The W. J. Grant-Davidson gift of Swansea and English pottery 5 July 2007 In 1994, forty pieces of pottery and porcelain were given to Amgueddfa Cymru. They were the gift of W. J. Grant-Davidson a distinguished historian of the Welsh potteries. Amongst the collection were several unique and important items, manufactured in Swansea in the early 19th century. The Swansea earthenware tankard by William Weston Young. Generous gifts One of the most interesting pieces is a large earthenware tankard. It was made at the Cambrian Pottery, Swansea, in the opening years of the 19th century. It is decorated with the head and shoulders of a druid. We can tell from the inscription that this was painted by William Weston Young (1776-1847). The decoration is unique, though Weston Young also painted a plaque with a druid cutting mistletoe (now in the Victoria and Albert Museum, London). William Weston Young William Weston Young worked at the pottery from 1803 until 1806 as a painter and as assistant to the owner, Lewis Weston Dillwyn. A land surveyor by profession, Weston Young was subsequently a partner in the Nantgarw China Works. A pictorial puzzle Other household items in the collection include a milk-pan, egg cups and a jug inscribed 'John Jinken 1793'. There is also a punchbowl decorated with a swan and a pike. This may have been made especially for the Pike family, who came from Dorset and shipped clay to Swansea. An image used as a pun like this is called a rebus. Pioneer potter Mr Grant-Davidson was also interested in English ceramics. There are ten examples from the mid 18th century in the collection he gave to the museum. As well as three fine Staffordshire stoneware teapots, there are two documentary pieces of Josiah Wedgwood's creamware. The collection includes one of the four known pieces of manganese decorated creamware, made by the potter Enoch Booth. Made in the first half of the 1740s, these may be the earliest examples of an earthenware body which is one of Britain's principal contributions to ceramic history. Historian and collector W. J Grant-Davidson was a distinguished historian of the Welsh potteries. He collected British ceramics from the late Middle Ages to the early 20th century. His best known publications are the article 'Early Swansea Pottery, 1764 - 1810' and the book ‘The Pottery of South Wales’. These feature many pieces from his collection.
Iron Frames and Wooden Wheels - The Bicycle Collection at Amgueddfa Cymru 16 May 2007 Over the past few years, increasing emphasis on fitness and green issues have helped give the bicycle a new lease of life. Today bikes are available in a wide range of styles and prices, but the first bicycles to be produced were extremely expensive and very difficult to ride. The first bicycle designs A Cardiff couple on a lady-front tandem. The man, a piano tuner, was blind. Bikes called High Ordinaries, later known as Penny farthings were particularly uncomfortable and required the rider to have very long legs, in order to reach the pedals. In the 1870s the new cycle owners formed exclusive clubs, had caps emblazoned with their badges and wore military-style cycling suits. Although women initially steered clear of bicycles many became enthusiastic tri-cyclists, choosing more stable three wheeled varieties and special clothing designed for safety and comfort. Pleated skirts allowed more freedom of movement and the more modest individuals often wore breeches beneath their skirts. There was a bicycle boom in the 1890s. New models were appearing almost weekly and new factories making bicycles opened up all over the country. The development of the safety bicycle, with chain-driven wheels of equal size, meant cycling was no longer restricted to tall athletic men. As cycling became more common cyclists' dress became less strange and men stopped wearing their cycling suits and began simply to wear their everyday clothes. Because women were initially riding men's bicycles for which skirts were totally unsuitable, the Rational Dress Society and many cycling clubs encouraged them to wearing of a form of knickerbockers known as 'rationals'. The 'rationals' were not flattering and made their wearers objects of public ridicule. This proved too much for most women and by the turn of the 20th century most women had stopped wearing them. As mass production brought bicycle prices down, the working classes grasped the opportunity to own their own transport. Bicycles replaced the pony and trap for the country postman, helped policemen cover large areas and speeded up shop deliveries. There were even experiments with bicycle-driven fire engines. Local ironmongers and suppliers of agricultural goods began to sell bikes and many local blacksmiths became experts at repairing them. The evolution of the bicycle The desire for speed had a great effect on bicycle design. As the wheels of the early bikes were directly driven by the pedals, the only way to increase the speed was to make the wheels bigger. There were some models produced with a wheel diameter of 62 inches which weighed approximately 50 pounds. Other efforts to increase speed by reducing the weight of the machines resulted in bicycles which were only 22 pounds, needless to say they were very unsafe. Bicycle racing Long distance road races, such as London to John O'Groats, captured public interest and helped increase the popularity of cycling. However, as speeds increased, accidents became more and more frequent and eventually the police put a stop to racing on public highways. Controlled racing over selected courses of 50 to 100 miles were then organised by the National Cyclists Union. Road races, like the Tour de France, did not really catch on here until the early 1950s. The first Tour of Britain race, which later became known as the Milk Race, took place in 1951. Track racing, on the other hand, was one of the original sports of the 1st Olympiad in 1896. World Championships were held in track racing from 1892, although women's events were not introduced until 1958. Bicycles in the Museums collections The earliest bicycle in the museum's collection is called a 'boneshaker'. It dates from around 1865, has an iron frame, wooden wheels and iron tyres, and is said to be the first of its kind in Cardiff. The collection also includes a country-made wooden 'boneshaker' copied from the manufactured type and built by a local craftsman. As well as the boneshakers, the museum also has Raleigh bikes from the 1930s, World War II roadsters, a 1938 New Hudson tandem and a sociable tricycle produced in the 1880s.
