World Turtle Day is #Shellebrated globally on 23 May, to celebrate these incredible creatures, increase knowledge, raise awareness of the impact of plastic pollution, and to highlight the importance of protecting their disappearing habitats. Did you know six of the world’s seven marine turtle species are known from Queensland? You can read more on sea turtles here.
The Impact of Plastic Pollution
Every bit of plastic that has found its way into the ocean or is buried in landfill still exists. The global production of plastic has now reached 300 million tonnes a year with production doubling every 11 years. It is everywhere in our lives and is a major source of pollution. Around 8 to 12 million tonnes of plastic enter the sea every year and around 18,000 pieces can be found in every square kilometre of ocean.
Plastic does not go away. It is extremely durable; a single use, plastic bottle can take centuries to break down. In doing so, it breaks into smaller and smaller pieces that are particularly hazardous to juvenile marine turtles which feed in surface waters and mistake floating plastic for food. This material can lead to gut blockages causing animals to starve and tiny pieces of plastic (microplastics), and the toxins they contain, are now passing through marine food chains.
Did you meet the baby turtles at the Hatchery during World Science Festival Brisbane? If you missed out, head to Facebook to watch them hatch here and see the little dudes released into the Australian Current, 20km offshore from the Sunshine Coast as part of the Museum’s conversation initiative here.
Queensland Museum Senior Curator of Reptiles and Amphibians, Patrick Couper, who oversees the World Science Festival Brisbane’s Turtle Hatchery, holding fibreglass casts of hatchling turtles (Green Turtle in left hand, Loggerhead in right hand).
Wild State highlights Queensland’s unique animals and habitats, focusing on five environments including teeming marine life. Explore how we can protect and preserve our precious natural world for future generations by stopping by the gallery on level 4.
This blog post is part of an ongoing series titled Connecting with Collections. The series offers readers a peek inside collections at the Museum of Tropical Queensland, highlighting objects and their stories
Sometimes when working with the collections at the Museum of Tropical Queensland, you see an object that just makes you stop in your tracks. The object featured today is one that really made me stop and think. So what is it?
A bottle of pickled onions. Exciting, I know!
This bottle was manufactured by Nuttall & Co in Lancashire, England between 1873 and 1887. It was then transferred onto the Scottish Prince, where it would become part of the cargo travelling with passengers on the vessel from the United Kingdom to Australia in the late 19th century.
On the 2nd of February, 1887, the Scottish Prince was making the final stage of its journey under the command of William Little, sailing into Moreton Bay, Queensland. William Little left the ship that night, with a less-experienced Second Mate in charge of the vessel. Just before midnight, the Scottish Prince ran aground at the southern end of Stradbroke Island.
More than 60 years later in 1955, the ‘Under Water Research Group of Queensland’ discovered the wreck. The site was explored and, in many cases, pillaged by divers collecting souvenirs and scrap metal.
This bottle of pickled onions was uncovered from the Scottish Prince wreck in 1974, by Mr Elliott. He collected it before the implementation of the Historic Shipwreck Act in 1976, which enacted new regulations that protect historic shipwrecks in Commonwealth waters, and maintain their use for educational, recreational and scientific purposes. In 1993, an historic shipwreck amnesty was established which encouraged divers and other private collectors to declare their artefacts from shipwrecks older than 75 years, without charges being laid, in order for the Commonwealth to document and create a more complete understanding of the existing artefacts and heritage of Australian Maritime history.
Elliott declared this object at the time of the amnesty, and in 2017, donated the bottle of pickled onions to Museum of Tropical Queensland, where it became a valued addition to the Museum’s Maritime collection.
The bottle – with the lid still intact, and the onions inside still preserved – has lasted throughout its tumultuous history with almost no damage! Another interesting element is that the lid was made with a lead seal, which would have heavily contaminated the contents of the bottle had they ever been consumed. So no, even if we wanted to crack the bottle open, we couldn’t eat these pickled onions anymore! Created in the late 19th century in the United Kingdom, and then remaining – untouched and undamaged – underwater for almost 70 years in Australian waters, this object has lived a very interesting life, and seen things we can only imagine.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
We’re taking it way back to celebrate International Museum Day this 18 May and revisiting the Museum’s rich location history.
