Hands on History: Who’s Coming to Tea?

Welcome to this month’s Hands on History blog, where we will be taking a closer look at our decorative arts collection in preparation for our ‘Hands on History’ event at the Museum on Saturday 18th May. For this month’s handling session, I really wanted to explore the items that make up a tea set.

Teapot

One of the most important parts of a tea set is the teapot. In our Museum collection, there are many different styles of teapots, but I was very much drawn to this one. It is a late Victorian Silver Lustre teapot. The process of making Lusterware was thought to have been developed during the 9th century. However, there was a resurgence of the technique, in part down to the industrial revolution, which enabled the discovery of an alternative way of achieving the Lustre look. For example, silver Lustre could now be replicated through the use of platinum oxide. This ‘faux’ silver look was very popular as it was a lot cheaper than pure silver and more affordable. At the same time that silver lusterware was becoming the fashion, tea sets were also becoming very poplar. For those who couldn’t afford a silver tea pot, a silver Lustre tea pot was the next best thing and at first glance you wouldn’t be able to tell the difference. The idea of replicating an item using cheaper materials and being able to sell at a cheaper cost, is still a common occurrence nowadays. Why wouldn’t you own something that cost you less but at first glance looks similar. Perhaps you own an item like this yourself?

The silver Lustre was painted onto an earthenware teapot to give the appearance of it being silver. However, there was some downsides to this. The first was that the teapot was a lot more fragile than a silver-plated teapot, so if you dropped the teapot, it would break and shatter the illusion of the pure silver teapot! The second, was that, as a result of the silver Lustre being painted on, continued washing could cause the Lustre to dull. In some cases it would rub off entirely showing the earthenware teapot underneath! Therefore, you were advised to polish the Lustre with a soft cloth instead. Personally, when I first looked at this teapot, I believed it to be silver, so you can see how deceiving Lusterware can be. What do you think?

Fun Fact: The first teapots were made from clay!

Teacup and Saucer.

Another essential part of a tea set is a cup and saucer. Whilst our ‘Hands on History’ session will display a few different styles, today I’m going to tell you about one of my favorites. This teacup and saucer set was one of the first objects I found when researching today’s theme. The items were made by George Jones and Sons and believed to date to about 1885. The design was named ‘Almonds’ on account of the almond blossom branches incorporated into the design. I was drawn to the distinctive image (as seen above) of the two birds. I wondered if there was a significance of having birds on pottery. Bird designs have been used on pottery for thousands of years and by many different civilizations. We are surrounded by plants and animals that are constantly used for inspiration, so we shouldn’t be surprised that birds are included in this. Birds themselves can represent freedom, hope and new beginnings. So is there a significance to these birds, or do you think George Jones and Sons just thought that they would pair nicely with the almond blossoms? I’ll let you decide!

Fun Fact: Did you know that there were teacups specifically designed to protect one's moustache? 

Teaspoon

A teaspoon is the third item that I would like to share with you today. This spoon is a commemorative teaspoon for King George VI’s coronation on 12th May 1937. Commemorative tea spoons weren’t a common occurrence in a tea set but I wanted to show you how everyday items were made into decorative pieces. Teaspoons were a very popular form of souvenir, commemorating events such as coronations, christenings, frost fairs and even the plague! This particular teaspoon was a memento of a coronation. On the spoon, you can see an engraving of Westminster Abbey where the coronation took place. The handle has been engraved with the heads of the new monarchs, King George VI and his wife Queen Elizabeth. Their initials, G and E, are also represented underneath their image. This tea spoon would have been cherished and never used, unlike the rest of the teaspoons in this person’s home.

Some people still have tea sets today – I do! But they are not nearly as popular now as they were in the 18th and 19th century. Sometimes they can be found in an attic or the back of a cupboard, not to be used, and are tea sets that were passed down from family members before us. I have tea sets that were passed down from mother to daughter, tea sets that were originally given as wedding presents. These tea sets are vastly different from the everyday cups and teaspoons that we use today in our daily lives. Do you own collectable teaspoons? Do you own a tea set? If so, when was the last time you got them out to look at their wonderful designs?

Fun Fact: The first mention of a teaspoon in advertising was in 1686!

If you enjoyed reading about these items, why not join us at Nuneaton Museum and Art Gallery on Saturday 18th May 2024, anytime between 11.00 and 4.00, to explore these objects, and many more, yourself.

Hands on History: Whatever the Weather

“March winds and April showers bring forth May flowers”

April’s somewhat unpredictable weather is the inspiration for this month’s ‘Hand’s on History’ event, ‘Whatever the Weather’ at the Museum. As a keen gardener, I follow the forecast and predict when the last frost has passed to guide my planting. With my mind on the changeable Spring weather, I thought it would be great to explore objects from the Museum’s collection relating to the weather. Come rain or shine, join us on Saturday 20th April, 11am – 3pm, for our weather themed object handling event.

Winter 2023-24 in the UK has been relatively mild, with above average temperatures for both December and January recorded and with a new record January temperature of 19.9°C recorded in Sutherland! To the disappointment of many, we received very little snow and a lot of rain, with flood warnings in force across the UK. In today’s blog I will be sharing a number of objects connected to rainfall, but do join us for the event itself which will explore a wider range of weather conditions through Museum artifacts, from instruments to predict and measure the weather, garments that protect us from the weather to photographs of extreme weather conditions.

The first items that I would like to share with you today can predict if rain is on the way and are used in weather forecasting. Perhaps you have one on the wall in your home, decorative or functional? Or maybe you rely on a modern digital model?

