas I should say was about two and twenty, perhaps less – small of stature about 5ft 6in at the most – thickish set in the body ..." (Cawthorne, page before 3 Feb 1844)
"I am going to take Capt Jack (one of the Aborigines is called) up to Mr Angas in full dress as a warrior – oiled – painted – decorated &c. &c. precisely as they dress themselves when a fight takes place – to be drawn." (Cawthorne, 3 Feb 1844)
"This evening I went down to the natives with Mr Angas and Fooks to see the "Cure Palti" performed again. Mr A. took a sketch of them and I have to describe it." (Cawthorne, 3 April 1844)
For more detail see the catalogue / main entry.
41
Tiers (The Timber Splitters) | Mitchell Library, State Library of New South Wales PXD 39 f.54
Artist: Gill, S.T. (attr.) | Date: 1845-03-11
Catalogue: S.T. Gill and W.A. Cawthorne
This wash drawing is titled "Tiers" - the name given by the colonists to the Adelaide Hills to the east of the city. The Tiers was a favoured location for sourcing timber for Adelaide.
This is one of two sepia wash drawings being scenes in the Tiers (Adelaide Hills) and dated Tuesday 11 and Wednesday 26 March 1845 by reverse inscriptions. They are part of a SLNSW collection (PXD 39) of pictures of WA Cawthorne, previously attributed to him, of which a good number seem to be wholly or partly by Gill or strongly influenced by him. Gill was for a time Cawthorne's art master. Cawthorne has his first lesson with Gill on 22 February 1845, little more than a fortnight before the first of these two pictures.
This is signed "WAC" (lower right). I think this work is likely to be by Gill, although it could be an extremely good copy of a Gill by Cawthorne.
This is the first extant version of Gill's oft repeated "Timber Splitters" theme. A later version is titled "Stringy Bark" (SLNSW DL Pd 133). "Stringy Bark", "Tiers" and "Splitters" were all of the same theme. Hence the subject matter corresponds with James Allen's lecture 2, dissolving view 4, titled "The Stringy Bark Forest".
Map | S. T. Gill - Adelaide District
196
Woody range near Government Farm S. Australia March 26/45 | Mitchell Library, State Library of New South Wales PXD 39 f.07
Artist: Gill, S.T. | Date: 1845-03-26 | Appleyard cat. n/a
Catalogue: S.T. Gill and W.A. Cawthorne
Looking from the Tiers (Adelaide Hills) through the trees seemingly down to the Adelaide plain. The Government Farm was where Belair National Park is now. The location for this view could be near Old Belair Road, similar to the later watercolour "Adelaide Plains from road to Government Farm, 1842" (SLNSW DG V*/Sp Coll/Gill/18).
This is one of two sepia wash drawings being scenes in the Tiers (Adelaide Hills) and dated Tuesday 11 and Wednesday 26 March 1845 by reverse inscriptions. They are part of a SLNSW collection (PXD 39) of pictures of WA Cawthorne (1824-1897), previously attributed to him, of which a good number seem to be wholly or partly by Gill or strongly influenced by him. Gill was for a time Cawthorne's art master. Cawthorne has his first lesson with Gill on 22 February 1845, little more than a fortnight before the first of these two pictures.
This unsigned work is almost certainly by Gill. However there is no "STG" signed at bottom left; the significance of apparent initials "F.K." in the bottom right is unknown.
Map | S. T. Gill - Adelaide District
195
Tanunda Creek, South Australia | National Library of Australia R241
Artist: Gill, S.T. | Date: 1844~/1847~ | Appleyard cat. n/a | 22(H) x 34(W) cm
Catalogue: S.T. Gill and E.C. Frome (1844-1845)
A waterfall on Tanunda Creek in the Barossa. It's possible Gill may have sketched this while out for J.H. Angas in October 1844. Gill exhibited a painting of this title at both the 1847 (no. 68) and 1848 (no. 39) art exhibitions.
For more detail see the catalogue / main entry.
