The Batavia tapestry

Melinda Piesse with her Batavia tapestry

Textile artist Melinda Piesse with her Batavia tapestry. Photographer Kristina Kingston, reproduced courtesy Melinda Piesse

Last week we unveiled a new large-scale embroidered work by Melbourne textile artist Melinda Piesse at the museum. Known as the Batavia tapestry (2017), it illustrates the tragic story of the wreck of the Dutch East India Company (VOC) flagship Batavia in the Indian Ocean, off the coast of Western Australia, on 4 June 1629 and the sorry fate of the ship’s company.

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A woolie mermaid

Sailor's woolwork picture of Mermaid, 1870s

Sailor’s woolwork picture of the convict transport Mermaid, 1870s. ANMM Collection, 00004596

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’.

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A migration story in stitch

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.

Needlework sampler made by Julia Donovan on board Carnatic en route to Australia, 1879

Needlework sampler made by Julia Donovan on board Carnatic en route to Australia, 1879

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Mrs Philip Gidley King’s muslin evening dress

Over the last few weeks I have been preparing a mannequin for the display of a muslin dress in our exhibition East of India – Forgotten trade with Australia, opening on 1 June. The dress is on loan from The National Trust and is reputed to have belonged to Anna Josepha King, wife of Philip Gidley King, the third governor of New South Wales from 1800 to 1806.

White muslin dress with silver embroidery

Evening dress worn by Mrs Anna Josepha King, circa 1805. Muslin, silver thread. Collection of the National Trust of Australia (NSW)

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Mrs Cook’s Valentine’s Day

On Valentine’s Day in 1779 Captain James Cook was killed in the Hawaiian Islands. Ironically perhaps, his death was the beginning of a long love affair with Cook by generations of people in the Western world who revered the great navigator. It was also the beginning of 56 long years for his wife Elizabeth Cook, without the love of her life.

When news of Cook’s death reached Britain the nation was deeply shocked. We can only imagine what his wife Elizabeth felt at the death of her husband of 17 years. Was the fact he died on Valentine’s Day a recurring wound for her?

Comparatively little is known of Elizabeth. She was born in 1741, the only child of Samuel and Mary Batts, who ran the Bell Alehouse at Execution Dock in Wapping. She was from a family of curriers (leatherworkers) and while not poor, like many women from the lower middle classes of the time, a naval officer with career prospects would have been a reasonable catch. In 1762 she married James Cook at St Margaret’s Church, Barking in 1762. Elizabeth was 21 and James 34 years old. As the eminent biographer of Cook J C Beaglehole put it, ‘it was a respectable rather than socially distinguished union.’

James’ cartographic and navigational skills saw his services in the Royal Navy in increasing demand. This of course meant many long periods at sea. Of their 17 years of marriage, James spent a total of only four years living with his wife.

While James’ career went from strength to strength, Elizabeth’s story is tinged with sadness.  When James was away on his ill-fated third voyage, Elizabeth had been busy embroidering a new waistcoat for him made from Tahitian tapa cloth he had brought back from his second voyage. She, and no doubt others, expected him on his return to be required to attend the Royal Court. The waistcoat remained unfinished.

Cook died at the age of 50, but Elizabeth reached the age of 94, surviving the death of her husband by some 56 years. She also outlived all of her six children. Three of them died in infancy, one from scarlet fever in his teens and two while serving in the Royal Navy. Nor were there any grandchildren to comfort her.

Elizabeth never remarried. She dressed in mourning black well after the accepted period of the time. Like many navy widows of the time, she cherished mementos of her husband. She carefully preserved items from her husband’s uniform, including his dress sword and shoe buckles. She continued to wear a cameo-style memorial ring and was wearing this in a portrait painted of her aged in her eighties.

She also kept a small, coffin-shaped, wooden ‘ditty box’ which held a tiny painting of Cook’s death and a lock of his hair. This little relic was carved by sailors on Cook’s last ship, HMS Resolution, as a keepsake for Mrs Cook.

