Object of the Week: Lars Kinsarvik chair

When looking through the collections to choose objects to post about on this blog, I’m always fascinated to find an object that can tell a story about the motivations behind design ideas: how the ideas of the time - whether political, moral, or aesthetic - and the personal beiliefs of the designer come together to inform the physical shape of an object.

The object I’ve chosen this week is a chair made by the Norwegian woodcarver and designer, Lars Kinsarvik (1846-1925) between 1900 and 1905. It used to occupy a corner of our 'Burges Room' where works by William Burges sat side by side with Gothic Revival pieces, Arts & Crafts metal work, and other Victiorian ephemera. In 2005 it was displayed at the Victoria & Albert Museum as part of the International Arts & Crafts exhibition. In our new galleries the chair will have a more seperate space as we look at the more individual works in the collection.

In it's previous location Kinsarvik's chair could be mistaken for a fantastical Norse curiousity: a picturesque  plundering of design ideas from the Viking past, just as the Aesthetics looked to Japan, or the 18th century Gothick's looked to medieval castles. This chair was made with a different philosophy, one informed by British Arts and Crafts but one that evolved in a very different context.

The British Arts and Crafts movement was interested in reviving lost crafts and methods of working in part as a response to the impact of the industrial revolution on both product design and the individuals dehumanised role in the production process. Norway, like many other smaller European countries was not heavily industrialised and these countries had there own reasons for looking at their cultural past.

Norway at this time was not yet an independent country, having been controlled by Denmark for 400 years up to 1814 and then by Sweden up until it claimed independence following a referendum in 1905. Norwegian Romantic Nationalism emerged during the mid-years of the 19^th century as a way of identifying, understanding, and raising the status of a Norwegian national culture. The people of Norway's cities felt that true Norwegian culture existed only in the country's rural communities and set out to record it.

Composers and writers documented the melodies and lyrics of the folks songs of their country, just as Antonín Dvořák in Bohemia, or Bela Bartok in Hungary also did. In Norway and in many other smaller European countries people documented dances, folk tales and stories, collated poems and the myths of their countries, and published collections or compiled the folk legends into a national epic - such as the Kalevala in Finland. In Norway and Sweden open air museums were created to display buildings transported from the country to the city, one in Olso even includes a wooden 'Stave' church transported from 100 miles away in Gol.

Archaeology also contributed to this sense of a reclaiming of a lost culture with the discovery and excavations of Viking ships at Tune in 1867, at Gostad in 1889,  and a particularly impressive ship at Oseberg (detail pictured below left).





Detail from the Kinsarvik chair (left) detail from the Oseberg ship, Vikingskipmuseet, Oslo (right)



Doorway from the Hedal Stave Church,
Oppland, Norway.

Lars Kinsarvik was a designer and wood carver and has been described as an "enlightenment man, fiddler, poet and a goalkeeper". He studied with the Norwegian painter Anders Askevold in Bergen, then moved to establish a school in woodcarving in Hardanger. Later, he taught at a school of arts & crafts in Dovre and became a leading educational istitution and continues to have prominence today. Kinsarvik wanted to revive Norwegian folk art, and was particularly adept at Norse decoration, such as the 'Karveskurd' - the name given to the kind of geometrically symmetrical carving shown above. The style of his work became know as the 'Dragon' or 'Viking' style; it's motifs coming from details on Stave Church doorways and other sources of Viking age design. The main feature of the chair is this large symmetrical interlocking pattern culminating in a Queens head. She is flanked on either side by the jawless heads of two Viking knights that rise out of the frame of the back rest. Whether the Queen is symbolic of a person real or mythological, or emblematic of something else, we are unsure.

Kinsarvik's approach to furniture is to take a simple robust form in an easily carvable softwood and use it as platform for his sculputral forms, decorative reliefs, and paintwork. These forms and patterns aren't just playful historicism evoking Viking legends, but a serious attempt to contribute to a Norwegian national style at significant time in the country's history.


