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'British Small Craft': the Cultural Geographies of Mid-Twentieth

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‘British Small Craft’: the cultural geographies of

mid-twentieth century technology and display

James Lyon Fenner BA MA
Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy

August 2014
Abstract

The British Small Craft display, installed in 1963 as part of the Science Museum’s new

Sailing Ships Gallery, comprised of a sequence of twenty showcases containing models of British boats—including fishing boats such as luggers, coracles, and cobles— arranged primarily by geographical region. The brainchild of the Keeper William

Thomas O’Dea, the nautical themed gallery was complete with an ocean liner deck and

bridge mezzanine central display area. It contained marine engines and navigational equipment in addition to the numerous varieties of international historical ship and boat models. Many of the British Small Craft displays included accessory models and landscape settings, with human figures and painted backdrops.

The majority of the models were acquired by the museum during the interwar period, with staff actively pursuing model makers and local experts on information, plans and the miniature recreation of numerous regional boat types. Under the curatorship supervision of Geoffrey Swinford Laird Clowes this culminated in the temporary

‘British Fishing Boats’ Exhibition in the summer of 1936. However the earliest models

dated back even further with several originating from the Victorian South Kensington Museum collections, appearing in the International Fisheries Exhibition of 1883.

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With the closure and removal of the Shipping Gallery in late 2012, the aim of this project is to produce a reflective historical and cultural geographical account of these British Small Craft displays held within the Science Museum. In this process it reveals the hidden stories behind the collection and individual boat models. The research therefore considers the former British Small Craft display in terms of its geographical visual and textual presentation of national and local identity, the cultural transference of knowledge from local regional areas to a national/international stage, its evocation of coastal and river landscapes, and its techniques of landscape/seascape miniaturisation in mid twentieth century Britain.

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Acknowledgements

This project would not have been possible without the help, support and collaboration of many people who I would like to thank. Firstly my thanks go to the Arts and Humanities Research Council who funded this joint project with the Science Museum London. Thank you to all the staff at the libraries and archives I visited during my

studies including the BBC’s Written Archives Centre, the British Library, the Caird

Library at the National Maritime Museum Greenwich, the National Archives at Kew, the Royal Institute of British Architects and of the Imperial College and UCL University Libraries.

I am also incredibly grateful and indebted to my four supervisors Professor David Matless and Professor Mike Heffernan in the School of Geography at Nottingham and Dr. Tim Boon and David Rooney at the Science Museum whose patience, expertise and dedication to supporting me in my studies made the project possible. In particular I would especially like to thank both Davids who went out of their way to make me feel part of both the academic and museum communities at their respective institutions and who saw the importance of the small craft models, the Shipping Gallery and me – I am forever grateful.

I would also like to express my gratitude for all the staff at the Science Museum who made me feel so welcome during my 11 month period of researching there. Special mention should be made to the collections team and curators who shared their knowledge and many experiences of the collections and the museum. In the Documentation Centre I am indebted to the industrious Rory Cook who tirelessly answered my frequent pestering archival enquiries and brought me countless files. In addition I am exceedingly grateful to the conservation team who gave me the opportunity to help them remove objects and aspects of the Shipping Gallery on its closure in 2012.

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My gratitude and special thanks also go to fellow collaborative doctoral award students past and present that I have met along the way namely: James Wallis, Dr. Alison Lee (née Hess) and Dr. Hilary Geoghegan.

Thank you to everyone in the School of Geography who made my time at Nottingham so memorable, sharing with me the many wonders of human and physical geography. Thank you to my peers in the years above and below – you know who you are! I would also like to thank all the fellow PhD researchers in the office A25 who kept me afloat in the three and a half years of ebbs and flows of research and thesis writing. This is especially credible to them while having to put up with my endless oar-ful puns and obsessive museum musings. To name a few – Jonathan Dean, Jennifer Rich, Lizzie Ruston, Georgie Wood, Joanna Barnard, Alex Berland and Jake Hodder – who I shared many good times with, in and out of the office.

