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ART IN THE LIBRARY AND TOY BOATS WITH GARY MCLEOD
 
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Lost at Pond
by Gary McLeod

National Maritime Museum
Romney Road Greenwich, London SE10 9NF, United Kingdom
May 1, 2010 - October 31, 2010

 

 

 

 

While seabeds are the final resting places of ships lost “at sea” such as the Titanic and the Bismarck, so too are the village ponds for the toy boats that were so popular since the middle of the 19th Century. When the round pond in Kensington was dredged in 1923, some 150-toy boats were found enshrined in the mud at the bottom. To learn why, we need to know more about these popular toys, and an exhibition at the National Maritime Museum can help us.


The aim of the exhibition is to show the development, variety and range of toy boats between 1850 and 1950. In it, we are privy to a range that spans from 'one offs', small vessels expertly crafted out of wood complete with sails, to manufactured tin plated wonders that were made in Germany, France and also Britain. Losing any kind of boat at the bottom of the pond may seem like a tragic loss to a child, but to lose a handcrafted only-one-of-its-kind would have to be a catastrophe on more than just miniature proportions. The trick it would seem was to keep them moving

As technology changed in the maritime industry, so too, did the propelling mechanisms of the toys. Initially, most boats were propelled by the wind straddling the sails and gliding them along the surface. Yet a single strong gust of wind could topple it over, or no wind at all could leave it stuck there stranded "at pond". Rubber band mechanisms were a revelation as they could be simply wound up, locked and released when in the water. The child would then look in delight as it glided along the surface for a matter of seconds before needing rewinding. The introduction of clockwork mechanisms allowed the boats to go further and last longer, but the mechanisms would rust or jam. The steam-propelled boats with tiny boilers could keep a child happy for much longer but the battery-propelled ones would put the rest to shame and would run, expensively and wastefully for hours, without any apparent steering mechanism I might add.

But, before we are distracted by what seems like a quest to cross the pond in the quickest possible time, there is more to this delightful exhibition than speed. There is also the influence of maritime themes upon the children of the times. The launch of RMS Queen Mary is illustrated with a sectional toy that is ingeniously made up of several painted layers of thick card cut into a boat shape that can be taken apart deck by deck. In addition to the museum activities for the children, on display are educational toy boats, such as "Noah's Ark and Animals" (about 1880), which is a wooden ark complete with a variety of animals, in twos of course, for Sundays.


The only thing that seemed a little unfair was that we couldn't play with the boats. Collector Ron McCrindell puts it very succinctly when he says in a short film, "What's the point in having them if you can't get any fun from them?" Seeing them moving around a pond in the film made me want to take a trip to Hamleys, and any child with you might want to do the same, but why not try the village pond instead? For all the technology involved in making these small boats move, a simple long pole with a hook was apparently the way to retrieve the ones that got stranded. The ones that weren't rescued are probably still resting peacefully amongst the algae and the jellyfish just waiting to see the light of day once again.

-- Gary McLeod

All images courtesy the National Maritime Museum

Images: Clockwork battleship, Espana, by Paya, about 1930 © MnM; Clockwork royal yacht, Hohenzollern, by Gebruder Bing, 1889-1909 © MnM-Photo Arnaud Fux



Posted by Gary McLeod on 9/05 | tags: Toy Boats


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Charting a random course around an exhibition
by Gary McLeod

The British Library
96 Euston Road, London , United Kingdom
August 1, 2010 - September 19, 2010

 

 

 

Given the opportunity to go anywhere in the world, where do you start? When faced with too many choices, spinning a globe and choosing a place at random to visit is sometimes the best place to start your travels. The "Magnificent Maps" exhibition at the British Library poses a similar problem, and although it delineates a fairly clear trail for you to follow through the spaces, accompanied by the many visitors you get the feeling that you are treading a well-worn path. The title of the exhibition holds no secrets as there are a magnificent set of maps on display that one could look upon for hours, and the exhibition requires a few visits to really take everything in. With no globe to spin, however, one could take the catalogue and randomly open that to begin our own tour of the show.


For example pages 122-123 present us with Gerard Valk's "Nova Totius Terrarum Orbis Tabula/Europa/Asia/Africa/America" (circa 1680), a set of five copperplate engravings that show the four continents and the world on a wall. These sheet wall maps are an example of the maps that appeared on the walls of wealthy European merchants' houses. The aim being: to demonstrate the owners' wealth but also their knowledge. The fact that Valk made a very successful business from publishing and selling such maps reflects how fascinated people were (and still are) with viewing the world in full.

Next, page 34 presents us with a "Chart of the Mediterranean and Western Coasts of Europe" (1570) by Diogo Homem. Son of a leading Portuguese mapmaker, Homem was renowned for his flamboyant charts of the known world. This particular chart appears to glitter as the coastlines are detailed with gold leaf, suggesting that it was merely a decoration or persuasion piece

Following that, pages 86-87 present us with a woodcut of Rome (1551) made by Leonardo Bufalini. This map, consisting of twenty-four sheets, attempts to show modern Rome overlaying ancient Rome, and offers a comparison that is common in our day and age with the hybrid satellite and graphic maps from Google. For society at the time, such an overlay was also a way of aligning one's power with that of the former empire and confirming one's status.

One could go on with this method, but it is better served when accompanied by the exhibition itself, as there is still no substitute for seeing the real maps hanging on the wall. Which is why It seems such a shame that this exhibition has to come to an end, as these pieces deserve to be viewed permanently. There may be a lot of information on display but how you approach that information is crucial in terms of getting something from it. Using the catalogue in such a random way provides an engaging alternative to the common clockwise trail that most visitors seem to follow: the charted one.

-- Gary McLeod

All images courtesy The British Library

Images: Diogo Homem,  A Chart of the Mediterranean Sea, 1570 (British Library); Diogo Homem, A Chart of the Mediterranean Sea (Detail), 1570 (British Library)

 



Posted by Gary McLeod on 9/05



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