Kristian Purcell,
Curatorial Assistant.

Talking Business

Following on from Victoria’s popular ‘The Etiquette of Visiting’ blog  I have been looking at the trade cards in the museum collection. These have been produced by a variety of businesses in Bedford over the last couple of centuries. Visiting cards were the precursor of the trade card, but the two served very different purposes and to mix them up was regarded as an insult both in the past and in some circles even today. Today’s modern business cards lie somewhere between the two types, often forming the basis of introducing the individual as well as the business they are in.


John King and J Baker, Sadlers at Offa Street and High Street, Bedford, late 19th Century

The earliest form of trade cards can be found in London during the 17^th century and grew in popularity as printing methods grew up across the country.

Early trade cards could be printed by Letterpress, which was invented as an alternative to Calligraphy. The type was hand cast and individual letters were hand set into lines, until machine set composition made this process more straight forward. Woodcuts were the other kind, which involved the technique of engraving letters into and printing from a woodblock. Copper-plate engraving became the most popular form in the 18^th and 19^th Century for trade cards, until Lithography came in from 1830 onwards as the established method and provided the opportunity to print in colour. 

The rise of the middle class during the Industrial Revolution and an overall lessening of social formality meant that a class of private entrepreneurs emerged that needed to promote their business services and exchange contact information. This class merged the idea of the visiting card and trade card to produce the first variation of the modern business card. These were handed out widely at presentations and exhibitions, but were often looked upon with disdain by members of the upper class.

Kilpin and Son, Ironmongers at 17 High Street, Bedford, late 19th Century 

Other industries aside from the Sadler's cards, who often depicted horses on their cards, would also take an illustration of a key feature of their business, such as this one produced by Rowland Hill of 40a High Street, Bedford, Printer and Stationer.



Rowland Hill "Bookseller, stationer, printer, engraver,
bookbinder, periodicals regularly delivered, paper hangings, schools supplied".



Thomas Lester, lace designer and manufacturer similarly depicts a lacemaker on some of his business cards.

With business often going on personal recommendation from other customers, having a business card that could be handed to current or prospective customers was essential, for example for businesses that were quite specialised like Clock and watchmaker, S Miller.

Even less specialised shops though like the local grocers, such as Jelley and Clarke, with their delivery service, would also have their own cards for customers.

The George Inn’s card depicts the building itself and this was often a technique used on trade cards to help customers find their location. This was certainly the case in the early years before street naming was formalised and often maps would also be provided on the card to help guide customers to the shop. 

The range of businesses shows that most viewed business cards as an essential promotional tool. This was perhaps later supplemented and overridden by the growth of local newspapers like the Bedford Times and the local Kelly’s directories by way of advertising their services to potential new customers.

The combination of services within one business as advertised on these cards always fascinates me, showing the versatility of many of these local craftsmen. Below is the card for Mr Handscomb who combines his woodworking skills in being both an established cabinet maker and undertaker at his shop in Ampthill.  

The trade card has evolved and today Corporate branding and individual business identity is promoted through a combined personal and business card, usually with corporate logos in a digitally designed and printed card. The fact that this form has changed relatively little over the last few hundred years shows their effectiveness. The e-business card seems to have become their next evolution, attached to emails, but also available in a printed format.

If you feel inspired by the cards in this blog and have any historic trade cards from local Bedford businesses, or indeed any unusual and individually designed more modern versions, then please email them to chag@bedford.gov.uk and I will upload them to the blog. Alternatively find us on Facebook or post pictures to our Flickr group.

Lydia Saul,
Keeper of Social History

Object of the Week - Bonbonnière

In the 18th century, when regular trips to the dental hygienist weren’t really an option, what was a lady to do about the bad smell of gingivitis emanating from her lips? To mask this problem, 18th century women would carry around sugar coated nuts or herbs that they could slip on the tongue. But of course, a fashionable lady would need something beautiful to contain the mints - so what was basically a ‘tic tac’ box turned into a fashion accessory to be shown off in society. Known as a Bonbonnière, from the French for Bonbon meaning sweet, these small ornate boxes came in various forms from standard box shapes to animals and figurines.


