The traffic on the Murray River owes a big debt to the simple working vessels that serviced the infrastructure that made commercial operations possible. One of these crafts, the barge Dart, lies onshore at Goolwa, shaded and partially protected by the big Hindmarsh Bridge that spans the passage between the port of Goolwa and Hindmarsh Island. Dart is out of the water for a much-needed restoration. Recently I visited the Dart as in-kind support to inspect the Australian Register of Historic Vessels (ARHV) listed barge and write up a Vessel Management Plan (VMP), thanks to a Maritime Museums of Australia Project Support Scheme (MMAPSS) grant.
This past January, a collaborative research team comprising maritime archaeologists from the Silentworld Foundation and the museum conducted a shipwreck survey at Kenn Reefs in Australia’s Coral Sea Territory. The team relocated a number of historic shipwrecks documented by the Queensland Museum in the 1980s, as well as four new wreck sites. The Kenn Reefs complex is a seamount system located within the ‘Outer Route’, a seaway used by nineteenth-century mariners in an effort to avoid the Great Barrier Reef when travelling to and from Australia’s east coast. The discovery of multiple shipwreck sites of nineteenth-century vintage at Kenn Reefs demonstrates the hazards faced by mariners as they transited through waters that were insufficiently charted. Field investigations included reef-top inspections, metal detector and magnetometer surveys, and diver-based ground-truthing of observed features and buried anomalies.
Conservators rarely have the opportunity to access made-for-conservation equipment, software, tools or chemicals. We borrow and adapt things intended for other environments. Conservation labs are often populated with dental tools and equipment, surgical scalpels, entomological stainless steel pins, book binder’s presses and felts, as well as a tradesman’s array of socket sets, drills, punches and pliers. We put Tyvek® Homewrap® covers over collection objects as it is breathable and keeps off dust. We transport small objects in prawn crates and often display costume on off the shelf mannequins.
When it came time to document the Cape Bowling Green Lighthouse prior to major conservation work, our conservation team turned to technologies which are often used by insurance companies and real estate agents to photograph buildings and record damage.
In 1993, the Australian National Maritime Museum was ready the rebuild the Cape Bowling Green Light. After some discussion, a site near the wharf was selected. Reconstruction of the lighthouse started in late 1993. This visual story shows how the lighthouse was rebuilt piece by piece at Darling Harbour.
How do you move a building from a remote cape in far north Queensland? In 1987 the 113-year old Cape Bowling Green Light was superseded by radar beacon, decommissioned and sold to the Australian National Maritime Museum. Somehow, the museum had to transport a 22-metre structure from Cape Bowling Green to Darling Harbour, Sydney. So, how does a lighthouse travel over 2000km?
At 22 metres tall Cape Bowling Green Lighthouse seems a solid, immovable structure. In fact, it was designed for ready disassembly and has been moved at least three times in its 150-year life. It has also been continuously modified throughout its history. The lighthouse at the museum is only partially the lighthouse that was built at Cape Bowling Green in 1873-4. The lighthouse and its changing history challenges ideas about the preservation of immovable cultural heritage. Continue reading
One of the issues we readily face in the museum world is how to increase the proportion of our collection that is accessible to the public. The unfortunate reality is that due to collection size and the display space available the percentage of the collection on display at any one time is limited to approximately 9%.
The solution: digitise.
Behind the scenes at the ANMM – a conservation perspective
In late May, the Conservation Department at the Australian National Maritime Museum (ANMM) welcomed me for three weeks as an intern to learn about the role of conservation within the museum, as well as further my understanding of the role a conservator has in caring for a collection. I spent my time at the ANMM constantly shadowing the various members of the conservation team.
What I found opened a new world for me.
This week a very special piece of pewter is coming to the museum … the Hartog plate, on loan from the Rijksmuseum to mark 400 years since Dutch mariner Dirk Hartog made the first recorded European landing on the west coast of Australia in October 1616. As a testimony of his visit, Hartog left behind an inscribed pewter plate that is recognised as the oldest European artefact found on Australian soil.
The Roman artist who painted the beautiful wall fresco in the Villa of Livia could never have dreamt that 2,000 years later it would be reproduced at actual size and on display in an exhibition on the other side of the world.
As a national cultural agency, the museum provides support for Maritime Heritage nationally and the importance of supporting local communities, smaller museums and historical societies to care for, conserve, preserve, interpret and display Australia’s maritime heritage is recognised. Several of the avenues for doing this involve funding opportunities and engagement in collaborative travelling exhibition development.
What a museum without its collection? The stories we tell are imbued in the objects the museum collects and the conservation department is tasked with caring for these objects. Our conservation team look after a range of artefacts, from paper to paintings, ceramics, textiles and even archaeological material recovered from the seabed. From small coins to the HMB Endeavour replica, every object is condition reported, treated and conserved. The team monitor the environmental conditions our objects are either stored or displayed in, checking light levels, relative humidity and maintaining a stable temperature.
In the spirit of National Archaeology Week 2016 we took the opportunity to open the floor to you, our audience and community, with the hashtag #AskAnArchaeologist. This was a chance for you to ask your questions about all things archaeology and maritime heritage to our team.
When you tell people that you work at the museum, most will assume that you are a curator. Little do they realise that there are many other career paths in the cultural sector. Indeed, few teenagers would be advised by their guidance counsellor to study materials science at university. But those unfortunate souls will never get the chance to wear a onesie at work.
Object conservators specialise in the preservation, treatment and care of three-dimensional and mixed-media objects. In the collection, our conservators work on a wide range of objects including cannons, boats, model ships, swimsuits, canoes, glass-plate negatives, ethnographic items, marine archaeological objects and paintings. The diverse nature of the collection means our conservators often have to employ a range of preventative measures and treatment methodologies to look after a single collection item.
Dismantling Shackleton: Escape from Antarctica was a normal day for our object conservators. The objects were on loan from Museum Victoria and they were wonderful additions to bring the story of Shackleton’s epic Antarctic escape to life. Several of the taxidermy specimens required the team to don filtered masks and hazmat suits. As one conservator called it, ‘the science onesie: which is the only acceptable type of onesie’.
These specimens were over fifty years old and had been created with a series of treatments to keep insects away. Such treatments used hazardous chemicals including lead, arsenic, mercury and bromine. Decades later, these treatments are still rather effective at keeping the bugs away – and can still be harmful to humans if the proper safety precautions aren’t followed.
Hence the need for a science onesie.
After condition reporting the objects, our conservators suited up. Their Tyvek coveralls are made from a flash-spun, high-density polyethylene which provides a barrier against hazardous dry particles, aerosols and light liquid splashes. The outfits were completed by half-face respirators with particle filters.
Removing the objects from display was a delicate and time-consuming job. Each step required planning and consideration of how best to move the objects from their plinths and sliding the objects into their specialised packing crates.
Team work, coordination and communication are key qualities of an object conservator on jobs such as this, especially when you and your co-worker are handling a 100-year-old albatross while wearing a suit that doesn’t breathe, a mask which muffles your voice and cumbersome oversized gloves protecting your hands.
But our conservators are talented professionals with great passion for their jobs. They ensured that the operation ran smoothly. The objects are now safely in their crates ahead of their return to Museum Victoria.
Object conservation is a vital skill for the care of our collection. Materials science is an intriguing field of study with unique job opportunities. Suiting up to move a taxidermy penguin is certainly a fascinating day on the job.
– Kate Pentecost, Digital Curator
If you wish to get up close to our collection but without wearing a onesie, head over to our Google Cultural Institute page.