BOOK REVIEW: ‘The Armistice and the Aftermath: The Story in Art’

84. ARMISTACE AND ART

BOOK REVIEW

Reviewer: Michael Keith

Title:  The Armistice and the Aftermath: The Story in Art

Author:  John Fairley

Total Number of Pages: 192

Rating Scale (1: Very Poor, 10: Excellent): 7½

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When describing this volume’s content,  a note on its dustjacket states that ‘…The Armistice and the Aftermath…brings together in one book a superb collection of the most epic paintings of the [World War I] era. The result, with informed and perceptive commentary is a unique record of those momentous days…’ It is an accurate summary of what is to follow.

The volume consists of 40 Chapters, these appearing immediately after the two page Contents section. There are none of the usual introductory sections one would expect to find within such a volume as this. While each Chapter nominally contains at least one full-page art work, in at least one instance (The Wartime Leaders, Chapter Forty), the image is out of sequence and appears before the section rather than within it. As it loses a certain relevance by doing-so, the reasons for this ‘displacement’ are unknown. While the majority of art works within the volume are from British, French or American artists, pieces by German artists also appear. The works displayed are in a variety of media, and are accompanied by an informative narrative. By this means, the reader is taken through the last year of the War, the first years of the Peace, while being introduced to important individuals, groups and occasions while so-doing. Where appropriate to the narrative, eyewitness descriptions also appear. It must however be noted that in some instances (and again for unknown reasons), the author of this volume does not consider it necessary to specifically name each plate within the text which accompanies it. In such situations he prefers to allude to it rather than name it specifically. Chapter 12 (Peace in the Mediterranean) is a case in point. Although four images appear within that Chapter, at no time are they specifically named; referred-to certainly, but not actually named. In addition, in several instances, the images that appear within a specific Chapter are not even mentioned within the text that supposedly relates to them.  They are instead used as vehicles to present the artist’s thoughts on the events which prompted their eventual creation. The images of HMS Mantis on the Tigris and The Navy at Baghdad  which appear in Chapter 11 (Peace in the Middle East), are but two such examples of this practice. Neither image is mentioned within the text, but the wartime reminiscences of their creator (David Maxwell) are. On the basis of the above, a reader expecting a detailed description of the individual images and their creation is likely to be disappointed. Most, but not all, of the images are captioned, the information provided tending-to consist of the individual piece’s title and the name of the creating artist. It was however noted there were several exceptions to this rule. An Appendix (The Armistice Terms) follows Chapter 40. Its title is self-explanatory. The Appendix is in turn followed by the volume’s final section titled Picture Credits. The title is self-explanatory but while naming the sources of the images, it also lists the pages within the volume on which they appear. This book contains neither Maps nor Index, and aside from the previously-mentioned Picture Credits section, the Contents pages contain no mention of those images which appear within the volume. Numerous unsourced Quotes appear throughout the work. Without supporting citations, their authenticity is inevitably under question; they might just as well be imaginary. A Glossary would have been of value: what for instance is Post Expressionist Painting (page 169)?

While this is a most-informative volume, for this reviewer it is let down by the total absence of an Index. As a result, a reader has no way of knowing which artists and individuals are mentioned within the book; which artistic works are represented, which geographical locations are mentioned, or which military actions have been recorded or commented-on. In the absence of such information, he believes it is both unreasonable and time-consuming to expect a reader to have to search through the volume’s 192 pages in a possibly-fruitless attempt to locate a specific individual, piece of art, geographical location or event. In his opinion this is a major failing, which serves to significantly-reduce the volume’s usefulness. The lack of Maps is also unhelpful as it gives a reader neither context nor location for the events mentioned within the narrative. Although the lack of citations for Quotes has been previously-mentioned, the presence of undefined terms is also unhelpful. What (for example) is ‘…The local Murdoch newspaper (page 165)? Who / what, was ‘Murdoch’? Why is he / it associated with a newspaper? In the absence of clarifying detail, such a statement is, at minimum, baffling, and to many, the reasons being unexplained, probably totally incomprehensible.

