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.
For the first time since they went into their cases in 1980, over 2000 coins, notes, beads and shells are coming back out. The Museum’s curatorial staff are busily pulling panels from cases, placing coins into specially prepared drawers and sliding notes into acid-free Mylar envelopes.
The doors were barely closed following Big Top Farewell event before Chief Curator Paul Berry and his team began emptying display cases that had been sealed shut since 1980. The biggest task involved removing more than 2500 bank notes from the room we knew as Gallery 8.
Another convention of the Royal Canadian Numismatic Association (RCNA) wrapped up in July. This year the convention was held in Winnipeg, Manitoba. It was the first time in over thirty years that the RCNA Convention made a stop there.
Before the museum closed for renovations on 2 July, technicians began to remove the heavier artifacts in late May. First to go was the strong box. Built of ¼” thick welded steel plates, this trunk was used by the Bank of Upper Canada in Toronto between 1821 and 1866.
Most of us know the first part of Alexander Graham Bell’s take on opportunity: “When one door closes, another one opens…” What we often don’t recall is the second half of that quote, where he says: “…but we so often look so long and regretfully upon the closed door, that we do not see the ones which open for us.”
It was farewell to the Currency Museum as we know it this past Canada Day. Our annual 1 July event was circus-themed this year, featuring children’s games, clowns, balloon sculptures and ice cream.
Summertime: a time to relax and, for most of us, to travel. Years ago, advertisers used to tell us how easy it was to travel: you only needed your bikini, your toothbrush and, naturally, a good travel agency to set you up anywhere in the world. That might still be true for people but for travelling exhibitions the packing process is a bit more involved.
The Staff of the Currency Museum was saddened to learn of the passing of artist Alex Colville who died on 16 July at his home in Wolfville, Nova Scotia. He was 92. One of Canada’s most celebrated painters, Colville is not as well-known as a sculptor but if you look carefully through your pocket change you might just find an example of his work.
The roots of the Currency Museum go back to 1959 when the then Governor of the Bank of Canada, James Coyne, proposed the idea of establishing a currency collection that would reflect the colourful monetary history of Canada. By the time the go-ahead was given in 1963 by Coyne’s successor, Louis Rasminsky, the collection’s mandate had been expanded to include world monetary history, banking and production artifacts and a numismatic library.