Wendy van Duivenvoorde
I am a professor of maritime archaeology at Flinders University. My major area of research expertise is in fields of maritime, nautical and underwater archaeology, and I have research experience in the areas of seafaring, shipbuilding, technology transfer, cultural contact, and maritime or underwater cultural heritage. My studies primarily focus on ships of exploration and Indiamen and include the archaeological remains of Western Australia's Dutch East India shipwrecks. An additional research interest comprises ancient ships, their fastenings and anchors. My regional focus is mainly, although not solely, Europe (especially Northern Europe and the Mediterranean), the Indian Ocean, and Australasia. I also have a good working knowledge of legacy data, maritime landscape studies, archaeological artefacts, maritime museum collections, waterlogged conservation, in-situ conservation, dendrochronology, archaeometallurgy and archaeometry.
Phone: +61 8 8201 5195
Address: GPO Box 2100
Adelaide, SA 5001
AUSTRALIA
Physical location: Humanities, room 229
Phone: +61 8 8201 5195
Address: GPO Box 2100
Adelaide, SA 5001
AUSTRALIA
Physical location: Humanities, room 229
less
Related Authors
InterestsView All (348)
Uploads
Books by Wendy van Duivenvoorde
This open access peer-reviewed volume was inspired by the UNESCO UNITWIN Network for Underwater Archaeology International Workshop held at Flinders University, Adelaide, Australia in November 2016. Content is based on, but not limited to, the work presented at the workshop which was dedicated to 3D recording and interpretation for maritime archaeology. The volume consists of contributions from leading international experts as well as up-and-coming early career researchers from around the globe.
The content of the book includes recording and analysis of maritime archaeology through emerging technologies, including both practical and theoretical contributions. Topics include photogrammetric recording, laser scanning, marine geophysical 3D survey techniques, virtual reality, 3D modelling and reconstruction, data integration and Geographic Information Systems.
The principal incentive for this publication is the ongoing rapid shift in the methodologies of maritime archaeology within recent years and a marked increase in the use of 3D and digital approaches. This convergence of digital technologies such as underwater photography and photogrammetry, 3D sonar, 3D virtual reality, and 3D printing has highlighted a pressing need for these new methodologies to be considered together, both in terms of defining the state-of-the-art and for consideration of future directions.
As a scholarly publication, the audience for the book includes students and researchers, as well as professionals working in various aspects of archaeology, heritage management, education, museums, and public policy. It will be of special interest to those working in the field of coastal cultural resource management and underwater archaeology but will also be of broader interest to anyone interested in archaeology and to those in other disciplines who are now engaging with 3D recording and visualization.
Wendy van Duivenvoorde’s five-year study was aimed at reconstructing the hull of Batavia, the only excavated remains of an early seventeenth-century Indiaman to have been raised and conserved in a way that permits detailed examination, using data retrieved from the archaeological remains, interpreted in the light of company archives, ship journals, and Dutch texts on shipbuilding of this period. Over two hundred tables, charts, drawings, and photographs are included.
Book: Dutch East India Shipbuilding by Wendy van Duivenvoorde
This open access peer-reviewed volume was inspired by the UNESCO UNITWIN Network for Underwater Archaeology International Workshop held at Flinders University, Adelaide, Australia in November 2016. Content is based on, but not limited to, the work presented at the workshop which was dedicated to 3D recording and interpretation for maritime archaeology. The volume consists of contributions from leading international experts as well as up-and-coming early career researchers from around the globe.
The content of the book includes recording and analysis of maritime archaeology through emerging technologies, including both practical and theoretical contributions. Topics include photogrammetric recording, laser scanning, marine geophysical 3D survey techniques, virtual reality, 3D modelling and reconstruction, data integration and Geographic Information Systems.
The principal incentive for this publication is the ongoing rapid shift in the methodologies of maritime archaeology within recent years and a marked increase in the use of 3D and digital approaches. This convergence of digital technologies such as underwater photography and photogrammetry, 3D sonar, 3D virtual reality, and 3D printing has highlighted a pressing need for these new methodologies to be considered together, both in terms of defining the state-of-the-art and for consideration of future directions.
