tag:blogger.com,1999:blog-44292165722295508882024-03-13T21:21:56.784+00:00Secret Lives of ObjectsGo behind the scenes at Leeds Museums and Galleries!Unknownnoreply@blogger.comBlogger337125tag:blogger.com,1999:blog-4429216572229550888.post-33615124266927828332016-12-14T15:58:00.000+00:002016-12-14T15:59:01.785+00:00Joash Woodrow – A Hidden Life in Pictures (Part 2)<br />
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Liz Kay continues her series of posts about artist Joash Woodrow </h4>
(<a href="http://secretlivesofobjects.blogspot.co.uk/2016/11/joash-woodrow-hidden-life-in-pictures.html">Catch up with Part 1</a>)<br />
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<tr><td class="tr-caption" style="text-align: center;">Joash Woodrow and Cyril Satorsky - ‘Student Drawing’, 1944</td></tr>
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Reading about the discovery of Joash Woodrow’s art, never exhibited and packed into a modest Leeds house, it would be easy to imagine him as an ‘outsider artist’. His style was uninhibited and he often used scrap materials. No-one who knew Woodrow as a young man, however, would have been surprised by his eventual success.<br />
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Woodrow’s parents were Polish-Jewish immigrants who ran a bookshop and gave their son a lifelong love of culture and progressive politics. With his sights set on an artistic career, Woodrow enrolled at Leeds College of Art in 1942 and won a scholarship to the Royal College of Art. In a class alongside future greats like Frank Auerbach and Peter Blake, Woodrow’s tutor marked him out as a rising star.<br />
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Someone who knew Woodrow well during this time was his childhood friend and fellow art student, Cyril Satorsky. Describing Woodrow as ‘extremely shy and ultrasensitive’, Satorsky also highlights Woodrow’s ‘hyper-real’ sense of humour and elaborate practical jokes. On one occasion, Woodrow carved an enormous ‘Easter Island Statue’ at a quarry in Leeds and convinced Satorsky it was an ancient monument. As cash-strapped students, they spent their time debating politics, reading Russian novels and visiting Leeds’ museums.<br />
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Woodrow’s earliest drawings include this collaboration with Satorsky, made while both artists were at Leeds College of Art. The drawing was initially torn up, but then given as a memento to their friend, J. Clark. Fortunately, Clark saved the drawing for over 60 years before donating it to the gallery. <br />
The two young artists have adopted a style in which it is difficult to tell their hands apart, and which is quite different from both artists’ mature work. The tight lines and careful shading are in contrast to Woodrow’s more expressive style, while Satorsky has gone on to focus on bright and bold abstract painting..<br />
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Joash Woodrow – <br />
‘Nude Female Studies’, 1944</td></tr>
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<br />Wartime and Inspirations</h4>
To explore this drawing in context, Satorsky’s recollections give a flavour of the times. The Second World War provides the backdrop, a time when ideas carried great power, laced with a sense of danger.<br />
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Horror and absurdity can be felt in Woodrow and Satorsky’s drawing, where one man points a gun at another who has a noose about his neck. The drawing’s violent imagery evokes powerful artistic statements about the brutality of war. The stylised figures and wide angle composition suggest an appreciation of Picasso’s Guernica.<br />
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Another inspiration may have been the anti-war ballet ‘The Green Table’, which Woodrow and Satorsky saw in Leeds. The performance by German political exiles Joos Ballet featured a dance of death in which the characters meet with grim fates. Impressed, the two students talked their way backstage to draw the dancers. Jotting the German names in their sketchbooks, the pair left to continue sketching near some anti-aircraft guns in a park, unwittingly leading the nearby military police to mistake them for German spies! <br />
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Tensions were running high and art could be seen as a weapon. Satorsky describes how Woodrow ‘loved the combat’ of making art and could ‘lay down a mark like Mohammed Ali’s punch’, using ragged old brushes to stab at his canvases with unexpected precision.<br />
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Life Drawing at Leeds Art Gallery</h4>
At art school, Woodrow’s approach to life-drawing class also caused controversy. Perhaps feeling stifled by technical exercises, Woodrow would change all the models’ poses in his drawings. This process of re-imagined life-drawing may be what we see in his drawing Nude Female Studies at Leeds Art Gallery, made in 1944, at Leeds College of Art. In this pencil drawing, two figures are rendered sharply, but ghostly figures also merge into abstract mark-making alongside these.<br />
Woodrow’s studies were interrupted by national service in 1945, when he was posted in Egypt for three years as a cartographer.<br />
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Graduating from the Royal College of Art in 1953, Woodrow worked in London as an accountant, painting only in the evening. During this time, Woodrow suffered with depression, and an argument with a friend brought on a crisis that led to his return to the family home in Leeds. The next post will explore his fruitful relationship with the city he came back to.<br />
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<b>By Liz Kay, Volunteer Cataloguer, Leeds Art Gallery.</b><br />
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Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-91873106570845125122016-12-13T14:12:00.000+00:002016-12-13T14:13:23.031+00:00Dying Matters - New display and discussion<h4>
World Cultures Curator Antonia Lovelace gives a sneak preview of the new Dying Matters display at Leeds City Museum</h4>
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Death is perhaps the one experience that unites people the world over. But even though every person experiences death and dying, we can often shy away from talking about it.<br />
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The curators and community team at Leeds Museums and Galleries have linked up with the Leeds steering group of the national Dying Matters initiative to bring this topic to the fore for a seven month display in the Leeds Gallery at Leeds City Museum. The topic of death and dying is a very sensitive one, so we are working hard to deal with it appropriately, and promote positive debate.<br />
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The display, situated at the contemporary end of the Leeds Gallery, will look at funerals, preparation, sorting the deceased’s effects, memorials and the afterlife.<br />
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The museum’s collections host a huge variety of material, from Neolithic cinerary urns to 19th century bier carts, wills and funeral tea adverts, Chinese ancestor tablets, Chinese dolls wearing straw and white funeral clothes (pictured above), African memorial figures, winged angels and Mexican Day of the Dead paper cuts.<br />
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The curators have also collected new items, and borrowed a contemporary basketry wicker coffin, to modernise the selection.<br />
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<tr><td class="tr-caption" style="text-align: center;">Community Curator Marek filming an interview for one of the new Dying Matters films.</td></tr>
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Two new films have also been commissioned, one with interviews taken at St Gemma’s and Wheatfields hospices, the other showing five Leeds people talking about Death and the Afterlife, which includes interviews with Xina Gooding of Hugh Gooding Funerals, and with the humanist bereavement counsellor and funeral officiant Bob Bury.<br />
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<b>See the <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/leedscitymuseum/Dying-Matters.aspx">Dying Matters display</a> at Leeds City Museum, 16 Dec - 30 July 2017. </b></div>
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<b><br />Learn more about the national <a href="http://www.dyingmatters.org/">Dying Matters initiative</a>.</b></div>
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<i><span style="font-size: x-small;">(A version of this blog post was previously published in the Friends of Lawnswood newsletter) </span></i><br />
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Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-2188649432173947192016-11-23T16:10:00.003+00:002016-11-24T09:22:06.948+00:00The Preservative Party's Top Ten Tips for Curating an Exhibition<h4>
Ellie Smith and D’arcy Darilmaz from the Leeds City Museum youth curators group the Preservative Party share their tips for curating an exhibition!</h4>
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<tr><td class="tr-caption" style="text-align: center;"><b>The Preservative Party, pictured at the opening of the In Their Footsteps exhibition (2016).</b></td></tr>
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<b>1. Get to know the people you’re working with</b></div>
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Play pictionary and eat cake!</div>
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<b>2. What is your exhibition about?</b></div>
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Decide on the purpose of your exhibition. Do you want it to be formal and factual; fun and exciting; or emotionally evoking. Pick an interesting and relevant topic but also something feasible. Make sure you'll have enough objects and information to fill an exhibition.</div>
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<b>3. Select objects and stories to display in your exhibit</b></div>
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Make sure to pick are a few key objects that really stand out.</div>
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<b>4. Construct an identity</b></div>
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You need a name and initial design ideas. If you have the budget to hire designers write a design brief to send to out. The deigners will send back their initial ideas. From this you can select your design company and begin working with them to create the 'look' of your exhibition. Your final design should show what your exhibition is about and appeal to your demographic.</div>
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<b>5. Research, research, research!</b></div>
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Explore the history of your objects.</div>
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<b>6. Layout/curation</b></div>
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Decide whether you would like a led path which instructs visitors to go a certain route; or an open space. You will need to plan where all of your object cases, wall mounted objects and panels will go. Make sure there are enough display cases to fit your objects in. You may want to categorise your objects into sections. Your exhibition must be accessible to all members of the public, so plan enough space for wheelchairs and prams to move through with ease.</div>
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<b>7. Write your object panels</b></div>
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All your text should read in the same voice so decide what tone you would like. Be sure to have a word limit as large amounts of text might intimidate your audience.</div>
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<b>8. Interactives</b></div>
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Come up with some fun ways to engage your public with your exhibits. Try to include interesting pieces of research which you gathered that didn't make it onto the panels.</div>
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<b>9. Install</b></div>
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Bring your creation to life! Learn how to use a paint roller. You'll need one! Decorate the gallery and arrange your objects.</div>
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<b>10. Opening night</b></div>
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Plan drinks, caterers, speeches and performances. Open up your exhibition for a private viewing for all those invited to the night.</div>
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<b>Find out more about the Preservative Party and how to join.</b></div>
Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-88343401614294828032016-11-08T12:27:00.000+00:002016-11-10T11:26:16.479+00:00A Kitchen Cabinet of Curiosity<h4 class="separator" style="clear: both; text-align: center;">
Pamela Crowe explores the contents of a 1950s kitchen cabinet<br />and the origins of museum collecting</h4>
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<span style="font-family: inherit;">The wooden space-saving kitchen cabinet at Leeds Discovery Centre (pictured above) dates from the mid-twentieth century and incorporates a fold down enamel worktop, ironing board and a series of green painted cupboards and drawers to store cutlery, table linen, tableware and food. It sits at the far end of the main corridor in the Discovery Centre, just slightly beyond the Store entrance. To find it you must postpone entering the store or remember to double back before you leave. </span><br />
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<span style="font-family: inherit;">Today we display a collection of food packaging from our social history collection within it. I’ve chosen three of my favourites items.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Dried eggs used during 1940s-50s food shortages</span></td></tr>
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<span style="font-family: inherit;"><b>Label:<i> 'This can contains 12 Eggs'</i></b></span><br />
<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This is a small cylindrical gold tin containing 12 pure dried whole eggs in powdered form supplied by the United States and issued by the Ministry of Food for distribution in Great Britain as a response to a wartime shortage of fresh eggs, c.1940-50. </span></span><br />
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Users were instructed to store them away from anything with a strong smell and when required, to mix one level tablespoon of dried egg with two tablespoons of water making sure to “work out lumps with a spoon against the side of the bowl”. </span></span><br />
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The egg had to be used immediately after mixing and was most suitable for scrambled eggs or omelettes. Uptake of the dried eggs was slow and the Ministry of Food issued posters to promote their use. </span></span><a href="https://3.bp.blogspot.com/-O4tNCTuw7g8/WCHaJ3sdV0I/AAAAAAAADJM/T0h311XjAzAvM3k1YIwcfyyjR6Q5LtxsACLcB/s1600/ginger-web-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"></span></a><span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span><br />
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Label:</b><em> '<b>Co-op Ground Ginger'</b></em></span><br /><span style="font-family: "arial" , "helvetica" , sans-serif;">Dating from the late 1960s, this small jar of ground ginger features the distinctive ‘cloverleaf’ Co-op logo on the side. In 1968 The Co-operative Working Society (CWS) worked with the co-operative societies around Britain to rebrand under a single Co-op logo in a move to unify branding across all the retail shops. </span></span><span style="font-family: inherit;">Stores that wished to use the new logo had to undergo refurbishment. </span><span style="font-family: inherit;">In 2016 The Co-operative Group announced that it would return to a refreshed blue version of the </span><span style="font-family: inherit;">cloverleaf logo.</span><br />
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><em><b>Label: 'For the relief of Asthma, Hayfever & spasmodic affections of the respiratory tract'</b></em></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Potters’ inhalation products were well known and widely used throughout the early to mid 20th Century. Users were instructed to inhale a heated teaspoonful of the powdered herbal remedy on a daily basis. </span></span></div>
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<span style="font-family: inherit;">This product continued to be manufactured until 1988 when the UK’s Department of Health refused to renew the product licence. </span>Recent research has shown that the products may in fact have posed similar health risks to smoking.</div>
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><strong>The Cabinet of Curiosities</strong></span></span><br />
<span style="font-family: inherit;">Back in April 2015 <span style="font-family: "arial" , "helvetica" , sans-serif;">I gave my very first tour of the </span></span><span style="font-family: inherit;">Discovery Centre. Nerves aside, it was great fun but I recall spending too long talking about this 1950s kitchen cabinet. It still draws me in though, I think of it as a Kitchen Cabinet of Curiosities, the Discovery Centre's </span><span style="font-family: inherit;"><em><a href="http://www.tate.org.uk/learn/online-resources/mark-dion-tate-thames-dig/wunderkammen">Küche Wunderkammer</a></em> (Kitchen Wonder Cabinet).</span><span style="font-family: inherit;"></span><br />
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<span style="font-family: inherit;"><i>Wunderkammer</i> (translated, <em>Wonder Chamber</em> or <em>Room</em>) is a German term dating from the sixteenth century to describe a personal collection of extraordinary objects that was amassed by noblemen, men of science and the merchant class, <em>cabinet</em> then being a term for a room rather than a piece of furniture.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b>Drawers opened enticingly at Leeds Discovery Centre</b></td></tr>
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<span style="font-family: inherit;">From Renaissance times through to the late nineteenth century, men and women of stature could exhibit their knowledge and status by assembling all manner of exotic natural wonders, art, treasures and items from distant lands and cultures. </span><br />
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<span style="font-family: inherit;">These collectors believed that by identifying invisible and visible similarities between the objects they could arrive at a better understanding of God's purpose and man's place in the universe. </span><br />
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<span style="font-family: inherit;">Over time the significance of these Wonder Chambers grew, private spaces became public with the larger royal and aristocratic collections developing into grand public museums and institutions. Elias Ashmole (1617-1692) donated his library and collection to the University of Oxford and these formed the foundation of the <a href="http://www.ashmolean.org/">Ashmolean Museum</a> at Oxford, founded in 1683. </span><br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-yVEDE4e2qHA/WCMwcyNFEvI/AAAAAAAAAOQ/9DUxfmYO6CsZOSoSscpHPmSGiOVTsS3ZQCLcB/s1600/Panorama1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="208" src="https://4.bp.blogspot.com/-yVEDE4e2qHA/WCMwcyNFEvI/AAAAAAAAAOQ/9DUxfmYO6CsZOSoSscpHPmSGiOVTsS3ZQCLcB/s640/Panorama1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Leeds Discovery Centre stores the Leeds Museums and Galleries collections</b></td></tr>
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<strong>The awesome and the ordinary</strong></div>
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It's not a huge leap to view the entire Discovery Centre as a vast Cabinet of Curiosities, after all we're still trying to make sense of our universe and our place within it. The most common reaction from visitors entering the store for the first time is one of awe and my own brain still emits a little 'wow' each time I enter. Our collections comprise both the familiar and unfamiliar: the pleasure in viewing the bones of a dodo or 4.5 billion year old iron meterorite can be met in equal measure by the sighting of a familiar washing machine from Grandma's house or a gold tin of egg powder.</div>
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<span style="font-family: inherit;">The breadth and of depth of these collections provide each of us with an opportunity (conscious or otherwise) to evaluate our own very personal past within a greater, complex shared one - just as the Renaissance collectors sought to do with their <em>Wunderkammers</em>.</span><br />
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<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>By Pamela Crowe, Volunteer Tour Guide and Blogger, Leeds Discovery Centre</b></span></span></h4>
<span style="font-family: inherit;"><b><br /></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Further Reading/Sources:</b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><a href="http://www.tate.org.uk/learn/online-resources/mark-dion-tate-thames-dig/wunderkammen">Tate.org on Cabinets of Curiosities </a></span><br />
<a href="http://www.bl.uk/learning/timeline/item107648.html">British Library Learning: Cabinets of Curiosity</a><br />
<span style="font-family: inherit;"><a href="http://www.ashmolean.org/ash/amulets/tradescant/tradescant01.html"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Cabinet of Curiosities and The Ashmolean Museum</span></a></span><br />
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<strong style="color: #333333;"><span style="font-family: inherit; font-size: large;">Leeds Discovery Centre Store Tours</span></strong><br />
