Megan Naish, Learning Facilitator, 7 February 2024
Amgueddfa Cymru has worked alongside Flying Start to invite families with young children to explore our collection through themed play, craft, and sensory activities as part of our Family and Early Years Learning Program.
For many families, there can be anxiety and hesitance around bringing their young children to museum spaces, and so our Saturday sessions are designed to relieve that concern by providing our younger visitors with safe, supervised spaces and interactive resources that encourage their curiosity, inquisitiveness, and learning.
Occurring monthly, each weekend invites a different theme that relates back to an area in our museum collection, such as ‘Dino Discovery Day’, ‘Under the Sea’, ‘Minibeasts in the Garden’, and ‘Ice Age’. We use our Clore Discovery Centre as the base for our Family Saturday sessions, and families can freely drop in throughout the day and have the opportunity to explore our vast handling objects collection.
We aim to give our families a safe and welcoming environment to spend time together, make memories and to experience the museum in a unique way that supports the needs of our young visitors and their families.
Madalyne Epperson and Sarah Bayliss, 31 January 2024
In July 2022, three anti-apartheid banners from the 1980s were acquired by the museum, two by Anthony Evans and one by Gerda Roper.
The banners were made for and used by the Wales Anti-Apartheid Movement (WAAM). This group vigorously campaigned for an end to racism and the apartheid system in South Africa. They began as a regional branch of the British Anti-Apartheid Movement (AAM), but they split in 1981 when it became clear that they would garner more support with a distinctly Welsh identity. Under the leadership of Hanef Bhamjee, WAAM was active until the first democratic election in South Africa in 1994 (The National Library of Wales 2021).
The two banners by Anthony Evans, who was an active member of WAAM, were treated in the National Museum of Wales’ painting conservation studio. They presented very different challenges, as both were created with materials at hand with the purpose of being taken out onto the streets rather than hung in a museum.
Sanctions Now! banner on a protest in the 1980s
Nelson Mandela
This banner was made in the mid-1980s with household paints applied onto an unprimed canvas. The banner is covered in signatures of protesters and supporters of WAAM. According to Evans, it was made with the intention to be signed as, “an autographed book”. The signatures date from both the protests in the 80s and the memorial service of Hanef Bhamjee held in June 2022. Quite a few of these later signatures go onto the bare canvas, which is exposed from paint loss.
The banner was in a very vulnerable state when it came into the studio. Years of protests, of being unrolled and rolled again, had taken a toll on the banner. Lines of paint loss follow where the banner had been folded. The entire painted surface was cracked and the paint was actively flaking off. The canvas was stapled to a wooden batten along the top edge, but there was nothing to hold it in place and provide a support for the paint layers. Movement of the canvas could cause more paint loss in the future.
As a paintings conservator, I’m used to working on artworks that were made to be hung on a wall with a purpose to invite admiration and interpretation. For this banner, I was very aware that I wanted to treat it differently, even if the materials and artist’s technique was similar to a modern painting. The banner’s condition was a direct result of how and why it had been made, and how it had been used by protesters. While we needed to find a way of stabilising the banner so it could safely be displayed and stored, many of the go-to conservation methods for stabilising such a damaged painting would change the appearance and structure of the banner, which we wanted to avoid.
Unrolling the banner at the beginning of the treatment
In conservation, you often have to make decisions about balancing risk to the object with being able to see and appreciate the artwork as it was intended. Risk can come in different ways; it can come from a method of treatment changing something fundamental about the object or from not intervening at all and it deteriorating over time, or perhaps from the environmental conditions needed to display it (for example, fading might occur from being displayed in the light). As conservators, we are constantly trying to balance these risks. For this banner, not doing anything would result in the continued deterioration of the banner. However, to make sure no paint fell off in the future, we would have to do something drastic, like flattening and lining the canvas and stretching it onto a stretcher so the paint was properly supported. This would mean the paint was safe, but it would also change the appearance of the banner and remove some of the features that show the history and character of the banner.
To strike a balance, I decided to pursue a course of action that would stabilise the banner enough to be displayed but would leave it in a condition that would need to be monitored over time and would reduce the ability for it to travel.
