1.
East Indiaman
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East Indiaman was a general name for any sailing ship operating under charter or licence to any of the East India Companies of the major European trading powers of the 17th through the 19th centuries. The term is used to refer to vessels belonging to the Danish, Dutch, English, French, Portuguese. Some of the East Indiamen chartered by the British East India Company were known as tea clippers, English East Indiamen usually ran between England, the Cape of Good Hope and India, where their primary destinations were the ports of Bombay, Madras and Calcutta. The Indiamen often continued on to China before returning to England via the Cape of Good Hope, when the company lost its monopoly, the ships of this design were sold off. A smaller, faster ship known as a Blackwall Frigate was built for the trade as the need to carry heavy armaments declined and these include the Danish, Dutch, English, French, Portuguese and Swedish East India companies. East Indiamen carried both passengers and goods, and were armed to defend themselves against pirates, initially, the East Indiamen were built to carry as much cargo as possible, rather than for speed of sailing. The East India company had a monopoly on trade with India and China, East Indiamen were the largest merchant ships regularly built during the late 18th and early 19th centuries, generally measuring between 1100 and 1400 tons burthen. Two of the largest were the Earl of Mansfield and Lascelles being built at Deptford in 1795, the Royal Navy purchased both, converted them to 56-gun fourth rates, and renamed them Weymouth and Madras respectively. They measured 1426 tons on dimensions of approximately 175 feet overall length of hull,144 feet keel,43 feet beam,17 feet draft, in England, Queen Elizabeth I granted an exclusive right to the trade to one company in 1600. The company grew to more than the trade between England and India, but the ships described in this article are the type used in the 17th to the early 19th centuries to carry the trade. The Royal Navy acquired several East Indiamen, turning them into fourth rates, in some cases the East Indiamen successfully fought off attacks by the French. The ships normally had two decks for accommodation within the hull and a raised poop deck. The poop deck and the deck below it were lit with square-windowed galleries at the stern, to support the weight of the galleries, the hull lines towards the stern were full. Later ships built without this feature tended to sail faster, which put the East Indiamen at a disadvantage once the need for heavy armament passed. These ships were used for the China run, until the coming of steamships, these Indian-built ships were relied upon almost exclusively by the British in the eastern seas. None sailed to Europe and they were banned from English ports, many hundreds of Indian-built Indiamen were built for the British, along with other ships, including warships. Notable among them were Surat Castle, a 1, 000-ton ship with a crew of 150, Lowjee Family, of 800 tons and a crew of 125, and Shampinder, of 1,300 tons. Another significant East Indiaman in this period was the 1176-ton Warley that John Perry built at his Blackwall Yard in 1788, and which the Royal Navy bought in 1795 and renamed HMS Calcutta
2.
Australian art
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Australian art is any art made in Australia or about Australia, from prehistoric times to the present. This includes Aboriginal, Colonial, Landscape, Atelier, early twentieth century painters, print makers, photographers, the visual arts have a long history in Australia, with evidence of Aboriginal art dating back at least 30,000 years. Examples of ancient Aboriginal rock artworks can be throughout the continent. Rock art can also be found within protected parks in areas such as Ku-ring-gai Chase National Park in Sydney. The Sydney rock engravings are approximately 5000 to 200 years old, murujuga in Western Australia has the Friends of Australian Rock Art advocating its preservation, and the numerous engravings there were heritage listed in 2007. In terms of age and abundance, cave art in Australia is comparable to that of Lascaux and Altamira in Europe and these designs generally carry significance linked to the spirituality of the Dreamtime. William Barak was one of the last traditionally educated of the Wurundjeri-willam and he remains notable for his artworks which recorded traditional Aboriginal ways for the education of Westerners. Margaret Preston was among the early non-indigenous painters to incorporate Aboriginal influences in her works, albert Namatjira is a famous Australian artist and an Arrernte man. His landscapes inspired the Hermannsburg School of art, the works of Elizabeth Durack are notable for their fusion of Western and indigenous influences. Since the 1970s, indigenous artists have employed the use of acrylic paints - with styles such as the Western Desert Art Movement becoming globally renowned 20th-century art movements. The National Gallery of Australia exhibits a great many art works, including those of the Torres Strait Islands who are known for their traditional sculpture. The Art Gallery of New South Wales has a collection of indigenous Australian art. In May 2011, the Director of the Place, Evolution, Paul Taçon launched the Protect Australia’s Spirit campaign in May 2011 with the highly regarded Australian actor Jack Thompson. This campaign aims to create the very first fully resourced national archive to bring information about rock art sites, as well as planning for future rock art management. Rock Art Research is published twice a year and also covers international scholarship of rock art, early Western art in Australia, from 1788 onwards, is often narrated as the gradual shift from a European sense of light to an Australian one. The lighting in Australia is notably different from that of Europe and it has also been one of transformation, where artistic ideas originating from beyond gained new meaning and purpose when transplanted into the new continent and the emerging society. Many of these drawings were met with skepticism when taken back to Europe, despite Banks suggestions, no professional natural-history artist sailed on the First Fleet in 1788. Until the turn of the century all drawings made in the colony were crafted by soldiers, including British naval officers George Raper and John Hunter, however, many of these drawings are by unknown artists, most notably the Port Jackson Painter
3.
