Mr. Robert Hastings NORMAN

Robert Norman was an original subscriber to the South Australian Colonization Project in 1834 and purchased his first land, section D1014, in 1839. Further sections were purchased and at the time of his death he was reported as a "large land proprietor in the Yankalilla district" I suspect that the father was the original investor in the colony, sending out his son in law Herbert in 1839. Robert Hastings Norman had practised as a surgeon dentist in England for 18 years when he came from Brighton, Sussex to Adelaide on board the Taglioni, arriving on 18 June 1844. He was accompanied by his wife Sarah (nee Hayes), infant son Herbert and mother Mrs Sarah Norman senior. His first home and practice was in Wright Street Adelaide -the nearby Norman Street was named after him. In 1845 he moved to King William Street, then in 1847 to "Belle Vue House" North Terrace where he lived and practiced until his death in 1883. He enjoys the honour of being the first dental surgeon in South Australia. He was a man of varied interests. He spoke Gaelic, French and Italian; he was a Shakespearian scholar, played several musical instruments and possessed a fine tenor voice. He was an excellent billiard player and fine swordsman. By October 1845 he had demonstrated his mechanical skills by finishing ‘in elaborate style of art a beautiful [ivory] snuff-box, with receptacle for tobacco-pipe, and means for striking a light’, which was to be a prize for the ‘best growth of tobacco.’ Norman also constructed a mechanical hand from Sea-cow bone for a ‘veteran retainer of his Excellency.’ When the Governor heard of the hand he paid Mr Norman a call and was so impressed by the ‘ingenious invention’ he decided to have it charged to ‘his private purse.’ By the end of 1845 Robert Norman’s surgery and residence had been moved to King William Street where, on the 22nd December, together with a partner named Heseltine, he opened South Australia’s first photographic (daguerreotype) studio. His partner is presumed to be George Augustus Frederick Heseltine who was possibly a fellow passenger on the voyage to South Australia in 1844 It is likely the camera they used was the one that had been imported by S.T. Gill in September. For the short time they were in business together, Norman & Heseltine advertised extensively in the Adelaide newspapers, pointing out that, unlike an artist’s miniature painted portrait, a daguerreotype was a faithful likeness, ‘as perfect as the reflection of a face in the mirror.’ Their studio was open every day from 10 am to 4 pm. On 24 December 1845 the South Australian Register reported: ‘We had, yesterday, an opportunity of seeing a few portraits taken by the Daguerreotype process, and were much struck with the clearness, sharpness of outline, and striking correctness of the likenesses exhibited by this novel application of the arts. The effect is altogether pleasing, and as the plates are not liable to any change from atmospheric effects of any description, but will present the same faithful representation of the features at any distance of time, we should think that the enterprising artist will meet with the patronage of everyone who is desirous of handing down a correct likeness of himself or his friends to his family as a heirloom. There is one other great recommendation in this process, namely, that the whole time occupied in taking the likeness, as perfect as the reflection of a face in a mirror, does not exceed two minutes.’ Norman and Heseltine’s advertisement in the South Australian Gazette and Colonial Register for 27 December said: ‘A perfect likeness, and unchangeable, is ensured, neither flattering nor detracting; literally "holding the mirror up to nature." All the latest improvements of Sir John Herschell, Mr Fox Talbot, Mr Robert Hunt, Daguerre, Claudet, and other distinguished philosophers are made to co-operate in this most favorable climate. The extreme beauty and delicacy of the pictures, coupled with the infallible certainty of a likeness, will not fail to procure for the proprietors the approval and support of every person of correct taste. As a present to dear but absent friends, a legacy to children, or a general remembrancer, wherein you are represented as you are, and not as the fancy of the artist would make you, the daguerrotype portraits must ever be held in the highest esteem.’ A news item in the same Gazette said, ‘We are glad to learn that this invention (daguerreotype) has at length been introduced into South Australia, and that the colonists are now enabled, at very moderate cost, to procure facsimile portraits of themselves and friends. We have seen two very correct portraits taken the other day [by the] ingenious managers, Messrs Norman and Hesseltine.’ A few weeks later, on 24 January 1846, the Gazette reported: ‘Messrs Norman and Hesseltine have for some time been exercising their skill in the application of this wonderful process, which may be called the royal road to miniature painting; and when it is considered that whatever of the art these gentlemen have acquired has been self-taught in a great measure, the highest credit is due to their ability and perseverance. The likenesses especially taken within the last few days are very marked improvements upon their earlier efforts. The arrival of Mr Goodman (q.v.), however, with more extensive experience and more complete means, has given a new impetus to the general desire to obtain likenesses by this summary and effective process, and Mr Goodman's atelier has in consequence been crowded for the last three days, during which period we are informed, no fewer than eighty ladies and gentlemen have sat. Specimen portraits of well-known colonists, by Mr Goodman and by Messrs Norman and Hesseltine, may be seen at the Gazette office.’ It is thought that George Heseltine was the principal photographer of the partnership, with Robert Norman being an amateur and assistant. One month later George Heseltine was still making daguerreotypes in the studio at the rear of Robert Norman’s premises in King William Street, but with a new partner, Edward Schohl. The Dictionary of Australian Artists (1992) says that Norman ‘apparently retained an amateur interest [in photography] and taught at least his son Herbert to take daguerreotypes’ Herbert Hayes Norman was also a dentist and amateur photographer. On 2 June 1849 Robert Norman announced in the Register newspaper that he intended forming a little township on his property. The township was to be on the Bungula River a short distance from the mouth. To build the town one million bricks were made from clay taken from the banks of the river. The Blacksmith shop was the first building to be erected, it was followed by a hotel, agricultural hall, church and houses, the town was to be known as Normanville. Robert donated the bricks for the school that was built on land donated by his brother-in-law, Septimine Herbert, an early setteler in the district. Aware of the needs of the farmers in the district on March 29 1853 he wrote to the Colonial Secretary offering to "convey in fee for the Government any land that may be deemed necessary for ingress and egress to the proposed jetty". The jetty was not built until 1868 and was opened on March 2 1868 by Miss Herbert - possibly Robert's niece. In 1854 he offered to sell land to the Government for the purpose of building a police station. He offered the land at five pounds an acre, pointing out the value (at the time) was fifty pounds an acre - he reasoned "I am impressed with the necessity of a police station here to prevent smuggling, cattle slaughtering and acts leading to the demoralization of the settlers." The Government accepted his offer and Lots 14 & 15 were selected as the site for the police station. A forty acre vineyard was planted on Robert Norman's property and was thought to be the first and largest in the district. It was not known how succcessful it was. A picturesque mausoleum built on the property, built as the final resting place for members of the Norman family, was used to store the wine. When Robert's wife Sarah died in 1867 the vault and chapel was full of bottles of wine, so she was buried on the property under the vines. Her young son Lionel, who died in 1869, was also buried there. Robert Norman died at his home, "Belle Vue House" on October 31 1883. His body was taken by horse-drawn hearse to Normanville to be buried with his wife and son under the vines and olive trees. Robert and Sarah had eight children, six sons and two daughters. Three of the sons, Herbert, Leslie and Roger, followed in his footsteps and became dentists. Hugh was a surveyor and Walter a physician. The two daughters were Alice Betsy (Mrs Braddock) and Amy who died as an infant.