<span style="font-family: inherit;"><b><span style="color: #333333; line-height: 22.39px;">Come and explore our collections at the Leeds Discovery Centre every Thursday at 11am and 2pm in our Store Tours. </span><span style="color: #333333; line-height: 22.39px; text-align: center;">For more information about visiting our store, please <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/discoverycentre/Behind-the-scenes.aspx" style="color: #004b91; text-decoration: none;" target="_blank">visit our website</a>.</span><span style="background-color: white; color: #333333; line-height: 22.39px; text-align: center;"> </span></b></span><br />
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Anonymoushttp://www.blogger.com/profile/06375382457096292077noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-4789236678542975022016-11-01T16:14:00.000+00:002016-11-23T15:38:34.727+00:00Joash Woodrow – A Hidden Life in Pictures<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-XcIV2QKF9LY/WBi5jaHMMqI/AAAAAAAAANc/AwBAL_Yd8NoFzczDUehYEjPcSQQOI5plgCLcB/s1600/Joash%2BWoodrow_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-XcIV2QKF9LY/WBi5jaHMMqI/AAAAAAAAANc/AwBAL_Yd8NoFzczDUehYEjPcSQQOI5plgCLcB/s400/Joash%2BWoodrow_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Joash Woodrow - ‘Three Figures’ c.1965</b></td></tr>
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At the turn of the millennium, Joash Woodrow’s life’s work lay undiscovered in a house in Chapel Allerton in Leeds. For forty-five years he had lived and worked there, making art with a singular passion that eclipsed more everyday concerns.<br />
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Woodrow lived alone, becoming increasingly reserved after experiencing a mental-health crisis as a young man. For a long time however, he was content and purposeful in the pursuit of his artwork. Paintings, drawings and sculptures blossomed and came to rest in teetering piles, crowding every corner of his house.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-FNBSlzktwdo/WBi5trOTIaI/AAAAAAAAANg/PtttwobW6OwnD5YFDd470KpK8z9QUo8gACLcB/s1600/Joash%2BWoodrow_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://2.bp.blogspot.com/-FNBSlzktwdo/WBi5trOTIaI/AAAAAAAAANg/PtttwobW6OwnD5YFDd470KpK8z9QUo8gACLcB/s400/Joash%2BWoodrow_2.jpg" width="312" /></a></td></tr>
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<b>Joash Woodrow -‘Female with Red Lips, Male in Black’ <br />c.1965</b></td></tr>
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Woodrow grew into old age, surrounded by his art, until a house fire tipped his life’s balance precariously. Supported by his family, Woodrow agreed to move into sheltered accommodation, on one condition: his family must promise to take care of his art.<br />
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Never before exhibited, few had ever seen these artworks. His brother felt these paintings and drawings were almost as private to Joash as a diary. Now they were blanketed by dust; their colours obscured by smoke damage.<br />
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Many of the canvases were stacked so high they had become stuck together. The family’s promise to rescue this huge body of work posed a daunting challenge. Only a chance discovery would kick-start the chain reaction that snatched Joash Woodrow’s artwork from the brink of obscurity.<br />
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A year later, artist Christopher P. Wood was browsing a second-hand bookshop, when he stumbled across every book-hunter’s dream, something more unique than the rarest first edition. The issue of the Victorian ‘Magazine of Art’ that he picked up was intriguing in itself, but this copy had belonged to Joash Woodrow, who had reworked every page by hand. Using paint, collage and drawing, Woodrow had reinvented the old magazine as a book of completely original artworks. They were funny, clever and brimming over with personality.<br />
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Wood bought the unusual artefact and showed it to the conservator and gallery-owner Andrew Stewart, whose interest was piqued. Stewart contacted Woodrow’s family, who were shocked to discover they had accidently sold one of Joash’s artworks and explained the dilemma of the houseful of art that needed a new home.<br />
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Arranging to visit, Stewart found portraits, still-lifes, and landscapes of contemporary Leeds. Vividly rendered, their lavishly thick paint clung to all manner of rough-hewn supports. From sackcloth to advertising signs, anything Woodrow came upon could become part of an artwork.<br />
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As these unconventional pieces were brought out and painstakingly cleaned, brilliant colours emerged, to reveal a style that combined expressive vigour with insightful clarity of purpose. Woodrow’s work showed a deep knowledge of 20th century artistic movements, while his exuberantly direct approach animated everyday subjects in a way all his own.<br />
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Joash Woodrow’s first solo exhibition was arranged by 108 Fine Art Gallery in Harrogate in 2002, while Leeds Art Gallery was the first public gallery to show his work soon after. Further exhibitions crystallised Woodrow’s reputation as one of the great undiscovered talents of 20th century art. Though his health had become fragile, Joash Woodrow attended one of the first exhibitions of his own work, just a short time before his death in 2006.<br />
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Jra7e14U5F4/WBi6NWGpHzI/AAAAAAAAANo/xoqUK-0Dcmgu84LMYF2aY-W8bGdx6QFOwCLcB/s1600/Joash%2BWoodrow_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="446" src="https://4.bp.blogspot.com/-Jra7e14U5F4/WBi6NWGpHzI/AAAAAAAAANo/xoqUK-0Dcmgu84LMYF2aY-W8bGdx6QFOwCLcB/s640/Joash%2BWoodrow_3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Joash Woodrow -‘Leeds Landscape with Chimneys’ c.1980</b></td></tr>
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Some of Woodrow’s drawings are now part of Leeds City Art Gallery’s collection and they span a wide period of the artist’s life. In my role as a volunteer cataloguer, I have been intrigued to study Woodrow’s drawings. He drew constantly - amongst the discoveries in Woodrow’s house, the kitchen table alone was submerged beneath over 1000 drawings.<br />
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In other ways Woodrow is enigmatic. He left little writing, joined no artistic groups and hadn’t attempted to exhibit his work since the early 1970s. Without these familiar building blocks it can be challenging to fit someone into a conventional art history, but Woodrow’s drawings give us a first-hand account of places he visited, people he saw and what was on his mind. This short series will highlight the illuminating details of Woodrow’s life and work that these drawings capture.<br />
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<b>By Liz Kay, Volunteer Cataloguer, Leeds Art Gallery.</b><br />
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Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-42443060241798943542016-10-26T16:26:00.000+01:002016-10-26T16:26:25.276+01:00Childhood in the collections: New study days at Abbey House Museum<br />
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<a href="https://1.bp.blogspot.com/-HzmGz0KIBNA/WA3p3Md42mI/AAAAAAAAALc/eCYGJhmCp9cDbLR4vqfJdAjvDgV_q5ykQCLcB/s1600/Meanwood%2BRoad%2BBoard%2BSchool%2BLEEDM.E.1961.0015.D.17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://1.bp.blogspot.com/-HzmGz0KIBNA/WA3p3Md42mI/AAAAAAAAALc/eCYGJhmCp9cDbLR4vqfJdAjvDgV_q5ykQCLcB/s640/Meanwood%2BRoad%2BBoard%2BSchool%2BLEEDM.E.1961.0015.D.17.jpg" width="640" /></a></div>
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Next month we will be holding our first ‘Childhood’ study day at Abbey House Museum.<br />
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The day itself will be split between talks and presentations, handling sessions from the museum collections, and gallery tours – with an introduction to a variety of topics around the theme of childhood. <br />
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Researching for this day has been a lot of fun – with so many different avenues to explore and so many possible topics to consider. That has, however, also made it difficult to decide what we should include. For example, talking about the different types of schools in Leeds over the last 150 years is a massive subject – with so many changes to education over the years.<br />
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We will have a closer look at Reformatory schools in the area with a little help from Lucie Wade, PhD student at Leeds Beckett University, who will be coming to talk about some of her research, and there will also be a chance to browse images of a variety of schools in the area from the museum collections, including a few images from Leeds Children's Day.<br />
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<b>Discover historical toys and games!</b></h4>
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Not everything about childhood revolves around school, so we will also have a little look at toys and games, and how they have and haven’t changed over the years, with a chance to handle a few examples from our collections.<br />
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We’ll also talk about the working life of children, particularly in the nineteenth century, including the factory children and the campaign for improvements to their working conditions by people such as Richard Oastler.<br />
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<b>Book a space:</b></h4>
If you fancy joining us on 17 November, there are still a few spaces available. The day runs from 11am - 3pm, and costs £10 per person including lunch in the Gatehouse Café.<br />
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To book, either give us a call on 0113 3784079 or email us at <a href="mailto:abbey.house@leeds.gov.uk">abbey.house@leeds.gov.uk</a>. If you can’t make it this time, we will also be running it again on 27 April 2017.<br />
<br />Nicolahttp://www.blogger.com/profile/04412910162558914839noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-4468308954302730122016-09-28T16:42:00.000+01:002016-10-04T15:41:53.299+01:00Matthew Murray's Beam Engine<div class="separator" style="clear: both; text-align: left;">
On 27th December 2015, along with many nearby homes and business, Leeds Industrial Museum suffered its worst flood since records began. As part of the clearing up process it became increasingly clear that one of the badly affected ground floor storage areas at the Museum held an object in several pieces that had some question marks hanging over its identity. Following the initial clean up of the residual silt and flotsam washed into the museum site, we brought in specialist industrial machinery contractors to begin the process of treating the objects hit by the Boxing Day deluge. </div>
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By one of those strange co-incidences that seem to be a daily occurrence in working with collections, around the same time we had received a request from BBCs Antiques Road Trip to film any objects we had relating to pioneering Leeds engineer Matthew Murray. Murray is probably best remembered for his achievement in developing what is widely regarded as the first commercially successful railway locomotive in the world for the Middleton Railway. <br />
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A search of our collections database revealed several items including a brass lubricator recorded as having a connection to a beam engine by Matthew Murray 'at Queen St, York'. An exchange of emails with the National Railway Museum revealed that the beam engine in question was listed in the catalogue for the Queen Street Museum, a predecessor to the current National Railway Museum. The entry made interesting reading, especially its mention that the engine had powered sawmilling machinery at the Great Northern Railway carriage repair workshop at Kings Cross station engine shed.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Ff9QMjGhEH4/V-vfhzgyckI/AAAAAAAAADU/8kKCkQpwbRQCdTP_5FYnLWcD94zVuGNFQCLcB/s1600/LEEDM.S.1999.5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://2.bp.blogspot.com/-Ff9QMjGhEH4/V-vfhzgyckI/AAAAAAAAADU/8kKCkQpwbRQCdTP_5FYnLWcD94zVuGNFQCLcB/s320/LEEDM.S.1999.5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Matthew Murray's model of 'Salamanca', the first locomotive to run on Leeds' Middleton Railway, patented in 1811</td></tr>
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This key reference gave us more to go on. Further database and file work led us closer to the probability that the large cast iron components lying in our ground floor store were indeed the engine designed by Matthew Murray. Delving into the files, the journey of the object was confirmed. This was indeed Murray's engine. In 1966, as the displays at the old Queen Street museum were being prepared for clearing - and no space had been allocated at the new Leeman Road Museum - British Railways contacted Leeds Museum. Curators at Leeds were initially reluctant to acquire the engine and little further happened until 1972, when on being asked for a second time, they agreed to accept the engine. <br />
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Fast forward to 1979, and Leeds Museums finally took delivery of the object in question. Frustratingly, the files go rather quiet in recording what was being done with the engine following its arrival at Armley Mills, however it was clear that it had been at least partially erected for display. Just as frustrating, next to nothing was recorded of the engine being dismantled again, presumably in order to improve a blocked access route.<br />
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In yet another co-incidence, on the first day of public opening after the flood, we were visited by a Mr Paul Murray Thompson with his brand new book 'Matthew Murray (1765-1826) and the Firm of Fenton Murray (1795-1844)'. We were able to show the beam engine components to Paul, which set him on the trail to track down more details of the object's history. Amongst the evidence gathered by Paul was an article from the Yorkshire Evening Post from 1926 highlighting the engine's 115 years of continuous use.<br />
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In July, as part of the post-flood action plan, we moved the Murray beam engine components from their previous location to a dry and secure store and laid the components out in a way that would help explain the construction of the object. Up to this point, no usable image of the beam engine in its erected state had been traced. However, as part of another project, Chris Sharp, our recently appointed Assistant Curator of Community Engagement, has just identified a good quality image of the engine - probably dating from the early 1980s - in its largely assembled state.<br />
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<tr><td class="tr-caption" style="text-align: center;">The four vertical columns of Murray's beam engine in <span style="color: black;">their</span> new store<br />
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<span style="font-size: x-small;">Sections of the Beam Engine in their new store</span></div>
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Re-assembling the engine to display condition is undoubtedly likely to be a long and complex process. But we have made great strides in a short time in firmly identifying the object, securing good storage and pulling together contextual material to enable us to set about the task as resources allow. The name of Matthew Murray, one of Leeds most innovative engineers, is currently enjoying a well-deserved renaissance. We hope that Leeds Industrial Museum can make its contribution to telling his story.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6qFsZ0DJFK4/V-u86QIlUlI/AAAAAAAAACk/p2BQS6LOk5MDtIE0N4ZHX4kaL5puYOPwACEw/s1600/murray%2Bbeam%2Bengine%2B001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://1.bp.blogspot.com/-6qFsZ0DJFK4/V-u86QIlUlI/AAAAAAAAACk/p2BQS6LOk5MDtIE0N4ZHX4kaL5puYOPwACEw/s320/murray%2Bbeam%2Bengine%2B001.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Murray beam engine in near-assembled state at Leeds Industrial Museum, probably in the early 1980s<br />
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<br />Anonymoushttp://www.blogger.com/profile/14831424104773438550noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-67350052606511497082016-09-27T16:00:00.000+01:002016-09-27T16:11:34.323+01:00Museum Outreach: The power of interesting things<br />
<b>Learning Officer Andy reveals </b><b>how museum objects can become part of the recovery process for children in hospital</b><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-fNyjCICw9bA/V-qG-IiwY3I/AAAAAAAAAM0/q9B_pluCcScZOwyuEXCvI0CI24AX4jUgACLcB/s1600/LMG2014_Discovery%2B95.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://4.bp.blogspot.com/-fNyjCICw9bA/V-qG-IiwY3I/AAAAAAAAAM0/q9B_pluCcScZOwyuEXCvI0CI24AX4jUgACLcB/s400/LMG2014_Discovery%2B95.jpg" width="400" /></a></div>
<br />
At my last visit to the Leeds General Infirmary Learning zone, where I do museum outreach with children who are in hospital long term, I had one of my best experiences so far as a Museum Learning Officer.<br />
<br />
I spend time with the children in the learning rooms, if they are able to make it, and then go to the wards with objects and do bedside sessions with those children not able to make it.<br />
<br />
One child, A, was leaving the hospital to go home that evening. The staff from the Learning Zone said that he was 13 years old and had challenging behaviour and profound learning needs. They told me to explain carefully how he was to behave round museum objects. I felt some slight trepidation. When we got to the ward he was not there, then we heard loud screaming.<br />
<br />
“That’s A, having his IV removed” said the staff member with me. My trepidation became a little more than slight at this point.<br />
<br />
When A came back to ward he was clearly upset and crying a lot. The first object I showed him was a kaleidoscope, he had not seen one before and was mesmerised by it. The crying stopped instantly! He politely asked if he could look at the other objects I had and was very gentle with them without me having to explain how to handle them other than saying that they were very old and please be careful with them.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-kQhVjv0BE_8/V-qG-APiptI/AAAAAAAAAM4/r9q6w35m-ncPAiflCDx_LRq_uGCXk2MHwCLcB/s1600/LMG2014_Discovery%2B153.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://4.bp.blogspot.com/-kQhVjv0BE_8/V-qG-APiptI/AAAAAAAAAM4/r9q6w35m-ncPAiflCDx_LRq_uGCXk2MHwCLcB/s400/LMG2014_Discovery%2B153.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Andy (centre), pictured at Leeds Discovery Centre</b></td></tr>
</tbody></table>
He was very taken with the printing block from Hunslet Locomotives, being a 13-year-old boy and into trains. I explained that we have a museum in Armley with trains. As we were high up and had a good view out the hospital windows to the east, I pointed out the spire of St Michaels Church and tracked left to where Armley Industrial Museum is, “There is the museum. Why don’t you visit with your mum when you feel up to it,” I said. He ran off to tell his mum, and that was the end of that session.<br />
<br />
From worrying that this session was going to be a challenging one to in fact being one with a polite, attentive and gentle child I put down to the power of interesting things. I am a firm believer that handling interesting things can aid in the recovery of many ills.<br />
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<br /></div>
<div>
<b>Andrew Kyrover, Learning and Access Officer, Leeds Discovery Centre</b></div>
Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-70944353250779073662016-09-15T15:39:00.002+01:002016-09-15T15:42:10.501+01:00Burn time: Light related objects <h4 style="line-height: normal;">
<b>Pamela Crowe explores light conditions and objects linked to lighting in the museum store</b></h4>
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Tf29LXSdPQk/V8b1PLBBW5I/AAAAAAAADGA/8Vj35vcY8TMcgoRU_8eT87jgDfu7Hv6egCEw/s1600/arm-waving-web-qual-2610.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-Tf29LXSdPQk/V8b1PLBBW5I/AAAAAAAADGA/8Vj35vcY8TMcgoRU_8eT87jgDfu7Hv6egCEw/s400/arm-waving-web-qual-2610.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><b>In-store arm-waving illustrated by the author</b></span></td></tr>
</tbody></table>
<span style="font-family: inherit;">The Discovery Centre is a purpose built museum storage
facility with regulated temperature and humidity. It is also windowless so that
we can control how much light the museum objects are exposed to. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Any visit to
the store usually involves a fair bit of arm-waving at the motion-triggered light
sensors located throughout (see photo). These lights are on timers, eventually returning
the store to darkness when the humans have left. </span><br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span>
<span style="font-family: inherit;">Here, light is rationed, not just
to save energy but because light exposure can significantly damage the objects
within. In</span><span style="font-family: inherit;"> the Store, we have the luxury of choosing how and when we
use light, we understand how to control it and can instantly illuminate or
choose darkness. </span></div>
<div class="MsoNormal">
<br />
<span style="font-family: inherit;">
</span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Searching the store and researching the collections is about
giving as many items as possible a small spotlight – even if only briefly. It’s tricky to merely toe-dip into an object’s story and then quickly retreat.