As a scholarly publication, the audience for the book includes students and researchers, as well as professionals working in various aspects of archaeology, heritage management, education, museums, and public policy. It will be of special interest to those working in the field of coastal cultural resource management and underwater archaeology but will also be of broader interest to anyone interested in archaeology and to those in other disciplines who are now engaging with 3D recording and visualization.
Wendy van Duivenvoorde’s five-year study was aimed at reconstructing the hull of Batavia, the only excavated remains of an early seventeenth-century Indiaman to have been raised and conserved in a way that permits detailed examination, using data retrieved from the archaeological remains, interpreted in the light of company archives, ship journals, and Dutch texts on shipbuilding of this period. Over two hundred tables, charts, drawings, and photographs are included.
https://link.springer.com/chapter/10.1007/978-3-030-03635-5_11
Three-dimensional (3D) modelling is becoming a ubiquitous technology for the interpretation of cultural heritage objects. However most 3D models are based on geomatic data such as surveying, laser scanning or photogrammetry and therefore rely on the subject of the study being visible. This chapter presents the case study of Crowie, a submerged and partially buried barge wrecked near the town of Morgan in South Australia. Crowie was reconstructed using two alternative approaches; one based on a combination of historic photographs and computer graphics and the second based on geophysical data from electrical resistivity tomography (ERT). ERT has been rarely used for maritime archaeology despite providing 3D representation under challenging survey conditions, such as in shallow and turbid water. ERT was particularly successful on Crowie for mapping the external metal cladding, which was recognisable based on very low resistivity values. An alternative 3D model was created using historic photographs and dimensions for Crowie in combination with information from acoustic geophysical surveys. The excellent correspondence between these models demonstrates the efficacy of ERT in shallow maritime archaeology contexts.
This chapter provides an overview of the rise of 3D technologies in the practice of maritime archaeology and sets the scene for the following chapters in this volume. Evidence is presented for a paradigm shift in the discipline from 2D to 3D recording and interpretation techniques which becomes particularly evident in publications from 2009. This is due to the emergence or improvement of a suite of sonar, laser, optical and other sensor-based technologies capable of capturing terrestrial, intertidal, seabed and sub-seabed sediments in 3D and in high resolution. The general increase in available computing power and convergence between technologies such as Geographic Information Systems and 3D modelling software have catalysed this process. As a result, a wide variety of new analytical approaches have begun to develop within maritime archaeology. These approaches, rather than the sensor technologies themselves, are of most interest to the maritime archaeologist and provide the core content for this volume. We conclude our discussion with a brief consideration of key issues such as survey standards, digital archiving and future directions.
This chapter provides an historic overview of Dirk Hartog’s life and seafaring activities. It also places his arrival in Western Australia into the broader setting of seventeenth-century Dutch exploration. Finally, it investigates the archaeological and historical context of the Hartog Inscription Plate, emphasising the nature of similar monuments left by European explorers in the Indian Ocean region and contemporary ship communication practices.
The fieldwork successfully mapped the widely dispersed 'Zeewijk' shipwreck site on the inner (inside lagoon) and outer reef (in the surf zone) using digital cameras and GPS positioning. It resulted in significant new findings allowing a re-evaluation of the total count of all iron cannon and anchors in the offshore reef, and inshore lagoon areas.
This work, when combined with findings of the earlier ‘Roaring Forties Project’ (Paterson et al. 2019), and more recent research undertaken by the Western Australian (WA) Museum, provides convincing evidence that there is only one shipwreck on the 'Zeewijk' site, and negates the hypothesis of two VOC shipwrecks present within the Pelsaert Group. The resulting updated corpus of high-resolution digital imagery, 3D models and site data will greatly facilitate future studies, public interpretation outputs and on-going site monitoring and management of this highly significant Dutch-Australian mutual heritage site.