Admiral Fitzroy Barometer. Long barometer in a wooden case with front-opening door with key hole. Small thermometer also attached to lower right and another small vial to lower left. Printed information about rising and falling to each side. Length 123cm, width 320cm and depth 9.4cm.

The barometer is a scientific instrument used to measure atmospheric pressure to predict the weather. If the air pressure drops then rain and storms are to be expected and if the air pressure rises this usually predicts drier weather. Evangelista Torricelli, an Italian mathematician and a student of Galileo Galilei, invented the first barometer in 1643. The name barometer was given to the instrument a year later by an Englishman named Robert Boyle (the name combined two Greek words meaning ‘measuring weight’). Torricelli’s water barometer relied on the pressure of the air pushing down on a pool of water and pushing it up a vertical tube, it needed to be more than 10 meters in height and it rose above the roof of his home which caused suspicion of witchcraft among his neighbours! He later used mercury, the heaviest liquid available, to create a more compact barometer. At first, the barometer was not a popular instrument, but it later became an ornamental item and a symbol of wealth in the homes of noble people and furniture and clock makers became involved in designing decorative pieces. The barometer gained popularity in the 19th century as a forecasting tool. Did you know that barometers have also been used by miners to determine the depth of a mine and modern digital barometers are used in modern aviation?

The above Admiral Fitzroy barometer is an example of a mercury column barometer and dates from the mid-Victorian era. It also includes a mercury thermometer and a decorative paper back describing how to use the barometer, with various scales and reference points. This barometer is named after Admiral Fitzroy, who is best known for his role as captain of the HMS Beagle during Charles Darwin’s famous voyage, but who also made significant contributions to weather forecasting during his life. The Fitzroy barometer is a grand 123cm long and rather heavy, a general downside to mercury barometers.

Aneroid wall barometer with thermometer and calendar made by J. Hawley & Sons, Nuneaton

This barometer is far more portable! In 1844 the French scientist Lucien Vidi invented the aneroid barometer. Although they are less sensitive and require regular recalibration, this type of barometer slowly replaced mercury barometers because they were smaller, more lightweight and cheaper to make. The term aneroid means ‘without liquid’ as this type of barometer measures atmospheric pressure using a small flexible metal box called an aneroid cell that contracts or expands with pressure changes.

Predicting rainfall is a vital tool to give adequate warning of heavy or prolonged rainfall. With our Museum situated in close proximity to the River Anker, we closely follow forecasts for flood warnings and take preventative action to protect our collection. Fortunately, in recent years we haven’t experienced flooding, but in 1932 the Museum was flooded to a depth of 2 feet! The photograph below shows the devastating impact of this flood on Nuneaton.

Black and white photograph, landscape, two trees in background with post box. Lamp post on right, top not visible. Street is flooded. Fencing and large brick wall on left. One visible property, brick house, shop on ground floor. Property or shop on the right from side angle in the foreground. On the reverse is written in black ball point pen ‘The Flood’ Nuneaton May 1932.

The above photograph shows the flooding of 1932 when the River Anker burst its banks and 4-5 feet of water gushed into Nuneaton Town Centre. The River Anker has flooded Nuneaton town centre several times in the past, causing flood damage to homes and businesses and disruption to local services. There was large scale flooding in 1900, 1932 and again in 1968. This prompted the construction of the Anker Flood Relief in 1976, a 600-meter-long flood relief channel in Weddington. Hopefully with the relief channel in place we will not be seeing sights like this again! Let us know in the comments if you have any personal memories of flooding in the Borough?

The final object that I am excited to share with you today is more unusual. Can you guess how it is related to the weather?

Kachina rain doll made from cottonwood root. Height 16 1/2 inches.

This large carved wooden doll is a Kachina doll, also known as Katsina in the Hopi language, crafted by the Hopi, Zuni and Navajo cultures of North America. The dolls have deep spiritual significance and the oldest known dolls date from the 18th century. Katsinas are the spirits of deities and the colours and symbols in the design of Kachina dolls have meanings connected with these, with each doll embodying the spiritual being it represents.

The design of this doll from the Museum’s collection denotes rain making. Rain dolls are part of religious ceremonies and annual dances held between winter solstice and mid-July, where people seek blessings for rain and a bountiful harvest from the Katsina spirits. Rain is a vital element, essential for agriculture, in the arid landscapes where the Hopi residue. After the ceremony, the dolls are often gifted to children of the village to educate the younger generation about cultural traditions and deities and are hung on the walls in the home where they serve as a reminder of the presence and teachings of the Katsina.

Perhaps I’ll try out a rain dance if the April showers don’t fill my water butts in time for Summer! I hope you have enjoyed reading today’s blog and I look forward to sharing more weather-related objects with you at the event itself. Please join us, whatever the weather, on Saturday 20^th April in the George Eliot Gallery, drop in anytime 11am – 3pm.

While at the Museum why not visit our temporary exhibitions? “Wiv Luv Larry” is our celebratory exhibition about local comedian Larry Grayson. Learn about his life in Larry’s own words. As Nuneaton and Bedworth Borough is 50 years old this year, our exhibition “50 Years of Change” looks at how things have changed during this period, from what we wear to how the borough looks.

Hands on History: Melly’s Museum Memories

Welcome to Melly’s Museum Memories! On Saturday 16th March, we are running a Hands on History session celebrating the life of Edward Melly and his impact not only on Nuneaton but on our Museum as well! If you have been to Nuneaton Museum & Art Gallery, you may have heard of Melly. But don’t worry if you haven’t, as this blog is here to shed a little light on Edward Melly and his legacy.

