- G - (Gri-Gz)

Introductory note:

The primary focus of the biographical register is musical personnel first active before the end of 1860, with a secondary focus on members of their circles - families, pupils, colleagues, and other important contacts - first active after 1860.

Beyond that, there has been no systematic attempt to deal with musical personnel first active after 1860, and the coverage is selective.

Major upgrades of the contents of this page were completed in 2020 and 2024, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to the end of 1860 close to completion.

Only such biographical information as can be confirmed from standard national databases or original documentation presented is entered at the head of each person entry in this page. Where no certain evidence of a person's birth year has yet been identified, the assumption is that we do not and cannot yet know with sufficient certainty to propose one. Years of birth or death, and sometimes also names and spellings of names, thus sourced and presented here, will often differ more or less substantially from those given (but often merely hazarded) in standard Australian and international bibliographic and biographical records.

The texts given in gold aim for the most part to be diplomatic transcriptions, wherever practical retaining unaltered the original orthography, and spellings and mis-spellings, of the printed or manuscript sources. Occasionally, however, some spellings are silently corrected (for instance, of unusual music titles and composers, to assist identification), and some orthography, punctuation and paragraphing, and very occasionally also syntax, editorially altered or standardised in the interests of consistency, clarity, and readability.

GRIFFIN, Benjamin Pitt (Benjamin Pitt GRIFFIN; B. P. GRIFFIN; Mr. GRIFFIN)

Songwriter, song writer, amateur vocalist, clerk, surveyor

Born England, c. 1784/85; son of Joseph GRIFFIN
Married Jane Oldridge MALLATT (1785-1839), New York, USA, 10 June 1809
Arrived Sydney, NSW, 17 December 1833 (free per Layton)
Active Maitland, NSW, by 1843
Died West Maitland, NSW, 17 June 1863, aged "79"

https://trove.nla.gov.au/search?l-publictag=Benjamin+Pitt+Griffin+d1863 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFIN-Benjamin-Pitt (shareable link to this entry)

Summary:

Benjamin Pitt Griffin, the elder, was a bank clerk and later employed in the colonial treasury. He was elected secretary of the Sydney School of Arts in April 1841 and served until early 1843, whereafter he was active in Maitland.

In the Maitland concerts in September 1843 he introduced his "Billy Barlow in Australia", described as "an original song, written by a Gentleman of Maitland".

In March that year, at an election dinner in Maitland, he had reportedly been:

called upon to sing the new song of "The King of the Cannibal Islands", which he did amidst great applause.

And, suggesting that he had probably fitted out the borrowed tune and format with locally topical words, at another dinner in May:

Mr. GRIFFIN was requested to sing his original electioneering song, which he did with much point and effect, and was highly applauded.

Yet again at a dinner in March 1844:

The list of toasts having been gone through, a song was called for from Mr. Griffin, who sang "Billy Barlow" in good style, introducing two or three verses appropriate to the occasion.

At the Royal Albert Theatre in Singleton, a performance of Venice Preserv'd, on Boxing Day 1846:

After the tragedy, Mr. Williams sung Mr. Griffin's excellent song of "Barney O' Keefe", in his usual comic style, and was loudly encored.

This was probably the recently written song published in the Mercury in January 1845, "MR. O'KEEFE'S ADVENTURES IN AUSTRALIA" to the tune of "Larry O'Gaff".

At an earlier theatrical entertainment in Singleton in February 1845, it was reported that both "Barney O'Keefe, a song by a Maitland gentleman now in Sydney, was highly applauded", and "Billy Barlow at Singleton, detailing the disasters of the real Hunter River Billy, was encored, but not again sung, owing to its length."

Griffin's daughter Caroline had married the Maitland book and musicseller William Lipscomb in 1838.

A son, Benjamin Pitt Griffin junior (1809-1881), went to the United States, where in 1851 he reportedly committed a robbery onboard a river steamer.

Documentation:

"MARRIAGES", New York Evening Post [NY, USA] (10 June 1809)

https://www.ancestry.com.au/search/collections/50015/records/513887 (PAYWALL)

On Thursday evening [8 June] by the Rev. Ralph Williston, BENJAMIN PITT GRIFFIN to JANE OLDRIDGE MILLET, both of England.

Passengers per Layton, December 1833; State Records Authority of NSW

https://www.ancestry.com.au/imageviewer/collections/1210/images/imaus1787_081196-0566 (PAYWALL)

Male Emigrants . . . Richard Johnson / 59 / London / Watchmaker . . .
Benjamin Pitt Griffin / 49 / England / Surveyor

ASSOCIATIONS: Richard Johnson (senior) (immigrant)

[Advertisement], The Colonist [Sydney, NSW] (12 March 1835), 8

http://nla.gov.au/nla.news-article31716287 

IN CONSEQUENCE of several conflicting statements which have appeared in different papers respecting the conduct and usage of the passengers by the ship Layton, it appears necessary that a correct account should be laid before the public.
The heads of several families, who were passengers by the said ship therefore propose publishing by subscription, a correct journal from the time of her leaving London to her arrival in Sydney.
It is conjectured the price of each copy will not exceed one Shilling.
Subscribers' names will be received at the Monitor Office, and at Mr. Johnson's, Watchmaker, George-street, opposite Bridge-street.
Signed, BENJAMIN PITT GRIFFIN. RICHARD JOHNSON.

See also A few copies of letters, and some remarks upon sundry documents on the subject of female emigration by the superintendent of the Layton emigrant ship (Sydney: Printed by William Jones, 1836)

https://trove.nla.gov.au/work/21687615/version/26049888

http://nla.gov.au/nla.obj-601917180 (DIGITISED)

"MARRIAGES", The Colonist (24 September 1835), 7

http://nla.gov.au/nla.news-article31717002

On the 19th instant, by special license, Mr. John Martyn, of Hunter Street, to Lucy Ann, third daughter of Mr. B. P. Griffin, of Elizabeth Street, Sydney. The ceremony was performed by the Rev. J. McGarvie, A. M.

"Marriage", The Sydney Monitor (14 November 1838), 2

http://nla.gov.au/nla.news-article32161844

On Saturday last, by License, in the Chapel of the Parish of St Lawrence, by the Rev. William Cowper, Mr. William Lipscomb, of West Maitland, to Caroline, sixth daughter of Mr. Benjamin Pitt Griffin, of Elizabeth-street, south, Sydney.

ASSOCIATIONS: William Lipscomb (bookseller, musicseller)

"The Lynch Case And Mr. Griffin. To the Editors of the . . .", Daily Alta California [San Francisco] (23 October 1851)

http://cdnc.ucr.edu/cdnc/cgi-bin/cdnc?a=d&d=DAC18511023.2.9

In your issue of this morning I observe an account, extracted from the Sacramento Union, of a robbery committed on board the Marysville steamer by a "Sydney Duck," named Griffin . . . I would further mention that I have no male relative in the world of the name of Griffin, except my father, who has for the last twenty years held a responsible government appointment in the colony of New South Wales. Firmly believing that your sense of justice will find this a place in the Alta,
I remain yours, obediently,
BENJ. PITT GRIFFIN, "Boomerang Tavern," Kearny street . . .

"DEATHS", The Maitland Mercury and Hunter River General Advertiser (18 June 1863), 1

http://nla.gov.au/nla.news-article18702415 

At his residence, Devonshire-street, West Maitland, Mr. Benjamin Pitt Griffin, in his 79th year.

Songs (words and tune extant in red bold; words and tune non-extant in black bold):

New song on King of the cannibal islands (Maitland, January 1843)

"TO CORRESPONDENTS", The Maitland Mercury and Hunter River General Advertiser (21 January 1843), 2

http://nla.gov.au/nla.news-article658219 

The lines on the "King of the Cannibal Islands" are good, but we cannot insert them. We have determined to abstain during the election from inserting communications of a purely personal character.

"Original Poetry", Australasian Chronicle [Sydney, NSW] (2 February 1843), 2

http://nla.gov.au/nla.news-article31738744 

Oh! have you heard the news of late,
About a mighty King so great,
If you have not 'tis in my pate,
The King of the Cannibal Islands.
A lawyer he, and then he thought
New Zealand flats were easy caught;
So off he went and there he bought
An "Island" for about a groat:
Then rubb'd his hands, and look'd with glee
On his dominion o'er the sea -
And here I'll reign right merrily,
Said the King of the Cannibal Islands.
Hokee-pokee-wankee-fum,
How do you think land jobbing is done?
Of savages buy it - it's capital fun,
Says the King of the Cannibal Islands.

. . . [5 more stanzas] . . .

ASSOCIATIONS: D'Arcy Wentworth junior ("Major Wentworth", candidate, subject of parody); William Charles Wentworth ("Mr. Wentworth", half-brother of the former, subject of parody)

MUSIC: King of the cannibal islands (Tune archive)

"PUBLIC DINNERS - PUBLIC JOURNALISTS, AND PUBLIC MEN", The Sun and New South Wales Independent Press (4 February 1843), 2

http://nla.gov.au/nla.news-article228130755 

Mr. Wentworth - better known now by the distinguished title of "King of the Cannibal Islands," since the publication of the clever parody upon him in the Chronicle of Thursday morning . . .

"ELECTION DINNER", The Maitland Mercury and Hunter River General Advertiser (4 March 1843), 4

http://nla.gov.au/nla.news-article658950

"ELECTION DINNER", The Maitland Mercury and Hunter River General Advertiser (4 March 1843), 4

http://nla.gov.au/nla.news-article658950

On Tuesday last [28 February] a dinner was given at Mr. P. J. Cohen's, the Rose Inn, West Maitland, by the Maitland Committee of A. W. Scott, Esq., to the committee and friends of that gentleman at Newcastle . . . Mr. MUTLOW said he had to propose a toast . . . "The Ladies of the colony."
The toast was drank with all the honors. Air "Here's a health to all good lasses."
Mr. GRIFFIN returned thanks in an excellent and appropriate speech . . .
The whole of the toasts having been gone through, Mr. Griffin was called upon to sing the new song of "The King of the Cannibal Islands," which he did amidst great applause . . .

ASSOCIATIONS: Alexander Walker Scott (d. 1883)

"DINNER OF MR. SCOTT'S FRIENDS AT NEWCASTLE (From a Correspondent)", The Maitland Mercury and Hunter River General Advertiser (20 May 1843), 2

http://nla.gov.au/nla.news-article660299

The beautiful little marine town of Newcastle presented a scene of considerable excitement on Wednesday last, in consequence of the friends of Mr. Scott having invited his Maitland committee to a public dinner . . . About six o'clock in the evening upwards of seventy gentlemen sat down to dinner . . . After the removal of the cloth the . . . toasts were given . . .
Mr. GRIFFIN was requested to sing his original electioneering song, which he did with much point and effect, and was highly applauded . . .

See also entry in Chronological chekclist (1843-02-02)

The registration (new song, 1843)

"ELECTION SUPPER", The Maitland Mercury and Hunter River General Advertiser (3 June 1843), 2

http://nla.gov.au/nla.news-article660579 

On Wednesday evening last, about 50 of Mr. Scott's friends sat down to a substantial supper provided by Mr. P. J. Cohen, of the Rose Inn . . . After the cloth was removed, several appropriate toasts were drank and speeches delivered; and a number of songs were sang by Messrs. Hart, Harrington, Cashwell, and Griffin, the latter of whom sang a new song entitled "The Registration," which, was loudly applauded and encored . . .

See also entry in Chronological checklist (1843-05-31)

Billy Barlow in Australia (tune - Billy Barlow) (1843)

ASSOCIATIONS: Billy Barlow (character song)

MUSIC: See 1843 Sydney edition Billy Barlow ("As sung by Mr. Coppin at the Royal Victoria Theatre")

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (2 September 1843), 3

http://nla.gov.au/nla.news-article661771 

On Thursday evening, Othello Travestie and Bombastes Furioso, were repeated by the amateur company . . . Between the pieces "Billy Barlow" and several other comic songs were well sung, and were received in a very favourable manner . . .

"THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (16 September 1843), 3

http://nla.gov.au/nla.news-article661902 

The third performance of the amateurs took place on Wednesday evening last . . . Billy Barlow" was sung, as usual, amidst great applause and roars of laughter, and several other songs, were also well sung. The next performance, being the last, will be this evening, when we hope to find the house a "bumper." The pieces selected are "Raising the Wind," "Scape-Grace," and "Othello Travestie," with the favourite song of "Billy Barlow."

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (16 September 1843), 3

http://nla.gov.au/nla.news-article661918 

For the Benefit of the Maitland Benevolent Society.
THIS EVENING (Saturday), September 16, will be performed, at the Northumberland Hotel, the laughable Farce of
RAISING THE WIND. After which, in One Act, the SCAPE-GRACE.
By particular desire, the original song of "Billy Barlow," in character.

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (19 September 1843), 2s

http://nla.gov.au/nla.news-article661944

Just published, price 3d., and to be had at the Mercury Office, West Maitland,
BILLY BARLOW IN AUSTRALIA: an ORIGINAL SONG, written by a gentleman of Maitland;
as sung at the Amateur Performances for the benefit of the Maitland Benevolent Society.

NO COPY OF THIS ORIGINAL PRINT IDENTIFIED; but see other editions below

[Advertisement], The Australian [Sydney, NSW] (26 October 1843), 1

http://nla.gov.au/nla.news-article37113559 

ROYAL VICTORIA THEATRE.
MR. COPPIN most respectfully informs the public that his
FAREWELL BENEFIT will take place on THURSDAY EVENING, Oct. 26, upon which occasion the performances will commence with the celebrated Peregrinating Play, taken from Bos's Pickwick Papers, entitled SAM WELLER; OR, THE PICKWICKEANS.
To be followed with (first time in this City,) the Maitland version of "BILLY BARLOW," by MR. COPPIN . . .

ASSOCIATIONS: George Coppin (vocalist, comedian); Royal Victoria Theatre (Sydney venue)

"DINNER TO R. WINDEYER, ESQ., M.C.", The Maitland Mercury and Hunter River General Advertiser (23 March 1844), 2

http://nla.gov.au/nla.news-article665315

On Thursday evening last about thirty gentlemen, many of them electors of the county of Durham, sat down to a most excellent dinner at the Rose Inn, West Maitland, in honor of R. Windeyer, Esq., M.C. . . . The list of toasts having been gone through, a song was called for from Mr. Griffin, who sang "Billy Barlow" in good style, introducing two or three verses appropriate to the occasion. Several songs were afterwards sung; and about 12 o'clock Mr. Windeyer took his leave, amidst loud cheering. The company did not separate until some time afterwards, and harmony and conviviality were kept up with great spirit.

ASSOCIATIONS: Richard Windeyer (politician)

Richard Howitt, Impressions of Australia Felix, during four years' residence in that colony (London: Longman, Brown, Green, & Longmans, 1845), 249-51

http://books.google.com.au/books?id=o0NCAAAAcAAJ&pg=PA249 (DIGITISED)

https://archive.org/stream/impressionsaust00howigoog#page/n275/mode/2up (DIGITISED)

. . . The following song, written by a gentleman of Maitland, and sung in Australia with abundant mirth, is so real a history, if not of Billy Barlow, of many a wiser man than he is represented to be, that its reprint in England will explain much of the juggling played off on newly arrived emigrants by the older colonists - men, considered sensible in England, having too frequently fallen into the same trap.
BILLY BARLOW IN AUSTRALIA.

When I was at home I was down on my luck,
And I yearnt a poor living by drawing a truck;
But old aunt died and left me a thousand - "Oh, oh,
I'll start on my travels," said Billy Barlow.
Oh dear, lackaday, oh;
So off to Australia came Billy Barlow . . .
. . . [11 more verses and 4 encore verses]

J. C. Byrne, Twelve years' wanderings in the British colonies, from 1835 to 1847 (London: Richard Bentley, 1848), volume 1, 197-99

https://books.google.com.au/books?id=FMMRAAAAYAAJ&pg=PA197 (DIGITISED)

https://archive.org/stream/twelveyearswand01byrngoog#page/n212/mode/2up (DIGITISED)

. . . The writer does not think he can better conclude these pages on squatting in New South Wales, than by inserting a song, written and published in the colony, set to music in the year 1843. The author of this effusion was a squatter himself, and he naively describes the course and fate of one of these, which will serve as a true picture of many others, between 1838 and 1843. The names in the song are all real, with the exception of the hero, Billy Barlow himself; the facts were of every day occurrence at the period when it was written. Burdekin was the great Sydney money-lender, who, as already related in this work, has been "gathered to his fathers" since the song was written. Barr, Rodgers and Co., are Sydney solicitors; whilst Kinsmill, was a sheriff's bailiff of colonial fame.
THE SETTLER; OR, BILLY BARLOW IN AUSTRALIA.
When I was at home, I was down on my luck . . .

Billy Barlow, the newest and most popular verses, as sung by Mr. Sam. Cowell, at Canterbury Hall, by Mr. O' Toole, &c., to which is now added, Billy Barlow's emigration to Australia, showing how he got there and how he got settled (London: Davidson, [c. 1855 or later])

https://trove.nla.gov.au/work/17033429/version/19986201

https://nla.gov.au/nla.obj-181792536 (DIGITISED - Words and music)

"AN ORIGINAL SONG", The Maitland Mercury and Hunter River General Advertiser (24 December 1892), 5s

http://nla.gov.au/nla.news-article19018006

Billy Barlow in Australia:
AN ORIGINAL SONG, BY A GENTLEMAN OF MAITLAND.

The following verses have long been out of print, but old Maitlanders will recollect them as having frequently been sung at various entertainments by the late Mr. Edward Faning. The "gentleman of Maitland" who wrote the lines was Mr. Benjamin Griffin, whose relatives are among our best and most respected townsfolk of to-day, and the verses were first heard at an entertainment in aid of a fund for erecting the present Maitland Hospital.

When I was at home I was down on my luck,
And I yearnt a poor living by drawing a truck;
But old aunt died and left me a thousand - "Oh, oh,
I'll start on my travels," said Billy Barlow.
Oh dear, lackaday, oh;
So off to Australia came Billy Barlow . . .
[11 more verses and 5 encore verses] . . .

See also entry in Chronological checklist (1843-08-26)

Jim Crow in Singleton (October 1843)

"SINGLETON. AMATEUR PERFORMANCE", The Maitland Mercury and Hunter River General Advertiser (21 October 1843), 3

http://nla.gov.au/nla.news-article662686 

The first amateur theatrical performance in aid of the funds of the Benevolent Society of Singleton took place on Tuesday evening last, at Cox's hotel . . . A new song, entitled "Jim Crow in Singleton," sung by the author, went off with very good effect . . .

See also entry in Chronological checklist (1843-10-17)

Old hand's chaunt ["The oldest hand upon the Hunter River"] (tune - The literary dustman) (1844)

"AN OLD HAND'S CHAUNT", The Maitland Mercury and Hunter River General Advertiser (18 May 1844), 4

http://nla.gov.au/nla.news-article666822

Air - "The Literary Dustman."
(Composed by a gentleman of Maitland, and sung at the amateur performance tor the benefit of the Maitland Benevolent Asylum.)

Tis twenty years, or nearly so,
Since I first started farming,
And many curious things I've seen,
And changes quite alarming;
For then as gay as any lark
I worked till night from dawning,
Then went to bed, and with the sun
I rose again next morning.
[CHORUS] So, if the truth you'd understand,
And wisdom you'd diskiver,
Just listen to the oldest hand
Upon the Hunter River.

. . . [11 more verse] . . .

See also, "AN OLD HAND'S CHAUNT", Morning Chronicle [Sydney, NSW] (8 June 1844), 4

http://nla.gov.au/nla.news-article31742950

MUSIC: See, for instance, this US edition:
The literary dustman, a comic song, written and sung by Mr. Glindon, the accompaniments arranged by J. T. Craven (Philadelphia: Osbourn's Music Saloon, n.d.)

http://levysheetmusic.mse.jhu.edu/collection/047/111 (DIGITISED)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (27 April 1844), 3

http://nla.gov.au/nla.news-article666611

MAITLAND AMATEUR THEATRE. Nearly opposite the Rose Inn.
Under the Patronage of E. C. Close, Esquire, Warden of the District.
IN AID OF THE FUNDS OF THE MAITLAND BENEVOLENT SOCIETY.
ON MONDAY, 6th May next, the Select Company of Amateurs will perform Townley's celebrated Farce of HIGH LIFE BELOW STAIRS.
After which, a variety of SONGS, including an ORIGINAL ONE composed expressly for this occasion.
The whole to conclude with the comic Farce of THE WEATHERCOCK.
Several New Scenes have been painted, and the Orchestra Will be under the direction of Mr. Fanning.
Admission: - Front Seats, 3s. each; Back Seats, 2s. Children under 6 years of age half price.
The performance to commence at Half-past Seven o'clock.
VIVAT REGINA!

ASSOCIATIONS: Edward Charles Close (patron); Edward Faning (musician)

"AMATEUR THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (11 May 1844), 2

http://nla.gov.au/nla.news-article666762 

. . . Between the pieces a new song, entitled "The oldest hand upon the Hunter River," written by a gentleman of the company for the occasion, was sung, which drew forth the loudest applause, and was encored. There was also some other good singing . . .

"AMATEUR THEATRICALS", The Maitland Mercury and Hunter River General Advertiser (8 June 1844), 2

http://nla.gov.au/nla.news-article667151 

The fourth performance of the amateur company took place on Tuesday evening last [4 June], under the patronage of the Freemasons, most of whom attended in masonic costume . . . The Old Hand's Chaunt and Billy Barlow were as usual encored . . .

[Advertisement], The Sydney Morning Herald (5 October 1844), 3

http://nla.gov.au/nla.news-article12410388 

COPPIN'S LARGE SALOON . . . LAST TWO NIGHTS, previous to Mr. Coppin's departure to Hobart Town.
THIS EVENING, SATURDAY, 5th AND MONDAY, OCTOBER 7th . . .
WARNING VOICE, from the oldest hand upon the Hunter River . . .

"HUNTER'S RIVER SETTLER'S SONG", Bell's Life in Sydney and Sporting Reviewer (1 February 1845), 3

http://nla.gov.au/nla.news-article59763392

'Tis twenty years, or nearly so,
Since I first started farming . . . [as above]

"THE DINNER TO CAPTAIN PATTISON", The Maitland Mercury and Hunter River General Advertiser (17 November 1849), 2

http://nla.gov.au/nla.news-article698506 

On Thursday evening a dinner was given to Captain Pattison, at the Crown and Anchor Inn, Morpeth . . . E. C. Close, Esq., occupied the chair . . . Between forty and fifty gentlemen were present. The cloth having been removed . . . tune, The Oldest Hand on the Hunter River . . .

See also entry in Chronological checklist (1844-04-27)

Barney O'Keefe in Australia (tune - Larry O'Gaff) (1845)

"MR. O'KEEFE'S ADVENTURES IN AUSTRALIA. Air. Larry O'Gaff", The Maitland Mercury and Hunter River General Advertiser (4 January 1845), 4

http://nla.gov.au/nla.news-article671050

When in ould Tipperary a broth of a boy I was,
I bate all the men, and the women's sole joy I was;
But times got so bad, sure, that out of employ I was,
And no brogues to his trotters had Barney O'Keefe.
To the priest then I went, and sis I, I'm long waiting now,
No work can I get, and I want to be aiting now;
You spalpeen, sis he, you must go emigrating now:
So to Sydney he sent off poor Barney O'Keefe.
Oh dideroo whack - skies look'd black - captain too calling loud
Ship pitching - I retching - sailors too bawling loud;
Faith, I might as well be on the top of a thunder cloud,
For the devil's broke loose here, said Barney O'Keefe.
. . . [5 more verses] . . .
Warrah, 20th December, 1844.

MUSIC: See later US edition of a setting of the tune:

http://hdl.loc.gov/loc.music/sm1885.08223 (DIGITISED)

"SINGLETON. BOXING DAY", The Maitland Mercury (2 January 1847), 2

http://nla.gov.au/nla.news-article686852

. . . We anticipated great sport at the races, and were not disappointed . . . In the evening we were highly entertained at the opening of the Royal Albert Theatre. The house was crowded in every part. The pieces selected were "Venice Preserved," and "The Tailor of Tamworth" . . . After the tragedy, Mr. Williams sung Mr. Griffin's excellent song of "Barney O'Keefe," in his usual comic style, and was loudly encored . . .

ASSOCIATIONS: Thomas Williams (amateur vocalist)

"AMATEUR THEATRICALS", Sydney Chronicle (23 May 1848), 3

http://nla.gov.au/nla.news-article31756759

On Wednesday night the Maitland Amateur Company gave their fifth performance, selecting the play of William Tell, the farce of Bachelors' Buttons, and the farce of the Turned Head . . . Between the first and second pieces two songs were sung, by amateurs, the first a sentimental song, and the second the capital comic song "Barney O'Keefe's Adventures in Australia," which was very well given . . . The house was quite crowded, there being scarcely a vacant place to be found. - Maitland Mercury.

"AMATEUR THEATRICALS", The Maitland Mercury (16 December 1848), 2

http://nla.gov.au/nla.news-article707024

On Wednesday evening the Maitland Amateur Company re-opened the theatre, and gave the following pieces - the tragedy of Venice Preserved, and the farce of the Man with the Carpet Bag . . . Between the pieces there were several songs sung, the best being "The Ship on Fire," "Barney O'Keefe in Australia," and a drunkard's song. The house was nearly filled, the attendance being very good.

[Advertisement], The Argus [Melbourne, VIC] (24 December 1855), 7

http://nla.gov.au/nla.news-article4826481 

THE VICTORIA SONGSTER No. 3, now ready, price1Is. Charlwood and Son, 7 Bourke-street, and all booksellers.
THE VICTORIA SONGSTER contains The Adventures of Barney O'Keefe in Australia . . .

ASSOCIATIONS: Charlwood and Son (publishers); however, no copy identified of this 3rd number of the songster

See also entry in Chronological checklist (1844-12-20)

Billy Barlow at Singleton (1845)

"SINGLETON", The Maitland Mercury and Hunter River General Advertiser (1 March 1845), 2

http://nla.gov.au/nla.news-article671980

On Thursday evening, the 20th instant, the first theatrical performance in aid of the funds of the Benevolent Society took place in the spacious barn of John Browne, Esq., of Macquarie-place. The performance was attended by the elite of the district within a circle of twenty miles; about 200 persons were present, and many others returned, not being able to procure admission. The first piece represented was "Billy Taylor, or the Gay Young Fellow," founded on the popular song of that name; and, judging from the roars of laughter throughout, we imagine it was well played. The songs and a dance by an amateur were received with enthusiasm. "Barney O'Keefe," a song by a Maitland gentleman now in Sydney, was highly applauded. "The Good-looking Fellow, or the Roman Nose," followed . . . "Billy Barlow at Singleton," detailing the disasters of the real Hunter River Billy, was encored, but not again sung, owing to its length. The whole was wound up by the farce of the "Valet de Sham," a piece previously played three times . . .

See also entry in Chronological checklist (1845-02-20)

Jim Crow in Maitland (1845)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (5 July 1845), 3

http://nla.gov.au/nla.news-article674389 

THEATRE, OLD COURT HOUSE, EAST MAITLAND . . .
TUESDAY EVENING, JULY 8, 1845 . . .
[REDACTED] Song - Jim Crow in Maitland" . . .
Comic Song - "Barney O'Keefe's Adventures in Australia" . . .

The mayor's tea party (July 1845)

"COLONIAL MELODIES - NO. 2. By the author of 'Billy Barlow'", The Maitland Mercury and Hunter River General Advertiser (12 July 1845), 3

http://nla.gov.au/nla.news-article674510 

THE MAYOR'S TEA PARTY.
Air - The king of the Cannibal Islands."

No doubt you read, the other day,
"The Fancy Ball," by Mr. Rae:
So now a stave I'll sing or say
About the Mayor's Tea Party.
His Worship doesn't dance, you see
With jigs and reels he don't agree;
But yet, inclin'd to have a spree,
He ask'd the citizens to Tea!
French rolls by bushels, stale and new,
With rounds of beef a score or two,
And Garry Owen's best sky-blue,
Were at the Mayor's Tea Party!
Hokee Pokee - black and green -
Ham and chicken - fat and lean -
Oh! such a spree was never seen
As at the Mayor's Tea Party! . . .

Paddy Malone in Australia (? by c. late 1840s)

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (12 February 1857), 3

http://nla.gov.au/nla.news-article113014016 

STAR THEATRE. GRAND MONSTER CONCERT.
MR. JAMES ELLIS . . . Complimentary Benefit . . .
THIS EVENING, THURSDAY, FEB. 12.
PROGRAMME . . . PART I . . . Song - "Paddy Malone" - Mr. S. Benner - B. Griffin . . .
Pianist, Mr. S. Benner . . .

ASSOCIATIONS: Samuel Benner (vocalist, pianist, formerly of Maitland); Star Theatre (Beechworth venue)

MUSIC: This is the only instance of the attribution to Griffin; for the words and music, see Paddy Malone, as arranged and sung by John Turner, formerly of Maitland, published in Sydney in 1859

Bibliography and resources:

Russel Ward, "Jemmy Green and Billy Barlow", Meanjin 14/2 (1955), 249-54

https://search.informit.org/doi/10.3316/informit.755517752944729 (PAYWALL)

John Earnshaw, "A further note on Billy Barlow", Meanjin 15/4 (Summer 1956), 422-23

https://search.informit.org/doi/10.3316/INFORMIT.964566743680609 (PAYWALL)

GRIFFIN, George (George GRIFFIN)

Musician, drummer, bandsman Band of the New South Wales Corps, bandsman Band of the 73rd Regiment, soldier

Born (at sea, per Lady Juliana), 11 December 1789; son of Michael GRIFFIN (marine)
Arrived Sydney, NSW, 3 June 1790 (per convict transport Lady Juliana)
Enlisted (NSW Corps), 5 May 1798 (drummer)
Promoted (to private) Sydney, NSW, 24 May 1802
Transferred (to 73rd Regiment), Sydney, NSW, 24 April 1809
? Departed Sydney, NSW, 30 May 1819 (per Alert, for Calcutta)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFIN-George (shareable link to this entry)

Documentation:

Alphabetical statement of service to 24 June 1806, New South Wales Corps; Australian Joint Copying Project, from UK National Archives, WO25/1070

https://nla.gov.au/nla.obj-1303985270 (DIGITISED)

[Private] Griffin Geo. / [enlisted in NSW Corps] 5 May 1798 / [Date of birth, enlisted under 18] 11 Dec. 1789 . . .

Monthly Pay-List and Muster-Roll of the New South Wales Regiment of Foot from 25 April to 24 May 1806; Australian Joint Copying Project, from UK National Archives, WO12/9903

https://nla.gov.au/nla.obj-1640398463 (DIGITISED)

Capt. [John] Savory's company . . . Griffin Geo. / Band / From Capt'n Grosser's [Company 25 April]

Monthly Pay-List and Muster-Roll of the New South Wales Regiment of Foot from 25 November to 24 December 1806; Australian Joint Copying Project, from UK National Archives, WO12/9903

https://nla.gov.au/nla.obj-1640663538 (DIGITISED)

Griffin Geo / Band

[Quarterly] Pay-List of the New South Wales Regiment from 25 June to 24 September 1807; Australian Joint Copying Project, from UK National Archives, WO12/9904

https://nla.gov.au/nla.obj-1640733254 (DIGITISED)

Griffin Geo / Band

NOTE: Griffin also annotated "band" in the paylists intervening between that above and below; see transcriptions under Band of the NSW Corps

Pay-list of the 102nd Regiment of Foot from 25 December 1809 to 24 March 1810; Australian Joint Copying Project, from UK National Archives, WO12/9905

https://nla.gov.au/nla.obj-1641136016 (DIGITISED)

Griffin Geo / Band

Pay-list of the 1st Batt'n Seventy Third Regiment of Foot from 25 September to 24 December 1812; Australian Joint Copying Project, from UK National Archives, WO12/8801

https://nla.gov.au/nla.obj-1661015808 (DIGITISED)

Drummers and Fifers . . . Griffin George . . .

Pay-list of the 1st Batt'n Seventy Third Regiment of Foot from 25 December 1813 to 24 March 1814; Australian Joint Copying Project, from UK National Archives, WO12/8802

https://nla.gov.au/nla.obj-1661155681 (DIGITISED)

Drummers and Fifers . . . Griffin George . . .

Payment request, Lachlan Macquarie to bandsman, musicians, 73rd regiment, 10 March 1814; Wentworth family papers, MS A763, 79 (and receipt verso), State Library of New South Wales

https://collection.sl.nsw.gov.au/record/nvgPQRp1/Ew068wxE3JQZK (DIGITISED)

Sydney, 10th March 1814.
Sir, Please to pay the undermentioned seven men belonging to the Band of the 73d Regiment, the sums herein annexed, to their respective names (in lieu of shoes agreed to be given them) in remuneration for their performing Sacred Music at Church on Sundays from 1st Oct'r 1812 to the 31st March 1814; there being 3 pairs of shoes one to each man, viz:
. . . 6 George Griffin - [Musician] - 1. 5. 6 . . .
Charging the said amount . . . to the Police Fund.
L. Macquarie.
To D. Wentworth Esq., Treasurer Police Fund

https://collection.sl.nsw.gov.au/record/nvgPQRp1/lBpRekXBpglrJ (DIGITISED)

We the undermentioned persons acknowledge to have had from Mr. Wentworth the different sums [? ? ?] on the other side -
. . . George Griffin

? "CLAIMS AND DEMANDS", The Sydney Gazette and New South Wales Advertiser (24 April 1819), 4

http://nla.gov.au/nla.news-article2178664 

The following Persons leaving the Colony in the Brig Alert, all Claims against them are to be presented for Payment: Captain C. Brodie . . . George Griffin . . .

Bibliography and resources:

George Griffin, b. 1789, Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/15001053001 

Pamela Statham (ed.), A colonial regiment: new sources relating to the New South Wales Corps 1789-1810 ([Canberra]: P. Statham, 1992)

https://trove.nla.gov.au/work/34427441 

GRIFFIN, GEORGE, son of Michael, born on transport 11-12-1789.; 3-6-1790 Arrive Lady Juliana; 5-5-1798 Enlisted Sydney; 0-0-1798 Rank Drummer . . . 24-4-1810 Transfer 73rd . . .

Michael Flynn, The second fleet: Britain's grim convict armada of 1790 (Sydney: Library of Australian History, 1993), 304

https://trove.nla.gov.au/work/8479345 

. . . In 1812-14, a George Griffin received payments for performing sacred music at St. Philip's, Sydney (ML MSS); SG 24 April 1819 notes a George Griffin leaving the colony on the brig Alert . . .

Robert Jordan, "Music and the military in New South Wales, 1788-1809", Journal of Australian colonial history 17 (2015), (1-22), 9-10

https://search.informit.org/doi/10.3316/INFORMIT.428841963923204 (PAYWALL)

GRIFFIN, Nathaniel Lewis (Nathaniel Lewis GRIFFIN; Nathaniel Louis GRIFFIN; N. L. GRIFFIN)

Theatrical manager, agent

Born Lawrence CO, NY, USA, 21 August 1826
Arrived [1] Sydney, NSW, 22 May 1854 (per Matchless, from San Francisco, 17 March, and Honolulu, 17 April)
Married Jane Evelyn BIRKBECK ("Miss Lucelle GRAHAM"), Adelaide, SA, 4 October 1855
Departed [1] Australia, ? by end of 1857
Arrived [2] Sydney, NSW, 31 August 1879 (per City of Sydney, from San Francisco, 4 August)
Departed [2] Sydney, NSW, 22 April 1880 (per Zealandia, for Auckland, NZ)
Died London, England, 1886 (4th quarter), aged "60"; buried Camden, 28 October 1886

https://trove.nla.gov.au/search?l-publictag=Nathaniel+Lewis+Griffin+1826-1886 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFIN-Nathaniel-Lewis (shareable link to this entry)

DISAMBIGUATION: J. Griffin (actor, active NSW, 1857)

GRIFFIN, Jane Evelyn (Jane Evelyn BIRKBECK; performed as Miss Lucelle GRAHAM; Lucille GRAHAM; Miss L. GRAHAM; Miss GRAHAM; Mrs. Nathaniel Lewis GRIFFIN; Mrs. GRIFFIN)

Actor

Born Dublin, Ireland, c. 1846; daughter of John BIRKBECK
Arrived [1] Adelaide, SA, by October 1854, or earlier
Married Nathaniel Lewis GRIFFIN, Adelaide, SA, 4 October 1855
Departed [1] Australia, ? by end of 1857
Arrived [2] Sydney, NSW, 31 August 1879 (per City of Sydney, from San Francisco, 4 August)
Departed [2] Sydney, NSW, 22 April 1880 (per Zealandia, for Auckland, NZ)

https://trove.nla.gov.au/search?l-publictag=Lucelle+Graham+Jane+Birkbeck+Griffin (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFIN-Jane-Graham (shareable link to this entry)

DISAMBIGUATION: "Miss Graham" (vocalist = Mrs. Amelia Silverlock, active VIC, c. 1855)

Documentation:

"THE OVERLAND IMMIGRATION", Daily Alta California [San Francisco, CA, USA] (20 September 1852), 1 supplement

https://cdnc.ucr.edu/?a=d&d=DAC18520920.2.13.2 

The following persons have arrived in Placerville during the past week, from across the plains . . . N. L. Griffin . . .

"Arrivals at the Principal Hotels, Nov. 8", Sacramento Daily Union [CA, USA] (9 November 1853), 2

https://cdnc.ucr.edu/?a=d&d=SDU18531109.2.19 

ORLEANS . . . N. L. Griffin, J. H. Vinson . . . [from] San Francisco . . .

ASSOCIATIONS: James Hetters Vinson (actor)

"SHIPPING INTELLIGENCE. ARRIVALS", Empire [Sydney, NSW] (23 May 1854), 2

http://nla.gov.au/nla.news-article60197244 

May 22. - Matchless, schooner, 151 tons, Captain Webster, front San Francisco March 17, Honolulu April 17. Passengers - Mr. and Mrs. Waller . . . Messrs. Waller, Tuthill, Griffin . . .

ASSOCIATIONS: Emma and Daniel Waller (actors); Henry Tuthill (actor)

"THEATRICALS", Adelaide Times [SA] (19 October 1854), 3

http://nla.gov.au/nla.news-article207018711 

The curtain of the Victoria Theatre rose last night to a house thinner than we had anticipated, to welcome the first appearance of Mrs. Andrews on the Adelaide stage . . . The versatility of the acting of Mrs. Andrews was admirably exhibited in "the Valet de Sham," "the Thimble Rig," and the "Married Rake" . . . The performance of Mr. Andrews, the erratic married gentleman, drew forth shouts of laughter, whilst the natural and unpretending acting of Miss Graham as Mrs. Flighty, an easy and unsuspecting wife, elicited general approbation . . .

ASSOCIATIONS: Mrs. and Captain Andrews (actors); Royal Victoria Theatre (Adelaide venue)

"ROYAL VICTORIA THEATRE", The Courier [Hobart, TAS] (17 March 1855), 2

http://nla.gov.au/nla.news-article2481009 

We have the pleasure of reminding our readers that this popular place of amusement re-opens on Monday evening next with an accession of talent alike creditable to the energy and perseverance, as in the real sense of the word, the patriotism of Mr. Watson, who has spared no expense in bringing forward first-rate professionals upon this occasion. It has previously been our satisfaction to record that Mr. and Mrs. Clarence Holt had arrived, and how they were spoken of by the provincial press of our Fatherland. They come out to one of their new pieces, "Civilisation; or the King, the Court, and the Indian," in which they will be supported by Mrs. Harward, late Mrs. Mereton, an old established favourite, and Miss Lucille Graham, a young actress, in whose favour, from her interesting picture at the daguerreotypitists, the public tests to be in her prepossessed. Mr. Watson and Mr. Jackson also appear in this piece - Miss Harward is to dance before the Extravaganza, whose title, "Lola Montes," is sufficiently suggestive of wit, humour, eccentricity, and vivacity. We should add that the famous world-renowned "Tom Barry," the Clown, had been engaged by Mr. Watson.

ASSOCIATIONS: Feltham Bold Watson (manager, actor); Clarance and Marie Holt (actors); Christiana Harward (actor); Tom Barry (clown); Royal Victoria Theatre (Hobart venue)

[Advertisement], The Courier (17 March 1855), 2

http://nla.gov.au/nla.news-article2481006 

ROYAL VICTORIA THEATRE . . . will re-open on
MONDAY EVENING NEXT, 10th MARCH . . .
CIVILIZATION; or, The Ring the Court, and the Indian . . .
Therese, Miss Lucelle Graham . . .

[Advertisement], The People's Advocate or True Friend of Tasmania [Launceston, TAS] (30 April 1855), 3

http://nla.gov.au/nla.news-article232749646 

ROYAL CLARENCE THEATRE . . .
Under the management of Mr. F. B. Watson.
Stage Directors - Messrs. Vinson and Jackson.
Commencing on TUESDAY, MAY 1st,
Supported by the following TALENTED ARTISTES,
Mr. H. VINSON, from the American Theatres;
Mr. J. L. BYERS, Theatre Royal Sydney and American Theatres . . .
The Performances will commence with . . . THE OLD GUARD . . .
Lady Beauville - Miss Lucelle Graham . . .

ASSOCIATIONS: James Hetters Vinson (actor, manager); James Lucas Byers (actor); Clarence Theatre (Launceston venue)

[Advertisement], The Argus [Melbourne, VIC] (11 May 1855), 8

http://nla.gov.au/nla.news-article4807956 

D. W. WALLER, having leased the Queen's Theatre, would inform ladies and gentlemen of acknowledged talent, that they can treat for Engagements on immediate application to N. L. Griffin, acting manager, Imperial Hotel, Elizabeth-street.

ASSOCIATIONS: Queen's Theatre (Melbourne venue)

"THE DRAMA", South Australian Register [Adelaide, SA] (5 July 1855), 2

http://nla.gov.au/nla.news-article49297325 

Mr. N. L. Griffin, so recently and very favourably introduced to the citizens of Adelaide simultaneously with Madame Carandini and M. Emile Coulon, has become the lessee of the Victoria Theatre, and is fully justified in giving the assurance of a first rate corps dramatique. The preliminary arrangements and conduct of affairs at the Victoria, as exemplified in the late concert, afford good promise of Mr. Griffin's tact and efficiency as a theatrical manager; and as his letters and testimonials give ample proof of his integrity and propriety of conduct, the public may fairly presume that his management will be satisfactory as well as successful. Mr. Griffin expects to be joined forthwith by Mr. and Mrs. Waller and Mr. Tuthill, from Melbourne, and will not be at a loss for other valuable accessories . . .

ASSOCIATIONS: Maria Carandini (vocalist); Emile Coulon (vocalist); Royal Victoria Theatre (Adelaide venue)

[Advertisement], The Argus [Melbourne, VIC] (30 July 1855), 8

http://nla.gov.au/nla.news-article4813622 

COPPIN'S OLYMPIC. G. COPPIN,
in announcing the commencement of his Dramatic Season . . .
The Celebrated Tragedian, Mr. G. V. Brooke, will appear for a limited period, supported by the following Efficient Company: . . .
Miss Graham, Her first appearance in this colony . . .

ASSOCIATIONS: George Coppin (manager); Gustavus Vaughan Brooke (actor); Coppin's Olympic (Melbourne venue)

"ROYAL VICTORIA THEATRE", South Australian Register [Adelaide, SA] (4 August 1855), 2

http://nla.gov.au/nla.news-article49294096 

Mr. Griffin's speculation is likely to be not only a great source of pleasure to the amusement-loving portion of our citizens, but a very profitable undertaking to himself. Notwithstanding the very short notice of the pieces selected for last evening's entertainment, and the threatening aspect of the weather, there was a decidedly good house. Much as the concerts were admired, the addition of an old and favourite comedietta increased exceedingly the gratification of the audience. Of the operatic portion of the entertainment it is impossible to speak too highly. The orchestra, conducted by Herr Linger, and under the leadership of Mr. Chapman, gave the overtures and airs with correctness and spirit; while the clever acting of Mons. Coulon, adds to the skilful management of his fine voice in Sergeant Sulpizio, well supported the exquisite impersonation of the "Daughter of the Regiment" by Madame Carandini . . .

ASSOCIATIONS: Carl Linger (conductor); William Chapman (leader, violin)

"SHIPPING INTELLIGENCE", Adelaide Times (27 August 1855), 2

http://nla.gov.au/nla.news-article207073049 

Sunday, August 26 - The steamer "White Swan, 332 tons, McEwan, from Melbourne the 22nd August, and from Portland the 23rd August. Kirkwood, agent. Passengers - . . . Miss Graham, Miss K. Murray. Miss E. Murray, Mrs. Downey, Mrs. Quin, Miss Anna Maria Quinn, and Messrs. J. H. Vinson, R. H. Cox, J. Downey, C. H. Walsh, G. Huon, and Griffin, in the cabin . . .

ASSOCIATIONS: Joseph and Ann Downey (actors); Anna Maria Quinn (juvenile actor); James Hetters Vinson (actor); Richard Henry Cox (actor); Charles Walsh (actor); Oscar Huon (actor)

"THEATRICAL", South Australian Register (27 August 1855), 3

http://nla.gov.au/nla.news-article49299255 

Mr. Griffin, the energetic caterer for public amusement, has returned by the White Swan with the company engaged for him by Mr. J. H. Vinson in Melbourne . . . Among the long list of engagements which appears in Mr. Griffin's advertisement, will be seen the name of Miss Graham, the young lady who made such a favourable impression on her appearance here sometime ago under the auspices of Mrs. Andrews. Miss Graham has during her absence visited Hobart Town and Melbourne, and her increasing success indicates a careful cultivation of her great natural ability . . .

[Advertisement], Adelaide Times (27 August 1855), 1

http://nla.gov.au/nla.news-article207073038 

ROYAL VICTORIA THEATRE. N. L. GRIFFIN, sole lessee and manager.
Stage Manager - Mr. CHARLES WALSH. Leader of the Orchestra - Mr. CHAPMAN . . .
THE MANAGER begs respectfully to announce to the citizens of Adelaide and its Vicinity, that having leased the above Theatre, he will
OPEN it for a Dramatic Season on WEDNESDAY EVENING, 29th August 1855.
It is his intention to produce a series of Theatrical representations, including the Standard Drama, old English Comedy, Comedietta, Burletta, Burlesque, and Farce, in a style unsurpassed by any Theatre in the colonies . . .
The following distinguished Artistes are engaged, and will appear on the Opening night:
MISS L. GRAHAM, from Coppin's Olympic, Melbourne.
MISS E. MURRAY, from Theatre Royal, Melbourne.
MISS KATE MURRAY, do., do.
MRS. J. T. DOWNAY, Metropolitan Theatre, California.
MRS. ELLEN CHAPMAN, Theatre Royal, Sydney.
MRS. LAMBERT, an established favourite.
MR. J. H. VINSON, of the New York Theatre.
MR. R H. COX, Theatre Royal, Sadler's Wells.
MR. J. T. DOWDAY [sic], Metropolitan, California.
MR. OSCAR HUON, Melbourne and Geelong Theatres.
MR. HYMES, Prince of Wales, Sydney.
MR. ANDERSON do. do.
MR. MELVILLE, Provincial Theatres.
MR. JOHN MELVILLE do.
MR. RANSFORD do.
MR. BUCKINGHAM do.
MR. CHARLES WALSH, of the Theatre Royal Melbourne, his first appearance here these four years.
An engagement has been entered into with the celebrated Juvenile Artiste
MISS ANNA MARIA QUIN, the youngest living actress, being but seven years of age, whose success in America and throughout the colonies has been unprecedented.

ASSOCIATIONS: Harriet Lambert (actor, vocalist); Edward Buckingham (actor, dancer)

"VICTORIA THEATRE", Adelaide Times (30 August 1855), 2

http://nla.gov.au/nla.news-article207073090 

The opening performance of this place of amusement, under the direction of Mr. Griffin, the manager, took place last night, in the presence of a large and respectable audience. In fact, judging from the nature of last night's attendance, it might be very safely augured that the enterprise of Mr. Griffin will be an exceedingly satisfactory one. The performance was preceded by a cleverly-worded and well-delivered address, spoken by Mr. J. T. Downey. This was followed by Bulwer's drama of "The Lady of Lyons" - a piece which, however full of beautiful sentiment and well-turned blank verse, was, we think, not exactly the best opening piece that could be chosen for an audience much enamoured of the "rough and ready." The love scenes and poetic soliloquies were therefore listened to with some degree of impatience. This, however, was amply compensated for by the more bustling parts of the piece, all of which passed off admirably. Of Miss Graham, as Pauline, we may speak with much praise. Her acting was occasionally natural and touching, and her difficult part was sustained throughout with much credit. In this she was ably supported by the rest of the company - Mr. R. H. Cox being entrusted with the chief role, the part of Claude Melnotte, which was carefully acted. Of the rest of the performers it would be, perhaps, unfair to portraiterise any one, especially as all were well up in their parts, and equally well received. The performance of Mrs. Downey, however, as Madame Deschapelles, deserves a word for itself. A side-splitting farce - "The Spectre Bridegroom" - followed, and concluded a most amusing evening's entertainment. The orchestra, under the management of Mr. Chapman, was as usual most effective.

Marriages, Adelaide, SA, 1855; Australia, marriage index

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=5316158 (PAYWALL)

4 October 1855 / York Hotel, Adelaide / Nathaniel Lewis Griffin / Jane Evelyn Birkbeck

"MARRIED", Adelaide Times [SA] (5 October 1855), 2

http://nla.gov.au/nla.news-article207074070 

On the 4th instant, by special license, at the York Hotel, Rundle-street, by the Rev. John Gardiner, N. L. Griffin, Esq., of the United States, to Miss Jane E. Birkbeck, only daughter of John Birkbeck, Esq., Dublin.

"WEDDING", Adelaide Times (5 October 1855), 2

http://nla.gov.au/nla.news-article207074062 

It will be seen by an announcement in another column, that the enterprising Manager of the Victoria Theatre yesterday entered into a more auspicious engagement than ever. He is now prepared with an entirely fresh act in the Drama of Life - with thorough "change of scenery and dresses." The charming heroine of this new piece, is that general and much admired favourite of the Adelaide public, known under the nom de guerre of Miss Graham. It is to be hoped that she will not entirely desert her old duties for her new ones.

"VICTORIA THEATRE", Adelaide Times (12 December 1855), 2

http://nla.gov.au/nla.news-article207076260 

Mrs. Crosby and Mr. Jackson took their benefit on Monday evening . . . Of Lola Montes' exquisite representation of Mrs. Chillington we have, as our readers are aware, frequently spoken in terms of the highest praise . . . As on former occasions she was admirably seconded by Mr. Folland . . . "Villikens and his Dinah" followed. In obeying the demand of the house for its repitition, Mr. Jackson, with great tact, set the house "on a roar," by introducing the following "additional verses" . . . Having thanked the house for their approbation, Jackson proceeded to make the following speech -
"Ladies and gentlemen - I have to throw myself upon your indulgence. In the bills, it is stated that the farces of "The Valet de Sham," and "The Dead Shot," will be produced to-night. To ensure the performances of these farces, I engaged Mrs. Griffin to play certain parts, and agreed to give her what she demanded for her night's services. After waiting a long time, I found this morning that the Griffin had flown away, no one knew whither. Under these circumstances I spoke to Madame Lola Montes, who immediately, with her usual kindness, offered to repair the breach by playing for me in "The Eton Boy." (Applause.) . . .

ASSOCIATIONS: Emelia Crosby (actor); Harry Jackson (comedian, vocalist); Lola Montez (actor, dancer); Frank Folland (actor)

[Advertisement], The Argus [Melbourne, VIC] (18 December 1855), 8

http://nla.gov.au/nla.news-article4826072 

QUEEN'S THEATRE. To-Night, Tuesday.
The performances will be devoted to the Benefit of the Sufferers by the late Fire at Ballaarat.
The Tragedy of OTHELLO. Othello - Mr. H. N. Warner. Iago - Mr. Robins.
Desdemona - Miss L. Graham. Emilia - Mrs. Brougham . . .

ASSOCIATIONS: Henry Neil Warner (actor, manager); Emma Brougham (actor)

[Advertisement], Bendigo Advertiser [VIC] (1 January 1856), 3

http://nla.gov.au/nla.news-article88048433 

PRINCESS'S THEATRE, CRITERION HOTEL. NEW YEAR'S DAY . . .
THE LADY OF LYONS . . . Pauline - Miss L. Graham.
Claude Melnotte - Mr. B. J. Coleman . . .
In preparation . . . BLACK-EYED SUSAN, in which Mr. H. Coleman will appear.

ASSOCIATIONS: Henry and Barned Coleman (actors, managers); Princess Theatre (Bendigo venue)

"THEATRICALS AT THE OVENS", The Courier [Hobart, TAS] (27 March 1856), 2

http://nla.gov.au/nla.news-article2501057 

N. L. Griffin, formerly lessee of the Queen's, and of the Adelaide Theatre, has organised a dramatic company in this city [Melbourne], for the purpose of proceeding to the Ovens, and opening the Star Theatre on the 31st instant. Madame Lola Montez is also engaged, and will make her first appearance after the termination of her engagement with Mr. Coleman of Bendigo. According to the terms of her agreement, she is to perform both at the Star and at Mr. Griffin's other theatre at the Woolshed.

ASSOCIATIONS: Star Theatre (Beechworth venue)

"VICTORIA", Adelaide Times [SA] (31 March 1856), 2

http://nla.gov.au/nla.news-article207090728 

Madame Lola Montes, under the guidance of Mr. Griffin, late of the Adelaide Theatre, has undertaken a campaign on the Bendigo Diggings.

"THEATRICALS AT THE WOOLSHED", The Age [Melbourne, VIC] (18 April 1856), 3

http://nla.gov.au/nla.news-article154867555 

Deniliquin [sic] has a theatre! The Ovens and Murray Advertiser informs us that the National Theatre is now completed, and would be opened on Wednesday, April 6th, with the "Lady of Lyons," in which Mr. R. H. Cox was to impersonate Claude Melnotte, and the farce "The Captain's not a Chip," as a wind up to the evening's entertainment. Too much credit cannot be attached to the exertions of Mr. N. L. Griffin, the spirited lessee, who has, in this remote quarter, ventured to introduce the votaries of the sock and buskin. We wish him the success to which his energy and enterprise emphatically entitle him.

"MISS GODDARD", The Age (15 August 1856), 3

http://nla.gov.au/nla.news-article154872034 

We are glad to be able to state that this able actress is fast recovering her health and will soon assume her engagement at the Lyceum. We observe that Mr. N. L. Griffin, the manager, is now engaged in forming a first-class dramatic company.

ASSOCIATIONS: Eleanor Goddard (Mrs. Caple) (actor); Lyceum Theatre (Melbourne venue)

"SHIPPING NEWS . . . CLEARED OUT", The Courier [Hobart, TAS] (23 January 1857), 2

http://nla.gov.au/nla.news-article2457567 

JANUARY 20 . . . Clarence, steamer, 400, Woods, Melbourne. Cabin - Messrs. . . . N. L. Griffin . . .

USA federal census, 1860, Ward 10, St. Louis, Missouri; USA National Archives, M653, page 545

https://www.ancestry.com.au/search/collections/7667/records/40855165 (PAYWALL)

. . . Nathaniel L. Griffin / 33 / General Agent / [born] N. Y.
Jane E. [Griffin] / 24 / - / [born] Ireland
Ada [Griffin] / 3 / - / [born] At sea . . .

[Advertisement], The era [London, England] (11 June 1865), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000053/18650611/001/0001 (PAYWALL)

THE MARINER'S COMPASS. Mr. and Mrs. CLARANCE HOLT
have great pleasure in announcing that they have concluded an arrangement with
Mr. HENRY LESLIE for the SOLE RIGHT of representing THE MARINER'S COMPASS . . .
on its recent production at the THEATRE ROYAL, ASTLEY'S . . . pronounced . . . to be the very best Nautical piece . . . presented in London for the Thirty Years . . .
All applications with reference to Engagements to be addressed to N. L. GRIFFIN, Agent, Queen's Theatre, Hull.

ASSOCIATIONS: Clarance and Marie Holt (actors)

"THEATRE ROYAL", Cork Examiner [Ireland] (11 December 1868), 2

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000425/18681211/006/0002 (PAYWALL)

Mr. N. L. Griffin, the courteous and enterprising manager of the present company, takes his benefit this evening, and it is to be hoped will find the untiring efforts he, in conjunction with Mr. Holt, has made to provide for the entertainment of the citizens of Cork, recognised as they deserve. The programme is a very full and attractive one, and will be performed with a completeness of detail and scenic accessories never before attempted in Cork.

? Passport application, New York, 1879; US National Archives and Records Administration (NARA), 227 (Jan-Mar 1879), 11414

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=1498778 (PAYWALL)

No. 11414 / March 13 1879 . . . Nathaniel L. Griffin . . . born in St. Lawrence Co., New York on or about the 21 day of Aug. 1826 . . . about to travel abroad to Cuba [sic] . . .

"SHIPPING. ARRIVALS . . . AUGUST 31", The Sydney Morning Herald [NSW] (1 September 1879), 4

http://nla.gov.au/nla.news-article13448318 

City of Sydney (s.), 3200 tons, Captain Dearborn, from San Francisco - 4th August. Passengers - . . . Mr. N. L. Griffin and wife . . .

"ARRIVAL OF THE ZEALANDIA", Auckland Star [NZ] (27 April 1880), 2

https://paperspast.natlib.govt.nz/newspapers/AS18800427.2.3.5 

The P.M.S.S, Zealandia arrived from Sydney shortly after ten o'clock this morning . . . April 22nd . . . left Anchorage in Sydney . . . For San Francisco: . . . Mr. and Mrs. N. L. Griffin . . .

"MUSICAL AND DRAMATIC NOTES", New Zealand Herald [Auckland, NZ] (13 January 1881), 6

https://paperspast.natlib.govt.nz/newspapers/NZH18810113.2.18 

Mr. N. L. Griffin, the senior partner of the International Dramatic Agency, Melbourne, was a passenger by the mail steamer Bokhara to Europe, to look for novelties for Australia.

GRIFFITH, George (George GRIFFITHS; G. GRIFFITH; Mr. GRIFFITH; GRIFFITHS [sic])

Musician, professor of music, violinist, band leader, piano tuner and repairer, composer

Born Liverpool, England, c. 1824
Arrived Melbourne, VIC, ? by mid 1854
Married (common law) Susan ROCHESTER (1838-1913), by mid 1854
Active Wangaratta and Beechworth, VIC, by 1855
Active New Zealand, c. 1867
Died Melbourne, VIC, 31 December 1878, aged "54"

https://trove.nla.gov.au/search?l-publictag=George+Griffith+d1878 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITH-George (shareable link to this entry)

Documentation:

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (3 March 1855), 6

http://nla.gov.au/nla.news-article113013160

MR. G. GRIFFITH, Professor of Music (late of Mr. Wilkie's Music Saloon, Melbourne),
teacher of the Piano forte, Harp, Violin, &c. Musical Instruments of all descriptions repaired.
Quadrille Parties and Balls attended on the shortest notice.
All communications to be addressed to Mr. G., office of this paper.

ASSOCIATIONS: Joseph Wilkie (musicseller)

[Advertisement], Ovens and Murray Advertiser (14 April 1855), 5

http://nla.gov.au/nla.news-article113013300 

SALLE DE VALENTINO, Late Beechworth Assembly Rooms.
Grand Promenade Concert and Ball, ADMISSION FREE, ON MONDAY, 16TH APRIL, and every other evening during the week, except Saturdays, on which occasion a Free and Easy will be held.
Programme:
Polka - "Grand Sultan."
Quadrille - from "Lucrezia Borgia."
Song - "Far, far upon the sea."
Schottische - Opera.
Song - "When swallows homeward fly."
Waltz - "Georgette."
Duett - "Am I not fondly thine own."
Descriptive - Russian War Galop.
INTERMISSION.
Quadrille - "Exhibition."
Song - "The Fortunate Man."
Polka - "Beechworth" (first time), composed by Mr. G. Griffith.
Song - "The Marseillaise."
Galop - "Mount Etna."
Finale - "God Save the Queen."

[Advertisement], Ovens and Murray Advertiser (12 May 1855), 1

http://nla.gov.au/nla.news-article113013416 

Salle de Valentino, Beechworth Hotel.
BARLOW'S BENEFIT On Saturday Next, May 12 . . .
Messrs. BARLOW, SMALL, BRICE, ZEPLIN, GRIFFITHS, ELLAR, and SOUTTEN.
being their first appearance together as The American Minstrels,
introducing a variety of Songs, Glees, Chorusses, Catches, &c. . . .
BARLOW'S Multifarious Performances on the Pianoforte, Violin, Scotch Fiddle, Guitar, Banjo, Rock Harmonicon, Grid iron, Concertina, Flute, Bone Castanets, with that most pathetic and heart-stirring melody of "Pop goes the Weasel" on a Kitchen Bellows, as was (not) performed by him before Her Majesty at Buckingham Palace.
Mr. J. BRICE, the celebrated negro delineator, as the "Laughing Jackass."
Mr. GRIFFITHS will perform a Violin Solo, founded on popular airs.
Mr. ZEPLIN, the talented Harpist, will perform a Solo in the course of the evening.
Trickery on one and two Violins by Messrs. BARLOW and GRIFFITHS.
Mr. ELLAR will sing several well-known Ballads.
Mr. SMALL in some of his characteristics.
Mr. F. M. SOUTTEN will appear as the new member for Beechworth . . .

ASSOCIATIONS: Robert Barlow (vocalist, musician); Julius Henry Eller [sic] (vocalist); Frank Soutten (vocalist); Joe Small (vocalist); George Frederick Zeplin (musician)

"THE TYROLESE MINSTRELS", Ovens and Murray Advertiser (9 June 1857), 2

http://nla.gov.au/nla.news-article113015646

These performers made a successful debut in this district at the Star Theatre, attired in their picturesque national costume. Madame Haimberger and Miss Kramer attracted the admiring gaze of a crowded audience, while their finished delivery of the mountain airs peculiar to their own homes, astonished and delighted all alike . . . Mr. Haimberger is an accomplished violinist, eliciting frequent and loud applause by his solos on that instrument. The entertainment was varied by performances on the harp and violin by Messrs. Zeplin and Griffith.

ASSOCIATIONS: Julius and Margeritta Haimberger (violinist, vocalist); Marie Kramer (vocalist); Star Theatre (Beechworth venue)

"WOOLSHED", Ovens and Murray Advertiser (21 October 1857), 2

http://nla.gov.au/nla.news-article113234961

The opening ball of the Hibernia Hotel came off last evening (Monday) in regular Hibernian style. At an early hour the friends of the worthy host gathered from the surrounding neighbourhood to the scene of action, where a very select number of the fair sex were in waiting to illuminate the pleasures of the ball. The orchestral arrangements were conducted by Mr. Griffith, cornet by Mr. Barlow, and the harp by Mr. Lyons. Never did the fantastic toe so lightly fly through the graceful motions of the dance - nor ever was more justice done to the true character of "granuale" . . .

ASSOCIATIONS: John Christian Lyons (harp)

[Advertisement], Ovens and Murray Advertiser (17 March 1858), 3

http://nla.gov.au/nla.news-article113237131

THIS DAY. ST. PATRICK'S DAY.
St. Joseph's Catholic Church, BEECHWORTH.
GRAND HIGH MASS, With Orchestral Accompaniments.
AT ELEVEN O'CLOCK.
ORCHESTRE.
Mr. G. Griffiths, First Violin
" Weichman, Second Violin
" J. P. Hurley, Flute
" W. Radford, Viola
" Mr. Barlow, Cornet
" Jenkins, Sax Tuba
" Wright, Violincello
Herr Esther, Double Bass.

ASSOCIATIONS: Heinrich Weichmann (violin); J. P. Hurley (flute); William Radford (viola); John Bolton Barlow (cornet); Charles Jenkin (sax tuba); Carl Esther (double bass); Music in Catholic churches (general)

[Advertisement], Ovens and Murray Advertiser (6 April 1858), 3

http://nla.gov.au/nla.news-article113237500 

ASHTON'S British and American CIRCUS . . .
Tuesday, April 6, Being for the
BENEFIT OF MR. TROY KNIGHT, The Boston Serenaders will make their First Appearance here . . .
Battle of Alma and Ship on Fire - TROY KNIGHT
Solo on the Harp - Mr. ZEPLIN . . .
THE BOSTON SERENADERS . . .
Violin - Mr. Griffiths.
Banjo - Mr. Faulkner.
Flutina - Mr. Ashton.
Tamborine - Mr. Sams.
BONES - TROY KNIGHT.
Leader of the Military Band - Fritz Bimes [sic, ? Ziems]
Leader of the [REDACTED] Band - Mr. Griffiths . . .
Sole Proprietor - Mr. Ashton.
Master of the Circus - Mr. Sams.
Agent, Mr. Totten.

ASSOCIATIONS: James Henry Ashton (circus performer, manager, musician); Troy Knight (vocalist); Frederic Sams (circus performer, manager); Fritz Ziems (musician); Elbert Totten (agent); Ashton's Circus (troupe)

"Indigo Police Court. Tuesday, 15th February, 1859", Ovens and Murray Advertiser (17 February 1859), 3

http://nla.gov.au/nla.news-article117925889

George Griffiths was brought up, charged with permitting the sale of liquor in his unlicensed house . . . The words "Music Hall, George Griffits," [sic] was on the window that night when I came out; might have staid about ten minutes in Griffiths; there were not many there when I went in; there was no music playing; Mr. Griffiths is a violinist; have gone and had a dance in the place . . .
Constable Scanlan deposed that he knew the defendant Griffiths; he lives at the Music Hall; know the place, the words "Music Hall" are written in the window . . .
Case dismissed, there being no evidence to connect the defendant with the house.

[Advertisement], Ovens and Murray Advertiser (4 July 1859), 2

http://nla.gov.au/nla.news-article112903744

Monday, 4th July, 1859.
GRAND BALL & SUPPER at the EAGLE HOTEL, NEW BALLARAT.
MR. BUTLER, HAS much pleasure in announcing . . . a GRAND BALL and SUPPER . . .
nothing shall be wanting on his part to ensure those who attend of a good evening's amusement.
A Good Band engaged. Leader - Mr. GEORGE GRIFFITHS . . .

"ST. PATRICK'S DAY", Ovens and Murray Advertiser (20 March 1860), 2

http://nla.gov.au/nla.news-article112914345 

. . . The event of the evening was the gathering at Keay's Suffolk Hotel. There the celebrated violinist Mr. Griffith, accompanied by Mr. Langemezer on the harp, enlivened the proceedings by their animating performances . . .

ASSOCIATIONS: Mr. Langemezer (harp, otherwise unidentified)

"THE GRAND WINTER BALL AT CHILTERN", Ovens and Murray Advertiser (18 August 1860), 2

http://nla.gov.au/nla.news-article112915423 

This event, which excited so much emulation among the fair daughters of our community, came off on Thursday evening last in the Star Theatre, Chiltern . . . Dancing commenced about ten o'clock; the orchestra . . . consisted of Mr. Austin Saqui, piano; Mr. Griffiths, violin; Jenkins, the celebrated drummer, and part of the brass band from Butler's Eagle Hotel, a triangle was also added, and it was admitted that the music was altogether unexceptionable. About 250 ladies and gentlemen were present and an animating scene it was . . .

ASSOCIATIONS: Austin Saqui (musician); Star Theatre (Chiltern venue)

"THE PHILHARMONIC SOCIETY", Ovens and Murray Advertiser (4 July 1863), 2

http://nla.gov.au/nla.news-article112893938

Beechworth was stirred to its very centre on last Wednesday evening by, apparently, a very simple matter. The display at the Town Hall on that evening, however, proved that there was a peculiar significance felt to be attached to it. A number of ladies and gentlemen - some of the latter being professionals - had a few months since formed themselves into a Musical Society, and they determined on the night in-question to give the public the result of their spirited attempt. A most astonishing success was the consequence, the extraordinary proficiency of the performers being fully recognised by the number and enthusiasm of the audience. To those who fully understand the ennobling and refining influence of music, this entertainment will appear of very great importance. In this age, perhaps, nothing gives the human mind grander aspirations . . . There is no doubt that German music requires an educated ear, the frequent and unexpected change to minors appearing almost inharmonious, until an audience becomes accustomed to them. It was, therefore, wise in our new Society to give only one German song at their opening concert. To some persons, SCHUBERT's 'Serenade' appeared the most delicious 'morceau' of the evening, whilst many did not understand it at all; but it will be part of the duty of the Society to teach us to appreciate the very highest class of melody. With this view, whilst simple songs and ballads may at present form the staple of any programme, with which the amateurs may again favor us, a larger sprinkling of some of the gems, by SCHUBERT, MENDLESSHON, or BEETHOVEN, cannot fail to produce a good effect. It would, of course, be in the very worst taste to name in a public print, any of the private persons, who, on that occasion, voluntarily gave us the benefit of their talents . . . The same rule as to names does not apply to professional men, and no notice of the Concert would be complete without mention being made of Herr SCHMIDT's exquisite performance on the violin, and the manner in which he has instructed his pupils. Mr. GRIFFITHS, and Mr. RUXTON also deserves much praise for their masterly execution on the violin and piano. We, unfortunately, were not present at the 'First Part,' but MOZART's Twelfth Mass is decidedly the very best selection that could have been made by amateurs, - the one in fact that is generally attempted by non professional associations. We hear it was admirably rendered, and to judge from the subsequent successes, we should think the applause which it called down was well deserved. We wish all prosperity to our Philharmonic Society, and feel convinced that it will exert a powerful influence, both morally and socially, in Beechworth.

ASSOCIATIONS: Henri Ruxton (musician); Beechworth Philharmonic Society (association)

[2 advertisements], West Coast Times [Hokitika, NZ] (8 October 1867), 3

https://paperspast.natlib.govt.nz/newspapers/WCT18671008.2.14.5 

PIANOS. G. GRIFFITH, From Melbourne, PIANOFORTE TUNER AND REPAIRER.
Address - R. WRIGHT, Victoria Hotel, Revell street.

MUSIC provided for Balls and Parties. Violin and Piano always at command.
J. R. WRIGHT, Victoria Hotel.

? [Advertisement], The Argus [Melbourne, VIC] (3 June 1871), 8

http://nla.gov.au/nla.news-article5849064 

LONDON MUSIC HALL. Proprietor, I. Coleman. Manager, J. Black.
GRAND SALOON and FASHIONABLE LOUNGE. Open Nightly. With the following powerful COMPANY,
In Duets, Comic and Sentimental Staging, Dancing, At Intervals.
Great Success of Mr. J. J. DANIELS, Miss MILLY PARKER, Mr. L. LETVILLE, Mr. FRANK LLOYD, Mr. JOHN BLACK,
Mr. G. GRIFFITHS, Mr. G. CULLIMORE, Mr. H. FRITZ, Mr. J. MUNYARD.
Will shortly appear, JOHNNY COWAN. Maitre de Danse, Harry Santly. Overture at 8 sharp.

ASSOCIATIONS: Isaac Coleman (proprietor, c. 1880)

[Advertisement], The Argus (3 June 1876), 1

http://nla.gov.au/nla.news-article5890332 

PIANOFORTE TUNING. TUNING. TUNING.
NICHOLSON and ASCHERBERG Beg to inform their musical friends and the public that they have now in their employ the
THREE BEST TUNERS IN MELBOURNE, The staff consisting of
Mr. JOHN BLACKBURN, Of whom nothing need be said, his name being a sufficient guarantee for excellence of work.
Mr. RICHARD O'BRIEN, A most excellent and finished tuner, for five years with Erard, several years with Broadwood, for the last five years constantly engaged in Melbourne.
Mr. GEO. GRIFFITH, A most careful and painstaking tuner.
In securing the very best men for this important branch of their business, Nicholson and Ascherberg again prove that it is their endeavour to have the best that can be had in every department, and they hope that this will be duly estimated by their numerous friends and the public.
The tuning of a piano is one of the main things to be thought of by owners, as many a good instrument is spoiled by the tuning being entrusted to inferior men.
Nicholson and Ascherberg therefore assure the public that all tuning entrusted to them will receive every justice at their hands, combined with punctuality and moderate charge.
NICHOLSON and ASCHERBERG, Pianoforte Gallery (Opposite W. H. Rocke and Co.),
46 and 47 COLLINS-STREET EAST.

ASSOCIATIONS: Nicholson and Ascherberg (musicsellers)

"Funeral Notices", The Age (1 January 1879), 4

http://nla.gov.au/nla.news-article199359942 

THE Friends of Mr. GEORGE GRIFFITH (Musician) are most respectfully invited to follow his remains to their lest resting place, the Melbourne General Cemetery. The funeral procession is appointed to move from his late residence, 49 Little George-street, between Webb and Gertrude streets, Fitzroy, TO-MORROW (Thursday), the 2nd, at a quarter to two o'clock punctually.

"OLD IDENTITIES OF BEECHWORTH [by] BEN. EAGLETON", Ovens and Murray Advertiser (24 July 1909), 12

http://nla.gov.au/nla.news-article198711942 

. . . I have spoken of the number of excellent musicians who made Melbourne their temporary home. Among these were some who, finding too much competition in the city, made their way to the goldfields with varying fortune. The only ones I became acquainted with were settled at Beechworth when I arrived there some years afterwards, towards the end of my seven years' practical experience of mining. These were Burke, a fine performer on the cornet; Radford and Griffiths, violinists; and Ruxton, a pianist. Of these, I became acquainted with Radford, who at the time was playing for the dances at the Clarence Hotel at Yackandandah, and who expressed to me the bitter disappointment to his early ambition, which many more had suffered. In converse with me one evening he said with a sigh - "I thought when I came to Australia I was going to make a name, perhaps a fortune, but I soon found there were plenty as good as me; and here I am now, a fiddler in a pot-house." Griffiths was a married man, with a family, and was reduced to dire straits. He ultimately went to New Zealand, and I never heard of him again . . .

ASSOCIATIONS: Benjamin Eagleton (memoirist; William Radford (musician); Henri Ruxton (musician); Peter Constantine Burke (musician)

Bibliography and resources:

Lenore Frost, "George Griffith's goldrush adventure", blog archive, 2011 to 2020 ongoing family and biographical research (also archived at NLA Pandora)

http://goldrushadventure.blogspot.com

http://goldrushadventure.blogspot.com/2011/07 (earliest post)

GRIFFITHS, Miss (Miss GRIFFITHS)

Musician, pianist

Active Parramatta, NSW, 1855

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Miss (shareable link to this entry)

Documentation:

[Advertisement], The Sydney Morning Herald (23 July 1855), 1

http://nla.gov.au/nla.news-article28641490 

PARRAMAMATTA. - PROGRAMME of Mrs. FRANK ANDREWS' CONCERT of VOCAL and INSTRUMENTAL MUSIC,
which by the kind permission of the Rev. the Head Master, will be given in the Dining-hall of the King's School,
on MONDAY EVENING, July 23rd, 1855.
PART I. Overture - (Zauberflote) - Pianoforte duet - Mozart, Miss Griffiths and Mr. Packer . . .

