Story Category: Legacy

Preston Manor’s old gardeners unearthed

Conservatory boiler room showing chimney, 2017

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Family history research is a popular hobby and with easy access to digital records increasing numbers of us are delving into the lives of our ancestors. So it is always exciting when people come to Preston Manor having discovered family members who lived or worked in the house.

Henry Hooker

Monochrome photo of seated elderly man with a book

Henry Hooker (by permission of descendants of the Hooker family)

In July 2014 descendants of Henry Hooker, Preston Manor’s Victorian gardener, visited and were kind enough to provide biographical information and this photograph showing Henry in thoughtful pose with an open book and potted fern.

Mr Hooker was born near Petworth, West Sussex, in 1830 at the start of the reign of William IV. He died in Brighton aged 83 in 1913, the year before the First World War broke out.

At the time of the 1881 census the Hooker family were living at The Lodge, a substantial flint-faced double-gabled gatehouse at Preston Manor, now sadly demolished.

Family research can reveal interesting secrets. Henry married in 1865 aged 35 but the relationship did not last. Henry set up home with his new partner, Harriet Hills, and for the sake of respectability they simply pretended they were married. In the Victorian period divorce was a complex and expensive procedure not undertaken by many: as late as 1900, for every 20,000 married couples in England and Wales, fewer than three sought divorce in any year.

Henry and Harriet had three sons: Frank, George and Harry aged 11, 10 and 4 at the time of the 1881 census. Harry was born at The Lodge in 1876 and went on to work as a butcher with shops in Elm Grove and Lewes Road, Brighton.

The Hooker boys would have been familiar with the kitchen gardens at Preston Manor, which housed a conservatory, a vinery and a peach house as well as cold frames and potting sheds. If the boys were lucky their father may have allowed them a taste of the luxurious hothouse fruits that graced the tables of his employer. For reasons unknown the Hooker family had moved on by the 1891 census. We know Henry’s health can’t have been a factor, for in 1911 he was listed in the commercial pages of Kelly’s Directory as a ‘jobbing gardener’ at 81 years of age.

One of the many skills required by the Preston Manor head gardener would be looking after the greenhouses, including not only the propagation of plants but also keeping the structures heated. Grand glasshouses of the 18th century had complicated systems using hot air and steam, but early 19th century innovations saw domestic glasshouses heated by hot water pipes by means of a coke fired boiler, as at Preston Manor. Evidence of the system can still be seen today.

Conservatory boiler room showing chimney, 2017

Various greenhouses existed at Preston Manor over the years. A report by Mr Bertie Maclaren of Brighton’s Corporation’s Parks and Gardens Department dated 7 January 1938 states:

‘…the newest greenhouse requires immediate attention in the shape of repairing and painting. The old greenhouses are beyond repair.’

Preston Park Rock Gardens, 2015

At this time the greenhouses were used to propagate alpine plants for the newly created Rock Gardens opposite Preston Park. Shortly after Maclaren’s report, tomatoes and lettuce were grown as part of the ‘Dig for Victory’ directive during the Second World War.

On 13 June 1941 curator, Henry Roberts received a letter from the Acting Superintendent of the Parks and Gardens Department informing him:

‘we are taking the glass out as it has become dangerous for anyone to work under and also, in view of the fact that it would probably all be lost should there be a bomb in the vicinity.’

Colour postcard showing road and floral clock

Floral Clock, Hove, 1960s

The glass must have returned post-war for during the 1950s and 60s the greenhouses were used to cultivate bedding plants for the town. In this period ‘carpet bedding’ of brightly-coloured summer annuals was a familiar sight in all public gardens and parks in Brighton, Hove and other seaside towns. This block-colour formal planting is less fashionable now but a lasting example can be seen at the Floral Clock at Palmeira Square.

The glasshouses at Preston Manor survived until 1994. Much effort was made to save them but sadly the structures had become too dilapidated to restore. Those shown in these pictures from 1993 would have been used by Preston Manor gardener Mr George Cherriman whose descendants visited Preston Manor in July 2015.

George Cherriman

Mr Cherriman was born in 1878 in West Grinstead in the reign of Queen Victoria and died in 1955, the year the first television commercial was aired.

George Cherriman 1952 (by permission of the Cherriman family)

The Cherriman family kindly provided this photograph taken in Cowfold in 1952, and a more perfect example of an old fashioned gardener cannot be imagined. We even know the dog’s name: Apple Blossom. She belonged to George’s younger brother, William, who served in the Veterinary Corps during the First World War. George didn’t go to war. Aged 38 in 1916, he was near the upper age limit for conscription of 41. Gardening was not considered a reserved occupation, but George was exempt being a married man.

