100 Stories from the Australian National Maritime Museum

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The Hobart Regatta was inaugurated one year later,under the patronage of Governor John Franklin’s wife, LadyJane. Far more than a yacht race, it was held every year,usually in early December, to commemorate the anniversaryof Abel Tasman’s ‘discovery’ of the island in 1642. It hopedto demonstrate the unity and patronage of civil and militaryelites, promoted whaling and other free-settler enterprises,and even aimed to reduce the colony’s convict stain.The program reveals the commercial and leisure activitiesat the time. Professional watermen who carried people andgoods across the waters raced the crews of the many visitingnaval, whaling and trading ships and ketches, in gigs, pullingboats, skiffs and sculls. The spectators mixed more freely,representing a broad cross-section of society. A public holidaywas declared and free beer and food dispensed to thosewho took part from the fledgling convict settlement. By the1900s, the boat races were competing with other noveltyAn assortment of trophies fromthe 19th and 20th centuriesGifts from the Wright Familyof Roma, Queensland throughDonna and Ross Fraser & Lesleyand Stanley Harrison; FrancisPinel, Judy Gifford, Carol andGordon Billett, Faye Magner, DrDavid Lark, Lady Desolie Hurley,Iain and Alex Murrayentertainments, including fancy costume parades, beardedladies, greasy-pole fights and snake charmers.The museum’s collections feature many rare andexciting artefacts, which show these early colonial regattasas public celebrations and assertions of progress. There arealso more humble artefacts showing the activities of smallercommunities, where the regatta played an equally pivotalrole as a sporting forum and source of community pride.Illustrated (on p. 199) are a rare piece of English pianosheet music entitled The Regatta Waltzes, published inSydney with vignettes of local scenes in 1855, and (below)a variety of cups, trophies and other prizes awarded toregatta winners.These prizes varied, and included highly craftedsilver trophies, purses, amounts of money and, for theIntercolonial Sailing Carnival held from 1897 to 1899, amost idiosyncratic trophy made from the head of merinoram with silver detailing (below), offered by the John WalkerWhisky company to the boat that won the event twice – the22-footer Effie, owned by James McMurtrie.Competition grew with the various colonies’ development,with more boats, more races and more opportunities for themany clubs supporting aquatic sports. Rowing was especiallystrong in river communities, large and small.Today, aquatic spectacles remain a focus for publiccelebrations on waterways around Australia – witness theannual New Year’s Eve celebrations. Although no longerthe feature event as it was in colonial times, the regattaremains one of many offerings in a smorgasbord of publicentertainment. The former Anniversary Day Regatta istoday known as the Australia Day Regatta and, evoking itsspirit, local working craft feature on the day – the ubiquitousSydney ferries race to huge public interest and enthusiasm.Daina Fletcher200201

ColonialenterpriseIn October 1888 a group gatheredat Auckland docks to see Scottishboatbuilder Robert Logan’snew 39-foot yacht loaded onboard the SS Nemesis to sailfor Melbourne, to take partin the Intercolonial Regattato celebrate the centenaryof British settlement in thecolonies. Akarana, the Maoriname for Auckland, featured afigurehead of a Maori on its bowand took with it New Zealand’shonour and Logan’s aspirations, withthe boatbuilder and his skipper Jack Bellon board. Logan returned six months later,but it was a century before the plucky gaff cutterwas back in New Zealand again.Among the small yachting fleets of the colonies everynew yacht was eagerly reported, and especially so anintercolonial challenger racing under the burgee of theAuckland Yacht Club. The Auckland Star wished Loganwell, describing the narrow, triple-skinned diagonal kauriplankedgaff-cutter as ‘built on beautiful lines. She is of thedeep-sinker type, and has a lead keel weighing five tons,while another one or two tons will be carried for additionalballast’. 