As the focus of this volume is on art, the works appearing within its pages are likely to be of interest to aficionados of such matters, while Historians and ‘Generalist’ readers with an interest in World War I may also find it of interest. As they portray contemporary military machinery, it is also possible that military modellers might find some of the images useful as reference material.

On a Rating Scale where 1: Very Poor, 10: Excellent, I have given this volume a 7½.

It should have been much higher.

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BOOK REVIEW: ‘The Armistice and the Aftermath: The Story in Art’

BOOK REVIEW: ‘ A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais’

80. Marine artist's portfolio

Reviewer:  Michael Keith

Title: A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais

Author: Susanne Fournais Grube

No. of Pages: 103

Rating Scale (1: very poor, 10: excellent): 8

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In this volume’s Introduction, and when explaining the reasons for this volume, the author states ‘I’ve been very fortunate in being able to demonstrate [my] love of and fascination in the sea through art’ and that she has been ‘Lucky enough to be able to devote time to painting those subjects that I find of interest as well. These paintings form the basis of this book’. It is an accurate precis of a beautifully-illustrated volume.

This volume contains no Contents page; the first section being an Introduction where-in the author provides a historical and personal background to her nautical interest, while also acknowledging the assistance she received in the book’s creation. A small, single-column section titled My Painting Techniques appears on the extreme left hand edge of the following page (page six) ; the title being self-explanatory. The six ‘Sections’ forming the main part of the work then follow. These are analogous to Chapters. They are however un-numbered and cover a wide variety of subjects from Liberty ships to Lighthouses, to Crustacea and to Shells. Although nominally on a single subject (for example Tugboats, ferries and pilots in ‘Section’ Two), the section ‘titles’ are frequently ‘catchalls’ for the artist’s work; the previously-mentioned section containing images of both naval vessels and maritime paraphernalia; subjects falling outside the nominal range implied by that section’s ‘title’. Each Section is prefaced by an introductory essay. These provide background to the types of vessel likely to be found within the section (Wooden boats and yachts in ‘Section’ 6 being one such example), and set the scene for the images that are to follow. That the images within the section might include subjects that are neither ships nor boats is not however mentioned. The images, when they appear, are spectacular, and portray their subjects (whether on land, in the sea or from below it) in all sorts of settings and situations. The majority of images are single-paged in format. However, for unexplained reasons, several pages contain groups of smaller images, provided perhaps to display as many of the artist’s works as possible within a constrained environment. The image colours are beautiful, sharp and very evocative. They display the artist’s talent and distinctive style to full advantage. Such Captions as are provided are the titles of the individual pieces. The volume contains no ‘technical’ information about the subjects being portrayed. An Epilogue placed after the last image (Marie) provides information about the artist’s travels, whereabouts and her future intentions. The volume contains no list of the images that appear within it. There is no Index.

As previously-noted, the images within this volume are beautiful and a credit to their creator. They are equally however, the source of a major criticism concerning this work; namely that there is simply no way to find a specific vessel or image. Should a reader to whom ‘A ship is a ship, is a ship’, merely want a ‘Pretty picture book’ of marine things, they will have no problems with this aspect of the volume. However, should said reader (perhaps a ship modeller or a crew-member of one of the vessels portrayed), wish to find an image of (for example) Mineral Zulu (page 51), they will have to spend time trying to find if the vessel is even actually within the work, with no guarantee of success for their efforts. In this reviewer’s opinion such searching for a possibly-disappointing end-result should not be necessary; things could have been done better.  An Index, or (at the very least), a page containing a List of Plates / Images and the appropriate page numbers, would have been extremely helpful. A Contents page showing the titles and locations of the various ‘Sections’ (while also numbering them), when combined with the previously-suggested list of plates, would have also contributed to reduced searching times.

