Thursday, 7 May 2015

The Henry Chimney Sweeping Collection: Victorian Employment and Humour

We often associate employment in Victorian Britain with notions of drudgery, hard toil, long hours and factory work but this wasn’t always the case! The content of the Henry Collection allows researchers a detailed insight into the ordinary and often extraordinary working lives of many Victorian ‘Street-Sellers’. 

As a result of Dr Henry’s fascination with Chimney Sweeping, the Ernestine Henry Collection at Leeds Museums and Galleries contains a wealth of original publications, pamphlets and periodicals about everyday life and employment in Victorian London. Some even contain original photographs of Victorian people at work! These include ‘The Crawlers’, ‘Covent Garden Flower Women’ and ‘Public Disinfectors’. Journals such as Old and New London, Street Life in London and a personal favourite of mine, London Labour and London Poor are among many that this collection holds.



Henry Mayhew, author of London Labour and London Poor wrote a twenty-six issue long series of this pamphlet. Each issue gives detailed eyewitness accounts of the occupation and life of street sellers of certain goods and services. Some of these occupations we would recognise today such as ‘The Baked Potato Man’ and ‘The London Coffee Stall’ but others we may not; ‘The Street-Seller of Nut-Meg Graters’, ‘Street-Seller of Grease Removing Composition’ and ‘Doctor Bokanky, The Street Herbalist.’ Mayhew even relays the sounds of the Street-Sellers; ‘Eight a penny, stunning pears!’, ‘Chesnuts all ‘ot, a penny a score’, ‘An ‘aypenny a skin, blacking.’ These incredibly detailed accounts enable researchers to build a vivid image of everyday activities in a Victorian trading street.

Another unique aspect of this collection is the way in which sometimes dreary aspects of Victorian life, such as employment and more specifically the role of the Victorian chimney sweep, were counteracted with humour. The sheer volume of satirical literature apparent in the collection did surprise me. 

Although some authors in Victorian Britain wrote serious accounts of Chimney Sweeps’ experiences, sweeps were often the central punch line of jokes, witty stories and rhymes. The Humourist's Miscellany; containing Original and Select Articles in Poetry on Mirth, Humour, Wit, Gaiety and Entertainment and also Fun for the Million or The Laughing Philosopher, consisting of Several Thousand of the best Jokes, Witticisms, Puns, Epigrams, Humorous Stories, and Witty Compositions in the English Language, intended as Fun for the Million are just two publications which present jokes related to the occupation of Chimney Sweeping. Judging by the amount of humorous literature in this collection alone it is likely that the Victorians certainly knew how to have a laugh!

A final but equally captivating aspect of working with the Henry Collection is the unique ways in which the objects tell the stories of their previous owners. As a social and gender historian I am fascinated by ordinary peoples experiences of the past. I have catalogued a large number of books, scrapbooks and archive documents in this collection which leave clues as to how such objects were exchanged and came to be in peoples’ possession. 



From the unique, personal, handwritten messages often included on the title pages of various works it is likely that at least some of these objects were given as gifts. The Comic Keepsake was offered to Mary Bolton, possibly as a birthday gift in 1835; 'Mary June Bolton, presented to her by her Mamma, Sept 12th 1835' and likewise, from a handwritten annotation written on the inner cover page, we know that The Christmas Annual belonged to Joe Shard in 1903. 

In a period when literature and especially bound printed works were not as easily accessible as the present day, is touching to observe the handwritten messages in the front of books, pamphlets and scrapbooks in the Henry Collection.


By Chloe Simm, Social History Intern



Wednesday, 29 April 2015

Exploring the Archaeology Collections

What's in a box? In the vast and varied collections of Leeds Museums and Galleries you could find just about anything.

I am privileged to volunteer with the archaeology collection where I am helping to add object records to the computer database. I’ve catalogued everything from swords and arrowheads to brooches and coins. Currently, I’m looking at finds from a Roman site at Wattle Syke, excavated as part of the A1 Bramham to Wetherby upgrade work.

The site has been researched and published before being deposited at the museum. I’ve been working through the publication, pencilling in the new museum numbers and creating a record for each object on the database. As well as the identification, I’m typing in where on the site each object was found so they can be related back to excavation results. Digital record photos are also added.

This is a fascinating chance to open up the boxes and the bags and look at some really good Roman finds first hand. Reading the finds identifications and specialist reports is a great experience, teaching me what things are and what they can tell us.

The objects are made from a range of materials and cover all aspects of Roman life. Below are some favourites from my current box – the copper alloys.

