Author Archive: articles by Other Museum Staff

Author Website: http://www.museumoflondon.org.uk
Author Bio: The 'guest posts' account is used for one-off posts and special guest posts from people outside the organisation.

Wrapping that speaks volumes!

Monday, October 17th, 2011

Following on from our last blog update on the help volunteers have provided in terms of conserving parts of the PLA Archive.

We felt that the support that resulted in our diligently boxed PLA Archive volumes deserved to be highlighted in a post of its own.

Here, one of our volunteers, Kate, shares her thoughts on her time with us and the process of boxing up key PLA record books:

“It was a fantastic experience and very valuable as a trainee paper conservator to be able to have ‘hands-on’ experience of cleaning and repairing documents then building the archive boxes for long-term storage for an established museum.

I would measure the books and make each box to fit the book, making sure there was enough room around the edges inside the box to be able to fit fingers in to lift the text out. To stop the book sliding around plastazote can be slotted into the box.

Using archival adhesive I would fold the archival cardboard and stick at the edges together using clamps to hold everything in place while the glue was drying. The box was made in two parts, a base and a lid that fitted over the base.

Here is an image of a bespoke box ready to go back to the store! ”

Look out also for an update soon from Claire Frankland, Port & River Archivist and Project Manager, as this project reaches its first birthday.

How the East Was Won

Tuesday, October 4th, 2011

On a bright Sunday morning seventy-five years ago today the East End became a battlefield in the continental struggle between Fascism and democracy that would engulf the world three years later.

The Battle of Cable Street (external link) now rightly enjoys legendary status. Looking at the grainy images of the day’s events is a powerful reminder of a time when so much was at stake and how an East London conflict could have global resonance.

On October 4th 1936 Oswald Mosley intended to commemorate the fourth founding anniversary of his British Union of Fascists by marching around 3000 ‘Blackshirts’ into the heart of the East End.

Over sixty per cent of London’s Jewish community lived in this area of London. In the thirties the narrow, overcrowded streets of Stepney were home to around half the East End Jewish population. Yiddish was spoken on the streets and a quarter of the population had been born overseas, mostly in Eastern Europe. Many had fled anti-Semitic persecution in their homelands.

Mosley planned to inspect his black-uniformed legion, now renamed the British Union of Fascists and National Socialists, at Tower Hill before marching toward four meeting points at Limehouse, Bow, Shoreditch and Bethnal Green. A grand rally was scheduled to take place in the evening at Victoria Park.

Bankrolled by the Italian fascist leader Benito Mussolini, the Blackshirts were making political capital out of the poverty and slum deprivation that blighted the East End. Blackshirt propaganda, spat from the mouths of street corner demagogues Mick Clarke and William Joyce (later to become infamous as Lord Haw-Haw, the Nazi propagandist hanged for treason in 1946), cynically blamed Jews for the appalling conditions in which Eastenders lived and worked. In the run up to October 4th Mosley’s Blackshirts employed Nazi Brown Shirt methods to intimidate the local Jewish population in Stepney. Jewish shops were daubed with graffiti urging local people to boycott them.  

Concerned by the potential for violent disorder, Stepney’s mayor asked the Home Office to ban the Blackshirt march. The grassroots Jewish People’s Council Against Fascism and Anti-Semitism organised a 100, 000 strong petition against it but the Home Secretary John Simon was dismissive. He claimed that banning the march would infringe the Blackshirts’ right to free speech. In response the local community mobilised to halt them at Gardiner’s Corner, preventing the march from reaching the main artery of Commercial Road. The call to resist was made by both left-wing organisations and Jewish community groups. The anti-fascists adopted the Spanish Republican slogan from the defence of Madrid that summer – ‘No Pasarán’ (‘They Shall Not Pass’).

