What happens at a treasure hearing

Alice Pattillo, 21 March 2018

You might have heard of various archaeological artefacts being declared treasure by coroners, but what exactly does this entail?

Treasure hearings are one of the most cheerful aspects of a coroner’s job. Amongst all the heartache and mourning that goes with knowing the ins and outs of people’s (sometimes tragic) passing, many coroners look forward to declaring pieces of the past treasure. Not only do these items bring the coroner pleasure, but they are landmark pieces of local history that have been hidden from us for hundreds of years.

Last Thursday, 15th March, Mark Layton, HM Coroner for Pembrokeshire, declared 6 local discoveries treasure at Milford Haven Coroners Court - and I was privy to the process. First and foremost, I learned that what goes on in the court is mostly a formality. The experts at NMW offer thoroughly researched reports and advice on whether each item is treasure and Coroner’s Clerk, Gareth Warlow, compiles all the evidence prior to the hearing.

This particular hearing was full of some really stunning pieces, including a beautiful 16th Century gilt ring and a fragment of a silver Viking arm ring. The arm ring is an important piece in the puzzle that is Pembrokeshire’s possibly Nordic-influenced past. Finder, Ken Lunn was there to witness the confirmation of his landmark discovery being officially declared treasure.

But it was a post-medieval silver scabbard chape that really drew in the crowds. With the landowner attending as well as the finder’s entire family! While it may sound surprising for this to be a family affair, it is certainly exciting to see a piece of metal you have discovered on an old patch of land be confirmed as an important enough part of local history to have it marked as treasure. If only more finders would attend and take part in celebrating their role in helping the experts to build up a bigger picture of Wales’ rich history – even if it was a quick stop before Birthday lunch!

After recording each artefact and offering any comments or objections to be voiced by both landowner and finder, Mr Layton declared all the objects treasure and they will now be sent on the intrepid journey to the British Museum for valuation. They will then be acquired by Welsh museums thanks to the Saving Treasures; Telling Stories Project, funded by the Heritage Lottery Fund.

It may be a long, arduous road for these little glimpses of history, but it’s important they are accurately recorded so we don’t miss on any little glimmer of light they may shine on the past.

Click here for more information on Saving Treasures; Telling Stories.

Swaps: David Hurn on Photography - Part 3

16 March 2018

Swaps: Photographs from the David Hurn Collection runs from 30 September 2017 to 15 April 2018. This exhibition celebrates the major gift of photographs from David Hurn’s private collection and marks the opening of Amgueddfa Cymru’s first gallery dedicated to photography. Here are the final collection of short films from the exhibition:

"This is a picture by Philip Jones Griffiths. Philip is a Welshman, he’s a Welsh speaking Welshman from North Wales. From an educational point of view I find him another one of the people who was self trained as a photographer. I find it intriguing how most of the people that I really admire in photography, are self trained.

To me, it’s one of the most moving pictures I’ve ever seen. It’s usually on my wall, it’s on the stairs and you’re confronted by it if you’re going up to the toilet. Not infrequently, people come down with bleary, teary eyes and I think that’s, in a way, what a picture should do. I think that’s what photography does terribly well. You don’t need to have an explanation. I think the general public know enough about what goes on in the world of wars and thing like that, so it’s not that important to anyone going up there whether it’s Vietnam, or Biafra or whatever. It tells you something about the human condition which we all instinctively know enough about to get an emotional impact from the picture. And I just think it’s a strong a picture as I’ve ever seen by anybody. A truly remarkable person, and greatly, greatly missed."

"I saw the work of this young lady, I didn’t know her or anything about her, at a small gallery in Abertillery and it reeked of quality. There was what I call authorship. This looked to me, potentially, a cloass photographer. Later she had a little brochure made which again has that same thing. It kind of has a feeling of togetherness about it, you sense that the person understands what they’re photographing.

This kind of photography is very in at the moment, a certain look of person and a certain kind of portraiture. All I can say is that she does it much better than a lot of other people around. It’s my personal opinion. And that’s why I asked her if I could swap a couple of prints with her. I think she already is a pretty classy photographer and I suspect in 50 years’ time she will still be shooting pictures."

"And then the other photographer who I met at that time was Bruce Davidson who was… I did travel around quite a lot with him and particularly when he was in London I introduced him and got him into a lot of ‘slightly undergroundy’ places he might have struggled to get to. This particular picture is an extraordinary picture, from a set of pictures he did on a gang in New York. Incredible set of pictures.

Bruce was lovely, we used to go round in one of the first little Mini’s and I remember he used to eat a staggering amount of bananas. For some reason we lived off bananas. He is a wonderful photographer and a wonderful person. He did extraordinary work on the Selma marches and things like that. Great social conscience and decent human being. He had an incredible effect on me and gave me a lot of prints. This was at the time when there weren’t galleries, a print was something that cost you 50p to have made. Somebody said “oh, I’d like that”, which people mainly didn’t, and he’d say “fine”, you know.

I think in the collection there are probably about eight or nine Bruce Davidson pictures and I think every one of them is so beautiful. I would have loved to have taken this picture, it’s a great picture. "

"John Davies was living in South Wales, he is an extraordinarily good landscape photographer of a very, very pure documentary nature. They’re very straight pictures of the landscape, there’s obviously no tricks, they’re just very much scene pictures.

