Issue69 June 2012 Effective Collections at the Herbert the at Collections Effective THE NEWSLETTER OF THE SOCIAL HISTORYCURATORSSOCIAL THE GROUP OF NEWSLETTER THE A Summer Day in Hyde Park Hyde in Day Summer A Presenting Hogarth's House Hogarth's Presenting Community Forums Community Join SHCG? If you’re reading this and you’re Welcome to Issue 69 not a member of SHCG but would like to join please contact: June is upon us and the celebrations marking the Queen’s Diamond Jubilee Laura Briggs are, as I write, in full flight. Not much of a monarchist, the Jubilee means Project History Officer little more to me than an extended bank holiday weekend and another semi- Harris Museum & Art Gallery obligatory social history collecting ‘opportunity’. Once the long weekend of Market Square river pageantry, street partying, Royal rock concerts and Jubilee beacons (a Preston little piece of me dies every time the BBC insists on dubbing the collective PR1 2PP experience “a party 60 years in the making”) comes to its final and glorious conclusion – a service of thanksgiving and a sober reminder that all good Tel: 01772 905103 things must come to an end (i.e. back to work on Wednesday, for those of us Email: [email protected] lucky enough to still have jobs) – I fear the media will shift up a gear and throttle full steam ahead to the other glorious event bestowed on our happy Write an article for nation this year, the Games of the XXX Olympiad. I just love the term ‘Jubilympics’, the brilliant portmanteau used by Jessica SHCG News? Hynes as Siobhan in the spoof BBC Olympics documentary Twenty Twelve. You can write an article for the News I daresay there won’t be a social history curator the length or breadth of the on any subject that you feel would be land that hasn’t been roped into or, I suppose, it’s even conceivable, willingly interesting to the museum’s volunteered to stage a Royal or sporting themed exhibition this year. I’ve community. Project write ups, book escaped the Royal one (I served my time last year doing one to mark the reviews, object studies, papers given Royal wedding) but I haven’t managed to get out of doing one on sport. Mine and so on. We welcome a wide variety is called ‘Going for Gold’, one of I’m sure dozens of identically titled displays of articles relating to social history and up and down the country (dreaming up innovative exhibition titles is not museums. perhaps my strong point). On the plus side, we social historians can make virtually anything interesting, and for someone who isn’t really ‘into sport’, I’ll DEADLINE FOR NEXT ISSUE: nevertheless enjoy telling the unconventional story of South Shields’ very 19 October 2012 own Tommy Payne. Bespectacled and short in stature, this unlikely athlete was nonetheless the world champion endurance walker just over a century SHCG NEWS will encourage ago. and publish a wide range of views from those connected with history and The SHCG membership survey yielded a lot of valuable information which museums. The NEWS aims to act as a will help the committee shape the development of the organisation. It was channel for the exchange of great to read the many positive comments about SHCG News, along with information and opinions about current some constructive suggestions for improvement. Of the nine core offers practice and theory in museums. SHCG currently provides its membership, SHCG News was considered the 2nd most valuable (the e-mail list achieved pole position) and 100% of The views expressed in the newsletter respondents said they read SHCG News. are wide ranging and do not necessarily express the views of the 90% of respondents said they would find a digital archive of past issues of SHCG committee or SHCG, unless SHCG News useful. Some of the more recent back issues are now available otherwise stated. at www.shcg.org.uk/newsletter and more will be digitised and uploaded later Articles for the NEWS should be in the year. 51% said they would like to receive SHCG News in a digital between 500 to 1,500 words. Please format; please email me if you would like a PDF file of this issue in addition submit a copy of your article by email, to your printed copy. saved as a PC word file or richtext format. Illustrations for articles are Adam G. Bell always welcome. Original photographs can be returned. Editor, SHCG News Alternative formats: Electronic copies and alternative formats are available on request. Send all contributions to: Adam Bell Assistant Keeper of History Tyne & Wear Archives & Museums South Shields Museum & Art Gallery Ocean Road South Shields NE33 2JA Tel: 0191 456 8740 Email: [email protected]

Front Cover: GPO engineering gas decontamination squad at practice, 1941, pp. 8-9. 18. A Summer Day in Hyde Park, 1858. Image courtesy of BT Heritage. Bulletin Board Page 3

SHCG Matters

Coming soon… Issue69 Crime and Contents punishment collections BULLETIN BOARD ON TRIAL! Crime & Punishment Seminar 3 Are your crime firstBASE 4 and punishment collections sentenced Object Lessons 4 to life in storage? Is New SHCG Website 5 their interpretation Kays Catalogues 5 8. Old Tools, New Uses criminal? SHCG’s autumn seminar will New Postal Museum 6 look at the world of Cowbridge Museum 7 crime and punishment Old Tools, New Uses 8 collections, exploring common conundrums New BT e-archive 8 and highlighting Beamish Lectures & Courses 9 innovative ways to use these collections. Look out for more information on the THEORY & PRACTICE SHCG e-mail list.

A New Way of Presenting Sharing seminars Hogarth's House 10 Have you just catalogued a Community Forums: A Wealth of 12. Community Forums Social History at our Fingertips 12 new area of your collections? Effective Collections: Making the Most Do you feel proud of of the Herbert's Costume Collection 14 a recent project or exhibition? Would you like to share the Reviews fruits of your labours with SHCG members? 'Talking Textiles' SHCG would like to increase Fibres and Fabrics Seminar 16 the number of seminars for our members and we are looking to support member-led initiatives from across the UK. This is an opportunity to share OBJECT FOCUS your experiences with a wider audience, which does not have A Summer Day in Hyde Park, 1858 18 to follow a traditional or formal 'O' - What a Lovely Letter! 20 seminar format. SHCG will provide support, whilst offering you a chance to gain project management experience and TEA BREAK boost your CV. If you’d like to discuss an idea, We Will Have It! 22 please contact: SHCG Committee Contacts 23

Jenny Brown SHCG committee 20. 'O' - What a Lovely Letter! [email protected]

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making it much easier to search can commission helpful resources and get accurate and complete – what do you want us to provide? results. Please e-mail your nominations and suggestions to firstbase@ Many thanks to those who shcg.org.uk. responded to the firstBASE Over the last few months work questions in the SHCG Lastly, as always, help us to pull has begun in earnest on SHCG’s membership survey. The good together all sources of collections Museums Association Esmée news is that all respondents knowledge and information in one Fairbairn Collections Fund project echoed the aims of the project place, and make firstBASE the to create a new version of our – to make the site much more place to go to learn from each firstBASE resource (SHCG’s user friendly and intuitive to use, other’s experience, increase our online searchable resource to more dynamic and interesting in knowledge and understanding help in the identification and its design, more immediate and of our objects, and improve the interpretation of social history responsive to suggestions and identification and interpretation collections). additions, and to improve the of social history collections. Have amount and type of resources you found the best book while At the beginning of the year we held on it. The results of the researching for an exhibition? appointed Surface Impression to survey have been passed on to Or an incredibly helpful website undertake the development and Surface Impression, and are being or organisation when trying to design work. They are currently fed into the plans for firstBASE’s identify an object? E-mail any working on prototypes which are redevelopment. suggestions to firstbase@shcg. being tested by the firstBASE org.uk editorial committee and SHCG In the meantime, the editorial members. Our partner Collections committee are working hard to Trust has also completed the work source new content for the site. Victoria Rogers on producing an XML version We are looking for nominations of of SHIC which will be used to themes/collection types that you SHCG committee help code the data on firstBASE, need most support with, so we [email protected] SHCG object lessons Why not borrow one of the object confidence in identifying and Each resource is made up of a lessons boxes and organise a caring for core materials found loans box of museum objects training session for colleagues in in social history collections. with an accompanying pack of your institution or region? They are an excellent CPD information which guides you resource and can also be used to through the basic principles Object Lessons is an exciting assist you with a programme of of identifying and caring for series of resources designed to documentation work. materials. The boxes also contain help you develop your skills and a selection of key books currently available on the topic.