By 1.30pm crowds numbering tens of thousands were arriving. Police violence toward an earlier parade of Jewish ex-servicemen on the Whitechapel Road heightened feelings of anger and suspicions over fascist sympathies among the authorities. In fact these suspicions were well-founded – Mosley’s Establishment connections extended into the higher echelons of Stanley Baldwin’s government and the armed forces. Despite police collaboration, the anti-fascists kept one step ahead of their opponents by organising a network of spotters on bicycles and infiltrators within the ranks of the Blackshirts. One spy, the Communist medical student Hugh Faulkner, was regularly telephoning the anti-fascists from Tower Hill with updates on the Blackshirts’ movements.

As Whitechapel High Street thronged with protestors, anti-fascist tram drivers jumped off leaving their vehicles as a huge metallic road block. Six thousand Metropolitan Policemen, including a division on horseback, baton-charged the demonstrators. Their attempts to clear a path for the Blackshirts were frustrated by a crowd now swelled into the hundreds of thousands. A police autogyro buzzed menacingly in the skies overhead. With the support of the police, the Blackshirts attempted to march up Royal Mint Street onto Cable Street instead. Anticipating this move, the anti-fascists had already erected barricades along Cable Street at its narrowest choke points using materials from a nearby timber yard and an overturned lorry.

Cable Street ran almost the entire length of Stepney and had seen centuries of immigration. The street itself was mainly a mixture of Jewish and Irish residents; a densely populated row of shop fronts with cramped tenement housing above. Crucially it bordered Wapping, home to the largely Irish immigrant community around the docks. Jewish tailors’ families had taken in the hungry children of Irish dockers during the strike of 1911. To repay the debt a powerful contingent of Irish dockers headed for Cable Street to man the barricades. As the police attempted to breach the defences, Cable Street residents rained down missiles upon them from the windows above. At 3.40pm from his headquarters in a side street off Tower Hill, Metropolitan Police Commissioner Philip Game ordered the march to be turned back. Mosley’s followers were forced into a humiliating retreat and headed for the Embankment before dispersing.

Although the Battle of Cable Street was a long nail in the Blackshirts’ coffin, it did not signal their immediate defeat – internment as wartime traitors marked their final inglorious end. Nor did Cable Street mean the demise of Oswald Mosley – he returned in 1948 as leader of the Union Movement which found a fresh target for racism in London’s newly-arrived Caribbean immigrants. Events at Cable Street did however inspire a generation in their refusal to capitulate in the face of fascist tyranny. This spirit led many to volunteer to fight for the Spanish Republic and in the ranks of the British armed forces when war broke out in 1939. One anti-fascist teenager arrested that day in 1936, Charlie Goodman, went on to see action in both the Spanish Civil War and World War Two. Those who stood at Gardiner’s Corner and manned the barricades on Cable Street were in many cases motivated by political conviction, but also simple social solidarity with their friends and neighbours. One participant, Julie Gershon recalled, ‘It was terrific to watch. Something you could never forget. I can remember the old girls with their aprons on…with shawls around their shoulders and glory on their faces’.

The Cable Street we see in the black and white photographs is now long gone, obliterated by the Luftwaffe’s bombs. The Jews and the Irish have now mostly moved out to be replaced by a predominantly Bengali community. Seventy-five years on however, the memory of the Battle of Cable Street remains very much alive in the local community through a series of commemorative events and the newly restored mural (external link) that covers the side of St George’s Town Hall. Unlike the dictators he sought to emulate, Hitler and Mussolini, Mosley died a peaceful death in self-imposed exile. Somehow one suspects that that sunny October day in 1936 was never far from his thoughts though.

Images courtesy of the Bishopsgate Institute.

Henry Grant: London Street photographer

Monday, August 15th, 2011

From the early 1950s through to the 1980s the photographer Henry Grant was out documenting the everyday lives and experiences of Londoners. He was a freelance photographer by trade but between assignments he would take pictures of the people of London.

His photographs offer a window into the real lives of Londoners over four decades.

His work starts with an austere post war London and includes his interest in demonstrations, immigrant communities, the rise of youth culture and children at play.

