: Casglwyr a Chasgliadau

Amongst this month’s new additions to the collections we have received 16 very interesting share certificates. The Museum holds by far the largest and wide-ranging Welsh-interest share certificate collection held by any public museum, library or archive. The collection ranges across railway and maritime transport, coal mining, the mining and smelting of metals, general industry, and service industries (finance, leisure, consumer products, etc). We seek to consolidate and expand whenever appropriate material is offered.

The Royal Copper Mines of Cobre company was founded in 1835 by predominantly Swansea and Llanelli copper smelting interests who, recognising the rapidly growing importance of Cuban ore to Welsh smelting works, sought to see the mines both worked much more efficiently and on a larger scale as well as under their control rather than under inefficient Spanish colonial direction. These certificates are a rare example of tangible objects reflecting the international reach of globally pre-eminent Welsh copper smelting industry. The two strongest international connections of the industry were with Cuba and Chile, with Cuban connections being especially intimate at Swansea. 

This Mynyddbach-y-Glo Colliery Company Limited share certificate dates from 1924. The company was registered 1924. It operated the colliery from 1924 to May 1926 when it when into voluntary liquidation, seemingly an early casualty of the miners’ strike which continued after the end of the General Strike. Winding up was completed in 1927. The colliery comprised a small slant located at Waunarlwydd on the western outskirts of Swansea.

This Pontypridd Gas Light and Coke Company share certificate dates from 1852. The company was registered in 1850, and was later purchased by Pontypridd Local Board of Health under the terms of the Pontypridd Local Board (Gas) Act 1893. The Local Board became an Urban District Council in 1907 and the latter authority transferred the gas undertaking to the Wales Gas Board following the passing of the Gas Nationalisation Act 1948. Pontypridd was only the fifth Welsh town to be lit with gas, its Act creating its gas company being early by Welsh standards. At the centre is an interesting vignette of the gas works in front of the Pontypridd’s famous bridge. The bridge was built by William Edwards in 1756. 

One donation this month included two commemorative ties that can be seen here. Trelewis drift mine was opened in 1954 and was adjacent to Taff Merthyr colliery. One of the ties show here commemorates 25 Years of its opening. Production ceased soon after this tie was made in 1991.  The other tie commemorates 73 years of Markham Colliery which was opened in 1912. The tie was produced in 1985 during the miners’ strike. Markham colliery was to close the following year. 

As well as the ties we were also donated two tobacco or twist boxes. These were used by miners to store their ‘twist’ (chewing tobacco). They were generally made of brass and usually oval in shape, although we have many examples of different materials and shaped tins in our collection. They are usually stamped with the miners name, address or colliery, and also often a date.

Of the two boxes illustrated here one is oval (with the date 1985 stamped underneath) and the other rectangular and in the shape of a book, with a simple combination locking mechanism underneath.

One final new accession this month is very poignant as last year we commemorated the 100^th anniversary of the Sengehydd disaster in which 440 miners lost their lives in the worst mining disaster in Britain. This horse’s hoof mounted in silverplate was given to Reginald Mortimer of Standard Colliery, Ynyshir for his work with colliery horses during the disaster. It is inscribed "KILDARE" / 1ST HORSE FROM THE / SENGHENYDD / EXPLOSION. OCT. 14. 1913.

For more objects relating to the Senghenydd disaster check out our Images of Industry database.

Mark Etheridge

Curatorial Assistant (Industry)

 Follow us on Twitter - @IndustryACNMW

I begin my day by checking our general library inbox for any inquiries that we might have received over the weekend. This morning [as usual] there were quite a few but they were mercifully straight forward so didn’t take too long to answer. Next, I spent a very enjoyable hour squirreling away through our old photograph drawers for some interesting images to share with everyone during this Museum Week UK  on Twitter and what treasures I have found [but more of that to come via Tweets from @amgueddfa_lib during the week]! 

I also took some photographs of the pages of a giant old scrap book full of museum ephemera; it contains tickets, pamphlets, public announcement posters, order of services, lists of lectures and just about anything else you can stick down with heavy duty glue and sellotape…

However, my day begins in earnest with the post – as Assistant Librarian one of my main priorities is to manage the journal subscriptions. We maintain around 700 titles, a combination of paid subscriptions, exchanges and gifts. Therefore, after our Administration Assistant has opened and checked it, I weed out all the journals and record them onto our database. By doing this I am alerted to previous issues not received and will then chase them up with relevant suppliers. This time, there are no missing issues to chase but we have received a few duplicates, and [as always] these are from suppliers who categorically promised that no further duplicates would be sent out! Next, I count and measure the post so that at the end of the year I am able to supply our Principle Librarian with the total number of actual issues received and the meterage of space they will have covered. For instance, our statistics for 2013 were 1972 issues received that covered just over 11 metres of shelf space.

Next, I date stamp and separate them into departments. Our subscriptions naturally correspond with the curatorial departments, so we receive journals on the following disciplines: Art, Archaeology, Zoology, Botany, Geology and Industry and we also subscribe to more general subjects kept here in the Main Library. Once all this is done, it’s time to go and shelve them in the departmental libraries. These are dotted all around the museum so I wait until I have a little pile, normally a few days’ worth, before I go on my shelving travels.

This month we have been donated six lamp checks to add to our very comprehensive collection of checks. Lamp checks informed colliery management of who was in work and became vital when rescue services needed to know how many men were actually underground during an incident such as a fire or explosion. Colliery check systems apparently became common during the late nineteenth century and became mandatory in 1913 after an amendment to the 1911 Coal Mines Act. The two lamp checks shown here were manufactured by E. Thomas & Williams at their Cambrian Works in Aberdare in 2013 using original dies owned by the company. The one on the left was produced to celebrate the 30^th anniversary of Big Pit operating as a museum.

Read more information on checks and tokens

You can also see a selection of checks and tokens from our collection on our online database ‘Images of Industry’.

http://museumwales.ac.uk/industry/images/?action=browse_category&category=1716

This ophthalmoscope was used by colliery nurse Sister Iris Evans for checking ears and eyes in Pochin and Oakdale Collieries. After completing her training in 1952 Sister Evans joined the National Coal Board as a nursing officer at Pochin Colliery in 1955. Later she was transferred to Oakdale Colliery. She retired in 1985 finishing her career as Senior Nursing Officer for South Wales Area NCB. During her career she helped out during the Six Bells Colliery disaster in 1960. She also vaccinated many miners at Lady Windsor Colliery during a smallpox outbreak in South Wales in the 1950s.

This large 15 ton piece of coal is now located at Bedwellty Park, Tredegar, and is Grade II listed. It was cut at the Yard Level, Tredegar as a single block with the intention to display it at the Great Exhibition of 1851. It was originally 20 tons, however, after a 5 ton piece broke away in transportation it was decided not to transport it to London as it might not survive the journey. It was subsequently set up in the grounds of Bedwellty House. The smaller block of 2 tons (to the left) was cut in 1951 from the same seam as the earlier one. It was exhibited at the Festival of Britain in London, before being placed next to the earlier block in Bedwellty Park.

Follow us on Twitter - @IndustryACNMW

As part of Amgueddfa Cymru’s First World War centenary programme the collections relating to this period will be conserved, digitised and made available online. My role at the museum is Textile Conservator so I am responsible for the practical care of the textile collections across all seven sites. There are many WW1 objects in the textile collection; most take the form of commemorative or souvenir pieces, while others are costumes and accessories.

One of the objects recently conserved for the project is an embroidered panel measuring 43.5cm × 53.5cm (maker unknown). It is made from a single piece of royal blue silk satin embroidered with flags and text which reads ‘VICTORY FOR THE ALLIES MALTA PRESENT’ in yellow silk thread using stem stitch. It also features a photograph of a Welsh soldier printed onto a postcard which is slipped inside a frame made from card and covered in painted silk. The frame is tacked to the satin along the bottom and sides with the top edge left open. The flags are made with lines of silk floss which have been laid down to form the coloured sections and secured in a criss-cross, net-like fashion and couched using a very fine thread. Thicker, cotton threads are used to define the sections of colour. The flags and poles are made from a coiled paper thread with a cotton core.

When it came to the conservation studio the panel was in a fair condition with some light surface soiling all over and creasing across the silk from being folded around the frame at some point, probably before it came to the museum. It is possible that the panel once had an adhesive backing as the embroidery threads on the reverse appear stiff and flattened. There is also some abrasion to the surface of the embroidery threads and satin floating yarns. The top and bottom edges are frayed and there are several splits in the ground fabric where it has been stitched through.

The conservation treatment began with a surface clean using a micro vacuum to pick up dust and fluff. It was then humidified to remove the creases; we cannot iron historic textiles because the heat and pressure of conventional irons can cause further damage. Instead we use gentle techniques with cold water vapour or, in this case, a combination of materials layered up to introduce moisture gradually to the textile, giving it time to penetrate the fibres. Once the fibres were relaxed, glass weights were used to hold them in position whilst drying. The photograph was removed during the humidification process to avoid any damage. The next stage was to support the splits in the satin which affect the stability of the textile. Fine silk crepeline was chosen to do this because it gives a light support but is almost transparent, so even though it covers the reverse you can still see the threads; it was dyed blue to match the colour of the satin. The crepeline was fixed to the textile using a very fine layer of thermoplastic adhesive, which was applied to the dyed crepeline and allowed to dry. The adhesive was then re-activated to bond it to the reverse of the panel using a heated spatula; the bond created is enough to support the textile but not so strong that it cannot be removed in the future if required. The frayed edges were then laid out and secured though to the backing by working a blanket stitch along the edge using a fine polyester thread.

The textile is now back in store but will soon be available to view online and may one day go on display at St Fagans. Keep checking the blog for more updates as the project progresses!

The soldier in the photograph is yet to be identified; if you recognise him please contact the museum via Elen Philips, Principal Curator: Contemporary & Community History. Tel: 029 2057 3432 – or on Twitter: @StFagansTextile

We have had a number of interesting objects coming into the Industry collections since my last Blog. Here are just a few.

This wooden full hull ship model is of the m.v. Innisfallen. The Innisfallen was built in 1969 to inaugurate British & Irish Line’s Swansea to Cork ferry service. She was eventually sold to Corsica Ferries and then to Sancak Lines, Turkey. After a number of name changes she was broken up in 2004.

The commemorative plate below was manufactured by Ceramic Arts in 1989. It commemorates both the National Justice For Mineworkers Campaign, 5th Anniversary of 1984-85 strike, and the centenary of the National Union of Mineworkers.

This illuminated address was presented to Harry Brean by the workmen of the Risca Collieries for bravery during the “Gob Fire” at the Old Black Vein Colliery between July 12th and August 9th 1918. Presented towards the end of the First World War, it is interesting to note that the address states that “the Coal Mines produce their Great Heroes no less than the Battlefield”. The address is of a standard format that was printed by the Western Mail Ltd., Cardiff, and then hand illuminated. Note that his name is spelt incorrectly on address!

The object below we believe to be a calendar mount. It was printed on tinplate by Metal Box Company Limited in Neath, c.1960. The image is of a painting by the artist Harold Forster. The original oil on board painting depicts the hot strip mill at Abbey iron and steel works in Port Talbot and dates to 1955. The original painting is in our collection and details of this work and others by Harold Forster can be seen on our Images of Industry online catalogue - http://www.museumwales.ac.uk/industry/images/?action=search&search_type=artist_title&artist=forster&title=

 Mark Etheridge

Curatorial Assistant (Industry)