National Museums Liverpool Blog - Friday, March 06, 2009

This week's snaps from the Museum of Liverpool building site have a definite smell of spring about them; sunshine, blue sky and crocuses. Pity this weekend's weather forecast is so lousy. I especially like this picture; the texture of the cladding highlighted by the morning sun. The lines are the rigging of the ship, De Wadden, in the adjacent graving dock. As ever higher-res versions this snap and more are in the Museum of Liverpool flickr set.

The build itself marches on. Our Twitter page charts the progress - become a follower.

Introducing Ed Casson, a new addition to the press team at NML:

When strolling around Liverpool I have always been told to look up to see the city's stunning architecture and history - now I'll find it hard to resist looking down. Last week I spent the afternoon on a guided 'fossil walk' with Tony Morgan, a geologist in the Clore Natural History Centre at World Museum Liverpool.

Starting at the top of William Brown Street, Tony pointed out a marking on the pavement (to the untrained eye a mere groove) which was in fact a 320-year-old fossilised fallen tree. Across St John's Gardens were distinct clam markings from the Jurassic Era - 150-million-years-old - on the William Rathbone statue.

Possibly Liverpool's oldest rock (although there are older examples in the World Museum's Clore Department) stands at an astonishing 1.5-billion-years-old. The Rapakivi Granite, from Finland, was used to build the former Allied Irish Bank in Dale Street. On to the Abbey National and jewellers Boodles in North John Street, and snail fossils can be found in the limestone.

Even stranger, as passers-by who watched as we studied the building will testify, are the fossils on the Met Quarter shopping centre in Whitechapel. The Bavarian granite contains large fossilised molluscs and cuttlefish-related creatures (again from the Jurassic Era), more examples of which can be seen at the World Museum. Tony, a member of the Liverpool Geological Society, explained that the molluscs could have grown to as large as two metres in diameter.

He said: "There are an amazing amount of fossils in the buildings across Liverpool, you just have to know what you're looking for and keep an eye out for them."

So then fossil-hunters, as they say at the bingo - "Eyes down!"

* An in-depth feature on the fossil walk, by journalist Emma Pinch, appeared in Tuesday’s Daily Post.

Me waiting in the wings before my Clare Balding interview at Aintree

All reporters remember big stories they worked on and the 1993 Grand National was for me one of the most memorable. It was the year the race was famously declared void after demonstrators disrupted the world’s greatest steeplechase.

This week I was quizzed by BBC racing presenter and former top amateur jockey Clare Balding about my memories of that amazing day. It was for an edition of The One Show being screened in the run-up to this year’s big race.

The show’s producers were prompted by my collection of passes, pamphlets, statements and press releases amassed on that day in the mayhem of the press room at the renowned Liverpool racecourse. Some years ago I donated them to National Museums Liverpool and they feature on our website where BBC researchers spotted them. This 1993 ephemera is destined for display in the new Museum of Liverpool opening next year.

It was decided to do the interview in the bitter cold in front of the County Stand. I admitted to Clare that the last time I had been to the course was when they secretly buried legendary winner Red Rum at the winning post. Since then I had watched the race from the Blue Anchor Bridge, a spot where you can be a spectator for free and avoid the crowds.

As we talked, my memories stretched back to my first visit in 1961 when Nicholas Silver won and I placed an unsuccessful sixpenny bet with exotic tipster Prince Monolulu.

I was there when Gay Trip won in 1970 but remember most the tiny comedian Jimmy Clitheroe, dressed in a suede coat, with his horse. That year I walked around the track with local MP Dick Crawshaw attempting an endurance record. I interviewed the formidable owner of Aintree Mirabelle Topham on the telephone – a major coup. 

In 1978 we had the ‘will he, won’t he?’ saga of Red Rum making his final appearance at Aintree. I met TV personality Angela Rippon when she cantered on Rummy along Southport sands.

I was there in 1981 to see cancer victim Bob Champion’s epic win on Aldaniti on a glorious sunny day.
 