Map | S. T. Gill - South eastern South Australia
110
Penunda Creek | Mitchell Library, State Library of New South Wales PXA 1490 f.10
Artist: Cawthorne after Gill | Date: 1845~/1847~
Main listing: S.T. Gill and W.A. Cawthorne
This watercolour by Cawthorne of Tanunda Creek may well be his student copy of a Gill original and may be compared with Gill's NLA R241. The Aboriginal figures are very much in Gill's style. This work is in an album of Cawthorne sketches.
Signed "WAC" l.r. At time of writing was mistitled "Penunda Creek" at SLNSW.
214
Foreground technique | Mitchell Library, State Library of New South Wales PXB 233 image 62
Artist: Gill, S.T. (attr.) | Date: 1845-03~/1847~
Catalogue: S.T. Gill and W.A. Cawthorne
Foregrounding technique. Likely a demonstration by Gill (or, less likely, copying practice by Cawthorne). A page from Cawthorne's sketchbook.
793
A native encampment | Mitchell Library, State Library of New South Wales PXA 1490 f.11
Artist: Cawthorne, W.A. | Date: 1845~/1846~
Main listing: S.T. Gill and W.A. Cawthorne
Cawthorne sketched the same subject "Native Encampment" in his diary dated 14 March 1844 and included a bullock dray in the background. This later worked version includes at left three people hunting opossum. Aspects of this picture - tree stump, foregrounding technique, possum hunting - show the influence of Cawthorne's art master, ST Gill. It contains much of content from Gill's "Natives hunting opposums" (NLA R375).
215
Camping on the River Light, May 1846 | Mitchell Library, State Library of New South Wales PXD 39 f.12
Artist: Cawthorne and Gill | Date: 1846-05~
Main listing: S.T. Gill and W.A. Cawthorne
Cawthorne diarises a three day trip from Saturday 16 May 1846, staying at the River Light on the Sunday and returning Monday. He was accompanied by friend(s) including CB Hare. Hare and Cawthorne are identified in the scene, but the third person is unidentified in picture and diary. His diary references this picture of their camp.
The eucalypt detail is Gill's style and may have been added by him.
794
View of Lake Torrens, August 22nd | Art Gallery of South Australia 997P40
Artist: Gill, S.T. | Date: 1846-08/1847-01~ | Appleyard cat. n/a | 18.2(H) x 32(W) cm
Catalogue: S.T. Gill's Horrocks Expedition Pictures 1846-1847
February 1847 exhibition no. 107 "Neck of Lake Torrens, looking N.W.".
View west from near Depot Creek. On 22 August, Horrocks and Gill are about to set off from Depot Creek for a two day return trip west (to Uro Bluff, horizon, centre). Before them lies a salty flat between Spencer Gulf and Lake Torrens and what they thought was a raised island between two creeks where they camped that night.
For more detail see the catalogue / main entry.
Map | S. T. Gill and Horrocks expedition 1846
336
Crossing the Neck of the Lake Torrens | State Library of New South Wales PX*D 30 f.04
Artist: Cawthorne, W.A. | Date: 1846-12/1847
Main listing: S.T. Gill's Horrocks Expedition Pictures 1846-1847
Cawthorne painted this probably from Gill's original Horrocks expedition sketch for "View of Lake Torrens, August 22nd" (AGSA 997P40). This version shows Gill ahead in the middle ground and emphasises the island where the pair camped that night. Point Encounter (Uro Bluff) is on the horizon, centre.
For more detail see the catalogue / main entry.
Map | S. T. Gill and Horrocks expedition 1846
455
Country NW of tableland, Aug. 22 | National Library of Australia R347
Artist: Gill, S.T. | Date: 1846-08/1847-01~ | Appleyard cat. n/a | 19(H) x 30.7(W) cm
Catalogue: S.T. Gill's Horrocks Expedition Pictures 1846-1847
February 1847 exhibition no. 110 "Sketch from summit of Table-land, N.W.".
View from the top of Point Encounter (Uro Bluff) with (left to right) Horrocks (with gun) and Gill. They appear to be examining Gill's large format sketch book and Gill's portfolio is at his feet. The horses are at the base of the hill.