The following loan boxes are currently available:

Object Lessons 1: Metals Object Lessons 2: Wood Object Lessons 3: Plastics

Each Object Lessons box is free to borrow, but you will have to organise and cover the cost of transporting the box to and from your venue (just over £25 per box). For more information visit www.shcg. org.uk/object-lessons or contact me by email to make a booking.

Jennifer Broadbent SHCG committee [email protected]

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New SHCG website attending, we want you to tweet of several mystery objects, your reflections on what you think including a metal drinking straw launched! of the speakers, the museums and designed for use with a South even the food! Just make sure to American infused drink. Thanks to a generous grant from add #SHCG2012 Arts Council England, SHCG A feed from the e-mail list is also has been able to update the We also welcome photos, now included on the new website group’s online presence. A new comments and reviews on our homepage so you can check there website has been launched, Facebook page, so if you’ve seen for the latest conversations and following feedback from the recent a thought-provoking exhibition or object identifications. membership survey. The new site come across something that you’d If you aren’t already subscribed to is more modern-looking, is easier like to share with others, why not the list but would like to be, send to navigate and has the potential post it on our page? an e-mail to shcg-list-request@ for us to add lots more content, Search Facebook for “Social mailtalk.ac.uk, stating your name which was not previously possible. History Curators Group” and and whether you are a personal So make sure you keep checking Twitter for @SHCG1 member of SHCG or employed by the website for the latest news an institutional member. The list is and events, as well as details of a great way to stay up to date and this year’s annual conference. get to know your colleagues, so don’t delay – join today! Visit us at www.shcg.org.uk Social networking SHCG e-mail list Look out for #SHCG2012 The e-mail list is a great place trending on Twitter this July for members to have insightful as social history curators from conversations and seek advice across the UK gather for this and opinions from colleagues. year’s conference in Cardiff Recent discussions have included and Bristol. @SHCG1 will be how to value an Olympic medal, broadcasting highlights from the where to source war-time radio Mate straw identified on the list by two-day conference and if you’re broadcasts and the identification Andrew Tucker.

from catalogues across the whole range of clothing, toys, Kays 20th century and these can now textiles and domestic appliances be accessed online at www. but you can also arrange to visit catalogues worldofkays.org. the archives in person by emailing researchcollections@worc. Before the internet, shopping I spoke at the ‘Catalogue of ac.uk. One note of caution - the from the comfort of your home Dreams’ conference in November Kays prices tended to be pricier meant mail order catalogues, and last year (presentations available than the high street, although one of the biggest names in this at www.worldofkays.org/website/ their easy, interest-free payment market was Kays of Worcester. conference) talking about how scheme was attractive to many The company closed in 2007 but I thought the catalogues could households. thanks to the Kays Heritage Group help when recreating 3D period and the University of Worcester, settings. I had used the catalogues And if you have time to browse, the company catalogues are in summer 2011 as part of my a bit of nostalgia is waiting. I accessible once more. Last year research into domestic interiors remember drafting my Christmas the ‘World of Kays’ project set and costume of the early 1940s, lists of the late 1970s/early about digitising 1,500 images and found them fascinating. Just 1980s from the Autumn/Winter like using trade catalogues in catalogues. In a catalogue from search of light fittings and toilet roll that era I spotted some of the toys holders (yes, I was researching I actually received, as well as a them) the Kays catalogues offered Mr Frosty ice-making machine - I up ideas on products, textiles and never did find him in my stocking trends. They also record prices and descriptions of products, www.kaysheritage.org.uk which is an added bonus. In fact I www.worldofkays.org used the style, colour illustrations and descriptions of early 1940s Clare Weston aprons to recreate an apron for site demonstrators in our new 1943 Curator setting in the Cast Iron House. Domestic and Cultural Life Aprons from a Kays wartime era catalogue. Black Country Living Museum Image courtesy of World of Kays. The website offers access to a [email protected]

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tell available and enjoyable for all. Pleasant site, where the country’s Our aim is to build a new state- oldest mail centre is located. New of-the-art museum and archive which will ensure the preservation Set to open in 2014, the new postal and access to the collection of the museum and archive will celebrate former National Postal Museum, some of the most compelling museum which has been in storage since stories from modern British 1998, and the internationally history through a programme of The British Postal Museum & renowned Royal Mail Archive. exhibitions, events and activities. Archive (BPMA) is pleased to Objects of every scale and type, announce that plans are underway The new museum will be in from postboxes and vehicles to for a new home in central London. Calthorpe House at the heart of posters and letters will be on the changing face of Clerkenwell in display, telling the story of the The BPMA’s mission is to make London, and will form a significant post office from the seventeenth its collections and the stories they part of the regeneration of the Mount century to the present day.

The project is very fast moving and things are changing all the time, so the best way to keep up to date with developments is to join the BPMA’s mailing list. For more details please visit our website www.postalheritage.org. uk, or email info@postalheritage. org.uk.

Freya Folåsen

Project Officer, New Centre Project The British Postal Museum & Archive [email protected] How the new museum may look. Image courtesy of BPMA

cultural organisations to manage Union. Further information Collections the sharing and re-use of their is available from http://www. Collections online. Further enumerate.eu. Trust secures information is available at www. europeanainside.eu. Linked Heritage is a major investment initiative to help cultural Partage Plus is a 24-month organisations open up their to bring project worth €3m to digitise collections as Linked Open Data, Art Nouveau objects, artworks, ensuring that it can be re-used collections posters, and buildings to create to support new applications, around 75,000 items (including innovation and creativity across online 2,000 3D models) of content for Europe. access through Europeana, the central channel for European “This new investment by the Collections Trust has secured culture online at http://www. European Commission represents major European Commission europeana.eu. The project is a milestone in Collections Trust’s investment in projects worth a being led by Collections Trust, international strategy and a huge total of €8m to help museums, with partners from Member States opportunity to help museums, archives and libraries share their across Europe. archives and libraries bring the collections online, safely and richness of their collections sustainably. Enumerate is a networking project to online audiences”, says which aims to provide up-to-date Collections Trust CEO Nick Poole. Europeana Inside is a €3.8million and comprehensive intelligence research and development about the costs, methods and project in partnership with 10 impact of digitising collections in leading Collections Management museums, archives and libraries. Software providers, all of whom Coordinated by Collections Trust, John Woolley are members of Collections the Enumerate network includes Development Director, Trust’s ‘SPECTRUM Partner’ national coordinators in all 36 Collections Trust Scheme. The project will develop Member States of the European [email protected] open-source tools, enabling

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The Blaenau Gwent Access to Heritage Project makes a start