Trick or Treat? Ancient collection at Amgueddfa Cymru found to be modern 17 April 2007 At the beginning of the twentieth century, the president of Amgueddfa Cymru, Lord Howard de Walden, formed a remarkable collection of ancient European arms and armour. The collection included a number of classical pieces - helmets, swords, spearheads, belts and armour that were mainly Greek and Roman - or so it was thought until work at Amgueddfa Cymru discovered otherwise... The collection comes to Amgueddfa Cymru Portrait of Lord Howard de Walden (1880-1946) Etruscan bronze 'helmet' embellished with gold showing half of the false patina removed X-Ray of helmet In 1945, Lord Howard offered to lend seventy-nine 'antique bronze objects' to the Museum. Following his death in 1946, his son donated the collection to the Museum. In 1990 research by a Russian scholar had shown that some items from this collection had almost certainly been made in a jeweller's workshop in Odessa, south Russia between 1890 and 1910. Further investigation has revealed some of the objects to be totally genuine, but others reveal signs of being 'improved' or even manufactured more recently from antique metal parts fashioned into classical forms. In order to meet the demand for classical antiques during this period, it was quite common to produce a particular object using ancient pieces from a number of sources, or in other words, a pastiche (a work of art that imitates the style of some previous work). There are also a number of fakes, where the metal used was wrong for the period of the object. Lord Howard de Walden was well aware of this, for when the loan to the Museum was being organised, he wrote 'there are certain pieces you may not wish to have, such as...several specimens of doubtful authenticity'. Bronze 'helmet' One such object that Museum conservators examined was a helmet, made of bronze and decorated with gold, apparently dating from the third century B.C. The helmet was X-rayed to determine the condition of the metal and the extent of the corrosion, as well as to reveal its construction. However, the X-ray uncovered much more than was originally expected, for dense solder lines could be clearly seen criss-crossing the image. The helmet had undergone considerable restoration work in recent times; cracks had been filled with solder and holes patched with metal. To disguise these recent repairs a fake patina (the sheen on an object produced by age and use) mimicking corroded bronze had been applied over the top. Analysis of the metal revealed that the bronze helmet was in fact old, and even the patches of metal used to repair the holes were ancient. However, there were indications that the gold was modern. The investigations concluded that the helmet had been repaired and embellished with gold that would have increased its value and made it more desirable to collectors. This work may have been carried out at the turn of the twentieth century. Should the modern repair work be removed or conserved? In the end, it was decided to remove half the false patina in order to reveal the repair work below, for it was felt that the alterations were now part of the history of the object and could shed light on techniques employed at the time the helmet was collected. Study of this important collection not only throws light on the ancient technology of the genuine pieces of classical arms and armour, but also the practices of the antiquities market a century ago.