Edward Melly was not only a one-time Mayor of Nuneaton but also the driving force behind, and first curator of, Nuneaton Museum & Art Gallery. He first arrived in Nuneaton in 1882 to become the manager of the Griff Colliery. His time as manager, and later chairman, of the Griff Colliery was the starting point for his lifelong service to the town and people of Nuneaton. He bought land and handed the deeds over to the council, providing a free public green space for everyone to enjoy. This area became known as Riversley Park. If you visit, you may see the bandstand which has been there since the opening of the park on the 6th of July 1907. You may also see the museum. The land that Edward Melly provided was the perfect space to build a local museum – a museum that first opened on 1st April 1917; a museum that has lasted over 100 years and is still ongoing; a museum that employs me so that I can showcase to you many of our fascinating objects!

Fun Fact: 3,000 visitors came to the museum on its opening day.
Have you been to Nuneaton Museum and Art Gallery?

Cigar Box

This object above is one of the first items that caught my eye when I started to do a little research into the life of Edward Melly. At first glance, it isn’t obvious what it was used for, but it is actually a silver cigar box. Cigar boxes are usually made from wood but sometimes paper or cardboard. Therefore, I think it’s really interesting that this one is made from silver. It shows that it belonged to someone who was important and was decorative as well as functional. It was presented to Edward Melly on the 29th of April 1930 for his Freedom of the Borough Award. This honor is the highest award the council can bestow onto an individual or a corporation. It is very rarely bestowed and only to someone who has made a significant contribution to the town. By 1930, Edward Melly had been a member of the Nuneaton Council and the Mayor, and had opened a local museum after providing the land for Riversley Park. He had also contributed the land for Pingle’s Fields, as well as contributing to many fundraisers that focused on improving the health and the welfare of local people. When I was looking into the history of these boxes, I found out they were usually gold, so I thought it interesting that this one was silver.

Fun Fact: Silver was commonly thought to have magical powers. 
What do you think?

Noel Ford, ‘Centenary’

Another item that we will be showcasing at the session is this cartoon which, to me, summarises the legacy of Edward Melly. Many of us go to explore the museum and play in the park. We may not know who we have to thank, but we get to enjoy these spaces today as a result of Edward Melly’s generosity. Now, let me tell you about the cartoon itself. It was designed by Noel Ford, a cartoonist and illustrator who was born in Nuneaton. This cartoon was created for the centenary of Nuneaton Museum. It is split into two sections, the left depicting the museum when it first opened in 1917 and the right showing the museum one hundred years later in 2017. It makes you wonder if Melly believed the museum would have lasted 100 years and more, and what he would say if he knew it is still a place for our community to enjoy art and learn about local history, as well as being a space for craft sessions, talks, drinks and chats.

Fun Fact: Centenary means the 100th anniversary of an event. 
Have you seen something that is 100 years old?

These objects allow us to see the legacy of Edward Melly. We are able to have these amazing items collected and preserved for our generation and many more to come. Our entire collection is thanks to Melly and his idea to build a local museum. As a resident of Nuneaton, I feel incredibly privileged to have this museum in our town. I hope you have enjoyed reading this blog – do come and join us at our Hands on History session on Saturday 16th March 2024, you can drop in anytime 11.00am – 3.00pm.

Great granddaughter excited to discover her great grandfather’s carvings!

Left to right: Great granddaughter Jo Radnall, Keith Henson and Maureen Henson

Yesterday, we were delighted to welcome Jo Radnall, and some members of her family, to our object stores. Jo contacted me recently as she’d found out that Nuneaton Museum has some carvings made by her great grandfather in its collection. Her great grandfather was called Fred Nash Senior and he worked at Newdigate Colliery, Bedworth. He was employed in the engine house and was responsible for winding the cages for men and equipment up and down, and to and from, the coal face. He was awarded a ‘Workers VC’, which was the highest award for industrial heroism. This was for his action when a fire broke out in the engine house at the colliery.

The sculptures that he made were carved out of coal and included a miniature version of some miner’s boots, a pipe and a hammer.  Coal carving is a rare skill that requires lots of patience. Coal is a fragmentary substance, full of veins and splits, and just one slip of the knife can cause an almost finished sculpture to break into bits.

Jo and her family enjoyed carefully handling the carved pieces and were pleased to hear that the Museum are taking good care of them.

During Lockdown, the Museum made a short video about the carved miner’s boots, which can be viewed here:

Hands on History: World of Dragons

Chinese New Year is a highlight on our family calendar, we enjoy the celebrations featuring costumed dances, flamboyant pyrotechnics and the re-telling of myths. Every year the Chinese Lunar Calendar is assigned an animal, and every twelve years the animals repeat. This year, 2024, we enter the Year of the Dragon. Did you know that the dragon is the only mythical creature of all the animals in the Chinese Lunar Calendar? In Chinese culture, the dragon represents good luck, health and wealth, wisdom and strength, and also the male element ‘yang’. This got me thinking about dragon symbolism around the globe since dragons are a constant presence through Eastern and Western written history, woven throughout ancient myths, legends, songs and folk tales. With curiosity as the seed for our upcoming object handling event, I searched the Museum’s artefact database for the term ‘dragon’ and found that the museum has some wonderful items in its collection. From teapot to trumpet, the dragon that features on each item selected for our upcoming ‘Hands on History’ event, ‘World of Dragons’, has its own unique story and illustrates the role of this mighty mythical creature in tradition, culture or religion. Please join us on Saturday 17th February, anytime 11.00am-3.30pm, to explore a ‘World of Dragons’ through Museum artefacts with us!