1 The Star also reported that Logan hoped to sellAkarana for £500.On Port Phillip Bay, Jack Bell sailed Akarana intrials in late October and early November, and they werethen invited to compete in the gala opening of St KildaMaori figurehead from Akarana,1888, made into a domesticornament 1890s Kauri, mahogany,paint, glass, 37.5 x 28.7 cm Giftfrom Arthur and Nancye GoardYacht Club’s season.With a six-minute timeallowance, they beat StKilda’s centre-boardersto the gold medal by 12minutes, in light airs,without even hoistinga topsail.But the IntercolonialRegatta yielded unevenresults. On day one,24 November, in still air,Akarana (by then the racefavourite) beat its rivals in the5–10 tonne class and claimed the£130 prize. On day two, in strongerwinds, Akarana trailed the fleet behindmany of the vessels it had beaten the previous day,providing one of the surprises of the regatta.Logan took the yacht to Sydney for the AnniversaryDay Regatta on 26 January 1889, and entered it in thesecond class race for yachts under 20 tonnes. Akaranawon, despite losing three minutes after grounding offFort Denison – earning Logan £20, three cases of Moëtet Chandon champagne, and an even higher regardfor Akarana’s performance and his own patriotism insending a New Zealand challenger to the Australiancentennial regattas.Logan did indeed sell his yacht in Sydney, to a RoyalSydney Yacht Squadron sailor, chemist John SimpsonAbraham, and Akarana became a feature of late-centuryevents on Sydney Harbour. During the ensuing decadesthe yacht passed through many owners, whose photographsshow a life of pleasure, cruising on the harbour and BrokenBay, with parasols and picnics.Akarana raced again in the 1940s in Sydney and,as expected for a yacht that survived two world wars andeconomic vagaries, underwent many modifications andpermutations, including the souveniring of its Maorifigurehead (subsequently located in a former owner’s garageduring a museum research program). Nonetheless, it wasmuch loved.In 1987 the New Zealand Government boughtAkarana, intending to present it to Australia as aWilliam Frederick Hall (working1880s–1900s) Akarana (at left)racing Sirocco on Sydney Harbour,1889 Glass plate negative 12 x16.5 cm Gift from Bruce Stannardbicentennial gift from the government and people ofNew Zealand. So after 99 years, Akarana made its wayacross the Tasman to Auckland for restoration. For thebicentennial celebrations in Australia, the (then) PrimeMinister of New Zealand, David Lange, presentedAkarana to his Australian counterpart, Bob Hawke, on20 August 1988 at the Australian National MaritimeMuseum site in Darling Harbour, three years before themuseum’s opening.Akarana’s speedy reconstruction in New Zealandallowed little time to research changes to its formerconfiguration. The yacht was taken from the water in202 203

1997–98 in a year-long project to return it as close aspossible to its original keel design.This work included reinstating its five-tonne lead keel,with adjustments to the spars and sails. Akarana now hasgreatly improved sailing performance, yet after 110 yearsit remains a fair-weather yacht. Today, the deep-keeledgaff cutter is testimony to its builder Robert Logan’sadventurous spirit, and indeed to the enduring spiritof friendship and rivalry with our neighbours acrossthe Tasman.Daina Fletcher> Builder’s certificate for Akarana,October 1888 Paper, ink, 44.5x 28.4 cm Gift from John Beach(MBE)William Frederick Hall (working1880s–1900s) Akarana sailingon Sydney Harbour, 1893 Glassplate negative, 16.5 x 21.5 cmGift from the Royal SydneyYacht SquadronChasing theaction on SydneyHarbourIt’s a Saturday race day on SydneyHarbour in 1922, and the heavy timberskiffs are launched from working shedsdotted around the harbour foreshore. Thecrews assemble and hoist the huge sailsto career down the harbour, eventuallysetting topsails and ringtails, tacking andgybing through a triangular course. Theyare chased by a little motorboat sporting asmall flag on its bow, printed ‘Hall Photo’.William Hall is there with his camera,intent on capturing the exciting antics.The Hall photographic studio played a vital role inthe Sydney boating world from the 1880s, when