Gill says they both ascended the hill; Horrocks says he alone went up (presumably while Gill minded the horses). (Gill seems to represent the hill higher than it actually is.)
"Mr H. and I climbed the hill, which was excessively stoney and steep, taking with us the spy-glass to look over the north-west country, which presented a most desolate aspect – one immense space of dry sandy country, covered with a low, dry, crisp scrub, without the slightest vestige of grass or probability of water. I took a sketch of this un-cheering scene, which shows the distant bit of elevated land." (Gill, 22 August 1846)
Horrocks wrote that he alone ascended the hill: "... we went round the side of the hill, when I left Mr. Gill and ascended to the top. About sixty or seventy miles north-west were two rises, a table and the other a small round hill about two miles in length. All the space between and on both sides for many miles a large plain covered with stunted trees and scrub, with innumerable sand rises. The view I had convinced me that it was impossible to expect to find any country in that direction, and, moreover, too late in the season to traverse it. I descended the hill, which is very steep and rocky, and made up my mind to return to the camp and follow up the table land hills with the camel." (Horrocks, 22 August 1846)
For more detail see the catalogue / main entry.
Map | S. T. Gill and Horrocks expedition 1846
308
View of the N.W. from Flinders Range | State Library of New South Wales PX*D 30 f.26a
Artist: Cawthorne, W.A. | Date: 1846-12/1847
Main listing: S.T. Gill's Horrocks Expedition Pictures 1846-1847
Cawthorne's image of the Horrocks expedition view to the northwest from the top of Uro Bluff. Gill reclines (probably sketching) at left; Horrocks stands with gun at right. Gill's wash drawing (SLSA B 72811) and Cawthorne's watercolour (SLNSW PX*D 30 f.26a) are very similar scenes.
469
Attack of Natives, sunset (Fight with the Blacks) | Work untraced
Artist: Gill, S.T. | Date: 1846-08/1847-01~ | Appleyard cat. n/a
Catalogue: S.T. Gill's Horrocks Expedition Pictures 1846-1847
February 1847 exhibition no. 111 "Attack of Natives, sunset".
Horrocks and Gill clashed with Aboriginal people shortly after turning from Point Encounter (Uro Bluff).
"On observing them running down towards us with their spears, we halted and fired three balls, which struck the ground very near them, in each case rising the dust in a cloud; this brought them to a stand for a little, but they did not appear to know the use of the arms, as they looked on the ground and moved but little aside. We reloaded and advanced towards them, when they took up their position on the top of the hill, shouting and laughing defiance. We stopped at eighty yards, and gave them three barrels more, when we saw no more of them..." (Gill, 22 August)
Described in the "South Australian" newspaper on 5 January 1847: "a very graphic representation of a fight with the blacks".
The original of this painting is unknown. However there is a contemporary pencil sketch of this scene by Gill or his student W.A. Cawthorne (SLNSW PXD 30 f26b),
428
Attack of the Natives | State Library of New South Wales PX*D 30 f.26b
Artist: Gill or Cawthorne | Date: 1846-12/1847
Main listing: S.T. Gill's Horrocks Expedition Pictures 1846-1847
This is a partial sketch in pencil of Gill's "Attack of Natives, sunset" of 22 August 1846 on the Horrocks expedition. It is on the back of f.26a "View of the N.W. from Flinders Range". It could be by Gill for his student WA Cawthorne or it could be Cawthorne's copy of Gill's original expedition sketch.
470
Port Adelaide 1846 | State Library of New South Wales PXB 233
Artist: Cawthorne, W.A. | Date: 1846
Main listing: S.T. Gill and W.A. Cawthorne
A view generally south-east across Gawler Reach / Hindmarsh Reach to Port Adelaide. Three pages in Cawthorne's sketchbook (33, 34, 37) combine to form this panorama of Port Adelaide. The middle page is captioned (possibly retrospectively) as 1846.
The watercolour SLNSW-M PXD 39 f.15 is derived from the pencil SLNSW PXB 233, with both panoramas taking three pages of a skecthbook. The watercolour adds a foreground shore with Aboriginal people.
