Thomas Baines Paintings the Reved. C H Hahn, Addressing the Damara

Total Page:16

File Type:pdf, Size:1020Kb

Thomas Baines Paintings the Reved. C H Hahn, Addressing the Damara THOMAS BAINES EXPORT PERMIT APPLICATION Thomas Baines paintings The Reved. C H Hahn, addressing the Damara Commando mustered at Dabbie Choup, under C J Andersson and F Green, to attach the Namaqua Hottentots under Jan Jonker, Monday June 6th, 1864. Namibian Baines Searching for Hippopotami on an island in the Zambezi about two miles above the Falls, young palms before the first leaves are shed – and brilliant Meteor (Brilliant Meteor on the Zambezi River, 1864) Zimbabwe Baines General In the opening paragraph to their book, The life and work of Thomas Baines, Jane Carruthers and Marion Arnold state: The primary source material of nineteenth-century southern Africa is rich and varied and one of its most important legacies is that of John Thomas Baines, the artist and explorer. His value is not to South Africa alone for he travelled throughout the subcontinent in what are now Namibia, Botswana and Zimbabwe and also visited Australia and the East Indies. (pg.10) Baines was born in England in 1820 and travelled to Cape Town in search of work in November 1842. In the second paragraph in their book, Carruthers and Arnold provide an outline of his whereabouts as artist traveller: he was in South Africa to September 1853 (10 years) before leaving for England for 2 years when he joined the Royal Geographic Society (RGS) expedition to Australia until the end of 1857. He returned to England for a period before he was selected to join the Livingstone expedition to the Zambezi from 1858 to 1859 (6 years). He returned to the Cape in 1860 (1 year). From 1861 to 1864 he travelled in Namibia and Botswana; between 1865 to the end of 1868 he was in England. From 1868 to 1872 he explored gold deposits in Zimbabwe (11 years). From 1873 until his death in May 1875 he was in Natal. (2+ years). It is interesting to note that of the time Baines is presumed to be associated with South Africa (1842 – 1875), he spent more than half of this time elsewhere in pursuit of his ambition to be recognised as an explorer. Baines is the quintessential English explorer- artist, typical of a group of British expatriates in the Victorian age, such as Richard Burton, Augustus Earle, and George Chinnery whose careers were lived outside their native lands on the frontiers of the fast expanding British imperial world. Baines meet the traveller-artist, George French Angas, to whom he ascribes his awakening interest to explore the interior of Africa, in 1846 - 1847. Baines attempted to fulfil this ambition a number of times in the late 1840s and early 1850s prior to his return to England in 1853, when he worked for the Royal Geographic Society in London and was fortunate to be offered a position on the RGS sponsored Augustus Gregory expedition to northern Australia. As a result of his achievements as artist, cartographer, botanist, zoologist and ethnographer, he determined to seek a career as a professional explorer. He was granted a position of the government- and RGS-sponsored exploration of the Zambezi River in 1858 before his aspirations as an explorer suffered a severe setback as a result of a conflict with the ‘saint explorer’ of the Victorian era, David Livingstone. However this did not prevent Baines from pursuing his ambition in other ways and he was to spend the latter part of his life in pursuit of this goal in Namibia, Botswana and Zimbabwe. Baines maintained close contact with the scientific societies and institutions in London in particular the RGS, the Royal Botanic Gardens at Kew, The Royal Zoological Society, the Linnean Society, the British Association and the Ethnography Society and as a consequence large collections of his work are held in London. He perceived himself to be an amateur scientist expanding the scientific knowledge on behalf of the imperial aspirations of Britain. It is in this context that the two Baines paintings must be considered. The paintings were created by Baines while he resided in Namibia in 1863/64 his allegiance displayed so obviously in the Baines painting of the commando at Davitjob with a flag of his design so very reminiscent of the Union Jack flag. Furthermore, it is commonly recognized that of all Baines’ expeditions, his journey Chapman through Namibia and Botswana to the Victoria Falls was his most productive scientifically and artistically. Baines perceived himself as an explorer in the service of science and reported his findings with care and aplomb to his Victorian audience back home. In this respect Baines not only produced artworks intimately connected to South Africa but also to Australia, Mozambique, Namibia and Zimbabwe. The Commando mustered at Davitjob, Namibia In the absence of photographs, Thomas Baines’ sketches and paintings have provided an invaluable record of the colonial frontier as it expanded into the hinterland of southern Africa. This painting is no exception: it depicts a