Martha Norton, the Well Woman of Buxton

 Martha Norton by John Nixon Back in 2012 I blogged about Martha Norton and in particular a sketch we had recently had identified as being by John Nixon.  This sketch had been in the Museum’s collection since 1985 but it wasn’t until Charles Nugent (a watercolour specialist) visited, that we found out who painted it.  Since then we have added another image of Martha to our collection and you can read about this and Martha in general, in a post written by Ros Westwood on the main Buxton Museum blog.   

St Anne's Well, 1796

St Anne’s Well, 1796

A Prospect on the River Manyfold at Wetton Mill after Thomas Smith of Derby

A Prospect on the River Manyfold, at Wetton-Mill - DERSB 2009.30.1 One of the earliest purchases for the Enlightenment! project was back in 2009 when we bought an engraving after Thomas Smith of Derby (1721 -1767) of A Prospect on the River Manyfold at Wetton Mill. This print was published as part of a set in July 1743 titled ‘Eight of the most extraordinary Prospects in the Mountainous Parts of Derbyshire and Staffordshire commonly called the Peak and Moorlands’.

They were popular engravings and smaller version soon appeared in magazines.
The engravings were all after work by Thomas Smith and were engraved by a couple of different engravers including Vivares and Granville.

The eight views are:

1. A Prospect in Dove-Dale

2. A prospect in the upper part of Dove Dale

3. A Prospect on the River Manyfold, at Wetton-Mill

4. A Prospect of Matlock-Bath &c from the Lover’s Walk

5. A Prospect of that beautiful cascade before Matlock Bath

6. A Prospect on the River Wie, in Monsal-Dale

7. A Prospect of the Chee Tor &c on the River Wie

8. A Prospect of the rocks & that vast cavern at Castleton call’d Peak-hole

Dunnington Mill - DERSB 2009.30.5

We have four engravings from this run plus a couple of others after Thomas Smith including this one of Dunnington Cliff, that we also bought in 2009. This was published in 1745 in ‘A set of four views in Derbyshire’.

 

Lovers Leap

 With Valentines Day nearly upon us, I thought I’d share this post from my colleague Jess.  Moral of the story? Wear voluminous skirts ladies!

 Dean Langton plummeted to his death near Lover’s Leap, Dovedale.  Would he have survived if he was a cross dresser?

Dean Langton plummeted to his death near Lover’s Leap, Dovedale. Would he have survived if he was a cross-dresser?

Welcome to Dovedale

We’ve just set up our own YouTube channel, so thought I’d share the Dovedale video that we had commissioned for the Enlightenment! project.  It’s not quite the peaceful idyll that you might have been expecting….

Elias Hall – Part two

Elias Hall strata map

Last week John Henry, chair of The History of Geology Group came to look at some of the maps we have in our collection. The highlight of his visit was seeing the horizontal section showing the geological strata which we bought back in 2012. The map was produced by Elias Hall and published in two sections by William Phillips in 1824 and 1834. John kindly pointed us towards an article on Elias Hall that was published by the Mercian Geologist Journal in 2011.

Elias Hall strata map

The article written by Hugh S. Torrens and Trevor D. Ford gives a lot of detail about the life and pioneering works of Elias Hall. Included are discussions on the geological models which Hall created, first carved from wood and later cast in plaster. The article contains a description by John Farey of Hall showing a model to the Geological Society. Unfortunately the models didn’t meet with the best reaction being criticised for their ‘injudicious use of rather too glaring colours’ and that they called to the mind ‘a tray of Guts and Garbage in a Fishmonger’s or Poulterer’s Shop’. I am not sure how similar the colours on the models are to our strata map, but ironically we’ve chosen the colours from the map as our palette for the Collections in the Landscape project.

Collections in the Landscape logo

Hall came under further criticism being described as ‘a queer-looking old man, with white hair and lame, and has no notion of lecturing, and he likewise speaks very broad High Peak’. What’s wrong with speaking in broad High Peak, I hear you exclaim?

Sadly the article confirmed that, as far as anyone knows, none of Hall’s models have survived. Go check your attics people!

You can read the full article here.

Hot off the press – Enlightenment! catalogue

 

To celebrate the end of the Enlightenment! project we have produced a full colour catalogue… just in time for Christmas! The catalogue contains eleven articles, two specially commissioned poems plus photos and information on the 100+ objects that we have bought. 

Enlightenment! Catalogue

It’s £9.99 and available from Buxton Museum and Art Gallery, Derbyshire Record Office, Strutt’s North Mill and Derby Museum and Art Gallery.  Or you can get it via mail order from Buxton Museum, ring 01629 533540 or email  buxton.museum@derbyshire.gov.uk for further details.