There is no doubt that this is a beautiful book and a pleasure to view. Followers of the artist will, of course, be delighted with its content. Lovers of ships and ‘Things Nautical’ may well find it worthy of their attention, while ship modellers and other marine artists may find the colours and details useful. On the presumption that the vessels portrayed actually exist, it is also likely that the crews of such craft will find the images and the artist’s interpretations to be of interest. It is also likely to appeal to those who simply like beautiful images of ships and the sea and who would purchase a volume of images for just that reason. It is indeed a ‘Work of Art’.

On a Rating Scale where 1: very poor, 10: excellent, I have given this volume an 8.

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BOOK REVIEW: ‘ A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais’

Book Review: ‘Narrow Gauge Railway Stamps’*

64. DSCF2816 (2)

Reviewer: Michael Keith

Title: Narrow Gauge Railway Stamps*

Author: Howard Piltz

Total Number of Printed Pages: 64

Rating Scale (1: Very Poor, 10: Excellent): 6

* The title is disputed

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The Introduction to this work contains a subsection titled Coming Together with Works of Art. Within the latter, the author notes ‘…That in stamps one could find the wonderful combination of transport history told within a glorious gallery of miniature works of art’. It is a fair summation of what is to follow.

An Introduction appears behind the Contents page. Within the former the author uses subsections to provide details about himself; the reasons behind the creation of the work and the volume’s format and content. An interpretation of relevant philatelic terms is also given.  Confusingly (and at a point seven pages into the Introduction section) a separate four page section titled Narrow Gauge Railways appears. Bearing the page numbers 13 – 16, it is in turn followed by pages 17-20 of the Introduction section. As the Contents page indicates that a section titled Narrow Gauge Railways starts on page 13 and is in turn followed by another section titled The British Isles on page 20, some confusion results. The volume contains no Chapters per se’. There are instead nine un-numbered Sections (including the Introduction) which fulfil that function. Six of these Sections form the focus of the volume. Placed in its centre, these are arranged in respect of geographical land masses, with The British Isles, Asia and The Americas being but three such examples. Subsections within each geographical area name specific nations, provide images of their stamps, then precis’ their postal history and that of their railway systems. A final section (titled Collecting) is placed at the rear of the volume. This discusses the rationale behind stamp collecting (albeit with a focus on the specific topic of Railway stamps), and is accompanied by a subsection titled Looking after Stamps, the latter’s title being self-explanatory. No Index, Bibliography or Maps appear within the book. As one would expect, the volume is illustrated by images of all sorts of trains on postage stamps. The range is wide and includes examples from all parts of the globe and both ‘working’ units and those that have been preserved. Some stamps appear individually, some as part of a larger set. With one exception (on page 25) none are captioned and the Contents page carries no mention of their existence.

Regrettably, if asked to describe this volume on one word, this reviewer would have to say ‘Confused’. In addition to the previously-noted ‘Insertion’ of one section within another, the author of this volume is seemingly unable to decide its purpose. Is it a book about stamps? Is it one about trains, horses (as per the image appearing on page 25), or is it in fact something else – and if so, what? To compound this ‘difficulty’, the volume also appears to have an alternative title, albeit one which may in fact hint at its actual purpose. While both the Cover and Title pages state unequivocally that the volume is called Narrow Gauge Railway Stamps, the Page Header on the left-hand (even) pages throughout the volume inform the reader that the title is in fact Narrow Gauge Railway Stamps – a Collector’s Guide. Which is correct? There is no way to know, although the reviewer suspects that the Header-title may be the more accurate of the two available options. The images of pristine envelopes, First Day Covers and proof blocks of stamps with which the volume is illustrated would seem to reinforce the possibility.  The lack of both an Index and a Map also adds to the confusion; the reader having to both guess where specific nations actually might be, while having no certainty that they have even been included within the work. Readers seeking images of specific trains are similarly doomed to what could be ultimately-fruitless searching. Railway ‘Enthusiasts’ interested in technical specifications or seeking a ‘learned treatise’ on motive power etc. will also be disappointed.  And the previously-mentioned, horse?  Apparently a winner of an ‘English’ horse race (the ‘Grand National’) in 1983, it was named after a lighthouse located at Corbiere on the island of Jersey (appearing as a background within the stamp). Although Corbiere was the terminus of a now-extinct narrow gauge railway, the connection between animal and railway is (at best), very tenuous.

