Archive for the 'The TAM team' Category

Photographing the 1874 Transit of Venus

P3548-780.jpg

Composite portrait, frontispiece for publication 'Transit of Venus 1874', 1892, Powerhouse Museum,P3548-780

The Transit of Venus on 6 June 2012 is the latest occurrence of an event that has shaped the scientific history of Australia. Captain Cook’s expedition to observe the 1769 transit in Tahiti led to the European settlement of Australia. The 1874 transit may not have been quite as auspicious but it did lead to some major advances in the use of photography for astronomical observations.

Continue reading ‘Photographing the 1874 Transit of Venus’

Rabbits, rabbits everywhere

G’day, mate!

No wait! Don’t stop reading! I know it sounds ridiculous, but I’m just trying to fit in! My name’s Sidney Flicker and I am an American student studying at the University of Sydney. Currently, I’m doing an internship in the curatorial department at the Powerhouse Museum as part of my Master of Museum Studies degree. My job is to work with curator Margaret Simpson and research photographs in the Clyde Engineering Photograph Collection, in particular those that show farm machinery.

In the past few months, I’ve looked at and researched all sorts of agricultural machines including ploughs, cultivators, and thatch stitchers. These machines were all made by Clyde Engineering Co. Ltd., a large Australian company located in the Sydney suburb of Granville. Clyde Engineering began as Hudson and Sons around 1857, with the final name change to Clyde Engineering Co. Ltd. in 1898. The Hudson family worked tirelessly on projects that ranged from railway carriages to airplanes and farm machinery to engineering equipment.

train-450x342.jpg

Photographic glass plate negative, NSW Government Railways, second class railway carriage, Clyde Engineering Pty Ltd, 1920-1945, 88/289-1172. Collection: Powerhouse Museum

clydecarriage1-450x343.jpg

Photographic glass plate negative, first avro cadet trainer aircraft A6-15, Clyde Engineering Pty Ltd, 1939, 88/289-145. Collection: Powerhouse Museum

One of the farm machines that caught my eye during the research was the rabbit poison cart that was made after 1902 by Clyde. The name of this machine model was the “Toxicon” and it was designed to drop and bury poison pellets that rabbits would hopefully eat.

rabbitcart-450x343.jpg

Rabbit poison cart, “Toxicon”, Clyde Engineering Pty Ltd, after 1902, 88/289-894. Collection: Powerhouse Museum

It’s sad to admit, but before I came to Australia I knew very little about this wonderful country. Much of my information came from Crocodile Dundee and stereotypes – “shrimp on the barbie”, constant shark attacks, “a dingo ate my baby!” and the rabbit infestation. I believed that when I walked down the streets of Sydney I would see rabbits jumping and scurrying everywhere: the Australian equivalent of the squirrel.

If I had arrived in Australia one hundred years earlier I would have been right, but in those one hundred years the Australian government and its citizens have worked hard to fix the rabbit problem. The “infestation” began when 24 wild rabbits were imported for hunting sport by an elite member of society in Victoria in 1859. Within forty years, the rabbits had spread across the continent hitting New South Wales in 1880. Along their way the rabbits affected the natural environment and agriculture.

The rabbit poison cart was part of a farmer’s arsenal against rabbits, while other strategies ranged from trapping and explosives to dog-led hunts and poison to rabbit-proof fences and warren ripping (dragging a plough through the underground network of burrows). Seven to ten rabbits could eat as much pasture as one sheep! These early methods were not as affective as later methods. Sometimes they did more harm than good since poisons could be eaten by anything, including pets and ironically, the rabbit’s natural enemies including dingoes, foxes and goannas.

During the Great Depression, the large quantity of rabbits was actually a good thing: rabbits were a cheap source of food (once you caught them) and selling rabbit pelts resulted in pocket money. Pelts were made into Akubra hats and worn by World War II Australian soldiers. The result was a battle between farmers who wanted to protect their crops and ‘rabbiters’, also known as rabbit trappers, who wanted to protect their livelihood.

Collection: Powerhouse Museum

Finished rabbit fur pelt hat, United Fur Felts, Sydney, 1940, H4266. Collection: Powerhouse Museum

In the 1950s, the Australian government released Myxomatosis, a disease that only affected rabbits, which had a 99% kill rate. While some rabbits have developed a resistance to the disease, it continues to be very effective in keeping the rabbit numbers down. Anti-fertility agents in the 1990s also help keep the rabbits from breeding, well, like rabbits.

It is these actions, among many others, that prevented me from seeing rabbits hopping around the Sydney streets when I arrived in Australia. But even today rabbits affect agriculture, in 2002 rabbits were causing losses of more than $600 million in Australia through crop and pasture damage.