I would like to express my thanks to those outside the realms of academia, museums and geography namely friends and family. I will always remember the support, care and generosity shown by my parents, Robert and Jeanette, alongside my brother Alex. Thanks should also to go to my best friends especially Matt Graham, Will Lane, Nick McNeil, Toby Stewart, Tom Halsall and Charley Young who were supportive and were always willing to listen to me ramble on.

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I dedicate this thesis to my Grandfather Lee who would have been fascinated by this project. He was an avid sailor and ships-in-bottles-maker in his spare time and lover of all things maritime and nautical.

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Table of Contents

Abstract.........................................................................................................................................1 Acknowledgements .......................................................................................................................3 List of Figures.................................................................................................................................8 List of Archives Consulted ............................................................................................................14 List of Abbreviations ....................................................................................................................15 Chapter 1 – Introduction ..............................................................................................................16 Chapter 2 – Museums, Ships, Science and Geography: a Literature Review....................................22

2.1 Museums, Collections, Exhibits, Dioramas and the art of the miniature .........................23 2.2 Geographies of the Sea, the ship in geography and the geographies of ships.................37 2.3 Geographies of Knowledge, the History of Science..........................................................44 2.4 Modernity, landscape, heritage and vernacular cultures in twentieth century Britain ...48 2.5 Conclusion.........................................................................................................................50

Chapter 3 – “The threads that make up the warp and weft of my canvas”: a Methodology ............54

Chapter 4 – ‘Beneath a hive of glass’: modelled fishing craft in the collections of the South Kensington Museum 1880-1914 ...................................................................................................73

4.1 The earliest coastal and fishing vessel models of the South Kensington Museum (the later Science Museum)............................................................................................................75

4.2 Buckland, the South Kensington Museum and his Museum of Economic Fish Culture ...80 4.3 The International Fisheries Exhibition of 1883 .................................................................84 4.4 The Boat model collections post-1883............................................................................112 4.5 Conclusion.......................................................................................................................137

Chapter 5 – ‘Vanished and vanishing craft’: the collections during the interwar period ................140

5.1 The post World War I Science Museum, its staff and the shipping collections of the 1920s and 1930s ...................................................................................................................143

5.2 Nature of Acquisition ......................................................................................................156
5.2.1 Commissioned models .............................................................................................157 5.2.2. Models gifted to the museum.................................................................................162 5.2.3. Loaned models........................................................................................................165 5.2.4. Purchased models...................................................................................................166 5.2.5. Bequested models...................................................................................................169
5.3 Craftsmanship .................................................................................................................171
5.3.1 Locality, authenticity, accuracy and detail...............................................................171 5.3.2 Scale, methods of manufacture and materials used ...............................................177

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5.4 1934: Frank Carr, The Science Museum’s collaboration with the SNR and the rise of the

National Maritime Museum..................................................................................................183 5.5 The British Fishing Boats Exhibition of 1936...................................................................197

5.6 Clowes’ death and the continuation of the dispute with the NMM...............................203

5.7 Conclusion.......................................................................................................................207

Chapter 6 – ‘A war against boredom’: the Sailing Ships Gallery 1946-2012...................................210

6.1 O’Dea, the Electric Illumination Exhibition and the beginning of his career at the Science Museum ................................................................................................................................212

6.2 The beginnings of the Centre Block, The Festival of Britain 1951 and the Post War Science Museum ...................................................................................................................216

6.3 The post-war boat models before the opening of the Sailing Ships Gallery 1947-1961 221 6.4 The Completed Centre Block and the creation of the Sailing Ships Gallery ...................232 6.5 The origins of dioramas at the Science Museum and the use of dioramic displays within the British Small Craft Collections in the Sailing Ships Gallery .............................................240

6.5.1 Complete dioramas..................................................................................................251 6.5.2 Modelled foreground landscape scenes..................................................................263 6.5.3 Backdrops.................................................................................................................264
6.6 The geographical regional order and coverage of the British Small Craft displays ........268 6.7 The opening of the Sailing Ships and Aeronautics Galleries in March and June 1963 ...276 6.8 The last models added to the collection after the opening of the Sailing Ships Gallery 1963-1980 .............................................................................................................................284

6.9 Conclusion.......................................................................................................................296