The scene is no later than November 1846 when "the Ville de Bordeaux was moved from the position which she has occupied for so many years, and was moored about half-a-mile below the McLaren wharf." South Australian Gazette and Colonial Register, 21 November 1846: 3. <http://nla.gov.au/nla.news-article195934342>.
On the third page of this pencil sketch are vertical columns - chimneys? - seen behind "Ville de Bordeaux" in the watercolour. Is this the Port Tavern under construction? In contrast to Gill, Cawthorne places too much rigging on "Ville de Bordeaux".
Page 33: https://collection.sl.nsw.gov.au/record/Yr8Rq58n/PAmV04QJeQDzx
Page 34: https://collection.sl.nsw.gov.au/record/Yr8Rq58n/mxMXeoezepJNV
Page 37: https://collection.sl.nsw.gov.au/record/Yr8Rq58n/wovOyBjGjpOaR
Page 33 & 34: https://collection.sl.nsw.gov.au/record/Yr8Rq58n/rAMNKmmA0d6a8
369
Port Adelaide from the opposite side of the stream 1847 | Mitchell Library, State Library of New South Wales PXD 39 f.15
Artist: Cawthorne, W.A. | Date: 1846~/1847~
Main listing: S.T. Gill and W.A. Cawthorne
A view generally south-east across Gawler Reach / Hindmarsh Reach to Port Adelaide. A two page panorama by Gill's student WA Cawthorne. Cawthorne's image includes Aboriginal people unlike other comtemporary executions of this view, although Gill does include Aboriginal people in his other Port Adelaide views. In contrast to Gill, Cawthorne places too much rigging on "Ville de Bordeaux". This work shows Gill's influences on his student. (Signed WAC l.r.)
The watercolour SLNSW-M PXD 39 f.15 is derived from the pencil SLNSW PXB 233, with both panoramas taking three pages of a sketchbook. The watercolour adds a foreground shore with Aboriginal people.
Map | S. T. Gill - Port Adelaide
462
[Group of Aborigines on an island with two Europeans on shore] | Dixson Library, State Library of New South Wales DGA 58 f.65
Artist: Gill, S.T. | Date: 1845~/1847~ | Appleyard cat. n/a
Main listing: George French Angas in London and S.T. Gill
A group of Aborginal people are fishing by diving into the water from what appears to be a raft. Two European men watch from the shore. The same view, without the Europeans, appears as a small vignette in plate 51 of Angas's "South Australia Illustrated". There it is described as "19. Native women on a raft, fishing for mussels (Karkirra). Lake Alexandrina." Also on that plate is another scene portrayed by Gill of Aboriginal women fishing for crayfish.
The main subject could be a raft made of reeds by the Ngarrindjeri people (see SLSA B 29488 <https://collections.slsa.sa.gov.au/resource/B+29488>).
The scene is very similar in composition to Cawthorne's SLNSW-M PXD 39 f.04 <https://collection.sl.nsw.gov.au/record/YoldAjG9/OlGlRObKPEMAM> showing two European men watching Aboriginal people fishing from canoes.
This watercolour is in the album of EW Belcher who was a student of WA Cawthorne who in turn was a student of Gill. Previously atrributed to Cawthorne.
463
Port Wakefield - St. Vincent's Gulf 1845 | Mitchell Library, State Library of New South Wales PXD 39 f.04
Artist: Cawthorne, W.A. | Date: 1845~/1847~
Main listing: S.T. Gill and W.A. Cawthorne
Aboriginal people on canoes and (seemingly) swimming out from shore - likely fishing. Two colonists observe the scene. There is a structure in the background - possibly an elevated mortuary platform.
It is similar in composition to Gill's SLNSW-DL DGA 58 f.65.
The title may be inaccurate. There's no reference in Cawthorne's diary of him travelling to Port Wakefield in 1845. Could this instead be Lake Alexandrina? (Cawthorne reported on a December 1850 trip to Port Wakefield in South Australian Register, 13 January 1851: 3.)
