National Museums Liverpool Blog - Monday, August 24, 2009

Frankie Vaughan. Copyright Liverpool Daily Post and Echo

Here's another photograph that didn't quite make it into the upcoming exhibition 'Liverpool people by Stephen Shakeshaft'. Over the course of his career at the Liverpool Daily Post and Echo, Stephen met a huge number of celebrities. One that he remembers particularly fondly is the legendary Frankie Vaughan:

"Frankie Vaughan, also known as Mr Moonlight, was one of the nicest people I've ever met. Sometimes entertainers or celebs disappoint when meeting them but Frankie was genuine and he loved Liverpool. In my teenage years I sat watching my mother swoon as he sang 'Give Me The Moonlight' on television's Sunday Night at the London Palladium.

He was everything that a pinup should be and he still had that Frankie giggle all those years later when he gave me a lift in his gold Rolls Royce along Lord Street in Southport. I can still see the expressions on the holidaymakers' faces as they
watched open jawed as we pulled up at the traffic lights. Looking in they saw that the driver was Frankie Vaughan and on the back seat there was ME!

I had persuaded him to be photographed on the beach at Southport when he was starring in the Summer Show. He walked in the sandhills with his wife Stella and was moved to tears. He told me as a child he would visit the same beach from his Dingle home for his one day’s annual holiday with his parents.

This photograph was taken in 1998 shortly before he died. He was in Liverpool and wished to visit the streets of his childhood."

A hogshead barrel at Merseyside Maritime Museum. Image courtesy Liverpool Daily Post and Echo.

The Beatles’ song 'Being for the benefit of Mr Kite' is particularly evocative for me because of the seaside fairground memories it conjures up. I think the organ sounds create images of garish 1950s roundabouts and hot dog stands. John Lennon’s words were inspired by a 19th century poster but the musical arrangement is pure New Brighton.

John would have visited Liverpool’s own seaside resort on a ferry across the Mersey where his senses would have been bombarded with the sights, sounds and smells of the fairground surrounding the Tower Ballroom.

The Beatles sang about Mr Kite challenging the world with his act featuring acrobats, the Hendersons, leaping through “a hogshead of real fire”.

A tobacco hogshead on display at Merseyside Maritime Museum (pictured) makes you appreciate the bravery of the Hendersons.

This huge round barrel is more than four feet tall and about the same diameter. It was found in the Albert Dock warehouses – now housing the museum – where tobacco was stored on arrival (there's more on the history of the dock and it's warehouses on our main site).

Although today most goods within Britain travel by road and rail, ships carry some cargoes between British ports. In particular, it can be more convenient and profitable to use ships for goods carried in large quantities such as petrol and aviation fuel.

Two hundred years ago, before proper roads and railways, it was often easier and cheaper to carry goods by sea or on rivers and canals.

There are exhibition models of coastal vessels in the museum’s Life at Sea gallery. The three-masted Liberty and Property was built in Whitby in 1752.

One of the largest coastal trades in the 1700s and 1800s was carrying coals from Newcastle and other ports in the north east of England to London. The expression “Carrying coals to Newcastle” means a pointless action. There was a huge demand for coal in London and south east England, mainly as a household fuel.

A modern coastal vessel is the Mersey Fisher which was added to the fleet of James Fisher & Co in 1998. She carries liquid petrochemicals to ports in the UK and north west Europe. The model was commissioned with the generous support of the Sir John Fisher Foundation as a reminder of the firm’s long association with the port of Liverpool.

Among the museum’s ship collection housed on the Historic Quaysides is the De Wadden, an auxiliary schooner based in Arklow, Eire, from 1921 to 1961. She was the last sailing ship to trade in and out of the Mersey.

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're competition crazy round here at the moment, and here's our latest offering - the caption competition! You probably already know the sketch. We show you an image (in this case a painting from our collections) and you come up with an amusing caption. This is the first pic (it's actually called 'What is it?' by Henry Stacy Marks).

Post your entry as a comment (please keep them clean!) We'll pick a winner next week who will receive a book of Cecil Beaton snaps (you can see it on Amazon - it's nicer than the price suggests!) which ties in nicely with the Beaton exhibition currently at the Walker Art Gallery.

Bug House Demonstrator, Rebekah Beresford, is back again to tell us about her latest project in the Bug House at World Museum Liverpool. This time she has been giving the Hermit Crabs' vivarium a make-over! You can see the photos from each stage of the project on our Bug House Flickr set.