poignant moment at the point of conflict and competition for resources as missionaries and traders expanded their areas of influence in Namibia. The missionary Carl Hugo Hahn takes centre stage alongside significant traders Charles John (Carl Johann) Andersson and Frederick Thomas Green with Chief Kamaherero (Maharero), one of the most important Namibian leaders of the 19th Century. These were key figures in the history of Namibia. In addition, the painting records the development of colonial organizations such as the short-lived ‘Otjimbingwe British Volunteer Artillery’, which united under the symbolic banner of its own flag (with an interesting oblique reference to the rivalry for Africa between European nations). Baines has placed Damara Herero warriors prominently in the foreground of the painting, many with red ochre hair, various items of weaponry and traditional attire and others in western dress with wide brimmed hats signifying the process of transition and change experienced by African societies. A Herero woman wearing the unique ekori headdress with the mantle of tubular iron beads draped down her back is also depicted in the foreground. His attention to detail makes this a fascinating painting to inspect. This fascinating painting captures an interesting moment in the 1860s conflict between the Namaqua (/Hoa/araman Oorlams Afrikaners) and the Damara (Herero) over control of cattle, grazing land and trade. The conflict between the feuding groups is referred to variously as the Nama-Herero, Oorlams-Herero, Nama-Ovaherero and sometimes simply as ‘Andersson’s’ War. Although the caption of the picture refers to the warriors as being "Damara", they were actually OvaHerero. The conflict was complicated by the fact that the /Hoa/araman (Namaqua) had treated the OvaHerero as vassal subjects from who they extracted tribute, but this relationship altered when the OvaHerero moved to the vicinity of Otjimbingwe under the protection of the resident traders and missionaries. A battle between the groups had occurred on 15 June 1863 in which the Namaqua Chief Christian Afrikaner was killed following his unsuccessful attack on the settlement. However, tension in the area remained high to the extent that normal trading and hunting activities had been brought to a standstill resulting in financial and economic losses for the hunter traders. Following this occasion, the Otjimbingwe Volunteer Artillery led by their Commander-in-Chief, Andersson attacked and defeated the Namaqua, led by Christian’s son Jan Jonker, near Windhoek on the 22 June 1864 bringing to an end their domination of the region. Hahn was to broker a peaceful agreement between Kamaherero and Jonker in 1870. Collections There is a sketch of this scene held in the Archives in Pretoria and the sketch was reproduced in JPR Wallis’ biography of the artist. In addition, Museum Africa holds an oil painting entitled the ‘Otjimbengue Volunteer Artillery’ interestingly also showing the flag designed by Baines as well as ‘A Damara family group’ (B328 and B248 Kennedy catalogue respectively) in addition to a pencil sketches, watercolours and oils referenced B249 – B422 including bird studies from B332. Meteor on the Zambezi, Zimbabwe This cosmically lit nocturne on the Zambezi just above the Victoria Falls is one of a great suite of paintings developed by Baines from sketches made during his visit to the area in July and August 1862. Baines had embarked on the Chapman expedition with a view to producing a great series of paintings of the geological phenomenon, only seen at the time by half a dozen Europeans before him, and never depicted before the Victorian world. The scene sees Baines attending to both his interest in botany and astronomy and is probably based on an earlier astronomical events witnessed earlier in November 1861 and January 1862, both described in his book Explorations in South-West Africa. This landscape painting depicts a scene in present-day Zimbabwe. Collections Museum Africa holds numerous paintings pertaining to the Victoria Falls and the Zambezi Valley (B287 – B316) including iconic oil painting images of Falls (B289, B294, B296, B297 and B298). The William Fehr collection has a similar watercolour; Baines produced a lantern slide with the same image held in a private collection. An engraving based on the image appears in Baines’ book The Gold Regions of Southern Africa and also in J Chapman’s book Travels in the interior of South Africa. A Victoria Falls painting is also held by the First National Bank Group and a number in private collections in South Africa. Baines legacy Baines certainly left a fabulous visual legacy for South Africa: the country is replete with Baines paintings. For example, there are 439 Baines artworks held by Museum Africa of which 127 are oil paintings of which 18 are from the same period as the two under discussion. This does not include the numerous watercolours and pencil sketches that also relate to this period including the 90 bird studies Baines completed for Charles Andersson.