OCLC
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The Online Computer Library Center is a US-based nonprofit cooperative organization dedicated to the public purposes of furthering access to the worlds information and reducing information costs. It was founded in 1967 as the Ohio College Library Center, OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded mainly by the fees that libraries have to pay for its services, the group first met on July 5,1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization. The group hired Frederick G. Kilgour, a former Yale University medical school librarian, Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The goal of network and database was to bring libraries together to cooperatively keep track of the worlds information in order to best serve researchers and scholars. The first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26,1971 and this was the first occurrence of online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data, between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the structure was again modified to accommodate participation from outside the United States. As OCLC expanded services in the United States outside of Ohio, it relied on establishing strategic partnerships with networks, organizations that provided training, support, by 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on OCLC Members Council, in early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic, abstract and full-text information to anyone, OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from public and private libraries worldwide. org, in October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. The Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988, a browser for books with their Dewey Decimal Classifications was available until July 2013, it was replaced by the Classify Service. S. The reference management service QuestionPoint provides libraries with tools to communicate with users and this around-the-clock reference service is provided by a cooperative of participating global libraries. OCLC has produced cards for members since 1971 with its shared online catalog. OCLC commercially sells software, e. g. CONTENTdm for managing digital collections, OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications and these publications, including journal articles, reports, newsletters, and presentations, are available through the organizations website. The most recent publications are displayed first, and all archived resources, membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding
4.
John Hunter (Royal Navy officer)
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Vice Admiral John Hunter was an officer of the Royal Navy, who succeeded Arthur Phillip as the second governor of New South Wales, Australia and served as such from 1795 to 1800. Both a sailor and a scholar, he explored the Parramatta River as early as 1788, as governor, he tried to combat serious abuses by the military in the face of powerful local interests led by John MacArthur. Hunters name is commemorated in historic locations such as Hunter Valley and Hunter Street, as a boy Hunter was sent to live with an uncle in the town of Lynn in Norfolk, where, and also at Edinburgh, he received the classical education of the time. Hunter was sent to University of Edinburgh, but soon left it to join the navy as a servant to Thomas Knackston in HMS Grampus in May 1754. In 1755 he was enrolled as able seaman on HMS Centaur, became a midshipman and served on HMS Union, while aboard Neptune he was present at the Raid on Rochefort in 1757, and afterwards served during cruises off Brest in 1758 and the capture of Quebec in 1759. Serving aboard Neptune at this time as her first lieutenant was John Jervis, Hunter passed examinations and qualified for promotion to lieutenant in February 1760. He was not, however, appointed lieutenant until 1780, hood gave Hunter an acting-order as master in 1768, and after passing his exams with Trinity House in 1769, Hunter had the order confirmed. His first appointment was to the 28-gun HMS Carysfort for service in the West Indies, Hunter spent his time there making charts and plans of parts of the coast and of the Spanish fortifications at Havana, which he sent back to the Admiralty. Hunter served as master of HMS Intrepid in the East Indies between 1772 and 1775, after which he became master of HMS Kent, the Kent was at this time commanded by Captain John Jervis, Hunters companion from HMS Neptune. Jervis took Hunter with him to his command, HMS