Story Category: Legacy

Booth Museum Bird of the Month, August 2020: White stork, Ciconia ciconia

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August’s bird of the month is the white stork, which is in keeping with this month’s theme in our Climate Conversations series: Solutions.

This year is an exciting one for white storks in Sussex. You may have already seen or heard that white storks have successfully bred in Sussex for the first time since the 1400s. As part of their rewilding project, white storks were reintroduced at the Knepp Estate in West Sussex. This year there were two successful breeding pairs. Four chicks have fledged from the two nests and are expected to begin migrating to sub-Saharan Africa in August or September. 

White Stork

European White Stork case

At the Booth Museum there are two cases occupied by white storks that were only seen in Britain as rare visitors. One of the storks was shot by Booth himself and is displayed in a diorama with ‘natural’ surroundings.  This is part of Booth’s sad tale of his capture of the stork in 1873:

‘Although he had been (as I afterwards learned) for a couple of days in the country abounding with frogs and other suitable food, there was nothing except a few large spiders in his stomach.’ 

The second case is a stork in flight against a blue background. This was shot by another collector in the same year. 

‘…two of these rare visitors to Britain visited the Downs above Brighton but never got any further.’

Thankfully it is looking more positive in this century. This country has been seeing declines of many species of birds, but it is being reversed by successful reintroductions that allow species to recolonise in suitable areas that they have disappeared from. Captive-bred young will be released at Knepp and join the adults and this year’s juveniles on their southward migration. 

Elsewhere, white storks have changed their migration patterns, now sometimes remaining in Southern Europe for the entire year, due to increasingly warm winters caused by climate change. 

You’ll be able to read more about solutions to biodiversity loss and climate change in our Climate conversations series throughout the month of August.

Discover More 

Kerrie Curzon, Collections Assistant

Mr Kenneth and the Royal Pavilion

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Kenneth Battelle was a leading hairdresser who worked with Jackie Kennedy, Marilyn Monroe and other celebrities of the 1960s. When it came to designing his New York salon, he turned to the Royal Pavilion for inspiration.

Giuseppe Longo, author of a new biography of ‘Mr Kenneth’, explains how Brighton’s seaside palace found a place on 5th Avenue.

In the 1960s, Kenneth Battelle became one of the most prolific artists of the hair industry, having built his professional momentum first with cosmetics queen Helena Rubinstein and then with millinery empress Lilly Daché. By the time Jacqueline Kennedy, one of his closest clients, lived in the White House, he had ascended to unofficial king of the beauty industry. His fabled career, which almost reads like a storybook, became name-dropping to the extreme. He collaborated with famed fashion photographers from Richard Avedon to Milton Greene; his work landed among the pages of magazines such as Vogue and Harper’s Bazaar; he worked with cover girl models from Jean Shrimpton to Cheryl Tiegs; and he styled the cast of the wildly popular movie “Valley of the Dolls.” Other loyal clients included Marilyn Monroe (who he prepared the night she sang “Happy Birthday, Mr. President”) and Judy Garland (he styled her hair the night she performed at Carnegie Hall in New York City, which became known as “the greatest night in show business history”).

Kenneth Battelle’s salon. Photographed by Milton H. Greene © 2019 Joshua Greene.

While Vidal Sassoon was in London and Alexandre in Paris, Kenneth’s salon was based in New York City, right off of 5th Avenue. Captivated by its decadent interiors and rich colors, Kenneth used the Royal Pavilion, or as he called it the Brighton Pavilion, as inspiration for his salon’s design and decor. He had enlisted the talent of Billy Baldwin, renowned interior decorator at the time, to bring the extravagant English dream to life.

Kenneth explained:

“I had visited the Brighton Pavilion before and that’s how I wanted my salon. We used a lot of pattern on pattern, cotton-draped walls, wicker furniture, flowered carpeting, lacquer paint in brilliant colors.”

Billy Baldwin had added:

“Paisley on paisley splashed on. The material is cotton—yards and yards of it, used really on a mammoth scale. We swagged it, draped it, tented it, all of it richly colored—scarlet, blue, butter yellow. I thought it would be great fun for a woman to have her hair dried under a paisley tent, her hair curled by the light of a palm-tree lamp as she sits in a lacquered bamboo chair.”

The Royal Pavilion Saloon, as restored in 2018.

