History of Archaeology
By Dr Jamie Larkin (Birkbeck)
The history of museums has recently begun to garner increasing academic attention. While this is welcome, the focus of such intellectual enquiry has tended to rest with the evolution of collections and nature of exhibitionary practices. As yet, little attention has been given over to considering the development of the museum in an operational capacity. Examining the managerial, bureaucratic, commercial and histories of museums can help shed light their institutional development, specifically how their production of culture related to wider social contexts.
This post outlines the development of museum postcards as a way for museums to spread knowledge of their collections, but also the nascent commercialism their sale helped inaugurate. Having changed little terms of form or content in the 100+ years since they were first introduced museum postcards are a particularly interesting subject of enquiry; a museum-goer in 1900 would have no problem recognising and using postcards sold in the British Museum today. While this post can only provide a brief overview, museum postcards provide us with a relatively static cultural form with which we can trace attitudes across time. As such there is great scope to consider various cultural and economic facets of museum development through these objects.
The postcard was first introduced in Austria in 1869, and in the UK the following year. Its early form consisted of a blank card on which a short message could be written on one side, along with the recipient’s address. The postcard revolutionised forms of communication in the mid-to-late 19th century: it turned the formal and expensive tradition of letter writing into a system by which people could correspond more causally and cheaply. The popularity was evident in that 575,000 postcards were sent on their first day of sale (Staff, 1966: 48). These early postcards were primarily produced by the Post Office and thus regulated by the state. However, towards the end of the 19th century regulations were loosened and private stationery firms entered the market.
These firms saw potential in the gradual changes that the form of postcards were undergoing. In the 1890s ‘Pictorial Postcards’ were introduced with an image on the front (e.g. an exotic location/famous landmark) and space for writing on the reverse. The novelty and cheapness of sharing visual images resulted in a massive increase in their popularity, precipitating what is generally termed the ‘Golden Age’ of postcards. An example of the scale of postcard enterprises may be found with the London-based stationery and printing firm of Raphael Tuck & Sons Ltd. From printing their first series of Pictorial Postcards in 1899 of London views, they had 10,000 different cards by 1903 (Staff, 1966: p-p; see also Anon, 2017).
The popularity of postcards meant that a massive range of images were produced, from the unique to the mundane. Museums and ancient monuments – especially those the subject of the burgeoning wave of tourism - were prime subjects for postcards. It is difficult to pinpoint the first time a British museum is depicted in a postcard. Staff (1966: 65) has suggested the earliest instances were in postcards manufactured by the firm of Wrench in the early 1900s for (privately owned) Warwick Castle, the Office of Works, the National Gallery and the Tower of London. However, Sadler’s recently published collection (2016) demonstrates the range of museum postcards at this time was much broader, featuring postmarked postcards depicting the following: British Museum (1901), Grand Hotel, Museum & Aquarium, Scarborough (1902), Bury Art Gallery (1903), Harris Free Library and Museum, Preston (1903) and Leicester Museum (1903). Significantly, the British Museum card was manufactured by Raphael Tuck while the Scarborough card was produced in Saxony, reflecting the continental nature of the postcard craze.
The extent to which museums benefited economically from the early circulation of these images is unclear. Staff (1966: 65) does not comment on whether commercial agreements were in place in order for these cards to be sold onsite. It does seem likely that for internal photography of museums some negotiation (and therefore consent) was likely entered into, but the situation is unclear where only the exterior of museum building was the subject, particularly for sites that did not sell postcards themselves.
One of the earliest recorded examples of a museum pro-actively harnessing the popularity of postcards is the British Museum. In 1912 the Museum partnered with Oxford University Press and produced a range of postcards detailing items in its collection, ranging over 135 subjects and costing one penny each. The same year the Museum introduced its first catalogue stall, providing, for the first time, a bespoke sales area for its publications, guidebooks, and its range of postcards. This was a specific effort to attempt to ‘widen the influence and increase the interest of the museum’ (British Museum, 1913).The Museum sold 155,000 postcards in its first year, and the endeavour was judged a great success in subsequent annual reports. In this context postcards provided popular, educational souvenirs for visitors that allowed the Museum to disseminate particular images of its collection. It also provided a useful economic resource for the museum that would play an important part in funding the organisation’s publications schedule in years ahead (see Larkin 2016: 68-96).