Blaenau Gwent County Borough the Access to Heritage Officer has a wealth of heritage and the Access to Heritage organisations, from independent Documentation Officer. Since museums to community archives, then work has begun on www.Access2HeritageBG.co.uk heritage forums and friends helping the museums document groups. In 2011 the Heritage their collections according to www.facebook.com/ Lottery Fund and CyMAL: SPECTRUM standards and Access2HeritageBG Museums Archives and Libraries designing educational resources Wales awarded the council a grant in consultation with the museums www.twitter.com/A2HBG to start a three year ‘Access to and local schools. Heritage’ project to make these Arran Rees heritage assets more accessible There are many more outcomes to people from all backgrounds of the project which can be found Access to Heritage within the Borough and further on our website which is currently Documentation Officer afield. being constructed. We will also Blaenau Gwent County be keeping you updated through Borough Council The project started with the Twitter and Facebook. [email protected] appointment of two officers;

History Workshop Cowbridge Online The History Workshop Online is Museum seeking new contributions to the website www.historyworkshop.org. uk. They are seeking new original Cowbridge and District Museum articles, notices, comments and has recently decided to make reviews of around 1,000 words, the move towards Accreditation. as well as substantial multi-media Cowbridge is a very small essays which draw on the web’s independent museum which is ability to include images, audio housed in the town hall. The and video to accompany text. building was originally an old jail for the surrounding area From its inception, History and now uses the jail building Workshop has been a place where as part of the museum. Each of those engaged with the past – the jail cells shows a different historians, enthusiasts, activists part of Cowbridge’s history. The – could share, inform and argue. museum currently opens on Its perspectives are loosely left- the first Saturday of the month. We are always looking for new wing but not sectarian, and they It is proposed that to attain volunteers, so if anybody is welcome open debate. accreditation the museum will interested in supporting an open twice a month during the independent museum through History Workshop Online would summer months. The museum accreditation, please e-mail be delighted to discuss proposed has also recently gained five new [email protected]. contributions: please e-mail volunteers, almost doubling the [email protected] current number. These volunteers, with your ideas. found through National Museum Wales’ volunteer programme, will help document the collection Arran Rees Katy Pettit to SPECTRUM standards and Honorary Curator Administrator continue a new housekeeping Cowbridge and District Museum Raphael Samuel History Centre regime. [email protected] www.raphael-samuel.org.uk

June 2012 shcg news Page 8 Bulletin Board Old tools, new uses

In autumn 2011 the Scottish technology in Scottish museums. Africa in partnership with the Transport and Industry Collections Participants were able to learn charity ‘Tools for Self Reliance’. Knowledge (STICK) Network the importance of items in their celebrated the completion of the collections from our independent The project has achieved a ‘Old Tools, New Uses’ project at specialist advisor, have access number of other key objectives in Summerlee Museum of Industrial to a schools resource and get the terms of Scottish collections and Life, Coatbridge. The network opportunity to dispose of duplicate education activity: received a £25,000 grant from the items to artisan communities in • Production of a master Museums Association’s Effective catalogue of Scottish Collections scheme (sponsored typewriters, sewing machines by Esmée Fairbairn) in 2009 to and domestic tools. undertake a collections review, • Production of guidance produce a learning resource materials for future curators to and consider rationalisation undertake reviews of sewing and sustainability issues machines and typewriters. surrounding collections. • Learning resources for schools to encourage pupils to work The project aimed to with domestic tool collections identify the treasures to understand their past and and duplicates present use, to encourage of tools and enterprise, sustainability and domestic innovation. • Model loan boxes for Scottish museums to use as templates to produce (at low cost). • Collections disposal to partner charities: Workaid and Tools for Self Reliance.

Find out more about the project, workshops, master catalogue, guidance and learning resources at www.stickssn.org.

Alexander Hayward

Keeper, Department of Science and Technology National Museums Scotland [email protected] New BT e-archive A digitised online version of a company, with a history going almost £745,000 by UK funding significant part of BT’s physical back to the very first practical agency JISC towards the £1 archives is to be created – telecommunications device and million New Connections project including almost 500,000 network anywhere in the world. to digitise, catalogue and develop photos, documents, reports a searchable online archive. and correspondence preserved Coventry University, in partnership by BT over 165 years as the with BT and The National BT’s archives reveal the world’s oldest communications Archives, has been awarded history of Britain’s leading

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role in the development of telecommunications technology over nearly two centuries, and its impact on society. The collections as a whole also reflect the development of commercial graphic design, industrial and gender relations in the workplace and social change from 1846 to the present day. They take in the whole of the UK including Southern Ireland until 1921 and the Channel Islands until 1973, along with the UK's communications with countries across the globe. BT’s collection of research records covering a century of British scientific endeavour from 1878, included in this project, was recognised Experimental videophone developed at the GPO Dollis Hill Research Station, 1970 in 2011 by UNESCO as being of Image courtesy of BT Heritage international importance. Siân Wynn-Jones More information on the project and its progress can be found at: www.coventry. Heritage Collections Manager ac.uk/newconnections and www. BT Group plc nationalarchives.gov.uk/news/660.htm [email protected]

Beamish summer lectures and short courses This summer Beamish is hosting a short courses range from £45 to Celyn Gurden-Williams series of lecture evenings, led by £175. Please call 0191 370 4000 the museum’s curatorial staff: (Mon - Fri, 9am - 4pm) for more Skills Development Officer information or to reserve a place. [email protected] Jim Rees (Museum Curator) – ‘Moving a Medieval Church’ http://www.beamish.org.uk/ Friday 22 June 2012, 18:30 – summer-lectures/ 19:30 http://www.beamish.org.uk/short- Julian Harrop (Assistant courses/ Collections Project Officer) – ‘Snooping on Snaps’ Friday 20 July 2012, 18:30 – 19:30

Paul Jarman (Keeper of Transport) - ‘Restoring Victorian Steam Locomotives’ Friday 21 September 2012, 18:30 – 19:30

Also offered are a series of short hands-on courses, ranging from bee keeping to baking and backyard poultry keeping. You can even learn how to drive a tram or a steam engine, if you really want to push the boat out!

Tickets for the lecture evenings are just £5.00 each and include St. Helen’s Church Eston, now being reconstructed at Beamish. tea, coffee and biscuits. The Image courtesy of Beamish, The Living Museum of the North

June 2012 shcg news Page 10 Theory and Practice A New Way of Presenting Hogarth’s House

Local traders commissioned a statue of Hogarth and his pug for Chiswick High Road as a millennium project. From this emerged the William Hogarth Trust, which has since supported the House. Few local people were visiting, so the Trust put on small exhibitions, organised activities like The Big Draw and celebrated the museum’s centenary in 2004. With Hounslow Council’s approval, a trustees’ steering group devised a successful HLF application for a complete refurbishment. I chaired the steering group through to implementation.