Chapter 7 – Conclusion: Red Sails in the Sunset...........................................................................299 Bibliography ..............................................................................................................................308 Appendix...................................................................................................................................318

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List of Figures

Abstract Image The Sheringham Crab Boat model

Figure 1 An image of the centre of the Shipping Gallery............................................................16 Figure 2 A photograph showing an example of a Nominal File..................................................64 Figure 3 A photograph showing a newspaper cutting from the Times 17th March 1931 from the third box file of curator’s notes and clippings (The East Coast – the Thames Estuary to Cromer). .....................................................................................................................................................66 Figure 4 Detail of a map of London showing the location of the International Fisheries Exhibition at South Kensington, April 1883 ................................................................................73 Figure 5 A photograph of the Launch for Landing Troops c.1800 model ...................................76 Figure 6 A photograph of the Yorkshire Coble models...............................................................78 Figure 7 A photograph of the Steam Drifter Rob Roy model......................................................79 Figure 8 An image of Frank Buckland .........................................................................................80

Figure 9 An image showing the changing title headings for Buckland’s Land and Water weekly

journal. ........................................................................................................................................81 Figure 10 An image of Buckland’s Fish Museum ........................................................................83 Figure 11 Engraving of a general view of the South Kensington Exhibition site ........................84 Figure 12 The full map of London showing the location of the International Fisheries Exhibition at South Kensington, April 1883 .................................................................................................85 Figure 13 The map of the layout of the International Fisheries Exhibition April 1883...............86 Figure 14 A photograph detail of the general plan showing where both the British Sea Fisheries and the Great Britain Fresh Water Fishing gallery displays were located .................................94 Figure 15 A photograph detail of the same general plan showing the the British Sea Fisheries gallery..........................................................................................................................................95 Figure 16 A photograph detail of the same general plan showing the Fresh Water Fishing of nations of the world including Great Britain...............................................................................95 Figure 17 A photograph of the layout of displays within the British Sea Fisheries Southern Transept ......................................................................................................................................98 Figure 18 A photograph showing an aspect of the displays in one of the many galleries of the Fisheries Exhibition 1883 ............................................................................................................99 Figure 19 An image of the Picture Gallery at the International Fisheries Exhibition ...............102

Figure 20 An image of Never Morning Wore to Evening but some Heart did Break, Walter

Langley 1894 .............................................................................................................................103

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Figure 21 An image of Off to the Fishing Grounds, Stanhope Forbes 1886..............................103 Figure 22 An image of The Breadwinners by Walter Langley 1896 ..........................................104 Figure 23 A photograph showing the contents page for the first of many conferences held during the Exhibition.................................................................................................................105 Figure 24 A photograph of the image of an artist impression of the exterior view of the Fish Market building.........................................................................................................................108 Figure 25 A photograph of a Manx Fishing Boat model ...........................................................114 Figure 26 A photograph of a Manx Peel Fishing Boat model ...................................................115 Figure 27 A photograph of the Cornish Pilchard Seine Boat ....................................................116 Figure 28 A photograph of the Mount’s Bay Lugger model .....................................................117

Figure 29 A scanned image of the original 1883 label associated with the Mount’s Bay Lugger

model. .......................................................................................................................................117 Figure 30 A photograph of the Mevagissey Lugger model.......................................................118 Figure 31 A photograph of the Cornish Pilchard Tuck-Net Boat model ...................................120 Figure 32 A photograph of the Scottish Herring Boat model ...................................................120 Figure 33 A scanned image of the original 1883 label associated with the Scottish Herring model ........................................................................................................................................122 Figure 34 A photograph of the Fair Isles Skiff model................................................................123 Figure 35 A photograph of the North Isles Yole model ............................................................123 Figure 36 A photograph of the Harwich Barge constructional model......................................126 Figure 37 A photograph of the Thames Sailing Barge 1900 model ..........................................126 Figure 38 A photograph of the Thames Barge 1820 model......................................................127 Figure 39 A photograph of the Cutter, Gig and Ship’s Lifeboat models...................................128 Figure 40 A photograph of the Ship’s Lifeboat model..............................................................129 Figure 41 A photograph of the Leith Baldie model...................................................................129 Figure 42 A photograph of the Brighton Hog Boat model........................................................130 Figure 43 A photograph of the model of the Grimsby Trawler Frank Buckland.......................132 Figure 44 A photograph of the Whitstable Oyster Smack model.............................................133 Figure 45 Image of the letter heading of the Whitstable Oyster Fishery Company.................136 Figure 46 Image showing the reverse of prize medal from the International Fisheries Exhibition, 1883 ........................................................................................................................136