it wasestablished by William Frederick Hall, a fingerprint expert.His son, William James, took over the business in 1902,and went on to record the explosion of leisure craft onthe harbour into the 20th century. Although neither manwas a sailor, both developed a keen interest in boating,documenting the weekend sailors, their craft and theirsupporters on Sydney Harbour. Each Monday, Halldisplayed photographs of weekend races in the window of hisHunter Street studio, advertising and selling his work to thesailors, boat owners, their family and friends. Yacht clubs,too, proudly displayed their champions on their walls.Hall photographed all manner of boating and boats.The museum’s collections number in the thousands, and theHall studio’s subjects include early craft, from rowing eights,fours and skiffs and naval cutters of the late century, to thefirst surf rescue boats, and the handful of glorious first-classWilliam James Hall (1877–1951)Miss Phyllis, 1930s Nitratenegative, 12 x 16.5 cm Transferfrom the Mitchell Libraryyachts and smaller second-class yachts of the Royal SydneyYacht Squadron and the Royal Prince Alfred Yacht Club.Regattas also feature, with the large liner as flagship shownin a harbour crowded with vessels.William James Hall photographed the action in a series,hoping for that magic image, hurriedly pressing the shutteras the boats raced or sailed past. Some of the images don’twork, but some do. He captured the rise of motorboating asa gentlemen’s sport, when engineers fired the inboard engineand goggle-clad drivers took the wheel. In one series, he didindeed capture a magic image when the exuberant crew onboard the half-cabin cruiser Miss Phyllis heralded his arrivaland that of the speedboat tied up alongside.204 205

It is a very warm image, enhanced by informationprovided by studying other images from the same series in thecollection, which show us that the two boats were motoring onthe George’s River, south of Sydney, and that the speedboatalongside is the G-Whiz and that it raced with the St GeorgeMotor Boat Club.Similarly, the series of images of the 10-footerCommonwealth in the 1920s show the five crew clad in theirrugby league jerseys careering down the western reaches ofthe harbour, with massive sail, topsail and ringtail variouslyset. The class echoed the larger 18-foot open boats, which thestudio and especially William James Hall captured so well.They were classes that were, up to the 1930s, defined largelyby hull length only.Dramatic and colourful, they were great subjects for aphotographer, but Hall also sought images of the sailors, andhe was often able to get close chasing the crews in his littlemotorboat. Many of his images buzz with the excitementof the class. See the photograph of Arakoon (right) duringthe one day of the year when the big boats carried a womancrewmember: the Queen of the Harbour competition heldto raise funds for charities. We see the crew hanging off thegunwale, backs bent down to the water. And we see thedelighted female crewmember, standing out in her light sweaterand beret.Documenting the rise of the exciting open-boat racing wasto become the Hall studio’s signature work. As a collection,it provides a detailed record of the fortunes of these boatsand their crews, from the huge 22-footers of the 1880s to thesport’s boom time in the 1930s.Daina Fletcherfrom top All photos by WilliamJames Hall (1877–1951) Hall’smotor boat chasing 12-foot cadetdinghies, Sydney Harbour, 1920s;Spectators watching a sailing raceaboard the ferry Newcastle,1920–25; Spectators viewingthe start of an 18-footer race offClark Island, 1920s All glass platenegatives, 12 x 16.5 cm, All:transferred from the MitchellLibraryWilliam James Hall (1877–1951)Arakoon in the Queen of theHarbour yacht race, 1931 Glassplate negative 12 x 16.5 cm Giftfrom Bruce Stannard>William James Hall (1877–1951) Following the 10-footerCommonwealth on Sydney Harbour,1920s Four glass plate negatives, all 12x 16.5 cm Gift from Bruce Stannard>>206 207

