Flamboyant Fashion for a Welsh Noble Man

Kim Thüsing, 22 May 2019

Recently, we’ve been privileged to accept a fabulous new accession into our collection.  It is a set of three silk garments which belonged to Sir Watkin Williams-Wynn, 4th Baronet, who lived between 1749 and 1789.  He owned vast areas of land in Wales, was active in politics and was a great patron of the arts.  You can find out more about him here:

Image of painting of Watkin Williams-Wynn from our 'Collections Online'
Small pastel portrait from the museum's collections

As part of Sir Watkin’s lavish lifestyle came an opulent wardrobe.  The garments we have acquired are a matching set of waistcoat and breeches made from grey silk, woven with silver metal thread, silk embroidery and metal thread trim,

F2019.21.1 waistcoat Watkin Williams-Wynn

Amgueddfa Cymru’s Fancy Fans and their Material Forms

Rosanna Harrison, 22 May 2019

I would like to introduce some of the incredible fan leaves that Amgueddfa Cymru holds in its collection in a two-part blog. Looking at these fan leaves reveals the important relationship between the eighteenth-century print trade, text and painting practice. In this first blog I will expand briefly upon a couple of the painted and printed Welsh and English fans dating to the eighteenth and nineteenth centuries nestled in storage at St Fagans National Museum of History and their material nature.

A number of these fans have paper bases, while a few are created from silk, and several take the screen, brisé (meaning ‘broken’ in French) or cabriolet (a form of transport comprising a two-wheeled carriage, drawn by a horse) form. Numerous fans sport lace sewn sequins (fig. 1), embossed and carved guard sticks. The majority of these specimens have come to Amgueddfa Cymru from Welsh collectors, with a couple seemingly made by talented amateur fan makers. Among these wonderful examples, several printed eighteenth-century fans highlight the complexity of the British print trade during the period in which these fans were produced.

The anonymously made Medley Fan (Untitled) (fig. 2), produced around 1760 (probably in Wales), illustrates the impact different aesthetic media had upon fan design in the eighteenth century. Medley Fan depicts a number of trompe l’oeil images scattered across its surface, including a hand-painted ‘snapshot’ of castle ruins being admired by an aristocratic tourist, which overlaps an engraved image of a peasant girl, set against verse from John Gay’s poem The Fan (1713). Similarly, Map of South Wales Fan (fig. 3), made approximately between 1800 and 1817 (also anonymously) – there is a signature ‘Miss Watkins 1817’ inscribed on the fan – shows rare, and expertly executed, printed imagery. Miss Watkins was the niece of the Reverend David Williams (1738-1816), the Welsh philosopher, and it is likely the fan was made in South Wales. Map of South Wales Fan and Medley Fan (Untitled) suggest the intrinsic link between fan making, decorative arts, painting and the print trade in the 1700s. In the second part of my blog I will go on to explain more about the trades that fan shops dealt in.

Stories from Pressed Plant Books in the Botany Collections

Katherine Slade, 17 May 2019

Within Amgueddfa Cymru’s botany collections are books of dried plant specimens created by scientists and enthusiasts. Each specimen has been carefully dried and pressed, before being added to the books, sometimes with handwritten or printed notes alongside. The books are of enormous importance both in terms of modern scientific research into climate change and biodiversity, and as a way to see first hand the history of botanical exploration.

You can now look through a catalogue of the 36 books that contain non-flowering plants, fungi, lichens and seaweeds. You can read about a few of the stories surrounding these books below. For more detailed information about each book, please visit the website.

These books show the changes in how we collect, classify and name plants over two centuries from 1800 to present day. An old volume which probably dates from the 19th century entitled “New Zealand Mosses”, contains more than just mosses. Lichens, algae and even some pressed hydrozoans (tiny marine animals) have been included by the unknown collector who chose to group these superficially similar ‘moss-like’ specimens together. This donation entered the Museum’s collections after its Royal Charter was received and before work had begun on the present Cathays Park building.

While the earliest currently known non-flowering plant specimen in the Museum is a moss collected in 1794 from Gwynedd, the earliest specimen book dates from 1803. This book is Lewis Weston Dillwyn’s personal collection of seaweed and freshwater algae collected between 1803 and 1809. Dillwyn’s specimen book was donated to the Museum in 1938 by the National Library of Wales, and has great importance both scientifically and historically.

Lewis Weston was part of the influential Dillwyn family, and his son John Dillwyn Llewelyn became an early pioneer photographer. He was interested in the natural history that he saw in south Wales where he lived. This is reflected in his scientific research as well as in the pottery designs created while he was owner of Cambrian Pottery. Dillwyn described new species of algae and his specimen book contains type specimens (irreplaceable specimens used in the original description of a species). The book is a personal record of his scientific life, recording places he visited and scientists who sent him specimens. He became a Fellow of the Royal Society in 1804 and later had a plant genus named after him in recognition of his work.