The salon set the stage and became a Mecca of elegance where Kenneth cultivated a cult of timeless ladies. Now readers can discover the fascinating story of Kenneth Battelle, including his ties with the Royal Pavilion, in the first-ever hardcover book dedicated to his historic career. “Kenneth: Shear Elegance” is available worldwide, including all good bookstores in the United Kingdom.

Giuseppe Longo, author of Kenneth: Shear Elegance

Discover more

Climate Conversations: The Rainforests of the Ocean

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Our Climate Conversations series continues with a look at how the current climate is affecting the ocean. 

Vital to our oceans, corals are highly threatened by humans. Climate change means that warm water corals are at very high risk of severe damage by the end of the century. But is all hope lost? Can we save our corals?

Coral reef in the Red Sea at Eilat, Israel, Daviddarom/Public domain

The Rainforests of the Ocean

Coral reefs have been described as the ‘rainforests of the oceans’. Like the rainforest, reefs are full of life, yet they manage to thrive on very little. Full of colour and movement, reefs are home to around a quarter of marine life. They are important places for fish to feed and breed. Crabs, sea slugs and other molluscs shelter in their rocky architecture.

What are corals?

Corals may look like stony outcrops, but in fact they are alive. Small animals called polyps produce a chalk-like substance (calcium carbonate) which forms the reef around them. The polyps use tentacles to catch food from the water. Algae (simple plants) live alongside the polyps and help them to harvest food. Where the sea is shallow, light passes through the water and stimulates the algae, making the reef highly productive. The algae are also responsible for giving corals their colour.

Where can we find corals?

Corals occur in warm tropical waters where the temperature is between 18 and 30oC. For example, the Great Barrier Reef runs for 1600 miles along the north-eastern coast of Australia. Corals are also found in the Red Sea, Indian Ocean, East Africa and around the Caribbean, Mexico and Florida.

Corals in the UK?

In contrast to the warm water reefs, cold water corals grow slowly in the deeper, darker waters off north and west Scotland, the west of Ireland and the south-west coast of England. Cold water corals can be found as far north as Alaska. Fishing boats dragging equipment along the sea-bed (known as trawling) can smash coral to pieces and so has been banned in some of these areas.

What does climate change mean for coral?

A scientist studies corals in the Virgin Islands National Park, photo: NS CC BY 2.0

Climate change is a major threat to corals. This is because it poses two very significant risks: rising temperatures and ocean acidification, both of which can cause coral reefs to weaken and die.

Rising temperatures

High temperatures are a major cause of coral bleaching. Coral bleaching is when the coral loses its colour and turns white. Corals are usually bright and colourful because of the algae that lives inside it’s body. When temperatures rise, it causes stress to the coral which makes it expel the algae. The corals that are bleached can recover, but if temperatures stay high enough for a long time they may eventually starve and die.

Bleached coral. Elapied at French Wikipedia.CC BY-SA 2.0 FR

Coral skeleton from the Booth Museum of Natural History

Bleaching can happen when the water temperature is 1oC above its normal maximum. Such high temperatures are likely to be more common, more extreme and longer lasting as a result of climate change. Several global-scale bleaching events have already happened, including one in 2016 which damaged large stretches of the Great Barrier Reef.

If temperatures rise by 1.5 oC as a result of climate change, warm water corals will be at very high risk of severe and irreversible damage. Currently, we are on course for temperatures to increase by nearly double that amount. Even if countries around the world meet their current pledges under the Paris Agreement on climate change, then temperatures could be 2.8 oC higher by 2100.

It’s not just climate change…

Corals are also threatened by over-fishing and fishing in damaging ways including trawling and dynamiting reefs. Tourism and shipping cause problems for reefs if they are badly managed. For example, if people collect or damage coral, if sun-screen gets into the water, or if boats pump oil and waste into the sea.

Urgent action is needed!

Countries around the world have been taking steps to protect reefs from fishing, pollution and other types of damage. This includes setting up marine protected areas (also known as marine conservation zones). These are parts of the sea where damaging activities are either limited or banned altogether. International bodies have called for 30% of the sea to be protected globally, although only around 2.5% to 5% is well protected currently.

Find out about the UK and Sussex’s Marine Conservation Zones.

What can I do?

  • As a consumer, you can choose to eat fish and sea-food that has been caught in a sustainable way and to avoid fish (such as the orange roughy) that comes from cold-water coral reefs.
  •  Avoiding sun-screen containing oxybenzone.