Cecil Higgins collected various Bonbonnière’s the finest of which were made at the Chelsea Porcelain Factory. This one from the 1760’s is particularly lovely.

Chelsea Bonbonnière, about 1755-1760 (7.5cm tall)

In the form of a mans head it is made from porcelain painted with enamels, the gilt collar opens to reveal even more decoration with painted sprays of flowers inside and out.

Side view

Cecil Higgins bought the Bonbonnière in October 1937 during the height of his museum collecting from one of his regular suppliers, Hyam & Co Antiques on Brampton Road, London. It was a profitable day for the company that specialised in ‘Old China and Pottery’, as Higgins spent nearly £200 on porcelain including a pair of Bow dancing figures, a Ludwigsburg Gallant and his Lady, and a Alcora teapot in the form of a hen with a chick on its back.


Unfortunately whilst the ladies who carried Bonbonnières may have had more pleasant smelling breath, the sweets - largely made of sugar - would have done nothing to help the initial cause of the problem, as sugars' potential to rot teeth was not widely known.


Victoria Partridge,
Keeper of Fine and Decorative Art

Fire Fire! Part 2: A Great Service

Following on from my previous post last month concerning the objects donated connected with Bedford Volunteer Fire Brigade we have received some supporting documents to Mr Mead’s collection. Mr Mead was an active member of the Bedford Volunteer Fire Brigade between 1892 and 1930. The letters include his “election” as a member in June 1892, as well as his first Rule book for the brigade.

 

Rule Book issued to Mr Mead as a new member of Bedford Volunteer Fire Brigade, 1892





June 1892

Dear Sir,

 I have great pleasure in informing you officially that you have been unanimously elected a member for the Bedford Volunteer Fire Brigade. Can you arrange to meet me at the Engine House on Saturday Afternoon at 4 O’Clock to make arrangements about your uniform.

Yours Faithfully

Oliver C. Coombs

Hon. Sec.




Mr Mead photographed having won the Captains Challenge Cups, courtesy of BLARS, Ref: AD1082-3p46



 Walter summarises his career in a letter written to Mr Keech on June 14th 1949.

Dear Sir,

For reference to your enquiry Re: Bedford Fire Brigade. I was elected June 1^st 1892.

My Service as an Active Member over the age of 55 years as per Brigade Rule was extended until Feb 12^th 1930 with their appreciation of my services; also I was informed by the Management Committee I was appointed Honorary Member of the Bedford Fire Brigade for Valuable Services extending over 35 years, 7^th of June 1930. Was Liason Officer during the 1939-1945 war at the Control Room for the Borough Brigade. I have the National Fire Brigade’s Union Silver Medal for 20 years (Reg no. 936) with 3 five year bars also the Defence Medal 1939-45 and some 30 years ago was made a Life Governor of the National Fire Brigade Widows and Orphans Fund.

Yours A/C

W N Mead

Mr Mead's National Fire Brigades Union badge

Not long before the end of his career in July 1926 a letter is written from Francis Corby, The Chief Officer, informing Mr Mead that he will be left in charge of the Brigade while he is away in Blackpool for a week. He comments "I have full confidence in leaving you in charge and am not going to give you any instructions but would remind you that you can call on Messrs W. H. Allen's men and also Peak Frean's if you require them, and also in case of a really big fire do not hesitate in sending for outside help". Both the Allens factory and the Peak Frean, also known as Meltis, Factory had their own private fire brigades in the event of a fire on site. 

Meltis Factory Fire Brigade Cart, part of Bedford Museum's collection.

Letter from the Committee February 1930 informing Mr Mead that they can no longer extend
 his active service at Bedford Fire Brigade. 



