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.
Like most Queenslanders, I grew up knowing that Rugby League was a central part of life. I remember sitting with my dad watching the Friday Night Footy, the entire family wearing jerseys or team colours as good luck charms.
North Queenslanders – dare I say it – might even be some of the most passionate out of all rugby supporters. You can’t walk down Townsville’s main street without noticing the Cowboys Leagues Club situated right in the centre of town, and on a game day it’s completely normal that 80% of people hanging around town are wearing some sort of Cowboys merchandise.
While the Cowboys didn’t quite make it into the NRL Grand Final this year, the rugby league spirit was still alive in Townsville in the lead up to the match last week. In tune with recent finals season, have a look at something we have tucked away in our collections – a very different kind of museum object.
WHEN ART AND RUGBY COLLIDE
Around the same time that the Museum of Tropical Queensland was being developed, North Queensland formed its first every official rugby league team: the North Queensland Toyota Cowboys.
These two icons – the Museum and the Cowboys team – have a longstanding relationship aimed at assisting the local community, and advocating for education, accessibility and innovation.
As such, in 2006, a project between the two was developed: the Sports Star Art Torso Casting Project. Sports Star Art was a world-first, contemporary concept in sporting memorabilia. Six local Cowboys players had their torso’s cast in plaster, to raise funds for the development of the ‘Archie’s Shipwreck Adventure’ children’s exhibition at the Museum of Tropical Queensland.
Matt Bowen – affectionately called Matty by his fans – a former Cowboy and one of the teams most valued and popular players, was one of the six immortalised in plaster.
The plaster casts were made at the Museum in March 2006. The players were positioned in a hospital bed, their arms and torso’s coated in dental alginate, for 45 minutes while the casts set.
That was the easy part – the casts then had to be removed from the players’ bodies, slowly so that (hopefully) only a minimal amount of body hair would be removed with the plaster.
Matt Bowen commented that the removal, “pulled every bit of hair I had on my chest – and it hurt”.
Once the cast was removed, the museum displays preparator dried the cast, and applied both fibreglass and resin. Once set, the plaster was broken away from the outside, the cast was sanded, and then airbrushed to match the Cowboys uniform.
The final contribution for this item was Matty Bowen’s signature. Bowen’s torso then became a permanent part of the museum’s collections, and the five remaining casts were auctioned off at the Museums fundraising event for the new exhibition.
People often assume they’ve seen it all when it comes to museum collections. But I guarantee they’ve never seen Matty Bowen’s torso at another museum.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
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.
In 1790, HMS Pandora sailed out of England with a clear mission: to find the HMS Bounty and its 25 mutineers. Pandora reached Tahiti in March 1791, and captured 14 of the mutineers, restraining them in the makeshift prison cell on the stern deck, ‘Pandora’s Box’. Leaving Tahiti in May 1791, Pandora spent the next several months searching for the remaining mutineers on other islands in the South-West Pacific, including Samoa, Tonga, Rotuma and Tokelau. On the eventual journey home to the United Kingdom in August, after failing to track down the nine other mutineers, Pandora ran aground and sank whilst attempting to traverse the Torres Strait.
The wreck remained undisturbed until 1977. Upon discovery of the shipwreck site, the Queensland Museum conducted several archaeological expeditions between 1979 and 1999. The extensive excavations unearthed a significant amount of the buried ship’s hull, as well as the well-preserved collection of artefacts now held by the Museum of Tropical Queensland in Townsville.
When Pandora sank, so did almost everything on board the vessel. The Queensland Museum team uncovered a large assemblage of artefacts that shed light on the everyday lifestyle on board the ship during its eventful journey, as well as a range of Polynesian artefacts that the crew had collected whilst on the islands.
Among these Polynesian objects were a collection of fishhooks and shanks made from mother of pearl shell. Research on the collection deduced that the shell shanks, in particular, were parts of fishing lures used for trolling bonito fish. When suspended in water during use, the lures resemble small fish moving in the water, and attract the predatory bonito. After over 180 years underwater, the other distinguishing features of the lures – the hook and plant fibres – disintegrated prior to discovery of the wreck. The shanks, therefore, cannot be linked to one particular area, as this kind of lure was not only common in French Polynesia, but in a variety of regions across Oceania. They came in a variety of forms, colours and sizes, depending where they were manufactured.
MA7901 Fishing/trolling lure component. Discovered at the Pandora shipwreck in the 1980s-1990s.MA8098 Fishing/trolling lure component. Discovered at the Pandora shipwreck in the 1980s-1990sMA8023.1 Fishing/trolling lure component. Discovered at the Pandora shipwreck in the 1980s-1990s.
Currently on display at the Museum of Tropical Queensland is the display, ‘Making Connections: French Polynesia and the HMS Pandora collection’. As part of the display, artist and anthropologist Tokainiua Devatine created an art installation inspired by the many pearl shell shanks from the Pandora wreck. In his artwork, Tokainiua aimed to represent the variation in the pearl shanks, displaying different sizes, colours and forms of the shell pieces in his interpretive artwork.
Art installation created by artist Tokainiua Devatine, currently on display at the Museum of Tropical Queensland. People in French Polynesia still use bonito lures made from mother of pearl shells to catch bonito fish. Although, today metal hooks and synthetic fibres are used on the lures, instead of the natural fibres and shell or bone hooks used when the Pandora’s crew acquired the lures.
E40896 Bonito lure. PhD student and curator Jasmin Guenther purchased this lure in French Polynesia in 2018.
Alongside the pearl shanks found on the Pandora wreck site were several pearl fishhooks. Fishhooks used in French Polynesia at the time of Pandora’s journey through Oceania also came in a variety of shapes and sizes depending on their intended use and associated region. Locals would frequently include the hooks in trade and exchange practices, and European visitors to the islands avidly collected them in the 1700s.
MA8006 Fish hook fragment. Discovered at the Pandora shipwreck in the 1980s-1990s.
Unlike the lures, pearl fishhooks are no longer used for recreational or commercial fishing today.
E40888, E40889. Tahitian artist Hiro Ou Wen created these fishhooks in 2018 as reproductions of the traditional pearl fishhooks discovered at the Pandora shipwreck.
To learn more about the material culture of French Polynesia, and the connection between Pandora artefacts and contemporary art in Oceania today, visit the Museum of Tropical Queensland and experience the current display, ‘Making Connections: French Polynesia and the HMS Pandora collection’.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
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.
You don’t often go to a new place without seeing at least one postcard for sale. Beaches, small towns, big cities – there’s always a tourist shop, and there’s always a postcard stand. I myself have a series of postcards on my fridge, parading beautiful sights my friends and family have visited – my favourite being a picture of a fluffy sheep in front of the rolling hills of New Zealand.
This postcard shows scenes much closer to home. The postcard was originally purchased by the late Lloyd Noel Vickers during his time stationed in Townsville in the mid-1940s as a member of the Australian Armed Forces. Fold out postcards allowed people to send their loved ones multiple images at a time, rather than the single image postcards of today.
Lloyd Noel Vickers, photographed at time of enlistment in Bendigo, Victoria by renowned wartime photographer William Vincent Kelly. During WW2, Townsville was the major North Queensland base for both Australian and US forces and had 11 operational airstrips within the city. Vickers was stationed at one of these during his time with the Air Force. The postcard was kept by Vickers as a memento of his time in Townsville.
This photograph and the postcard were recently donated to the Museum of Tropical Queensland by Vickers’ daughter, Denise Mitchell (Vickers), in memory of her father.
SPOT THE DIFFERENCE
Manufactured and distributed in the 1940s, the images of Townsville featured on the postcard depict a place very different from today. The images used on this postcard depict significant locations throughout the city. Have a closer look at some of these sites, and try to spot the similarities and differences between their 1940s context, and their position in Townsville today.
Built in 1913, the Great Northern Railway Station was well-known to the many soldiers who travelled to and from Townsville by train during WW2, and is featured in many commemorative photographs from the end of the war. The station closed in 2003, when the new railway line was built. Today, the building is used by Queensland Rail as both a travel centre and office space.
Another photo captures the Castle Hill lookout. The road to the lookout was developed as part of a Great Depression unemployment relief project, and officially opened in the year 1937. Today, visitors frequent the lookout by car, or by navigating one of the many designated hiking trails that traverse up the sides of the hill.
