Last night I dreamed I was having a lively discussion with someone about the merits of the graphic work of Saul Steinberg. Dad was much intrigued by Steinberg’s fine covers for The New Yorker and I rather think his own line drawings were at times influenced by him, though not quite as much as they followed the prompts of Daumier’s gens de justice series, with a dash of Doré and even Goya thrown in for good measure. Certainly there were large-format, lavishly-illustrated books about Steinberg at 18 Denham Place, and I remember as a child poring over them with real fascination, and trying my best to imitate his style. Only now do I realize that Steinberg must have played an important part in steering me towards art in the first place, thanks above all to our wonderful father, and maybe also latterly towards old bond certificates. For in the frigid light of this morning it struck me with sudden force that Steinberg must have studied them closely. Throughout The Passport (1954) for example, he paraphrased portions of their stylistic vocabulary with rare wit, capturing that overinflated Neronian pomposity and plutocratic flamboyance in controlled fits of high Modernist, steel-nibbed satire. There is the neurotically minuscule “small print,” the showy signatures, the cartouches, sunburst striations, the trophies, the armorial bearings, the banner-swoop arabesques, and the flutter of all those intricate marginalia. The bonds were not his only source, however, for Steinberg threw in the posturing habits of more recent forms of official documentation. This portion of his restless mindscape embraced the certified public accountant, the university registrar, the consular section, and rubber-stamp customs and excise officials with every bit of the enthusiasm with which he took aim at the banks and brokers responsible for pumping up the Gilded Age bond market. Still, this is a source and, now, an essentially Edwardian residue, that I never recognized before this morning, thanks to that strange dream. Visual memory is evanescent, but apparently jogged powerfully by sleep. Come to think of it, there is something tangibly Edwardian about that too.
Sunday, January 27, 2013
More bonds
Last night I dreamed I was having a lively discussion with someone about the merits of the graphic work of Saul Steinberg. Dad was much intrigued by Steinberg’s fine covers for The New Yorker and I rather think his own line drawings were at times influenced by him, though not quite as much as they followed the prompts of Daumier’s gens de justice series, with a dash of Doré and even Goya thrown in for good measure. Certainly there were large-format, lavishly-illustrated books about Steinberg at 18 Denham Place, and I remember as a child poring over them with real fascination, and trying my best to imitate his style. Only now do I realize that Steinberg must have played an important part in steering me towards art in the first place, thanks above all to our wonderful father, and maybe also latterly towards old bond certificates. For in the frigid light of this morning it struck me with sudden force that Steinberg must have studied them closely. Throughout The Passport (1954) for example, he paraphrased portions of their stylistic vocabulary with rare wit, capturing that overinflated Neronian pomposity and plutocratic flamboyance in controlled fits of high Modernist, steel-nibbed satire. There is the neurotically minuscule “small print,” the showy signatures, the cartouches, sunburst striations, the trophies, the armorial bearings, the banner-swoop arabesques, and the flutter of all those intricate marginalia. The bonds were not his only source, however, for Steinberg threw in the posturing habits of more recent forms of official documentation. This portion of his restless mindscape embraced the certified public accountant, the university registrar, the consular section, and rubber-stamp customs and excise officials with every bit of the enthusiasm with which he took aim at the banks and brokers responsible for pumping up the Gilded Age bond market. Still, this is a source and, now, an essentially Edwardian residue, that I never recognized before this morning, thanks to that strange dream. Visual memory is evanescent, but apparently jogged powerfully by sleep. Come to think of it, there is something tangibly Edwardian about that too.