The Hermit Crab vivarium

After the success of the Indian Ground Beetles display earlier this year it was decided that some of our other vivariums could also do with a revamp! The Bug House hasn’t kept any mantids for over a year now and they’re incredibly popular with the visitors - so the next vivarium on the list was their display.

The new vivarium arrived from Exo Terra and was made by leading experts in the world of exotics. We got to work on siliconing in a glass partition, a third of the way along the tank to create a fresh water pool. Hermit crabs require fresh water so that they can mix it with salt water. The crabs then pull up into their shells their own preferred salinity reservoir from which they can breathe through. The fresh water pool in this vivarium will house a variety of aquatic invertebrates such as apple snails and gammarus (shrimp-like amphipods). The pool will also be useful for maintaining the humidity in the tank.

Coming from the Caribbean, these Hermit Crabs require humidity of around 70%. Hermit Crabs are avid climbers so it was important to factor this in to the design. A polystyrene wall made to look like rock work was ideal. It was easy to cut and wedged into place perfectly down one side of the vivarium. With some plants and bark attached the crabs would have plenty to climb and perch on.

Once the silicone had dried we tested it for leaks and luckily there weren't any! The pool was filled with gravel and the waterfall was set in place. The waterfall runs with a small pump set inside it. It’ll make the finished vivarium look quite impressive.

Hermit Crabs are renowned for being boisterous and particularly clumsy, so it was necessary to silicone some bark along the rim of the glass partition. This would prevent substrate from being kicked into the pool and also to allow leverage for the crabs to pull themselves out.

Whilst this was setting I had time to add the substrate to the land area. Hermit crabs dig themselves under ground for protection whilst moulting. Being invertebrates their skeleton is on the outside and moulting their skin to grow is a big deal. In the wild predatory birds could snatch them above ground level so they are forced under ground to do this. Even though hermit crabs are social creatures they are still opportunistic feeders. They would happily eat a moulting crab which would be soft and vulnerable and unable to protect itself, so it was important to factor in plenty of space to avoid this.

The next thing was to rehydrate the coco fibre to mix with the sand. Coco fibre comes from the husk of coconuts and is widely used in vivariums to provide sound air content and moisture in the substrate. The coco fibre was then added to the land area creating a gradient. This could then be mixed together lightly but the crabs would do a good enough job mixing it together themselves.

One of the last requirements for the vivarium was to add the climbing material. Drift wood is perfect for this because it’s so robust. I used smaller pieces along the climbing wall in steps for the hermits to climb over. Before it goes out on display I’ll add some bamboo and extra foliage.

Thanks to Phil from the aquarium, I was able to acquire a rainforest creeper called Devil’s Ivy. It’s commonly seen for sale in garden centres as house plants but its native to Asia. The plant was trained around the drift wood through to the fresh water pool. It’s a climbing plant and clings onto tree bark using its aerial roots. It’s also very hardy so will re-root itself quickly if the hermit crabs dig it up several times.

The Hermit Crab vivarium is now on display in the Bug House so come along and see them in their new home!

As you may know, this weekend sees the Slavery Remembrance Day festival - there's more on the background to the event on our main website. A good number of the weekend's events are supported with British Sign Language, including Diane Nash's lecture. There's a good mix of activities, dramatisations, discussions, lectures and performances. A full list of the supported events can be found on our BSL interpretation events page.

You could win tickets to see either the Soweto Gospel Choir on Saturday 5 September or Odemba OK Jazz All Stars on Tuesday 29 September.

To enter just visit the International Slavery Museum and answer this simple question:

What section of the International Slavery Museum is the Black Achievers Wall in?

Please send us your answer using this contact form to arrive before midnight on Tuesday 25 August 2009, stating which concert you would prefer to see. There will be two winners, one for each concert. There's more on the competition and the featured artists on our main site.

Apologies if you've tried to enter already and failed - a slight technical problem. It should be working fine now.

I was very interested in an article in the Guardian by Syma Tariq on women artists and institutional collecting. The Walker Art Gallery has been collecting work by women artists since its foundation in the 1870s. These works, which now form perhaps the best collection of historic art by women in a public gallery in England, span from the 16th century to the present day. Artists include Lavinia Fontana and Rosalba Carriera, but what do we call them? Old Masters obviously not, but the alternative Old Mistresses is worse! A clear demonstration of the art historical bias.