Recommended publications
  • Persuasive Landscapes: Representations of Victoria Falls and Colonial Migration in the Mid-Nineteenth Century
    Persuasive landscapes: representations of Victoria Falls and colonial migration in the mid-nineteenth century CHALA DODDS This article studies the representations of Victoria Falls through David Livingstone’s descriptions in Missionary Travels and Researches in South Africa and Thomas Baines’ colour lithograph, The Falls from the Western End of the Chasm, exploring how the portrayal of the landscape through text and image encouraged migration to the colony. Figure 1. Thomas Baines, 1865, The Falls from the Western End of the Chasm, Zambezi River, colour lithograph, 36.5 x 56.2 cm. Yale Center for British Art, Gift of Renée and Geoffrey Hartman, Yale PhD 1953. <https://collections.britishart.yale. edu/catalog/tms:62325> [accessed 8 April 2021]. Following the abolition of slavery in Missionary Travels and several John Thomas Baines, born in Norfolk later.11 Both men documented their 1833, the civilising mission became the paintings of Victoria Falls by Thomas in 1820, sailed to Cape Town two years observations in great detail; Baines means to maintain control and power Baines can be analysed through these after Livingstone following a five- through a series of detailed sketches of in the African colonies by bringing lenses to explore how they sought to year apprenticeship as an ornamental Victoria Falls and Livingstone through religion, medicine, and education to fulfill these desires. This article will painter.5 His talent as an artist and Missionary Travels and Researches in those in the ‘dark continent.’ This study the works of Thomas Baines and cartographer enabled him to join a South Africa and later, A Popular Account approach meant that a number of David Livingstone, analysing their few expeditions.
    [Show full text]
  • Rhodesiana Volume 29
    1948 The Standard Bank Limited, Victoria Falls 1973 THOMAS MEIKLE, 1864-1939 The founder of the Meikle Organisation sailed from Scotland with his parents in 1869. The family settled in Natal where Thomas and his brothers John and Stewart gained their first farming ex­ perience. In 1892 the three brothers set off for Rhodesia with eight ox- wagons. Three months later they had completed the 700 mile trek to Fort Victoria. Here they opened a store made of whiskey cases and roofed over with the tarpaulins that had covered their wagons. Progress was at first slow, nevertheless, branches were opened in Salisbury in 1893, Bulawayo and Gwelo in 1894, and in Umtali in 1897. From these small beginnings a vast network of stores, hotels, farms, mines and auxilliary undertakings was built up. These ventures culminated in the formation of the Thomas Meikle Trust and Investment Company in 1933. The success of these many enterprises was mainly due to Thomas Meikle's foresight and his business acumen, coupled with his ability to judge character and gather around him a loyal and efficient staff. His great pioneering spirit lives on: today the Meikle Organisation is still playing an important part in the development of Rhodesia. THOMAS MEIKLE TRUST AND INVESTMENT CO. (PVT.) LIMITED. Travel Centre Stanley Avenue P.O. Box 3578 Salisbury i ii iii iv V vi RHODESIANA Publication No. 29 — December, 1973 THE RHODESIANA SOCIETY Salisbury Rhodesia vii Edited by W. V. BRELSFORD Assisted by E. E. BURKE Copyright is reserved by the Society Authors are responsible for their own opinions and for the accuracy of statements they make.
