Posts tagged with 'collections'
Happy Chinese New Year!
As we say farewell to the year of the dog and welcome the year of the pig we are looking forward to our annual celebrations at the gallery. Did you know we have two galleries dedicated to Lord Lever’s Chinese ceramics which highlight his collection of 17th and 18th century porcelain which dates back to the 2nd century BCE ? Read more…
Today’s guest blog post is by Brenda McCafferty, who completed a placement with us in January as part of her Masters in Archives and Records Management (MARM) degree:
“Recently I was fortunate to receive a placement in the Maritime Archives and Library in partial fulfilment and completion of my Masters of Archives degree program at the University of Liverpool.
My work placement involved arranging and describing a recent acquisition of letters and photographs received from Jim Fitt, detailing his early experiences at sea as an 18-19 year old deck apprentice with Shell Tankers Ltd, 1962-1963. Read more…
This guest blog comes to you from Helen Ritchie, a University of Liverpool student currently undertaking a Masters in Archives and Records Management (MARM). Helen has reflected upon her recent placement here at the Maritime Archive and Library, which included the discovery of an unexpected tale:
“I was delighted to have the opportunity to complete a two-week volunteer placement at the Merseyside Maritime Museum.
During my time at the Maritime, I have witnessed what it takes to be an archivist within a museum setting and the constraints that the sector often endures such as funding and space management.
The collection I was asked to catalogue belongs to the Bryson-Cobham family collection which includes a large number of personal and business correspondence relating to the Cobhams Read more…
“It’s always been my dream to create a Vogue Ball since I was first introduced to the vogue dance style in the ‘80s. To see the growth and passion of the Ball reach so many people is truly amazing and beyond my expectations!”
Darren Suarez, 2019
20 December 2018 by Liz
Looking back on 2018, this has been a fascinating and fun year at the Museum of Liverpool. One of my professional highlights of the year has been the excavation we undertook in July at Oakes Street (between London Road and Pembroke Place). As part of the Galkoff’s and Secret Life of Pembroke Place project the Museum of Liverpool archaeology team worked with Liverpool School of Tropical Medicine to see what was hidden under their car park. With the support of the Heritage Lottery Fund (HLF) we’d been able to undertake extensive map and desk-based research, which had told us that this was the site of some courtyard housing, but you never know what you’ll actually find when you start digging! Read more…
19 December 2018 by Kay
The British Federation of University Women, (today known as the British Federation of Women Graduates), was founded in 1907 to bring University women together. The following year, a Liverpool Association was formed by Eleanor Rathbone and other local ladies.
Members worked for women in the city. Mrs Nan Mackean, former Honorary Secretary of the Association explained –
“They raised money for beds in the new Women’s Hospital, campaigned for women to serve in the Police Force, and battled bravely against the introduction of the marriage bar for university women staff, which meant that if women married, they were automatically dismissed from their posts and were unable to continue with their careers. During the 1930s, and in wartime, members welcomed European women who were refugees fleeing from the Nazis, giving them hospitality while they waited for a passage to the USA, and providing them with clothes and money for the journey”.
The annual poll aims to find the public’s favourite Art Funded work of the year, and to celebrate a year of helping museums and galleries acquire great art. You can help and support us by voting!
‘Am Not I a Man and a Brother’ is a significant acquisition for the Museum- and the UK.
It is the first painting in our collection to show the powerful and resonant iconography of abolition. The artwork dates from around 1800 and the artist is unknown. The foot of the canvas reads, ‘Am Not I a Man and a Brother’, a variation on the more common version, ‘Am I Not a Man and a Brother’. Read more…
31 October 2018 by Vanessa
Today we have a guest blog by Luke Daly-Groves. Luke is currently studying a PhD on Anglo-American intelligence relations in occupied Germany at the University of Leeds:
“For five weeks I have been working with the team of archaeologists at the Museum of Liverpool as part of a placement, in order to create a display about the Romans in Merseyside. My interest in Roman history was sparked by tales of Emperors and Empire, travels around ancient sites throughout Europe, and the works of Professor Dame Mary Beard. But studying the Romans is not all about those at the top but also about revealing something of the lives of ordinary people. This is why archaeology is so important.
Here in Liverpool, the smallest fragment of Roman tile is bagged and recorded because it may provide vital evidence. Context, in archaeology, as in history, is key. The North West was in the past considered to be an area devoid of Roman archaeology. I certainly had no idea of any Roman presence here prior to my work at the museum! Read more…
This Black History Month we celebrate diverse voices from Liverpool’s Black community. This second blog in the series celebrates the life of Angus Wood and his contribution to the war effort during the Second World War.
“Because I am from Jamaica, an engineer didn’t think I was capable of sharpening a drill, although after that you know we got on smashing. I was treated quite well, especially when they suddenly realised that everything in Kingston was the same as in England”
Angus Wood, speaking in 2002. Liverpool Voices, Liverpool Lives archive, Museum of Liverpool.
Angus was born in Kingston, Jamaica and came to Liverpool when he responded to the call for engineers to come and work in munitions factories here in Britain. He left Kingston on 13 January 1940 with a large group of other skilled men.
After a long journey they docked in Scotland and travelled by train to Liverpool. Initially they lived at the YMCA in Birkenhead.
Angus was employed at ROF Fazakerley, a newly opened rifle manufacturing factory. Initially he was treated a little differently but once he proved that he knew his job he was treated the same as the other workers. His job, a protected occupation, was to set up machines that the women workers used to cut and grind components for rifles.
