1. Mwg Taffywood
Mae mygiau Taffywood cwmni I Loves the ‘Diff bob tro’n codi gwen gyda’u chware geiriau. Anrheg perffaith i drigolion Caerdydd ac atgof doniol i gyn-drigolion.
2. Llestri cegin Cymreig
Bara Brith, Pice ar y Maen, Cawl a Bara Lawr – mae’r casgliad hwn o offer cartref Victoria Eggs yn tynnu dÅµr i’r dannedd. Printiwyd ac addurnwyd y lliain a’r ffedog â llaw ar gotwm organig 100%, ac mae’r mwg o tsieni asgwrn. Anrhegion perffaith i Gymry llwglyd.
3. Set o 3 mygiau
Te, coffi, sicoled – cymaint o ddewis? Mae’r mygiau priddwaith yma’n berffaith ar gyfer paned boeth. Os yw hi’n amhosibl dewis ffefryn, prynwch y tri. Cynhyrchwyd yn arbennig ar gyfer Amgueddfa Cymru.
4. Mwclis adar a gloÿnnod byw
Rydyn ni’n dwlu ar gadwyni prydferth Ladybird Likes. Daw’r darluniau o hen lyfrau natur Ffrengig cyn eu gosod ar bren a’u torri â laser. Cwmni bach o Lundain yw Ladybird Likes a sefydlwyd gan Zoe Jade, ac mae ei chariad at grefftau i’w gweld yn ei chadwyni a’i thlysau cain a thrawiadol.
Dangoswch eich ochr greadigol trwy addurno eich ysgrepan eich hun. Mae’r bag yn dod gyda phinnau ffelt i chi liwio a dylunio eich bag unigryw eich hun. Mae cynnyrch Seedling yn newydd i’r DU a’u pecynnau yn llawn syniadau i ysbrydoli a thanio dychymyg plant.
6. Pos yr wyddor Gymraeg
Jig-so wyddor Gymraeg sy’n dod a hwyl i ddysgu darllen. Mae’r llythrennau lliwgar deniadol wedi’u gwneud o bren rwber cynaliadwy ac ar gael gyda dreigiau, deinosoriaid neu grocodeilod.
7. Scrabble yn Gymraeg
Mae gêm eiriau fwyaf poblogaidd y byd bellach ar gael yn Gymraeg. Yn cynnwys dwy fersiwn o’r gêm i blant – gyda rheolau haws i’r plant iau a mwy o sialens i’r plant hÅ·n. Gwelwch ragor o gemau iaith Gymraeg i blant ar ein siop ar-lein.
8. Matiau diod a bwrdd Sain Ffagan
Bydd atgofion am Sain Ffagan yn llifo’n ôl wrth ddefnyddio’r matiau diod melamin lliwgar yma. Comisiynwyd yr artist lleol Wayne Bedgood i ddylunio’r gyfres, ac mae’n rhyfeddol faint o adeiladau mae wedi llwyddo i’w cynnwys. Yw eich ffefryn yma? Cynhyrchwyd yn arbennig ar gyfer Amgueddfa Cymru.
9. Calendr 2015
Calendr 2015 Amgueddfa Cymru yn cynnwys deuddeg delwedd o fynyddoedd mawreddog Cymru. Yn eu plith mae gweithiau gan Graham Sutherland, Peter Pendergrast, John Piper a Syr Kyffin Williams. Cynhyrchwyd yn arbennig ar gyfer Amgueddfa Cymru.
10. Argraffu yn ôl y Galw
Rydyn ni wrth ein bodd â’r paentiad gan Pissarro o Pont Neuf dan eira. Gallwch chi hefyd brynu print o’r gwaith prydferth hwn, neu ddewis o 250 gwaith arall drwy ein gwasanaeth Argraffu yn ôl y Galw. O gestyll i gopaon, ac o’r môr i Manet, mae gweithiau at ddant pawb yn y casgliad.
Golwg ar y Casgliadau Diwydiant
Buom yn ffodus iawn ym mis Hydref o dderbyn yn rhodd y bag powdwr gwn diddorol hwn a ddefnyddiwyd yn ffatri Curtis's and Harvey Ltd. yng Nglyn-nedd. Mae eu monogram i’w weld ar flaen y bag. Cafodd ei ddefnyddio gan Elizabeth Thomas, hen famgu y rhoddwr. Dyma hi’n gadael yr ysgol yn 14 oed i weithio ar fferm, cyn mynd i weithio yn y ffatri powdwr gwn yn ystod y Rhyfel Byd Cyntaf. Mae’r rhodd amser yn berffaith ar gyfer arddangosfa Gwaith a Buddugoliaeth: Diwydiant Cymru a’r Rhyfel Byd Cyntaf yn Amgueddfa Genedlaethol y Glannau, Abertawe sydd ar agor tan 15 Mawrth 2015.