We had learnt a great deal from visitors to our exhibitions and events, many coming for the first time. They found it tiring to stand viewing rows of prints hung rather high. Those with children wanted to be able to explain how the T.M. Rooke’s 1897 watercolour provided details for the refurbishment. The gate-post House once worked as a home. finials were found in the shrubbery and reinstated. This gate now provides level access Many were curious about who had to the garden and house. lived there besides the Hogarths. These issues prompted research Dara Ó Briain re-opened first guidebook, when the House to support a new presentation. opened to the public in 1904. Hogarth’s House last We now know that the first owner, November. He reflected Shipway gave the House and its contents to Middlesex County Georg Andreas Ruperti, helped that some jokes don’t Council in 1909, and the new care for 13,000 refugees from work when recounted London Borough of Hounslow took the Rhineland in London in 1709, second-hand because it over in 1965. later becoming Lutheran Pastor to the royal court. We have used his “you had to be there” – portrait and the catalogue for the but the refurbished House, Successive Borough Librarians he said, offered a special saw the House as little more than a branch library – one even opportunity of “being proposed its sale in 1984 because there” where Hogarth lived it attracted too few visitors! and worked. Though there was no curator and certainly no budget, a series of Hogarth’s House was saved devoted custodians cared for it from demolition in 1901 by a as best they could. While major wealthy local man, Lieut-Col bomb damage repairs were Shipway, who set about carefully completed in 1951, no further refurbishing it. He bought Hogarth conservation work on the Grade prints and commissioned the I listed structure was undertaken Beautifully made replicas of Hogarth’s Chiswick Art Workers’ Guild to until 2010, though a re-display clothes from his 1757 self-portrait hang make furniture based on pieces with HLF support marked the in a closet. Trying them on reveals how featured in the prints. He even tercentenary of Hogarth’s birth in very short he was. Image courtesy of Katri A closer view of the map took the photographs for the 1997. Salonen.

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sale of his books after his death. which proved to be accumulated purchased by the Trust for the A local curate, Rev Henry Francis dirt from periods of neglect. Our built-in buffet. Traditional wooden Cary, owned the House from 1814 re-painting uses historic colours toys lie in baskets for handling, to 1833. A poet and translator of – a pale late 18th century grey symbolising the Foundling Dante, he was later the British in a room remodelled in 1770, a Hospital children, who stayed Museum’s Assistant Keeper of slightly darker early 18th century with the Hogarths, and other Printed Books. His son’s memoir grey throughout the first floor, children who lived in the House of his father provided invaluable where the Hogarths painted their throughout its history. family information. Melodramatic 1750 extension to match existing actor Newton Treen ‘Brayvo’ Hicks rooms. The former custodian’s The main gate by the House has retired there in 1867; we now second floor flat now provides steep steps, so the old path from display a model theatre complete much-needed storage, study the bottom of the garden has with characters, scenery and a space and an office, all painted in been reinstated, providing level script from one of his plays. an early 19th century pinkish-grey. access. New external graphics interpret the garden and House. The project was limited by the The five rooms open to visitors Visitors unable to climb the partnership funding Hounslow house the 1904 furniture, many stairs can use on-screen images could contribute; in the event we Hogarth prints, engraved copper and information, with a newly- had to find a great deal more plates and books. Each room has commission digital walk-through when building tenders came a portable “palette” explaining its of the rooms. Large replica prints in high. Then, when building original purpose. We discovered are being prepared, for browsing refurbishment was complete in a superb group of Hogarth at a table in comfort. Workshops 2010, an electrical fire caused family items in Aberdeen City Art and talks for adults are proving serious damage. Insurance Gallery, which has generously successful, many groups have negotiations and another Listed lent snuff boxes, a ring, lace and booked visits outside normal Building Consent application Hogarth’s painting chest, all now opening hours and a schools caused delays, but provided back in Chiswick for the first time programme begins soon. time for additional research. The in over 200 years. And the Royal fire damage required complete Academy has lent Hogarth’s Opening hours have increased rewiring and the replacement palette and mahl stick. slightly and admission remains of carpets ruined by water used free. Around 6,500 enthusiastic to extinguish the fire, neither Elegant acrylic graphic panels people have seen the house in of which were included in the “float” in front of the panelling, the 6 months since re-opening, a previous works. telling the story of the House and huge increase on the 4,800 who its occupants. Some of Hogarth’s visited in the last year before The House is now in good friends were already known to live closure. heart for the future and looks in Chiswick, but we can now say exceptionally handsome. Elegant that Mrs Hogarth’s uncle, cousin Val Bott lighting has been installed, while and brother had homes nearby. marble hearths and original However, few objects illustrated [email protected] wide-boarded floors, previously the sociable life of past residents, hidden beneath carpets, have especially the women of the been conserved and revealed. Hogarth household, the last of Val Bott is a museum consultant Muslin drapes soften the parlour whom died in 1808. Some objects and local historian who chairs the window (and reduce light levels). A have been used as set dressing – William Hogarth Trust. She runs paint analysis by Richard Ireland a replica of Roubiliac’s sculpture a garden history blog at http:// revealed colours used throughout of Hogarth’s pug, tea bowls in the nurserygardeners.com its lifetime; these included layers parlour and 18th century ceramics

Pupils from William Hogarth School Replicas of Hogarth’s portraits of his Small portable wooden chest for with the replica model theatre made by sisters furnish the parlour, adding a carrying paint colours and mixing bowls. Horatio Blood. Image courtesy of Anna domestic touch. Image courtesy of Mike Image courtesy of Aberdeen Art Gallery Kunst. Paterson. & Museums.

June 2012 shcg news Page 12 Theory and Practice

Community Forums: A Wealth of Social History at our Fingertips

members to initiate conversations firm specialising in importing tea or join in on existing ones, with the and tobacco. He quickly picked facility to upload photographs and up the basics of the trade and in videos. Guests can view past and 1857 started his own one-man current conversations on topics business hand-rolling tobacco and such as what life was like working selling it from a cart. His success, in Belfast’s famous linen mills and ambition and drive soon led him shipyards. to open premises. Tom Gallaher made his first journey across the The forum is very simple to use Atlantic to America to buy his own and more user friendly than most tobacco leaf in the 1870s. This other social networking sites. was to become an annual event After setting up a username making him a notable figure of and password, it was a matter trade on both sides of the Atlantic. of clicking on ‘New Topic’ and Gallaher’s forceful personality and I began my conversation under his shrewd grasp of all aspects of the title of ‘Gallaher’s Tobacco’. the industry earned him the title The 30 most recent topics/ of ‘Tobacco King’. He is credited Thomas Gallaher - 'Tobacco King’ conversations appear on the front with being the first in the tobacco page of the History & Memories industry to reduce the working section, so your conversation week to 47 hours and give his As part of the HLF is also accessible to members employees a week’s paid holiday. Collections Skills engaged in other conversations. Initiative Scheme for Users who have initiated or Even after Gallaher’s death in Northern Ireland, my contributed to a conversation 1927, the company continued to assigned project was to receive an email when a new post grow to such an extent that by has been uploaded. With a button research and document 1960, there were over 10,000 for adding new posts and another Gallaher employees worldwide. the Ulster Museum’s to upload a photo, it couldn’t be The Gallaher Group was acquired Gallaher Tobacco easier to navigate. Also at the top by Japan Tobacco Inc. for £9.4 Collection. Having no of your conversation page it clearly billion in 2007. At the time it was previous knowledge shows how many times the page the largest foreign acquisition by a has been viewed. Once the topic Japanese company. of Gallaher’s Tobacco, was initiated, it did require a little an online community nurturing and encouragement for Many posts on the forum were forum called the Belfast people to share their memories. requests from people trying to Forum was suggested However, as the conversation grew find out about relatives who had as a way to gather it required less work as members worked at Gallaher’s. It was very some base information. were communicating and engaging rewarding to receive an email with each other. After exploring the site, from a gentleman in Canada who recognised his mother in staff I initiated an online My appeal for information and photos I uploaded from 1936, conversation seeking memories on Gallaher’s Tobacco and to be able to send him a hard information, knowledge yielded fruitful results; descriptions copy. and memories of of the good and the bad times of Gallaher’s Ltd. working in a Gallaher factory, the The forum was an excellent means smell of tobacco and even how of making contact with people who the various tobacco products – Belfast Forum is a community site wanted to take part in a Gallaher twist, plug, flake tobacco, snuff, reminiscence session. Members which has some 14,000 members cigarettes, etc. – were produced. worldwide with over a million of the forum, along with members posts uploaded in more than of the public who had responded Thomas Gallaher was born in Co. to a general appeal, gathered at 34,000 conversations. The Belfast Londonderry in 1840. At the age History & Memories section allows the Ulster Museum last November of 15 he was apprenticed to a for a Gallaher Reminiscence Day.