While she lived in financial comfort with a pension provided by King George III and income received from the sale of books detailing Cook’s voyages, hers would have been a lonely family life until she died on 13 May 1835. Many of Elizabeth’s mementos of James were kept by her relatives and are now held in the State Library of NSW collection.

This embroidered map in the Australian National Maritime Museum collection is attributed to Elizabeth Cook and depicts the western hemisphere and route of Cook's three voyages to the Pacific. The four corners of the cloth are decorated with floral sprigs and the map is marked with lines of longitude and latitude. This intriguing mixture of navigational science and domestic arts seems to suture the schism between a love of service to empire and a love between two people.

This embroidered map in the Australian National Maritime Museum collection is attributed to Elizabeth Cook. It depicts her husband’s three voyages to the Pacific and is decorated with floral sprigs. This intriguing mixture of navigational science and domestic arts seems to suture the schism between a love of service to empire and a love between two people.

Perhaps the greatest tragedy of the love between Elizabeth and James was that in later life she burned all the letters she had received from him. Considering his time spent at sea, there must have been many.  As time passed after James’s death Elizabeth would have known that with the great reverence of James around the world there would be strong public interest in the contents of their letters.

Should we call them love letters? Although occasionally prone to outbursts of ‘cold rage’ (usually directed at ‘troublesome Natives’ rather than his crew) Cook was generally circumspect and not prone to outbursts of emotion. Were there love letters among them? We shall never know. But the effect of this incineration was that any opportunity for historians to know more about ‘the man’ James Cook and the dutiful yet perhaps forlorn Elizabeth, were lost to years of hagiographical historiography attempting to flesh out the character of the great navigator James Cook.

Behind the scenes with our textile conservators

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Julie prepares flag from 1900s for storage

This week we are going to take you behind the scenes of the museum to meet some of our staff and see the interesting things they get up to!

Today we’ve checked in with our conservators… Julie is preparing a flag from the early 1900s for storage and Sue is painstakingly conserving a sailors woolie from the late 1800s!

To make sure the flag can be safely stored, Julie will need to stabilise the damaged corner of the flag by attaching a temporary patch. She has chosen to use a piece of silk, which is a protein based fabric with a similar weave to the original flag. To avoid further damage she’ll attach the patch with thread, using existing holes created by insect damage to thread her needle through.

The stabilised flag will be stored in the museum’s new textile storage system, along with over 3,000 other textile items including flags, uniforms, shoes, head wear, bedding, towels, and clothing.

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Julie adds a patch to stabilise the flag for storage

Our conservator Sue shows us a beautiful embroidery she has been conserving for a while now – it’s one of her favourite objects to work on. Originally in a wooden frame, she has carefully removed the artwork to conserve it as best she can.

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Sue uses a low suction vacuum to remove insect debris and dust from the sailor’s woolie.

As part of the conservation process Sue uses a low suction vacuum to remove insect debris and dust from the artwork. The wool and silk thread are extremley fragile and in some parts the thread has already snapped or been nibbled by insects.

On the underside of the embroidery you can see how vibrant the original thread was, before being damaged by the sun. It would have been a glorious piece of needlework!

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Julie shows the underside of the sailor’s woolie showing the original colour of the thread

Wool pictures (or ‘woolies’) like these were mostly produced between 1840 and 1900 by British sailors. This one was thought to be made in the late 1800s. They cover many subjects, but commonly show broadside views of ships, ‘patriotic’ flags, and samples of embroidered patterns such as flowers, demonstrating the skill of the embroiderer. They were almost never signed, and are usually naive in character, but the detail of the ships in woolworks indicates that they were the work of seamen. Sewing and sailmaking were important skills of seamen, and woolwork pictures show the expertise they brought to this engaging handcraft.

We’ve uploaded a few more photos of Julie and Sue in action on our Flickr and Facebook pages for you to check out. Otherwise, stay tuned for more behind the scenes posts this week!