Although Philatelists are its primary focus, readers interested in the more exotic permutations of ‘trains’, may also find it of interest, with even children perhaps getting pleasure from viewing Thomas’ relatives. Despite the images being stamp-centred, readers who just want ‘nice’ pictures of trains might also find it worthy of their attention. Artists with an interest in ‘Things railway’, might also find the volume a useful resource.

On a Rating Scale where Rating Scale where 1: Very Poor, 10: Excellent, I have given this volume a 6.

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Book Review: ‘Narrow Gauge Railway Stamps’*

‘LAST RUN’

Although the Inktober 2017 Challenge has passed, herewith another example of the work I submitted for that contest.

The theme for the day was ‘ Run’ which I interpreted as ‘Last Run’ It was based on
based on personal experience

Technical Details: Drawn using Unipin 0.3, 0.5 and 0.8 nib black ink pen on white 80gsm A4 paper. Measurements: 7.0 in. x 6.5 in.

DSCF1194 (2)

‘LAST RUN’

Te Kereru Mining and Investment Co. Ltd.

I have long been interested in the nineteenth-century underground gold mines of New Zealand’s  Coromandel Peninsula. The need to develop these mines to their fullest potential required very large amounts of money and the latest technology – at that time only available from London, the financial and mining-technology centre of the world. Thus were British capital, Victorian-era steam-powered machinery and British manufacturing skills brought to bear on the Coromandel.

However, two problems needed to be solved: how to remove the gold-bearing rock in the most efficient manner, and having done this, how to extract as much gold as possible. The pursuit of these aims constituted New Zealand’s first heavy industry of any consequence. Developing the necessary technology, especially the use of potassium cyanide for gold-extraction, meant that for a period the New Zealand quartz gold mining industry led the world.

In one way the Te Kereru Mining and Investment Co Ltd. layout is a homage to this era and industry. In another it is also a teaching tool, showing in miniature how things were in ‘the olden days’, and introducing the viewer to a little-known aspect of New Zealand history.

The Backstory

1893: While hunting Kereru (Hemiphaga novaeseelandiae; the New Zealand  Pigeon) in the hills of New Zealand’s Coromandel Penisula, W.V. James discovers a gold and silver-bearign reef (‘lode’) near Toi Toi Creek – somewhere north of Karanagahake, and south of Port Jackson.

1895: The Te Kereru Mining and Investment Company (Limited. is formed in London and is soon driving horizontal tunnels (or adits) into the reef to explore the size of the deposit and commence the mining of the ore it contains.

1897: The Company begins constructing a 40-stamp battery / reduction-works for use in conjunction with the recently-introduced MacArthur-Forrest cyanide process. The work includes the construction of a steam-powered railway to connect the mine workings with the battery. This required the construction of a short tunnel through an adjacent ridge.

1898 (November); Ore trains begin running.

1900:  Having found that the reef system descends much deeper than can be reached via horizontal adits, the Company sinks a shaft (the Toi Toi) to better mine the reef and to prospect further.

1901: The Toi Toi Shaft reveals that the reef system is increasing in value as it descends, and as a result, an additional 20 stamps are added to the battery.

1911: The cyanide plant is updated. This includes four tall Brown and McMiken (B&M) air-agitator tanks measuring 13.7 metres x 6.0 metres( 45 ft. x 20 ft.) placed towards the rear of the site. A vacuum-filtration  plant and hydraulic classifier are also added.

1913 (The present time): The Company’s upgrades are payign off and its gold and silver production is the alrgest within the district. The Toi Toi Shaft is currently 144.7 metres (475 ft.) deep and values are showing no sign of decreasing at this depth.

The Model

Te Kereru  (pronounced Tea -Care-Rare-Roo) was intended to portray by way of a small layout,  the main elements in this fictional history, a scenario that drew heavily on large-scale gold mines once found at Thames, Karangahake (Car-rang-ah-hack-ee) Komata (Co mah-tah), Coromandel and Waihi (Y-he) These and my own personal experiences provided the technical background.