Model yachting has captivated sailors and would-be sailors for ages, and the crafthave become works of art in their own right, home built with obsessive and oftenlavish attention to detail. Their owners showed them off as though they were anew family member, then raced them hard against fellow competitors.Model yachtsThe museum has collected a number of typically Australianexamples, spanning the local classes from the early 1900sthrough to the present internationally raced yachts. Coveringhand-carved wood to hi-tech composite fibreglassconstruction, the collection also tracks the changes fromhands-on, on-the-water involvement to onshore radio control.In Sydney, the ponds at Centennial Park were a popular,enclosed stretch of water for model yacht sailors from the early1900s. Congregating at one end of the pond, on the starter’sorders the owners released their boats together, cheeringthem on as they sailed toward the opposite shore.Around the same time, model skiffs began racingon open water, creating a new community event.The skipper and another rower, in a typical 10- or12-foot clinker dinghy, tracked the model as it raced,coming alongside to adjust the rig or tack the boat. Thesedinghy teams often comprised brothers, fathers, sons, cousinsand nephews, and sometimes even their girlfriends. Ferriescarried spectators, crowds lined the shore, and bookmakerscirculated to take advantage of Australians’ desire to bet.The models often raced in large fleets, even out on the mainharbour, up to the mid-1950s.Building and sailing a skiff was done by eye and feel,based on experience handed on by each generation. Hullstook form in the evening after a day’s work, and the modelboatyard could be a kitchen table as easily as a shipwright’sbench. Builders conjured fittings from offcuts of metal, andsails were scrounged from leftover materials. Getting the rigproportions right and the trim correct each day was an artform, but balanced correctly the unmanned craft sailed trueand fast, even under spinnaker.Henry ‘Waltho’ MobberleyModel of two-footer Lily, withtrophies, 1920s–1930s Cedar,brass, 63.2 x 14.5 cm Photo:Jenni Carter, ANMM Giftfrom Ron Mobberley>> from top George McGoogan(1922–2009) with Joanin Balmain; Max Howardprepares his model Cometbefore the race; JaniceMahoney holding the hull ofMax Howard’s model yachtComet. All: PhotographerunknownThe early model skiffs were carved from solid Queenslandred cedar, a light timber used for planking the real skiffs, whilelater models were planked up on frames, also like the real skiffs.The large two-footer Lily (left) was home-made at Redfernduring the Depression era. Henry ‘Waltho’ Mobberley carvedLily out of a solid block of cedar, and made the wooden sparsfor the two rigs it used to suit different conditions. Henry’s wife,Rose, made the sails and a bag for carrying the rigs. Lily was asuccessful skiff for Mobberley, winning many trophies.As the model skiffs faded from the harbour in the 1950s,model yachting in other classes maintained a strong following onlakes and other more sheltered waters. It was an internationalsport, one of the most popular classes being the AmericanMarblehead boats. Snoopy, built by John Pollnitz in SouthAustralia in 1970, is typical of boats built in this era. Becausefittings were not commercially available then, Pollnitzmeticulously fabricated everything, including the gears andother parts of the vane steering assembly – an example of theskill and ingenuity of the craftsman that remained on showwith the new classes.The mid-1970s saw the introduction of radio control forsteering and sail trim, and then composite construction. Buildersadopted on a micro scale the exotic high-strength materials, suchas carbon fibre and Kevlar, which now dominate contemporaryyacht building. Engineer Bob Sheddon built his international10-rater, Toad, in 1997. Even though plans, boats and fittingshad become freely available, Sheddon, like other dedicatedmodel yacht builders, still designed and built the carbon fibrehull and all its fittings himself. It was a championship-winningcombination in 1997 and 1998, and is a wonderful expressionof Sheddon’s devotion to the sport. Model yachting continuesstrongly in the 21st century, adopting the latest big-boat trends,such as canting keels, and shows no signs of ever declining.David Payne> from top Vera makes a goodstart on the first leg; Ivy’s skipperand crew row hard to keep upwith the skiff; K Haydon tackinghis skiff Dynamic by holding theboom tip; M Phillips reachesunder Fay to move the keel208 209