But nothing could prepare me for the Race That Never Was. I told Clare it was like being on the Titanic steaming on regardless after being mortally wounded.

Nobody seemed to know what was going on in the press room until racecourse chairman Lord Daresbury took the helm at a news conference. The race was declared void because of two false starts.

This picture was taken by assistant director Sophie Wallace-Hadrill and shows Clare preparing to interview me as cameraman Tim Sutton and director Hamish Summers get things right. The structure in the background is the biggest marquee I’ve ever seen.

A street trader at St George's Dock, Liverpool in 1895. Courtesy Liverpool Daily Post and Echo.

When I was young, slavery was rarely mentioned either at home or in school – it was rather a taboo subject. Grown-ups would point out parts of Liverpool, saying things like “That’s where the slaves were sold”. In reality very few enslaved Africans were sold in the port although merchants, traders and ship owners grew rich on the trade.

Liverpool was the leading European slave trade port in the later decades of the 18th century and people of African descent were living in the town from at least that time. A number of merchants brought slaves from the West Indies to work as servants in their homes.

Some African chiefs sent their sons to be educated in Britain. In the 1790s more than 50 of these children were at school in Liverpool.

With the development of the palm oil business after the abolition of the slave trade in 1807, African seafarers were increasingly employed to crew the ships. Many of these seafarers settled on the outskirts of the town in the area now known as Liverpool 8.

There were significant numbers of Black people in Britain in the 18th century. By 1800 London may have had a Black population of around 10,000. Although they had a variety of jobs including serving as soldiers and sailors, most were domestic servants to the rich.

This is illustrated on a coffee pot among the displays at the International Slavery Museum in the Merseyside Maritime Museum building. Other exhibits include a print showing a dock and sailing ships which also features the first known images of Black people in Liverpool – two youngsters near the dock side.

An 1895 photograph, shown here, taken by Charles Frederick Inston, shows a Black street trader at St George’s Dock. An item from a 1756 edition of Williamsons Liverpool Advertiser announces  the sale in a shop of “three negro men, two negro women, two negro boys and one negro girl” along with quantities of raisin wine, cider and flour.

A notice of the sale of “11 negroes” at the town’s Exchange Coffee House appeared in the same newspaper in 1766. For wealthy English families, a servant was an asset to be shown off as evidence of wealth and status. These notices show how enslaved Africans were part of the consumerism of the time. Africans were exotic accessories and would often be exquisitely dressed to reflect the riches of their masters.This hid the reality that Black servants were often brutalised in their daily lives.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo. A paperback – Mersey Maritime Tales (£3.99) – is available from the museum, newsagents, bookshops or from the Mersey Shop website (£1.50 p&p UK).

The temptation to go overboard with footballing puns is almost overwhelming but I'll give it a go.

Only A Game?, the UEFA football exhibition currently at World Museum Liverpool, features lots of loaned objects including trophies, medals, shirts and football memorabilia. Over the coming weeks there are going to be more substitutions than you get in your average international friendly (well, not quite), with items going in and out of the exhibition. They are:

• Everton Collection objects, including the UEFA Cup Winners' Cup medal but excluding the Barcelona Cup - last chance to see these is 8 March 
• UEFA Cup - last day to see this is 3 March
• The following all arrive on 4 March -
  • UEFA Competition for National Representative Women’s Teams trophy (1982/84 - 1987/89)
  • UEFA European Women’s Championship trophy (1989/91- 1999/2001)
  • UEFA European Women’s Championship trophy (new trophy used from 2003/05 onwards)
  • UEFA European Under-21 Championship trophy and winners' medals

There may be other changes so if you are coming to see a specific object you might want to phone the museum or check the Only A Game? webpages to make sure it is available. Either way there is lots to see during any visit.