For today’s blog, I have selected one artefact from the East and one from the West to explore the cultural significance of dragons. Let’s begin with an object from the East, this beautiful Tibetan ceremonial teapot. I think this item is far more impressive in person, it is an impressive size and ornately decorated, so please do come along to see it!

Tibetan ceremonial teapot with dragon body, tail and head forming the handle and another dragon forming the spout. Round copper body with lid attached by chain. Two figures in central panel on each side to represent Ratna Bhuddha. Main body of the teapot decorated with many leaf and flower emblems.

Tibet is known as the “Land of snow and dragons” and the Druk is the “Thunder Dragon” of Tibetan mythology. This teapot was crafted in Lhasa, the religious and administrative capital of Tibet since the mid 17th Century. Our museum records do not indicate the date of this teapot, but research leads me to believe it is 19th century. The teapot would have been used in Buddhist ceremonies in which tea was shared prior to meditation, to aid relaxation by stemming hunger and clearing the mind. Due to the importance of dragons in Tibetan mythology and also in Buddhism, they are commonly seen on the roofs of Tibetan temples, traditional houses and on prayer wheels and prayer flags. Known as “Nagas” in Buddhist tradition, dragons are revered as protectors of the Dharma (the teaching and the methods of the Buddha) and symbolise transformation and great wisdom. Dragons appear in several Buddhist writings; the Naga is told to have sheltered the Buddha during a storm as he meditated, this is a powerful telling of the dragon’s divine support for the Buddha’s teaching. Dragons are also included in Buddhist rituals, especially those calling for rain or protection, and their imagery is an important part of Buddhist meditation practices. It is no surprise then to see dragons featuring on this teapot that was used to guide people into meditation practice.

The next item I have chosen to write about is an artifact from the West. This ‘War Medal’ is the most common medal received by the British Armed Forces during the Second World War. How does the image on the reverse of the medal, a victorious lion standing over a defeated beast with dragon head, make you feel and what does it tell us about the cultural significance of the dragon in the West?

War Medal. Obverse: The medal has a crown portrait of George VI and the legend GEORGIVS VI D: G: BR: OMN: REX ET INDIAE IMP: Reverse: lion standing on a two headed creature, one with a dragon head and one with an eagle head. The years of the war’s duration, 1939 and 1945, displayed upon it. The designer initials ECP (Edward Carter Preston) can be seen at 9 o’clock next to the rim. Made of cupro-nickel, 1.42 inches across, with a non-swiveling suspender above and red, blue and white striped ribbon.

Unlike its Eastern counterpart, the Western dragon traditionally symbolises destruction and is often portrayed as the villain. Think to classic tales of dragons guarding towers with imprisoned princesses, raiding innocent villages and breathing fire on everything in their path, or hoarding heaps of treasure. In Western stories, the dragon is quite often slayed by someone brave enough to confront it. That is exactly what this piece of war memorabilia illustrates – the victorious lion has defeated two enemies, the eagle and dragon, who represent the enemies during World War II, Germany and Japan respectively. This medal was awarded to full-time military personnel during the Second World War, qualification for the award was 28 days of service between 3^rd September 1939 and 2^nd September 1945. Qualifying service in the Merchant Navy was 28 days of service anywhere at sea during the same time period. Foreign subjects commissioned or enlisted into British Forces who did not receive a similar award to the War Medal 1939–1945 from their own Governments also qualified for the award of this medal. The medal was also awarded to personnel whose required service period was terminated prematurely by their death, disability due to service or capture as a prisoner-of-war.

I hope today’s blog has provided an interesting taster of ‘A World of Dragons’ and I am excited to share more with you at the event. Please join us on Saturday 17th February to explore more dragon mythology through an exciting selection of Museum artefacts.

While at the Museum why not also check out our temporary exhibitions? “Different but the same” by Jeudis Textile Group is a showcase of the different ways textiles can be used to create art. “Shores of the Infant Sea” by Rachel Shirley shows us exquisite illustrations allowing us to delve into wonderful children’s books.

Hands on History: Arctic Blast!

How do you find the cold Winter months? Is it a case of survival, a welcome time of rest, or maybe you love the magic of Winter and long to see the sky full of snowflakes? In celebration of Winter, I thought January’s ‘Hands on History’ session would be a perfect time to invite you to have an ‘Arctic Blast!’ with us at the Museum! Please join us on Saturday 20th January for a unique opportunity to explore Museum items relating to the Arctic regions of North America which have been selected to illustrate the traditional lifestyle of indigenous Inuit inhabitants.

Most of the items featured in this session are from Baffin Island, the largest island in Canada, which has been inhabited by people for over 3000 years. As you can imagine, the climate requires a lifestyle that is adapted to withstand the harsh conditions, with obtaining food a primary concern. For indigenous Inuit communities to survive, a close relationship with Arctic animals has been essential; they not only provide food through their flesh, but every useable part of the animal is also resourced. As you will see at the event itself, most items are made from animal by-products, such as skin, fur, bone and walrus ivory.

To give you a taster of the session, the first items I would like to share with you today are these Inuit dolls. These beautiful items showcase the traditional style of dress necessary for survival in the Arctic climate, where the long Winter brings high winds, snow and record low temperatures of −68 °C!

A selection of Inuit dolls from the Museum’s collection. The heads of the dolls are made from ivory and their bodies are wood. Clothing is made from dog and seal skin and Arctic hare fur. The female (left) and male doll (middle) show the differences in clothing style. The male and female dolls are 16″ high and the doll on the right is 9 1/2″ high.