While similar schemes were introduced at institutions of comparable size, such as the National Gallery (1915) and the V&A (c.1915), development in the provinces was probably somewhat slower, as it was unlikely that either appropriate sales infrastructure or a desire to enter into commercial relationships were in lace. An indication as to how these relationships played out may be gleamed from the Dorman Museum, Middlesbrough. In 1914, Baker Hudson, the librarian and curator received a request from a Mr Beckwith, a photographer, who proposed to take photographs in the gallery for reproduction as postcards. He suggested a small fee in lieu of royalties, but this was something the rate-funded Library and Museum did not feel they could accept and the offer was declined. The earliest reference to the Museum selling postcards is 1926 (Louise Harrison, pers comm, 2015).
Beyond commercial considerations, which for all but the larger institutions sites would have likely been nugatory, the more important aspect of postcard production was that institutions were able to control visual representations of their site and collections. This was the case for ancient monuments, which in the early years of the 20th century had become increasingly popular with day-trippers. With this nascent tourism souvenir sales had taken hold at a number of sites, in particular Stonehenge, resulting in variety of images of the site in circulation (see Richards, 2009). When Stonehenge was taken into guardianship in 1918, the Ministry of Works prohibited such paraphernalia, introducing their own guidebook and postcard selection shortly afterwards, enabling them to frame interpretation of the site in ways they saw fit.
By the 1930s, the growth of postcard sales at museums and other site had become more commonplace. Indeed, new series were announced in the Museums Journal, such as 12 that Peterborough Museum published in 1934 (vol 34/iss 2). Intriguingly, the influence of postcards on taste was specifically addressed by J.E. Barton (1934: 309), in a speech to the Museums Association in the 1930s. He noted:
"All of you are forced by circumstance to retain on your walls many pictures that you know are bad, pictures that you would burn if you could. Might you not at least refrain from trading in postcards which perpetuate these empty survivals, and the sale of which appears to invest them with official commendation. If you take a parallel from literature, no State-aided school would now be permitted to bring up its pupils on the poetical works of Mrs. Hemas or Adelaide Anne Procter. But the postcard and photograph stalls of every museum in the country give actual prominence to pictorial works, compared with which the lyrics of those ladies are intellectually important and emotionally dignified."
Here then, postcard was deemed so important to the overall cultural impact of museums, that a curatorial focus on the commercial aspects of the institution were called for. Such calls were increasingly made into the 1940s and 1950s, with a report drawn up for Dartington Hall noting that the purpose of art galleries should be ‘to stimulate a wider and deeper knowledge and appreciation of art and design in order to raise the prevailing standard of public taste’, and that postcards have an important part to play in such endeavours (DHT, 1946: 31, 105).
Further work needs to be done to develop a more detailed understanding of the cultural and economic impact of museum postcards in the museum, but it is clear that their introduction played, and continues to play, a small but significant role in the museum operations. Postcards provide a means by which museums can regulated external images of cultural objects beyond the galleries, what Malraux (1967) has termed the ‘museum without walls’. Moreover, the sale of these items created a commercial aperture in the museum: a space in which visitors could make choices on the types of image to take away with them, creating a feedback loop that would gradually inform relations between the museum and its public.
Hopefully this post shows that areas of museum activity that are often considered incident to its core curatorial function can reveal important insights. Indeed, there are a number of other areas ripe for exploration, looking at historical museum operations from the broom cupboard, to catering facilities, to the board room. Specifically, approaching museums in this way serves to reintroduce the human aspect to their study. As much understanding the historical outputs of these institutions, we need to understand how museums were used as living, working, spaces. Perhaps nowhere has the social aspect been better broached that in Penelope Fitzgerald’s (2014 ) fictionalised account of the British Museum in The Golden Child. In the end, through knowing more about the inner workings of the institution, we may better understand the ways and means by which public culture was produced.
Anon. 2017. History of Raphael Tuck & Sons Ltd. [accessed 15 July 2017]. Available at: https://tuckdb.org/history
Barton, J.E. 1934. The Education of Public Taste. Museums Journal 34 (8): 297 -308
Fitzgerald, P. 2014 . The Golden Child. London: Fourth Estate
Larkin, J. 2016. Trading on the Past: an examination of the cultural and economic roles of shops at museums and heritage sites. Unpublished PhD thesis, University College London
Malraux, A. 1967. Museum without walls. New York: Doubleday & Company
Sadler, N. 2016. Museums: The Postcard Collection. Stroud: Amberley
Staff, F. 1966. The Picture Postcard & Its Origins. London: Lutterworth Press
Richards, J. 2009. Inspired by Stonehenge. Stroud: Hobnob Press.