'George Always I' © Maggi Hambling (2007/2008), courtesy of The Ivy

The late George Melly had a long association with Liverpool's art galleries. This dates back to before the war when as a child he would visit his cousin Emma, who would tell him all about the paintings she owned and read him Beatrix Potter in her library. Cousin Emma just happened to be a certain Emma Holt and her library and painting collection were, and still are, part of Sudley House.

Years later Melly was a familiar figure at the Walker Art Gallery, whether on official duty as a judge of the John Moores 20 exhibition or opening speaker at the Aubrey Beardsley exhibition, or just as a visitor, unmistakable in his loud suits.

It's entirely appropriate then that an exhibition of portraits of 'Good time George' by the distinguished contemporary artist Maggi Hambling, is being shown together for the first time at the Walker. George always, which opens today, is a riot of colour and personality. Melly was a great friend of Hambling's and sat for her many times. After Melly's death in July 2007 she continued to paint a series of portraits from memory and imagination. The most recently completed triptych from this series has not been on public display before.

Calling all part time art and craft students - how would you like to have your artwork displayed in our venues during Adult Learner's Week in May 2009? You could if you win the 'Inspired by...' competition.

Entrants in this year's competition must submit a piece of artwork inspired by the collections, exhibitions or displays in either Sudley House, World Museum Liverpool or the National Conservation Centre. You may submit any art, craft, multi-media, digital work, video or animation. Participants must be over 18 and studying arts or crafts part time. Full entry criteria and downloadable application forms are on the Inspired by... web page.

Do not adjust your sets! A different view of the now familiar museum building reflected in the dock

As you will have seen if you've been down to Liverpool's waterfront recently, the structure of the new Museum of Liverpool building is really taking shape now. But what is going on inside those stone-clad walls? And how are staff preparing for the monumental task of fitting out the enormous galleries inside?

If you want the inside story there are two new ways to find out what's going on. Our quarterly e-newsletter has a summary of all the big news -  you can see the February 2009 e-newsletter online. To sign up for future editions complete the register with us form, remembering to tick the Museum of Liverpool box under 'Interests' and choose email updates under 'Contact options'.

You can now also follow the Museum of Liverpool on Twitter, for all the latest news about progress with the construction.

Don't forget, we'd like to hear from you as well if you have any photos of the museum building taking shape. You can add them to our Building the Museum of Liverpool group on Flickr.

We've just published a cute little pocket guide to many of the fab happenings at NML in 2008. It's good to revisit highlights like Ben Johnson's residency, the Superlambananas, the opening of Seized! and exhibitions like Art In The Age of Steam and The Beat Goes On.

You can download your copy of The Little Book of Big Highlights here (pdf 6mb).

Miss Francatelli's apron

I have an open mind about psychic happenings and the alleged auras that surround people and things. A simple apron from a distant time has a profound effect on me. Whenever I stand next to it I feel the icy blast of the sea, hear the cries of people in distress and experience a sense of despair.

The starched white apron bears silent witness to the terrible night when the luxury White Star liner Titanic hit an iceberg and sank with the loss of more than 1,500 lives.

It is among exhibits in the Merseyside Maritime Museum’s exhibition Titanic, Lusitania and the Forgotten Empress which looks at three great shipping tragedies. The Empress was the Empress of Ireland whose loss was overshadowed by the others.

The full-length cotton apron, with lace-trimmed top, was worn by survivor Laura Francatelli on the night of the disaster. It may be the only item of such clothing on display in a public collection.

Miss Francatelli was personal maid and social secretary to the fashion designer Lady Lucile Duff-Gordon. Miss Francatelli was travelling First Class with her employer and Sir Cosmo Duff-Gordon, baronet, a champion fencer who represented Britain in the 1908 Olympics. They boarded the ship at Cherbourg travelling under the names Mr and Mrs Morgan, presumably to prevent them being pestered by social climbers.