ASSOCIATIONS: Mrs. Frank Andrews (vocalist); Charles Packer (perhaps Griffiths' teacher)

GRIFFITHS, Miss (Miss GRIFFTHS) = Mary Ann GRIFFITHS (Mrs. William PERRATON)

Vocalist

Active Melbourne, VIC, 1858-62 (as Miss GRIFFITHS)

GRIFFITHS, John Gordon (John Gordon GRIFFITHS; J. G. GRIFFITHS; Mr. GRIFFITHS)

Actor, theatrical manager, librettist

Born Dorset, England, c. 1810
Married Anne Rosina WYATT, Dorchester, Dorset, England, 17 May 1828
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)
Died Manly, NSW, 4 March 1857, aged "47"

https://trove.nla.gov.au/search?l-publictag=John+Gordon+Griffiths+d1857 (TROVE public tag)

https://trove.nla.gov.au/search?l-publictag=John+Gordon+Griffiths+actor (TROVE public tag)

http://nla.gov.au/nla.party-1807285 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-John-Gordon (shareable link to this entry)

GRIFFITHS, Ann (Anne Rosina WYATT; Mrs. John Gordon GRIFFITHS; Mrs. Ann GRIFFITHS; Mrs. GRIFFITHS)

Actor

Born England, c. 1809
Married John Gordon GRIFFITHS, Dorchester, England, 17 May 1828
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)
Died Sydney, NSW, 28 December 1868

https://trove.nla.gov.au/search?l-publictag=Ann+Wyatt+Griffiths+c1809-1868 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Ann (shareable link to this entry)

GRIFFITHS, Fanny (Fanny GRIFFITHS; Miss F. GRIFFITHS; Mrs. Robert McGOWAN; Mrs. McGOWAN)

Dancer, actor

Born England, c. 1830-32; daughter of John Gordon GRIFFITHS and Anne Rosina WYATT
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)
Active professionally Sydney, NSW, by 1845
Married (1) Robert McGOWAN (d. 1864), NSW, 1852
Active professionally until November 1864

https://trove.nla.gov.au/search?l-publictag=Fanny+Griffiths+McGowan (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Fanny-McGowan (shareable link to this entry)

GRIFFITHS, Emily (Emily GRIFFITHS; Miss E. GRIFFITHS; Mrs. William KING; Mrs. KING)

Dancer, actor

Born England, c. 1835; daughter of John Gordon GRIFFITHS and Anne Rosina WYATT
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)
Active professionally Sydney, NSW, by 1845
Married William KING, St. James's church, Sydney, NSW, 24 April 1852
Died Sydney, NSW, 31 October 1884, aged "49/50"

https://trove.nla.gov.au/search?l-publictag=Emily+Griffiths+King+d1884 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Emily-King (shareable link to this entry)

Documentation:

Marriages, Dorchester, Dorset, 1828; England, Select Dorset Church of England Parish Registers

https://www.ancestry.com.au/discoveryui-content/view/409248:9849 (PAYWALL)

17 May 1828 / John Griffiths / Anne Rosina Wyatt

[Family notices], Dorset County Chronicle [England] (22 May 1828), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000408/18280522/052/0004 (PAYWALL)

Married, the 17th inst., by the Rev. M. Colson, Mr. John Griffiths, to Miss Wyatt, daughter of the late Mr. J. Wyatt, many years Adjutant of the Dorset Militia.

England census, 6 June 1841, Chirbury, Shropshire; UK National Archives, HO107/909/22/1/4/2

https://www.ancestry.com.au/search/collections/8978/records/9565265 (PAYWALL)

Chirbury / Henry Pugh / 30 / Schoolmaster / [plus wife and 4 children]
Ellen Griffiths / 12 / Pupil // Emily / [Griffiths] / 9 / [Pupil] // Fanny [Griffiths] / 7 / [Pupil] // [All 3 not born in county, sic]

ASSOCIATIONS: Elder sister Ellen Edith Mary Griffiths (baptised Dorchester, Dorset, 8 July 1829; Mrs. Young; d. VIC, 1868); Fanny and Emily's ages probably reversed

"SHIPPING INTELLIGENCE. ARRIVALS", The Colonial Observer [Sydney, NSW] (4 January 1843), 724

http://nla.gov.au/nla.news-article226361669 

3. - The barque Posthumous, Captain Milne, from Port Phillip, having left the 25th December, with a general cargo.
Passengers - . . . Mr. and Mrs. Wyatt; and servant . . . Intermediate - Mr. and Mrs. Griffiths and two children, Mr. and Mrs. Merton [sic] and four children, Mr. and Mrs. Deering and one child . . .

"THEATRICALS", The Australian (4 January 1843), 2

http://nla.gov.au/nla.news-article37117489 

Mr. Wyatt arrived yesterday in the Posthumous, from England, via Port Phillip, and has brought with him a large accession of theatrical talent, which will form a new source of attraction to the frequenters of the Victoria. They consist of Mr. Griffith, (Manager,) Mrs. Griffith, Mr. Deering, and Mr. and Mrs. Mereton . . .

ASSOCIATIONS: Joseph Wyatt (theatre proprietor); Henry Shinton Deering (actor); Thomas and Christiana Mereton (actors); Royal Victoria Theatre (Sydney venue)

"THEATRICALS", The Australian [Sydney, NSW] (16 January 1843), 3

http://nla.gov.au/nla.news-article37114919

From the JOURNAL OF COMMERCE, of August 13, we copy the following favourable paragraph, relative to the new Manager of the Victoria Theatre: "We understand that Mr. Griffiths, late manager of the Shrewsbury and other Theatres, is about to sail for Sydney, to take the management of the Victoria Theatre. We congratulate the proprietors on securing the services of this gentleman, who with his talented lady, has earned golden opinions in Edinburgh, Birmingham, and other principal towns. We heartily wish him success. This evening the new play of the Old House at Home is to be produced . . .

[Advertisement], The Sydney Morning Herald (23 January 1843), 2

http://nla.gov.au/nla.news-article12408023

ROYAL VICTORIA THEATRE. ON MONDAY EVENING, 23RD JANUARY, 1843,
Will be presented Shakspere's Tragedy of HAMLET, PRINCE OF DENMARK,
the character of Hamlet by MR. GRIFFITHS, from the Theatre Royal, Edinburgh, his first appearance in this colony . . .

"THEATRE", The Sydney Morning Herald (25 January 1843), 3

http://nla.gov.au/nla.news-article12419173

Mr. Griffiths, the last of the newly arrived actors, made his first appearance on Monday evening, in the character of Hamlet, and we are sorry to say entirely failed in it; in characters of less importance he may be found useful; but in tragedy he will never succeed. Mr. Wyatt certainly made a most unfortunate selection of performers. Of the twelve brought out by him from England there is not one equal in ability to the leading members, male or female, of the old company.

"WEEKLY LIST OF INSOLVENTS", The Australian (23 September 1843), 4

http://nla.gov.au/nla.news-article37114759

. . . JOHN GORDON GRIFFITHS, theatrical performer, O'Connell-street, Sydney . . .

[Advertisement], The Australian (1 March 1845), 2

http://nla.gov.au/nla.news-article37155380 

ROYAL VICTORIA THEATRE. Mr. GRIFFITHS . . . his BENEFIT . . .
MONDAY EVENING, the 3rd of MARCH . . .
A Neapolitan Dance, by the Misses E. and F. Griffiths (Pupils of Signor Carandini.) . . .

ASSOCIATIONS: Gerome Carandini (dancer)

[Advertisement], The Sydney Morning Herald (17 October 1845), 1

http://nla.gov.au/nla.news-article12882888 

ROYAL VICTORIA THEATRE. FOR THE BENEFIT OF MR. GRIFFITHS . . .
ON MONDAY EVENING, 20TH OCTOBER, 1845.
Will be presented, for the first time in the Colony, the celebrated Opera of
GUSTAVUS THE THIRD; OR, THE MASKED BALL.
Gustavus III - Mr. GRIFFITHS.
At the end of the Opera, a new Dance, in the character of Moggy McGilpin, by Miss F. Griffiths . . .
The Bavarian Broom Girl's Dance, by Miss E. Griffiths . . .

"THEATRICAL", The Melbourne Argus [NSW (VIC)] (27 April 1847), 2

http://nla.gov.au/nla.news-article255638471 

As announced in our advertising columns, Mrs. Griffiths, long known as an actress on the boards of the Queen's Theatre, takes her benefit on Thursday evening, under the distinguished patronage of his Honor the Resident judge. Mrs. Griffiths is about leaving the province to join her husband in Sydney, who stands high there as an actor. It is to be hoped, therefore, that her "farewell night" will be liberally patronized by the public.

ASSOCIATIONS: Queen's Theatre (Melbourne venue)

"MARRIED", The Sydney Morning Herald (26 April 1852), 3

http://nla.gov.au/nla.news-article12936265 

By special license, on the 24th instant, at St. James' Church, by the Rev. George King, William, only son of Captain George King, R. N., Port Officer, Hobart Town, V. D. L., to Emily, third daughter of J. G. Griffiths, Esq., Woolloomooloo, Sydney.

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (1 May 1852), 3

http://nla.gov.au/nla.news-article59774541 

. . . The relinquishment by Miss Emily Griffiths (now Mrs. King) of her theatrical engagement, for one of a more important and permanent character, in which, we feel convinced, she will play the part of "A Model Wife" to admiration, cannot be regarded otherwise than as a severe loss to the company. Our cordial congratulations even are mingled with a feeling of regret, which we neither care nor desire to conceal. That she will play as graceful a part in the grand drama of "Domestic Life" as she has hitherto done in the "mimic scene," is beyond a doubt; and we have sufficient confidence in her amiability to feel assured of her indulgence in thus publicly expressing our sincere wishes for her happiness.

[Advertisement], The Sydney Morning Herald (10 May 1852), 2

http://nla.gov.au/nla.news-article12936652

ROYAL VICTORIA THEATRE. THIS EVENING, MAY 10 . . .
A Cantata, appropriate to the first anniversary of the Gold Discovery in New South Wales, arranged by Mr. Gibbs, will be sung by Mesdames Sara Flower, Carandini, Messrs. F. and J. Howson, and Full Chorus . . .

ASSOCIATIONS: John Gibbs (violinist, leader of the theatrical band, composer; also one of Joseph Wyatt's 1842 imports); Sara Flower (vocalist); Maria Carandini (vocalist); Frank Howson (vocalist); John Howson (vocalist)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (12 May 1852), 2

http://nla.gov.au/nla.news-article12936709

ROYAL VICTORIA THEATRE. THIS EVENING, MAY 12 . . .
A Cantata, appropriate to the first Anniversary of the Gold Discovery in New South Wales,
arranged by Mr. Gibbs, will be sung by Mesdames Sara Flower, Carandini, Messrs. F. and J. Howson, and Full Chorus . . .

"MUSIC", The Sydney Morning Herald (12 May 1852), 2

http://nla.gov.au/nla.news-article12936703

Perhaps the only exception from the general failure which attended the awkward attempt at general holiday-making on Monday last, was the performance of a Cantata by the corps vocale of the Royal Victoria Theatre, the words and music in honour of the occasion, written by Mr. Griffiths, manager; and composed by Mr. Gibbs, director of the music at this establishment. This cantata is a composition in four parts, which were severally rendered by Mesdames Sara Flower and Carandini, and Messrs. F. and J. Howson. It is peculiarly a dramatic composition, written in a dashing allegro style, and does great credit to Mr. Gibbs, whose acknowledged tact in making available all the artistical resources at his command, was fully displayed on this occasion. The solo parts were effectively relieved and sustained by a chorus of twenty voices; and an enthusiastic encore from a house crowded to the ceiling made a warm response, not only to the musical arrangement, but to the main sentiment which the music illustrated; namely, the succession of "an age of gold", to "an age of iron". A theatre is not legitimately, the arena for the expression of political opinions; but the manner in which this allusion to the "transportation question" was received on Monday evening by a house crowded with persons of the most varied opinions on almost all other questions, must have satisfied Earl Grey, had his Lordship formed one of the audience who, con amore, joined in the chorus, "Advance Australia", that the repulsive question which he, it appears, desires still to re-open, is for ever settled, in so far as New South Wales is concerned. It was only out of consideration for the vocalists that a second encore was restrained.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (25 September 1852), 3

http://nla.gov.au/nla.news-article59775363 

Royal Victoria Theatre . . . MONDAY EVENING, September 27 . . .
A variety of Singing and Dancing, by Madame Sara Flower, Mr. J. Howson,
Mrs. McGowan (late Miss Fanny Griffiths), and Miss Collins . . .

ASSOCIATIONS: Louisa Collins (dancer)

"OBITUARY. THE LATE MR. JOHN GORDON GRIFFITHS", Bell's Life in Sydney (7 March 1857), 2

http://nla.gov.au/nla.news-article59866119

It is with sincere regret that we have this day to announce the decease of the above gentleman, which melancholy event took place at his residence, the Pier Hotel, Manly Beach, on Wednesday morning last. Mr. Griffiths's long histrionic career in this colony in connection with the Victoria Theatre, will not permit us to pass over the circumstance of his demise with out some passing comment. The deceased gentleman arrived in this colony in the early part of 1842 [recte 1843], having been engaged in England by Mr. Joseph Wyatt, the then enterprising proprietor of the Royal Victoria.

Mr. Griffiths arrived in this colony with the prestige of having attained considerable success in the mother country. He was known to have travelled about and performed with Macready, Mrs. Sterling, Edward Wright, Pritchard, and others, though of less note, performers of name and fame. On the Birmingham Circuit he was well known as a "Star" of no small magnitude. For a time he resided in that town, one of his children being buried there. From about 1827 to 1840 he was Manager of the Shrewsbury Circuit, where he was a great favorite; and on leaving which he was presented with a service of plate. Indeed, he was native of this country, although from his proficiency in the Scotch dialect and admirable assumption of Scotch characters, it was long thought he was a Scotchman . . .

Mr. Griffiths retired from the Victoria at the time Mr. Wyatt sold that establishment . . . On Thursday afternoon, the mortal remains of Mr. Griffiths were conveyed to their final resting place, the Camperdown Cemetery, accompanied by a numerous train of sorrowing friends, comprising principally the members of the theatrical profession. The pall bearers on the melancholy occasion were Mr. G. V. Brooke, Mr. W. H. Stephens, Mr. Frank Howson, Mr. G. Rogers, Mr. A. Torning, Mr. James Crosby, Mr. John Gibbes [Gibbs] and Mr. John Howson, and thus has the silent grave closed over the remains of John Gordon Griffiths, whose epitaph will shortly be seen not far from the tomb of the eminent Bochsa . . ..  

ASSOCIATIONS: Gustavus Vaughan Brooke (actor); William Henry Stephens (actor); George Herbert Rogers (actor); Andrew Torning (actor, manager); James Crosby (actor); Nicholas Charles Bochsa (musician)

[Advertisement], The Sydney Morning Herald (25 March 1859), 10

http://nla.gov.au/nla.news-article13022862

PURKIS and LAMBERT have received instructions from Mr. Philip Cohen,
who is retiring from the Manly Beach Hotel, to sell by auction . . .
The whole of the valuable gallery of oil paintings, and rare engravings, statuary, &c.,
which will be removed to the Mart for convenience of sale.
The above choice selection were originally the property of the late John Gordon Griffiths, Esq., and selected by him with great care.
Catalogues are in preparation . . .

Sands' Sydney directory for 1861, 34

https://www.ancestry.com.au/imageviewer/collections/1907/images/rdaus1863_078553__0000_03_a-0019?pId=25258 

Clarence Street [between Market and Druitt Streets] . . . 224 Griffiths, Mrs. A., actress . . .

"FUNERAL", The Sydney Morning Herald (29 December 1868), 8

http://nla.gov.au/nla.news-article13177979 

The Friends of Mr. CHARLES GRIFFITHS (of the Government Printing Office),
are respectfully invited to attend the Funeral of his deceased beloved Mother ANN GRIFFITHS;
to move from her late residence, Bathurst-street, near Sussex-street, THIS (Tuesday) AFTERNOON, at half-past 2 o'clock precisely.
THOMAS HILL, Undertaker, Burdekin's-square, William-street, and Hill's old establishment, Riley-street.

Bibliography and resources:

F. C. Brewer, The drama and music in New South Wales (Sydney: Charles Potter, Govt. Printer, Sydney, for the New South Wales Commission for the World's Columbian Exposition (1893: Chicago, Ill.), 1892), 12, 19,

https://archive.org/details/dramamusicinnews00brew/page/12/mode/2up (DIGITISED)

. . . Griffiths was decidedly the most talented of the new importation. His performance of Hamlet was a comparative failure, nevertheless at the end of the play he was called before the curtain . . . Despite the unfavourable impression caused by his first introduction to a colonial audience, Griffiths soon became a great favourite, and his fine portraiture of Sir Pertinax Macsycophant, Dandie Dinmont in "Guy Mannering," and Bailie Nicol Jarvie in "Rob Roy," deserved the very high encomiums passed upon them. His best character in tragedy was Iago, to which he gave quite a new reading in Sydney, on the lines of that of the celebrated Charles Young, of the Kemble period in London. Griffiths became manager, and showed considerable tact in this capacity . . .

ASSOCIATIONS: Francis Campbell Brewer (memoirist)

MUMMER MEMOIRS . . . No. XV (By 'Hayseed')", Sydney Sportsman (25 April 1906), 3

http://nla.gov.au/nla.news-article167204480 

. . . John Gordon Griffiths was a Shropshire man born in 1810, and soon after leaving school joined a travelling dramatic company. He became a member of the celebrated McKay's Company, and was next with the historic Alexander at Glasgow. After leaving Scotland he played in London, where he met Mr. Joseph Wyatt, of the Victoria Theatre, Sydney, who induced him to come to Australia. He arrived in Sydney early in 1842 [sic, 1843], the year after Nesbitt McCron, and opened in the character of "Hamlet." He met with a most determined opposition, which almost drove him from the stage, but he secured the favor of his enemies by an extraordinary study, and performance of "Coriolanus." The management of the Victoria Theatre was entrusted to him, and in 1855 he became manager of the Prince of Wales Theatre. He retired for a short time, and took up his residence at. the Pier Hotel, Manly, where he died March 4, 1857 . . .

ASSOCIATIONS: Joseph Michael Forde ("Hayseed"); Francis Nesbitt McCron (actor)

"MUMMER MEMOIRS. No. 186", Sydney Sportsman (1 November 1911), 3

http://nla.gov.au/nla.news-article168594981 

A correspondent asks for some information respecting John Gordon Griffiths, an . . . old time, sterling actor, who was born in Shropshire, England, in August, 1810, and shortly alter leaving school joined a dramatic company. He became a member of the celebrated McKay's company, and was next with Mr. Alexander, at Glasgow. It was with these managers that he obtained that intricate knowledge of lowland manners and language, which made him so successful in Scottish dialect parts. After leaving Scotland he appeared in London, where he met Mr. Joseph Wyatt . . .

Emily King, Find a grave

https://www.findagrave.com/memorial/189009011/emily-king 

GRIFFITHS, Joseph (Joseph GRIFFITHS; J. GRIFFITHS; Mr. GRIFFITHS)

Musician, professor of music, vocalist, violinist, orchestral leader, teacher of music, choirmaster, composer, merchant

Born England, 1820; baptised Bilston, Staffordshire, 9 July 1820; son of Samuel GRIFFITHS (1786-1872) and Joice MILES (c. 1792-1881)
Arrived (1) Adelaide, SA, 13 February 1849 (per Glenelg, from London, 7 November 1848)
Departed (1) Melbourne, VIC, 23 June 1849 (per William Watson for San Francisco)
Arrived (2) Sydney, NSW, by April 1850 (from San Francisco)
Departed (2) Sydney, NSW, 9 May 1850 (per John Munn, for San Francisco)
Married Mary SMITH (1822-1896), Bilston, Staffordshire, England, 24 June 1852
Arrived (3) Melbourne, VIC, 26 December 1852 (per Covenanter, from Liverpool, 1 September)
Departed (3) Melbourne, VIC, June 1868 (per Wave of Life, for England) [PROV]
Arrived (4) Melbourne, VIC, 7 February 1874 (per Francis Thorpe, from England)
Died Richmond, VIC, 10 August 1901, aged "80/81"

https://trove.nla.gov.au/search?l-publictag=Joseph+Griffiths+1820-1901 (TROVE tagged by Australharmony)

https://trove.nla.gov.au/search?l-publictag=Joseph+Griffiths+d+1901 (TROVE public user tag)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Joseph (shareable link to this entry)

GRIFFITHS, Catherine Mary (Catherine Mary GRIFFITHS; Miss GRIFFITHS, R.A.M.)

Musician, pianist

Born Melbourne, VIC, 12 April 1853; baptised St. Stephen's, Richmond, 15 May 1853; daughter of Joseph GRIFFITHS and Mary SMITH

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Catherine-Mary (shareable link to this entry)

Summary:

Joseph Griffiths was a native of Bilston, Staffordshire, and son of a prosperous blacksmith, Samuel Griffiths, and his wife Joice Miles.

A violinist, pianist, and baritone vocalist, he was, according to one of his later advertisements, a pupil of Domenico Crivelli, so presumably he spent some of his early or mid twenties in London.

Aged 28, he sailed from London in November 1848 bound for Melbourne. While his ship had stopped off in Adelaide in February 1849, however, he was persuaded by George Coppin to stay on there long enough to participate in a concert by the Adelaide Choral Society, to sing at an Agricultural Society dinner, and to give a concert of his own in March.

Griffiths sailed on to Melbourne, arriving on 8 April, and first appeared in the Mechanics' Institution music class concert on 17 April. Having in mid June given his own concert, and appeared on stage at the Queen's Theatre, for Joseph Megson and Morton King, as Francis Osbaldistone in Rob Roy "with all the songs", he reportedly sailed for San Francisco on 23 June 1849.

Evidently pursuing non-musical business interests, he returned to Australia the following year, probably arriving in Sydney in April 1850. The main purpose of this second visit was to purchase goods for export back to San Francisco, but while in Sydney he also appeared in concert for the Marsh brothers, Stephen and Henry, along with Sara Flower, making her local debut. He then sailed again for San Francisco on 9 May, with an export shipment including beer, fruit, butter, paper, boots, and one case of music probably purchased, or on consignment from, the Marsh brothers.

Having returned to England and his hometown, he conducted a concert for the Bilston Library and Institute on 22 June 1852, and on 24 June married Mary Smith. On 1 September 1852, Griffiths sailed with his wife from Liverpool on the Covenanter, returning to Melbourne.

Settling in Melbourne, Griffiths first carried on business as a merchant trader. He was later reported to have been a founding member of the Melbourne Philharmonic Society in September 1853, and from October 1854 was leader of the Philharmonic's band, under conductor John Russell. He continued to lead the Philharmonic band until the beginning of 1857, when, at the society's third annual general meeting, he was requested but declined to continue in the position, which he recommended be passed to Edward King.

In mid 1856, he had advertised that he "now devoted the whole of his attention to the Musical Profession", as a teacher of "Violin, Pianoforte, Singing, &c.". That year, he was also leader of the choir at St. Stephen's church, Richmond. However, probably disappointed at the slim financial rewards of teaching, he appears to have given up his professional practice, and perhaps also his amateur musical pursuits, at around the time of his resignation from the Philharmonic early in 1857.

He returned to business pursuits, and was later a municipal councillor and served as mayor of the Melbourne suburb of Richmond.

He was also a noted as an art collector, and in 1868, prior to returning with his family to England, he sold off much of his large personal collection of art, books, and music (see catalogue below).

He and his family remained in England until 1874, while his pianist daughter, Catherine, was a pupil at the Royal Academy of Music, London.

Documentation:

Baptisms solemnized in the parish of Bilston in the county of Stafford in the year 1820; register page 203; Staffordshire Archives, D667/1/5

https://search.findmypast.com.au/record/browse?id=GBPRS/STAFF/007566618/00263 (PAYWALL)

No. 1619 / [1820] July 9th / Joseph Son of / Samuel & Joice / Griffiths / Millsfield Bilston / Black Smith . . .

Adelaide, SA (13 February to 28 March 1849):

"SHIPPING. ARRIVED", South Australian Gazette and Mining Journal [Adelaide, SA] (15 February 1849), 3

http://nla.gov.au/nla.news-article195937126 

Feb. 13 - The ship Glenelg, 1500 tons, Bannatyne from London. Passengers . . . Messrs. Griffiths, Gibson, Nicholls . . . in the intermediate . . .

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Observer (17 February 1849), 2

http://nla.gov.au/nla.news-article158927143 

Tuesday, February 13th - The ship Glenelg, 1500 tons, Ballantine, master, from London. Passengers . . . in the cabin; and the following in the intermediate and steerage: . . . J. Griffiths . . . Joseph Griffiths . . .

"SOUTH AUSTRALIAN AGRICULTURAL AND HORTICULTURAL SOCIETY . . . THE DINNER", South Australian Register (24 February 1849), 3

http://nla.gov.au/nla.news-article50246969 

. . . at half-past six, a most substantial dinner was laid on three parallel tables, in the Messrs. Marks's new store, adjoining the "Auction Mart Tavern," where there was a good spread . . . Mr. Joseph Johnson was called to the Chair . . . Mr. Coppin sang "The Itinerant Music Master" . . . Mr. Griffiths, after a call from the Chair, sang - "Woman's Heart" . . .

ASSOCIATIONS: Joseph Johnson (d. 1877); George Coppin (actor, manager, publican)

MUSIC: Woman's heart (Balfe)

"THE DINNER", South Australian Gazette and Mining Journal (24 February 1849), 3

http://nla.gov.au/nla.news-article195937182 

In the evening about 160 farmers, horticulturists and other gentlemen, partook of an excellent and well got up dinner furnished by Mr. Coppin, of the Auction Mart Tavern, in the new room of Mr. Marks . . .
Song - Mr. Coppin, "Jim Bags," which was received with great laughter and applause . . .
Song - Mr. Griffiths "Woman never yet was won by sighing" . . .

"AGRICULTURAL DINNER", Adelaide Times (26 February 1849), 4

http://nla.gov.au/nla.news-article206980357 

We cannot close our report of the dinner without awarding their due meed of praise to those gentlemen who contributed so much to the company's entertainment by their "vocal music." Mr. Griffiths, in particular, sang several excellent songs with admirable taste; and the melody of his baritone we have not heard surpassed in the colony. Mr. Dicker also gave very good specimens of his talent to enhance legitimate hilarity; whilst Mr. Coppin, with his inimitable comic powers, rendered the most common-place ditty a matter of rich entertainment. Several others were not behind in their usual contributions on such occasions, and the whole proceedings were far less deadened with long leaden speeches, and infinitely more harmonious than the general average of dinner parties. It may not be inappropriate to mention here that Mr. Griffiths, referred to above, is a professed musician, now on his way to Port Phillip, but that he has expressed a determination to remain in Adelaide, if sufficient inducement for the beneficial exercise of his art should he afforded. His services, we understand, were offered to the Choral Society on Friday evening last, but were declined, as we are informed, from some petty jealousy on the part of the leader of the orchestra. Mr. Griffiths, however, has, we hear, at the urgent solicitation of his friends, consented, in any case, to give a concert on his own account shortly in Adelaide.

ASSOCIATIONS: Frederick Dicker (vocalist); Adelaide Choral Society (organisation)

[Advertisement], South Australian (13 March 1849), 1

http://nla.gov.au/nla.news-article71623281

EVENING CONCERT. NEW QUEEN'S THEATRE.
MR. J. GRIFFITHS most respectfully informs the Gentry and Inhabitants of Adelaide and its vicinity that,
at the request of several friends, he has postponed his departure for Melbourne for the purpose of giving a
Grand Evening Concert, upon which occasion he hopes to receive the patronage and support of the public generally.
On Wednesday Evening, March 14th, 1849.
PROGRAMME. - PART 1.
Overture Pianoforte - Mr. Seyler, from the Opera "Lucrezia Borgia" - Donizzetti
Song - Miss Lazar, "Glory from the Battle Plains," Opera "La Gazza Ladra" - Rossini
Song - Mr. Griffiths - "Song of the Sailor Boy" - Rodwell
Song - Mr. Lazar, "Figaro" - Rossini
Solo Violin - Mr. Griffiths, "Irish Melody," on one string, with variations - Griffiths
Song - Mr. Gale, "The Standard Bearer" - Shubert [sic]
Duet - Miss Lazar and Mr. Griffiths, "Flow Gently, Deva" - Parry.
An interval of fifteen minutes.
PART 2.
Song - Mr. Griffiths (with violin obligato by Mr. Lee, who has kindly given his gratuitous services on this occasion), "Hear me, Gentle Maritana" - Wallace
Song - Mr. Gale, "The Heather Bloom" - Balfe
Duet Violins - Messrs. Lee and Griffiths, "Le Solitaire" - De Beriot
Ballad - Miss Lazar, "I'll not beguile thee from thy Home" - A. Lee
Solo, Cornet a Piston - By an Amateur Gentleman.
Song - Mr. Griffiths, "The Mariner's Song" - Keiser
Buffo Song - Mr. Lazar, "Cinderella," introducing the most popular selections from the Opera - J. Parry
Duet - Miss Lazar and Mr. Griffiths, "Mighty Jove" - Rossini.
Doors open at seven o'clock. Concert to commence at eight precisely.
Price of admission - Boxes, 5s.; Pit, 2s. 6d.
Private Boxes can be secured on application to Mr. Griffiths, at Coppin's "Auction Mart Tavern."

ASSOCIATIONS: John Lazar (actor, manager); Rachel Lazar (vocalist, actor); Philip Lee (violinist); Thomas Gale (vocalist); Albert Seyler (pianist); New Queen's Theatre (Adelaide venue)

MUSIC: Song of the sailor boy ["Cheer up, cheer up, my mother dear . . . your boy in blue"] (words by Eliza Cook; music by G. H. Rodwell); Hear me, gentle Maritana [The mariner in his barque] (Wallace, from Maritana)

"LOCAL NEWS", South Australian (16 March 1849), 3

http://nla.gov.au/nla.news-article71623303

MR. GRIFIFTHS'S Concert at the Queen's Theatre, on Wednesday evening, was well attended as regards the boxes, but there were very few in the pit. In truth, we doubt if, on occasions of this kind, it is worth opening the latter except at box prices. The amount added to the receipts must be very trifling, and the noisy and exuberant glee of the lower auditory - a counterpart to the shilling gallery demonstration in most theatres - tends greatly to mar the relish, and shock the good taste of those who go to enjoy the music, and helps to remind the quieter part of the audience that they are in a mere theatre, and not a concert-room. The same objection is applicable to a low piece of travestie injudiciously introduced by Mr. Lazar, purporting to be a buffo, in other words, a clap-trap parody on the opera of Cinderella. We were the more sorry for this, as we noticed an unusual number of ladies in the boxes, many of whom have not, for some time past, graced the theatre by their presence. We regret that we cannot speak in as high terms as we could wish of the evening's entertainment. Where the performers are few, with little of instrumental aid to vary the treat, the merit of the performers requires to be of a very high order to ensure success. We scarcely know what to say of Mr. Seyler on the pianoforte; he must be either out of practice, or exceedingly nervous. In his solo playing there was a painful indecision and hesitancy, that many might be apt to attribute to a want of knowledge of time. To his accompaniments we are inclined to be indulgent. It requires very great tact in the musician to humour the peculiar style and taste of the various vocalists he accompanies through the evening; and in this department even the best musicians may fail if not accustomed to it. Miss Lazar, in her duets with Mr. Griffiths, displayed her usual science. In her next attempts at solo, however, we would entreat the fair artiste not to beguile us so remorselessly of the words. Never on any former occasion had we so much need of the promptings of a libretto; association perhaps assisted us in detecting a solitary intelligible sound in one of her songs - it was "love." We are more of a poetical than a musical people. The Italians, possessing a language highly musical, may be permitted, as is their wont, to sacrifice sense to sound; we, possessing a language, however copious and expressive, vastly deficient in euphony, are constrained to articulate as clearly as the music may permit, at least as much of the poetry as may enable us to guess the remainder of a lyric performance. The scope of our remarks may be the better understood by reversing the Italian adage: Inglese Italianato e diavolo incarnato.

Mr. Griffiths has a fine voice, but better adapted for display before a private than a public audience. His taste and knowledge of music are conspicuous, but he lacks power. His skill on the violin, though much above mediocrity, was not what we hoped for, nor are we very rabid admirers of tricks on the violin. His one-stringed solo, with its bagpipe finale, was well enough by way of interlude to the more legitimate performances of the evening, but was in itself no very great treat. Mr. Lee's performance on the violin throughout the evening yielded us the most positive pleasure; united to taste and feeling, he appears to have a mastery of his instrument, which we have not heard surpassed in the colony. Mr. Griffiths and he did every justice to their violin duet; but the piece appeared to us infinitely more scientific than pleasing. Mr. Gale has a remarkably fine voice, rich and flexible, between a barritone and base, but it wants cultivation. A little attention and exercise would in a short time, enable this gentleman, who is but young, to produce greater equality in the upper and lower notes of his voice, the latter being at present rather reedy. He sings with great taste and ease, and both his songs were warmly applauded, his last, "The Heather Bloom" being unanimously encored. A gentleman, whose name we could not ascertain, played an air on the Cornet a'piston, accompanied by Mr. Seyler on the pianoforte.

"MR. GRIFIFTHS'S CONCERT", Adelaide Times (19 March 1849), 2

http://nla.gov.au/nla.news-article206980466 

. . . Mr. Griffiths sung with much taste and feeling - the "Sailor boy," "Hear me gentle Maritana," and the "Mariner's song" . . . The performances of Mr. Griffiths on the violin gave much pleasure. The duet with Mr. Lee was a highly finished affair . . .

"LETTERS TO THE EDITOR . . . PUFFING", South Australian Register (21 March 1849), 1 supplement

http://nla.gov.au/nla.news-article50247272 

Gentlemen - The wholesale system of puffing every body and everything, on the consideration alone of prompt payment for newspaper advertisements, has recently become so fulsome that a "showing up," under the circumstances, would be an outrage on the better sense of the public, who are treated with practical illustrations of the fact about five times a-week . . . The Times announces a concert grand, of course - that's the word; the Gazette, too, says something about extraordinary talent, and both threaten the public with the infliction of the deplorable fact that Mr. Griffiths is about to retire to Port Phillip! . . . Thus matters yet keeping with the public through the press; and, like some others, the operation of filching four shillings from my pocket and placing it to the better side of the account of Lazaar, Griffiths, Coppin, & Co., was effected. It is not my intention to observe particularly on that somewhat extraordinary display of musical talent and judgment on the occasion, further than stating that the time kept by the town clock seemed to be a matter of more grave consideration to the assembly than the periods into which the musicians divided their sickly sentimental productions . . .
[signed] PHILHARMONIC.

"TO THE EDITOR OF THE . . .", South Australian Gazette and Mining Journal (22 March 1849), 3

http://nla.gov.au/nla.news-article195937333 

Sir - You will greatly oblige me by inserting a few words in answer to a letter signed "Philharmonic," in the Register, showing-up the latest instance of the wholesale system of puffing carried on by the editors of newspapers, in consideration of prompt payment for advertisements.
If, as "Philharmonic" states, the public is treated with a practical illustration five times a week, my instance cannot be the last, the concert alluded to having taken place just a week ago. As to my extraordinary talent, none can place less value on their own abilities than myself, or I should not have taken the trouble of leaving the vessel I came from England in for the purpose of giving my gratuitous services at the Choral Society's Concert, or so readily acceded to the solicitations of strangers at the Agricultural Dinner, at which place, I presume, the editors of the newspapers alluded to formed their own opinion of my superior talent.
In answer to the insinuation that Mr. Coppin participated in the proceeds of the concert, I must state, in justice to that gentleman, I should not have visited Adelaide had it not been for the kind invitations I received from him for the purpose of assisting the Choral Society. During the time I have been in South Australia I have been a guest with Mr. Coppin, from whom I have received the most marked hospitality and kindness, and so far from his being a gainer by the concert, he neither spared pains or expense in forwarding my interests.
Filching, and other low and ungentlemanly allusions, are not worth noticing.
"Philharmonic" seems to know the proportions of puff necessary to accompany a well-paid advertisement, and, at the same time, illustrates au editor's mortification at not receiving an advertisement at all.
In conclusion, "Philharmonic" seems to be some shortsighted individual who fancies his interests tottering, and, as a preventative, adopts the plan of raising a scare-crow, in the shape of a low and scurrilous letter, which is alike discreditable to the writer and to the editor who permits its insertion.
I am, Sir, Your obedient servant,
J. GRIFFITHS.
[We insert Mr. Griffiths' letter; but the epistle he alludes to is apparently directed far less against him than others who are obstinate non-advertisers with the Register, and who evidently cannot be abused into an alteration of their determination. - ED.]

Melbourne, NSW (VIC) (8 April to 23 June 1849):

"SHIPPING AND COMMERCIAL GAZETTE. ARRIVED", Port Phillip Gazette and Settler's Journal [Melbourne, NSW (VIC)] (10 April 1849), 2

http://nla.gov.au/nla.news-article223154717 

April 8 - Souvenir, schooner, 60 tons, Skey, master, from Adelaide 28th March, and Portland 4th April. Passengers - (cabin) . . . Messrs. Blundell, Dumeresq, Griffiths . . .

[Advertisement], The Melbourne Daily News (14 April 1849), 3

http://nla.gov.au/nla.news-article226472382 

Mechanics' Institution. MUSIC CLASS . . .
will give their Public Concert . . . On TUESDAY Next, 17th Inst.
PROGRAMME. 1st Part. Overture - "Tancredi" - Rossini . . .
Solo - Violin (by Mr. Megson) - L'Maurer.
Song - "The Boy in Blue" (by Mr. Griffiths) Rodwell.
Overture - "Gazza Ladra" - Rossini.
2nd Part. Overture - "Cheval de Bronze" - Auber . . .
Song - "Hear me gentle Maritana" - Opera "Maritana" - Violin Obligate - (by Mr. Griffiths) - Wallace . . .
Quadrilles - "La Somnambula" - Arranged by Megson . . .

ASSOCIATIONS: Joseph Megson (violinist, leader); Mechanics' Institution (Melbourne association and venue)

"CONCERT", The Melbourne Daily News (19 April 1849), 3

http://nla.gov.au/nla.news-article226471943 

Tuesday evening, was, despite the unfavourable state of the weather, a flattering proof of the interest and [?] excited by these performances . . . A song by Rodwell, (far from his best,) served to display the powers of a recent professional [arrival] from England via Adelaide, namely, Mr. Griffiths. This gentleman is open to more [critical] remarks than we are usually inclined to make on amateur efforts, as music is his profession, and his debut was made in that [manner] which fairly challenges criticism. Mr. Griffiths has a well cultivated, true, [?] tenor. His intonation is particularly sharp and distinct, and under very [?] able control. He is evidently a [?], and "well up" in his vocation. His only defect is want expression and a frozen subdued style, reminding us of the poet's description of mindless Greece - "We start for soul is wanting there." This was very remarkable in the merry song "Women are not won by sighing," [? or] "sighing" we forget which, introduced us to the [?] encore of the "Boy in Blue" in a staid, implacable, melancholy and mourning style, and intonation. This was again observable in a [?] scena from Maritana ("Hear me, gentle Maritana")- where music and words so far to encourage that abandon, [?] which half the imagination of the [ ] undepicted. A very flattering [encore] greeted Mr. Griffiths in this [? composition], but unhappily he substituted - "Oh, steer my bark to Erin's Isle," which was his best effort throughout the evening. We have been thus candid with the [?], for the reasons already expressed, further because we think it is to [?] that so fine a voice should be [?] by drawbacks which may not be [? ]table . . .

"THE CONCERT", The Argus (20 April 1849), 2

http://nla.gov.au/nla.news-article4768754

The musical treat, presented by the amateurs connected with the Mechanics' Institution, went off in the first rate style which we predicted, and the room was more crowded than upon any former occasion, in spite of the weather being very unsettled. The programme was good, and contained more than the usual share of novelty. A Mr. Griffiths, newly arrived, made his debut, and left a very favourable impression upon his audience. He possesses a fine bary-tone voice, evidently has had much musical experience, and is very happy in the selection of his songs. He is also remarkably distinct in his enunciation, a quality far too little aimed at by the generality of singers, and with a shade more of animation, he would make a very material addition to our musical corps . . . Mr. Megson so far opened his heart, as again to favour us with one of his brilliant fantasias on the violin, which, of course was rapturously applauded, and encored; an honor also both deserved and accorded to Mr. Pritchard's beautiful solo on the flute, both the songs of Mr. Griffiths, and one of those by the German gentleman. The overtures were well selected, and very creditably performed . . .

ASSOCIATIONS: M. Sachs ("German gentleman")

[Advertisement], The Melbourne Daily News (8 June 1849), 3

http://nla.gov.au/nla.news-article226471247 

MR. J. GRIFFITHS BEGS respectfully to announce to the Gentry and elite of the city of Melbourne, that at the request of many of his friends, he has arranged to give a
Grand Concert previous to his departure from the colony, under the distinguished Patronage of His Honor the Superintendent, and His Worship the Mayor.
Mr. Griffith will sing on this occasion several new and popular Songs, including Russell's grand scena, "The Maniac," "The Boy in Blue," "Pestal," "Molly Bawn," &c., &c.
Mr. G. will also make his debut as a Violinist, by introducing "La Tremolo," in imitation of Paganini's "Monuement Perpetuale" [sic, Movimento perpetuo].
Nearly all the available talent of the colony are already engaged for the Concert, a programme of which will appear in a few days.

MUSIC: The maniac (Henry Russell); Pestal (C. E. Horn); Molly Bawn (Samuel Lover); Moto perpetuo (Paganini)

[Advertisement], The Argus (8 June 1849), 3

http://nla.gov.au/nla.news-article4769324 

Mechanics' Institution. MUSIC CLASS . . .
ON TUESDAY EVENING, 12th INSTANT. PROGRAMME: 1ST PART . . .
Song - "The dream of the Reveller" (by Mr. Griffiths) - Russell.
Overture - Masaniello - Auber.
SECOND PART. Overture - Cenerentola - Rossini . . .
Song - Maritana (by Mr. Griffiths) - Wallace - By particular desire . . .
Jenny Lind Polkas, Nos. 1 & 2 - Linter . . .

MUSIC: The dream of the reveller (Henry Russell)

"THE MUSIC CLASS CONCERT", The Melbourne Daily News (14 June 1849), 2

http://nla.gov.au/nla.news-article226472957 

Despite the dense fog that prevailed on Tuesday evening, and raw chill that reminded one of "England, home, and chilblains," the Mechanics' Hall was crowded by (we presume) "the rank and fashion" of the town of Melbourne. The performances throughout were good, and we think an improvement on the last . . . A magnificent descriptive song of Russell's - "The Dream of the Reveller," was very correctly and sweetly sung by Mr. Griffiths - but wanted dramatic force - light and shade - in fact expression; nevertheless the song was much admired and loudly encored, upon which Mr. Griffiths (most erroneously, we think) substituted that unhappy ditty, "Mother be proud of your boy in blue," forcibly reminding us of Byron's criticism on Wordsworth - "When he tells the tale of Betty Foy,
The idiot mother of an idiot boy"
. . . Mr. Griffiths very sweetly gave us "Hear me gentle Maritana." He sings with an artistic truth and natural melody singularly pleasing, but, his enunciation is TOO PLACED. When encored, he introduced "When other hearts," &c., from the Bohemian girl, and here the warmth of coloring and tendresse so intensely embodied in the composition, were wanting. In other respects, however, the singer acquitted himself admirably. He possesses a beautiful voice and is a finished musician - pity with such acquisitions that he will sing with that subdued style which gives one the idea of a man languidly performing "a duty which he owed to society" and doing "it with Christian fortitude and resignation" . . .

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (14 June 1849), 2

http://nla.gov.au/nla.news-article223155085 

Mr. GRIFFITH'S CONCERT will come off this evening . . . the vocal powers of Mr. Griffiths are very superior. At the concert on Tuesday evening last, he was repeatedly encored . . .

[Advertisement], The Melbourne Daily News (14 June 1849), 3

http://nla.gov.au/nla.news-article226472965 

GRAND CONCERT, Under the Immediate patronage of His Honor the Superintendent and His Worship the Mayor.
MR. J. GRIFFITHS has the honor to announce that his CONCERT of vocal and instrumental music will take place at the room of the Mechanic's Institute, THIS EVENING, JUNE 14TH. On which occasion the Amateurs connected with the Musical Society have kindly given their services - together with several distinguished amateur vocalists.
To render the orchestra full and complete, Mr. G. has engaged all the available talent of Melbourne.
Leader of the band - Mr. Megson
Solo violin - Mr. Griffiths
Solo pianoforte - Mr. Anderson
Solo flute - Mr. Odrich
Accompanyist - Mr. Pietzker.
PROGRAMME.
Part 1.
Overture - "Guy Mannering" - H. R. Bishop
Song - "The Boy in Blue," - Mr. Griffiths - G. H. Rodwell
Duett - Flute and pianoforte - "Rondo Brilliante," Op. 14, Messrs. Pietzker and Odrich - Hoffmeister
Glee - "poor Insect," Messrs. Griffiths, Hailes, and Vaughan
Song - "Dermot Astore," by a Lady Amateur - F. N. Crouch
Solo - Violin - "La Tremolo," - De Beriot
Overture - Cheval de Bronze - Auber
Part 2.
Overture - "Fra Diavolo" - Auber
Song - "Molly Bawn," Mr. Griffiths - Lover
Solo, pianoforte - Fantasia Brilliante, Mr. Anderson - Dohler
Duett - "Flow Gently, Deva," Messrs. Griffiths and Hailes - J. Parry
Cavatina - "Bid me discourse" - H. R. Bishop
Grand Scena - "The Maniac," Mr. Griffiths - Russell
Canone - "Perfida Clori" Messrs. Griffiths, Vaughan, and Hailes - Cherubini
Tickets, 5s. each; to be obtained from Mr. Megson, Swanston-street; Mr. Clarke, Collins-street; Mr. C. Vaughan; Messrs. Pullar and Pittman, stationers; and from Mr. Griffiths, at Mr. Doyle's Confectionery Establishment, Swanston Street . . .

ASSOCIATIONS: Charles La Trobe (superintendent); George Button Hailes (vocalist); William Pietzker (musician); Mr. Odrich (musician); James Henri Anderson (musician); Charles Vaughan (vocalist)

"THE CONCERTS", The Argus (15 June 1849), 2

http://nla.gov.au/nla.news-article4770293 

The music class of the Mechanics' Institute gave another of their cheap and admirable concerts on Tuesday evening, and acquitted themselves with more than the usual success . . . A new feature was introduced in the shape of two quartettes sung by the Germans lately arrived, which were very successful, met with hearty encores, and were the most noticed performances of the evening. The respective solos of Mr. Megson on the violin and Mr. Thompson on the violoncello were also admirably performed and highly appreciated. Mr. Griffiths increased the favourable impression existing towards him by two more of his capital selection of songs, which although well sung would have borne a little more energy . . . A second concert was given last night by Mr. Griffiths, the principal vocalist at the above. In spite of the singularly bad management which led to two concerts being given within two nights of each other, a numerous audience were in attendance. The performance passed off a little more tamely than on Tuesday evening, but still appeared to give every satisfaction. With a very praiseworthy degree of liberality, Mr. Griffiths had engaged the German gentlemen who repeated their beautiful quartettes, although nothing of the kind was included in the programme.

ASSOCIATIONS: John Charles Thompson (cello)

"ROB ROY" and "MR. GRIFFITHS CONCERT", Port Phillip Gazette and Settler's Journal (16 June 1849), 2

http://nla.gov.au/nla.news-article223156867 

The celebrated piece Rob Roy is to be brought out on Monday next, on which occasion the "Baillie" will give his favourite character of "Baillie Jarvie;" the musical entertainments will be something more than usual on this occasion, as the manager has engaged the principal concert singers, and arrangements have been made to give extra effect to the orchestra and chorusses by the addition of auxiliary aid.

This concert came off on Thursday evening, and being the second in one week, was very respectably attended. The singing was admirable, and the lady amateur (Mrs. Reynolds) gave general satisfaction; she sang with confidence and precision, her song of "Bid me Discourse," which was excellent. The overture "Cheval de Bronze," was a decided failure, but the others were respectable. Mr. Griffiths shone with peculiar lustre in his solo for violin "La Tremolo," it is a masterpiece of execution on the violin - his songs of "Mollie Bawn" and the "Maniac," were correctly and well sung, the latter being a most difficult piece, and seldom attempted here. The German quartette singers were loudly applauded, and encored - upon the whole, it came off well.

ASSOCIATIONS: Mrs. Reynolds (vocalist)

"ROB ROY", Port Phillip Gazette and Settler's Journal (21 June 1849), 1 supplement

http://nla.gov.au/nla.news-article223158532 

On Monday evening, 18th June, the very interesting melo-drama of "Rob Roy," or, "Auld Lang Syne," was produced at the Queen's Theatre, and the cast of characters, for variety and repute, was so attractive, that before the curtain was raised, the house was densely crowded, box, pit, and gallery. Mr. Moreton King appeared as "Rob Roy" . . . "The Baillie" (Mr. Forsythe) gave ample proof that he had studied his part with good judgment and discretion. He was applauded throughout . . . Mr. Griffiths was not happy in "Francis Osbaldiston." This gentleman stands high as a musical professor; but, as a theatrical performer his want of tact, or stage acquirements, was very observable . . .
- J. R. M. Melbourne, June 19.

ASSOCIATIONS: James Ruthven McLaughlin (reviewer); Thomas Forsyth (amateur actor, reporter on the Gazette)

"Shipping Intelligence", Colonial Times [Hobart, TAS] (6 July 1849), 2

http://nla.gov.au/nla.news-article8765260 

MELBOURNE - Cleared Out, June 23 - William Watson, barque, 480 tons, E. Morrison, for San Francisco. Passengers . . . Joseph Griffiths . . .

San Francisco, CA, USA (1849-50):

Sydney, NSW (1850):

[Advertisement], The Sydney Morning Herald [NSW] (1 May 1850), 3

http://nla.gov.au/nla.news-article12917548

ROYAL VICTORIA THEATRE.
MESSRS. S. AND H. MARSH'S GRAND CONCERT.
FRIDAY EVENING, 3RD MAY, 1850 . . .
PROGRAMME. PART I . . . SONG - "Hear me Gentle Maritana," Wallace - Mr. J. Griffiths, pupil of Crevelli . . .
PART 2 . . . FINALE - "Hail to Victoria" (Australian national anthem) - Marsh - with Military Band Accompaniments -
MISS SARA FLOWER, Madame Carandini, Mr. J. Howson, Mr. F. Howson, Mr. J. Griffiths, Mr. Waller . . .

ASSOCIATIONS: The Stephen and Henry Marsh (brothers, musicsellers); Sara Flower (vocalist); James Waller (vocalist); Frank Howson (vocalist); John Howson (vocalist); Royal Victoria Theatre (Sydney venue)

MUSIC: Hail to Victoria (Stephen Marsh)

"MESSRS. S. AND H. MARSH'S CONCERT", The People's Advocate and New South Wales Vindicator (4 May 1850), 3

http://nla.gov.au/nla.news-article251539000 

The concert in the Victoria Theatre last night was the most animated and attractive fashionable entertainment of the season. Miss Sara Flower was the observed of all observers, and the high expectations or her abilities as a songstress were fully realised . . . Our attention was forcibly arrested by the finished performance of the Messrs. Marsh on the pianoforte; the debut of Mr. J. Griffiths, and Mr. Waller's splendid melodious, and masculine voice, which, with that of the Howson's, told effectually in the finale . . .

"CLEARANCES", The Sydney Morning Herald (10 May 1850), 2

http://nla.gov.au/nla.news-article12917796

May 9 - John Munn, barque, 638 tons, Captain H. R Cross, for San Francisco. Passengers - Mr. Joseph Griffiths, Mr. Samuel Hands, Mr. Higginbottom, medical superintendent . . .

"EXPORTS", The Sydney Morning Herald (10 May 1850), 2

http://nla.gov.au/nla.news-article12917787 

May 9. - John Munn, barque, 638 tons, Captain H. R. Cross, for San Francisco . . .
15 hogsheads bottled beer, 12 cases fruits, 1 case music, 8 cases preserves, 6 cases butter, 4 cases paper, 1 case boots, Joseph Griffiths . . .

San Francisco, CA, USA (by August 1850):

"PASSENGERS", Daily Alta California [San Francisco, CA, USA] (30 August 1850), 2

https://cdnc.ucr.edu/?a=d&d=DAC18500830.2.8.2 

Per John Munn - Messrs. J. Griffiths and J. Haynes . . .

Bilston, Staffordshire, England (1852):

1852, marriage solemnized at St. Mary's Church in the parish of Bilston in the county of Stafford; register page 92; Staffordshire Archives, D3340/2/1

https://search.findmypast.com.au/record/browse?id=GBPRS/STAFF/007566316/00986 (PAYWALL)

No. 183 / June 24th 1852 / Joseph Griffith / 32 / Bachelor / Merchant / Bilston / [son of] Samuel Griffiths / Civil Engineer
Mary Smith / 29 / Spinster / - / Bilston / [daughter of] Thomas Smith / Farmer . . . [witnesses] Sam'l Griffiths Sen'r, Catherine Griffiths . . .

"BILSTON LIBRARY AND INSTITUTE", Staffordshire Advertiser [England] (26 June 1852), 5

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000252/18520626/091/0005 (PAYWALL)

The anniversary of this thriving and very useful institution was celebrated on Tuesday evening last, by the performance of grand concert in St. Mary's School-room. Above seven hundred persons, including most of the principal families of the town, were present, besides several from Wolverhampton and the surrounding districts. The band, vocal and instrumental, numbered between 70 and 80 performers, under the talented and very efficient leadership of Mr. Joseph Griffiths, whose visit to his birth-place on his return from Australia was enthusiastically welcomed on his appearance upon the platform. The principal vocalists were Mr. Culwiek, from Lichfield Cathedral; Mr. Paget, of Atherstone; Mr. J. Riley, of Bilston; the Misses Wight and Morris, of Wolverhampton; and Mr. Griffiths himself, whose "Song of the Traveller" was repeatedly called for by the audience, and on being at length given was received with the loudest applause. The other vocalists acquitted themselves with their usual distinguished merit and success. A glee by Messrs. Culwick, J. Riley, and Misses Wight and Morris was universally admired. The instrumentation was much above the average of provincial orchestras, Mr. Griffiths being not only an able but popular leader, and throwing a life and soul into his band that seems to animate every instrument, from the viola to the contra-bass, with his own spirit. We have seldom heard the overture "L'Italiani in Algieri" more tellingly performed. Miss Checkett's solo on the concertina, and Mr. Wright's on the flute, were an agreeable divertisement; and the orchestral accompaniments in more than one instance received separate and distinct round of applause. It is great musical loss to this district that Mr. Griffiths is soon about to return to Australia. He will carry with him the respect and good wishes of a large circle of friends, to whom his bonhommie and sterling character have greatly endeared him. One complaint we have to prefer - the several substitutions of other songs for those printed in the programme. The managers should avoid this practice as much possible, as it is scarcely fair to those who have gone to the expense, trifling it is, of purchasing the programme.

Melbourne, VIC (from 26 December 1852):

Names and descriptions of passengers per Covenanter, from Liverpool, 1 September 1852, for Port Phillip & Melbourne, 26 December 1852; Public Record Office Victoria

https://prov.vic.gov.au/archive/33FF8A68-F96C-11E9-AE98-392CC9D20830?image=212 (DIGITISED)

. . . Joseph Griffiths / 32 / Farmer // Mrs. [Griffiths] / 29 / Wife . . .

[Advertisement], The Argus (26 October 1854), 8

http://nla.gov.au/nla.news-article4799436 

VICTORIAN EXHIBITION. Melbourne, 1854.
This Evening, Thursday, October 26th.
The Philharmonic Society will perform a Selection from Handel's Grand Oratorio of JUDAS MACCABAEUS . . .
Principal Instrumentalists: Violins: Messrs. Griffiths, King, Fleury, Strebinger, Wm. Radford, M. Radford, Ryder, Pietzker, Fischer, Newton, Lewis, and Hurst . . . Leader: Mr. Jos. Griffiths. Conductor: Mr. J. Russell . . .

ASSOCIATIONS: John Russell (conductor); Edward King (violinist); Achille Fleury (violinist); Frederick Strebinger (violinist); William and Mark Radford (violinists); George Hopwood Ryder (violinist); Melbourne Philharmonic Society (association); Victorian Exhibition 1854 (event); Exhibition Building (Melbourne venue)

"THE PHILHARMONIC SOCIETY'S CONCERT", The Age (28 October 1854), 5

http://nla.gov.au/nla.news-article154851406 

A selection, comprising nearly the whole of Handel's sublime oratorio Judas Maccabeus was performed by the above society, at the Exhibition Building, to the most numerous and brilliant audience we have ever beheld in Melbourne. Perhaps the peculiar character so admirably displayed in this great work renders it one of Handel's most difficult oratorios. The Philharmonic Society however, proved itself quite equal to the task, and on this occasion we think that the performance of Judas Maccabeus, was not only their greatest effort, but also their greatest success. Looking at the performance as a whole, we cannot think it less than a great musical achievement for this country, and with a very few exceptions, principally in the solo department, the effect was thrilling, The band, led by Mr. Joseph Griffiths, consisted or all the first talent in the colony, each part being well sustained by able artistes. The overture (not one of Handel's most pleasing instrumental compositions) was rendered with excellent precision and effect, as were all the accompaniments of the various songs, and choruses, &c. . . .

"GRAND CONCERT AT THE EXHIBITION", The Argus (18 November 1854), 5

http://nla.gov.au/nla.news-article4800508 

The Philharmonic Society's Concert last evening was in every way a great triumph. The attendance amounted to no less than 1100 persons, being much greater than on any previous occasion. Upwards of forty performers assisted. Mr. Jos. Griffiths was leader, and Mr. John Russell was conductor. The principal vocalists were Mrs. Testar, Mrs. Hancock, Mr. Hackett, Mr. Ewart, Mr. Lyell, and there were no less than thirty-three instrumentalists, among whom were some of our best artists. We need not say that the effect was magnificent. The number of visitors for the first time was extraordinary, and it was quite refreshing to hear their remarks upon the building, the exhibition, and the performances. It was quite evident that they had not believed such a scene was possible in the southern hemisphere. The performances consisted of selection from Handel's Serenata, "Acis and Galatea," with a miscellaneous selection of secular music, which were exceedingly well executed. The attendance included a very large proportion of our principal men and other citizens with their families; and from all we could learn the proceedings of the evening gave universal and unqualified satisfaction.

ASSOCIATIONS: Elizabeth Testar (vocalist); Mary Ellen Hancock (vocalist); Edward Hackett (vocalist); Thomas Ewart (vocalist); Charles Lyall (vocalist)

"EXHIBITION CONCERTS", The Age (21 November 1854), 5

http://nla.gov.au/nla.news-article154851602 

The Philharmonic Society gave their fourth grand Concert on Friday evening last, to the most crowded and delighted audience ever assembled within the walls of the Exhibition building. The music chosen for the occasion was Handel's "Acis and Galatea," and a miscellaneous selection . . . The second part opened with Mozart's overture, "Zauberflote;" it was in a manner superior to anything of the kind we have heard in the colonies. We think the trombones should not have been introduced; Mozart never intended it or he would have written parts, which, we believe is not the case in the original score . . .

It is not a little pleasing to contrast the present position of musical acquirements in this colony, and the existing appreciation of musical ability, with the consideration in which they were respectively held previously to the establishment of the Philharmonic Society. Concerts, before the formation of this society, though usually with as limited a number of vocalists and instrumental performers, as could get through an equally limited selection were not infrequent, but with the higher glories of musical art we had literally no connection, we had neither orchestra nor chorus, nor could the performances of the distinguished singers resident among us generally speaking, bring before us those splendid productions which constitute the basis of the fame of the most eminent composers. There was much to be regretted, but nothing uncommon, in this; yet it was a deprivation which every real lover of music felt and deplored. Under these circumstances the Melbourne Philharmonic Society was projected; and it is not a small commendation to the gentlemen connected with it as conductor and leader, Mr. John Russell and Mr. Joseph Griffiths, that from the first they have assiduously and constantly aided, by their well-directed efforts, the progress of the society. Their duties have not been slight; nor have those of the secretary, Mr. J. Patterson, or the committee. The Melbourne Philharmonic Society, as its recent performances demonstrate, may take its stand with any society in the old country, out of London . . .

[Advertisement], The Argus (8 December 1855), 1

http://nla.gov.au/nla.news-article4825215 

INSTRUMENTALISTS Open to Engagement in the Band of the Philharmonic Society,
for the production of the "Messiah" in the Exhibition Building on Christmas Eve,
may meet Mr. Griffiths, Leader, in the Hall of the Mechanics' Institution, at eleven a.m., Monday, 10th December.
G. B. RICHARDSON, Hon. Sec.

ASSOCIATIONS: George Bouchier Richardson (secretary)

"THE PHILHARMONIC SOCIETY", The Age (4 January 1856), 3

http://nla.gov.au/nla.news-article154865514 

The annual meeting of the Philharmonic Society took place at the Mechanics' Institution last evening; the conductor, Mr. Russell, occupied the chair. The report was read by Mr. Richardson, the Secretary, and adopted. Votes of thanks were given to Mr. Russell, the conductor of the society; Mr. Goold, the organist; Mr. Griffiths, the leader; and Mr. Richardson, the honorary secretary; and duly acknowledged by those gentlemen . . . The meeting then proceeded to ballot for the office bearers for the ensuing year, and the following gentlemen were chosen, viz. - President: His Honor Mr. Justice Barry . . . Conductor: Mr. J. Russell. Organist: Mr. T. G. Goold. Leader: Mr. J. Griffiths . . .

ASSOCIATIONS: Redmond Barry (president); Thomas Green Goold (organist)

[Advertisement], The Argus (4 February 1856), 1

http://nla.gov.au/nla.news-article4829801 

INSTRUMENTALISTS willing to accept engagements in the Band of the Philharmonic Society, for the performance of Haydn's "Creation," on the 13th inst.,
may meet Mr. Griffiths, leader, at the Mechanics' Institution, on Tuesday the 5th, at ten a.m.

[Advertisement], The Argus (26 June 1856), 7

http://nla.gov.au/nla.news-article7132095

MR. J. GRIFFITHS, Leader of the Philharmonic Band,
having, now devoted the whole of his attention to the Musical Profession,
is prepared to give Lessons on the Violin, Pianoforte, Singing, &c.
For particulars apply at Wilkie's Music Saloon, 15 Collins-street.

ASSOCIATIONS: Joseph Wilkie (musicseller)

"THE MUSICAL FESTIVAL", The Age (12 July 1856), 3

http://nla.gov.au/nla.news-article154863051 

The first of the three grand concerts given by the Philharmonic Society in conjunction with Madame Anna Bishop and Mr. George Coppin, came off on Friday night. Despite the unfavorable character of the weather, the theatre was exceedingly well filled, and presented a most brilliant appearance. The stage was wholly covered with the band, chorus, and principals, who were ranged right and left up to the organ, upon stages of moderate height, and presented a very imposing aspect from all parts of the house. Owing to the shortness of the time allowed between the last performance of the opera and the present concert, it was not found possible to complete the re-erection of the organ in time; but owing to the fullness and efficiency of the band, the defect was scarcely noticeable. The overture to "Samson" was exceedingly well given as also the chorus "Then round about the starry throne," both of which elicited deserved applause for the spirited manner in which they were rendered. One of the gems of the evening was Madame Anna Bishop's "Angel ever bright and fair," which was given with a religious fervor which visibly affected the audience, and was scarcely saved from an encore . . . Rossini's "Stabat Mater," formed the second part of the Concert, and was ably rendered by both principals and chorus - the former consisting of Madame Anna Bishop, Mrs. Testar, Mrs. Fiddes, Mons. Laglaise and Mr. Howson. The solos and concerted pieces were given with great brilliance and effect, and formed the most marked contrast to the ineffective manner in which this magnificent work was last produced at the Exhibition Building. The powerful band and chorus were especially effective in the "Inflammatus;" and, at the close of the work, the audience did not fail to accord the usual mark of hearty appreciation . . . We must not omit paying a just compliment to Mr. Russell as conductor, and Mr. Griffiths as leader, to whose exertions the success of the evening was mainly attributable.

ASSOCIATIONS: Anna Bishop (vocalist); George Coppin (theatre proprietor); Harriet Fiddes (vocalist); Jean-Baptiste Laglaise (vocalist); Frank Howson (vocalist, as above); Theatre Royal (Melbourne venue)

"THE CREATION", The Age (19 July 1856), 3

http://nla.gov.au/nla.news-article154866096 

. . . A fine evening, and an attractive programme had brought together a crowded and brilliant audience, who seemed as if they had made up their minds that a musical treat of the first order awaited them, and they were not mistaken. The Philharmonic Society have ever distinguished themselves for the ability with which they have grappled with the most difficult choral works, and for the effective manner in which they have almost invariably rendered them to the public. To-night they were especially successful . . . No less than eight principals took their places behind the footlights, and engaged in the solo parts of the work: Madame Anna Bishop, Mrs. Testar, Mrs. Hancock, M. Laglaise, Mr. Lyall. M. Coulon, Mr. Howson, and Mr. Hancock . . . The whole troupe seemed actuated by a commendable desire to subject themselves to the direction of their able conductor, Mr. Russell, and as the result shewed, with the best effect. The band was ably led by Mr. Griffiths, and the organ placed under the skilled touch of Mr. Gould . . .

ASSOCIATIONS: Emile Coulon (vocalist); Edward Hancock (vocalist)

[Advertisement], The Age (12 August 1856), 6

http://nla.gov.au/nla.news-article154868833 

PHILHARMONIC SOCIETY. - Gentlemen desirous of joining the Band are requested to meet Mr. Griffiths, Leader, this evening, at the Mechanics' Institution, at half past seven.
G. BOUCHIER RICHARDSON, Hon. Sec.

"ST. STEPHEN'S CHURCH, RICHMOND", The Age (15 September 1856), 2 supplement

http://nla.gov.au/nla.news-article154872898 

On Friday evening about two hundred persons sat down to a most sumptuous tea provided in the Boys' School Room, Richmond, in honor of the presentation of a well deserved testimonial from the parishioners to the ladies of the choir . . . Members of the Choir: - Joseph Griffiths, leader; D. P. Starling, organist; Martha Perks. During the evening several pieces of music were sung under the direction of Mr. Joseph Griffiths (leader of the Philharmonic Society), in whose able hands the Richmond Church Choir has gained its present efficiency.

ASSOCIATIONS: David Payne Starling (organist); Music in Anglican churches (general)

[Advertisement], The Argus (18 December 1856), 8

http://nla.gov.au/nla.news-article7141819

MR. J. GRIFFITHS, Leader of the Philharmonic Band,
Gives Lessons to Private Pupils on the Violin, Pianoforte, Singing, &c.
Terms known on application to J. Wilkie's music saloon. 8 Jan 13

"THE PHILHARMONIC SOCIETY", The Argus (8 January 1857), 5

http://nla.gov.au/nla.news-article7142876 

The third annual meeting of the members of this society was held last evening at half-past seven o'clock, in the Hall of the Mechanics' Institute, for the purpose of receiving the report of the past year's proceedings and the accounts of receipts and expenditure . . . The Rev. Mr. Jarrett, one of the Vice-presidents of the society, occupied the chair . . . The Society then proceeded to the election of officers for the ensuing year, with the following result: - President, His Honor Mr. Justice Barry . . . Conductor, Mr. Russell. Leader, postponed for the recommendation of Mr. Griffith, who was requested to take the office, but declined. Organist, Mr. Goold. Treasurer, Mr. J. J. Blundell. Librarian, Mr. Allan. The election of the committee was then proceeded with, and the meeting broke up.

ASSOCIATIONS: William Jarrett (chair); James John Blundell (treasurer); George Leavis Allan (librarian)

Catalogue of a valuable collection of cabinet & gallery pictures by eminent masters; also, a collection of engravings, including the Musee francais and Musee royal (atlas size), a few lots of photographs, a large quantity of violin and other music, and a small library of books, containing some valuable works, the whole collected by Mr. Joseph Griffiths, who is leaving the colony: to be sold by auction by Messrs. Gemmell, Tuckett & Co. at their sale rooms, on Friday, 22nd May . . . (Melbourne: Printed by W. H. Williams, 1868)

http://handle.slv.vic.gov.au/10381/107194 (DIGITISED)

. . . MUSIC.
76 Boosey's Publications for the Violin. Ten copies, various.
77 Traver's Interludes for Organ (4), Mozart's Thorough Bass, and two others, Seven books
. 78 Davidson's Hand-Book, of Glees. Sixty parts, various.
79 Davidson's Choral Book, various. Forty-six parts.
80 West's Violin Preceptors. Eleven copies.
81 Berbiguer's Flute Preceptor. Eleven copies.
82 Mendelssohn's Part Songs and others, various. Nine books.
83 Twelve Sets of Dance Music, various. Arranged for band.
85 Collection of Psalm Tunes. Arranged for classes.
86 Novello's Part-Song Books, consisting of twenty-five treble, twenty bass, nineteen tenor, twenty-two alto; in all, eighty-seven books.
87 Two scores Novello's Part-Song Book.
88 Pianoforte score copies of the Operas of Don Juan and Iphigeni in Tauris.
89 Mozart's Quintetts for Stringed Instruments, in score, diamond edition.
90 Judas Maccabaeus, St. Paul, The Creation. - Three books.
91 Berlioz' Modern Instrumentation and Orchestration.
92 Albrechtsberger's Thorough Bass, Harmony, and Composition.
93 Cherubini's Counterpoint and Fugue.
94 Nageli and Pfeiffer's Part-Songs and Choruses, Hill's Rounds and Canons, Hullah's Manual. Three books.
95 Beethoven's Quartetts, complete. Four books.
96 Solos and Studies for the Violin.
97 Solos for the Violin.
98 Sixteen Concertos and Solos for the Violin, with Pianoforte Accompaniments by De Beriot, Ernst, and others.
90 Twelve sets of Duetts for Two Violins, by De Beriot, Viotti, and others.
100 Solos for the Flute.
101 Studies for the Violin, by Seb. Bach, 1 vol.; Songs, 1 vol.; Hewit's Theory of Melody, Harmony, and Modulation, 1 vol.
102 Mozart's Requiem. The Madrigalean Feast and Bird's Mass, for five voices - Three books.
103 Twenty-two sets of Bosisio's Quadrilles and Waltzes, for Pianoforte and Small Band.
104 Twenty-eight sets of Easy Airs, for Violin and Pianoforte.
105-49 [all entitled] Thirty pieces of various Operatic Selections for the Pianoforte, Songs, Quadrilles, Studies, and New and Popular Music.
150 Bochsa's Standard Tutor for the Harp, Tutor for the Trumpet, and a lot of overtures
150* Lot of Hullah's Class Sheets . . .

ASSOCIATIONS: William Henry Williams (printer, amateur vocalist)

England census, 1871, Kentish Town, St. Pancras, Middlesex; UK National Archives, RG 10 / 240

https://www.ancestry.com.au/imageviewer/collections/7619/images/LNDRG10_247_250-0398 (PAYWALL)

34 Caversham Rd / Joseph Griffiths / Head / 50 / Manager Ins[uran]ce Co'y / Staffordshire Bilston
Mary [Griffiths] / Wife / 49 / - / Staffordshire Gnosal
Catherine M. [Griffiths] / Dau. / 17 / - / Australia
Frank A. [Griffiths] / Son / 15 / - / [Australia]
Alice L. [Griffiths] / Dau. / 12 / - / [Australia]
Etty F. [Griffiths] / [Dau.] / 10 / - / [Australia]
Emily J. [Griffiths] / Dau. / 7 / - / [Australia] . . .

Passengers' list, Melbourne, 7 February 1874, from London, on the Francis Thorpe; Public Record Office Victoria

https://www.ancestry.com.au/imageviewer/collections/1635/images/30796_125469__324-00023 (PAYWALL)

Mr. Griffiths / 55 // Mrs. Griffiths / 50 / Miss Griffiths / 18 // . . .

"AN AUSTRALIAN PIANISTE", The Brisbane Courier (27 August 1874), 3

http://nla.gov.au/nla.news-article1387689

The Melbourne Daily Telegraph of Tuesday states that Miss Griffiths, a native of Victoria, was born in Richmond some twenty years since, and is therefore entitled to receive some special notice. Her father, Mr. Joseph Griffiths, was one of the founders of the Melbourne Philharmonic Society, and also its honorary leader for eleven or twelve years. He would further be known to many of our readers as having been one of the councillors and afterwards Mayor of Richmond. He left the colony some four or five years since to accept the management of the local branch in London of the Australasian Insurance Company. Miss Griffiths went with her father to London, and was not slow to follow up the musical education which she had already received at her father's hands by joining as a pupil the Royal Academy of Music, where she studied as a pianiste for four years, and was awarded a first class certificate. She subsequently appeared in London at several high-class concerts, and returned to this colony a few months since. It is asserted of her that she has few, if any, superiors, or even equals, in the higher walks of classical music, and her selections for performance on the occasion of her first appearance show that she is not afraid of challenging our critics.

"PHILHARMONIC SOCIETY'S CONCERT", The Age (23 June 1875), 3

http://nla.gov.au/nla.news-article202138034 

The second concert of the season was held last night, at the Town Hall, and the attendance must have been very satisfactory to the society . . . Mendelssohn's grand Concerto in D was performed, Miss Griffiths, R.A.M., being the solo pianist. The work was well played, but Miss Griffiths does not appear to possess the power of expression necessary for works of this class, though her playing was very correct and even tasteful . . .

"THE MELBOURNE PHILHARMONIC SOCIETY. I", The Argus (25 December 1878), 6

http://nla.gov.au/nla.news-article5926050

In a colony whose distinct history extends over little more than 27 years, a society which has existed and has been uninterruptedly before the public for 25 years is entitled to rank as a venerable institution . . . The Argus of the 26th September, 1853, contained notice of a meeting to be held in the Mechanics Institution, consequent on a requisition, signed by 20 amateurs, requesting Mr. John Russell to undertake the management of a society to be formed "for the practice and cultivation of classical music, vocal and instrumental." The meeting was held on the 1st October. On the 8th the Society was formally inaugurated, and the following officers appointed - Patron - His Excellency Lieut. Governor Latrobe; president - His Honour Mr. Justice Barry, then Acting Chief Justice . . . conductor, John Russell; leader, Joseph Griffiths . . .
[in] the year 1857 . . . Mr. Griffiths had declined to retain his post as hon. leader, and Mr. King (of the Bath concerts) took his place . . .

"DEATHS", The Argus (12 August 1901), 1

http://nla.gov.au/nla.news-article10565961

GRIFFITHS. - On the 10th August, at his residence, No. 291, Church-street, Richmond, Joseph Griffiths, J.P., aged 81 years.