The female and male dolls are dressed in thick coats with fur hoods, trousers, mittens and boots. Did you know that the traditional outfit could include up to five layers of socks, boots, and overboots, depending on the weather and terrain? The production of warm, durable clothing was an essential survival skill which was passed down from women to girls and took years to master. Preparation of clothing was an intensive process of skin preparation that took place following a yearly cycle of established hunting seasons. Interestingly, I learnt that garments varied according to gender roles. Traditional Inuit culture divided labour by gender and the overcoat, called a parka, was sewn in such a way to accommodate these roles. The male parka, called the qulittaq, was sewn with hunting in mind; it had no front opening and loose shoulders to enhance mobility and to allow space to draw the arms out of the sleeves and into the body for warmth. The female parka, called the amauti, was sewn with carrying infants in mind; a large pouch was sewn into the back of the garment for carrying infants against the mothers’ bare back, this pouch would be made smaller for women past their childbearing years. Like the clothing on these dolls, garments were decorated with fringes and insets of contrasting colors.

Inuit doll making is an ancient tradition and the oldest dolls date back a thousand years. They were originally given as parental gifts to young Inuit girls, intended not only for play but also to teach vital skills of skin preparation, cutting and sewing techniques and to pass down culture through regional designs and symbols. At around ten years of age, Inuit girls would begin making their own doll clothing, with guidance from their mother or close female relatives. Inuit hunters sometimes mounted a doll on their boats to bring them good luck. Play dolls began to disappear in the 1950s when Inuit children began attending school. Nowadays the dolls are made as sought-after collector and tourist items. What’s more, during the last century, changes to the Inuit lifestyle has led to a reduced demand for full outfits of skin clothing and so these dolls are a special reminder of traditional dress.

Moving away from clothing and on to our second item today, the event will also feature a selection of hand tools essential to Inuit day to day life. Pictured below is one such tool. Do you know what it is or can you guess how it might be used?

Bow drill made from Walrus ivory, complete with mouthpiece and drill with iron point. Sizes: drill 8 1/2″ and mouthpiece 1″

This tool is a bow drill. It’s actually a tool I am familiar with as I recently helped my son to complete some homework about the Stone Age and learnt that the bow drill was one of the very first tools used by man for making fire! The bow drill is also used to drill holes and has been an essential tool to Northern indigenous people to make holes in bone, ivory, antler and wood. We don’t know whether this particular item was used for fire lighting or drilling, either way the bow drill works by creating friction caused by the bow moving back and forth to turn the drill bit. Although this bow drill is plain, many examples of Inuit bow drills are highly decorated with engravings of hunting scenes and tallies of animals and are referred to as ‘journal bows’.

The final item I would like to share with you is this statue of a muskox which has been carved from walrus ivory.

Statue of muskox made in ivory. Measures 4 1/2″ x 2 1/2″ x 1 1/2″.

The muskox is a large, shaggy-haired mammal that once roamed the Arctic tundra in great numbers and is today found only in a few remote areas. Inuit people and the muskox have a long tradition of coexistence, with the muskox being part of the staple diet, its skin used as a runner for sleds and warm sleeping robes and its horn used for weapon and tool making.

This muskox figure is one of many beautiful statues of Arctic animals that I came across when looking through the museum’s collection, some of which you will be able to see at the ‘Hands on History’ event itself. As I unwrapped each animal, I wondered what their significance might be; whether these figures were ornaments or toys, or whether they had a deeper meaning to the people who carved them? The Inuit worldview is strongly influenced by the relationship between humans and animals and respect between the two is essential to mutual survival. In order to hunt and receive the gift of the animal, the people respect the animals Inua – it’s life essence. It is believed that respect of the animals Inua results in the animal giving itself to the hunter and that failure to do so would result in a shortage of animals, as the souls of other animals would be offended and they would refuse to be caught. With this in mind, perhaps it is no surprise to find so many animal figures in our collection. I also discovered that to Inuit people the muskox is closely connected to the spirit world, is a symbol of strength, courage and determination and is a protector of humans and their communities. They hold special ceremonies and rituals to honor the muskox, and perhaps this statue once played a role in this respectful relationship between man and animal.

On a final note, you may have wondered how these items found their way from Baffin Island to the collection at Nuneaton Museum and Art Galley? I did a little research into this too! This collection was originally owned by Canon Jack Turner, a missionary from Suffolk who spent a significant part of his life on Baffin Island in the 1940s. He learnt from the Inuit community their language, how to hunt and fish to survive and how to sew clothes made from the skins of animals. Along with a second missionary called Harold Duncan, they built a house from timber that they had brought with them which was also used for church services. Canon Jack Turner did not have a personal connection to Nuneaton, however his collection was loaned and later accessioned to the Museum in the 1960s and 1970s when well-known and respected curators Francis Fawcett and Len Struebig were passionately building the Museum’s ethnography collection.

I personally couldn’t imagine myself surviving an Arctic Winter, but I really did have an ‘Arctic Blast!’ researching the items for our event and look forward to sharing them with you. So please join us on Saturday 20^th January between 11am – 3.15pm in the George Eliot Gallery. During your visit why not check out our temporary exhibitions? “The Shores of Infant Sea” by Rachel Shirley shows us exquisite illustrations allowing us to delve into wonderful children’s stories. “Different But the Same” by Jeudis textile group exhibits textile works of art from a group of makers who share a love of textile craft but produce vastly different works.