My intention was always to make Te Kereru a technically and historically accurate portrayal of a neglected part of New Zealand’s history. I wanted the layout to be in N scale, portable, and able to fit between my car’s rear wheel arches. And it had to be ready for public exhibition within three months! It was, and at that and several other exhibitions has received encouraging comments from both the public and other modellers.

Of course I did not start from scratch. Te Kereru is the final development of a series of micro layouts beginning in 2006 with the Kaisers Reef (Hauraki) Gold Mining Co (NL) cutlery drawer-based layout seen at the 2008 New Zealand Model Railway Guild convention in Taradale (Napier).   I subsequently enlarged the ‘Kaiser’s concept, and created the Te Kereru Mining and Investment Co Ltd’ , (‘Te Kereru’ being pronounced: Tea Care-rare-roo), a portable ‘clockwork mouse’ layout designed for exhibitions and, for ease of transportation, capable of fitting in between the wheel arches of my Nissan Primera sedan’s rear seat.

Construction

The baseboard measures 1066mm x 508mm (3ft 6in x 2ft), comprising a sheet of MDF with strips of 20mm x 30mm pine glued on the outside edges to form a frame for a 12.7mm–thick sheet of ‘Pinex–brand  soft-board laid on top. A three-ply scenic divider conceals a small fiddle yard and work area, while a tall ridge separates the site of the Toi Toi (Toy-toy) Creek mining operations from the ore processing area. I have employed self-developed a New Zealand-specific variation of UK N scale (1:148), with suitably modified N-scale rolling stock.

Track and wiring

The track is roughly oval in shape, laid with Peco N scale Code 80 flextrack pinned to the Pinex. Exhibition-based experience and discussions with respected model railway peers convinced me that points can be a source of many problems, and since the viewing public rarely commented it seemed that omitting them would be a contribution to reliable running. The layout does however have three nominal sidings (at the mine, the battery and the locomotive shed beside the battery). These are supposedly one-blade mining tramway type units and are non-working.

Power feed is simply two wires attached to my veteran Hammant & Morgan power unit.

Scenery

Basic scenery was constructed from blocks of high-density plastic foam overlaid with kitchen towels. Pollyfilla was applied over this, followed by acrylic tube colours, predominantly white, black, yellow ochre, burnt sienna, yellow and blue.  Vegetation is Woodland Scenics Coarse Foliage. Ground cover consists of a variety of dried sawdusts, held in place by PVA and superglue.

The sky is deliberately white in colour — to help portray the anti-cyclonic gloom frequently found on the Coromandel Peninsula and emphasises the contrast between the bush and structures. Comments from residents of the area, indicate that I have successfully captured the atmosphere of the area.

Structures

All Te Kereru’s structures are scratch-built, designed to provide examples typical of the various evolutionary phases of large-scale nineteenth century underground goldmines in the Coromandel.

As well as the major mine and battery buildings there is a water-race, with race inspector’s hut, a locomotive shed; goods sheds at both the mine and battery, and various other tanks and buildings.

At Toi Toi there is a substantial amount of trestle work and a large dump for waste rock (mullock)  from the mine.

An abandoned traction engine remains at Toi Toi from when it served as a stationary boiler to power an air compressor in the mine’s early days. Contrast that with the new fangled telephone recently installed to connect the General Manager’s office at the battery Te Keruru office with the Mine Manager’s at Toi Toi.

The tall B&M (Brown and McMiken) air-agitator tanks at the battery form part of the battery’c cyanide plant and are typical of early examples, while the Toi Toi Shaft’s 65ft (20m)-tall head frame (or Poppett Head) is similar to those at Thames, Waihi and Coromandel.

Material and methods

A wide variety of discarded materials were used in constructing Te Kereru. Almost everything was made from off-cuts, such as the scraps of picture framer’s matte board used for buildings, or the discarded overhead transparency film used for window glazing.