I basically swapped a mass of pictures, probably over twenty years, in that we swapped Christmas cards. We both made handmade Christmas cards – they’re actual prints that are made, and in my case, every year I make fifty of them and they go out as a limited edition. I’m not quite sure what his edition is, but he does the same. There was no reason to try and get a bigger print because I just think they are so beautiful this size. They are just so delicate and lovely."

Banner photograph by Clémentine Schneidermann.

More info

Discovering Ancient Greek coins with Eirini

Eirini Anagnostou, Alice Pattillo, 16 March 2018

Hi, Eirini here – I am a student intern in the Archaeology and Numismatics department at NMW, Cardiff. I’ve been taking a look at the museum’s extensive coin collection and will be creating a series of blogs on each of them.

Today I am looking at ancient coins from my home country of Greece. The collection of Greek coinage dates back to over 2000 years ago, but the designs are in great condition. They are all made of silver or gold and we can see the development of currency through them – beginning with rough coins that look like ingots to detailed chunky coins featuring Emperors faces, some from Macedonia and Byzantium as well as famous leaders like Alexander the Great.

I’ve picked my two favourite coins from the collection:

Alexander the Great, Macedonian Drachma

4 Drachum from Pella, Macedonia (dating to 315BC) features Alexander wearing a lion skin, the symbol of Greek hero Hercules, on the front with Alexander’s name inscribed on the back next to an image of Zeus. This design was mimicked by Emperors following Alexander’s death.

I like that this coin is in such good condition. We can see the details of Alexander’s face – it’s impressive considering the tools they had! You can read the inscription clearly despite how old it is.

Byzantine Empress Theodora, Constantinople Nomisma

 A gold tetarteron dating from the reign of Theodora (AD 1055-1056) featuring a portrait of Theodora holding a sceptre and orb, on the other side is a depiction of Jesus Christ. The same iconography of Jesus was used on other Byzantine emperors’ coins, but with their own portraits in place of Theodora’s.

I like how this coin is also in great condition, however, the artwork is much simpler on Byzantine coins with less intricate detailing.

Next week, I will be looking at some Roman coins - a common metal detectorist find in Wales. Greek coins, unfortunately, aren't found in Wales as Greece never invaded the British Isles! Remember to always report any findings to the Portable Antiquities Scheme to allow us to keep learning from the past.

Lleisiau o’r Gorffennol: Ŵyna yn Rhandirmwyn, 1975

Aled Jones, 15 March 2018

Yn ystod y 1970au cynnar aeth staff yr amgueddfa ati i recordio hen ffermwyr yn disgrifio ffermio yng Nghymru ar ddechrau’r ugeinfed ganrif cyn datblygiadau peiriannau ffermio o’r 1950au ymlaen. Mae’r recordiau yn cael ei chadw yn Archif Sain yr amgueddfa.

Yn 1975 holodd John Williams Davies y ffermwr Dan Theophilus am y profiad o ffermio defaid ar ddechrau’r ugeinfed ganrif.

Roedd Dan Theophilus yn byw ar fferm Allt Yr Erw, Rhandirmwyn, pentref yng ngogledd-ddwyrain Sir Gaerfyrddin.

Mae Dan Theophilus yn sôn am ofalu am y defaid adeg ŵyna, yr achosion mae’n meddwl sydd yn arwain at ddefaid yn cael trafferth i ddod ac ŵyn, a’r tywydd gwaethaf ar gyfer y tymor ŵyna.

Dan Theophilus, Allt Yr Erw, Rhandirmwyn

Mae’n dweud sut oedd perswadio defaid i fabwysiadu oen, y perthynas rhwng y ddafad a’r oen a pha mor ffyddlon byddai’r defaid i’r ŵyn ar ôl ŵyna wrth iddo droi’r defaid i’r mynydd.

What happens to the St Fagans lambs?

Aled Jones, 14 March 2018

We often get asked what happens to the lambs from Llwyn-Yr-Eos farm once the lambing season is over.

The lambs are put out to graze in the fields in and around the museum and are regularly on to fresh grass.

We will pick out the best lambs and keep them for breeding at the farm. This year we are looking to keep around 50 of the lambs born here at Llwyn-Yr-Eos farm.

Most of the female lambs go on for breeding stock, and there’s the select few rams that we sell at the pedigree sales as breeding rams.

The other lambs get sold for meat.

 

Where are the lambs sold?

We tend to support the pedigree society sales at Raglan, Llanybydder and Talybont on Usk.

There are also Hill Radnor, Llanwennog and Black Welsh Mountain rare breed sales at Raglan market.

We do sell direct to some butchers and are hoping to tie in with the Museum restaurant at St Fagans so that in the future they will be using the lamb reared here at Llwyn-Yr Eos farm.

The lamb on your plate is anything from 4-12 months old.

 

Voices from the archive - Lambing in Radnorshire

In the early 1970s Museum staff set out to record older and retired farmers describing farming in Wales in the first half of the twentieth century, before the large-scale mechanisation and expansion from the 1950s onwards.

In 1977 James Albert Price was interviewed by John Williams Davies about the lambing process at Tipton farm, Willey, Radnorshire.

The lambs were reared on the farm would be kept for 12 months and sold as yearlings the following March. The best lambs would be picked for breeding and the others sold.

James Albert Price, Tipton farm, 1977

James Price mentions the ewe auctions in Knighton each September selling 10 – 12,000 ewes a day.

The ram lambs would be sold as yearlings in auction at Craven Arms, Leominster and Hereford with three or four ram sales at Craven Arms.