It’s the period between the wars during the years of the Great Depression. On a typical London winter evening,you’re walking past Australia House on the Strand or running through Victoria Station to catch the last trainhome. Your eye is drawn to the smiling suntanned beach girl splashing in the surf, to the magnetic yellow and bluegeometry of surf lifesavers on parade or to the bright exotica of tropical fish in a blossoming colour field of coral.Australia beckons.Australia for sun and surfThese posters – exhorting visitors to Australia as travellers,tourists, immigrants, investor settlers and industrialists – wereproduced by the Australian National Travel Association(ANTA), established in 1929 to promote Australiainternationally. The ANTA employed a stable of brilliantgraphic artists, many of whom were European immigrantsversed in modernist design aesthetics and commercialadvertising art practice (learned at Melbourne’s Art TrainingInstitute). They included Douglas Annand, Gert Sellheim,Eileen Mayo, Percy Trompf and James Northfield.These artists designed striking lithographs of geometricform in dazzlingly bright blocks of colour, using a lexicon ofsymbols of wide, sun-drenched beaches and vast grazingcountry, dotted with the exotic eucalypt. AUSTRALIA,they cried, was a land of visceral and spatial physicality – oflarge sunny skies over even larger landscapes. It was a placeof freedom and fun, which also embodied more familiarcharacteristics of stoicism and a pioneering spirit – idealisedimages certainly, and now mythologised – but at the time,most certainly tempting.By 1936, with an annual budget of £20,000, theANTA had distributed more than 200,000 posters, 87,000photographs and 3.5 million booklets and folders, and secured3,000 permanent poster sites in travel agents, embassies,consular offices, shipping and airline companies, and evenin the windows of leading department stores. It had mailedpublicity material to 200 army messes in India, and broughtwriters to Australia from Europe and North America. It alsoorganised promotional events in Australia and around theworld, including representation at fairs and festivals.Gert Sellheim (1901–1970)Sea & Sunshine Go By Train!1930s Colour processlithograph, 100.6 x 63 cm,Courtesy Nik Sellheim and JosefLebovic Gallery Sydney>> Percival Trompf (1902–1964)Tropical North Queensland,Australia, c1930 Colourlithograph, 108.3 x 74 cm,Courtesy Percy Trompf ArtisticTrust and Josef Lebovic GallerySydneyThe ANTA shaped the work of the local state tourismagencies, working with railway companies and tourist agenciesto better promote local tourism and leisure sites for the nationalmarket. With that mandate, it produced the magazineWalkabout from 1934 to 1974, and more posters, bookletsand brochures as a powerful mouthpiece for ‘Australianness’.All this catalysed a new national image – an outwardlookingconsciousness, based on marketing unique Australianforms and attributes.The prominence of beach, coastal and river culture inthis poster imagery is of interest to the museum. The posterspromoted a national image that drew fresh emblems fromliberal beach, bay and swimming cultures, a unique lifesavingculture specialised in the surf, national and internationalsporting success at swimming and, later, surfing and the rise ofthe Great Barrier Reef as an international tourist site.James Northfield (1887–1973)Try Wangaratta Victoria Australia,1949 Colour process lithograph,109.3 x 71.1 cm © James NorthfieldHeritage Art Trust, reproduced withpermissionAfter World War II, the ANTA eventually morphedinto the Australian Tourist Commission, taking on a broaderrole of organising events as well as producing marketingmaterial. In the 1950s, its Walkabout editorial declared thatit would ‘underline the natural attractions of Australia, itsclimate, its outdoors, its plenty and its opportunities forpeople to settle in a more or less British atmosphere and wayof life’. This was the time of then Immigration Minister BenChifley’s ‘populate or perish’ maxim.Daina Fletcher210 211