You feel you must stay for the duration, ask questions, look closely, ask more
and look again. You have to allow it into the light long
enough for it to glow a little.</span></div>
<div class="MsoNormal" style="margin-top: 12pt;">
<span style="font-family: inherit;">This was the premise for my search
today: I return to a particularly ill-lit passageway between the costume and
ceramics cabinets in zone 4, scrutinising shelf after shelf in the semi-gloom.
I look not so much for oddities but for the unremarkable. </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-2_1FA-IOZhA/V8b5hrRaaWI/AAAAAAAADGI/z9FcqRqmngckpWjdDpZ84WtpsgzNpMYFgCLcB/s1600/cab%2B12%2Bno%2Blight%2B2602.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://2.bp.blogspot.com/-2_1FA-IOZhA/V8b5hrRaaWI/AAAAAAAADGI/z9FcqRqmngckpWjdDpZ84WtpsgzNpMYFgCLcB/s400/cab%2B12%2Bno%2Blight%2B2602.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Shelf 2, Cabinet 12, Zone 4. Semi-gloom</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span>
<span style="font-family: inherit;">I’m trying to
re-train my eyes to see those artefacts that have no ego, the wallflowers that
avert their gaze as mine skims past. I half-pretend my errand has an intrepid
purpose, like Dorothy in Disney’s <i style="mso-bidi-font-style: normal;">Return
to Oz,</i> tasked with three
guesses for the true object in the room of antiques.</span><br />
<h4>
<span style="font-family: inherit;"><b>The 'Fairly' Fairy Lamp</b></span></h4>
</div>
<div class="MsoNormal">
<span style="font-family: inherit;">Amongst
a shelf of colourful glass I fix focus on a small amber cup with a diamond
cut design in the glass. In our museum database it is described as a “Fairly lamp”
which throws me initially. What is a “Fairly”? This turns out to be a typo,
revealed when I go back to the real object and see the words “Prices Fairy Lamp
– Glass Empire made” written on its underside. </span><br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span>
<span style="font-family: inherit;">Two minutes of googling
later and a whole world of Fairy Lamps has opened up. We would call them night
lights or tea light holders now. This one (pictured below) dates from around 1900-1910 and was a
very ordinary little object, mass-produced in a variety of shades (blue, green,
red, amber) and intended to promote sales of Price’s candles.</span></div>
<div class="MsoListBulletCxSpFirst" style="mso-list: none; tab-stops: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"></span></div>
<div class="MsoListBulletCxSpMiddle" style="mso-list: none; tab-stops: 36.0pt;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8GGxna4o92o/V8blB-PjIjI/AAAAAAAADFQ/BkCDJYvou5UEO_BtB-UM2EEACs6cc2ZLgCLcB/s1600/price%2527s-fairy-lamp-pse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://1.bp.blogspot.com/-8GGxna4o92o/V8blB-PjIjI/AAAAAAAADFQ/BkCDJYvou5UEO_BtB-UM2EEACs6cc2ZLgCLcB/s320/price%2527s-fairy-lamp-pse.jpg" width="246" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Price's Fairy Lamp, night light holder c.1900-1910</span></td></tr>
</tbody></table>
<span style="font-family: inherit;">Price’s
Patent Candles Company began trading in 1830 and helped transform candle
production away from a small workshop based enterprise with the wax chandlers
and their apprentices overseen by the ancient City Livery Companies into production
on an industrial scale. They revolutionised candle production by replacing
traditional tallow and beeswax candles with a new Stearine candle made from a
composite of refined tallow and coconut oil. Tallow candles, made from animal
fat, were low-cost but smoked and smelled.</span><span style="font-family: inherit;"></span></div>
<div class="MsoListBulletCxSpMiddle" style="mso-list: none; tab-stops: 36.0pt;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"></span></span>
</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;">In contrast, beeswax candles were
expensive and could only be afforded by the Church and the wealthy. Candles
made from Stearine fat burned cleanly and brightly and were much cheaper to
produce making them available to far greater numbers. Domestic light could be
marketed to the masses, light became considerably more affordable and the
impact on non-daylight hours must have been great. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: inherit;">Within
twenty years of start-up, Price’s had become a household name and by 1900 were
producing over 130 types of candles: candles for pianos, photographic
darkrooms, carriages, dining rooms, ballrooms, nurseries, candles to deter intruders, edible candles for desperate explorers on
expeditions and the army, candles for bedrooms, double-wick railway signal candles, miner's candles, beeswax candles for the Catholic
and Anglican churches and smokeless candles to sit under shades.</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">The 'Servant's' Candle</b></div>
<div class="MsoListBulletCxSpMiddle" style="mso-list: none; tab-stops: 36.0pt;">
<span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br /></span>
<span style="font-family: inherit;">Of all these I
am most struck by the servant's bedroom candle. Distinct from the standard bedroom candle, it burned for only 30 minutes. It starkly illustrates the place
of light as a commodity, the ownership and manipulation of which exposed and
reinforced social hierarchies. If light gave liberty then that liberty could be
rationed and controlled. Access to brighter light, longer light, cleaner light
reflected social status and the opportunity to move more freely and
productively, more socially through the darker hours. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Servants typically received coals, bed and candles as part of their terms of employment but were instructed not to use their 30 minutes of light for reading. Later, when gas and electric lighting began to replace candles, employers could choose to install wiring so that servants' lights could be switched off remotely at their own, not the servants' convenience.</span></div>
<div class="MsoListBulletCxSpMiddle" style="mso-list: none; tab-stops: 36.0pt;">
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;">In our
huge Store, I contemplate the small candle holder, sat light-less in the
Glassware cabinet. Across the floor, high up in cardboard boxes in Zone 3 lie its
counterparts, the candles. Most, unburned but held in appreciation, like so
much here, of what they once represented. </span><br />
<div class="MsoListBulletCxSpLast" style="mso-list: none; tab-stops: 36.0pt;">
<br />
<div style="text-align: left;">
<span style="font-family: inherit;"><b>By Pamela Crowe, Volunteer Tour Guide and Blogger at Leeds Discovery Centre </b></span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><strong>Store Tours</strong></span><br />
<span style="font-family: inherit;">Come and explore our collections at the Leeds Discovery Centre every Thursday at 11am and 2pm in our Store Tours. </span><span style="font-family: inherit; text-align: center;">For more information about visiting our store, please contact us on 0113 378 2100, email <a href="mailto:discovery.centre@leeds.gov.uk" style="text-decoration: none;">discovery.centre@leeds.gov.uk</a> or <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/discoverycentre/Behind-the-scenes.aspx" style="text-decoration: none;" target="_blank">visit our website</a>.</span><span style="background-color: white; font-family: inherit; font-size: x-small; text-align: center;"> </span><br />
<span style="font-family: inherit;"><span style="font-family: "arial";"></span><br /></span>
<span style="color: black; font-family: inherit;"><strong>Sources/More info:</strong></span><br />
<ul>
<li><span style="color: black; font-family: inherit;"><strong><strong style="font-family: inherit;"><a href="http://www.prices-candles.co.uk/history/historydetail.asp">Prices Candles</a> - Company History</strong></strong></span></li>
<li><span style="color: black; font-family: inherit;"><strong><a href="http://www.lucyworsley.com/a-quick-history-of-domestic-lighting/of-domestic-lighting/" style="font-family: inherit;">Lucy Worsley</a><span style="font-family: inherit;"> - Brief History of domestic lighting</span></strong></span></li>
<li><span style="color: black; font-family: inherit;"><strong><a href="https://www.museumsassociation.org/find-an-event/shine-on" style="font-family: inherit;">The Museum Association</a><span style="font-family: inherit;"> - Shine On event</span></strong></span></li>
</ul>
</div>
Anonymoushttp://www.blogger.com/profile/06375382457096292077noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-12907653412390250792016-08-31T11:29:00.003+01:002016-08-31T11:32:55.981+01:00The Dennisons of Leeds: Pioneers of Penny Slot Machines<h4>
<b>Curator Kitty Ross reveals the story behind the popular 1930s 'Murder in the Museum' penny slot machine at Abbey House Museum!</b></h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-0ytcseVf9-Q/V2lTgP9EujI/AAAAAAAAAaw/YykudCqcxB01vjOrF_0LNfLJ8ZYLjStEgCLcB/s1600/LEEDM.E.2010.0174.0001.restored1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://1.bp.blogspot.com/-0ytcseVf9-Q/V2lTgP9EujI/AAAAAAAAAaw/YykudCqcxB01vjOrF_0LNfLJ8ZYLjStEgCLcB/s400/LEEDM.E.2010.0174.0001.restored1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">'Murder in the Museum' (1934 model made by Alice <br />and Eveline Dennison)</span><br />
<b><br /></b></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">One of Abbey House Museum's star objects, the penny slot machine 'Murder in the Museum' has recently been restored to
full working order.<span style="mso-spacerun: yes;"> </span>The comically
macabre automaton is subtitled 'Who Killed the Man in the Chair?' and the
suspects in this 1930s murder mystery include a woman with a large handbag, a man lurking behind a display
cabinet and a man hiding inside the Egyptian sarcophagus. <span style="mso-spacerun: yes;"> </span></span><br />
<h4>
<span style="font-family: inherit;"><span style="mso-spacerun: yes;"><b>The Dennison dioramas and automatons </b></span></span></h4>
</div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;"><span style="mso-spacerun: yes;"></span>The machine was made in 1934 at the height of
the Golden Age of crime fiction and was the work of two Leeds sisters, Alice
and Eveline Dennison.</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">The family association with macabre penny slot machines
started with their father, John Dennison (1847-1924) who was born in Leeds. He
displayed his first working his first working models, demonstrations of a drilling
machine and a hand lathe, at the 1875 Yorkshire Exhibition, which were well
received by the public. He soon began building both mechanical fortune teller
machines and working model dioramas for installation at exhibitions, fairs and
bazaars. </span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xpdBVi_c7m4/V2lSA1DRvcI/AAAAAAAAAak/YoPadPHDIMwuaBDPl266XdUGjKaN7M-GwCLcB/s1600/LEEDM.E.2008.26.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="395" src="https://1.bp.blogspot.com/-xpdBVi_c7m4/V2lSA1DRvcI/AAAAAAAAAak/YoPadPHDIMwuaBDPl266XdUGjKaN7M-GwCLcB/s400/LEEDM.E.2008.26.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h4>
<span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;">
The French Execution, designed by John Dennison in 1894 and now <br />on display at Abbey House Museum (P</span><span style="font-family: inherit; font-size: small;">hotograph by Norman Taylor)</span></span></h4>
</td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="mso-spacerun: yes;"></span></span><br />
<span style="font-family: inherit;"><span style="mso-spacerun: yes;"></span></span>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-PpcpyFUMoa8/V2lQ9n6ovSI/AAAAAAAAAaY/TIx7pHTabo48Xi2CY2Z2rJG0Bbw9-wIVgCLcB/s1600/John%2BDennison%2B1917.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="https://4.bp.blogspot.com/-PpcpyFUMoa8/V2lQ9n6ovSI/AAAAAAAAAaY/TIx7pHTabo48Xi2CY2Z2rJG0Bbw9-wIVgCLcB/s1600/John%2BDennison%2B1917.jpg" style="cursor: move;" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h4>
<div style="text-align: left;">
<span style="font-family: inherit; font-size: small; font-weight: normal;">John Dennison 1917. (Copyright John<br />Ledden. REPRODUCTION OF THIS<br />IMAGE IS PROHIBITED)</span></div>
</h4>
</td></tr>
</tbody></table>
<span style="font-family: inherit;">By 1884 John had a small
exhibition (possibly already in Blackpool). His machines had melodramatic subjects, such as the
Dying Child, Drunkard’s Delirium, Haunted Miser and of course the French
Execution (now owned by Leeds Museums), pictured above.</span></div>
<span style="font-family: inherit;">John Dennison first exhibited in the old Aquarium in
Blackpool in 1891 and he became a fixture in Blackpool Tower when it opened in
1894.<span style="mso-spacerun: yes;"> </span>It was a family business,
including John’s brother William and his son George from his first marriage. </span><br />
<span style="font-family: "calibri";"><span style="font-family: inherit;"></span></span><br />
<h4>
<span style="font-family: inherit;">The talented Dennison sisters </span></h4>
<span style="font-family: inherit;">The three daughters from John Dennison's second marriage, Florence, Alice and Eveline, started
by helping their father with his models but soon began to develop ideas of
their own.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">John Dennison valued their
contribution and seems to have fiercely discouraged them from marrying out of
the family business!</span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">Alice Dennison (1890-1966) initially worked as a governess and
then as a dress maker, and was the inspiration behind the costumes for the
models.<span style="mso-spacerun: yes;"> </span>She also turned her hand to the
machinery side of the business and was behind the decision to move from
clockwork to electricity.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="mso-spacerun: yes;"></span>Eveline
Dennison (1896-1970) had been an art student who won a scholarship and she was the
artistic one, intricately creating the models out of wood and clay.<span style="mso-spacerun: yes;"> </span>Their elder sister Florence seems to have
been more in charge of the business of running the Blackpool enterprise.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-fC9n_Rem60E/V2lVN_3UL8I/AAAAAAAAAa8/cFvnGtnbaqsSRjhLtO6pq0NAidFB5rAKQCLcB/s1600/Dennison%2Bp15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://2.bp.blogspot.com/-fC9n_Rem60E/V2lVN_3UL8I/AAAAAAAAAa8/cFvnGtnbaqsSRjhLtO6pq0NAidFB5rAKQCLcB/s400/Dennison%2Bp15.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">
Extract from Alice and Eveline Dennison's notebook</span></td></tr>
</tbody></table>
<h4>
<span style="font-family: "calibri";"><b>The Mechanics of Murder</b></span></h4>
<span style="font-family: inherit;">The Dennisons left Blackpool Tower in 1944 and sold the machines to the
Tower Company, from where they have been dispersed around the world. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Quoted in the <i>Blackpool Gazette</i> in 1963 the Dennison sisters
stated: </span><br />
<span style="font-family: inherit;"><br /></span>
<i><span style="font-family: inherit;">“The most popular models we created were always those with a morbid
flavour – “Supper with Death”, “Midnight in the Haunted Churchyard”, “Murder in
the Museum”.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">Anyone who imagines that
children prefer fairy stories are way off beam.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">During the 20 years we held the business we learned a lot about human