Will and grant of probate, Joseph Griffiths, 1901; Public Record Office Victoria

https://prov.vic.gov.au/archive/D38B8D6B-F539-11E9-AE98-8FA897A2C938?image=1 (DIGITISED)

Bibliography and resources:

W. A. Carne, A century of harmony: the official centenary history of the Royal Melbourne Philharmonic Society (Melbourne: Royal Melbourne Philharmonic Society, 1954)

https://webarchive.nla.gov.au/awa/20140215050353/http://www.rmp.org.au/downloads/files/Carne.pdf  (DOWNLOAD PDF TRANSCRIPT FROM PANDORA)

Gary Kent, "Joseph Griffiths, in Charles Stitz (ed.), Australian book collectors: some noted Australian book collectors & collections of the nineteenth & twentieth centuries . . . volume 4 (A-H) (Bendigo: Bread Street Press, 2013)

https://trove.nla.gov.au/work/37232566 

GRIFFITHS, William (William GRIFFITHS; Mr. W. GRIFFITHS; Mr. GRIFFITHS; GRIFFITH)

Musician, bass vocalist, actor, wood carver

Born Liverpool, England, 11 February 1808; son of Griffith GRIFFITHS
Married Ann ADAMS (d. NY, 1892), Braddan, Isle of Man, 21 December 1833
Arrived Sydney, NSW, 31 August 1838 (free per William Metcalfe, from Plymouth, 14 May)
Departed Sydney, NSW, c. 1872 (for USA)
Died New York, USA, 22 August 1882, aged "71 and 6 months" [sic, 74 and 6 months]

https://trove.nla.gov.au/search?l-publictag=William+Griffiths+1808-1882 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-William (shareable link to this entry)

DISAMBIGUATION: William Griffith (portrait painter, of Parramatta, d. 1870); John Gordon Griffiths (actor, manager, "Mr. Griffiths" of Sydney theatre, c. 1840s)

GRIFFITHS, Annie (Ann GRIFFITHS; Miss W. GRIFFITHS [sic, 1850]; Miss Annie GRIFFITHS; Miss GRIFFITHS; Mrs. Edward YEAMANS; Mrs. YEAMANS; Madame YEAMANS; also Miss Annie YEAMANS)

Dancer, actor, vocalist, equestrian, circus performer

Born Isle of Man, 19 November 1835; baptised Isle of Man, 27 December 1835; daughter of William GRIFFITHS and Ann ADAMS
Arrived Sydney, NSW, 31 August 1838 (free per William Metcalfe, from Plymouth, 14 May)
Married Edward YEAMANS (d. 1867), St. Peter's church, Melbourne, VIC, 25 July 1853
Departed Melbourne, VIC, 1 August 1863 (per Maori, for Batavia)
Died Manhattan, New York, NY, USA, 3 March 1912, aged "76"

https://trove.nla.gov.au/search?l-publictag=Annie+Griffiths+Yeamans+1835-1912 (TROVE tagged by Australharmony)

https://en.wikipedia.org/wiki/Annie_Yeamans (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Annie-Yeamans (shareable link to this entry)

ASSOCIATIONS: Lydia Yeamans Titus (daughter); Jennie Yeamans (daughter); Emily Yeamans (born Sydney, NSW, 16 December 1859; d. NY, USA, 29 February 1892)

DISAMBIGUATION: The "Misses Griffiths", Fanny Griffiths ("Miss F. Griffiths") and Emily Griffiths ("Miss E. Griffiths") of Sydney theatre, dancers and actors, c. 1850, daughters of John Gordon Griffiths (actor, manager)

GRIFFITHS, William (William GRIFFITHS, junior; Willy / Willie GRIFFITHS; Billy GRIFFITHS)

Circus performer, clown, acrobat, equestrian

Born Sydney, NSW, 11 September 1838; baptised St. James's church, Sydney, 28 October 1838; son of William GRIFFITHS and Ann ADAMS
Died ? Adelaide, SA, 26 March 1889

https://trove.nla.gov.au/search?l-publictag=William+Griffiths+junior+b1838 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-William-junior (shareable link to this entry)

GRIFFITHS, Maggie (Margaret GRIFFITHS; Miss Maggie GRIFFITHS; Miss M. GRIFFITHS; Mrs. W. D. GREY)

Dancer, actor, circus performer

Born Sydney, NSW, 24 October 1841; baptised St. James's church, Sydney, 14 February 1842; daughter of William GRIFFITHS and Ann ADAMS
Married Walter D. GREY, Wellington, NZ, 6 May 1865

https://trove.nla.gov.au/search?l-publictag=Maggie+Griffiths+Grey+b1841 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIFFITHS-Maggie-Grey (shareable link to this entry)

Summary:

William Griffiths, of Welsh parentage but a native of Liverpool, and a wood-carver by trade, arrived in Sydney with his wife and daughter from the Isle of Man, via Plymouth, in 1838, aged 30.

He made his first advertised public appearance in the colony at fellow wood-carver and musician George Peck's Sydney farewell concert on 2 October 1839, singing in ensemble with the creme of Sydney's vocalists, and again at the first anniversary of the Cecilian Society on 11 December 1839.

Griffiths later appeared in concerts for Maria Prout and Isaac Nathan in 1841 and 1842, and, despite being described at first as "an amateur", he also began to act and sing at the Royal Victoria Theatre.

By 1847, he was effectively a permanent member of the company, care being taken in billing that he, "Mr. W. Griffiths", was not be confused with the actor-manager John Gordon Griffiths ("Mr. Griffiths").

As well as regularly taking spoken roles, he featured in opera productions, including Guy Mannering, in Bishop's arrangement of Mozart's The marriage of Figaro (as Geronimo) in June 1847, and Maritana, and especially in long running seasons of Loder's The night dancers and Balfe's The siege of Rochelle.

Notably, he sang small roles in two locally-composed operas, Isaac Nathan's Don John of Austria (as the Secretary) in May 1847, and in John Howson's The corsair in 1848.

His eldest daughter Annie later recalled that she had performed at the Sydney theatre as a dancer and vocalist from around the age of 10, singing in the chorus for such operas as Ernani, The Bohemian Girl, and Maritana.

William was still associated with the Royal Victoria Theatre as late as June 1860, when his name appears along with those of Frank Howson, Charles Eigenschenck and others as signatories in an advertisement paying tribute to the manager Samuel Colville.

According to Annie Yeamans's later recollections, she returned to Australia in 1872 and took her parents back with her to New York where William died in 1882.

THANKS: To family historians Donald and Ian Wilkey, who thoroughly researched the life and career of Annie Griffiths Yeamans, who in Australia was a theatrical and circus performer, and later in the United States a famous actor. In March 2016, Ian kindly shared some with me some details about her father William Griffiths, allowing me to update my entry on an actor-singer I had previously only identified as "Mr. Griffiths".

Documentation:

Marriages, Braddan, Isle of Man, 1833; England, select marriages

https://www.ancestry.com.au/search/collections/9852/records/37075288 (PAYWALL)

21 December 1833 / William Griffiths / Ann Adams

Immigrants per William Metcalfe, arrived Sydney, 31 August 1838; State Record Authority of NSW

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=63838&collectionId=1204 (PAYWALL)

Griffiths William / 30 / [born] Liverpool / Cabinet Maker / Read Write / Protestant
[Griffiths] Ann / 34 / [born] Isle of Man / Dress Maker / Read Write / Protestant // [Griffiths] Ann / 2 1/2

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=35368&collectionId=1204 (PAYWALL)

Married Immigrant / William Griffith / Arrived by ship William Metcalfe / Brought out by Mr. Jno. Marshall /
A native of Liverpool England / Son of Griffith Griffith / Calling - Cabinet Maker /
Age on Embarkation - 30 years - [on] 11th February 1838 / Person certifying Registry of baptism - John Pulford M.A. curate of St. Peter's Lancaster . . .

Married Immigrant / Griffiths Ann / Arrived by ship William Metcalfe / Brought out by Mr. Jno. Marshall /
A Native of Douglas Isle of Man / daughter of George Adams, Plumber, and Marg't his wife / Dress Maker / Age on Embarkation - 24 Years [on] 20th Dec'r 1837 / Person certifying Registry of baptism - John Pulford M.A. curate of St. Peter's Lancaster . . .

FEMALE CHILDREN / Ann Griffiths / 2 1/2 years / baptised Dec'r 27th 1835

"LIST OF PASSENGERS PER WILLIAM METCALFE", The Sydney Herald [NSW] (5 September 1838), 2

http://nla.gov.au/nla.news-article12856655 

. . . William Griffith, cabinetmaker and joiner, wife and child . . .

Baptisms, St. James, Sydney, 1838; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30141222401 (PAYWALL)

28 October 1838 / born 11 September 1838 / William son of / William and Ann / Griffiths / Sydney / Carver . . .

[Advertisement], The Sydney Herald (8 May 1839), 3

http://nla.gov.au/nla.news-article12864488 

WILLIAM GRIFFITHS, WOOD CARVER, (Recently arrived from Liverpool,)
BEGS leave to acquaint the Cabinet-makers, Architects, House and Ship Builders, and others, of Sydney and its environs,
that he has commenced Business in the above line; and trusts that his practical experience will entitle him to the consideration of those parties who are desirous of having their work executed with punctuality, and in an efficient manner.
N. B. - A Respectable Youth wanted as an Apprentice.
Castlereagh-street, Sydney, two doors from Mr. Windeyer's. May 8th, 1839.

[Advertisement], The Sydney Herald (2 August 1839), 3

http://nla.gov.au/nla.news-article12862731 

WANTED, A RESPECTABLE YOUTH as an Apprentice to the Wood Carving business.
Apply to William Griffiths, Wood Carver, west-side Castlereagh, street south, between Bathurst and Liverpool-streets.
N.B. - A Premium required.

[Advertising], The Sydney Herald (2 October 1839), 2

http://nla.gov.au/nla.news-article12858352 

GRAND CONCERT.- Under distinguished Patronage.
MR. PECK begs to inform his Friends and the Public that he will give a
Grand Miscellaneous CONCERT of Vocal and Instrumental Music,
at the Royal Victoria, Theatre, Pitt-street, on WEDNESDAY EVENING, October 2nd.
Principal Vocal Performers - Madame Gautrot, Mrs. Bushelle, Mrs. Clarke, Mr. Bushelle, Mr. Worgan, and Mr. Griffiths.
. . . Conductor: Dr. Reid . . .
PROGRAMME. PART I . . . Glee - Five Voices - "Blow, gentle gales", accompaniments full orchestra, H. R. Bishop - Mrs. Bushelle, Mrs. Clarke, Mr. Bushelle, Mr. Worgan, and Mr. Griffiths . . .
PART II . . . Comic Glee, Finale to the first act of Guy Mannering - "The fox jumped over the parson's gate" - Bishop - Mrs. Clarke, Mrs. Bushelle, Mr. Bushelle, Mr. Worgan, & Mr. Griffiths . . .

ASSOCIATIONS: George Peck (violinist, beneficiare); Madame Gautrot (vocalist); Eliza and John Bushelle (vocalists); Anne Clarke (vocalist); George William Worgan (vocalist); James Aquinas Reid (conductor, piano accompanist); Royal Victoria Theatre (Sydney venue)

[News], The Australian [Sydney, NSW] (10 December 1839), 2

http://nla.gov.au/nla.news-article36862528 

The anniversary of the Cecilian Society takes place to-morrow evening. The Directors have been fortunate in obtaining the services of Miss Fernandez, Mrs. Curtis, Mrs. Clancy, Mr. Wallace, Mr. Griffiths, and many other first-rate musicians and vocalists. Colonel Wodehouse has in the most handsome manner proffered the services of the principal players in the band of H. M. 50th regiment on the occasion.

ASSOCIATIONS: Lucy Fernandez (pianist); Emma Curtis (harpist); Elizabeth Clancy (vocalist); Spencer Wellington Wallace (violinist, flautist); Band of the 50th Regiment (military); Cecilian Society (association)

[Advertisement], The Australian (3 March 1840), 1

http://nla.gov.au/nla.news-article36862413 

MRS. CLANCY HAS the honor to announce that her
Concert will take place in the Old Court House, Castlereagh-street,
on Tuesday Evening, March the 3rd, 1840 . . .
Leader of the Orchestra, Mr. S. W. Wallace;
Pianoforte, Mr. Johnson; who have also kindly offered their assistance.
PROGRAMME. PART I . . . 4. Song - Follow him - Mr. Griffiths . . .
PART II . . . 8. Song - The Gipsey Prince - Sporle - Mr. Griffiths . . .

ASSOCIATIONS: James Johnson (pianist, accompanist); Old Court House (Sydney venue)

[News], The Australian (5 March 1840), 2

http://nla.gov.au/nla.news-article36860961 

Mrs. Clancy's concert was very flatteringly attended on Tuesday, and presented on the whole a very pleasant evening's entertainment. There was nothing perhaps very brilliant, but there is more gratification in a quiet, unobtrusive exhibition, than one with higher pretensions which may not effect what it promises . . . Mr. Griffiths has a good quality of voice if he had style and energy to turn it to account . . .

"MRS. CLANCY'S CONCERT", Australasian Chronicle [Sydney, NSW] (6 March 1840), 2

http://nla.gov.au/nla.news-article31727767 

. . . Neither the other amateur, nor Mr. Griffiths should ever sing out of their own families, and Mr. Worgan, unless he can got a new diapason to his organ, should at once and for ever stop its bellows . . .

ASSOCIATIONS: William Augustine Duncan (editor, Chronicle, reviewer)

[Advertisement], The Australian (23 March 1841), 3

http://nla.gov.au/nla.news-article36851064

GRAND CONCERT . . . Mrs. J. S. PROUT, Pianist, begs to announce that her
Concert of Vocal and Instrumental Music will take place at the Royal Victoria Theatre, TO-MORROW EVENING, March 24 . . .
Leader, Mr. S. W. Wallace; Conductor, Mr. Leggatt.
PROGRAMME. PART I. Overture to "Don Giovanni" - Mozart - Full Orchestra.
1. Opening Scena and Pastorale, "Notte Giorno" and Giovanette, from Mozart's celebrated Opera "Don Giovanni;" full Orchestral accompaniments - Mr. & Mrs. Bushelle, Mr. Leggatt, Mr. Worgan, and Mr. Griffiths . . .

ASSOCIATIONS: Maria Prout (pianist); Thomas Leggatt (conductor, instrumentalist, vocalist)

"The Oratorio", The Sydney Monitor and Commercial Advertiser (2 July 1841), 2

http://nla.gov.au/nla.news-article32189723 

This Festival, to which the musical portion of the community of the colony had been looking forward for so long a time with the greatest interest, took place in St. Mary's Cathedral, on Wednesday the 30th ultimo . . . we give a list of those artists by whom it was executed . . . Mr. Bushelle, Mr. Nathan, Mr. Worgan, Mr. Griffiths, Mr. Edwin Grobety . . .

ASSOCIATIONS: Isaac Nathan (conductor); Edwin Groberty (musician)

[Advertisement], The Sydney Herald (14 July 1841), 1

http://nla.gov.au/nla.news-article12869989 

MR. DEANE begs to inform his friends and the Public, that . . .
his CONCERT of Vocal and Instrumental Music . . . will take place at the
Theatre Royal, on WEDNESDAY, the 14th July, 1841.
VOCAL PERFORMERS - Mrs. Bushelle, Miss Deane, and Mrs. Emanuel (being her first appearance), Mr. Bushelle, Mr. Griffiths, Mr. Allen, and several other Gentlemen Amateurs . . .

ASSOCIATIONS: John Philip Deane and daughter (musicians); Eliza Emanuel (vocalist); Edward Allen (vocalist); "Theatre Royal" = Royal Victoria Theatre (as above)

"MR. NATHAN'S CONCERT", Australasian Chronicle (5 August 1841), 2

http://nla.gov.au/nla.news-article31732497 

. . . The Urchin's Dance, by the Misses Nathan and Mr. Griffiths (this gentleman is rapidly improving in style) . . .

"MR. NATHAN'S CONCERT", The Sydney Herald (6 August 1841), 2

http://nla.gov.au/nla.news-article12870415 

MR. NATHAN'S concert, on Wednesday evening last [4 August], was most respectably attended, and went off much better than any similar assembly during the season, the audience being very highly pleased, if we may judge from the circumstance of the numerous encores, more in number than we recollect of ever witnessing at any concert, either here or in Britain . . . the Misses Nathan and Mr. Griffiths were encored . . . Calcott's well-known glee was performed with superior execution, - the Misses Nathan being well supported by Mr. Griffiths, while the Pizzicato touches amongst the stringed instruments, and Mr. Nathan's own fitful flights of musical imagination on the piano forte, were splendid. The piece was rapturously encored . . .

MUSIC: The urchins' dance & The elves' dance (Callcott)

"THE CECILIAN SOCIETY", The Australian (18 September 1841), 2

http://nla.gov.au/nla.news-article36852349

We were extremely gratified by our visit last Wednesday evening [15 September] to the Concert-room of the Cecillan Society . . . Among those which appeared to us most deserving of particular notice we may mention the songs of Mr. Josephson, junior, and Mr. Griffiths . . . Mr. Griffiths sang "When Time hath bereft thee," with much effect. His tones are rich and mellow; his style is unaffected; and his enunciation is most distinct. To this air Mr. G. imparted that pathos of which it is peculiarly susceptible . . .

ASSOCIATIONS: Joshua Frey Josephson (vocalist, pianist)

MUSIC: When time hath bereft thee (Auber, arr. Cooke, from Gustavus the third)

[Advertisement], The Sydney Gazette and New South Wales Advertiser (28 September 1841), 1

http://nla.gov.au/nla.news-article2554580

Royal Victoria Theatre. TUESDAY, SEPTEMBER 28, 1841 . . .
THE AUSTRALIAN HARMONIC SOCIETY Having taken the Theatre for the above Evening,
have the honor to announce, that MR. JOSEPH SIMMONS, BEING a Member of the Club,
has kindly consented to appear for this night only, and sustain TWO OF HIS FAVOURITE CHARACTERS, &c.
Several AMATEURS of the CECILIAN SOCIETY, have also kindly volunteered their services . . .
A MUSICAL MELANGE . . . 5. Song, "Tambourgi" (Nathan,) - Mr. Griffiths . . .

ASSOCIATIONS: Joseph Simmons (vocalist, actor); Australian Harmonic Club (association)

MUSIC: Tambourgi (Isaac Nathan)

"CHARITY SERMON", Australasian Chronicle (5 October 1841), 2

http://nla.gov.au/nla.news-article31733063 

High mass was celebrated in St. Mary's on Sunday last . . . Mozart's grand mass No. 12 was very effectively performed by the choir, in addition to which . . . During the collection Mr. Griffiths sung Clifton's "Ecce Deus" with much skill, and this part of the service concluded with Zingarelli's brilliant "Laudate" . . .

ASSOCIATIONS: St. Mary's cathedral (Sydney)

MUSIC: Ecce Deus (Clifton)

"Mr. Nathan's Concert", The Sydney Gazette and New South Wales Advertiser (30 October 1841), 2

http://nla.gov.au/nla.news-article2554858

We had a rich musical treat on Wednesday evening [27 October] . . . Mr. Nathan seemed to have spared no pains either in the selection, orchestral arrangements or drilling, for the concert; and the effect must have been highly gratifying to him, as it was to us, and the audience generally . . . "Drink and a fig for sorrow," a new composition of Mr. Nathan's . . . was sung by Griffiths with much spirit. It would be unfair to criticise this gentleman's singing, as we would that of Phillips, Ransford, or Seguin on the English stage - but we must allow him a considerable degree of merit. He decidedly improves, and sang correctly in time and tune. His terminating cadence was introduced with very good taste and effect. The song as a composition, pleased us much. We know no bass solo of modern production to compare with it. The air is bold - much in Shield's style - while the accompaniment is full and effective a la Mozart, but our readers must hear in order to appreciate it. The glee to the same words, (composed for the Sydney Harmonic Club,) was rich in melody and harmony, and gave us great delight - it was well sung by Messrs. Griffiths, Worgan, Allen, &c. &c. . . .

MUSIC: Drink, drink, and a fig for all sorrow (Nathan, from The king's fool)

Baptisms, St. James, Sydney, February 1842; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30311003701 (PAYWALL)

14 February 1842 / born 24 October 1841 / Margaret daughter of / William and Ann / Griffiths / Sydney / Cabinetmaker

"THE VICTORIA", Sydney Free Press (2 April 1842), 2

http://nla.gov.au/nla.news-article226358049 

The Opera of Guy Mannering, which was produced at the above Theatre on Thursday evening, formed, as we had anticipated, a dramatic treat of the first order. In addition to the attractive announcement of the original music of the piece, there was also the expectation of three first appearances, being those of Mrs. Bushelle, Mrs. Wallace; and Mr. Griffiths, each of whom, although they were previously well known to the public as vocalists, had never before sustained a dramatic character . . . We now come to the male debutante Mr. Griffiths, but owing to the insignificance of the character which he had to sustain, being, in fact, nothing higher than those usually allotted to the supernumerary actors of a corps dramatique, we were totally unable to form any estimate of his chance of success in an histrionic point of view. Mr. Griffiths is a very useful man in glees and chorusses, but as a stage singer for solo pieces, his voice, although clear and musical, is not sufficiently loud to produce the necessary effect, and in consequence of this deficiency, his delivery of that celebrated old song of Braham's "Safely follow him," was little better than a failure . . .

MUSIC: Safely follow him (music by T. Cooke, in Guy Mannering)

[Advertisement], Sydney Free Press (5 April 1842), 3

http://nla.gov.au/nla.news-article226358579 

Royal Victoria Theatre . . .
SECOND NIGHT of THE OPERA of GUY MANNERING . . .
THIS EVENING, APRIL 5, 1842 . . .
Gabriel - Mr. Griffiths (His first appearance in character) . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (25 June 1842), 3

http://nla.gov.au/nla.news-article2556837 

Royal Victoria Theatre . . .
MR. SIMMONS' BENEFIT . . . MONDAY EVENING, June 27, 1842 . . .
COMIC GLEE, "THE LONDON CRIES" By Mrs. Knowles, Mr. Knowles, and Mr. Griffiths . . .

ASSOCIATIONS: Conrad and Harriet Knowles (actors, vocalists)

[Advertisement], The New South Wales Examiner (8 July 1842), 2

http://nla.gov.au/nla.news-article228246991 

"ROYAL VICTORIA THEATRE . . .
MR. GROVE'S BENEFIT . . . MONDAY, JULY 11TH 1842 . . .
Song - "The Ivy and the Oak," - Mr. Griffiths . . .

"Theatricals. THURSDAY NIGHT [18 August]", The Sydney Gazette and New South Wales Advertiser (20 August 1842), 3

http://nla.gov.au/nla.news-article2557171

On this evening, which was a ticket-night, the Theatre was well and most respectably attended . . . The beautiful song of the "Sailor's Grave" was very well sung by Mr. GRIFFITHS, and elicited great applause. Mr. GRIFFITHS being an amateur, had not, of course, the confidence on the stage which a professional naturally has, but still he gave great promise of being a first-rate singer, with a little practice . . .

MUSIC: The sailor's grave (song)

"CONCERT. To the Editor", The Australian (31 May 1842), 2

http://nla.gov.au/nla.news-article37115169

Sir, - I am induced to trouble you with a letter, for the purpose of congratulating the inhabitants of Sydney on the very good Concert which was given last evening in the Hall of the College, by Mr. Nathan and his talented family . . . The second pant was opened by an overture (Nathan,) followed by a lively glee by the Misses Nathan and Mr. Griffiths, who has a good bass voice . . .
. . . I am, Sir, AN OBSERVER. MAY 28, 1842.

"VICTORIA THEATRE . . . GENERAL TICKET NIGHT", The Sydney Gazette and New South Wales Advertiser (16 August 1842), 3

http://nla.gov.au/nla.news-article2557139 

On Thursday next [18 August], the performances will be for the mutual benefit of all the members of the Corps Dramatique, or what is called, in technical terms, a "ticket night," which means, that every member of the company can sell as many tickets for his own emolument as he can. The pieces chosen for this occasion, are the Gamester of Milan, after which, a variety of singing and dancing; the whole to conclude with the beautiful drama of the Robber's Wife. During the evening, Mr. Griffiths will sing the beautiful song of the "Sailor's Grave." The character which this gentleman has so justly acquired for the admirable manner in which he sings such melodies, requires no comment. We wish them all every success - for they deserve it.

[Advertisement], The Sydney Morning Herald (24 August 1842), 2

http://nla.gov.au/nla.news-article28650551 

ROYAL VICTORIA THEATRE. For the Benefit of of MR. KNIGHT, Acting Proprietor . . .
AUGUST 25, 1842 . . . KING LEAR.
After which, SONG, "THE WHITE SQUALL," MR. GRIFFITHS . . .

ASSOCIATIONS: William Knight (proprietor)

MUSIC: The white squall (Barker)

"MUSICAL", The Australian (2 September 1842), 2

http://nla.gov.au/nla.news-article37114047

The Oratorio in aid of the funds of the benevolent Society came off, as announced, on Wednesday night [31 August]; and to say that we were pleased, would but faintly convey our feelings on the subject; we were delighted and astonished. We confess that we previously felt some misgivings that a composition, so difficult as the Messiah . . . would prove too great an attempt for the musical powers of our community. We are happy to say that our fears proved to be wholly without foundation . . . "The trumpet shall sound", would, we have no doubt, have been sung well by Mr. Griffiths, had it not been completely marred by the horn accompaniments, which seem fated never to be played in tune . . .

"MISS HINCKESMANN'S CONCERT", Australasian Chronicle (13 October 1842), 2

http://nla.gov.au/nla.news-article31737527 

This concert took place last evening, and was on the whole of a rather brilliant character . . . "Hail lovely infant," is a laboured melody, and received justice from Mr. Griffiths in the singing, but the poetry is so detestable in all but its loyalty, that the piece to us was as insufferable as if it had sounded of high treason. We do not remember a single chord of the accompaniment. God help royalty when it must smile upon such trash! . . .

ASSOCIATIONS: Maria Hinckesman (musician)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (3 May 1847), 2

http://nla.gov.au/nla.news-article12900105 

THIS EVENING, MAY 3, WILL be presented (for the first time),
an Opera, in three Acts, entitled DON JOHN OF AUSTRIA.
Brother Carlos, or Charles V, Mr. Nesbitt; Philip II, Mr. J. Howson;
Don Quixada, Mr. Spencer; Don John of Austria, Mr. F. Howson;
Secretary, Mr. W. Griffiths . . .
Agnes, Mrs. Guerin; Dorothy, Mrs. Gibbs . . .

ASSOCIATIONS: Francis Nesbitt (actor); John Howson (actor, vocalist); Albert Spencer (actor); Frank Howson (actor, vocalist); Theodosia Guerin (actor, vocalist); Eliza Gibbs (actor, vocalist)

MUSIC: Don John of Austria (Isaac Nathan)

[Advertisement], Sydney Chronicle (12 June 1847), 3

http://nla.gov.au/nla.news-article31752234 

ROYAL VICTORIA THEATRE. MR. NESBITT'S BENEFIT,
On Monday Evening, June 14th, 1847 . . .
THE FESTIVAL OF APOLLO; OR, A CONVIVIAL PARTY OF FRIENDS ENTERTAINED BY MR. NESBITT . . .
Introductory Address by Mr. NESBITT. Toast - "The Queen" - Song - "The Queen God bless her," Mr. F. HOWSON.
Toast - "Australia! The Land we live in." Song - "Australia the wide and the free," Mr. W. GRIFFITHS.
Toast - "The Ladies" - Song - "Let the Toast be dear Woman," Mr. J. HOWSON.
Toast - "England, Scotland, and Ireland." Song - "The Land of my Birth," Mr. F. HOWSON.
Toast - Mr. Nesbitt, "Prosperity to the Drama in Australia" - Glee - Messrs. F. and J. HOWSON and W. GRIFFITHS.
Toast - "Happiness and prosperity to the Patrons of the Drama. The kind friends before us" . . .

MUSIC: Australia the wide and the free (music by Isaac Nathan; words by W. A Duncan)

[Advertisement], The Australian (26 June 1847), 2

http://nla.gov.au/nla.news-article37130017 

ROYAL VICTORIA THEATRE . . . FOR THE BENEFIT OF MR. AND MRS. GIBBS . . .
ON MONDAY EVENING, JUNE 28, 1847, will be produced, the admired Opera, entitled
The MARRIAGE OF FIGARO; OR, THE FOLLIES OF A DAY.
With the whole of the Original Music, composed by Mozart, adapted to the English Stage by Sir Henry R. Bishop,
and arranged for this Orchestra by Mr. Gibbs . . .
Count Almaviva - Mr. J. Howson . . . Figaro - Mr. F. Howson; Antonio (the drunken gardener) - Mr. Griffiths;
Cherubino (a Page) - Mrs. Ximenes . . . Geronimo - Mr. W. Griffiths . . .
Countess Almaviva - Mrs. Guerin; Susannah - Mrs. Gibbs; Barbarina - Madame Carandini . . .

ASSOCIATIONS: John Gibbs (leader of the theatrical band); Ann Ximenes (vocalist); Maria Carandini (vocalist)

"THEATRICALS", The Sydney Daily Advertiser (17 August 1848), 2

http://nla.gov.au/nla.news-article253059174 

In our columns of last week, we referred slightly to the performance of the "Siege of Rochelle" at the Victoria Theatre . . . We are happy to record that each succeeding representation has been an improvement on the one immediately preceding it; and that the opera on Tuesday night was given with a power and finish that could scarcely be expected in any English colony . . . The quartette, "Lo! the early beam of morning," in G, one of "the real hits" of the opera, was effectively sustained by Mrs. Guerin, Madame Carandini, Mr. F. Howson, and Mr. W. Griffiths. The accompaniment of bells to this quartette is extremely pleasing . . .

MUSIC: The siege of Rochelle (Balfe)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (30 September 1848), 2

http://nla.gov.au/nla.news-article59765686 

The historical play of IVANHOE, founded on the celebrated work of Scotland's peerless novelist, was produced on Monday [25 September], with a success which may fully warrant an early repetition . . . In the course of the piece, a Pas de Trois, by Messrs. Arabin, Hollis, and W. Griffiths, was executed in the double shuffle and cobbler's knock style, to the unutterable dismay of the Carandini, and the inexpressible rapture of the deities.

ASSOCIATIONS: Gustavus Arabin (actor); James Hollis (actor); Gerome Carandini (dancer)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (23 December 1848), 2

http://nla.gov.au/nla.news-article59766029 

The great novelty of the season, the Opera of the "Corsair," was produced on Monday night [18 December] at the Victoria, for the benefit of Mr. J. Howson . . . The opening chorus in the key of G, is a bold and spirited composition; the principal solo parts were well sung by Mrs. Rogers and Mr. W. Griffiths . . .

ASSOCIATIONS: Emma Rogers (actor, vocalist)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (31 March 1849), 3

http://nla.gov.au/nla.news-article59768677 

The Opera, this week, (the Ton) was Bellini's "La Sonnambula" . . . and if all the music were sung it would be the greatest treat the manager could afford us. The ladies, from the captivating Prima Donna (Amina), the bewitching Lisa, to the Graceful Griffiths, one and all seemed unusually inspirited - and for the gentlemen, the Messieurs Howson, if possible, excelled themselves. W. Griffiths also, (not our Jolly Varmer Ashfield) must have been trying the effects of electricity, he was actually lively . . .

ASSOCIATIONS: Theodosia Guerin (as above, "Amina"); "Jolly Varmer Ashfield" = John Gordon Griffiths (actor, manager, unrelated)

[Advertisement], The Sydney Morning Herald (20 July 1850), 4

http://nla.gov.au/nla.news-article12919608 

ROYAL VICTORIA THEATRE. This Evening, July 20,
Will be presented the admired Play, entitled THE SOLDIER'S DAUGHTER.
Governor Heartall, Mr. Rogers; Frank Heartall, Mr. Hydes;
Malfort, Mr. Arabin; Captain Woodley, Mr. J. Howson; Ferret, Mr. Spencer;
Timothy Quaint, Mr. F. Howson; Mrs. Malfort, Mrs. Rogers; Widow Cheerly, Mrs. Guerin;
Mrs. Fidget, Mrs. Gibbs; Julia, Miss W. Griffiths; Susan, Miss Hart . . .

ASSOCIATIONS: "Miss W[illiam] Griffiths" = Annie, her theatrical debut; George Herbert Rogers (actor); John Proctor Hydes (actor); Albert Spencer (actor); Ada Hart (actor, dancer)

PIECE: The soldier's daughter (by Andrew Cherry); she later misremembered the title as "The farmer's daughter"

[Advertisement], The Sydney Morning Herald (17 September 1850), 2

http://nla.gov.au/nla.news-article12921143 

ROYAL VICTORIA THEATRE. THIS EVENING, SEPTEMBER 17, WILL be performed the English opera of the QUAKER . . .
Pas de Deux, the Misses Griffiths . . .
To conclude with the Drama, entitled THE SOLDIER'S DAUGHTER.
Governor Heartall, Mr. Rogers; Frank Heartall, Mr. Hydes; Malfort, Mr. Arabin; Captain Woodley, Mr. J. Howson;
Ferret, Mr. Spencer; Timothy Quaint, Mr. F. Howson;
Simon, Mr. Collins; Mrs. Mallory, Mrs. Rogers; Widow Cherry, Mrs. Guerin;
Mrs. Fidget, Mrs. Gibbs; Julia, Miss W. Griffiths; Susan, Miss Hall [sic, Hart].

ASSOCIATIONS: Emily and Fanny Griffiths (dancers, unrelated)

"MALCOM'S CIRCUS", Empire [Sydney, NSW] (17 September 1851), 3

http://nla.gov.au/nla.news-article60123537 

. . . Notwithstanding the inclemency of the weather on Saturday evening last [13 September], the attendance, as on previous evenings, was numerous. The performances were well selected, and admirably sustained, although we regret to state, one of the most talented artistes, (Mr. Ashton), owing to an accident occasioned by thc kick from a horse, was unable to fulfil his part, which had been assigned to him . . . The performances of Master Griffiths who, we think, with a little training and discipline is destined to become the Hernandez of Australian Equestrianism, were also responded to with loud and frequent applause, altogether the entertainment upon this, as upon succeeding evenings, was such as must secure to Mr. Malcom that patronage and support to which as a caterer for the public amusement he is undoubtedly entitled.

ASSOCIATIONS: The young Hernandez (American equestrian active in London); John Malcom (proprietor); Malcom's Circus (troupe and venue)

[Advertisement], Empire (15 December 1851), 2

http://nla.gov.au/nla.news-article60126102 

ROYAL VICTORIA THEATRE. LAST NIGHT BUT ONE OF THE SEASON. FOR the Benefit of MR. NESBITT . . . Shakspeare's celebrated Tragedy of Macbeth, with all the original music . . .
THIS EVENING, MONDAY, December 15th . . . Duncan, (King of Scotland) Mr. Rogers; Malcolm - Mr. Willis;
Banquo, Mr. Spencer; Macduff, Mr. Arabin; MACBETH, Mr. NESBITT; Siward, Mr. W. Griffiths; Fleance, Miss E. Griffiths; lst Witch, Mr. Griffiths; 2nd Witch, Mrs. Gibbs; 3rd Witch, Mr. Howard . . .

ASSOCIATIONS: Emily Griffiths (actor, unrelated); Sam Howard (actor, vocalist)

MUSIC: Locke's music in Macbeth (correctly, mostly by Richard Leveridge)

"MALCOM'S ROYAL AUSTRALIAN CIRCUS", The People's Advocate and New South Wales Vindicator (13 March 1852), 3

http://nla.gov.au/nla.news-article251534237 

This place of amusement still continues to attract considerable audiences. The performances last evening were of a very attractive description, and were gone through with great eclat. Master Griffiths as the Merry Swiss Boy, was much applauded, as was also Master Melville as the Pearl of Australia, while Miss Griffiths as the Maid of Athens, and the Fair Maid of Perth, received a large share of approbation, which she most certainly deserved. The entertainments concluded with a farce, entitled, the Sportsman on the Turf, which was received with shouts of laughter throughout.

"THE OLYMPIC CIRCUS", The People's Advocate and New South Wales Vindicator (17 April 1852), 3

http://nla.gov.au/nla.news-article251531471 

The performances at this place of amusement have during the past week, been more attractive than usual, and the performers have certainly exerted themselves to the utmost. The acquisition of Master and Miss Griffiths to the company has rendered it far more attractive; both these have, during the week, acquitted themselves in a highly creditable manner in many pleasing feats. Miss Griffiths has very greatly improved since last we saw her, and Master Griffiths is by no means deficient in merit and gracefulness . . .

ASSOCIATIONS: Olympic Circus (Sydney venue)

[Advertisement], The People's Advocate and New South Wales Vindicator (15 May 1852), 2

http://nla.gov.au/nla.news-article251531723 

OLYMPIC CIRCUS, CASTLEREAGH-STREET . . .
On MONDAY, MAY 17, AND FOLLOWING EVENING, THE Entertainments will commence with an
Act of Equestrianism, on the Pony Snowdrop, entitled the SWISS MINSTREL, by Master GRIFFITHS.
Clown to the Arena - Mr. Axtelle . . .
Castinet Dance - Miss Griffiths . . .
Part the Second will commence with that accomplished Artiste,
the Australian Equestrienne; Miss GRIFFITHS, on her favourite palfrey, Gazelle, as the MAID OF ATHENS . . .
Several Novelties are in active preparation for Wednesday next,
being for the Benefit of Mr. ASHTON, on which occasion Mrs. Ashton, Signora Cardoza, Miss Griffiths, and Miss Margaret Griffiths will appear . . .

ASSOCIATIONS: Charles Axtelle (clown); James and Elizabeth Ashton (circus performers)

[Advertisement], The Sydney Morning Herald (18 June 1852), 1

http://nla.gov.au/nla.news-article12937705 

OLYMPIC CIRCUS . . . FAREWELL BENEFIT OF Mr. ARABIN, (Late of the Royal Victoria Theatre.) . . .
THIS EVENING . . . The performances will commence with a daring act, by Master Griffiths, entitled THE TARTAR YOUTH.
Clowns to the Arena - Black Clown, Mr. Arabin; White Clown, Mr. Axtelle . . .
A Wreath Dance, Miss Margaret Griffiths.
An Act by the talented Australian Equestrienne, Miss Griffiths, entitled THE SAILOR'S BRIDE, introducing a Hornpipe . . .
PART SECOND Will commence with a laughable Bagatelle, by Master Griffiths, yclept THE RECRUITING SERGEANT . . .
A pleasing and graceful act, by Miss Griffiths, in which she will leap hoops, banners, &c., concluding with her AERIEL FLIGHT . . .

"THE OLYMPIC CIRCUS", The People's Advocate and New South Wales Vindicator (3 July 1852), 3

http://nla.gov.au/nla.news-article251532066 

The performances at this circus during the week have been well attended, and appear to have given great satisfaction. On Tuesday evening they were for the benefit of Miss and Master Griffiths, when there was a crowded house, and the several pieces elicited much applause . . .

"THE OLYMPIC CIRCUS", The People's Advocate and New South Wales Vindicator (10 July 1852), 3

http://nla.gov.au/nla.news-article251532680 

The performances during the past week have been of a first-rate description, and have elicited rounds of applause. Miss Margaret Griffiths has been highly applauded . . .

[Advertisement], The Argus [Melbourne, VIC] (14 June ), 12

http://nla.gov.au/nla.news-article4793512 

ROWE'S AMERICAN CIRCUS, Corner of Stephen-street and Lonsdale-street.
NOVELTY being the great incentive to visit places of amusement, the Manager with pleasure announces that
new, brilliant, and dashing feats of Horsemanship, Gymnastics, Terpsichorea and Music,
will be brought out this evening, Tuesday, June 14th . . .
The entertainment will commence with an equestrian evolution, entitled Love and Chivalry.
Elegant singing by Mr. Barlow.
The Animated Globe by Mr. Thos Nunn . . .
Fancy dance, Miss M. Griffiths.
Those fair aspirants for equestrian fame, Mrs. St John and Miss A. Griffiths, will appear on "their flying coursers and contend for the palm of excellence . . .
To conclude with a great ballet d'action, entitled, the Lover's Stratagem . . .
Simon Simple - Mr. E. Yeamans; Dame Durden (the Millar's Wife), Mr. Rowe; Rose Durden, Miss A. Griffiths. Ned Yeamans, the Modern Grimaldi, will catch folly as it flies and drive away dull care . . .

ASSOCIATIONS: Joseph Andrew Rowe (proprietor, performer); Robert Barlow (vocalist); Tom Nunn (clown, manager); Rowe's American Circus (troupe and Melbourne venue)

[Advertisement], The Argus (15 June 1853), 12

http://nla.gov.au/nla.news-article4793565 

ROWE'S AMERICAN CIRCUS . . . This Evening . . .
Miss A. Griffiths, the Taglioni of the cirque will execute a brilliant Pas Seul!
The Highland Fling, Miss M. Griffiths . . .

Marriages solemnized in the parish of St. Peter's, Melbourne, in 1853; register, 1853-54; St. Peter's Eastern Hill

https://www.ancestry.com.au/imageviewer/collections/9732/images/43331_1831109387_0163-00007 (PAYWALL)

[25 July 1853] At St. Peter's Church / Edward Yeamans / Bachelor / [born] New York / Mechanist / 28 / [parents] Royal Yeamans / Mechanist / Sarah (maiden name unknown)
Ann Griffiths / Spinster / Isle of Man / - / William Griffiths / Carver / Ann Adams . . .

[Advertisement], The Argus (6 August 1853), 12

http://nla.gov.au/nla.news-article4795460 

WOOD Carving - Wm. Griffiths, Architectural and Cabinet Carver, No. 65, Spring street, next Old White Hart, Melbourne.

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (27 August 1853), 3

http://nla.gov.au/nla.news-article65712061 

OLYMPIC CIRCUS, Patterson-street.
Mr. J. S. NOBLE most respectfully announces to the public of Launceston, and its vicinity,
that he has returned with his equestrian troupe, and intends giving his first evening's entertainment on
MONDAY EVENING August 29th, on which occasion MR. YEAMANS, the celebrated Jester, from Mr. Rowe's American Circus, will make his first appearance before a Launceston audience,
also MRS. YEAMANS, (late Miss A. Griffiths), Miss M. GRIFFITHS, and MASTER W. GRIFFITHS (also from Rowe's Circus) . . .

ASSOCIATIONS: John Sullivan Noble (proprietor, performer);
and see also, [Advertisement], Hobarton Guardian, or, True Friend of Tasmania [Hobart, TAS] (29 October 1853), 2

http://nla.gov.au/nla.news-article172860566 

[Advertisement], The Argus [Melbourne, VIC] (7 December 1853), 8

http://nla.gov.au/nla.news-article255612420 

ROWE'S AMERICAN CIRCUS . . . Wednesday Evening, 7th December . . .
Splendid Singing by Madame Sara Flower.
Mrs. Yeamans As the Sylph of the Circle.
Ground and Lofty Tumbling by the Company.
Beautiful and Chaste Dancing By Miss Griffiths . . .

ASSOCIATIONS: Sara Flower (vocalist)

[Advertisement], The Argus (4 January 1854), 8

http://nla.gov.au/nla.news-article4801438 

ROWE'S AMERICAN CIRCUS, Corner of Lonsdale and Stephen streets . . .
To-night will be produced a splendid Pageant, with Eight prancing Palfreys, replete with all the intricacies of the Menage . . .
Molly Bawn, Madame Sara Flower.
Graceful Equestrianism, by Mrs. Yeamans . . .
To be followed by the delightful Act, executed by Thomas Nunn, of the Palo Alto.
Ballad, Irish Emigrant, Madame Sara Flower.
Daring Rising, Master Griffiths.
Irish Lilt, Mrs. Yeamans and Miss Griffiths . . .
Clown, Edward Yeamans . . .

[Advertisement], The Argus (3 April 1854), 8

http://nla.gov.au/nla.news-article4805267 

ROWE'S CIRCUS. Sole Proprietor - Mr. J. A. Rowe. Manager - Mr. Thomas Nunn . . .
On Monday, April 3rd, the Programme will consist of . . .
A splendid single horse act, by Mrs. Yeamans, as the Maid of Cashmere, in which she will introduce a brilliant Pas de Schal.
Operatic Dancing and Dinner Scena on the Rope, by La Belle Creole, Madame Del Cassa . . .
Grand Opera Polka, Madame Del Cassa and Mrs. Yeamans . . .

ASSOCIATIONS: Anna Dalle Case (circus performer)

"ACCIDENT AT ROWE'S CIRCUS", The Argus (29 June 1854), 5

http://nla.gov.au/nla.news-article4794482 

During the performance at this popular place of amusement on Tuesday evening, a somewhat serious accident occurred. Master Griffiths, the young and promising rider, was in the act of leaping from a horse's back over a wide piece of calico, when from some cause or other his toes caught in the extreme side of the calico. He, however, cleared the calico, but in doing so lost his balance or equilibrium. He alighted on the horse, but from having been put off his balance, he almost directly afterwards fell from the saddle across the fence of the ring, with his head pitching into one of the entrances or avenues between the stables and the ring. The performance was suspended in consequence of the accident for a short time. Many in the establishment supposed at the time that, from seeing the boy fall forward on his head, his neck was broken. Others imagined he fell on his right side, and that his ribs were broken. It turned out, finally, that his right thigh was broken. He was at once placed on a stretcher, and conveyed to his parents' residence in Spring-street, where Drs. Maund, Phillips and Pierre were quickly in attendance, and set the broken limb. The little fellow bore his sufferings with fortitude. He was yesterday pronounced by Dr. Maund to be going on exceedingly well.

[Advertisement], The Age [Melbourne, VIC] (29 May 1855), 8

http://nla.gov.au/nla.news-article154891090 

ASTLEY'S AMPHITHEATRE. Don't Forget to Remember.
YEAMANS'S BENEFIT. Tuesday Night. FIVE CLOWNS, Including that Prince of Clowns, the renowned
TOM BARRY, Who has in the kindest manner, volunteered his services on this occasion for the benefit of his brother clown . . .
JOE DOWNEY, The celebrated American Clown, will render his comical assistance for this night only.
Miss Margaret Griffiths, the youthful Australian pupil of Mr. William Barlow, will make her first appearance in a pleasing Act of Equestrianism . . .
Medley Dance by Miss Margaret Griffiths . . .
Mrs. Yeamans will appear in one of her graceful scenes on her Pet Palfrey . . .

ASSOCIATIONS: Tom Barry (clown); Joseph Tracy Downey (clown, actor); William Barlow (equestrian); Astley's Amphitheatre (Melbourne venue)

[Advertisement], The Argus (6 July 1855), 1

http://nla.gov.au/nla.news-article4811306 

ISLEMAN. - John Stephenson, send your address to Wm. Griffiths, carver, Australian Hotel, Spring and Lonsdale streets.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer [NSW] (29 September 1855), 2

http://nla.gov.au/nla.news-article59760887 

Ashton's Royal Amphitheatre, YORK STREET.
Take Notice the Circus open every Night.
IF possible increased attraction and galaxy of talent! Re-union of Ashton's Double Troupe, with additional and most recherche attractions!
Grace and elegance of Miss M. Griffiths, the Infant Prodigy, whose poetry of motion on "the light fantastic toe" must be seen to be appreciated.
Master W. Griffiths, the graceful and daring Equestrian, in conjunction with Ashton's Double Company, defys all competition [sic] . . .
The Entertainments are varied each evening, and not only illuminated with gas, but by the brilliant and sparkling funnisms, jokes, witticisms, and repartees of
those trio of incomparable Clowns and Jesters, Messrs. Yeamans, Adams, and Hingler.

[Advertisement], Empire [Sydney, NSW] (23 May 1859), 7

http://nla.gov.au/nla.news-article60400575 

ISLE OF MAN. - WILLIAM GRIFFITHS, WOOD CARVER, Newtown Toll Bar, Sydney.

[Advertisement], Empire (27 August 1859), 1

http://nla.gov.au/nla.news-article60403340 

TO CHARLES POOLE, ESQ., LESSEE AND MANAGER.
DEAR SIR - Allow us to congratulate you on the unprecedented fact of your having kept open the Prince of Wales Theatre during a period of fourteen month's, notwithstanding the difficulties which beset you . . . Your obedient servants,
MARIA CARANDINI, JOSEPH T. DOWNEY, SARA FLOWER, CHAS. EIGENSCHENCK . . .
JOHN GREGG, W. GRIFFITHS, JOHN HOWSON . . . MAGGIE GRIFFITHS . . .

ASSOCIATIONS: Charles Poole (manager); Charles Eigenschenck (violinist); John Gregg (vocalist); Prince of Wales Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (27 June 1860), 1

http://nla.gov.au/nla.news-article13042411 

COMPLIMENTARY BENEFIT TO THE LESSEE AND MANAGER, MR. SAMUEL COLVILLE.
CORRESPONDENCE . . . Prince of Wales Opera House, Sydney, June 26th, 1860.
Dear Sir, - As a mark of our appreciation of the generous and upright deportment which has characterised your transactions with us . . . we have the honour to be your obedient servants,
Frank Howson, C. Thompson, E. Grossi, William Griffiths, Charles Eigenschenck . . .

ASSOCIATIONS: Samuel Colville (manager); Enrico Grossi (vocalist)

[Advertisement], Empire (22 July 1861), 1

http://nla.gov.au/nla.news-article60486287 

WILLIAM GRIFFITHS, Wood Carver, REMOVED from Newtown,
to the rear of Belevedere Cottage, Bourke-street, near Woolloomooloo-street, Woolloomooloo.

"ROYAL LYCEUM", Bell's Life in Sydney and Sporting Chronicle (1 August 1863), 2

http://nla.gov.au/nla.news-article59793464 

Ashton's Circus has been pretty numerously attended, and given unequivocal gratification to his audiences during the past week, the engagement of Messrs. Raphael, E. Yeamans, and E. Maclean adding considerably to the strength of the company . . . We were glad to see our our old friend Ned Yeamans once more in the ring, after a lengthened absence from the scene of his former triumphs. He is as lively, active, and witty as ever - "a fellow of infinite jest, of most excellent fancy" - one who in making the unskilful applaud, never causes the judicious to grieve, but rather declare him "a very pretty follow in his way." We regret that the renewal of our acquaintance is doomed to be short-lived, as he, accompanied by Mrs. Yeamans, is about to sail for China and India, substantial inducements having caused him to accept an engagement for them both. Trusting that both his health and his exchequer will be benefitted by his transit to the Celestial regions, we wish him most "favourable and happy speed" there, and quick "returns" back again.

Passenger list, per Maori, from Melbourne, 1 August 1863, for Batavia; Public Record Office Victoria

https://prov.vic.gov.au/archive/239B69BC-F7F0-11E9-AE98-6982510BE86A?image=248 (DIGITISED)

. . . George Lewis / Single / Equestrian . . .
Mr. Yeamans / Married / Equestrian // Mrs. Yeamans / Married / Equestrian . . .

"MARRIAGES", The Sydney Morning Herald (14 July 1865), 1

http://nla.gov.au/nla.news-article13115997 

On the 6th May, 1865, at Wellington, New Zealand, by the Rev. J. Moir, W. D. Grey, Esq., to Margaret, youngest daughter of Mr. W. Griffiths, wood carver, Sydney, New South Wales.

"TESTIMONIAL TO MRS. YEAMANS", Empire [Sydney, NSW] (16 August 1865), 4

http://nla.gov.au/nla.news-article64142758 

We were very much gratified to learn that the "officers composing the Garrison Amateur Theatrical Company," being unable to give Mrs. Yeomans the benefit they had purposed - on account of the godown in which they have had their performances being required by the proprietor - have headed a subscription list - to serve as they say "as a testimonial to Mrs. Yeamans of the high sense entertained by themselves and the community of Yokohama, of her professional talents and her social excellence." Everyone here knows how industrious and energetic Mrs. Yeamans has been in her efforts to deserve well of the public, and every one knows how estimable she is in the various relations of private life. We are confident - we have not the slightest doubt - wo are sure that there are very few amongst us who will not be glad to subscribe to the testimonial, which is to be the last and crowning proof of our good will towards her. We hear that she leaves Yokohama for San Francisco in the Keoka in a few days; and although, from many circumstances she may not have found Japan quite so profitable as she had hoped, she will bear away with her the satisfaction of knowing that there is not one in Yokohama who does not respect and esteem her. It will be a satisfaction also to her family in Australia to learn that the respectability of character they have ever sustained there, has been fully supported and maintained by her during her stay in China and Japan.
- Daily Japan Herald.

"BENEFIT", Daily Alta California [San Francisco, CA, USA] (18 September 1865), 1

https://cdnc.ucr.edu/?a=d&d=DAC18650918.2.4 

Mrs. Yeamans, who arrived a few months since from Australia, the wife of one of the earliest pioneers in the profession in our midst, and a lady of considerable talent, will take her first benefit at the Eureka Theatre, on Wednesday evening. A host of talent have volunteered, and we hope that the occasion may prove a substantial benefit.

"DEATHS", The Sydney Morning Herald (9 March 1867), 1

http://nla.gov.au/nla.news-article13155466 

On the 28th August, 1867, at Leavensworth City, Kansas, North America, Mr. EDWARD YEAMANS, many years connected with the equestrian establishments in these colonies.

"DEATHS IN THE PROFESSION", New York Clipper [NY, USA] (2 September 1882), 9

https://idnc.library.illinois.edu/?a=d&d=NYC18820902.2.25 

WILLIAM GRIFFITHS died of chronic rheumatism Aug. 22 at No. 60 East Ninth Street. in this city, aged 71 years and 6 months [sic, 74 years and 6 months]. His funeral took place from his late residence 24, the interment being in Woodlawn Cemetery. He was an operatic vocalist, and had sung for many years with all the companies which appeared in Australia. Being compelled by rheumatism to retire from the stage, he accompanied his daughter Miss Annie Yeamans, to this country where he has since resided. Besides his daughter, three grand children here survive him, the Misses Lydia, Emily, and Jennie Yeamans.

See also, "Figaro", The Lorgnette [Melbourne, VIC] (3 November 1882), 4

http://nla.gov.au/nla.news-article208856402 

"Deaths", The Sydney Morning Herald (24 October 1882), 1

http://nla.gov.au/nla.news-article13519713 

GRIFFITHS. - August 22, at his residence, No. 60, East 9th-street, N. Y., Mr. William Griffiths, formerly of the city, aged 71 and 6 months [sic]. He was well known as an operatic vocalist, but of late years was compelled to give up the profession through his infirmities; he was also a member, for many years, of No. 1 Company, Sydney Rifles. He leaves a widow and 3 children, also 3 grandchildren - the Yeamans sisters, Lydia, Emily and Jennie, all well known in the profession.

"MRS. ANNIE YEAMANS CALLED THE 'GRAND OLD WOMAN' OF THE STAGE", Democrat and Chronicle [Rochester, NY, USA] (3 November 1907), 12

https://www.newspapers.com/image/135456041 (PAYWALL)

Will Soon Seek Rest After a Career of Sixty-two Years of Public Entertaining.
The Retirement of the Celebrated Character Actress on Her Next Birthday Will Bring to A Close a Remarkable Stage Career Which Began in Australia - It Continued Through the Rough Days of the Gold Craze and Included Circus Riding - Her Notable Achievements.

A QUAINT little woman with silvery hair and a kindly old wrinkled face, stood quietly at the side of the stage. And army of gay show girls and dancers swished a sea of gaudy skirts and fluffy lingerie across the footlights, and the audience kept time approvingly to the catchy air . . .
November 19th will bring Mrs. Yeamans to the seventy-seventh milestone on the journey of life, and this season rounds out the sixty-second that she has been before the public.
Sixty-two years as a performer. And now, upon her birthday, she will quit the stage, leaving behind a recor such as is written few times in the annals of Thespis . . .
Beginning as a girl with a circus in Australia it takes her through the days of the gold craze, then into half-savage China and Japan, then to San Francisco and across to New York, before the days of the great trans-continental railroads . . .
"I am all alone in the world," she said the other days. "My husband died in 1868 [sic]. My two elder daughters and my mother and father, whom I brought to America from Australia, in the early seventies, died prior to 1892, and the only joy I had left in my life, my daughter Jennie Yeamans, passed away last Thanksgiving Day . . ."
Born in the Isle of Man, seventy-two years ago, Mrs. Yeamans was the daughter of William Griffiths, a Welsh singer, and his Manz wife. She was only a year old when her parents took her out to Sydney, New South Wales, where her father had an engagement in a stock company which opened in Sydney's first [sic, second] theatre.
For several years the little family moved about Australian towns, the father playing at various theatres. When Annie was ten years old, her parents thought it was time for her to help earn her living, so they got a child part for her, that of "Little Julia," in a piece called "The Farmer's Daughter." She took lessons in ballet dancing too, and soon attained a proficiency which, despite her years, remains until to-day.
Having learned to dance, Annie and her brother William were apprenticed to a tailor in Sydney, who was organising a circus troupe. The tailor collected a company, composed chifly of "ticket-of-leave" men, ex-convicts, who had been performers in the old country.
With this rough element, little Annie played in various places for several years. She learned something of riding, and used to dance on a flat pad on a running horse, jumping through paper hoops and skipping rope.
Gold was discovered at Melbourne just about the time the girl and her brother finished their apprenticeship, and the Griffiths family moved there with an American circus then playing in the town. Mrs. Yeamans tells how drunken miners, who came to see the show, flung gold nuggets into the ring as she rode, but adds that she never got any as the circus hands gathered them up as quickly as they fell.
The circus girl had grown to be a young woman by this time - and a pretty young woman too. In the same troupe was a young clown from New York - Edward Yeamans. He fell in love with Annie, and she married him out of pique - just to get even with an old sweetheart with whom she had quarreled in Sydney, and who had married another girl.
From the circus ring she and her husband went gold prospecting, and failing at that they came back under the canvas again, going with a company to Java, then to Singapore, Hongkong, and Shanghai. In Shanghai her daughter Jennie, then a baby of six months, contracted cholera, and when her mother wasn't dancing she was nursing the sick child.
The Yeamans' fortunes took them next to Yokohama, and on the voyage Jennie got well. Finally Yeamans got an offer from Charles Wheatly, who was running the Eureka Theater in San Francisco, and the little family sailed by clipper for the Golden Gate. They remained there a year and then when to New York where Yeamans joined another circus, which drifted West and "went broke." The Yeamanses finally landed in Leavenworth, Kansas, where Yeamans died, leaving his wife and baby penniless. Through a landlady's kindness they managed to get back to New York, where Mrs. Yeamans got a place in a stock company at Conway's Park Theater, Brooklyn . . .

PIECE: Correctly, her debut was in July 1850, she was 14 years old at the time, and the piece was The soldier's daughter (by Andrew Cherry); see her performances, "Julia - Miss W[illiam] Griffiths", on 20 July 1850 and 17 September 1850

"MUMMER MEMOIRS. MRS. ANNIE YEAMANS, AN OLD TIME AUSTRALIAN. WILLIAM GRIFFITHS, THE WELSH SINGER . . . THIRD SERIES. - No. 3 (By 'Hayseed')", Sydney Sportsman (22 January 1908), 3

http://nla.gov.au/nla.news-article166734720 

While we were interesting ourselves with Ned Yeamans and Maggie Griffiths, we were, curiously enough, assisted in the his tory of these old mummers by an inspired article appearing in 'The Daily Telegraph' recently. As introduction to what follows, I may quote the article: "An ex-Australian Actress: -
Mrs. Annie Yeamans, the American actress, who was brought up in Australia . . . This grand old woman of the profession, born in the Isle of Man, 72 years ago, is the daughter of William Griffiths, a Welsh singer, and his Manx wife. She was only a year old when her parents emigrated to Sydney, New South Wales, where her father had an engagement in a stock company, which opened Sydney's first theatre. For several years the family moved about Australian towns, the father appearing at several theatres. When Annie was ten years old, say in 1846, she was given a child's part in a play called "The Farmer's Daughter." She took lessons in ballet dancing too, and she can trip it merrily even to-day. At the time of the gold excitement, she was in Melbourne, where she got an engagement with an American circus . . .

ASSOCIATIONS: Joseph Michael Forde ("Hayseed");
for the article quoted, see "AN EX-AUSTRALIAN ACTRESS", The Daily Telegraph [Sydney, NSW] (4 January 1908), 15

http://nla.gov.au/nla.news-article238096836 

Mummer Memoirs . . . THIRD SERIES. - No. 8 (By 'Hayseed'), Sydney Sportsman (4 March 1908), 3

http://nla.gov.au/nla.news-article166750938 

. . . I am glad to say that another of the old-time mummers has written. His letter reads like ancient history, and will be interesting to old and new playgoers. Dating from Malvern-road, South Yarra, 17.2.08, Mr. W. H. Ford says: -
"Dear 'Hayseed.' - For a long time I have been interested in your very able account or history of our early actors and actresses. - I am one of them, and date back to the beginning of 1851, at the old Victoria Theatre, in Pitt-street, Sydney . . . "The Victoria Theatre at that time only opened three nights a week - Monday, Wednesday and Saturday. I remember Miss Griffiths (afterwards Mrs. Yeamans), and, later on her brother Willie. I made him a costume for the circus in 1859 in Sydney. There; were two families by the name of Griffiths. Mr. Gordon Griffiths, a Shakespearian actor, later on his daughters were on the stage, and they called themselves the Misses Griffiths . . .

ASSOCIATIONS: William Henry Ford (memoirist)

"MUMMER MEMOIRS . . . No. 160 (By 'Hayseed')", Sydney Sportsman (29 March ), 3

http://nla.gov.au/nla.news-article168594292 

I am glad that Mr. H. P. Lyons is able again to talte up his pen and give us some more authentic reminiscences: -
"Dear Hayseed, . . . I would like to write you a few lines re that grand old woman, Madame Annie Yeamans, an old friend of the past. I did not know her as an actress: she was a rider. She married Ned Yeamans, clown . . . Annie had a sister on the stage, I fancy, Maggie Griffiths, also a brother, Billy Griffiths, who was associated with me in many circus companies . . . Billy Griffiths died in Adelaide many years ago . . .

ASSOCIATIONS: Harry Percival Lyons (memoirist)

"ANNIE YEAMANS IS DEAD AT AGE OF 76", The Sun [New York, NY, USA] (4 March 1912), 7

https://nyshistoricnewspapers.org/?a=d&d=sun19120304-01.1.7 

Mrs. Annie Yeamans, the actress, died at 9:55 o'clock last night in her apartment at the Hotel Gerard in Forty-fourth street at the age of 76. She suffered a slight stroke of apoplexy on January 18, but recovered sufficiently to be about the hotel and to drive out a bit. She was out driving as late as last Sunday. On Monday she became worse and on Thursday suffered a second stroke. She sank rapidly after that until her death last night. With her when she died were her only surviving daughter, Mrs. Lydia Yeamans Titus of London, and Mrs. Elizabeth Fox, who had long been Mrs. Yeamans's companion . . . Mrs. Annie Yeamans was born on the Isle of Man November 19, 1835. Her maiden name was Annie Griffiths. Her father, himself for many years connected with the theatrical business in one way and another, moved to Australia when his daughter was a small child, and at the age of 10 she made her first public appearnce as Little Julia in "A Father's Daughter." The child continued playing small parts and doing chorus and ballet work with her father's organization. The company presented al sorts of entertainments, from farce to opera. "Ernani," "The Bohemian Girl" and "Maritana" were among the operas which the company offered and in which little Annnie Griffiths appeared, dancing and singing in the chorus.
Rowe's circus, an American organization, was playing in Australia a bit later and the girl was apprenticed to this circus. Here she learned to ride and to jump through paper hoops and to do the rest of the things expected of equestriennes. When she was 18 years old she married Edward Yeamans, a clown with the circus.
After that Mrs. Yeamans and her husband appeared in circus in Java and Singapore and lived for a year in Hongkong. In 1865 they came to America, first appearing in California, then touring the middle West, and some two years later reached New York . . .
Mrs. Yeamans brought her parents to this county from Australia in 1872. Her father died here in 1882 and her mother in 1892 . . .

"MUMMER MEMOIRS. DEATH OF THE GRAND OLD WOMAN OF THE AMERICAN STAGE - MRS. ANNIE YEAMANS - HER FIRST STAGE APPEARANCE IN SYDNEY - WILLIAM GRITTITHS, A WELSH SINGER - NED YEAMANS . . . (No. 202. - By 'Hayseed')", Sydney Sportsman (27 March 1912), 3

http://nla.gov.au/nla.news-article168597343 

The mail has brought us notice of the death of Mrs. Annie Yeamans, the grand old woman of the American stage. Though the later years of her life, the greater half, were spent on the American continent, as an actress she belonged to Australia, she having made her first appearance on the stage in this country. This grand old woman - she was recognised as such all over America - was born in the Isle of Man 70 years ago, the daughter of Mr. William Griffiths, a Welsh singer, and his Manx wife. Her parents came to Sydney three-quarters of a century ago, when Annie was but twelve months old, and her father had an engagement in a stock company which opened at the old Victoria Theatre, in Pitt-street. For several years the family moved about Australian towns, not many then, the father appearing at the several theatres. When Annie was ten years old, which would be about 1847, she was given a child's part in an old-fashioned play called "The Farmer's Daughter." She took lessons in ballet dancing, possibly from Jeronymo Carandini, who was then teaching dancing at 158 King-street (1847). At the time of the gold fever, the first fifties, the Griffiths family was in Melbourne, where Annie got an engagement with an American circus . . .

ASSOCIATIONS: Gerome Carandini (theatrical dancer)

Musical editions:

I'll go to sleep, sung by Mr. W. Griffths, at the Royal Victoria Theatre, Sydney, in the opera of Don John of Austria (the first opera ever written and produced in the colony of New South Wales), composed by I. Nathan (Sydney: W. and F. Ford, [1848]); "Written by J. L. M., esq."

https://trove.nla.gov.au/work/16497664 

https://nla.gov.au/nla.obj-166020148 (DIGITISED)

ASSOCIATIONS: Isaac Nathan (composer); Jacob Levi Montefiore (librettist); William and Frederick Ford (publishers)

Bibliography and resources:

"ANNIE YEAMANS", Gallery of players from The illustrated American . . . edited by Henry Austin, no. 7 (New York: Lorillard Spencer, 1895), 40

https://archive.org/details/bub_gb_m0sMAQAAMAAJ/page/n327/mode/2up (DIGITISED)

THE simply irresistible way Annie Yeamans has of personating an Irishwoman has led many to suppose that she was a daughter of the beautiful Emerald Isle, and thus had the sense of witm humor, and pathos almost by birth-right. The fact is. however, that she was born, not on the Island of Sorrow, but next door to it, on the Isle of Man. Her father, William Griffiths, was Welsh, and while she was a child he emigrated to Australia with his family, all of whom became members of the stage at Sydney. Dancing was the first speciality of Annie Griffiths. Then she became an all-round actress before she was sixteen, and at that ripe age was apprenticed to John Malcolm, owner of the first Australian circus. It seems very strange to us of this generation who only know Mrs. Yeamans as a comedienne of unique histrionic ability and wide achievement to think of her in girlhood as an equestrienne, doing the double-horse act, and hopping through many-colored hoops of paper to an accompaniment of whoops on the part of her husband, the well-known American clown, Edward Yeamans, while the ringmaster, like Destiny personified, snaps the remorseless, but inspiring whip. In 1865 Mrs. Yeamans came to America, and joined Charles Wheatleigh's company in San Francisco . . .

Annie Yeamans, Find a grave

https://www.findagrave.com/memorial/37769498/annie-yeamans 

GRIMANI, Antonio (James Charles GRIMANI; James Antonio GRIMANI; Antonio GRIMANI; Antonio James GRIMANI; Signor GRIMANI)

Musician, pianist, violinist, teacher of music

Born Liverpool, England, (? 14) December 1835; baptised St. Peter, Liverpool, 17 January 1836; son of Francis James GRIMANI and Elizabeth McLAUGHLIN
Arrived Melbourne, VIC, 5 April 1855 (per George Mashall, from Plymouth, 23 December 1854, aged "19")
Married [1] Bridget Ann BURNS (c. 1832-1890), Castlemaine, VIC, 28 April 1856
Married [2] Annette TURNER (1842-1934), Hobart, TAS, 31 December 1863 (aged "28")
Died San Francisco, CA, USA, 19 November 1904, aged "68"

https://trove.nla.gov.au/search?l-publictag=James+Antonio+Grimani+1835-1904 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIMANI-Antonio (shareable link to this entry)

Documentation:

Baptisms solemnized in the parish church in the parish of St. Peter, Liverpool, in the County of Lancaster in the year 1836; register 1835-36, page 229; Liverpool Record Office, 283-PET-2-24

https://www.ancestry.com.au/search/collections/2196/records/3171375 (PAYWALL)

No. 1832 / [1836 January] 17 / James Charles [son of] / Francis & Elizabeth / Grimani / Christian Street / Gentleman . . .

ASSOCIATIONS: Francis James Grimani (1782-1867) and Elizbeth McLaughlin (c. 1816-1876) had married at St. Peter's, Liverpool, on 10 December 1833; Francis's father was Gasparo (Jasper) Grimani, had emigrated from Venice to England by 1781, when on 6 August 1781 he married Cecilia Wagner at St. Pancras Old Church; James later claimed that he was himself born in Venice, and his early adoption of the forename Antonio was probably intended as an historical association with Antonio Grimani (15th-century Venetian doge)

Channel Islands census, 30 March 1851, Jersey; UK National Archives, HO107/2528/87/9

https://www.ancestry.com.au/search/collections/8862/records/16465853 (PAYWALL)

Good Wood House / Francis Grimani / Head / Mar. / 68 / Gentleman Fund Holder & Annuitant / [born] London England
Elizabeth / Wife / Mar. / 36 / - / [born] Bunerand Ireland
James / Son / Unm. / 15 / - / [born] Liverpool England
Oceana / Daur. / 12 / - / [born] On the high seas
Francis / 10 // Jasper / 7 // Charles / 5 // Julia / 3 // Edmund / 1 [all born Culmore, Londonderry, Ireland]

Names and descriptions of passengers per George Marshall, from Plymouth, 23 December 1854, for Melbourne, 5 April 1855; Public Record Office Victoria

https://prov.vic.gov.au/archive/3AF96E01-F96C-11E9-AE98-A782DBE7F3B5?image=284 (DIGITISED)

. . . Grimani F. [sic] / 19 / Musician / [English . . .

"The late flood", Mount Alexander Mail [Castlemaine, VIC] (15 February 1856), 4

http://nla.gov.au/nla.news-article202631100 

An inquest was held yesterday afternoon upon the body of James Greenstreet, deceased. The unfortunate man was a travelling agent of Mr. Sullivan, of this town, and in returning to Castlemaine on Thursday evening was washed away by the flood. The following depositions were taken at the inquest . . .
Antonio Grimani examined: I am a musician, living at Castlemaine. I was at the Junction of the Loddon on the 7th instant. I asked him to give me a ride. He did so. We went on towards Castlemaine . . . After crossing the flood, he gave the reins into my hand and told me to drive on, and that he would go back and see what was the matter with last witness, who was behind. I saw no more of the deceased until this day. I have no doubt the body I saw is that of James Greenstreet. The deceased was intoxicated when he left me to search for his mate . . .

[Advertisement], The Argus (27 December 1856), 1

http://nla.gov.au/nla.news-article7142258

GEORGE MARSHALL, - Mr. James Grimani, violinist, communicate immediately with Campbell Brothers and Co., 9 Market-street.

[Advertisement], The Argus (2 July 1857), 1

http://nla.gov.au/nla.news-article7134593

GRIMANI, JAMES, Music Master, - Messrs. Campbell Brothers and Co., 9 Market street, have news of importance for you, reply at once.

Petty Sessions at Pleasant Creek, VIC, 28 November 1860 (607 and 609) and 8 December 1860 (613 and 614); Public Records Office Victoria

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=1644177&collectionId=62626 (PAYWALL)

No. 607 / Complainant - Mrs. Grimani / Defendant - Mrs. Gorman / Cause - [Abusive and obscene language in a public place] / Fined 10s. or in default 48 hrs imprisonment and costs 4s 6d. . . .
No. 609 / Complainant - Anne Grimani by Antonio Grimani / Defendant - Patrick Honan / Cause - [Assault] Damages £20 / postponed until 10 Dec'r 1860 . . .
No. 613 / Patrick Honan / Anne Grimani / Assault Damages £20 / dismissed
No. 614 / Anne Grimani / Patrick Honan / Assault Damages £20 / dismissed

"Government Notices", Otago Daily Times [Dunedin, NZ] (3 April 1862), 6

https://paperspast.natlib.govt.nz/newspapers/ODT18620403.2.32.2

Information is requested respecting Antonio Grimani,
formerly of Stawell, Victoria, who left Lyttleton, Province of Canterbury, in November last, for Dunedin.
A letter of importance awaits him at the Office of the Commissioner of Police, Dunedin.

[Advertisement], Lyttelton Times [NZ] (15 October 1862), 5

https://paperspast.natlib.govt.nz/newspapers/LT18621015.2.25.1 

TOWN HALL, LYTTELTON. LAST TWO NIGHTS OF THATCHER AND MADAME VITELLI.
TO-NIGHT AND TO-MORROW NIGHT. NEW LOCAL DUETT, "OFF TO WELLINGTON," BY THATCHER AND MADAME VITELLI.
NEW LOCAL SONGS, "TIPPERARY RIOT IN LYTTELTON, &c."
Admission, 3s.; Reserved Seats, 5s. Performance to commence at 8 o'clock.
PIANIST - SIGNOR GRIMANI.

ASSOCIATIONS: Charles Thatcher (vocalist, songwriter); Annie Vitelli (vocalist)

[Advertisement], The Advertiser [Hobart, TAS] (14 January 1863), 3

http://nla.gov.au/nla.news-article264672866 

THEATRE ROYAL, MR. H. J. HALL, THE GREAT DRAMATIC POLYPHONIST . . .
POSITIVELY FIVE NIGHTS ONLY!!! Monday, Tuesday, Wednesday, Thursday, and Friday, the 19th 20th, 21st, 22nd, and 23rd January.
SIGNOR ANTONIO GRIMANI, from the Milan Opera House, will preside at the Piano Forte, and accompany MR. HALL throughout the Entertainment . . .
. . . Mr. W. R. LAWRENCE, Agent . . .

ASSOCIATIONS: H. J. Hall, alias of Barned Jullien Coleman (polyphonist); Robert Winsor Lawrence (actor, agent); Theatre Royal (Hobart venue)

"MR. HENRY JULIAN HALL'S ENTERTAINMENT", The Advertiser (26 January 1863), 2

http://nla.gov.au/nla.news-article264673193 

On Saturday, a day performance took place at the Theatre Royal, before a select audience, for the most part juvenile, when the talented polyphonist amused the company with a round of impersonations. As a matter of course he was greatly applauded, as was Signor Antonio Grimani, the pianist, who accompanied Mr. Hall in his performance . . .

"MR. HALL'S ENTERTAINMENT", The Mercury (20 January 1863), 2

http://nla.gov.au/nla.news-article8814585

Although the heavy rain which set in yesterday afternoon, and continued nearly to the hour for opening the Theatre, to some extent affected the attendance in the dress circle, a very good House was attracted last night by the programme put forward by Mr. Hall. And the company was certainly very unanimous and enthusiastic in its approval of the performance. Mr. Hall fully justified all the encomiums that have been passed upon him by the colonial press. His voice is very pleasing, his impersonations remarkably clever and his changes of character astonishingly rapid. An entertainment more varied or better sustained throughout, has never been offered by any artist in Hobart Town, and there is something really wonderful in the energy and spirit with which so trying a role was kept up to the last. Signor Grimani was a most efficient accompanyist on the pianoforte, and contributed greatly to the success of the entertainment, which was brought to a close amid the loud and repeated plaudits of the audience. We trust that Mr. Hall will receive a patronage during his brief stay in Hobart Town, commensurate with his indisputable and rare abilities.

[Advertisement], The Mercury (29 January 1863), 1

http://nla.gov.au/nla.news-article8814851 

THEATRE ROYAL. GRAND MORNING BESPEAK, AND FASHIONABLE DAY ENTERTAINMENT . . .
(THIS) THURSDAY AFTERNOON, JANUARY 29, At 3 o'clock p.m.
MR. H. J. HALL, in thanking his numerous admirers for the unusually liberal patronage bestowed on his Drawing-Room Monologue, trusts to make this morning performance the most fashionable and pleasant reunion that has taken place for some time here . . .
During the 1st and 2nd part of the entertainment, Signor GAGLIARDI will perform a Solo on the flute - O'Cara Memoria, by Caraffa.
Signor Antonio GRIMANI will preside at the Pianoforte, and accompany Mr. Hall throughout the Seven Ages of Man . . .