465
Natives (45) men, women, & children, dogs, puppies being driven to the Police Court for trespassing | Mitchell Library, State Library of New South Wales PX*D 70
Artist: Cawthorne or Gill | Date: 1847-04~ | 19(H) x 24(W) cm
Main listing: S.T. Gill and W.A. Cawthorne
40 to 50 Aboriginal people were driven by the police to face court on 17 April 1847 accused of trespassing.
The image (top left) includes a separate side profile head of an Aboriginal man. There is a caption below: "Natives (45) men, women & children, dogs, puppies, &c being driven to the Police court for trespassing upon Private Sec. Moorunde & Rufus natives were discharged 17/4/47. Mems - Wild faces - carrying pups in arms - Encounter bay [mats?] = old women. [Trooper?] Police - Large bundles - all their traps, nets &c &c &c". There are also artist notes: '[mat?]', 'Blue', '£6-0-0', etc.
This pencil sketch is loose in an album of Gill's student WA Cawthorne and is likely either by him or by Gill. This is a page torn from a sketchbook and the torn top edge shows it was next to a watercolour. There are a few paint splotches.
584
45 Natives driven to the Police Court, by the Police for trespassing, 1845 | Mitchell Library, State Library of New South Wales SV/97
Artist: Gill or Cawthorne | Date: 1847-04~ | 31(H) x 45.6(W) cm
Main listing: S.T. Gill and W.A. Cawthorne
40 to 50 Aboriginal people were driven by the police to face court on 17 April 1847 accused of trespassing.
This unsigned watercolour is likely by Gill or his student WA Cawthorne. The foreground technique is more characteristic of Gill than it is of Cawthorne. (The style is also similar to FR Nixon but he had already left for Mauritius by the time of this event.)
On the reverse is a pencil sketch of a coastal scene with two-masted boat, lighthouse and buildings. This scene is similar to "Williams Town lighthouse and signal station ..." (as seen in an 1855 Gill lithograph). That lighthouse was completed in 1849.
583
Adelaide Mounted Police and Native Prisoners | State Library of South Australia B 72819
Artist: Gill, S.T. | Date: 1849~ | Appleyard cat. n/a | 22(H) x 15.5(W) cm
Catalogue: S.T. Gill's Set of South Australian Scenes - Bishop 1849
A mounted policeman escorts two bearded Aboriginal men, chained together at the wrists. One is clothed in an animal skin; the other in a Government issue blanket. Two other Aboriginal adults and a child are behind them.
This seems to revisit the subject of the sketch (SLNSW PX*D 70 - see list) and watercolour (SLNSW SV/97 - see list) in which 40 to 50 Aboriginal people were driven the police to face court on 17 April 1847. Those 1847 works are historic and specific, however this version is more generic in both the image and the accompanying text.
There is also an 1849 report of Aboriginal people being arrested by mounted police for sheep "stealing". Adelaide Observer, 9 June 1849: 4. <http://nla.gov.au/nla.news-article158927692>.
For more detail see the catalogue / main entry.
318
On River Murray | Dixson Library, State Library of New South Wales DGA 58 f.57
Artist: Gill, S.T. (attr.) | Date: 1845~/1847~
Catalogue: S.T. Gill and W.A. Cawthorne
This is a scene with an Aboriginal person climbing a tree to hunt a possum, while three wait below and others are in the distance. This subject is often portrayed by Gill, notably in Eyre's "Journals", and in NLA R375, NLA NK7063/11, NLA R3311, SLNSW DL Pd 134. See also SLNSW-M PXA 1490 f.11.
Titled "On River Murray" in the album (probably by album owner EW Belcher). At time of writing it was attributed to Cawthorne. The subject, style and palette is consistent with Gill.
771
David Coombe. Original 6 May 2024. Updated 17 October 2025. | text copyright (except where indicated)
CITE THIS: David Coombe, 2024-2025, S.T. Gill and W.A. Cawthorne, accessed dd mmm yyyy, <https://coombe.id.au/S_T_Gill/S_T_Gill_and_W_A_Cawthorne.htm>