Gervais Purcell’s photographs depicting tests for an underwater camera by Amalgamated Wireless Australasia in Sydney have an interesting association with the discovery of the sunken HMS Affray on 14 June 1951 near Hurds Deep in the English Channel.
In 1987 the Australian National Maritime Museum purchased a set of original shipyard plans produced by the Scottish marine engineering and shipbuilding company Gourlay Brothers & Co. in Dundee. Like the best of discoveries, it seems the plans were destined for the rubbish but were saved at the eleventh hour. Together the plans represent images of early Australian cargo vessels, as well as a wide range of Australian shipowners and a long tradition in ship construction procedures.
1868 was a year of firsts in Australia — the first tsunami recorded in Sydney Harbour, the first recorded UFO sighting and the first tour of an Australian cricket team to England. But the arrival of the first royal visitor to Australia eclipsed all these and saw the Australian colonies become a heart-pounding, jostling competition of patriotism and devotion.
Last week I started exploring the fascinating intersection between needlework, craft and maritime history in the museum’s collection, examining an embroidered sampler made by young British migrant Julia Donovan in 1879. Today I will be looking at the sampler’s first cousin – the sailor’s woolwork picture or embroidered ship portrait, affectionately known as a ‘woolie’.
One of my favourite objects in the museum’s collection is a charming needlework sampler made by 19-year-old assisted immigrant Julia Donovan on board the Carnatic in January 1879. Immigration records show that Julia arrived in Rockhampton, Queensland, from England on 5 February 1879, and presumably went into domestic service in the growing port town.
“Cock your hat.
An angle is an attitude”
– Frank Sinatra
Its hat week this week – for myself it’s an excuse to kit up for winter but among the vast collection of images by respected Australian commercial photographer Gervais Purcell the hats are generally more about form than function.
As I was examining the letters, journals, photographs and reports of Oskar Speck, as though they were parts of a giant jigsaw puzzle, I started piecing together the life and the incredible voyage of this intrepid German, who spent seven years and four months paddling a collapsible kayak from his native town of Altona in Hamburg all the way to Thursday Island in the Torres Strait.
It is so often the way that in the name of progress, much of what once was is now lost. So it was with great fortune that in 1988 Australian National Maritime Museum staff were able to work together with developers to salvage part of Sydney’s rich maritime history. As part of a renovation of the Orient Line Building in Sydney, the interiors were to be gutted and the fixtures and decorations removed. These included maritime themed murals, glass panels and floor mosaics. The glass panels designed by Lynton Lamb, 20 in all, were carefully extracted and taken to the museum.
Last week was the 245th anniversary of the arrival of Captain James Cook and HMB Endeavour at Botany Bay, just south of Sydney. Cook and his crew spent 8 days here from 29 April 1770, their first landfall on the Australian coast.
The moment of Cook’s landing took on a great consequence for Australians ever since. For non-Indigenous Australians, from the 1820s Cook was seen as a far better set of origins than Captain Phillip and his boatloads of convicts in the First Fleet. Indeed it was Cook’s landing at Kurnell on the southern headland of Botany Bay that was the preferred moment of commemoration right through the 19th and well into the 20th century.
A few weeks ago we installed a series of murals in the museum that were painted by David Henry Souter for the Bondi Surf Bathers’ Lifesaving Club (BSBLC). In January 1921 a ceremony was held to unveil an honour roll listing the names of the club members who had served during World War I and died far from their beloved Bondi. Also unveiled that day was this series of murals. The local sporting gazette The Arrow reported on the unveiling and made brief mention of the paintings:
The interior of the clubhouse is now distinctly attractive. The walls are panelled and Bulletin artist Souter has supplied a series of friezes done in his own inimitable style. (21 January 1921, p.6)
Souter (BSBLC President, 1920–21 season) completed the series in 1934 when he painted an additional two works.