nature”.</span></i><br />
<i><span style="font-family: inherit;"><br /></span></i>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Nb5_xZkFIKQ/V2lWI5UyFKI/AAAAAAAAAbI/XhoPDqcXFRkEXiy8T-Tl6lDfQZaJrRwUgCLcB/s1600/5A8A8512.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://4.bp.blogspot.com/-Nb5_xZkFIKQ/V2lWI5UyFKI/AAAAAAAAAbI/XhoPDqcXFRkEXiy8T-Tl6lDfQZaJrRwUgCLcB/s400/5A8A8512.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">
The cast of 'Murder in the Museum' in the Still Room at Temple Newsam House.<br />(Photograph by Danny Young of Target Productions)</span></td></tr>
</tbody></table>
<span style="font-family: inherit;">You can try out 'Murder in the Museum' at Abbey House
Museum, now lovingly restored by Robert Hind-Smith.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">An <a href="https://youtu.be/RWHVP0mbICc">accompanying film</a> which fleshes a
live-action version of the story has been produced in collaboration with Target
Productions and features local amateur acting talent.</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">It can be viewed in the gallery at Abbey
House museum, and also on the <a href="https://youtu.be/RWHVP0mbICc">Leeds Museums You Tube channel</a>. </span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;"><br /></span>
<b style="font-family: inherit;">By Kitty Ross, Curator of Social History</b></div>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-size: x-small;"><b><span style="font-family: "calibri";"></span>(Unless otherwise stated, all<span style="font-family: inherit; text-align: center;"> photographs published here were taken for Leeds Museums and Galleries </span><span style="font-family: inherit; text-align: center;">and are licensed under Creative Commons BY NC SA.)</span></b></span></div>
Kittyhttp://www.blogger.com/profile/16816632682526261417noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-31961443552892712722016-08-30T16:49:00.001+01:002016-08-30T16:49:41.001+01:00The Secret Life of the Leeds Tiger <h4>
The Leeds Tiger over at Leeds City Museum is one of our best-loved exhibits, but how did it get here and was it really once a rug? </h4>
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<a href="https://1.bp.blogspot.com/-eo8PlWYzuQE/V8Wq_Mwm-WI/AAAAAAAAALw/qbprmG8hSVMPZtVa7PpWzaJYirM8HwZ2ACLcB/s1600/Leeds%2BTiger_Leeds%2BMuseums%2Band%2BGalleries.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-eo8PlWYzuQE/V8Wq_Mwm-WI/AAAAAAAAALw/qbprmG8hSVMPZtVa7PpWzaJYirM8HwZ2ACLcB/s400/Leeds%2BTiger_Leeds%2BMuseums%2Band%2BGalleries.jpg" width="400" /></a></div>
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<div>
Thanks to some amazing research by Ebony Andrews, (in her PhD thesis ‘The Biographical Afterlife of the Leeds Tiger’), we have the answers to some of these questions!</div>
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The Leeds Tiger came from Dehradun in the Himalayas. It was shot in 1860 by an Anglo-Indian Army Officer, Colonel Charles Reid of thje Sirmoor Battalion (2nd Gurkhas) and sent back to Britain as a prize specimen.<br />
<br />
This tiger is rumoured to have threatened the local population and may have been shot as part of a cull. Former curator Henry Crowther wrote of it ‘having destroyed forty bullocks in six weeks and was considered so formidable that no native dare venture into the jungle where this noble beast reigned supreme’ in a 1906 guide book.<br />
<h4>
Preservation – from skin to mount</h4>
The tiger would have been skinned in the field and then more carefully cleaned, with the head mounted by a taxidermist. At this point, Colonel Reid sent the skin to London, where it was exhibited at the 1860 International Exhibition in South Kensington.<br />
<br />
By 1862, the skin had arrived in Leeds, where it was presented to the Leeds Philosophical and Literary Society Building Committee. A local taxidermist, Henry Ward, was commissioned to shape the skin into a full body mount.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-uzWENA5i0jk/V8WphU952pI/AAAAAAAAALo/GCMETWZAY3YbPugIjFD4KJRu3doObdokACEw/s1600/Conservation%2Bof%2Bthe%2BLeeds%2BTiger_Leeds%2BMuseums%2Band%2BGalleries%2B2016.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://1.bp.blogspot.com/-uzWENA5i0jk/V8WphU952pI/AAAAAAAAALo/GCMETWZAY3YbPugIjFD4KJRu3doObdokACEw/s400/Conservation%2Bof%2Bthe%2BLeeds%2BTiger_Leeds%2BMuseums%2Band%2BGalleries%2B2016.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emma, our Conservator, working on the Leeds Tiger.</td></tr>
</tbody></table>
<br />
It seems that Ward had a difficult task, as he wouldn’t have known exactly what the original tiger looked like. Researcher Ebony Andrews believed that the skin might have been trimmed after it was tanned, leaving missing sections underneath the tiger’s chin, neck and up all four legs.<br />
<br />
<h4>
Posing the Leeds Tiger</h4>
Henry Ward decided to present a ‘fearsome’ tiger, pinning the ears back, stretching the jaw wide and putting the claws out. We’ll never know for certain whether the Leeds Tiger really lived up to its dangerous reputation, but today it sends a shiver down the spines of visitors to Leeds City Museum.<br />
<br />
<h4>
<b>By Jen Newby, Digital Media Assistant</b></h4>
<b>Sources: <br />Ebony Andrews, PhD thesis ‘The Biographical Afterlife of the Leeds Tiger’ (September 2009)</b><br />
<br />Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-75870233792186128332016-08-30T14:55:00.000+01:002016-09-15T15:12:36.568+01:00Work experience at Leeds Museums and Galleries<h4>
<span style="font-family: inherit;">Every year, dozens of students do work experience with us. </span><span style="font-family: inherit;">Here are accounts by some of them about their experiences of working with our team.</span></h4>
<div>
<b>Adrian Derucki, Art & Design Student at Leeds City College</b></div>
<div>
<h4>
<b>Placement: </b>Leeds Art Gallery & Leeds Discovery Centre, 2016</h4>
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<a href="https://2.bp.blogspot.com/-Usq-0W8_VPQ/V9qe0OYvBXI/AAAAAAAAAMg/fjIsajSoGFoW4xJXCdRDa_JUJ6Pp3XXzwCLcB/s1600/Untitled.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-Usq-0W8_VPQ/V9qe0OYvBXI/AAAAAAAAAMg/fjIsajSoGFoW4xJXCdRDa_JUJ6Pp3XXzwCLcB/s200/Untitled.png" width="137" /></a></div>
<div>
I am a student at Leeds City College studying Art & Design, and I love art. From a young age I started to draw. I drew everything and anything. Since then I have got better and more intrigued by art and have experimented with using other art media. </div>
<div>
<br /></div>
<div>
During my work experience I worked with the Learning team, which involved taking artworks into schools and working with young people and their teachers to think about and make their own artwork. As part of my formal learning experience I went to a primary school where pupils had to review an artwork and ask questions about it and to and answer the questions for themselves. They seemed interested and happy. I thought it was a good experience to see how they reacted to an artwork. </div>
<div>
<br /></div>
<div>
I helped to organise a gallery activity for children, which involved choosing some images (curating) to be used in the activity, speaking to and helping participants. I found it fun and interesting and observed that the kids were happy to take part. </div>
<div>
<br /></div>
<div>
I also went to the Discovery Centre to learn about the Retail and Marketing department. There was a huge variety of interesting objects which I enjoyed as I learned about what Curators, security and marketing teams do there. Once I gained a bit of knowledge about the department I was able to design my own product that could potentially be sold in Leeds Galleries and Museums.</div>
<div>
<br /></div>
<div>
Overall my placement was a very fun and interesting experience. I have learnt things about myself I never knew and have been able to see different job activities that I had never heard of before. I think it is so important to try out new things as you can find something you really enjoy. Work experience is really good and useful for anyone’s future, it can be fun too.</div>
</div>
<div>
<br /></div>
<h4>
<span style="font-family: inherit;">How to get work experience with Leeds Museums and Galleries</span></h4>
<div>
<ul>
<li><span style="font-family: inherit;">Find out more about work experience at our 9 venues on the </span><a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/Work-Experience-for-secondary-schools.aspx" style="font-family: inherit;">Work Experience page </a><span style="font-family: inherit;">of our website. </span></li>
</ul>
<ul>
<li><span style="font-family: inherit;">If you're a recent graduate looking for a paid opportunity to gain experience, see our </span><a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/Project-Placements.aspx" style="font-family: inherit;">Project Placement information </a><span style="font-family: inherit;">and </span><a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/joininandsupport/Volunteer.aspx" style="font-family: inherit;">Volunteering page</a><span style="font-family: inherit;">.</span></li>
</ul>
<ul>
<li><span style="font-family: inherit;">You may wish to contact individual curators, if you have a particular special interest. You'll find all our <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/Staff-and-Structure.aspx">staff contact details</a> online or email our general address, if you're not sure who to contact: </span><a href="mailto:museumsandgalleries@leeds.gov.uk">museumsandgalleries@leeds.gov.uk</a></li>
</ul>
</div>
Jen Newbyhttp://www.blogger.com/profile/02195746575161913777noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-59600646593215974212016-08-26T11:31:00.003+01:002016-08-26T11:31:52.696+01:00Thomas Green, Member of the Friends Ambulance Unit - A WW1 Story<h4>
Amy, one of our youth curators has researched the story of Thomas Green, who served with the Friends Ambulance Unit in the First World War</h4>
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<a href="https://1.bp.blogspot.com/-aaAqqFpTg10/V8AYhnY4HgI/AAAAAAAAAK0/49pNIE7w7YUrtPkGQDGRWFSOas0WWIiNQCLcB/s1600/Thomas%2BGreen%2BCertificate%2Bof%2BEmployment%2BWW1_Leeds%2BMuseums%2Band%2BGalleries.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://1.bp.blogspot.com/-aaAqqFpTg10/V8AYhnY4HgI/AAAAAAAAAK0/49pNIE7w7YUrtPkGQDGRWFSOas0WWIiNQCLcB/s640/Thomas%2BGreen%2BCertificate%2Bof%2BEmployment%2BWW1_Leeds%2BMuseums%2Band%2BGalleries.jpg" width="428" /></a></div>
<div>
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<div>
Large amounts of our First World War archives are paper, or ephemera. This object is a certificate of wartime employment, given to Corporal Thomas Green. </div>
<h4>
<b>Serving with the Friends Ambulance Unit</b></h4>
<div>
This certificate states that Thomas, a former grocer's assistant, does not have to come and fight due to his essential war work. Green was part of the volunteer Friends Ambulance Unit. Perhaps he was unable to fight due to a medical condition, yet on the other hand, perhaps he chose not to fight due to moral or religious beliefs. </div>
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Many Quakers, who did not fight due to their religious beliefs, served with the Friend’s Ambulance. This would have prevented social backlash. For instance many women would give men who were not serving white feathers to show that they were cowards.<br />
<h4>
<b>Choosing a non-combatant role</b></h4>
However, we know that Green did serve as active member of the Territorial Force, part of the reserve army. He also took on a non-combat role here, with the Field Ambulance. Green was probably a conscript, because he took on the role in 1916, after the introduction of conscription. It is unlikely he would have volunteered at this late stage. In 1919, he was demobilised from the army.<br />
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This object is more interesting than it may first appear, due to the enormous impact that this simple certificate had upon Thomas Green.<br />
<h4>
<b>By Amy, Leeds Museums and Galleries youth curator and Preservative Party Member.</b></h4>
Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-33679791686444200122016-08-22T15:07:00.000+01:002016-08-26T15:39:57.602+01:00Education in Victorian Leeds<b>Placement student Kaya Firth researched Victorian schools around Leeds</b><br />
<b><br /></b>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wtr7inqlt2o/V8BJHjVwVDI/AAAAAAAAALE/-kdlrjLbFl0hIsOfRIDRaFFx9wwdnYNzQCLcB/s1600/Playtime%2Bat%2BMeanwood%2BBoard%2BSchool%2B1910_Leeds%2BMuseums%2Band%2BGalleries.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="255" src="https://1.bp.blogspot.com/-wtr7inqlt2o/V8BJHjVwVDI/AAAAAAAAALE/-kdlrjLbFl0hIsOfRIDRaFFx9wwdnYNzQCLcB/s400/Playtime%2Bat%2BMeanwood%2BBoard%2BSchool%2B1910_Leeds%2BMuseums%2Band%2BGalleries.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Playtime at Meanwood Road Board School in 1910.</span></td></tr>
</tbody></table>
<b><br /></b>
The 1870s-1890s appears to have been a very popular time for schools to be built around Leeds. This relates to the Elementary Education Act of 1870, which enabled all children to have access to education between the ages of 5 and 13. It was also a way of ensuring that local councils had a School Board of Education in order to build and manage schools in areas where they were needed. Leeds School Board was set up in 1870.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-oHaff9BWNHs/V8BMh9q_9KI/AAAAAAAAALQ/etk7iIBJ7BImQa20UI3HdMdqyY5Vf9OQwCLcB/s1600/Green%2BLane%2BSchoolchildren%2Bpictured%2B1906.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://1.bp.blogspot.com/-oHaff9BWNHs/V8BMh9q_9KI/AAAAAAAAALQ/etk7iIBJ7BImQa20UI3HdMdqyY5Vf9OQwCLcB/s400/Green%2BLane%2BSchoolchildren%2Bpictured%2B1906.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Green Lane schoolchildren, pictured in 1906.</span></td></tr>
</tbody></table>
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One of the schools I managed to find out about was Green Lane School. Using the Triennial Reports of Leeds School Board 1891-1900 I found that it had opened on the 11th November 1874.<br />
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The school was enlarged in 1894 for an additional 630 pupils, plus a workshop and cookery room, at a total cost of £11,300 (over £670,000 in modern day currency). Sadly the school closed in 1982 and the building was later demolished.<br />
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A great source of information about historic Leeds schools was <a href="http://www.leodis.net/">Leodis</a>, then an online photographic archive run by Leeds Libraries. Users can share memories and information about the images and there are some brilliant reminiscence stories of old school teachers, which helped to shape my own ideas of how many of the schools were run in the mid-20th century in particular.<br />
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<b>By Kaya Firth, Placement Student at Abbey House Museum, History Student at Leeds Trinity University</b><br />
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Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-1430936447726281132016-08-22T14:34:00.002+01:002016-08-22T14:35:23.803+01:00WW1 Leeds timeline<h4>
<b>Stephanie Webb reveals an online timeline charting key moments in Leeds' First World War history </b></h4>
During the centenary of World War One, the Leeds Museums young curators group, the Preservative Party, has been committed to researching and commemorating the sacrifices made by the people of Leeds. We have created <a href="https://www.facebook.com/WW1Leeds">WW1 Leeds, an interactive Facebook timeline</a> documenting the story of the city during the war.<br />
