Articles from Newspapers

A page from the New York Times of Tuesday April 1st 1958




Received frpm "Manuel Mallia" - April 2008.
Congratulations on the setting up of the website on the MV. SKAUBRYN.
My sister Kathleen has sent me the attached cutting from a Sydney newspaper soon after they arrived in Sydney
after the ordeal on the Skaubryn which sunk on 1st April 1958.
The paragraph in the " old" newspaper reads; MR and MRS JOHN MUSCAT a young Maltese couple were married in Malta
on January 26th "Autstralia Day " they said proudly.
They set out in the Skaubryn to make their new home in Sydney. But Mrs Muscat arrived with her tanned hands bare of rings
her wedding and diamond engagement rings were left in the burning ship. "There was no time to get them ", she said.
You may wish to include the attached photo and information in your website. Regards. Emanuel Robert Mallia.




The Sydney Morning Herald, 18 October 1997, p.S2.

Harold Scruby spoke to Sara Conde

1947: I was born in Singapore. When I was about three my family moved to Australia. Mosman has been my home ever since.

1958: My mother took my brother, sister and myself to Norway for a holiday and on the way back our ship, the Skaubryn, caught fire and sank in the middle of the Indian Ocean. It was a magnificent fire twice the height of the ship. We had to spend the night in lifeboats. The next morning 1,300 of us were picked up by a freighter called the City of Sydney, which took us to Aden. For three days my father believed that we had perished. We flew back from Aden to Australia on a DC3. My brother and I were the first people off the plane - we were on the front pages of all the newspapers.

HERTA KLUGE-POTT
(born Germany 1934 ~ survivor of the Skaubryn

Biography

Hertha Kluge-Pott was born in Germany in 1934. She studied at the Braunschweig School of Applied Art and the Berlin Academy of Art. Disheartened by Germany's social and political climate Kluge-Pott left in 1958, setting sail for Australia. The journey towards her new life began dramatically, when the ship she was on the Skaubryn caught fire and sank. Watching the blaze from a lifeboat, she saw all of her possessions plummet towards the ocean floor.(1) This experience marks the birth of her deep and lasting emotional association with sea and coast.

After settling in Melbourne in 1958, Hertha Kluge-Pott enrolled at the Royal Melbourne Institute of Technology (RMIT) where she completed a Diploma in Fine Art in 1963. Before long, she developed a reputation as an accomplished intaglio printmaker. During the 1960's she was one of the key figures in the resurgence of printmaking in Melbourne. Between 1968 and 1978, Kluge-Pott lectured at Melbourne State College, where she established the print workshop from 1979 to 1992. She held the position of Lecturer and Senior Lecturer in charge of printmaking at RMIT. Through her teaching positions Kluge-Pott has influenced several generations of Melbourne printmakers.
The Artwork

1. Mc Donald, K., "Truth in nature in South-Western Victoria: The prints of Herta Kluge-Pott in a colonial context",Imprint,Vol. 33, No. 1, Melbourne, Print Council of Australia

(1) Bone, P., "Terra Australis inspires a migrant artist", The Age ,1988, p.18

Kluge-Pott's prints may be compared with the activity of nineteenth-century European artists and botanists, who applied methodical systems of scientific inquiry to their investigation. Similarly, through topographical and detailed nature studies, Kluge-Pott carefully documents the extraordinary landscape of the Cape Bridgewater region. However, Kluge-Pott also incorporates her personal interpretation of the natural environment, expressing an emotional response to the landscape. (1) This poignant view of nature may also be likened to the work of the German Romantics of the early nineteenth-century, who enticed the viewer into a contemplation of nature by eliciting an emotional response.

One must also remember that Kluge-Pott was a child of Berlin at a time of social and political unrest. She could hardly escape the influence of German Expressionism. Like the Expressionists, she sought to break with the restraints of the society in which she lived, eventually escaping Berlin to establish a new life in Australia. The German Expressionist theme of nature as a form of utopia is clearly evident in her work. Expressive lines evoke the random energy which lies at the core of her dramatic and turbulent view of the Australian landscape.
(1) Mc Donald, K., "Truth in nature in South-Western Victoria: The prints of Herta Kluge-Pott in a colonial context", Imprint, Vol.33, No.1, Melbourne, Print Council of Australia, p.5 (2) Ibid.p.6

It is through the medium of printing that Hertha Kluge-Pott finds her tools of expression. Her printing technique reflects a spontaneous energy which communicates Kluge-Pott's close relationship with the landscape of the Cape Bridgewater region.
(1) Darby, M. Printmaking : An approach for secondary schools, Melbourne, Education Department of Victoria,1982, p.19
(2) Ibid. p.24

Below is a copy of the Special Invitation that was sent to the Maltese survivors of the Skaubryn in Sydney NSW.

AUSTRALIAN
NATIONAL MARITIME
MUSEUM



Dr Kevin Fewster, Director
Australian National Maritime Museum
invites you to attend
a reunion
of the Maltese survivors of
the MV SKAUBRYN
and a viewing of the Museum display

The Skaubryn Rescue




at the Museum, Darling Harbour, Sydney
on Sunday 24th March 1996 at 10.30 am
with a special performance of
Ghanjiet Tal-Fatt L-Skaubryn u Imhabba Bla Hsieb
by Georgina and Zaren Camenzuli


RSVP (for all family members) 18th March 1996
Jan McInnies : phone (02) 552 7777 Fax : (02) 552 2318



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