At Preston Manor George was employed from the 1920s as a 2nd gardener under head gardener, Mr Franks. He stayed in post after the house became a museum in 1933. Thereafter for ten years until retirement George worked as a gardener for the Brighton Corporation.

We have a colourful description of Mr Cherriman courtesy of the son of Mr Leslie Little, another 2nd gardener at Preston Manor, who had started work there in 1929 at the end of 18. Mr Little’s son, John, was interviewed in 1995.

‘Mr Cherriman…I remember when we were kids we used to go to tea on Sunday afternoon. He lived in North Road which is in Preston Village. He was a gardener a lot older than my father and I think my father actually took a lot of his experience. He was only about five foot eight. He had a lovely moustache that was kind of rolled at the ends. He was quite a character, you know. He said things like what they got up to when they had problems with the boilers and had to keep the heat going in the house and the greenhouses where they used to have to fire up with coke for the hot water pipes. He had a black bowler fitted…that was a part of his uniform in those days and an apron in the greenhouses. I can picture him now. He used to wear the old doings on his trousers, like a spat sort of thing, fitted on top of his boots up to his knees.’

Colour photo of grave stone

Grave inscription for George Cherriman

The Cherriman family came in search of their ancestor’s place of employment and also his grave, which is in St Peter’s churchyard adjacent to Preston Manor. To find the grave we contacted the Churches Conservation Trust at St. Peter’s who located Mr Cherriman in Plot 181. There is no standing headstone but after overgrown plants were cleared we found the inscription on a low stone: ‘George Cherriman died 24th November 1955 aged 77 Rock of Ages’.

Emma Cherriman

Colour photo of grave stone

Grave inscription for Emma Cherriman

Pleasingly, the search uncovered another find at the plot, the inscription for George’s wife, Emma: ‘In loving memory of Emma Cherriman, 10th September 1950 aged 77 years. Abide with Me.’

George and Emma were married at Burstow in Surrey on 28 August 1907. They were married for 43 years and had no children.

We know that Mrs Cherriman also worked at Preston Manor from a 1984 interview with Ethel Silverson, 3rd housemaid from 1920 to 1922.  Ethel recalled how Mrs Cherriman came once a week and scrubbed the floor of the servants’ hall:

‘…it was really white when she’d finished it. It was beautiful’.

The servants’ hall at this time was in the west wing of Preston Manor and is not open to the public at present. The room has wooden parquet flooring, unusually grand for servants’ quarters. It is this wood that Emma Cherriman scrubbed clean; not the flagstone floor seen in the Victorian servants’ hall open to visitors today.

Tours and Hops

Colour photo of group enjoying a tour

Garden Tour of Preston Manor, 2012

Preston Manor’s old kitchen gardens are opened occasionally for special events and pre-arranged tours, and the partly cultivated plot is looked after by a small dedicated team of garden volunteers working under the directive of today’s head gardener who works for the Council’s City Parks team.

In 2016 Preston Manor was approached by Matt Redman of the Brighton Hops Project. The project sought city locations for not-for-profit hop growing, the crops to be exchanged with local breweries. Mat crowdfunded his work and planting took place in early 2017, with Preston Manor acting as a flagship for the project.

Colour photo of hops growing against a flint cobble wall

Hop growing at Preston Manor, 2017

Fragrant dried hop flowers have been used in Britain since the 1500s to impart a bitter flavour to beer. The plant is also used in herbal medicines as a treatment for anxiety and insomnia. Hop plants grow exceptionally tall so the high south-facing walls of the old kitchen garden make an ideal habitat and the plants are thriving well.

Mr Hooker and Mr Cherriman would be astonished to see the Preston Manor kitchen gardens devoid of greenhouses and intensive cultivation. However, plans are underway to develop this hidden corner of the grounds and make good use of the land to benefit future visitors.

Help us learn more

If you discover ancestors with a link to Preston Manor,or know people who worked at Preston Manor in more recent times, we are always pleased to hear reminiscences and see photographs. Putting together the story of the lives of people for whom Preston Manor was a workplace or a home is an ongoing jigsaw puzzle of fragments continually collected together to make a full picture.

Paula Wrightson, Venue Officer, Preston Manor

Unlocking the MuseumLab doors: rarely seen Robert Goff etchings from our stores

Hotel Metropole, c1895, by Robert Charles Goff (FA209267)

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

In Brighton Museum this week we are once again unlocking our MuseumLab doors to give you the chance to view rarely seen objects from our collections.