Our exhibition, The Rise of Women Artists (opens on 23 October 2009), will examine historical changes affecting women, looking at their status and careers as they moved to assert themselves as artists in their own right. It will also highlight the breadth of the Walker’s collection. In fact such is the strength of the collection of work by women, that some key works can’t be included in the large exhibition space, but will instead feature in a tour of other works by female artists in the rest of the galllery.

The exhibition features work by Vigee-Lebrun and Angelica Kauffman as well as less well known artists of the 19th century such as Annie Swynnerton. Contemporary artists including Louise Bourgeois and Paula Rego will complete the journey to the present day. 

You have until Monday to enter our competition and win a luxury weekend away in London.

This fabulous prize is being offered to tie in with the Royal Academy's exhibition, J.W. Waterhouse: The Modern Pre-Raphaelite, which includes one of the Walker's paintings, Echo and Narcissus.

The prize includes two nights accommodation at a five-star hotel, tickets to the exhibition and first class return tickets from Liverpool.

Competition details and how to enter can be found on our main site.

Kenny Everett. Copyright Liverpool Daily Post and Echo

Here's another one of Stephen Shakeshaft's fantastic photos, this time of a well known face. This photograph hasn't made it into his upcoming exhibition 'Liverpool people by Stephen Shakeshaft', which opens at the National Conservation Centre on 18 September, but it made me smile so I thought I'd share it with you. Stephen took this picture early on during Kenny Everett's career and remembers:

"Celebrity Squares was a popular quiz show hosted by Bob Monkhouse. The voiceover as the prizes for contestants came on was from the irrepressible Kenny Everett - who went on to be a great DJ and television star. I was amazed how many bottles of cola he got through during the show."

As regular visitors will realise, there are always small changes taking place within our galleries, even in the 'permanent' displays, as objects do occasionally get removed for loans or conservation treatment. An example is the painting 'Elaine' painted by Sophie Anderson, which is going to be included in the exhibition 'The Rise of Women Artists' at the Walker from 23 October 2009. Framing conservator Roy Irlam is using this opportunity to address particular areas of the painting's framework, as access to this painting has been difficult due to its high position on the gallery wall. You can see photos of the de-installation in our Moving stories Flickr set. Handling and transport technician Paula Frew explains just how this large painting was safely removed from display below.

Installing 'Daniel in the Lion's Den' in the Walker

"The handling and transport team use specialised equipment for paintings at this height which include a block and tackle system used to elevate and lower paintings. Each block and tackle section is equipped to take a safe working load of 250kg which are suspended from a lifting strap (SWL 1000kgs) which is attached to a load bearing picture rail.

Another piece of equipment which is an old favourite of the team's goes by the fanciful name of 'Airwolf'. It's a gas operated hydraulic lift that enables technicians to access the heights needed to reach the galleries picture rails.

The most recent addition to the team's repertoire of equipment is an electrical hydraulic lift embellished with the title of 'Leonardo'. This machine takes the weight of one person and can be operated at its base or by the operator in the caged platform area at various heights to move around the gallery area. Unfortunately it doesn't go as high as the 'Airwolf' and is therefore restricted.

The Mobile Elevated Towers named 'Pulpit Towers' are mobile platforms that have replaced ladders due to the new ladder regulations and adhere to the new safety rulings.

The large maroon coloured machine is called the 'Sumner lift'. This machine has been specifically adapted to take a 500kg weight, having counterbalanced weights in the enclosed basket. The machine can access heavy paintings at particular heights on its forks. It works on a ratchet and geared system operated manually, preferably by someone who has eaten a lot of spinach!

The equipment has to be condition checked before use which takes time, so the team started at 7.30am to make headway before the Walker opened to the public at 10am. Once it opened we barricaded off half of the gallery space rather than closing it completely to the public. We found that the visitors were more interested in our operation than they were in the collections!

Before taking down 'Elaine' we removed the painting beneath it 'The Expulsion of Adam and Eve from the Garden of Eden' using the Sumner lift machine. The team then set up the block and tackle for 'Elaine' and removed it safely.

The painting 'Daniel in the Lion's Den' by Riviere has recently returned to the Walker after going out on loan to the British Museum for their 'Babylon' exhibition. We installed this painting in place of 'Elaine' using the block and tackle system, then re-installed 'The Expulsion of Adam and Eve...' beneath it and re-opened the remaining gallery space."