As we approach International Museum Day on 18 May, we reflect on the history behind the various locations of Queensland Museum and its 157 years of monumental displays, exhibitions and encompassment of history.
The Windmill 1862, where it all began, the first housing for the newly conceived ‘nucleus of a Museum of Natural Science’, where by the Moreton Bay Council granted temporary use of a ‘large room in the windmill’. The windmill continues to stand tall in Spring Hill and has since been heritage listed. It is also one of only two buildings that remain from the penal settlement. Built in 1827 under Commandant Patrick Logan, it was initially designed to grind corn and wheat for the colony. However, faults often arose and as a result, convicts constructed a treadmill beside it.
During a Philosophical Society meeting in 1866 it was reported that the Windmill suffered considerable damage due to heavy rains. It was then decided in October 1868, the room formerly occupied by the parliamentary library in the Parliament Building would be the new host of the society’s entities. In June 1871 it was established that an additional room be made available for the purpose of creating a mineralogical museum initially intended to boost the mining boom. The Parliamentary building, located on the north-western side of Queen Street, had been erected as a convict’s barracks in 1826. Although the location was central and accessible, the space the museum occupied was far too small. It was recommended by a colonial architect that a building on Ann Street be purchased and restored. This idea was soon rejected and a temporary home further up Queen Street was selected.
The Post Office building, standing between the site now occupied by the Lennons Hotel and George Street, originally consisted of six apartments. In 1873, rooms for an office, laboratory and a larger one for a mineral display were obtained. It was recognised not long after moving into the space that the old Post Office was not an ideal location.
In 1879 the construction of the First New Museum Building was completed. The building costing £10,706, was designed in the Colonial Architect’s department under architect F.D.G Stanley and still stands today as the State Library. The main entrance floor was one of three used for display and the basement contained a large room used as both a library and meeting place.
As a result of the collecting programs the building proved to be too small, and due to the depression and financial difficulties plans were again put on hold. The Exhibition Building became home to Queensland Museum for the next 86 years after its completion in 1891 and was a combination of Romanesque, Byzantine and Baroque influence in polychromatic brick work. The building was built after the original timber exhibition building was destroyed by fire. 300 men of all trades worked on the brickwork at one time.
A Museum worthy of the city and the State
One of the first tasks undertaken by the museum’s board of trustees following its re-establishment in 1970, was to encourage the Queensland Government to provide provisions for adequate housing for its museum. It was the state government’s decision to eventually develop on the south bank of the Brisbane River, a cultural complex that would include a museum, theatres, state library and an art gallery. Robin Gibson of Brisbane was chosen to design the cultural centre, which was then opened in 1985 and has since remained. The building consists of 5,000 square metres across three display floors and an external geological garden.
Mather, P et al. (1986). A Time For A Museum. (Volume 24 ed.). Brisbane: Queensland Museum.
This blog post is part of an ongoing series titled Connecting with Collections. The series offers readers a peek inside collections at the Museum of Tropical Queensland, highlighting objects and their stories.
At the Museum of Tropical Queensland, we have a team of incredible women who look after our collections, our research, our visitors, and our galleries. Behind closed doors, much of our collection was also built on the travels and research of women in both the past and present.
This hidden gem has been pulled from the collections to highlight the input of two women who have helped make our collections what they are today, and who are representative of the many women who have made valuable contributions to our collections over the years. In a sense, this object is but one that represents a tribute to women as makers, as creators, as artists, and as collectors.
This beautiful cushion cover was collected in the Torres Strait Islands by Pamela Brodie. During mid-1979, Pamela travelled around the Islands, collecting over 180 items such as this for the James Cook University Material Culture unit, which was later donated to the Queensland Museum Network. Some of the objects collected by Brodie are now stored in Brisbane at the Queensland Museum, and the rest are kept here in Townsville, at the Museum of Tropical Queensland.