While these measures will help, coral reefs will be in danger unless major steps are taken to cut back the fossil fuels that cause climate change.

Discover More

Diana Wilkins, former Climate Scientist and Booth Museum volunteer

Mid-Week Draw Online: Week 18

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We’ve caught the drawing bug this week, draw us your best creepy crawlies! 

Beth, the great green bush cricket slide in pencil, pastel & ink

Join In

If you are tempted to have a go, please share your drawings with us? We would love to see them. Email them to Beth at beth.burr@brighton-hove.gov.uk 

Tweet @BrightonMuseums or if you are uploading them to Facebook with pride, share the url in the comments section below.

Come back next Wednesday to see what new objects Beth has chosen.

This week’s additional ideas:

  • Head out into the fresh air and sketch any wildlife you find i.e ducks, squirrels, or seagulls on the beach. This will probably be a fast sketch and will help to improve your observational skills!
  • Illustrate a scene from your favourite song.

Discover More

The Mid-Week Draw

Beth Burr, Museum Support Officer

Brighton & Hove’s Dr Dolittle – Buster Lloyd-Jones (1914-1980)

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For some, the company of a pet will have been invaluable during the coronavirus lockdown. Yet in equally exceptional circumstances, a time when Britain was on the brink of war, the nation’s pets also faced an uncertain future.

Buster Lloyd-Jones with a labrador, chihuahua and parrot photographed by Geoffrey Harper,

During the first week of the Second World War some 400,000 companion animals in London were destroyed by their owners, prompted by notices published by the National Air Raid Precautions Animals Committee (NARPAC). These stated ‘if at all possible, send or take your household animals into the country in advance of an emergency’, concluding that ‘if you cannot place them in care of neighbours, it really is kindest to have them destroyed’. Buster Lloyd-Jones offered his home to many displaced and unwanted animals during this tumultuous time. The health and wellbeing of our furry, scaly and feathered friends would become his life’s work.

Considered one of the ‘most skilful veterinary surgeons to have practiced his art’, Buster’s life and career had a bumpy start. Born in 1914 in Feltham, now part of Greater London, William Llewelyn “Buster” Lloyd-Jones was confined to bed with polio as a child but occupied his days observing animals, their traits and interactions with the environment. He later wrote that ‘animals have an instinctive wisdom, a deeply ingrained understanding of nature, which man once had’. 

His affection for animals turned into a passion and he was determined to become a vet, much to the disappointment of his father. Their relationship effectively ended when he enrolled as a trainee in animal husbandry, soon becoming a vet at the animal dispensary in Wimbledon. From 1934, Buster was working in Chelsea and Brighton.

War saw a return to Feltham where he continued his veterinary work. Writing in his 1968 autobiography, Buster remarked that ‘the men went off to war and the women to war work, the children were evacuated; with the family gone there was no place for the family pets. All over the country they were put to sleep in their thousands’. The fate of many animals prompted Buster to purchase Clymping Dene beside Feltham Park, a 1930s detached house set in ten acres of grounds. This became home to a menagerie of animals including cats, dogs, monkeys, goats, two donkeys and a horse. 

Anti-German sentiment saw a rise in the number of dachshunds being neglected, their owners looked upon as ‘dangerously unpatriotic’ Buster recalled. Many were brought to him as evacuees or to be destroyed. He couldn’t bring himself to put them down and at one time found himself caring for 60 dachshunds. Many evacuated dogs were not wanted back at the end of the war, Buster declaring that ‘owners had lost interest in the labradors, the dalmatians, the alsatians that had once been the centre of their lives.’ But he did recount some years later that about 10 dachshunds were collected by owners who looked ‘a bit sheepish… Dachshunds were small enough to be fashionable again.’ Many animals would remain in Buster’s care following the war. 

Another interest of Buster’s was the ‘the process of applying natural remedies to animals’. During the war, when food and medicines were scarce, he trialled natural feeding methods and used homoeopathic and herbal remedies to aid animals back to health.

Buster returned to Brighton after 1945 partly for the sake of his own health, moving to The Homestead off Station Road opposite Preston Park Station. The property was renamed The Denes in the late 1940s during which time his practice continued to flourish, attracting the patronage of some the nation’s most famous pet owners. These included Prime Minister Winston Churchill and the cinema and movie mogul Joseph Arthur Rank, whose wolfhounds and great danes he treated for streptococcal infection.