Hands on History: The Co-operative Society

If, like me, you are a resident of Nuneaton, you may remember that the decision to close our local Co-op shop met with quite an outcry. Many of us have very fond memories of the Co-op. I remember, when I was a child, exploring the vast selection of toys with my Nan and also hearing stories about people who had seen The Beatles play at the Co-op Hall, way before they were even called The Beatles! For many people, the Co-op wasn’t just about the shop but what it stood for in the community. Today I’m going to provide a glimpse into two communities within the Co-op, The Women’s Co-operative Guild and The Co-operative Wholesale Society. We will be taking a nostalgic look at objects related to the Co-op at our next ‘Hands on History’ session on Saturday 16th December between 10:30 and 3:30 at Nuneaton Museum and Art Gallery.

Brass bell

My first item, which I’m excited to tell you about, is a simple bell associated with a fascinating story. The bell is brass and when you see it, you just want to ring it (or at least I do!). There is a plaque on the base of the bell that reads, “Gifted to the Women’s Co-operative Guild Nuneaton by TWS in memory of Isabella Shaw. 1925.” Not a lot is known about who Isabella Shaw was – one would assume she held a leadership position in Nuneaton’s branch of the Guild. However, what really interests me about the bell, is its association with the Women’s Co-operative Guild. The Guild was first established in 1883 with the aim of providing working class women with a space to discuss similar interests and to foster the idea of co-operation within the community. To me, this idea really stands out and the aim of the Guild highlights what co-operation should mean. Existing for 133 years, it became a central point in the community for women to discuss such matters including maternity benefits and minimum wage. The Guild was a safe space where women were free to speak their mind. As with many groups that existed in the 20th century, the two world wars meant that there was a significant shift in attitudes to war within communities. The Women’s Co-operative Guild, after the First World War, shifted towards a focus on peace activism, and became a key talking point, especially with the production of the white poppy (as a symbolic commitment to peace). With the dawn of the new century and the changes in attitudes, dwindling membership meant the Guild officially closed on the 25th June 2016. But at its height, the Guild had 72,000 members across 15,000 branches.

Please do let us know in the comments if you belonged to the Women’s Co-operative Guild or knew someone who did.

Fun Fact: Brass bells are an excellent conductor for sound!

Wheatsheaf Magazine

My second item is something that I didn’t expect to be very interesting – at first glance it is quite unassuming. However, the more I researched this object, the more I found it quite fascinating. The Wheatsheaf is a magazine that was produced monthly for members of the Co-operative Society (including the Guild I was previously talking about). The magazine was published by the Co-operative Wholesale Society and distributed free of charge. It was created for members, but the advertising of the magazine in stores and by word of mouth encouraged more and more people to join the Co-operative. I think using a magazine is such a clever way to spread your message as it gives you the information in a fun and interesting way. It also allows you to discover the information yourself instead of someone telling you. The magazine contained short stories as well as news, history, travel, sport, gardening and household hints. It also included articles specifically aimed at women and children. At its height, in 1918, subscription for the magazine stood at 500,000 people, which was huge not just for its time but also compared to modern subscriptions to magazines. While the Wheatsheaf was only in circulation from 1896 until 1964, it was hugely significant to what the Co-operative meant to people. It was made by the community, for the community, informing them about both new and old ideas as well as keeping members connected. And do you know why the magazine was named The Wheatsheaf? This is the really exciting bit! It is because one ear of wheat cannot stand up against the wind and weather but, when bound together with others in a wheatsheaf, it stands strong!

Fun Fact: The first magazine believed to be published was in 1663!

I hope you’ve enjoyed this month’s ‘Hands on History’ blog. Our handling session is on Saturday 16th December – drop in anytime between 10:30 and 3:30. Please do come along and take a nostalgic look at a wide range of objects relating to Nuneaton’s Co-operative past.

Hands on History: Beneath the Surface

Are you ready to go beneath the surface and explore mining life? At this month’s Hands on History session on Saturday 18th November, 11.00am – 3.30pm, we will be enabling visitors to handle items relating to coal mining that are usually kept in our Museum Stores. Today’s blog gives you a sneak peek at a few of the items that you can discover at the Museum on that day.

Magneto Underground Telephone

Our first item is this Magneto underground telephone. I first discovered this object when doing some research for a previous blog (Calling all Communication) and I knew this would be perfect for this session. A telephone isn’t one of the first things I would associate with what would be down a mine, but it makes perfect sense when you understand the long history of mining and how it evolved with the times. The 20th century ushered in new developments in the coal mining industries. One of these developments included creating new policies and procedures for mining, including legislation relating to safety.

Section 54 of the Coal Mines Act of 1911, stated that:

Such means of telephonic communication between different parts of a mine shall be provided as may be required by the regulations of the mine.

So, by law, every mine now needed to install a telephone if they hadn’t already got one. It also meant that, if you worked in a large mine, there needed to be an adequate way of communicating throughout the mine and to the surface. The telephone demonstrates how important communication is in the mining industry. As miners can be working deep underground, with limited exits, it is important to have regular checks with the surface, especially as mining can be very dangerous. Before the use of the telephone down the mines, communication consisted of using bells or whistle signaling systems. The telephone helped to develop a more reliable way of communication between the miners down the pit and those on the surface. It meant a quicker and effective way of getting your message across, especially if you urgently needed to raise an alarm. Although mining can never be one hundred percent safe, these developments in communication played a crucial part in keeping miners safe and in 1911, when the Coal Mines Act was passed, the implications of having a telephone in the mine would have felt like a very positive step in the right direction.

Fun Fact: Alexander Graham Bell received the patent for the first telephone on the 7th of March 1876. It was a Tuesday. 