One of Townsville’s oldest bridges, Victoria Bridge opened in 1889 to connect the port on Ross Island to the Townsville CBD. The bridge became Queensland’s sole swing bridge during the years 1889-1925, and closed to traffic in 1975, when the George Robert’s bridge opened. Victoria Bridge was revamped and reopened as a pedestrian bridge in 2001.
The Townsville Post Office (left), built in 1886, is a heritage-listed building that now houses the Townsville Brewery. In 1942, the clock tower was dismantled after the bombing of Darwin; as a significant landmark in Townsville’s city centre, and because of the building’s status as a communications centre, it was also considered a possible target. In the 1960s, the tower was modified by JE Allen & Co., and soon became the prime location for political rallies because of its central position in the Townsville CBD. The building was redeveloped as the Townsville Brewery in 2001. The Union Bank building (right) was built in 1885 and established as the Perc Tucker Regional Gallery in 1981.
JUST LIKE YOU WERE THERE
The images on this postcard were produced from black and white negatives and then hand-coloured to bring life to the photographs. Hand-coloured images let manufacturers over-saturate the photographs with colour, to create a more ‘realistic’ visual experience. A range of pigments were used to create the vivid colours: oils, watercolours, dyes, crayons or pastels. The production of hand-coloured photographs generally stopped in the 1950s, when colour film became more available and the preferred method. However, many countries continued to hand-colour images because it was too expensive to obtain and produce colour film; in several places, this process was practiced as late as the 1980s. The 1970s also saw a resurgence in the technique, with trends in collecting antiques taking hold and a market opening for these types of hand-coloured images.
Murray Views, Gympie, was the key manufacturer for souvenir postcards during this period. Fred Murray opened Murray Studios in Gympie in 1906, initially only producing products for the Gympie region and surrounding areas. In 1929, the company changed to Murray Views, and was soon creating souvenir images and postcards from as far as Cairns to Grafton, with each photograph captured by Fred and his team. Fold out poster production began at the company in the mid-1940s, when Murray’s nephews took over the company.
MULTIPLE STORIES
This postcard is significant to the collections at the Museum of Tropical Queensland for several reasons. The images provide a contrast between historical locations in the Townsville region that are still some of the main tourist locations today, and the techniques used to create the postcard give us insight into both image and souvenir manufacturing in the mid-20th century. It also encourages us to think about the situation in which Mr Vickers might have purchased the object, during his years spent in Townsville. By looking at these images, we can gain a sense of both time and place.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
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.
The 7-14 July marks the 2019 NAIDOC Week. Each year, NAIDOC Week celebrates the culture, history and achievements of Aboriginal and Torres Strait Islander peoples. NAIDOC Week is commemorated by both Indigenous communities and all other Australians. Annual NAIDOC events and activities are held across Australia to encourage people to participate in the celebrations, and support local Aboriginal and Torres Strait Islander communities.[1]
Understanding NAIDOC Week
Some might not know, but the boycott of Australia Day – often now referred to as Invasion Day – is not a new event, and connects directly to the origins of NAIDOC Week.[2]
Aboriginal rights groups have been boycotting Australia Day since the beginning of the 20th century. By the 1920s, many of these groups were becoming more active and organised, protesting the day in an effort to highlight the mistreatment of Aboriginal people in Australia. The Australian Aborigines Progressive Association (AAPA) and the Australian Aborigines League (AAL) rallied hard throughout the 1920s-1930s to make the broader population aware of these boycotts and the reasons behind them, however their efforts went almost entirely unnoticed.
By the late 1930s, the situation had not changed. Protests continued, so much so that after a large demonstration in Sydney’s CBD on Australia Day, 1938, the anniversary became known as the Day of Mourning. This event in particular is recognised as one of the first major civil rights gatherings in the world. At the time, William Cooper, founder of the AAL, proposed the concept of a national policy for Aboriginal people to then Prime Minister Joseph Lyons. Unfortunately, the proposal was rejected, as the Australian Government did not at this time hold constitutional powers when it came to Aboriginal people, a fact that would not change until the 1967 Referendum in Australia.[3]
The impact of the 1938 demonstration was felt around the country, and the Day of Mourning became an annual event. Between 1940 and 1955, the Day of Mourning was held every Sunday before Australia Day, known as Aborigines’ Day. The date of Aborigines’ Day was moved to the first Sunday in July in 1955, in an effort to use the day as both a day of protest, and also a day which promoted the celebration of Aboriginal culture and heritage.[4]
National Aborigines Day Poster, 1972.