The Exploring 20th Century London project, which has over 300 of his pictures online, has made this audio slideshow (click here) about Grant and his 30 year documentation of London and it’s people.

Exploring 20th Century London will be posting Henry Grant themed tweets and facebook posts throughout the week from 16-21 August. You can follow these at twitter.com/Exploring20CLdn and facebook.com/Exploring20thc.London.

Prints of Henry Grant’s pictures can also be purchased through the Museum of London Picture Library.

Many of Henry Grant’s pictures feature in the Museum of London hugely successful free exhibition London Street Photography which you can catch until 4 September.

Seen and Heard: The Birth of British Television

Friday, August 5th, 2011

Toddler favourites Teletubbies and In the Night Garden are the latest in a long heritage of fantastic children’s TV for the under 5s.

The origins of children’s television in programmes such as Andy Pandy and Bill and Ben (the flowerpot men) are, in some ways, very different but at the same time very familiar to what our children see and enjoy today.

The pioneers of this new medium in the 40s and 50s were Frida Lingstrom and Maria Bird at the BBC who developed the ‘Watch with Mother’ slot and invented the characters Andy Pandy, Bill and Ben and the Woodentops amongst others.

The Museum of London is fortunate to have many of these puppets as part of the collection.


On the Exploring 20th Century London website you will find an Audio Slideshow  alongside an opportunity to test your knowledge in a fun quiz whilst looking out for tweets and facebook posts capturing the lives of Londoners  in  the 20th Century.

More from the PLA Archive: hoovering history!

Wednesday, July 20th, 2011

Following on from our recent posts concerning the documenting of the PLA Archive we now move on to the conservation process.

Have you ever seen such beautifully wrapped volumes?! If only all the archive could look so neat!

This is the work of Rosalind Foley, a student who has just completed a year’s training in paper conservation at University of the Arts, Camberwell. She loves to make boxes and re-package and is currently volunteering with us one day a week, helping to clean and pack the Port of London Authority Archive.

Working alongside her are Dominic Flook and Kate Barber. They are spending hours of their time gently hoovering and brushing away the years of London grime that’s gradually settled on the documents that are now so precious to us in the archives.

Out of interest, the little vacuum cleaner attachments are the same as the ones you can buy for when (ok, if) you clean the inside of your car!

Much of the volunteers’ time is spent gradually removing dirt from papers using ‘smoke sponges’. As there was so much chimney soot and smoke produced in London during the 19th century, this dirt attached itself to documents and now needs to be removed. Smoke sponges act like erasers, gently removing dirt without the need to dampen the documents. In some ways I suppose we are brushing away history, but then again we need to conserve the documents too!

The extra soft goat hair brushes were bought by one of our conservators when she was on holiday in Hong Kong.

We are making great strides with the cataloguing project. We’ll update you again soon.

Claire Frankland

Port & River Archivist and Project Manager.

Take a minute to discover more about the PLA Archive

Thursday, July 14th, 2011

Following on from Marie-Claire’s earlier blog post on documenting the Port of London Authority Archive , Marie-Claire now moves on to cataloguing the archive of the longest-lived of the dock companies, the East and West India Dock Company (EWIDC).

This is a very different challenge: not only are there far more documents, but their structure is far more disrupted. Having learnt from our previous cataloguing, we decided to vary our approach. While it is essential to list some material at item level, others fall into sub-groups which can be adequately listed more briefly at series level.  This approach has been taken in relation to the documentation of a Working Agreement set up between the EWIDC and the main other dock company, the London and St Katherine Docks Company in an attempt to stop the competitive reduction of the rates charged for use of the companies’ docks which had brought the EWIDC to the brink of bankruptcy.

The Working Agreement heralded the beginning of the end for both dock companies as separate entities, and they merged in 1901. The EWIDC Minute Book for this period contains delightful evidence of the affection in which the company was held by some of its employees. At the end of the final entry, with the company formally wound up, an anonymous hand has added “Good Bye. R.I.P.”