Many of the botanical specimen books in National Museum Cardiff have a fascinating history. Two contain mosses collected by Thomas Drummond on the Second Overland Arctic expedition between 1825 and 1827 to British North America (now Canada). Delving further into the book’s background reveals that the Captain, Sir John Franklin, sent Drummond to the Rocky Mountains with one Native American hunter. After the hunter left him on his own, he survived a severe winter, being mauled by a bear, and starvation. He still managed to collect, preserve and study many new plants of the North American continent. This work was published by Sir W.J. Hooker, who later became the director of the Royal Botanic Gardens, Kew.

The more recent books are systematically collected specimens known as ‘exsiccatae’. These are sets of duplicate specimens distributed by scientists to other museums. They help to spread the risk of losing a particularly important set of specimens, and to allow scientists around the world to study them. Lists of their contents are usually published in a journal or online. Much of the Berlin Herbarium and the botanical specimens within it was destroyed in World War 2, however many duplicate specimens from this collection survive in other herbaria around the world. From around the 1900s, exsiccatae changed from being bound books to being loose specimens. This meant museums receiving them could incorporate them into their collections alongside other closely related specimens for easier access and comparison.

 

Draw it, like Leonardo da Vinci!

Ciara Hand, Senior Learning, Participation & Interpretation Officer, 9 May 2019

In March 2019, Pupils from Willows High School took part in a Leonardo-inspired project with National Museum Cardiff, University of South Wales and Cardiff University School of Biosciences.

Pupils started by exploring Anatomy with Dr Shiby Stephens, Clinical Anatomist at Cardiff University. They looked at how medical advances in exploring anatomy were rooted in Leonardo’s accuracy and precision in drawing anatomy.

Pupils were then given the opportunity to visit the Leonardo da Vinci: A Life in Drawing exhibition. They looked closely, explored drawing techniques and drew from observations. https://museum.wales/cardiff/whatson/10265/Leonardo-da-Vinci-A-Life-in-Drawing/

Finally the pupils worked closely with Gina Carpenter, Visual Art Tutor at University South Wales, to create their own accurate anatomical drawings. They applied drawing techniques like hatching, making 3D forms, and body proportion. They explored da Vinci inventions, and were introduced to the Game Design process. Pupils then storyboarded their own game design using their Leonardo-inspired anatomy and invention drawings.

Funded by the Esmée Fairbairn Foundation.

Explore Volunteer Blog: Forays in Filtering

Ben Halford, 7 May 2019

Our main job as Explore Volunteers is engaging with visitors in the galleries. At National Museum Cardiff we primarily use three carts; one for natural science, one for evolution, and one for art. The art cart is a particularly fun experience, as it’s more about encouraging visitors to share their own impressions and experiences of art. This cart contains several interesting things, and one in particular is our range of colour filters. 

It seems simple enough at first glance; five transparent filters of different colours. However, when applied to the paintings in our galleries they offer entirely new perspectives on each one. Since a single painting often contains more of a particular colour, viewing it through different filters will produce different results. If you view a painting through a filter of its dominant colour, the effect produced is much more dramatic. Through this visitors can get new insight on how artists constructed their best works.

My go to example for visitors is always Monet’s San Giorgio Maggiore by Twilight in Gallery 16. Viewed without the filters the painting is dramatic enough. On closer inspection you can see that Monet used a strong under-layer of purple for the monastery, with small flecks of purple in the water around it. When viewed through the purple filter, the painting takes on a completely different dynamic. Not only is the monastery more pronounced and the sunset more dramatic, it looks like the cover of a psychedelic rock album. On the other hand, when viewed through the red or orange filters, the already fiery sunset becomes more pronounced. I’ve seen many visitors young and old amazed and impressed after viewing this painting through the filters. 

The filters will affect different paintings in different ways. Pierre-Auguste Renoir’s La Parisienne (also known as The Blue Lady) is a classic case in point. Since the subject, Henriette Henriot, is dressed entirely in blue, when viewed under the blue filter the colour is amplified. However the other filters can produce interesting results. The area of shading around Henriette is somewhat grey, with elements of blue and yellow, so when viewed under the yellow filter it produces a greenish effect. This happens not just in the outline around Henriette, it also blurs her face, making it appear hazier. The yellow filter also makes the golden frame around the painting a lot brighter. Since The Blue Lady is without a doubt one of the most popular paintings in the museum, it’s good to have visitors looking at her from a different perspective.

A similar effect happens with our other famous resident of Gallery 16, Landscape at Auvers in the Rain by Vincent van Gogh. In speaking to visitors it seems that when viewing the painting they don’t often notice the rain at first. The dashes crisscrossing the canvas are long, thin and faint compared to the landscape behind it. Looking at these lines through a blue filter makes the scene feel more like a rainy day, but when viewed under the yellow filter the lines suddenly become more pronounced. The rain appears to be falling faster when viewed under this filter, with the field in the foreground becoming more pronounced. Many visitors I’ve demonstrated this to have been amazed by the effect.

The filters are a great way for Explore Volunteers to interact with visitors. Not only does it encourage visitors to share their impressions of art, it also allows them to see art in a new way and spot things that may escape them at first glance. There are still many paintings I haven’t tested the filters on yet, so watch this space for more forays in filtering in the near future.