Soon after, the National Aborigines’ Day Observance Committee (NADOC) was formed, and in 1975, the Committee decided to extend the event to cover an entire week, from the first Sunday of July – Aborigines’ Day – to the second Sunday of July, a day that also became a commemorative day of remembrance for Aboriginal people.[5]
In the early 1990s, NADOC recognised the inclusion of Torres Strait Islander people in the Committee, changing their name to the National Aborigines and Islanders Day Observation Committee (NAIDOC).[6]
1990 National NAIDOC Poster.
Every year, the NAIDOC week theme is chosen to reflect a significant issue or event that is relevant to Aboriginal and Torres Strait Islander people. This year’s theme – Voice Treaty Truth – recognises Aboriginal and Torres Strait Islander people’s place in Australian history and society, and promotes the reforms outlined in the Uluru Statement of the Heart.[7]
The Uluru Statement represents the unified position of Australia’s First Nations people. The Statement was developed as a result of the First Nations National Constitutional Convention, which ran over four days in May, 2017. The Convention brought together over 250 Aboriginal and Torres Strait Islander leaders to Uluru (on the lands of the Anangu people), to discuss constitutional reforms, and agree on how to approach the recognition of Aboriginal and Torres Strait Islander people in the Constitution.[8]
Reforms highlighted in the Statement involve enshrining a First Nations Voice to Parliament in the Constitution to empower Aboriginal and Torres Strait Islander people, and a Makarrata Commission to supervise treaty processes and truth-telling about the history of Australia and colonisation, and its continuing effects (Makarrata is from the language of the Yolngu people in Arnhem Land; the word means ‘coming together after a struggle’. Makarrata encapsulates concepts of conflict resolution and peacemaking, and seeks to acknowledge and right past wrongs).[9]
2019 National NAIDOC Poster.
The 2019 National NAIDOC Poster was designed by Charmaine Mumbulla, a Kaurna/Narungga woman. The artwork is titled ‘Awaken’. Charmaine depicts in her artwork the early dawn light rising over Uluru, which symbolises the unbroken connection between Aboriginal and Torres Strait Islander people and the land. The circles at the base of Uluru are representative of the historic gathering in 2017 which resulted in the Uluru Statement from the Heart. Of the work, Charmaine wrote: “Our message, developed through generations, is echoed throughout the land: hear our voice and recognise our truth. We call for a new beginning, marked by a formal process of agreement and truth-telling, that will allow us to move forward together”.[10]
NAIDOC in the collections
There are certain objects within our collection at the Museum of Tropical Queensland that link directly to NAIDOC Week.
This t-shirt is from NAIDOC Week 1998, and promotes the 1998 theme ‘Bringing them home’. The theme reflected on the report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families (April, 1997).[11]
The report addressed the wrongs done to Aboriginal and Torres Strait Islander peoples through the removal of Aboriginal children from their homes and families, and contained recommendations for redressing these wrongs. One of the key recommendations in the ‘Bringing them home’ report focused on an official acknowledgment of, and apology for, the removal of the Stolen Generations – those Aboriginal children who were forced from their families and communities by governments and churches to be raised in institutions, or fostered by white families.[12]
The impact of the ‘Bringing them home’ report resulted in all State and Territory Parliaments officially apologising to the Stolen Generations, their families and communities between the years 1997-1999. National Sorry Day was established in 1998, and is celebrated every year on May 26.[13]
This t-shirt was acquired by a Queensland Museum curator in October 1998, to add to the State Collection held at the Museum of Tropical Queensland. The item is a significant object within the collections, and is representative of the ongoing NAIDOC Week celebrations, and the nature in which the Week is celebrated with a range of activities and events for Aboriginal and Torres Strait Islander and non-Indigenous Australians to participate in.
These two objects are children’s toys, woven from blades of coconut leaves. They were made by Kate James at the Museum of Tropical Queensland during NAIDOC week in 2000. Kate is a Murray (Mer) Islander woman from the Margaram people. She was born and raised on Mer and came to Townsville in the 1960s.