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Our research has revealed that Leeds and its people made a significant and varied contribution to the war effort both at home and overseas.<br />
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<a href="https://2.bp.blogspot.com/-0e74rgnSwCQ/V7r7P9Io3UI/AAAAAAAAAJk/etL-lqZPQMkl7T3VD2JIfn3g9zekU-CPACLcB/s1600/Facebook%2BLeeds%2Bin%2BWW1%2Btimeline.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://2.bp.blogspot.com/-0e74rgnSwCQ/V7r7P9Io3UI/AAAAAAAAAJk/etL-lqZPQMkl7T3VD2JIfn3g9zekU-CPACLcB/s400/Facebook%2BLeeds%2Bin%2BWW1%2Btimeline.jpg" width="400" /></a></div>
<br />
<br />
The WW1 Leeds timeline covers many different themes. One area is the military, covering recruitment and conscription and the experiences of the Leeds Rifles and Leeds Pals.<br />
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The Pals suffered terrible losses in the Battle of the Somme. On 1st July 1916, 24 officers of the Leeds Pals took their men over the tops into No Man's Land. At the end of the first day of the battle, only 17 of 900 men answered a roll call. 750 men had lost their lives and the battalion was all but decimated. Across Leeds, hundreds of grieving families closed their curtains in mourning. It is said that after the Somme, every street in the city had at least one house with its curtains drawn. <br />
<a href="https://4.bp.blogspot.com/-hft9AtWEfUE/V7r7vWJBc5I/AAAAAAAAAJo/o5kvuaja6iglfmb9in_08UVYHcffdk-vwCLcB/s1600/Studio%2Bportrait%2Bof%2BCaptain%2BSanders%2Bwearing%2Bhis%2BVictoria%2BCross.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-hft9AtWEfUE/V7r7vWJBc5I/AAAAAAAAAJo/o5kvuaja6iglfmb9in_08UVYHcffdk-vwCLcB/s400/Studio%2Bportrait%2Bof%2BCaptain%2BSanders%2Bwearing%2Bhis%2BVictoria%2BCross.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries.jpg" width="256" /></a><br />
<h4>
<b>Personal War Stories</b></h4>
One of the aims of WW1 Leeds is to reveal the individual war stories of people from Leeds. We want to bring out the personal experiences as well as the overall events and statistics. One of the stories we follow is that of George Sanders of the Leeds Rifles. Sanders received a Victoria across for courage and leadership shown during the Battle of the Somme. Later in the war, he also earned a Military Cross and also spent some time as a prisoner of war.<br />
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<h4>
<b>Leeds and wartime industry</b></h4>
The timeline also covers the contributions and sacrifices that were made on the home front. Leeds was a key industrial centre, manufacturing, for example, munitions, aeroplanes, blankets and uniforms.<br />
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One of the most notable factories in Leeds was the Barnbow munitions works. Over 3 years, 36 million cartridges and over 24 million shells were produced at Barnbow. Barnbow's workforce of 16,000 people was 93% female. The so-called 'Barnbow Lasses' were well paid for their vital work, which was highly dangerous. Indeed, many of the women made the ultimate sacrifice.<br />
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During the night shift on 5 December 1916, the women in room 42 were filling 4.5 inch shells when a machine malfunctioned. A massive explosion killed 35 women. Such was the secrecy surrounding the work at Barnbow, the incident was covered up and the women were merely listed in the <i>Yorkshire Evening Post </i>as 'killed by accident.' It would be 6 years before the truth was revealed.<br />
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<h4>
<b>Lotherton Hall - convalescent hospital</b></h4>
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<a href="https://2.bp.blogspot.com/-dHD41VEPzmE/V7r8OZ1DfnI/AAAAAAAAAJw/_F_tEB49smAphCAzf6AUtAbe8QUK4ePzwCLcB/s1600/Lotherton%2BHall%2Bduring%2BWorld%2BWar%2BOne.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries%2B%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://2.bp.blogspot.com/-dHD41VEPzmE/V7r8OZ1DfnI/AAAAAAAAAJw/_F_tEB49smAphCAzf6AUtAbe8QUK4ePzwCLcB/s400/Lotherton%2BHall%2Bduring%2BWorld%2BWar%2BOne.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries%2B%25282%2529.jpg" width="400" /></a></div>
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Leeds also became home to many convalescing soldiers. Several military hospitals opened in the city, including at Beckett's Park teacher training college, which was given over to the War Office and treated 57,200 soldiers between 1914 and 1918. Country houses also became hospitals, including 2 Leeds Museums and Galleries sites. Temple Newsam housed recovering officers, whilst Colonel Gascoigne of Lotherton Hall insisted upon his property providing for other ranks.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-dd9lQKqBvUo/V7r8S3vJujI/AAAAAAAAAJ0/MMQnQo3inSEClfW-Kry1oJyJU7nj2Xr1ACLcB/s1600/Convalescing%2Bsoldiers%2Bat%2BLotherton%2BHall.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://1.bp.blogspot.com/-dd9lQKqBvUo/V7r8S3vJujI/AAAAAAAAAJ0/MMQnQo3inSEClfW-Kry1oJyJU7nj2Xr1ACLcB/s400/Convalescing%2Bsoldiers%2Bat%2BLotherton%2BHall.%2BImage%2B%25C2%25A9%2BLeeds%2BMuseums%2Band%2BGalleries.jpg" width="400" /></a></div>
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Given the city's wide contribution to the war effort and its significant losses, it is little wonder that the announcement of the Armistice prompted mass celebrations. 40,000 people gathered at the Town Hall where fireworks were let off. Over the course of the war, from the 82,000 Leeds soldiers, 10,000 men had lost their lives.<br />
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<h4>
<b>Try out the WW1 Leeds timeline!</b></h4>
You can discover more wartime stories and experiences by visiting the <a href="https://www.facebook.com/WW1Leeds">WW1 Leeds timeline</a>. Scroll through the years to explore the different themes. Like and follow the page to receive regular updates about centenary stories and projects on your news feed.<br />
<br />
Why not share your own stories on the <a href="https://www.facebook.com/WW1Leeds">WW1 Leeds timeline</a>? Please get in touch by posting on the page, sending a private message on Facebook, or emailing <a href="mailto:ww1.timeline@leeds.gov.uk">ww1.timeline@leeds.gov.uk</a>. You can also connect with us on Twitter <a href="https://twitter.com/presparty">@PresParty</a>.<br />
<br />
Meanwhile, you'll find <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/In-their-Footsteps.aspx">'In Their Footsteps'</a>, a major temporary exhibition on WW1 Leeds, curated by the Preservative Party, over at Leeds City Museum until the end of 2016.<br />
<br />
<b>If you are aged between 13-24 and would like to become a youth curator, please email <a href="mailto:preservativeparty@gmail.com">preservativeparty@gmail.com</a>.</b><br />
<div>
<br /></div>
Leeds Museumshttp://www.blogger.com/profile/17551306436293812510noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-8828137606087869542016-08-08T14:14:00.000+01:002016-08-08T14:16:26.244+01:00Leeds Remembers: How the local community filled the museum with poppies<br />
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On 1-2 July 2016 the Brodrick Hall at Leeds City Museum was
filled with poppies to remember those who lost their lives during the Battle of the
Somme, and all the lives affected by the First World War.</div>
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<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-HSiOzYHSruA/V6Ssx77hRXI/AAAAAAAAAUA/4F8OzduXNWQjaE5pPSrWdGeLhIVKj1QygCLcB/s1600/184%2B%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-HSiOzYHSruA/V6Ssx77hRXI/AAAAAAAAAUA/4F8OzduXNWQjaE5pPSrWdGeLhIVKj1QygCLcB/s400/184%2B%25282%2529.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">©D’arcy Darilmaz</span></td></tr>
</tbody></table>
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Thousands of poppies cascaded from the upper seating, down
onto the giant map of Leeds. These poppies were red and white, reflecting
remembrance as well as peaceful resistance to war. If you look carefully,
you’ll see some shamrocks too, echoing the Irish roots of many soldiers from
Leeds. <o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OaSrGHbT70U/V6StJoxd5FI/AAAAAAAAAUI/0PnlNSWaVlYBwZhr-52_yZrbvA9oYtRJgCK4B/s1600/205%2B%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://2.bp.blogspot.com/-OaSrGHbT70U/V6StJoxd5FI/AAAAAAAAAUI/0PnlNSWaVlYBwZhr-52_yZrbvA9oYtRJgCK4B/s320/205%2B%25282%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">©D’arcy Darilmaz</span></td></tr>
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Over 45 groups from across the city made the poppies. Many
of the makers were people who are living with dementia – spot the really large
poppies they made! One member of Peer Support was inspired to create this
beautiful embroidery:</div>
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<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-jbFdkZWigk0/V6StvruKi8I/AAAAAAAAAUQ/7xN8QKOZzN0ga8l8zF_p3hLOXz__X0QLgCK4B/s1600/Embroidery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-jbFdkZWigk0/V6StvruKi8I/AAAAAAAAAUQ/7xN8QKOZzN0ga8l8zF_p3hLOXz__X0QLgCK4B/s320/Embroidery.jpg" width="320" /></a></div>
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Inkwell Arts and Groundwork Leeds got sculptural creating
these beautiful clay poppies:<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-UhVa3IPCzGs/V6St7iF-cMI/AAAAAAAAAUg/r2P4Veiopf4psE1YK6SxUB6WQgL9GC-CwCK4B/s1600/IMG_4288.JPG" imageanchor="1"><img border="0" height="240" src="https://3.bp.blogspot.com/-UhVa3IPCzGs/V6St7iF-cMI/AAAAAAAAAUg/r2P4Veiopf4psE1YK6SxUB6WQgL9GC-CwCK4B/s320/IMG_4288.JPG" width="320" /></a></div>
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In the days running up to the installation packages of
poppies arrived from schools, day centres and individuals. One person made this
beautiful poppy, showing Private Jogendra Nath Sen. Private Sen studied at the
University of Leeds and joined the Leeds Pals in 1914. He was killed on 26 May
1916, from wounds to his neck and leg after an encounter with the enemy. His
friends said “he was the cleverest man in the battalion”. <o:p></o:p></div>
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<o:p><br /></o:p></div>
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<o:p> <a href="http://4.bp.blogspot.com/-YUKtQRb6Cqc/V6SuWPXJyQI/AAAAAAAAAU8/NK7w-i4z0nsancagI4un_WZxawWxTPefgCK4B/s1600/Sen.jpg" imageanchor="1"><img border="0" height="320" src="https://4.bp.blogspot.com/-YUKtQRb6Cqc/V6SuWPXJyQI/AAAAAAAAAU8/NK7w-i4z0nsancagI4un_WZxawWxTPefgCK4B/s320/Sen.jpg" width="320" /></a> </o:p></div>
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Another poppy included a beautiful poem that looks at the
relationship between families and remembering: <o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-sf3mIAh7SBU/V6SucVyEynI/AAAAAAAAAVE/CHPNNKhdwN415synoXCwz7LCoxadpeWxQCK4B/s1600/Poem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://4.bp.blogspot.com/-sf3mIAh7SBU/V6SucVyEynI/AAAAAAAAAVE/CHPNNKhdwN415synoXCwz7LCoxadpeWxQCK4B/s320/Poem.jpg" width="320" /></a></div>
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I write this poem<o:p></o:p></div>
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to all the people<o:p></o:p></div>
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who died. and protected<o:p></o:p></div>
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us and didn’t even<o:p></o:p></div>
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fus. while you<o:p></o:p></div>
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were in the <o:p></o:p></div>
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horrifying trenches<o:p></o:p></div>
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we sat on our <o:p></o:p></div>
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benches hoping you<o:p></o:p></div>
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would be safe<o:p></o:p></div>
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and sound and <o:p></o:p></div>
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hold your<o:p></o:p></div>
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ground. <o:p></o:p></div>
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and still fighting<o:p></o:p></div>
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till the end and<o:p></o:p></div>
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not being DeaD.<o:p></o:p></div>
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hoping you will<o:p></o:p></div>
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be next to me<o:p></o:p></div>
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in befo Day<o:p></o:p></div>
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After Day<o:p></o:p></div>
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even when it was <o:p></o:p></div>
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your birthday i <o:p></o:p></div>
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made a cake<o:p></o:p></div>
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with sauce<o:p></o:p></div>
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and<o:p></o:p></div>
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<br /></div>
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Remember when we met <o:p></o:p></div>
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at the lake when<o:p></o:p></div>
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you bought a<o:p></o:p></div>
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fake toy. Boy was<o:p></o:p></div>
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it funny the<o:p></o:p></div>
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teddy looked<o:p></o:p></div>
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<br /></div>
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Like bugs bunny.<o:p></o:p></div>
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I would tell <o:p></o:p></div>
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safe that daddy<o:p></o:p></div>
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would be<o:p></o:p></div>
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home and<o:p></o:p></div>
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you could<o:p></o:p></div>
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<br /></div>
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play with hime<o:p></o:p></div>
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then and both<o:p></o:p></div>
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act like a <o:p></o:p></div>
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ten years old<o:p></o:p></div>
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boy. So<o:p></o:p></div>
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Please<o:p></o:p></div>
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Come<o:p></o:p></div>
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Home<o:p></o:p></div>
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Me and safe are missing<o:p></o:p></div>
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<br /></div>
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From Khabeer Fusev.<o:p></o:p></div>
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<br />
As part of the process, Curator Lucy visited several groups
and schools, discussing the meaning of poppies and the effect of war on Leeds.