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Former members of the Gallaher workforce, from a variety of With the development of backgrounds, thoroughly enjoyed colour lithography in the the day and some even recognised late 1870s, companies like themselves in old photographs. Gallaher’s could now create Many recalled the different attractive images to market Gallaher brands they worked on, their products. The Gallaher such as Park Drive, Condor, Rich Showcards are excellent Dark Honeydew and War Horse. representations of their time. They clearly depict the change ‘Olivier’ cigarettes was a popular of tobacco advertising trends topic as Gallaher’s created a and are a wealth of social cigarette for Sir Laurence Olivier history in themselves. in 1956 and Olivier himself took part in the original marketing campaign. Olivier cigarettes were recently seen on the big screen in the 2011 film, My Week with Marilyn.

The reminiscence sessions were an ideal opportunity to Gallaher De Luxe Showcard showcase the Ulster Museum’s De Luxe cigarettes, better known as Gallaher Collection and to gather Gallaher ‘Blues.’ Marketed at women as well as men. stories and memories, all of which were recorded, helping to Park Drive Showcard Park Drive Showcard showing the huge further deepen our knowledge factory at York Street, Belfast where of the collection. The Gallaher Park Drive, the first machine-made Collection contains advertising cigarette was produced. and promotional materials, company records, in-house magazines, photographs and tobacco products. The collection was donated to the Ulster Museum after the closure of the Gallaher bonded warehouse at Connswater, east Belfast, in 2001.

The Gallaher’s Tobacco conversation, initiated on the Belfast Forum in May 2011, has been viewed over 7,000 times with over 120 posts. The forum has proved an invaluable resource, the information and memories having greatly enriched the documentation of the Gallaher Collection. My experience has shown that online forums are an excellent way by which museums can initiate oral history/ reminiscence projects and gather memories related to their Gallaher’s Kendal Brown Snuff collections. Showcard Olivier Showcard c.1920s, tobacco still believed to Gallaher’s Tobacco conversation Olivier cigarettes were launched in relieve sore throats and help prevent on the Belfast Forum 1956, named after Sir Laurence Olivier. colds. http://www.belfastforum.co.uk/ index.php?topic=37355.0

Gallaher’s Tobacco Collection Fiona Byrne highlights tour http://nmni.com/um/Collections/ Collections Skills Initiative Trainee Collections-highlights/ National Museums Northern Ireland GALLAHER-S-TOBACCO [email protected]

June 2012 shcg news Page 14 Theory and Practice

Effective Collections: Making the Most of the Herbert's Costume Collection about £500 and the dress will change four times a year.

Although the National Trust was not in our original bid we identified them as a good match with strengths in our collection. We are working towards loans to local (and not so local!) properties.

Outcome 3 - training We felt strongly that sharing skills was an important outcome of the project. We delivered a session on costume handling, storage, transport and display to in-house learning and inclusion staff and as well as to our partners. All Dressed Up attracted over 10,000 visitors in 10 weeks. Outcome 4 - assessment The project criteria Background Possibly the most important part Outcome 1 - temporary of the project was developing exhibition assessment criteria for the use of In 2009 the Herbert's All Dressed Up looked at evening our collections. The core principle curatorial team and occasion wear from the is that the Herbert has a good completed a review 1890s, 1920s and 1950s. We used collection which should be used of the collections. Effective Collections money to – especially as it is not a unique We looked at purchase 12 new mannequins and collection. completeness of the a beaded dress was prepared for Working with a textile conservator display by a textile conservator. I went through the collection collection, potential identifying what could be used for creative use, and in what kind of way. potential for loans, Outcome 2 - loans priority for evaluation We worked with two local museums with small costume Which dress should we use? for disposal as well collections. There is an inherent risk to any as documentation and use of costume in a museum storage. Nuneaton Museum and Art setting.The process of mounting Gallery has a strong and regularly costume and increased exposure It was recognising changing temporary exhibition to light and dust could be the underuse and programme. We decided the best comparable to one carefully potential of the way forward was to support gaps managed handling session. We regionally significant in temporary exhibitions such believe that handling costume as their Blitz commemoration does not mean the dress would costume collection be worn or it would be handled that led us to apply exhibition and touring All Dressed Up to them. to destruction. Each item is to the Museum assessed individually and Association and Rugby Art Gallery and Museum within the context of our whole Esmée Fairbairn have very few collections-based collection. Foundation funding temporary exhibitions and limited There are four key factors to stream, Effective space in their permanent galleries, consider Collections. In June so we funded a case which would 2010 we received £10k take one dress at a time and is 1. Duplication. How many for the project. located in their reception area. It dresses do we have from a given was built by their technician for period? For example, we only

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have one example of the 'oriental examining closely on a table, and opulence' style from about 1910, passing it around a small group. so we reserve this dress for Precautions should be put in display only. place to minimise the risk to the object, for example flat textiles on 2. Suitability for display. If, for a board, giving handling training, example, a dress is in too poor a wearing gloves and using clear condition for display it should be boxes for small items. prioritised for other uses, such as a study piece for its design and We would also asses where the construction. costume is being taken, especially for outreach and loans. We can 3. How robust it is. By then reduce risk at the venue considering their materials and e.g. shutting curtains, asking for construction, some items will constant invigilation. lend themselves better for close study or handling. However This method could be used to we don't want to assign all our assess any kind of collection. cotton dresses for handling just because they are more robust Outcome 5 - handling than silk ones; this factor must be resources considered within the context of Our project worker developed a the collection. handling collection for a fashion session. Some items will remain permanently in the handling 4. What can we afford to lose? Our only example of 'oriental opulence', Objects with no provenance or collection but others will stay this dress is reserved for the least risky connection to Coventry are less in the main collection and will forms of access. relevant to our collection and be 'on loan' to learning for the should be considered for riskier event. The session was offered Firstly we supported third uses before ones with a Coventry for a limited period and was very year fashion students in their connection. successful; we plan to run it again Postmodern Androgyny module. in September. Our project worker developed What to do with the dress? a lecture that covered fashion There are different grades of Initially we planned to create history and social context use, each with risks and benefits. handling boxes for the curatorial between 1820 and 1960, These include display, hanging team but the assessment criteria illustrating it with dresses from on a rail for group inspection, gave us the confidence to use the the collection. collection in more daring ways at events such as Museums at Night We also now have a lecture and International Women’s Day. on the history of fashion using items from the collection, ready Outcome 6 – collections work to deliver to college and first using volunteers year university students. This We have been primarily working complements their courses with National Association of as they mainly focus on Decorative & Fine Arts Societies contemporary fashion. (NADFAS) volunteers who have created base garments for Conclusion temporary exhibitions, made Before this project we had been padded hangers and have been investing a lot of resources documenting and repacking our in storing and looking after boxed textiles/costume and are an important but underused currently mounting our samplers collection which, through onto padded boards. Effective Collections, is now fulfilling its true potential. We can Secondary project now go on to use our Effective We were one of a small number Collections experience in other of projects who were successful parts of the collections. in getting a further £5k to deliver additional outcomes identified Ali Wells The display case at Rugby Art Gallery by the project. For us this was to work with Coventry University Keeper of Collections and Museum. The Museum’s curator said Herbert Art Gallery & Museum, “everyone is thrilled with [the dress] and to develop the collection as a teaching resource for fashion Coventry the display case…little things or steps can [email protected] make a huge difference over here”. students.