This scarf was made and donated to the Museum of Tropical Queensland in 2012, by 14-year-old artist Chern’ee Sutton. Titled, ‘History of Australia: Ajarku Muruu’, Sutton created this hand-painted scarf as an interpretation of Ajarku Muruu, which means ‘All One Country’ in Kalkadoon language.
Sutton detailed that each of the 5 large circles represent approximately 14,000 years of life in Australia, totalling nearly 70,000 years. The red and orange circle represent the beginning of art, the green circle represents the beginning of a country, and the blue circle represents the beginning of a nation. The Southern Cross at the top represents a common unity of two worlds combined, and the small dots represent the spirit trails that link all Australians together through acceptance and understanding of each other. This scarf was painted by Sutton after Rob Messenger, Member for Burnett, commissioned her to paint a tie for him to wear in Parliament House for NAIDOC Week 2012.
Each of these items are representative of the culture and heritage of Aboriginal and Torres Strait Islander people in Australia.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
This article is the first in a series about the historical maritime mapping and interaction along the North Queensland coastline.
The Mermaid at Cape Cleveland
Lieutenant Philip Parker King RN (1816)
On Sunday 14 June 1819, HMS Mermaid rounded Cape Cleveland in north Queensland and made an unscheduled stop, anchoring off present day Red Rock Bay. In command was Lieutenant Phillip Parker King RN, the Australian-born son of the third New South Wales Governor (Philip Gidley King) who, together with his crew, was on his third voyage surveying the Australian coast.
The Mermaid, an 84-ton cutter constructed of teak, had been built in India and measured 17 metres in length with a draft of just three metres when loaded. It had a complement of about nineteen officers and crew and was an ideal vessel for hydrographic surveys requiring access to inshore areas. It was later to become unseaworthy because of construction issues, and for King’s fifth and final survey voyage, the Mermaid was replaced by the brig Bathurst, a vessel of twice the size.
Philip Parker King’s sectional drawing of the Mermaid
The purpose of the Mermaid’s unscheduled stop was to confirm King’s assumption that potable water and wood fuel (to replenish his vessel’s supplies) could be accessed on the lee of Cape Cleveland. King sent Frederick Bedwell, his first officer and senior master’s mate, ashore to undertake the search. Bedwell was accompanied by Allan Cunningham, a botanist and eager explorer attached to the Mermaid’s crew on the recommendation of Sir Joseph Banks.
Frederick Bedwell (undated)
Alan Cunningham (undated)
After finding a perennial stream (entering the sea in today’s Bedwell Bay), Bedwell returned to King with a favourable report, and the decision was made to remain at anchor for several days and send watering and wooding parties to restock the vessel. On 17 June 1819, after three days re-stocking, the Mermaid again weighed anchor and continued its hydrographic survey north.
Mermaid Chart Cleveland Bay from King’s Narrative 1825
During the Mermaid’s three-day stay at Cape Cleveland, Frederick Bedwell sounded across Cleveland Bay towards today’s Picnic Bay on Magnetic Island (named Magnetical Isle by Captain James Cook) and then towards the beach at today’s Rowe’s Bay on the mainland. Bedwell established that the depth of Cleveland Bay was suitable for shipping and anchorage.
In the meantime, King, Cunningham and John Septimus Roe, second master’s mate and assistant surveyor, explored parts of Cape Cleveland. They climbed a peak, made sketches and recorded observations in compliance with King’s instructions from the Colonial Secretary. Cunningham collected several botanical ‘novelties’ including the first specimen of the hoop pine (Araucaria cunninghamii) on mainland Australia, and King remarked on the swarms of butterflies, quite probably the blue tiger (Tirumala limniace).
Blue Tiger Butterfly
Hoop Pine
King and Cunningham observed several thatched huts of pandanus palm and the remains of cooking fires, indicating Cape Cleveland was certainly inhabited. King also noted an inconsistency in his compass bearings, remarking that it may have had similarities to James Cook’s observations when passing Magnetic Island. Later, when departing on 17 June, King recorded his first sighting of Aboriginal peoples on Magnetic Island.
An important story, largely untold, unknown and unacknowledged
The Mermaid’s stay at Cape Cleveland two centuries ago marks the first recorded landing by Europeans in the Townsville area. Today, the city of Townsville has grown in importance as Australia’s largest tropical city with a population of almost 190,000, surpassing the size of the Northern Territory capital city, Darwin.