East Leeds SILC made a heart-shaped arrangement of poppies, sewn and felted by
hand by the class. One student said they’d struggled with the idea of poppies
and remembering war, until they realised that “remembering is just loving”. <o:p></o:p></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-v7OEpKbRNdM/V6SumBCFzZI/AAAAAAAAAVM/GIfvGOTZ_rQ9oXfaODpSScHnw02FezsMQCK4B/s1600/Kirkstall%2BPoppies.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-v7OEpKbRNdM/V6SumBCFzZI/AAAAAAAAAVM/GIfvGOTZ_rQ9oXfaODpSScHnw02FezsMQCK4B/s320/Kirkstall%2BPoppies.jpg" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">©Kirkstall Festival</span></td></tr>
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On 8 July the poppies moved the Chapter House at Kirkstall Abbey for the Kirkstall Festival.<o:p></o:p></div>
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<h4>
<b>We’d like to thank all the people from across the city,
including:</b></h4>
</div>
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<b>Agnis Smallwood<o:p></o:p></b></div>
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<b>Alexander House<o:p></o:p></b></div>
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<b>Apna Day Centre<o:p></o:p></b></div>
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<b>Armley Grange Day Centre<o:p></o:p></b></div>
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<b>Armley Mills Close Knit Friends<o:p></o:p></b></div>
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<b>Bramley Elderly Action<o:p></o:p></b></div>
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<b>Bramley War Memorial<o:p></o:p></b></div>
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<b>Calverlands Day Centre<o:p></o:p></b></div>
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<b>Calverley Brownies<o:p></o:p></b></div>
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<b>Carr Manor Community School<o:p></o:p></b></div>
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<b>Castleton Primary School<o:p></o:p></b></div>
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<b>Cedars Care Home<o:p></o:p></b></div>
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<b>CHIME with Leeds Irish Health & Homes<o:p></o:p></b></div>
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<b>Cookridge Holy Trinity CE Primary School<o:p></o:p></b></div>
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<b>Crossgates Brownies<o:p></o:p></b></div>
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<b>East Garforth Primary Academy<o:p></o:p></b></div>
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<b>East SILC Temple Moor Partnership<o:p></o:p></b></div>
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<b>Elsie Ayre<o:p></o:p></b></div>
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<b>Frederick Hurdle Day Centre<o:p></o:p></b></div>
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<b>Groundwork Leeds<o:p></o:p></b></div>
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<b>Holt Park Day Centre<o:p></o:p></b></div>
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<b>Holy Trinity Church, Meanwood<o:p></o:p></b></div>
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<b>Ingram Road Primary School<o:p></o:p></b></div>
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<b>Inkwell Arts – Take Over Café & Craft Café <o:p></o:p></b></div>
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<b>InterACT, Church & Community Partnership<o:p></o:p></b></div>
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<b>Laurel Bank Day Centre<o:p></o:p></b></div>
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<b>Leeds Concord Interfaith Partnership<o:p></o:p></b></div>
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<b>Little London Arts<o:p></o:p></b></div>
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<b>Middlecross Day Centre<o:p></o:p></b></div>
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<b>Middlecross Residential Home<o:p></o:p></b></div>
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<b>Morley Library<o:p></o:p></b></div>
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<b>Peer Support Service for People Living with Dementia<o:p></o:p></b></div>
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<b>Pool-in-Wharfedale CE Primary School<o:p></o:p></b></div>
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<b>Rothwell Primary School<o:p></o:p></b></div>
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<b>Royal Armouries<o:p></o:p></b></div>
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<b>St Gemma’s Day Hospice<o:p></o:p></b></div>
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<b>St Joseph’s Catholic Primary School<o:p></o:p></b></div>
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<b>St Matthew’s CE Primary School<o:p></o:p></b></div>
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<b>Space2<o:p></o:p></b></div>
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<b>Suffolk Court Residential Home<o:p></o:p></b></div>
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<b>West SILC at Farnley Academy<o:p></o:p></b></div>
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<b>Westborough High School<o:p></o:p></b></div>
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<b>Wetherby High School<o:p></o:p></b></div>
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<b>Wheatfields Day Hospice<o:p></o:p></b></div>
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<b>Whitecote Primary School<o:p></o:p></b></div>
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<b>Wykebeck Day Centre<o:p></o:p></b></div>
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<b>Zest Health for Life<o:p></o:p></b></div>
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<b>… and many other anonymous donors</b><o:p></o:p></div>
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<h4>
<b><br /></b><b>How to get in touch:</b></h4>
</div>
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If you would like to contribute to the display in the future
or would like them displayed near you, please email <a href="mailto:ww1heritage@leeds.gov.uk">ww1heritage@leeds.gov.uk</a><br />
<br />
<b>By Lucy Moore, Projects Curator at Leeds Museums and Galleries</b><br />
<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/12492995005263293825noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-12181842500602428512016-08-05T11:25:00.006+01:002016-08-05T19:00:01.682+01:00Appeal for stories of the 2015 Leeds Floods!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Xv9iZ_6T0_A/V4dW3KAH-8I/AAAAAAAAAAM/MevrgTMJNGsEb9BzJNfrg4x-olI7fG53wCLcB/s1600/2015%2Bplaque.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Red oblong metal plaque, reads "December 27th 2015 Flood"" border="0" height="110" src="https://3.bp.blogspot.com/-Xv9iZ_6T0_A/V4dW3KAH-8I/AAAAAAAAAAM/MevrgTMJNGsEb9BzJNfrg4x-olI7fG53wCLcB/s400/2015%2Bplaque.jpg" title="" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plaque commemorating the December 2015 flood, at Armley Mills </td></tr>
</tbody></table>
<br />
This December will be the first anniversary of the worst floods in Leeds for many years.<br />
<br />
Leeds Industrial Museum at Armley Mills, a site heavily impacted by the floods which happened on and after Boxing Day 2015, will be hosting a community exhibition to commemorate the event at the end of the year. We are looking for your stories and pictures to complement our existing collections.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-sVlJSYQlUc0/V4dc4NOuitI/AAAAAAAAAAc/S6UepPI5KD4R2PG_UoR27cYpCFmT9OS2QCLcB/s1600/Armley%2BCleanup%2B1946.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="248" src="https://2.bp.blogspot.com/-sVlJSYQlUc0/V4dc4NOuitI/AAAAAAAAAAc/S6UepPI5KD4R2PG_UoR27cYpCFmT9OS2QCLcB/s400/Armley%2BCleanup%2B1946.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph of the clean-up at Armley Mills after the floods in 1946</td></tr>
</tbody></table>
Previous floods such as the ‘Great Flood’ of 1866 have been recorded through the collections of Leeds Museums and Galleries, and this is something we are once again keen to do following the 2015 floods.<br />
<h4>
Share your memories of the Leeds floods!</h4>
<ul>
<li>Were you affected by the floods?</li>
<li>Did you take any photographs of the affected areas?</li>
<li>Would you like to share your memories of previous floods in the Leeds area?</li>
<li>Were you involved in the clean-up operation?</li>
</ul>
Particular areas of focus are around two of Leeds’ museums affected by the flood, namely Thwaite Mills Watermill in Stourton, and Leeds Industrial Museum at Armley Mills, both of which due to their location along watercourses were badly hit by the rising water.<br />
<br />
We are also interested to hear about your experiences from other areas of Leeds, and any photographs that you may have taken of the event.<br />
<b><br /></b>
<b>Please contact Chris Sharp, Assistant Community Curator at Thwaite Mills and Armley Mills, by emailing <a href="mailto:christopher.sharp@leeds.gov.uk">christopher.sharp@leeds.gov.uk</a> if you would like to be involved in the exhibition.</b>Chris Sharphttp://www.blogger.com/profile/11255636144065711515noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-59558419569080672252016-08-01T13:53:00.001+01:002016-08-01T13:58:01.589+01:00Giving the Leeds Ichthyosaur a Face-LiftSomething large and very blue, with a lot of issues, came into the Conservation Studio in April 2015. Some items can be conserved in a short space of time, others need a little more time spent on them and some can be a labour of love.<br />
<br />
The Ichthyosaur lives down in 'dinosaur alley' at the <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/discoverycentre.aspx">Leeds Discovery Centre</a> (our museum store) and was initially chosen to go out on loan. Unfortunately, this did not happen but it meant that it could come in for some sorely needed conservation work.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-HACCvSs8OO0/V5oJiOlzUTI/AAAAAAAAACg/AhGwjSG4ag8pawIr53vsbeyuTNsz2YFWQCLcB/s1600/A%2BOriginal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Icthyosaur dinosaur skeleton, framed with a very blue background." border="0" height="259" src="https://2.bp.blogspot.com/-HACCvSs8OO0/V5oJiOlzUTI/AAAAAAAAACg/AhGwjSG4ag8pawIr53vsbeyuTNsz2YFWQCLcB/s640/A%2BOriginal.jpg" title="Ichthyosaur Before Conservation (LEEDM.B.1843.4)" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The Ichthyosaur before conservation </b>(LEEDM.B.1843.4)</td></tr>
</tbody></table>
<br />
<h4>
<b>1. Paint-stripping</b></h4>
As you can see the background was very blue, the in-painting was noticeable and there was underlying damage. My first course of action was to strip the paint back to see what was going on! We used a steam cleaner, scalpel, a very small sander and a lot of hard work to do this.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-bMr9cAmIx6A/V5oJiCEVflI/AAAAAAAAAC4/pfC9BUPKQb0FV-Ju7B2tPbhguLbVfjFjgCEw/s1600/B%2BPartial%2BCleaning.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Ichthyosaur dinosaur framed with the blue paint now removed, leaving behind a grey stone matrix and lots of old infill." border="0" height="238" src="https://2.bp.blogspot.com/-bMr9cAmIx6A/V5oJiCEVflI/AAAAAAAAAC4/pfC9BUPKQb0FV-Ju7B2tPbhguLbVfjFjgCEw/s640/B%2BPartial%2BCleaning.jpg" title="Ichthyosaur After the Paint Layer Was Removed" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Ichthyosaur after the paint layer was removed</b></td></tr>
</tbody></table>
<h4>
<b>2. Discovering what lies beneath</b></h4>
Once the layer underneath the paint was revealed a number of problems were spotted. There were numerous cracks, missing pieces of bone that had been damaged in antiquity and various types of materials had been used to infill different areas.<br />
<br />
Once this was documented the work could begin on stabilising and repainting the fossil.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-CyqXlhLdDwk/V5oJiVh6o7I/AAAAAAAAAC4/xpuOoEOimxUWF_DLqb8D3OVMaKpyV1gXACEw/s1600/D%2BIn-filled%2BAreas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Ichthyosaur dinosaur framed with bright white filled in areas." border="0" height="242" src="https://3.bp.blogspot.com/-CyqXlhLdDwk/V5oJiVh6o7I/AAAAAAAAAC4/xpuOoEOimxUWF_DLqb8D3OVMaKpyV1gXACEw/s640/D%2BIn-filled%2BAreas.jpg" title="In Filling all the Gaps" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Filling all the gaps</b></td></tr>
</tbody></table>
<b>3. Filling in the cracks</b><br />
<br />
A conservation grade type of Poly-filler™ was used to fill in the cracks and stabilise the fossil. This can easily be carved and sandpapered down lie flush with the surface.<br />
<br />
Once these areas had been in filled and left to dry the surrounding matrix needed to be coated with a paint layer.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-iFH_gsliD7s/V5oJifdTQxI/AAAAAAAAAC4/f1grs6Nl84430s4D0EmkE4gkbIXz3AzNQCEw/s1600/E%2BGrey%2BPaint%2BSurround.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Ichthyosaur dinosaur framed with the background now painted a neutral grey colour." border="0" height="218" src="https://4.bp.blogspot.com/-iFH_gsliD7s/V5oJifdTQxI/AAAAAAAAAC4/f1grs6Nl84430s4D0EmkE4gkbIXz3AzNQCEw/s640/E%2BGrey%2BPaint%2BSurround.jpg" title="The Background is Painted" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The background is painted</b></td></tr>
</tbody></table>
<h4>
<b>4. In-painting and colour-matching</b></h4>
After two coats the in filled sections of the fossil needed to be in-painted. This needs a steady hand and a good eye for colour-matching. We tend to use pigments rather than paints, but it is dependent on the material.<br />
<br />
The rule is six feet away you do not notice but six inches up you can clearly see the in-painted section.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-eLAYyFwuIn8/V5oJiojmxGI/AAAAAAAAAC4/2ePcq19ZCJAyZhREeykUg2B7TM3OfvOXgCEw/s1600/G%2BThe%2BFinished%2BArticle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Ichthyosaur dinosaur framed with the frame stained mahogany. The finished article." border="0" height="180" src="https://3.bp.blogspot.com/-eLAYyFwuIn8/V5oJiojmxGI/AAAAAAAAAC4/2ePcq19ZCJAyZhREeykUg2B7TM3OfvOXgCEw/s640/G%2BThe%2BFinished%2BArticle.jpg" title="The Ichthyosaur is Finished" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The Ichthyosaur is finished!</b></td></tr>
</tbody></table>
<b>5. The finishing touches</b><br />
<br />
Nearly there, just the frame needed varnishing and a deep mahogany was chosen to complement the blue grey paint.<br />
<br />
I hope you'll agree the finished article, which has been in conservation for one year and three months, looks a lot better than when it started its journey with us.<br />
<b><br /></b>
<b>Emma Bowron, Conservator</b><br />
<br />
(All photographs within this blog were taken for Leeds Museums and Galleries and are licensed under Creative Commons BY NC SA)Emmahttp://www.blogger.com/profile/13625488612317755731noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-26916478973726335882016-08-01T13:36:00.001+01:002016-08-01T13:48:29.994+01:00Quest for Information on a Shoemaker’s Last<h4>
<div style="text-align: center;">
<span style="font-family: inherit; line-height: 18.4px;"><br /></span></div>
<span style="font-family: inherit; line-height: 115%;"><div style="text-align: center;">
<strong style="line-height: 115%;"><span style="font-family: inherit;">The
fairytale ending to my brief time at Abbey House Museum</span></strong></div>
</span></h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-IpSqHn35bSg/V43hC8D0QPI/AAAAAAAAAcA/ikNHyjUIDKQmkPQW_w_pHx1x5KgRIgMKgCLcB/s1600/CnPHTXRWcAEPM7y.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="200" src="https://4.bp.blogspot.com/-IpSqHn35bSg/V43hC8D0QPI/AAAAAAAAAcA/ikNHyjUIDKQmkPQW_w_pHx1x5KgRIgMKgCLcB/s200/CnPHTXRWcAEPM7y.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h4>
<span style="font-family: inherit; font-size: small;"><span style="font-size: x-small;">
Holly Roberts, work placement student, <br />pictured at Leeds Discovery Centre</span><br />
</span></h4>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;">As a placement student I have had a
chance to experience a brilliant range of aspects of heritage and curatorial
work. But one thing which has consistently impressed me (and no, despite his
wow-factor, it is not the striking juvenile Giant Squid, who hangs,
impressively from the rafters of the Leeds Discovery Centre store) but it is simply
the unfolding of the history of objects through research. </span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit; line-height: 115%;">I particularly like
researching very mundane objects (yes, you can sigh) because often,
paradoxically, they have the most intriguing and familiar stories to tell.</span></div>
<div style="text-align: left;">
<span style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;">In line with the upcoming Fairytale
exhibition (at Abbey House) I was to work on the Elves and the Shoemaker story, which involved
getting hands on with a fairly enormous plethora of shoemaking tools and
equipment. It was a fairly rusty, dirty iron shoe last buried amongst many
other nondescript lasts and other shoemaking equipment which grabbed my
attention. </span></span></div>
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;">This Last, however was branded in enormous letters 'LION'. After a
clean-up I thought to investigate, where did this giant hunk of rusty metal