Yn ystod y mis prynwyd tair tystysgrif ar gyfer ein casgliad pwysig o dystysgrifau cyfranddaliadau Cymreig.
Mae’r cyntaf am bum cyfran gwerth £100 yng nghwmni Abercwmeiddaw Slate Quarry Company Limited ac yn dyddio o 1898. Cofrestrwyd y cwmni yn Lerpwl ym 1876 i gaffael chwarel llechi o’r un enw yng Nghorris a agorwyd yn y 1840au. Roedd y cwmni canolig ei faint yn cyflogi 188 o ddynion ym 1882 ac yn cynhyrchu 4,000 tunnell o lechi, ond cafodd ei ddirwyn i ben ym 1905 gyda’r lleihad yn y galw am gynnyrch Cymru. Sefydlwyd cwmni ag enw tebyg ym 1911 wrth ailagor y chwarel ar raddfa lai, cyn i hwnnw ddod i ben ym 1938.
Mae’r ail yn dystysgrif am gyfran gwerth £50 yn y Pen-y-Bryn Slate Company Limited, yn dyddio o 1882. Cofrestrwyd y cwmni ym 1881 i gaffael chwareli llechi yn Nantlle a agorwyd gyntaf yn y ddeunawfed ganrif a’u rhedeg ar raddfa fawr ers y 1830au. Cwmni canolig cyffredin oedd hwn yn rhedeg pedwar chwarel dan law Blondins mewn dull oedd yn nodweddiadol o Ddyffryn Nantlle. Ym 1883 roedd yn cyflogi 240 o ddynion ac yn cynhyrchu 5,000 tunnell o lechi. Aeth y cwmni i’r wal ym 1887 a caewyd y chwarel tan 1895 pan gafodd ei ailagor ar raddfa lai a’i weithio tan y 1940au.
Mae’r dystysgrif olaf wedi’i hargraffu ar femrwn – cyfran gwerth £50 yn y Blaenavon Iron & Coal Company, wedi’i dyddio ar 8 Medi 1836. Sefydlwyd y cwmni cyfranddaliadau cyfun cynnar hwn (gyda chyfalaf anferth o £40,000) i gaffael gweithfeydd haearn a glofeydd y teulu Hill a’u partneriaid. Dyma’r cwmni newydd yn ehangu’n sylweddol ar y gwaith gan agor gwaith newydd Ger yr Efail, adeiladu nifer o dai a chyflwyno trenau stêm. Tyfodd y gweithfeydd yn un o brif gynhyrchwyr dur Prydain a daeth yn gwmni atebol cyfyngedig ym 1864.
Ar 26 Awst 1892 lladdwyd 112 o ddynion a bechgyn mewn ffrwydrad yng Nglofa Slip. Mae’r caffaeliad newydd hwn yn un o ddau lyfryn o lythyrau ar gyfer Cronfa Gymorth Ffrwydrad Tondu (Caerdydd) fyddai wedi cael eu dosbarthu i godi arian. Cawsant eu dyddio yn Neuadd y Ddinas Caerdydd ar 3 Medi 1892.
Mae gennym gasgliad bychan o wrthrychau a ffotograffau yn ymwneud â’r digwyddiad gan gynnwys mwg coffa
Cynhyrchwyd y fricsen hon yn un o lofeydd y brodyr Hedley, mwy na thebyg yn ardal Bryncoch. Cafodd ei achub o’r adeilad a elwir yn Ysgoldy Sant Pedr ar Ffordd Aberhonddu, Abertawe. Amgueddfa Cymru yw ceidwad casgliad briciau cenedlaethol Cymru, ac mae hwn yn atodiad gwerthfawr.
Llathen fesur swyddogol (neu Ffon y Dirprwy) yw’r gwrthrych olaf y mis hwn. Cai ei defnyddio gan Reolwr Bwrdd Glo Cenedlaethol olaf Big Pit cyn i’r pwll gau ym 1979. Byddai swyddogion yn cario llathen fesur ac yn ei ddefnyddio i brofi am nwy. Cyn y 1960au byddai’r Dirprwy yn gallu hongian ei lamp drwy’r twll yn un pen a’i chodi i’r nenfwd i brofi am nwy. Yn ddiweddarach byddai falf samplo arbennig yn cael ei ffitio i fferel ar ben arall y llathen, a byddai hwn yn cael ei ddefnyddio i roi sampl nwy o fwlb samplo mewn lamp ddiogelwch Garforth.