    [Show full text]
  • ANGLO AMERICAN CORPORATION RHODESIA Salisbury Bulawayo PIONEER HEAD
    WHEN TODAY IS AS OLD AS YESTERDAY Rhodesia Railways will be preparing to meet the challenge of tomorrow, thus ensuring that today and every day they can continue to provide a reliable transport service capable of meeting Rhodesia's growing demands, safely and efficiently RHODESIA RAILWAYS MOVES WITH THE TIMES "'11 THOMAS MEIKLE, 1862-1939 The founder of the Meikle Organisation sailed from Scotland with his parents in 1869. The family settled in Natal where Thomas and his brothers John and Stewart gained their first farming ex­ perience. In 1892 the three brothers set off for Rhodesia with eight ox- wagons. Three months later they had completed the 700 mile trek to Fort Victoria. Here they opened a store made of whisky cases and roofed over with the tarpaulins that had covered their wagons. Progress was at first slow, nevertheless, branches were opened in Salisbury in 1893, Bulawayo and Gwelo in 1894, and in Umtali in 1897. From these small beginnings a vast network of stores, hotels, farms, mines and auxilliary undertakings was built up. These ventures culminated in the formation of the Thomas Meikle Trust and Investment Company in 1933. The success of these many enterprises was mainly due to Thomas Meikle's foresight and his business acumen, coupled with his ability to judge character and gather around him a loyal and efficient staff. His great pioneering spirit lives on: today the Meikle Organisation is still playing an important part in the development of Rhodesia. THOMAS MEIKLE TRUST AND INVESTMENT CO. (PVT.) LIMITED. Travel Centre Stanley Avenue P.O.
    [Show full text]
  • Livingstone's Cataract, by Robert Plummer
    The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Livingstone’s Cataract Robert Plummer PLMROB006 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts in Creative Writing Faculty of the Humanities University of Cape Town 2011 This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed,Town and has been cited and referenced. Signature: CapeDate: of University Abstract In January 1860, the painter Thomas Baines returned to Cape Town in disgrace, having been dismissed from David Livingstone’s expedition to explore the Kebrabasa rapids on the Zambesi River. Livingstone’s Cataract is a historical novel that follows Baines’s involvement with the expedition. It is written from Baines’s point of view, in the first person. The novel traces the problems that the party faced: from their struggle to find a way through the river delta to the inadequacies of their steamer; from the war that was raging between the Portuguese authorities and rebel prazeros to intense conflicts between the members of the expedition; from the malaria that beset them to the hostile environment that resisted their attempts to map or navigate.
    [Show full text]
  • NOTES and QUERIES Moray Comrie
    73 Notes and Queries Macrorie House Museum: hope for the future If the compiler of Notes and Queries may be permitted a remark, it must be to reflect that Mr Frost's 1990 editorial prognostication that Graham Dominy would prove a considerable asset to Natalia's editorial committee has proven true. Mr Dominy's interests and concerns have provided several Notes for this number of Natalia, including this first. Many of them are cause for anxiety rather than satisfaction, but it is appropriate to open on a note of optimism. The future of Pietermaritzburg's well-known settler history landmark, the Macrorie House Museum, which has been hanging in the balance for several years, now looks much brighter. There has been persistent wrangling between the Simon van der Stel Foundation, the owners of the building who wish to sell it, the museum's Board of Trustees, the owners of the collection and managers of the property who cannot afford to buy it, and the Pietermaritzburg City Council which refuses to buy it for a market-related price (arguing that since it gave the Foundation the original purchase price of R 15 000 in the 1960s it should not have to buy it again). The Board of Trustees have been running the museum on a shoestring budget (aided by a small grant from the City Council and the Natal Provincial Administration) and have been unable to get adequate funds for the museum because of the dispute over the property. This has meant that the museum has become more and more run down despite its attracting increasing numbers of visitors.