The battery’s windows, having multiple panes, were first scribed to create the mullions, then covered with white paint, which when wiped off with a damp cloth left paint within the scribed lines – instant multi-paned windows!

Mining plant, having only a short life-expectancy, was constructed as cheaply as possible, and in New Zealand low-cost corrugated iron was the primary form of cladding. My ‘corrugated iron’ was 1970s-era embossed wallpaper and I made the B&M tanks from toilet-roll inners, with propelling-pencil leads being used for over-flow pipes and card for the deflectors installed at the tops of the tanks. . . The Toi Toi Shaft head frame was built from square-section strip balsa and card, and the mine ore trucks from cork roadbed, with propelling-pencil leads for the axles. Items I could not make, (such as track, people and animals), were purchased.

Detailing

I enjoy the possibilities for detailing, and as a result various small vignettes appear on the layout. These include a cage in the Toi Toi Shaft head frame with a worker putting a lot of effort into manoeuvreing an empty ore wagon back inside before it returns underground, two men using a pinch-bar to get an ore-truck back on the rails at the entrance to one of the tunnels, and the telephone-line repairman up a pole near the water-race, replacing a line that has been broken.  His two pack-horses (one carrying saddlebags) graze below him.  There are other similar mini scenes as well, though they may not be evident at first glance.

Rolling stock

Motive power is an N-scale Bachmann 0-6-0 Plymouth switcher reworked to look something like a Manning-Wardle street tramway locomotive.  This was supposedly imported by the company from a bankrupt British system.  Wagons are scratch-built, mainly of the mainly of the side-tipping-type and mounted on single N-scale bogies’.

Several flat-deck wagons do static duty at the goods sheds at Toi Toi and the battery.   Because of the severe curvature, a simple type of hook and pin coupler is used. At the standard N scale viewing distance of two feet (600mm), these rarely elicit comment.

People and creatures

Te Kereru has various people and animals within its boundaries.  People are doing a variety of jobs, from shovelling coal outside the battery’s boiler house, to the telephone-line repairman previously-mentioned.  At Toi Toi, pit ponies haul ore and timber wagons as needed.

Things that lurk in the forest

There is a resident dinosaur in the bush country between the battery and the mine. A reclusive creature, it is only seen at exhibitions, mainly by small children. He has proven singularly successful as an ice breaker with members of the public.  With the children indulging in a dinosaur hunt the parents can be engaged in conversation and left free to actually look at what is on the layout.

Is it narrow gauge?

I am frequently asked if the layout is 009 or some narrow gauge variation on Z gauge (Nn3 perhaps). The questioners are invariably surprised that it is in fact conventional N scale, rather than the apparent narrow gauge that prompted the question.  The narrow gauge look is not intentional, but seems to have evolved of its own accord. For that I have no explanation.

Public reaction

My wife accompanies me to exhibitions, and she has noted that because of the clockwise direction that model railway exhibitions tend to follow, members of the public mostly approach from the Te Kereru  or battery (left hand) end.  Having given the layout a quick once-over, and seeing little to interest them, they then move on, to suddenly notice Toi Toi at the other end, hiding behind some hills and trees.  The reaction is frequently one of surprise accompanied by a ’wow’ of amazement, and followed by a closer investigation. Some people have even been observed dragging their mates back to share in the discovery.

Frequent comment is made concerning the detail that has been incorporated into Te Kereru, along with surprise as to how much detail is possible in such a small scale  and space. We have also noticed that because of its height — it simply rests on a conventional trestle table — small children and people in wheelchairs seem to get the best of views.

The future?

Te Kereru has so far attended several exhibitions and been well received. It is reliable and fun and gets lots of positive comments from viewers, so its appearances will continue. In between times it is still being detailed and added to.

Layout at a glance

Name: Te Kereru Mining and Investment Co. Ltd.

Scale: N (1:148).

Size: 1.066.8mm x 508mm. (42″ x 24″).

Prototype: Various Coromandel Peninsula gold mining tramways.

