London's Baking! Bakers, Cakes, Bread and Puddings from 1666
Until 1 February 2017
Taking its inspiration from Thomas Farriner and his bakery, the starting place of the Great Fire, this exhibition tells the story of London’s bakers and their cakes, bread and puddings from 1666 to the twentieth century. Discover recipes (to take away and bake!) for almond cakes from 1700, suet puddings from 1850 and questionable school dinner chocolate sponge traybakes from the 1970s.
The photographs, films and historical documents on display include the recently uncovered plan which shows that Farriner's bakery was actually located in Monument Street, not the infamous Pudding Lane!
The wonderful collection of J. Lyons and Co, presenting the 'experience' of afternoon tea at one of their grand Corner Houses, features alongside images of the original eighteenth century Chelsea 'Bun House' and much more besides.
Hogarth’s House’s summer exhibition will explore William Hogarth’s (1697-1764) relationship with animals in the context of changing attitudes towards animals in early Georgian society.
Hogarth depicted a broad range of animals in his art, from pampered monkeys to abused carthorses. This exhibition considers the place of these animals in Hogarth’s time. The exhibition will also consider Hogarth’s own part in the movement for better treatment of animals, as well as his personal relationship with his pet pug dogs.
Among the objects on display are a frost fair souvenir (on loan from the Peter Jackson Collection) which Hogarth had printed with the name of his dog, Trump, when they visited the frozen Thames in 1740.
The Weird & The Wonderful:Entertaining Georgian Polite Society
Until 31 December 2016
From the pursuit of intimate pleasures to the raucous bedlam of the theatre, The Weird & The Wonderful opens a window onto the outrageous and sometimes shocking behaviour of ‘polite society’ – conducted in the name of entertainment.
Fairfax House’s major summer exhibition will look at the social scene in English towns and cities including London, delving into the tempting array of decadent activities and pleasurable pursuits catering for all tastes and predilections, sometimes challenging the notions of what ‘polite’ entertainment encompassed in the eighteenth century.
The Weird & the Wonderful also specifically uncovers the richness of Georgian York’s offerings as the social capital of the North and the place to see and be seen.
As well as exploring its lively winter season with rounds of dinners, balls, assemblies and parties, the exhibition delves into the city’s debauched diversions, including ‘polite’ society’s taste for notorious trials, visiting prisons and public hangings, the wanton pleasures available in the city’s brothels, as well as raucous activities such as cockfighting, bear baiting and street boxing.
Image reproduced courtesy of Look and Learn: www.lookandlearn.com/pj
The Camera Exposed
Until 5 March 2017
In the age of the mobile phone, the camera as a stand-alone device is disappearing from sight. Yet generations of photographers have captured the tools of their trade, sometimes inadvertantly as reflections or shadows, and sometimes as objects in their own right.
Every photograph in this display features at least one camera. From formal portraits to casual snapshots, still-lifes to collages, they appear as reflections or shadows, and sometimes as objects in their own right.
Throughout the history of photography the camera has often made an appearance in its own image, from the glint of Eugène Atget’s camera in a Parisian shop window from the 1900s, to the camera that serves as an eye in Calum Colvin’s 1980s photograph of a painted assemblage of objects.
Since 1698 the Lund University Library, Sweden has the right to receive one copy of every Swedish print, the so-called right of legal deposit, which must be kept for the future. This applies to everything from books, newspapers and maps to ephemera such as posters, organisational prints, product catalogues and advertisements.
The majority - but not all - is catalogued and thereby becomes visible and available. Material which is not catalogued is called Ephemera and this represents the biggest part of our Swedish prints. This is especially important since it cannot be obtained in any other way. These are single leaflets, pamphlets, brochures and programmes, material which reflects the occasion.