Mining Cigarette Card

Our second item that I’m excited to tell you all about, is these mining-themed cigarette cards. We have lots of cigarette cards in our collection and I have encountered them before when I’ve been delving into research for previous Hands on History sessions. Despite this, I was quite surprised to uncover these particular examples – on the theme of mining. Most of the ones I’ve seen before have been of plants, animals and other objects like ships. For a whole set to be dedicated to mining did surprise me! However, it is a very clever idea! In the UK there was so many mining communities – whole towns and villages where nearly everyone had a connection to mining. Why wouldn’t you have a set dedicated to mining, especially when the miners themselves might also be a consumer of the tobacco product being sold. Collectable cigarette cards were included in packets of cigarettes. Originally, they were just blank cards known as “stiffeners” which were used to protect the cigarettes from being crushed or bent. But later they became collectible cards and a great marketing tool! One brand associated with collectable cigarette cards are Woodbines – British brand of cigarettes launched in 1888 by W.D & H.O Wills. During the First World War, cigarette cards were no longer produced in order to save resources. However, there was a resurgence in the 1920s and 1930s and cigarette cards become very popular again. The Second World War again saw cigarette cards halted in production and, unlike before, they never really regained their former popularity. Collectable cigarette cards instead emerged in another form – trading cards and stickers – something I remember from my own youth. Please let us know in the comments about items that you collected. Did you collect cigarette cards or trading cards?

Fun Fact: The hobby of collecting cigarette cards is called cartophily!

Tally 103

Our final mining item is an object that I have not previously come across in our stores or personally heard of. It’s known as a tally. I thought this was a really interesting item to learn about as I knew nothing about the item previously. The word means ‘making a note to count or record’. What do you think this item was used for?

You probably guessed it. The mining tally is used as a physical manifestation of this idea. Every miner who worked down a mine was given one of these tallies. They would give their tally to the lamp room attendant in exchange for a lamp at the start of their work shift, and returned their lamp and were given back their tally at the end. Miners were responsible for keeping their tallies safe when they were not working. These tallies are so tiny that I can well imagine them getting lost and I wonder if there were any penalties for losing them. What do you think?

The tallies had a very important purpose. They were used to record how many miners were down a mine shaft during the shift. This was not just to ensure everyone had turned up to work but also in case of any accidents. If something went wrong, they could know exactly how many miners were in the mine at any given time. The tallies were engraved with a number and that number was also allocated to an individual person. This particular tally is number 103, meaning it is the 103rd given out for this particular mine.

Did you know that, with the advancement of technology, metal tallies were later replaced with electronic methods.

Fun Fact: Tallies were also known as pit checks!

If you have enjoyed this blog and want to see and hear more about this topic, please do join us on Saturday 18th November 2023. You can drop in anytime 11.00am – 3.30pm. If you are unable to attend, you are more than welcome to visit our local history gallery to see some more items relating to local experiences of the coal mining industry.

‘Hands on History’: Mystery Items. What am I?

As I go about my work in the Museum’s stores, I often come across an object that is somewhat of a mystery to me. Or I’ll be researching an object and find out that it has a mysterious story behind it. So, I thought it would be a great idea to have a guessing game for this month’s ‘Hands on History’. Please do join us for our object handling event ‘Mystery Items. What am I?’ on Saturday 21^st October to see if you recognise my chosen mystery objects from the Museum’s collection!

Today’s blog is inevitably a bit of a spoiler, but there will be plenty of additional objects at the event itself!

My first mystery item is pictured below with a brief description. Can you guess what it is?

Sealed glass container with a bulbous bottom and long thin stem, containing liquid. Height 500mm and width 195mm. The contemporary oak panel the object is mounted on is a later addition for display purposes and does not relate to the original use of the object.

When I came across this item, I thought it was once a bubbling test tube in a chemistry lab with its bulbous bottom and long thin stem. But I can tell you it has nothing to do with Chemistry sets! A clue is that this item related to a 16^th century cottage industry in England, and parts of Europe. There are two areas of England where this industry was most significant, Devon and parts of the South Midlands (Buckinghamshire, Bedfordshire and Northamptonshire). Any ideas?

This object is a lace maker’s light diffuser. Lace making was done by hand and it became a cottage industry in England during the late 16^th century as the demand for lace in fashion – enhancing the beauty of collars and cuffs – and also in home décor increased. There are two methods to making lace – using a single thread and a needle to make stitches that gradually build up a fabric (needle lace) or using many threads attached to small bobbins which are interwoven to create a pattern (bobbin lace). In both cases, the finest lace required many hours of work to produce and good lighting was essential – that is where our mystery object comes in to play. During the summer, lacemakers worked outside in the daylight, but on dark days and in the evenings, lace making had to be done by candlelight. The light diffuser was used alongside a candle to concentrate the light onto the lace maker’s pillow exactly where it was needed. The light diffuser flask was filled with the purest water available – snow water or crushed ice – and this had the effect of concentrating and whitening the candlelight. During the peak of the industry, the trade paid between one shilling to one shilling and three pence a day, which was better that the wages paid to an agricultural laborer. Lace making was mainly a woman’s trade, however, if a family was poor, men and children also took up lace making alongside other family trades. The decline of the handmade lace industry in Britain began in the 1780s with multiple factors contributing including changes in fashions, economic issues connected to war, and the increased production of machine-made lace.

Our second mystery object is pictured below along with a description. Have you ever come across one of these before?

Liverpool Delftware, blue and white jug with three spouts, a perforated neck in a floral design and a verse written below the neck. Circa 1750. Height 175mm, width 130mm.

Clearly it is a jug (of sorts), but a jug with multiple holes in it. What is the use in that? The verse might give you a clue, it reads:

Here Gentlemen come try your skill,

I’ll hold a wager if you will,

That you don’t drink this liquor all,

Without you spill or let some fall.