This particular item was collected from Medigee Village on Erub (Darnley) Island, and was made by an artist by the name of Pamela Gela. The cushion cover was displayed at the Museum of Tropical Queensland from 2000-2005. Pamela Gela’s artistic design and innovative use of materials and colour has given us an insight into the diversity of Torres Strait material culture.
The input of both Pamela Gela and Pamela Brodie to the Museum’s collection has assisted us in building a diverse, valuable collection of material culture from the Torres Strait, and helps us to further understand, appreciate and showcase the significant heritage of Torres Strait Islander people through our work at the Museum. These two women represent some of the many incredible contributors that have helped shape the Queensland Museum’s collection today.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
Have you ever stopped to appreciate the craftsmanship of a good quality umbrella? In Queensland where the weather is usually fine and sunny, most of us these days tend to wear hats to keep the sun off our heads which leaves our beloved umbrellas safely tucked away for those occasional – yet not uncommon – heavy rainfall seasons.
The Queensland Museum recently acquired this old umbrella which was manufactured in c. 1901 by Reid & Todd; a travel and leather goods store located in Glasgow, Scotland. It is an earlier example of what we today regard as a ‘modern day’ umbrella. Prior to the mid nineteenth century, ‘brollies’ were traditionally crafted from whalebone and/or wood, and silk was commonly used for the canopy. This resulted in them being a tad on the heavy side and somewhat delicate – probably a bit of a nuisance if you’re getting about in heavy rain all the time.
The clever design of the modern day umbrella frame is owed to Mr Samuel Fox who was an industrialist and steelworker from Sheffield, England. In 1851, he developed “U-shaped” stainless steel ribs which gave form to the famous ‘Paragon’ frame – that lovely rounded “U” shape we are all familiar with when we think of umbrellas. The design became superior to anything available on the market resulting in a unique, stronger and lighter umbrella. During the turn of the nineteenth century, Samuel Fox became the largest umbrella frame maker in the world.
This particular umbrella in the museum’s collection belonged to Mr George Randall who was Immigration Officer for the Queensland government from 1881 until 1902. Mr Randall frequently travelled abroad on long stints to Britain on recruiting campaigns with a view to attracting new settlers to the colony. He became very well known for his lectures which promoted Queensland. In 1901, towards the end of his career, he took up the position of Court Manager for the Queensland section of the Glasgow International Exhibition. The umbrella was either purchased or given to Mr Randall as a souvenir while he was in Glasgow for this momentous event. The umbrella is made of a wood stick, a rounded ivory handle and dons the famous ‘Paragon’ steel frame. It has a brass collar fixed to the stick with ‘Reid & Todd Glasgow’ engraved onto it. The ivory handle contains George Randall’s initials inscribed in black indicating the personal aspect of the object.
This umbrella is a great addition to the social history collection here at Queensland Museum. It allows us to explore the individual story of George Randall and to understand his contributions both personal and professional to building a colony of people who would come to work, live and love Queensland as he so did. George Randall was an avid lover of literature and took to poetry as a way of appealing to his fellow countrymen. In a pamphlet that he published titled The Emigrant: his Thoughts, Feelings and Aspirations, he writes in the very first verse:
I am going, I am going to a land beyond the sea, And I ask my fellow-countrymen, “Will any follow me?” I am going – not in search of gold, or buoyed by hopes of wealth, But where maybe hard toil there’ll be, though toil that belongs to good health. No fairy-dreams of fortune won to give luxurious ease, No castles in the air are mine, I harbour none of these; But what I long for is a home – my own, my own, and free – And I feel that I shall gain it in in the land beyond the sea.