As well as owning a delightful book your purchase will help support the three museums, with all proceeds going back into their acquisition budgets.

Perfect to read on those cold winter nights

Is there an appetite for further Enlightenment?

Guest post by Ros Westwood

I have just returned from the Museums Association conference where I was lucky enough to be asked to share some of the lessons we have learned during the years of the Enlightenment! programme. I shared the platform with Isabel Hughes of the Museum of English Rural Life, and there was a great contrast between their 20th century collections and ours. Have a look at their blog here.

Also on the platform was Fiona Talbot, head of museums, libraries and archives at the Heritage Lottery Fund (HLF). She announced another tranche of Collecting Cultures support . This is the money that allowed Enlightenment! to happen. This is really good news – it shows that HLF recognises how important this work is, and how with a modest amount of money some extraordinary work can be done on museums’ collections.

The new programme has a top award of £500,000 – I suggest that is far more than we should need (and we will need to have a match fund of money and volunteer time). HLF has also broadened the eligibility, and so we can include the Record Office and libraries. Whatever we do, we’ll need to put Derbyshire as a centre for innovation and technological development into the heart of the mix.

The question is – do you, our followers, want us to pursue this? We won’t be able to do Enlightenment! the same way again, but if we can be sure of the commitment, we can think of how we can make the project grow and still meet the HLF requirement. Please let us know, either through the blog or by e-mailing me directly ros.westwood@derbyshire.gov.uk.

Walker Art Gallery

Walker Art Gallery

The conference this year was in Liverpool, so I took the opportunity to call into the Walker Art Gallery. Liverpool has a good collection of paintings by my Enlightenment! hero Joseph Wright of Derby. His picture Three Persons viewing the Gladiator by Candlelight c1764 -5 was just amazing. It is hung at just the right height, and you feel you are looking with the three men, standing in the dark outside the glow of the lamp.  A very intimate experience – and a forerunner of the much larger ‘Orrery’.  I think the two pictures are on a par in my response to them.

Fleetwood Hesketh Mrs Frances Hesketh,-c.1769 

 

 

 

 

 

 

 

 

 

 

And the portraits of Hesketh Fleetwood and his wife Mrs Frances Hesketh held my attention too – there was obviously a rapport between the two men which does not seem to have been reciprocated by the lady! Or am I wrong?

 There were other Wrights to admire amongst lots more pictures and decorative art – some fabulous things – some absolute horrors, but that is what makes museums such amazing places.

Poole’s Cavern- A Wonder of the Peak

Many early tourists to Derbyshire would have known about Poole’s Cavern.  It was one of the ‘Seven Wonders of the Peak’ and featured in Hobbes’ and Cotton’s work as well as being described by Celia Fiennes and Daniel Defoe. An engraving of the cavern interior was published in 1700 and it featured twenty years later on Moll’s 1720 map of Derbyshire.   

Poole's Cavern

Poole’s Cavern

 The cavern opened as a show cave in 1853 and the entrance was enlarged to make passage easier.  Prior to this the adventurous had to crawl on their hands and knees into the dark accompanied by local guides.The Beinecke Library possesses a commonplace book which contains four copied letters from an unknown man who visited Derbyshire in 1770.  In his first letter he describes his visit to Poole’s Cavern.

Commonplace book in the Beinecke Library


‘The hole at which you enter into at the cavern is but very small & promises but little, however after advancing a few and creeping as close to the ground as you possibly can, you come to a chasm where you are shown Poole’s saddle and his Turtle, both of them good incustations’.

He describes the geological features including Poole’s woolsack, the lion, the lady’s toilet and the Fitch of Bacon.  Most people would have turned back at the Queen of Scott’s pillar ‘so called by the unfortunate Mary when she visited this place’ but our unknown gentleman adventurer ‘with the spirit of curiosity, dared venture to the end’.

Alan showing me centuries old grafitti by the 'Queen of Scott’s pillar'

‘On however we went, the place was certainly very steep and craggy, and so slippery, that had it not been for fast grasps we should have never have been able to have got ourselves to the top.  Here we stopped sometime in violent admiration a candle judiciously placed, without our knowledge, at the very extremity peeped like a star in a fine cloudy night, while another as properly set as the bottom whence he had ascended, had as singular and as aweful effect.’

Our unknown adventurer went on to visit the other subterraneous Wonders of the Peak;  Eldon Hole and Peak Cavern.  He was similarly as daring in these caves and he nearly came a cropper down Eldon Hole. His last letter describes his escapade down Eldon Hole and finishes with these impassioned lines;

‘…. And here my friend I will take my leave, the pain in my limbs are still excruciating but a little time will set all to rights again: all I have to say is, that I never wish even the greatest enemy I have in the world to be so unpardonly led by curiosity as to tempt destruction, where in despondent of the dangers of the place, the falling of a single stone might bury him in eternity for ever’.