Angus also joined the factory’s own Home Guard, performing night fire watches and guard duty before and after a full days work.
The women workers in the factory helped them to find lodgings with local families. Angus lived for two years with the Roberts family, in Crescent Road, Fazakerley, before meeting his wife at the factory and setting up their own home.
Angus and his friends often went to the Grafton Ballroom in their free time. Here they experienced some racism from American GIs. Angus tells us more –
“The Americans didn’t want any coloured chaps in there, and we were British so they couldn’t stop us, and when they objected there was a fight. I always keep clear of any fights. I was never personally involved in any of them”.
After the war the men were offered the opportunity to return to Jamaica, or stay in Britain. Angus, who was by then married with young children, chose to stay. He lived and worked in Liverpool, staying on at the factory until it closed in 1962.
Don’t forget to download our trail exploring how Liverpool’s Black community is represented in our displays and check out the Black History Month events across National Museums Liverpool’s venues throughout October.
As a volunteer at the Walker Art Gallery, I have been helping Exhibition Curator, Alex Patterson, to digitise works related to the Whistler and Pennell: Etching the City exhibition, currently on display at the Lady Lever Art Gallery. This exhibition explores the role that James McNeill Whistler and Joseph Pennell played in the Etching Revival (1830-1940) in Britain. It also shows how their contemporaries, such as Sir Francis Seymour Haden (1818-1910), Charles Méryon (1821-1868), and William Strang (1859-1921), were influenced by their art.
One of the etchings that really caught my interest was Breaking Up of the Agamemnon by Sir Francis Seymour Haden, which was one of three works by him included in the exhibition. It shows a large hulk of a vessel being demolished. The vessel is HMS Agamemnon, the Royal Navy battleship moored at the Naval Arsenal at Deptford on the River Thames, seen against the setting sun. Launched in 1852, the 230-feet long Agamemnon was one of the most intimidating of all wooden warships and the first British steam-powered flagship. The Agamemnon saw action in many battles, including the Crimean War, and was the predecessor of iron-hulled ships, which were introduced in the 1860s.
Breaking Up of the Agamemnon reminded me of another etching, Breaking Up of the Great Eastern, No 2 (1890) by Sir Frank Short (1857-1945), also in the Walker Art Gallery collection. I came across the etching when I was researching scenes of Liverpool Docks. Both ships had illustrious histories, and I felt that the images of their breaking up expressed a deep sense of loss and sorrow.
Haden’s etching of the Agamemnon was a spontaneous response to what he saw on the Thames one day in July 1870, but it became the most important subject of his career, which he continued to work on over the next 16 years.
Early in 1870 the art scholar, artist and etcher Philip Gilbert Hamerton (1834-1894) asked Haden to etch a plate to be published in the first edition of his new art journal, The Portfolio (1870-1893). The journal, named after a folder in which collectors often kept valuable prints, championed etching as original art, rather than a reproductive medium. This concept played an instrumental role in the British etching revival during the second half of the 19th century. Haden, like the French Impressionists, always tried to work directly from life, and for this purpose, he always carried prepared copper plates wherever he went. He drew directly onto the plate to capture the movement of the light and its reflections in the sky, clouds, and water. The demolition of the Agamemnon may not have been a traditional subject for a study of ambiance, but Haden must have been entranced by its grandeur and spectacle.
In a letter to Hamerton, dated July 3, 1870, Haden wrote of the Agamemnon etching: “. . . I had thought of making the sun set behind the old hulk and the distant cupolas of Greenwich and of using the sinking luminary as typical of the departing glories of both . . . .” This shows that Haden indeed drew the initial sketch for Breaking Up of the Agamemnon, No 1 directly onto the copper plate. The sun is setting between the ship and Greenwich, conveying a poignant majestic reference to the glorious history of the Agamemnon. The rays of the setting sun rippling through the clouds are echoed on the stirring water in the foreground. Named after Agamemnon, the King of Mycenae who led the united Greek army to the Trojan War, the ship proudly displays the figurehead wearing a Roman centurion’s plumed helmet pointing towards the sun. The Agamemnon almost appears as if ready to set sail once again into the distant horizon. Although she is now tethered to a much smaller barge, with her ribs exposed and only one of three masts standing, the Agamemnon still looks magnificent. The image highlights the ship’s immense scale and power, but it also conveys a sense an ending.
Breaking Up of the Agamemnon was a very complex project for Haden. He said he had “never undertook a more perplexing job.” The initial spontaneity of etching was followed by many attempts at adding and deleting small details throughout the composition, resulting in 11 states (versions of the print) being made in total. However, the main image of the ship against a shimmering evening sun remained largely unchanged.
Breaking Up of the Agamemnon, No 1 was an artistic and commercial success. The plate was unfortunately too large to be printed in The Portfolio and instead was later published by Frederick Goulding, and sold through Colnaghi’s, bringing Haden a huge financial reward. The plate was so popular that he produced a second version of the subject Breaking Up of the Agamemnon, No 2 (1886) in mezzotint.
As for the etching Haden promised to Hamerton for the first edition of The Portfolio Hamerton instead selected another of Haden’s prints, entitled A Brig at Anchor (1870), which is also in the Walker Art Gallery collection. He etched it from nature by moonlight on the Thames.
To discover more about the art of etching and to enjoy Haden’s intricate works at first hand don’t miss Whistler and Pennell: Etching the City at the Lady Lever Art Gallery until 7 October and the fascinating video made by Liverpool John Moores University School of Art and Design explaining the process of etching.