This poem which goes on for another seven pages demonstrates Randall’s enthusiasm and passion for newcomers to consider Queensland as their new home. The pamphlet is one of a small group of items held in the museum’s collection relating to George Randall. The other items include a business card for George Randall’s son, Richard Randall who was a painter, a black and white printed photographic portrait of George Randall taken by the world famous Lafayette Ltd. photographic studio, a copy of the ‘Scottish Trader’ Vol. V., No.34, September 21, 1901, Glasgow which was a registered Glasgow newspaper with a focus on grocery and allied trades, containing mostly advertisements for various foods as well as a feature article on page 11 about Queensland and it’s food products and a highlight on George Randall and his role as Manager of the Queensland Court at the Glasgow International Exhibition, 1901. Alongside these items are three small printed souvenir pictures showing exterior scenes of the Glasgow International Exhibition buildings and an official invitation to George Randall to attend the Reception of the same event.
Carmen Burton, Assistant Curator Queensland Stories
This blog post is the first in an ongoing series titled Connecting with Collections. The series offers readers a peek inside collections at the Museum of Tropical Queensland, highlighting objects and their stories.
Everyone knows the myth of the mermaid – the half woman, half fish, who is sometimes kind and at other times a source of evil who lures unassuming sailors to their deaths. But where did the legend come from?
The myth can be traced to cultures all over the world. One of the earliest versions of the tale speaks of the Sirens of Greek mythology, who show many similarities with the modern day mermaid. In Assyrian mythology, dating to c. 1000 BC, it is said that the goddess Atargatis took the form of the half woman, half fish creature during her life. Another legend speaks of Alexander the Great’s sister, Thessalonike, becoming a mermaid after her death.
In Irish mythology, there is the Merrow. In Scotland, the Ceasg or Selkie. In Western Europe, the Melusine, and in Slavic folklore, the Rusalka. Parts of Africa hold belief in Mami Wata, Cameroon calls their mermaid the Jengu, and in Maori culture, Pania of the reef. Chinese, Korean, and Thai cultures all have their own variations, and in many Western cultures, Hans Christian Anderson’s The Little Mermaid has immortalised the image of the mermaid that we know today.
In Papua New Guinea, there is a legend about the mythical Ri or Ilkai, sometimes known as a Pishmary (meaning fish woman): a human-like sea creature that resembles the European mermaid. The creature long thought to be this mythological being, with sightings stretching back several decades, has since been proven to be the Indo-Pacific dugong, ‘Dugong dugon’. Regardless of this, there are many locals who still believe that a mysterious being lives in the waters of Papua New Guinea, with the tail of a fish, and the features of a woman.
This sculpture was donated to the Museum of Tropical Queensland by Peter Watt. Mr Watt worked as an engineer on the Melanesian Discovery tourist-ship which travelled around the Trobriand Islands and Sepik River regions of Papua New Guinea in 1990, during which time he collected several items that would later become part of the Museum’s collection. The sculpture allows us to see how different people experience and visually interpret certain myths, like that of the mermaid.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
Today is International Women’s Day and we’re highlighting some of our favourite females in Australian history, shared through the lens of the incredible women who are part of the Queensland Museum Network team. Our collections are full of amazing stories and we’re thrilled to be able to share them with you to celebrate this special day.
Jennifer Wilson, Senior Curator, Transport Energy and Science Favourite piece of history: Lores Bonney, who is featured in the Anzac Legacy Gallery at Queensland Museum, was a pioneering aviatrix who dodged death on a number of record-breaking solo flights across the globe during the First World War. During her aviation career, Lores completed the longest one-day flight by an airwoman (Brisbane to Wangaratta), was the first woman to circumnavigate Australia by air, the first woman to fly from Australia to England, and the first to fly from Australia to South Africa. She was awarded an Order of Australia Medal in 1991. The Bonney Trophy, which she presented in England, is still awarded annually to an outstanding female British pilot.