It is interesting to see this sentiment in relation to the dock company, perhaps balancing the usual perception of the companies as the villains in contemporary labour relations. I should add that the more typical view is also reflected in the collection!

Written by our cataloguer, Marie-Claire Wyatt.

Look out for our next PLA Archive blog post as we focus on the work undertaken to conserve  these fragile paper records.

Digital x-raying at St Bride’s crypt

Thursday, March 3rd, 2011

Following a paper presented at the 2009 American Paleopathology (PPA) meeting in Chicago by Jelena Bekvalac, Curator, Centre for Human Bioarchaeology, Museum of London, an opportunity arose to work on a digital x-ray project in the crypt of St Bride’s Church nearby the Museum.

Here, Jelena explains more:

“My paper presentation was based around the analysis of the 227 individuals retained in the crypt of St Bride’s Church, Fleet Street, London.

They are a particularly interesting and unique group of individuals as they have a substantial amount of biographical information associated with them provided by coffin plates and detailed parish records.

This provides a mine of information to assist with further research on the individuals allowing access to numerous documentary data such as birth and marriage certificates, all of which aids greatly in building up a more complete picture of individual lives and the times in which they lived.

I mentioned in my paper that during the analysis of the individuals many disease processes and trauma were discovered, further research of which, would be enhanced with radiographic investigation.

The nature and logistics of the skeletal material and the crypt itself did not make taking the elements off site to be x-rayed a feasible proposition and so the only real option available would be for a portable x-ray machine to be brought into the crypt.

Luckily, one of the people listening to my presentation was Jerry Conlogue from Quinnipiac University, USA, who has had many years experience with radiography and archaeological material, particularly mummified remains.

Jerry was fascinated by the crypt individuals and saw the opportunity for a challenge to be overcome in being able to implement an x-ray project at St Bride’s and he secured funding from the School of Health Sciences at his university to be able to come to London and establish a project with us.

The premise of the project was to ultimately create a digital x-ray archive of the individuals which would be available online from our Centre for Human Bioarchaeology website for research purposes.

So in the summer of 2010, Jerry was able to come to St Bride’s and with the assistance of Dr Mark Viner at Cranfield University and Xograph, hired a portable digital x-ray machine.

The Xograph x-ray system was set up in the crypt and Jerry, with the assistance of student Kelly Eggleton, was able to x-ray all the sub adults (those individuals less than 18 years old) and 70 of the skulls and mandibles. 

We quickly established the speed and efficency of having a digital x-ray machine available providing images of excellent clarity.

The following images are from x-rays taken of a young girl who died aged three years, seven months and nine days in 1840.

Due to the success of the first phase of this project, further funding has been secured from the School of Health Sciences to complete, this year, the x-raying of the remaining  skulls and mandibles.

It is hoped that there will be a continuation of the x-ray project and that the next phase will concentrate on the diseases and trauma identified in the bones.

This will then provide a unique x-ray archive and an invaluable resource for research that will hopefully be readily accessible to researchers via our website.

An added bonus to the nature of this project is that it is non destructive and acts in tandem with the skeletal database as a means of conserving the remains without continual handling of them.”

London Street Photography: a curators view by Mike Seaborne

Monday, February 28th, 2011

Today street photography is a vibrant part of London’s visual culture. It seems to reflect perfectly the diversity and controlled chaos of one of the most multicultural cities in the world. Contemporary street photographers are attracted by the endless supply of curious incidents and unexpected juxtapositions that contribute so much to London’s character.

John-Galt, c.1900 © Ian Galt

John-Galt, c.1900 © Ian Galt

However, street photography in London is far from new. The first ‘instantaneous’ street scenes – those where traffic and people are captured in mid-motion – were taken in the early 1860s and by the 1890s candid street photographers with hand-held, and sometimes hidden, cameras were snapping Londoners unawares. The 20th century saw many famous and lesser-known photographers document life on the street for a variety of reasons. Their collective body of work provides us with a unique visual record of social and environmental change.