Monday, January 21, 2013
Mum again
Friday, December 28, 2012
Who we are, part 2 (Dad)
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| Our grandfather, T. C. Trumble, a descendant of the Trumble hunter-gatherers of Northern India and the Levant. |
Saturday, August 11, 2012
His malaria
Monday, July 30, 2012
His cards
The visiting-card as we know it is barely a century old. Like most other every-day articles of use and ornament, it is the result of a gradual process of evolution; and the form which the card now universally takes is by no means so attractive as those which it took in some of the earlier stages of its history. Of late years, indeed, there have been whispers of a new departure in cards. A revolt from the prevailing monotony in “paste-boards” has more than once been threatened; and the great army of those who suffer from collector-mania have been tantalized with the prospect of new worlds to conquer, in the shape of visiting-cards ornamented with elaborately engraved devices. The idea of those who mooted the change was to give the visiting-card a touch of individuality, so that each card, like a book-plate, should be a witness to its owner’s individual taste and inclinations, and not a mere machine-made reproduction of a universal pattern. But nothing came of the proposal, and the present-day visiting-card still wears its uniform of plain black and white. Had the proposed change been carried out, however, it would simply have been a revival of a fashion that prevailed more than a hundred years ago.Visiting cards were a development from the old style of message and invitation cards. Throughout the greater part of the last century it was customary to write messages and invitations on the backs of used playing-cards. The particular card used was often chosen at random; but occasionally it was picked out with an eye to the delicate suggestiveness of some one suit. This sometimes gave the recipient an opportunity for airing his or her wit…From the use of such cards simply for invitations and other messages it was an easy transition to their use for visiting purposes. At first the person who so used them simply wrote his name across the back of a card. Dr. Doran, in one of his pleasant books of gossip, declares that it was in Paris, about the year 1770, that the custom was introduced of visiting en blanc, as it was called, that is by leaving a card. Old-fashioned folks, he says, who loved to visit in state and display their costumes, called this fashion fantastic, and strongly opposed it. But, of course, opposition of this kind was bound to fail. The ceremonial leaving of a card as equivalent to a visit may have begun in 1770, but the writing of a name on a card and leaving it when the person called upon was not at home was certainly practiced somewhat earlier…Writing the name on the back of a card was soon found to be too simple a matter, and it became the practice to write the name either on the backs of playing-cards, or on the face of cards adorned with engraved devices. Classical ruins and the like designs were highly fashionable. Cards so engraved appear to have been sold in packs, with assorted views; for two or more cards have been found bearing the same name written across them, but with quite different pictures as backgrounds. The practice of writing the name seems to have been soon superseded by engraving the name as well as the background. Much artistic ability and ingenuity was devoted to these cards…Visiting-cards seem to have been known by various names. Madame d’Arblay in her Diary uses the term “name-card.” They were often spoken of as “tickets.”…
Sunday, May 13, 2012
Dad in Budapest
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| P. C. Trumble (front row, far right) attends a murder trial in Budapest. |
Monday, November 28, 2011
Dad and documentation

Lately I have commenced the awesome task of sorting through and identifying the Trumble family papers that are ultimately destined for the National Library of Australia in Canberra. Dad’s run of scrapbooks is fascinating because he kept everything—pretty much in chronological order—a confetti of mementoes of professional and domestic life from 1949 to the 1980s. Nothing he regarded as too trivial to escape notice and preservation. Beyond the scrapbooks, however, there are hundreds of other documents and photographs that came from previous generations—a group of long letters, for example, from the novelist Mary Grant Bruce to her lifelong friend our great-grandmother Borthwick and to her daughters, Aunt Jean and Aunt Kath, which seem to imply that various aspects of the Billabong stories, and of the Linton family of Gippsland, were based at least in part on the Borthwick family of Bald Hills near Sale. As well there is a sheaf of more official papers. This one is typical. Evidently inspired by the glorious Trumble heritage of test cricket, Dad put each of his sons up for junior membership of the Melbourne Cricket Club—at birth. Here is Hamish’s docket, lodged when he was a fraction more than two months old, on March 14, 1956. The annotation down below “Hamish David Campbell Trumble / plse Edgar” is a courteous instruction to Edgar Parker, who for years served as a law clerk (I think, I hope I am right about that) at Mallesons, and as the designated custodian of valuable and/or important documents that Dad preferred to keep under lock and key in the office: documents such as deeds, titles, share certificates, passports, and the completed nomination forms for his four sons’ junior membership of the Melbourne Cricket Club. As I recall, Mr. Parker began his lifelong career of devoted service to the partners of Mallesons as a junior deputy to the ancient Mr. Ted Russell, ultimately rising in the mid-1970s to be in charge of the files, which in those days were still folded in half down the middle and tied with red tape. Files pertaining to dormant matters were customarily retained for a period of about fifteen years, after which time they were put in large canvas bags and consigned to an industrial incinerator, to make way for the next year’s accumulation of files. The task of doing this was allotted to the teenaged sons of partners during the first few weeks of the Christmas holidays, and so it was that in the summer of 1979 Mr. Parker became my very first boss, and an exceedingly kind and benevolent one he was too. I was fifteen, but looked closer to nine.
Sunday, August 7, 2011
The engagement ring

Saturday, August 6, 2011
No solicitors

Whenever they traveled to the United States of America, which was not often, Dad rarely lost an opportunity to have himself and/or Mum (as in this instance) photographed inspecting those little signs on the front door of Upper East Side apartment and other buildings that say “NO SOLICITORS.”
