George Edwards Peacock - State Library of...

George Edwards Peacockin the P ic ture Gal le ry

State L ibrary of New South Wales

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George Edwards Peacock

Art i s t & Forger

The collections of the State Library tell us many, oftenunexpected and surprising, stories about the history andcultural life of NSW. One such story is that of the forger andconvict artist George Edwards Peacock, whose hitherto largelyunknown oil paintings offer fascinating insights into how apenal colony could present itself as a free settlement.

Peacock arrived in Sydney in 1837 and by the early 1840s hadbecome a prolific painter of Sydney Harbour, its picturesquevillas and the town’s most important public buildings. Yetdespite the quality of his work, and the number which havesurvived – the Library has more than forty – this is the firstdisplay devoted solely to his output. The display, which hasbeen selected by the Library’s Curator of Pictures RichardNeville, continues the tradition of the Picture Gallery’spresentation of the Library’s rich holdings of colonial art.

In preparation for this exhibition nearly all the works, and theirframes, have been conserved. It is my grateful pleasure toacknowledge that this critical investment in the future of theLibrary’s collections has been made possible by the generoussupport of the State Library of New South Wales Foundationand its supporters.

Dagmar SchmidmaierState Librarian & Chief ExecutiveMay 2002

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George Edwards Peacock is an elusive character. Attempting to maintainthe respectability into which he was born, he succeeded only indisgracing himself. Transported to Sydney in 1837 for forging a power ofattorney, he seems to have turned to painting to improve his straitenedcircumstances. Yet despite – or perhaps because of – the despair he feltfor his situation, his small, often jewel-like paintings relish the beauty ofSydney Harbour and its diversity of moods.

Born in 1806 in the little Yorkshire town of Sedbergh on the YorkshireDales, he was the youngest son of the Reverend Daniel Mitford Peacock.Well educated and from a respectable family, he chose law as aprofession. In 1830 he was admitted as a solicitor and was soonpractising in London. Around this time he married and had a son. Thepressure of maintaining his family and establishing himself professionally,however, was his undoing. At his trial he complained of the costs of‘maintaining that respectability of appearance without which businessconnexions do not acquire confidence’. The pursuit of respectability,combined with poor investments, left him with debts of £5000 by 1835.

To alleviate his financial distress, in December 1835 he forged a power of attorney he held over £7000 of his brother’s money. He claimed hisintention was to invest it, recoup his losses and then reimburse hisbrother, but when his crime was uncovered virtually nothing was left. Athis trial Peacock argued that his crime had been honourable, committedso that his family could be saved from disgrace and social oblivion.Sentenced to death, the jury recommended mercy and instead he wastransported for life.

Peacock arrived in Sydney aboard the Prince George on 8 May 1837. He was described as 5 feet 5 inches (165 cm) tall, with a fair complexion,light sandy brown hair and whiskers, grey eyes and irregular lower frontteeth. Upon arrival he was sent to the penal colony at Port Macquarie, as were all educated convicts, where he was employed as a clerk to thePrisoners Barracks.

His wife and son followed him, arriving on the City of Edinburgh on 31 August 1837. His wife, who was well-connected, brought with her many letters of introduction including one to Governor Bourkerecommending her as a woman with ‘courage enough to delight you as a soldier and quite enough attraction to interest you as a man’.

Mrs Peacock set off for Port Macquarie. However, neither she nor herhusband lasted long at the settlement. Mrs Peacock was soon back in Sydney having earlier formed, said her husband, a ‘disgraceful andruinous connexion’ with another man. In June 1839 Peacock wasgranted permission to also return to Sydney to attempt a reconciliation.

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Once in Sydney he asked to be transferred to South Head Signal Station,which he hoped would remove his wife from the temptations of Sydney.But until he could build a cottage, his wife and son remained in town.Despite Peacock’s efforts to ‘keep her in a respectable position’ inSydney, his wife refused to resume their relationship. In 1842 hepetitioned Governor Gipps to allow him custody of his son because ‘forlost he must be to society, if he continues long’ living with his mother.

The success of this application is not known, but Peacock remained at South Head. In November 1839 he was sent to the ParramattaObservatory for instruction, and in the following March he wasemployed as a meteorological recorder at an annual salary of a lowly £27 7s 6d (especially in comparison with his former life). In June 1846 he was granted a conditional pardon. The last reference to Peacock inGovernment documents recorded his employment at South Head in1856, by which time his salary had increased to £94 5s 10d, close to the average annual salary at the time.