ASSOCIATIONS: Giacinto Gagliardi (flautist);
see also "MORNING PERFORMANCE", The Advertiser (29 January 1863), 3

http://nla.gov.au/nla.news-article264673282 

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (30 May 1863), 5

http://nla.gov.au/nla.news-article72195363 

Mechanics' Institution, LAUNCESTON. Return of MR. H. J. HALL, The Great Dramatic Polyphonist!
FOR ONE NIGHT ONLY . . . The 1st June, 1863 . . .
SIGNOR GRIMANI Will accompany Mr. Hall on one of Collard and Collard's double-action Grand Piano-fortes,
and perform between the Parts of the Entertainment one of Mr. Thalberg's Solos with variations.
HALL IN FORTY CHANGES OF DRESS! THIRTY SONGS AND DANCES! . . .

[Advertisement], The Mercury [Hobart, TAS] (8 July 1863), 8

http://nla.gov.au/nla.news-article8819018 

HALL'S ENTERTAINMENT! For the 105th representation in Tasmania.
40 CHANGES OF DRESS. 30 SONGS AND DANCES. SIGNOR GRIMANI'S SOLOS, much admired . . .

[Advertisement], The Mercury (24 July 1863), 4

http://nla.gov.au/nla.news-article8819468 

This day, FRIDAY, 24th July. Orchestrina.
W. A. GUESDON & CO., Will sell by public auction, at the mart, Collins-street, on FRIDAY, 24th inst., at 11 o'clock,
AN ORCHESTRINA. This novel and magnificent instrument comprises pianoforte,
harmonium, set of flutes, with the addition of triangle pedal, having two keyboards.
Each instrument may be placed separately or jointly with any two or more, affording scope for upwards of thirty different arrangements.
The qualities of the piano are first class, both for touch and tone.
The harmonium possesses bass and treble arrangement separately for sacred or other music.
The flutes comprise a set of 33 boxwood pipes, producing a delightful effect, and when the whole instruments are played in combination, constitute a complete orchestra.
The above will be on view at the mart.
SIGNOR GRIMANI will play selections from different authors.
Terms at sale.

[Advertisement], The Advertiser (4 August 1863), 1

http://nla.gov.au/nla.news-article264680313 

[A CARD.] SIGNOR GRIMANI, Professor of Music, Pupil of Santon and Costa,
is prepared to give instruction on Pianoforte and Violin.
Apply at office of this paper; or Mr. ALFRED, Hairdresser, Elizabeth-street. July 30.

ASSOCIATIONS: Prosper Sainton (violinist active in London); Michael Costa (English musician)

"POLICE COURT, TUESDAY, 3RD NOVEMBER 1863 . . . FELONY", The Mercury (4 November 1863), 2

http://nla.gov.au/nla.news-article8822114

Stephen Bell, Emma Bell, Benjamin Wood, and Mary Ann Phillips were charged . . . with having on the 27th October feloniously stolen a cheque for the payment of £11 11s. 9d., and a silver watch, the goods and chattels of Thomas Powell, and also another cheque for payment of £1, the property of the said Powell.
Thomas Powell, farmer, of Tunbridge, deposed: I arrived in town by the coach on the 26th October. I went first to Mr. Watkins's, and from thence to the White Swan, public-house, Liverpool-street. I remained there two or three hours, and had a glass or two of drink. I went from there to the Garrick's Head public-house, accompanied by the pianoforte player Grimani . . . Grimani did not come into the room. He stood at the bar. The other man was still in the room when Bell took the money . . .
Cross-examined by Mr. Graves - . . . I had something to drink with Mr. Wilks, but I do not remember having anything with anyone else. I am not sure but that the musician Grimani might have had something. It was after the White Swan was shut up that I went to the Garrick's Head. I remember treating Bell and the musician when I went in, and that was all I shouted for during the evening . . . It was between 12 and 1 o'clock when I went into the Garrick's Head. I did not see Grimani there when I went to bed. Grimani went out directly after I accused Bell of robbing me . . .

See also, "POLICE OFFICE", The Advertiser (4 November 1863), 2

http://nla.gov.au/nla.news-article264684698 

"HOBART TOWN AND THE SOUTH. POLICE OFFICE. Tuesday, 3rd November, 1863", The Cornwall Chronicle (11 November 1863) 3

http://nla.gov.au/nla.news-article72195452

. . . Thomas Powell was then called and examined - He deposed . . . he first went to Mr. Watkins', and from there to the White Swan, where he stayed for two hours, and during that time had a glass or two; from the White Swan he went to the Garrick's Head, kept by the prisoner Stephen Bell, and was accompanied by Signor Grimani, pianoforte player at the White Swan . . .

"SUPREME COURT . . . TUEDAY, DECEMBER 1ST", The Advertiser (3 December 1863), 2

http://nla.gov.au/nla.news-article264686028 

. . . Antonio Grimani, professor of music, deposed that on the evening of the 26th, he gave a lesson at the White Swan, in what had been the concert room.
Who was the person you were teaching?
Mr. Wilk's son.
At what time did the lesson commence?
About 8.
And what time did it conclude?
At 9. I can't say if I played the piano there after 9. I left Wilks' about 18 o'clock. I was a little drunk that night.
Then while you were teaching Mr. Wilk's son you drank a little?
Yes, I live in the house, generally.
Do you generally play in the evening?
I won't swear that I don't.
By Mr. Adams - I left with Mr. Powell, who was half and half; we went up Liverpool-street, and went into a house where I saw two women; we stayed half an hour; from there we went to the Garrick's Head, Powell treated the company in the bar, and paid with a £1 cheque. He produced a second cheque, but put it in his pocket; I left Bell's about half-past four; Powell was in the parlor, pretty sober.
Why do you described him as half and half when he went in, he continued drinking, and he drank till he get sober? (A laugh.)
Yes.
Who was up at that time?
Bell, Woods and I left the house together: it was daylight.
By Mr. Graves - Powell had not gone to bed in the course of that light; I returned to the Garrick's Head about 7 o'clock, and saw Powell upstairs in bed. I aroused and spoke to him; he was sober; I came downstairs with him and saw a little boy in the bar.
Re-examined - We walked right through into the street to the White Swan, where we remained about ten minutes, and then parted; when at the Garrick's Head he treated George Marshall, and all who were there, including two females; during the evening he offered to bet Marshall £5 on a race horse and said he had an £11 cheque; at another time during the evening he said he had lost the cheque.
By the Court. - This was after he had been in the house three quarters of an hour; he complained to Mr. Bell at the bar door, and told him he knew all about it; Bell had been sitting in the parlor; Bell smiled and said it would be all right in the morning; Powell said "If that's it I'm easy again and don't care;" Mr. Bell and Powell both stood treat after that, I saw Powell drink part of it; it looked like brandy or rum; I was playing the piano at Bell's that evening in the parlor - Powell was there . . .

1863, marriages in the distict of Hobart; Tasmanian names index; NAME_INDEXES:866011; RGD27/1/22 no 380

https://libraries.tas.gov.au/Record/NamesIndex/866011 

https://libraries.tas.gov.au/Digital/RGD37-1-22/RGD37-1-22P187 (DIGITISED)

No. 21 / December 31st 1863 / 98 Argyle St., Hobart Town / James Antonio Grimani / 28 / Professor of Music / . . . Bachelor . . .
Annetta Turner / 21 / - / . . . Spinster . . . Were married . . . according to the rites and ceremonies of United Methodist Free Church by Licence . . .

ASSOCIATIONS: Annette Turner (1842-1934; married Alfred Kinder, VIC, 1874); it appears that Grimani left her early the next year to return to his first wife, Bridget Anne, and falsely advertised his death in The Argus (see 6 June 1864 below)

"Missing Friends", Victoria police gazette (14 April 1864), 157

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=157359&collectionId=60885 (PAYWALL)

INFORMATION is requested of Antonio Grimani, a Neapolitan, a musician, aged 26, 5 feet 7 inches high, think and dark. Under the name of James Grimani, he was married, 28th April, 1856, at Castlemaine, to Bridget Burns, of Newcastle, county Wicklow, Ireland. He resided at Stawell for about five years; afterwards at Canterbury, New Zealand, and more recently at Hobart Town, whence he returned to Melbourne in January last. He is likely to be employed in some orchestra. He formerly travelled with Mr. Hall, the polyphonist, and also with Mr. Lawrence, theatrical agent; with the latter he is likely to have left Melbourne. - 11th April, 1864.

"ITEMS OF NEWS", Mount Alexander Mail [Castlemaine, VIC] (18 April 1864), 2

http://nla.gov.au/nla.news-article197441391 

From the Police Gazette, we find that information, is requested of Antonio Grimani, a Neapolitan musician, who, under the name of James Grimani, married Bridget Burns, at Castlemaine, on 28th April, 1856.

"Missing Friends", Victoria police gazette (21 April 1864), 167

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=157601&collectionId=60885 (PAYWALL)

See Police Gazette, 14th April, 1864, p. 157. ANTONIO GRIMANI has been found.- 20th April, 1864.

"DEATHS", The Argus (6 June 1864), 4

http://nla.gov.au/nla.news-article5749428

GRIMANI. - On his way to Wood's Point, Antonio Grimani, late of Pleasant Creek.

Great register, San Francisco County, 1872-73; California State Library, Sacramento, 4-2A

https://www.ancestry.com.au/search/collections/2221/records/4340111 (PAYWALL)

No. 46995 / Grimani, James Antonio / Age: 33 / Nativity: England / Musician / [Address] 20 Minna / Naturalized: Sept. 2, 1871, California . . .

USA federal census, 1880, San Francisco, CA; Roll: 73; Page: 151a; Enumeration District: 012

https://www.ancestry.com.au/search/collections/6742/records/14354998 (PAYWALL)

Greenwich Street / Grimani Antonio / 44 / Musician / [born] Italy / [father born] Italy / [mother born] Ireland
[Grimani] Anna / Wife / 40 / Keeping House / [born] Ireland / [both parents born] Ireland [with William Peacock, printer, and wife, as boarders]

"ESTATES IN PROBATE", Daily Alta California [San Francisco, CA, USA] (26 February 1890), 2

https://cdnc.ucr.edu/?a=d&d=DAC18900226.2.17 

. . . James A. Grimani has applied for letters of administration on the estate of Bridget A. Grimani, valued at $2600 . . .

USA federal census, 1900, San Francisco, CA; Roll: 107; Page: 5; Enumeration District: 0287

https://www.ancestry.com.au/search/collections/7602/records/36755974 (PAYWALL)

Greenwich Street / 88 / Grimani Antonio / Head / Widower / [born] Dec. 1836 / 63 / [born] Italy / [both parents born] Italy / Musician / [with William Peacock and wife, and family of 3 as boarders]

"DIED", San Francisco Call [CA, USA] (21 November 1904), 10

https://cdnc.ucr.edu/?a=d&d=SFC19041121.2.95.3 

GRIMANI - In this city, November 19, 1904, at his residence, 426 Greenwich street, Antonio J., dearly beloved uncle of Mrs. W. P. Peacock, a native of Venice, Italy, aged 68 years.

Bibliography and resources:

Antonio James Grimani and Peacock family, Find a grave

https://www.findagrave.com/memorial/256756522/antonio-james-grimani 

Bridget Ann Grimani, Find a grave

https://www.findagrave.com/memorial/189719789/bridget_ann-grimani 

GRIMSHAW, Samuel (Samuel GRIMSHAW)

Juvenile musician, bugler, bugle player

Born Hobart, TAS, 23 June 1853; son of William GRIMSHAW (c. 1860) and Ann CRAWLEY (d. 1853)

https://trove.nla.gov.au/search?l-publictag=Samuel+Grimshaw+b1853 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GRIMSHAW-Samuel (shareable link to this entry)

Documentation:

1853, births in the district of Hobart; Tasmanian names index; NAME_INDEXES:957616; RGD33/1/4/ no 2452

https://stors.tas.gov.au/NI/957616k 

https://stors.tas.gov.au/RGD33-1-4$init=RGD33-1-4-P578 (DIGITISED)

No. 2452 / [1853] June 23rd / [no forename recorded] / Male / [son of] William Grimshaw [and] Ann Grimshaw formerly Crowley [sic] / Labourer . . . Campbell Street

"THE QUEEN'S ASYLUM. DISTRIBUTION OF PRIZES", The Mercury [Hobart, TAS] (19 December 1864), 2

http://nla.gov.au/nla.news-article8830048

The annual ceremonial of distributing the prizes awarded at previous examinations to the children of the above Institution came off in due course on Saturday afternoon [17 December] . . . Shortly after the general body of the children had taken their allotted places the recently organised band of the establishment entered upon the scene, and formed thence forward a prominent and most agreeable feature of the display. The members of the band, 25 in number, and for the most part rather below than above the average size of the inmates, were dressed in a neat uniform of blue with red facings. Their instruments consisted of fifes and drums, and a bugle. The last named instrument was very creditably played by Samuel Grimshaw, the boy who, as will be seen below, took one of the Fox's prizes for the year. Grimshaw acquired his knowledge of bugle playing from the carpenter of the Institution, bugler Luckhurst, of the City Guards. The leader of the band is Bandmaster Campion, also of the City Guards, and the manner in which they executed several pieces of music, including the National Anthem and British Grenadier, was surprisingly good, especially when regarded in connection with the fact that it is only some three months since the band was originated . . .

ASSOCIATIONS: Mr. Luckhurst (bugler); Thomas Campion (bandmaster)

"RELIGIOUS, BENEVOLENT, &c.", The Advertiser [Hobart, TAS] (23 December 1864), 3

http://nla.gov.au/nla.news-article264730371 

The Queen's Asylum for Destitute Children contains 573 children, and on the 17th inst., the annual distribution of prizes was made by H. E. Ihe Governor in the presence of a numerous assemblage . . . The Asylum Drum and Fife Band also attracted much attention. It numbers 25. The uniform is a coarse dark grey cloth with scarlet trimming, and was first donned on this occasion. The instructor is Mr. Campion, an old soldier and medallist, and a bandsman in the City Guards, and it is evident that he has bestowed the utmost pains on the juvenile pupils. The oldest boy in the band is the bugler, Samuel Grimshaw (Fox's prize-taker for 1864), and he has been instructed by Mr. Luckhurst, the carpenter in the Institution, who is also a bugler in the City Guards. The little fellows seemed to be not a little proud of their smart appearance, and as they stood apart at the entrance to the enclosure they were evidently envied by many of the other boys . . .

GROBETY, Edwin (Edward Benjamin GROBERTY; Edwin GROBERTY; also Edwin GROBETY; GROBETTY; GROBITY)

Musician, pianist, organist, vocalist, teacher of music and pianoforte, convict, emancipist

Born London, England, c. 1815; ? son of Benjamin GROBETY and Ann COOPER
Convicted Old Bailey, London, England, 5 April 1836 (judgement respited, aged "21")
Convicted Old Bailey, London, England, 23 October 1837 (transportation 14 years, aged "22")
Arrived Sydney, NSW, 21 July 1838 (convict per Bengal Merchant, from London, 24 March)
Married Catherine BRADY (d. 1891), NSW, 20 April 1846
Active Sydney and Campbelltown, NSW, by 1841
Died Campbelltown, NSW, 22 May 1849, aged "33"

https://trove.nla.gov.au/search?l-publictag=Edwin+Grobety+d1849 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROBERTY-Edwin (shareable link to this entry)

ASSOCIATIONS: A Benjamin Graberty [sic] married Ann Cooper, at St. Andrew's church, Holborn, London, on 14 June 1814, probably his parents; a Benjamin Groberty [sic] was a victim of theft in London in 1823-24

Documentation:

Trial of Edwin Grobety, theft, embezzlement, 5 April 1836; Old Bailey online

https://www.oldbaileyonline.org/record/t18360404-891

891. EDWIN GROBETY was indicted for embezzling the sum of 20l., which he had received on account of George Peachey, his master; second COUNT, for larceny. Mr. CLARKSON conducted the prosecution.
GEORGE PEACHEY. I am a music seller, and live in Bishopsgate street. The prisoner was in my service-on the 5th of February, I delivered him three Lewes Bank-notes, one of £10 and two of £5 payable at Esdailes - he was to get Bank-notes of the same amount for them, and turn to me with them - he went between two and five o'clock in the afternoon - he did not return - I went to Esdaile's to make inquiry, but did not find him till the 14th of February - on the 9th of February, I received this letter from him, which I know to be his handwriting - it came me by the post, with the bill enclosed.

Cross-examined by MR. PAYNE. Q. How long had he been in your service? A. About four months. I had a very good character with him. I know he lived with respectable people before me, I believe the bill to be in his writing - he always bore a good character - (letter read.)

"Sir,- Deeply regretting what I have done, and knowing of no other way of repaying you, I have enclosed a bill for the amount, which is payable at the regular time; I candidly confess to you that I left England this morning, for New York, previous to which I wrote this letter. I shall, notwithstanding, cause the money, to be left at Curtis's for you at the right [894] time. Consider, Sir, I have no intention of injuring you; but, had I not left you when I did, I should have been arrested the next day for a bill over due, which I was obliged to draw; but in this, Sir, you will not be deceived. I hope all proceedings will be stayed, by this bill, as I hope that if I deceive you in the payment I may suffer for it - that you will pardon the wrong I have done; I hope you will - trusting on your known kindness, I am now on my way to New York, having procured a situation there, by which means I will pay you - if possible I will pay before the ten months are expired, if not then, punctually at the time. Please receipt this bill in a letter to my father, and, for God's sake, dear Sir, do not expose me, as by means of your money I shall, and have been, able to procure a responsible situation, and by which I shall be able to pay you. If you take proceedings through my being abroad, it will only cause you expense, and debar you for ever from your right. I consider, now Sir, that I have but borrowed the money, believing that your kindness, though shamefully abused by me, will be repaid by this bill, and hoping for the forgiveness of God and man, I regret deeply the shameful conduct I have taken.-
Yours sincerely. E. GROBETY. Feb. 7, 1836.

Being obliged to pass through Bristol, whilst in that I town, wrote this letter, being the last and first place I was in before I left England. Bill due, December 10th, 1836.
London, February 7th, 1836.- Ten months after date, pay to my order twenty pounds, value received.- £20 0 0. Accepted payable at Curtis and Co., bankers, London. -
E. B. GROBETY. Mr. George Peachey, music-seller, 73, Bishopsgate-within, London.

Charles Evans. I am a clerk in Esdaile's house, in Lombard-street. On the 5th of February change was given for a £10 and two £5 notes, of the Lewes Bank - one of the notes I have now in my hand.

Cross-examined. Q. Whose writing is this on the note? A. One of our clerks - we do not know which of the clerks paid the notes.

MR. PEACHEY re-examined. I know this note by the paper being pasted at the back.

Prisoner. I plead guilty.

(Mr. Blundell, solicitor in the Temple, and John Matthews, of New Inn, Old Bailey, gave the prisoner a good character.)

GUILTY, Aged 21. - Recommended to mercy by the Jury and Prosecutor. Judgment Respited.

ASSOCIATIONS: On George Peachey, later a London pianoforte maker, see http://www.lieveverbeeck.eu/Pianoforte-makers_England_p.htm 

Newgate calendar of prisoners, 1836, for Edwin Grobetty; UK National Archives

https://www.ancestry.com.au/imageviewer/collections/61811/images/61811_ho77_043-00116 (PAYWALL)

No. 15 / Edwin Grobetty [sic] / 21 / Labourer / [committed by / The Lord Mayor / [When committed] Mar. 19 / Stealing monies, value 20l, of George Peachey, his master / [tried] Apr. 5 / [before] Serj't Arabin / Guilty / Judgment respited

Trial of Edwin Groberty [sic], Theft; stealing from master, 23 October 1837; Old Bailey online

https://www.oldbaileyonline.org/record/t18371023-2267 

2267. EDWIN GROBERTY was indicted for stealing, on the 26th of July, 20 sovereigns, 1 half-sovereign, 2 half-crowns, 5 shillings, and 2 £50 and 1 £5 Bank note, the monies and property of Frederick Stocker, his master; and that he had been before convicted of felony
FREDERICK STOCKER. I live in Queen-street, Holborn, and am a coachmaker. The prisoner was my clerk - I gave him fifty guineas a year, and was teaching him the business - on the 26th of July I gave him 126l. 6s.; there were two £50 Bank notes, one £5 and the rest in sovereigns and silver - he was to go to Ransoms to take up a bill that was due - he did not take up the bill, but absconded—I did not see him again till he was in custody.
FRANCIS ROBERT SLOANE. I am a clerk to Messrs. Ransom and Co. On the 26th of July there was a note for £126 due - the prisoner did not come and pay it.
WILLIAM MULLINS. I am a police inspector. I was on duty in Bow street - the prisoner came on the 30th of September, and said be wished to speak to me in private - he said his name was Groberty, and he wished to give himself up for the robbery he had committed on his master, Mr. Stocker -I found nothing on him but a passport and three duplicates.
Prisoner. I confess my guilt, and throw myself on the mercy of the Court.
WILLIAM RUDGE. I produce a certificate of the prisoners former conviction from Mr. Clarks office - (read) - the prisoner is the man.
GUILTY. Aged 22. - Transported for Fourteen Years.

List of 270 male convicts, by the ship Bengal Merchant (3), William Campbell, master; J. Noott, surgeon-superintendent, arrived from England, 21st July, 1838; State Records Authority of NSW

https://www.ancestry.com.au/interactive/2024/32082_223781__0002-00044 (PAYWALL)

38-936 / 40 / Groberty, Edwin / 23 / R & W / Protestant / Native Place: London /
Music Teacher (piano-forte) / Sentence: 14 years / Former Conviction: 3 months /
Height: 5' 3" / Complexion: fair; ruddy / Colour of Hair: sandy / Eyes: grey /
Particular Marks / Scars / Remarks: small scare outside left eye; raised mole on left jaw; finger nails short

[Advertisement], South Australian [Adelaide, SA] (20 October 1840), 3

http://nla.gov.au/nla.news-article71620193

General Post Office, Adelaide. LIST OF LETTERS lying Unclaimed . . . Grobeti, Edwin . . .

"The Oratorio", The Sydney Monitor and Commercial Advertiser [NSW] (2 July 1841), 2

http://nla.gov.au/nla.news-article32189723 

This Festival, to which the musical portion of the community of the colony had been looking forward for so long a time with the greatest interest, took place in St. Mary's Cathedral, on Wednesday the 30th ultimo . . . we give a list of those artists by whom it was executed . . .
VOCAL PERFORMERS . . . Mr. Bushelle, Mr. Nathan, Mr. Worgan, Mr. Griffiths, Mr. Edwin Grobety (organist to St. Peter's church, Campbelltown) . . .

ASSOCIATIONS: Isaac Nathan (conductor, vocalist); John Bushelle (vocalist); George William Worgan (vocalist); William Griffiths (vocalist); St. Mary's cathedral (Sydney)

"GHOSTS AT CAMPBELLTOWN", Australasian Chronicle [Sydney, NSW] (2 December 1841), 2

http://nla.gov.au/nla.news-article31733597

Mr. Editor - Having observed a letter in your paper of Saturday last, concerning my house, in Campbelltown, being disturbed at nights by unusual noises, &c., I beg leave, through the medium of your columns, to reply to the same, as such a report may tend to injure me in my business, and also those who are now living in the same house . . . A person of the name of Grobety has lived in the same house for two years, and he has never heard these noises until the last week; as also a respectable lady, Mrs. Kenny, who is a tenant of mine, and during the long time she has lived here has never been disturbed until these few days; when suddenly reports were circulated that a ghost was heard, but not seen, and the good people of our town have been terrified out of their wits by the "great unknown" . . .
I remain your obedient servant, JAMES SHEIL. Campbelltown, November 29, 1841.

"THE FESTIVAL OF ST. AUGUSTIN, AT CAMPBELLTOWN", Australasian Chronicle (23 August 1842), 2

http://nla.gov.au/nla.news-article31736951

At an early hour this morning (Wednesday) our little town presented a most animating sight. From all parts of the neighbourhood might be seen hundreds of happy faces, every person dressed in his Sunday suit, wending his steps towards the church of St. John, which was soon filled to excess; indeed so great was the press for room that numbers were compelled to remain outside the doors, through the disappointment of not being able to procure sittings. At half-past eleven o'clock the service of the mass commenced by a most beautiful chorus in the key of G major, which was given with fine effect; immediately afterwards the Rev. N. Coffey officiated as high priest, assisted by the Very Rev. the Vicar General, and the Rev. Messrs. McEvoy and Grant, as deacon and subdeacon. The mass of Count Mazzinghi, in B flat, was sung with great precision and taste by the Rev. Messrs. Sumner and Macginnis, and the choir, accompanied on the seraphine by Mr. Grobety, the organist, of Campbelltown. This splendid composition we believe was never before sung in this colony, and we can only say that it was performed with a judgment and ability that did ample justice to the composer. The various parts in this mass (which is composed for a treble, tenor, and bass) are most happily blended, and the modulations are extremely beautiful; the "Gloria in excelsis" is altogether a masterpiece of art. The whole of this movement, together with the "Kyrie Eleison," is in B flat, thence it proceeds by a most beautiful change to modulate in the key of E flat major, and thence by a skilful arrangement into C major. The grandest piece in this mass was the "Credo" in B flat, and had it been sung by a large choir, it would no doubt have had a more pleasing effect; however, as it was, allowing for the limited number of voices, it was well sung, and the entire service was concluded in a superb manner . . . There were seventeen clergymen present at the celebration of this festival. In the evening the Very Rev. the Vicar General sung the vespers, assisted as in the morning by the choir, who performed their part most efficiently. We only regret the limited number of singers, and the want of a constant steady practice, and if that were to be attended to Campbelltown would vie with Sydney. As it was, the musical services of the day were excellently performed, considering the many difficulties they had to encounter. The collection amounted to about £20. - Correspondent.

ASSOCIATIONS: Patrick Magennis (priest, vocalist); John Spencer (cleric, vocalist); Music in Catholic churches (general)

MUSIC: Mass for three voices (Mazzinghi)

[Notice], New South Wales Government Gazette (9 August 1844), 1009

http://nla.gov.au/nla.news-article230676970 

Principal Superintendent of Convict's Office, Sydney, 7th August, 1844.
THE undermentioned Prisoners of the Crown have obtained Tickets of Leave since the last day of publication: . . .
COUNTY OF CUMBERLAND. CAMPBELLTOWN. Groberty Edwin, Bengal Merchant 3 . . .

Convict permission of marry, April 1846; State Records Authority of NSW

https://www.ancestry.com.au/imageviewer/collections/1504/images/30514_081753-00357 (PAYWALL)

Edwin Groberty / 31 / Beng. Merchant / 14 years / 20 April [1846] / [by] Father Goold Campbelltown
Catherine Brady / 22 / China / Free / . . .

"Campbelltown (From a Correspondent)", Sydney Chronicle (2 September 1846), 2-3

http://nla.gov.au/nla.news-article31748774

Our little town, was quite alive on Wednesday last, that being the day appointed for the celebration of high mass, which took place with great solemnity. The church was crowded at an early hour, and numbers of persons, of different persuasions, might be seen wending their way to St. John's Church, which was thronged in every part; and shortly after the hour stated, the solemn service commenced . . . [3] . . . After the sermon high mass was proceeded with, the Rev. Mr. Sumner kindly assisting in the choir. I am happy to add testimony to the efficiency of our band of singers, who, although very young, acquitted themselves with great credit and ability, conducted by Mr. Grobety, who presided at the organ . . . After high mass was concluded, a bazaar was held at the Catholic school-house . . . We must not forget to add that the tones of a splendid pianoforte, which was kindly lent by a Protestant gentleman for the occasion, greatly enhanced the pleasure of the scene . . .

ASSOCIATIONS: Joseph Sumner (priest, vocalist)

"AGENTS FOR THIS JOURNAL", Bell's Life in Sydney (24 April 1847), 4

http://nla.gov.au/nla.news-article59768208

EDWIN GROBETY, Campbelltown.

Conditional pardon, Edwin Groberty [sic], 1 February 1849; State Records Authority of NSW

https://www.ancestry.com/imageviewer/collections/1657/images/40796_294193-00065 (PAYWALL)

. . . Edwin Groberty . . . convicted at the Central Criminal Court on the 23 October 1837 . . .

[Notice], New South Wales Government Gazette (23 March 1849), 468-69

http://nla.gov.au/nla.news-article230365147 

Colonial Secretary's Office, Sydney, 19th March, 1849.
CONDITIONAL PARDONS. HIS Excellency the Governor directs it to be notified, that Her Majesty has been graciously pleased to authorise the issue . . . of Pardons to the undermentioned persons, on condition that, during the remainder of their respective sentences, they do not return to the Countries or Colonies below particularly specified.
By His Excellency's Command, E. DEAS THOMSON.
Pardons available everywhere, save in the United Kingdom of Great Britain and Ireland. Dated 1st February, 1849 . . .
[269] . . . Groberty Edwin, Bengal Merchant 3 . . .

"DEATHS", The Sydney Morning Herald (25 May 1849), 4

http://nla.gov.au/nla.news-article12907750

At his residence, Campbelltown, on the 22nd instant, Mr. Edwin Grobity, aged 33 years, formerly of Berne, Switzerland, and for many years organist at St. John's Church, in this town, after a short and painful illness of three days, much regretted by all who knew him; leaving a wife and two young children to deplore their loss.

"DIED", Freeman's Journal (24 March 1866), 184

http://nla.gov.au/nla.news-article115453652 

On Wednesday, the 14th instant, at Pyrmont, Annie Mary Grobety, only daughter of the late Mr. Edwin Grobety, of Campbell Town, N. S. W., and granddaughter of the late Mr. T. Brady, of Limerick, Ireland, age 17.

"Deaths", The Sydney Morning Herald (5 September 1891), 1

http://nla.gov.au/nla.news-article13837584 

GROBETY. - Of your charity, pray for the soul of C. Grobety, daughter of the late T. Brady, Limerick, Ireland, who died at her residence, 82 Rose-street, South Sydney, on the 4th instant, aged 71. Buried on Sunday at Campbelltown.

Bibliography and resources:

E. J. Lea-Scarlett, "Music, choir and organ", in Patrick O'Farrell (ed.), St. Mary's Cathedral Sydney, 1821-1971 ([Sydney]: Devonshire Press for St. Mary's Cathedral, 1971), 161

https://trove.nla.gov.au/work/10488026

Colin F. Fowler, 150 Years of Pyrmont Peninsula: The Catholic community of St. Bede 1867-2017 (Adelaide: ATF Theology, 2018), 86-91

https://books.google.com.au/books?id=HvCjDwAAQBAJ&pg=PA87 (PREVIEW)

Edwin Groberty, Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/17081101001 

Edwin Groberty, convict, Bengal Merchant, 1838; Convict records

https://convictrecords.com.au/convicts/groberty/edwin/40569 

Edward Benjamin Groberty [sic], Find grave

https://www.findagrave.com/memorial/182565429 

GROCOTT, Alonzo (Alonzo GROCOTT; Mr. A. GROCOTT)

Musicseller, music retailer, music publisher, lithographer, printer, engraver, newspaper proprietor

Born Manchester, England, August 1819; baptised St. Michael, Flixton, Manchester, 24 June 1821; son of James Turner GROCOTT (1791-1832) and Mary DORRINGTON (1791-1848)
Arrived Sydney, NSW, 28 March 1841 (immigrant per Margaret, from Liverpool, 25 October 1840, via the Cape of Good Hope, 29 January 1841)
Married (1) Frances Ann JOHNSTONE (c. 1826-1852), Christ Church, Sydney, NSW, 27 December 1845
Married (2) Jane DAVIES, Christ Church, Sydney, NSW, 22 August 1853
Died Parramatta Asylum, NSW, 14 August 1893 ["Lonzo"; NSW/BDM 1893/11945]

https://trove.nla.gov.au/search?l-publictag=Alonzo+Grocott+1819-1893 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROCOTT-Alonzo (shareable link to this entry)

ASSOCIATIONS: James Turner Grocott (younger brother, below)

Summary:

Alonzo Grocott's music printing and publishing activities appear to have been largely confined to the years 1860 to 1863, and then not without controversy. In July 1860, while he was apparently printing George Peck's periodical The Australian musical bouquet, Peck as sole proprietor and publisher advertised to:

caution ALONZO GROCOTT, printer, and others, not to SELL or DISPOSE of any Copies of No. 3 . . . without my AUTHORITY, as by so doing, after this notice, they will expose themselves to legal proceedings.

Immediately below Peck's notices, Grocott's own advertisement indeed signalled that one issue of the Australian musical bouquet could be had from his premises and those of Jacob Clarke. A few days later, the Empire reviewed the issue:

A great improvement has been effected in No. 3, of the Australian Musical Bouquet, just issued from Mr. Peck's Music Repository, by an enlargement of the size of the work, giving scope for a better engraving of the notes . . . A cheap shilling's worth! The music is neatly engraved and printed by the transfer process by Mr. Grocott. There are, however, occasional errors which might be corrected; and a better quality of paper would greatly increase the utility of this meritorious little publication.

Grocott then initiated his own "Bouquet", whose first issue appeared from his presses in August 1860, edited by Marmaduke Henry Wilson. Issues typically contained a mixture of musical news in letterpress, fully harmonised musical items, and melody only songs or instrumental pieces. Grocott last advertised a new issue of his and Wilson's series in May 1861. By July 1861, however, he had evidently disposed of his interest in the publication and the remaining stock to James Fussell.

Unfortunately, no surviving copies of Grocott's Australian musical bouquet have been identified. However, copies have survived of several single-title editions, beginning in August 1860 with Wilson's song Our native clime. The issue is also the earliest surviving example of the distinctive music font used by Grocott until 1863. Welcoming the first issue of his "Bouquet" in August 1860, the Empire noted:

The "Australian Musical Bouquet," from being a quiet unpretending little affair, has now expanded into a periodical, having the pretension of the regular music folio. The former printer and editor having separated, Mr. Grocott, the printer, continues his old method of printing, about which there is some mystery, and very considerable ingenuity, and has enlisted Mr. M. H. Wilson as editor . . .

Similarly, Bell's life observed in October 1860:

. . . The method of printing is new, and there seems to be a most unaccountable mystery attached to it; the music being neither type nor engraving, and yet lithographed in a superior manner, to anything we have hitherto seen . . .

By 1863, however, Grocott abandoned this distinctive process and font in favour of a music punch font similar or nearly identical to that already used by John Degotardi.

Documentation:

Baptisms solemnized in the Parish of Flixton, in the County of Lancaster, in the year 1821; Manchester Archives

https://www.ancestry.com/imageviewer/collections/2960/images/40365_294373-00456 (PAYWALL)

No. 666 / June 24th [1821] / James Turner son of / James & Mary / Grocott / Manchester / Wine Merchant . . .
No. 667 / June 24th [1821] / Alonzo son of / James & Mary / Grocott / Manchester / Wine Merchant . . .

ASSOCIATIONS: James Turner Grocott (senior), a merchant, married Mary Dorrington, at St. John's, Manchester, on 8 December 1814

Unmarried male immigrants per Margaret, March 1841; State Records Authority of NSW

https://www.ancestry.com/imageviewer/collections/1204/images/IMAUS1787_081265-0134 (PAYWALL)

James Turner Grocott / Unmarried male immigrant / Arrived by the ship Margaret / Brought out by A. B. Smith & Co. / Native of Manchester / Son of James Turner Grocott, a Timber merchant dead & Marry Dorrington his wife there / Calling Copper plate printer / Age 20 years in March 1841 . . .

https://www.ancestry.com/imageviewer/collections/1204/images/IMAUS1787_081265-0135 (PAYWALL)

Alonso Grocott / Unmarried male immigrant / Arrived by the ship Margaret / Brought out by A. B. Smith & Co. / Native of Manchester Lancashire / Son of James Turner Grocott, a Timber merchant dead & Marry Dorrington his wife there / Calling Letter press & Copper plate printer / Age 21 in August 1840 [sic, if so born August 1819] . . .

[Advertisement], The Sydney Morning Herald [NSW] (6 March 1844), 3

http://nla.gov.au/nla.news-article12424180 

. . . A. GROCOTT, Engraver and Printer, 449, George-street.

[Advertisement], The Sydney Morning Herald (25 March 1845), 3

http://nla.gov.au/nla.news-article12878262 

NOTICE TO THE PUBLIC. THE Undersigned beg to inform the public
that they have this day reduced their prices for ENGRAVING AND PRINTING 25 PER CENT.
Ladies and gentlemen's Address Cards printed and delivered in two hours.
J. T. AND A. GROCOTT, Engravers, Printers, and Stationers.

[Advertisement], The Examiner [Sydney, NSW] (9 August 1845), 6

http://nla.gov.au/nla.news-article228062516 

"THE BANNER OF OLD ENGLAND," Song.
Dedicated to the Blue and Red Jackets of the Old Fighting School, by an Australian Emigrant, Old Soldier.
To be had at Messrs. Ford's and Grocott's, George-street; also of the Publisher, G. Hudson, 377, Pitt-street North. Price 2s. 6d.

ASSOCIATIONS: William and Frederick Ford (booksellers); George Hudson (musicseller, publisher)

MUSIC: The banner of old England (composed by Charles Nagel)

"MARRIED", The Sydney Morning Herald (30 December 1845), 4

http://nla.gov.au/nla.news-article12884392

On Saturday last, the 27th instant, at Christ Church, by the Rev. R. K. Skonce, Alonzo, second son of James T. Grocott, Esq., of Dale Street, Manchester, England, to Frances Ann, youngest daughter of Mr. John Johnstone, County of Fermanah, Ireland.

[Advertisement], The Sydney Morning Herald (30 January 1846), 1

http://nla.gov.au/nla.news-article12885019 

JUST RECEIVED, EX "MIDLOTHIAN."
600 PIECES OF MUSIC, CONSISTING of choice selections from the Operas of
The Enchantress; Daughter of St. Mark; Bohemian Girl; L'Elisir D'Amore; Brides of Venice, &c., &c.
ALSO, A splendid assortment of Songs, Duets, Quadrilles, Polkas, and Waltzes, by the most celebrated composers.
J. T. AND A. GROCOTT, 470, George-street.

[Advertisement], The Sydney Morning Herald (31 January 1846), 3

http://nla.gov.au/nla.news-article12885025 

J. T. AND A. GROCOTT, Stationers, Printers, &c. 476, George-street.

[Notice], New South Wales Government Gazette (20 March 1846), 376

http://nla.gov.au/nla.news-article230140985 

NOITCE is hereby given, that the Partnership business lately subsisting between the under signed, and carried on in George-street, in this City, under the style or firm of "J. T. and A. Grocott," stationers and printers, was, on the twenty-eighth day of February last past, and now is dissolved, by mutual consent, and that James T. Grocott, one of the said firm, will discharge and satisfy all claims due or incurred on or before the twenty-eighth day of February, and is hereby authorised to receive all debts due to the said firm. -
Dated at Sydney in the Colony of New South Wales, this 19th day of March, 1846.
ALONZO GROCOTT,
JAMES T. GROCOTT.
Witness - F. W. Jaques.

"POLICE COURT. MONDAY [23 June] . . . DIGGINGS", Empire (24 June 1851), 2

http://nla.gov.au/nla.news-article60035882

Mr. Alonzo Grocott, who being at the diggings, of course did not appear, was charged by his apprentice William Robinson, with neglecting to teach him the art of copper-plate engraving, letter-press printing, and the business of a stationer. The complainant stated that Mr. Grocott went to the diggings on Tuesday week last, and had left nobody to instruct him in the business. He admitted that Mr. Grocott had left him a couple of days' work in copper-plate engraving, which he did; but since that he had been employed in cleaning boots and shoes, and cutting wood, no work having come in. It came out in the cross-examination that a Mr. Howe had been appointed to superintend the business, but he only remained two days, when he followed the example of Alonzo, and went to the diggings. It was admitted too that a Mr. Bedford, who lately returned from the diggings, was also employed by Mrs. Grocott to conduct the business; but it was proved that the boy was unemployed during a great part of the time since Tuesday week last. The case was ultimately dismissed.

"APPRENTICE CASE", Empire (2 September 1851), 3

http://nla.gov.au/nla.news-article60123112

William Robinson, an apprentice, aged 15, appeared as complainant against Mr. Alonzo Grocott, printer, of Castlereagh-street, whom he charged with neglecting to instruct him in his trade or calling. About ten weeks ago, a similar complaint was preferred against the defendant, but as it was then proved that some properly qualified person was left to instruct the complainant during the absence of his master, the case was dismissed. In the present case it appeared that the complainant was entirely without instruction, Mr. Grocott having gone to the gold mines about three months since, whence he has not returned; and no person being left to instruct the complainant. Under these circumstances, and at the request of the complainant's father, the Bench ordered the indentures to be cancelled.

"POLICE REGISTER . . . ALONZO THE BRAVE AND THE FAIR IMAGE-IN", Bell's Life in Sydney and Sporting Reviewer (6 September 1851), 2

http://nla.gov.au/nla.news-article59773101

Everybody knows that deliciously horrifying ballad of Monk Lewis, in which the infidelity of Alonzo the brave, and the fidelity of the fair Imogen are so graphically depicted. The same scene was enacted with Alonzo Grocott, the celebrated printer, and William Robinson, his illustrious apprentice . . .

ASSOCIATIONS: Alonzo the brave (ballad)

"THE TURON DIGGINGS (From our own Correspondent) Tuesday Morning, October 7", Empire (13 October 1851), 2

http://nla.gov.au/nla.news-article60124307

RAIN has set in to all intents and purposes. Since Sunday evening, we have had scarcely any interruption to the nebular sprinkling . . . Mr. Alonzo Grocott amuses himself by watching his hole at the Wallaby, till the water subsides. He thinks he has hit upon a fortune; but his patience will, I fear, be as severely taxed as his expectancy blighted. However, 'tis a pleasant and a harmless pastime that same aerial castle-building - a pleasing hope is better than a moody melancholy . . .

"DIED", The Sydney Morning Herald (15 November 1852), 3

http://nla.gov.au/nla.news-article12941562

On the 11th instant, at Wynyard Terrace, Frances Anne Grocott, the beloved wife of Alonzo Grocott, in her 26th year, much lamented by all her friends.

"MARRIED", The Sydney Morning Herald (25 August 1853), 5

http://nla.gov.au/nla.news-article12948340

On the 22nd instant, at Christ Church, by the Rev. John Davis Merewether, Alonzo Grocott, to Jane, relict of the late John Davies, of Sydney.

"ALLEGED BREACH OF THE PARTY PROCESSIONS ACT", Empire (27 July 1868), 3

http://nla.gov.au/nla.news-article60855533

. . . Jabez King Heydon, sworn, deposed . . . the day being the 12th of July, the presence of Grocott and Jackson impressed me with the belief that the procession was composed of Orangemen . . .

"Insolvency Court", Australian Town and Country Journal (19 September 1885), 15

http://nla.gov.au/nla.news-article70984116

Alonzo Grocott, of Sussex-street, Sydney, general printer.
Liabilities, £242 15s.; assets, £1160 12s 3d.
Mr. E. M. Stephen, official assignee.

[Advertisement], The Sydney Morning Herald (30 August 1893), 8

http://nla.gov.au/nla.news-article13914431 

Intestate Estate of ALONZO GROCOTT.
A. VIDER is instructed by the Curator to sell by auction, THIS DAY, at 200 Castlereagh-street,
2 hand presses, litho. stones, and sundries, at 11 o'clock.

Grocott's Australian musical bouquet (1860-61) (no surviving copies of any issue identified):

Australian musical bouquet (? Peck; or Grocott no. 0, July 1860)

[4 advertisements], The Sydney Morning Herald (4 July 1860), 10

http://nla.gov.au/nla.news-article13042650

MUSICAL - Mr. G. PECK begs to acquaint his friends and the subscribers to his
AUSTRALIAN MUSICAL BOUQUET, that in consequence of certain untoward circumstances, the publication of the third number will be delayed for a few days.
G. P. asks their kind indulgence, and hopes they will not encourage an ungentlemanly attempt which has been made to take the property out of his hands.
13, Park-street.

CAUTION. - I hereby caution ALONZO GROCOTT, printer,
and others, not to SELL or DISPOSE of any Copies of No. 3, AUSTRALIAN MUSICAL BOUQUET,
without my AUTHORITY, as by so doing, after this notice, they will expose themselves to legal proceedings.
GEORGE PECK, sole Proprietor, Editor, and Publisher of the "Australian Musical Bouquet."

NOTICE.- PECK'S AUSTRALIAN MUSICAL BOUQUET,
No. 3, the only genuine copy, will be ready in a few days.

NOW READY, - The AUSTRALIAN MUSICAL BOUQUET.
CONTENTS: Ah! was it He, from the opera of La Traviata, with pianoforte accompaniment
Darling Nelly Gray
Simon the Cellarer
Bonnie Bessie Lee
Hearts and Homes.
To be had at ALONZO GROCOTT'S, engraver and printer, 66, Bathurst-street;
also at Mr. CLARKE'S, bookseller, George-street.

ASSOCIATIONS: George Peck (musicseller, publisher); Jacob Richard Clarke (musicseller)

[News], Empire (10 July 1860), 4

http://nla.gov.au/nla.news-article60413034

A great improvement has been effected in No. 3, of the Australian Musical Bouquet, just issued from Mr. Peck's Music Repository, by an enlargement of the size of the work, giving scope for a better engraving of the notes, and by the pianoforte accompaniment to one of the pieces - the andante movement of the aria, "Ah, fors e lui" (Ah, was it he), from "La Traviata," as sung by the Signore Piccolomini and Bianchi. Besides this, there are the melodies and words of four popular songs, "Simon the Cellarer," "Bonnie Bessie," "Hearts and Homes," and "Darling Nelly Gray," the latest Christie Minstrel melody. A cheap shilling's worth! The music is neatly engraved and printed for the transfer process by Mr. Grocott. There are, however, occasional errors which might be corrected; and a better quality of paper would greatly increase the utility of this meritorious little publication.

ASSOCIATIONS: Eugenio Bianchi (vocalist); Christy's Minstrels (general)

Australian musical bouquet (Grocott no. 1, August 1860)

[Advertisement in the printed program for the] Annual exhibition of poultry, pigeons, and rabbits, in Sydney (31 July to 2 August 1860)

http://handle.slv.vic.gov.au/10381/177855 (DIGITISED)

ON THE FIRST OF AUGUST, will be published, (price ONE SHILLING), the
AUSTRALIAN MUSICAL BOUQUET, EDITED BY MARMADUKE H. WILSON.
CONTENTS: The Rose of Hazeldeen, Good News from Home,
Old Folks are Gone, Jennie Dean,
Anniversary Schottische, Drink to the Beautie,
England's Glorious Land, Oh! Erin my Country,
They have sold me down the river.
To be had of ALONZO GROCOTT, "Musical Bouquet Office," Bathurst-street West,
and of all the Book and Music Sellers in the Colony.

ASSOCIATIONS: Marmaduke Henry Wilson (editor)

[4 advertisements], The Sydney Morning Herald (1 August 1860), 1

http://nla.gov.au/nla.news-article13043760 

[Peck's] The AUSTRALIAN MUSICAL BOUQUET, New Series (full music size), on fine paper.
Four pieces with pianoforte accompaniment. Ready in a few days. Nos. 1,2, and 3 still on SALE, 1s. each.
13, Park-street, near George-street

[Grocott's] THE AUSTRALIAN MUSICAL BOUQUET.
Each subscriber will be presented, gratis, with a lithographic portrait of the Editor, from a photograph by Glaister.

[Grocott's] THE AUSTRALIAN MUSICAL BOUQUET will be forwarded (post free)
to any part of the colonies on receipt of 14 stamps,
addressed to the Office, 66, Bathurst-street West, Sydney.

NEW and IMPROVED EDITION. Price 1s. -
THE AUSTRALIAN MUSICAL BOUQUET of THIS DAY contains the following popular music (vocal and instrumental), viz.: -
1. "The Rose of Hazeldean."
2. "The Old Folks are Gone."
3. The Anniversary Schottische.
4. "England, Glorious Land."
5. "Good News from Home."
6. "Jeanie Dean."
7. "We'll drink to the beauty that's beaming around."
8. "Oh, Erin, my Country."
9. "They've sold me down the river."
An article on the Macbeth music, reviews, &c. Edited by Marmaduke H. Wilson.
Office, 66, Bathurst-street West, Sydney.

"NEW MUSIC", Empire (13 August 1860), 5

http://nla.gov.au/nla.news-article60414876 

. . . The "Australian Musical Bouquet," from being a quiet unpretending little affair, has now expanded into a periodical, having the pretension of the regular music folio. The former printer and editor having separated, Mr. Grocott, the printer, continues his old method of printing, about which there is some mystery, and very considerable ingenuity, and has enlisted Mr. M. H. Wilson as editor, who supplies his "Anniversary Schottische" and "Jeanie Deans," as well as a critique on the so-called "Locke's Music" in Macbeth. Besides these, there are "England, glorious Land," the drinking-song from "La Traviata," with pianoforte accompaniment, various other pieces, and a portrait (?) of the editor. Mr. Peck's publication, also new-series, No. 1, comes out in the full glory of engraved music, with four well-selected pieces . . .

"ART, SCIENCE, AND LITERATURE", Empire (21 August 1860), 2

http://nla.gov.au/nla.news-article60496606

. . . The Musical Bouquet is now published in double. In consequence of a disagreement between the proprietors, a dissolution of partnership took place, when each brought out a Musical Bouquet of his own, and, as usual in cases where competition exists, the public has been the gainer. It is rather awkward, however, to have two publications coming out under the same name . . .

Australian musical bouquet (Grocott no. 2, September 1860)

"NEW MUSIC", Empire (3 September 1860), 4

http://nla.gov.au/nla.news-article60497511 

The week has not passed without furnishing its quota of new music. The "Australian Musical Bouquet, No. 2" has been issued by Mr. Grocott, and deserves universal approbation. The editor has evidently been very industrious. We have four pages of musical intelligence, equally interesting to the professional, the amateur, and the general reader; an original critique on "Lurline" and a condensed account of the operas, and all the concerts in London during the month of June, the latest intelligence. Eight pages of music, clearly printed on excellent paper, including an original mazurka and four cathedral chants with organ accompaniment as used in Her Majesty's Chapel Royal, Whitehall, composed by Richard Massey; these chants have, we believe, not been published, they will be continued monthly. The "Bouquet" is a very useful and cheap publication; the price of all this being one shilling. The titlepage is certainly a peculiar design, but is inscribed with the names of more than forty composers. From the same publication office we have No. 1 of a collected edition of the works of Marmaduke H. Wilson, well known as a musician of great talent; its title is Constance, dear Constance," from the composer's opera of "The Infidel Knight," and is a composition very different to many pieces with which we have lately been favoured. When we say that this is a London publication, (with wrapper printed in Sydney for the new issue,) got up in the most elegant style, five pages of beautifully engraved music for one shilling, it will readily be inferred that the age for cheap music in Sydney is about to commence.

Australian musical bouquet (Grocott no. 3, October 1860)

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (29 September 1860), 3

http://nla.gov.au/nla.news-article59873461 

PUBLISHED MONTHLY, PRICE ONE SHILLING.
Australian Musical Bouquet. Vol. 1. No 3. EDITED BY MARMADUKE H. WILSON.
CONTENTS. No. 3 - NEW SERIES.
The Sweet Young Flowers of Early Spring
He's O'wer the Hills
Not Married Yet
Tom Bowling
We are coming Sister Mary, (with pianoforte accompaniment)
Chants, pianoforte and organ
March, pianoforte.
Reviews. Critiques, &c.
Printed by Alonzo Grocott, at the "Bouquet" Office.
No. 66, Bathurst-street, West.

Australian musical bouquet (Grocott no. 3, October 1860)

"NEW MUSIC", Empire (4 October 1860), 8

http://nla.gov.au/nla.news-article60499332 

The third number of Grocott's "Australian Musical Bouquet" has made its appearance on its appointed day. The editor, Mr. M. Wilson, has evidently been very busy. There are four pages of interesting musical information from the last London papers, including a sketch of Czerny. The musical contents include a March from Mozart's "Zauberflute," (With introduction by the editor), the continuation of Massey's "Cathedral Chants," for full choir and organ accompaniment, a song, "Sister Mary," with chorus and pianoforte accompaniment and the melodies of four songs. This useful publication appeals to a large portion of citizens - those with a love of music, who only desire to learn the melodies of song; and for those who cannot afford the generally high price of music. The "Bouquet" at one shilling is within the reach of every member of the community. From the same office has, during the week, been issued the third number of Mr. Wilson's opera of "The Infidel Knight" - the "Grand March of Crusaders" - a very spirited piece for pianoforte players. This is the beautifully-engraved London edition, and as its cost is only one shilling, it will command a general circulation. The second number of Mr. Peck's "Bouquet" has also been published, after some unavoidable delay. It is a well engraved and very cheap drawing-room publication . . .

"THE AUSTRALIAN MUSICAL BOUQUET", Bell's Life in Sydney (6 October 1860), 3

http://nla.gov.au/nla.news-article59873486

Among the many publications which have lately been issued to the public, none has attracted our attention more than the above. The name of Mr. Marmaduke H. Wilson has long been favorably known as a musician of great talent, and his works and composition have gained him a reputation, which we trust he may long and profitably enjoy. The Bouquet is published every mouth by Mr. Alonzo Grocott, of Bathurst-street west, and reflects the greatest possible credit on his exertions, which have been most energetic and indefatigable. The method of printing is new, and there seems to be a most unaccountable mystery attached to it; the music being neither type nor engraving, and yet lithographed in a superior manner, to anything we have hitherto seen. The present number (3) contains nine pieces, of popular music, together with several original compositions which are written in Mr. Marmaduke Wilson's usually happy manner. In terpsichorean, as in classical music, the editor is like at home. The "Bouquet" office has also issued some full music size songs, etc., engraved by London artists, amongst which we must not omit to mention the serenade from Mr. Wilson's Opera of the Infidel Knight, entitled "Constance, sweet Constance," which, we have no doubt, will have the same popularity here that attended it at home. Several other compositions of much merit have also been produced, and the publishers are still laboring to establish on a fine basis the sale of cheap and original music. We cannot close these remarks without wishing both publisher and editor the hearty success their energy and talents so meritoriously deserve.

Australian musical bouquet (Grocott no. 4, November 1860)

"THE AUSTRALIAN MUSICAL BOUQUET", Empire (2 November 1860), 4

http://nla.gov.au/nla.news-article60501026 

This now firmly established an remarkably cheap publication appears with great regularity, No. 4 having been issued on its appointed day. The present Number contains more than the usual amount of literary and musical matter, considerable improvement being manifested in the contents, which include four pages of intelligence, an essay on music, and the latest English and continental musical news; an adagio for the pianoforte, from Spohr's "Last Judgment;" an original song, "Heartsease," by Mr. M. H. Wilson (editor); the andante movement, from Beethoven's Sonata, No. 26; and the airs, with and without words, of six songs. The price of all this is one shilling. A portrait of Miss Octavia Hamilton is appended; it might be a good likeness, but we can't see it: it has evidently been spoiled in the printing.

? Australian musical bouquet (March 1861)

"MUSIC AND DRAMA", Sydney Mail (9 March 1861), 8

http://nla.gov.au/nla.news-article166695789 

The March number of the "Musical Bouquet" edited by Mr. M. Wilson, contains seven pieces - three for the pianoforte, a song entitled the Christian Mariner, and three airs for violin and flute. The reading portion of the "Bouquet" is devoted to musical and dramatic intelligence, English, continental, and colonial. A translated poem by Goethe, and a song dedicated to Sergeant-major Baynes, entitled "Form, girls, form."

See also "FORM! GIRLS, FORM!", The Sydney Morning Herald (9 March 1861), 8

http://nla.gov.au/nla.news-article13053868 

Australian musical bouquet (May 1861)

[Advertisement], Empire (1 May 1861), 1

http://nla.gov.au/nla.news-article60493232

THE MAY NUMBER NOW READY, and an Enlarged Edition. -
ALONZO GROCOTT'S AUSTRALIAN MUSICAL BOUQUET, for May, contains eight full-sized pages of Vocal and Pianoforte Music. Price, one shilling.
CONTENTS: Deh Vieni alla finestra, O mio tesoro, with English words; Come shining forth, my dearest - serenade from Mozart's Il Don Giovanni, arranged by Spagnoletti, R.A. expressly for the Australian Musical Bouquet
The Singing Polka, arranged by Spagnoletti
The Youthful Heart, ballad, by E. F. Rimbault.
May be purchased at all musicsellers and booksellers in Sydney and the suburbs, and at the Australian Bouquet Office, 66, Bathurst-street West.
Country subscribers will receive copies punctually by remission of postage stamps to the value of fourteen pence.

ASSOCIATIONS: Ernesto Spagnoletti senior (arranger)

"THE AUSTRALIAN MUSICAL BOUQUET", Empire (2 May 1861), 4

http://nla.gov.au/nla.news-article60491608 

We seem just now to be labouring under a rather unusual embarras des richesses in the way of musical publications, and may reasonably be permitted to hail the fact as another indication of the increasing cultivation of the divine art amongst our population. The recognition, however, becomes doubly gratifying when we find that these local publications are made the vehicle of developing pure and classical taste by furnishing, at a cheap rate, specimens of those great masters whose works are universally accepted as the models of all that is good and excellent in music. The Australian Musical Bouquet comes before us without any preliminary flourish of trumpets, and is also, for other reasons, entitled to favourable notice at our hands. It is, moreover, a creditable specimen of typography, and as it only contains transcriptions of musical composition, originally published in other parts of the world, and, at all events, for the most part well known to musicians, will not provoke unfavourable criticism by sickly original (?) effusions of more than questionable merit when judged by the laws of counterpoint. The Bouquet numbers amongst its contents the well-known and beautiful serenade from Don Giovanni, "Deh vieni," the voice part being written in the treble clef, instead of the bass in which it was originally composed. This lovely song is very correctly printed, and the only fault we can find is the alteration of the allegretto to andante, which is obviously wrong. The Singing Polka, by Alary, sung by Madame Catherine Hayes during her first visit to Sydney, follows next, and will, doubtless, prove very acceptable to our lady friends. "The Youthful Heart," a graceful ballad by Rimbault, in four sharps, of moderate compass, never going above E, terminates the list. The Bouquet is printed and published by Mr. Alonzo Grocott, 66, Bathurst-street, and we can confidently recommend it to the favourable notice of our musical friends in Sydney and elsewhere.

ASSOCIATIONS: Catherine Hayes (vocalist)

"MUSIC AND DRAMA", Sydney Mail (4 May 1861), 8

http://nla.gov.au/nla.news-article166693793 

Two musical publications have issued from the Press during the past week: "Grocott's Musical Bouquet," for May . . . The "Bouquet" contains three pieces: A serenade from Don Giovanni, with Italian and English words, "Come Shining forth my Dearest;" Sontag's celebrated "Singing Polka," for the piano; and a ballad entitled "The Youthful heart," dedicated to Mr. M. Wilson, which will be found very pretty. This publication is gradually improving in the selections made, and also in the printing, which is exceedingly good . . .

Other musical publications (extant in red bold; non-extant in black bold):

Annual report of the Sydney Choral Society (1846)

Annual report of the Sydney Choral Society, for the year 1845-46 (Sydney: Printed by A. Grocott, [1846])

https://trove.nla.gov.au/work/28723027 

ASSOCIATIONS: Sydney Choral Society (association)

Our native clime (August 1860)

Our native clime, ballad, written and composed expressly for Miss Octavia Hamilton, by Marmaduke H. Wilson (Sydney: Australian Musical Bouquet Office, 66, Bathurst Street west, [1860])

https://trove.nla.gov.au/work/7444024 

https://collection.sl.nsw.gov.au/record/74VKDxXbMVE3/oxmNWrjyZRm8v (DIGITISED)

ASSOCIATIONS: Marmaduke Henry Wilson (composer); Octavia Hamilton (vocalist);
see the illustration above for the earliest of the identified surviving examples of Grocott's distinctive music font, about which Bell's life wrote in October 1860 (see above):

. . . The method of printing is new, and there seems to be a most unaccountable mystery attached to it; the music being neither type nor engraving, and yet lithographed in a superior manner, to anything we have hitherto seen . . .

That young man from the country (? August 1860)

That young man from the country, as sung nightly with great applause by Mr. W. H. Stephens, in his new entertainment, arranged expressly by Marmaduke Henry Wilson ([Sydney]: Alonzo Grocott, printer, [1860])

https://trove.nla.gov.au/work/234661799 

https://archive.org/details/ThrosbySongbook41793/page/n243/mode/2up (DIGITISED)

ASSOCIATIONS: William Henry Stephens (comedian, vocalist);
note there is also a later newly engraved second edition issued by Jacob Richard Clarke (musicseller, publisher) and John Degotardi

The awakened heart of Erin (November 1861)

The awakened harp of Erin, song, composed & dedicated to Marmaduke H. Wilson, esq., by William Marshall (Sydney: Musical Bouquet Office, 66, Bathurst Street West, [1860])

https://trove.nla.gov.au/work/7444024 

https://collection.sl.nsw.gov.au/record/74VKDxXbMVE3/N5Z7lEOLOkQoW (DIGITISED)

ASSOCIATIONS: William Marshall (composer)

"NEW SONG - THE AWAKENED HARP OF ERIN", The Sydney Morning Herald (9 November 1860), 5

http://nla.gov.au/nla.news-article13048405

A patriotic song, bearing the above title, has been published at the Musical Bouquet Office. It is the composition of Mr. William Marshall, and is dedicated to Mr. M. Wilson. The words are apparently intended as a sequel to the "Harp that once thro' Tara's Halls," but far inferior to that beautiful lamentation of Tom Moore. They are, however, very prettily set to music in E flat, and within easy range for the voice. The subject itself is sufficient to render it popular.

See also, "NEW MUSIC", Empire (9 November 1860), 5

http://nla.gov.au/nla.news-article60501439 

Thinkest thou of me? (1861)

Thinkest thou of me? song, dedicated to Nina Spagnoletti, and composed by C. W. Harwood, R.A. ([Sydney]: Printed by Alonzo Grocott, 66, Bathurst Street, west, [1861])

https://trove.nla.gov.au/work/7565958

https://nla.gov.au/nla.obj-177909749 (DIGITISED)

ASSOCIATIONS: Charles William Harwood (composer); Nina Spagnoletti (vocalist)

"THINKEST THOU OF ME?", The Sydney Morning Herald (24 August 1863), 4

http://nla.gov.au/nla.news-article13068668 

An exceedingly pretty ballad under this title, in the key of F, has recently issued from the press and is deserving of very favourable notice. Both the music and the verses of this little song (composed by Mr. C. W. Harwood, R. A.) bear the impress of undoubted taste and ability, and have obviously been carefully revised by the author. The air modulates gracefully into related keys, flowing throughout in a spirited and measured strain, which accords agreeably and harmoniously with the words. It is not too simple, however - a common fault - but sufficiently difficult to occupy the artistic talents of an accomplished cantatrice, such as those of the lady to whom the composer has inscribed it - Miss Nina Spagnoletti. This ballad which will doubtless be well received by the musical public, has been neatly printed by Mr. Alonzo Grocott, of 66, Bathurst street West.

Our Australian Christmas song (1863)

Our Australian Christmas song, composed by E. Spagnoletti (Sydney: Printed and published by Alonzo Grocott, Excelsior Printing Office, 66 Bathurst Street West, [1863])

https://trove.nla.gov.au/work/23881529 

https://nla.gov.au/nla.obj-168686125 (DIGITISED)

ASSOCIATIONS: Ernesto Spagnoletti junior (composer); this is the earliest identified issue in which Grocott used a music punch font similar or nearly identical to that used by John Degotardi

[Advertisement], The Sydney Morning Herald (10 November 1863), 1

http://nla.gov.au/nla.news-article13095801

NEW SONG. - "Our Australian Christmas," by E. Spagnoletti, will be published next week.

"SUMMARY OF MONTHLY NEWS", The Sydney Morning Herald (21 September 1864), 5

http://nla.gov.au/nla.news-article13107285 

. . . Mr. Ernest Spagnoletti has also composed a pretty morceau, entitled "Our Australian Christmas Song." The words have been set to a flowing melody in the key of D. The range is within easy compass for the voice, with a suitable accompaniment. It is published by A. Grocott, and is neatly and clearly printed.

"ISAAC NATHAN", The Sydney Morning Herald (29 January 1929), 12

http://nla.gov.au/nla.news-article16526828 

In a letter to the Editor, Mr. Richard Poulter refers to Isaac Nathan, a musical giant of the early days, who was mentioned in a recent "Herald" article. Mr. Poulter, as a young man, was employed at Grocot's printing office in Bathurst-street (between Kent and Sussex streets), and there met Isaac Nathan. "I soon found out," writes Mr. Poulter, "what a clever old gentleman Mr. Nathan was, for he not only composed good songs, but set them up in music type. Two of the songs were the 'Land of Gold' and 'Our Australian Christmas.' I still sing the latter song when the season comes along. The poor old composer was killed by the first tram that ran in Pitt-street."

ASSOCIATIONS: Isaac Nathan (composer); Poulter evidently though Nathan was the composer of the two titles; correctly, The land of gold was by James Churchill Fisher

The Australian new year's march (January 1864)

The Australian new year's march, by John Russell Sothern, organist of Hunter's Hill church, to Lieut. Colonel Kemp, of her majesty's 12the Regiment, this composition is respectfully dedicated (Sydney: Wilkie, Elvy, & Co., [1864]);
"Clarson, Shallard, &. Co, printers"; "A. Grocott, litho."

https://trove.nla.gov.au/work/156931711 

https://nla.gov.au/nla.obj-179804576 (DIGITISED)

ASSOCIATIONS: John Russell Sothern (composer); Wilkie, Elvy, and Co. (musicsellers, publishers); Clarson, Shallard, & Co. (printers)

"THE NEW YEAR'S DAY MARCH", The Sydney Morning Herald (31 December 1863), 5

http://nla.gov.au/nla.news-article13091597 

It is gratifying to notice that our local musicians are turning their attention to composition, and generally with very creditable success. A march, bearing the above title, and composed by Mr. J. R. Sothern, has been published by Wilkie, Elvy, and Co., and has been most favourably spoken of . . . We feel assured it will become a favourite, and many will, doubtless, perform it for the first time to-morrow. The march is dedicated to Colonel Kempt, and is a very creditable specimen of musical lithography.

The native rose waltz (1873)

The native rose waltz, composed by Miss Emilie North (Sydney: A. Grocott, printer, 66, Bathurst-street West, [1873])

https://trove.nla.gov.au/work/18603317/version/33166925 

https://collection.sl.nsw.gov.au/record/74VK72AKQr7A (DIGITISED)

ASSOCIATIONS: Emilie North (composer); a new improved engraved edition appeared from another press c. 1876

[Advertisement], The Sydney Morning Herald (3 April 1873), 10

http://nla.gov.au/nla.news-article13321007 

NEW WALTZ. - THE NATIVE ROSE, composed by Miss EMILIE E. NORTH. - Price 2s. 6d. At all Musicsellers.

Bibliography and resources:

"OLD SYDNEY. VACATING THE OLD BARRACKS (BY "OLD CHUM ")", Truth [Perth, WA] (6 November 1909), 10

http://nla.gov.au/nla.news-article207403355 

. . . In 1848, when the Barracks were vacated, there were some pretentious buildings on the eastern side of George-street between Hunter and King streets . . . On the corner of the former street was Skinner's Hotel . . . Next to the Clown Hotel was Mr. John Solomon, who sold stationery, and next to the stationer's shop was a tobacconist, Mr. Hugh Dixson . . . A couple of doors away Mr. J. G. Cohen had an auction mart. It stood on the corner of a blind alley, which led to the rear of the houses in Hunter-street, and where, in later years Henry Parkes had his "Empire" printing office. Across the alleyway, Mr. Benjamin Smith Lloyd, a commission agent, had his office and residence. Three doors away Mr. James Turner Grocott was established as a print and music seller. A namesake, relative most likely, who revelled in the name of Alonzo Grocott, was at 155 King-street, as an engraver, letterpress and copperplate printer. Next to Mr. Grocott, in George-street, was the "Atlas" office, and the bookselling establishment of Mr. William Richman Piddington . . .

ASSOCIATIONS: Joseph Michael Forde ("Old Chum"); Forde's account from Joseph Fowles's Sydney in 1848 (see streetscape illustration in James Turner Grocott's entry below)

"OLD SYDNEY . . . An Interesting Letter (BY "OLD CHUM")", Truth (7 November 1909), 11

http://nla.gov.au/nla.news-article202397374 

. . . An interesting letter from an old correspondent, under date October 25 . . . the son of an old imperial soldier [50th Regiment] . . . :
". . . In your last issue you mention the name of Alonzo Grocott, the printer. In 1855 I worked for him, and had indentures drawn up, ready for signature, but I declined to be bound for seven years at such low wages as were mentioned in the indentures. Grocott was in the basement of "Bell's Life" office in Bathurst-street, opposite the school at the rear of St. Andrew's Cathedral. He only employed one man, a Bengal (India) native, and myself. He used to print "Bell's Life" for the proprietors, Pickering and Nicholls. We had to stay back on Thursday evening and print one side of a single sheet. Then the circulation was about 1800 weekly. We remained all night on Friday, and, perhaps, got the form about 2 or 3 a.m., lock up on a large double-demy press, and print the other side, which contained all the sporting matter . . .

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 174-75

http://ro.uow.edu.au/theses/2926/ (DIGITISED)

Alonso Grocott, Find a grave

https://www.findagrave.com/memorial/190006855 

GROCOTT, James Turner (James Turner GROCOTT; Mr. J. T. GROCOTT; J. GROCOTT)

Musicseller, music retailer, lithographer, printer, publisher, publican, promoter

Born Manchester, England, March 1821; baptised St. Michael, Flixton, Manchester, 24 June 1821; son of James Turner GROCOTT (1791-1832) and Mary DORRINGTON (1791-1848)
Arrived Sydney, NSW, 28 March 1841 (immigrant per Margaret, from Liverpool, 25 October 1840, via the Cape of Good Hope, 29 January 1841)
Married Anne LUCAS (c. 1826-1888), Christ Church, Sydney, NSW, 18 December 1845
Trading at Grocott's music saloon, 486 George Street, from March 1848 to May 1851
Died Sydney, NSW, 6 April 1869, aged "48"

https://trove.nla.gov.au/search?l-publictag=James+Turner+Grocott+1821-1869 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROCOTT-James-Turner (shareable link to this entry)

ASSOCIATIONS: Alonzo Grocott (elder brother, above)

Grocott's music saloon (formerly Ellard's), 486 George Street, with Skinner's Hotel, at corner of Hunter Street, on the left; from Joseph Fowles's Sydney in 1848

https://collection.sl.nsw.gov.au/record/74VM4wMXqVm3/mjpgyMZGkgoGo (DIGITISED)

http://gutenberg.net.au/ebooks06/0600151h.html (DIGITISED)

ASSOCIATIONS: Joseph Fowles (artist)

Summary

James Turner Grocott, a "writer's clerk", was first declared insolvent in Sydney in March 1842. He and his elder brother Alonzo were next in partnership as stationers, engravers, and printers in 1845-46.

By September 1846, if not earlier, Grocott had also begun to sell sheet music. That month Spencer Wellington Wallace was advertising his brother, William Vincent Wallace's balled "In happy moments" from Maritana: "copies got up under his inspection will bear his signature, S. W. Wallace" to be had of a range of booksellers including Grocott, William Moffitt, and George Hudson. That Wallace's cousin Francis Ellard, who had also just issued an edition of In happy moments, was probably around this time experiencing business difficulties perhaps explains this duplication, and Grocott would go on to issue another Maritana song, Scenes that are brightest, under his own imprint.

In mid-February Ellard was newly insolvent, and in March Grocott took over his premises, the music saloon at 485-486 George Street, and purchased at auction his entire stock, including the engraved plates of Ellard's sheet music editions. Thereafter Grocott reissued copies of much of Ellard's original stock under his own imprint.

On 10 March 1848, rival retailer Abraham Emanuel issued a caution in the Herald, as a "professor of music", warning the public against an edition of:

the "Jenny Lind polka," incorrect from first to last, in fact a perfect disgrace as a musical colonial production, published by a certain printer in George-street.

A day later, Grocott responded by advertising his entire stock "N.B. 10,700 pieces of new MUSIC at HALF PRICE". But by July he too was insolvent, as he explained:

The cause of my insolvency is occasioned by my having purchased the stock of F. Ellard's estate . . . the which subsequently proved to be of such an unsaleable nature that the major portion of them could not be sold except at a great sacrifice. The sale for twelve months amounting to £82, and for which I agreed to pay £600.

Apart from variously trading on and suffering under Ellard's legacy, Grocott also published a few new colonial works, including John Howson's song The bride's farewell to her mother in January 1848; William Stanley's song Tell him I love him yet in June 1850; and James Henri Anderson's dance set The Fitzroy quadrilles, first announce for sale in Launceston, TAS, in September 1850.

The "Catalogue of music" he published in the Herald in August 1850 probably represented his complete stock. In March 1851 he also advertised:

J. T. Grocott would add that he has determined on establishing a Musical Library, from which can be copied at any time any piece enumerated - the catalogue of which will appear in to-morrow's Herald, when a copy should be retained as a reference for those who may require a manuscript copy of the same. The Work itself will not be sold, but kept for the purpose specified above.
WANTED, two Music Copiers, who will be liberally paid.

However, the promised catalogue did not appear, and, his musical interests apparently waning, in April 1851 he launched a new venture "Grocott's Dissolving Views", with George William Worgan billed as his pianist, before finally relinquishing his George-street premises in May 1851.

Thereafter Grocott took his "Dissolving Views" to the NSW goldfields, as a Herald correspondent on "A Trip to the Diggings" reported:

A spring van! Why, surely the diggings are not yet sufficiently civilized to admit of the harmonious sounds of the pianoforte? Well! well! who could have thought it, the van is truly enough a pianoforte van; but not loaded with music exactly; and that strange looking being at the wheel, in the red nightcap, varigated woollen shirt, and beard of enormous length, is no less than the polite and natty Mr. Grocott, of George-street, who was wending his weary way to the land of Ophir. He recognized us long before we did him, and when asked if his views were now dissolving, he replied it was not likely to prove so profitable, or be so easily earned.

It is unclear what happened to Grocott's stock immediately after May 1851, though most or all of it, including Ellard's engraved plates, was ultimately acquired by Woolcott and Clarke, and perhaps some also by George Hudson and Henry Marsh.

Grocott himself appears to have had no further contact with the music trade (although his brother Alonzo did). As his two later insolvencies testify, Grocott was a storekeeper (in his father's trade of wines and spirits) in Pitt Street in 1855, and a hotelkeeper in Manly in September 1860.

Documentation

Baptisms solemnized in the Parish of Flixton, in the County of Lancaster, in the year 1821; Manchester Archives

https://www.ancestry.com/imageviewer/collections/2960/images/40365_294373-00456 (PAYWALL)

No. 666 / James Turner son of / James & Mary / Grocott / Manchester / Wine Merchant . . .
No. 667 / Alonzo son of / James & Mary / Grocott / Manchester / Wine Merchant . . .

ASSOCIATIONS: James Turner Grocott (senior), a merchant, married Mary Dorrington, at St. John's, Manchester, on 8 December 1814

Unmarried male immigrants per Margaret, March 1841; State Records Authority of NSW

https://www.ancestry.com/imageviewer/collections/1204/images/IMAUS1787_081265-0134 (PAYWALL)

James Turner Grocott / Unmarried male immigrant / Arrived by the ship Margaret / Brought out by A. B. Smith & Co. / Native of Manchester / Son of James Turner Grocott, a Timber merchant dead & Marry Dorrington his wife there / Calling Copper plate printer / Age 20 years in March 1841 . . .

https://www.ancestry.com/imageviewer/collections/1204/images/IMAUS1787_081265-0135 (PAYWALL)

Alonso Grocott / Unmarried male immigrant / Arrived by the ship Margaret / Brought out by A. B. Smith & Co. / Native of Manchester Lancashire / Son of James Turner Grocott, a Timber merchant dead & Marry Dorrington his wife there / Calling Letter press & Copper plate printer / Age 21 in August 1840 [sic, if so born August 1819] . . .