Dad was a solicitor, but not the kind that bother us here. In the British legal system from which the Australian was derived, solicitors were attorneys who dealt with any legal matter, including certain minor court proceedings. However, by universal convention solicitors engaged learned barristers to argue their clients’ cases in the higher courts, and until recently defendants or litigants had no choice but to consult a solicitor in the first instance. It was very much a two-tiered system: suave barristers above, and humble city solicitors below. Indeed before the First World War it was not unusual for Australian solicitors not to have a law degree; barristers invariably did. When our grandfather was admitted to practice in the Supreme Court of Victoria, the law in Australia was in the process of rapidly professionalizing. Thenceforth solicitors invariably took law degrees before being articled to a senior solicitor. They then had the option of reading for the bar (to become a barrister), or not. Judges were almost invariably chosen from the pool of senior barristers. Dad graduated from the University of Melbourne on December 18, 1948, was shortly afterwards admitted to practice as a solicitor, and did so for the rest of his professional life.
In America, the sign “NO SOLICITORS” is meant to ward off door-to-door salesmen, hawkers, canvassers, etc., but Dad and Mum were always tickled by the notion that this could be read as an outrageous rebuke aimed at respectable partners of the old Melbourne firm of Mallesons. God, how I miss them both!
Monday, February 21, 2011
GAY 900
In the 1950s and 1960s, indeed throughout the rest of his life, our father indulged an immoderate enthusiasm for French automobiles, many of them unreliable. At the funeral Hamish summoned an especially charming image of Dad’s Walter Mitty-like reverie behind the wheel of whichever Citroën was for the time being the object of his affection—“I hear the thrum of accordions, I savour the fragrance of Gauloises mingled with that of blanquette de veau or the bouquet of a good Côtes de Rhône, and, with my beret worn just comme ça, I coast along the grand corniche…” or something similar. In fact for many years, but long before I came along, the family vehicle was a model very similar if not identical to this one, and it provided excellent service on many long-haul family holidays, country picnics, skiing trips to the old Belmore Ski Club at Mount Buller, which Dad helped build with his own bare hands, etc. Its Victorian registration plate was the altogether delightful “GAY 900.” Indeed the vehicle continues to be fondly remembered by my brothers as “the GAY 900.” So imagine his surprise when last week in Ho Chi Minh City, formerly known as Saigon, where he is currently on vacation with Lesley, Nicko was astounded to come face to face with this relic of the French colonial period—think of what it must have survived: blanket bombing, napalm, the chaos of insurgencies, the American evacuation, the arrival of the Viet Cong, and the rest. In other words, without actually saying so, I suspect this chance encounter, of which he immediately notified us by email, powerfully removed Nick to Australian places of childhood and adolescence that must be about as different as it is possible to be from any aspect of life in Vietnam, then or since. I have an idea that through the immense number of automobiles Nick owned as a young man he may well have bought himself one of these jaunty black traction avant Citroëns 11CV (1934–1957), though alas it did not last.
Friday, February 4, 2011
The token

It turns out that the explanation for the existence of this odd little private Tasmanian halfpenny is relatively simple, and what follows is merely a condensation or digest of Petterwood’s fuller, livelier, and more expert account.
In September 1813, Macquarie ordered a large shipment of £10,000-worth of silver Spanish dollars from the East India Company in Madras, each valued at 5s, to be centre-punched to produce two coins from one, that is, a ring, and a smaller solid dump—this idea was not new; the same technique was earlier used to create small change at Prince Edward Island. The ring (thenceforth known as the “holey dollar”) would remain pegged at 5s, but the smaller dump would be re-struck, and circulated with a value of 15d. The colonial treasury obviously made a substantial profit, and, for a while, viable, small-denomination currency circulated in Sydney and elsewhere in the Australian colonies.
In 1824, the Bank of Van Diemen’s Land opened in Hobart, and issued sterling under licence from the London & Westminster Bank. Before this, Tasmania was awash with paper promissory notes of any and all values above 3d, and hardly any coins. The issuers of these notes—which could be purchased in bundles or booklets of 100 blank forms—promised to reimburse the bearer for the amount stated on the note. It was, in essence, a checking system unsupported by any bank, and therefore completely unreliable. Paper “money,” meanwhile, in the form of official commissariat bills of exchange, was not much better.