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    The MARINER'S MIRROR THE JOURNAL OF ~ht ~ocitt~ for ~autical ~tstarch. Antiquities. Bibliography. Folklore. Organisation. Architecture. Biography. History. Technology. Art. Equipment. Laws and Customs. &c., &c. Vol. III., No. 3· March, 1913. CONTENTS FOR MARCH, 1913. PAGE PAGE I. TWO FIFTEENTH CENTURY 4· A SHIP OF HANS BURGKMAIR. FISHING VESSELS. BY R. BY H. H. BRINDLEY • • 8I MORTON NANCE • • . 65 5. DocuMENTS, "THE MARINER's 2. NOTES ON NAVAL NOVELISTS. MIRROUR" (concluded.) CON· BY OLAF HARTELIE •• 7I TRIBUTED BY D. B. SMITH. 8S J. SOME PECULIAR SWEDISH 6. PuBLICATIONS RECEIVED . 86 COAST-DEFENCE VESSELS 7• WORDS AND PHRASES . 87 OF THE PERIOD I]62-I8o8 (concluded.) BY REAR­ 8. NOTES . • 89 ADMIRAL J. HAGG, ROYAL 9· ANSWERS .. 9I SwEDISH NAVY •• 77 IO. QUERIES .. 94 SOME OLD-TIME SHIP PICTURES. III. TWO FIFTEENTH CENTURY FISHING VESSELS. BY R. MORTON NANCE. WRITING in his Glossaire Nautique, concerning various ancient pictures of ships of unnamed types that had come under his observation, Jal describes one, not illustrated by him, in terms equivalent to these:- "The work of the engraver, Israel van Meicken (end of the 15th century) includes a ship of handsome appearance; of middling tonnage ; decked ; and bearing aft a small castle that has astern two of a species of turret. Her rounded bow has a stem that rises up with a strong curve inboard. Above the hawseholes and to starboard of the stem is placed the bowsprit, at the end 66 SOME OLD·TIME SHIP PICTURES. of which is fixed a staff terminating in an object that we have seen in no other vessel, and that we can liken only to a many­ rayed monstrance.
  • Maud Matters

    Maud Matters

    Wherry Maud Trust August 2018 Maud Matters Newsletter No.6 Your trustees are happy with Wherry Maud Trust's progress and glad that this year we have even more members who take an active part in sailing on Maud, maintaining her and showing her off to the wider public. We should all celebrate the fact that this year there are eight wherry- rigged vessels afloat. Each plays an important role in the Broadland wherry scene and your membership and support enables Maud to play her part. INSIDE THIS ISSUE Grants Awarded ...................... 2 MESSAGE FROM OUR PATRON Maud at Heritage Open Days .. 3 RICHARD JEWSON JP—LORD LIEUTENANT OF NORFOLK HAS WRITTEN AS FOLLOWS: Maud’s Winter Maintenance... 3 Maud’s Trips + Other Events .. 4 “It has been interesting for me this year to see how Wherry Maud Trust is Upcoming WMT Events .......... 7 growing and using new ways to bring "our" wherry to the attention of the Associate membership ............ 7 public and of course to generate Meet the Skippers ................... 8 funds for her upkeep. Crew Matters ........................... 8 In May I was pleased to attend the Other Historic Vessels ............ 9 Wherry Maud Trust art exhibition at Volunteering ........................... 12 Ranworth. It showcased the work of Social Media ............................ 13 local artists and was the Trust's first Other Events Upcoming.......... 13 large-scale funding event . The suc- Contact Us ............................... 14 cess of the event was due to the many volunteers who helped over the two days. Volunteers were serving light refreshments, meeting and greeting the public and explaining the purpose of the event and the im- portance of Maud in the Broads scene.