It would appear that because Mr Mead was a highly valued member of the brigade he was allowed some grace over his retirement age, which was 55 years in 1926 and Mr Mead appears to have been allowed to continue until 1930 when a letter from the Committee was written with concern over the precedent being set for other members of the brigade in extending his service any longer with the brigade.



Shortly following his retirement the Recreation Committee wrote to Mr Mead offering him an Honorary membership to the Recreation Room and he is also elected an honorary member of the Brigade allowing him to continue some involvement with his colleagues. He appears to have been recalled during the Second World War to operate as the Liason Officer for the fire service at a time when every person counted for Civil Defence service with so many younger men now in the forces, and certainly an experienced fireman like Walter would have been invaluable with the threat of during the Blitz.

Fire Guard armband worn by Fire Wardens as part of the Civil Defence programme
to assist with fire incidents during World War Two.

Thank you to Mr Cole and Mr Lazenby for the contribution of the objects and letters donated to Bedford Museum collection. Thank you to Bedfordshire and Luton Archive and Records Service (BLARS) for the original photograph of Mr Mead.

Lydia Saul,
Keeper of Social History

Object of the Week: Reliquary Pendant found at Ampthill

Often our most delicate and pretty objects tend to be some of our smallest objects.

This is certainly the case with the reliquary pendant which was found a few years ago at Ampthill. The pendant, a golden coloured lozenge shape, is about 46mm high and 14mm wide.

The pendant displayed opened, with St. Ann on the left.

The stunning beauty of the pendant is only really revealed when it is opened up to show two miniature pictures inside made in gold and coloured enamels. One of these images is thought to show St. Ann teaching Mary to read. The other image is not so easily recognised but most likely depicts another saint.

Though the images show a bit of damage the fine detail and skilled craftsmanship of the maker is still very obvious to see and the delicate images are made even more remarkable because they are so small. Similar reliquaries found on the continent have been attributed to specialised workshops located in France, especially in Limousin and Poitou, operating in the 1300-1400’s.

The pendant itself, even though it is incredibly beautiful, can only tell a small part of the story. To try to understand more about it we need investigate the bigger picture and travel beyond Ampthill.

The first thing to do is to find out more about St. Ann herself. Also why would such a fine piece of devotional jewellery have been made and who may have worn it?

A small amount of research instantly explained the importance of St. Ann. We learn she is the wife of Joachim and one day whilst she prayed beneath a laurel tree an angel appeared to tell her that she was going to have a child. The child that Ann gave birth to was named Mary. In later life Mary was to become known as Mary the Blessed Virgin.



Some of the gold leaf and enamel has flaked but the craftsmanship can still clearly be seen

The worship of St. Ann is generally thought to have begun in the east during the fifth century and slowly spread across to the west during the medieval period. A shrine at Douai in northern France became established during the 1300’s. Over time many shrines dedicated to St. Ann sprung up in France and her popularity spread to England: a shrine dedicated to her is found at Buxton. As her following grew St. Ann became established as the patroness of women in childbirth, housewives, cabinet-makers and miners.

Looking at our pendant from Ampthill it is tempting to visualise that such a beautiful and precious object showing such a touching snapshot of parenthood, a mother teaching her daughter to read, may have been worn by a young woman who worshipped St. Ann and who was anxious to keep her own young daughter safe.

The stark truth is we will never be able to say for certain how the reliquary pendant came to Ampthill or to say how many owners it had and who they may have been. But what all objects like this show is that people in the past went through the same array of expectations, actions, emotions and all of the ups and downs of life as we do.

Liz Pieksma,       

Keeper of Archaeology.