Wolfgang Suschitsky, Courtesy of Museum of London

© Wolfgang Suschitsky, Courtesy of Museum of London

The London Street Photography exhibition traces the development of the genre from its earliest days to the present. It showcases some of the very best of British photography derived from the Museum’s own superb collection.

I have always been fascinated by street photographs because they seem to be so uncontrived and ‘real’. Street photographers – of which I am one – rarely have an agenda much beyond simply going out to see what they can find. It is a very reactive pursuit which requires an open mind and a quick response. Nevertheless, many street photographers do have something to say and often work on extended projects.

© Cara Spencer Courtesy Museum of London

© Cara Spencer Courtesy Museum of London

Whilst it is probably true to say that all street photographs are documentary, it is certainly not the case that all documentary photographs are taken on the street. However, the street has been, and continues to be, a favoured location for documentary photographers because it is a significant social space where photography is permitted. There is no better place to observe and report on ‘life as it is’ and that is exactly why street photographs are so important as historical documents.

Things are changing, though. Traditional high streets are gradually being replaced by privately-owned shopping malls and, in some cases, whole town centres are being transferred into private hands. When this happens, the automatic right of the public to take photographs disappears, though the number of CCTV surveillance cameras seldom does. I think we would lose a vital element of our culture if we reached the point where photography was effectively banned in public places.

© Mike Seaborne, Courtesy Museum of London

© Mike Seaborne, Courtesy Museum of London

Several people have asked me if I have a favourite photograph in the exhibition. The answer is a resounding ‘no’ because every picture is one I personally like as an image. Pictures from different periods in the history of photography have different qualities and technological progress certainly hasn’t meant that photographers have automatically taken better pictures as time has gone on.  It is interesting that now, in the digital age, interest in traditional photographic darkroom processes is actually on the increase and film manufacturers are still introducing new emulsions. Long may photography in all its forms continue to thrive and to enthral!
Mike Seaborne
Senior Curator of Photographs

Mike Seabourne, Senior Curator of Photographs and Curator of the London Street Photography exhibition @ Museum of London
On the last Wednesday of every month, enjoy free daytime talks by Museum of London curators, conservators and archaeologists. Find out what our experts get up to behind-the-scenes and what current research or recent finds they are working on.
Audience: Adults only
FREE
Dates and times
Wednesday, 30 March, 15.00 – 16.00

Bill White, Senior Curator of Human Osteology

Friday, October 23rd, 2009

The 21st October 2009 was an auspicious day in the life of Bill White, Senior Curator of Human Osteology as it heralded his retirement from the Centre of Human Bioarchaeology, Museum of London.

Bill sitting at a table in the CHB office with Dr WAfter starting his career as a Chemist Bill was then drawn to the fascinating world of skeletons and after adding osteological qualifications to his chemistry bow he started work as a freelance osteoarchaeologist. In this capacity in 1988 he analysed the skeletal material from medieval St Nicholas Shambles that subsequently led to the first of many publications. Not having looked back since he went on to work for Museum of London Specialist Services (MoLSS), Museum of London Archaeological Services (MoLAS) and with the establishment of the Centre for Human Bioarchaeology (CHB) through Wellcome funding in 2003 became the inaugural Curator of Human Osteology.

As senior curator at the inception of the Centre and over the last six years Bill has overseen many developments in the Centre, including the recording of the c.5,000 individuals of archived skeletal material onto the Oracle electronic database, Wellcome Osteological Research Database (WORD), the creation of the CHB website with downloadable data, frequent and varied out reach events and providing access and advice on the skeletal material for numerous researchers from all over the world.

It has been a great pleasure and fun to work with Bill over the last six years and he will be greatly missed in the Centre but fortunately for us he is keen to return and will do so in December under a new guise as an Emeritus Curator.

We would all like to wish him well and much happiness in his retirement.