Period: 1913.

Locale: Coromandel Peninsula, North Island, New Zealand

Layout Style: Portable.

Height: Approximately 1m (height of trestle table).

Length of mainline: 2.72m.

Track: Peco code 80 flextrack

Points/Turnouts: None.

Control:  Conventional 240-volt transformer.

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layout-3

TE KERERU MINING AND INVESTMENT CO. LTD.

General view of layout showing Toi Toi mining area at bottom of layout and battery/ reduction-works site visible at upper LH corner.

(Scale: 1:148)

toi-toi-70

TE KERERU MINING AND INVESTMENT CO. LTD.

Detail view of Toi Toi Mining area showing various adits and tramways. Poppett Head of Topi Toi shaft visible at center-right foreground.

(Scale: 1:148)

toi-toi-87

TE KERERU MINING AND INVESTMENT CO. LTD.

A view from Mullock heap (Waste rock) area showing surface buildings associated with the Toi Toi shaft. The tramway goods shed and the tracks of the steam-powered tramway. are visible at LH centre and at bottom of the image. Various adits and mining-related tramways are visible in the background.

(Scale: 1:148)

2014-11-28-12-44-36-2

TE KERERU MINING AND INVESTMENT CO. LTD.

View along Mullock Heap trestle, looking towards Toi Toi shaft

(Scale: 1:148)

view-towards-upper-toi-toi-valley

TE KERERU MINING AND INVESTMENT CO. LTD.

View of Upper Toi Toi Valley showing various adits and mullock heaps (Waste rock dumps).

(Scale: 1:148)

toi-toi-115

TE KERERU MINING AND INVESTMENT CO. LTD.

Braceman maneuvering ore wagon into cage on upper Brace of Toi Toi shaft.

(Scale: 1:148)

toi-toi-general-view-of-workings-looking-towards-toi-toi-shaft-winding-engine-house-no-6-adit-bins-in-foreground-no-2-adit-behind-it-steam-tramway-tunnel-portal-visisble-at-bottom-left

TE KERERU MINING AND INVESTMENT CO. LTD.

View of western section of Toi Toi mine workings, showing No.6 adit and ore-Bins and  steam-powered tramway tracks. The Toi Toi Shaft and Winding-Engine House is visible in background.

(Scale: 1:148)

dscf7022-2

TE KERERU MINING AND INVESTMENT CO. LTD.

Steam-tramway locomotive No.1 arriving at the battery with a rake of wagons. General view of 60-stamp battery/reduction works and cyanide plant. B&M tanks visible at left, with tracks of steam-powered tramway visible at bottom of photograph.

(Scale: 1:148)

view-of-battery-from-access-road

TE KERERU MINING AND INVESTMENT CO. LTD.

A general view of the battery / reduction-works area  The 60-stamp battery is in the taller part of the large building that also houses the cyanide plant. There is a hand-fired boiler in the smaller foreground shed. The tracks of the steam tramway are just visible

(Scale: 1:148)

battery-bm-tanks-classifier-and-sttling-tanks-detail-dscf4898

TE KERERU MINING AND INVESTMENT CO. LTD.

Detail image of the modern Brown and McMiken Air-agitator tanks installed at the Te Kereru Mining and Investment Co. Ltd.’s battery in 1912.

(Scale: 1:148)

battery-cyanide-plant-locomotive-shed-dscf4912

TE KERERU MINING AND INVESTMENT CO. LTD.

Aerial view of Battery, Company offices, Cyanide plant B&M Tanks, Pump House Tailings Dam and Locomotive Shed.

(Scale: 1:148)

water-race-dscf5045-51

TE KERERU MINING AND INVESTMENT CO. LTD.

A detail view of the Company’s water-race headstock and siphon, with waste water discharging over the spillway to the right. The Water-race Inspector is visible on the bridge, while his hut is visible behind the telephone pole.

(Scale: 1:148)

battery-dscf5045-45

TE KERERU MINING AND INVESTMENT CO. LTD.

