Robert Hastings NORMAN

After practising as a surgeon dentist in England for 18 years, Robert Norman came to South Australia in the Taglioni in 1844, and opened the colony’s first dental practice in Wright Street, Adelaide. By October 1845 he had demonstrated his mechanical skills by finishing ‘in elaborate style of art a beautiful [ivory] snuff-box, with receptacle for tobacco-pipe, and means for striking a light’, which was to be a prize for the ‘best growth of tobacco.’ Norman also constructed a mechanical hand for a ‘veteran retainer of his Excellency.’ When the Governor heard of the hand he paid Mr Norman a call and was so impressed by the ‘ingenious invention’ he decided to have it charged to ‘his private purse.’

By the end of 1845 Robert Norman’s surgery and residence had been moved to King William Street where, on the 22nd December, together with a partner named Heseltine, he opened South Australia’s first photographic (daguerreotype) studio. His partner is presumed to be George Augustus Frederick Heseltine (q.v.), who had been a fellow passenger on the voyage to South Australia in 1844 (** CONFIRM **). It is likely the camera they used was the one that had been imported by S.T. Gill (q.v.) in September. For the short time they were in business together, Norman & Heseltine advertised extensively in the Adelaide newspapers, pointing out that, unlike an artist’s miniature painted portrait, a daguerreotype was a faithful likeness, ‘as perfect as the reflection of a face in the mirror.’ Their studio was open every day from 10 am to 4 pm.

On 24 December 1845 the South Australian Register reported: ‘We had, yesterday, an opportunity of seeing a few portraits taken by the Daguerreotype process, and were much struck with the clearness, sharpness of outline, and striking correctness of the likenesses exhibited by this novel application of the arts. The effect is altogether pleasing, and as the plates are not liable to any change from atmospheric effects of any description, but will present the same faithful representation of the features at any distance of time, we should think that the enterprising artist will meet with the patronage of everyone who is desirous of handing down a correct likeness of himself or his friends to his family as a heirloom. There is one other great recommendation in this process, namely, that the whole time occupied in taking the likeness, as perfect as the reflection of a face in a mirror, does not exceed two minutes.’

Norman and Heseltine’s advertisement in the South Australian Gazette and Colonial Register for 27 December said: ‘A perfect likeness, and unchangeable, is ensured, neither flattering nor detracting; literally "holding the mirror up to nature." All the latest improvements of Sir John Herschell, Mr Fox Talbot, Mr Robert Hunt, Daguerre, Claudet, and other distinguished philosophers are made to co-operate in this most favorable climate. The extreme beauty and delicacy of the pictures, coupled with the infallible certainty of a likeness, will not fail to procure for the proprietors the approval and support of every person of correct taste. As a present to dear but absent friends, a legacy to children, or a general remembrancer, wherein you are represented as you are, and not as the fancy of the artist would make you, the daguerrotype portraits must ever be held in the highest esteem.’ A news item in the same Gazette said, ‘We are glad to learn that this invention (daguerreotype) has at length been introduced into South Australia, and that the colonists are now enabled, at very moderate cost, to procure fac simile portraits of themselves and friends. We have seen two very correct portraits taken the other day [by the] ingenious managers, Messrs Norman and Hesseltine.’

A few weeks later, on 24 January 1846, the Gazette reported: ‘Messrs Norman and Hesseltine have for some time been exercising their skill in the application of this wonderful process, which may be called the royal road to miniature painting; and when it is considered that whatever of the art these gentlemen have acquired has been self-taught in a great measure, the highest credit is due to their ability and perseverance. The likenesses especially taken within the last few days are very marked improvements upon their earlier efforts. The arrival of Mr Goodman (q.v.), however, with more extensive experience and more complete means, has given a new impetus to the general desire to obtain likenesses by this summary and effective process, and Mr Goodman's atelier has in consequence been crowded for the last three days, during which period we are informed, no fewer than eighty ladies and gentlemen have sat. Specimen portraits of well-known colonists, by Mr Goodman and by Messrs Norman and Hesseltine, may be seen at the Gazette office.’ It is thought that George Heseltine was the principal photographer of the partnership, with Robert Norman being an amateur and assistant.

One month later George Heseltine was still making daguerreotypes in the studio at the rear of Robert Norman’s premises in King William Street, but with a new partner, Edward Schohl (q.v.).

In 1849 Robert Norman laid out the township of Normanville on his property on the River Bungala, and when he died on 31 October 1883 he was buried at Normanville. The Dictionary of Australian Artists (1992) says that Norman ‘apparently retained an amateur interest [in photography] and taught at least his son Herbert to take daguerreotypes’ Herbert Hayes Norman (q.v.) was also a dentist and amateur photographer.

End.