Hi Bulb Buddies!

I hope you have had a lovely February and have enjoyed continuing your hard work collecting your weather data! Some schools have even begun logging their flowering data, which is great to see. 

February was quite a wet month for many areas across the UK with some areas seeing more than the full month's average rainfall within the first 14 days of the month, as reported by the Met Office. There were however regional differences, with Scotland and particularly western Scotland reporting below average rainfall. Temperatures were also variable, with it being colder at the beginning of the month and milder towards the end.

Some areas may have experienced a few days here and there of sunshine, which is reflected in some of your comments, and some images I have taken around St Fagans during the month! I wonder if we will see more sunshine now as we enter into March.

Let’s take a look at your observations for last month, as well as some of your flowering updates!

Weather Observations: 

Henllys Church in Wales School

It has been very rainy this week

Lammack Primary School 

Extremely windy and very cold

Henllys Church in Wales School 

It has not been as cold as it has been

Irvinestown Primary School 

We really loved all the sunny weather we had this week

Professor Plant:

Thank you all for continuing to add these details in your comments. We can definitely see the trend of the weather getting milder as we read through the comment timeline, which means our data matches with other weather reports! 

I agree with Irvinestown Primary School about enjoying the bits of sunshine we have still managed to have!

For all schools who were unable to take weather readings due to half term, don’t worry! – but thank you for commenting this under your ‘No Record’ uploads.

Flowering Updates:

Llanmartin Primary School

Our daffodils in pots are blooming (up against the wall) and those planted in the bed and alongside the pathway in the ground are only just beginning to bloom.

Pinehurst Primary School

Our lovely daffodils opened today. They look so pretty and really brighten up our school.

We have a lovely Crocus. We love the purple colour on it.

Lammack Primary School

One of the mystery bulbs flowered on Wednesday. It is a snowdrop.

Another mystery bulb is almost flowering. It looks to be deep purple.

Leslie Primary School 

We are so Excited. Out first Crocus has flowered

We were all so excited to see the purple.

St Chrysostom's C of E Primary School

Many plants daffodils have flowered in the pots Only two have not flowered yet. Daffodils in the ground planter box have also flowered.

Mountain Lane School

A lovely week in Buckley. It was warm and sunny. We all went to check on the flowers on Friday afternoon. None of the daffodils have flowered yet but several looked ready to pop

 St Francis' Primary - Aghaderg 

The pots in the sunnier location of the school grew taller and have opened first

St Mary's CE Primary - Manchester

One daffodil has bloomed; the rest are slowly growing still.

Professor Plant:

It is great to hear that you have started to see your Daffodils, Crocus and Mystery Bulbs bloom! It is so exciting to see your hard work pay off as you watch your plants grow from small bulbs into vibrant flowers. 

It is lovely to know that you feel that they are brightening up your school area, Pinehurst Primary School.

Keep up the amazing work watching over your flowers, Bulb Buddies.

-

This month (March) is now our last month of collecting data for this year, so make sure you are uploading everything you have collected to our website by the 27^th.  Thank you to everyone who has engaged in the project so far.

Professor Plant

When trying to visualise people’s lives, particularly those from the past, it’s often the small things that bring lives to life such as a ticket to a lecture or a brooch - and two items in Amgueddfa Cymru’s collection certainly do that. 

They both relate to Cranogwen, the bardic name for Sarah Jane Rees (1839–1916) a master mariner, poet, writer, editor and temperance worker who, for most of her life lived in the small town of Llangrannog, Cardiganshire. She was born there and throughout her life travelled from there to become one of the most well-known women in Wales in the late nineteenth/early twentieth century. And it was here that her two partners lived, first Fanny Rees “Phania” (1853-1874) who died aged just 21 and later Jane Thomas (1850-?) who, in most of the census returns is described as a ‘domestic worker’, ‘general servant’ or ‘charwoman’. 

Cranogwen was often away, involved in myriad projects and giving lecturers but her first tour started in 1866, a year after controversially winning an Eisteddfod poetry prize when it was revealed a woman had beaten the men. Consequently, when she started touring her name was already known as a Y Gwladgarwr journalist noted: 

The reader will remember that it was the young girl lion who took the prize at the Aberystwyth Eisteddfod for the song for the Wedding Ring. After hearing that, and also understanding that our leading poets, such as Islwyn and Ceiriog were competing, I was a bit surprised that there was some ‘dirt in the cheese’ somewhere. [i]

Cranogwen’s tour centred on her lecture ‘The Youth and the Culture of their Minds’ although this did expand later to include two other lecturers, ‘Anhebgorion Cymeriad da’ (Essentials of a Good Character) and ‘Elements of Happiness’, all concerned with improvements in people’s characters. As she spoke in Welsh, they were predominantly covered by the Welsh language press with the English language media paying very little attention. 

Cranogwen started off in the Aberystwyth area so hopefully Jane did travel with her to provide some support but as the talks grew in popularity Cranogwen travelled further afield and just two months later at Swansea’s Brynhyfryd Chapel nearly one thousand people turned out to see her - a daunting prospect for anyone so hopefully Jane was there as well to give support. 

Word was spreading quickly and, as a journalist at Baner ac Amserau Cymru noted, ‘There is no need in the world to go to the trouble of giving a description of the lecture today, because it is already quite well known throughout Wales.[ii] 

Everywhere she went praise was showered upon her, causing one journalist to wonder if she could live up to the hype: ‘since we had heard such praise for her, we expected her to be good. But we never imagined that she was as talented as she is, and so masterful at her work.’ [iii] Night after night she spoke to rave reviews and her one-hour lecture expanded into two and even longer when local dignitaries sought to appear on stage alongside her, adding their pennyworth. Local poets flocked to her, often writing englyns, many of which were published in the papers, and women were following her example and taking to the stage.

This caused concern. 

Women, particularly ‘young girls’ (she was 27 at the time) should not be lecturing, said the men, who complained of the impropriety of women speaking in public. ‘The inhabitants of South Wales,’ ranted the Cardiff Times, ‘are running wild with the young ladies who are lecturing about the country [and] in the opinion of many eminent men this is going too far.

At the Association of the Calvinistic Methodists held at Carnarvon the Rev. Henry Rees, and eminent minister, whose name is known through the Principality, spoke against female preachers, and stated that it would be far more becoming in those who are fond of preaching to attend to those duties which belong to their sex. We are glad that a gentleman of Mr Rees’s standing has set his face against this new mania.[iv]

‘Are these women not at home?’ Seren Cymru joined in, ‘are we ready to see our parishes being dotted, if not flooded, and women lecturing.[v]

Most journalists ignored them and continued their rave reviews of Cranogwen. 

The talks usually began at 7pm and tickets cost 6d (about £2 today) and audiences were huge with many writers noting how listeners would sit quietly entranced for two hours often nodding in agreement and rewarding Cranogwen with thunderous applause. In almost all her talks it was noted that the profits went to pay off chapel debts. 

Throughout 1867 Cranogwen continued to tour and the Amgueddfa Cymru ticket is dated to 2 January but no newspaper report has been found for Brynmenyn, Bridgend – but then there were so many talks not all were covered and the tour was a year old by this time.

In 1869–1870 Cranogwen toured the United States giving the same sort of lectures – and we would need to examine the immigration records to see if Jane went with her. 

When she returned, Cranogwen continued her good works, and in the early twentieth century she, like many eminent women, become involved in the temperance movement. Drunkenness, particularly among women was endemic as they tried to escape harsh lives and a number of unions were set up to try and tackle this including the Rhondda Women’s Union, set up in April 1901. It was so successful that a decision was made to expand it, and Cranogwen was instrumental in changing it to Undeb Dirwestol Merched y De (U.D.M.D.) (South Wales Women’s Temperance Union) where she was the Organisational Secretary, with her address still listed at Llangrannog. Once again, Cranogwen was touring extensively with the Union.

As they arrived at each town, Union members would process through the streets carrying banners before settling at a chapel where prayers and hymns, and readings from the Bible, were read out followed by speeches by leading members of the Union. In addition, guest speakers featured well-known Welsh women who would draw in audiences, followed by tea and cake and socialising, and the three-hour events were attended by hundreds of people. There would be collections, and sales of pamphlets and badges. The example in the Amgueddfa Cymru collection is technically a brooch and it is not clear if the badges Cranogwen received money for, were these brooches.

By December 1901, new U.D.M.D. branches were growing throughout south Wales and by the time of Cranogwen’s death in 1916 there were 140 branches throughout South Wales. 

Cranogwen was indefatigable, and one can only wonder at her energy. As well as all her good works one of her strengths was the encouragement of so many young women to become writers and orators, even if the men disapproved. 

Cranogwen died in 1916 at Wood Street Cilfynydd, Rhondda Cynon Taf, her niece’s house. ‘No other Welsh woman enjoyed popularity in so many public spheres’[vii] noted the Cambrian Daily Leader. Unfortunately, it is not yet known when Jane died, hopefully the forthcoming biography by Jane Aaron will tell us more, but just five years earlier they were still living together in Llangrannog and the town was to remain Cranogwen’s permanent address for most of her life. No matter how much she travelled, it seems she always went home to Jane.

Memorial to Sarah Jane Rees, Llangrannog (WikiCommons)

[i] Y Gwladgarwr, 5th May 1866

[ii] Baner ac Amserau Cymru, 14 April 1866

[iii] Baner ac Amserau Cymru, 14 April 1866

[iv] Cardiff Times, 5 October 1866

[v] Seren Cymru, 4 January 1867

[vii] Cambrian Daily Leader, 28 June 1916

Before 2017 the Waterfront Museum’s central garden was plain, and had no interest for wildlife to thrive. Then in came the GRAFT Garden to shake up the soil and to introduce a haven for wildlife in what is a concreted area of Swansea. 

Over the last two years I have found many species of insects and birds visit the Garden, and some have even made the Garden their home. 

In GRAFT we do not use any pesticides, and try to use natural organic solutions to the problems posed by pests. 

For World Wildlife Day I am spotlighting some of our most exciting and annoying bugs and birds that visit the Garden and how they impact the space. 

Compost Royalty! 👑🌱

We produce our own compost on site, this is the best place to spot the royalty of the compost heap, and the best bugs in the business of breaking down organic matter into the lovely soil for our growing beds. 

We have the humble Earthworm which helps Aerate the soil and breaking the organic matter into useable soil. We have hundreds if not thousands of them! And did you know that there are over 16 different species! 

Pollinators 🐝🌼      

The insects we love the most! The pollinators. These are a collection of insects (and sometimes birds but not in our case) that support our ecosystem. 

We of course have our Honeybee’s managed by our beekeeper Alyson and a group of students from Dylan Thomas School. At its peak we have over 100,000 bees in our hives!

Bee’s play a massive part in global biodiversity and food production and we are lucky to have them here on site! Please keep an eye out on our what’s on pages on the website for your opportunity to see them! 

Pests 🐛

Every gardener will have a battle with insects, be it Cabbage Moth or Slugs eating all our crops! 

But I am going to highlight a lesser known garden pest called the Aphid. These are tiny black insects that collect in their thousands on plants. Aphids love our Broad beans and Broccoli. They can cause disease in plants so it is important to regulate them. We use companion planting and also some water mixed with fairy liquid to try and support our plants.

We also have a super hero in the form of Ladybugs who eat Aphids and help us create balance. Did you know you can buy ladybugs in the post? I didn’t! 

Birds 🐦

I am not a bird watcher, however when I am working in the garden and see birds follow me around the garden it fills me with a little bit of Joy! 

We found evidence of a nest in our Grapevine last year, I am not sure what species this belonged to, but we also have a resident Robin that calls Graft its home and is its ‘patch’. 

Robins are extremely territorial and you will rarely see more than one Robin. We haven’t named this one yet, but maybe we should name it Charles Watkins after the inventor and creator of The Robin Goch monoplane …. 

So next time you visit the museum, take a walk out into the GRAFT garden and see what wildlife you can spot. 

Introduction: The Journey of Gwen John’s Studio Collection

In 1976, one hundred years after Gwen John’s birth, the National Museum of Wales purchased nearly 1,000 works by the artist from her nephew, Edwin. This collection comprised a handful of oil paintings and hundreds of works on paper that were all part of John’s studio collection.

What Is a Studio Collection?

A studio collection is all the artworks left in an artist’s studio after their death.

When Gwen John died suddenly in September 1939, she left all her property, including her unsold artworks, to her nephew. War had just been declared in Europe and Edwin hurried across the Channel to gather what he could and bring it to the UK for safekeeping, returning after the war to collect the rest. The collection now belonging to Amgueddfa Cymru is the bulk of what remained in Gwen John’s studio, though many works were sold at Matthiesen’s Gallery on Bond Street in London in 1946 and in subsequent exhibitions in the 1950s and 1960s.

How the Collection Came to Amgueddfa Cymru

By purchasing the remaining studio collection, the museum became home to the largest public collection of John’s work anywhere in the world. The studio collection at Amgueddfa Cymru includes over 900 drawings as well as six oil paintings and a number of sketchbooks. Before the museum purchased the studio collection, it owned just three drawings and four oil paintings by Gwen John.

Unfinished Paintings That Reveal Her Technique

The Gwen John studio collection gives an insight into the many different subjects the artist depicted and the different styles with which she experimented. John is best known for her close-toned oil paintings of women and girls seated in quiet interiors. The examples in the studio collection are unfinished, giving us an insight into her painting technique. For example, Girl in Profile (NMW A 148) shows where John has scraped back the paint surface where the girl’s hairbow would have been. Presumably, she was unhappy with her first attempt and scraped it away to try painting it again. Study of a Seated Nude (NMW A 4928) is unusual because it shows John has worked from the outer of the edges inwards, leaving the face of the sitter until last. Both paintings give us a glimpse of the unusual chalky ground (the pale base layer she put on the canvas first before painting over it in oil paint). She mixed this herself using a unique recipe for which we still don’t know the exact ingredients.

A Vast Body of Drawings and Works on Paper

The most notable feature of the studio collection though is the sheer number of drawings and watercolours in it. While John was more focused in her choice of subjects and technique in her paintings, her works on paper are much more varied. They include landscapes and street views, studies of flowers and trees, sketches of cats and horses, and drawings after portrait photographs. Many works are made in series or sets which repeat the same subject. These can be almost identical (NMW A 15751, NMW A 15752, NMW A 15753), or vary in colour and medium (NMW A 15303, NMW A 15304, NMW A 15305).

Recurring Subjects: Churches, Figures, and Everyday Life

The most frequent subject in her works on paper are figures in church (NMW A 3811). She drew the congregants of her local parish church in Meudon, then copied out these images again and again in her studio before adding watercolour and white pigment (NMW A 3611). The single image repeated the most often is Saint Thérèse of Lisieux and her sister, Céline, as children (NMW A 3536, NMW A 15563, NMW A 15565). It was inspired by a photograph of them, of which Gwen John owned a copy. In each version she drew, John changed the composition slightly, adding and removing curtains, wallpaper, and toys from the background, playing with scale, and changing the colours and patterns of every surface. John used much more vivid colours in her works on paper than she ever did in her oil paintings.

What the Collection Reveals About Gwen John

The Gwen John studio collection gives us an insight into the artistic practice of one of Wales’s best-loved artists. Containing unfinished oil paintings, sketchbooks, and works on paper, it shows how methodical and experimental she was. It also gives us a glimpse into her world: the places where she lived, her friends and neighbours, her pets, her interest in nature and religion, and her art training. This collection is an invaluable resource, befitting of one of the most famous Welsh artists of the twentieth century.