The Making of Sir John Franklin—at the CMH
Since 2013, the Canadian Museum of History (CMH) has hosted a number of our mini exhibitions in a display case around the corner from the Grand Hall. These little exhibitions have, up until now, formed part of our efforts to remain visible and relevant while we were closed for renovations. Nevertheless, since opening our doors last July, we have elected to continue this relationship by introducing a new exhibition at the CMH on January 30: Before the Erebus: The Making of Sir John Franklin. Our last two exhibitions there, Swindle! Canadian Phantom Banks and Mining the Miners, were both developed to complement the CMH’s big summer exhibitions and this time around, we chose to do the same again with Death in the Ice: The Mystery of the Franklin Expedition opening at the CMH in March. Fresh from a successful run at the National Maritime Museum in London, England, it boasts fascinating artifacts recovered from the Franklin expedition including items raised from his recently discovered ships, HMS Erebus and Terror.
Now you might wonder how a museum specializing in economics and currency expects to interpret the history of a legendary arctic explorer—through money, of course. Among the nice things about money, and there are so very many, is its intimate connection to a society and how that can reflect a broad variety of its issues and events. War, colonization, foreign trade, military occupation, dictatorship and revolution are just a few historical scenarios evoked by our artifact selection—scenarios encountered by Sir John Franklin throughout his career. As a way of complementing the big exhibition upstairs, we have chosen to explore Franklin’s career prior to his doomed expedition, instead focussing on the career that took him nearly around the globe and through some key events in 19th century history.
Plunged head-long into the Battle of Copenhagen as a fifteen-year-old naval volunteer, in an astonishing career, Franklin rose up the ranks to command his own ships and expeditions. He was aboard Matthew Flinders’ ship Investigator as it circumnavigated Australia, in the thick of the Battle of Trafalgar, among those escorting the Portuguese Royal Family as it fled Napoleon and deep into “the land God gave to Cain” trekking overland from Hudson’s Bay to the Coppermine River—twice. There’s so much more to Franklin than the mystery surrounding his disappearance.
Most of the currency featured in this exhibition was produced in response to specific social, political or military situations or was in some way adapted to meet those needs. The artifacts were chosen to represent some of Franklin’s most important encounters with history: coins of the Greek revolution, the British empire’s rapid expansion, the Napoleonic Wars. In a way, it is as much about currency’s ability to hold a mirror up to history as it is about Franklin.
Coins are generally small things, so for this exhibition we’ve given the visitor a little help. For each historic zone of Franklin’s life, we’ve had the main artifact enlarged, 3D printed and hand-painted. Visitors can touch and flip these prop coins to see and feel details in ways that would never be possible with actual artifacts. Of course, the real artifacts are there too, several for each zone, and arranged over a wonderfully illustrated map that highlights the major voyages of Franklin’s career.
Before the Erebus: the Making of Sir John Franklin will be open for a few weeks prior to Death in the Ice: The Mystery of the Franklin Expedition and will run all year. See both for a rounded picture of this extraordinary man.
This exhibition is about engravers, production processes and the beauty of postage stamps and bank notes. In the previous episode of this series we talked about the process surrounding securing the bank notes for this exhibition and how it had to take into account both the needs of the exhibition team and the concerns of the collections department.
So now you’ve decided that collecting currency is far more fascinating than collecting 14th Century Flemish altar paintings and have begun to accumulate some items. Good for you, those paintings are a bother to dust and currency is far easier to take care of.
Collecting things is a very common human urge. Be they matchbooks, pop bottles or 17th century Flemish altar paintings, owning large numbers of the same type of thing is a fascinating pastime for many of us.
During the planning stages stamping the word ‘final’ on any given aspect of a travelling exhibition can seem less of a directive and more of an overly optimistic suggestion.
As this blog is the only visible result of change, you might think we are doing nothing much to improve our website. Perish the thought! We’d like you to know that the Museum team has been hard at work for the past year upping the game on our website.
This month’s selections highlight various areas of Collection development. These include what are called financial instruments: items such as stocks, bonds shares and other articles that represent a contract to deliver money in some manner.
It seems spring is finally upon us, here in Ottawa (touch wood). I know some of us were thinking, when snowstorms hit at the end of March, that winter would never end. Fortunately the sun is here and that means Easter is not too far away. Mind you, we don’t recommend you take off the snow tires just yet.
In early February, a small group from the Bank’s Communications Department booked a brief tour of the main floor and first basement at the Wellington Street head office. It’s still in the demolition phase of the renovation.
Notgeld, German for emergency money, first appeared at the beginning of World War One and was issued until 1924. Through these notes we can see the entire story of Germany’s experience with out-of-control inflation between the wars.
Upon entering Gallery One, you may see somebody standing on one leg and waving her arms in front of a flat screen. Should we call security? Nope. Here’s what happens next: a camera takes a picture of her, digitally compares the image to images stored in the museum’s collection, and comes back with an image of an artwork that most resembles this pose.