In 1951 Buster founded Denes Natural Pet Care making natural health care products for animals including food supplements and homeopathic remedies. His reputation continued to grow, receiving global acclaim for his work.

By the mid-1960s, Buster’s health was ailing, and he was no longer able to continue his veterinary work. He wrote to the Royal Veterinary College to remove his name from the register of practising vets, later writing that ‘the weather matched my mood when I wrote that fateful letter. Although it was high summer – 25 June 1965, I will never forget the date – it was a dark and forbidding afternoon.’ 

Although illness now confined Buster to a wheelchair he busied himself with writing. The autobiographies The Animals Came in One by One and Come into My World were published in 1968 and 1972 respectively and have been enjoyed by many. Buster’s humorous anecdotes include his attempts to persuade Churchill not to stuff his poodle with chocolates and his many tales of providing homes to all manner of creatures. 

The following publicity shots of Buster with three of his animal companions were commissioned for use in his publications. They were taken by Hove-based photographer Geoffrey Harper and form part of an album of photographs of local celebrities and Brighton redevelopment works donated to Royal Pavilion & Museums.

Buster sold Denes Natural Pet Care to a friend in 1970 and the business continues to trade today, having been based in Brighton & Hove until relatively recently. Further writing would occupy Buster’s time, and he published a variety of other titles and articles about natural health treatments for animals. He also jested that he felt like Mr Chips watching the dogs of Brighton and Hove passing his home, knowing that many of them or their parents or grandparents were once his patients.

Buster passed away in 1980, but the legacy of his life’s work dedicated to improving the health and wellbeing of our pets endures. He encouraged people to see and appreciate animals in a new light, once musing that that ‘many people love animals but very few really understand them… those that do have something indefinable, far surpassing the qualities of patience and affection, intuition and firmness’.

Dan Robertson – Curator of Local History & Archaeology

Making Things of Beauty out of Found Materials… Under my Feet

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Collections Assistant Joy wonders how pieces of broken Victorian china ended up in her back garden and discovers the answer lies in ‘The Dust Destructor’, used by the Victorians to sort domestic waste and recycle.

When I first moved to my present home in Hollingdean we had to clear our large garden, which was filled with rubbish after decades of neglect.

In amongst the rusty metal (including an entire buried bicycle!) and bucketfuls of broken glass from smashed greenhouses, I started to find little bits of broken china. Every time it rained, more came to the surface of the soil and each piece was unique, blowing my theory that the previous householders had just been very clumsy with their china tea sets! Over the years I’ve found hundreds of pretty pieces – each just a little scrap of a pattern. I’ve cleaned and saved them and eventually had enough of this treasure to use in mosaics, like this square mirror

My next door neighbour even saves the ones he finds for me, every so often there’s a tub of muddy bits handed over which though worthless to him, he knows will delight me!

So how did this broken china get there? Lots of people living near me find these bits too, I’ve even found them embedded in the paths through Hollingbury & Burstead woods and up on the ‘clinker’ paths round Hollingbury Hill Fort. The answer seems to lie with the Victorian management of rubbish and the history of the locality as farmland, smallholdings and allotments. In nearby Hollingdean Road the modern Council Waste Depot has a Recycling Centre and provides a home to the fleet of waste collection lorries with which we are all familiar, but on the site there also still stands the remnants of a Victorian building which was the base for the chimney of the ‘Dust Destructor’.

Dust Destructor Shaft

Roll back to the 1890s and Hollingdean was the edge of the countryside and a good place for all the ‘not so nice’ services necessary to support the growing town – far enough away to be out of sight, and being at the top of the hill, also out of smell! It was the site of the Abattoir, commercial laundries with their drying fields and the Council Dust yard. The Dust Destructor, built in 1895, processed ‘Household Dust’ and all manner of domestic waste which would be sorted and separated into materials, an early system of recycling. Throughout the Victorian era the Dust Yard system collected household waste by horse and cart, the ‘dust’ was mainly coal ash and would be separated manually by sieving to extract it from other rubbish. This was known as ‘soil’ and had commercial value to be sold to brick makers and to farmers as manure. The ‘dust’ men and women who did this worked in appalling conditions outside, I found a photograph from as late as 1901 of workers in a London Depot picking out rubbish from the piles of waste. Their job has endured in the term ‘dustbin men’.