Photograph of a Roman copper bracelet

The intricately decorated Roman brooch pictured above is in remarkable condition, despite dating from the 4th Century AD. The preservation of metal objects at Wattle Syke was very good, so much so that a lot of the metalwork was thought at first to be modern.  
Roman belt buckle decorated with horses' heads

Some of the objects need to be examined very closely in order to see the details. The picture on the right shows a belt buckle with horses’ heads decorating the frame. These features don’t show up very well on the object itself but were recognised by the researcher and have been highlighted in an illustration, which has been added to the database.

The object below is another good example of why having the specialist reports to hand is so informative. It was thought to be a pair of tweezers at the time of excavation but further investigation led to an expert identifying it as a clasp. An X-Radiograph of the object revealed two rivets between the arms which are not visible to the eye.

Illustration of a Roman copper alloy clasp

Roman copper alloy clasp


Finally this twisted Roman bracelet (below) is really interesting. It is broken, but here that is an advantage as it means we can see how it was made - by twisting two strands of copper alloy wire together.  We can say it was a right-hand twist because of the s shape the twist has formed, whereas a left hand twist would look like a 'z'.

Twisted copper alloy Roman bracelet


Objects from the past can tell us so much about the people who made and used them. I wonder what will be in the next box….




Monday, 13 April 2015

My Quest for Chinese Tigers at Leeds Museums


Objects do not easily give up their secrets, but for every secret they divulge many more are yet to be discovered. 

When I was asked to research an object in the Voices of Asia exhibition at Leeds City Museum, I was keen to find a small and little-known item, something that might have been previously overshadowed. I saw the small Chinese jade bowl and I was intrigued by it from the start.


I started reading up on Chinese jades, both online and in the reference library at Leeds Discovery Centre. I gained interesting insights in to the history of Jade carving in China, which dates back 6000 years, as well as a rough idea of when this particular bowl may have been made (Qing dynasty, somewhere between 1800-1880).

Researching jade carved characters
However, I soon noticed that insights were not answers. Nowhere was this more obvious than in the meaning of the bowl’s band of elusive carved characters. The more I researched the carvings the more ambiguous they seemed. I spent a long time examining the object in its case, and then looking around at other items in our collections or in the various books and online references on Chinese symbolism. This was all informative, but I was still no closer to finding out what those characters actually were.


In the end, I needed a closer look. The curator kindly let me take the bowl from its case. Carefully tilting the bowl this way and that, I saw that the figures seemed more muscular than the sinewy lizard-like forms I had imagined, with strong defined spines and large feet. 

Small carved lines on the base of the limbs and on the back of the head suggested fur, and not scales. There was something distinctly feline about the characters.

I took several pictures for our records, and prepared some hand-drawn sketches of the characters. What surprised me was that this act of sketching, which involved focussing in on certain seemingly insignificant incisions, revealed features that I had previously taken for granted. Two highly defined incisions on the top of each of the heads, and several incisions on the limbs, started to look too deliberate to just be a suggestion of fur. They seemed to be tiger stripes.

After some time, a cup of tea, and a bit more online research, I was finally brave enough to write the words ‘carved tigers’ in the object description. This discovery illuminated the meaning of the carving. 

In China, the tiger is appreciated for its beauty and savage power, and is an appropriate symbol for a military person of high rank. The tiger is king of all the animals and can drive away evil demons.

Despite this small victory, I can’t help but feel that there is more that those characters can tell us. If anyone knows more please do tell!


By Sarah, World Cultures intern



Wednesday, 25 March 2015

Leeds Bowling Stories - The Original Oak Bowling Club

The Shire Oak Tree, Headingley Lane
In October 2014, it was my privilege to meet Mr Brian Campleman to hear about his long association with crown green bowling in Leeds. Mr Campleman has had a long and varied career in the game, rising to be President of the Original Oak Bowling Club and then, from 1973 until 2001, General Secretary and Treasurer of the Leeds and District Amateur Crown Green Bowling Association.

He recently donated bowling memorabilia to Leeds Museums and Galleries, including trophies from both the Oak Bowling Club and the Leeds ABA, which we were delighted to receive. They are currently on display at Abbey House Museum on the ground floor.

The Original Oak, Headingley

As well as being keen to hear more about the history of the objects and about the man who donated them, I had some personal interest in hearing Mr Campleman’s recollections. My parents first met in the Original Oak in the late 1970s, and they both clearly remember the bowling green there, of which there is now no trace. I’m sure not every pub-goer realises the long history of the Bowling Club which was once where the Oak beer garden is now, a club which started as long ago as 1868 and only disappeared in the 1990s.