    [Show full text]
  • Exhibition Catalogue Hidden Histories of Exploration
    Hidden Histories of Exploration Hidden Histories of Exploration Researching the RGS-IBG Collections Felix Driver & Lowri Jones Royal Holloway, University of London Published for the exhibition Hidden Histories of Exploration held at the Royal Geographical Society (with IBG) from 15 October to 10 December 2009 1 A companion volume and catalogue to the exhibition Introduction: hidden histories 5 Hidden Histories of Exploration , held at the Royal Geographical Society (with IBG), from 15 October to 10 December 2009, supported by the Arts & Humanities Research Council. The work of exploration 11 Published by Royal Holloway, University of London, in association with the Royal Geographical Society The art of encounter 25 (with IBG), Kensington Gore, London, SW7 2AR Copyright © 2009 Royal Holloway, University of London, Exploration on camera 37 and RGS-IBG All images copyright © RGS-IBG unless otherwise stated Recognition & responsibility 43 The authors have asserted their moral rights. Conclusions: visible histories 49 First edition ISBN 978-1-905846-30-6 Notes and further reading 50 Designed by Joe Madeira Printed in England by Gavin Martin Exhibition catalogue 52 Front cover: 'A Malay native from Batavia at Coepang', Acknowledgements 64 by Thomas Baines, 1856 (cat. no. 40) Note: the catalogue (pp. 52-63) provides a full list of exhibited items. These are referred to in the text by number (cat. no.) 2 3 Introduction: hidden histories When we think about the history of exploration, we Thinking about exploration as an act of work, often imagine it as the work of exceptional individuals often monotonous and rarely glamorous, inevitably in extraordinary circumstances. Men and women prompts us to think of it as a shared experience.
    [Show full text]
  • THOMAS BAINES Sketches, 1855-57 Reel
    AUSTRALIAN JOINT COPYING PROJECT THOMAS BAINES Sketches, 1855-57 Reel M397 Royal Geographical Society 1 Kensington Gore London SW7 2AR National Library of Australia State Library of New South Wales Filmed: 1961 BIOGRAPHICAL NOTE (John) Thomas Baines (1820-1875) was born in Kings Lynn, Norfolk, and was apprenticed to a coach painter. In 1842 he emigrated to South Africa and worked in Cape Town as a scenic and portrait painter and he was later an official war artist in the war against the Xhosa tribes in 1850-52. He returned to England to supervise the publication of Scenery and events in South Africa (1852). In March 1855 Baines ailed to Australia to take up the position of artist and storekeeper on the Northern Australian Exploring Expedition led by A.C. Gregory. The party, comprising 18 men and 50 horses, left Sydney in July 1855 on the barque Monarch and the schooner Tom Tough. They sailed through Torres Strait and reached Entrance Island at the mouth of the Victoria River on 15 September 1855. The Monarch then departed for Singapore. From two bases on the Victoria River, Gregory and his companions proceeded to explore the interior. In April 1856 Baines accompanied Gregory and two others on a foray in which the Baines River was discovered. In June 1856 Gregory began a mounted journey to Moreton Bay, sending Baines and a small detachment on the Tom Thumb to Timor to obtain supplies. Baines was forced to sail west to Surabaya to have the boat refitted. The main mast was broken and he decided to abandon the Tom Tough and purchased a brigantine.