So now I know how the broken china came to be in my garden – it has been swept up by Victorian maids and housewives, processed at the Dust Yard and travelled with the ‘soil’, the ash from their fires, to be spread on the farm land to improve it.

The Hollingdean Dust Destructor would have been the latest designs in 1895, initial sorting would still have been manual, but it comprised a massive furnace to burn anything combustible, with originally a 220 foot high brick chimney to direct the smoke away and up the hill.

Dust Destructor Furnaces

It would have been visible from all around until it was demolished in 1962. Anything that didn’t burn in the furnace left a hard reddish grey deposit, known as ‘clinker’ – this was also recycled into walls (there’s still a huge one opposite Hollingdean Depot) and paths (Hollingbury Hill Fort), look out for it around the City. Waste food went to the pig farms, rags and paper to be recycled, metal to be melted down – so there is nothing new in waste recycling, just the type of materials change.

As well as in my garden, years before I also found broken china pieces in another unexpected place – on holiday in Scotland. Exploring the tiny Island of Cumbrae we found a small beach which was littered with ‘treasure’, pieces of Victorian china, clay pipes, moulded glass and bottle tops, worn smooth by the seawater but still patterned and identifiable by part letters as ‘bloater paste’ and marmalade jars. These were too beautiful to leave and a bucketful came home. Some now live in my pond, where their worn colours are brightened by the water.

Locals on Cumbrae told us the bits regularly arrived on the ‘Treasure Beach’, brought by the tides from Glasgow down the Firth of Clyde, maybe from the site of an old Victorian Dust Yard……..

Joy Whittam, Collections Assistant

Discover More

Read about the Dust Destructor memories on the My Brighton and Hove website

Correction note 17/08/20

The last sentence on this post incorrectly referred to the ‘Firth of Forth’. This has been amended in response to two commenters who pointed out the error.

 

Ocean Blues & Brighton Dolphin Project: Drawing Competition

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To celebrate the launch of Royal Pavilion & Museums new Ocean Blues website and celebrate National Marine Week (25 July – 9 August), Brighton Dolphin Project are launching a drawing competition where you can win fantastic ocean book prizes. 

Brighton Dolphins

The Sussex coastline is home to an abundance of marine wildlife and we are lucky to have not one or two, but three species of dolphin that are regularly spotted in our waters. These include Bottlenose Dolphins, that are here year round, and regular visitors in the form of Common Dolphins and White-beaked Dolphins.

Our coastline is also home to one of the smallest marine mammals, the Harbour Porpoise, and we have two seal species: the Grey Seal and the Harbour (or Common) Seal.

Brighton Dolphin Project

At the Brighton Dolphin Project, we research and study these Marine Mammals. Part of our work is based on recording sightings, where we ask people to report any sightings and tell us about their experience. However, before sightings can be reported, people need to understand what species are out there…

That’s where we need your help! 

We want to tell the residents of Sussex all about our amazing marine mammals and that begins by showing them what our dolphins, porpoise and seals look like.

  • Can you help us by drawing any of our six Sussex marine mammals we’ve illustrated here?

Bottlenose Dolphin drawing, courtesy of Brighton Dolphin Project, all rights reserved

Bottlenose Dolphin

Common Dolphin drawing, courtesy of Brighton Dolphin Project, all rights reserved

Common Dolphin

White beaked Dolphin drawing, courtesy of Brighton Dolphin Project, all rights reserved

White-beaked Dolphin

Harbour Porpoise drawing, courtesy of Brighton Dolphin Project, all rights reserved

Harbour Porpoise

Grey Seal drawing, courtesy of Brighton Dolphin Project, all rights reserved

Grey Seal

Harbour Seal drawing, courtesy of Brighton Dolphin Project, all rights reserved

Harbour (or Common) seal

Send a picture of your artwork to bdp@worldcetaceanalliance.org along with your name, age and contact details by 28 August 2020.

You can focus on any one of the six species or all of them if you prefer. As long as your drawing, painting or model contains one of more of the animals, we want to see it!

We will be selecting prize winners in age groups:

  • Up to 6 years 
  • 7 – 12 years
  • 13+ years

Prizes include

Winners will be displayed on Royal Pavilion & Museums’ Ocean Blues website.

Thank you! We look forward to seeing your creations.

The team at Brighton Dolphin Project.

