Skip to main content

Ticketed entry is in place to safely manage your visit so please book ahead. Need to cancel or rejig? Email bookings@npg.gov.au

Menu

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Sarah and Ann Jacob, c. 1866

Townsend Duryea

carte de visite photograph (support: 10.1 cm x 6.2 cm, image: 9.0 cm x 6.0 cm)

More images of this artwork

Sarah Jacob (1851–1939) and Anne (Annie) Jacob (1853–1913) were two of the seven children of John Jacob (1816–1910), one of the Jacob brothers after whom Jacob’s Creek in South Australia – and Jacob’s Creek Wines – are named. Born in Hampshire, John arrived in South Australia via Launceston in 1838 and the following year, having travelled to New South Wales to purchase cattle, joined his older brother William on his station in the Barossa Valley. William (1814–1902) had arrived in South Australia with the first influx of settlers in 1836 as an assistant surveyor to Colonel William Light. He later took up land at Moorooroo, where he began cultivating vines along with other crops. John and another Jacob sibling, Anne, initially worked with William at Moorooroo before establishing their own property, Woodlands, near Penwortham. John married Mary Cowles in 1848; Sarah, their first child, was born at Woodlands in April 1851; and Annie, their third, in December 1853. During his fourteen years at Woodlands John Jacob was often seeking new pastoral opportunities, leading him to establish a station at Paralana, near Arakoola. He lost 7,000 head of cattle at Parlana due to drought in the mid-1860s, after which he was forced to find alternative employment. Returning to the Barossa, he worked as land agent and in 1868 was appointed Clerk of the Court in Mount Gambier. His family joined him there two years later. Mary conducted a school there with the help of her daughters, and the family remained in Mount Gambier until 1888, when John retired to North Adelaide. William Jacob’s original cottage is still standing in the grounds of the Jacob’s Creek winery.

Townsend Duryea was born in Long Island, New York in 1823. He trained as a mining engineer, but took up photography during the late 1840s, such that when he and Archibald McDonald opened their ‘MAMMOTH SKYLIGHT ROOMS’ in Bourke Street Melbourne in 1853 they confidently advertised their ‘experience of twelve years’ and their ability to ‘secure the approbation of the most fastidious’. They later ran a studio in Hobart but by the end of 1855 Duryea was working with his brother Sanford in Adelaide and ‘daily making a very superior class of Portraits … Daguerreotype, Halotype, Stereoscopic or Solid Pictures, Crayon Pictures and all the new processes’. In 1857, having worked in regional South Australia, he went into business with William Millington Nixon but was trading with Sanford again as ‘Duryea Brothers’ as of late 1859. In March 1864, by which stage he was working independently at 66 King William Street, Duryea announced ‘the great improvement he has made in Card Portraits’, which he claimed were ‘far superior to any heretofore offered the public of this colony’. His studio and collection of 50,000 negatives were destroyed by fire in 1875; thereafter Duryea took up land in Balranald. He died in a buggy accident there in December 1888. Four of his twelve children (from three marriages) became photographers, including Townsend Junior, who carried on the Duryea name in Adelaide.

Collection: National Portrait Gallery
Purchased 2018

Accession number: 2018.84

Currently not on display

Copyright image request form
Request a digital copy of an image for publication

Artist and subject

Townsend Duryea (age 43 in 1866)

Sarah Jacob (age 15 in 1866)

Anne Jacob (age 13 in 1866)

Related portraits

1. Master Molteno, c. 1866. All Townsend Duryea.

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill
Lady Barkly, 1863 Batchelder & O'Neill

Carte-o-mania!

Previous exhibition, 2018

Drawn from the NPG’s burgeoning collection of cartes de visite, Carte-o-mania! celebrates the wit, style and substance of the pocket-sized portraits that were taken and collected like crazy in post-goldrush Australia.

The National Portrait Gallery
The National Portrait Gallery
The National Portrait Gallery

The Gallery

Explore portraiture and come face to face with Australian identity, history, culture, creativity and diversity.

Plan your visit

Timed ticketing, location, accessibility and amenities

We would like to thank our partners.
© National Portrait Gallery 2020
King Edward Terrace, Parkes
Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
Fax +61 2 6102 7001
ABN: 54 74 277 1196

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.