Instead, the Spanish silver dollar became accepted as universal currency, and Van Diemen’s Land did not hesitate to use it alongside sterling at a rate of exchange that was sometimes more favorable than that of the Bank of England. Even promissory notes could be issued in Spanish dollars, but the bank cashiers routinely converted them back to sterling at a substantial discount. Even this did not discourage widespread speculation in private Spanish-dollar promissory notes, so in 1826 the colonial government pegged the dollar at 4s 4d, and prohibited the exchange of notes worth less than £1, and all such notes made out in Spanish dollars. This produced an instant and remarkable effect of deflation, in the absence of any viable colonial money at all, until private banks hurriedly opened for business and began issuing more sterling to fill the cash void. These included the Tasmania Bank (1826), the Derwent Bank (1827), the Launceston Savings Bank (1835), the Hobart Savings Bank (1845), and the deeply unpromising-sounding Convict Savings Bank (1829). None of this solved the problem of small change, so foreign coins continued to circulate freely, but not nearly enough to satisfy the need or demand.
In England, the practice of issuing copper and silver tradesmen’s tokens comparable in style and weight to minted coin was well established, most often as an ingenious form of novelty advertising. Many private manufacturers of such unofficial penny-tokens were thriving in England when the First Fleet reached Botany Bay in 1788, but few of the tokens themselves found their way to Sydney or Hobart Town, for the simple reason that there was at first nothing at all to buy, and convicts were not allowed to have money. The first tradesmen’s token prepared for exclusively Australian use was made in England in 1823 and introduced the following year to Van Diemen’s Land. It was a silver shilling piece, for Macintosh and Degraves, who then operated the Cascade Saw Mill near Hobart Town.
Gradually more tokens were privately produced for public circulation in Australia, of varying degrees of poor quality from the crude to the downright atrocious, but in the end British manufacturers produced quality pennies and halfpennies, even with Australian motifs such as the kangaroo that migrated via reproductive prints all the way down from George Stubbs’s 1771 treatment of the same subject. After the Macintosh and Degraves silver shilling there were eventually twenty more local issuers of copper or bronze tokens, among them Lewis Abrahams the draper; I. Friedman the pawnbroker; W. D. Wood the wine and spirit merchant; Alfred Nicholas’s tea warehouse; R. S. Waterhouse the draper; Joseph Moir the ironmonger; J. G. Fleming the grocer; R. Andrew Mather the draper; H. Lipscombe the seedsman; R. Josephs the customs agent; H. J. Marsh & Brother the ironmongers; William Andrew Jarvey the pawnbroker and general clothier; G. Hutton and R. Henry, both ironmongers—and they’re only the ones in Hobart. Naturally there were vigorous competitors in Launceston. Some of their tokens were manufactured in England and shipped out in barrels, but others were made in the new die-sinking, token-making, and medal-casting establishment of Thomas Stokes in Melbourne, or by other reasonably competent metalsmiths and manufacturers who migrated to Australia and mostly set up shop in Port Phillip.
Olof Hilmer Hedberg was born in Sweden, and came to Van Diemen’s Land in 1844. At first he worked at the government’s bonded store, but soon started what rapidly grew into a successful whaling business. At its peak, Hedberg owned two large whalers, the Victoria and the Maid of Erin. Tasmanian whaling was profitable until the mid-1850s, when the price of blubber and whale oil rapidly declined from £83 per ton, and whales themselves became scarce due to over-fishing. Compounding these losses, Hedberg’s flamboyant investment in a number of coal mines on the island’s east coast failed completely, and he was forced to open a much-reduced mixed business and commission agency in premises he named, rather grandly, “Swedish House” in Argyle Street, Hobart. It was for this business that this little copper token was issued. Perhaps it was the pleasure and satisfaction of issuing coins, in the manner of a bank, that partly distracted Mr. Hedberg from the sharp reality of his reduced circumstances, and his unobstructed view of mist hanging gloomily over the summit of Mt. Wellington.
Interestingly, Hedberg’s new business gradually moved towards a more or less exclusive dealership in artists’ materials. In early 1858 on the front page of the Hobart Mercury he took out an advertisement for “Sperm Oil, Black Oil, Colza Oil, Paint Oils, Turpentine,” but in Walch’s 1866 Tasmanian Almanac a much wider range of paints, oils, and varnishes was offered, and there is no longer any mention of sperm oil, etc. It is not clear what, if anything specific, carried Mr. Hedberg commercially all the way from whale blubber to artists’ materials, but it may simply have been a natural affinity with oils—animal, mineral, and vegetable. It seems likely that this token was made in the early to mid-1860s.