come from and what life had it had?</span></span></div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-_gzhydoDd4M/V4z8lIhUMYI/AAAAAAAAAbo/MPbzKLplZxgx0JiXDJME_OBUYvYbfEnWACLcB/s1600/LEEDM.E.1988.0316.lionlast1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="266" src="https://4.bp.blogspot.com/-_gzhydoDd4M/V4z8lIhUMYI/AAAAAAAAAbo/MPbzKLplZxgx0JiXDJME_OBUYvYbfEnWACLcB/s400/LEEDM.E.1988.0316.lionlast1.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: inherit; font-size: small;">Lion Foundry shoe last</span></b><br />
<span style="font-family: inherit; font-size: small;">(Photograph by Holly Roberts for Leeds Museums and Galleries )</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><strong>From Glasgow with love</strong></span></span></div>
</div>
<span style="line-height: 115%;"><span style="font-family: inherit;">To find anything at all from the
word LION was of course going to be a struggle, but after a while, estimations
of manufacturing dates and variation of the name I discovered THE LION IRON
FOUNDRY. The Lion Iron Foundry was established in 1880 at Kirkintilloch, near
Glasgow, by the firm of Jackson, Brown & Hudson. </span></span><br />
<span style="font-family: inherit;"><span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 115%;"><span style="font-family: inherit;">The foundry went from
strength to strength, employing one twentieth of the population of the Burgh of
Kirkintilloch by 1910 but its earlier works in the late 1800s were less
impressive, manufacturing railings, gates and other largely mundane items, most
likely when our unassuming last was created. Into the twentieth century The
Lion Foundry began to take on more ambitious projects such as bandstands, tram
and bus shelters. Developing a fine reputation from 1900-1914 the foundry was involved
in large constructional ironwork projects in cities all over the UK. <o:p></o:p></span></span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<div style="text-align: left;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><strong>The Surprise<o:p></o:p></strong></span></span></div>
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-hIP48tuUX-M/V4z9NSt5IgI/AAAAAAAAAbs/mKwtvfJK-MIQV86Qlean3BG9DhS1pCKoQCLcB/s1600/LeedM.E.1985.0087.0012.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="400" src="https://3.bp.blogspot.com/-hIP48tuUX-M/V4z9NSt5IgI/AAAAAAAAAbs/mKwtvfJK-MIQV86Qlean3BG9DhS1pCKoQCLcB/s400/LeedM.E.1985.0087.0012.jpg" width="257" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;"><b>County Arcade, Leeds, decorated for the Royal Visit 1908</b></span><br />
<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;"><br /></span>
</span></td></tr>
</tbody></table>
<span style="line-height: 115%;"><span style="font-family: inherit;">On further investigation, quite
poignantly on the final day of my placement, I discovered that the Lion Iron
Foundry, with its humble beginnings in the wilds of Scotland had a very
impressive Leeds link! What are the chances? The Lion Foundry supplied and
erected the highly ornamental roof trusses, domes and balcony railings of the incredibly
beautiful and ornate Leeds County Arcade. </span></span><br />
<span style="font-family: inherit;"><span style="line-height: 115%;"><span style="font-family: inherit;"></span></span><br /></span>
<span style="font-family: inherit;"><span style="line-height: 115%;"><span style="font-family: inherit;"></span></span>
<span style="line-height: 115%;"><span style="font-family: inherit;">As reported in the<i> Kirkintilloch
Herald</i> of 29 November 1899, ‘A BIG ORDER – We are gratified to learn that the
Lion Foundry Company have been successful in securing a large English order that
will ensure a briskness in certain depart<span style="font-family: inherit;">ments for months to come. It is an
arcade for Leeds, in which ornamental castings will play a large part.’ To my
utter surprise, my rusty old shoe last had led me to uncover a hidden history!</span></span></span></span><br />
<span style="font-family: inherit;"><span style="line-height: 18.4px;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 18.4px;"><span style="font-family: inherit;">So on the very last day of my exciting and fulfilling placement with Abbey House Museum the faith in my rusty old iron last had paid off. This hunk of Glaswegian metal, sat on the desk in front of me had a story! A fantastic and very surprising link to a significant part of Leeds heritage. </span></span></span><br />
<span style="font-family: inherit;"><span style="line-height: 18.4px;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 18.4px;"><span style="font-family: inherit;">Even the most unremarkable of items, lost in the sea of an extraordinary collection, are truly worth exploring.</span></span></span><br />
<div>
<span style="font-family: inherit;"><br /></span></div>
<b style="line-height: 18.4px;"><span style="font-family: inherit;">More information on The Lion Iron Foundry can be found on the <a href="http://www.edlc.co.uk/heritage/local_history/online_exhibitions/the_lion_foundry.aspx" target="_blank">East Dunbartonshire Leisure & Culture Trust website</a> </span></b><br />
<span style="font-family: inherit;"><span style="line-height: 18.4px;"><b><br /></b></span><span style="line-height: 18.4px;"><b>By Holly Roberts, Work Placement student from Lincoln University </b></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="line-height: 18.4px;"><b><br /></b></span></span>
<span style="line-height: 18.4px;"><span style="font-family: inherit;">(All photographs within this blog were taken for Leeds Museums and Galleries and are licensed under Creative Commons BY NC SA)</span></span></span>Kittyhttp://www.blogger.com/profile/16816632682526261417noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-76474432827370300822016-07-19T17:09:00.000+01:002016-07-20T16:07:23.259+01:00Temple Newsam House and the Local Community<span style="font-family: inherit;"><b>Placement student Liu Liu shadowed Assistant Community Curator Helen Pratt and learned about the work she does to help groups and the local community make use of </b></span><b>Temple Newsam House</b><br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-5wVtJnvh2hM/V45P4qrBilI/AAAAAAAAB0Q/VE7wMGATQx89EFfn4Eiwlpe7__NZAJNoQCK4B/s1600/TN_Liu%2BLiu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://4.bp.blogspot.com/-5wVtJnvh2hM/V45P4qrBilI/AAAAAAAAB0Q/VE7wMGATQx89EFfn4Eiwlpe7__NZAJNoQCK4B/s400/TN_Liu%2BLiu.jpg" width="400" /></a></div>
<b></b><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">My role in Temple Newsam was divided into observation and interviews. </span><span style="font-family: inherit;">The first time I was involved was at an event called Pirate Shell Treasure Hunt, with a family learning group of children and their parents. Helen led the tour and told stories about the house, while the children found the shells. </span><span style="font-family: inherit;">During their visit, children’s interest in the house and its history grew.</span><br />
<h4>
<span style="font-family: inherit;">Connections with the local community</span></h4>
<span style="font-family: inherit;">I suddenly understood what Helen told me about building connection with communities. Although those people were living close to Temple Newsam House, they might not have had the chance to get to know the history of the place. There now are activities that can bring them together and provide them with opportunities to spend time there. </span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OCB3S-6Kx_g/V45QCGDJtWI/AAAAAAAAB0Y/dEz9yesoVpAd1f40LXg4vxA8yugqJs2QwCK4B/s1600/Liu%2BLiu_Creative%2BWriting%2Bgroup%2Bpic.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-OCB3S-6Kx_g/V45QCGDJtWI/AAAAAAAAB0Y/dEz9yesoVpAd1f40LXg4vxA8yugqJs2QwCK4B/s320/Liu%2BLiu_Creative%2BWriting%2Bgroup%2Bpic.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>A creative writing group finds inspiration from the <br />Visioning the Landscape exhibition </b></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span>
<br />
<h4>
Becoming 'hosts' as well as visitors</h4>
<span style="font-family: inherit;">I also attended the visits from creative writing groups to the Visioning the Landscape exhibition. These groups consist of people of a variety of ages, who are interested in arts and writing poems. After this tour, the members write poems about their feelings and thoughts on the house and the exhibition. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Their poems are displayed in different places of the house for other visitors to read. By creating poems, they become not only visitors but also hosts. This type of co-creation can encourage deeper audience and community engagement. </span><br />
<h4>
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">What does 'community engagement' mean?</span></h4>
<span style="font-family: inherit;">I had always believed that people took part in a group either due to personal interest or because they were being paid. I learned that this is not the case. For a community or interest group, the more important thing is that there is someone they can trust and be familiar with, especially in the areas of arts and heritage. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Sometimes people think art is far away from their life and they cannot understand it. However, if there are friendly people encouraging them to join in, people are more likely to get involved. This is the way that Assistant Community Curator Helen Pratt has been working in community engagement.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The placement in the Temple Newsam House deepened my understanding of audience and community engagement. I have seen the power of word of mouth and the importance of building connections between community and the sites. People are attracted by the history of Temple Newsam and that history, as well as the chance to work with different people can have a beneficial effect on their lives.</span><br />
<div>
<br /></div>
Jen Newbyhttp://www.blogger.com/profile/02195746575161913777noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-46098484983042354222016-07-18T16:29:00.000+01:002016-07-19T17:10:43.087+01:00What's in a bottle? Uncovering a Victorian business bust-up<h4>
Work placement student Ruth Headlam discovered a rocky business partnership while researching nineteenth century mineral water manufacturers at Abbey House Museum</h4>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-O8UxM8spuUA/V1qaIbNz93I/AAAAAAAAAaA/3ICQFkKrnZgkPqy6jvp8FIyZsR5mEhjNACKgB/s1600/LEEDM.E.ZO.5813.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="https://2.bp.blogspot.com/-O8UxM8spuUA/V1qaIbNz93I/AAAAAAAAAaA/3ICQFkKrnZgkPqy6jvp8FIyZsR5mEhjNACKgB/s1600/LEEDM.E.ZO.5813.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: inherit; font-size: x-small; line-height: 115%;">Harston
& Co. glass bottle about 1890. <br />(</span><span style="font-family: inherit; font-size: x-small; line-height: 115%;">This photograph was taken by Norman Taylor for <br />Leeds Museums and Galleries and is licenced under <br />Creative Commons BY NC SA)</span></b><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: "calibri";">Often research starts from just a few clues on a museum object, such as an inscription and may reveal unexpected links between objects in the collection.</span></span></span><span style="font-family: inherit;"></span><br />
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<span style="font-family: inherit;">I researched various Victorian companies and individuals during my six week placement at Abbey House Museum. One of the companies I did extensive research on was Harston & Co. Surprisingly, the origins of this company start with the mineral water manufacturer Barrett & Co. </span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wdqAR-gqBK4/V1qf3fKUGJI/AAAAAAAAAaI/VeEusigEXLA0ZTYM0J2Ylkv8U-ctYbBIgCLcB/s1600/LEEDM.E.2015.1.53.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="400" src="https://1.bp.blogspot.com/-wdqAR-gqBK4/V1qf3fKUGJI/AAAAAAAAAaI/VeEusigEXLA0ZTYM0J2Ylkv8U-ctYbBIgCLcB/s400/LEEDM.E.2015.1.53.jpg" width="266" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><b>
</b></span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<b><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">Barrett & Co. stoneware bottle about 1900. </span></span></b><br />
<b><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">This style of stoneware bottle was originally intended for ink, <br />but Barrett's used them to sell mineral water. (P</span></span><span style="font-family: inherit; font-size: x-small;">hotograph by <br />Norman Taylor for Leeds Museums and Galleries)</span></b></div>
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<h4>
A lucky discovery</h4>
<span style="font-family: inherit;">When faced with the task of researching Barrett & Co. I came across various obstacles. Trying to find information about this company resembled extracting blood from a stone! </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">When I was about to give up and move on to another company to research, I came across a pdf online. It consisted of two pages of the <i>London Gazette</i> from 1873, stating the dissolution of the partnership between George Alfred Harston and John Simpson, the owners of Barrett & Co. T</span><span style="font-family: inherit;">his dissolution may have led to the creation of company of Harston & Co.</span><br />
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<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: inherit;">Extensive research in Leeds Central Library and online, revealed that George Alfred Harston decided to carry on Barrett &Co. alone. He then decided to create his own mineral water manufacturer aptly named Harston & Co. in 1881, and ran it alongside Barrett & Co. </span><span style="font-family: inherit;">Harston & Co. acquired Barrett & Co. in 1899 and continued to be in business until 1955. </span><br />
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<span style="font-family: inherit;">Although I had a rocky start with regards to the research, I was still able to find out more than I would have imagined, which delighted me as a lover of history.</span><span style="font-family: inherit;"> </span></div>
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<span style="font-family: inherit;"><b>B</b></span><span style="font-family: inherit;"><b>y Ruth Headlam, work placement from Leeds Trinity University.</b></span></div>
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Kittyhttp://www.blogger.com/profile/16816632682526261417noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-43679023052343282502016-07-13T13:24:00.000+01:002016-07-13T13:24:48.493+01:00Glow in the dark Victorian glass<strong><span style="font-family: inherit;">Plenty of diverse and dangerous objects pass through Conservator Emma's workshop. While working on these glow-in-the-dark Victorian ornaments she had to get out the Geiger counter!</span></strong><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-kBsSrdJaXsI/V3zIT3flpEI/AAAAAAAAACI/2mDPFRFS5cInf4om6hoOb8DW1HqM1aEKgCLcB/s1600/Lion%2BPaperweight%2Bin%2BNormal%2BLight.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="Seated green glass lion paper weight photographed under normal lighting conditions." border="0" height="320" src="https://1.bp.blogspot.com/-kBsSrdJaXsI/V3zIT3flpEI/AAAAAAAAACI/2mDPFRFS5cInf4om6hoOb8DW1HqM1aEKgCLcB/s400/Lion%2BPaperweight%2Bin%2BNormal%2BLight.jpg" title="Under Normal Light" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Victorian lion glass paperweight made by James Derbyshire & Sons,<br />(pictured under normal light)</span></td></tr>
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<strong><span style="font-family: inherit;">Glowing Glassware</span></strong><br />
<span style="font-family: inherit;"></span><br /><span style="font-family: inherit;"></span>
<span style="font-family: inherit;">Some of our glassware has a unique property, it glows under UV light. This is due to very small amounts of the element Uranium found in the glass. Uranium was deliberately added to glass from the early 19th Century right through to before the Second World War, with a few instances up until the late 20th Century.</span><span style="font-family: inherit;"></span><br />
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<h4>
<strong><span style="font-family: inherit;">Why was Uranium added to the glass?</span></strong><span style="font-family: inherit;"></span></h4>
<span style="font-family: inherit;">Uranium gives a unique type of colour to glass, turning it a green/yellow shade. This effect is described as 'Vaseline Glass', although it can be found in a variety of colours. While Iron is a cheaper alternative to creating green glass, Uranium allows glass to become fluorescent. In the Victorian home, with low lighting levels, this glass would have stood out more in the early evening light, giving it a slight glow - something we would not notice in today’s light saturated homes!</span><br />
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<strong><span style="font-family: inherit;">Our Glowing Lion</span></strong><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-IXuWnQNUk4c/V3zIT1nrRjI/AAAAAAAAACE/zHFzH-5FhtEQXZNV2NKaTsI-eVDMNRnTgCLcB/s1600/Lion%2BPaperweight%2Bin%2BUV%2BLight.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="Seated green glass lion paperweight photographed under Ultra Violet light which gives a black background and a green glowing lion." border="0" height="270" src="https://1.bp.blogspot.com/-IXuWnQNUk4c/V3zIT1nrRjI/AAAAAAAAACE/zHFzH-5FhtEQXZNV2NKaTsI-eVDMNRnTgCLcB/s400/Lion%2BPaperweight%2Bin%2BUV%2BLight.jpg" title="Under UV Light" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Victorian glass paperweight made by Derbyshire & Sons in 1874 (pictured under UV light)</span></td></tr>