Kalighat Icons - Paintings from 19th century Calcutta 2 April 2007 The ‘Kalighat’-style paintings at Amgueddfa Cymru were brought over from India at around 1880. They represent a popular Indian art form that had died out by 1940. They are the work of professional artists called ‘patuas’ in Bengali and were sold for the equivalent of a penny each at markets and fairs in and around Calcutta, mostly at the gates of the famous temple at Kalighat, from where the style gets its name. Storytelling For centuries in Bengal, travelling professional artists known as &;lsquo;patuas’ or ‘chitrakars’ painted pictures or ‘pattas’ on cloth or handmade paper. These pictures were sewn together to make long scrolls of images. These artists toured rural villages, unrolling the images as they recited or sang the story. Patua families living in rural areas near Calcutta continue the tradition to this day. Patuas move to the city By 1806, some patuas had moved to the Calcutta – the biggest bazaar in Bengal. This new urban market had huge potential. In addition to residents, seasonal visitors to Calcutta wanted affordable souvenirs. With cheap machine-made paper and manufactured paints, the essential characteristics of the style emerged. Designs were kept simple, to be repeated as often as required according to the popularity of the picture. As demand increased, the detail in the scrolls was abandoned. Traditions and religion Certain Hindu traditions guided the painter. Each Divinity had a particular meditational formula – dhyan mantra – which the painters attempted to produce in line and colour. The traditional stories relate the appearance and actions of the gods and goddesses with their complexions, poses, mounts and weapons, which all had to be drawn correctly. Hindu images and Muslim festivals As Calcutta was extremely cosmopolitan, in addition to the Hindu images, the important Muslim festival of Muharram is also represented. It is possible that many Kalighat artists accepted beliefs from both the Hindu and Muslim faiths, as many of the scroll painters still do, having two personal names, one from each tradition. The origin of the Kalighat Collection The origin of the collection at the Museum is unknown before 1954. Assuming they form a single group, it is likely that they were acquired in Calcutta some time around 1873. The original owner was possibly French. A collection now in the Bodleian Library, Oxford, was purchased between 1860 and 1870, and contains similar images. The collection is also similar to the seventy-three items in the Victoria and Albert Museum, London, acquired in India between 1865 and 1893. The fall of the Kalighat style 1870 seems to have been the time when the popularity of these paintings reached its peak. To speed production, some families tried using a lithographic outline during the 1840s, but did not survive many years. It was the chromolithograph, capable of even brighter colours and a huge print run, which ultimately undercut the hand-painting families and took over the market and by the 1930s this popular art form had died out completely. Sadly, very few of the thousands of Kalighat pats produced during the nineteenth century survive in India today, either in museums or private collections. They were never bought by the rich, who considered them unworthy of the name of art. In the poorer homes, the lack of protection from both the humid climate and physical damage soon destroyed the inherently weak cheap paper on which the patuas had worked their art. Further reading W. G. Archer, Kalighat Paintings, London 1971 Balraj Khanna, Kalighat – Indian Popular Paintings, London, 1993 Hana Knizkova, The Drawings of the Kalighat Style, Prague, 1975
Lost photographs uncover unique snapshot of rural Wales 22 March 2007 An unique collection of photographs from the turn of last century, rescued from decay and neglect, give an rare insight into life in rural Cardiganshire. Tom Mathias (1866–1940) Luck often plays a big part in uncovering many important museum acquisitions, and this was certainly the case in the discovery of a fine collection of historic photographs, discovered in 1990 and obtained by Amgueddfa Cymru. Only good luck could explain the fact that Maxi Davis, an experienced professional photographer, was told of the existence of boxes of very old glass negatives. What else but luck could explain the fact that those same negatives should have survived decades of neglect stored in kitchen cupboards and out-houses. Aberdyfan, the house in question, was being cleared following the death of the owner, Mr James Mathias. The photographs had been taken by his father Tom Mathias during the turn of the last century. Outstanding collection of photographs Maxi Davis's passion for historical photography prompted him to salvage the negatives and to print those still in useable condition. What they revealed was an outstanding collection of photographs taken around Cilgeran and the Teifi Valley in west Wales at the turn of the century. Thomas Mathias (1866–1940) Tom Mathias was a self-taught photographer. He captured the daily life of his community with a keenness of eye and technical clarity rarely shown by better-known photographers using far more sophisticated equipment. He was born in Cilgerran in 1866, the son of a master mariner. Little is known of his early life, or what started his interest in photography. In 1897 he married Louise Paquier, a Swiss governess with a local gentry family, the Gowers of Castell Malgwyn. The couple settled in Aberdyfan and Tom Mathias combined running the smallholding with his career as a photographer. They had two children, James, born in 1902, and Tilla, born in 1898. Despite his lack of formal training, in 1897 he was confident enough to describe his occupation as 'photographer' on his marriage certificate. He is also listed as a photographer in local trade directories between 1901 and 1920. What happened in 1920 is unclear, but few of the surviving photographs appear to have been taken after that date. Capturing Rural Life Cilgerran coracle-men William Johnson and John Morgan with their haul of fish, 1905. Like most rural photographers, Mathias made his livelihood recording important family occasions and over half the images in the collection feature weddings, christenings and family groups, demonstrating an originality of approach which frequently cuts through the formality of the poses to capture the humanity and personality of the subjects. According to those who knew him, Tom Mathias had infinite patience in setting up his shots and nowhere is this patience better rewarded than in his splendidly informal photographs of children. Tom Mathias took many photographs of the general daily life in and around Cilgerran, documenting an unequalled record of the social and economic life of his community. Not only did he take an interest in special events such as the return of the local regiment from the Boer War, Sunday school outings and village celebrations, but his camera also recorded the mundane and ordinary aspects of life. Working life Unusually for a collection of historic photographs, the material is fully documented. As well as saving the negatives Maxi Davis and his wife Peggy staged a series of exhibitions of the photographs in Cilgerran and the neighbouring villages, managing to establish the location and date of almost every photograph, as well as the identity of virtually every individual who appears in them! This remarkable collection was nearly lost forever had it not been for the set of circumstances that saw these photographs rescued from neglect and decay to become an important museum collection preserved for future generations. Cilgerran High Street, taken in 1905.