When Frederick Bedwell RN stepped ashore at Red Rock Bay, the establishment of a permanent European settlement near the mouth of Ross Creek was still almost half a century away. It was not until 1864 that settlers arrived by land, rather than by sea, and established the port city of Townsville to serve a developing pastoral hinterland.
Regrettably, the importance of these expeditions in Australia’s maritime history, the achievements of Phillip Parker King and the Mermaid’s crew in surveying the Australian coastline over four remarkable voyages between 1817 and 1820, and a fifth major exploration by the same crew in the sloop Bathurst in 1822, remain largely unknown to the Australian public.
Mermaid 4 December 1820
King’s instructions from the colonial office and the third survey
Phillip King’s instructions were to finish the task that Matthew Flinders was unable to fully complete – to conduct a full examination of the ‘New Holland’ coastline. The detailed survey work undertaken between 1817 and 1821 by the Mermaid and its crew (and the following year on the Bathurst) indisputably confirmed that the Australian continent was indeed an island.
In addition, King had been tasked by Colonial Secretary, Lord Bathurst, to record and report on a formidable list of diverse matters including weather conditions, mountains, animals, vegetables, wood, minerals, metals or stones, details of local communities, their languages and way of life. They were also to record any products of use for export to Great Britain, which explains the inclusion of botanist and scientist Allan Cunningham in the Mermaid’s crew.
King’s third survey, which included the interlude at Cape Cleveland, departed Sydney on 8 May 1819. After a few days break at Port Macquarie, the Mermaid sailed further north on 21 May destined for Torres Strait, Coepang Timor and eventually back to Sydney via Bass Strait.
Map of the Mermaid’s third voyage
The Mermaid’s crew and their legacy
In retrospect, it is difficult to underestimate the courage, skill and ingenuity displayed, as well as the hardship endured, by the Mermaid’s crew in their pioneering and unassisted survey work in remote areas. The men were young: Lieutenant King was 27 years old and both master’s mates, Bedwell and Roe, just 22 years old; botanist Cunningham was 28 years old. All went on to achieve further positions of respect in the Australian colonies.
Phillip Parker King has the distinction of being the first Australian-born Rear Admiral and, apart from his expertise as a mariner and naval hydrographer, he later achieved great respect and admiration as an administrator and pastoralist and served on the New South Wales Legislative Council.
Allan Cunningham was acknowledged in later life as a resolute explorer, botanist and writer. Many places in both Queensland and New South Wales, including a federal electoral division in New South Wales, are named in his honour.
John Septimus Roe, a skilled hydrographer and prolific writer who was King’s assistant surveyor from 1817, later achieved fame as an explorer and was, for forty years, Western Australia’s Surveyor-General as well as holding other important public positions in the service of the colony.
John Septimus Roe (1823)
My forbearer, Frederick Bedwell (1796 – 1857), joined the Royal Navy shortly before his fourteenth birthday, entering service on 8 September 1810. From 1811, he served with Sir George Cockburn in Cadiz during the Napoleonic Wars and again at Chesapeake in the north American campaign. He also served as master’s mate with Cockburn on the Northumberland, escorting Napoleon Bonaparte to exile on St. Helens, and he later trained in hydrography before his appointment as second in command of the Mermaid, a position he retained on all of the voyages of the Mermaid and the Bathurst.
In later life, following several years in England, Frederick Bedwell returned to New South Wales and captained ships for the NSW colonial administration. He married Susannah Matilda Ward in 1832 and became a pioneer landholder in the Paterson area of New South Wales’ Hunter Valley in 1837 on their property ‘Valentia’. There he is credited with introducing the willow tree to Australia.
Valentia at Paterson circa 1840
The Bedwells had twelve children, and their third child, daughter Zorayda Anne Bedwell (1836 – 1924), married Charles Allan Dun (1823 – 1908), the third child and eldest son of neighbouring Paterson landholders, William Dun and Maria Dun nee´Burdett, in 1857. Frederick Bedwell had also fathered a daughter Eliza (born at the end of 1820) to Louisa Calcott of Sydney.