Curadur: Diwydiant a Thrafnidiaeth
Dilynwch ni ar twitter - @IndustryACNMW
#popupmuseum - How did it all go?
The pop-up museum was created over two days at the Wales Millennium Centre as part of the Welsh Museums Festival and the Museums Association conference between 9-10 October 2014.
We set up the cases, table, boxes, screen and various cardboard structures on the Thursday before the conference.
It looked great, but we were all quite nervous. Would anyone turn up? Would people bring an object in response to our call outs on social media? Would people participate and share their Cardiff stories and memories? Would the huge table at its centre attract visitors or put them off?
Would Billy the Seal arrive safely?
We were about to find out if our experiment would work…….and thankfully it did!
- 1. The stuff we had already collected.
We were all really glad that we already had some material for the pop-up that provided hooks to show people how they could contribute. The story cards collected at previous workshops kicked things off. They gave people an idea of how they could contribute, and made the Cardiff theme obvious. The voxpops also provided people with another focus and showed that people had already shared their Cardiff story. This encouraged participants to be filmed sharing their story at the pop-up.
- 2. Taking photographs of participants
We took a photograph of all participants with an instant camera and pinned them to their story cards. This emphasised the personal aspect and made stories easier to find
- 3. The big table in the middle with plenty of chairs.
This space really worked. It became a social space where people came together and shared their Cardiff story and a space where strangers started talking to each other. We piled Perspex boxes on top of each other along the middle and gradually filled them with objects over the two days. We encouraged people to write their comments about other people’s stories on post-its and stick them on the boxes. This added another layer to the interpretation.
- 4. Using iPads to show social media content
We had built up interest around the pop-up on social media in the lead up to the pop-up itself, so it was good to continue this momentum. We used two iPads on the table as live labels that showed all tweets with the #popupmuseum #fflachamgueddfa hashtag. We used this as a way of highlighting interesting stories and providing information about what was happening at the pop-up over the 2 days. We also experimented with iBeacons and placed content about some of the objects on that so that people could access it using their hand held devices.
- 5. We invited the Media and the Deputy Minister for Culture, Sport and Tourism!
To keep the buzz around the pop-up museum going, we managed to generate press interest in the pop-up. The experience was filmed by s4C for Heno and by Cardiff TV. Deputy Minister Ken Skates also came to the pop-up and contributed his Cardiff story. He was really interested in the fact that we had created a museum in 48 hours that anyone could contributed to.
- 6. Billy the Seal made it!
Thanks to the huge effort of conservation staff across Amgueddfa Cymru, Billy made it to the pop-up. Billy generated lots of interest and was definitely a big pull to the pop-up. It was useful to have one star object that attracted the curious. Those who knew about Billy’s story couldn’t believe that she was actually there and that it was part of the museum’s collections. And those who didn’t know the story were…confused but intrigued.
- 7. Working with Cardiff Story, HLF, and Youth Forum members
You can’t set up a pop-up museum without a team. The input from our Youth Forum members was invaluable, making sure that the processes of the pop-up ran smoothly and making sure that participants knew what to do. Staff members form the Heritage Lottery Fund provided guidance and support throughout the pop-up process. Working with Arran Rees and Lucy Connors from the Cardiff Story and was a great experience and we are already planning to create a pop-up together again in the future.
Make an Aria
What is an aria? That was the question posed by Music Theatre Wales Director, Michael McCarthy to kick-off this very exciting collaborative project. The Make an Aria scheme is a partnership between Music Theatre Wales (MTW) and the Royal Welsh College of Music & Drama (RWCMD) giving young composers an opportunity to have-a-go at opera. This time, they are using St Fagans Castle and the Museum’s collections as their inspiration. A group of composers from RWCMD teamed with creative writers will ‘make an aria’ from scratch.
So where do you start? A speed-dating session was a good way to establish the best creative match for composer and writer. When everyone was paired-up, curator Elen Phillips gave an introduction to the material for the arias – the story of St Fagans Castle during the Great War.
The Windsor-Clive family of St Fagans Castle were at the centre of events during these turbulent years; Lord Windsor as chairman of the Welsh Army Corps and Lady Windsor as President of the Red Cross Society in Glamorgan. Grief-stricken by the loss of their youngest son, Archer, who was killed in action, they opened the Castle grounds to set-up a hospital run by volunteer nurses or VADs.