The Etiquette of Visiting

Last week we handed over the Gallery and Museum to the builders. The buildings that we have wandered around so freely are now only accessed by special permission and under a strict code of dress. It’s a strange parallel with what I have been researching this week; the Victorian etiquette of visiting, where, although Victorian women weren’t required to wear hard hats and high visibility jackets when entering houses, their dress had to adhere to the strict rules of polite society. Before you were allowed through the doors of a Victorian host’s house it was more than likely that you would have had to have taken part in the ritual of the visiting card (something which I may get funny looks for if I try it out on the builders).

My main source of reference has been Cassell’s Household Guide to Every Department of Practical Life which has amongst other gems cures for Chronic Gout, the care of German Canaries and a rather disturbing section on cooking otters. It also has four pages on visiting etiquette to guide people through the mine field of turned down corners of cards, visiting during illness, respectable time left to return a call etc etc.

‘On a stranger of family arriving in a neighbourhood it is the duty of the elder inhabitants to leave cards. If the acquaintances thus presenting themselves are desirable, it is usual for the visit to be returned personally or cards left, within one week.’

‘Cards turned down at the corner signify either that they have been sent by a servant, or that the visitor had no intention of paying a personal visit beyond the threshold of the residence’.

Mrs Beeton in her Book of Household Management also has lots to say on the subject including helpful hints such as ‘A strict account should be kept of ceremonial visits, and notice how soon your visits have been returned. An opinion thus be formed as to whether your frequent visits are, or are not, desirable’.

Unfortunately we don’t have any of the Higgins family visiting cards, we know that Cecil had them as we have a receipt from a stationer in Baker Street for 40 of them, but none of them were kept which is a real shame.

What I have found, is a selection of cards belonging to the Bower family who ran the Springfield Asylum in Kempston, a private asylum referred to in a note with the cards as a ‘mental home for the aristocracy’. What is nice about the cards is that they are good examples of the different types of card a family would need. There are cards for home and work depending on the nature of the visit they were left at and cards for times of mourning when the card is framed with a black border.

Dr Bower's visiting cards, the black bordered card would have been used at times of mourning

They also show the difference between men and women’s cards: Mrs Cedric Bower’s card is larger than her husbands as men used smaller card cases to fit into their waistcoat pockets and off course whilst Mr Cedric Bower’s card is in his own name Mrs Bower’s is addressed as the wife her husband.

Mr Cedric Bower's visiting card

Mrs Bower's visiting card which is larger in size than her husbands.

Visiting cards allowed very little room for individual taste and were described at the time as resembling one another, 'much as one dress suit resembles the next'. At least Victorians could carry them in a variety of beautiful cases, such as this one from the 1840’s.

Tortoiseshell visiting card case with mother of pearl decoration, about 1840

Victoria Partridge,
Keeper of Fine and Decorative Art

Polhill to the Polls! Election Excitement 1830 & 1832

In 1830, when it was declared that Lord John Russell would be a Bedford election candidate alongside William Henry Whitbread, the Conservatives decided to try to break the Russell domination by putting forward a new candidate, Captain Frederick Polhill. Polhill agreed to stand as an Independent candidate. The election opened on the 2^nd August and lasted 13 days. The hustings were held on St. Peter’s Green, Bedford.

The Candidates: William Henry Whitbread

William was first elected in 1818 as MP for Bedford, as a Whig following in his father’s footsteps, a brewer and politician.  He also supported many of the causes his father had previously promoted, such as Catholic emancipation, the Reform Bill, the Poor Law and the Abolition of Slavery Bill.

Captain Polhill's Election Poster

Courtesy of Bedfordshire and Luton Archives and Records Service ref:BorBG10/1/33

Captain Frederick Polhill 1798-1848

Frederick, who had been born in London, moved to his inherited family home Howbury Hall, Renhold in October 1828. In 1830 he decided to run in his first election encouraged by a group of Conservatives led by John Pulley. Frederick addressed the electors at the end of the first day of opening in Bedford, you can see his election slogan above.

First Day Results:

Polhill 200; Whitbread 200; Russell 186.