Foudroyant. Also serving aboard Foudroyant at this time was Evan Nepean, then the ships purser, but later a leading civil servant and First Secretary to the Admiralty. From Foudroyant Hunter was moved into HMS Eagle in 1776, at the request of Admiral Lord Howe, the American War of Independence having broken out, Hunter served under Howe for the duration of his time in command, acting virtually as master of the fleet. He was active in the Chesapeake raid and the expeditions on the Delaware, on Howes recall, by now out of favour with the Sandwich administration, Hunter was not able to have his request to be made lieutenant honoured. Instead he joined the 74-gun HMS Berwick as a volunteer in 1779, under her captain, There he received a commission from the commander in chief, Sir George Rodney. Hunter returned to England aboard the Berwick in 1781, and was present at the Battle of Dogger Bank on 5 August that year. Howe appointed him lieutenant of his flagship HMS Victory in 1782, and was advanced to first lieutenant by the time she took part in the relief of Gibraltar. Following these engagements Hunter was appointed to his first command, that of the 14-gun sloop HMS Marquis de Seignelay, the fleet was under the overall command of Commodore Arthur Phillip who was going out to found and be governor of the new colony of New South Wales. Hunter carried a dormant commission as successor to Phillip if he should have died or was absent, the expedition arrived in Port Jackson in January 1788
5.
Royal Admiral (1777 ship)
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Royal Admiral was an East Indiaman, launched in 1777 on the River Thames. She made eight trips for the East India Company before she was sold and she made two trips carrying convicts from England to Australia, one as an East Indiaman in 1791, and a second in 1800. On this second voyage as a convict transport she was present at a naval action. Royal Admiral made eight voyages for the EIC, on her first voyage, Captain Joseph Huddart sailed her from Portsmouth on 27 April 1778. She reached Madeira on 27 May, the Cape of Good Hope on 24 August, Anjengo in January 1779, on the return trip she was back at Madeira on 21 August, and in the Downs on 13 January 1780. Huddart and Royal Admiral left Portsmouth on 3 June 1780 and she reached Rio de Janeiro on 28 August, Anjengo on 16 January 1781, Goa on 29 January, and Bombay on 14 February. She then spent months on the coasts of India and in the Indian Ocean, on 8 May she was at Tellicherry, then on 26 May Cuddalore, and on 4 June Negapatam. From there she went to Madras, arriving on 26 June, Jaggernaickpuram on 18 July, Masulipatam on 7 August, from there she reached St Helena on 31 January 1783 and the Downs on 25 August. Huddart left the Downs on 26 March 1784, reaching St Helena on 8 June, from Bombay Royal Admiral sailed to Tellicherry, arriving 25 November, and to Anjengo, arriving on 9 December, before returning to Bombay, which she reached on 29 December. She then sailed to China via Malacca, which she reached on 13 June 1785, for her return to Britain she crossed Second Bar on 18 October, reached St Helena on 17 February 1786, and the Downs on 27 April. Huddart sailed Royal Admiral from the Downs on 20 January 1787 and she reached Trinidade on 12 March, and Madras on 22 May. Her next stop, on 27 July, was Penang, from there she arrived at Whampoa on 21 September. For her return to Britain she crossed Second Bar 18 January 1788, reached St Helena on 2 May, Captain Essex Henry Bond took command of Royal Admiral for her next three voyages. She left the Downs on 17 April 1790 and arrived at Whampoa on 26 August and she crossed Second Bar on 31 January 1791, reached the Cape on 9 April, St Helena seventeen days later, and the Downs on 26 June. Again under Bonds command, she sailed from Torbay, England, on 30 May 1792 and she reached the Cape on 9 August. Royal Admiral arrived in Port Jackson, New South Wales on 7 October 1792, ten male and two female convicts had died during the voyage, four children were born. After leaving Port Jackson Royal Admiral arrived at Whampoa on 14 January 1793, on the return trip to Britain she arrived at Bocca Tigris on 18 March, St Helena on 16 June, and the Downs on 21 August. This voyage began during the French Revolutionary War, and as was standard practice for the EIC, Royal Admiral left Plymouth on 14 August
6.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
7.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
8.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