The stories were brought alive by looking at objects from the Museum’s collections; a nurses’ uniform from the hospital, a delicate necklace made by one of the wounded soldiers and a field-communion set used on the battlefield. At this point we were joined by members of the Armed Forces community, the 203 Welsh Field Hospital Medics who gave us a completely new take on some of these objects and stories. It just proves that working collaboratively can bring some unexpected and rewarding results. We will continue to work with the Armed Forces in co-curating some of the exhibits in the new galleries at St Fagans but that’s another blog for another day.
We then led the composers and writers on a tour of the Castle and grounds; the old site of the WW1 hospital, the Italian garden where the soldiers recuperated and the greenhouses where the land girls may have worked. Any of these locations could be the setting to perform the arias in the summer of 2015. I think that everyone left with their heads bubbling with ideas. All we can do now is wait.
Rosie Moriarty Simmonds at National Museum Cardiff
On Tuesday 14th October, Cardiff-born artist Rosie Moriarty Simmonds showcased her talent in the galleries at National Museum Cardiff, painting a version of La Parisienne – or the Blue Lady – by French Impressionist painter Pierre-Auguste Renoir.
The event was part of a UK-wide roadshow organised by the Mouth and Foot Painting Artists (MFPA). MFPA artists paint with a brush held in their mouth or foot where an accident, disability or illness means they are unable to use their hands. They have are 33 artists working in the UK, and over 800 worldwide.
Rosie, an MFPA student artist who paints holding a brush in her mouth, spent the afternoon in the galleries painting a version of La Parisienne and chatting to staff and visitors. ‘I like chatting to children the most’ she said. ‘They ask the questions adults are afraid to ask’.
Her passion for art goes back to her school days, although juggling family and career commitments has prevented her from devoting much time to it until recently.
Last year she was persuaded to submit a portfolio to the MFPA, and was awarded a 3-year scholarship which gives her financial support to develop her skills, buy art materials and pay for tutoring – although she said she has also learnt a lot from You Tube! She is currently mid-way through her scholarship.
Rosie described the experience as ‘a definite highlight of my career’, and that as a local girl growing up in Cardiff, Amgueddfa Cymru's art collection had always been a source of inspiration.
Her painting will be sent to the MFPA, who will then decide what to do with it and whether it will go on tour with other works. We will keep you posted!
Fanny Eaton, the Jamaican-born model in Millais' Jephthah
Last month we were given a fascinating insight into the life of Fanny Eaton, one of the models for John Everett Millais’ Jephthah (1867), which is currently on display in our Art in Victorian Britain gallery. Fanny is the figure at the far right of the painting, standing just before a curtain and wearing a yellow hood.
We were delighted to hear from Brian Eaton, Fanny’s great-grandson, who came with his wife Mary to see the painting. They first became interested in Fanny while researching their family tree, and since then have done a considerable amount of research into her personal history.
At the same time curators and art historians have become increasingly fascinated by Fanny, particularly following the exhibition Black Victorians: Black People in British Art 1800-1900 at Manchester and Birmingham Art Galleries in 2005-6, and the accompanying catalogue written by the show’s curator Jan Marsh.
Fanny was born in Jamaica in 1835 but by 1851 was working as a servant in London where she lived with her mother Matilda Foster. Within a few years had begun to model for several Pre-Raphaelite and Aesthetic artists including Frederick Sandys, Albert Moore and Rebecca Solomon, probably to earn extra income. Her striking features made her a popular choice with 19th century artists. Dante Gabriel Rossetti compared her to the Pre-Raphaelite ‘stunner’ Jane Morris.
The earliest studies of Fanny that we know of are pencil studies drawn in 1859 by Simeon Solomon. These were used as studies for his Mother of Moses, now in the collection of Delaware Art Museum, US. When this painting was displayed in the Royal Academy in 1860, a reviewer for the Athenaeum thought her features represented 'an exagerated Jewish type’.1
This is one of the interesting things about Fanny. As Jan Marsh has pointed out in Black Victorians, although originally from Jamaica, she was described in her day as being of ‘mixed race’ and artists of the time used her distinctive features to represent a variety of different ethnicities or ‘types’. This is perhaps what attracted Millais to use her in Jephthah.
Jephthah seems to be the last painting to feature Fanny, although there may be more that are not yet identified. Brian and Mary Eaton are continuing with their research, and are particularly interested in finding out about Fanny’s early childhood in Jamaica and the circumstances that led to her moving to London with her mother.