It is gratefully acknowledged that the field work was primarily funded by a grant from the Embassy of the Kingdom of the Netherlands (GCE-2019-03), with additional funding support provided through the WA Museum/Australian Government’s Underwater Cultural Heritage Program and Flinders University’s Maritime Archaeology Program. Transport, logistics and local knowledge to enable safe access to the 'Zeewijk' site were provided by the Liddon family.
The wreck has yet to be positively identified, but preliminary archival research by Vanessa Maitland narrowed the list to six possible vessels known to have sunk in this area—all dating to the 1800s. The most likely contender was a 19th-century German vessel with a cargo of glass plates. Although archaeologists observed such glass cargo, more recent archaeological work seems to be pointing towards two French ships dating to 1756 and 1786. Dendrochronological investigations discussed in this report confirm that the ship was built after 1754 and, therefore, may support the latter theory. The ship hull remains on the site, however, can be easily mistaken for a construction method more typical of northwest European shipbuilding of early 17th century.
Nautical Archaeology Society students surveyed the site in February 2011 and January 2012 (Sharfman, 2011: 9–10). During the 2011 and 2012 conservation field schools, Jon Carpenter and Vicki Richards from the Western Australian Museum, photographed the ship’s exposed structural elements and collected timber and hair samples—mixed with a resinous substance—from the ship’s hull. The timber samples were taken on 10 February 2011 from the sacrificial planking (or wooden sheathing), two layers of hull planking (outer and inner layer of hull planking), a treenail from the inner layer of hull planking, a frame, ceiling planking, possibly an inner floor or cargo floor to protect ceiling planking, and the keel. In January 2012, Jon Carpenter and Vicki Richards set out to take an additional timber sample for dendrochronology from the hull structure investigated in the previous year. However, sediments had covered up areas of the shipwreck site exposed in 2011, and they were unable to access the previously visible timber structure. The timber for dendrochronological investigation came from hull planking that was easily accessible for sampling.
Wreckage from Zuiddorp was first discovered in the early 20th century by Aboriginal and European station hands north of the mouth of the Murchison River and the present-day town of Kalbarri, in Western Australia. The dynamic and fierce surf zone surrounding the shipwreck site provided an adverse environment detrimental to the ship’s preservation. Nevertheless, some material from the ship itself did survive, such as the singular example of a caryatid herm from the ship’s stern, fragments of its masts and spars, and meager remains of the ship’s hull. A recent study of these remnants demonstrates the archaic nature of Zuiddorp’s construction, which make the ship more a late 17th-century than an early 18-century Dutch Indiaman. This paper highlights how even a seemingly insignificant amount of ship timbers can provide evidence sufficient to broaden our understanding of hull construction and the Dutch shipbuilding tradition
paintings were made from timber originating from the same forest area as Batavia’s heavy hull planks. Recent dendrochronological studies of Batavia’s archaeological ship timbers have resulted in a perfect match with the forests along the Vistula River, South of Dantzig. Primarily known for its application in fine arts, Dutch and Flemish Masters used wood from this region for panel paintings
and sculptures. This paper discusses the outcome of the dendrochronological research and its relation to shipbuilding practices of the United East India Company in the earliest period of its existence.
contemporaneous shipbuilders and craftsmen.
Aan woord komen maritiem archeoloog Wendy van Duivenvoorde van Flinders University en Malcolm Wilson van de Karslake clan groep. Het verhaal over de ontmoeting met de Nederlanders wordt binnen zijn clan van generatie op generatie doorverteld door middel van de Boat Dance Song.
Malcolm Wilson maakt in 2013 de bekroonde korte documentaire Tiwi and the Dutch. Bekijk de film hier.
Aan Boord is onze podcastserie over de eerste reizen van de VOC naar Australië. Elke aflevering ga je mee met een andere schip en vertelt een expert over het wel en wee op zee.
Aan Boord is onze podcastserie over de eerste reizen van de VOC naar Australië. Elke aflevering ga je mee met een andere schip en vertelt een expert over het wel en wee op zee.