Treatment
The flaking paint was consolidated with isinglass adhesive. Every part of the banner was consolidated several times to make it secure enough to move off the table we had unrolled it onto. The banner was then attached onto a wooden frame, which allowed me to brush a different adhesive onto the back of the canvas. An insert was made for the back using a fluted polycarbonate board and polyester wadding to support the canvas. The front of the banner was held onto the wooden support with Perspex clips. This allowed us to display the banner upright with enough support, but without changing the appearance of the banner.
Putting back loose flakes of paint while unrolling the banner
The paint losses were left unfilled so that the new signatures that went onto the canvas could remain visible and we also wanted to place a greater value on the history of the banner rather than the painted image.
Sanctions Now
Anthony Evan’s Sanctions Now is made from alkyd paints and an old plastic movie projector screen. A wooden beam adds support to the upper edge of the banner, as well. The image on the front of the banner is a copy of a now-famous photograph taken during the Soweto Uprising in South Africa by Sam Nzima on June 16, 1976. Black school children led a series of demonstrations against white-minority rule after Afrikaans was introduced as the instructional language in black schools. An estimated 20,000 students gathered in the streets of Soweto to protest and were quickly met with police brutality. The image captured by Sam Nzima is of 12-year-old Hector Pieterson, who was fatally shot by South African police. He was carried to a clinic by Mbuyisa Makhubo while Hector’s sister, Antoinette Sithole, followed. Nzima’s picture became an icon of the Soweto Uprising and helped galvanize the anti-apartheid movement (Baker 2016). An amended logo from the Anti-Apartheid Movement adorns the back of the banner. Anthony Evans added the Welsh dragon to the group’s taijitu, or yin yang, symbol due to the importance of Welsh identity within WAAM.
F2022.80.2 (Sanctions Now) Front After Conservation Treatment
Flaking paint on both sides of the banner was consolidated to prevent further loss of material. Lascaux Medium fur Konsolidierung was applied to the plastic surface with a soft bristle brush, before a silicone tipped tool and siliconized Melinex were used to press down the paint flakes.
Once the paint was secured, the banner needed to be cleaned. Smoke sponges were rolled across the surface of the banner to remove loose contaminants, such as dirt and dust, without causing stress to the plastic. The mould stains and residues were removed with a cotton swab dampened with Adjusted Water (pH 6.5).
Sanctions Now Surface Cleaning Tests: Smoke Sponge (Left) vs Cosmetic Sponge (Right)
After conservation treatment was complete, Sanctions Now was wrapped around a large cardboard tube (40 cm x 2 m) covered in ALUVP. To prevent the banner from being in contact with itself when rolled, the banner was sandwiched between silicon coated paper before it was rolled. The silicon coated paper will prevent the transfer of paint. Polyester sail cloth was used to cover the rolled banner and protect it from dust. Cotton tape keeps the banner from unrolling.
I wanted to give you a heads up about an exciting new competition that will be launching soon!
It's a chance for all groups participating in this year's Spring Bulbs for Schools Investigation to show off their fantastic filming and storytelling skills! You'll be asked to work in groups to produce 30 second videos exploring what you've enjoyed most about the Investigation.
I'm looking forward to sharing more information with you and seeing what you all create!
Although the exact origins of lovespoon-making in Wales are unclear, we know that such spoons would have been shaped with great care and devotion by their carvers. Lovespoons were given as a token of love and affection and each spoon was unique.
The lovespoon collection at Amgueddfa Cymru contains beautifully ornamented examples both historical and modern. It conveys the changing nature of the art through time and encompasses a wide variety of styles and designs all carefully handcrafted to the highest quality.
Presenting a decoratively carved spoon to a loved one as a token of affection has long been popular in Wales. From the Museum's oldest dated spoon of 1667 to contemporary examples by renowned present-day carvers, the calibre of the spoons is testimony to the makers' skill and devotion in creating objects intended to be treasured by their recipients.
Young men traditionally made a lovespoon from a single piece of wood, as a love token for their sweethearts.