Indeed this is the last extant record of his life. What happened to him after 1856 is a mystery: not even the date or place of his death is known.

Although Peacock keenly felt his social disgrace, he seems to havesought a public reputation as an artist, even listing himself as such intown directories, and contributing to both the 1847 and 1849 Societyfor the Promotion of Fine Arts exhibitions. In 1850, too, he joined theshort-lived Australian Society of Artists (Bell’s Life in Sydney, 6 July 1850),and even began signing his name on the face of the canvas. Generallyhis work was well thought of by his contemporaries, and his clientsincluded many of the colony’s leading families.

The circumstances of his art education are not known, but hiscompetence suggests English training. His style was in the tradition ofEnglish provincial landscape art, which emphasised the appearance oftopographical accuracy and detail. He enveloped Sydney topography,using conventional picturesque formulas and a highly toned palette, with a sentimental romanticism. The Sydney Morning Herald’s 1849description of one of his works is appropriate: ‘carefully painted,exhibiting extreme fidelity to nature, as well as skill in minute handlingand high finish’ (SMH, 2 June 1849 p. 3).

Peacock’s works began appearing on the market from the early 1840s,with the Harbour, and the exclusive private villas on its foreshores, hisdominant subject. The number of his surviving works suggests he was a prolific — and therefore presumably a reasonably successful — artist.Perhaps because of his professional interest in meteorology his paintingsare often concerned with conveying a specific atmosphere. Most werevery specifically titled, and signed, on a paper label which he pasted onthe back of the work. Early paintings were not signed on the canvas.

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Peacock’s pleasure in, and observation of, the Harbour is always evident.He was not, however, an adventurous artist. He rarely strayed from well-worn paths to find new views, relying instead on known beauty spots.

His vision – which could generate some surprisingly light filled imagessuch as Sydney Harbour near Watson’s Bay (No. 5) – was distilledfrom his art education, his middle-class upbringing, and the demands of his generally middle-class clients. Although a convict himself, hispaintings do not reflect their concerns – rather they celebrate middle-class aspirations. For the rising class of free settlers, and the native born,the beauty of the Harbour was a particularly political issue given thecolony’s origins: it was a metaphor for the colony’s potential and itsmoral worth.

Peacock experienced the Harbour as an urban middle-class person did: it was a place of pleasure, associated with picnics and parties rather thantrade and commerce. His smooth, romantic depictions of the Harbourindicate how completely the colonists had domesticated the Sydneyenvironment. Peacock did not see the landscape as something foreign or alien to be documented for European scrutiny.

John Rae’s pleasure in the surprise expressed by visitors to Sydney istypical of the attitudes Peacock’s paintings endorse. Visitors, Rae wrotein Sydney Illustrated, found a ‘miniature copy of the English metropolis… they looked for slavery and chains, and behold freedom and luxury!they looked for a prison, and behold a palace!’

Peacock’s clients saw his works as an affirmation of their attachment and commitment to the colony. What Peacock himself really felt, exiledat South Head, removed from his family and without his wife, we willnever know.

Richard NevilleCurator of Pictures

For further information see:

Garry Darby, ‘Peacock, George Edwards’ in The Dictionary of Australian Artists 1770-1870,Joan Kerr ed., Sydney, Oxford University Press, 1992

Mitchell Library Pictures Research Notes PXn 90

Old Bailey Session Papers 1836 (eleventh session), London, 1837, pp. 751-757

All the paintings listed in this guide can be seen in the Library’s database of pictures andmanuscripts at www.sl.nsw.gov.au/picman.

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1Morning at the ‘Heads’ of Port Jackson

or the Pilot’s Look-out

1850Oil on board

Signed & dated at lower right, and titled on label on reverseDG 204

Peacock’s vision of a sunrise over South Head watched by two figurescontemplating the Pacific is an unusually romantic depiction of this well-known spot – the point of entry and exit to the colony and a symbol ofits separation from Europe – and maybe hints at the artist’s longing forEngland. Many artists made views of the Heads, which were a favouritedestination for local tourists, and clearly a subject which found favourwith colonial patrons.