Every week on Tuesday, Wednesday and Friday afternoons from 2-5pm visitors can meet curators in our MuseumLab space and see an array of curious objects that are normally safely locked away in our museum stores.

Hotel Metropole, c1895, by Robert Charles Goff (FA209267)

Hotel Metropole, c1895, by Robert Charles Goff (FA209267)

Highlight of the Week: Discover Goff, Beyond Barriers

Etching by Robert Goff of the West Pier

Etching by Robert Goff of the West Pier

Visit MuseumLab on Friday 9 June and join our Curator of the Royal Pavilion Archives, Alexandra Loske, as she reveals wonderful etchings of Brighton from the artist Robert Goff. These images will be free from any display cases to give you the chance to get up close and personal with the works, and an opportunity to chat directly to Alexandra and hear intimate stories of this wonderful artist. Why not even relax in our cosy corner, be inspired by Goff, and sketch your own artwork to add to our displays?

 

Be part of a live investigation!

Alexzandra Loske-Page in Museum Lab with Goff Etching (photo credit: Stuart Robinson)

Alexandra Loske in Museum Lab with Goff Etching (photo credit: Stuart Robinson)

A painting from Florence that may be linked to Goff will also be brought to MuseumLab by a researcher for investigation. Alexandra will use our Goff etchings to help reveal any connections between the works.

Come and be part of the open forum on 9 June and help us discover fresh insights into the painting and the Goff etchings.

 

More on Goff

In the video clip below, Alexandra Loske discusses Robert Goff’s West Pier. This was produced for our 2011 exhibition Robert Goff: an Etcher in the Wake of Whistler.

 

[arve url=”https://www.youtube.com/embed/gAWT-RKZDsw” mode=”normal” align=”center”/]

You can also view and download hi-res digital images of some of Goff’s works from our Digital Media Bank.

 

 

 

 

New light on old coins, medals and badges

Ancient Greek coin depicting the head of the goddess Hera, c360BC

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Several of my colleagues have been working with the University of Brighton’s Cultural Informatics Group to create an experimental website that sheds new light on some of the coins, medals and badges in our collection.

Cap badge of 19th Prince of Wales' Own Hussars

Cap badge of 19th Prince of Wales’ Own Hussars

Collectively known as our numismatics collection, these objects are rarely displayed. Even when they are displayed, small items like these are hard to see behind a glass case, and it’s usually only possible to see one side of the object.

The aim of the Coins, Medals and Badges website is to allow users to zoom in on these items, and see both sides. But it also enhances the experience with an unusual application of 3D digital technology.

Why 3D?

Coins, medals and badges may seem like an odd choice to display as 3D objects, as most of us would think of them as being more or less flat. Yet if you examine something like a new pound coin in your hand, you’ll see there is a detailed relief that can only be seen by holding it in the correct position for the light. Much the same exercise is required for examing a coin that was minted thousands of years ago, and the same applies to many medals and badges.

Ancient Greek coin depicting the head of the goddess Hera, c360BC

Ancient Greek coin depicting the head of the goddess Hera, c360BC

The Coins, Medals and Badges website simulates this process by using a technique known as Reflectance Transformation Imaging (RTI). You can read a more detailed description of RTI here,  but a basic explanation is that each object is photographed multiple times with a different light source used in each image. A viewer is then used to rapidly swap between these images as the mouse (or finger on a touchscreen) is moved over the digitised object so that new features and details are revealed or covered by shadow.

The video clip below shows the website in action.

[arve url=”https://www.youtube.com/embed/FgoHSkD9TNo” align=”center” maxwidth=”800″/]

Thanks

Our enormous thanks is owed to the University of Brighton’s Cultural Informatics Group, particularly Dean Few, a PhD student who designed and built the website; Myrsini Samaroudi, a PhD student who worked with Dean to train Royal Pavilion & Museums staff and volunteers to digitise the objects using RTI; and Research Fellow Dr Karina Rodriguez-Echavarria.

Royal Pavilion & Museums work on this project was led by curator Andy Maxted, with the digitisation and web content produced by two volunteers: Aisling Byrne, and Rana Bellem-Hussein.

Details of the software used can be found on the credits page of the Coins, Medals and Badges website.

Please note that as this is an experimental website using some new technology, there may be compatibility issues with some web browsers, particularly Internet Explorer. We recommend using Firefox or Chrome.

Although the website has worked well on the PCs and tablets we have tested it on, you may find some layout issues if using the website on a mobile phone.

 

Kevin Bacon, Digital Manager

A moth eaten blog post by a consumed Assistant Conservator

Close up of Monopis Obivella or the Obvious Moth

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Why am I so interested in moths?

Well, I find insects fascinating, beautiful  and ingenious; but I also happen to care for the Royal Pavilion & Museums’ collections with the help of a great team of colleagues and volunteers. As voracious moths attempt to munch their way through to adulthood (it’s only the larvae that feed on our most precious garments and materials), they become a common topic of conversation in museums.

Magnified photo of moth with wings

Close up of Monopis Obivella or the Obvious Moth

Several webbing clothes moths on a costume on display in the World Stories gallery in Brighton Museum

Several webbing clothes moths on a costume on display in the World Stories gallery in Brighton Museum

Up to a third of my work is dedicated to something known as Integrated Pest Management. This term is used to describe a programme of work involving mapping, trapping and recording pest finds. This is normally done every quarter but in relation to moths, which require pheromone traps, these can often be checked weekly. I do not trap pests in order to eradicate them, but to examine what is seeking harbourage in our buildings and where they might be entering the building. And, yes, there are multiple routes into any building. for example: doors, windows, fireplaces, people’s clothing, and objects coming into or returning to the collection.

From this data and our environmental monitoring we assess each site and decide what course of action we need to take against pests. For example, we may tweak the environment to make it less hospitable (although often we can’t), increase our cleaning programme in specific areas, or carry out refresher training with regards to general collections care.

How to get rid of moths

But enough of the waffle, I hear you say, let’s get to the point: how do you get rid of moths?

  • Look for the source of the infestation – there will be one if you get more than a couple of moths.
  • Vacuum regularly, especially if you have old wooden flooring with gaps – these gaps can offer a wonderful warm pied-a-terre for moth babies
  • Vacuum the underside of rugs and right up to the edge of carpets — moths are clever and just a little sneaky. See below of the type of case you might see.
  • Do not over pack your wardrobe or drawers and remove items regularly to check for moths. Moths love dark undisturbed spaces – think linen cupboards, coat racks, shoe cupboards, laundry baskets (especially the stuff at the bottom of it that never gets washed because it is difficult to dry), and beneath the stairs.
  • Check garments along the seams and the undersides of collars, pockets, crotches, lapels — if you hold them up to the light and your garment looks like Swiss cheese you have moths. If discovered thoroughly vacuum the wardrobe and wash the affected items. If left unwashed, moths will return to the same items. 
  • Textiles can be frozen to kill the moth larvae but that is another post.
  • Wash or dry clean items such as jumpers and suits (especially if merino wool, cashmere and lambs wool or pure new wool) after wearing as moths love sweat and any kind of soiling. Yes, it’s time to ditch luxury in favour of economy!
  • Leather shoes, jackets and feathers can also become a victim of this ravenous feeder. Evidence can usually be found in the form of casts inside the verso of the garment or hide.
  • If you love a bit of vintage, remember to clean it before hanging in your wardrobe.

Regular cleaning and vigilance are everything in the Moth Wars but perseverance will pay dividends in the long term.

Check back soon for pest news at Preston Manor from Vicki and Nick. Later in the year we’ll look at freezing — every moth’s nightmare.

Good luck!

Graymondo, Assistant Conservator

More on moths

Any recent search of the internet concerning moths will produce a huge number of results, such as these listed at the end of this blog post.

Clothes moths are on the march – so let the battle begin! | Daily Mail …

www.dailymail.co.uk/property/article…/Clothes-moths-march-let-battle-begin.html

10 Apr 2017 – … moths across the country. They are handing out free clothes moths traps to help gather moth data. … Share this article. Share. 13 shares …

How can you get rid of clothes moths? | Environment | The Guardian

https://www.theguardian.com › Environment › Insects

2 Nov 2012 – Mothballs, lavender bags, cedar wood… what weaponry can help you win the war against moths, asks Catherine Bennett.

Why are so many clothes moths on the rampage (and how do we stop …

www.telegraph.co.uk › Lifestyle › Women › Life

9 Apr 2017 – Why are so many clothes moths on the rampage (and how do we stop them)?. Clothes moths caught in a trap Credit: Paul Grover …. Share this article …. Comment: Why the UK’s biggest divorce award is good news for …

Arm yourself, moths are coming to attack your wardrobe – Telegraph

www.telegraph.co.uk › News › Features

18 Apr 2012 – … and furnishings. Moths feast on wool fibres – the finer and softer, like cashmere, the better. … On guard: Sarah Rainey is prepared for the clothes moth, Tineola bisselliella – Arm … Related Articles. Moths … Top news galleries …

Rapid rise of clothes moths threatens historic fabrics – BBC News

www.bbc.co.uk/news/science-environment-39504494

6 Apr 2017 – Rare furnishings and fabrics in England’s historic houses are under growing threat from an epidemic of clothes moths, say experts.

End of spring cleaning lets moths thrive | News | The Times & The …

https://www.thetimes.co.uk/article/end-of-spring-cleaning-lets-moths-thrive-cwb5lrpzx

6 Apr 2017 – Moths have been chewing the furnishings at Eltham Palace, in Greenwich, … for a resurgence in clothes moths chewing the contents of Britain’s historic homes. … Register with a few details to continue reading this article.

Clothes moth – solutions for moth infestation of carpets, rugs, clothes

www.valepestcontrol.co.uk/insect-control/clothes-moth/

Clothes moths are a nightmare according to various newspaper articles, but realistically they can be controlled with care and diligence. At Vale Pest Control we …

Moth infestations increase across the UK | UK | News | Express.co.uk

www.express.co.uk › News › UK

Last chance to see a beautiful community group art exhibition

A wall of Museum Mentors Artwork displayed in Brighton Museum’s Museum Lab

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Cool off this Bank Holiday Weekend in Brighton Museum and be inspired by the wonderful artwork created by the local community group ‘Museum Mentors’.

The Museum Mentors members manage various challenges associated with disability and have been meeting together with Brighton Museum staff every week to design, style, and create their own masterpieces.

A wall of Museum Mentors Artwork displayed in Brighton Museum's Museum Lab

A wall of Museum Mentors Artwork displayed in Brighton Museum’s Museum Lab

Awash with Talent

Members of the group have worked tirelessly to create their pieces inspired by the Royal Pavilion & Museums collections. The exhibition showcases their eclectic range of talents from collage and paintings to photography and print. The originality, range of styles and ideas that have come from the group are inspiring and are not to be missed!

Palace Garden Triptych: A garden study of the Royal Pavilion Gardens created in collaboration between two artists and two volunteers

Palace Garden Triptych: A garden study of the Royal Pavilion Garden created in collaboration between two artists and two volunteers

 

‘Bulldogs’: A Cabinet of Curiosities! Curated by Eiffion Ashdown, Member of Museum Mentors

Ceramic Bulldog from Eiffion Ashdown's collection in the Cabinet of Curiosities in Brighton Museum's Museum Lab

Ceramic Bulldog from Eiffion Ashdown’s collection in the Cabinet of Curiosities in Brighton Museum’s Museum Lab

In addition, the Cabinet of Curiosities in Brighton Museum’s Museum Lab will host an array of pieces from Eiffion Ashdown’s Bulldog Collection. Eiffion is a member of Museum Mentors and is a collector of all things bulldog. He has worked alongside Brighton Museum curatorial staff to curate this fascinating display.

Eiffion’s full collection boasts over 3,500 bulldog pieces and range from ceramics to lighters and even a chocolate sculpture! The collection has become so renowned that it has a large online fan base: www.collectibulldogs.com

 

“A good two hundred years of bulldog history, just like the museum…but all bulldogs!” – Eiffion Ashdown, Museum Mentors Member

Read Eiffion’s inspiring story and see this unique collection exhibited in Brighton Museum’s Museum Lab from 24 May on Tuesday, Wednesday and Friday afternoons 2-5pm until late June.

P.S. Don’t forget to leave your mark on our Museum Lab Bulldog…

Sign the Bulldog! This bulldog with be auctioned off and all money raised will go to the Museum Mentors Project

Sign the Bulldog! This bulldog with be auctioned off and all money raised will go to the Museum Mentors Project

 

Grace Brindle, Collections Assistant

Puppet Magic at Hove Museum

The Art of Puppetry. Making Magic in the Museum

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

A new exhibition opens at Hove Museum tomorrow showcasing the work of local puppet artists. In this post, Martina Bellotto talks about her work behind the scenes and the artists involved.

The Art of Puppetry. Making Magic in the Museum is a vibrant and colourful display that brings together local puppet artists with their stories, puppets, props and stage designs.

“They seem to come alive with music, light and dance. This is the art of puppetry.” Philip Sugg

It has been very exciting for me to work on this new exhibition at Hove Museum in the last four months as part of my Workforce Development. It has been great to work with puppet artists and get closer to a form of art with which I was not familiar.

All is finally coming together in these last weeks. We have worked hard on the installation and the galleries are now ready to welcome visitors and to bring them into new worlds, where imagination meets reality. The puppets come alive thanks to the talent of the puppet artist, whether they are operated by string, glove or rod.

Puppetry is a very ancient form of theatre and can take many forms, but all share the same process of animating inanimate figures and objects to tell a story. The puppet artists taking part in this exhibition tell their different tales, from the traditional Italian figures of Punch and Judy to the enigmatic Slavic folktale of Baba Yaga. They show us different ways of storytelling with puppets whether it is through simple paper pop-up theatres, the ancient form of the shadow theatre, giant animal masks or mysterious marionettes.

These puppet artists have a very strong passion for theatre and storytelling which they express through their works. Their creativity and imagination bring twists to old stories as well as the creation of new ones.

The exhibition has two areas. The first overwhelms the visitor with the vibrant enchantment of colours, masks, portable theatres, shadow puppets, marionettes, jig dolls, fantoccini, props and figures. The second projects the visitor into a mystical world of folklore and mythology. This division of the galleries came naturally due to the different sensibilities, ways of working and using materials, and the different stories the artists tell.

The Puppet Artists

The puppet artists whose work can be seen in the exhibition are:

Amanda Rosenstein Davidson
Artist, art teacher, children’s book author, illustrator and craft designer. Amanda paints and exhibits works on themes that reflect her love of theatre, ballet and performance

Philip Sugg
Art historian and retired museum educator that now collaborates with a circle of puppeteers and artists on projects that turn his childhood dreams and passion for the stage into reality.

TouchedTheatre
A collaboration between award-winning puppetry director Darren East and writer/producer Beccy Smith. The duo are specialists in using puppetry, storytelling and film in participatory projects with people experiencing mental health difficulties.

Rust & Stardust
A puppet theatre company run by Eleanor Conlon and Katie Sommers. In their work they combine new writing, puppetry, costume making, music and education. They often use recycled materials and unexpected items in their creations.

Imogen Di Sapia
Brighton based artist/maker whose work ranges over the fields of textile crafts including weaving, costume and puppetry, whilst also creating unique therapeutic storytelling.

Liza Stevens
Liza is children’s author, illustrator and puppet maker. Her puppets are most often made from textiles, frequently using recycled materials.

The artists have created a close group that often works and exhibits together. Each brings their specialisation and experience to the magic to be discovered in this exhibition.

The exhibition will be accompanied by shows, workshops and opportunities to meet the artists. The first of these opportunities is coming very soon, an event open to all that will celebrate the Art of Puppetry exhibition and the other fantastic things to be found at the museum. This takes place on Bank Holiday Monday 29 May: Love Your Museum at Hove Museum.

The event will run from 10am to 4pm with a series of activities during the day for children and grown ups, such as puppet making and craft workshops, fun activities, trails and gallery resources, storytelling for children and talks for adults. There will be artists at work and the opportunity to talk with them, plus close contact with objects from the Royal Pavilion & Museums’ collection.

Come and join us for a fabulous day at Hove Museum!

Martina Bellotto, Gallery Explainer

Exhibition
The Art of Puppetry. Making Magic in the Museum
26 May-30 November 2017
Free admission

Event
Love Your Museum
Monday 29th may 2017
10am-4pm Free, Drop-in

Hove Museum & Art Gallery
19 New Church Road, Hove BN3 4AB

Opening times
Mon, Tue, Thu, Fri, Sat 10 am-5pm
Sun 2-5pm
Closed Wed

We need your help! Choose objects for our Cabinet of Curiosities

Cabinet of Curiosities in Brighton Museum Lab

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

In Brighton Museum next week we will be choosing objects for our Cabinet of Curiosities display. This will have animals from our Natural Sciences collection and will be on display in Museum Lab. We would like visitors to vote for five key objects to display and help us to decide the stories we will tell. Would you like to see local animals? Or would you prefer to learn about more exotic creatures?

Cabinet of Curiosities in Brighton Museum Lab

Hoopoe (Upupa epops)

Get hands on with our mystery object from a migrating animal and investigate what and where it might have come from. Tell us your ideas and help us to create a label for the display.

If you can help with this, please join us on Weds 24 May between 2-5pm outside the Museum Lab in Brighton Museum. It will be a chance to input your ideas for a display in the museum, and an opportunity to meet museum curators and other staff.

Grace Brindle, Collections Assistant

At home with the Homemaker plate

Homemaker plate, c1955

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

In this guest post, author and freelance museum education consultant Rebecca Reynolds discusses a piece of popular crockery in our collections that has now become a much sought after item.

This month sees the 60th anniversary of the first Woolworth’s order for ‘Homemaker’ tea sets, the crockery of choice on so many dining room tables from the late 1950s onwards. You might recognise the Homemaker’s geometric design of sofas, pot plants, carving knives and armchairs.

Homemaker plate, c1955

A plate from the range made its way into a book published in February this year, Curiosities from the Cabinet: Objects and Voices from Britain’s Museums, in which I asked curators, conservators, visitors, users and artists to talk about museum objects from around the UK. Dr Louise Purbrick, senior lecturer in Art and Design at Brighton University, chose to talk about a Homemaker plate in a cabinet on the ground floor of Brighton Museum.

Woolworth’s piled Homemaker kitchenware high and sold it cheap. Teapots went for 10 to 15 shillings (50-75p) and teacups for 2/6 (12 ½p); a full set of plates, bowls and cups cost 31 shillings (£1.55). Many of the families who bought the range could not have afforded the more upmarket furniture shown on it, such as the chic kidney-shaped table. Indeed, the design helped to give the shop’s image a boost: ‘Smart, stylish and modern,’ said an advert of the time. ‘Can it be Woolworth?’. The range, designed by Enid Seeney at Ridgway, was a huge success.

The line has since become highly collectable; a 40-piece set went for just over £400 at Bonhams in 2010. ‘I just love the black and white vintage furniture icons, the simple rounded shape of the items and their overall durability,’ says collector and gardening blogger Gillian Carson.  ‘I have scoured the charity shops for even one plate from this sacred range, but have had to resort to eBay to get my hands on one for my kitchen wall,’ says Claire  Smyth, who blogs about ‘retro wonders’. ‘A red sandwich plate has been found in Australia,’ writes Simon Moss in Homemaker: A 1950s Design Classic, which tells the history of the design and tracks different versions.

Dr Purbrick set a place for the plate in her personal and professional life:

‘The reason I know this plate is because I had one. I was a punk – a little bit of a young punk, and in the 1980s I was setting up home – or at least, I was moving into a flat – and I bought a few of these in second-hand shops in Worthing.

Mine was a tea plate. They would have been ever so cheap – 20p each, perhaps less. I really liked them, but you change your mind about things or you feel you can’t carry them, you don’t know where you’re going and you might be moving from an unfurnished to a furnished place so I got rid of them. And then I came across it in the 20th-century gallery in the V&A and thought ‘why did I not keep those?’ But when I bought it I had no idea I was going to be an Art and Design historian; I was working as a home help; thinking about doing social history; I was retaking A-levels and didn’t go to university (that is, to a polytechnic) until I was 23.

The plate has also got quite a humorous and kitsch punk look, like people who liked the B-52s, which I didn’t exactly, but I can see how punk in the 1980s would have some of that humour. Kitsch can be thought of as over-decorated and standing for what Pierre Bourdieu would call vulgar, popular taste because it’s easy to read; you can see the images on the surface of the kitsch object, whereas fine art would be abstract and you would contemplate its significance and deep meanings. So kitsch would stand for ideas of poor taste or working class taste but also a style that’s understandable, translatable, and assimilated into life. But I think kitsch now has become redeemed in the way which a vintage buyer in Brighton, for example, is able to identify something that is at the margins of good taste and which can be recuperated as a sign of knowledge of what’s in and out of fashion.

I wish I still had that plate.’

Front cover of Curiosities from the Cabinet

In the book the plate appears alongside two other domestic objects – a child’s toy farm set from Reading’s Museum of English Rural Life, and Jane Austen’s writing table in the Jane Austen’s House Museum in Chawton, Hampshire.

You can learn more about Curiosities from the Cabinet: Objects and Voices from Britain’s Museums at my website.

Rebecca Reynolds, author and freelance museum consultant

Please note that the Homemaker plate is not currently on display in Brighton Museum, but you can view and download an image from our Digital Media Bank.

BrightonMuseums on Sketchfab

Piltdown Man Skull by Brighton Museums on Sketchfab

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

As part of our ongoing work experimenting with 3D digital technology, we have just launched a Royal Pavilion & Museums account on Sketchfab: sketchfab.com/BrightonMuseums.

3D model of Venus of WillendorfIf you’re not familiar with Sketchfab, it’s a platform for publishing and sharing 3D and VR content online. Numerous museums are using Sketchfab now, and there is even a dedicated channel for 3D content from museums and other cultural organisations.

Sketchfab seems to be fast doing for 3D content what YouTube did for videos several years ago. Like YouTube, Sketchfab is bringing together collections of rich media so that users can easily search and browse through content from a variety of providers. It’s also curing some technical headaches; like video, 3D models are complex media that come in a range of evolving formats and file sizes. One of YouTube’s biggest achievements was to enable people to rapidly publish video without having to worry about codecs and other issues, and enabling the publisher to feel confident that their video would work in most browsers and devices. Indeed, YouTube arguably did this so well that many of us have forgotten how difficult it used to be to publish video on the web.