Mr Campleman recalled the irony of being born in Headingley and attending St Michael’s School, which was only a stone’s throw away from the Club he would later join. He vaguely remembers the Shire Oak tree that gave its name to the public house. This tree collapsed in 1941, while Brian was a small boy. He got into bowling by utter chance- another, older member of the Oak Bowling Club put his name forward, while he was serving in the RAF.
The Preston Challenge Shield (1900)

Trophy winners
After telling me about these chance beginnings in the sport, Brian moved on to talking about the trophies he had donated which relate to Leeds and District Amateur Bowling Association. The Leeds ABA was founded in 1897. The premier cup played for was the Preston Challenge Shield (1900), donated by one of the founders of the Association, a Mr. Preston. It was the prize for the 1st division. Coincidentally, the first club to win it was the Oak bowling club, though Mr Campleman pointed out that they had never done so since! 

The Elliott-Forrest Shield, presented by a Mr F. Elliott and Mr E.V. Forrest for annual competition, was the runner up to the Preston Shield. Two further trophies formed the prizes for the second division, the Movley Trophy presented by a Mr Oscar E. Movley in 1906, and the runner-up cup, the ornate Gipton Silver Bowl Trophy, Presented by E.P. Robson Esq. in 1959. In addition to these items, a Centenary Plaque was presented by Tetley’s Brewery to Leeds ABA in 1997 when there was a celebratory bowling match at Bramley Liberal Club.

The bulk of Brian’s recollections relate to the Oak Bowling Club. The top cup played for here was the Plymouth Cup. This was first presented in 1888 by the Armada Tercentenary Commemoration Committee. That year, the Leeds Bowling Club played a match against Torrington Bowling Club of Devon on Plymouth Hoe to commemorate a famous game of July 19th 1588, which had taken place on Plymouth Hoe with the armada in sight! The Don Wise trophy was a runner up trophy to this. 

Two further cups were played for on an annual basis; the Guinness Shield – for the pairs competition - and the Stephenson Cup, presented by the landlord of the Original Oak, Ted Stephenson, some time between 1967 and the late 1980s).Mr Campleman recalled that it was initially played for as a handicap, in one day – but as the older members of the club found they were flagging by 9pm on the Saturday, the final was moved to Sunday and a buffet put on by Ted, who also generally gave cash prizes.

The Oak Bowling Club celebrates its centenary (1968)
Memorable matches
Mr Campleman then recalled two memorable matches. The first was on 1st June 1968 (pictured above) when, on a red hot day, the Oak played against representatives from Tetley’s brewery , dressed as huntsmen in their finery. 

A line was drawn at allowing the accompanying horses on to the green; the head hunstman was permitted to bring his on, so long as it didn’t gallop about! Tetley’s Brewery presented the Club with a hunting horn on a plaque, and a photograph of the occasion shows a Miss Joan Parton of Headingley taking centre stage, in more contemporary garb.

The Armada Plate, presented to the
Oak Bowling Club in 1988
Yet perhaps most memorably was the year 1988, which saw the Oak invited once more to on Plymouth Hoe by Torrington Bowling Club, one hundred years on. The members asked to dress up for the occasion in Elizabethan garb – not something Mr Campleman does usually, he stressed to me, but having seen the photos, they did indeed look splendid as he said. 

After a Tetley’s dray horse and cart had grandly escorted the members as far as the city centre, they changed into normal attire for the journey down to Plymouth, where a hearty meal awaited them on the Saturday night. On Sunday 19th July the match on Plymouth Hoe took place, ‘packed on all four sides’ as Brian recalls. Afterwards, a civic reception and prize giving ceremony took place at the Town Hall.

The club were presented by a commemorative glass vase from Torrington Bowling Club and a commemorative plate from the Civic Trust bearing a picture of the Armada, both of which are now also in our collections. Mr Campleman fondly recalled that the sun shone for the entire duration of their time away – apart from on a visit to Torquay – and after several pleasant days the party got back to the Oak ‘just in time for tea’.

Members of the Oak Bowling Team in 1993

125 years of the Oak Bowling Club

By the early 1990s the membership of the Oak bowling club was sadly in decline however. In 1993, the 125th anniversary of Oak Bowling Club, the Leeds Weekly News were asked to run campaign for new members. It certainly put the Club in the limelight for a while, with a front page piece on the club, but sadly was not sufficient to arrest the waning interest at the time.

I greatly enjoyed my time chatting to Mr Campleman, and it is a real delight that Abbey House Museum have been able to display trophies and memorabilia with such fond personal associations. 