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<span style="font-family: inherit;">The lion-shaped piece of glassware pictured above was produced by James Derbyshire & Sons, a Manchester firm. The lion is a paperweight, with a registration date of 3rd July 1874 on his base. The lion came into Conservation as he came to us in a number of pieces. </span><br />
<span style="font-family: inherit;"></span><br /><span style="font-family: inherit;"></span>
<span style="font-family: inherit;">The colour of the glass tipped us off that he may be very slightly radioactive and that under UV light he would glow in the dark! A sweep of the Geiger counter confirmed this, although the levels detected were very low. After careful conservation we tried photographing the lion in the dark under a UV light source, not an easy thing to do! The lion is now carefully stored behind Perspex™ in a ventilated store with other examples of this types of glass and ceramic.</span><br />
<span style="font-family: inherit;"></span><br /><span style="font-family: inherit;"></span>
<strong><span style="font-family: inherit;">Other 'glowing' objects in our collections</span></strong><span style="font-family: inherit;"></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-81NbbqTCW7Q/V3zIUG-UnhI/AAAAAAAAACM/jeynPZ-CHd02pwi9S9asAj0ur3v31GvmwCLcB/s1600/Mineral%2BUraninite.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="A piece of mineral with black and orange colouration." border="0" height="400" src="https://4.bp.blogspot.com/-81NbbqTCW7Q/V3zIUG-UnhI/AAAAAAAAACM/jeynPZ-CHd02pwi9S9asAj0ur3v31GvmwCLcB/s400/Mineral%2BUraninite.jpg" title="A piece of Uraninite" width="382" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">A piece of Uraninite</span></td></tr>
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<span style="font-family: inherit;">Some minerals in our geology collection also fluoresce under UV light. Some like our radioactive minerals are due to Uranium being present; others glow due to an activator such as minute levels of lead or manganese. You do not need to be radio-active to glow in the dark!</span><br />
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<strong><span style="font-family: inherit;">By Emma Bowron, Conservator</span></strong>Emmahttp://www.blogger.com/profile/13625488612317755731noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-38515486799973051062016-07-08T12:52:00.000+01:002016-07-13T12:23:59.423+01:00The Roundhay blacksmith's stone<h4>
<b>Leeds History Curator Kitty reveals a newly identified object in the collections!</b></h4>
One of the main challenges of curating a large museum collection is the haphazard documentation left behind by one's predecessors. When I have a spare moment, I try and match up information from old donor correspondence with our collections database.<br />
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Often this is frustrating and impossible (letters may refer to vague donations of "various toys" or an "old chair"), but occasionally you stumble across something so accurately described that there can be no doubt and suddenly an unidentified object in store has a story and provenance that justifies its place in the collection. It can also shed new light on an object that you have passed many times in the store and wondered how on earth you might be able to research its history.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-1Vt9ZkneGEQ/V3-QGSTVqzI/AAAAAAAAAbY/lzxcje9LGAgCOtdZAS861RcHdVpzT5rWACLcB/s1600/LEEDM.E.2016.0078.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://2.bp.blogspot.com/-1Vt9ZkneGEQ/V3-QGSTVqzI/AAAAAAAAAbY/lzxcje9LGAgCOtdZAS861RcHdVpzT5rWACLcB/s400/LEEDM.E.2016.0078.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h4>
Keystone with blacksmith emblems in store at Leeds Discovery Centre<br /><span style="font-weight: normal;"><span style="font-size: 12.8000001907349px;">(This photograph was taken by Kitty Ross for Leeds Museums and Galleries </span><span style="font-size: 12.8000001907349px;">and is licenced under Creative Commons BY NC SA.)</span></span></h4>
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In a letter to the museum dated August 1968, Miss Eleanor G. Lupton wrote: 'Our chauffeur here (Frank Buck by name) living in one of our cottages, has a piece of Roundhay antiquity, in which I think you may be interested - It is a keystone of the arched doorway to the blacksmith's forge which stood at Oakwood till nearly the end of the last century, & from which the present "Oakwood Lane" took its name of "Horseshoe Lane" by which it was still known in my childhood.<br />
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'The stone is carved with blacksmith's emblems - hammer, tongs, horseshoe - & was presumably the work of the local stone mason of the Nettleton family, a member of which removed it to his home at Ash Bank, Wetherby Road, when the forge was demolished. Mrs Frank Buck is a member of this family, & she and her husband would willingly present it to the old blacksmith's forge at the Abbey House Museum, Kirkstall if you would care to accept it and fit it in there.'<br />
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The keystone was definitely collected but never seems to have been properly accessioned, catalogued or even displayed at Abbey House as was clearly intended. However, it is now catalogued with its full story and can be seen as part of store tours at the Leeds Discovery Centre.<br />
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Find out more about our store tours on the Leeds Discovery Centre website.<br />
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<b>Kitty Ross, Curator of Leeds History</b>Kittyhttp://www.blogger.com/profile/16816632682526261417noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-26796798897792748052016-07-07T11:14:00.000+01:002016-07-07T11:14:21.813+01:00Creating a new sculpture for Leeds City Museum Window Frame Project<b>Artist Jenni Danson reveals the work behind making The Curve, her new sculpture specially designed for Leeds City Museum</b><br />
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I am particularly interested in empty and ignored spaces. We tend to take notice of a space when it has an object in it. We look at the object but usually ignore the space containing it. If we see nothing there we pass on to the next object. I want to look at the space and its boundaries.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-YLXQyYfu_Sc/V34p0bjYB5I/AAAAAAAAByE/dNXdx1fVWGw9YG4e6z3fwyQ9BoTbfzkcwCLcB/s1600/037%2B-%2BCopy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://4.bp.blogspot.com/-YLXQyYfu_Sc/V34p0bjYB5I/AAAAAAAAByE/dNXdx1fVWGw9YG4e6z3fwyQ9BoTbfzkcwCLcB/s400/037%2B-%2BCopy.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>'The Curve' - image courtesy of Jenni Danson</b></td></tr>
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<h4>
Adapting a concept to a space</h4>
My first thoughts for the piece The Curve was to make the curves within the entire window space. As always with an installation the practicalities of the space and the physical requirements of the piece start to take over. This means that in the end the work arises almost organically from the process that produces it.<br />
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Inserting the curves into the entire window space proved physically impossible in the time available : it was not possible to attach uprights to the wall, the work would interfere with the motion sensors, and the lighting was a fixture.<br />
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<h4>
<a href="https://2.bp.blogspot.com/-BWOQxljfAWM/V34p0aTJQuI/AAAAAAAAByA/LBVubopWjHwcZoG-2pxpXopngRnu5lJSgCLcB/s1600/042.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-BWOQxljfAWM/V34p0aTJQuI/AAAAAAAAByA/LBVubopWjHwcZoG-2pxpXopngRnu5lJSgCLcB/s320/042.jpg" width="235" /></a>Experiments and construction</h4>
Further thought lead to the idea of a third scale model of the window space. Various materials were considered and Perspex was chosen because of its transparency, which would allow the curves to dominate,<br />
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The biggest problem with making the Perspex frame was finding corner pieces. I tried out various commercial corner pieces and eventually cut Perspex corner pieces. This involved a full scale drawing of the base and making a pattern for each corner.<br />
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The frame was constructed at home, thankfully it held together and stood up in the way I intended. It then had to be pulled apart, transported to Leeds City Museum and reassembled in a corner of the special exhibitions gallery.<br />
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I had originally intended to use coloured fishing line but could not get this delivered in time. So the threads used were a combination of cotton, polyester and linen.<br />
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<h4>
Inspiration from stained glass</h4>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-y-HiDu15VmM/V34p0SESPwI/AAAAAAAAByI/qwDwMdyhmH8fPVmHFml6NeTkcNI3b9kIgCLcB/s1600/041.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-y-HiDu15VmM/V34p0SESPwI/AAAAAAAAByI/qwDwMdyhmH8fPVmHFml6NeTkcNI3b9kIgCLcB/s320/041.jpg" width="196" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8px;">'The Curve' - image courtesy <br />of Jenni Danson</b></td></tr>
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The colour choice was to a certain extent instinctive, I usually have a vision of what colour I want a piece to be. In the case of the Curve I wanted to echo the colours in a stained glass window which uses a lot of strong red and blue. There are many possible curves within the frame work. Any two sides as long as they are at an angle will produce a curve, and I chose several of these to show. Each curve was made using a continuous thread, with the ends glued to the frame.<br />
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The curves occur because a straight line is a tangent to a curve, repeated straight lines in close proximity will allow the curve to appear (the reason the old toy Spirograph worked).<br />
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Once the piece was finished it was carefully lifted into place by the museum’s technicians.<br />
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The success of the piece for me is that it does what I envisioned at the beginning despite the changes along the way.<br />
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I hope that The Curve will make the viewer think about the shape if the window and the other curves that exist within the space.<br />
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<b>By Jenni Danson</b><br />
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<b>You can see The Curve on display in the entrance to Leeds City Museum until October. It will be followed by work from other artists.</b>Jen Newbyhttp://www.blogger.com/profile/02195746575161913777noreply@blogger.com0tag:blogger.com,1999:blog-4429216572229550888.post-79275267381083112612016-06-30T12:46:00.001+01:002016-06-30T13:02:02.506+01:00Medal For the Somme - Centenary Commemoration<h4 style="text-align: justify;">
<span style="font-family: inherit;">As we mark the centenary of the Battle of the Somme, Emma our Conservator reveals the medal awarded to veterans of the battle.</span></h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Wg4zpcjoENw/V3T-H_tactI/AAAAAAAAABw/-6DCai70Hy8xx5z_H_w_WbFhwIZbIXmHgCLcB/s1600/LEEDM.N.2011.0796.French%2BMedal%2Bfor%2Bthe%2BSomme%2B1914-18%2B%2526%2B1940%2B24092013a.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="Bronze medal with yellow and blue stripped silk ribbon. Image shows two soldiers from antiquity holding shields and javelins. There is a French cockerel and British Lion in the foreground. Figure lying down at the top of the medal with a water jar above sumbolising the River Somme." border="0" height="400" src="https://4.bp.blogspot.com/-Wg4zpcjoENw/V3T-H_tactI/AAAAAAAAABw/-6DCai70Hy8xx5z_H_w_WbFhwIZbIXmHgCLcB/s400/LEEDM.N.2011.0796.French%2BMedal%2Bfor%2Bthe%2BSomme%2B1914-18%2B%2526%2B1940%2B24092013a.jpg" title="One side of the Medal - showing the symbolism" width="210" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">One side of the Somme Medal <br />- showing the symbolism</span></td></tr>
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<span style="font-family: inherit;">We have a very special medal on display within the </span><a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/In-their-Footsteps.aspx" style="font-family: inherit;">In Their Footsteps Exhibition</a><span style="font-family: inherit;"> at Leeds City Museum. </span>Our Conservation Volunteers cleaned the medal some time ago, ready for it to be displayed.<br />
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<strong><span style="font-family: inherit;">The Recipient</span></strong><br />
<strong><span style="font-family: inherit;"><br /></span></strong>
It was issued to Lance Corporal Thomas Hinsley Place from Leeds, who would have had to apply to the French Creux de la Somme Veterans Association to receive it.<br />
<strong><span style="font-family: inherit;"><br /></span></strong>
<span style="font-family: inherit;">We have items from </span><span style="font-family: inherit;">Thomas and his brother Alfred in our collections, including medals and ephemera. </span><span style="font-family: inherit;">Thomas was in the Leeds Pals Regiment, 15th Battalion West Yorkshire Regiment, whilst his brother Alfred was a Petty Officer in the Royal Navy.</span><br />
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<h4>
<span style="font-family: inherit;"><strong>How did Veterans Receive the Somme Medal?</strong></span></h4>
<span style="font-family: inherit;">Only those who were able to prove that they had been physically present and had participated in any of the battles that occurred in the Somme region from 1914 to 1918 were allowed into the association. </span><span style="font-family: inherit;">Membership was extended to those who had opposed the German invasion of the Somme region in 1940.</span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; float: right; margin-bottom: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-8ZvE_LPMpgU/V3T-H_n6I5I/AAAAAAAAABs/XiOFYL-blL4KEQ2JHLraBZm3H3g8wOH9QCLcB/s1600/LEEDM.N.2011.0796.French%2BMedal%2Bfor%2Bthe%2BSomme%2B1914-18%2B%2526%2B1940%2BB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="Simple inscription on the other side of the medal." border="0" height="400" src="https://2.bp.blogspot.com/-8ZvE_LPMpgU/V3T-H_n6I5I/AAAAAAAAABs/XiOFYL-blL4KEQ2JHLraBZm3H3g8wOH9QCLcB/s400/LEEDM.N.2011.0796.French%2BMedal%2Bfor%2Bthe%2BSomme%2B1914-18%2B%2526%2B1940%2BB.jpg" title="Other side of the Medal - with the plain text." width="188" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Other side of the Somme Medal <br />- with the plain text</span></td></tr>
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<h4>
<strong><span style="font-family: inherit;">Symbolism on the Medal</span></strong><span style="font-family: inherit;"></span></h4>
<span style="font-family: inherit;">The medal is made from bronze with a silk ribbon. The ribbon is yellow with a central blue stripe. The medal has the bronze assay mark of the Paris mint on the edge and the signature of M Delannoy.</span><span style="font-family: inherit;"></span><br />
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<span style="font-family: inherit;">One side has two soldiers from antiquity facing right with their cloaks flowing behind them and a shield in one hand and a javelin in the other. There is a French cockerel behind the British lion in the foreground. At the top there is a figure lying down with a water jar above them, this is symbolising the River Somme. The translation of the inscription reads ‘Battles of the Somme, July-November 1916'.</span><br />
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<span style="font-family: inherit;">The other side is very plain with a single inscription translating as ‘Combatants of the Somme 1914-1918-1940’. </span><br />
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<h4>
<strong><span style="font-family: inherit;">Thomas and Alfred Place's War Stories</span></strong></h4>
<span style="font-family: inherit;">Thomas Place survived the conflict, however, his brother Alfred did not. Both brothers received commendations, Thomas the Meritorious Service Medal for gallantry and devotion to duty. </span><br />
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<span style="font-family: inherit;">Alfred received the Albert Medal for saving life with the loss of his own life in 1916.</span><br />
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<span style="font-family: inherit;">You can discover more about both of their stories at the <a href="http://www.leeds.gov.uk/museumsandgalleries/Pages/In-their-Footsteps.aspx">In Their Footsteps Exhibition</a> at Leeds City Museum and on the <a href="http://apps.mylearning.org/ww1medals/learn-about-our-guardians" target="_blank">Our First World War Guardians</a> website.</span><br />
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<strong><span style="font-family: inherit;">By Emma Bowron, Conservator.</span></strong><br />
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Emmahttp://www.blogger.com/profile/13625488612317755731noreply@blogger.com0