    [Show full text]
  • 1975 – Thomas Baines
    THOMAS BAINES Issued 12th February, 1975 This is the ninth, and last in the “Famous Figures” series. Thomas Baines was born at Kings Lynn, Norfolk, in 1820. After being educated to an extent commensurate with the circumstances of his parents, he was placed with a coach-builder to learn the art of heraldic painting on carriage panels, but an innate love of art soon led him to devote much of his leisure time to landscapes and other work. His desire to see foreign countries caused him to leave England in 1842 and go to Cape Town, where he taught drawing. It was In the Cape Colony and neighbouring regions of Southern Africa that he was to pass the greater part of his subsequent life, and become well known. In 1846 he left Cape Town and went to the regions to the east of the Colony for the purpose of sketching the scenes and incidents of the War of the Axe, then being fought against the advancing Bantu tribes. He returned in 1847 but was again engaged on the frontier doing similar work during the subsequent wars of 1851-53. He painted hundreds of sketches of great vigour, and many of them were placed on exhibition, with his other works, in London and Dublin. In 1854, at the conclusion of the war, Baines returned to England and was appointed as artist to the North-West Australian Expedition under Augustus Gregory. He distinguished himself during this expedition, and the large number of sketches in oils made by him were afterwards divided between Kew Museum and Royal Geographical Society on the termination of the Expedition.
    [Show full text]
  • Johnny Fingo: War As Work on the Eastern Cape Frontier
    Johnny Fingo: War as Work on the Eastern Cape Frontier HLONIPHA MOKOENA WiSER (Wits Institute for Social and Economic Research), University of the Witwatersrand ‘Johnny Fingo’ is a character and an archetype. He appears in the memoir of British soldier Stephen Bartlett Lakeman, titled What I Saw in Kaffir-land (1880). In the text he is oblivious to pain even as he bemoans the irreparable damage to his Westley-Richards rifle. He is a leader of the ‘Fingo’ African levies. He can therefore be distilled into a history of the general presence of African levies on the Eastern Cape frontier. Although soldiers, Johnny Fingo and his levies are also defined by their sar- torial choices, as captured in the words of Lakeman and other British officers. This article explores how the nineteenth-century South African figure of the ‘African levy’,1 an irregular and underpaid soldier, foreshadows the emergence of the more enduring archetype, namely that of the ‘Zulu Policeman’. Both of these characters/archetypes are bound by the fact that they were paid to fight; war was their work. This world of war work was, however, not sterile; both ‘Johnny Fingo’ and the ‘Zulu Policeman’ wore clothing (uniformed non-uniforms) which made these men swagger. It is very curious to see the cast-off clothes of all the armies of Europe find- ing their way hither. The natives of South Africa prefer an old uniform coat, or tunic, to any other covering, and the effect of a short scarlet garment, when worn with bare legs, is irresistibly droll. The apparently inexhaustible supply of old-fashioned English coatees, with their worsted epaulettes, is only just coming to an end here, and is succeeded by an influx of ragged red tunics of franc-tireurs, green jackets, and much-worn Prussian grey coats.
    [Show full text]
  • Lawrence Dritsas Zambesi Davi
    Lawrence Dritsas is a Fellow with the School of Social and Political Science at the University of Edinburgh. He has a long-standing interest in the history of scientific expeditions and especially in the exploration of Africa TAURIS HISTORICAL GEOGRAPHY SERIES Series Editor: Robert Mayhew, University of Bristol Though long established as a field of inquiry, historical geography has changed dramatically in recent years becoming a driving force in the development of many of the new agendas of contemporary geography. Dialogues with histori- ans of science, art historians and literary scholars have revitalised the history of geographical thought, and a new, vibrant, pluralistic culture of scholarship has emerged. The Tauris Historical Geography series provides an international forum for the publication of scholarly work that encapsulates and furthers these new developments. Editorial Board: David Armitage, Harvard University. Jeremy Black, Exeter University. Laura Cameron, Queen’s University, Ontario. Felix Driver, Royal Holloway, University of London. Michael Heffernan, Nottingham University. Nuala Johnson, Queen’s University, Belfast. David Livingstone, Queen’s University, Belfast. David Matless, Nottingham University. Miles Ogborn, Queen Mary, University of London. David Robinson, Syracuse University. Charles Withers, Edinburgh University. Brenda Yeoh, National University of Singapore. Published and forthcoming in the Series: 1. Zambesi: David Livingstone and Expeditionary Science in Africa by Lawrence Dritsas 2. New Spaces of Exploration: Geographies of Discovery in the Twentieth Century by Simon Naylor and James Ryan (eds) 3. Scriptural Geography: Portraying the Holy Land by Edwin James Aiken 4. Bringing Geography to Book: Ellen Semple and the Reception of Geographical Knowledge by Innes Keighren 5. Enlightenment, Modernity and Science: Geographies of Scientific Culture in Georgian England by Paul A.