First insolvency (March 1842 to April 1843):

"INSOLVENTS", The Sydney Herald [NSW] (18 March 1842), 2

http://nla.gov.au/nla.news-article12874278

The following parties have surrendered themselves as insolvents since the last publication of our list: - James Turner Grocott, of Elizabeth-street, writing clerk, March 16 . . .

"INSOLVENCY PROCEEDINGS. THURSDAY", The Sydney Herald (30 April 1842), 2

http://nla.gov.au/nla.news-article12874917 

In the estate of J. Grocott, a summons had been issued, calling upon the defendant to shew cause why he should not be imprisoned until payment of his debts, or discharge according to law.

"LAW INTELLIGENCE . . . INSOLVENCY BUSINESS . . . ESTATE RELEASED FROM SEQUESTRATION", The Sydney Morning Herald (27 April 1843), 2

http://nla.gov.au/nla.news-article12423789 

The Court having been satisfied that the preliminary steps had been gone through, directed the estate of James Turner Grocott to be released from sequestration.

[Advertisement], The Sydney Morning Herald (25 March 1845), 3

http://nla.gov.au/nla.news-article12878262 

NOTICE TO THE PUBLIC. THE Undersigned beg to inform the public
that they have this day reduced their prices for ENGRAVING AND PRINTING 25 PER CENT.
Ladies and gentlemen's Address Cards printed and delivered in two hours.
J. T. AND A. GROCOTT, Engravers, Printers, and Stationers.

[Advertisement], The Examiner [Sydney, NSW] (9 August 1845), 6

http://nla.gov.au/nla.news-article228062516 

"THE BANNER OF OLD ENGLAND," Song.
Dedicated to the Blue and Red Jackets of the Old Fighting School, by an Australian Emigrant, Old Soldier.
To be had at Messrs. Ford's and Grocott's, George-street; also of the Publisher, G. Hudson, 377, Pitt-street North. Price 2s. 6d.

ASSOCIATIONS: William and Frederick Ford (booksellers); George Hudson (musicseller, publisher)

MUSIC: The banner of old England (composed by Charles Nagel)

"MARRIED", The Sydney Morning Herald (19 December 1845), 3

http://nla.gov.au/nla.news-article12884192

At Christ Church, on Thursday last, the 18th instant, by the Rev. W. H. Walsh, James T. Grocott, third son of the late James T. Grocott, Esq., of Dale-street, Manchester, England, to Anne, eldest daughter of Mr. Charles Lucas, of County of Clare, Ireland.

[Advertisement], The Sydney Morning Herald (30 January 1846), 1

http://nla.gov.au/nla.news-article12885019 

JUST RECEIVED, EX "MIDLOTHIAN."
600 PIECES OF MUSIC, CONSISTING of choice selections from the Operas of
The Enchantress; Daughter of St. Mark; Bohemian Girl; L'Elisir D'Amore; Brides of Venice, &c., &c.
ALSO, A splendid assortment of Songs, Duets, Quadrilles, Polkas, and Waltzes, by the most celebrated composers.
J. T. AND A. GROCOTT, 470, George-street.

[Advertisement], The Sydney Morning Herald (31 January 1846), 3

http://nla.gov.au/nla.news-article12885025 

J. T. AND A. GROCOTT, Stationers, Printers, &c. 476, George-street.

[Notice], New South Wales Government Gazette (20 March 1846), 376

http://nla.gov.au/nla.news-article230140985 

NOITCE is hereby given, that the Partnership business lately subsisting between the under signed, and carried on in George-street, in this City, under the style or firm of "J. T. and A. Grocott," stationers and printers, was, on the twenty-eighth day of February last past, and now is dissolved, by mutual consent, and that James T. Grocott, one of the said firm, will discharge and satisfy all claims due or incurred on or before the twenty-eighth day of February, and is hereby authorised to receive all debts due to the said firm. -
Dated at Sydney in the Colony of New South Wales, this 19th day of March, 1846.
ALONZO GROCOTT,
JAMES T. GROCOTT.
Witness - F. W. Jaques.

[Advertisement], The Sydney Morning Herald (17 July 1846), 3

http://nla.gov.au/nla.news-article12888513 

CAUTION TO THE PUBLIC. IT having been industriously circulated that since the dissolution of partnership between J. T. Grocott and A. Grocott, (the former is now disabled from executing any order in Letterpress and Copperplate Printing,) the undersigned hereby offers a reward of (£5) five pounds, to any person who will give up the name of the circulator of such a malicious report.
JAMES T. GROCOTT. Stationer, Printer, and Printseller, 476, George-street.

[Advertisement], The Citizen (29 August 1846), 8

http://nla.gov.au/nla.news-article252637497 

JUST PUBLISHED. MR. WALLACE has the honour to inform his friends and the public of Sydney,
that he has published the admired ballad from his brother's Opera of MARITANA, entitled "In Happy Moments."
All copies got up under his inspection will bear his signature, "S. W. Wallace."
To be had of Messrs. Grocott, Ford, and Colman, booksellers, George-street;
Mr. Moffitt, Pitt-street; and Mr. Hudson, musicseller, Pitt-street.

ASSOCIATIONS: Spencer Wellington Wallace (signatory); William Moffitt (bookseller)

MUSIC: In happy moments (by William Vincent Wallace, from Maritana); no surviving copy of this signed edition has been identified

[Advertisement], The Sydney Morning Herald (24 February 1847), 1

http://nla.gov.au/nla.news-article12891596 

A BARGAIN. A SPLENDID ACCORDION, 24 keys,
in good order and nearly new, made by the celebrated Reisner, London.
PRICE, £3 3s. Apply to J. T. GROCOTT, Stationer and Printer, 496, George-street.

"ABSTRACT OF SALES BY AUCTION THIS DAY", The Sydney Morning Herald (20 March 1847), 2

http://nla.gov.au/nla.news-article12890000

Mr. E. Salamon, - On the Premises of Mr. Ellard, George-street, at 11 o'clock, Household Furniture and Effects.

ASSOCIATIONS: Francis Ellard (musicseller, publisher, engraver)

[Advertisement], The Sydney Morning Herald (20 March 1847), 1

http://nla.gov.au/nla.news-article12889993

DECIDED BARGAINS.
JAMES T. GROCOTT, STATIONER, PRINTER, AND PICTURE-FRAME MAKER,
HASTENS to inform his friends and the public (the Ladies especially),
that he has this day Removed to the Shop lately occupied by Mr. F. Ellard, Music Seller,
486, George-street, having been instructed by the Official Assignee of the Estate to Sell
THE WHOLE OF THE BANKRUPT STOCK, Without Reserve, Consisting of upwards of 3000 Pieces Music
Viz.: Songs, Duets, Overtures, Glees, Operas, Solos, Quadrilles, &c., &c., &c.
Lovers of Music have now an opportunity which may never occur again, as the stock must be cleared out in a few months.
There is also a splendid Stock of Violins, Violoncellos,
Flutes, Flageolets, Clarionets, Fifes, Trombones, Organs,
Violin and Piano Strings, Mouth Pieces, Tuning Keys, &c., &c., &c.
The whole of which will be sold at LESS THAN PRIME COST.
The Stationery, Printing, and Frame making will be carried on as heretofore,
J. T. G. being determined to do an extensive trade if attention and reasonable charges will ensure it.
Music Saloon and Stationery Warehouse, 486, George-street, Directly opposite the Barrack-gate.

[Advertisement], The Sydney Morning Herald (27 March 1847), 1

http://nla.gov.au/nla.news-article12893890 

TO THE LADIES. J. T. GROCOTT begs to inform the
Ladies of Sydney that he has this day opened a room at the rear of the Music Saloon, expressly for their use,
in which they can try any piece of music they may select, on a Pianoforte kept for that purpose -
a convenience which, he trusts the will avail themselves of;
the stock of music will be found the best selected and most extensive in the colony,
and which will be sold at VERY REDUCED PRICES.
A fresh supply will be received from London every month.
Pianofortes bought and sold on commission; also, tuned and repaired.
Music Saloon and Stationery Depot, 486, George-street.

[2 advertisements], The Sydney Morning Herald (13 April 1847), 1

http://nla.gov.au/nla.news-article12891974 

CHEAP PIANOFORTES. J. T. GROCOTT has now on sale -
2 Cottage Pianofortes (new)
1 Grand ditto
1 Square ditto.
Wanted to purchase, two second-hand Cottage Pianos.
Pianos tuned and repaired, also musical instruments.
MUSIC Saloon and Stationery Warehouse, 486, George-street.

MUSIC! MUSIC! MUSIC!
THE undersigned having taken the whole of the extensive Premises lately occupied by Mr. ELLARD, 486, George-street, together with the extensive stock of
MUSIC AND MUSICAL INSTRUMENTS, begs to invite the attention of the inhabitants of Sydney to the
GREAT BARGAINS which are offered, as the Stock must be sold to make room for
NEW MUSIC AND STATIONERY expected from London in a short time.
3000 PIECES MUSIC AT HALF-PRICE, some of which are of the latest published,
including Music for the Operas of Maritani [Maritana], Bohemian Girl, Enchantress, &c., &c., &c.
ALSO, OVERTURES to Zampa, Norma, Der Freischutz, Miller and his Men, Guy Mannering, &c., &c.
THE POLKAS AND QUADRILLES will also be found to be of the newest and best selected in the colony.
THE PICTURE FRAME MAKING AND GILDING will be carried on, as usual, in connexion with THE STATIONERY AND PRINTING BUSINESS.
Parties consulting the prices charged at this Establishment will at once perceive the advantages obtained in patronising it.
J. T. GROCOTT. Music Saloon and Stationery Warehouse, 486, George-street, (late Ellard.)

[2 advertisements], The Sydney Morning Herald (20 April 1847), 1

http://nla.gov.au/nla.news-article12891276 

PIANOFORTES. J. T. GROCOTT is a cash buyer of
2 Cottage Pianofortes, price £40 - second hand
1 Square ditto, Broadwood, £40 - ditto.
Music Saloon, 486, George-street.
FIVE PER CENT. COMMISSION is the fixed charge made by J. T. G. for effecting sales, or purchasing the above instruments.
Pianofortes tuned, removed, or repaired.

SPANISH GUITARS. 10 GUINEA Guitars now selling at Grocott's for £4 4s.
Manufactured at one of the most celebrated houses in London.
Music Saloon, 486, George-street.
4000 Pieces of new and old music, selling at HALF PRICE.

[Advertisement], The Sydney Morning Herald (25 May 1847), 1

http://nla.gov.au/nla.news-article12896145 

NEW MUSIC, JUST LANDED, EX ----
J. T. GROCOTT invites the attention of ladies to a small selection of new music, consisting of
NEW POLKAS AND QUADRILLES, SONGS, AND PIANOFORTE PIECES. Music Saloon, 486, George-street.
JUST PUBLISHED, - That very beautiful and New Song, THE CAPTIVE GREEK GIRL, Price 2s. 6d.
J. T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (26 May 1847), 1

http://nla.gov.au/nla.news-article12893779 

NEW MUSIC - J. T. GROCOTT calls the attention of the public to a very choice assortment of music,
just landed from London, consisting of 2000 PIECES:
Polkas, Quadrilles, Gallops, Waltzes, Songs, Glees, &c., &c.
The whole of this parcel has been selected with care, and of the newest publication,
and being the cheap bouquet music, the price will be within the reach ot all classes of the musical world.
Music Saloon, 488, George-street.
Pianofortes bought and sold at five per cent. commission.
Tuning and repairing as usual.

[Advertisement], The Sydney Morning Herald (7 July 1847), 1

http://nla.gov.au/nla.news-article12889421 

MUSIC FOR THE MILLION. JUST LANDED, 1000 Pieces of New MUSIC,
Consisting of songs, duetts, polkas, quadrilles, &c., &c.
AT ONE SHILLING EACH, beautifully illustrated;
the undersigned will be in monthly receipt of this description of music.
J. T. GROCOTT, Music Saloon and Stationery Warehouse, 486, George-street.
JUST PUBLISHED, the PESTAL WALTZ, as danced at the Queen's Ball Rooms - Price 1s. 6d.

[Advertisement], The Sydney Morning Herald (10 July 1847), 1

http://nla.gov.au/nla.news-article12896731 

GREAT NOVELTY. J. T. GROCOTT has just received a few of those justly celebrated instruments called
HARMONIUMS, which, for beauty of tone and elegant appearance, stand unrivalled in the list of Modern Musical Instruments, combining the clearness of sound of the Pianoforte in unison with the graceful swell of the Organ.
These Instruments are protected by a patent, granted last year to the celebrated Organ Builders,
Messrs. FURNEAUX, DEBAIN, AND CO., Paris, and are subject to a foreign duty in London of 35 per cent.,
but which duty has been avoided in this instance on account of their being shipped direct from Paris . . .
The prices range from £30 to £60 each, according to the number of stops . . .
Early application is necessary, which may be made at the MUSIC SALOON, 486, George-street.

[Advertisement], The Sydney Morning Herald (28 July 1847), 1

http://nla.gov.au/nla.news-article12898808 

NEW MUSIC, FROM BALFE'S NEW OPERA OF THE "BONDMAN."
J. T. GROCOTT has just received, ex John Fleming, several songs from the above celebrated Opera, and which will be ready for delivery on Saturday morning.
Music Saloon, 486, George-street.
The THIRD EDITION of the New Song "PESTAL," is now ready also, the "PESTAL WALTZ."

[Advertisement], The Sydney Morning Herald (25 September 1847), 1

http://nla.gov.au/nla.news-article12889764 

SPLENDID NEW MUSIC. - Just landed, ex Brightman,
one of the best selections of Music ever imported, from the
Houses of Messrs. Dalmaine, Cramer, Cocks and Co., London, all of which are illuminated,
and consist of 1380 Songs, Mazourkas, Quadrilles,
Pianoforte pieces, easy, Polkas Ditto ditto, difficult,
Waltzes, Duets, &c. &c., &c.
The musical world may always depend on a monthly supply of new and fashionable Music,
the undersigned having appointed Mr. W. V. Wallace as his agent for selecting Music in London.
J. T. GROCOTT, Music Saloon, 486, George-street.
N.B. As there are no duplicate pieces in this superb collection, early application is necessary.
In addition to the above, J. T. Grocott has determined on selling the whole of his stock of Music now on hand,
10,700 PIECES, AT HALF-PRICE.

ASSOCIATIONS: William Vincent Wallace (agent in London)

[Advertisement], The Sydney Morning Herald (2 October 1847), 3

http://nla.gov.au/nla.news-article12896642 

MUSIC FOR THE BUSH. - Just landed, a case of splendid toned German ACCORDIONS,
with the latest improvements and beautifully finished, with 29, 25, and 21 notes,
the whole of which the undersigned is offering at very reduced prices.
J. T. GROCOTT, Music Saloon, 486, George-street.
Orders from the country, enclosing a remittance, will be promptly attended to.

[2 advertisements], The Sydney Morning Herald (9 February 1848), 3

http://nla.gov.au/nla.news-article12889333 

PIANOFORTE TUNING AND REPAIRING,
J. T. GROCOTT has much pleasure in informing his patrons that he has engaged the permanent services of
Mr. G. W. WORGAN, in the above branch of his business.
One word in favour of Mr. W.'s well-known superiority would be unnecessary.
Music Saloon and Pianoforte Warehouse, 486, George-street.
A Spring Van and steady men always at hand.

PIANOFORTES. - The undersigned has now for sale at his rooms, the following Instruments,
the prices of which will be admitted are much lower than any yet asked in Sydney: - £ s. d.
One superb rosewood cottage pianoforte, 6 3/4 octave, Collard and Collard, (just landed) - 55 0 0
One ditto ditto ditto - 50 0 0
One square mahogany pianoforte, 6 octave, Collard and Collard - 40 0 0
One cottage mahogany pianoforte, 6 1/2 octave, Cramer, Addison, and Co. - 50 0 0
One grand mahogany pianoforte, 6 1/2 octave, Stoddard [sic, Stoddart] and Co. - 45 0 0
One grand rosewood pianoforte, 6 1/2 octave, Kirkman and Co. - 33 0 0
One grand mahogany pianoforte, 6 octave, Ball and Co - 24 0 0
One grand mahogany pianoforte, 6 octave, Broadwood - 30 0 0
J. T. GROCOTT, Music Saloon, 486, George-street.

ASSOCIATIONS: George William Worgan (piano tuner)

[Advertisement], The Sydney Morning Herald (7 April 1848), 1

http://nla.gov.au/nla.news-article12898469 

SELF-ACTING PIANOFORTE. IMMEDIATELY after the disposal of prizes in
Mr. PARKES'S FANCY UNION, this evening,
the above splendid instrument will be disposed of BY LOTTERY,
By 25 Members, at 25s. each, Playing the following tunes
FROM SONNAMBULA: Do not Mingle, Still so Gently, As I view those Scenes,
All is lost now, A Chorus, Take now this Ring.
The Invincible Quadrilles, five figures and waltz
The Scotch Quadrilles, ditto ditto
Herz Quadrilles, ditto ditto, In all 24 TUNES.
J. T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (13 May 1848), 1

http://nla.gov.au/nla.news-article12905674 

NEW MUSIC, JUST LANDED. J. T. GROCOTT has just received,
two cases French, Italian, and German Music, consisting of brilliant and difficult
pianoforte music, Songs, Duetts, Sacred Music, Polkas, and Guitar Music, &c., &c.,
the composition of the following and other authors -
Thalbergh [sic], Handel, Bellini, Lumbye
Moschelles, Hartman, Liszt, Kalkbrema [sic, Kalkbrenner]
Gutman, Rossellen, &c., &c., &c.
The musical world will now have an opportunity of adding to their present stock the works of the greatest composers in the world.
Ladies who cannot call at the Saloon and make their selection, can have them forwarded to their residences if returned the same day.
J. T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Daily Advertiser (1 June 1848), 4

http://nla.gov.au/nla.news-article253059418 

INSTRUMENTS.
GRAND and Cabinet Pianofortes, Cottage and Picalo ditto, bought, sold, tuned, repaired, and removed.
Parties wishing to dispose of Pianos, &c., will always find a ready sale at the Saloon at a charge of FIVE PER CENT. COMMISSION.
- s. d. - £ s. d.
Guitars from 30 0 to 13 13 0
Violins - 6 6 - 8 10 0
Organs, sacred and secular - 10 0 0
Accordions - 15 0 - 7 0 0
Trombones - 45 0 - 4 10 0
Trumpets - 15 0 - 5 10 0
Bugles - 7 6 - 2 15 0
Cornopeans - 70 0 - 6 0 0
Valve trumpets - 40 0 - 5 0 0
French horns - - - - -
Clarionets - 30 0 - 6 10 0
Flageolets - 17 6 - 2 15 0
Flutes - 16 6 - 8 10 0
Fifes - 20 0 - 0 4 0
Picalos - 6 6 - 1 1 0
Drums made to order
Drum heads and hoops made to order
Drum-sticks made to order
Harp, guitar, violincello, and violin strings, single or in sets
Capodastoes, mutes, pegs, bridges, hammers, pins, necks, tail-boards, &c., &c., &c.
J. T. GROCOTT, Music Saloon, (Late Ellard's) 486, George-street.

[Advertisement], The Sydney Daily Advertiser (23 June 1848), 3

http://nla.gov.au/nla.news-article253058370 

SAFE CARRIAGE, A SPRING VAN, and steady men, always ready for the removal of
Pianofortes, Harps, Organs, and other articles of value, in town or country, at
J. T. GROCOTT'S, Music Saloon and Stationery Warehouse, 486, George-street,

Second insolvency (July to November 1848):

"NEW INSOLVENT", The Sydney Morning Herald (12 July 1848), 2

http://nla.gov.au/nla.news-article12908370

JAMES TURNER GROCOTT, of George-street, Sydney, stationer and music seller.
Debts, £911 10s. 1d.; assets, personal property, £470 10s.; debts due, £60 13s. 9d. Balance deficiency, £380 12s. 1d.
Official Assignee, Mr. George King.
ADVERTISEMENT. - The cause of my insolvency is occasioned by my having purchased the stock of F. Ellard's estate, from Mr. C. Irving, official assignee, the which subsequently proved to be of such an unsaleable nature that the major portion of them could not be sold except at a great sacrifice. The sale for twelvemonths amounting to £82, and for which I agreed to pay £600.
JAMES T. GROCOTT,
Stationer and Printer.
July 11.

[Advertisement], The Sydney Morning Herald (26 July 1848), 4

http://nla.gov.au/nla.news-article12904351 

IN THE INSOLVENT ESTATE OF J. T. GROCOTT, (By order of the Official Assignee.)
MR. MORT Will sell by public auction, on the Premises, No. 486, GEORGE-STREET,
ON TUESDAY, 1ST AUGUST, At 11 o'clock precisely,
The whole of the STOCK-IN-TRADE, consisting of
Stationery
Music
Musical instruments
Pictures
Prints
Printing plates
Fixtures, &c., &c., &c.
Also, Horse and Spring Van.
Terms - cash.

[Notice], New South Wales Government Gazette (13 October 1848), 1467

http://nla.gov.au/nla.news-article230150221 

. . . Insolvent Estate of James Turner Grocott, a first and final dividend of 1s. 9 1/2d. in the pound upon all claims proved . . .

"INSOLVENT COURT. WEDNESDAY [8 November]", The Sydney Morning Herald (10 November 1848), 2

http://nla.gov.au/nla.news-article12904803 

. . . In the estates of James Turner Grocott, and Edward Hutchinson Pollard, certificate meetings were held, when no opposition being offered, the applications were granted . . .

[Advertisement], The Sydney Morning Herald (12 January 1849), 4

http://nla.gov.au/nla.news-article12902899 

TO PARENTS AND GUARDIANS, WANTED, an Apprentice to the Lithographic and Copperplate Printing.
A knowledge of drawing is indispensable. Apply to JAMES T. GROCOTT, Printer and Stationer, 486, George-street.

"The Lottery. A New Comic Song", Bell's Life in Sydney and Sporting Reviewer (27 January 1849), 3

http://nla.gov.au/nla.news-article59768418 

Where'er we go, from North to South,
In City, Town, or Squattery,
The talk in everybody's mouth
ls all about the Lottery!
But much I fear that many rue
The cash they chanced abortively,
And wish they'd found aught else to do
With the tin they've lost thus sportively!
Bow wow wow--bow wow wow, fol,
Lol de riddy iddy - bow wow wow! . . .

. . . One swears it is a scheming job
'Twixt Messieurs Wells and Grocott, sirs!
Another d--ns his stupid nob,
Swears in the fire he'll poke it, sirs!
Bow wow, &c. . . .

See also, EQUITABLE PARTITION OF THE CALIFORNIA GOLD COUNTRY", Bell's Life in Sydney and Sporting Reviewer (13 January 1849), 2

http://nla.gov.au/nla.news-article59768350 

[Advertisement], The Sydney Morning Herald (23 February 1849), 1

http://nla.gov.au/nla.news-article28647034 

TO THE MUSICAL WORLD, COLLARD AND COLLARD GRAND SQUARE PIANOFORTE.
J. T. GROCOTT having purchased that superb instrument, lately the property of J. Levick, Esq.,
(and sold by him on account of his departure for England.)
J. T. G. has determined at the earnest request of several of his musical friends, to dispose of it
BY RAFFLE, ON THE 10th MARCH, the highest thrower to be the winner.
40 MEMBERS AT TWO GUINEAS.
The opinion of the profession of Sydney has been had, and they pronounce it to be the BEST IN THE COLONY.
The undersigned guarantees to give the winner 60 Guineas for it.
JAMES T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (11 April 1849), 1

http://nla.gov.au/nla.news-article12908985 

GRAND SQUARE PIANOFORTE. FOR RAFFLE.
THE last Raffle of a Pianoforte having given so much satisfaction,
the undersigned is induced to offer another on the same principle, to consist of 40 MEMBERS at 25s. each.
The instrument is quite new and just landed.
J. T. GROCOTT, Music Saloon, 486, George-street.
£40 will be guaranteed to the winner.

[4 advertisements], The Sydney Morning Herald (6 August 1849), 1

http://nla.gov.au/nla.news-article12910881 

MUSICAL LIBRARY. TO BE HAD ONLY at GROCOTT'S MUSIC Saloon, 486, George-street: -
COCK'S Musical Almanac for 1849
Czerny on the Pianoforte
Otto on the Violin
The Flutist's Catechism
Warren's Key to Class Singing
COCK'S Pianoforte Tutors
Ditto Flute ditto
Pacini's Violin ditto
Warren's Musicians' Biography
Ford's Class Book
Hamilton's 2000 Musical Terms
Ditto Counterpoint, Melody, and Composition
The "Violin," by Charles Dubourg
Hamilton's Musical Grammar
Marbeck's Common Prayer
Hamilton's Thorough Bass.

TO THE MUSICAL WORLD. J. T. GROCOTT has much pleasure in informing his numerous patrons,
that he has just landed one of the choicest parcels of
NEW MUSIC ever imported, consisting of 1680 pieces of
Songs, Duets, Waltzes, Overtures, Polkas, Vocal Duets,
Quadrilles, Pianoforte Pieces, &c., &c., &c.
Music Saloon, 2067 486, George-street.

CHEAPER THAN EVER. 12 KEYED ACCORDIONS, £2 5s. each.
10 Ditto ditto, £2 each
8 Ditto ditto, £1 10s. each
8 Ditto cocoa-wood flutes, with all the improvements, and silver keys, £4 4s.
Violins and bows, from 10s. upwards.
MUSIC Saloon, 486, George-street.

TO PROTESTANT CHURCHMEN.
JUST RECEIVED, Part 1 and 2 of the Chanter's Hand Guide, or the Psalms of David, Pointed for Chanting, price 4d. each . . .
GROCOTTS, Music and Stationery Warehouse, 486, George-street.

"SUPREME COURT. WEDNESDAY [5 September] . . . IN THE ESTATE OF FRANCIS ELLARD, AN INSOLVENT", The Sydney Morning Herald (6 September 1849), 2

http://nla.gov.au/nla.news-article12905764

In this estate, a plan of distribution had been filed; whilst lying in the office for the inspection of creditors, one of them filed a caveat against its allowance, or confirmation by the full Court. It appeared that Mr. Clark Irving, the official assignee of the estate, the insolvent having been a musical instrument and music seller, &c., sold by private contract the stock in hand to Mr. Grocott, of George-street, for the sum of £600, which was to be partly secured, and the whole to be paid in eighteen equal monthly instalments.
Prior to the sale a valuation of the stock in question was made by three different auctioneers, and they all agreed that if sold at public auction, the whole would not fetch £200; one or two said it would not realise more than £150.
Whilst the contract of sale between Irving and Grocott was under consideration the third meeting of the creditors of the estate was convened, and then and there the matter of the intended sale and its terms were laid before the creditors then assembled, (amongst whom was the now opposing creditor, Mr. Pite.) They did not dissent from it. Mr. Grocott soon found that he had made a very foolish bargain, and could not punctually discharge the monthly instalments of the purchase money; upon being pressed by Mr. Irving for payment he was compelled to sequestrate his estate.
However, with what Mr. Grocott had paid before his insolvency, with what dividend his own estate since paid, and with what had been received from the party who had secured the part payment by Grocott, a sum of £352 had been paid to the estate of Ellard.
The real object of the caveat being lodged was to make Mr. Irving pay personally the difference between the sum of £352 and £600 . . .

[Advertisement], The Sydney Morning Herald (9 October 1849), 1

http://nla.gov.au/nla.news-article12913546 

GROCOTT'S MONSTER ART UNION.
THE above will take place in a short time, of which due notice will be given.
400 MEMBERS AT ONE GUINEA. 1st Prize, 60 Guineas. Last ditto, 10s. 6d.
Catalogues will be out on Thursday next.
CHEAP PRINTING. THE cheapest house in town for Copper plate, Letter press, And Lithographic printing.
J. T. GROCOTT, 486, George-street.

[Advertisement], The Sydney Morning Herald (7 November 1849), 4

http://nla.gov.au/nla.news-article12911842 

NEW MUSIC. FROM THE CELEBRATED HOUSE OF D'ALMAINE AND CO.
JUST LANDED EX SALACIA. MR. MORT Will sell by public auction, at his Rooms, George-street,
on FRIDAY, NOVEMBER 9, At 11 o'clock,
ONE CASE NEW AND CHOICE MUSIC, comprising -
Musical Bijou 1849, Polkas, Mazourkas, Waltzes,
Vocal Music, Cornopean Library, Music for the People,
Sacred, Secular, and Psalm Tunes, Songs of Erin, Jenny Lind Album,
Talle's [Tallis's] Church Services, Mozart's Requiem, &c., &c. Terms, cash.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (24 November 1849), 4

http://nla.gov.au/nla.news-article59769834 

To the Musical World.
J. T. GROCOTT was the buyer of all that splendid parcel of
NEW MUSIC, Sold at Mr. Mort's, on Friday last, amongst which are a few copies of the
MUSICAL BIJOU, FOR 1849, and which will be sold at the reduced price of TWELVE SHILLINGS AND SIXPENCE EACH.
Also, all the Songs from the New Ballad Opera of ROBIN GOODFELLOW.
Music Saloon, 2582 486, George-street.

[Advertisement], The Sydney Morning Herald (1 December 1849), 1

http://nla.gov.au/nla.news-article12911859 

GRAND ATTRACTION. J. T. GROCOTT has much pleasure in acquainting the subscribers to his
ART UNION, that through the kindness and liberality of the proprietor of the
ROYAL VICTORIA THEATRE, who has given the free use of the house for the
DRAWING, He has determined upon adding the attraction of a
FREE CONCERT, having engaged the services of Messrs. J. and F. Howson, Mrs. Guerin, Madame Carandini, Mr. Gibbes, leader, &c. &c., together with the Orchestra.
The Concert and Drawing to take place on Friday next, 7th December, at half-past seven o'clock, instead of being at the City Theatre, as was originally intended, it being found totally inadequate to accommodate half the number of persons who are desirous of being present at the drawing.
Non-subscribers to the Art Union will be admitted at a charge of one shilling each.
The 1st and 2nd Prizes will be exhibited at the Theatre.

ASSOCIATIONS: John Howson (vocalist); Frank Howson (vocalist); Theodosia Guerin (vocalist); Maria Carandini (vocalist); John Gibbs (leader, violinist); Royal Victoria Theatre (Sydney venue); City Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (7 December 1849), 1

http://nla.gov.au/nla.news-article12902541 

PROGRAMME OF GROCOTTS FREE CONCERT,
to be given THIS EVENING, 7th DECEMBER, AT THE ROYAL VICTORIA THEATRE.
Overture - Fra Diavolo - Orchestral Band
Trio - "Through the world wilt thou fly" - Mrs. Guerin & Messrs. J. and F. Howson
Song - "Far. far from thee," from La Favorita - Donizetti - Mad. Carandini
Song - "The Captive Greek Girl" - J. Howson
Ballad - "The heart bowed down" - Bohemian Girl - Balfe - F. Howson
Ballad - "By the sad Sea waves," accompanied by Mr. J. Howson on the newly invented Piano Melodia - Benedict - Mrs. Guerin
Song - "One gentle heart" - Matilda of Hungary - Wallace - Mad. Carandini
Duet - "When thy bosom heaves a sigh" - Braham - Mrs. Guerin & J. Howson
Scena - "She comes in all her loveliness" - Matilda of Hungary - Wallace - F. Howson
Scena - "How gentle was my slumber" - Der Freischutz - Weber - Mrs. Guerin.
Song - "Wanted a Governess" - J. Howson
Finale - "God save the Queen."
PIANIST, MR. W. A. SIGMONT.
The Concert will commence precisely at half past seven o'clock, to be followed by the Drawing at nine o'clock.

ASSOCIATIONS: William Abercrombie Sigmont (pianist, accompanist)

"AMUSEMENTS OF THE WEEK", Bell's Life in Sydney and Sporting Reviewer (8 December 1849), 2

http://nla.gov.au/nla.news-article59769889 

A naval bespeak at the Victoria on Thursday, and the drawing of Grocott's Art Union at the Theatre and Deane's promenade concert at the Royal Hotel last evening, have dissipated somewhat of the ennui of which our city pleasure-seekers have latterly complained . . . We must take some blame to ourselves for having omitted to call attention to the affair in our last number; but we now do ourselves the pleasure to refer to Mr. Grocott's very deserving efforts in the cause of Art. By the liberality of Mr. Joseph Wyatt, who gave the use of the Victoria Theatre for the occasion, Mr. G. was enabled to blend amusement with the more serious business of drawing the prizes, and, aided by the operatic company and the efficient orchestra over which Mr. John Gibbs so ably presides, he presented a bill of fare which proved a source of great attraction to the speculators. In a word, the resources of the sister Arts were summoned to the aid of Painting, and they were obedient to the call. Owing to the lateness of the hour to which the entertainments extended, we must confine our remarks to the brief but earnest expression of our hope that Mr. Grocott's spirited effort may have met with the reward it so richly deserved. There is but too generally a paralysing apathy in New South Wales in all that regards the higher branches of Art, and it is only by perseverance that a more generous spirit is to be infused. A slight hitch occurred in the latter part of the drawing, from some of the tickets having stuck in the wheel, but this was subsequently satisfactorily explained . . .

ASSOCIATIONS: Joseph Wyatt (proprietor); John Philip Deane (musician); Royal Hotel (Sydney venue)

[Advertisement], The Sydney Morning Herald (6 March 1850), 1

http://nla.gov.au/nla.news-article12916208 

EVENING PROMENADE. GROCOTT'S SALOON will be illuminated this evening,
and the City Band will be in attendance, from 7 till 11 o'clock.
ADMISSION, ONE SHILLING. Catalogues of the prizes are now ready. 486, George-street.

ASSOCIATIONS: City Band (performing group)

"GROCOTT'S ART UNION", Bell's Life in Sydney and Sporting Reviewer (9 March 1850), 2

http://nla.gov.au/nla.news-article59770305 

We look back with the most pleasurable sensations to our efforts for advancing the Arts in Australia, because our exertions in the cause have been rewarded by success. Mr. Grocott (adopting our suggestions, and improving upon his previous venture) boldly undertook, in the midst of most cloudy times, to offer premiums to colonial artists in historical and landscape compositions. Though those offers were not overabundantly responded to, still several pictures wore sent into his gallery which manifest high talent. The historical picture prize of thirty pounds was won by Mr. Smith without competition. The landscape prize was awarded to Mr. F. Willis (a gentleman who has only been a few months in the colony) . . . Nos. 6 and 11, Bathurst Cave, Martens, are very good specimens of this artist . . . Productions of Mrs. Steadman Christie in chalk and water colors, and of Miss Troy and Miss Cousens in needlework, and of Messrs. Fowles, Hipkiss, Garling. Balcomb, Ellis, &c., in oil, together with a large quantity of engravings, the beautiful picture of the Errand Boy by Glasse, and two magnificent pianos, are amongst the prizes to be awarded to the subscribers. In fact, the projector has exerted himself, most strenuosuly to advance the cause of the too much neglected Art in this colony; and, although he speaks very diffidently upon his own efforts, yet we are satisfied that all who turn their attention to the subject will agree with us that he is entitled to the most extensive public support. This should be freely awarded as an encouragement and spur to future exertions.

ASSOCIATIONS: Frederick Willis (artist); Henry Robinson Smith (artist); Conrad Martens (artist); Joseph Fowles (artist)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [NSW] (30 March 1850), 3

http://nla.gov.au/nla.news-article695420 

CATALOGUE of PRIZES in GROCOTT'S ART UNION.- Only 96 Tickets unsold.
No. 1 - Marinette, splendid French Lithograph, in gilt frame. The drawer of this prize will be presented with a
MAGNIFICENT GRAND SQUARE PIANOFORTE, by COLLARD & COLLARD, pronounced by competent judges to be equal to any in the colony.
Should the winner feel disposed to part with it, £60 will be guaranteed him. Value. - 70 [guineas]
2 - Ishmael, splendid French Lithograph. The drawer of this prize will be presented with a
SPLENDID ROSEWOOD COTTAGE PIANOFORTE, by Townsend and Sons.
This instrument merits the same remarks as Prize 1, and £50 will be guaranteed the winner. Value - 60
3 - Eugene Aram, Oil Painting, in splendid gilt frame, being the first Prize Competition Picture, painted expressly for this Art Union bv Mr. H. R. Smith, Sydney. Value - 30
4 - Bullocks and Dray, Australian scene, Oil Painting, in splendid gilt frame, being the second Prize Competition Picture, painted expressly for this Art Union by Mr. F. Willis, Sydney. Value - 20 . . .
7 - Balmain Regatta, Oil Painting, in splendid gilt frame, painted expressly for this Art Union, by Mr. J. Fowles, Sydney. Value. - 15
8 - Bathurst Cave, Oil Painting, in gilt frame. Painted by Mr. C. Martens. Value - 10 . . .

[Advertisement], The People's Advocate and New South Wales Vindicator (6 April 1850), 15

http://nla.gov.au/nla.news-article251537864 

PROGRAMME OF Grocott's Second Free Concert,
TO be given on WEDNESDAY evening, April 10, 1850, at the VICTORIA THEATRE.
Overture - L'Italiana in Algiero (Rossini) - FULL BAND
Song - The Veteran's Return - F. HOWSON
Duet - Flowers Duet (Night Dancers) - MRS. GUERIN
Ballad - A Lowly Youth - MAD. CARANDINI
Cavatina - The Gondolette (Asee) - MRS. GUERIN
Ballad - Gone is that calmness (Wallace) - J. HOWSON
Duet - Anticipations of Switzerland - MAD. CARANDINI
Solo Piano-forte - (Hunter) [sic, ? Hunten] - Mr. STANLEY
(On the 1st prize Collard & Collard Piano-forte.)
Scena - Ship on Fire - F. HOWSON
Song - Matrimony (comic song) - J. HOWSON
Ballad - O whisper what thou feelest (from the opera of "Crown Jewels") - MRS. GUERIN
Song - After many roving years - J. HOWSON
Trio - The Magic Wove-scarf (from the opera of the "Mountain Sylph") - MRS. GUERIN & Messrs. HOWSON
Mr. Wyatt has, with his usual liberality, given the use of the Theatre gratis, and will also carpet the seats of the pit, and fit it up in a manner which will afford subscribers more room.
The Boxes will be let at 2s. 6d. each person; Upper Boxes 1s. each.
None but Subscribers and their families will be admitted to the Pit.

ASSOCIATIONS: William Stanley (pianist)

[Advertisement], The Sydney Morning Herald (2 May 1850), 4

http://nla.gov.au/nla.news-article12917584

TO PARENTS AND GUARDIANS.
WANTED, an apprentice to the carving, gilding, music, publishing, and general printing business.
Apply to J. T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (31 August 1850), 1

http://nla.gov.au/nla.news-article12920685

CATALOGUE OF MUSIC, AT GROCOTTS, 486, GEORGE-STREET.
SUBSCRIBERS to the Art Union are requested to keep the copy of this day's Herald for the purpose of selecting Music . . .

"MUSIC", The Sydney Morning Herald (2 September 1850), 3

http://nla.gov.au/nla.news-article12920736 

Mr. Grocott has requested us to call the attention of the musical world, to the catalogue of music inserted in our issue of Saturday last, Professors and others should obtain and keep a copy of that day's paper for the purpose of reference - Communicated.

[Advertisement], The Sydney Morning Herald (6 September 1850), 1

http://nla.gov.au/nla.news-article12920839 

A GOOD SHILLING'S WORTH. GROCOTT'S CONCERT
will be held THIS EVENING, at the ROYAL VICTORIA THEATRE.
The services of Mrs. Guerin, Messrs. Howson, son, Monsieur Longchamp, Monsieur De Lamar, Mr. Stanley, pianist, and others, have been secured.
The following PROGRAMME will convince the most sceptical that the bill of fare offered is well worth the amount named:
1. Trio - "Through the World." - Balfe - Mrs. Guerin and Messrs. F. and J. Howson.
2. Ballad - Mrs. Guerin.
3. Song - "Write to me." - Balfe - J. Howson.
4. Solo on the celebrated Boehm flute - Mons. Longchamp.
5. Song - The Standard Bearer. - Lindpainter - F. Howson.
6. Aria Italien - La Pastorelle. - Rossini - Mons, De Lamar.
7. Duet - The Gypsy Countess. - S. Glover - Mrs. Guerin and J. Howson.
8. DOUBLE DUETT, (NEVER BEFORE ATTEMTPTED IN THE COLONY)
TO BE PERFORMED BY FOUR PERFORMERS, ON TWO PIANOFORTES,
BEING THE THE 1ST AND 2ND PRIZES IN THE ART UNION.
- Mr. Stanley, F. Howson, J. Howson, and Mons. De Lamar.
9. Duet - "Why do you watch." - S. Glover - Mrs. Guerin and F. Howson.
10. Brilliant Pianoforte Piece. - Herz - Mr. Stanley.
11. Song - "Towards my home." - Pischec - J. Howson.
12. Comic Song - Seven Ages - Mr. Rogers.
13. Solo on the Patent Flutina - Mr. Ducros.
The whole of the music is perfectly new, with the exception of No. 1 and 12,
and has been carefully selected from the immense stock just imported by J. T. Grocott . . .
the charge to non-subscribers to the pit will be one shilling . . .
The Concert will commence precisely at seven o'clock.
The Drawing of the Prizes at nine o'clock.

ASSOCIATIONS: Jean Francois Lonchamp [sic] (flute); Monsieur de Lamar (vocalist, pianist); George Herbert Rogers (actor, vocalist); John Henry Ducros (flutina)

[Advertisement], The Sydney Morning Herald (19 October 1850), 5

http://nla.gov.au/nla.news-article12921880 

JAMES T. GROCOTT, PICTURE-FRAME MANUFACTURER, CARVER, AND GILDER,
STATIONER, PRINTER, AND MUSIC-SELLER.
ORDERS for painting ships in harbour, Horses, Gentlemen's Country Seats, Portraits (in Oil and Water Colours),
Varnishing, Mounting, &c., &c., executed on reasonable terms.
30 per cent, may be saved by patronising the above establishment.

[Advertisement], The Sydney Morning Herald (10 January 1851), 3

http://nla.gov.au/nla.news-article12923991 

GREAT REDUCTION. THE attention of Merchants, Bankers, Schoolmasters, and the Musical World,
is respectfully called to the great reduction made in the prices by the undersigned . . .
PIANOFORTE AND MUSIC DEPARTMENT. The position the undersigned has made and maintained in the Australian Musical World, has only been obtained by the most scrupulous attention to the wishes and orders of his constituents, coupled with the established rule adopted of 5 per cent, commission, including all charges.
Pianofortes exchanged, bought on commission, and advances made thereon.
10,000 PIECES OF MUSIC, Consisting of Polkas, Duets, ditto. Songs, Quadrilles, Duets, Waltzes,
Pianoforte Pieces, Pianoforte Duets, Sacred Music, Overtures, &c., &c., &c.
Catalogues may be had grade on application, and all schools and Professors of Music will be charged HALF PRICE.
Agents are wanted at Maitland, Goulburn, and Yass, for the sale of Music, who will be supplied at half price.
The undersigned has been induced to make the above
IMMENSE REDUCTION, In consequence of the contemplated addition and alteration intended to be made next month.
JAMES T. GROCOTT, 486, George-street.

[Advertisement], The Sydney Morning Herald (30 January 1851), 1

http://nla.gov.au/nla.news-article12924408 

POLKAS. POLKAS. AN immense variety of Polkas may be had at GROCOTT'S at ONE SHILLING EACH.
Also, 10,000 PIECES OF NEW AND OLD MUSIC . . .
CORNOPEONS. CORNOPEONS. J. T. GROCOTT has just landed a case of
splendid Cornopeons, complete, with crooks, &c., &c., which he is now offering at £3 10s. EACH.
They are warranted the best instruments ever imported. Also, ACCORDEONS AND FLUTINAS, from 15s. to £4 4s. each, together with a splendid assortment of
Violins, ditto, bows, ditto strings, Flutes, Guitars, Piccolos, &c., &c., &c.
Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (13 March 1851), 1

http://nla.gov.au/nla.news-article12925501

NEW MUSIC. J. T. GROCOTT has much pleasure in informing his Musical Friends that he has just received the whole of
DAVIDSON'S MUSICAL TREASURY, Consisting of thirteen volumes complete, comprising all the best works published for some years past, amongst which will be found all the Ethiopian Melodies, Russell's Songs, Classical Songs of Germany, Scotch, English, and Irish Songs; Vocal Duets, Rossini's Stabat Mater, Vocal Gems of Foreign Operas, do.
J. T. Grocott would add that he has determined on establishing a Musical Library, from which can be copied at any time any piece enumerated - the catalogue of which will appear in to-morrow's Herald, when a copy should be retained as a reference for those who may require a manuscript copy of the same.
The Work itself will not be sold, but kept for the purpose specified above.
WANTED, two Music Copiers, who will be liberally paid.

[Advertisement], The Sydney Morning Herald (20 March 1851), 1

http://nla.gov.au/nla.news-article12925688 

IN PREPARATION, and will be opened in a few days,
a Splendid Collection of DISSOLVING VIEWS, embracing some well-known English Scenes, &c., &c., &c.
At GROCOTT'S Saloon, 486, George-street. Admission - One Shilling each.

[Advertisement], The Sydney Morning Herald (16 April 1851), 1

http://nla.gov.au/nla.news-article12926347 

GROCOTT'S DISSOLVING VIEWS. GO AND SEE Grocott's Dissolving Views,
open every day, from 3 to 5 p.m., and from 8 to 10 in the evening.
Admission One Shilling. Grand Attraction this evening.
An excellent band will be in attendance under the direction of Mr. Hudson, of the City Band . . .

ASSOCIATIONS: George Hudson (musician)

"GROCOTT'S DISSOLVING VIEWS", Empire (17 April 1851), 3

http://nla.gov.au/nla.news-article60034176

Mr. Grocott, in a laudable spirit of enterprize, has introduced an exhibition of Dissolving Views, at his Music Saloon, on the principle of those exhibited with such success at the Polytechnic and other Institutions in London. This pleasing exhibition is well worth a visit, but we would suggest that some of the pictures offered to view might with advantage be made to give place to others of more general interest. There is also room for improvement in the obligato accompaniment. Among the views which passed before our eyes and vanished, we particularly remarked the portrait of Nelson, and the Arch of Titus at Rome.

[Advertisement], The Sydney Morning Herald (21 April 1851), 1

http://nla.gov.au/nla.news-article12926458

EASTER HOLIDAYS. A Treat for the Young Folk and Children OF LARGER GROWTH.
OPEN THIS DAY, from a to 5 o'clock, and THIS EVENING from 8 to 10 o'clock,
GROCOTT'S DISSOLVING VIEWS. These beautiful views were purchased in London, from Carpenter and Westley . . .
Showing a radius of 15 feet. The Saloon has been fitted up to accommodate 150 persons, and in addition to the above the rooms are full of beautiful pictures.
The whole of the views occupy in showing one hour and a half, during which appropriate music is played by Mr. G. W. Worgan . . .

ASSOCIATIONS: George William Worgan (pianist)

[Advertisement], The Sydney Morning Herald (24 April 1851), 1

http://nla.gov.au/nla.news-article12926534 

ADDITIONAL ATTRACTION AT GROCOTTS, THIS EVENING ONLY.
THIS Evening (on account of the Theatre being closed), the band will be augmented by the voluntary assistance of
Messrs. Hudson, Strong, Ducros, Pearson, Wallace, Worgan, and others;
the saloon will be opened at eight o'clock, the Views exhibited at a quarter past eight, and will terminate precisely at ten o'clock.
After which, the band will play (by desire) several of their favourite Polkas, Quadrilles, &c., &c.
It will be necessary to procure tickets throughout the day for the latter portion of the entertainment. Admission - One Shilling

ASSOCIATIONS: George Strong (musician); Joseph Pearson (musician); John Henry Ducros (musician)

[Advertisement], The Sydney Morning Herald (1 May 1851), 1

http://nla.gov.au/nla.news-article12926719 

NEW PIANOFORTES. J. T. GROCOTT has just landed another lot of
SQUARE AND COTTAGE PIANOFORTES, so justly celebrated for their durability and adaptation to a tropical climate;
these instruments are manufactured by MESSRS. TOWNSEND AND SON, LONDON,
and a guarantee for 7 years will be given with each - decidedly the cheapest instruments now in Sydney.
DISSOLVING VIEWS. AT the request of several families of distinction,
J. T. GROCOTT will exhibit the Views at any time from 10 to 6 o'clock daily, provided not less than 20 persons engage the Saloon for their exclusive use.
The Evening Exhibition will continue as usual from 8 to 10 P.M. . . .

[Advertisement], The Sydney Morning Herald (22 May 1851), 1

http://nla.gov.au/nla.news-article12927294 

THIS EVENING ONLY. GROCOTTS DISSOLVING VIEWS.
AFTER the Views are shown, the Band will play several of their favourite Polkas, Quadrilles, &c., &c.
486, George-street. Admission - One Shilling. Doors open at 7 o'clock precisely.
GROCOTTS DISSOLVING VIEWS. To the Parramatta and other Country Visitors.
NEXT SATURDAY being the Levee Day, the views will (in addition to the usual show in the evening) be exhibited from Half-past 1 o'clock to quarter-past 3 o'clock,
to give residents in the country an opportunity of returning by the 4 o'clock steamboat. Admission One Shilling . . .
MUSIC FOR THE MILLION. JUST LANDED, another large lot of the above CHEAP MUSIC,
at Grocott's 10074 Music Saloon, 486, George-street.
A NEW POLKA IN THE PRESS, and will be Published to-morrow,
THE SYDNEY POLKA. Respectfully dedicated to the Ladies of Sydney. By William Stanley.
Printed and published by J. T. Grocott, from whom copies may be obtained. Price - One Shilling.

"ORIGINAL CORRESPONDENCE. A TRIP TO THE DIGGINGS. To the Editors of . . .", The Sydney Morning Herald (27 June 1851), 3

http://nla.gov.au/nla.news-article12928226

GENTLEMEN - On Monday morning, we turned out at daybreak, with light hearts and high expectations, being so near the "magnetic spot," where we concluded gold could be had for the digging . . . and at half-past eight away we went out of Bathurst over a beautiful flat of cultivated land . . . Passing along, we met numbers of men returning from the Gold Field, and a considerable quantity proceeding towards it. We overtook here two teams heavily laden with about forty men from Goulburn, on their way to try their fortune. A few yards further, and we passed the Rev. Mr. Lisle, a clergyman of the Episcopalian Church, who was returning home, after having spent the Sabbath in administering to the spiritual necessities of the miners. But what is this we now approach, endeavouring to reach the summit of this hill, with men pushing at the wheels? A spring van! Why, surely the diggings are not yet sufficiently civilized to admit of the harmonious sounds of the pianoforte? Well! well! who could have thought it, the van is truly enough a pianoforte van; but not loaded with music exactly; and that strange looking being at the wheel, in the red nightcap, varigated woollen shirt, and beard of enormous length, is no less than the polite and natty Mr. Grocott, of George-street, who was wending his weary way to the land of Ophir. He recognized us long before we did him, and when asked if his views were now dissolving, he replied it was not likely to prove so profitable, or be so easily earned . . .
Yours, faithfully,
GEORGE A. LLOYD.
Flinton, Darlinghurst, June 24.

ASSOCIATIONS: George Alfred Lloyd (correspondent)

"ABSTRACT OF SALES BY AUCTION THIS DAY", The Sydney Morning Herald (23 August 1851), 4

http://nla.gov.au/nla.news-article12929741 

THE SHERIFF. At the residence of defendant - Grocott) George-street, at 11 o'clock, Household Furniture, Music, Oil Paintings, &c.

[Advertisement], The Sydney Morning Herald (23 August 1851), 8

http://nla.gov.au/nla.news-article12929714 

IN THE SUPREME COURT. Sheriff's Office, Sydney, 20th August, 1851.
Cohen v. Grocott. ON SATURDAY, the 23rd instant, (THIS DAY), at eleven o'clock in the forenoon,
at the residence of the defendant, George-street, Sydney, the Sheriff will cause to be sold,
a quantity of household furniture, music, oil paintings, &c., unless this execution be previously satisfied.
CORNELIUS PROUT, Under Sheriff.

[Advertisement], Empire (27 August 1851), 1

http://nla.gov.au/nla.news-article60122958 

TO BE LET. THE house at present occupied by Mr. J. T. Grocott, nearly opposite the Barrack Gate.
Apply to MR. JAMES MARTIN, Solicitor, 2999, Pitt-street.

[Notice], New South Wales Government Gazette (13 July 1855), 1864

http://nla.gov.au/nla.news-article230679374 

NOTICE TO CREDITORS. In the Supreme Court of Now South Wales. INSOLVENCY JURISDICTION.
In the Insolvent Estate of James Turner Grocott, of Pitt-street North, Sydney, in the Colony of New South Wales, storekeeper . . .

[Advertisement], The Sydney Morning Herald (23 January 1860), 1

http://nla.gov.au/nla.news-article13035875 

MANLY BEACH - ANNIVERSARY DAY. - The London Quadrille Band, late European Band,
are engaged to play opposite Grocott's, Pier Hotel, from the arrival of the first boat in the morning to the departure of the last boat at night.

ASSOCIATIONS: London Quadrille Band (group)

[Advertisement], The Sydney Morning Herald (23 May 1860), 1

http://nla.gov.au/nla.news-article13040894 

LONDON QUADRILLE BAND are exclusively engaged by Mr. GROCOTT throughout the Queen's Birth-day,
from 10 a.m. to 5 p.m., to play under the trees, in the Maze, and during feeding time, in the saloon.

[Notice], New South Wales Government Gazette (2 October 1860), 1871

http://nla.gov.au/nla.news-article229948412 

In the Supreme Court of New South Wales. IN INSOLVENCY.
In the matter of tlie Petition of Philip Cohen, of Wynyard Square, in the City of Sydney, merchant,
praying that the Estate of James Turner Grocott, of Manly Beach, in the City of Sydney, hotel keeper,
may be sequestrated for the benefit of his Creditors, according to law . . .

"DEATHS", The Sydney Morning Herald (8 April 1869), 1

http://nla.gov.au/nla.news-article13187155

On the 6th instant, at his residence, Market-street, Sydney, Mr. JAMES TURNER GROCOTT, aged 48.

Musical publications (select) (extant in red bold; non-extant in black bold):

There are too many extant Grocott sheet music editions in the bibliographic record to list separately here; those in Australian electronic catalogues can be accessed as tagged below:

https://trove.nla.gov.au/search/category/music?l-usertag=James+Turner+Grocott+1821-1869 (TROVE tagged by Australharmony)

See also main entry on Grocott in checklist of sheet music publications:

https://sydney.edu.au/paradisec/australharmony/checklist-sheet-music-1834-c1850.php#GROCOTT

The captive Greek girl (May 1847)

The new song of The captive Greek girl, the poetry from "The romance of the harem," by Miss Pardoe, composed, sung, and dedicated to Miss Cunliffe of Myerscough, by J. W. Hobbes [sic], gentleman of her majesty's Chapels Royal, & Westminster Abbey (Sydney: Published by Grocott, late Ellard, George Street, [1847])

https://trove.nla.gov.au/work/16541249 

https://nla.gov.au/nla.obj-166049477 (DIGITISED)

[Advertisement], The Sydney Morning Herald (25 May 1847), 1

http://nla.gov.au/nla.news-article12896145 

JUST PUBLISHED, - That very beautiful and New Song, THE CAPTIVE GREEK GIRL, Price 2s. 6d.
J. T. GROCOTT, Music Saloon, 486, George-street.

Pestal (song, based on Colonel Pestal's waltz melody, arr. C. E. Horn, with words by W. H. Bellamy) (June 1847)

NO COPY OF GROCOTT'S ORIGINAL EDITION IDENTIFIED;
but see this later edition reprinted by Woolcott and Clarke from Grocott's original engraved plates

[Advertisement], The Sydney Morning Herald (2 June 1847), 1

http://nla.gov.au/nla.news-article12897449 

PESTAL. J. T. GROCOTT has much pleasure to inform his patrons that the above celebrated Song is now ready for delivery, price 2s.
One word in favour of this Song would be superfluous on the part of J. T. G.,
he has however annexed the opinion of the London press:
PESTAL. We had the pleasure of hearing that exquisite and touching song, bearing the above name last evening, at Drury Lane, and cannot but admit that we wore never more delighted; we had formed a preconceived opinion of its merit, from reading the history of the unfortunate composer, but the melody far outstripped our imagination; upwards of 30,000 copies have already been sold, it is to be had from all Music Sellers in London.
Weeekly Dispatch, November 3rd, 1846 . . .

MUSIC: But see of Pestal, a song; see ap Pestal, a song (based on Pestal's waltz melody; an American pirate from the original English edition of the song)

The Pestal waltz (July 1847)

The Pestal waltz, written by W. H. Bellamy, esquire, and arranged by C. E. Horn, esq., this waltz is arranged from the celebrated song Pestal, the music of which was composed by Colonel Pestal, the Russian rebel (London: Published by L. Cocks & Co.; Sydney: And at Grocott's Saloon, George Street, [1847])

https://trove.nla.gov.au/work/156931462 

https://nla.gov.au/nla.obj-179570671 (DIGITISED)

[Advertisement], The Sydney Morning Herald (7 July 1847), 1

http://nla.gov.au/nla.news-article12889421 

J. T. GROCOTT, Music Saloon and Stationery Warehouse, 486, George-street.
JUST PUBLISHED, the PESTAL WALTZ, as danced at the Queen's Ball Rooms - Price 1s. 6d.

[Advertisement], The Sydney Morning Herald (28 July 1847), 1

http://nla.gov.au/nla.news-article12898808 

J. T. GROCOTT . . . The THIRD EDITION of the New Song "PESTAL," is now ready also, the "PESTAL WALTZ."

2 songs from The bondman (Balfe) (August 1847)

[Advertisement], The Sydney Morning Herald (7 August 1847), 1

http://nla.gov.au/nla.news-article12893763 

JUST PUBLISHED. "The Child of the Sun," AND "They say there is some distant Land."
Being two new songs from Balfe's Opera of the "BONDMAN."
J. T. GROCOTT, Music Saloon, 486, George-street.

The bride's farewell to her mother (January 1848)

The bride's farewell to her mother, ballad, sung by Madame Carandini with great applause at the Royal Victoria Theatre, Sydney, composed by Mr. John Howson (Sydney: Published for the composer by J. T. Grocott, [1848]); "J. Carmichael Sc."

https://trove.nla.gov.au/work/237353603 

https://nla.gov.au/nla.obj-166655407 (DIGITISED)

ASSOCIATIONS: John Howson (composer); Maria Carandini (vocalist); John Black Carmichael (cover engraver); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (30 December 1847), 1

http://nla.gov.au/nla.news-article12889363 

IN THE PRESS, AND WILL BE PUBLISHED ON THE 1ST JANUARY, 1848.
A NEW BALLAD ENTITLED "THE BRIDE'S FAREWELL TO HER MOTHER."
Composed by MR. JOHN HOWSON, and sung by Madame Carandini, at the Royal Victoria Theatre, Sydney. PRICE 2s. 6d.
At the request of a number of ladies, this favourite song is now published, and may be had from the publisher.
J. T. GROCOTT, Music Saloon, 486, George-street; And all the Booksellers.

Jenny Lind polka (with portrait) February 1848)

[Advertisement], The Sydney Morning Herald (23 February 1848), 1

http://nla.gov.au/nla.news-article12899113 

JENNY LIND POLKA. THE undersigned (at considerable expense),
this morning presents his friends and patrons with an exact likeness of the
SWEDISH NIGHTINGALE, accompanying which is the celebrated Polka - Price 1s. 6d.
J. T. GROCOTT, Music Saloon, 486, George-street.

Farewell my fatherland (March 1848)

[Advertisement], The Sydney Morning Herald (9 March 1848), 1

http://nla.gov.au/nla.news-article12889695

JENNY LIND AGAIN. IN consequence of the extraordinary demand for the Jenny Lind Polka,
published by the undersigned, he has determined on publishing the celebrated song,
FAREWELL MY FATHERLAND, And with a view of placing it within the province of all classes of the community, it will be issued at
ONE SHILLING, with a portrait of the Swedish Nightingale, (given gratis).
The public are also cautioned against purchasing spurious copies now offering for sale.
Music Saloon, 486, George-street, Sydney.
The Song will be ready to-morrow.

[Advertisement], The Sydney Morning Herald (10 March 1848), 1

http://nla.gov.au/nla.news-article12901420

JENNY LIND'S SONGS. - Just published, two Ballads, entitled My Fatherland, and Our Parting is Near . . .
To be had at Mr. A. EMANUEL'S, Musical Repository, 22, Hunter-street; and G. HUDSON, Music Seller, Pitt-street. Price Two Shillings each.
Caution - Mr. Emanuel, in referring to the above songs, as a Professor of Music, will guarantee the correctness of them,
at the same time he begs to caution the public of purchasing spurious copies of either of the above songs at any other establishment.
As a proof of his assertion he will merely call the attention of the public to the Jenny Lind Polka, incorrect from first to last, in fact a perfect disgrace as a musical colonial production, published by a certain printer in George-street.

ASSOCIATIONS: Abraham Emanuel (musicseller); George Hudson (musicseller)

[Advertisement], The Sydney Morning Herald (11 March 1848), 1

http://nla.gov.au/nla.news-article12895248

JENNY LIND AGAIN. J. T. GROCOTT begs to call the attention of the musical world to an advertisement of yesterday,
see Sydney Morning Herald, and in doing which he hopes the public will DISTINCTLY understand that his
ONLY object is, to meet the views and DESIRES of his patrons in putting down overcharge and imposition, -
he therefore has determined that whenever any person publishes a SONG, POLKA, QUADRILLE, or ANYTHING ELSE,
he (J. T. G.) will publish it at HALF PRICE, until they have been taught (BY EXPERIENCE)
that civility and attention is duo to all classes of the community.
With regard to the JENNY LIND POLKA let the public judge -
100 copies having been sold in two days, and now out of print until Monday next, 13th March.
J. T. GROCOTT, Music Saloon, 486, George-street.

England, home of friends, farewell (April 1848)

[Advertisement], The Sydney Morning Herald (7 April 1848), 1

http://nla.gov.au/nla.news-article12898469 

JENNY LIND'S LAST SONG.
THE undersigned, in addition to his former publications of the Songs of the Swdish Nightingale,
has just published that beautiful ballad, ENGLAND, HOME OF FRIENDS, FAREWELL,
as sung by her before HER MAJESTY THE QUEEN, prior to her contemplated departure for Sweden.
It is published at a cheap rate as before, and for the same reasons (vid. Herald, of 11th March.)
J. T. GROCOTT, Music Saloon, 486, George street.
It is also sold by Messrs. Moffitt, Ford, Kern and Co., Ducros, and Hudson.

ASSOCIATIONS: William Moffitt (bookseller); William and Frederick Ford (bookseller); Charles Kern (bookseller); John Henry Ducros (musicseller); following his dispute with Abraham Emanuel, Grocott appears to have got most of his fellow musicsellers on side, including George Hudson

Wilt thou love me then as now? (January 1849)

[Advertisement], The Sydney Morning Herald (25 January 1849), 3

http://nla.gov.au/nla.news-article12910415 

"WILT THOU LOVE ME THEN AS NOW?" THIS beautiful Ballad may be had JAMES T. GROCOTT, Music Saloon, 486 George-street.

3 songs from Maritana (Wallace) (April 1849 or earlier)

Scenes that are brightest

Scenes that are brightest, ballad, sung by Miss Romer in the grand opera Maritana, performed at the Theatre Royal Drury Lane, the words by E. Fitzball, composed by W. Vincent Wallace (Sydney: Published by Grocott, [1849])

https://trove.nla.gov.au/work/13561655/version/28325796 

https://nla.gov.au/nla.obj-167354481 (DIGITISED)

ASSOCIATIONS: William Vincent Wallace (composer)

In happy moments

In happy moments, ballad, sung by Mr. H. Phillips, in the grand opera Maritana, composed by W. Vincent Wallace (Sydney: Grocott, [? 1849])

https://trove.nla.gov.au/work/227913244/version/50404651 

For his edition, Grocott reused Francis Ellard's original c. 1846 engraved plates; see In happy moments (Ellard's edition)

[Advertisement], The Sydney Morning Herald (21 April 1849), 1

http://nla.gov.au/nla.news-article12910760 

MUSIC. FOR THE following Songs from W. V. Wallace's OPERA OF MARITANA may be had from the undersigned,
Scenes that are brightest
There is a Flower that bloometh
In Happy Moments.
Also, The Libretto of the same Opera.
JAMES T. GROCOTT, Music Saloon, 486, George-street.

There's a good time coming (May 1849)

[Advertisement], The Sydney Morning Herald (18 May 1849), 1

http://nla.gov.au/nla.news-article12905520 

"THERE'S A GOOD TIME COMING, BOYS."
JUST PUBLISHED, the above National Song, by HENRY RUSSELL,
arranged as sung by Mr. Frank Howson, at the last DRAPERS' CONCERT.
To be had at GROCOTT'S Music Saloon, 486, George-street.

ASSOCIATIONS: Frank Howson (vocalist)

4 songs from Matilda of Hungary (Wallace) (February 1850)

In that devotion

In that devotion, balled, sung by Mrs. Guerin, in the opera of Matilda, performed at the Victoria Theatre, Sydney, written by Alfred Bunn, composed by W. Vincent Wallace (Sydney: Grocott, [1850])

https://trove.nla.gov.au/work/13895556 

https://nla.gov.au/nla.obj-168408815 (DIGITISED)

ASSOCIATIONS: Theodosia Guerin (vocalist)

[Advertisement], The Sydney Morning Herald (9 February 1850), 1

http://nla.gov.au/nla.news-article12915595 

The following Songs from the last of W. V. WALLACE'S OPERAS, entitled Matilda of Hungary.
Adieu Fair Land
Gone is the Calmness
A Lowly Youth
In that Devotion
They who would still be Happy.
Also, The Libretto of the Opera.
Music Saloon, 484 [sic], George-street.

Matilda of Hungary (libretto, February 1860)

A new grand opera, entitled Matilda of Hungary, in three acts, as performed at the Victoria Theatre, Sydney, the whole of the music composed expressly by W.V. Wallace; the words by Alfred Bunn, esq. (Sydney: J. T. Grocott, 1850)

https://trove.nla.gov.au/work/33537976/version/41227275%20209260717 

[Advertisement], The Sydney Morning Herald (6 March 1850), 1

http://nla.gov.au/nla.news-article12916208 

MATILDA OF HUNGARY. THE LIBRETTO of the above beautiful Opera is now ready,
and may be had at Grocott's Music Saloon, 486, George-street, the principal booksellers, and at the Theatre.
Price One Shilling.

By the sad sea waves (May 1850)

By the sad sea waves, the words by J. L. Lambert, the music by Jules Benedict, sung by Miss Sara Flower, on Friday evening, May 3, 1850, at the Royal Victoria Theatre (Sydney: Printed and published by J. T. Grocott, [1850])

https://trove.nla.gov.au/work/9235649/version/10709342%20264816030 

https://nla.gov.au/nla.obj-168981895 (DIGITISED)

ASSOCIATIONS: Sara Flower (vocalist)

[Advertisement], The Sydney Morning Herald (9 May 1850), 1

http://nla.gov.au/nla.news-article12917776 

BY THE SAD SEA WAVES.
THE above beautiful Ballad, as sung by MISS SARA FLOWER,
Is now ready at GROCOTT'S Music Saloon.
Also, "The Veteran," as sung by Mr. Frank Howson, at Grocott's Art Union Concert.

England, home of friends (December 1850)

[Advertisement], The Sydney Morning Herald (5 December 1850), 1

http://nla.gov.au/nla.news-article12923082 

JUST PUBLISHED, The beautiful Ballad
ENGLAND, HOME OF FRIENDS, Aa sung by MISS SARA FLOWER.
Also - A Lowly Youth, All's Well, The Harp that once.
At GROCOTT'S, 486, George-street.

Grocott's polkas (of a list of at around 50, 1848-50; some extant)

Grocott's polkas (of a list of at around 50, 1848-50; some missing)

There are too many extant Grocott polkas in the bibliographic record to list separately here; those in Australian electronic catalogues can be accessed as tagged below:

https://trove.nla.gov.au/search/category/music?l-usertag=Grocott's+polkas (TROVE tagged by Australharmony)

[Advertisement], The Sydney Morning Herald (28 June 1849), 1

http://nla.gov.au/nla.news-article12910986 

POLKAS. POLKAS. POLKAS.
THE following Polkas may be had it the Saloon of the undersigned, at ONE SHILLING EACH:
1. Jullien Original Polka
2. Parisian ditto
3. Brecon ditto
4. Bohemian ditto
5. Post Horn ditto
6. Hyacinten ditto
7. Her Majesty's Court ditto
8. Jeanette and Jeanotte ditto
9. Beaufort ditto
10. Willoughby ditto
11. Bridal ditto
12. Nightingale ditto
13. Imperial ditto
14. Le Foules de Paris ditto
15. Scheffer ditto
16. Jenny Lind ditto
17. Railway ditto
18. Old Dan Tucker ditto
19. Lucy Neal ditto
20. Annen ditto
21. Victoria ditto
22. Redowa ditto
23. La Branch d'Accacia ditto
24. Rhine ditto
25. Rage of Berlin ditto
26. American Polkas, a set
Also, About 10,000 songs, duetts, quadrilles, polkas,
waltzes, overtures, and Music for the Million at reduced prices.
J. T. GROCOTT, Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (18 July 1849), 1

http://nla.gov.au/nla.news-article12902706 

DER SCOTTISCH, OR GERMAN POLKA.
JUST PUBLISHED, the above, with a beautiful illustrated frontispiece. Price 1s. 6d.
To be had only at GROCOTT'S Music Saloon, 486, George-street.
N.B.- No lady should be without this fashionable piece of Dance Music.

[Advertisement], The Sydney Morning Herald (15 November 1850), 1

http://nla.gov.au/nla.news-article12922554 

. . . 17. Schottish [Polka]
28. Bills and Bessie Polka
29. Flora "
30. Drum "
31. Fire Fly "
32. Schottish Duetts
33. Agnes Polka
34. Esmeralda Polka
35. Helena Polka
30. Victoria Schottish.

For a list of polkas 1-40 see:

https://trove.nla.gov.au/work/19209715/version/35928549 

https://nla.gov.au/nla.obj-687288446 (DIGITISED)

[Advertisement], The Sydney Morning Herald (22 November 1850), 1

http://nla.gov.au/nla.news-article12922755 

NEW POLKA. - Just published, the celebrated Polka, entitled
L'ENTRAIN POLKA. Decidedly the best published for some years. PRICE ONE SHILLING.
Also, the new BERLINER SCHOTTISH, together with other fifty Polkas, which may be had at
GROCOTTS, 486, George-street. All Polkas sold at this establishment are published at ONE SHILLING EACH.

[Advertisement], The Sydney Morning Herald (21 March 1851), 1

http://nla.gov.au/nla.news-article12925722 

NEW POLKA. THE MOONLIGHT POLKA is now in the Press, and will be ready for delivery on Saturday morning next. Also, the CHAMPAGNE POLKA. To be had at GROCOTT'S, George-street.

[Advertisement], The Sydney Morning Herald (25 March 1851), 1

http://nla.gov.au/nla.news-article12925837 

. . . 41. Champagne
42. Australian
43. Kitty Scottische
44. Princess' Polka
45. Prince of Wales' ditto
46. Moonlight
47. Polka D'Amour
48. Polka Les Voyagers
49. New Year's Polka
50. The Very Last ditto
A new Polka will be published once a week.
The above lot may be had bound in one volume for £1 11s. 6d.
Music Saloon, 486, George-street.

[Advertisement], The Sydney Morning Herald (26 March 1851), 1

http://nla.gov.au/nla.news-article12925856 

GROCOTT'S Edition of the MOONLIGHT POLKA.
This very pretty polka, as published in London, containing five pages of really good music, with the addition of a Coda,
can ONLY be procured at GROCOTT'S, George-street. Price One Shilling.
In the press, and will be published to-morrow, the POLKA D'AMOUR.

[Advertisement], The Sydney Morning Herald (4 April 1851), 1

http://nla.gov.au/nla.news-article12926044 

NEW POLKAS. THE MOONLIGHT POLKA, containing five pages of really good music,
can be procured at GROCOTT'S ONLY, also, the POLKA D'AMOUR.
Both these Polka are played by the Band of H M. 11th REGIMENT and the CITY BAND.
A splendid collection of Polkas always on hand at ONE SHILLING EACH.
a selection of 50, handsomely bound for £1 11s. 6d.
Music SALOON, 486, George-street.

ASSOCIATIONS: Band of the 11th Regiment (military); City Band (group)

[Advertisement], The Sydney Morning Herald (22 May 1851), 1

http://nla.gov.au/nla.news-article12927294 

A NEW POLKA IN THE PRESS, and will be Published to-morrow,
THE SYDNEY POLKA. Respectfully dedicated to the Ladies of Sydney. By William Stanley.
Printed and published by J. T. Grocott, from whom copies may be obtained. Price - One Shilling.

ASSOCIATIONS: William Stanley (composer); no surviving copy of Grocott's original edition has been identified; however, Henry Marsh later reprinted an edition from Grocott's original plates; see The Sydney polka (Henry Marsh's edition)

[Advertisement], The Sydney Morning Herald (1 July 1851), 1

http://nla.gov.au/nla.news-article31734161 

JUST PUBLISHED. THE MONTAGUE POLKA; price 1s. 6d.
To be had at Messrs. Kern and Mader's; Ducro's, Hunter-street; and Grocott's, George-street.

ASSOCIATIONS: Montague Levey (composer); the composer probably published this himself, and arranged for the musicsellers to distribute it; see The Montague polka (1851 edition)

Bibliography and resources

"OLD SYDNEY. VACATING THE OLD BARRACKS (BY "OLD CHUM ")", Truth [Perth, WA] (6 November 1909), 10

http://nla.gov.au/nla.news-article207403355 

. . . In 1848, when the Barracks were vacated, there were some pretentious buildings on the eastern side of George-street between Hunter and King streets . . . On the corner of the former street was Skinner's Hotel . . . Next to the Clown Hotel was Mr. John Solomon, who sold stationery, and next to the stationer's shop was a tobacconist, Mr. Hugh Dixson . . . A couple of doors away Mr. J. G. Cohen had an auction mart. It stood on the corner of a blind alley, which led to the rear of the houses in Hunter-street, and where, in later years Henry Parkes had his "Empire" printing office. Across the alleyway, Mr. Benjamin Smith Lloyd, a commission agent, had his office and residence. Three doors away Mr. James Turner Grocott was established as a print and music seller. A namesake, relative most likely, who revelled in the name of Alonzo Grocott, was at 155 King-street, as an engraver, letterpress and copperplate printer. Next to Mr. Grocott, in George-street, was the "Atlas" office, and the bookselling establishment of Mr. William Richman Piddington . . .

ASSOCIATIONS: Joseph Michael Forde ("Old Chum"); Forde's account from Joseph Fowles's Sydney in 1848 (see illustration above)

"OLD SYDNEY . . . The Grocotts . . . (BY 'OLD CHUM')", Truth [Perth, WA] (25 March 1911), 8

http://nla.gov.au/nla.news-article211802547 

. . . "On April 6th [1869] died James Turner Grocott, brother of Alonzo, in his 48th year. He had two fine daughters. One married Benson Lees, an amateur magician and professional pawnbroker; the other became the second wife of the brainy Tom Garrett, Parliamentarian . . .