In the early 1850s Peacock began to sign the front of his canvas –perhaps a sign of his growing self-confidence as an artist andemancipist.

Presented by Sir William Dixson, 1932

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2No. 1 The Heads of Port Jackson N.S.W.

from off the North Head – a squall

1846Oil on board

Titled, signed & dated on label on reverseDG 333

Peacock often sold groups of his paintings to the one client, whoappears to have made selections from Peacock’s stock collection ofdesigns. This is one of seven oils, apparently owned by a Thomas Wise. It depicts South Head overshadowed by an approaching storm. SouthHead Lighthouse can be seen nearly in the centre of the work.

Few of Peacock’s works engage as successfully with the atmosphere andmoods of the Harbour as this little work.


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3No. 2 Port Jackson N.S.W.

The Floating Light. – (Morning)

1846Oil on board


An unusual and sparse view of the Harbour, Peacock depicts the buoyand manned light vessel, the Rose, which marked the treacherous Sow and Pigs Reef, inside the Heads off Watsons Bay.

The painting allows Peacock to display his knowledge of Dutch 17th century maritime artists such as Aelbert Cuyp by modelling thiscomposition on their work. Like its companion (No. 2 on page 7), it successfully captures a mood of the Harbour, without resorting to his usual repertoire of picturesque conventions.


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4[Parsley Bay]

c. 1845Oil on board

DG 34

When colonists discussed the beauty of the bays of Sydney Harbour, theywere referring to those on the eastern shore which were accessible fromthe New South Head roads. The dryer and scrubbier North Shore wasrarely visited by tourists, and was not considered as picturesque. Thispainting is of Parsley Bay, a small inlet adjacent to Vaucluse Bay.

Louisa Anne Meredith’s 1844 description of the Harbour is typical:

‘the countless bays and inlets of this noble estuary render it extremelybeautiful; every minute as we sailed on, a fresh vista opened on theview, each, as it seemed, more lovely than the last; the pretty shrubs,grow thickly amid the rocks, and down to the water’s edge, addinfinitely to the effect … ‘


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5Sydney Harbour near Watson’s Bay

1851Oil on canvas

Signed & dated at lower rightDG 205

Multiples have survived of most of Peacock’s works – this is a laterversion of No. 4. The high, clear tones of this painting make it one ofPeacock’s most successful works.

Like most of his neatly drawn figures, the fishermen in the foregroundare included as picturesque detail — to add interest to the image —rather than documentary reportage.


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6Port Jackson NSW distant view from above

Rose Bay – on the South Head Road

1847Oil on board

Titled, signed & dated on label on reverseML 238

This view, looking down the Harbour towards Sydney from Vaucluse,had been established as an important view for nearly fifty years. WilliamWestall, George William Evans, John Eyre, Joseph Lycett and ConradMartens had all painted it. Shark Island is visible in the foreground.

7View of Port Jackson, with Sydney looking West

from the South Head Road above Rose Bay

1846Oil on board

Titled, signed & dated on label on reverseDL 13

This painting looks down the Harbour towards Sydney from Vaucluse.Clark and Garden Islands (then detached from Potts Point) can be seenin this view. St Mary’s, the spire of St James and Macquarie Street sit on the horizon at the left of the painting. A kind of primitive panoramaof Port Jackson is created when the painting is combined with itscompanion piece, No. 8, which looks towards Manly and the Heads. Thespot from which these views were taken was a natural one for artists —many of whom made identical views to these — as it overlooks theHarbour in both directions.

Bequeathed by Sir William Dixson, 1952

8View of the Heads of Port Jackson N.S.W

looking north from a hill above Vaucluse Bay

1846Oil on board


Using a more elevated perspective than No. 9, this view depicts VaucluseHouse and Vaucluse Bay at its left and sweeps across Middle Harbour toWatsons Bay and the Heads at its right.


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9Vaucluse

1851Oil on canvas

Signed & dated at lower rightML 236

This view, looking down from New South Head Road, depicts VaucluseHouse with a fete spread over its lawns. The square barracks, built in thelate 1820s to house its convict servants, are at the centre of the painting.Peacock published a lithograph of this work (see No.19).