The exhibition Var dags tryck explores four themes: Health, Politics, Leisure and Popular movements, but whatever you may choose it is possible to track the growth of modern Sweden in the Ephemera. Everything is here: little league newsletters, pizza menus, mail order catalogues and advertising mail which tell us about people's needs and dreams and everyday life. The University Library is now starting a long-term drive to promote Ephemera and to make it more accessible.
IWM North, part of Imperial War Museums in Manchester, presents this major exhibition marking the 75th anniversary of clothes rationing in Britain.
During the Second World War British men and women had to find new ways to dress as austerity measures and the rationing of clothes took hold. They demonstrated amazing adaptability and ingenuity
by adopting more casual styles and by renovating, recycling and creating their own clothes.
Bringing together 300 exhibits including clothing, accessories, photographs and film, official documents and
publications, artworks, wartime letters, interviews and ephemera, some of which have never been on display before, Fashion on the Ration presents a sense of what life was like on the home front for
men and women during wartime Britain.
This exhibition showcases over forty photographs that present a unique snapshot of black lives and experiences in nineteenth and early twentieth-century Britain. Developed in collaboration with Autograph ABP, this intervention in three gallery spaces includes some of the earliest photographs in the Gallery’s Collection alongside recently rediscovered photographs from the Hulton Archive, a division of Getty Images.
These portraits of individuals of African and Asian heritage bear witness to Britain’s imperial history of empire and expansion. They highlight an important and complex black presence in Britain before 1948, a watershed moment when the Empire Windrush brought the first large group of Caribbean immigrants to Britain.
This fascinating exhibition will include fans presented to the Worshipful Company of Fan Makers by Past Masters and a choice of fans from the generous gift of Princess Alice, Countess of Athlone. Also included is a historically interesting fan made by F Chassereau, a Worshipful Company Fan Maker active in the middle of the 18th Century.
The Company has shown its collection on only a few occasions, with its fans last seen in public in 1995.
The Worshipful Company of Fan Makers gained its Royal Charter 1709, when London’s fan makers sought to protect their trade from imports shipped from abroad by the East India Company and to control the activities of fan makers arriving from Europe.
Today, the Worshipful Company of Fan Makers exists as a modern Livery Company with links to education, research and the manufacture of fans in their modern applications, providing support to London-based charities, associated schools and providing encouragement to affiliated units of the Armed Services and Cadet forces.
That Dreadful Fire: The Hand of God, a Great Wind and a Very Dry Season
Until 30 November 2016
This exhibition at Guildhall Library commemorates the 350th anniversary of the Great Fire of London and explores the story of this devastation through Guildhall Library’s collections, including English and foreign accounts, sermons and public records.
Wooden buildings, stores of combustibles and overcrowding meant fires were a regular occurrence in 17th century London. Most were unremarkable. So when a chance fire started in a bakery on 2 September 1666, no one could know that it would wipe out most of the City of London.
Pepys notes in his diary:
It was a small mistake, but with great consequences. On September 2, 1666, Thomas Farrinor, baker to King Charles II of England, failed, in effect, to turn off his oven. He thought the fire was out, but apparently the smouldering embers ignited some nearby firewood and by one o'clock in the morning, three hours after Farrinor went to bed, his house in Pudding Lane was in flames. Farrinor, along with his wife and daughter, and one servant, escaped from the burning building through an upstairs window, but the baker's maid was not so fortunate, becoming the Great Fire's first victim.
This exhibition explores the many, often surprising, aspects of Queen Victoria’s character: devoted wife, dedicated mother, devastated widow and powerful stateswoman.
Follow Victoria’s story from the room in which she spent her first moments as queen. Trace her journey from young girl to queen enthralled with a new husband, to grieving matriarch and ruler of a vast empire.
Included in the exhibition are iconic, impressive, beautiful and often deeply personal objects, from Victoria’s simple white silk wedding gown, to the dolls she made, dressed and named as a little girl.
Victoria and the people who surrounded her tell this story: excerpts from her journals, letters and reports from contemporary commentators give insight into the extraordinary life of the woman whose name defined an age.