Het tinnen bord vertelt maar een gedeelte van het verhaal van Dirk Hartog. Dr Wendy van Duivenvoorde dook in de archieven van Amsterdam om meer te weten te komen over de man achter het bord.
The event included guest speakers Wendy Van Duivenvoorde and Arthur B. Cohn. In addition, Shipwreck Weekend also granted public access to laboratories and information about current research within the Texas A&M anthropology department.
We're standing here in front of the Batavia, a ship's hull, in the Shipwreck Galleries in the Western Australian Museum. This particular ship in itself is unique. It sank in 1629 right off the Western Australian coast in the Houtman Abrolhos archipelago and was the first Dutch East Indiaman to be lost amongst this coastline. What is interesting on Batavia or what's the significance of this particular hull, is it's that, it's the only example worldwide of an early 17th Dutch East India company ship, that was actually the ship itself was lifted off the seabed and conserved in a way that it's possible to display to the public, but it also allow for research that otherwise is not possible ting very specific questions answered on this hull has given a lot of insight into ship-building technology but also on other things, like wood procurement where did this wood come from? How did the the Dutch East India company select their wood for shipbuilding? and given the fact that would build about three to four ships a year, they would need to a lot, a ship like this, like Batavia was a good 44 meters in length, it was a good 12 meters in beam and it would have been about a 5 or 600 tonne ship. And would have required a good number of trees to be cut, or to be felled, or its construction alone. And this particular building, that the Dutch would do in the early 17th century was incredibly wasteful. It was not sustainable at all, and it definitely led to the depletion of forests from where-ever this wood came from.
Skipper Willem. Synopsis: Sarah de Clercq reist met Brieven Boven Water naar Madagaskar om in de voetsporen te treden van een andere Willem, namelijk haar voorouder Willem Cornelisz Schouten. Als deze uiterst ervaren kapitein zich in 1624 opmaakt voor de zoveelste reis naar het vaderland, heeft hij nog niet het vermoeden dat het zijn laatste reis zal zijn. Wat gebeurde er tijdens die laatste noodlottige reis waardoor hij nooit meer thuis kwam?
Carved between 1601 and 1657 by sailors aboard Dutch East India Company ships on their way to the East Indies, the stones often featured letters placed at their base. The missives, carefully wrapped in layers of canvas, tar and lead envelopes, were left for other ships to pick up.
"The idea was that the crew of the next Dutch ship to anchor in that same place would pen down the message on the rock and collect the letters," Wendy van Duivenvoorde, a lecturer in maritime archaeology at Flinders University, Adelaide, Australia, told Discovery News.
Wendy’s research concerns the information recovered from a Mediterranean merchant ship which sank off Kyrenia, Cyprus in the time of Alexander the Great. The shipwreck was excavated in the late 1960s, and Wendy is part of an international research team studying the wreck. Her particular focus is on the ship's assembly and its anchoring and waterproofing.
Ian, who works in the philosophy of mind and cognitive science, will introduce the idea of dynamic feedback loops between writer and page and writer and audience. A classic example of a dynamic feedback loop is Watt’s Steam Governor. Ian suggests that these feedback loops are sometimes literally part of the writer’s mind: the mind is natural but not entirely neurological.
This item will be available after 2023-07
This item will be available after 2023-06
This item will be available after 2023-04
Masters thesis by Callum Harvey, Maritime Archaeology Program, Flinders University. Supervised by: Assoc. Prof. W. van Duivenvoorde. Link: https://theses.flinders.edu.au/view/4fdefe0a-7789-499f-8d9c-0e79c8409fd8/1
Masters thesis by (Jo) Pornnatcha Sankhaprasit, Maritime Archaeology Program, Flinders University. Supervised by: Assoc. Prof. W. van Duivenvoorde. Link: https://theses.flinders.edu.au/view/1b2922a9-4836-4865-b1f8-e5cf58110897/1