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 175-76 (177)

http://ro.uow.edu.au/theses/2926/ (DIGITISED)

GROENEWALD, Jacop (Jacop GROENEWALD)

Musician, upper-trumpeter, ship Batavia

Active WA, 1629
Died Wallabi Group, Houtman Abrolhos, WA, 5 July 1629

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROENEWALD-Jacop (shareable link to this entry)

See chronicle entry:

https://www.sydney.edu.au/paradisec/australharmony/chronicle1542-1800.php#1629-06-04-Batavia 

Bibliography and resources:

Csilla E. Ariese, Databases of the people aboard the VOC ships Batavia (1629) and Zeewijk (1727) - An analysis of the potential for finding the Dutch castaways' human remains in Australia (Fremantle: Australian National Centre of Excellence for Maritime Archaeology, 2012)

https://openaccess.leidenuniv.nl/handle/1887/23580

https://trove.nla.gov.au/work/171638148

Ralph J. G. Henssen, Trompetters en tamboers in de Zeeuwse zeevaart ten tijde van de Republiek: plichten en Praktijken (thesis, Utrecht University, 2011)

http://dspace.library.uu.nl/handle/1874/204412 

https://www.academia.edu/37273769 

https://search.worldcat.org/es/title/711776826 

GROOM, James (James GROOM)

Dancer

Active Sydney, NSW, 1837

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROOM-James (shareable link to this entry)

Documentation:

[News], The Sydney Gazette and New South Wales Advertiser (6 April 1837), 2

http://nla.gov.au/nla.news-article2210294 

We have made it an invariable rule never to criticise upon the dramatic performances on benefit nights, for reasons peculiarly our own; but when we see not only talent, but precocious talent, and when that talent is purely Australian, we take a very different view of the subject. Those observations are called forth by having witnessed, upon the night of Mr. Dyball's benefit, a respectable Australian youth, named James Groom, a pupil we understand of Fitzgerald's, and unquestionably a votary of Terpsichore, perform a Naval Hornpipe in such style as to call forth not only the applause of the house generally, but the dress circle in particular, who encored it.

ASSOCIATIONS: Mr. Dyball (actor); Dennis Fitzgerald (dancer); Theatre Royal (Sydney venue)

GROSE, Francis (Francis GROSE; Major GROSE; Colonel GROSE)

Soldier, commandant NSW Corps, lieutenant governor, founder of the Band of the NSW Corps

Born England, 1756; baptised Hackington, Kent, 2 June 1856; son of Francis GROSE (1731-1791) and Catherine JORDAN
Arrived Sydney, NSW, 6 February 1792 (per Pitt, from Gravesend, 5 June, and Portsmouth, 12 June 1791)
Departed Sydney, NSW, 17 December 1794 (per Daedalus, for England)
Married (2) Elizabeth PATERSON, Bath, England, 28 March 1814
Died Croydon, Surrey, England, 8 May 1814, aged "56"; buried St. John, Croydon, 13 May

http://nla.gov.au/nla.party-1462095 (NLA persistent identifier)

https://en.wikipedia.org/wiki/Francis_Grose_(British_Army_officer) (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROSE-Francis (shareable link to this entry)

ASSOCIATIONS: Band of the NSW Corps (military band); William Paterson (successor in command in Sydney)

Documentation ( Francis Grose senior):

"CHAPTER IV. Of Military Musick", in Francis Grose, Military antiquities, respecting a history of the English army from the conquest to the present time . . . vol. 2 (London: T. Egerton, 1801), 41-50

https://books.google.com.au/books?id=Sm9oAAAAcAAJ&pg=PA41 (DIGITISED)

https://books.google.com.au/books?id=Sm9oAAAAcAAJ&pg=PA50 (DIGITISED)

[50] . . . Of late years, in addition to the drums and fifes, each regiment of infantry has had its band of musick. The instruments are chiefly hautbois, clarinets, French horns, bassoons, trumpets, cymbals, and in some the tabor and pipe. The band is usually composed of men borne upon the establishment of the regiment as privates, and allowed some additional pay from the non-effective fund of the field officers and captains of companies. These officers also defray the charge for instruments, extra clothing, musick, &c.; though in many corps the money paid for discharges has been applied to the support of the regimental band.

Documentation:

[5 June 1789] "WARRANT FOR RAISING NEW SOUTH WALES CORPS", Historical records of New South Wales, vol. 2 (Sydney: Charles Potter, 1893), 422

https://books.google.com.au/books?id=rb4NAAAAYAAJ&pg=PA422 (DIGITISED)

George R. / Whereas we have thought proper to direct that a corps of foot shall be forthwith raised, which is intended to be stationed in New South Wales, to consist of four companies, with three serjeants, three corporals, two drummers, and sixty-seven private men in each, with the usual commanding officers. These are to authorise you, by beat of drum or otherwise, to raise so many men in any country or part of our Kingdom of Great Britain as shall be wanted to complete the said corps to the above-mentioned numbers. Given, &c., 5th June 1789, in twenty-ninth year of our reign.
By his Majesty's command, Geo. Yonge.
To our trusty and well-beloved Francis Grose, Esq. Major-Commandant of a corps of foot to be herewith raised.

[14 February 1792] David Collins, An account of the English colony in New South Wales . . . (London: Printed for T. Cadall jun. and W. Davies, 1798), 201

https://books.google.com.au/books?id=yOpOAQAAIAAJ&pg=PA201 (DIGITSED)

On Tuesday the 14th [February 1792] the signal was made for a sail, and shortly after the Pitt, Captain Edward Manning, anchored in the cove from England. She sailed the 17th of last July from Yarmouth Roads, and had rather a long passage, touching at St. Iago, Rio de Janeiro, and the Cape of Good Hope. She had on board Francis Grose, Esq. the lieutenant-governor of the settlements, and major-commandant of the New South Wales corps, one company of which, together with the adjutant and surgeon's mate, came out with him.

Copy of letter from David Collins, Sydney, 7 March 1793, to Philip Gidley King, Norfolk Island (complete); State Library of New South Wales, Philip Gidley King papers, letter book, SAFE/C 188 (Safe 1/323) (microfilm CY 891), 141-42

https://collection.sl.nsw.gov.au/record/9gkdwjk9 

[141] [in margin] From Mr. Collins per Chesterfield

Sydney, New So. Wales 7th Mar. 1793

Sir, I am directed by Lieut't Governor Grose to acquaint you that the Chesterfield, Mr. Mathew Bowles Alt, Master, will carry to you some Salt'd Provisions, Wheat, and other Articles, of which the Commissary will send you the Particulars, and which are sent by this Convenience to guard against the Possibility of your wanting them.

As Mr. Alt is paid for the Run, and it is an Object with him to return immediately to this Port, the Lieut't Governor wishes he may be dispatched without any delay, after having received your Certificate of his having fulfilled that Part of his Agreement which relates to your Settlement.

A Copy of his Engagement is enclosed to show you that he may bring back and Persons you may wish, limiting their Numbers so as not to endanger the safety of his ship. The Lieut't Governor wishes that Kerr, a Convict, (who was formerly Master of a Regimental Band of Musick) may be sent hither in order to his being emancipated, and enlisted to serve in the New South Wales Corps; and that Mr. Alt may not be detained for him, or for any other Person you may wish to send at the same time, he wishes they may be put on board previous to the last Day's loading of the Cargo.

The Lieutenant Governor wishes that Kerr may be given to understand that he need not leave Norfolk Island unless he is willing to enlist in the Corps, where he will be employed in the Regimental Band, and that to prevent any Mistake, or Disappointment, to Kerr, he must take Notice that, one of the [142] Conditions of this Emancipation is his enlisting in the Corps, and in consequence of some Promises that the Lieut't Governor has made, and of some Recommendations he has received, he has no objection to receiving him into the Band if he consent to enter into the Corps.

The Daedalus will be dispatched to you with further Supplies, as soon after her Arrival (which is daily expected) as she can be got ready. -

I am, &c'a - David Collins

[To] Lieut't Governor King

Copy of letter from Philip Gidley King, Norfolk Island, 30 March 1793, to Francis Grose, Sydney (relevant extract only); State Library of New South Wales, Philip Gidley King papers, letter book, SAFE/C 188 (Safe 1/323) (microfilm CY 891), 142 (-44)

https://collection.sl.nsw.gov.au/record/9gkdwjk9 

[142] [in margin] To L't Gov'r Grose per Chesterfield

Norfolk Island, 30th March 1793

Sir, By the Chesterfield which arrived off this Island the 19th Instant, I received a letter from Mr. Collins . . . .

The uniform, and constant good Behaviour of George Kerr, warrants my recommending him to your Protection. He very readily enlisted on the Conditions you were pleased to hold out to him; and altho' I suffer an inconvenience in losing him, yet, I am highly satisfied at the Prospect he has of meriting your Protection and Favor, and I am much mistaken if he forfeits either by improper Behaviour.

. . . [144] . . . I have the honor &c'a - Philip Gidley King -

[To] Lieut't Governor Grose -

ASSOCIATIONS: David Collins (chief legal officer, civil assistant to Grose as lieutenant governor); Philip Gidley King (lieutenant governor, Norfolk Island); Mathew Bowles Alt (arrived as midshipman with the First Fleet, master of the Chesterfield; promoted lieutenant 1795; last served as commanding officer of the Rochester, 1806-09; died 1836); see this correspondence also in John Cobley, Sydney Cove 1793-1795: the spread of settlement [vol. 4] (Sydney: Angus & Robertson, 1983), 17

Vista de la Colonia Ynglesa de Sydney en la Nueva Gales Meridional; Fernando Brambila, fecit. [Sydney, 1793]; Madrid, c. 1795-99

[With the NSW Corps on parade on the westside of the quay, and government house at top right on the east]

ASSOCIATIONS: Fernando Brambila (artist); Malaspina expedition (Spanish exploration)

"Reception of the [Spanish] officers in Botany Bay [sic]" ["Recibimiento de los oficiales en Bahía Botánica"], watercolour sketch by Juan Ravanet (member of Malaspina expedition), Sydney, March 1793; Museo de América, Madrid

http://ceres.mcu.es/pages/Main?idt=1559&inventary=02354&table=FMUS&museum=MAM (DIGITISED)

The scene is in George-street, north, near the quay and The Rocks, with Government House in he distance on the horizon

Detail from the above, the Band of the New South Wales Corps, playing (from right to left) what appear to be 2 clarinets or oboes, bassoon, and horn

[March-April 1793] Pedro de Novo y Colson (ed.), Viaje político-científico alrededor del mundo por las corbetas Descubierta y Atrevida al mando de los capitanes de naví o D. Alejandro Malaspina y Don José de Bustamante y Guerra desde 1789 á 1794 (Madrid: Imprenta de la viuda e hijos de Abienzo, 1885), 255

https://archive.org/stream/cihm_15573#page/n329/mode/2up (DIGITISED)

. . . El tiempo favoreció mucho el primer convite á bordo de la DESCUBIERTA en donde se hicieron al Mayor Grose los honores de Teniente General embarcado y además se acompañaron con salvas los siguientes tres brindis:
1.o El Rey de Inglaterra, el Rey de España y ambas Reales familias.
2.o El Comodoro Philipps, el Mayor Grose y la prosperidad de la colonia.
3.o Las señoras que nos favorecí an con su presencia.
Todos los convidados repitieron el brindis, anteponiendo el Rey de España al Rey de Inglaterra; hicieron eco á estos sentimientos de cariño y de respeto los ¡viva el Rey! de la marinerí a, y la música del regimiento tocando al mismo tiempo el aria God Save the King dio á esta escena agradable y tierna todo el semblante majestuoso que merecí a: el tiempo lluvioso y con viento algo arrafagado no permitió ai dia siguiente que las señoras concurriesen á bordo de la ATREVIDA pero no faltó otro alguno de los convidados; se hicieron al Mayor Grose los mismos honores del dí a anterior y se renovaron los mismos brindis.

See also Malaspina (Novo y Colson) 1885 (second edition), 255

https://archive.org/stream/cihm_15573#page/n325/mode/2up (DIGITISED)

See also The Malaspina expedition, 1789-1794 . . . volume 3, Manila to Cadiz (London: Hakluyt Society, 2004), 78 (English translation, Sylvia Jamieson)

. . . [T]he first to the King of England, the King of Spain and both Royal Families; the second to Commodore Phillip, Major Grose, and the prosperity of the colony; and the third to the ladies who favoured us with their presence. As was to be expected, all our guests repeated the toast naming the King of Spain before the King of England. The crew echoed these sentiments of affection and respect with their "Long live the King" while the regimental band played the anthem "God Save the King", which lent all appropriate dignity to this pleasant and affectionate scene . . .

ASSOCIATIONS: Alejandro Malaspina (Spanish navigator, visitor)

GROSSE, Elizabeth (Elizabeth GROSSE; Miss E. GROSSE; Mrs. James HENDERSON)

Musician, pianist, teacher of the pianoforte

Born London, England, 15 January 1835; baptised St. James, Piccadilly, 24 February 1835; daughter of John GROSSE and Julia PRIDE
? Arrived Adelaide, SA, 22 May 1854 (per Leuconia, from London, 3 January, and Gravesend, 10 January)
Married James HENDERSON (c. 1826-1898), Adelaide, SA, 31 October 1864
Died Adelaide, SA, 29 August 1902

https://trove.nla.gov.au/search?l-publictag=Elizabeth+Grosse+Henderson+1835-1902 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROSSE-Elizabeth (shareable link to this entry)

Documentation:

Baptisms solemnized in the parish of St. James, Westminster, in the county of Middlesex, in the year 1835; register 1833-39, page 75; City of Westminster Archives, STJ/PR/1/13

https://www.ancestry.com.au/search/collections/61866/records/1816563 (PAYWALL)

No. 156 / [1835] February 24 / Elizabeth [daughter of] / John & Julia / Grosse / Berwick St. / Tallow chandler / [born] Jan'y 15 . . .

ASSOCIATIONS: John Grosse (1789-1866) and Julia Pride had married at St. Anne, Soho, on 22 March 1818; Elizabeth's elder brother was James Grosse (1827-1874), grocer, of Port Adelaide

? "SHIPPING INTELLIGENCE. ARRIVED", South Australian Register [Adelaide, SA] (23 May 1854), 2

http://nla.gov.au/nla.news-article48553459 

Monday, May 22 . . . The barque Leuconia, 570 tons, Bodiker, master, from London 3rd January, and from Gravesend 10th January. Passengers for Adelaide: . . . Miss Gross . . .

"WESLEYAN CHAPEL ANNIVERSARY, PORT ADELAIDE", Adelaide Times [SA] (18 October 1855), 3

http://nla.gov.au/nla.news-article207074469 

. . . On Tuesday [16 October] . . . A Tea Meeting was held, at half-past 5 p.m., in the Chapel, which was followed by a public meeting of the members and friends of the society . . . The third resolution, to the following effect, was then moved by Mr. Wiltshire - "That the thanks of this meeting be presented . . . to Miss Gosse [sic] for her valuable services at the piano during the Bazaar, and the Harmonium in the chapel . . ." . . .
During the evening several pieces of sacred music were performed by Miss Grosse and the choir . . .

[Advertisement], South Australian Register [Adelaide, SA] (1 December 1855), 4

http://nla.gov.au/nla.news-article49296565 

MUSIC - LESSONS - on the PIANO-FORTE by MISS GROSSE.
Address - Miss Grosse, at Mr. Bower's, timber merchant, St. Vincent street. Port Adelaide.

[Advertisement], The South Australian Advertiser (17 April 1861), 1

http://nla.gov.au/nla.news-article832964 

PIANOFORTE TUITION. - TO FAMILIES and SCHOOLS.
MISS E. GROSSE is desirous of attending Pupils in Town or Port Adelaide.
Terms moderate. Address James Grosse, Port Adelaide.

"GROCERS' ASSISTANTS' ASSOCIATION", South Australian Register (28 May 1863), 3

http://nla.gov.au/nla.news-article50174033 

The first soiree of the Grocers' Assistants' Association was held on Wednesday evening, in Hillier's Assembly Rooms, Hindley-street . . . The Society claimed seniority among all the Trades' Societies of Adelaide, and hitherto it had without exception kept its holidays on the days originally granted by the employers . . . The remaining part of the programme . . . consisted of instrumental and vocal music, recitations, and the exhibition of some fine views through the magic lantern . . . The performances of Miss Grosse on the melophone were really very feeling and masterly, and were deservedly encored both times she appeared. Votes of thanks were warmly accorded at the close to the Chairman, Miss Grosse, and the gentlemen who had contributed to the vocal part of the entertainment. The National Anthem was sung by the company, and the whole was terminated by three hearty cheers for the Queen.

"TOPICS OF THE WEEK", South Australian Weekly Chronicle (30 May 1863), 4

http://nla.gov.au/nla.news-article90262244 

. . . The report noticed the fact of all the large establishments closing at 6 o'clock p.m. and at 9 on Saturdays, and hoped that their example would be followed by all, being beneficial to employer and employed. Miss Grosse then performed some airs on the melophone in excellent style, showing that she was perfect mistress of the instrument. The young lady was very loudly applauded, and an encore was demanded, with which she kindly complied. After a recitation and a song, an interval of half an hour took place, during which refreshments were served. After the interval some more music, both vocal and instrumental, was performed, a recitation was delivered, and the wonders of the magic-lantern were exhibited. Miss Grosse performed another solo on the melophone, and was again rapturously encored . . .

Marriages, Adelaide, SA, 1864; Australia, marriage index

https://www.ancestry.com.au/search/collections/1780/records/5301392 (PAYWALL)

31 October 1864 / James Henderson and Elizabeth Grosse / [daughter of] John Grosse

Bibliography and resources:

Elizabeth Henderson, Find a grave

https://www.findagrave.com/memorial/215279098/elizabeth-henderson 

GROSSI, Enrico (Enrico GROSSI; Signor GROSSI)

Musician, baritone vocalist, composer

Born Mantua, Italy, c. 1828
Arrived Melbourne, VIC, 5 November 1857 (per South Carolina, from Liverpool, England, 28 July, aged "29")
Departed Sydney, NSW, 11 January 1862 (per Iconium, for San Francisco)
Died San Francisco, CA, USA, 9 July 1866, aged "38"

https://trove.nla.gov.au/search?l-publictag=Enrico+Grossi+d1866 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROSSI-Enrico (shareable link to this entry)

Summary:

According to reports of his death, Enrico Grossi was born in Mantua (Italy) about the year 1828, and, around the age of 20, served as an officer in the First Italian war of independence (1848-49). A short biography of him that appeared in the Sydney Empire on 7 November 1860, in a notice of his forthcoming Sydney benefit, probably written by the paper's regular music and theatre reviewer, Henry Neville Montagu from information supplied by Grossi himself, placed him at the Battle of Novarra (1849) as a lieutenant in the Sardinian Lancers.

His first independently reported musical appearance was in an operatic season in Copenhagen in 1853-54, where he was billed alongside the veteran comic basso, Luigi Maggiorotti, with whom he later arrived in Australia. He was next documented appearing in a Sunday academy in Mantua in October 1854.

Grossi returned to soldiery during the Crimean crisis, and, according to Montagu, joined the British German Legion, though perhaps, correctly, it was the British Italian Legion, which remained active in England in 1856-57 (as see below), with one or other of which he arrived in England by mid to late 1856.

In December 1856, Grossi made his first recorded appearance on the English stage, at the Theatre Royal, Liverpool, where he received unflattering notices as Don Pasquale in a small company consisting of Louis and Josefa Gassier and Charles John Formes. Formes was perhaps the most likely link in Grossi's claim, as reported by Montagu, to have sung Oroveso to Giulia Grisi's Norma in London. If so, Formes, who himself was often billed in the role opposite Grisi in London, may have organised for Grossi to do so as a deputy in rehearsal, as no bill or review has identified him as doing so in a performance.

In January 1857, Grossi was at the Theatre Royal, York, appearing in a concert for the Band of the Anglo-Italian Legion, then stationed at York Barracks. And on 17 July, he and Maggiorotti appeared for the last time in London, in Giuseppi Operti's annual concert at Hanover Square Rooms.

Grossi and Maggiorotti sailed from Liverpool at the end of July 1857 and arrived on 5 November in Melbourne, where they first appeared together in a "grand lyric entertainment" between the plays at the Theatre Royal on 21 November.

Grossi next joined Maria Carandini and Lewis Henry Lavenu's company in concerts in Melbourne, and in December sailed with them for Tasmania, where he made his local operatic stage debut in Ernani at the Theatre Royal, Launceston, on 16 December 1857. Grossi continued touring with Carandini and Lavenu to Hobart, Adelaide, and rural South Australia during 1858, before returning with them to Melbourne, for a short opera season at the Princess's Theatre in November and early December. After appearing briefly with them in opera in Ballarat and Bendigo, however, he left the Carandini company, and appears to have spent much of 1859 on the Victorian goldfields, touring in small ad-hoc combinations in the districts around Maryborough.

Returning to Ballarat, on 27 February 1860, he appeared at the Charlie Napier Theatre, in the opening of an opera season headed by Eugenio and Giovanna Bianchi, with whom he was to remain associated in Australia and afterwards.

He finally left Sydney for California, USA, in company with the Bianchis and John Gregg in January 1862, and continued to tour with the Bianchis until his death in San Francisco on 9 July 1866.

Documentation:

"MOVIMENTO THEATRALE", L'omnibus pittoresco [Naples (Italy)] (19 November 1853), 312

https://books.google.com.au/books?id=mtjPehHCvE4C&pg=PA312 (DIGITISED)

. . . Compagnia di canto pel Teatro di Copenaghen formatasi dall'Agenzia Guffanti. Prima donna assoluta, Veronica Gaziello . . . Basso comico, Luigi Maggiorotti. Altro buffo comico, Enrico Grossi . . .

ASSOCIATIONS: Luigi Maggiorotti (vocalist, to be his travelling companion on voyage from England to Australia)

[News], Flyveposten [Cophenhagen, Denmark] (11 April 1854), 2

http://hdl.handle.net/109.3.1/uuid:8148cc09-31b4-4655-86c4-da5fda248dba 

Det italienste Operapersonale . . . Signora Graziello og Sig. Maggiorotti . . . Signora Remorini som Primadonna og Signor Gossi som Komiker.

"Mantova", L'Italia musicale [Milan, Italy] (8 November 1854), 355

https://books.google.com.au/books?id=iWV1B8RyxEsC&pg=PA355 (DIGITISED)

. . . Nella sale annessa al teatro Sociale ebbe luego domenica scorse un'accademia vocale ed instrumentale. Il signor Radamisto Aliprandi, assente da alcuni anni, ha disiderato di offrire ai suoi concittadini un saggio dell propria abilita . . . Varii sono i pezzi eseguiti con molto impegno de questo artista, dall'artista Enrico Grossi ch'ebbe applausi . . . Il maestro Lucio Campiani si presto graziosamente ad accompagnare col pinao-forte . . .

"THEATRE ROYAL. ITALIAN OPERA . . . DON PASQUALE, LAST NIGHT", Northern Daily Times [Liverpool, Lancashire, England] (11 December 1856), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0002083/18561211/073/0004 (PAYWALL)

This opera was put on the stage last night, but it was like playing "Hamlet," omitting the Prince, for there was no Don Pasquale in reality, only in fact a skeleton thereof, feebly sketched by a gentleman named Grossi, whose vocal and histrionic gifts did not admit of anything like a personation of the part. The Gassiers sang admirably, particularly in the duett, and Madame was as agile and tasteful as ever in La Morale. Herr Reichart was a very poor Ernesto . . . A very meagre concert followed the opera, and Herr Formes sang two ballads. The house was filled, but we cannot suppose it contained a satisfied audience

ASSOCIATIONS: Louis and Josefa Gassier (vocalists); Charles John Formes (vocalist)

"THEATRE ROYAL", Liverpool Mail (13 December 1856), 3

https://www.britishnewspaperarchive.co.uk/viewer/BL/0001300/18561213/063/0003 (PAYWALL)

Two operatic performances took place at the Theatre-Royal, on the evenings of Monday and Tuesday last [8 amd 9 December], the "stars" being Monsieur and madame Gassier, and Herr Reichardt, who appeared in the operas of "Sonnambula" and "Don Pasquale." We regret that we cannot speak in eulogistic terms of the performances, for owing to the inability of the band, and the over-officiouness of the prompter, whose frequent tones were most galling to the ear, the ensemble so necessary in operatic performances was unattainable . . . On Tuesday the pleasure of tha audience was spoilt by the inability of the hero of the opera, personated by a Signor Grossi, whose vocal and histrionic talents were of the most mediocre description. After the opera Herr Formes sung in a concert . . .

"CONCERTS BY THE ITALIAN BAND", York Herald [England] (3 January 1857), 10

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000499/18570103/050/0010 (PAYWALL)

On Tuesday and Wednesday evenings last, the celebrated band of the Anglo-Italian Legion, recently stationed in York barracks, gave two grand concerts in the Theatre-Royal, in this city, to respectable audiences. On these occasions the above band fully sustained its former repute, and selections from the most eminent composers were played with such great ability - an ability peculiar to the Italians, as far as music is concerned - as to obtain for them renewed and enthusiastic plaudits from all parts of the house. Signor Carnavelli was again the conductor of the band, but the concerts were not confined to the performances of the latter, excellent though they might be, but the services of some able vocalists were prudently introduced. Those vocalists were Signora Martinetti, Signor Grossi, and Signor Borelli, and the warmth with which their singing was received testified to its excellence. Mr. G. Hopkinson presided at the pianoforte. Not the least interesting part of the performances was the brilliant execution by individual members of the band on the clarionet, oboe, and other instruments. The Lord Mayor, under whose patronage the concerts were given, was present on Wednesday evening.

"CONCERTS AT THE THEATRE", The Yorkshire gazette (3 February 1857), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000266/18570203/024/0003 (PAYWALL)

The splendid band of the Anglo-Italian Legion, recently stationed at York Barracks, have given in the Theatre Royal a series of three excellent concerts of vocal and instrumental music during the present week, namely, on the evenings of Tuesday, Wednesday, and yesterday, under the patronage of the Right Hon. the Lord Mayor . . . The instrumental pieces were diversified by vocal music, the singers being Signora Martinetti, a soprano of ability and good voice, and Signors Grossi and Talbo, baritones, both vocalists of much professional skill . . .

"HANOVER-SQUARE ROOMS", Sun [London] (18 July 1857), 6

https://www.britishnewspaperarchive.co.uk/viewer/bl/0002194/18570718/125/0006 (PAYWALL)

Last evening, Signor Guiseppe Operti gave his annual vocal and instrumental concert in the above-named rooms. The attendance was better than could be expected at this time of the year, and was all that coud be desired, both in numbers and respectability . . . The concert was itself a rich and well-selected banquet of music, containing gems of the pure and beautiful works of Donizetti and Verdi . . . Among the vocalists were - Madame Sanville, Madame Desprey, Miss Clarissa (a pupil of Signor G. Operti, and a very promising young artiste), Madame Newton Frodsham, Madame Russelli, Madame Bellosio, Madlle. Martinetti, Signor Grossi, Signor Sebastien Crockaert, Signor Annoni, and Signor Mazzioritti [sic, Maggiorotti]. The orchestra and choruses were complete and satisfactory in their effect. A terzetto in Verdi's opera of "I Lombardi," was well sang by Signor Enrico Grossi, Signor Sebastien Crockaert, and Madame Sanville, and was loudly applauded. An aria in the opera of "Traviata," by Signor Monari, was deserving of notice; but the piece that seemed to have delighted most was a duetto -"Elisir d'Amore," by Donizetti, and beautifully sung by Madame Sanville and Signor Grossi. Madame Sanville displayed a great compass and flexibility of voice in the execution of her part of the duetto, but Signor Grossi gave greater tokens of strength and vigour than of taste and refinement. The whole concert passed off satisfactorily.

ASSOCIATIONS: Giuseppi Operti (vocalist)

Australia (5 November 1857 to 11 January 1862):

Names and descriptions of passengers per South Carolina, from Liverpool, 28 July 1857, for Melbourne, 5 November 1857; Public Record Office Victoria

https://prov.vic.gov.au/archive/3B0750BA-F96C-11E9-AE98-19084F8A768F?image=200 (DIGITISED)

. . . Hy Grossie / 29 / Gent. / [Foreign]
Loui Maggrotto [? sic] / 52 / [Gent.] / [Foreign . . .

[Advertisement], The Argus [Melbourne, VIC] (20 November 1857), 8

http://nla.gov.au/nla.news-article7142307 

THEATRE ROYAL. MR. G. V. BROOKE . . .
MISKA HAUSER . . . TOMORROW EVENING, SATURDAY, 21st . . .
Signor MAGGIOROTTI and Signor ENRICO GROSSI,
from the Grand Opera La Scala, San Carlo, and Her Majesty's, London,
will make their first appearance in these colonies in a GRAND LYRIC ENTERTAINMENT . . .

ASSOCIATIONS: Gustavus Vaughan Brooke (actor); Miska Hauser (violinist); Theatre Royal (Melbourne venue)

"THEATRE ROYAL", The Argus (23 November 1857), 5

http://nla.gov.au/nla.news-article7142369

Two candidates for public approbation made their appearance on these boards on Saturday evening, in a lyrical entertainment provided for that purpose. These were Signori Maggiorotti and Grossi; both of them natives, we believe, of the city which gave Madlle. Piccolimini to the English stage. Signor Maggiorotti has been singing with Miss Catherine Hayes, both in Europe and the West Indies . . . Signor Grossi, the baritone, only sang in the duett, and we must await another opportunity of hearing him before pronouncing an opinion upon his pretensions as a vocalist. As Madame Carandini and M. Laglaise will be in Melbourne in a few days, we should think a short opera season would be practicable to the management and acceptable to the public.

ASSOCIATIONS: Marietta Piccolomini (Italian vocalist; she was born in Sienna, not Mantua, as was later reported to be Grossi's birthplace); Catherine Hayes (vocalist); Maria Carandini (vocalist); Jean-Baptiste Laglaise (vocalist);
see also "THE AUSTRALIAN STAGE (FROM OUR OWN CORRESPONDENT) MELBOURNE", The era [London, England] (7 February 1858), 11

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000053/18580207/025/0011 (PAYWALL)

. . . at the THEATRE ROYAL . . . On the 21st of November the Bachelor of Arts formed the prelude for the introduction of the musical talents of Signors Maggiorotti and Grossi, who then made their first appearance, after a trip of some 16,000 miles from the old country. They were represented as from Her Majesty's Theatre, London, and La Scala, at Milan. The former's buffo interpretations, and the baritone execution of the latter, were well received, but the audience evidently thought that there was nothing extraordinary in their musical capabilities . . .

"THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle (28 November 1857), 2

http://nla.gov.au/nla.news-article201377964 

Mr. Brooke has been playing a round of characters through the week; but the principal event has been the farewell benefit of Miska Hauser, which took place on Wednesday evening, on which occasion South Yarra and the Gardiner's creek road mustered in force, and were really delighted out of their languor by the fantasias of the gifted artist. Two Italian singers, Signors Maggiorotti and Grossi, made their debut on Saturday night. The former gentleman possesses a basso voice of some power, and is really excellent as a buffo singer. Signor Grossi has a very handsome person, but an ineffective organ.

"PUBLIC AMUSEMENTS", The Argus (30 November 1857), 5

http://nla.gov.au/nla.news-article7142743 

. . . At the Princess's, Madame Carandini, and MM. Laglaise, Coulon, Maggiorrotti, Grossi, and Lavenu will give a grand concert, embracing selections from Il Trovatore, La Traviata, &c. . . .

ASSOCIATIONS: Emile Coulon (vocalist); Lewis Henry Lavenu (musical director); Princess's Theatre (Melbourne venue)

"MELBOURNE NEWS (From Tuesday's Papers)", Bendigo Advertiser [VIC] (2 December 1857), 2

http://nla.gov.au/nla.news-article87977212 

A concert was held at the Mechanics' Institute on Tuesday evening, for the benefit of Mr. J. W. Morgan, which, taking into consideration the attractions elsewhere, was exceedingly well attended. The great novelty in the programme of the evening was the basso duet, from "Marino Faliero," sung by Signor Grossi and Mr. John Gregg . . .

ASSOCIATIONS: J. W. Morgan (vocalist); John Gregg (vocalist); Mechanics' Institution (Melbourne venue)

"Shipping Intelligence. ENTERED INWARDS", Launceston Examiner [TAS] (10 December 1857), 2

http://nla.gov.au/nla.news-article36303252 

December 9. - Steamer Royal Shepherd. 300 tons, W. H. Saunders, master, from Melbourne; Geo. Fisher, agent. Passengers . . . M. Coulon, M. Laglaise, M. Lavenu, S. Gorsie [sic], J. Kohler, Madame Carandini . . .

ASSOCIATIONS: Richard Wildblood Kohler (musician)

"THEATRE ROYAL", The Cornwall Chronicle [Launceston, TAS] (12 December 1857), 5

http://nla.gov.au/nla.news-article65729504

The Theatre, especially the Dress Circle, was pretty well filled on Wednesday evening [9 December], when Madame Carandini, Monsieurs Laglaise, Coulon, Signor Grossi, Mr. Kohler and M. Lavenue made their first appearance there . . . it must also be admitted, that the acknowledged great abilities of Monsieurs Coulon, Laglaise, or Signor Grossi, were not appreciated as they would have been, if they had put more of "Farquharson," and less of "Lablache," "Mario," or "Belletti" in the programme, and their Continental style, talented though it be . . . Signor Grossi became at once a favourite with the audience, when singing the amusing Aria "Miei Rampolli." The Signor is vigorous and animated in his style, and renders his musical expressions with minute dramatic point . . . The second concert was tolerably well attended last night but we fear not sufficiently so to remunerate the lessee, for his large outlay in introducing such a galaxy of talent to the inhabitants of Tasmania. We are pleased to see that the programme for Monday evening's concert has more of a British and less of an Italian air about it than the two which preceded it . . .

ASSOCIATIONS: Robert Farquharson (vocalist)

"OPERA AT THE THEARTE ROYAL", The Cornwall Chronicle (19 December 1857), 5

http://nla.gov.au/nla.news-article65727836 

For the credit of the people of Launceston, who may lay claim to be a community imbued with taste for a higher class of music than has hitherto been obtained here, it is unfortunate that they do not evince that taste, in patronising much more extensively than they do, the highly talented artistes who appeared on Wednesday evening [16 December] in Verdi's really splendid Opera, of Ernani - splendid at least as far as the music is concerned, which is its life essence, for the plot is not natural or good in any sense. The dress and upper boxes were tolerably well filled on Wednesday evening; but last night the audience was not so numerous to hear and see Donizetti's Comic Opera of Don Pasquale produced, however, those who were present, highly appreciated the abilities of Madame Carandini, Monsieurs Laglaise and Coulon and Signor Grossi, aided so ably by Messrs. Lavenu and Kohler . . . Ernani will be repeated on Monday evening, when it is to be hoped there will be a house crowded from pit to ceiling, with an intelligent audience to witness and appreciate the production of the most charming Opera ever performed in the colony. The Opera season at Sydney was commenced with the same splendid piece, last March, and it was received there with wonder, delight, and applause.

"THE ITALIAN OPERA", The Hobart Town Advertiser [Hobart, TAS] (20 January 1858), 3

http://nla.gov.au/nla.news-article264646655 

The continued attractions of the class of music which far surpasses all others in susceptibility of fascinating tenderness and passionate expression - argues well for the refined taste of our advancing city, in which we believe there are a larger number of pianofortes than in any town of equal population in Great Britain. That the Tasmanians have a taste for really good music has been proved, over and over again, as far as a liberal encouragement of true musical genius could prove it. That our climate is congenial to the production of good voices (not to mention Madame Carandini, who is "a star, and dwells apart") any person must be convinced who attends our devotional services. Then, we have private musical societies, in which operatic and madrigal music Italian German, and English, is ardently cultivated. All these are indications of fondness and capacity for music which may some day, if encouraged and cultivated, produce the happiest results. Italy the land of song, has only acquired her surpassing celebrity in vocal music, - through cultivating, in a highly congenial climate, all the best voices that could be found, for devotional choirs; till, at length, good voices, and a national taste for musical expression - have become hereditary characteristics of the whole Italian people. May not the congenial climate of Tasmania, and the musical inclinations of her children - if cultivated with equal care, give her the chance of some day becoming the Italy of the South. The best Italian Solfeggio practices are available to us for forming the voice. The graceful composers of the last half century have invested the art with new charms. The improved systems of teaching vocal notations invented by Hullah and Maezel, have greatly simplified the acquirement of reading at sight - and facilitated the practice of concerted pieces. With all these advantages - may we not hope, some day, to acquire the character of a musical people. On Monday the performance of Lucia Di Lammermour went off with increased eclat. This opera is one continued stream of sweet and touching melodies - which afford the fullest scope for displaying every style of Italian bravura and recitative - with full parts for soprano, tenor, barritone, and basso. To those who have listened with pleasure to Donzetti's inspirations, presented under the most favorable circumstances, with exuberant auxiliaries in orchestra, chorus, scenery, and properties - it is astounding to witness, here, at the antipodes, in an establishment improvised for the occasion - what an atmosphere of delight, can be created around them - by half a dozen performers of real talent. The ring of the true operatic metal is heard at our little unpretentious theatre as perfectly as at La Scala, or the Queen's Italian Opera, when such thoroughly trained singers as Laglaise, Coulon and Grossi "get hold of" a trio - and render it with all the artistic graces of light and shadow, depth and playfulness of dramatic expression. When - in the quartette scenes - the full gush of Madame Carandini's rich and musical soprano flows in, to mellow and blend in one stream of delicious harmony the sterner voices of the men - the most veteran frequenter of "the stalls" at home - could not withhold his meed of enthusiastic approbation. Our Tasmanian Prima Donna - as everybody is proud to call her - improves with every new performance . . . M. Laglaise is an admirable actor, as he is an excellent singer. He is instinctively "at home" in the tenor parts of all the stock operas in which he has appeared. His playing of Edgar was admirable, and his duetts with Madame Carandini produced rapturous applause. M. Coulon, as Colonel Ashton, both sung and played his part well - as did also Signor Grossi as Arthur. The play has been slightly modified to suit the cast - but the points of the plot are well preserved. Some of the obligato accompaniments of Carandini, on the Cornet, by Mr. Kohler, were admirable, - and the clever pianoforte accompaniments of Mr. Lavenu, almost made the audience forget that the Orchestra contained but two musicians. The rest of the company played up to the vocalists with care and assiduity, and in the afterpieces kept the house in a roar till the fall of the curtain. We hear that the performance of La Fille du Regiment, with the aid of the military band, is in contemplation. This will prove a treat indeed. Amongst other coming attractions, we also hear that Mr. G. V. Brooke is shortly expected from Melbourne.

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

"FRANKLIN, HUON. GRAND CONCERT", The Hobart Town Advertiser [TAS] (17 February 1858), 3

http://nla.gov.au/nla.news-article264647801 

A concert and ball took place on Monday night [15 February] at the new room of the Franklin Hotel - which went off with great eclat. Madame Carandini, had a fortnight before convened a concert at which she was to be assisted by Signor Grossi, M. Lavenu, and M. Kohler - but unfortunately was prevented by illness from going down - and considerable disappointment was the result - as a great many persons attended from various parts of the Huon. Madame Carandini having recovered her health determined that the lovers of music in this neighbourhood should still have an opportunity of hearing the members of the operatic company, now in the island and announced another concert . . . to be followed by a ball. Although from the fact of the harvest being now in course of getting in and other circumstances, the company was not so numerous as on the former occasion, yet it comprised a large number of the more respectable inhabitants of the district, but not certainly sufficient to indemnify Madame Carandini for bringing the talented company from Launceston in order to compensate for the former disapointment of her Huon audience . . . Her duet with Signor Grossi "Quanto amore" from Donnizetti's Elisire d' amour was admirably sung, and enthusiastically applauded . . . Signor Grossi, in basso songs acquitted himself with great ability and effect - particularly in the comic piece "Miei Rampolli," and "Largo al Factotum," which were rendered with the true style of comic Italian vocalization. His acting in the Italian duett with Madame Carandini - secured the warmest plaudits . . .

"THE OPERA", South Australian Register [Adelaide, SA] (30 April 1858), 3

http://nla.gov.au/nla.news-article49776293 

The performance, postponed from Wednesday, was given on Thursday evening at White's Assembly-Room. Bellini's opera of "La Sonnambula" in any farm must, from its exquisite music and the poetry and pathos of its plot, always be favourably received. The opera was, however, got ip on Thursday evening in a manner which commanded success. There was, indeed, no great extent of stage displayed, nor any surprising scenic effect attempted; but the spectator who felt their absence could but poorly appreciate Bellini's music, or the delightful singing of Carandini and Laglaise. Breathless silence marked the attention of the audience as those accomplished vocalists poured out the thrilling strains so admirably expressive of the passions developed in the piece, and loud applause at every interval testified the success with which the music was rendered . . . Signor Grossi was verry effective as Rodolpho, and was, as he deserved, repeatedly applauded . . . It will be perceived that this evening a ballad concert is to precede Verdi's opera of Ernani.

ASSOCIATIONS: White's Rooms (Adelaide venue)

"THE ITALIAN OPERA", Adelaide Observer (15 May 1858), 8

http://nla.gov.au/nla.news-article158122995 

Donizetti's opera, "Lucrezia Borgia," was performed on Monday evening at White's Assembly Room by the little company now in Adelaide. The three actors of whom the company consists were of course wholly inadequate to the performance of an entire opera, and it was necessarily produced in a sadly mutilated form, whole scenes being in some cases omitted, and others greatly abbreviated. Deprived, also, of the powerful auxiliary, of suitable scenic accessories, even the principal parts which were represented were filled at great disadvantage. A further drawback from the full effect of the performance was contained in the necessity for putting a dumb gentleman upon the stage to take part in dialogues in several different characters. The effect of a colloquy is seriously impaired when one of the collocutors contents himself with bowing or lifting his hand to his head, and the other gentleman, taking it for granted that a long speech has been spoken, goes on with his next sentence with all the earnestness possible. That the man of many parts was not absolutely dumb was, however, evidenced by the fact that in his capacity as usher he loudly announced "La Duchessa!" We are bound to add that much of the vraisemblance of the performance is sacrificed by the employment of two different languages by the actors, and that "Lucrezia Borgia" would have been more effectively rendered, even in its fragmentary state, had Madame Carandini used the Italian libretto, or had M. Laglaise and Signor Grossi adopted her English version.
But, notwithstanding all these drawbacks, it was impossible to come away on Monday night otherwise than gratified. Indeed, the immense difficulties against which the little company have to contend render it a subject of wonder that they are able to accomplish so much. The scenes which they have hastily prepared are really very effective, and it is only the impossibility of changing them which makes them greatly inferior to the arrangements of a regular opera house.
Then as to the musical and dramatic abilities of the three performers there can he no question . . . Signor Grossi, as the Duke Alfonso, maintained a bearing in perfect accordance with the somewhat difficult role of that character. His solo, "Qualunque sia l'evento," was very effectively rendered, and pleased the audience considerably. The scene between Lucrezia and Alfonso, in which she first demands vengeance upon the unknown outrager of her name, and afterwards pleads earnestly for his life on discovering that it is Gennaro, was remarkably fine, and compelled the audience to forget all the imperfections of the accompaniments in the interest excited by the varying passions of the principal characters. In this scene, too, M. Laglaise takes part as Gennaro and by his expressive and natural acting adds greatly to its interest.
The closing scene of this act, in which Lucrezia saves Gennaro by compelling him to drink an antidote to the poison which Alfonso had administered, was also very effectively rendered. The concluding act was mutilated much more extensively than the preceding portions of the opera, and the effect was further impaired by the necessity for the appearance of M. Laglaise in two characters, those of Orsini and Gennaro. In fact, with the exception of the final scene between Lucrezia and Gennaro, the dramatic interest of this portion of the opera was entirely lost, and it was in its musical character alone that it secured the close attention of the house. We must not forget to say that Mr. Lavenu, representing an entire orchestra with his pianoforte, left nothing to be desired in the instrumental part of the performance. The audience was one of the most respectable that we have ever seen in Adelaide, comprising His Excellency and Lady MacDonnell, several members of the Ministry and their Ladies, and a large number of the leading colonists. In point of numbers it was, we should imagine, sufficiently large to gratify the reasonable expectations of the performers, although the room was by no means crowded . . .

ASSOCIATIONS: Richard and Blanche Macdonnell (governor and wife)

"OPERATIC PERFORMANCE", South Australian Register (15 May 1858), 3

http://nla.gov.au/nla.news-article49775164 

The repetition of selections from the "Bride of Lammermoor" - always a favourite opera with the English public - was given last night to one of the best audiences that has yet honoured the talented vocalists at White's Rooms with its presence . . . Signor Grossi sustained his part well. He has a fair bass voice and knows how to use it, but he has been apparently so accustomed to comic acting that the play of his features in the part of Colonel Ashton was continually assuming an appearance that would have better suited the "Barber of Seville." This is a slight drawback which he might easily rectify, and which it is no injury to so accomplished a singer to have pointed out. At the conclusion of the piece the actors were called forward and loudly applauded.

"KOORINGA (From our own Correspondent)", South Australian Register (30 June 1858), 3

http://nla.gov.au/nla.news-article49771770 

On Saturday, the 26th, Madame Carandini gave the first of her lyric entertainments, at the Burra Hotel, to a much larger audience than was expected, owing to the inclemenry of the weather, and which unfortunately was still worse on Monday night, though not sufficient to damp the ardour of the Burra people in their wish to hear so celebrated a songstress . . . Signor Grossi was also loudly applauded and encored in several of his songs, and sang "Viva l'ltalia with great spirit. The accompaniment of Mr. Lavenu was very highly thought of, and that gentleman very kindly sang "The Young English Gentleman" and also "Fair Rosamond." On Monday night the programme was altered, Madame Carandini singing "Estelle," "The Merry Zingara," "The Last Rose of Summer," "Comin thro' the Rye," and other songs, besides several duets with Signor Grossi and Mr. Lavenu. The inhabitants here are highly delighted to have had an opportunity of hearing these distinguished artistes, who seem to be also pleased with their reception here, as they are to give a third entertainment on Tuesday, the 29th. It is hoped that the weather may be more favourable that they may receive a bumper as they, deserve.

"THEATRE ROYAL", The Argus [Melbourne, VIC] (2 November 1858), 4

http://nla.gov.au/nla.news-article7303840 

An overflowing audience assembled last evening to testify to the high regard entertained for a most deserving artist and estimable man. Mr. Farquharson established himself as a favorite on his first appearance in the colony, and the many subsequent occasions on which he has appeared before the public have strengthened the opinion originally entertained of him . . . The magnificent band of a 40th performed the overture in "Zauberflote" with their accustomed precision and skill; then appeared the beneficiare, who was greeted as may be imagined, with a most hearty reception. He gave that very dramatic scene "The Desert" with thrilling effect; Miss Hamilton followed with the pretty air "The First Violet," which she sang very pleasingly; to her succeeded Signor Grossi, who gave the always amusing "Miei rampolli," with the breadth of effect which never fails to titillate even the uninitiated . . .

ASSOCIATIONS: Octavia Hamilton (vocalist); Band of the 40th Regiment (military)

"PUBLIC AMUSEMENTS", The Age [Melbourne, VIC] (15 November 1858), 4

http://nla.gov.au/nla.news-article154877638 

The opera season at the Princess's, under the direction of the proprietor, Mr. John Black, and management of Mr. George Fawcett, has been increasingly successful, so much so, that a further engagement of the artistes has been effected, to last till Christmas. Since our last summary there have been produced "Lucrezia Borgia," "Luci di Lammermoor," "Norma," "Fra Diavolo," "Don Pasquale," "Il Trovatore,"and "La Favorita." Verdi's "Ernani," and Meyerbeer's "Les Huguenots" are in active preparation, and will shortly be produced. The artistes engaged include Madame Carandini, Miss Julia Harland, Mrs. Hancock, Madame Leon Naej, Miss Octavia Hamilton, M. Laglaise, Mr. Walter Sherwin, Mr. Farquharson, M. Coulon, Signor Grossi, and Herr Schluter. The musical direction has been placed in the hands of Mr. L. H. Lavenu and Mr. Linly Norman. The band and chorus number over eighty. The scenery, which has been painted by Mr. Hennings on vast sheets of canvas extending right across the stage, is of the most artistic description, and certainly not inferior to any out of London. The efforts of the management to render these operatic entertainments worthy of support have, we are glad to say, to a large extent, met with recognition; though it will require continued and increasing patronage on the part of the inhabitants to enable Mr. Black to congratulate himself with having reaped any personal advantage from his enterprise and liberality.

ASSOCIATIONS: John Melton Black (proprietor); George Fawcett (actor, manager); Julia Harland (vocalist); Mary Ellen Hancock (vocalist); Madame Leon Naej (vocalist); Walter Sherwin (vocalist); Adolph Schluter (vocalist); Linly Norman (musical director); John Hennings (scenic artist)

"THE NEWS OF THE DAY", The Age (29 November 1858), 5

http://nla.gov.au/nla.news-article154878248 

. . . Considering that it was M. Laglaise's benefit, there was only a moderate audience at the Princess's. For this, M. Laglaise has himself somewhat to blame, for the bill was not sufficiently attractive. True, we had not seen in a state of completeness the opera of "Don Pasquale," but it is not a work calculated to draw a good pit, and did not . . . We must make favorable mention of Signor Grossi's Malatesta in the opening piece, though the quality of his voice was evidently impaired by nervousness. On Wednesday, Madame Carandini takes her benefit, at the Princess's Theatre, on which occasion will be presented the whole of the opera of "Ernani" . . . In this, Madame Carandini is to be assisted by M. Laglaise and Signor Grossi . . .

"THE THEATRES", The Argus (2 December 1858), 4

http://nla.gov.au/nla.news-article7305639 

. . . At the Princess's the performances were for the benefit of Madame Carandini. The opera of Ernani was presented. The cast was the same as that previously remarked upon, with the exception of Signor Grossi sustained the part of Di Silva, in place of Herr Schluter. The change was obviously an improvement. Signor Grossi has but to overcome a disposition to extreme nervousness, and he will be found very useful in parts requiring a voice of his quality. The farce with many aliases followed the opera, after which there was an allegorical tableau representing England, France, and Sardinia, who sang respectively their several national airs. The house was well filled, and the performances were not concluded until early half-past 12. The addition of the three to the programme was certainly unnecessary. This wearying of an audience by what is termed a "full bill" is an utter mistake.

"THE CHARLIE NAPIER THEATRE", The Star [Ballarat, VIC] (1 January 1859), 2

http://nla.gov.au/nla.news-article66333105 

The production of "Il Trovatore" at the diggings only three years after its first appearance had created a furore in the European musical world, is in itself a sign of the times. Its reception at the Charlie last evening was quite successful; and the way in which it was put upon the stage deserved considerable approbation . . . and we are sure Verdi's music has many times been far worse rendered at more pretentious performances. Madame Carandini sang better than she has yet been able to on Ballarat. Laglaise as Manrico achieved new and well-deserved laurels . . . Miss Octavia Hamilton was hardly powerful or imperative enough for the Gypsy Queen, Auzucena, but yet fairly earned much applause. Signor Grossi sang the part of the Count's companion, and was at greater advantage than we have yet seen him; and though Herr Schluter's voice ever and anon failed him, his powers were sufficient to bring his efforts to most respectable conclusion. It is due to him to state that he was laboring under sudden and painful indisposition; and M. Lavenu came forward and apologised on his behalf. The Chorus was tolerable, and for a first performance the opera was certainly a success. Trovatore will be repeated this evening.

ASSOCIATIONS: Charlie Napier Theatre (Ballarat venue)

"THE OPERA", Bendigo Advertiser [VIC] (2 April 1859), 3

http://nla.gov.au/nla.news-article87988084 

We learn that Signor Grossi, a gentleman who has been favorably distinguishing himself as a "basso" in the several operatic companies in which our old friends Madame Carandini, Messrs. Lavenu, Coulon, and Laglaise, have been engaged, has arrived on Bendigo.

"BACK CREEK, AMHERST (From our own Correspondent)", Maryborough and Dunolly Advertiser [VIC] (8 June 1859), 2

http://nla.gov.au/nla.news-article253596795 

. . . On Saturday evening Madame O'Leary, Signor Grapi [sic], and Herr Schluter, gave an excellent concert at the Lyceum, to a scanty audience . . .

"BACK CREEK, AMHERST (From our own Correspondent)", Maryborough and Dunolly Advertiser (18 July 1859), 2

http://nla.gov.au/nla.news-article253598506 

. . . A novelty in the way of dramatic performance was produced on Saturday evening, at the Lyceum Theatre. Signor Grosse [sic], and a few amateur Italians, got up the opera of William Tell, and an a lively Italian farce. The attendance was chiefly confined to their own countrymen, by whom the farce especially was thoroughly enjoyed . . .

"GRAND CONCERT", Maryborough and Dunolly Advertiser (29 July 1859), 3

http://nla.gov.au/nla.news-article253599072 

Mr. Clifford, assisted by the Misses Clifford and Signor Grossi, announces a Grand Concert, to take place in the Golden Age Concert Hall, on Monday evening next. These artistes have secured a high reputation at Back Creek and other places, and we are persuaded the attraction will be such as to secure a full attendance, especially as for some time put there has been a great scarcity of amusements at Maryborough.

ASSOCIATIONS: George Clifford and daughters (vocalists, actors); Golden Age Concert Hall (Maryborough venue)

"SANDY CREEK (From our own Correspondent) November 30th", Maryborough and Dunolly Advertiser (5 December 1859), 3

http://nla.gov.au/nla.news-article253603160 

. . . The opening of the Theatre at the Golden Age, for nightly entertainments, seems to meet with fair success. The Creed Royal company well sustains the popularity they met with on their first appearance in Sandy Creek. The Misses Royal, especially, appear to be great favorites, and deservedly so. They are now preparing to carry out a special programme on Friday next, and assisted by Signor Grossi and M. Decossi, intend giving selections from "Norma," "Sonnambula," "Lucia di Lammermoor," and other favorite operas. I have no doubt that the public in Sandy Creek will appreciate the efforts of the company to provide for them entertainments of a higher order . . .

ASSOCIATIONS: Creed Royal (musician) and daughters (vocalists); M. Decossi (otherwise unidentified)

"THE ROYAL FAMILY", Maryborough and Dunolly Advertiser (23 January 1860), 3

http://nla.gov.au/nla.news-article253604621 

The Misses Royal, Signor Grossi, and Company, appeared at Dunolly on Friday, and at Maryborough on Saturday evening, in La Somnambula, and were, as before, favorably received. On both occasions the audience was limited; which was due, no doubt, to the intense heat of the weather. The company really deserves every encouragement, both on account of its intrinsic merit, and on the score of the excellent nature of the entertainments, as yet too little known on the gold-fields . . . They give to-night a miscellaneous concert at the Golden Age, under the patronage of the Garrick Club. We hope they will have a good attendance.

"THE OPERA", The Star [Ballarat, VIC] (28 February 1860), 3

http://nla.gov.au/nla.news-article72465264 

Pursuant to announcement Signor and Signora Bianchi made their debut last night on the boards of the Napier, accompanied by Mr. Farquharson, Signor Grossi and some of the chorus from the Theatre Royal in Melbourne. The orchestra under the conductorship of Mr. Winterbottom, was composed of local artistes lead by Mr. Paltzer. Mr. Gibbs's courageous enterprise in obtaining one more display of high opera for the behoof of the Ballarat public, was rewarded last night by a good, if not a very crowded house, and the taste supplied last night to the lovers of music, of the rich treat secured for them in the present company, will no doubt lead to even better houses yet. The opera chosen for the first appearance of the singers who have so long delighted our metropolitan connoisseurs was "Il Trovatore" . . . To-night, the opera of "Il Trovatore" will be repeated.

ASSOCIATIONS: Eugenio and Giovanna Bianchi (vocalists); John Winterbottom (conductor); Jacques Paltzer (violin, leader); John Gibbs (proprietor); Italian Opera Company (troupe)

"MUSIC AND DRAMA. THE OPERA", Sydney Mail [NSW] (14 July 1860), 8

http://nla.gov.au/nla.news-article166695031 

On Monday evening the performance at the Prince of Wales Theatre comprised the first and third acts of La Traviata, the grand duet from Linda di Chamounix, "Di quel di," a national song, by Signor Grossi, "Viva Italia e Garibaldi," the Irish ballad, "Molly Asthore," by Miss Hamilton, and the third act of the opera of Ernani. On Tuesday the opera was under the patronage of his Excellency the Governor-General, when the three first acts of Macbeth, and the third - or "Miserere" - act of Trovatore, were produced. On Thursday the opera of Attila was announced for the benefit of Monsieur Coulon. A misunderstanding arose between M. Coulon and the lessee, and that gentleman's part was sustained by Signor Grossi.

"THE NEWS OF THE DAY", The Age [Melbourne, VIC] (16 April 1860), 5

http://nla.gov.au/nla.news-article154843269 

Verdi's opera, "Attila," has been produced in its entirety for the first time in the Southern hemisphere at Ballaarat. Signors Grossi and Bianchi, Mons. Coulon, and Signora Bianchi were the principal vocalists.

"THE OPERA", The Sydney Morning Herald [NSW] (4 June 1860), 4

http://nla.gov.au/nla.news-article13041340 

Lucrezia Borgia, performed at the Prince of Wales on Saturday last, was a great success, - not alone as regards the excellent vocalization of the principals, but also its uniform completeness throughout. That the audience thought so was attested by the bursts of applause which followed the termination of almost every solo, duet, and chorus. Although this opera is familiar to the musical public of Sydney, its reception clearly indicated that it is not absolutely necessary "something new" should inaugurate the season, nor, indeed, is it always practicable when a corps operatique has been brought together from different parts of the country, and moreover, it will be readily admitted that many beauties in Donizetti's fine opera were more effectively presented than on any previous occasion . . . The impersonation of the guilty princess by Signora Bianchi was so good throughout, that it is almost impossible to select a single passage more striking than another . . . Signor Bianchi, in the part of Gennaro, sang and acted well . . . Monsieur Coulon was very successful as Don Alfonso . . . The part of Maffeo Orsini, though scarcely suited to Miss Hamilton s voice, was played with considerable spirit . . . Signor Grossi, as the "Spaniard," rendered the recitative passages of the part in a very creditable manner, and effectively supported the other characters . . . Another agreeable feature in the performance of Saturday was the singing, with a single exception, of the opera in Italian. The house was tolerably well filled, and the audience, by their determination to have the morceaux in the opera twice over, and the calls for the principal artistes after each act, seemed highly delighted. This evening the opera is under the patronage and presence of his Excellency the Governor General, when Trovatore will be performed, and to morrow evening Verdi's Traviata will be presented for the first time in Sydney.

ASSOCIATIONS: Prince of Wales Theatre (Sydney venue)

"THEATRICALS AND MUSIC . . . SYDNEY", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (16 June 1860), 4

http://nla.gov.au/nla.news-article201372953 

Signor and Signora Bianchi have been coining golden opinions from the Sydney public, at the Prince of Wales; and since the commencement of the opera season "Il Trovatore," Lucrezia Borgia," and La Traviata," have been placed upon the stage . . . Miss Octavia Hamilton, Mons. Coulon and Herr Grossi, together with the prima donna and tenor, make up the company; and the orchestral department is under the control of Mons. Paltzer.

[News], Empire [Sydney, NSW] (7 November 1860), 5

http://nla.gov.au/nla.news-article60501314

Signor Grossi has more than ordinary claims on the musical public, and we hope to see the Temperance Hall crowded to-morrow evening, on the occasion of his first benefit in Sydney. His services in connection with the Bianchi opera troupe must be fresh in the memories of all - the spirited manner in which he always endeavoured to contribute to the success of the scene, whether engaged as a principal actor, or, more subordinately, in the chorus. He always did his best, and that best was always good.
The antecedents of this gentleman are such as could not have fallen to the lot of an inferior artist. At Drury Lane he played Oroveso to Grisi's Norma. At Liverpool he played Don Pasquale with Garcia [sic, Gassier], and, with Formes and Mario, Don Bartolo in the Barber of Seville. He has been connected with all the opera troupes in the four colonies, commencing with Lavenu and Carandini. He was seven months at the Royal Copenhagen Theatre, with Bosio.
He can also sing of arms. At the battle of Novara, he was Lieutenant in the Sardinian Lancers, and in the Crimea distinguished himself as Serjeant-Major of the second battalion of the British German Legion, Missori, now the well-known Aid-de-camp of Garibaldi, holding the same position in the third.
Grossi was a severe loser by the Prince of Wales fire, almost the whole of his very valuable wardrobe having been destroyed. His good nature in aiding his brother artists at their entertainments is well known; no matter who might refuse, Grossi was always to be depended on, and what he did he did with all his heart. He is singularly free from all petty jealousy; in fact, he never seems to think of himself.
Since the close of the opera season he has often appeared in public, but never for his own benefit, so that now when he makes his first appeal it ought to be met with a hearty response. He has an attractive programme which will include the performances of Madame Sara Flower, the Misses Howson, and Messrs. Farquharson, Brooks, Packer, Marmaduke Wilson, and others. These, with himself, who is a host, cannot fail to furnish an entertainment worthy of the most extensive patronage.

ASSOCIATIONS (Europe - musical): Giulia Grisi (vocalist); Grisi performed Norma in London in 1854, 1855, and 1856; Grossi was not listed as a principal during these seasons, however, he may have been cast as an understudy; Formes notably sang Oroveso opposite Grisi in London in 1854; Angiolina Bosio (vocalist); Charles John Formes (vocalist); Louis and Josefa Gassier (vocalists)

ASSOCIATIONS (Europe - military): Battle of Novarra (1849) in the First Italian war of independence (1848-49); British German Legion (March 1855 to November 1856), though perhaps correctly the British-Italian Legion (1855-56); Giuseppe Missori (soldier)

ASSOCIATIONS (Australia): Henry Neville Montagu (journalist, likely author of this short biography, presumably reporting information provided by Grossi himself); Sara Flower (vocalist); Thomas Brooks (harpist); Charles Sandys Packer (pianist); Marmaduke Henry Wilson (pianist); Temperance Hall (Sydney venue)

"DON PASQUALE", South Australian Weekly Chronicle [Adelaide, SA] (6 April 1861), 1 supplement

http://nla.gov.au/nla.news-article90031345 

Donizetti's grand comic opera Don Pasquale was produced on Tuesday evening at the Victoria Theatre. There was an extremely limited attendance, but the piece was very well played. Signor Grossi, in the character of Don Pasquale, particularly deserved praise; and Miss Harland, as Nerina, sung with great sweetness and acted with good effect. Dr. Malatasta [sic] found an excellent representative in Mr. John Gregg, and the tenor part, Ernesto, was very well sung and acted by Signor Bianchi.

ASSOCIATIONS: Royal Victoria Theatre (Adelaide venue)

[Advertisement], South Australian Register (13 June 1861), 1

http://nla.gov.au/nla.news-article50017243 

WHITE'S ASSEMBLY ROOMS. LAST GRAND FAREWELL CONCERT
BY SIGNORA and SIGNOR BIANCHI, THIS EVENING (Thursday), June 13, 1861,
Under the patronage of His Excellency the Governor-in-Chief and Lady MacDonnell . . .
PROGRAMME . . . PART II . . .
3. Inno of Glory, expressly composed in honour of Lieut. Sutherland, the successful competitor of the Championship of the Colonies - Signora and Signor Bianchi and Signor Grossi . . .

ASSOCIATIONS: James Sutherland (champion);
on his win, see "RETURN OF THE VOLUNTEER'S FROM MELBOURNE", Adelaide Observer (15 June 1861), 2 supplement

"SIGNORA AND SIGNOR BIANCHI'S FAREWELL CONCERT", Adelaide Observer (15 June 1861), 2 supplement

http://nla.gov.au/nla.news-article158181291 

The Italian vocalists gave a farewell concert at White's Room on Thursday evening. It was well attended, though not so fully as their benefit concert a week before. His Excellency the Governor and Lady MacDonnell were present, and the company was of very high respectability. Besides the usual performers, Signor Bianchi had on this occasion enlisted the services of Mr. R. B. White, who gratified the audience by several beautiful pieces on the violin. Another novelty was a "Hymn (or "Inno," as the programme has it - rather needlessly blending two languages) of Glory, expressly composed in honour of Lieutenant Sutherland, the successful competitor for the championship of the colonies." This little piece, of which we understand that Signor Grossi claims to be the composer, was sung by that artiste, with the Signora and Signor Bianchi. It pleased the company vastly for its briskness and spirit, and was very warmly encored. The entire concert passed off with perfect success.

ASSOCIATIONS: Richard Baxter White (violinist)

"TOWN TALK", The Herald [Melbourne, VIC] (1 November 1861), 5

http://nla.gov.au/nla.news-article244180309 

Signor Bianchi left for Sydney on Wednesday, accompanied by Signora Bianchi, Madame Stuttaford, Mr. John Gregg, Signor Grossi, and a chorus, for the purpose of giving an operatic season in Sydney, where, eighteen months ago, Signor Bianchi had a very successful campaign at the Prince of Wales.

ASSOCIATIONS: Charlotte Stuttaford (vocalist)

"CLEARANCES. JANUARY 11", The Sydney Morning Herald (13 January 1862), 4

http://nla.gov.au/nla.news-article28624938

Iconium, ship, 549 tons, Captain Heustis, for San Francisco. Passengers - Mr. J. O. Gorman, Signor and Signora Bianchi. Signor Grossi, Messrs. Herman, Marriotti, Emmerson, J. Gregg, and 15 in the steerage.

"MUSICAL AND DRAMA", The Sydney Morning Herald (21 January 1862), 4

http://nla.gov.au/nla.news-article13062251

. . . On the 23rd ultimo, Signor Bianchi gave a concert at the Freemasons' Hall, where the accomplished Italian artists who formed part of the late Opera Company delighted the comparatively few persons who had the taste to be present . . . On the 26th, Signor Bianchi gave a promenade concert at the Masonic Hall, at which there was a very large and highly respectable audience. Some exquisite pieces of operatic music were given, and a grand scena from L'Elisir d'Amore, between Signor Bianchi and Signor Grossi was enthusiastically encored. Besides Signora Bianchi and the two above named artists, Mr. J. Gregg, Miss Clelia Howson, Miss Emma Howson, Mr. Frank Howson, and other professionals, took their parts in the programme. The celebrated soliloquy of Figaro was given in an eminently successful manner by Signor Grossi. Signor and Signora Bianchi took their leave of the Sydney public in two opera benefit nights at the Victoria, on the 8th and 9th instant . . .

ASSOCIATIONS: Frank Howson (vocalist); Emma and Clelia Howson (vocalists); Freemason's Hall (Masonic Hall, Sydney venue)

After Australia (from 1862):

"From the Sandwich Islands", Daily Alta California [San Francisco, CA, USA] (5 May 1862), 1

https://cdnc.ucr.edu/?a=d&d=DAC18620505.2.7 

On Saturday and Monday nights, April 5th and 7th, Signora Bianchi, Messrs. Grossi and Gregg gave two more performances at the Hawaiian Theatre, fully attended by a numerous and delighted audience.

"PASSENGERS", Daily Alta California (6 May 1862), 4

https://cdnc.ucr.edu/?a=d&d=DAC18620506.2.18 

SYDNEY - Per Iconium - Signor and Signora Bianchi, Miss Hermann, Mr. John Gregg, Signor E. Grossi, Mr. Saml. C. Bradshaw 3d, and nine others.

"THE BIANCHIS IN CALIFORNIA", The Sydney Morning Herald (28 November 1862), 5

http://nla.gov.au/nla.news-article13070125

The friends of Signor and Signora Bianchi, will peruse with pleasure, the following notice of these artistes, from the Daily Alta California of September 17 - If ever a musical entertainment partook of the character of an "ovation," the benefit given to Signor Bianchi at the Metropolitan Theatre last evening, can justly be characterised as such . . . The performances consisted, first, of a representation of "Don Pasquale," which was admirably sung, and elicited judicious and oft-repeated applause. A grand vocal and instrumental concert succeeded, which was composed of brilliant musical gems . . . Signora Bianchi never was in better voice, and with her husband sang deliciously. Signor Grossi and Mr. Leach shared in the generous applause.

"INTERCOLONIAL NEWS", The South Australian Advertiser [Adelaide, SA] (24 February 1864), 3

http://nla.gov.au/nla.news-article31833499 

By the arrival of the Rangatira we have our usual intercolonial files . . . Signor Grossi, who will no doubt be remembered in this city, was engaged to sing at Macao, at the festivities which were about to commence there, in celebration of the birth of the heir to the throne . . .

"Transatlantische Correspondenz", Die neue Sängerhalle [Leipzig, Germany] (30 July 1864), 246

https://books.google.com.au/books?id=9tUzybAADVwC&pg=PA246 (DIGITISED)

. . . In Sanghai hat sie über 30 Concerte gegeben. Hierauf begab sie sich mit ihren Begleitern, dem Violinist Signor Robbio, dem Pianist Mr. Adolpho Sipp unde dem Bassist Signor Grossi nach Hongkong, wo selbige drei sehr besuchte Concerte, am 10, 15. und 22 Februar . . .

ASSOCIATIONS: Agostino Robbio (violinist); Rodolpho Sipp (pianist)

"THEATRICALS AT CALCUTTA . . . Sept. 22d, 1864", Spirit of the times and the New York sportsman [NY, USA] (3 December 1864), 219

https://books.google.com.au/books?id=m5M6AQAAMAAJ&pg=RA2-PA219 (DIGITISED)

. . . Our regular season is November, December, January and February; but Mr. C. R. Thorne, with his dramatic troupe, opened on the 15th inst. . . . with songs between by Mrs. Alicia M. Thorne and Signor Enrico Grossi. The theatre was well filled, and were well received, the acting of Mrs. Alicia M. Thorne and Mr. C. R. Thorne, being particularly worthy of note, and the singing of Signor Grossi calling forth an enthusiastic encore . . . The company consists of Mr. C. R. Thorne . . . and are accompanied by Signor Enrico Grossi of the Theatre Royal, Copenhagen.

"DIED", Daily Alta California [San Francisco, CA, USA] (11 July 1866), 4

https://cdnc.ucr.edu/?a=d&d=DAC18660711.2.36.1 

In this city, 9th inst., Enrico Grossi, a native of Mantua, Italy, aged 38 years. Funeral will take place from A. Massey's, Sacramento street, at 3 o'clock P. M. this day.

"DEATH OF AN ARTISTE", Daily Alta California (11 July 1866), 1

https://cdnc.ucr.edu/?a=d&d=DAC18660711.2.3 

Signor Enrico Grossi, the basso comico and stage manager of the Bianchi opera troupe, died in this city on Monday last, aged 38 years. Signor Grossi was a native of Mantua, Italy, and although a young man, had figured extensively in the world of arms as well as music. He was an officer in the army in Italy during 1838 and 1839 [sic, 1848-49], and afterwards served in the Crimean war, in the English service. He came from Australia with Signor Bianchi, a member of the Italian opera troupe, and afterwards made a professional visit to India, China and Japan. He was attacked with dropsy, to which disease he succumbed. He will be buried today, from Mr. Atkins Massey's, Sacramento street.

Bibliography and resources:

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), 103, 110, 112, 114, 117, 118, 122, 250

GROVE, Daniel Parsons (Daniel Parsons GROVE; D. P. GROVE; Mr. GROVE; GROVES)

Actor, comedian, vocalist, journalist, newspaper reporter

Born London, England, 5 December 1811; baptised St. Mary's, Bromley St. Leonards, 25 December 1811; son of George GROVE and Elizabeth Grace SHILFOX
? Arrived Sydney, NSW, 6 January 1833 (per Edward Lombe, from England, via Hobart Town, December 1832)
Atcive Sydney, NSW, by January 1833
Active Hobart Town, VDL (TAS), by 1836
Married [1] Bridget Dacres McCRAW, Hobart Town, VDL (TAS), 27 March 1837 (separated by c. 1843)
Married [2] (common law) Jane (? WILSON), Sydney, NSW, by 1843
Died Melbourne, NSW (VIC), 24 May 1847, aged "36" [NSW V1379/1847]

https://trove.nla.gov.au/search?l-publictag=Daniel+Parsons+Grove+d1847 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1806453 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROVE-Daniel-Parsons (shareable link to this entry)

DISAMBIGUATION: Daniel Groves (convict per John, arrived VDL [TAS], January 1831)

GROVE, Bridget (Bridget Dacres McCRAW; alias Miss SMITH; [1] Mrs. Daniel Parsons GROVE; Mrs. GROVE; GROVES; [2] Mrs. Alexander McDERMID)

Actor

Born Edinburgh, Scotland, 13 January 1819; baptised St. Cuthbert, Edinburgh, 24 March 1819; daughter of George McCROW (McCRAW) and Janet (Jessie) ORROCK
Arrived Hobart Town, VDL (TAS), 22 September 1822 (with parents, immigrant per Minerva, from Leith and Falmouth, 1 May, aged "3")
Married [1] Daniel Parsons GROVE, Hobart Town, VDL (TAS), 27 March 1837 (separated by c. 1843)
Married [2] Alexander McDERMID, St. Peter's, Melbourne, VIC, 12 May 1851

https://trove.nla.gov.au/search?l-publictag=Bridget+McCraw+Grove+McDermid+b1819 (TROVE tagged by Australharmony)

https://trove.nla.gov.au/search?l-publictag=Miss+Smith+=+Bridget+McCraw (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1872812 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GROVE-Bridget-McCraw (shareable link to this entry)

Documentation:

Bridget, from 1819, and as "Miss Smith" to December 1836:

"MARRIAGES", The Scots Magazine [Edinburgh, Scotland] (6 September 1813), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000546/18130906/048/0079 (PAYWALL)

Sept. 1. At Dewar Place, Mr. George McCraw, to Jessy, eldest of the deceased John Orrock, Esq. of Orrock.

Baptisms, St. Cuthbert, Edinburgh, 1819; register 1813-1819, page 118; National Records of Scotland, OPR 685 2/14

https://www.findmypast.com.au/transcript?id=SCOT/OPR/BAP/0759852 (PAYWALL)

https://www.ancestry.com.au/search/collections/60143/records/18666438 (PAYWALL)

24 March 1819 / born 13 January 1819 / Bridget Dacres daughter of / Geo. McCrow [sic] and Janet Orrock / Jamaica Street

ASSOCIATIONS: According to the Red book of Scotland, vol. 7, 1096, Janet [sic] Orrock was born 11 November 1790, daughter of John Orrock (d. 1796); Bridget's elder sister, Bathia Gordon McCraw (Mrs. James Coran Anderson) was born in Edinburgh in 1816, and died in Sale, VIC, on 4 February 1906; as attested by their fellow passenger Gilbert Robertson (1836 below), the family arrived in Hobart as immigrants on the Minerva in 1822; her father was appointed district constable and poundkeeper at Macquarie township in May 1823, and was later licencee of the Tontine Tavern in Hobart; George McCraw died in Hobart Town, on 8 June 1826, aged 31; Jessie (Janet) McCraw died in Hobart on 2 January 1871 aged 81 (see below)

[News], The Hobart Town Gazette [VDL (TAS)] (17 June 1826), 2

http://nla.gov.au/nla.news-article8791082 

We beg, to call the attention, of the Public to the subscription in aid of the widow and children of Mr. McCraw, a settler who died last week, leaving his family in a state of want. We sincerely hope a sum will be raised sufficient to procure them a passage to their native country, where their connexions are highly respectable and able to provide for their future wants.