June 2012 shcg news Page 16 Reviews ‘Talking Textiles’ Fibres & Fabrics Seminar York Castle Museum, February 2011

Textiles often come foundation of knowledge was then entirely from chemicals such as under the remit of social put into practice by examining nylon, acrylic and polyester). history curators, indeed museum objects throughout the Knowledge of the development of exhibition spaces of York Castle fibre production is important for textiles form an important Museum, host venue for the day, dating objects and learning the part of many different considering display and storage key characteristics and properties social history objects. issues within the museum context, is important, not only for To the non-specialist and also by examining pieces documentation and interpretation, their identification and from Mary’s own textile collection. but also for knowing how best to store and preserve these objects interpretation can seem The day began with an in our museums. a daunting task. SHCG’s introduction to fibres, an ‘Talking Textiles’ seminar explanation of why we need to The delegates were divided into – presented by Monument know about them and how it groups and sent to explore the Fellow Mary M. Brooks – affects our role in caring for and various textiles on display in the set out to de-mystify the interpreting textiles. We learnt galleries of the Castle Museum. the differences between natural We were encouraged to think subject. fibres (animal protein fibres such about what textiles were made as silk and wool and cellulosic from, the possible fibres and Starting right at the beginning, fibres such as cotton and linen), weave of the fabrics we found and we explored the fibres that make man-made fibres (regenerated any potential issues for storage up different textiles and how fibres made from a natural source and display. Each team then these fibres are constructed such as rayons and acetates reported their findings back to to produce the fabric which from regenerated cellulose) the rest of the group. What was forms the end product. This and synthetic fibres (created surprising was the sheer number

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of textiles within museum objects, and the difficulty we had, even with our new-found knowledge, to always pin down exactly what an item was made from.

After lunch came the science bit. Taking small fibres from the edges of sample textile pieces, we were shown how to make slides to allow the identification of fibres under the microscope. Each different fibre has its own unique properties - for example, sheep’s wool fibres have scales on the outside of the fibres and a waterproof coating that can be seen under close examination, whilst cotton appears like twisted ribbons. Synthetic fibres were the most difficult to identify as the fibres were often smooth and featureless. In these cases, Sarah Maultby takes a closer look. we learnt that a combination of historical context of the object as well as knowledge of fibres is from brocade. It was interesting The most enlightening part for required to accurately identify the to learn that the terms by which me came when each delegate fabrics concerned. we often call a fabric – such as was given a small textile sample satin or velvet, describe only from Mary’s own collection. We The afternoon session also the weave, and not the fibre that were faced with the somewhat saw an examination of fabric makes it. daunting task of trying to explain construction, and we explored the what piece we had, what weave different ways fibres are woven, The whole course was very it was constructed from and more felted, knitted, netted, crocheted informative and valuable, and importantly the reasons behind or laced together to produce a certainly formed a solid basis of our identification of each piece. fabric. By the end of the day we knowledge that we could take As a textiles curator in a Quilt were all identifying a plain weave back and use when working with Museum, who deliberately sat from a satin weave, and damask our own museum collections. down in front a small piece of patchwork, I had initially felt quite safe. I was in my comfort zone with a patchwork piece and I knew It was it was made from printed cottons. interesting But when I was asked to say why I thought this, I found it difficult to to learn that explain. The key to understanding the terms the fabric is first in the foundation knowledge about the properties of by which we its constituent fibre, and for me, often call this was a missing piece of the puzzle that helped the rest of my a fabric – existing textile knowledge fit into such as satin place.

or velvet, Visit www.shcg.org.uk/training- describe only handouts to download handouts the weave, from the seminar. and not the fibre that Heather Audin makes it. Curator Quilt Museum and Gallery Is this velvet silk, cotton or synthetic? [email protected] Gwendolen Whitaker ponders the question in hand.

June 2012 shcg news Page 18 Object Focus

A snapshot of life in the 'lungs of London': A Summer Day in Hyde Park, 1858

A Summer Day in Hyde Park by John Ritchie, c.1858 (oil on canvas). Museum of London, image © Museum of London. A Summer Day in Hyde chase its wheels; a boat disembarks distracted from the primary focus Park by the artist John from the lake carrying a distracted of the painting. The central group Ritchie depicts Victorians young girl and her guardian; a is framed not only by the trees at man wearing a top hat reads a the edges of the canvas but also by outdoors enjoying the newspaper in which features an the roundel of sunlight, curve of the warm English weather in account of the Indian mutiny; and a lake and buildings on the horizon. one of the capital's most soldier leans over to talk to a young At the centre of A Summer Day famous parks. Described woman sewing on a bench, near a in Hyde Park stands an affluent as the 'lungs of London' couple of exhausted tourists. The couple accompanied by their small elderly lady who holds a parasol children, portrayed playing games during the eighteenth and looks on disapprovingly as the and feeding ducks. As the focal and nineteenth centuries, soldier engages her companion in point of Ritchie’s painting, this well- Hyde Park was frequented conversation echoes the woman in dressed pair provides a contrast to by individuals from all the painting’s middle ground who the poor children and the fisherman sections of society in appears similarly unimpressed by with worn-out soles on his boots search of respite from the young man tipping his hat to her nearby. companion. These events – some the hectic nature of mundane, others more suggestive – In contrast to the wealthy urban life, as Ritchie's unfold at the same time in Ritchie's children’s hoop and boat, the oil painting of 1858 crowded canvas, which invites close bare-footed children have illustrates. reading by the viewer. resourcefully created a swing out of rope and the smallest child is In A Summer Day in Hyde Park Stylistically, the artist has employed being pushed on it. As well as the viewer is presented with a several devices to ensure that our providing a contrast to the rags of lively scene in which a number of attention is drawn to the activity the poor children, the fine fabric interactions and activities occur in the foreground: the middle worn by the central woman is also simultaneously: young children and background of the painting in marked contrast to the clothes play games while adults look on; a are much lighter by comparison worn by the country woman man on horseback lifts his hat at a which, as well as creating pictorial seated on the bench, who is young lady in a carriage as dogs depth, means that the viewer is not dressed less fashionably than the

