non-fictiontraining ships, apprentices, education, navy school

Navy blue cloth cover with embossed golden lettering on the spine, and mustard dust jacket illustrated by original painting by Commander DGM Gardner. xvi, 176 p. : 16 plates, illus., maps, ports. ; 22 cm. Includes index.non-fictionFrom dust jacket: This is the unique story of the sailing ships owned by Sir William Garthwaite between 1915 and 1929, which formed in fact the last sailing merchant fleet to trade under the British flag. Captain A.G. Course, a Cape Horner himself, tells the story of this fleet whose vessels sailed so often past the awesome tip of South America, with a wealth of detail, happily marrying factual information and anecdote to produce a valuable historical record. Here are some of the last great characters of the age of sail, both men and ships, brought to life. The author's own close contact with the vessels and their crews allows him to capture the atmosphere most realistically. The Garthwaite ships, for all the effort put into their operation, were fighting a last-ditch stand against the inevitable supremacy of steam. It is with a certain nostalgia that the author records the passing of a fine fleet and documents an important chapter in maritime history. windjammers, captains, martin frampton, catherine aviss (nee frampton), herbert aviss, elisabeth frampton, inverneill, garthneil, wray castle, garthwray, alfred george course, invercauld, invermay, carnmoney, garthforce, garthsnaid, garthgarry, garthpool, juteopolis, captain roberts, crew, cape horn, cape leeuwin, captain thomas atkinson, spanish flu, wwi

The Maréchal de Turenne, a three mast barque, was built in the "Chantiers de la Loire" shipyard in Nantes, port in the West of France, in 1899 by the company René Guillon et René Fleury. Capacity of 3000 barrels. The barque is called a "cap-hornier" in French. In a book written in 1973 by Georges Aubin, "La mer douce et cruelle", ed. France-Empire, a chapter "Une traversée du trois-mâts nantais Maréchal de Turenne" (page 285 to 319) tells how the ship was navigating from London to New-York to load barrels of petrol bound for Melbourne.The photograph demonstrates how prepared the merchant navy was during the First World War. The French Merchant Navy had additional men from the Navy: the six sailors in uniform and sailor "bachi" bonnet with the AMBC inscription were on the ship to support the crew in case of enemy attack. Two of those soldiers carry a bayonet. One of the sailors is wearing headphones: World War One saw telecommunication progress. At sea, the threat were the German submarines: the U-boats.The photograph depicting the 22 members of the crew was taken in October 1918 onboard the Marechal de Turenne. The two on the right and left side are holding a picture of the barque. One man at the back is holding a cat. 11 names are written at the back. The photograph was turned into a postcard.Printed at the back: On the left: Green Bros/Photo/251 Nelson Place, Williamstown Centered: Post Card/Correspondence/Address only Top right corner for the stamp: Kodak Australia Written at the back: octobre 1918 Souvenir du navire Maréchal de Turenne Berthot Jacquet Renaut R. Renaut H. Lecoq Mercier Berger Dubas Lorie Coat Tilloncrew, barque, french, 1918, marechal de turenne, nantes, wwi, world war one, first world war, great war, buoy, ship mascot, cat, a.m.b.c, bayonet, african, black man, apprentices, armement militaire des bâtiments de commerce, bachi, sailor beret, radio transmitters, telegraph, morse, telecommunication, german submarines, u-boats, cigarettes, smoking, williamstown, mission to seafarers, seamen's mission, nelson place, crews and ships

Early 20th C. image of crew members on board ship. It is thought that the basins were used to collect their meals as a way of ensuring minimum spillage when the vessel was under way. The Barque Crocodile out of Liverpool is documented in an Annual report as donating 15 shillings and sixpence from the crew towards the building fund for the Mission Building. This image may well depict some of those crew members who 'chipped in'.Small monochrome photograph (faded) depicting small group of seamen aboard the Barque Crocodile performing chores.Hanwritten in pencil on verso: 12barque crocodile, crew, apprentices, life on board, dinner, meals

Small monochrome photograph depicting 3 men standing on a ladder with paint pots and brushes next to the keel, secured by ropes.Written in pencil on verso "12"barque crocodile, liverpool, seafarers, painting, life on board, reverend alfred gurney goldsmith, goldsmith album, paint, brushes, keel, ropes, ladder

non-fictionapprentices, slavery

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt