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.

From Stores to Stage: printed ephemera online soon

Thursday, November 10th, 2011

In our latest blog from our team bringing our collections online, we hear from Ellie and her work with printed ephemera…

This is a photograph of part of one of the museum’s stores.

Inside these boxes the museum has a remarkable collection of printed ephemera, which is often described as the minor, transient documents of everyday life.

The collection includes things like tickets, posters, flyers and greetings cards: the kind of material which holds lots of information about everyday life but is often thrown away.

My job as collections online project assistant is to work to get some of this material available online.

My blog posts will introduce the collections I am working with to give an idea about some of the fascinating collections that will be accessible through collections online in the coming year.

Recently I have been working on our collection of embellished theatrical portraits.

These images, known as tinsel prints, depict actors in popular roles. They were sold plain and uncoloured, often for a penny each, with metal foil adornments which would be used to decorate the prints.

The museum’s tinsel print collection is extensive and includes completed prints, unfinished pieces, tinsel ornaments and the punches used to stamp out the ornaments.

The tinsel prints will provide an insight into the history of theatre, into theatrical costume and scenery and props as well as the hobbies and souvenir collecting of nineteenth-century Londoners.

They also provide a resource for researchers interested in individual actors and a later blog will elaborate on one actor in particular.

The Tinsel prints should go online during December and I will blog about them in more detail at that time.

I will also update you shortly with a blog post on my work with our collection of trade and valentine cards.

Until then the team would love to hear from you with your thoughts on exploring the 10,000 plus objects currently available from our collections online.

You can catch up on all our collections online blog  posts to date here.

Pigeons, Parks and Playgrounds

Tuesday, October 25th, 2011

We have a fantastic collection of 1950s and 1960s photographs of London.

Many of these were taken by photo journalist Henry Grant, a freelance photographer who had started out working for a news agency on Fleet Street. He was known for his skill at capturing spontaneous ‘moments’ within ordinary life, resulting in some great pictures giving us a fantastic vision of London in this period.

As well as photographs of favourite London sights such as the pigeons in Trafalgar Square or a ship sailing through Tower Bridge, there are also photographs of people shopping in markets and department stores, children playing in parks and adventure playgrounds, students at training colleges, the funfair on Hampstead Heath, patients at health clinics and protestors attending demonstrations against the H bomb, the Colour Bar Immigration Bill and Rent increases.

We are working to get a total of 1,000 of these photographs online by August next year (you should be able to see the first of these online by February 2012), adding to the selection already on our Collections online.

There are over 80,000 photographs in Grant’s archive and so the first job is to select the images we want from the hundreds of contacts sheets. This can be very time consuming but the biggest problem is the careful selection – we could include so many more!

The next step is to prepare the actual negatives for digitisation.

The negatives are all 6×6 or 35mm and the strips usually require cutting down, which means using a light box to check that you have the correct image and to ensure that no damage is done to the negative itself.

Using the lightbox means there’s no Seasonal Affective Disorder for me! The negatives are then sleeved and numbered and will all be photographed this December by our in house team. I will be researching the images and writing captions until August 2012.

Negatives that I’ve worked on this week were a varied bunch and included Ton Up boys (early Rockers) and their motorbikes outside the Ace Café, young children at the Robin Hill Day nursery in Notting Hill and Londoners on a daytrip to Brighton (my favourites are an elderly lady in her furs on the seafront and a couple sunbathing fully clothed and fast asleep in their deckchairs!).

Our Collections online resource currently allows access to over 10,000 objects from the Museum’s collections, available through a single point of access. Click here to begin exploring!

Meet our Project Assistants who are coordinating the documentation and digitisation of our objects for Collections online in the first of our blog posts here.

Meet the team sharing our collections online

Wednesday, October 19th, 2011

The Museum of London recently launched a new web resource called Collections online which currently allows access to over 10,000 objects from the Museum’s collections, available through a single point of access.

The Museum now has ambitious plans for making greater online access to its collections over the next three years, including the addition over 90,000 more objects.

To achieve this aim the Museum has recently taken on four Project Assistants to coordinate the documentation and digitisation necessary to achieve this target.

Working closely with curators and to a strict data standard, they will be upgrading records in our collections management database and either scanning the objects themselves or liaising with photographers to create new digital images.

The four Project Assistants, and their current areas of focus, are:

Anna: Photographs by Henry Grant

Verity: 17th century trade tokens and Roman Samian ware

Ed: Roman coins

Ellie: Trade cards, Valentine cards and Tinsel prints

Records will be released in batches throughout the year and during this time the Project Assistants will be keeping you up to date with their work via blog posts discussing the objects they are digitising and the techniques used to put them online.

So check back soon for the first of our posts starting with updates from Anna and Ellie in the coming weeks.

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.”