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urban ladies nearby. Here, the city century, Hyde Park was originally (1843-1860) by Ruskin. Founded and country worlds - brought into a royal hunting ground and the in 1848 and defended by Ruskin closer proximity by railways during site of the Great Exhibition of in 1851, the Pre-Raphaelite the ‘railway mania’ of the 1840s - 1851. With its long walks and Brotherhood had a huge impact collide and the contrast between leafy open spaces, Hyde Park on the contemporary art world the two is striking. How else is was particularly popular with city operating in mid nineteenth the viewer made aware that this dwellers and offered a refreshing century London. Ritchie’s highly woman and her husband are not alternative to the crowded streets detailed narrative paintings of the urban dwellers? The artist helpfully of the metropolis. In 1858 Ritchie late 1850s invite comparison with provides a clue by including a responded to the vogue for works by key proponents of the dropped pocket map of the city, frequenting the city's parkland by movement, including John Everett which has been forgotten by the exhibiting A Summer Day in Hyde Millais, William Holman Hunt and rustically dressed man who is busy Park alongside a painted view Dante Gabriel Rossetti. mopping his sweaty brow while his of visitors to St. James' Park in wife people-gazes next to him. winter at the British Institution’s A close reading of A Summer exhibition. Day in Hyde Park demonstrates Flanked by two trees, the how progressive the little-known disparate individuals portrayed by Best known for his imaginary nineteenth century artist John Ritchie are depicted as a frieze depictions of sixteenth and Ritchie really was. As well as of movement. Paradoxically, the seventeenth century scenes, engaging with contemporary areas where the artist tries to Ritchie’s pair of paintings advancements in photography capture movement appear the represent a significant departure and addressing topical subjects, most static: for instance, in the for the artist. The impact of such as the popularity of rail travel bottom right hand corner where the work of Frith, whose highly and war abroad, Ritchie was also the young girl in the boat skims detailed panoramas of Victorian influenced by his peers, notably the water with her hand, is an society were hugely popular Frith and the Pre-Raphaelites. As attempt to convey movement in the 1850s, was noted by this article has identified, these similar to that captured in a contemporaries at the time and is are areas of Ritchie’s output photograph. It is important to well known today: John Ritchie, as which would benefit from further note that Ritchie was operating one visitor to the 1858 exhibition research and debate. Far from in an art world influenced by remarked, was an “artist, in which being solely focused on historical and interested in technological the inspiration of Frith is too events and imaginary depictions, advancements, including the apparent to be mistaken”. the artist proved himself in 1858 advent of photography in the to be capable of tackling subjects mid-nineteenth century. On one Less well documented, however, with contemporary resonance level, A Summer Day in Hyde Park is the influence of the Pre- and the results have continued and its sister painting, A Winter Raphaelite movement on Ritchie to interest art historians and Day in St. James’ Park (featured and the writings of the art critic museum visitors alike. in SHCG News issue 66), can John Ruskin. Pre-Raphaelitism, be understood as an attempt by the major art movement to emerge Cath Stanton Ritchie to achieve in oils what was at the end of the 1840s, believed now being accomplished by the in being true to nature and its Formerly Curator, Images camera. members found their literary Museum of London expression in Modern Painters [email protected] The cross-section of Victorian society portrayed in Ritchie's detailed oil paintings invites comparison with works by William Powell Frith, an artist who - like Ritchie - looked to busy social areas for inspiration. In A Summer Day in Hyde Park identifiable social 'types', made popular in paintings by Frith and novels by Charles Dickens in the nineteenth century, are shown together, unified by the warm weather and the healthy benefits of outdoor activities. During the mid-1800s London parks were fashionable urban spaces, enjoyed as places to socialise, exercise and enjoy leisure pursuits – much the same as they are today. Acquired by A Winter's Day in St. James' Park by John Ritchie, c.1858 (oil on canvas). Private King Henry VIII in the sixteenth collection, image © Museum of London.

June 2012 shcg news Page 20 Object Focus ‘O’ – What a Lovely Letter! The letter ‘o’ is invoked plagiarism works fine? While many famous cube – known and loved by Shakespeare as a brands ending in ‘o’ have faded to this day still – was born. metaphor for the Globe into history, the originals – Oxo and – are still the greatest, Liebig’s merged with Brook Bond theatre in the prologue and have outlasted nearly all in 1968, becoming Brooke Bond to Henry V, which also imitators. Oxo. Brooke Bond & Company starts with ‘o’ as an was founded by Arthur Brooke exclamation: “O for a It seems that the anonymous (born in Ashton-under-Lyne in muse of fire that would copywriter who coined the trade 1845). He opened his first tea name Oxo kicked-off the trend, shop in 1869 at 23 Market Street, ascend the brightest quickly followed by an employee Manchester. There was never a heaven of invention”. of ’s whose brightly "Mr Bond"; Arthur Brooke chose Three centuries later, polished muse inspired him to the name simply because he in Victoria’s reign, hack come up with Brasso. ‘Oxo’ was thought it pleasing. copywriters for the newly coined about 1899, while ‘Brasso’ emerging ‘devil’s art’ of came on the scene in 1905. The In the 1950s and 1960s, packets floodgates then opened to release of Brooke Bond tea included advertising, invoked their a legion of products ranging illustrated tea cards, usually 50 muse of hogwash to help from toilet rolls (Pashco) to shoe in a series and avidly collected them invent trade names polish (Preservo, Dubbo, Novino) by many children. One of the that would excite potential all sharing the characteristic of most famous illustrators of these customers’ imaginations. ending in ‘o’. Only in the years cards was Charles Tunnicliffe, following 1950 did the craze for the internationally acclaimed bird One particularly curious this quirky form of nomenclature painter. Most of the initial series inspiration resulted, between gradually fade away. were wildlife-based, including about 1900 and 1950, in an 'British Wild Animals', 'British Wild improbably large number of In 1865 Justus von Liebig, Flowers', 'African Wildlife', 'Asian products with trade names ending working with Belgian engineer Wildlife', and 'Tropical Birds'. From in the letter ‘o’. The most likely George Giebert, devised a the late 1960s, they included explanation for this proliferation method of producing beef extract historical subjects, such as was that the first products to sport from carcasses. Together they 'British Costume', 'History of the an ‘o’ ending were commercially founded the Liebig Extract of Meat Motor Car', and 'Famous Britons'. successful, so others naturally Company, marketing the extract Complete sets and albums in good followed suit; imitation as a cheap, nutritious alternative condition are now sought-after in this case being not to real meat. Originally branded collectors’ items. The inclusion sincere flattery, but as ‘Liebig’s Meat Extract’, it is of these cards in packets of tea plain larceny. After believed that the name ‘Oxo’ came ceased in 1999. all, why struggle for into being in about 1899. Sold fresh ideas when initially as a liquid paste in jars, it The Kingston upon Hull firm of was not until around 1910 that the Reckitt & Co, founded by Isaac