Miss Francatelli and the Duff-Gordons were among the first to escape from Titanic. They boarded Lifeboat No 1 which had just two male passengers and seven crewmen although it was built to hold many more people. On board the rescue ship Carpathia, Sir Cosmo asked Miss Francatelli to write out £5 cheques to each of the seamen who were in the lifeboat. This led to allegations of bribery.

However, the British inquiry stated that the nature of the Duff-Gordons’ departure from Titanic was “within the acceptable bounds of civilised behaviour”. Also on display is a photograph of the occupants of Lifeboat No 1 taken on board Carpathia. Miss Francatelli, who later married and lived until1967, is pictured standing between Sir Cosmo and Lady Duff-Gordon. There's more on the apron, the Duff-Gordons and Miss Francatelli on our main website.

Most of the Titanic’s crew from the Liverpool area were lost in the sinking. On display are personal items linked to local crew members who died. A Bible, pipes and smoking accessories belonged to junior second engineer John Henry Hesketh, a 33-year-old single man from Kirkdale, Liverpool.

A poignant letter was written by a young girl called May Louise McMurray to her dad William McMurray, a bedroom steward from the city’s Kensington district. You can see the letter here.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo. A paperback – Mersey Maritime Tales (£3.99) – is available from the museum, newsagents, bookshops or from the Mersey Shop website (£1.50 p&p UK).

We billed The Beat Goes on exhibition ‘from The Beatles to the Zutons’, but has anyone heard of 'from The Hollies to the Happy Mondays'? That’s what you’ll find if you take a trip to the other end of the East Lancs Road, to Salford Museum & Art Gallery. They’re currently showing Quiffs, Riffs and Tiffs – a small but perfectly formed exhibition about the music scene in Salford.

I spent a happy hour there a few weeks ago and thought there were a few gems to be seen. Top of the list for me were notes by Morrissey and Johnny Marr – with Salford Lads Club getting its rightful mention. There’s also handwritten lyrics to Crosby, Stills & Nash’s Teach Your Children, signed by one of my all time idols,  Graham Nash. There are some childhood pictures of Graham at his home in Salford, before his success with The Hollies and later with CS&N stole him from these shores.

The Beat Goes On exhibition

Other items featured in the exhibition relate to Joy Division, Happy Mondays, Anthony Wilson including The Hacienda , The Ting Tings, and even The Salford Jets - former band of Rock Radio 106.1 DJ Mike Sweeney (yes, he's still going on radio, and very good he is too). 

On the other hand, if you are reading this from the outskirts of Manchester, hop on the train to World Museum Liverpool where you’ll find The Beat Goes On exhibition covering Liverpool’s finest music. Morrissey fans will be thrilled by the Billy Fury display. Old Hacienda heads will feel at home in the Cream and Quad sections, while first generation punks and indie kids will be bowled over by memories of  Eric's, The Las and other such legends. Oh, and then there’s that other band from Liverpool. You may well need more than one trip to take it all in.

The crowd applaud as Wally Brown, Richard LeBaron and Simon Woolley (not shown) unveil three new plaques for the Black Achievers Wall

As Richard Benjamin explained in his last blog post, February is Black History Month in America (unlike the UK, where we celebrate it in October). So as befits an International Slavery Museum, we held our own programme of US Black History Month events, culminating in the unveiling of three new American plaques for the Black Achievers Wall.

The smiling face of President Obama on the middle plaque surely needs no introduction. On the left is Fannie Lou Hamer, the civil rights movement pioneer from Mississippi who famously described herself as being "sick and tired of being sick and tired". Completing the trio on the right is Dr Mae Jemison, who has the honour of being the first African American woman to travel in space after completing a mission on the Space Shuttle Endeavour in 1992.

In a short ceremony yesterday afternoon the plaques were officially unveiled by Richard LeBaron, Chargé d'Affaires at the United States Embassy in London, Simon Woolley, the national co-ordinator of Operation Black Vote in the UK, and Wally Brown CBE, former Principal of Liverpool Community College. You can see more photos of the ceremony in our US Black History Month Flickr photo set.