Geraldine Mate, Principal Curator, History, Industry and Technology Favourite piece of history: This microscope belonged to Professor Dorothy Hill, renowned palaeontologist and geologist from Taringa, Brisbane. Her approach to scientific inquiry, particularly her research on fossil corals, led to a long and successful career. In one of many firsts, she was the first woman to be elected a Fellow of the Australian Academy of Science. Dorothy became Australia’s first female professor in 1959 when she became Professor of Geology at the University of Queensland. She also became the first Australian woman Fellow of the Australian Academy of Science (1956), the Royal Society of London (1965), and the first female president of the Australian Academy of Science (1970). The Dorothy Hill Medal honours her contributions to Australian Earth science and her work in opening up tertiary science education to women.
Judith Hickson, Curator, Social History Favourite piece of history:In 2017 it was the 50 year anniversary of the 1967 referendum, which saw Australians uniting to vote 90.77% ‘yes’ to changing the constitution to include Aboriginal Peoples and Torres Strait Islanders in the population count. Commissioned by Australia Post to mark the fiftieth anniversary of the historic date, a commemorative stamp was launched in Canberra on 24 May 2017 by then Minister for Indigenous Affairs, Nigel Scullion. The commissioning and unveiling of the stamp was a historic occasion, bring together representatives of younger generations of Aboriginal and Torres Strait Islander peoples, surviving campaigners, their families and Government representatives. The chosen stamp design was by Rachael Sarra, a Goreng Goreng woman, artist and designer at Brisbane-based creative agency Gilimbaa.
“… without the courage and determination of the original campaigners, all our lives could have been so different” – Rachael Sarra
Barbara Baehr, Arachnologist and ABRS Research Fellow Favourite piece of history: In 2014, Queensland Museum scientists honoured wildlife warrior and conservation icon Terri Irwin by naming a new species of spider after her. The spider, Leichhardteus terriirwinae, was discovered by Dr Barbara Baehr and senior curator Dr Robert Raven in the Mt Aberdeen region in North East Queensland. The tiny spider is predominantly brown, with white legs and three white stripes…but don’t expect to easily find it as it’s less than seven millimetres long. The tenacity of the small spider was what led Barbara to name it in honour of Terri Irwin.
“We named this specific swift spider after Terri Irwin because Terri is a fast and straight thinking woman and we could not think of a more appropriate name for this slender and fast moving spider” – Barbara Baehr
Candice Badinski, Communications Coordinator Favourite piece of history:Thancoupie Tapich Gloria Fletcher AO (1937-2011), best known simply as Thancoupie, was a leading figure in the Indigenous ceramic movement in Australia, and one of North Queensland’s foremost contemporary artists. In a career spanning four decades, she held over fifteen solo exhibitions in Australia and internationally, became Australia’s first Indigenous solo ceramic artist, and was the first Indigenous Australian to complete a tertiary degree in the arts. Today Thancoupie’s sculptures are represented in a number of major institutions across the country, and she is remembered as a pioneer for Aboriginal and Torres Strait Islander artists. In 2014, Queensland Museum curators purchased The Legends of Albatross Bay (Weipa Story) – a cast aluminium sculpture that narrates the history and legends of the artist’s home at Napranum in Weipa, Western Cape York. The sculpture was an exciting acquisition, as the work represents not only one of the final chapters in Thancoupie’s career but also offers added depth to the museum’s existing collection of the artist’s work.
Karen Kindt, Collection Manager, Anthropology Favourite piece of history:Irene Longman, who in 1929 became our first female sitting member in the Queensland Parliament. Irene was married to one of our very own at the museum, Heber A. Longman, the longest serving Queensland Museum Director (1918 to 1945). For over thirty years, Irene involved herself in public life, in a professional and voluntary capacity, working on issues relating to the welfare of women and children, town planning and the preservation of flora and fauna. Queensland Museum holds correspondence dated 20 March 1928 from Dr de Rautenfeld in which he gifted two brooches, one for the museum’s collection and one as a personal gift for Irene. On display in Anzac Legacy Gallery, we also have a tablecloth used as a fundraiser for peace that Irene was instrumental in implementing.
We are custodian of Queensland's natural and cultural heritage, caring for more than a million items and specimens in collections that tell the changing story of Queensland.