We are grateful to Brian and Mary for sharing their findings, and hope that much more information about Fanny will come to light!
1. 19 May 1860, pages 688-90. Source: Simeon Solomon Research Archive
Unknown Wales 2014
Unknown Wales is a free annual public event organised by Amgueddfa Cymru’s Department of Natural Sciences in collaboration with the Wildlife Trust for South and West Wales, to highlight the natural history treasures found in Wales. It allows the museum to tell a wide general audience about the collaborative efforts that we are a party to, fighting to protect the wildlife and its habitats across the country.
This year’s meeting, held on the 11th October in the Reardon Smith Theatre at National Museum Cardiff, had an audience of nearly 250 people. They heard talks about bank voles, diatoms (by the museum’s Ingrid Jüttner), sand lizards, dung beetles, fossil forests and rare fish. The meeting was rounded off by Stephen Moss of the BBC Natural History Unit, talking about conservation activities in Wales, such as the success story of the recovery of the red kite.
As in previous years, the event has been sponsored by one of our very generous Patrons.
Biology Rocks! at National Museum Cardiff
Biology rocked at National Museum Cardiff on Saturday 11th October, when over 3000 visitors joined scientists from Amgueddfa Cymru, Cardiff University and the Society of Biology to celebrate National Biology Week and Earth Science Week.
Visitors got the opportunity to see some of the specimens from our collections that aren’t usually on display and to talk to Museum experts about their work. Specimens from the Marine and Mollusca collections provided inspiration for a mural depicting life in the seas around Wales, which became more colourful and populated throughout the day!
As part of the Geological Society’s ‘100 Great Geosites’ campaign, Museum geologists displayed rocks, fossils and minerals from our collections, as well as stunning images of some of the most beautiful and iconic landscapes in Wales. Members of the public were invited to vote for their favourite site in Wales, with the dinosaur footprints from Bendricks Rocks, near Barry, emerging as the clear favourite on the day.
To mark the recent arrival of two hives on our roof, staff from the Entomology and Botany Sections gave visitors the opportunity to take a closer look at bee specimens from our collections and to experience a ‘bee’s eye view’ of the world by playing a pollination game, collecting ‘pollen’ and ‘nectar’ from various flowers.
Scientists from Cardiff University’s School of Biosciences and School of Earth and Ocean Sciences put on a variety of displays and activities throughout the Museum. Among the many activities on offer, visitors could try their hand at organ transplant using a life-size Operation game, race maggots, work out how big a dinosaur was from its footprint, discover first-hand how fungi get their spots, and learn the importance of reporting road kill with the Splatter Project.
Unlocking records from backlog collections
This week we were delighted to welcome our new intern, Seren Thomas, to the Department of Natural Sciences. Seren is already known to the department having volunteered for us in the Mollusca and Botany Sections whilst studying for her degree five years ago. Now, with her degree behind her, including a professional training year at Kew Gardens, and a Masters degree starting late next year, Seren was keen to work with us once again. So, what will she be doing…
There is so much useful information held in our collections that we are continually trying to make available and disseminate. Seren will be helping unlock data from our non-marine British backlog collections in Mollusca (primarily slugs and snails). These specimens date from before 1900 to the present, cumulatively spanning almost the whole of Britain and Ireland, representing many species and habitats. The project will involve repackage and re-labelling each species in turn, and extracting, verifying and georeferencing the species and site data. This will allow the data to be exported to the national environmental recording networks via the Conchological Society of Great Britain and Ireland. It will also help the material to be used more efficiently and widely in our research projects and other activities.
Watch this space to see how the project progresses over the next year and beyond.
More I Spy Competition Winners
We were joined this Saturday by two more of our I Spy…Nature drawing competition winners and their families. The winners were shown around the mollusc (shell), marine invertebrate and vertebrate collections as part of their special behind the scenes tour by museum curators Katie Mortimer-Jones and Jennifer Gallichan. The visitors were able to select draws from the mollusc collections to look in and saw a Giant Clam and a cone shell known as Glory of the Seas (Conus gloriamaris), a once sort after shell found in the Pacific and Indian Oceans, to name but a few. Next onto the fluid store, where we keep our fluid preserved specimens such as marine bristleworms, starfish, crabs, lobsters and fish specimens. Lastly the tour finished up in the Vertebrate store where we keep some of the Museum’s taxidermy and skeleton specimens. After the tour, the winners were given their prizes of natural history goodies from the Museum Shop.