An image of the Company’s water-race  and its recently-installed and modern telephone system which connects the Battery with the mine. A recent storm has removed the wires so a repairman can be seen on top of the pole, reconnecting the line. His pack horses are grazing patiently below him.

(Scale: 1:148)

trmway-locomotive-shed2014-11-26-11-33-22

TE KERERU MINING AND INVESTMENT CO. LTD.

Tramway locomotive shed.

(Scale: 1:148)

__________________________

Note: No photographs of the dinosaur have been discovered.

Te Kereru Mining and Investment Co. Ltd.

BOOK REVIEW: ‘Britains Toy Soldiers: The History and Handbook 1893-2013’

dscf6045-2

Reviewer: NZ Crown Mines

Title: Britains Toy Soldiers: The History and Handbook 1893-2013

Author: James Opie

Total Number of Printed Pages: 480

Total Number of Photographs: 400

Rating Scale (1: Very Poor, 10: Excellent):  8

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The hobby of ‘collecting’ is widespread and can range from full-size machinery to very minute items. Almost anything can be ‘collected. If the interest is sufficient and the collecting fraternity large enough, eventually ‘learned tomes’ are written about the subject. Such works can cover all and any aspects of the hobby, and can themselves be worthy of collecting; if only for the sheer volume and detail of their contents.

It is this reviewer’s opinion that James Opie’s Britains Toy Soldiers: The History and handbook 1893-2013 falls into this latter category; it’s comprehensiveness and encyclopaedic detail ensuring that it is worthy of attention on its own merit.

As will be evident from the title, this volume is essentially a history of Britains Ltd., internationally-renowned makers of the small-scale figures known colloquially as ‘Toy’ soldiers.  Britains do however make other figures and objects and these (and the aforementioned soldiers) are covered within the eight chapters (and a separate sub-chapter) which comprise the majority of this work’s pages.   The author believes that there have been seven separate stages in the evolution of the Britains organisation and its models. He designates these stages ‘Ages’ and uses them to form the basis for the volume’s seven main chapters.  Within each chapter the company’s activities during that time are detailed and the models created during that period, critiqued. The previously mentioned sub-chapter (2a) investigates in detail the many variations of a specific series within the larger Britains range of models. In addition (and to quote the author) , Chapter 8 provides ‘…An encyclopaedic glossary of subjects…that are of interest to Britains collectors’. It is a fair summary.  The work also contains a Foreword, an Introduction, a Bibliography, an Appendix and an Index. Four hundred high-quality photographs are also provided.  Regrettably, the Foreword, although subtitled Auctioneering, does not detail the Auctioneering process, but rather describes the author’s experiences as an auctioneer of both toy collections and Britains figures. As it broadly outlines what the author’s activities consist of, some readers may find it of interest.

That the author knows his subject is very evident, yet it is precisely that knowledge which caused this reviewer difficulties. The work contains an incredible amount of detail, with the photographs acting as aid memoirs for the text. The information appears to be accurate and as noted, it is both comprehensive and encyclopaedic. However, the sheer volume of information tends to overwhelm the casual reader, to the extent that it is almost information  ‘overload’. This is very definitely not a volume for light reading; but is rather (as with many encyclopaedia-type books), a work which can be dipped-into when seeking specific information about a specific item. Used in that manner, this volume will be a work of great value.

This reviewer believes that this work is very-much in the ‘niche market’ category and as such will be invaluable to any specialist collector of Britain’s material. In that context, it may well become a classic, and perhaps even a ‘Collectable’ in its own right. To a lesser extent, researchers interested in toy-history and toy companies may also find it of use. The information it contains notwithstanding, it is probable that the average reader will however only read it for its curiosity value. This is unfortunate, but is a fate not unknown for similar works in other fields.

On a Rating Scale where 1: Very Poor, 10: Excellent, I would give it an 8.

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nzcrownmines is also available for book reviewing: Contact nzcrownmines@gmail.com

BOOK REVIEW: ‘Britains Toy Soldiers: The History and Handbook 1893-2013’