I would like to thank Collections Australia Network for their online exhibition Run rabbit RUN! and Margaret Simpson for aiding my understanding of rabbits in Australia.

Sidney Wilkinson-Flicker

Samoan War Photographs 1899

U.S. Marines with naval gun, Upolu, Samoa, 1899, published by Kerry and Co.

U.S. Marines with naval gun, Upolu, Samoa, 1899, published by Kerry and Co.

Here, then, is a singular state of affairs: all the money, luxury, and business of the kingdom centred in one place; that place excepted from the native government and administered by whites for whites; and the whites themselves holding it not in common but in hostile camps, so that it lies between them like a bone between two dogs, each growling, each clutching his own end. Robert Louis Stevenson 1892

The above quote taken from Stevenson’s insightful, and surprisingly humorous, account of the war which erupted at Apia in Samoa is proof even great writing can fail to turn the tide of war. In this 1889 encounter peace was only reached after nature herself intervened in the form of a hurricane. Playing no favourites it sank and damaged all but one of the American, German and British ships confronting each other in Apia harbour.

Unfortunately Stevenson’s object lesson in the pointlessness of war appears to have been ignored. As a result the people of Samoa were faced with the exact same predicament as European intrigue exacerbated existing tensions in Samoa which erupted into civil war in 1899. In an astounding turn of events the American heavy cruiser U.S.S. Philadelphia shelled Apia on March the 14th almost ten years to the day of the anniversary of the hurricane which ended the first conflict.

The shelling was done in an attempt to dissolve a provisional government set up by Mata’afa and Germany but instead it inflamed the hostilities and Mata’afa’s forces attacked houses in Apia, particularly the Tivoli Hotel where three American sailors were killed. On 30 March a British and American force under Commander Sturdee, along with about one hundred Samoans supporting chief Malietoa under Lieutenant Gaunt, made their way along the coast driving small numbers of Mata’afa’s men before them.

Malietoa supporters and United Sates marines on the streets of Apia, 1899, published by Kerry and Co.

Malietoa supporters and marines on the streets of Apia, 1899, published by Kerry and Co.

On the first of April, and no doubt feeling full of confidence at the ease with which they were forcing Mata’afa’s forces off the coast, they pursued him inland. This tactic was foolhardy in the extreme as they were no longer covered by the fire of the warships and were attacked by thousands of Mata’afa’s men. While only seven were killed, the historian Paul Kennedy considered these were, ‘remarkably light considering the circumstances’. The upshot of all this activity was the establishment of Samoan, American and British forces along the coast while Mata’afa’s Samoan forces and the Germans were firmly entrenched in the interior. The inevitable deadlock was broken by a ceasefire announced on 25 April and in May 1899.

This second conflict was not covered by the Stevenson’s pen but by another medium, photography. The Powerhouse Museum’s ‘Tyrrell Collection’ contains twenty-six glass plate negatives taken during the conflict, which, while not containing the erudite flourishes of an author, do give us some realistic insights into this civil war. These photographs were originally published by the Sydney firm of Kerry and Co., although it is unlikely the company actually took the photographs themselves.

Old things in new ways…

Doulton Vase (2000/138/1)

Doulton Vase (2000/138/1). Collection, Powerhouse Museum.

Looking at old things in new ways is one of the Museum’s best talents.

Recently while Conservation Photographer, Kate Pollard and I were photographing this beautiful Doulton vase from 1882 we quickly realised that it had a fantastic painting of Farm Cove and the Garden Palace from the same period. When looking at the vase though you can only really see a section of the painting at a time.

If we could see the whole image, all at the same time, it would make so much more sense, and I was positive that you would be able to see more of the details of the painting.

So our bright photographer, Kate pulled out one of her home made contraptions that she had previously used at the State Library that would enable her to take lots of shots of the vase as it turned slowly around at exactly the same interval each time. The result was seventy odd photographs of the vase which Kate was then able to put onto Photoshop to merge and stretch the images so that they looked like one long panorama.

Impressed with Kate’s work I was able to look at the painted image in a completely new light, we realised that the turrets of a building were not in fact Government House but Fort Denison and could see that the people were walking along the Mrs Macquarie Road side of Farm Cove.

Doulton Vase (2000/138/1)

Doulton Vase (2000/138/1). Collection, Powerhouse Museum

Doulton Vase Panorama (2000/138/1)

Doulton Vase Panorama (2000/138/1)

Context is everything when looking at historical objects and by digitally manipulating the painted image on this vase into a panorama we can see so much more, we see how everything fits within the surroundings.

We are hoping to do more of these manipulations in the future, so keep posted and if you have any suggestions of objects from our collection that would benefit from this type of manipulation, just let us know.

Rebecca Evans, Assistant Registrar