Brunswick Lawns, Hove, 1900

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This watercolour is a view of Brunswick Lawns on Hove seafront, looking east. It was painted in 1900 and attributed to Clair Cripps.

Signs of the times

We usually use Close Look to invite people to look at the detail in objects in our collections. But in this charming painting of Hove seafront, there is not much detail to be seen.

So you can simply enjoy a snapshot of Edwardian people enjoying a summer walk on the promenade. Or, like me, you can speculate on what the three signs on the fence in the centre foreground say.

In a scene of relaxation and pleasure, these notices seem abrupt and officious, even though we have no idea what they actually say. But it’s clear that no one seems to be taking much notice of them.

Author: Kevin Bacon, Digital Manager

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Mid-Week Draw Online: Week 17

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The Draw takes on a special theme this week.

To coincide with the launch of our new online Ocean Blues microsite this Friday, and to celebrate National Marine Week (25 July – 9 August), the Brighton Dolphin Project are launching a drawing competition where you can win fantastic prizes. Look out for that on Friday too, in the meantime, here’s a few marine inspired objects from the collection to start practising with. 

Good luck!

 

Beth

Join In

If you are tempted to have a go, please share your drawings with us? We would love to see them. Email them to Beth at beth.burr@brighton-hove.gov.uk 

Tweet @BrightonMuseums or if you are uploading them to Facebook with pride, share the url in the comments section below.

Come back next Wednesday to see what new objects Beth has chosen.

This week’s additional ideas:

  • Draw a static object with quick and dynamic movements, working with gestures and movements of the hand. Build up the picture with minimal marks, capturing the visual essence of your subject.
  • Find an image of someone with an interesting face.Turn it upside-down and start copying it. Concentrate on shapes, lines, angles and patches of light / dark. Don’t think about the facial features. When finished, turn your drawing the right way up – you might be surprised at how accurate your version is!

Discover More

The Mid-Week Draw

Beth Burr, Museum Support Officer

A Centenary of Cinema and Beyond – Celebrating the Barnes Brothers

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28 June 1920 was an exceptional day. For on that day, not one, but two film historians were born; John and William Barnes, identical twin brothers, and therefore perhaps the only stereoscopic film historians in the world.

Brian Coe, John and William Barnes, and Stephen Herbert with the Kingston Muybridge Centenary plaque in its temporary setting, Museum of the Moving Image, London, 1992. Photo: Courtesy of Lester Smith

John and William, or Bill as he was known, came from a family whose business was in piano manufacture. When they were twelve, their father died and to help them cope with the loss, an uncle gave them a 9.5mm cine-camera. It was this first camera which set them off on their joint path into the world of film making. Indeed, it was assumed that they would become film makers, having made an early and very accomplished start. However, after the Second World War their focus shifted closer to the collecting and research aspects which they had also been interested in. They were particularly keen on investigating the origin of moving pictures and the early pioneers of the medium, such as those who became known as the ‘Brighton School’ – James Williamson, George Albert Smith, Alfred Darling and others.

Of the pair, John took the lead in writing and produced a number of significant books on the subject, including the five volume The Beginnings of Cinema in Britain 1894-1901. Bill ran an antiques stall in London; his expertise was getting out and about to track down the physical material for their collection, but he took up the pen more frequently after John passed away and continued to keep their research in the public eye.

In 1963 they opened the Barnes Museum of Cinematography in St. Ives, Cornwall, where John lived. The museum was run by John and his wife Carmen and served to display the wondrous collection which the brothers had amassed. During the 1980s, there was a plan to move the museum to London, but this fell through and the St. Ives museum closed. A large part of the collection representing the ‘archaeology of cinema’ went to the Museo Nazionale del Cinema in Turin, and in 1997 Hove Museum purchased the material relating to the Brighton School.

Sadly, neither of the Barnes brothers lived to become centenarians. John passed away in 2008, just prior to his 88th birthday. Bill made it very close, celebrating his 99th year and could still be found trawling through stalls of ephemera in search of a missing postcard (or a ‘spare’ copy of one already owned). It is thanks to their tireless ‘search and research’ approach that many items were saved and collected, to be preserved for future generations of film historians and the general public alike.

Alexia Lazou, Collections Assistant

Discover More

Read about John and William Barnes, and watch their films on the Screen Archive South East website:

View the Barnes Collection on our Close Look at Collections: