: Collections & Research

There is often some competition from people interested in archaeology to participate in Amgueddfa Cymru – Museum Wales’ student work placements, and I was delighted to secure a placement to help the museum assess and catalogue human remains. 

Joining a small group of individuals on placement, some of whom are students from Cardiff’s Archaeological Science course, we worked alongside the Curator to assess skeletons from the early medieval cemetery at Llandough, near Cardiff.  The excavations in the early 1990s produced in excess of a thousand skeletons, which have remained in Amgueddfa Cymru’s archive awaiting full examination. 

We learnt how the skeletons must be stored and handled in accordance with ethical standards for dealing with human remains.  Each skeleton is individually assessed for completeness, and sometimes it is possible to identify the sex and observe evidence of age and disease.  This information is recorded for entry into the Amgueddfa Cymru catalogue and will be useful in future research of human remains and the Llandough site, and contribute to the study of medieval archaeology more generally. 

Examining human remains provokes reflection on the lives of medieval people and, whilst it may not be for everyone, it does bring us closer to the past in a special way.  The work placement was an excellent learning experience.  The Curator, Adelle was very patient with all the questions raised by the student placements and generous in sharing her knowledge and skills.  It is a great way for Amgueddfa Cymru to engage with the public, and I am grateful for the opportunity to see behind the scenes and contribute to the work of the museum.  I hope Amgueddfa Cymru will continue to offer such opportunities for those who would like to get involved.

For more information on work placements for students, visit the 'Get Involved' pages of the website. It is possible to sign up to a mailing list to hear about any placements when they are advertised.

I was appointed an Honorary Research Fellow at Amgueddfa Cymru – Museum Wales earlier this year and I've finally made it down to see the collection I'll be working with!

I'm doing work on Jessie Knight, considered one of the UK's first female tattoo artists, and it was amazing seeing her machines, flash, art and photos. There are about 1000 items in the archive and I only looked at two boxes so I'm really excited to get stuck in and see what I can find. I'll be working with the collection for two years and am planning some community events as well as participatory research.

I got my first tattoo aged 19. A piece of flash chosen from the walls of a studio in Bath, inked on by a tattooist who I can’t remember anything about except he wore black gloves. Over twenty years later and I’ve got many more, mostly custom designs inked over multiple sessions, the latest by a woman whose mother I used to work with. Tattoos have, even since I got my first one, become more mainstream, more acceptable. And female tattoo artists are becoming more common - a far cry from the early 20^th century when Jessie Knight began work.

Jessie, born in Croydon in 1904, is widely considered to be the UK’s first female tattoo artist. She began working at her father’s studio in Barry when she was 18, and after moving around the UK returned to Barry in the 1960s. After her death in 1992 her collection of photographs, artwork, tattoo machines and designs passed to her great nephew Neil Hopkin-Thomas and was acquired by Amgueddfa Cymru, with the help of art historian and tattoo academic Dr Matt Lodder, in 2023. 

But why on earth should a tattooist’s archive be acquired by a museum, or put on display? As someone who has, and researches, tattoos the collection is a fascinating piece of subcultural history. And subcultures – like punk and hip-hop – have increasingly become the subject of exhibitions at museums and galleries. Tattoos reflect the hopes, loves and identities of the people who have them – as the tattoo of the highland fling that won Jessie second place in the 1955 Champion Tattoo Artist of All England competition attests – and give us an insight into the lives of people through the ages. 

But the Knight collection also tells us about the cultural and societal norms of the time. It’s estimated that there were only five other female tattoos in the US and Europe working at the same time as Jessie. This was an incredibly tough industry for a woman and we can see some of the behaviour Jessie would have had to put up with in the signs she displayed – preserved within the collection. Her great-nephew has told stories about how Jessie’s shop was broken into and her designs taken, and how she would sit on a big trunk that held her designs while she was tattooing so no one could get to them.

The designs in the collection also tell us about the trends of the day, and while some of these are intensely problematic and need to be addressed sensitively, we can also see how Jessie moved away from the more stereotypical representation of women as sex objects to create a more realistic depiction of women. This was unusual at the time, but then Jessie herself was also unusual – and blazed a trail for female tattoo artists working today. 

If you can believe it, we keep a copy of every museum publication we produce. Yes, every flyer and brochure and after a while it starts to pile up! While in the process of ordering and categorising this mountain of coffee table litter and ephemera into a cohesive collection, it’s been fascinating to see the way that Amgueddfa Cymru’s branding has changed and evolved over the years. The logos and designs tell us not just about how the museum represents itself but also they tell us something about the time they were written in. So, let’s take a look at the museums branding and design over the decades.
In a museum brochure from 1968, the simplicity of the design is striking with its bold text and the solid red graphic of columns and pediment, which is the globally used symbol for museums (but more on that later). Yet for a modern eye it still looks old fashioned; there are no photos or even a colour gradient and it is printed onto plain white paper. The inside contains only small black text of museum department events, in a list, with little formatting. for example:
Zoology: In the Gallery near the Restaurant: Demonstration of Taxidermy of birds and mammals. 10am -12 noon

In 1969 we get a new look for monthly Programmes. This style sticks for the next decade. A bright solid colour fills the background, and the words “Amgueddfa Genedlaethol Cymru National Museum of Wales” are in a large clear bold text. The front of each issue has a large single black and white image that takes up the centre of the cover. This is however the only image the programmes contain, but maybe as a result the images picked usually look dramatic and intriguing. There is something reminiscent of album cover art about them. In the December 1969 issue the cover features a picture of a lunar landing module and the moon from space. Inside are details of a 3-day exhibition where the museum had genuine moon rock on display.

In the 1980’s we get a new look again, which we can see in the museum’s monthly programmes. But if it wasn’t for the date, you might assume it to be older than it is. The writing is in a traditional serif font and each issue has the same image a marble fresco of a woman holding a picture of the Welsh dragon with Ionic columns in the background. It is the Seal of the National Museum of Wales. It is an architectural feature of the Cardiff site that you can see today above the entrance of gallery 1. 

It is an image that is meant to invoke a certain ideal of “The Museum” that it is grand, historic, noble, and “cultured”. The monthly programmes certainly work hard to solidify this visual brand, having the large logo/seal prominent on every issue that leans into the imagery we already associate with museums. As with the earlier 1968 programme both are invoking the image of the Museum as a grand marble Greco-Romanesque styled structure. This seal is then used in slightly different forms on all publications for the next decade and a half.

The icon for museums as a row of pillars with a triangle pediment on top is widely used. It is the image you will see on brown road signs or tourist maps to mark the location of a museum and certainly the National Museum Cardiff and the Roman Legion Museum do have that classic museum look complete with towering columns. It is an image that may well reflect what museums used to be like, opulent buildings that looked at foreign artefacts like Greek statues. But it is an image that now many museums are working hard to move away from.  Ultimately as an icon it doesn’t really capture or express the totality of what Amgueddfa Cymru is all about, a diverse and varied family of museums that celebrate Welsh life.

Then in 1995 there is a major rebrand. We have moved away from the traditional imagery of museums and galleries and instead have a range of icons that highlight the different parts of the museum’s collections including a spinning wheel, anchor, and steam powered machinery to name a few. It excellently highlights the diversity of what we have to offer. The graphics almost look like a website banner with clickable icons displaying the range of choices. The publications go through various changes over the following years with a greater focus on full colour photos, and a variety of graphics and fonts. The publications are exciting and colourful, but is there a downside? Some might see this iteration of publications as overly crowded and busy. Furthermore, there is no signal unifying image for Amgueddfa Cymru as an integrated organisation.

Then in the 2000’s a new rebrand ditched the icons and opted for words. The words “National Museum Wales” and “Amugueddfa Cymu” were placed at an angle to each other in a modern sans serif font for all publications. This echoes the priorities and vision of the museum in this era. Balancing the English and Welsh language at angles so that neither takes priority over the other. It is effective straightforward and unambiguous. However the thirty three characters at 45 degree angles do not work well on a small scale and can become cluttered and difficult to read. As more and more we switched to phones as our primary reading devices there was a greater need to have a clean simple design.

Since last year we have had a brand-new redesign. The Amgueddfa Cymru logo is written in a bold capitalized font, created for the Museum it emulates the look of an industrial brand like that which you would find on metal or bricks to show the maker; it reflects the industrial past of some of our national museums.  For social media, where space is limited, we have a simple “AC” icon on a red background. Clean and simple bold texts work well for online platforms and this process of simplifying graphics has happened across many brands over the past decade as reading from phone screens has become the norm. Amgueddfa Cymru’s new design uses only the Welsh language title, further simplifying the design and highlighting the museum’s commitment to telling the story of Wales, from its earliest times, through its industrial transformation to the modern day. The font highlights the special characters that don’t exist in English, such as the “DD” which is has been linked together in “Amgueddfa” further showing our pride in the Welsh language.

Ultimately there will be pros and cons to any logo or icon. Often it is about what is right for the time, and what is best for the medium the icons will be on. Do you have a favourite?

Like many others, we watched in awe – and horror - as NHS staff made personal sacrifices day after day under unthinkable circumstances. We realise that we have seen only a fraction of what goes on behind-the-scenes, and asked ourselves what can we, as a museum, do to help?

As part of Celf ar y Cyd - a suite of projects launched in 2020  designed to find new ways for people to experience the art collection during the pandemic - we set out to work with health boards across Wales.

We wanted to give NHS and care staff the chance to make art part of their working day, and to decide for themselves how art can be incorporated into their work environment.

Since 2020, we’ve worked closely with health boards to continue this work that began from the pressures caused by the pandemic. We are delighted to launch the Palliative Care Packs, developed closely with Powys Teaching Health Board.

How are we working with Powys Teaching Health Board?

Powys Palliative Care packs are being developed to offer additional support to Powys Teaching Health Board’s palliative care teams.  These packs have been designed in partnership with staff at Powys Teaching Health Board and feature images of artworks from our collection, as well as digital resources, from audio descriptions to soundscapes. We hope that they will provide a compassionate, creative experience for patients, while also presenting opportunities for emotional support through conversation and sharing with friends, family members and carers.

We at Amgueddfa Cymru want to share the national art collection with as many people as possible, offering the opportunity to use our collections in ways that feel appropriate for all. Using Amgueddfa Cymru’s art collections to console and inspire has been our focus in working with Powys Teaching Health Board.

Funding and support

Amgueddfa Cymru support was made possible through Celf ar y Cyd. This started as a series of visual arts projects in collaboration with Arts Council Wales with the support of the Welsh Government, which challenged us to share the national art collection in new and innovative ways during the pandemic. The other strands include our digital visual arts magazine, Cynfas, and the 100 Celf – Art 100 exhibition. The Celf ar y Cyd website launched in June 2023, and offers the opportunity to browse, learn and be inspired by the contemporary art collection from the comfort of your own phone. Follow us on Instagram @celfarycyd for more.