British Museum. 1913. Account of the Income and Expenditure of the British Museum for the year ending the 31st day of March, 1913. London: British Museum archive.
By Heba Abd el Gawad (co-curator, Beyond Beauty)
Little can go wrong with an exhibition on ancient Egypt. The public fascination with the culture-especially within the UK- is a definite guarantee of beyond decent visitor numbers. Yet how can you convince the public that there is more to ancient Egypt than the Rosetta Stone, Pharaohs, pyramids, mummies and Howard Carter? The team behind Beyond Beauty, the fifth installment of Two Temple Place Winter Exhibition series, accepted the challenge.
The exhibition honestly attempted to display the ancient Egyptians but (to quote the then paper Independent) “not as you know them”. It brought together for the first time from Bagshaw, Bexhill, Bolton, Brighton, Ipswich, Macclesfield, Rochdale museums ancient Egyptian objects layered with perceptions and presentations of body and appearance. In doing so the exhibition revealed the ordinary ancient Egyptians and also the complexities of balancing scholarly and public use of ancient Egypt and how the 'academia v the public' debate is heated up within museums. It proposed musketeers, curvy ladies, and Victorian crowd-funders as mediators between ancient and modern Egypt, the public, and Egyptology within any walled space. A video by Johnny Birkbeck showcases the process of setting up the display.
Over the past few years history of museum collections has taken centre stage, yet it is confined within a scholarly framework fulfilling disciplinary needs. Rarely do museum panels attempt to explain to visitors how these objects ended up being in the museum, what an unknown provenance means and what implications and responsibilities this 'unknown' might force on museums.
To take the public through the journey between the field and the museum, Beyond Beauty had as its central theme the stories of the British Victorian pioneer archaeologists who were the “musketeers” behind the UK´s impressive ancient Egyptian collections. It narrated the stories of their time in Egypt and their efforts to create various publicly accessible museums dispersed around the UK, making collections available for research and education.
Local stories behind the formation of each collection are important chapters of social British history which can help strengthen the ties between the collections, the museums, and modern British identity, a much needed link within the current funding crisis facing local museums. During the exhibition, it was announced that one of our partners: Macclesfield Museum was under threat of closure. Such an announcement made the public confront first-hand the realities of the threats currently facing local small museums.
British Victorian Egyptologists were perhaps the first heritage crowd-funders in the world. The Egypt Exploration Fund (now the Egypt Exploration Society) founded by Amelia Edwards was based on the local social network she skilfully recruited to raise funds for fieldwork in Egypt and for founding the local public museums in UK. Through archival material from the Egypt Exploration society and the Petrie Museum of Egyptian Archaeology, Beyond Beauty highlighted the impressive female crowd-funders behind most of the ancient Egyptian collections in northwestern UK museums. The personal stories of these ordinary women and men were intended to remind the public of the power of local communities and their capability of safeguarding their local museums in the face of current wave of funding cuts.
One of the aspects reflecting the 'academia v the public' debate most strongly is how rarely ancient Egypt contributes to modern public debates touching upon our daily hopes and fears. Although we can reconstruct the very intimate details of the lives of the ancient Egyptians, rarely do we explain what our scholarly discoveries could mean to the lives of today´s ordinary citizens. By abandoning the life and death narrative dominating museum galleries through the theme of body image and perceptions of appearance, Beyond Beauty attempted to bridge this gap.
It mainly displayed what are perceived as “dismembered” “orphaned” objects such as Brighton museum's female figurine, dubbed “curvy lady” by Two Temple Place staff and volunteers. The curvy lady symbolises fertility and is marked with tattoos reflecting how the ancient Egyptians were among the first to use tattooing to transform their bodies and acknowledged different body shapes. Similar shaped tattoos are still used today in modern Upper Egypt. Despite the figurine's immediate connection to today's culture of tattooing and attitudes towards body shape, rarely would the curvy lady be displayed solely in a display case as a centre piece,even if it actually made it to the display stage.
Due to their imperfect status, non precious materials, or non-high quality craftsmanship, other objects such as incomplete mummy masks, or coffin hands or feet are also sentenced with a destined-for-storage verdict. Such "orphaned" "imperfect" objects are testimonies of the lives of the many ordinary individuals who lived along the Nile valley thousands of years ago. They were in the eyes of their original owner precious personal belongings and could have costed them their life-savings. Today these dismembered objects are overshadowed by museological and disciplinary perceptions of what counts as interesting and worthy of display. To bring justice to their primary owners Beyond Beauty put them centre stage and offered them celebrity treatment within display cases and publicity leaflets. Through these objects the visitors were meant to see a reflection of our modern concerns and desires for body shape and appearance through the personal belongings of ancient lives.