[Advertisement], Bent's News and Tasmanian Three-Penny Register [Hobart Town, VDL (TAS)] (20 August 1836), 1

http://nla.gov.au/nla.news-article232485389 

Theatre Royal, Hobart Town. MR. G. H. PECK, Leader of the Orchestra,
most respectfully informs his Friends and the Public in general,
THAT his Benefit is fixed on Saturday evening, August 27, 1836;
on which occasion MR. SIMMONS will appear for the las time on this Stage;
when will be produced, the celebrated drama, for the first-time in the Colony, of
Pedlar's Acre, OR, THE WIFE OF SEVEN HUSBANDS.
Marlyn Lessamour - Mr. SIMMONS.
Gamiel Gander - Mr. Meredith . . .
Gossamer (a page) - Miss Smith.
Margaret Lessamour - Mrs. Meredith . . .

ASSOCIATIONS: George Peck (musician); Joseph Simmons (actor, vocalist); John and Amelia Meredith (actors); Theatre Royal (Hobart venue)

"THE THEATRE", The True Colonist Van Diemen's Land Political Despatch [Hobart Town, VCL (TAS)] (2 September 1836), 278

http://nla.gov.au/nla.news-article203147225 

. . . On Wednesday night, the performance will be for the benefit of Miss Smith, when we hope to see a very crowded audience patronising this deserving young woman. We feel particularly interested on her account from her having been at three years of age a fellow passenger with us to this Colony, where she soon lost her father, who sunk under disappointment and died, leaving his family destitute. Miss Smith, (who has only borrowed this name for the stage to avoid wounding the feelings of her very respectable relatives in Scotland, has for some years, although now of tender age been entirely dependent on her own exertions for a living, and does what she can to assist the other members of her family. She is well known to the ladies who frequent the subscription balls, and we hope that on this occasion they will reward her attention with their patronage. To play going Scotchmen we need only say that she is the fatherless child of a countryman reduced by the early loss of a parent; and we hope there are some even of the pubic officers and their families who will take advantage of such an occasion to visit the Theatre. Several of the leading merchants have promised their patronage. The entertainments are well selected, two of the pieces having never been played at this Theatre; and the truly Iaughable interlude of "My Friend the Governor," having only been played once. The "Brigand" is a very romantic and interesting piece. Our fair readers who have not seen the piece must often have admired the Brigand's song of "Gentle Zittilla."

ASSOCIATIONS: Gilbert Robertson (editor, True colonist, arrived Hobart, 22 September 1822, per Minerva)

"THE THEATRE", The Tasmanian (9 September 1836), 6

http://nla.gov.au/nla.news-article232801740 

Miss Smith took her "Benefit" on Wednesday evening. The late father of this young orphan having been well known to the old Colonists, and her exertions to support her mother and sisters having been highly appreciated, the house was numerously and respectably attended. The performances were admirably selected, and the performers exerted themselves to the utmost to entertain the audience. Every thing went off in the best manner. It is only justice to Mr. Meredith, and the whole of his company, to state, that considering the materials within reach, the performances are infinitely more respectable than could be expected . . . We cannot omit paying the merited tribute of applause to the Orchestra, which is certainly superior to any to be found in the best constituted provincial theatre in England. We need only say, that three such accomplished musicians as Messrs. Reichenberg, McCloud [sic], and Peck are seldom to be found in a theatrical orchestra.

ASSOCIATIONS: Joseph Reichenberg (musician); Angus McLeod (musician)

Daniel, from 1811, to December 1836:

Baptisms, December 1811, St. Mary, Bromley St. Leonard, Tower Hamlets; London Metropolitan Archives, P88/MRY2/002

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=2048990&collectionId=1624 (PAYWALL)

1811 . . . Dec. 25 / Daniel Grove Son of George and Eliz'th Grace / Bonr 5 Dec'r 1811

ASSOCIATIONS: George Grove (d. 1829) and Elizabeth Grace Shilfox (1776-1838) married at St. Dunstan's, Stepney, on 29 March 1798

Copy of the will of George Grove, of 9 Stepney Green Terrace, Stepney, 1829; Tower Hamlets Library and Archive Collection, P/SLC/1/19/104 - TH/910

Executors: Thomas Sutton, George Godfrey Grove / Estate to be shared between his wife, Elizabeth Grace Grove, and sons George Godfrey Grove, John Alexander Grove, and Daniel Parsons Grove

ASSOCIATIONS: George Godfey Grove (born 18 February 1802; baptised St. Mary Madgalene Bermondsey, 28 March 1802); John Alexander Grove (born 30 May 1814; baptised Bromley, 26 June 1814)

? "Shipping Intelligence. Arrivals", The Sydney Monitor (12 January 1833), 3

http://nla.gov.au/nla.news-article32142880 

On the 6th inst. . . . the barque Edward Lombe, 347 tons, Captain Freeman, with a general cargo of merchandise from London. Passengers: Mr. H. C. Wilson, Barrack Master . . . Mr. Groves . . .

? "To the Editor of . . .", The Currency Lad [Sydney, NSW] (26 January 1833), 3

http://nla.gov.au/nla.news-article252636586 

Sir, . . . We now perceive, Levey's Corps Dramatique are improving in strength and talent . . . On Saturday evening last, was performed the Farce of the "Village Lawyer," misnamed in the bills a Petite Comedy. Take it all in all it was fairly played, but it is most requisite that the manager should peruse attentively, "Hamlet's advice to the players," Act 3d, Scene 2d. "and let those that play your clowns speak no more than is set down for them, &c. and shews a most pitiful ambition in the fool that uses it." With regret, have we to notice that Mr. M. has a favourite caprice of gagging, i. e. introducing his own ideas instead of the author's. I also noticed he delivered an account of a fracas that took place at the P. O. introducing the names of the parties concerned, naming one Mr. Grove, calling "Love" Cupid, the name of Jonas was also mentioned. Such untheatrical-like conduct was never made by any scout in any village, or by any member of the "sock and buskin," even at the carnival at Naples. We were inclined to show marks of disapprobation by "hissing," but we pitied the proprietors, being positive had he not "smelt the lamps of a London stage" he would ever have suffered any author's play to be so mutilated to make room for a display of such trash and nonsense, "O no, we should have never mentioned it," but desirous of seeing the founder of the drama in this colony prosper, causes us to notice those little affairs . . .
If those friendly hints are worthy of insertion, they will oblige.
- CANDOUR.

ASSOCIATIONS: Barnett Levey (proprietor); "Mr. M" = John Meredith (actor, Sydney theatre); Theatre Royal (Sydney venue)

"PIGEON MATCH", The Currency Lad (11 May 1833), 3

http://nla.gov.au/nla.news-article252636849 

Yesterday evening a match came off on the Surrey-hills, by four gentlemen, at five birds each, for a supper, &c. The following are the particulars Mr. Cherry killed 4, Mr. Ward 3, Mr. Meredith 2, and Mr. Groves 2. The birds rose considerably in favour of the winners.

"THEATRE", The Australian [Sydney, NSW] (20 September 1833), 2

http://nla.gov.au/nla.news-article42009442 

The following is a list of the performers engaged by Mr. Levey for the coming season -
Messrs. Knowles, Arthur Hill, Dyball, White, Grove, Palmer, Harper, Buck, Duddridge, Croft, Fitchett, Johnson and Peat. Mesdames Lara, Jones, Powis and Downs.
The following favorites of the public are not engaged -
Messrs. Meredith, Mackay, and Buckingham, Mrs. Laverty, and the two Misses Peasleys. There is a good deal of discussion amongst the supporters of the drama in Sydney respecting the causes which will deprive them of the talents of the performers, two of whom are indisputably the greatest attractions to the theatre, and most deservedly so . . .

ASSOCIATIONS: Conrad Knowles (actor); Arthur Hill (actor); Mr. Dyball (actor); Frederick White (actor, dancer); William Dudderidge (actor); Clement Peat (actor); Mary Ann Larra (actor); Harriet Jones (actor, vocalist); Mrs. Downes (actor); George Buckingham (actor); Angus Mackay (actor); Frances Laverty (actor)

[Advertisement], The Sydney Herald (3 October 1833), 3

http://nla.gov.au/nla.news-article12847848 

Theatre Royal, SYDNEY.
THE Public are respectfully informed, that the SYDNEY THEATRE will commence its
Season on SATURDAY, 5th October, 1833, when His Majesty's Servants, at the rise of the Curtain,
will sing the National Anthem "GOD SAVE THE KING."
After which, an ORIGINAL ADDRESS, written expressly for the occasion, by Mr. KNOWLES, and to be spoken by him.
The Dramatic Performance will commence with that much admired Melo-drama, in Two Acts, the
Miller and his Men - Count Frederick Friberg - Mr. HARPUR; Karl (his Servant) - Mr. BUCKINGHAM;
Grindoff (the Miller) - Mr. GROVE; Lothair (a young peasant) - Mr. KNOWLES . . .
After which, will be Performed, that laughable Farce, in Two Acts, called the
IRISHMAN IN LONDON - Old Frost - Mr. KNOWLES; Mr. Colloony. Mr. DYBALL;
Murtoch Delany - Mr. HILL; Captain Seymour - Mr. GROVE . . .

PIECES: The miller and his men (Pocock); see music by Bishop; The Irishman in London (Macready)

"THEATRICALS", The Sydney Gazette and New South Wales Advertiser (8 October 1833), 2

http://nla.gov.au/nla.news-article2214282 

The performances on Saturday evening were any thing but satisfactory to the highly respectable audience. There was an evident want of organization, a negligence in the management of the scenery, and jerking stiffness in many of the actors, particularly repulsive to those who had formed rather sanguine expectations of a more favourable issue. - The muster of heads at the opening was great, but the talent was limited. - The chorus and songs were drowned by the orchestra. The music was not sufficiently full, and was occasionally out of tune. The Band of the garrison would have made the walls virberate, while, in remote parts of the house, the phil-harmonic society's instruments were weak. There must be a stronger Band to give effect to the performances of the evening. Now for the acting. - Friberg, was poorly sustained - it wanted animation - Kaarl was an effective performance - Grindoff was a complete failure. Groves' arms were greatly in his way, and he "mouthes" abominably . . . The Irishman in London made some amends for the deficiency of acting in the leading performance . . . Grove was feeble; his appearance is good; and, if his elocution was more studied, and the "action suited," even moderately, "to the word," his personification would pass . . .

"Miscellaneous News", The Australian (29 November 1833), 2

http://nla.gov.au/nla.news-article42005212 

Last night Inkle and Yarico was performed to a very respectable paying house - The parts were as usual badly cast - Mr. Buckingham should relieve Palmer, and there is nothing in the singing of Mr. Groves, which justifies him in taking the part of Knowles as Inkle - The only novelty in the piece, was the introduction of several songs, all of which, except "Shades of Evening," by Groves, were failures. There is no vocal musical talent in the corps dramatique, and the orchestra has lately fallen off.

PIECE: Inkle and Yarico (Coleman)

MUSIC: Isle of beauty, fare thee well ["Shades of evening, close not o'er us . . ] (song)

"THEATRE", The Sydney Gazette and New South Wales Advertiser (30 November 1833), 2

http://nla.gov.au/nla.news-article2214883 

We were glad to see a pretty full audience on Thursday evening last. The entainments [sic] - Inkle and Yarico, with the farce of the Lying Valet - were played, on the whole, with much spirit. Why did Mr. Knowles cast himself out of the part of Inkle? Because Mr. Grove can sing, we suppose; but that is not a good reason if Mr. Grove cannot act belter than he usually does. Miss Bland and Mrs. Love, in Yarico and Wowsky; and Meredith in Trudge, played very creditably . . .

ASSOCIATIONS: Mary Bland (actor); "Mrs. Love" = Harriet Jones (actor, as above)

[Advertisement], The Australian (2 December 1833), 3

http://nla.gov.au/nla.news-article42009434 

THEATRE ROYAL, SYDNEY. THIS EVENING, DECEMBER 2, 1833 . . .
SHERIDAN'S COMEDY . . . THE RIVALS . . . Captain Absolute - Mr. Grove . . .
IN THE COURSE OF THE EVENING, A SAILOR'S HORNPIPE By MR. MACKAY.
A COMIC SONG BY MR. LEVY.
The favourite Song, THE SAILOR'S TEAR BY MR. GROVE . . .
A Favourite Scotch Dance by Mr. White.
THE COMIC SONG, CORPORAL CASEY, BY MR. MEREDITH . . .

MUSIC: The sailor's tear (song, copy from the 1830s collection of Lillias Dowling, Sydney amateur)

"THEATRICALS", The Australian (13 December 1833), 2

http://nla.gov.au/nla.news-article42008503 

The entertainment of Monday evening [9 December] commenced with Colman's Comedy, of the Midnight Hour . . . The respective characters were well sustained . . . Mr. Grove attempted the song of Draw the Sword for Scotland, and that is all we can say . . .

MUSIC: Draw the sword Scotland (Rodwell)

"THEATRICALSS", The Australian (3 February 1834), 2-3

http://nla.gov.au/nla.news-article42008850 

An announcement was made in the early part of last week that a "grand Masquerade" would take place at the Theatre on Friday [31 January] in honor of the foundation of the Colony. This being an amusement entirely new to the natives of our southern Hemisphere, much excitement was occasioned in making the necessary preparations to enjoy it. But like many other Mundane projects it was no sooner formed than an unforseen event stepped in to defeat it. Mr. Levy in his anxiety to gratify the public, had altogether overlooked the circumstance that, as his licence did not extend to Masquerades, the Governor's permission would be necessary on the occasion. On Friday morning therefore Mr. L. was favoured with a notice from the Superintendent of Police that such an exhibition would not be allowed, and that if any person went around in Masquerade they would be accommodated with the watch house for a ball room. Thus after all the anxiety in selecting a character and the trouble of preparing the dresses had been got over, our Gods and Goddesses, Druids and Dryades, Sirens and Satyrs were stripped of their enchantment and reduced to their former condition of mortality. Bills were therefore quickly sent round announcing the transformation of the Masquerade into a Fancy Ball. The house was amazingly well filled, for, rather than not go at all they went as [3] spectators who were to have figured as actors. The fancy ball however, consisted in nothing more than a series of songs and recitations, &c. by the Dramatis Personae. It would perhaps be unfair (as we have nothing to say in their favor) to particularise this "medley," because the performers were called upon as it were, at a minute's notice to contribute what theu could to cook up an entertainment. We cannot however omit saying that Mrs. Meredith might certainly have hit on something better suited to her capacity than the recital of "Young Norval;" and that Mr. Groves might have found in his collection something more fitting for a respectable audience to hear than the low vulgar songs of "Molly Dodd" and "Meet me by the Dust hill tonight." These were the only things which threw a cloud over the evenings amusement, for the audience generally were too taken up with their disappointment to be critical. They signified their approbation when the curtain fell, and putting a good face on the matter, went home in as good humour as could be expected "under the circumstances" . . .

ASSOCIATIONS: Amelia Meredith (actor)

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (22 March 1834), 2

http://nla.gov.au/nla.news-article2215699 

The performances on Thursday evening [20 March] were, Inkle and Yarico, No, and The Rival Valets. With respect to the opera itself, we believe it is pretty generally admitted, that divested of its chief (we would almost say, only) ornament, namely, the songs usually introduced in it, its merits fall short of mediocrity; but when, in addition to this circumstance, even a very circumscribed degree of talent in the performers is limited to at most two or three, the representation becomes insipid, and wholly uninteresting. That beautiful duet, "Oh say simple maid" was omitted, as were most of the other songs expressly written for the piece, from what cause, we cannot divine, as we are compelled to suppose, that Mrs. Taylor is capable of executing any of them; and if Mr. Grove should have discovered his own incompetency to accompany that lady, why was not the part of Inkle assigned to Mr. Knowles, whose talents as a performer, it is almost unnecessary to add, are unrivalled in our Sydney corps dramatique, and whose musical knowledge is represented to be considerable, as his vocal ability is unquestionably far from contemptible . . .

ASSOCIATIONS: Maria Taylor (actor, vocalist)

"THEATRICAL BENEFIT CONCERT", The Sydney Herald (21 April 1834), 2

http://nla.gov.au/nla.news-article12849167 

On Friday evening last [18 April], the principal performers of the Sydney Theatre gave their first Concert at the Pulteney Hotel. Owing to the short notice of the performances, and the bad state of the weather, (the rain having descended in torrents during the afternoon) the House was not filled to that degree as was expected, but, notwithstanding, there was a respectable audience. The entertainments opened with the Hunting Chorus, in "Der Freischutz," by the whole of the company, which obtained loud applause, - several gentleman remarking, that they had not heard such a full and harmonious piece of vocal music in the Colony . . . Mr. Grove sung "My Village Fair" better than usual . . . Part the Second commenced with the glee of "Drink to me only &c." . . . The "Minute Gun at Sea," by Messrs. Knowles and Grove followed, and was above mediocrity . . . "God save the King," by the whole of the Company, wound up the Evening's Amusements. On Saturday, another Concert was given at the Pulteney Hotel, which was rather thinly attended; the performers, however, sung with spirit, and the orchestra had improved. Another Concert will take place to-morrow evening (Tuesday), when a full house is expected.

ASSOCIATIONS: Pulteney Hotel (Sydney venue)

MUSIC: The huntsmen's chorus (Weber, from Der Freischütz); With my village fair no lass can compare (Guylot); The minute gun at sea (M. P. King, from Up all night; or, The smuggler's cave)

"To the Editor of . . .", The Sydney Gazette and New South Wales Advertiser (2 May 1835), 3

http://nla.gov.au/nla.news-article2198029 

Sir, I feel it my duty as reporter to your paper to answer a letter in the last Herald dated April 20th 1835 . . .
- I am, Sir, Your obedient Servant,
D. P. GROVE, Reporter (Sydney Gazette.)

[Advertisement], The Sydney Gazette and New South Wales Advertiser (8 September 1835), 3

http://nla.gov.au/nla.news-article2200094 

THEATRE ROYAL. SIMMONS'S BENEFIT NIGHT . . .
MONDAY EVENING Next, October 11th, 1835 . . .
THE FESTIVAL OF APOLLO In which will be sung the following Songs, Duetts, Chorusses, &c.,
The "Huntsman's Chorus" from Der Freischutz, BY THE ENTIRE VOCAL STRENGTH OF THE COMPANY . . .
A FAVOURIIE SONG BY MR. GROVE . . .

ASSOCIATIONS: Joseph Simmons (actor, vocalist, beneficiare)

"SYDNEY THEATRICALS", The Sydney Gazette and New South Wales Advertiser (25 February 1836), 2

http://nla.gov.au/nla.news-article2202925 

We omitted in our last to mention (except by a Correspondent) that "Catherine and Petruchio," or "Taming of the Shrew," was played on Saturday evening last [20 February] . . . To "Catherine and Petruchio" succeeded that hodge-podge concern, yclept - a "Theatrical Ohio," of which we can only say that "Olio," or Omelet, or "Olla Podrida," or whatever they may choose to call it, it was most truly malapropos. We'd as soon sit down and rise delighted - stored with the fumes of a Scotch haggis! An Olio of ten songs, after "Catherine and Petruchio," with a farce to come, the mercury in the thermometer mounting above 80^o, and pit and gallery in the clouds - are too many good things all at once - "pray you avoid them." "All's Well," by Mr. Knowles and Mr. Grove; "Now hope, now fear," by Mrs. Chester; and the "Huntsman's Chorus," from Der Freischutz, by the whole company, were much applauded, although we do not think they all deserved to be so . . .

ASSOCIATIONS: Marian Maria Chester (vocalist, actor)

MUSIC: All's well (Braham, from The English fleet in 1342)

Hobart Town, VDL (TAS) (16 November 1836 to 3 March 1838):

"TRADE AND SHIPPING", The Hobart Town Courier [VDL (TAS)] (18 November 1836), 3

http://nla.gov.au/nla.news-article4174125 

The brig Siren, 141 tons, Capt. Bell, (about which considerable anxiety prevailed, especially on Wednesday, in consequence of a report in town that the Thomas Lawrie had passed, in a severe gale of wind, the hull of a small vessel about that size bottom upwards) arrived on Wednesday evening all well, from Sydney 2d inst. - passengers . . . Mr. Groves . . .

"THEATRE", The True Colonist Van Diemen's Land Political Despatch [Hobart, VDL (TAS)] (9 December 1836), 5

http://nla.gov.au/nla.news-article203147362 

During the last week, the opera of the "Slave" has been produced at the Argyle Rooms with the greatest success. From the addition Mr. Meredith has lately had to his company, he was enabled to cast the piece as an opera, and introduce the music. Mrs. Clarke played Belinda, but we think rather lamely. The song of the Mocking Bird was powerfully executed, but it wanted taste. This lady has a powerful voice, but by no means a sweet one. Captain Clifton by Mr. Grove was a gentlemanly performance; in the course of the opera he introduced "Shades of Evening," and "March to the Battle Field," both of which met with the) applause they deserved; the latter was encored unanimously . . . On Wednesday the tragic play of "Pizarro" was performed in a highly creditable manner throughout . . . A song by Mr. Grove in Highland costume was executed by this gentleman with power and effect, and he was unanimously and deservedly encored . . . We understand the Opera of the Slave will be repeated tomorrow evening . . .

ASSOCIATIONS: Theatre Argyle Rooms (Hobart venue)

PIECE: The slave (Morton, music adapted by Bishop)

MUSIC: March to the battle field (Scottish national air, arr. Davy, words O'Meara, in Who'll serve the queen)

"THEATRE", The True Colonist Van Diemen's Land Political Despatch (16 December 1836), 4

http://nla.gov.au/nla.news-article203145491

ON Monday night [12 December], the Slave was played but with much less spirit than on the preceding performance . . . Mr. Grove's Captain Clifton was very fair and would have appeared to greater advantage had he affected less of the gentleman, he has much to learn and must become better acquainted with the powers of his voice, before he assumes a "singing face", nothing looks more contemptible than a professional singer beginning an air and at the end, when it rarely happens a singer can recover himself, discovering he is in the wrong key, such bad judgment often confuses an Orchestra, that is seldom complained of at our Theatre, for too often the case is Vice Versa. Mrs. Clark, played and looked her character well . . .

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist)

[News], Colonial Times [Hobart, VDL (TAS)] (20 December 1836), 6

http://nla.gov.au/nla.news-article8649605 

We notice the play of Hamlet is advertised for Wednesday next . . . There is one very great advantage in the tragedy of Hamlet, over most other pieces that have been performed, viz.- that it is almost impossible for Mr. Grove to introduce a single song, by which means the audience cannot fail of being relieved. If, in addition to this great desideratum, only one hour be lost between each act, so much the better; as it is, people will not spend their money to hear Mr. Grove "murder music," nor to be sent uncomfortably asleep, during, the acts, on the stringy-bark benches . . .

See also "Van Diemen's Land", The Sydney Monitor [NSW] (9 January 1837), 3

http://nla.gov.au/nla.news-article32154492 

. . . The COLONIAL TIMES [Hobart], in noticing the getting up of the Tragedy of Hamlet, at the Theatre, observes -
"There is one great advantage in the Tragedy of Hamlet, over most other pieces that have been performed, namely, that it is almost impossible for Mr. Grove to introduce a single song . . .

"THE THEATRE", The Tasmanian (23 December 1836), 7

http://nla.gov.au/nla.news-article232802014 

On Monday, Mr. Meredith afforded the visitors to the theatre a great musical treat. The favorite opera of Guy Mannering was performed in a manner which would have done credit to any theatre out of London. Of the "old hands," it is unnecessary to speak further, than that Mrs. and Mr. Meredith, Mrs. Clarke, Mrs. Mackay, and Miss Smith perfectly sustained their well merited reputation. Mr. Grove, a gentleman recently from the Sydney theatre, is a very industrious and deserving performer. He does his utmost to please, and, as is generally usual in such cases, succeeds. He has a good voice, and sings with much taste. Mr. Arabin, from London, is a promising actor, and we have no doubt will soon become a great favorite. It is impossible to speak too warmly of the Orchestra. It is sufficient to say, that three such performers as Mr. Peck, Mr. Reichenberg, and Mr. McLeod, are scarcely to be met with in any provincial theatre . . .

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist); Frances Mackay (actor); Gustavus Arabin (actor); Theatre Royal (Hobart venue)

Marriages solemnized in the Parish of St. David's, Hobart Town . . . in the year 1837; Tasmanian names index; NAME_INDEXES:823293; RGD36/1/3 no 3636

https://stors.tas.gov.au/NI/823293

https://stors.tas.gov.au/RGD36-1-3$init=RGD36-1-3P73 (DIGITISED)

No. 146 / 3636 / Daniel Parsons Grove of this Parish Bachelor
Bridget Dacres McCraw of this Parish Spinster / were married in this Church by Banns this [27 March 1837] . . .
[signatures] D. P. Grove / B. MrCrow [sic] / [witnesses] W. Dind, Eliza Dind . . .

ASSOCIATIONS: William and Eliza Dind (witnesses); note, this is not an original, but a transcript by a single scribe, who has spelt Bridget's forename differently each time, as above

"Mrs. Grove and Mr. Falchon", Bent's News and Tasmanian Three-Penny Register [Hobart Town, VDL (TAS)] (1 July 1837), 4

http://nla.gov.au/nla.news-article232486008 

We perceive an advertisement in this week's Paper, that Mrs. Grove and Mr. Falchon take a joint benefit on the "First Friday in July," as the old song goes - Fairlop Fair to wit; and we most heartily wish them every success. Mrs. Grove is a young Actress, but on many occasions has evinced proofs of the first order as to her qualifications for the stage . . .

ASSOCIATIONS: Arthur Falchon (actor, comedian, comic vocalist)

Sydney, NSW (14 March 1838 to 30 August 1846):

"Ship News:, The Sydney Gazette and New South Wales Advertiser [NSW] (15 March 1838), 2

http://nla.gov.au/nla.news-article2548362 

The Marian Watson, Shorter, master, returned to port yesterday, from Hobart Town; in consequence of the very strong winds blowing from the north lately, she was eleven days making her passage up, having sailed the 3rd instant . . . The following passengers have arrived in her. Cabin - Mr. and Mrs. Arabin . . . in the steerage, Mr. and Mrs. Grove, Mrs. Murray . . .

ASSOCIATIONS: Gustavus and Frances Arabin (actors, vocalist); Dinah Murray (actor, vocalist)

[News], The Sydney Gazette and New South Wales Advertiser (17 March 1838), 2

http://nla.gov.au/nla.news-article2540171 

The New Theatre Royal, Pitt-street, opens on Saturday, the 24th instant. The Company is not yet fully completed, but by an advertisement in another column we perceive that Mr. Wyatt is in attendance daily at the New Theatre for the purpose of entering into engagements with the members of "the dramatic profession." Mr. Gibson, brother-in-law to Mr. Wyatt, has returned from Hobart Town by the Marian Watson, bringing with him a strong re-inforcement from the Hobart Town corps dramatique, consisting of Messrs. Arabin, Falchon, and Hollis, and Mesdames. Murray, (late Miss Rudelhoff,) Grove, (late Miss Smith,) and Hollis, who have never made their debut before a Sydney audience, together with our old acquaintances Mrs. Mackay, (now Arabin,) and Mr. Grove . . .

ASSOCIATIONS: Joseph Wyatt (proprietor); Frederick Gibson (agent); ? James Hollis (actor); Royal Victoria Theatre (new Sydney venue)

[Advertisement], Commercial Journal and Advertiser (6 November 1839), 3

http://nla.gov.au/nla.news-article226453423 

Royal Victoria Theatre. MRS. CLARKE'S BENEFIT . . . THURSDAY, 7th November, 1839.
. . . The whole to conclude with (for the first time at this Theatre) the Musical Farce called THE POOR SOLDIER . . .
Captain Fitzroy - Mr. Knowles; Father Luke - Mr. Falchon; PATRICK - MRS. CLARKE
Dermot - Mr. Grove; Darby - Mr. Simmons; Bagatelle - Mr. Arabin
Boy - Miss Jones; Norah - Mrs. Cameron; Kathlane - Mrs. Taylor
In the course of the Piece, the Original Music will be sung as follows: . . .
ACT II . . . Song - Dear Sir this Brown Jug - Mr. Grove
Song - Ballymona Ore - Mr. Falchon
Song - Stay sweet Enchanter of the Grove - Mrs. Taylor
Quartette - Go Fuddle all your Noses - Messrs. Falchon, Grove, Simmons, and Mrs. Taylor.
Finale - By the Characters . . .

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist); Maria Taylor (actor, vocalist); Cordelia Cameron (actor, vocalist)

PIECE: The poor soldier (O'Keefe)

MUSIC: Dear Sir, this brown jug (William Shield, a favorite song in The poor soldier)

Baptisms, St. James's church, Sydney, 11 October 1840; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30141153203 (PAYWALL)

16 November 1840 / born 11 October 1840 / Jessie Elizabeth daughter of / Daniel Parson[s] and Bridget Dacres / Grove / Sydney / Comedian

[Advertisement], Commercial Journal and Advertiser (14 October 1840), 3

http://nla.gov.au/nla.news-article226454644 

ROYAL VICTORIA THEATRE. LAST NIGHT OF THE SEASON . . .
FOR THE BENEFIT OF Mrs. Knowles . . .
THURSDAY OCTOBER 15 . . . The Entertainments will commence with the celebrated Operatic Play, in Three Acts; called THE SLAVE.
With the Original Music, Songs, and Choruses . . .
Clifton (a Captain in the English army) - Mr. Arabin
Malcolm (a Scotch naval officer) - Mr. Grove
Colonel Lindenburg (in the Dutch service) - Mr. Spencer . . .
In the course of the Piece the following Songs will be introduced:
"Oft in the stilly Night" - Mr. Groves [sic] . . .
"Draw the Sword Scotland" - Mr. Grove . . .

ASSOCIATIONS: Harriet Knowles (actor, vocalist, "Mrs. Jones" and "Mrs. Love" above); Albert Spencer (actor)

MUSIC: Oft in the stilly night (Moore and Stevenson)

[Advertisement], Free Press and Commercial Journal (1 May 1841), 2

http://nla.gov.au/nla.news-article228246720 

Royal Victoria Theatre. MR. KNOWLES . . .
BENEFIT . . . MONDAY, MAY 3, 1841 . . .
SHYLOCK; OR, THE MERCHANT OF VENICE . . .
Shylock, the Jew - MR. KNOWLES . . .
Lorenzo, the Lover of Jessica, with songs - Mr. Grove . . .
Jessica, the Jew's daughter - Miss Winstanley . . .
In the course of the play the popular songs -
"Oft in the stilly night," Mr. Grove.
"The Maid of Judah," first time, Miss Winstanley.
"When time hath bereft thee," Mr. Grove . . .

ASSOCIATIONS: Eliza Winstanley (actor, vocalist)

MUSIC: When time hath bereft thee (arr. Cooke, from Auber's Gustavus III)

"THEATRICALS", Sydney Free Press (7 September 1841), 2

http://nla.gov.au/nla.news-article226357161 

The tragedy of PIZARRO was produced at the Victoria on Thursday evening last, in which Mrs. G. Thompson made her debut as Elvira, with great success . . . The other characters of the Piece were also very well sustained, although en-passent, we may take the liberty of suggesting to Mr. Grove that dead men do not usually sing so loud as he did on the evening in question, in the character of Pizzaro, while lying on the stage in the last scene . . .

ASSOCIATIONS: Martha Thomson (actor)

PIECE: Pizarro (Sheridan)

"THEATRE", Australasian Chronicle (22 January 1842), 2

http://nla.gov.au/nla.news-article31734827 

Mrs. Grove's benefit came off on Thursday evening. There was a very fair attendance, but the house was by no means filled. The drama of Rob Roy with songs went off well, and was received with great approbation. Falchon played the part of Francis Osbaldistone very well; his singing throughout was good. Grove sustained the character of the McGregor very effectively . . .

PIECE: Rob Roy Macgregor (Pocock, music by Bishop and Davy)

"Theatricals", The Sydney Gazette and New South Wales Advertiser (27 January 1842), 2

http://nla.gov.au/nla.news-article2555612 

With last night the season of the Victoria Theatre closed, with the exception of the benefit of Mons. Charriere on Monday evening, and the Sydney audience will have time to recover from the surfeit of novelties which the Acting Proprietor has, evening after evening, laid before the public to tempt their almost palled appetite . . . Mrs. Grove is a pleasing actress, but we understand that this season closes her theatrical career . . .

ASSOCIATIONS: William Knight (acting proprietor, which Joseph Wyatt, above, was recruiting actors in England); Mons. Charriere (actor, dancer)

"NEWS OF THE DAY . . . GROVE'S BENEFIT", The New South Wales Examiner (11 July 1842), 3

http://nla.gov.au/nla.news-article228247919 

It will be seen by an advertisement in another column, that Mr. Grove takes his benefit at the Victoria Theatre this evening; and, if we may judge from the attractive bill of fare he has provided for the occasion, we have little doubt that his exertions through the present toilsome season, will be amply rewarded by an overflowing house. Mr. Grove, if not a star of the first magnitude, is, at least, an useful and industrious member of the dramatic corp, and one of its oldest candidates for popular favour.

Baptisms, St. James's church, Sydney, 3 September 1843; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30311055902 (PAYWALL)

3 September 1843 / born 30 July 1843 / Elizabeth Jane daughter of / Daniel and Jane / Grove / Castlereagh Street / Comedian

"NEW INSOLVENTS", Australasian Chronicle (27 September 1843), 2

http://nla.gov.au/nla.news-article31741147 

Daniel Parsons Grove, of Castlereagh-street, Sydney, comedian. Debts, 50l 18s 6d. Assets - personal property, 11l; outstanding debts, 20l 7s 4d. Balance, deficiency, 19l 1s 2d.

[Advertisement], The Sydney Morning Herald (27 March 1844), 1

http://nla.gov.au/nla.news-article12415173 

ROYAL VICTORIA THEATRE. FOR the BENEFIT of Mr. FENTON . . .
THIS DAY, THE 27th MARCH, 1844, Will be presented the Scottish Drama entitled
THE ROSE OF ETTRICK VALE, OR, THE BRIDAL OF THE BORDERS.
Old Adam of Teviot - Mr. Fenton.
In the course of the evening, the following Songs, Duets, &c.
"WHAT HAS BECOME OF SYDNEY?" Second and last time, by Mr. Simmons . . .
Song - "Dear Sir, this brown jug," Mr. Grove
Quartette - "Fuddle all your noses" - Messrs. Fenton, Grove, Simmons, and Mrs. Gibbs
Finale - "With my commission," Mrs. Bushelle, Mrs. Gibbs, Mrs. Wallace, Mr. Simmons, Mr. Fenton, and Mr. Grove . . .

ASSOCIATIONS: Charles Fenton (actor, vocalist); Joseph Simmons (actor, vocalist); Eliza Gibbs (actor, vocalist); Eliza Bushelle (actor, vocalist); Caroline Wallace (actor, vocalist)

PIECE: The Rose of Ettrick Vale (Thomas John Lynch)

[Advertisement], The Sydney Morning Herald (16 January 1845), 2

http://nla.gov.au/nla.news-article12876750 

ROYAL VICTORIA THEATRE. First night of the celebrated
English Opera of LOVE IN A VILLAGE, With the original Music, Songs, Chorusses, &c.
THIS EVENING, JANUARY 16 . . .
In the course of the Opera, the following songs, duets, &c. . . .
Song, "When I courted a lass," Mr. Grove . . . Medley and Chorus, by all the Characters . . .

PIECE: Love in a village (by Isaac Bickerstaff, music by Thomas Arne);

MUSIC: When I courted a lass (song, originally "When I followed a lass that was froward and shy . . .")

"THEATRICALS", The Australian (31 May 1845), 3

http://nla.gov.au/nla.news-article37157277 

THE promised romantic opera, THE FAIRY LAKE, had its maiden representation in this colony on Monday evening last [26 May], with an overflowing house to witness it . . . an unpretending little piece, extremely well got up . . . The main business of the piece was confided to Mesdames Carandini and O'Flaherty, Mr. J. Howson and Mr. Grove; all of whom, in their respective departments, fulfilled their trust with considerable efficiency . . . Mr. Grove's Count de Cronembourg was, in every respect, a more faithful delineation of character, than any we have seen from that gentleman for some time past; it possessed both accuracy of conception, and skilfulness in the performance . . .

ASSOCIATIONS: John Howson (actor, vocalist); Maria Carandini (actor, vocalist); Eliza O'Falherty (Miss Winstanley above

PIECE: Howson's musical adaptation of Auber's Le lac de fées, based on The fairy lake; or, The magic veil (as adapted by Selby and Alexander Lee)

"THEATRICALS", The Australian (7 June 1845), 3

http://nla.gov.au/nla.news-article37158180 

We have this week been presented with another romantic Opera - the best, perhaps, of the kind - Rob Roy . . . but with the musical part of the business we are by no means satisfied. The original music, and songs of the Opera, have not been strictly followed, and above all, the beautiful Tramp chorus, at the end of the second act, has been struck out . . . Mr. Grove played Rob Roy vigorously, and well. His physical appearance is rather inadequate to convey a correct idea of the original; and one or two other critical exceptions might perhaps be taken: but we are not disposed to specify trifling blemishes, where the good points so greatly preponderate. We are glad to see Mr. Grove resume his wonted energy and spirit; he has latterly evinced a signal improvement in this respect. We take him to be an educated man, possessing good capabilities, and, as he is of some years standing in the profession, we think this gentleman unjust to himself, and to the public, in relaxing energies, which might be so successfully applied . . .

Baptisms, St. James's church, Sydney, 10 August 1845; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30311055902 (PAYWALL)

10 August 1845 / born 16 July 1845 / Alice Mary daughter of / Daniel and Jane / Grove / Castlereagh Street / Comedian

ASSOCIATIONS: Alice Mary Grove; married Archibald McKinnon, NSW, 1863; died NSW, 1882

"THE THEATRICAL EXAMINER", The Examiner (30 August 1845), 29

http://nla.gov.au/nla.news-article228062778 

When we heard that the management of the Victoria intended to produce Weber's Der Freischutz, with the present inadequate company, we had a gloomy presentiment of the painful disappointment which awaited the lovers of German music; and we sincerely wished that some judicious friend of the proprietors, would urge them to follow the advice we took leave to offer on the occasion of the late violence done to Auber's Fra Diavolo. But murders, are contagious . . . The Incantation scene, was denuded of all its attributes of fearful diablerie; and the evil spirits, from Zamiel downwards, by their grotesque antics and drolleries, brought back boxing-day, and its attendant comic pantomime, rather than the days of the Flagellum Demonum, and the Malleus Maleficarum. Surely Mr. Grove, who on most occasions is a judicious adjunct, ought to be aware that Zamiel should inspire terror, not laughter: yet his burlesque of this difficult character marred the entire effect of the opera . . .

Melbourne, NSW (VIC) (5 September 1846 to 24 May 1847):

"ARRIVED", Port Phillip Gazette and Settler's Journal (9 September 1846), 2

http://nla.gov.au/nla.news-article225064188 

September 5 - Christina, brig, Saunders, master, from Sydney. Passengers - . . . Mr. Groves . . .

"THINGS THEATRICAL", The Melbourne Argus [NSW (VIC)] (8 September 1846), 2

http://nla.gov.au/nla.news-article4760007 

By the Christina, Mr. D. P. Grove, one of the earliest of the Sydney performers in the walking gentleman and genteel comedy line, has arrived in the province. In the present state of the company, Mr. Grove will be a great acquisition. Mr. Batters, a former member of the Melbourne corps dramatique, is also about to make his appearance. Mr. Moreton King, the Sydney tragedian, has not arrived, but is expected by the Shamrock.

ASSOCIATIONS: Richard Batters (actor); Morton King (actor)

[Advertisement], The Melbourne Argus (1 January 1847), 2

http://nla.gov.au/nla.news-article4760761 

NEW YEAR'S NIGHT. GREAT ATTRACTION.
RE-APPEARANCE of Madam VEILBURN. FRIDAY (this evening)
the performances will commence with a romantic Scottish drama, entitled,
THE WARLOCK OF THE GLEN. In the course of the piece a village dance by the company.
After which Scotch Pas Suel, by Madame Veilburn.
Song - "Draw the Sword Scotland," Mr. Groves.
Song - Mr. Hambleton. Song - Mrs. Richards . . .
Mr. J. T. SMITH, Proprietor.

ASSOCIATIONS: Madame Veilburn (dancer); John Hambleton (actor, vocalist); Dorothea Richards (vocalist); John Thomas Smith (proprietor); Queen's Theatre (Melbourne venue)

[Advertisement], The Port Phillip Patriot and Morning Advertiser (18 January 1847), 3

http://nla.gov.au/nla.news-article226353641 

QUEEN'S THEATRE ROYAL. THIS EVENING (Monday), Jan. 18.
TIMOUR THE TARTAR . . . Song - Mrs. Richards; Dance - Madame Veilburn
Song - Mr. Grove; Song - Mr. Hambleton
To conclude with THE VALET DE SHAM . . .
J. T. SMITH, Proprietor

PIECES: Timour the Tartar (Lewis); Valet de Sham (Selby)

"DIED", The Melbourne Argus (25 May 1847), 2

http://nla.gov.au/nla.news-article4761598 

Suddenly, yesterday morning, Mr. Daniel Parsons Grove, Stage Manager at the Queen's Theatre Royal - for the last fifteen years a talented and useful member of the colonial corps dramatique.

"AWFULLY SUDDEN DEATH", The Port Phillip Patriot and Morning Advertiser (25 May 1847), 2

http://nla.gov.au/nla.news-article226515494 

An inquest will be held today, upon the body of Mr. Daniel Parsons Grove, the comedian, who expired suddenly yesterday morning at the Rose, Thistle, and Shamrock Tavern, in Elizabeth-street. Mr. Grove attended to his business as usual on Saturday, and appeared in perfect health a very short period prior to his demise. It is to be feared that death in this case adds another to the many instances of the fatal effects resulting from habits of intemperance.

"CORONER'S INQUEST", The Melbourne Argus (25 May 1847), 3

http://nla.gov.au/nla.news-article4761599 

An inquest was holden at the Rose, Shamrock, and Thistle Inn, Elizabeth-street, yesterday, before W. B. Wilmott, Esq., coroner, on view of the body of Daniel Parsons Grove, late stage manager of the Queen's theatre.
Mr. James Woodlock, landlord of the Rose, Shamrock, and Thistle, deposed that deceased had lodged in his house ever since witness had held a license, that he had usually slept during the day and been out at night, that he had ate but little, and continually drank small quantities of spirituous liquors; that during Sunday night he sat up with deceased who had strong convulsive fits at intervals and died on the following morning.
Mr. Thomas Toole deposed to having known deceased for 16 years, during the whole of which time he had been a hard drinker; witness stated that deceased came home late on Saturday night in a state of intoxication, that deceased went to bed, and witness did not see him again until six o'clock on Sunday evening, when witness found him lying on the floor of the room in which he slept in a state of insensibility; that Dr. Black was sent for, but deceased expired next morning.
Dr. Black deposed to being called in between ten and eleven o'clock on Sunday evening, and finding deceased labouring under all the symptoms of "delirium tremens," and expressed an opinion that deceased died from excessive use of ardent spirits.
Verdict - "Died from the effects of the intemperate use of ardent spirits."

ASSOCIATIONS: Thomas Toole (carpenter, theatrical mechanist)

"MELANCHOLY DEATH", The Sydney Morning Herald (5 June 1847), 2

http://nla.gov.au/nla.news-article12896768 

Mr. D. P. Grove, late Stage Manager of the Queen's Theatre, died very suddenly on the morning of Monday last. An inquest was held on his remains the same afternoon at the Rose, Thistle, and Shamrock, when the Jury returned a verdict of "died from the effects of the intemperate use of ardent spirits." Yesterday afternoon his remains were interred in the Melbourne burying ground, and were followed to their last resting place by a numerous and respectable assemblage of his friends. He was laid by the side of the lamented Knowles, who also fell, a victim to the demon of alcohol - Port Phillip Gazette.

Bridget, after 1847:

Marriages solemnized in the parish of St. Peter's Melbourne in the county of Bourke in the year 1851; register 1848-53, page 81; St. Peter's Eastern Hill

https://www.ancestry.com.au/search/collections/9732/records/63470 (PAYWALL)

No. 321 / Alexander McDermid of this parish widower and Bridget Grove of this parish widow
were married in this church by banns this [12 May 1851] . . .

"DEATHS", The Mercury [Hobart, TAS] (4 January 1871), 1

http://nla.gov.au/nla.news-article8865430 

On 2nd January, Jessie McCraw, aged 81 years. The funeral will move from her late residence, No. 14, Forrest Road, on Thursday morning, at 8 o'clock, when friends are invited to attend. Melbourne, Geelong, and Gipps Land papers please copy.

[Advertisement], Launceston Examiner [TAS] (27 June 1876), 4

http://nla.gov.au/nla.news-article37142277 

HEIRS WANTED. - If Mrs. Bathia Gordon McCraw or Anderson, and Mrs. Bridget Dacer McCraw or McDiarmid,
both daughters of the late Mrs. Jessie Orrok or McCraw, of Hobart Town, Van Diemen's Land, or their children,
will apply to Messrs. Haldanes and Brookman, Writers to the Signet, 17, Charlotte Square, Edinburgh, Scotland,
they will hear of something to their advantage. Edinburgh, 2nd May, 1876.

"MISSING FRIENDS . . . HEIRS WANTED", Reports of crime [Tasmania] (18 August 1876), 130

https://www.ancestry.com.au/search/collections/60883/records/86706 (PAYWALL)

INFORMATION is requested of the whereabouts of Mrs. Bathia Gordon, or Anderson, and Mrs. Bridget Dacer McCraw, or McDairmid, (both daughters of the late Mrs. Jessie Orrok or McCraw, of Hobart Town), or their children. Communicate with this office.

[Advertisement], The Mercury [Hobart, TAS] (15 March 1886), 1

http://nla.gov.au/nla.news-article9118991 

NOTICE is hereby given that a Summons of Multiplepoinding and Exoneration has been raised, and is now depending before the Lords of Council and Session in Scotland, Lord Kinnear (Ordinary), Mr. Somerville, Clerk, at the instance of James Alexander Haldane, sometime of Edinburgh, Writer to the Signet, and now residing at the Lodge, Keith, in the County of Banff, and another,
the Executors of the late Miss Margaret Orrok, sometime residing at No. 50, Great King-street, Edinburgh,
Pursuers and Real Raisers, against Mrs. Bridget Dacer McCraw, or McDiarmid, wife of McDiarmid, and sometime residing in Hobart Town, Van Diemen's Land,
but whose present address is to the Pursuers unknown, and others, Defenders, for determining the rights of parties entitled to one half of the residue of the means and estate of the said deceased Margaret Orrok, in which action the Lord Ordinary has pronounced the following Interlocutor: -
"12th January, 1860. Lord Kinnear Act Macintyre. The Lord Ordinary finds the Pursuers liable only in once and single payment, holds the condescendents annexed to the Summons as a condescending of the fund in medio, and appoints all parties claiming an interest in the fund to lodge their condescendences and claims by the first SEDERUNT DAY in MAY NEXT. Further, appoints intimation of the dependence of this action to be made twice a week for three successive weeks in the following newspapers, viz.: The Argus, Melbourne, and the Mercury, Hobart Town, Tasmania. A. S. KINNEAR."
Of all which intimation is hereby made.
LINDSAY HOWE & CO., W.S., Agents for Pursuers and Real Raisers, 32, Charlotte Square, Edinburgh, 12th January, 1886.

"IN MEMORIAM", Gippsland Times [VIC] (5 February 1912), 2

http://nla.gov.au/nla.news-article65317613 

McCRAW. - In memory of my dear Mother, who died 4th February, 1906, Bathie Gordon McCraw, relict of the late James Coran Anderson, eldest daughter of late George McCraw, Esq., of Fenton Forest, Newtown, Tasmania, grand daughter of Colonel Orrok, of Orrok R.A., and Captain McCraw, R.N., Edinburgh, and beloved mother of Mrs. Eliza Martin, Netherlands, Sale, Gippsland.

Bibliography and resources:

Daniel Parsons Grove, Find a grave

https://www.findagrave.com/memorial/261758036/daniel-parsons-grove 

GUENETT, Thomas Harbottle (Thomas Harbottle GUENETT; T. H. GUENETT; Mr. GUENETT)

Musician, professor of music, teacher, music critic / reviewer (Argus), composer, pupil of Ebenezer Prout and Charles Halle, teacher of Nellie Melba, and Henry Handel Richardson

Born Fleetwood, Lancashire, England, 22 June 1850
Arrived Melbourne, VIC, December 1872
Died East St. Kilda, VIC, 10 September 1902, aged "52/53"

https://trove.nla.gov.au/search?l-publictag=Thomas+Harbottle+Guenett+1850-1902 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GUENETT-Thomas-Harbottle (shareable link to this entry)

THIS ENTRY IS A STUB ON PERSONNEL FIRST ACTIVE IN AUSTRALIA AFTER 1860

Documentation:

[Advertisement], The Argus [Melbourne, VIC] (11 January 1873), 8

http://nla.gov.au/nla.news-article5846137

TOWN HALL. GRAND COMPLIMENTARY BENEFIT To Mr. GEO. COPPIN
And HIS FINANCIAL ASSOCIATES In the INTERCOLONIAL MUSICAL FESTIVAL . . .
THIS EVENING, JANUARY 11. PROGRAMME . . .
PART II . . . 6. March for Organ - Guenett - Mr. T. H. GUENETT (Lately arrived from London, first appearance in Australia) . . .

"Marriages", The Argus (22 July 1874), 1

http://nla.gov.au/nla.news-article5874856

GUENETT - GEARD. - On the 18th inst., at St. Mary's, Balmain, Sydney, by the Rev. H. Langley, Thos. H Guenett to Ellen Geard, eldest daughter of Thos. S. Geard, of London. No cards.

"A DISTINGUISHED CRITIC AND MUSICIAN. SOME PERSONAL REMINISCENCES. 'SENSITIVE' SINGERS AND COMPOSERS (By J. L. F.)", The Mercury [Hobart, TAS] (10 April 1901), 5

http://nla.gov.au/nla.news-article12837321

It is announced that Mr. T. H. Guenett, the well-known Melbourne musician, has retired from the office of musical critic for the "Argus," after having filled the position for a dozen years . . .

"DEATHS", The Argus (11 September 1902), 1

http://nla.gov.au/nla.news-article9074469

GUENETT. - On the 10th September, at Fernvale, Fulton-street, East St. Kilda, Thomas Harbottle, only son of the late Rev. John Farnham Guenett, Devonshire, England, in his 53rd year.

"PERSONAL", The Argus (11 September 1902), 6

http://nla.gov.au/nla.news-article9074565

It is with very deep regret that we have to announce the death of Mr. T. H. Guenett, for many years musical critic of The Argus and The Australasian, which took place at his residence, Fulton-street, East St. Kilda, yesterday after a brief illness. Mr. Guenett was the only son of the late Rev J. Farnham Guenett, and was born in Devonshire in 1850. He completed his musical education under Sir Charles Halle, and came to Melbourne 28 years ago. Since then he has been a prominent figure in the local music world. He originated and carried on for some years the Melbourne Popular Concerts which did much to educate the musical taste of the city. His most famous pupil was the lady now known to the world as Madame Melba, and it adds to the pathos of Mr. Guenett's somewhat sudden death that up to the past few days he was looking forward with eagerness to renewing his acquaintance with his illustrious pupil. In 1888 Mr. Guenett became musical critic of The Argus and The Australasian, and in the following year he made a tour of England and the Continent. Mr. Guenett retained his position on The Argus until about two years ago, when he retired. He formerly held the position of organist at the Toorak Presbyterian Church, and at the time of his death was organist at the West Melbourne Presbyterian Church . . .

Bibliography and resources:

"Guenett, Thomas Harbottle", The dictionary of Australasian biography (1892), 204-05

https://archive.org/stream/TheDictionaryOfAustralasianBiography/The_dictionary_of_Australasian_biography_002#page/n219/mode/2up (DIGITISED)

GUERIN FAMILY

GUERIN, James (James GUERIN; James F. GUERIN; J. GUERIN; Mr. GUERIN; also GUERINE; GEARIN; GEARING)

Musician, professor of music, violinist, theatre orchestra player, actor

Born Limerick, Ireland, 21 October 1814; baptised, St. Michael's, Limerick, 24 October 1814; son of James GUERIN and Margaret SMYTH
Arrived Sydney, NSW, by May 1843
Died Sydney, NSW, 9 March 1856, aged "41"

https://trove.nla.gov.au/search?l-publictag=James+Guerin+1814-1856 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GUERIN-James (shareable link to this entry)

GUERIN, Theodosia (Theodosia YATES; Miss YATES; [1] Mrs. Alexander MACINTOSH; alias Mrs. STIRLING; [2] Mrs. James GUERIN; Mrs. GUERIN; [3] Mrs. Richard STEWART)

Musician, soprano vocalist, pianist, teacher of music and singing, actor

Born England, 12 April 1815; baptised Rye, Sussex, 20 April 1815; daughter of Thomas Irvine YATES and Mary CROSHAW
Married [1] Alexander MACINTOSH (d. 1841), St. Mary's Lambeth, London, England, 23 December 1838
Arrived Hobart Town, VDL (TAS), 28 January 1842 (passenger per Sydney, from London, and the Downs 3 October 1841)
Active professionally as "Mrs. STIRLING", 1842-46
Arrived Sydney, NSW, 24 July 1845 (per Urgent, from Hobart Town, 17 July)
Married [2] James GUERIN, Sydney, NSW, August 1846
Active professionally as Mrs. GUERIN, from August 1846
Married [3] Richard STEWART (TOWZEY) (1827-1902), NSW, 1857
Continued to be active professionally as Mrs. GUERIN, to 1861
Died Melbourne, VIC, 19 July 1904, aged "89/90"

https://trove.nla.gov.au/search?l-publictag=Theodosia+Yates+Macintosh+Stirling+Guerin+Stewart+1814-1904 (TROVE tagged by Australharmony)

https://trove.nla.gov.au/search?l-publictag=Theodosia+Stirling [1842-46] (TROVE tagged by Australharmony)

https://trove.nla.gov.au/search?l-publictag=Theodosia+Guerin [1846-57] (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1658709 (NLA persistent identifier)

https://en.wikipedia.org/wiki/Theodosia_Stirling (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GUERIN-Theodosia (shareable link to this entry)

ASSOCIATIONS: Richard Stewart (third husband); Nellie Stewart (daughter)

GUERIN, Docy (Theodosia GUERIN, junior; Miss Docy STEWART; Docie STEWART; [1] Mrs. James COLLINS; [2] Mrs. Henry HARWOOD; [3] Madame CHAMBOSSIER)

Actor, vocalist

Born Sydney, NSW, 10 July 1849; baptised St. James, Sydney, 19 August 1849; daughter of James GUERIN and Theodosia YATES
Married [1] James COLLINS (1846-1884), Melbourne, VIC, 31 May 1870
Married [2] Henry Richard HARWOOD (1830-1898), Melbourne, VIC, 22 November 1887
Married [3] Pierre Joseph CHAMBOSSIER (1854-1913), Sydney, NSW, 1909
Died Richmond, VIC, 6 December 1936

http://nla.gov.au/nla.party-1645047 (NLA persistent identifier)

http://www.ausstage.edu.au/pages/contributor/441399 (AusStage)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GUERIN-Docy-STEWART (shareable link to this entry)

GUERIN, Maggie (Margaret Eliza GUERIN; Miss Maggie STEWART)

Actor, vocalist

Born Sydney, NSW, 11 October 1851; baptised St. James, Sydney, 4 January 1852; daughter of James GUERIN and Theodosia YATES
Died Melbourne, VIC, 1903

http://www.ausstage.edu.au/pages/contributor/408361 (AusStage)

https://sydney.edu.au/paradisec/australharmony/register-G-3.php#GUERIN-Maggie-STEWART (shareable link to this entry)

Summary:

James Guerin:

James Guerin had arrived in Sydney, NSW, by 1843, when he appeared in a listing of government employees as a clerk in the immigration department. In March that year he was also billed to appear in an onstage role at the Royal City Theatre. Probably by 1844 he was a regular member of the band at the Royal Victoria Theatre. In Isaac Nathan's series of Australian Philharmonic Concerts in June 1844 he played second violin with Henry O'Flaherty, and at Stephen Marsh's concert in November 1845 with O'Flaherty and George Strong, both also members of the Victoria band. He also played in the band at the concert of John Deane junior's Australian Harmonic Club in June 1846. He married Theodosia Yates (widow Macintosh) in August 1846. James was last named as a member of the Victoria orchestra in 1854. He died on 9 March 1856.

Theodosia Yates:

Theodosia Yates was born into a theatrical family, and at the time of her first marriage, to Alexander Macintosh, a book binder, in December 1838, had been or was still a member of the company at Drury Lane theatre, by her own later report as a chorus leader.

Recently widowed, and with an infant daughter, Maria, she was recruited by Anne Remens Clarke in London for her company at the Royal Victoria Theatre, Hobart, and at the end of October 1841 she sailed for Van Diemen's Land with Clarke and her husband Michael, Frank Howson, his wife Emma, and brothers John Howson and Henry Howson, the dancer Gerome Carandini, and Emma Young.

Listed on arrival in Hobart in January 1842 as Mrs. Macintosh, from her first concert appearance there, in February, singing Alexander Lee's The hunter's signal horn, she coined the stage name "Mrs. Stirling", perhaps to suggest some connection with a rising close contemporary at Drury Lane, Mary Anne Kehl (Mrs. Edward Stirling).

She continued to appear as a concert singer, and as an actor and vocalist with Clarke's theatre company in Hobart and Launceston, and was reportedly also in demand as a music teacher.

Following the Howsons to Sydney, she made her first appearance there in August 1846 at the Royal Victoria Theatre as Zerlina in Rophino Lacy's English adaptation of Auber's Fra Diavolo, and was subjected to a disappointed critique in The Australian. Over the coming months, however, the paper's reviewer warmed to her capacities as a singer, as well as an actor.

She appeared as Mrs. Stirling in Balfe's The Bohemian girl in July 1846, but was being billed as "Mrs. Guerin (late Mrs. Stirling)" in August. She appeared in Isaac Nathan's opera Don John of Austria in 1847, and in the first complete Sydney performance of Wallace's Maritana in April 1849, followed by his Matilda of Hungary in March 1850.

In January 1855, Theodosia was unable to appear at the theatre "in consequence of Mr. Guerin being suddenly and seriously indisposed". Her second husband, James Guerin, died in March 1856.

In Sydney in 1857, Theodosia married fellow actor-singer, Richard Towzey, who used the stage name Richard Stewart. She herself, however, continued for the last years of her career to appear as Mrs. Guerin. Having meanwhile moved with her family to Melbourne, she retired more or less permanently from the stage, after appearing with her husband and Rosa Dunn in The Colleen Bawn at the Princess's Theatre in January 1861.

Documentation:

James Guerin (1814 to July 1845):

Register of baptisms, St. Michael's church, Limerick city, 1814; register 1814-19; National Library of Ireland

https://registers.nli.ie/registers/vtls000635023?locale=en#page/20/mode/1up (DIGITISED)

[1814 October] 24 / Baptised by the Rev. Patrick Hogan / James son of James Guerin and Mary Smyth, sponsors Honora Murphy & Stephen McSweeny

Civil establishment of New South Wales for the year 1843; State Records Authority of NSW, 1286

https://www.ancestry.com.au/search/collections/1737/records/66139?tid=7686294 (PAYWALL)

. . . Guerin, James / Clerk Immigration office . . .

[Unclaimed letters], Australasian Chronicle [Sydney, NSW], (7 March 1843), 4

http://nla.gov.au/nla.news-article31739059 

. . . James F. Guerine, Esq. . . .

[Advertisement], The Sydney Morning Herald [NSW] (29 May 1843), 2

http://nla.gov.au/nla.news-article12427124

ROYAL CITY THEATRE. Proprietors, Messrs. SIMMONS and BELMORE . . .
THIS EVENING, MONDAY, the 29th May, 1843 . . .
At Seven o'clock the Orchestra will play the Overture to the Barber of Seville, and a favourite Overture by Haydn.
After which . . . for the first time here, a Drama, of deep interest, in two Acts,
founded on an American tale, entitled THE EMIGRANT'S DAUGHTER; or, THE NEUTRAL GROUND
. . . Lieutenant Lowton, Mr. Guerin . . .
Stage Manager, Mr. C. KNOWLES.

ASSOCIATIONS: Joseph Simmons (actor, manager); Charles Fenton (actor, manager); Conrad Knowles (actor, manager); Royal City Theatre (Sydney venue)

[Advertisement], The Sydney Morning Herald (25 June 1844), 3

http://nla.gov.au/nla.news-article12425271

AUSTRALIAN PHILHARMONIC CONCERTS . . .
THE Fourth Weekly PHILHARMONIC CONCERT in this Colony . . .
t the Royal Hotel, on WEDNESDAY next, the 26th June, 1844 . . .
The whole under the management and direction of Mr. Nathan . . .
PART I. OVERTURE - Paer . . . PART II. OVERTURE - Cimarosa . . .
LEADER - Mr. Edwards. First violin, Mr. Wilson; second violins, Mr. O'Flaherty, Mr. Guerin . . .

ASSOCIATIONS: Isaac Nathan (conductor); John Edwards (violin, leader); Mr. Wilson (violin); Henry Charles O'Flaherty (violin); Australian Philharmonic Concerts (series); Royal Hotel (Sydney venue)

Theodosia Yates - England, to 1841:

Baptisms, St. Mary, Rye, Surrey, 1815; England & Wales, Christening index

https://www.ancestry.com.au/search/collections/1351/records/220288 (PAYWALL)

20 April 1815 / Theodosia daughter of / Thomas and Mary / Yates

? Banns of marriage, St. Anne, Soho, 1831; register 1830-35; City of Westminster Archives Centre

https://www.ancestry.com.au/search/collections/61867/records/92324776 (PAYWALL)

Banns of marriage between West Digges & Theodosia Yates were read [28 August, 4 and 11 September 1831.

ASSOCIATIONS: No actual marriage was recorded; West Digges was probably the actor of that name (c. 1799-1869), grandson of the celebrated West Digges (actor)

1838, marriage solemnized at the parish church in the parish of St. Mary Lambeth in the county of Surrey; register 1835-38, page 239; London Metropolitan Archives, P85/MRY1/413

https://www.ancestry.com.au/discoveryui-content/view/records?recordId=2391705&collectionId=1623 (PAYWALL)

[No.] 477 / 23rd Dec'r 1838 / Alexander Macintosh / Of full age / Bachelor / Book binder / Herbert Square / [father] James Macintosh / Boot maker
Theodosia Yates / Of full age / Spinster / Herbert Square / Thomas Irvine Yates / Comedian dec's'd

Baptisms solemnized in the Parish of St. Mary Lambeth in the county of Surrey in the year 1839; register, 1834-41, page 26; London Metropolitan Archives, P85/Mry1/362

https://www.ancestry.com.au/search/collections/1558/records/1844741 (PAYWALL)

No. 208 / [1839] Dec'r 15 / Maria daughter of / Alexander & Theodosia / Macintosh / Pleasant Place / Book binder . . .

Hobart Town - Theodosia (28 January 1842 to 17 July 1845):

"SHIPPING INTELLIGENCE. PORT OF HOBART TOWN. Arrivals", The Courier [Hobart Town, VDL (TAS)] (28 January 1842), 2.

http://nla.gov.au/nla.news-article2954943 

28 - the Sydney, from London, last from the Downs on the 3rd October - passengers . . . Mr. and Mrs. Clark and child . . . J. Carandini, F. Howser, wife, and child, Henry and John Howser, S. Macintosh and child, Emma Young.

ASSOCIATIONS: Anne Clarke (actor, vocalist, manager) and husband, Michael, and child Anne; Frank Howson (actor, musician), Emma Howson (actor, dancer); John Howson (actor, musician); Henry Howson (musician); Gerome Carandini (actor, dancer); Emma Young (actor, dancer, vocalist)

Mrs. Stirling (1842-46):

[Advertisement], Colonial Times [Hobart Town, VDL (TAS)] (8 February 1842), 1

http://nla.gov.au/nla.news-article8752417

GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC,
AT THE ARGYLE ROOMS, On FRIDAY NEXT, February 11, 1842.
MRS. CLARKE BEGS to inform her friends and the public that she intends to give a Concert of Vocal and Instrumental Music, at the Argyle Rooms, Liverpool-street, on Friday the 11th instant;
in which she purposes to introduce some of the most popular music, as now performed at the London Concerts;
and aided as she now is by performers of acknowledged talent, she hopes to produce an entertainment worthy of that patronage which she has ever been proud to acknowledge, and by the kind permission of COLONEL ELLIOT, she will be assisted by the valuable services of the excellent Band of the 51st Regiment.
PROGRAMME.
PART I.
Overture to Guillaume Tell - Military Band. - ROSSINI.
Song - Mrs. Clarke, "The Land of the West." - LOVER.
Concertante - Mrs. Curtis, harp; and Mr. Duly, flute. - BOCHSA.
Song - Mr. Francis Howson, "Woodman, spare that tree." - RUSSELL.
Quartetto - Mrs. Clarke, Signior Carandini, Mr. J. Howson, and Mr. Francis Howson, "A te o cara - Il Puritani." - BELLINI.
Song - Mr. J. Howson, "The blighted flower." - BALFE.
Duetto - Mrs. Clarke and Mr. F. Howson, "La ci darem la mano - Don Juan." - MOZART.
Solo, Trombone - Mr. J. Howson, "The light of other days, and finale." - BALFE.
Song - Mrs. Stirling, "The Hunter's Signal Horn." - ALEXANDER LEE.
Quartetto - Mrs. Clarke, Mrs. Stirling, Mr. J. Howson, and Mr. F. Howson, "Mild as the Moonbeams." - BRAHAM.
Divertimento - Military Band. - A. HAENSEL.
PART II.
Overture to Fra Diavolo - Military Band. - AUBER.
Song - Mrs. Clarke, "The Mocking Bird;" flute obligato Mr. Duly. - BISHOP.
Duetto - Signior Carandini and Mr. F. Howson, "Chi mi Frena - Lucia di Lammermoor." - DONIZETTI.
Quartetto - Mrs. Curtis, harp; Mr. Duly, flute; Mr. Curtis, violoncello; and Mr. John Howson, pianoforte. - BOCHSA.
Song - Mr. F. Howson, "The Flying Dutchman"
Scena - Mr. F. Howson, "As I view these scenes so charming (Somnambula). - BELLINI.
Song - Mrs. Clarke, "Here's a health bonnie Scotland to thee". - ALEX. LEE.
Duetto - Mr. J. Howson and Mr. F. Howson, "Mighty Jove. - ROSSINI.
Finale - "God Save the Queen," by the Military Band; Solo parts by Mrs. Clarke, Mrs. Stirling, Mr. J. Howson, Sigr. Carandini and Mr. F. Howson.
The whole under the direction of Messrs. Leffler and Russell . . .

ASSOCIATIONS: Abraham Philip Duly (flute, master, 51st band); Emma and Richard Curtis (harp and cello); Edmund Leffler (musician); William Wilkins Russell (musician); Band of the 51st Regiment (military); Argyle Rooms (Hobart venue)

"MRS. CLARKE'S CONCERT", The Courier (18 February 1842), 2

http://nla.gov.au/nla.news-article2954836 

On Friday evening last a first opportunity was afforded to the inhabitants of this town of judging of the selection which Mrs. Clarke had made of the assistance for which she returned to England, and we feel assured that no one can hesitate to say that much credit is due to her for the judgment exercised in the matter. The chasteness of musical style, the precision of execution, and the decorum which was so studiously preserved during the whole entertainment, cannot but be appreciated by the public, and meet with that encouraging support to which it is justly entitled. The room was well filled with many of the elite of our community, and numerous were the graceful forms and sparkling orbs whose lustre seemed heightened through the influence of the "soul inspiring harmony." We shall proceed to take a serious view of the musical performances, which, one and all, seemed to elicit universal and well-merited applause . . . Mr. J. Howson performed a solo on the trombone, with piano accompaniment. The motif was "The light of other days," with a finale, which showed to advantage the richness of tone possessed by the player; as to execution we cannot speak, since the style of the air exhibits rather taste than difficulty. The same remark applies to Mrs. Stirling's "The hunter's signal horn", which composition possesses the charm of eccentricity. We should pronounce that lady's voice well calculated to please in the ballad style; and through the great diffidence which was apparent on her part, we may augur that she will become a favourite. In the quartetto "Mild as the moonbeams," which was sung by Mrs. Clarke, Mrs. Stirling, and Messrs. J. and F. Howson, we could not help admiring the manner in which each voice was made to blend with the others and though timidity caused a partial "break down" in one passage, little - very little - was left to be desired . . .

MUSIC: The hunter's signal horn (Alexander Lee)

"MRS. CLARKE'S MUSICAL SOIREES", The Courier (25 February 1842), 2

http://nla.gov.au/nla.news-article2954777 

Since our last publication Mrs. Clarke has given two entertainments, which were very respectably attended, and have only borne out the opinion which we formed at the result, that in the component parts of the company there exists the talent requisite for not only amusing as a one-evening novelty, but also for the maintenance of that good-will and interest on the part of the public, without which all their efforts must be vain; we cannot however help expressing our surprise that the task of supporting the few public amusements of this community uniformly devolve on the Bourgeoisie, whilst the soi-disant Aristocrats, who in all other countries hasten to show their mental as well as social superiority, by a studious cultivation and support of every branch of the fine arts, seem, one and all, to keep entirely aloof from these scenes of enjoyment, leaving it to be inferred that they care little whether Van Diemen's Land gains or loses in these acknowledged prototypes of civilisation. Amongst the performances of Friday last, we think we may mention as having afforded much pleasure and elicited unbounded applause, the laughing trio sung by Mrs. Stirling and Messrs. Howson, of which the adaptation of the music to the meaning of the words was eccentrically happy . . . The next entertainment given by Mrs. Clarke will take place to-morrow evening . . .

[Advertisement], Colonial Times (22 March 1842), 1

http://nla.gov.au/nla.news-article8752517 

Grand selection of Sacred Music, from the Oratorios of Handel, Haydn, Pergolesi, &c., &c.
MRS. CLARKE, BY the advice of her friends, and with the kind permission of the Committee of the Mechanics' Institute,
begs to inform the ladies and gentlemen of Hobart Town and its environs that she intends giving a
selection of Sacred Music from the works of the above eminent composers,
in the Hall of the MECHANICS' INSTITUTE, THIS EVENING, the 22nd Instant.
PROGRAMME: PART I . . . AIR - With verdure clad - Mrs. Stirling . . .
PART II . . . AIR - What though I trace - Mrs. Stirling . . .
SOLO AND CHORUS - Marvellous Works - Mrs. Stirling . . .
DUET - O lovely peace - Mrs. Young & Mrs. Stirling . . .

ASSOCIATIONS: Mechanics' Institute (Hobart association and venue)

"MRS. LOGAN'S CONCERT", The Courier (10 June 1842), 2

http://nla.gov.au/nla.news-article2954227

Last evening, Mrs. Logan, assisted by Mrs. Clarke and the elite of her company, afforded a musical entertainment, which every person present seems disposed to pronounce one of the best of which Hobart Town has ever boasted . . . Mrs. Stirling, whose classic style has always pleased us in her vocal performances, exhibited an additional talent, for which we had not till then given her credit, in the piano accompaniment, which she disposed of with apparent ease, though containing operatic passages requiring a certain degree of fingering . . .

ASSOCIATIONS: Maria Logan (pianist)

"The Theatre", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (10 June 1842), 3

http://nla.gov.au/nla.news-article232480388 

"The Beggar's Opera" has been twice performed to crowded and respectable houses. Mrs. Clarke's "Mackheath" is an admirable performance; we need not say that she lings all the songs capitally. So also the charming music in that favorite opera, which whatever may be said of its immorality, is one of the highest pieces of theatrical satire ever written; it is so entirely a "stock piece" at all the theatres in London that it is performed every season for several nights with untiring gratification. It is as well got up at Mrs. Clarke's little theatre, that few, if any, provincial theatres in England could produce singers at all comparable with Mrs. Stirling, Miss Young, and the Howsons, by whom the chief characters in the opera are represented . . . Upon the whole, Mrs. Clarke's Corps de Theatre is infinitely superior in every way to any which the public ever possessed the advantage of availing itself of for a rational evening's entertainment.

ASSOCIATIONS: Albert Theatre (Argyle Rooms, above, renamed, Hobart venue, while Anne Clarke waited to take possession of the Victoria below)

"THE VICTORIA THEATRE", The Hobart Town Advertiser (19 July 1842), 2

http://nla.gov.au/nla.news-article264590060 

Want of space compelled us to defer our remarks on the Victoria Theatre until this publication. This place of amusement, to which the Albert Company have removed, was re-opened on Monday evening last [11 July], under the management of the new lessee, Mrs. Clark . . . Mrs. Clarke and Mr. Falchon had little to do in the first piece, that little, however, they did well, and in the second piece "the Middy Ashore," kept the house in a roar of laughter . . . Mrs. Stirling played the Middy's aunt very respectably . . .

ASSOCIATIONS: Arthur Falchon (actor, vocalist); Royal Victoria Theatre (Hobart venue)

"THEATRE", The Courier (16 September 1842), 3

http://nla.gov.au/nla.news-article2953785 

On Friday night last [9 September] there was a very full house, owing to "a bespeak" from Captain Blackwood and the officers of H.M.S Fly, who were all present upon the occasion . . . The performances commenced with "The Middy Ashore," which was succeeded by a vocal concert . . . Mrs. Stirling sang very prettily and with a modest grace, which also distinguishes her acting. To a handsome face she joins a most prepossessing demeanour, and if we might venture to "hint a fault," where there is so much excellence, it would be that she sometimes indulges in a too great rapidity of utterance. She can play the termagant, but cannot look it . . .

ASSOCIATIONS: Francis Price Blackwood (captain, surveyor); H.M.S. Fly (survey ship)

"THE THEATRE", The True Colonist Van Diemen's Land Political Despatch (7 October 1842), 3

http://nla.gov.au/nla.news-article202419837 

. . . The Messrs. Howson and Mrs. Stirling are a very great acquisition to the colony as teachers of music, in which capacity we are glad to hear that they have considerable employment . . .

"THE THEATRE", Colonial Times (11 October 1842), 3

http://nla.gov.au/nla.news-article8752961 

Mr. John Howson's benefit took place yesterday evening, and was, as expected, a bumper. The performance of Bellini's beautiful opera of "La Somnambula" was a rich musical treat . . . The singing of Mr. Howson and Mrs. Stirling threw a feeling of delight over the whole house, and even a few noisy persons in the pit sat perfectly entranced as the rich and mellow tones fell from those accomplished singers. We feel at a loss to do justice to Mrs. Stirling in this difficult part; she must be seen to be appreciated. The clear and beautiful enunciation of some of the passages yet lingers and thrills in our imagination. We hope to have many opportunities of again hearing her in characters suited to her abilities. She gives a charm to all she touches, and has a honeyed sweetness in her tone - a richness that seems to spring from her heart to her lips, which we have never heard before here. Her acting was of a most superior order. The other characters in the opera were also very well sustained and the scenic effect properly preserved; at the end Mr. Howson and Mrs. Stirling were loudly called for from all parts of the house and were received with the most rapturous applause . . .

"VICTORIA THEATRE", The Courier (14 October 1842), 2

http://nla.gov.au/nla.news-article2953676 

On Monday evening last, Mr. J. Howson took his first benefit; the house, although not crammed, was well filled. The opera of La Somnambula, a musical melange, and Aldgate Pump, were specially provided for the occasion. In attempting for, after all, it was but an attempt - La Somnambula, we think Mr. J. Howson's ambition overleaped the bounds of prudence. The character of the music is too scientific to render it generally popular; and to be really enjoyed, there are many requisites which our little company could not command. A very extensive and perfect orchestra - a first-rate operatic company - a powerful and well-drilled chorus - are absolutely necessary for such an opera; add to which the audience themselves should possess no small musical skill and knowledge of composition. It will easily be imagined, under these circumstances, La Somnambula passed off rather heavily. The brunt of the piece fell upon Mrs. Stirling, who exerted herself to give effect to the character of Amina, not without a degree of success highly creditable to her abilities. The Messrs. Howson also did their best - but an opera dependant upon the exertions of a good trio alone cannot succeed . . .