Charles Dun and Zorayda (Bedwell) moved north and were among the first landholders in the Lake Cootharabra area of south-east Queensland. Dun’s Beach on the lake is named after them. Their son, Percy Vivian Dun, married Elizabeth Ann Cork who, with her family, moved to the township of Ayr, south of Townsville, in the very early years of the twentieth century following the incapacitation of Percy in a mining accident. They were my great grandparents.
Today, it is likely that there are thousands of living descendants of Frederick Bedwell, and many of them are probably unaware of their forbearer’s contribution to the development of modern Australia. It follows that Australians, at large, are also unaware of the importance of the work of the Mermaid and the Bathurst and their officers and crew in the story of modern Australian. The unscheduled landing and interlude at Cape Cleveland are part of the overall substance of King’s five hydrographic surveys, although the significance of that first visit clearly needs to be shared with today’s residents of Townsville.
Dun, Antje, 2018, Wonders, wishes and waves, Smashwords. https://www.kobo.com/us/en/ebook/wonders-wishes-and-waves-diary-of-an-accidental-explorer
(A children’s interpretation of Phillip Parker King’s Narrative of a Survey of the Intertropical and Western Coasts of Australia: Performed between the years 1818 and 1822 written by one of Frederick Bedwell’s descendants).
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.
National Reconciliation Week (27 May – 3 June) celebrates the shared histories, cultures and accomplishments of Aboriginal People and Torres Strait Islanders and the broader Australian community. It urges all Australians to learn how we each can contribute to achieving reconciliation in Australia. National Reconciliation Week commemorates two significant milestones: the date of the successful 1967 Referendum, and the date of the Mabo decision.
The theme for National Reconciliation Week in 2019 – GROUNDED IN TRUTH – recognises that to strengthen Australia’s race relations, the relationship between Aboriginal and Torres Strait Islander people and all other Australians must be built on truth. The theme encourages all Australians to come to terms with our shared history, to unify the country and continue to create a culture of respect and understanding.
THE 1967 REFERENDUM
The 27th of May, 1967, marks the date of the Australian Referendum, in which over 90% of Australian voters said ‘YES’ to amending the 1901 Constitution in support of Aboriginal and Torres Strait Islander people. The overwhelmingly successful vote meant that Aboriginal People and Torres Strait Islanders would now be included in the census, and allowed the Commonwealth, rather than each individual state government, to create laws for them. This addressed the inequalities within the legal system from state to state. The Referendum became a key symbol for the equal rights movement of the 1970s.
THE MABO DECISION
Eddie Koiki Mabo was from Mer (Murray Island) in the Torres Strait. Mabo famously challenged the Australian legal system and won his people’s case for land ownership. The case, Mabo and others v Queensland (No 2) (1992) made its landmark decision on 3 June 1992, granting recognition of Aboriginal and Torres Strait Islander people as traditional owners of the land of their ancestors. The Mabo decision was a turning point for Aboriginal and Torres Strait Islander peoples in the fight for native title.
The Mabo decision abolished the doctrine of terra nullius, which was put in place by British invaders in 1788, meaning the land belonged to nobody. The Mabo decision identified that terra nullius should never have been applied to Australian land, instead recognising that Aboriginal and Torres Strait Islander peoples had occupied the land for 40 000 – 60 000 years before the British arrived.
In honour of National Reconciliation Week, have a look below at a range of Aboriginal and Torres Strait Islander artefacts from the Townsville region, that represent the Aboriginal communities from this part of the state.
This shield was made by the Rainforest people situated between the Townsville and Mossman Regions. This community is best known for their swords and shields, which distinguish them from other Indigenous language groups. Shields such as this one were shaped and then painted with rich ochre colours, creating abstract designs that represented both animal and plant totems.
A hafted stone axe, made by Russell Butler in 1998.
This digging stick was found by the Environmental Protection Agency during field work at Ross Creek, Townsville in 1998.
This necklace was made using echidna quills and red sandalwood seeds, threaded onto a nylon line with a gold plated catch. It was made in Townsville by Dot Prior in 1998.
This woven Pandanus basket was made by Sarah Wapau in 1990. Ms Wapau was born on Thursday Island, and was a prominent member of the Torres Strait Island community in Townsville when this item was purchased by the Museum in 1991.
Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland
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 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.
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