Emett's Crates

In Leeds there is a second collection of Rowland Emett creations that doesn't normally find its way into public display but they are still, in their way, a work of art. This is the set of eleven crates that Emett designed to allow safe transit of his machines around the world.

The crates in storage in Leeds.

We have avoided using these before as they are heavy and complex and, for short distance moves within the UK, careful handling and packing of the individual parts outside the crates can be potentially less hazardous. Solid looking crates can be an invite to careless handling and, unless everything in the crates is very well restrained sudden jolts can be very damaging.

Careful instructions.

For the move south on this occasion it was a requirement of the insurers that the machines should be in their crates. Only the prospect of form filling prevents us from claiming for the bits that did shake loose in transit!

A day becoming familiar with Emett's crates is a prospect both daunting and exciting. A preliminary investigation on their internal working made it obvious that Emett thought of everything. But that still doesn't prepare you for just how well thought out these packing cases are. On first inspection they are a random collection of brackets, pads and ties but, as you load them, the purpose of each of these becomes apparent. Some of the crates are illustrated with drawings carefully listing everything and the order in which items should be installed others offer little explanation but manage to become obvious as they are used. 

The simpler crates belong to the Chitty machines. This is presumably because this set was intended for the UK tour and the importance of dotting every 'i' and crossing every 't' was less pressing. Emett was very aware that the, sometimes novice, operatives unpacking and assembling his machines on the other side of the globe needed foolproof instructions unless a very expensive personal visit was required. He was also very aware that they may not speak English so he used visual clues.

A tight fit.

The Chitty machines all fit their cases snuggly, as the photographs illustrate, sometimes very snuggly. Most of them consist of a base fitted with castors onto which the machine is secured and an enclosing case split longitudinally in two. This allows easy access to the machine and, we realised later, the ability to get the cases themselves through a single door.

The Fairway Birdie.

The Fairway Birdie was the simplest of the bigger machines to dismantle and crate. The main element wheeled in through a door at the end of the crate, its wheels running in timber channels until engaging with a pair of galvanised steel half hoops that held them in place. A bolt on-bracket then clamped the other end of the machine firmly. The parts that had been removed each had their own purpose built brackets or containers, sometimes labelled but, anyway, obvious in their intended use.

Oh. OK then

The Exploratory Lunacycle has two crates. A large, long case with end doors that houses the main frame and a few of the smaller parts and another, smaller, case for the remainder of the machine. The large case is accessed from the end so that the cycle can be wheeled in and secured. On either side of the case, half way along, are two hatches which, when opened, give access to clamps that secure the outriggers in place.

The smaller case is a work of art. Each of he parts has its own place and a method of fixing tailored to the way that the machine assembles. The slots, threaded rods and mounting holes that are used to assemble the cycle are all re-used to mount them in the crate. To make it clear which piece goes where, and in what order, Emett drawings are pasted to the lid and the part is shown in silhouette behind its intended position.

The Humbug Major

The Featherstone Kite, being the most complex machine, has three boxes. The main one takes the frame, secured in the same way as the Fairway Birdie and some of the other components, again bracketed, annotated and illustrated. For good measure there is a warning over the doors to the case warning of the tight clearance when the frame is inserted. The other two cases are similar to that for the Lunacycle with a place for everything and everything in its place. This was brought home by the mounting for the two halves of the butterfly propeller. This is held in place on the machine by wing-nuts and in the box by slots and a clamp. A note in the instructions warns that the wing nuts need to be aligned vertically and it then became obvious that he had provided two slots to house the protrusions.

A crate of Kite parts.

Three of us took six hours to completely dismantle the machines, manouvre the crates into place in a tight space and pack the machine parts safely away. It was an entertaining and educational experience. Entertaining because the discovery of the function of seemingly arbitrary brackets would raise a smile. Educational because we now have an even deeper respect for Emett's ability to think things through.

The Featherstone Kite.

The Magical Machines of Rowland Emett. An Introduction.

This year's display of eight of the Rowland Emett machines takes place in a number of venues as a 'scattered exhibition'. This is an experiment but there are a number of reasons why there is a logic to this.