After being puzzled by this item for a while, I learnt that it is in fact a puzzle – a puzzle jug! The perforated neck and multi-spouts make it impossible to drink the contents conventionally. The challenge for the drinker was to figure out how to drink the contents without spilling them, by plugging certain holes and working out the correct spout to drink from.

The earliest example of a puzzle jug in England is the Exeter puzzle jug which dates to the 14^th century. They became popular in homes and taverns across Western Europe during the 18^th and 19^th centuries. But they were not the first example of ceramics used for gaming purposes, with a predecessor being the ‘fuddling cup’, a drinking vessel made of three or more cups or jugs all linked together by holes and tubes. Sounds very messy! I can hear, in my imagination, the raucous laughter that these items would have created in the taverns!

The final item today is pictured and described below.

Plated brass item attached to a black braided cord with a loop at the end. Length of plated brass item 140mm and length of cord 920mm.

Clearly the purpose of this item is to grab and hold something in place, a clamp of some sort, but for what? A clue is that this item was used in the Victorian era, being most popular between the 1860s and 1880s, and has to do with women’s fashion. Do you have any ideas?

It is a Victorian skirt lifter, a device used to lift up a long skirt by clamping onto the hem and attaching to a garment’s belt by the cord. In the Victorian era, women’s fashion was rather impractical and debilitating, with full length skirts weighing up to fourteen pounds and comprising of six layers of petticoats. I’ve always wanted to dress in such clothes to experience what movement felt like – I don’t think I’d even make it down the stairs! During this period, a number of fashion innovations were made to help women regain mobility. Crinoline, a beehive shaped frame that supported the skirt from underneath, reduced the need for multiple petticoats and allowed more space for the woman’s legs to move freely. The other innovation was skirt lifters which enabled women to avoid a dirty skirt (very frowned upon) and also be hands free. Not having to hold up the skirt by hand, enabled women to engage in all sorts of activities that were previously made an impossibility by the fashion of the day, such as sports including badminton, tennis and croquet. The first skirt lifters date from around 1846 and they were at their peak of popularity between the 1860s and 1880s. By the 19th century, skirt lifters were no longer needed as middle-class women began to enjoy bicycles and cars and the big hoop dress fashion was just too impractical. Also, at this time, there was a wave of feminism that called for the liberation of women from the dictates of fashion. It was called the Victorian Dress Reform Movement (also known as the Rational Dress Movement) and it helped to change women’s clothing to that considered more practical and comfortable. Gone was the big, hooped skirt!

I have had a lot of fun researching these and many more mystery objects that I will be sharing at our upcoming event ‘Mystery Items: What am I?”. Please let us know in the comments if you guessed any of our objects correctly today! And please do join us for more guessing games at our event on Saturday 21^st October. You can drop in anytime between 11am and 4pm in the Yellow Gallery.

While at the Museum, why not also check out our lively programme of temporary exhibitions? Becca Pullen’s paintings exhibition, ‘A mild disturbance – my tiny riot!’, reflects her personal thoughts and ideas, her joys and anger at situations, past and the now. Corley and Fillongley Photographic Club have their first exhibition at the Museum which showcases the amazing talents of local amateur photographers. There’s also a final chance to explore our “In Sickness and in Health” exhibition where you can follow ‘Rat’ around to discover how health issues changed through different periods of history.

New Acquisition News – September 2023!

We are always pleased to hear from local people who think they have something that the Museum might be interested in. We have been offered some wonderful items over the last 6 months; here are some of our favourite additions to the collection:

‘Our Town Centre Memories’ Booklet

This booklet was recently produced by The History Hub. Between 2020 and 2022, they engaged volunteers to research and interview Nuneaton people about their memories of local businesses. The booklet contains reminiscences about Frank Parkers Butchers, Yoxall Bakery, Holmes Grocers, Cawthornes, JC Smiths, Debenhams, Woolworths, Biddle Air Systems, The Red Shop, and the Co-op.

Queen Elizabeth II Platinum Jubilee Bunting

Commemorating Queen Elizabeth II’s 70 years on the throne, this bunting was bought from TK Maxx and used to decorate a local shop.

Weddington Estate Housing Brochure

Did you know that, in the late 1950s, you could buy a new 3 bedroom detached house for £2,495! This brochure was used to advertise the new houses on the Weddington Estate in Nuneaton. The donor’s parents bought their first house here in 1959 and lived there until the 1980s.

Nuneaton Manor Hospital and Millenium Mugs

Nuneaton Manor Hospital was founded in 1893 after Nuneaton Surgeon Dr Edward Nason and sons witnessed the benefits of medical care in clean conditions while training in London. They helped develop ‘Nuneaton’s Hospital Fund’ which led to the building of Nuneaton’s first hospital. This mug celebrates the hospital’s centenary in 1993.

The Millennium mug celebrates major achievements of the 20th century including the Wright brothers’ 1903 early aircraft, communication, early cinema, satellite TV, Moon landing 1969, supersonic travel and penicillin.

King Charles III Coronation Hat and Biscuit Tin

This fantastic hat was made by a local Year 2 pupil to celebrate King Charles III’s Coronation in May 2023. The commemorative tin – originally containing Coronation-themed shortbread biscuits – was produced by a popular food retailer.

Nuneaton Borough Football programme

This 1967 programme was for the 3rd Round Football Association Cup – Nuneaton Borough v Rotherham United.

Larry Grayson photograph

This photograph captures the day that the Anker Morris Men met Nuneaton-raised entertainer Larry Grayson! The Morris Men were booked to dance at a May Fair event at a care home in Earl Shilton in 1991 and were surprised to run into Larry there!