'Polhill Forever' inscribed on this election bobbin, BEDFM 7554
Created as propaganda to show support for Polhill.

Lord John Russell 1792-1878

John was the third Son of the 6^th Duke of Bedford and later became a great Whig reformer, introducing the 1832 Reform Act to Parliament. He had previously represented Tavistock, Huntingdonshire and Banson (Co. Cork). 

According to election propaganda an address was printed by 'A FREEMAN' suggesting that the friends of Mr Polhill were making attempts to “bribe and cajole and terrify those who have promised their votes to Mr. Whitbread and Lord John Russell.”

In view of the support of Russell’s father, the Duke of Bedford, his defeat in the Bedford election was unexpected and a great triumph for Captain Polhill. It was reported that due to the attitude of the Wesleyans, who were incensed by some unwelcome remarks by Russell about prayer, that this swayed the vote in Polhill’s favour. Polhill won against Russell by one vote.

The final count: Whitbread 515, Polhill 491, Lord John Russell 490 – a very closely run contest.


Lord Russell was not long out of Parliament, gaining a seat at Tavistock later in the summer. The Duke of Wellington and the Tory party resigned in November and the Whigs succeeded under Earl Grey who offered Russell a seat in the Cabinet. In December 1831 Russell introduced the Third Reform Bill to be passed by the Commons, but it was rejected by the Lords. Throughout 1831 Polhill as an Independent candidate supported the Reform Bill. The Duke of Wellington agreed to withdraw enough Tory peers so that the Bill might become law, which it did on 7th June 1832. By modern standards the proposals, which caused so much alarm in 1832, were moderate, resulting in enfranchising only one in six of the adult male population, but were indeed revolutionary for their time.  

Bedford Election of December1832.
 Whitbread, Polhill and Crowley outside the Swan Hotel and George Inn, Fp.114 

In the subsequent election of December 1832, Captain Polhill lost his seat at Bedford. A petition was raised alleging malpractices by William Henry Whitbread and Samuel Crowley, which was unsuccessful.  Polhill had at least won the earlier 1830 election against John Russell, a victory that ironically enabled him to participate in supporting the Reform Act of 1832 that Russell later introduced. Polhill had the last laugh though, successfully regaining his seat from Crowley in the 1835 election.


Lydia Saul, Keeper of Social History


Thanks to Bedfordshire and Luton Archives and Records Service for the Polhill Election Poster image.

Object of the week: Nècessaire

When Cecil Higgins died in 1941, he had already made provisions for the foundation of a museum in his name. The collection he had been amassing over the previous ten years was stored in various places: the porcelain, glass and ceramics were in country houses to protect them from air raids, the silverware in Lloyds Bank (I assume to protect it from thieves) and other pieces, including furniture and ‘objects of vertu’ were in his house at Queen Ann Street, London. The entire contents of the house were catalogued from top to bottom, from morning room to the Maid’s room and marked either ‘M.E.’ for items exempted from Duty being of National, Historic and Artistic importance, ‘M’ for items for the proposed museum but not exempt from duty, or left blank (for example the ‘linoleum flooring’ listed as being in the cistern room which sadly didn’t make it into the gallery’s collection).

I have been spending quite a lot of time trawling through this inventory over the last few weeks and in the ‘objects of vertu’ section I have found some lovely pieces. Marked as ‘M.E.’ is an oak box in which there is an embroidered rosewood casket, in which there is a collection of all manner of bronze and pinchbeck treasures from chatelaines to watches and snuff boxes to scent cases. But the first thing that is listed is ‘an elaborately fitted small nècessaire’ which I have chosen as this week’s object of the week.

Dutch nècessaire, about 1800 made from ormolu and garnet

Nècessaires were designed, as their name suggests, to contain a range of ‘necessary’ accoutrements for women. This one includes items a lady might still use today, such as a writing tablet, tweezers, and bottles for various beauty potions, as well as more outdated items such as a spoon for earwax.

Victoria