Peacock has framed this picture with a mess of shrubs and vegetation.But this artistic device also mirrored nature, according to John Rae’s 1843description in Sydney Illustrated of this same view: ‘The foreground … iscomposed of some of the wild and tangled shrubbery that abounds onevery side along [the road] ... ‘

10Port Jackson NSW distant view from above

Double Bay – on the South Head Road

1847Oil on board


This view looks up the Harbour from Double Bay, towards the Heads.Carthona, built by Sir Thomas Mitchell in 1841, can be seen at the left ofthe painting, on the water’s edge of Darling Point.

11Port Jackson N.S.W. View in Double Bay S. Side

Middle Head in the distance (near sunset)

1847Oil on board


It is likely that Peacock did not actually see Aboriginal people in DoubleBay, but rather included them as foreground interest and picturesquedetail.


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12[Glenrock]

c. 1846 Oil on canvas

ML 492

Glenrock, seen here from New South Head Road, was a single-storeyedcottage standing on what is now the site of Ascham school at Edgecliff.It was built in 1836 by Thomas Smith, a Sydney merchant.

The Smith family also patronised Conrad Martens. Although Martens’work was undoubtedly seen as fine art, when compared to Peacock’smore prosaic topographical productions, many colonists employed bothartists.

Bequeathed to the Library, 1962, by a Smith family descendant, Frank de Villiers Lamb.

13View from Glenrock looking towards Double Bay

in Port Jackson N.S.W

1846Oil on board


This view looks from Glenrock up the Harbour over Double Bay towardsthe Heads. At the left can be seen Greenoaks, the residence of ThomasMort. Now called Bishopcourt, it is the residence of the AnglicanArchbishop of Sydney.

Bequeathed to the Library, 1962, by Frank de Villiers Lamb.

14View of Woolloomooloo from the South Head Road

and Craigend

1844Oil on canvas

DG 376

This work looks up South Head Road from Rushcutters Bay towards thevillas of Darlinghurst and Woolloomooloo. At the left can be seen thewindmill adjacent to Craigend, and to its right are the two windmillsowned by Thomas Barker and Francois Girard which stood near presentday Kellet Street and Roslyn Avenue.

Purchased 1965

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15View from Craigend; looking up the Harbour;

Sydney on the left

1844Oil on canvas

DG 374

Craigend was built by Sir Thomas Mitchell in the early 1830s on thehighest point of Darlinghurst on, according to Mitchell, ‘the mostpicturesque hill in Sydney’. This view looks across Woolloomooloo toGovernment House, which can be seen in the centre of the painting.

This painting and No. 14 have been attributed to a Mrs CatherineGordon because of an inscription on their reverse. Although theirexecution does seem cruder than Peacock’s usual standard, the quality of his work could be uneven, and it is more likely that they are by him.Artists, too, often pegged their prices not only to size and medium, butalso to the level of finish in a work: it is possible that these were ‘cheap’Peacocks.

Purchased 1965

16Sydney from North Bank of Harbour

Port Jackson from the statue of Sir Richard Bourke

Government House, Macquarie St. from BotanicalGardens

Rose Bay Port Jackson

1843Oils on board

ML 239

Patrons often commissioned a range of views from Peacock, and it is not uncommon to find them framed together, although in this case the framing is later. This group once belonged to Sir Richard Bourke, a former governor of NSW. A number of versions of all the views in thisset have survived.

Acquired with papers of Sir Richard Bourke, 1953

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17City and Harbour of Sydney New South Wales

from the height above Vaucluse

c. 1855Oil on canvas

ML 155

This, the largest of all Peacock’s oils, is attributed to him on stylisticgrounds and because of a chromolithograph published after it (see No. 18). Curiously, while the distant view is clearly by Peacock, the rockyforeground and vegetation (rendered with a much rougher technique)appear to be by another hand, perhaps a later restorer.

Peacock is standing close to what is now the Vaucluse Reservoir. In theleft corner can be seen the famous Henrietta Villa on Point Piper, built by Captain John Piper in the late 1810s to early 1820s. The windmills on the ridge of Woolloomooloo are silhouetted against the skyline.

Gideon Lang, a wealthy pastoralist and politician, owned this painting.He took it to England when he returned there in 1858.

18City and Harbour of Sydney New South Wales

from the height above Vaucluse

1861Chromolithograph

DG XV1/12

This chromolithograph was published in England on 1 May 1861 by well-known English publishers Day & Son, after Peacock’s painting (see No. 17).