 In the twentieth century hundreds of archaeological artefacts were uncovered from Poole’s Cavern including Roman jewellery, Samian ware pottery and animal and human bones.  A selection of these artefacts are on display in the Poole’s Cavern visitors centre and in the Wonders of the Peak Gallery at Buxton Museum and Art Gallery.

Thorpe Cloud

Thorpe Cloud

Buxton Museum and Art Gallery has recently bought this watercolour of Thorpe Cloud by William Day. We know that Day toured Derbyshire with his friend and fellow artist John Webber in 1789 and they visited Thorpe Cloud -  Eton College owns a Webber watercolour of the subject.  However what is unusual about Day’s Thorpe Cloud, is that it is much smaller than the other watercolours that he produced on the tour and it is not numbered.  We are assuming that it dates from 1789, possibly being drawn in a different sketchbook or having been subsequently cropped, but further research is needed.   Either way, it is a nice addition to Buxton Museum’s collection and of a subject which is currently only represented in print form.

Enlightenment and Discovery; The Ceramic Legacy

The Pot Session on Saturday night

The Pot Session on Saturday night

Last month I attended the Northern Ceramic Society’s (NCS) Summer School at Chester University. NCS is the largest ceramic society in the UK. It has nearly 1000 members whose interests range from studio pottery to 18th century butter boats, medieval majolica and kiln technology.

This year the Summer School theme was right up my street, ‘Enlightenment and Discovery; The Ceramic Legacy’. It was a varied lecture programme that explored the way the Enlightenment movement and its legacy shaped ceramics, from key figures such as Josiah Wedgwood through to the influence the Portland Vase had on ceramic design. The legacy of the Enlightenment was discussed in terms of Ruskin’s preoccupation with artistic taste, the working conditions at the Stoke Potteries and the spiritual enlightenment that influenced the work of the early 20th century studio potters.

Pots and wine - a happy conbination

Pots and wine – a happy combination

It is hard to sum up a 4 day conference succinctly, but some interesting Derbyshire related things cropped up. Dr Oliver Kent in his lecture on the changes to kiln and firing technology 1650 – 1775, discussed the illustrated records of the Swedish traveller Reinhold Angerstein. Angerstein undertook a detailed survey of English Industries, mainly focusing on lead and iron manufacturing. He was himself involved in the Swedish iron industry and was in the UK basically as a spy; examining the quality of the iron, what it was being used for, how it was being produced etc.

 
Angerstein also gives an insight into other industries including ceramics. Oliver’s lecture included Angerstein’s 1754 illustration of the saltglaze kiln at Crich. The kiln had quite a sophisticated fire box that Oliver believed would have reached a high temperature. I know nothing about the pottery at Crich, so this was very interesting and something I plan to look into further.  Angerstein recorded the kilns at Derby porcelain including the muffle kiln which was used for Derby figures and he states that at the time of his visit, they were debating installing equipment for throwing bowls and plates. It would have been great if Angerstein had visited the area 25 years later, as I would have been interested to hear what he thought of Richard Arkwight’s Mills – that is, if he had been allowed in!

 
On the Friday we went on a visit to the Spode Works Visitors Centre. This followed a fascinating morning lecture on Spode by Pam Wooliscroft, a company which I previously knew very little about.

 NSC Summer School 2013
NSC Summer School 2013

Anyway back to the Derbyshire links – Wedgwood sourced his barite from Matlock and, along with Thomas Bentley and all good eighteenth century gentleman, he owned a copy of Whitehurst’s Formation of the Earth.  The Portland Vase not only influenced Matthew Boulton’s Blue John ormolu vases and Derby porcelain but it was also copied at the little known Whittington Moor Pottery. I also learnt that Joseph Wright was originally called upon to paint the Wedgwood family portrait, which would have been pretty amazing, although I have to admit that George Stubbs did a decent job.
Medley (9)

I had a really good time at the Summer School and met a lot of interesting people. Since being back at work I have had communication with some of the members including being sent an article and images of a porcelain plate depicting Richard Arkwight’s Willersley Castle – Thank you!  Kathy Niblett’s lecture on the pioneer studio potters has reinvigorated me to tackle the studio pottery that we have at Buxton Museum and Art Gallery, and I am planning a small exhibition at Alfreton Library containing the work of Bernard Leach, Bernard Rooke and Belper born Mary Rogers.

I would like to thank the Northern Ceramic School and the anonymous donor who supported the 2013 Dr Geoffrey Godden Bursary, of which I was the recipient.

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