​

By Patrick Bourne, Assistant Community Curator



Friday, 20 March 2015

Copyright and Charles Ginner’s ‘Orphan Works’



You may be surprised to know that we don’t have the copyright holder’s permission to publish any of the images featured in this blog post. Copyright usually lasts for 70 years after the artist’s death, so these paintings by Isaac Charles Ginner (1878-1952) will remain in copyright until December 2022. 

The reason we’re able to show them now is because they’re all ‘orphan works’, which means that the rights holders are unknown or cannot be traced, and we’ve recently been granted a seven-year licence to use the works by the government’s Intellectual Property Office (IPO).

Copyright law helps artists and their descendants to control how their work is used, and also allows them to make money from it, by licensing it out for public use. Anyone who copies a work of art, or publishes it in print or online, must first seek permission from the copyright holder or they commit an infringement of copyright and risk being sued for damages.

What is an Orphan Work?

In October 2014 the IPO launched a new Orphan Works Licensing Scheme in an attempt to give wider public access to millions of creative works. At the same time this protects any rights holders who might come forward at a later date by promising to compensate them.

Applicants must provide evidence of exercising ‘due diligence’ in trying to trace any rights holders, to assure the IPO that all reasonable efforts have been made prior to them issuing a licence.

Many well-known galleries and institutions have tried, unsuccessfully, to trace the heirs to Ginner’s estate, and we could not shed any new light on the matter. He is a well-known artist represented in numerous large public collections (such as Tate and the National Portrait Gallery) yet nobody has ever come forward making any claims on his estate.

How does the licence work?


Our licence cost 10p per work plus a £34 application fee, and was the first under the new scheme to be granted for works of fine art in the ‘still images’ category (which also includes photographs). It allows Leeds Museums and Galleries to use images of Ginner’s paintings in the UK in the following non-commercial ways:

• In live events or exhibitions, including publishing in free handouts
• In any of our newsletters, bulletins or promotional material, either in print or online (for instance this blog!)
• On our social media platforms
• For educational purposes, including any related learning or training material produced.

Another work by Ginner in our collection wasn’t included in the Orphan Works application because it is already in the public domain: Royal Ordnance Stores (c.1943) was commissioned by the government’s War Artists’ Advisory Committee and subject to Crown Copyright (which lasts for 50 years after creation, and therefore expired in 1993).

‘Royal Ordnance Stores’, oil on canvas, by Isaac Charles Ginner.
Work in the public domain, donated by the War Artists' Advisory
Committee, 1947. Photo © Leeds Museums and Galleries.
When our Collections Online site is launched, all the Ginner paintings will be proudly, and legally, displayed alongside thousands of other objects, artworks and artefacts from the Leeds Museums and Galleries collections.

The Orphan Works Register lists all applications and licences granted. Anyone with information that might help to trace rights holders of Orphan Works is encouraged to contact the IPO.

Images from top: 'Leeds', oil painting, 1914; 'The Circus', oil on canvas, 1913; 'Penally Bridge, Boscastle', oil on canvas, 1915-1947. All works are by Isaac Charles Ginner (1878-1952). Images displayed under IPO Orphan Works licence no. OWLS000005, see: www.orphanworkslicensing.service.gov.uk/view-register Photos © Leeds Museums and Galleries

 By Alison Glew, Copyright Project Officer 



Monday, 9 March 2015

Playing detective - Researching Victorian crime objects

Police truncheon made by Howell of Leeds
I have been researching objects in the collection relating to Victorian crime and punishment for next year’s exhibition at Abbey House Museum.Some of the objects I researched were equipment used by 19th Century police constables, such as police truncheons, a policeman’s rattle and a warrant card.


I researched the owners, manufacturers and dates of the objects. This led me to social history section at Leeds Central Library, where I researched the identities of the people who owned or made the objects using trade directories and reference books. On websites such as www.ancestry.co.uk I found birth and death records of the police constables who owned the objects. 

Police rattle made by J Wood, Leeds

Researching past police officers

In order to research the police constables further I went to the West Yorkshire Archives, where I found a detailed account of the careers of the police constables from such sources as a register of police constables from the early 19th to the early 20th century. I also found the identities of the police constables in the police code of conduct book which logged any promotions and any disciplinary actions the police constables faced.

Uncovering court cases

I also researched some of the 19th Century court documents in the collection, such as a document that summoning a woman named Emma Jarrett to court as a witness to testify against a man named Harry Earnshaw. He was later found guilty and was sentenced to six months' imprisonment for stealing two horses in 1880. 

I also found other interesting court cases. There was a jury summons for the Leeds Assizes in May 1926, during which one of the trials involved Louie Calvert, who was one of the last women in Britain to be hanged.

By Bradley Hilton, Level 5 work placement, Leeds Trinity University