    [Show full text]
  • And from 1847 at Kolobeng (Roberts, 1877; Benson, 1973)
    Rookmaaker: Rhinoceros in southern Africa from 1795 to 1875 125 Table 28. Records of the rhinoceros relating to the travels of Alfred Dolman (§34). No. Date Locality Coordinates Type Species Source F1 1849 July 4 Chooi Moklape 25°08’S 25°38’E H rhino Dolman, 1924: 181 F1 1849 July 5 idem idem S simum Dolman, 1924: 182 F1 1849 July 6 Moleto 25°03’S 25°36’E T rhino Dolman, 1924: 183 F1 1849 July 10 Kok-khola 24°58’S 25°39’E S bicornis Dolman, 1924: 185 F1 1849 July 13 North of Kok-khola idem T rhino Dolman, 1924: 189 F1 1849 July 14 idem idem S rhino Dolman, 1924: 189 F1 1849 July 16 idem idem S rhino Dolman, 1924: 190 F1 1849 July 19 idem idem S bicornis Dolman, 1924: 192 F1 1849 July 27 idem idem S rhino Dolman, 1924: 197 and from 1847 at Kolobeng (Roberts, 1877; Benson, 1973). along the Zambezi River, from 1853 to 1856, and he justifiably Livingstone met William Cotton Oswell (§31), who was to called it an “expedition of discovery.” He first saw the Victoria become his friend as well as one of his main supporters, for the Falls in November 1855 and he was also the first European to first time at Mabotse in 1845. When he was in England in 1848, find rhinoceros north of the Zambezi River in the Batoka coun- Oswell heard about Livingstone’s plans to go in search of a try, in present Zambia. After visiting the Victoria Falls in 1855, large lake rumoured to be located in the arid interior.
    [Show full text]
  • Legacy of Pioneer Artist John Thomas Baines
    LEGACY OF PIONEER ARTIST JOHN THOMAS BAINES Researched and written by Udo Richard AVERWEG The City of Durban has a historical calendar landscape brush-stroked with many anniversary dates. 8th May remains one in its artistic history. This day marks the anniversary date on which John Thomas Baines (1820-1875), a renowned English artist and intrepid explorer who travelled through southern Africa and Australia, died on Durban’s Berea. Thomas Baines, as he is widely known and remembered, should not be confused with both Andrew Geddes Bain (1794-1864) who earned the tag of ‘Father of South African Geology’ and his acclaimed road engineer son, Thomas Charles John Bain (1830-1893). It should be noted the spelling of the geologist/road engineer and artist surnames is different. Thomas Bain, the artist, is most famous for his intricate colonial and wildlife paintings. Here we recall some aspects of his well-travelled and artistic life and glimpse at his few last years spent in Durban. John Thomas Baines was born on 27th November 1820 in King’s Lynn, a market town and seaport of the county of Norfolk, England approximately 158km north of London. He was the eldest son of John and Mary Baines (née Watson). In growing up in this English environment and being inspired by both the vast expanse of the Fens and the nearby sea, the young Thomas Baines could easily have been inspired by a wanderlust for adventure. Adapted article text submitted to the ‘Daily News’ newspaper (Durban, South Africa). Full article published on Thursday 24th May 2018 1 | P a g e His mother, Mary Ann, was instrumental in having her teenage son apprenticed in October 1836 to an ornamental carriage builder but he soon turned to painting and studied under the heraldic painter William Carr.
    [Show full text]