By the time the lithograph was published the painting was five years old,and therefore had to be corrected to account for recent building activity.When Peacock painted the oil, Fort Denison had not yet been built, andhe correctly shows Pinchgut — visible in the centre of the painting — as a flat outcrop. However, when the chromolithograph was beingprepared, the tower of the Fort (construction began in 1856 and wascompleted by 1860) was added.

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19Vaucluse

1851Hand-coloured lithograph

PXC 284 f.20

Enterprising colonial artists often published prints of their own work.Peacock published at least two. This lithograph — printed by John Allan,one of the first colonially trained printers — is a copy of his oil ofVaucluse (see No. 9). He also made a lithograph of the ceremony of theturning of the first turf for the First Australian Railway in July 1850 in anobvious attempt to capitalise on what had been a gala public occasion.

20Woolloomoolloo [sic] Bay Port Jackson

1844Oil on board


This painting looks down into Woolloomooloo Bay. On the eastern shoreis the little bathing shed belonging to Adelaide Cottage. On the westernshore, underneath the Domain, can be seen the old hulk employed byThomas Robinson to modestly separate the female and male swimmersusing his baths. The hulk was also used as tearooms for his customers.

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21South side of Port Jackson (Woolloomooloo, Darling

and Piper Points) from the Government Domain

1846Oil on board


In the middle distance of this painting, which looks up the Harbour fromthe Domain, can be seen the grand villas of leading Sydney officials andmerchants lining the ridge of fashionable Woolloomooloo.

Bequeathed to the Library, 1962, by Frank de Villiers Lamb.

22No. 4 Government House and Fort Macquarie

Sydney N.S.W. from the Botanical Gardens

1846Oil on board


This view looks back from the eastern point of Farm Cove toGovernment House and Fort Macquarie (the site of the Sydney OperaHouse). The lushness of the Gardens is emphasised by the eclectic arrayof exotic and indigenous plants (such as the Gymea lily) in theforeground.


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23Sydney N.S.W. from Garden Island.

Government House to the left

1846Oil on canvas


An unusual view looking back from Garden Island into a Sydney setagainst a rich sunset, this highly toned painting was one of the kinds of works which the Sydney Morning Herald complained in 1847 ‘were praiseworthy for their correctness and attention to details [but] Mr Peacock must look at nature through warm coloured spectacles …’ (26 July 1847 p. 2)


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24View of Lyon’s Terrace Hyde Park Sydney N.S.W.

1849Oil on board


Although it is unclear who the architect was — either John Verge orJohn Bibb — for this row of five terraces facing Hyde Park on LiverpoolStreet, they were, according to Joseph Fowles, ‘without exception thebest in the city, and would not disgrace the Regent’s Park in London’.Built by emancipist trader Samuel Lyons as accommodation for seniorgovernment officials, tenants included judge Sir Alfred Stephen.

Peacock’s ability to capture the detail of a town is particularly evident in this painting. The accuracy of his depiction can be confirmed bycomparison with Joseph Fowle’s plate of the same terraces in his Sydney in 1848.


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25Supreme Court House Sydney N.S.W.

1845Oil on board


In the late 1830s the Government Architect, Mortimer Lewis, designed the Supreme Court House (still standing on Oxford Street inDarlinghurst). Its severely classical form was much admired: Louisa AnneMeredith thought it the only ‘architectural’ building in Sydney, whileJames Maclehose considered it representative of the ‘cottages, villas, andeven mansions, partaking of a grandeur of character which could nothave been contemplated in the early history of the colony [but which]are now to be seen in almost every direction…’ Government House canbe seen in the distance.

26[A view of Sydney from the Botanic Gardens?]

1852Oil on canvas

Signed & dated at lower rightML 676

One of Peacock’s larger works, this painting encompasses a wide sweepof Sydney, from Government House and Stables on the left, to GovernorBourke’s statue on the right. It is not clear where Peacock stood to make this picture, and indeed he seems to have deliberately stretched its perspective. The villas on the Woolloomooloo Ridge can be seen in the middle-ground. Emus and banksia add an exotic touch.