Publishing Piltdown Man

 

Up until now, we have relied on software such as 3D Hop to publish our models online. 3D Hop is open source and has many great features, but the way we published these models was a laborious process. First, each model had to be compressed down to a manageable size, often with some reduction in quality. Then each model had to be manually uploaded to a server along with a hand coded HTML file to display it. That HTML file then had to be pulled into our website through an iframe, such as this example of the Piltdown Man skull which was kindly digitised for us by the University of Brighton’s Cultural Informatics Group.

By contrast, getting the model online through Sketchfab has simply been a case of uploading the original file to our account, and then copying the embed code into our website. The example above has taken a fraction of the time it took before, and the overall quality is much higher.

Royal Pavilion in detail

Another good example is this 2015 model of the Royal Pavilion by volunteer Colin Jones.This is a complex and detailed model, and compressing it to work with 3D Hop created too much distortion.

Colin was able to get a version of the model live with X3D, but this was still a complicated process. Thanks to Sketchfab we are now able to publish the model again, this time using a detailed 49mb file rather than a heavily compressed version. We have also used Sketchfab to add a metallic surface to the model. While the Pavilion has never had such a surface historically, it helps make the detail of the model more visible.

 

We only have a small number of models available on Sketchfab at present, but we will be uploading more soon.

Kevin Bacon, Digital Manager

 

Grand entrance for a grand piano: George IV’s Tomkison piano returns home

George IV’s Tomkison piano returns home

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

A team of Royal Pavilion & Museums staff have worked tirelessly over the last couple of weeks to secure the funding that made it possible to acquire this extraordinary piano made for King George IV for the Royal Pavilion in c1821. Today it returned home and here are impressions of its arrival.

The piano was bought by the Royal Pavilion & Museums at auction on 6 April 2017. We would like to acknowledge the help of Martin Levy of Blairman’s in the acquisition, who kindly bid on our behalf at the auction. We are also grateful to Norman McSween and Luke Bradley for the help with the research in the history of this piano. The historic piece was secured after a successful bid of £62k was made using money from the Art Fund, Arts Council England/Victoria and Albert Museum Purchase Grant Fund, The Leche Trust and the Royal Pavilion Foundation. On the same day Martin Levy organised its removal to temporary storage near London and we quickly made arrangements to bring this important and exciting object back to its original home. We are immensely pleased that the piano has now arrived safely in Brighton, just a few days after the auction. It will be temporarily displayed in the Music Room pending a decision as to its permanent location. We are hoping to display it in the Entrance Hall where it was shown in George IV’s day.

 

 

More information on the piano:

The piano was made by Thomas Tomkison and is the most celebrated of his surviving works. The maker’s flamboyant approach to case decoration clearly appealed to George’s Francophile and adventurous taste and was perfectly in keeping with the Royal Pavilion style. In a bill in the Royal Archives the piano is described as ‘An elegant rosewood grand piano inlaid with brass, the case highly polished, gilt mouldings, gilt turnbuckles and elegantly carved legs’. At a cost of £236 5/- the piano was well over twice the cost of a standard top quality English grand piano at the time. Accounts reveal that Tomkison supplied other ‘extra elegant’ pianos to the Prince Regent, but no others are known to have survived.

When the Pavilion was sold to Brighton in 1850, Queen Victoria stripped it of its contents which were taken to other royal palaces. When it became clear that the Pavilion was not going to be demolished, Queen Victoria started returning fixtures and fittings. This process has continued under successive monarchs.  Occasionally items are acquired which have by various means left the Royal Collection. These are acquired whenever resources allow by gift or purchase. It is not known when the Tomkison piano left the Royal Collection. It is possible it was sold or disposed of by Queen Victoria because there is some evidence it may have been at Windsor Castle in the 1840s.

We carried out considerable research into the piano in preparation for the funding application and, now that it is back at the Pavilion, will look further into its history. The piano can be seen in a number of images of the 1820s, including this hand-coloured aquatint from John Nash’s Views of the Royal Pavilion at Brighton, published in 1826 (you can see the whole book here).

Entrance Hall of the Royal Pavilion in an aquatint from 1826. The Tomkison piano can be seen on the right.

We also have in our collection a preparatory drawing by Augustus Charles Pugin, who provided the detailed watercolours for the aquatints in Nash’s publication, that shows our piano. Only a couple of areas in this drawing are coloured in, including, coincidentally, the Tomkison piano (see detail of the drawing below).

A detail of A C Pugin’s drawing of the Entrance Hall, c1821

Alexandra Loske, Curator, Royal Pavilion Archives