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Reckitt in 1840, was originally a antiseptic), (the world's Soap, cleaners, polishes, manufacturer of starch. Reckitt largest-selling sore-throat scourers: diversified into other household medicine), (the world's Boraxo, Brasso, Brillo, Chipso, products and in due course largest-selling depilatory brand), Compo, Dazzlo, Dubbo, Komo, passed on his business to his (the world's second Mazo, Mepo, Misco, Novino, Omo, four sons; Reckitt & Sons was largest-selling air freshener), Preservo, Presto, Puro, Rinso, first listed on the London Stock , , and Salvo, Silvo, Stovo, Zebo. Exchange in 1888. Eventually . It has operations in over Medical & bathroom: the firm produced many laundry 60 countries and its products are Ec-to, Elasto, Kompo, Nu-tro, and cleaning products. It was sold in over 180 nations. Mosco, Pascho. in 1905 that they introduced a Hardware, toys, pet food: polish under the trade name Some companies elide their Bayko, Bonio, Expello, Meccano, ‘Brasso’, which was sold, initially, names with ‘co’ standing for Pudlo, Steamo, Weeto, Zippo. to railways, hospitals, hotels, ‘& Co’, examples being Tesco, Comestibles: and large shops. It soon became Pifco, Nabisco and Costco. This Kelto, Milo, Nescao, Oreo, popular for domestic use, as conceit was ironically imitated by Osformo, Oxo, Polo, Puro, many households contained Dr. David Jones (aka Daedalus, Saporro, Steero, Vimto, Zesto. brass fittings and adornments, all his pen name as a columnist in Tobacco: requiring a regular polish. Nature and New Scientist), who Indiano, Jumbo, Buffalo, Kavo, dubbed the spurious trade arm K-O, Loterico, Mango, Polo, Reckitt’s amalgamated with of his improbable / impossible Radio, Walasco. Colman of in 1938. inventions schemes, ‘Dreadco’. Colman’s was founded in 1814 The author of this article, Andrew when Jeremiah Colman began Some products ending in ‘o’ were Morley, has a large personal milling flour and mustard in advertised by enamel signs, a collection of advertising items, Norwich. Reckitt & Colman few of which are illustrated here including enamel signs, about made several acquisitions, (for more examples see Baglee which he has written several including the Airwick and Carpet & Morley’s The Art of Street books. Recently he has organised Fresh brands (1985), the Boyle- Jewellery). However, few of a touring exhibition of his Midway division of American the manufacturers of the more advertising enamels (called So Home Products (1990), and the obscure, transient products Near & Yet So Far), available for Lehn & Fink division of Sterling ending in ‘o’ were so advertised, hire direct from him at: andrew@ Drug (1994). Although Reckitt but were nonetheless sold in andrewmorley.com & Colman sold the Colman's attractive packaging, some of food business in 1995, they which are also illustrated. A list Andrew Morley still retain control of some food of ‘o’ ending products can never brands. Latterly the firm has be definitive – more examples [email protected] become Reckitt Benckiser keep surfacing – but the following plc, a global consumer goods compilation includes a broad company with headquarters in cross-section of those that have Slough. It is today the world's so far come to light. If you find any largest producer of household other examples in your museum products and a major producer collections, please let me know! of consumer healthcare and personal products. Its brands include (the world's largest-selling

June 2012 shcg news Page 22 Tea Break We Will Have It! by H.M. Bateman (1887-1970) ink and watercolour on paper, c. 1909/10

With the formation of the Women’s Social and Political Union in 1903, the campaign for women’s right to vote gathered speed. Led by Emmeline Pankhurst and known as the ‘suffragettes’, their militant approach, employing violent and disruptive means, provoked strong reactions.

In 1908-9 many suffragettes set themselves in direct conflict with the police, breaking windows, chaining themselves to railings outside Downing Street and demonstrating outside the House of Commons. In 1910 a Labour MP introduced a women’s suffrage bill. Thousands of women marched in support of the bill but it ran out of time. On 18 November 1910, known as ‘Black Friday’, a deputation of around 300 women protested outside the House of Commons. When some of the women tried to force their way into Palace Yard they were violently repelled. Reports of the time remarked on the forbearance of the police, but in fact many of the protestors were badly beaten.

Bateman, like many contemporary cartoonists, depicted the Image courtesy of the Estate of H.M. Bateman suffragettes as masculine harridans. One of the ladies caption providing the comic the Edwardian era through to the illustrated here wields a large accompaniment to a rather 1930s. enema syringe, no doubt in straight drawing. In 1908 he had a retaliation for the force-feeding of flash of inspiration and in his own H.M. Bateman: The Man Who Went her imprisoned sisters. words ‘went mad on paper’. His Mad on Paper can be seen at the innovative approach was to draw Cartoon Museum, 35 Little Russell H.M. Bateman is regarded as the out the humour of the situation Street, London, until 22 July. first modern master of twentieth through his dynamic and dramatic century British cartooning. In drawings. 1902, when the 15 year old Anita O'Brien Bateman began his cartooning A master of the story without Curator career, most cartoons were words, Bateman was an acute Cartoon Museum illustrated jokes, with a lengthy observer of British society from [email protected]

shcg news June 2012 Committee Page 23 SHCG Committee 1 2011-12

1. CHAIR: 8. Seminar Organiser: 2 Michael Terwey JENNIFER BROADBENT Exhibitions and Displays Manager Collections Officer National Media Museum Wigan Heritage Service Pictureville Wigan Leisure and Culture Trust Bradford Museum of Wigan Life West Yorkshire Library Street 3 BD1 1NQ Wigan Tel: 01274 203345 WN1 1NU Email: Tel: 01942 827594 [email protected] Email: [email protected]

2. Secretary: 9. Seminar Organiser: GEORGINA YOUNG JENNY BROWN 4 Clore Fellow Curator (Industry) 101 Lyme Farm Road Aberdeen Maritime Museum London SE12 8JH Shiprow Tel: 07986800622 Aberdeen Email: [email protected] Scotland AB11 5BY 5 3. Membership Secretary: Tel: 01224 337719 Laura Briggs Email: [email protected] Project History Officer Harris Museum & Art Gallery 10. SPONSORSHIP & DEVELOPMENT OFFICER : Market Square Freya Folåsen Preston Project Officer, New Centre Project 6 PR1 2PP The British Postal Museum & Archive Tel: 01772 905103 Freeling House Email: [email protected] Phoenix Place London WC1X 0DL 4. Treasurer: Tel: 020 7239 2560 JOE CARR Email: [email protected] 7 2 Manor Park Horham 11. Web editor & email list co-ordinator: Suffolk Cat Newley IP21 5EE Curator of Collections: Post-Medieval to Email: [email protected] Contemporary Museum of St. Albans 5. JOURNAL EDITOR: Hatfield Road 8 MICHELLE DAY St. Albans Exhibitions Organiser Hertfordshire National Media Museum AL1 3RR Pictureville Email: [email protected] Bradford West Yorkshire 12. FirstBASE project CO-ORDINATOR: 9 BD1 1NQ Victoria Rogers Tel: 01274 203392 Cardiff Story Museum Email: [email protected] Old Library The Hayes 6. NEWS EDITOR: Cardiff ADAM BELL CF10 1BH Assistant Keeper, Social History Tel: 029 2087 3197 10 Tyne & Wear Archives & Museums Email: [email protected] South Shields Museum & Art Gallery Ocean Road 13. FirstBASE CO-ORDINATOR: South Shields STEPH MASTORIS Tyne & Wear National Waterfront Museum NE33 2JA Oystermouth Road 11 Tel: 0191 456 8740 Swansea Email: [email protected] Wales SA1 3RD 7. CONFERENCE ORGANISER: Email: [email protected] KAREN OLIVER-SPRY Manager, Audience Research and Advocacy GENERAL ENQUIRIES: 12 National Media Museum [email protected] Pictureville Bradford EMAIL LIST ENQUIRIES: West Yorkshire [email protected] BD1 1NQ Tel: 01274 203689 13 Email: [email protected]

June 2012 shcg news Designed by Oojah Design, www.oojahdesign.co.uk Printed by Shiremoor Press Ltd., www.shiremoor-press.co.uk [email protected] www.shcg.org.uk