Jelena Bekvalac
Curator of Human Osteology
Department of Archaeological Collections and Archive

An archaeological project in Jordan

Friday, September 5th, 2008

 In this guest post, Tony Grey, Finds Specialist at MoLAS, explains where he goes on his holidays.  He presents surprising parallels between the medieval sugar installation and ancient city at Zoara, southern Jordan, and London.

Starting in 2006 and continuing this year I have been lucky enough to spend leave time working on an archaeological project in Jordan. I would recommend this way of spending some leave time to anyone from MoLAS.

The hills rise above the Jordan Valley near the dig siteThe project is based at two discrete sites near the village of Safi in southern Jordan near the southern end of the Dead Sea. The project was inspired by and jointly run by Dr K. D. Politis (Dino) head of the Hellenic Society for Near Eastern Research. The first excavation season took place in 2002 run by Dino and Glasgow University. Subsequent seasons have run from 2006-8 with the excavations carried out by Adelaide University.

The Tawahin es-Sukhar site is that of a medieval sugar mill while around 500 metres distant is the site of the ancient and medieval city of Zoara which is shown on the early Byzantine mosaic Madaba map. My job was to identify and record the post-Bronze Age pottery from both sites.

Zoara sugar The sugar installation was in use from roughly the 12th/13th century to the 15th century. Sugar cane was widely grown in the Jordan Valley and Levant coast in this period. Water from the hills above the Valley was led by channel to a drop where it turned mill wheels that crushed the cane. The cane was then boiled in iron vats and the juice poured into pottery moulds and jars. An upper sugar cone jar sat in a lower molasses collecting jar. The refined fraction was cooled and solidified in the upper jar which then had to be broken to remove the sugar loaf. The heavy molasses fraction passed to the lower collecting jar. Hence the site has huge mounds of broken sugar pots. Several other similar sites are known in the Levant.

This refining technology was used in the same way for several centuries. By the 16th century Cyprus was a major producer for the European market. By the 18th century the centre of gravity of production was located in the Caribbean. Sugar was refined using raw sugar from the Caribbean in 18th century York and Southampton. It was also refined in London at several sites such as Bishopsgate Goods Yard (BGX05) where the sugar cone pots are much slimmer and narrower than the pots used in the medieval Levant and at Limehouse (Jarret 2005).

I attempted to form a sugar pot typology based on published parallels. It appears that the industry may have begun at this site by the time the Crusaders arrived on the scene for a short duration in the 12th century. Certainly the sugar pots along with other pottery were manufactured at the site as evidenced by wasters.

In all the excavation seasons separate digs explored parts of the ancient and medieval city. Nabataean architectural stone and small sherds of pottery date to around the 2nd century BC. Roman, Early Byzantine and medieval (Islamic) periods follow with a mosaic floor dating possibly to the 7th or 8th century AD uncovered this year. Huge quantities of pottery awaited me. Some had been packed wet and had to be laid out to dry. Beautiful sherds of high status early glazed wares may have been imports from the Iraq region as well as being locally made. Moulded cream ware jugs of the Abassid period jostled with pieces of cooking pot, jars and basins. The material included a few sherds of Early Byzantine orange burnished dishes and bowls classified as Late Roman Fine Ware by John Hayes (1972). Later glazed wares were common along with a few pieces that may belong to the Crusader 12th century. The pottery indicates a termination of occupation at the site by the 15th century in the Mamluk period. This later period was characterised by glazed fritwares imported from Syria, handmade painted coarsewares and by the pottery of the sugar production industry.

Petrological analysis and glaze analysis have been carried out on material from the first excavation season at Glasgow University and we await publication of the results.

This has been a wonderful opportunity to handle a wealth of ceramic material from this interesting and beautiful part of the world and I hope that I will be able to return to complete the job as much pottery still remains to be recorded in the dig house where a day’s work is concluded with a refreshing glass of arak and ice watching the sun go down over the Jordan Valley.