To bring ancient Egypt even closer to the hearts and minds of visitors, we raised the question of how the ancient Egyptians would transform their bodies and appearances if they were living among us today. For the second half of the exhibition, Two Temple Place's ancient Egyptian guests were accompanied by artist Zahed Taj-Eddin's 'Nu shabits'; liberated figur(ines) who intervened the premises, wandering free with no master. Zahed's artistic interpretation put forward suggestions of how the shabtis would view and react to our world of appearances. In linking ancient Egypt to our modern daily concerns and routines the visitors were able to see how the past can help us understand ourselves.
Victorian ‘Musketeer’ archaeologists like Flinders Petrie formed strong bonds with local communities; even Amelia Edwards promoted tourism to Egypt within the UK. Yet, ancient Egypt within museums and arguably within academia is to a great extent detached from modern realities. Despite all curatorial efforts to keep visitors’ attention in museum galleries, exhibition events, shop and café can be the main attraction to museum visitors. Thus, in an attempt to create a full experience of Egypt within Two Temple Place, the exhibition events and shop reflected the perceptions of the body and appearance within modern Egypt.
Working closely with Egyptian NGOs, the Egyptian community in London, and the Egyptian embassy the exhibition celebrated modern Egypt and the continuity between its past and present. Throughout February modern Egyptian perceptions of self presentation and appearance were narrated by Egyptian artists and entrepreneurs through the exhibition's events programme and evening lectures. Visitors were able to take home not only a full experience of Egypt but also a "piece" of it.
The products in the shop were sourced by Assil Hub and Jam Space. Assil Hub promotes and supports young Egyptian artists and NGOs working in the art sector. It also supports a good cause: Amina Badaui, founder and owner of Assil who joined us from Egypt, works closely with Egyptian NGOs mentoring and training single Egyptian females maintaining low-income families as well as young Egyptian designers and artists who infuse ancient Egyptian motifs with modern designs. Our second retailer was Jam Space, an Egyptian London based bespoke furniture and home accessories design retail, which infuses modern and ancient Egyptian designs on European furnishing and accessories. Jam Space is founded by Hedayet Taymour an internationally renowned female Egyptian interior designer.
Anyone who has visited Egypt would agree that an Egyptian experience would not be complete unless koshari - Egypt's renowned street food - is on the menu. An unusual combination, koshari mixes lentils, macaroni noodles and rice into a single dish which is topped with a spicy tomato sauce using a special Egyptian spice blend, garbanzo beans and fried onions. The idea sounds strange until you taste it! To ensure the exhibition was a return ticket to ancient and modern Egypt, every Wednesday night a koshari food cart was parked outside the exhibition door serving fresh hot koshari.
The extent to which Beyond Beauty contributed to reinvent ancient Egypt and resolve the 'academic v public' debate might remain obscure. However, one definite positive outcome was experiencing how pop-up venues and collaborating with non-subject specialists has invigorated our curatorial spirit and helped us stay true to an interpretation of ancient and modern Egypt which follows rather than leads the public needs.
The exhibition catalogue and a press release can be downloaded from Two Temple Place's website. A teacher's pack relating to the exhibition has also been provided.
In London? You can try koshari from our sponsor http://www.kosharistreet.com/
Heba's talk in November 2016 centred around 3 main themes - 19th century "musketeers" who championed research and preservation of Egyptian antiquities; the "curvy" Victorian ladies who pioneered opening collections of antiquities across Britain; and the many and myriad Victorian crowdfunders whose shillings and guineas provided the initial funding for the collection and display of ancient Egyptian artefacts in towns and cities across the UK. Complementing her historical narrative was Heba's own experience co-curating the temporary exhibition "Beyond Beauty" at Two Temple Place in London, which ran for several months during the spring of 2016.
This exhibition drew on a range of collections in museums outside of London - the main aim of Two Temple Place's Bulldog Trust being to raise awareness of collections outside of London by bringing them to London. Most of the material featured in the exhibition had lain unseen in local authority museum collections for many decades, and Heba's reflections on the value, purpose and contemporary relevance of these collections provided a unique insight into present and future issues of museum management, display and marketing in relation to historic archaeological material.