Romantic gifts to maidens
Despite the lack of historical sources, it is generally believed that lovespoons were formerly crafted by male suitors and then presented as romantic gifts to the maidens they admired. The eighteenth- and nineteenth- century examples which form the basis of the Museums collection were driven by the emotion and passion of carvers who sought to produce works of art worthy of their beloveds.
The simplest of tools, such as small pocket knives, were traditionally used to to create the spoons, if possible, from a single piece of wood. Close-grain woods, such as sycamore, box and fruit woods were particularly popular.
Although the popularity of lovespoons has fluctuated over time, lovespoon carving has survived intact and continues thanks to a new breed of craftsmen determined to preserve the art.
Traditionally, lovespoons were given as romantic gifts, but today they are frequently given as gifts to commemorate events such as weddings, birthdays, anniversaries and christenings. Their function has significantly altered over time - particularly from the mid-twentieth century onwards when the fashion for mass-produced examples became increasingly prominent.
What do love spoons mean?
The symbolism on the spoons has also changed in recent years, with the introduction of Celtic and national emblems, such as daffodils and dragons, a means of expressing Welsh identity. This contrasts with the previously romantic sentiment, such as hearts, diamonds and wheel motifs.
Lovespoons continue to represent an expression of one's thoughts and emotions and carvers remain who honour the folk origins, either by creating spoons on commission or as presents for their family and friends.
Lovespoon carving is an ever-evolving craft and one which is sure to continue to delight and inspire for many generations to come.
Judging by the exquisite array of designs in the Museums collections, carvers have always felt free to decorate their lovespoons as they saw fit. Although each spoon is unique and often features initials or dates personal to the recipient, over time a series of symbols were employed to depict romantic thoughts and feelings. Such symbolism can, of course, be interpreted in many ways, and we can only imagine the true emotions of the carver as he prepared the spoon.
Hearts
The heart is the universal symbol of love and is frequently seen on Welsh lovespoons. It is a sign of passion and strong emotion - surely signifying the carver's depth of feeling for his beloved. A lovespoon showing twin hearts might well indicate a mutual love between sender and recipient.
Double bowls
Occasionally, lovespoons are carved with two or more bowls, possibly to indicate the union of the souls when joined together, or perhaps the number of children desired.
Comma or paisley shape
Often visible on historic Welsh lovespoons, this shape is said to represent the soul and deep affection.
Balls in cage
Balls carved within cages are commonly thought to represent the number of children desired by the carver, but could equally be a sign of a man held captive by his love.
Chain links
Generally considered to indicate loyalty and faithfulness, chain links might also symbolise a couple bound together in their love and loyalty.
Diamonds
Diamonds are believed to represent a wish for prosperity and good fortune and a promise to provide well for a loved one.
Keys and keyholes
In addition to the house images that sometimes appear on Welsh lovespoons appearing to represent domestic contentment, key and keyhole carvings are also used frequently, perhaps symbolizing security or, more romantically, the key to one's heart.
Wheel
Wheel symbols often feature in Welsh lovespoons and are said to represent a vow by the carver to work hard and to guide a loved one through life.
Try your hand at designing your very own virtual lovespoon to send to a loved one.
Image Gallery: Welsh Lovespoons
Lovespoon, with heart-shaped opening on handle
Lovespoon, with panel handle and geometrical designs
Lovespoon, inscribed 'MI 1721'
Lovespoon, with hearts and other geometrical designs
Lovespoon, with panel handle and covered with chip-carving
Two heavy lovespoons hanging from two-looped panel
Lovespoon, with panel handle and two bowls
Lovespoon, with bowl at each end
Lovespoon, dated 1735
Lovespoon with narrow panel handle with the name 'John' in fretwork
Lovespoon, with handle carved to depict serpent and bird
Lovespoon with ridged stem and curved terminal
Inscribed wooden fork, 19th century
Lovespoon, with chip-carved handle fretted with various designs
Lovespoon, with fretted heart devices and chip-carving
Take a look at our online shop for the perfect St Dwynwen's day gift