ASSOCIATIONS: William Gore Elliston (editor, Courier)

"THE THEATRE", The True Colonist Van Diemen's Land Political Despatch (14 October 1842), 3

http://nla.gov.au/nla.news-article202419692 

Since our last publication, Miss Young and Mr. John Howson have had their benefits, and we were glad to see that both had good houses . . . On Monday night, Mr. JOHN HOWSON presented the lovers of music with the beautiful opera of "La Somnambula," translated from the Italian. It is our misfortune not to be able to appreciate fully the beauties of such fine music, although we enjoyed it much; but those who do understand music, assure us that the whole performance, particularly the singing of Mrs. Stirling and Mr. John Howson, far surpassed anything that they thought it was possible to produce in the colony. Of her acting we fancy ourselves able to pronounce an opinion, and we thought it perfectly true to nature - it did not appear to be acting, but reality. The same compliment was paid to Mr. Howson and Mrs. Stirling which had been previously paid to Miss Young, and every one gave Mr. Howson great credit for the modest delicacy which he evinced in presenting Mrs. Stirling to the audience, and retiring himself a little to the rear, as if he considered that it was to her successful exertions that he was indebted for the marks of applause . . . Mrs. Stirling's benefit . . . takes place this evening . . . The first piece in Mrs. Stirling's bill has never been played here, although it has been attempted. We are sorry that the theatrical etiquette, of not publicly noticing one benefit before the doors are opened for the one immediately preceding it, has prevented us from urging Mrs. Stirling's claim upon public patronage, in sufficient time to be of any service to her. But we are aware that her merits are too well appreciated by the discerning supporters of the Theatre, to require the aid of our recommendation. She is deservedly a great favorite as a performer, and her conduct in private life entitles her to the patronage of all respectable persons of her own sex. We regret that there is a very narrow-minded feeling abroad, that all praise bestowed by the press upon one performer is detracting from the merits of another - and thus an attempt is made to create a jealousy between the performers. In our notices we have not attempted to criticise the performances so as to draw invidious comparisons; we are much pleased with all of them, but we feel particularly called upon to bring before the public the claims of those who are on the eve of appealing to the public for a substantial mark of approbation. We consider that the public here are much indebted to Mrs. Clarke for having brought out such a respectable set of people as stage performers, by which she has made the Theatre a place of respectable resort. We confess that Mrs. Stirling is a great favorite of ours, not only as a singer and a performer, but also from the excellent reports which we hear of her from some very respectable ladies, friends of ours, and who are personally acquainted with her. But we have also a high opinion of Mrs. Clarke, founded on an acquaintance of several years; and we have this morning heard a that in Miss Young's character, which entitles her to the respect and good-will of every man and woman of right mind . . .

"THE VICTORIA THEATRE", The Courier (21 October 1842), 2

http://nla.gov.au/nla.news-article2953618 

Mrs. Stirling, Signor Carandini, and Mr. Falchon have, during the past week reaped abundant harvests of their late exertions for the public amusement; nor do we remember any previous occasion on which a liberality so general and untiring has responded to the calls of the stage in this island. Mrs. Stirling's benefit took place on Friday evening last, when a manifest improvement was exhibited in each and every part of the Somnambula, owing, we presume, to a deeper study of the characters. There was less of that "here am I!; prompter, where are you?" which tended so materially to ruin the general effect of this attractive opera on the previous occasion. Mr. John Howson had imbibed a truer conception of Elvino, whilst his interesting Amina displayed, if possible, a precision surpassing that of her first attempt . . .

"THE VICTORIA THEATRE", The Courier (28 October 1842), 2-3

http://nla.gov.au/nla.news-article2953608 

The appeal made by Mr. Leffler, on Friday evening last, to the generosity of the public, was more successful than most persons, when taking into consideration the long list of preceding benefits, could have been inclined to prognosticate . . . [3] . . . The musical melange, embracing several favourite pieces, exhibited the vocal powers of Mrs. Stirling in a manner truly pleasing. "Do not mingle" is decidedly her master-piece, as showing her possessed of that execution, combined with precision, which constitutes the attractive features of her art; it obtained an encore - its legitimate due . . .

"MR. & MRS. BUSHELLE'S CONCERT", The Hobart Town Advertiser (21 February 1843), 2

http://nla.gov.au/nla.news-article264591791 

Seldom has the Victoria Theatre displayed such an assemblage of beauty and fashion as it did on Friday last, on the occasion of Mr. and Mrs. Bushelle's Concert. The audience comprised most of the real elite of the town, and even the Pit was occupied by many of the first class . . . Mrs. Stirling we were most happy to observe, notwithstanding her having Mrs. Bushelle's great powers to cope with, acquitted herself admirably and more than ever firmly established her claim to the character of an accomplished musician and vocalist. There is decidedly no other female singer that we have heard here, who could have sustained her position; and we are much mistaken if the result docs not infinitely raise the public opinion of Mrs. Stirling's vocal powers . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists)

"MR. BUSHELLE'S CONCERT", The Courier (24 February 1843), 2

http://nla.gov.au/nla.news-article2953122

. . . The trio from Rossini's "Maid and Magpie," certainly introduced Mr. and Mrs. Bushelle to the public in an advantageous light. The lady, in addition to a rich and scopeful tenor [sic] voice, possesses a tact which seems rather intuitive than attributable to that practice, without which the powers even of a Malibran would lose a great portion of their merit, when applied to a diversity of compositions . . . As Signor Carandini's powers of vocalism are, if ever they existed, now decidedly bygone, we think he should not again expose himself to the suffering which he evidently underwent whilst singing "Che Veggio," with Mrs. Stirling, nor the public to the painful task of hearing such ineffectual attempts. Mrs. Stirling did not appear to less advantage for being placed in contrast with an imposing rival, for whilst her greater precision in some instances held out an apology for a voice less powerful, we think that no one could have helped noticing the unpretending and good-humoured manner in which she laid herself open to the parallel . . .

"ACCIDENT", Colonial Times (28 February 1843), 3

http://nla.gov.au/nla.news-article8753359 

We exceedingly regret to announce that that favourite of the public, Miss Young of the Victoria Theatre, met with a serious accident, on Tuesday evening last, while taking a drive in a four-wheeled photon, on the New Town Road, in company with Mrs. Clarke, Mrs. Stirling, and Mrs. S.'s little girl . . . We hear Miss Young is doing well . . .

"MR. JOHN HOWSON'S BENEFIT", The Courier (21 July 1843), 3

http://nla.gov.au/nla.news-article2952414 

Monday evening last exhibited a tolerably good house, brought together on behalf of Mr. J. Howson, who, if he did not reap the advantage of a rich harvest in the substantial sense, may boast of a gratification no less pleasing, - a full measure of applause, beyond ordinary bestowed at the Victoria, in proof that the pains taken for good effect on this occasion were well appreciated by those for whose entertainment the effort had been made. Certain it is, that a success so general has never before pervaded a whole evening; scenic, operatic, comic, one and every feature combined with an effect showing what even a company so limited may be brought to accomplish when the necessary precautions are sufficiently attended to. The "Fairy Lake," of which the soft melodies proved well adapted to the scope of the vocal performers, called forth not only the attention but the evident enthusiasm of a pit audience, generally so impatient of strains in the least savouring of the scholastic. The characters of hero and heroine devolved on Mr. J. Howson and Mrs. Stirling; and we saw, with pleasure, that the estimation formed of her vocal tact, as exemplified some time since in the Somnambula, could only be enhanced by the manner in which she discharged her task on Monday last. The recognition duet, in the second act, was gone through with great neatness, but, of all others, the most impressive theme was that of "I am a poor shepherd maid," into which Mrs. S. instilled a feeling truly natural, combined with extreme precision. The moonlight scene of the lake had an effect well in unison with the piece, and, assisted as it was by other illusions, destroyed the usual burlesque of winged butterfly nymphs skipping about under chesnut-tree walks. At the conclusion of the piece Mr. J. Howson was loudly called for, and on appearing before the curtain with his partner in toil, received that hearty applause which must have proved a welcome encouragement to further attempts of a similar description . . .

PIECE: Howson's musical adaptation of Auber's Le lac de fées, based on The fairy lake; or, The magic veil (as adapted by Selby and Alexander Lee)

"THE THEATRE", The Hobart Town Advertiser (25 July 1843), 2

http://nla.gov.au/nla.news-article264593251 

On Friday next Mrs. Stirling the favourite par excellence of the colonial admirers of Theatrical performances, prefers her claims to their support. We have no doubt of her success. The applause which has ever greeted her appearance on the boards will not we are sure have vented itself in empty plaudits. The piece she has chosen is one well calculated to elicit her powers. Few will forget the enthusiasm with which La Somnambula was received twice last season, and how much she herself contributed to the event. On behalf of some actors we have been obliged to appeal to other considerations than their merits. Mrs. Stirling unites all the qualifications necessary to ensure her success. The music of the piece is peculiarly suited to her powers. None will have forgotten the thrilling interest she infused into the part of Amina, nor how well she was supported by Mr. J. Howson, who even then, and he is since much improved, did full justice to his part. His performance of Still so gently o'er me stealing has been since then more than once repeated and each time with success only equalled by Mrs. Stirling's thrilling appeal I'm not guilty at the original production of the piece . . .

"THE THEATRE", The Courier (8 December 1843), 3

http://nla.gov.au/nla.news-article2951738 

. . . On Wednesday night [6 December] . . . Mr. Nesbitt, either from fatigue or some other cause, did not appear so well in "William Tell" as we have before seen him. Mrs. Stirling is fast improving, and will become as pleasing in the drama as she is in the musical opera, if progressing . . .

ASSOCIATIONS: Francis Nesbitt (actor)

"THE THEATRE", The Courier (15 December 1843), 2

http://nla.gov.au/nla.news-article2951731 

It was confidently hoped that the visit of His Excellency the Lieutenant-Governor would have been the means of producing good houses. Monday evening dispelled somewhat of the illusion, since there did not appear to be a very great improvement in this respect. So much trouble and expense should not be without its reward. Novelty upon novelty follow each other in rapid succession. The dramatis persona: of the present season (not forgetting the orchestra) present an assemblage superior to any heretofore existing in this colony. The performances on Monday evening consisted of "The Charcoal Burner," or "The Dropping Well of Knaresborough," the college hornpipe, and "The Beggars' Opera" . . . In "The Beggars' Opera" Miss Young, though evidently under the influence of a severe cold, sung with her usual sweetness and perception, those beautiful airs for which this piece is so justly celebrated. Her voice, which is very much in the ballad style, is more thoroughly suited to these songs than to those in "La Somnumbula," and operas of that style, in which, perhaps, the more experienced voice of Mrs. Stirling produces better effect and deeper feelings . . .

"THE THEATRE", The Courier (5 January 1844), 2

http://nla.gov.au/nla.news-article2951625 

On Wednesday evening, agreeably to announcement, Captain Blackwood and the Officers of H.M.S. Fly patronised the Theatre . . . In the Musical Melange appeared first, Mrs. Stirling, that established favourite with the Hobart Town audience, and she is not likely to lose ground by appearing again in her vocal character. Next came Madame Gautrot, whom we then heard for the first time . . . We must nut omit to notice the song of "Rule Britannia," by Madame Gautrot, Mrs. Clarke, and Mrs. Stirling, which was loudly encored, and enthusiastically sung, to the great rapture of the sailors and to the satisfaction of the whole audience . . .

ASSOCIATIONS: Madame Gautrot (vocalist)

"THE THEATRE. MRS. CLARKE'S BENEFIT", The Hobart Town Advertiser (9 February 1844), 3

http://nla.gov.au/nla.news-article264596365 

On Monday evening Weber's grand opera of Der Freischutz will be performed, with other attractive entertainments, for the benefit of the fair lessee. There will be required a large addition of violinists, to make effective the celebrated overtures. The necessary assistance can readily be obtained, and, we doubt not, will be made available. The most active preparations, we learn, are making, to give scenic effect to this wonderful creation of Weber's genius, and for completing the horrors of the Incantation Scene, as conceived by the gifted author. The difficult part of Rodolph (a male character), will on this occasion be sustained by Mrs. Clarke, and in which her varied powers, both in acting and as a vocalist, will be called into full requisition. Altogether the "cast" is a very good one; and with Mr. F. Howson as Caspar, Hambleton as Bernhard, Young as Killian, and Mrs. Stirling and Miss Young as Linda and Rose, we cannot entertain a doubt of the success of the piece; although, as we have intimated, much will depend upon the orchestra . . .

ASSOCIATIONS: John Hambleton (actor, vocalist); Charles Young (actor, vocalist)

"THE THEATRE", Launceston Advertiser [VDL (TAS)] (25 April 1844), 2

http://nla.gov.au/nla.news-article84770604 

Mrs. Clarke's really talented company commenced operations for a short season on Monday evening last. The public were prepared to witness a performance far beyond what they had lately been accustomed to, and they were not disappointed. Report has spoken but truly, of the talent of this company, both as vocalists and actors. The campaign opened with a comedy in two acts entitled, the Country Squire, or Two days at the Hall, in which that established Launceston favourite Mr. Rogers sustained the part of the Squire, and ably did he depict the character of the hearty old English gentleman. Mrs. Stirling, a lady possessing very considerable musical as well as theatrical talent, sustained the part of the squire's housekeeper, Mrs. Temperance, in the most efficient manner; the squire and Mrs. Temperance are the two main characters in the piece, and were evidently intended by the author to bear its burden. The rest of the characters were well sustained . . .

ASSOCIATIONS: George Herbert Rogers (actor); Olympic Theatre (Launceston venue)

"THE THEATRE", Launceston Advertiser (28 June 1844), 2

http://nla.gov.au/nla.news-article84770635 

Since our last notice of the theatre new entertainments have been got up with such amazing celerity by the lessee and her active stage manager, that, notwithstanding our desire to notice every praiseworthy effort and render our assistance, we find it impossible to do so from the rapidity of her movements. Weber's opera of "Der Freischutz," "the Maid of Genoa," "the Brigand," and farces, as the auctioneers say, too numerous to particularise, have been produced. We have not seen them all, but those we have seen afforded us great gratification. The company, excellent from the first, improve upon acquaintance. Der Freischutz was well played throughout. Mrs. Stirling's Linda was a spirited performance, she executed the music allotted to her beautifully. Next to her was Mr. F. Howson's Caspar and Mrs. Clarke's Adolph . . .

"THE THEATRE", Launceston Advertiser (19 July 1844), 2

http://nla.gov.au/nla.news-article84767930 

The Benefits at this place continue, we are pleased to observe to be well supported, and we must say that the exertions of the performers fully merit the favour of the public. The Opera of "Gustavus" [Auber] was produced last evening, for the benefit of that industrious and talented actress and vocalist, Mrs. Stirling . . .

"THE THEATRE", Colonial Times [Hobart Town, VDL (TAS)] (24 September 1844), 3

http://nla.gov.au/nla.news-article8755318 

To those persons who are fond of a good opera, well performed, our Theatre last night presented a high treat, Bellini's Somnambula being represented in a style which would have done infinite credit to even the English Opera House. The admirable capabilities of our corps dramatique as a musical company were never more fully elicited than they were last evening, and as we said before, the audience very fair in point of numbers and respectability, received a rich treat. Mr. J. Howson made his second appearance this season in Elvino, and we never heard him in better voice, nor indeed have we seen him act with more spirit. He gave the beautiful music allotted to the part with much taste and feeling, more particularly the duets "Take now this Ring," and "I cannot give expression;" in these he was ably assisted by Mrs. Sterling as Amina, a character she performs with great ability, warbling its splendid music with much feeling, skill, and power . . .

"VICTORIA THEATRE", Colonial Times (28 January 1845), 3

http://nla.gov.au/nla.news-article8756034 

Last night Mrs. Clarke's benefit was, we are happy to say, a bumper . . . We were disappointed rather in a curtailment of some of the music in the Marriage of Figaro; but considering the length of the performances, this was perhaps excusable . . . Mrs. Clarke's Susanna was excellent, as was also Mrs. Stirling's Countess, while F. Howson's Figaro was full of fun and melody . . .

"VICTORIA THEATRE . . . MR. F. HOWSON'S BENEFIT", Colonial Times (4 February 1845), 3

http://nla.gov.au/nla.news-article8756090 

Last night, - and, we are happy to say, to a real bumper house, - Mr. F. Howson took his benefit: the first piece was Auber's celebrated Opera of Masaniello, the farce, Frederick of Prussia, with a number of intervening entertainments, the whole of which went off with great eclat: the Donkey accompaniament to "All Round my Hat," pleased the petites wonderfully, being encored twice, and creating each time most loud and hearty laughter. Our limits will not allow of any lengthened critique of the Opera: we may justly say, however, that it was extremely well "got up," admirably performed, and the music effectively given, - the orchestral accompaniments being true, fluent, and spirited. Our favourite Beneficiere was not in such good voice as we have heard him; he, however, sang with considerable effect some of the most difficult music of a very difficult score. Mrs. Stirling was extremely engaging as Elvira, and warbled her airs with much ability: it is in such pieces as these, Somnambula, &c., that this very pleasing cantatrice mostly shines, although she is clever in other characters widely dissimilar. The scenery - we must say a word about that was very good; the conflagration, at the end, splendid: the Eruption of Mount Vesuvius was, also, excellently managed. Truly our old friend, Frank, had a benefit, and as truly had his friends, numerous as they were, their fill of enjoyment and delight . . .

"VICTORIA THEATRE", Colonial Times (18 February 1845), 3

http://nla.gov.au/nla.news-article8756181 

Last night Mrs. Stirling took her benefit, to a very fair house: the entertainments were tastily selected, and the first piece, The Fairy Lake, displayed very sweet music, and some beautiful scenery. It was preceded by Auber's rather fantastic overture to Masaniello, which was well performed by an augmented orchestra; M. Gautrot's violin, and the bass horns of the bandsmen, adding much to the attraction of the music. Mrs. Stirling was in excellent voice, as was also Mrs. Rogers, and both warbled their songs very charmingly . . .

ASSOCIATIONS: Joseph Gautrot (violinist)

"BENEFIT", The Hobart Town Advertiser (21 February 1845), 3

http://nla.gov.au/nla.news-article264600183 

On Monday Mr. and Mrs. Rogers take their Farewell Benefit previous to leaving Hobart Town. We cannot allow this opportunity to pass without rendering the deserved tribute of praise to those from whom we have derived many an evening's amusement. There ia no doubt tbat to Mr. and Mrs. Rogers, Mrs. Stirling, and Frank Howson, the Theatre has been principally indebted for its attraction. We regret their departure, and feel that when the present company is broke up it will be difficult to supply the loss . . .

ASSOCIATIONS: George and Emma Rogers (actors, vocalists, she formerly Emma Young, as abve)

"THE CONCERT", The Courier (8 March 1845), 2

http://nla.gov.au/nla.news-article2949349 

Mr. John Howson's musical melange of Thursday evening will linger, long after his departure, in the pleasant recollections of the lovers of "sweet sounds." It was a "farewell" that, coming in the melting power of melody, touched the chords of generous feeling in many a heart. The taste and judgment exhibited in the selection of the pieces were well sustained by the skill and brilliancy of the performance . . . Mrs. Stirling's style is characterised rather by power and energy, than the gentler attributes of tenderness and pathos. The song "I dreamt I dwelt in marble halls," she gave, however, with considerable sweetness; and in "There's a Secret," and the comic duet, "Anticipations of Switzerland," she won well-deserved applause . . .

"CONCERT", Launceston Advertiser (14 March 1845), 3

http://nla.gov.au/nla.news-article84773123 

Mr. Stirling and the Messrs. F. and J. Howson are now in Launceston, on their way to Sydney; and we hear intend, prior to their departure to give a concert in the town . . .

"THE THEATRE", Colonial Times (25 March 1845), 3

http://nla.gov.au/nla.news-article8756413 

This popular place of amusement opened last night to a tolerably fair house, - a good Pit, with but indifferent Boxes. We miss several of the "old familiar faces;" but others are left to Us still. In the expectation of a strong reinforcement from Sydney and Port Phillip, the Lessee is, at present, contented with the representation of light, agreeable Vaudevilles, which, generally speaking, are so well suited to our audiences. Falchon is engaged, and, with Mesdames Clarke and Stirling, and Arabin and Jordan, a very pleasant evening's entertainment is provided . . .

ASSOCIATIONS: Gustavus Arabin (actor); Richard Jordan (actor)

"GAUTROT'S CONCERT", The Courier (29 June 1845), 2

http://nla.gov.au/nla.news-article2948123

This musical entertainment will positively take place on Tuesday next . . . It will also be the last appearance of Mrs. Stirling (previous to her departure for Sydney,) a performer who, from her "sterling" merit has never failed to please.

"THE THEATRE", Launceston Advertiser (19 July 1845), 2

http://nla.gov.au/nla.news-article84767930 

The Benefits at this place continue, we are pleased to observe to be well supported, and we must say that the exertions of the performers fully merit the favour of the public. The Opera of "Gustavus" was produced last evening, for the benefit of that industrious and talented actress and vocalist, Mrs. Stirling . . .

Theodosia and James - Sydney (from 24 July 1845):

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald [NSW] (25 July 1845), 2

http://nla.gov.au/nla.news-article12881091 

JULY 24 - Urgent, ship, 408 tons, Captain Thompson, from Manila via Hobart Town, having left the latter the 17th instant. Passengers - Mrs. Stirling and daughter, Mrs. Thompson and daughter . . .

ASSOCIATIONS: Martha and Eliza Thomson (actors, dancer)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (28 July 1845), 2

http://nla.gov.au/nla.news-article12881155 

The public is respectfully informed, that Mrs. Stirling, from the Hobart Town Theatre, and Mrs. Knowles, from the Port Phillip Theatre, are engaged at this Establishment, and will shortly make their appearance in a succession of pieces now in preparation . . .

ASSOCIATIONS: Harriet Knowles (actor, vocalist); Royal Victoria Theatre (Sydney venue)

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (2 August 1845), 2

http://nla.gov.au/nla.news-article12881268 

MRS. STIRLING, from the Hobart Town Theatre,
will make her first appearance here, in the character of ZERLINA, in the Opera of Fra Diavolo . . .

"THEATRICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (9 August 1845), 70-71

http://nla.gov.au/nla.news-article228134247 

It is no trifling evidence of the improved state of the Sydney Stage, that it should have succeeded in producing two such Operas as the Cenerentola and Fra Diavolo, the success of which (the former especially) must we should imagine, have opened the Manager's eyes to the fact that there is no want of musical taste in Sydney, and that the Theatre instead of being, which it notoriously is, avoided by those only who could confer both favour and respectability upon it, might obtain under more favourable circumstances patronage and protection. On Monday evening last, we witnessed the debut of Mrs. Stirling, [71] in the part of Zerlina in the last of the above-mentioned Operas, but with every wish to be indulgent both to a lady and a stranger, we regret that we cannot speak in very favourable terms of her powers as a vocalist; her voice indeed is deficient in nearly all the requisites of a good singer; her notes especially the upper ones being wanting in both volume and sweetness, in the latter especially. This was not so apparent in her first song "On yonder rock reclining," which was sung with much spirit, - this song was vehemently encored, but the aria "Oh, hour of joy," seemed to us to set the question at rest. Mrs. Stirling cannot aspire to a more than mediocre reputation as a vocalist, in which capacity however her talents may be rendered very useful to the Stage, but as an actress we are inclined to think much more highly of her; she played with an earnestness and abandon which are only to be acquired by the possession of talent and self confidence. Thus while we are very far from despising Mrs. Stirling as a singer, we are glad to welcome her as an actress, and rejoice therefore that she has come amongst us. Of the hero Fra Diavolo in the person of Mr. F. Howson, we are inclined on the whole to speak favourably . . .

ASSOCIATIONS: William Augustine Duncan (editor, Register)

"THEATRICALS", The Australian (9 August 1845), 3

http://nla.gov.au/nla.news-article37155483

Managers, like the rest of mankind, must cut their coat according to their cloth. When, therefore, they present us with a suit, well-conditioned, and of choice texture, it would be signally ungracious to grumble at the absence of fine work and embroidery! But, thank Heaven, our minds are not so illiberally constituted. We accept the said tolerably well-made garment of good materials, and are thankful - albeit we duly prefer sumptuous appointments, and exquisite workmanship, if we can get them! In this comfortable frame of mind, we repaired to witness the representation of Auber's delightful comic opera, Fra Diavolo, under the double adaptation of M. Rophino Lacy, and Messrs. Howson and Gibbs, and with a debutante to play Zerlina. The musical talent, and general dramatic ability of the first-named gentleman is too well established at home to require our humble eulogium. As respects the secondary adaptation, there was abundant room for improvement. The character of the music was not there; and the substitute was like Joseph's coat "of many colours." The music, and accompaniments, presented no reflex of what was said and sung - consequently, no agreeable, lasting impression, was left on the minds of those who heard this opera for the first time on Monday night . . . However, the piece was badly cast. Without a singing Lord Allcash, the vitality of the piece is destroyed, or at all events paralysed, and that, perhaps, is worse . . . With Mrs. Gibbs as Lord Allcash, Fra Diavolo might have been satisfactorily represented. . . . In its present condition, it is a drama, and not an opera. Again, as we had a non singing Lord Allcash, it would have been better to leave out her ladyship's half of the duet, "I don't object." However, taking it as offered to us, we now turn to the actual representation.

As a vocalist, Mrs. Stirling has not realized our expectations. It is usual, for obvious reasons, to qualify an expressed opinion on the merits of a debutant; but, from this lady's familiarity with stage business, and her perfect freedom from embarrassment, her dramatic qualifications may be unreservedly discussed. "Caparisons are oderous," no doubt. In this particular case, however, they will best briefly convey our own views of the matter. We shall, therefore, decide that Madame Carandini still retains her position as prima donna at the Victoria. As a cantatrice, she is very much superior to Mrs. Stirling - better quality of voice, more musical intonation, and more agreeable style. Mrs. Stirling's voice is peculiarly shrill, with an asperity in the upper notes, and a feebleness of tone, without any sustaining power, in the lower ones. The middle notes are good. It is, in fact, what is understood by an "ungrateful voice." But her enunciation (so vital an ingredient in a singer) is particularly distinct - more so than that of any singer, male or female, at the Theatre - her emphases are marked, and appropriate; her expression of feeling is good, while her vivacity, and con-amore mode of going through the business, materially compensate for the more radical defects. We must also bring into the account, the good judgment displayed by this lady, in refraining from all attempt at meretricious embellishment. Her powers of execution were not over-taxed - and that we rank amongst the dramatic virtues, whatever they may be. In the song, "On yonder rock reclining," Mrs. Stirling made a very great mistake: she shrieked in the wrong place. It should have been at the close of the second stanza, where Fra Diavolo suddenly appears, and gives the concluding verse, - and not at the end of the third, when there was nothing to induce her alarm. The accompaniment to this air is very beautiful, has a thrilling effect, and was extremely well played on Monday, which, by the by, is much more than we can say of the accompaniment to "Oh, hour of joy!" It was wretchedly played. The orchestra and Zerlina's song seemed to be at bitter variance with each other. As an actress, Mrs. Stirling has very favorably impressed us. Her appeal to Lorenzo was a bit of really good acting, and may be taken as an indication of her capabilities as an actress. It was intense grief and anxiety, delicately and pathetically expressed. Her performance in the chamber scene was also very good. To sum up the whole, Mrs. Stirling is a valuable addition to the company. Her appearance is extremely prepossessing, her manner animated and easy, with abundance of confidence and stage tact. We therefore persuade ourselves that this lady will very soon establish herself in public favour . . .

ASSOCIATIONS: John and Eliza Gibbs (leader of the orchestra; vocalist, actor); Maria Carandini (vocalist)

"THEATRICALS", The Australian (23 August 1845), 3

http://nla.gov.au/nla.news-article37154000 

. . . Guy Mannering and Fra Diavolo have been repeated, during the week, to approving audiences. In both these pieces, more especially in the latter, there has been a signal improvement. The various airs have been incomparably better sung, the music better played, and the ensemble, in every respect, more effective. On Thursday evening Mr. J. Howson sang extremely well, and his brother infused more spirit into the business. Mrs. Stirling in "Oh, hour of Joy," greatly surpassed any of her previous efforts. Her voice, as we have said, is not of the first quality, but she manages it with considerable judgment, and evinces skill governed by good taste. Our good opinion of her capabilities as an actress, increases. In all that she does, we discern certain little touches of nature that disclose an accurate conception of the characters allotted to her, with the power to carry out such conception; and, it is this which constitutes scenic excellence . . .

"THEATRICALS", The Australian (30 August 1845), 3

http://nla.gov.au/nla.news-article37157906 

The event, not only of the week, but of the season, has been the production of the popular, and beautifully dramatic Opera, Der Freischutz . . . The Duet "Now the close," between Mesdames Stirling and Carandini, was very prettily sung. "Some love one day, and some another," was not by any means effectively managed. A peculiar playful archness should be brought into operation, with a distinctive emphasis, both of which were absent. We now arrive at the gem of the performance, Mrs. Stirling's recitative and air, "How gentle my slumber." The recitative, and the upper notes of the air, were perhaps, rather weak, but the ensemble was decidedly the best executed piece of the evening, and deserves great praise. The more we see of this lady, the higher we think of her capabilities. Of her merit as an actress, we have never had but one opinion (a good one), but her successful execution of this Scena, obliges us to modify our previously-expressed opinion, of her powers as a singer . . .

"THEATRICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (30 August 1845), 100

http://nla.gov.au/nla.news-article228136176 

The introduction on the Sydney stage of the chef d'oeuvre of Romance's wild and sweet minstrel - the Freischutz of Weber - is undoubtedly an era in our dramatic history . . . Mrs. Stirling (Linda) was hardly successful in any of her solos, her voice being of too thin a quality to produce an effect; but in her duetto with Madame Carandini (Rose), and in the fine trio "Oh what horror" (Messrs. Carandini, Mr. J. Howson, and herself) she supported her part with success, and her acting on the whole was good . . .

"THE THEATRICAL EXAMINER", The Examiner (30 August 1845), 29

http://nla.gov.au/nla.news-article228062778 

. . . The chief vocal parts were entrusted to Mrs. Sterling, Madame Carandini, and Messrs. F. and J. Howson. We feel reluctant to give an opinion of Mrs. Sterling, who enacted Linda, for there is so much of praiseworthy pains-taking in all her efforts, that it is ungracious to allude to defects beyond her powers of remedy. But the sharpness and harsh irregularities of her voice, must prove serious impediments to one ambitious of passing the ordeal of classical music; and although we are willing to admit, that the rank of a vocalist must be determined, rather by the faculties of the mind, than by any power or facilities of execution, yet we must also observe, that in discussing the art with a view to the public exercise of talent, a given quantity of ability from nature is pre-supposed, since it is absurd to recognize in a lady of confined voice and dissonant tones a Prima Donna assolutissima. Mrs. Sterling, notwithstanding, exerted herself to the utmost, and deserves much credit for the determined way in which she illustrated the contest of art with nature . . .

ASSOCIATIONS: Richard Thompson (editor, Examiner)

"THEATRICALS", The Australian (20 September 1845), 3

http://nla.gov.au/nla.news-article37154507 

. . . DER FREISCHUTZ was played on Thursday evening [18 September], as it is said, for the last time this season. We regret this, because, with all its faults, it is worth seeing. We had the same funny movements, in the way of dancing, in the first and last acts, upon which we have before animadverted, and the Trio between Linda, Rose, and Adolph was as discordant as ever; nor has Madame Carandini improved her style in "Some love one day, some another." This is to be regretted, inasmuch as Madame, with her excellent stage appearance, might make this song highly effective. We may take this opportunity of remarking that Mrs. Stirling, who maintains our previously-expressed opinion, always seems to us to be in a state of alarm, as though she dreaded some impending danger - the spring of a tiger, or something of that sort. She seems uneasy, and anxious to make her exit as speedily as possible. This lady is no recruit in the service, and we think she will have no difficulty in appearing more self-possessed. It is a pity that her otherwise good acting should be damaged by a trifle of this nature, and which could be so easily corrected . . .

[Advertisement], Morning Chronicle [Sydney, NSW] (20 December 1845), 3

http://nla.gov.au/nla.news-article31747010

SYDNEY COMMERCIAL READING ROOMS AND LIBRARY.
GRAND ORATORIO, AT THE ROYAL VICTORIA THEATRE, ON THE 23RD DECEMBER . . .
HANDEL'S ORATORIO OF THE MESSIAH With Mozart's additional accompaniments . . .
Conductor - MR. JOHNSON.
Leader - MR. S. W. WALLACE.
Organ - MR. W. JOHNSON.
PRINCIPAL VOCAL PERFORMERS - Mrs. Bushelle, Mrs. Stirling, Mrs. Gibbs, Madame Carandini . . .
Mr. Howson, Mr. J. Howson . . . assisted by a large and efficient chorus.
PRINCIPAL INSTRUMENTAL PERFORMERS. - Mr. S. W. Wallace, Mr. Gibbs, Mr. Deane,
Mr. J. Deane, Mr. E. Deane, Mr. W. Deane, Mr. F. Deane [sic],
Mr. O'Flaherty, Mr. Gearing, Mr. Friedlander, Mr. Waller, Mr. Wilson, Mr. Strong, Mr. Westropp,
assisted by numerous amateurs; and by permission of Colonel Jackson,
THE SPLENDID BAND OF THE 99TH REGIMENT . . .

ASSOCIATIONS: James Johnson (conductor); Spencer Wellington Wallace (leader, violin); William Jonathan Johnson (organ); John Gibbs (musician); John Philip Deane and 4 sons (musicians); Henry Charles O'Flaherty (musician); William Friedlander (musician); James Waller (musician); Mr. Wilson (musician); George Strong (musician); Zachariah Westrop (musician); Band of the 99th Regiment (military)

"THE ORATORIO", The Sydney Morning Herald (25 December 1845), 2-3

http://nla.gov.au/nla.news-article12884314 

THE first and second parts, together with a portion of the third part, of Handel's Messiah, were given at the Victoria Theatre on Tuesday, for the benefit of the Commercial Reading Rooms and Library. The music had been got up under the direction of Messrs. Johnson, and the performers comprised nearly the whole of the available musical skill of the city . . . The Pastoral Symphony was beautifully played, and Mrs. Stirling did tolerable justice to the four succeeding recitatives . . . [3] . . ."How beautiful are the feet", [was] sung with feeling by Mrs. Stirling . . .

"THE ORATORIO", The Australian (27 December 1845), 3

http://nla.gov.au/nla.news-article37154649 

. . . Mrs. Stirling sang "How beautiful are the feet", with purity, and expression, but her recitatives were inferior, defective in style, vigour, and enunciation. Her tournure is also susceptible of improvement . . .

[Advertisement], The Sydney Morning Herald (1 January 1846), 2

http://nla.gov.au/nla.news-article28649795 

ROYAL VICTORIA THEATRE. THIS EVENING, JANUARY 1, 1836 . . . Bellini's opera, in 3 Acts, entitled LA SONNANMBULA . . . Amina - Mrs. Stirling . . .

[Advertisement], The Sydney Morning Herald (19 January 1846), 2

http://nla.gov.au/nla.news-article12884775 

ROYAL VICTORIA THEATRE. THIS EVENING . . .
Rossini's Opera, in three acts, (originally performed here in two),
entitled CINDERELLA; OR, THE FAIRY AND THE GLASS SLIPPER.
Prince Floridyr, Mr. J. Howson. Dandini, Mr. F. Howson.
Baron Pomposo II Magnifico, Mr. Lazar (his first appearance these three seasons).
Pietro, Mr. Simes. Cinderella, Mrs. Stirling.
Clorinde and Thisbe, Madame Carandini and Madame Torning . . .

"Theatricals", The Spectator (24 January 1846), 7

http://nla.gov.au/nla.news-article250085049 

. . . the powers and the styles of Mesdames Bushelle and Stirling, in Amina and Cinderella, have furnished food for criticism and comparison with the box loungers of the Victoria since the opening of the season; and, although for the abstract merits of composition there appears to exist a sad indifference, execution appears to be the paramount object with all the listeners, and, because the operas are well-known, the greater the repose and indolence of enjoyment . . . As [Sonnambula] opera is now withdrawn to make room for La Cenerentola, we shall withold any detailed remarks either on the singers, or on the choral excellence it displayed, and shall confine our present notice to the latter delightful specimen of Rossini's genius, which was brought out on Monday last [19 January]. We are serry, however, to be compelled to have recourse to fault-finding in referring to this revival of an opera, which we, our selves, were mainly instrumental in first introducing to a Sydney audience . . . It was a piece of sheer cruelty to place Mrs. Stirling in a position where she must, of necessity, suffer from the comparison that is immediately drawn between herself and her accomplished predecessor in the part, Mrs. Bushelle. When we say that the running divisions, les roulemens, the cadences, and other ornaments and graces with which the role abounds, were altogether omitted, we need scarcely observe that the criticisms as to execution, of which we have adumbrated above, were confined to mere regrets at the inexplicable change in the cast; and we must, perforce, express our surprise at so reckless an attack having been made on the ears of a good-natured audience, obviously predisposed to be pleased. In the brilliant volati which occur in the passages "Let me sing my own old Song," and, "Comings coming," (in the pieces "Once a King," and "Whence this soft and pleasing Flame") we were powerfully reminded, that, without flexibility and good intonation, there can be no execution; and, inasmuch as in running divisions there must be an equality of distinct articulation, free from cracks, breaks, limpings, or the slurring over of two or three notes in order to arrive at the conclusion, we are constrained to say that, with all her meritorious pains-taking, the assumption by Mrs. Stirling of the arduous character of Cinderella, was, by reason of physical defects, a complete failure . . .

ASSOCIATIONS: Richard Thompson (as above, editor, Spectator)

[Advertisement], The Spectator (24 January 1846), 9

http://nla.gov.au/nla.news-article250085041 

ROYAL VICTORIA THEATRE . . . THIS EVENING, SATURDAY JANUARY 24, 1846,
when will be presented, for the first time this season, The Musical Drama of The SLAVE . . .
Zelinda (a Quadroon Slave) - Mrs. STIRLING
(With the original songs of "The Mocking Bird," and "Sons of Freedom") . . .

MUSIC: The celebrated mocking bird song (Bishop, from The slave)

"THE THEATRE", Bell's Life in Sydney and Sporting Reviewer (7 February 1846), 2

http://nla.gov.au/nla.news-article59766091 

We have lately, owing to a press of other matter, omitted to notice the performances at the Victoria; and in this we plead guilty to a charge, which may be brought against us, of "neglect of duty" . . . "In our pursuit of the things of this world" (says Tillotson), "we usually prevent enjoyment by expectation; we anticipate our happiness, and eat out the heart and sweetness of worldly pleasures by delightful forethought of them; so that when we come to possess them, they do not answer the expectation, nor satisfy the desires which were raised about them, and they vanish into nothing." Such was precisely our case, and doubtless it was the case of every one who witnessed the reproduction of Rossini's Opera of "Cinderella." We had experienced unspeakable gratification and delight in listening to this Opera when it was first produced at the Victoria, although "it was of necessity curtailed of a portion of the music, in consequence of the (then) limited vocal strength of the company;" and being given to understand that "that department having been considerably augmented, those pieces which were before omitted would now be sung," our expectation was raised to the highest pitch, and we went to the Theatre, determined to be superlatively amused and gratified . . . We were willing to attribute much of our disappointment on the first evening, to the injudicious haste of the management in bringing out such a piece as Cinderella, without a due regard to the number and sufficiency of rehearsals, for we could not but perceive a want of the necessary confidence in the whole of the performers, arising, as we then thought, from this very important defect. Mrs. Stirling, whose singing and acting we have ever been pleased with, was, on that occasion, evidently without her usual self-possession, and she did not even equal herself either in her acting or singing. She was doubtless aware she had undertaken a great task; for it cannot be denied that Mrs. Bushelle's vocal powers were admirably adapted to the music she had to sing in Cinderella and, that as far as the execution of the songs went, she made a decided hit. We do not make these remarks for the purpose of drawing invidious comparisons, or of discouraging Mrs. Stirling, who has since shewn that she will require much practice with some master like Nathan, to enable her to do justice to Rossini's compositions. Of the other parts, we can only say they were but indifferent attempts. When persons can be found to execute the music of the piece without curtailing it of its choicest embellishments, we shall be happy to echo the announcement of the management as to the "complete success of Rossini's splendid Opera of Cinderella;" at present we look on its reproduction this season, as a failure.

ASSOCIATIONS: Isaac Nathan (vocal instructor)

"Theatricals", The Spectator (16 May 1846), 199

http://nla.gov.au/nla.news-article250084847 

After having been shelved for some time, and compelled to give way to the melodramatic mania which is so disagreeable a feature in the management of the Victoria, the Messrs. Howson have at last had some fair scope allowed to their talent by being permuted to produce Barnett's romantic opera of The mountain Sylph, which caused so favorable a sensation on its first production at the English Opera House in 1832 . . . Eolia, the Mountain Sylph (so exquisitely represented by Miss Romer) was assigned to Mrs. Stirling, who, by her praiseworthy pains-taking, and evident exertions to overcome many serious physical defects, renders the duty of once more alluding to them one of regret. Still we cannot conceal the fact, that far higher qualities are required for a prima donna than this lady possesses; and we are compelled to inquire why, when Mrs. Bushelle's valuable services are available, the public should be invited to listen to operas curtailed, of necessity, of much of their fair proportions? . . . That fine song "Farewell to the Mountains (admirably given by Mr. Frank Howson) and the famous trio, "This Magic-wove Scarfe" (by Mrs. Stirling and Messrs. F. and J. Howson) were decidedly the gems of the evening. A fashionable and crowded audience graced the boxes, and we are tempted to hope that the satisfaction expressed throughout,

"THEATRICALS", The Australian (21 May 1846), 3

http://nla.gov.au/nla.news-article37158676 

Since our last notice, the MOUNTAIN SYLPH and THE TEMPEST have been played for the time in this Colony. Without being too fastidious, or too critical, we may speak of both these pieces in terms of commendation, as well with respect to their "getting-up," as to the style and manner in which they are performed. In the former, Mrs. Stirling's Sylph was far superior to what we had expected, indeed we should rank it as one of her best sustained characters. Donald and Hela were very well represented by Messrs. J. and F. Howson - want of adequate life and energy always excepted. They both sang very well, but "Farewell to the Mountain" by the latter, was far from being the correct thing - more feeling, more expression were required. However, taking all in all, the opera is put upon the boards very satisfactorily. The public have already stamped it as a favorite, and most deservedly so. It will bear repetition, with brief intervals. THE TEMPEST has also been produced in a tolerably efficient manner - that is to say, looking at the "means and appliances" at the VICTORIA . . . Miranda and Dorinda had able and pleasing representatives in Mesdames Stirling und Ximenes . . .

ASSOCIATIONSL Ann Ximenes (actor, vocalist)

[Advertisement], The Sydney Morning Herald (20 June 1846), 3

http://nla.gov.au/nla.news-article12887963

AUSTRALIAN HARMONIC CLUB CONCERT . . . WEDNESDAY EVENING NEXT, 24TH INST. . . .
INSTRUMENTAL - Mr. John Deane, (leader to the Club), Messrs. J. P., E., and W. Deane, Mr. Friedlander, Mr. Strong, and Mr. Guerin . . .

ASSOCIATIONS: John Deane junior (leader), father and brothers; Australian Harmonic Club (association)

"Theatricals", Bell's Life in Sydney (25 July 1846), 2

http://nla.gov.au/nla.news-article59767262

. . . with peculiar pleasure we refer to the brilliant success of "The Bohemian Girl" . . . Mrs. Stirling in Arline equalled any of her former assumptions. As a piece of combined acting and singing, we should look in vain for so efficient a representation in these colonies. Her descriptive dream, has nightly produced a vehement encore, while her finale was full of an executive brilliancy which agreeably surprised us. Altogether, it was a most admirable and successful personation, fully justifying the enthusiasm it has evoked . . .

"Theatricals and Music", The Spectator (25 July 1846), 319

http://nla.gov.au/nla.news-article250084439 

The Bohemian Girl continues to be cordially welcomed by full and fashionable bouses. A judicious omission or so, which we hinted to Mr. Gibson last week, has materially improved the effect; and the success of the Opera will, we trust, induce him to persevere in producing a series of pieces more in accordance with the palpable taste of the Sydney public than those which he has on too many occasions brought forward. Balfe's Opera improves on farther acquaintance; the chief pieces are nightly honored with warm encores, and Mrs. Stirling has been called for on each evening, at the fall of the curtain, to receive the complimentary tribute of the audience. The Messrs. Howson also share in the approving demonstrations, and altogether we may fairly congratulate Messrs. Wyatt and Gibson on the triumphant success of the Opera. We hear that it is contemplated to produce the "Siege of Rochelle" after the run of the "Bohemian Girl", a design which we hope will be carried into effect.

ASSOCIATIONS: Frederick Gibson and Joseph Wyatt (proprietors)

[Advertisement], The Sydney Morning Herald (29 July 1846), 1

http://nla.gov.au/nla.news-article12888768 

. . . MONS. AND MDME. GAUTROT have the honour to inform their friends and the residents of Sydney, that their
FAREWELL CONCERT will take place THIS DAY, the 29th instant, in the Saloon of the Royal Hotel . . .
Principal Violins - Mr. S. W. Wallace, Mr. Deane, and Mr. J. Deane. Tenors - Messrs. Deane and Friedlander.
Violoncello - Mr. E. Deane. Double Bass - Mr. W. Deane.
Second Violin - Mr. Gearing [sic]. With numerous other performers, comprising a GRAND AND EFFICIENT ORCHESTRA!
Mr. A. Emanuel will preside at the Pianoforte. Leader - Mr. S. W. Wallace . . .

ASSOCIATIONS: Joseph and Madame Gautrot (musicians); Abraham Emanuel (pianist); Royal Hotel (Sydney venue)

"Music", The Spectator (1 August 1846), 333

http://nla.gov.au/nla.news-article250085167 

The Farewell Concert of Mons. and Mdme. Gautrot took place on Wednesday last in the Saloon of the Royal Hotel . . . . The Messrs. Deane, Friedlander, Gearin [sic], and other instrumentalists lent their efficient aid, and the overtures to "L'Irato" and "Fra Diavolo" were performed with admirable effect.

[Advertisement], The Sydney Morning Herald (15 August 1846), 2

http://nla.gov.au/nla.news-article12895871 

ROYAL VICTORIA THEATRE. THIS EVENING . . . THE BOHEMIAN GIRL . . . Arline, Mrs. Stirling . . .

Mrs. Guerin (from 1846 to c. 1861):

[Advertisement], The Sydney Morning Herald (17 August 1846), 2

http://nla.gov.au/nla.news-article12900507 

ROYAL VICTORIA THEATRE. THIS EVENING . . . Effie, Mrs. Guerin, late Mrs. Stirling . . .

"THE THEATRE", The Australian (29 August 1846), 3

http://nla.gov.au/nla.news-article37154202 

Our notices of the "doings" at the Victoria have latterly been of necessity, "like angels' visits, few and far between," because whilst we are ready to bear testimony to the efforts of the management to do all they can with "the means and appliances" they have at command, we feel the invidiousness of the task which would necessarily devolve upon us in remarking upon the impersonations of certain characters by parties who cannot but feel themselves incompetent to the undertaking, but who are thrust, as it were, into the task, because there are none others to whom they can be assigned. We are assured that Mrs. Stirling, for instance, or rather Mrs. Guerin (by which latter name she is now known), must have lately often found herself very uncomfortably circumstanced in being compelled to sustain parts for which she was unqualified; for whilst we admit her to possess many qualifications as an actress, it must be apparent to every one who has visited the Theatre since Mrs. O'Flaherty's departure, that she has frequently had calls upon her talent, which all her study, industry, and determination have failed to enable her to answer with perfect satisfaction, either to herself or the audience; still it must be acknowledged that even under all disadvantages, she has invariably by dint of exertion acquitted herself in a very creditable manner. On Thursday night, in the part of Henriette, in Buckstone's Drama of that name, she was very successful, and played the character with much feeling. We wish she could divest herself of an unnatural volubility of utterance, in certain speeches, which from their nature, demand a more deliberate and measured delivery; a little attention in this particular, would tend to remove a very great drawback to her general success . . .

ASSOCIATIONS: Eliza Winstanley O'Flaherty (actor)

"LOCAL INTELLIGENCE. MR. JOHNSON'S CONCERT", The Australian (17 October 1846), 3

http://nla.gov.au/nla.news-article37156552 

This entertainment of Sacred Music was given under the patronage of His Excellency the Governor . . . in the Infant School Room, Castlereagh-street, on Wednesday evening last. The weather was not very propitious for outgoers, nevertheless, the attendance was good within the room, with a fair, proportion of eaves-droppers without . . . After the Overture to the "Messiah," Mr. J. Howson, sang Handel's 'sublime, soul-stirring composition of "Comfort ye my People," in a masterly style; and executed with equal judgment and good taste the beautiful Air of "Every valley shall be exalted," which followed the Recitative . . . Mrs. Guerin (late Mrs. Stirling,) sang Novello's "Infant Prayer" very chastely. It was deservedly encored. This lady sang, as far as the limit of her vocal capabilities empower her to do, with considerable expression and effect. She, by nature, possesses that requisite for singing which no earthly master can give, namely - soul. She sings and feels what she sings, without straining after difficulties beyond her reach. If Mrs. Guerin's physical powers had been equal to her good taste and delicacy of expression, she would have thrown into the shade every soprano singer that has hitherto appeared in Australia; and would certainly not be inferior to any Prima Donna in England. Why was "I know that my Redeemer liveth," omitted - that glorious master-piece of Handel, so admirably expressive of confidence in the clemency of a just and merciful God! . . . This should have been giyen to Mrs. Guerin, who, even with her limited voice, would, from her judicious mode of expression and excellent capability of entering into the composer's meaning, have done it justice . . .

ASSOCIATIONS: James Johnson (musician); Old Court House (Sydney venue)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (13 February 1847), 2

http://nla.gov.au/nla.news-article59768261 

On Saturday evening last [6 February], the favourite opera of La Sonnambula was re-produced, and the evident pains taken by the management was rewarded by a numerous and fashionable audience. The orchestral arrangements were very effective. The Messrs. Howson's as usual in excellent voice. We should, however, recommend to Mr. J. Howson a little more energy of style - he is almost too unimpassioned. Madame Carandini improves upon acquaintance. Mrs. Guerin fully sustained her reputation as an accomplished and graceful songstress - the finale "Do not mingle," was delivered very sweetly, and was rapturously and deservedly applauded . . . The Mountain Sylph still continues a favourite. We understand that the celebrated opera of Der Freischutz in active preparation; and we trust the management will spare no exertions to render its representation as successful as that of preceding ones . . .

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (13 March 1847), 2

http://nla.gov.au/nla.news-article59763866 

. . . The Moutain Sylph, om Tuesday, though not commanding a very full house, still continues a favorite; and with La Sonnambula, will bear a weekly repetition. The former opera is one calculated to display Mrs. Guerin's diversified talent, particularly as an actress, to the best advantage. Madame Torning's "Jessie" was exceedingly correct arid graceful. Der Freischutz and an excellent farce, Done Brown, were well attended on Thursday

ASSOCIATIONS: Eliza Torning (actor, dancer)

"LOCAL INTELLIGENCE. THE THEATRE", The Australian (4 May 1847), 3

http://nla.gov.au/nla.news-article37129418 

Last night Mr. Nathan's Opera DON JOHN OF AUSTRIA made its debut to a crowded and brilliant audience, such as rarely irradiates the Royal Victoria, unless on high and special occasions . . . The entire Corps Dramatique appeared to be earnest for the success of the Opera, and Mr. Nathan must certainly feel deeply indebted to Mr. Gibbs, the leader, for the unwearied zeal with which he had disciplined the Band to give due effect to his Music. Ever elegant and accurate in their costume, the dresses of the Howsons and Mrs. Guerin were especially splendid. They looked and moved the characters they professed to depict. DON JOHN, we incline to think, will prove a sterling friend to the Pitt-street Treasury.

ASSOCIATIONS: John Gibbs (violin, leader)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (29 May 1847), 2

http://nla.gov.au/nla.news-article59764506 

. . . The benefit of Mrs. GUERIN appears next on the list, and is announced for Monday [31 May]; the bill of fare, as will be seen by our advertising columns, being peculiarly inviting. A review of Mrs. GUERINS dramatic and educational acquirements would be to us a pleasurable and easy task; but to indulge in any lengthy encomium, would, we feel, be not only supererogatory, but distasteful to the lady herself. Mrs. GUERIN, though perhaps not, strictly speaking, unrivalled in the Colonies, has attained a high pre-eminence in her profession, and a more exalted position in the estimation of a Sydney audience than any of the many popular actresses who have preceded her. Unassuming, and, we may almost say, diffident of her own powers, her correct and impressive delineation of character is natural and winning in the extreme. Possessed of a retentive memory and perseverance in study, she is ever perfect in her part, and the confidence derived from that conviction, enables her to throw into her style and delivery an energy and a pathos irresistibly attractive. She is, moreover, a practical musician, and a vocalist of finished execution. Her representation of Amina in the Opera of LA SONNAMBULA, may perhaps be ranked as the most effective of her characters, though when she is good in all, it were idle to particularise. To augur unfavorably of Monday evening, would be indirectly to tax the public with injustice and inconsistency. On the contrary, we confidently predict for her, a night of unprecedented success; and were the Victoria Theatre of thrice its present dimensions, we feel assured that, of the many who are desirous by their presence of complimenting "modest merit" in the person of Mrs. GUERIN, not a few of the latecomers would find themselves forestalled . . .

Baptisms, St. James, Sydney, October 1847; Biographical database of Australia

https://www.bda-online.org.au/mybda/search/biographical-report/30311166202 (PAYWALL)

14 October 1847 / born 25 September 1847 / Mary Emma daughter of / James and Theodosia / Guerin / Pitt-street / Musician

See, regarding the impending birth, "THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (11 September 1847), 2

http://nla.gov.au/nla.news-article59765281 

. . . the serious accident of Mr. FRANK HOWSON, and the momentarily anticipated retirement of Mrs. GUERIN, have perplexed the management not a little as to the future . . .

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (20 November 1847), 2

http://nla.gov.au/nla.news-article59767130 

THE Opera of THE NIGHT DANCERS, as produced at the Victoria during the week, has been greeted with signal and well-merited approval. This Opera - the music by Mr. Edward Loder, and the libretto from the pen of Mr. George Soane - was originally produced to a London audience on the 28th October, 1846, when it met with unequivocal success. Its production on the Sydney boards has evidently been preceded by severe study on the part of the limited company to whom its fate was confided; and we should do injustice to the talent and perseverance exercised by one and all, were we silently to pass over their successful accomplishment of so arduous and formidable an undertaking. In the midst of the difficulties which threatened failure to the enterprising intentions of the management, the MESSRS. HOWSONS stept forth to the rescue, and by a felicitous adaptation of the music to the miserable orchestral corps at their command, rendered this misfortune far less palpable than it otherwise would have been. To these talented brothers, with Mesdames GUERIN, XIMENES, and CARANDINI, the vocal department was entrusted, and the sweetly-touching melodies which run so gracefully throughout the Opera were given with a truthfulness which would have done no discredit to performers of far higher pretensions . . . MRS. GUERIN'S Giselle was extremely clever, and - but where all deserve commendation, it were invidious to particularize. The original Gizelle was MADAME ALBERTAZZI, the sister of the MESSRS. HOWSONS, and it was on her first impersonation of the part that the dress of that lady accidentally took fire from one of the foot-lights, when she narrowly escaped a horrible death . . .

ASSOCIATIONS: Emma Albertazzi (English vocalist)

"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (18 March 1848), 2

http://nla.gov.au/nla.news-article59764749 

BRAVING the inclemency of the weather (the rain falling in torrents), a crowded circle of fashionables greeted MRS. GUERIN on the occasion of her benefit on Monday evening [13 March]. Gratifying in the extreme to that lady must have been so marked a compliment under such inauspicious circumstances, and, evidently sensible of the kindness, the fascinating Amina surpassed all her former efforts in Bellini's beautiful opera.

"THEATRE", The Sydney Daily Advertiser (1 September 1848), 2

http://nla.gov.au/nla.news-article253058513 

A benefit in aid of the Funds of the Jews' Philanthropic Society, took place yesterday evening at the Victoria Theatre, and we are happy to say that the house presented a bumper. We never recollect seeing so much beauty and elegance of dress as what appeared in the boxes on any previous occasion; the pieces selected were, the opera of the Bohemian Girl; Man About Town; and A House to be Sold; the above favorite opera is evidently the most successful piece in that style produced at this theatre, and on this occasion the Messrs. Howsons and Mrs. Guerin appeared to exert themselves in the extreme to give satisfaction, and we never recollect having heard them in better voice. It is highly satisfactory to see pleasure combined with so philanthropic an object.

"Theatricals and Music", The Australian Sportsman (9 December 1848), 3

http://nla.gov.au/nla.news-article252650893 

A severe domestic affliction in the family of Mrs. Guerin caused the postponement of Mr. J. Howson's new opera, THE CORSAIR, on Monday evening last [4 December], and otherwise disturbed the promised arrangements for the week. We, however, hoped to be enabled to report this amiable lady's return at an early moment . . .

[Advertisement], The Sydney Morning Herald (7 February 1849), 3

http://nla.gov.au/nla.news-article12904422 

CITY THEATRE, MARKET-STREET. MISS HINCKESMANN
begs most respectfully to inform her friends and the public generally, that her
FAREWELL CONCERT . . . Will take place at the above Theatre, ON FRIDAY NEXT, FEBRUARY 9 . . .
The Orchestra will comprise the following professional gentlemen:
- Monsieur Gautrot, Messrs. Gibbs, Deane, sen., J. Deane, and Deane, jun.,
Guerin, Friedlander, Strong, Ducro, Hudson, &c. . . .

ASSOCIATIONS: Maria Hinckesman (pianist); John Henry Ducros (musician); George Hudson (musician)

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (24 March 1849), 3

http://nla.gov.au/nla.news-article59768664 

GRAND CONCERT . . . MR. DEANE
BEGS to inform his friends and the public, that under the above distinguished patronage,
his Concert of Vocal & Instrumental Music
WILL TAKE PLACE AT THE ROYAL VICTORIA THEATRE, On Friday Evening, 30th March.
Mr. Deane will be assisted by Mrs. Guerin, Mrs. Ximenes, Miss Abrahams, (her first appearance,) from the Royal Academy, London;
Messrs. J. and F. Howson; Messrs. Deane, Guerin, Friedlander, Strong . . .

ASSOCIATIONS: Jemina Abraham (pianist)

[Advertisement], The Sydney Morning Herald (17 April 1849), 2

http://nla.gov.au/nla.news-article12909037 

ROYAL VICTORIA THEATRE. THIS EVENING, APRIL 19,
Will be produced, first time, Wallace's Opera of MARITANA.
Charles II., Mr. Rogers; Don Caesar, Mr. J. Howson;
Don Jose de Santarem, Mr. F. Howson; Marquis de Montefiori, Mr. Spencer;
Lazarillo, Mrs. Rogers; Maritana, Mrs. Guerin, Marchioness de Montefiori, Mrs. Gibbs . . .

ASSOCIATIONS: Albert Spencer (actor)

"THE THEATRE", The People's Advocate and New South Wales Vindicator (5 May 1849), 3

http://nla.gov.au/nla.news-article251538889 

We were gratified beyond all expression at the manner in which the opera of "Maritana" went off on Thursday night [3 May]. The boxes were well filled at an early hour with a most fashionable array of visitors. The limits of inquiry are now at an end as to the merits of this opera. If any thing were waited to satisfy the "discoverers of wonder," they must have been veil convinced from the opening to the fall of the curtain. At no one time do we ever remember Mrs. Guerin to have been in such brilliancy of part. In the first aria of the third act (not to forget the recitation) she surpassed all former nights, if there were a being in the house whilst that song was being sung, dead under "torpid faculty of mind," it surely must have roused him into human passions and intellectual delight: it met with its due reward by a most enraptured applause from every part of the house, and the encore well repaid the house for their compliment. The duetto, also in the same act, between Mrs. Guerin and Mr. J. Howson, brought down the same applause. It is somewhat, in our humble judgment, doubtful, and it is with all due submission we say it before the big professors of the gamut, whether or no this duet will not, in time, when more heard, take a precedence in effective impressions, if not intrinsically of itself. The more these melodious compositions are heard well harmonized and sung together, the more they will be appreciated; the applause on Thursday night increased from other nights to a general approbation. This shews that the opera is improving to that state of public approval, which will not only prove to "new comers" that we are as capable of intellectual enjoyment at the Victoria as those at home in old Drury: we can safely say, from our own personal observation, that many listened on Thursday night that "never did before." It is undoubtedly a safe Thursday night's opera, we should hope, for the season.

"DRAMA", Bell's Life in Sydney (28 April 1849), 2

http://nla.gov.au/nla.news-article59768800

Premising that in our humble estimation, it cannot stand comparison with any of our sterling favourites, La Sonnambula, The Mountain Sylph, and The Night Dancers, we still feel justified in passing a qualified eulogium upon the merits of MARITANA, and the evident musical talent which has been employed on its production here. Passing over the "Plot," which is about as tame and uninteresting a "creation of the author's brain," as any we ever remember having waded through, and which is rendered more glaringly insipid, by the culpable imperfections of the principal characters, and their strange inattention to the minor details and telling points of their respective parts, we shall confine ourselves to the orchestral and vocal beauties, which alone redeem Wallace's Opera from insignificance. And first, we must speak in the most unmeasured terms of admiration of the ability which is exhibited by the orchestra throughout, and particularly of the skill and taste of its talented leader, whose performance of the arduous task assigned to him, is in the highest style of art. The vocal parts were also so judiciously filled, that we experience some difficulty in assigning the pas to any individual - but, to speak of their concentrated talent, will, at all events, free us from the charge of being invidious, which, in this case, would be, to say the least of it, highly unjust. Never in our recollection did the Victoria vocalists exert themselves so much or so successfully. The airs which principally struck us by their beauty or force, are, "The Harp in the Air," "There is a Flower that Bloometh," "In happy Moments," "Alas, those chimes so sweetly pealing," and "Hear me, gentle Maritana;" these were respectively allotted to Mrs. Guerin, Mr. John Howson, Mr. Frank Howson, Mrs. Rogers, and Mr. Rogers, who delivered them with admirable effect. The gem of the concerted pieces is decidedly, "What mystery," which concludes the second act. It is most original, melodious, and effective, and was given in a style for which we scarcely believed the resources of the theatre were adequate. In fact, nothing but the most careful training and powerful exertion could have achieved it. The dresses in the opera are magnificent, and in the best taste, and the materials of which they are formed, of the most expensive order . . .

Baptisms, St. James, Sydney, August 1849; Biographical database of Australia

https://www.bda-online.org.au/mybda/search/biographical-report/30311166202 (PAYWALL)

19 August 1849 / born 10 July 1849 / Theodosia daughter of / James and Theodosia / Guerin / Pitt-street / Musician

"THE OPERA", The People's Advocate and New South Wales Vindicator (8 September 1849), 5

http://nla.gov.au/nla.news-article251537557 

We are, we opine, quite right in saying that the recipient of Thursday night's house will be not a lozer in the proceeds of the evening. Balfe's "Bohemian Girl" was resumed with all the con amore of the excellent instrumental band and vocal department. "The Quartette," first and foremost without accompaniment, was ravishingly brilliant and true. The trio "Through the World" met with its accustomed applause. It certainly is a superb, busy, and extravagantly splendid opera. We counted at least twenty-seven in the choruses. The whole going off with great energy and eclat. Mrs. Guerin, with her naturally gifted accordance of cause and effect, never looked aside one moment from her usual chaste style of charming acting, - winning every eager listener by the perfection of sentiment displayed, and impassioned spirit with which every tone is uttered . . .

"THEATRICALS", Bell's Life in Sydney and Sporting Reviewer (9 February 1850), 3

http://nla.gov.au/nla.news-article59770189 

Kenney's elegant drama of Sweethearts and Wives was produced on Monday night and repeated on Tuesday [4 and 5 February]. For once the play bills have spoken the truth; it has proved one of the greatest hits of the season, and most deservedly so. Its performance recalled to us the times of the little Haymarket, where some twenty years since it was first produced. Mr. Rogers' Admiral Franklin was a chaste and finished performance; Mr. Hydes' Charles, gentlemanly and lively; Frank Howson's Billy Lackaday, excellent - "His Lament" a perfect schreecher. Mrs. Guerin's Laura all that could be desired. The pet of the opera, "Why are you Wandering here, I pray," was sung with the perfect naivete - the character represented by the singer, and the air itself called for. On Thursday the Bohemian Girl - never, by the way, better performed - drew as usual a fashionable and well-filled house . . .

ASSOCIATIONS: John Proctor Hydes (actor)

PIECE: Sweethearts and wives (Kenney; with songs by Isaac Nathan); Why are you wandering here, I pray (Nathan)

"THE THEATRE. THE OPERA . . . THURSDAY", The People's Advocate and New South Wales Vindicator (16 March 1850), 3

http://nla.gov.au/nla.news-article251539608 

It has been well said of vocal music, that it must not only satisfy the ear, but the heart must feel, and the understanding be possessed as well. How far the new opera of Matilda of Hungary, as just performed, will come up to pre-eminent public favor as a popular enjoyment, a week or two more trials of it will soon tell . . . Thursday. - This night was the third of the new opera . . . The performance was well received by an overflowing house, the musical qualities of the opera being repeatedly greeted by applause. The splendid choruses and gorgeous embodiment of whatever constitutes novelty, dramatic colourings, and orchestral illustrations, are well and cleverly managed, as a compensation for the lyrical beauties of an original inspired genius. It is more of the composite and mechanized school of art, than the startling-florid and brilliant master-mind of nature. The Howsons, in the first act, have lots to do in the profusion of part and parcel allotted to them, both in singing and dialogue. Madame Carandini received a well merited encore in the pretty ballad in the 3rd act, "A Lowly Youth." Mrs. Guerin's romance "In that Devotion," &c., was a most agreeable gift of that powerful delineation which the prima invariably succeeds in, where mere dexterity and rhapsody of execution is happily exchanged for scientific capability and elevated impulses of the mind; and so it was fully borne out in her finale, Rondo, "One Gentle Heart," &c., which was enthusiastically encored. But the curtain fell, and well it might, after three hours and a half's time being taken up to transform a mountain boy into a king of three parts of the German empire. This evening may be called the trial night of Matilda of Hungary (not the performer) and its success seems certain, despite its not being forced down by polite eclat . . .

OPERA: Matilda of Hungary (Wallace); In that devotion (Wallace)

"THEATRICALS", The People's Advocate and New South Wales Vindicator (7 June 1851), 6

http://nla.gov.au/nla.news-article251532666 

. . . On Thursday night [5 June] the lovers of the Opera had a great treat in the performance of The Night Dancers; when Miss Sara Flower, took the part of Bertha (originally performed by Madame Carandini and afterwards by Mrs. Gibbs) - Comment is useless, as we have already expressed our opinion of this distinguished Vocalist, and in a former notice of the Opera we have mentioned our sincere admiration of the exquisite singing of Mrs. Guerin as the fair Giselle . . .

ASSOCIATIONS: Sara Flower (vocalist, actor)

"THEATRICALS", The People's Advocate and New South Wales Vindicator (26 July 1851), 3

http://nla.gov.au/nla.news-article251530907 

The crowded audience of Monday night [21 July] proved most satisfactorily that the spell of the Enchantress has not yet been dissolved. She was received, as on all other occasions, with that universal applause which was her due . . . On Tuesday, the house was not so well attended . . . The audience of Thursday evening made amends for that of Tuesday, as there was a very large attendance to witness the performance of that chef-d'-ceuvre of Wallace's Maritana, an Opera in our humble opinion, much superior to Matilda of Hungary. Mrs. Guerin was, of course, Maritana, (Who could desire a change ?) and Miss Sara Flower, Lazarillo, the faithful page of that dashing Cavalier, Don Caesar de Bazan . . .

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (17 September 1851), 3

http://nla.gov.au/nla.news-article62519353

Unprecedented Success!! MESSRS. HOWSONS, HYDES, and GUERIN,
At their Vocal and Instrumental Entertainments, COMMERCIAL INN, BATHURST,
BEG to inform the inhabitants of Bathurst, and its vicinity, that they purpose giving their
THIRD and FOURTH GRAND EVENING CONCERTS
On WEDNESDAY and THURSDAY evenings, September 17th and 18th, when they respectfully solicit their patronage.
MR. F. HOWSON Violoncello & Pianoforte.
MR. J. HOWSON Tenor Trombone, Pianoforte, and Tambo.
MR. H. HOWSON Leader, Violin.
MR. W. HOWSON Banjo, &c.
MR. HYDES Flute, Cornet-a-Piston, and Bones.
MR. GUERIN Violin; &c. . . .
FIRST PART. Overture - "Italiani in Algeri" - Band . . .
Waltz - "Krapfel Waldel" - Band . . .
ETHIOPIAN ENTERTAINMENTS.
[REDACTED] Medley Overture, Band . . .

ASSOCIATIONS: Henry Howson (violin); Walter Howson (banjo); John Proctor Hydes (flute, cornet)

"THE CONCERTS", Bathurst Free Press and Mining Journal (24 September 1851), 2

http://nla.gov.au/nla.news-article62517642 

A pretty regular attendance at the evening concerts of the Messrs. Howsons, Hydes, and Guerin, has tended to confirm our previous impressions of the very superior musical talent of these gentlemen, and we are sorry to perceive that they have not met with that support from the Bathurst public which is due to their merit . . . The high rate of charges may have militated against them to some extent; but this obstacle, if it be one, to their success, is, we perceive, removed, as upon reference to their advertisement it will be seen that a reduction to 3s. and 2s. has been made, and we hope it will have the desired effect. Want of space prevents us from entering into a detailed criticism of their performances; but we purpose doing them every justice in our next. Suffice it to say that their selections consist of some of the most popular and beautiful English songs and melodies, together with a few favorite [REDACTED] airs, several of them entirely new to us, and are executed in a masterly and artistic style.

Baptisms, St. James, Sydney, January 1852; Biographical database of Australia

https://www.bda-online.org.au/mybda/search/biographical-report/30311166202 (PAYWALL)

4 January 1852 / born 11 October 1851 / Margaret Eliza daughter of / James and Theodosia / Guerin / Woolloomooloo-street / Musician

"THE VICTORIA THEATRE", The People's Advocate and New South Wales Vindicator (24 January 1853), 3

http://nla.gov.au/nla.news-article251533439 

. . . Tuesday [20 January] was played the ravishing opera of Loder's "Night Dancers." There is nothing in this opera for the performers to grapple with; they have been so long used to it that it is, in doing it, but restoring their reputation to its proper place. There is, however, a great moment to those who get in time to hear "the Legend," by Madame Carandini, which appears to us as difficult and exhaustless in labour, as any in the piece; but perfectly exquisite and correct in Madame Carandinl's hand, although by no means suited to John Bull's ears. Then the "resource," a flower duet by Mrs: Guerin and J. Howson, the chorusale behind the scenes, and the lake scene, between Mdme. Flower and J. Howson, each and all had the most powerful effect on the people and drew down deserved applause . . .

Thursday night, strange to say, the favorite opera of Maritana, played this evening, drew but a very thin attendance, considering the many habitues who treasure in the memory the chaste classical recitative parts and superb scenas which are so well placed in the various acts throughout. Of the Lyric personations this evening, John Howson's Cavatina, "There is a flower," was given in a style of sweetness, finish, and grace, that excepts all criticism except in praise. But the whole of the third act was magnificent, share and share alike. Frank Howson's aria, "To my courage," drew down enthusiastic applause. The "Stranger here," (by Mrs. Guerin and John Howson) not forgetting the Grand Scena, "Remorse and dishonor," gave the finish to the opera, which, undivided in compliment to the several artistes in it, presumes that Wallace is a dramatic composer, and those who both play and sing his productions are opera performers . . . But the town want novelty; they keep crying out "Norma," "Norma!" Will they attend to it patiently when it comes out? and endeavour to understand it before they begin to under-rate it. The most difficult opera ever attempted on the stage, most likely will be judged of and criticised at what may be called a rehearsal - the first time.

"THE VICTORIA THEATRE", Empire (26 April 1852), 2

http://nla.gov.au/nla.news-article60129769 

The principal novelty produced since our last notice, was an extravaganza, The Second Calendar and the Queen of Beauty who had a Fight with the Genii, brought out on the evening of Easter Monday. The piece is one of those dramatic sketches which cateh the Loudon "Cynthias of the moment" as they fall. It is replete with local hits, which must have told admirably in the neighbourhood of the Crystal Palace, but which are for the most part lost upon an Australian audience. Many of the airs scattered through the extravaganza are very successful rifacimentos of popular melodies, and were sung with a good deal of taste by Madame Carandini, Mrs. Guerin, and Miss E. Griffiths. The affair was very creditably dressed, and a View of the great Repository of the World Exhibition, presented in the closing tableaux, was decidedly the most effective piece of scene painting we have for some time seen at this theatre.

ASSOCIATIONS: Emily Griffiths (actor, dancer, vocalist)

[Advertisement], The Sydney Morning Herald (10 May 1853), 2

http://nla.gov.au/nla.news-article12945658 

ROYAL VICTORIA THEATRE. THIS EVENING, MAY 10,
Will be produced the Opera of LA SONNAMBULA.
Count Rodolph, Mr. F. Howson; Elvino, Mr. J. Howson; Notary, Mr. Rogers; Amina. Mrs. Guerin; Dame Teresa, Mrs. Gibbs; Liza. Madame Carandini . . .

This is the last advertised appearance of Theodosia as Amina in La sonnambula

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (15 June 1853), 3

http://nla.gov.au/nla.news-article12946681 

Last evening, an audience crowded to the ceiling welcomed Mr. and Mrs. Stark, whose success, throughout the States of the Union, has been frequently adverted to in the columns of this journal. Shakspere's tragedy of Hamlet was the play selected for the debut of our visitors . . . Mr. S talk is an actor of no ordinary pretensions, but we regret to say that certain obstacles were opposed to him last evening, to which he ought not, on any account, to have been subject. In the first place, the orchestra, (with the exception of Messrs. Gibbs, Gautrot, and Guerin) was attacked with a chorus of yells and groans, in consequence of a most unjustifiable strike on the part of the band on the previous evening . . .

[Advertisement], The Sydney Morning Herald (31 May 1854), 4

http://nla.gov.au/nla.news-article30940431 

ROYAL VICTORIA THEATRE. FAREWELL BENEFIT of Mrs. GUERIN,
who, in retiring from the presence and patronage of the many friends she has met with in Sydney,
gratefully acknowledges the liberal support and consideration she has ever received, and trusts that her claim to their remembrance on the present occasion may be responded to with the same liberality which has distinguished every previous appeal she has made.
Revival of the very favourite opera of Rob Roy Macgregor; or, Auld Lang Syne.
Last time this season of the very favourite Farce of This House to be Sold. A choice selection of entertainments.
TO-MORROW EVENING, JUNE 1, Will be revived the very favourite Opera of ROB ROY MACGREGOR.
Francis Osbaldistone, Mrs. Guerin . . .