The first is the simple practicality of organising a large exhibition at relatively short notice. The Birmingham exhibition in 2014 was the result of an unusual opportunity to stage an exhibition in a large, impressive, space at a major venue that, usually, would be booked up to three years in advance. These opportunities do not present themselves very often so we looked for another way forward.

Space tends to be the big problem, the machines need the room to operate without risk of damage to life or limb  - or themselves. Finance is also a problem, Museums and Galleries have to work within their budgets and a large exhibition costs a great deal to stage, particularly if you want to promote it effectively. But smaller displays can usually be accommodated, as turned out to be the case at Brighton, Hove and Ditchling, and cross-promotion of venues becomes an opportunity when the exhibitions run in tandem.

We approached Ditchling Museum with the idea. 

If you have visited Ditchling in the last twenty five years you would be forgiven for not realising that Emett had any connection with it, despite spending over thirty years living in the village and building nearly all of his machines there. There was no 'Emett Tea Rooms', no sign of him in the village museum, no blue plaques or information panels and none of his work on display - with one exception, Stoneywish Nature Reserve. Just outside the village the reserve has an 'Emett Hut' where in recent years Michael Alford has assembled a display devoted to the artist. The problem is that you need to know it is there and most visitors to the village simply don't.

In another piece of Emett Synchronicity (there has been a lot of that) the incoming Director of the newly restored and extended Museum of Art and Craft in Ditchling happened to visit Birmingham and coincidentally saw that the subject of the 'Marvellous Machines' exhibition was an artist and craftsman from the village in which he was about to run a museum dedicated to artists and craftsmen!

Our approach was very much a case of leaning against an open door. Nathaniel Hepburn, the new Director was that Emett's work was a significant omission from the Museum and was keen to have his work represented alongside that of Eric Gill and Frank Brangwyn. There would be a strong contrast in artistic style and direction, but then everything needs light and shade to make its significance stand out.

The idea of a scattered exhibition was broached and a number of other partner venues were discussed but it was unlikely that it would be possible to organise anything in time for the next summer season, but it was worth a try.

Again, the timing turned out to be right. Brighton Museums were interested in the idea and had a string of venues that could accommodate displays of varying size. They were close enough to Ditchling to make the idea of a 'scattered exhibition' work geographically and offered a good variety of venues each of which could then advertise the others.

The road from there to here has had its pitfalls and budget constraints have made their presence known in last minute changes of venue, but we have another Emett exhibition off the ground and residents of, and visitors to, the south east of England will now have the chance to see the machines in action.

Original Emett For Sale

An original Emett artwork is for sale at Abbott and Holder in London. The 1954 drawing depicts the 'battle' between the British Motor Company and Ford and is being sold for £1250.

The exhibition starts at midday on 20th September just as the Birmingham exhibition comes to a close.

If you do buy this artwork, please let us know.

Do you remember Rowland Emett?

The Society is interested in hearing from anyone who remembers Rowland Emett. Where did you first encounter his work? Did you ever meet him? Did you work with him on his machines? Did he inspire you? Did you ever take pictures of his work?

If you, or anyone you know, has memories or information you would like to share' please get in touch. To make it simple you can upload text files or pictures directly to us by clicking this link and using the upload password 'steamboat52' :

www.dropitto.me/canonvela

Second Emett Convention

You can now register for the second Rowland Emett Society Convention on the Society Website www.rowlandemett.com

Alongside the exhibition there will be films talks and further Emett exhibits not currently on display.

Emett Society Convention

We need to know approximate numbers for the Society Convention on 13th/14th September. If you are hoping to attend can you please pre-register on the Society website (Under the 'Society' tab.) ASAP.

For more information go to the 'Convention' page (Also under the 'Society' tab). This is where updates will appear.

New Rowland Emett Booklet

The Society is publishing the first ever booklet describing and illustrating all of Emett's known machines at the end of June. The 32 page A5 colour booklet will cost £3.00 + p&p and is available to pre-order through the Society Website Shop (under the 'HOME' tab.)

All profits will go to the Rowland Emett Trust to support efforts to promote and preserve Emett's work. The booklet will also be available at the Birmingham Museum and Art Gallery shop from the end of the month.