27Government House Sydney N.S.W from the statue

of Sir Rich.d Bourke

c. 1845Oil on board

Titled on label on reverseML 657

The statue of Sir Richard Bourke, a popular governor of NSW between1831 and 1837, was unveiled in April 1842. At the ceremony GovernorGipps remarked that the view from the statue – then at the top of theBotanic Gardens but since moved to in front of the Mitchell Library – was equal in beauty and loveliness to any other in the world.

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Conrad Martens quickly saw the potential of the view — his firstpainting from this spot was executed in June 1842. Peacock followedsuit, painting it in a number of variations (see No. 16). This particularview concentrates as much on the recently completed GovernmentHouse, as it does the Harbour.

28[Government House]

c. 1850Oil on board

DG 206

One index of a colony’s progress was the quality of its civic architecture.Colonial artists always found a market for views of the most substantialor important buildings, which invariably included Government House.

The battlements and castellations of the new Tudor Gothic GovernmentHouse, built to plans provided by an English architect and occupied in1845, were praised not only as a picturesque addition to the Harbour,but as a reminder that although separated by ‘continents and oceansfrom our father-land, we have yet the pride of the British born to rear in their land such buildings as their sons may be proud to contemplate’.Beulah, Woodlands and Wotonga (now Admiralty House) can be seenon the distant North Shore.

In 1847 Governor FitzRoy lent Peacock’s Government House, Sydney,from the Botanic Gardens and Government House to the Society for thePromotion of Fine Arts Exhibition.


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29View of old Government House – Sydney –

N.S.W. as it appeared when vacated by Sir George Gipps in 1845

1845Oil on board


This view shows First Government House, on the corner of Bridge andPhillip Street (now the site of the Museum of Sydney), in 1845, just priorto its demolition. In the distance can be seen the square tower of theScots Church, the round tower of St Philip’s and the Gothic designed St Patrick’s Catholic Church — lining what is now Grosvenor Street.

Purchased 1937

30Custom House and Circular Quay

1845Oil on board


To cope with the growing demands of the Customs Office, pressed bythe expansion of maritime trade to the colony, Mortimer Lewis designedthis Greek-revival style building which was completed in 1845. Thebuilding, although completely altered through renovation and addition,still sits at the head of Circular Quay.

Peacock, who surprisingly depicts the rear of the building, has enlivenedthe scene with the addition of picturesque detail of townsfolk goingabout their daily business, including some Aboriginal people who, evenat this late date, are often seen in the foregrounds of images of Sydney.


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31Custom House and part of Circular Wharf

Sydney N.S.W.

1845Oil on board


Possibly a pair with No. 30, this view shows the Customs House from theeast side of Sydney Cove, looking back into the Rocks across the Quay. It shows the recently reclaimed ‘Semi-Circular Quay’, one of the biggestpublic work projects of the day, which took seven years between 1837and 1844.


32Sydney from the North Shore

1845Oil on canvas

DG 313

Standing at the head of Lavender Bay and looking back into Sydney was a well-established view for colonial artists — both Conrad Martensand J. S. Prout had published lithographs of it a couple of years beforePeacock executed this painting — as it took in the expanse of SydneyCove from Woolloomooloo at the left to Darling Harbour at the right.

In the foreground on McMahon’s Point can be seen Brenchley, theresidence of H. H. Browne who was the Registrar at the Court ofRequests, and a leading Sydney citizen.

Presented by Sir William Dixson, c. 1937

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33[View of Parramatta from May’s Hill]

c. 1840Oil on board

ML 1226

Peacock rarely moved away from the orbit of the Harbour. This view,which looks down on Parramatta from May’s Hill, was presumablypainted whilst Peacock was briefly stationed at the ParramattaObservatory in 1839. Old Government House, at the left, looks over Pitt and Hunter Streets, and the centre of town. The two-storeyedverandahed building at the right is the Military Hospital.

Someone has erroneously signed the painting ‘Allport’ in its lower right corner.

Purchased 2001

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ISBN 0 7313 7119 4

The Picture Gallery presents highlights from the AustralianPictures Collection of the State Library of New South Wales.

The State Library gratefully acknowledges the assistance of the Volunteer Guides in the Picture Gallery.

State Library of New South Wales

Macquarie Street Sydney NSW 2000

Telephone 02 9273 1414Facsimile 02 9273 1255

Email [email protected] 02 9273 1541

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