Sharing the Love…

One of the pleasures of working with an amazing museum collection is being able to share it with people, whether through our own exhibitions and behind-the-scenes store tours or by lending objects out to other museums, galleries and carefully selected venues.  It’s good for us to get out and about too; a bit of fresh air, the open road, meeting lovely new people.  So we were happy to help when Newcastle University asked us if we had anything we could contribute to their new exhibition at the Guildhall.  Newcastle City Futures: People, Place, Change is all about architects’ and planners’ visions for the future of the city since the 1940s, whether or not the designs actually made it into concrete reality.

I was really pleased that they wanted to borrow our rather splendid architect’s model of Byker Metro viaduct (which also features Byker Bridge and the Ouseburn railway viaduct).

TWCMS_2007_4578e

The University people also had their eye on our model of the Queen Elizabeth II Bridge (which carries the Metro over the Tyne)…

2001.2767a

…and other goodies, including a silver plate commemorating the opening of the first part of the Central Motorway in 1975, our famous lump of concrete from Gateshead’s “Get Carter” car park (featured in an earlier blog), an Eldon Square poster and various old Metro guides, etc.

Paper

However, before anything could leave our building, we had to make sure our objects (which we look after on behalf of the people of Tyneside) would be safe at the Guildhall.   After getting the University’s curator to send us detailed building condition and security reports, and proof of insurance, and after I’d inspected and recorded the outgoing condition of every item, they were good to go.

Well, most of them were.  The silver plate (looking so much older than its 1974 hallmarks confirm) had become a trifle tarnished over the years, so it was first booked in for a pampering experience with our brilliant Conservation team.

2008.219

Unfortunately, as the exhibition planning took shape, the University’s curator realised they wouldn’t have room for the Queen Elizabeth II Bridge model, so that had to stay home.  But on a scorching Monday 19 May, we took everything else down to the Guildhall for installation.

1.3 Byker Bridge

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This fascinating exhibition is only on until 10 June, so get yourselves down there quick!  There are many wonderfully detailed models of townscapes past, present and future, from the “Get Carter” car park to the current proposals for Science City and the Stephenson Quarter.  And you can read about other schemes which never came to fruition, such as the full extent of the Central Motorway, and the audacious Tyne Deck which would have seen the river culverted and built over to physically join Newcastle and Gateshead.

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5.1 Trinity Square

8.1 Haymarket

6.3 Ouseburn

7.1 Stephenson Quarter

Newcastle City Futures: People, Place, Change runs from 23 May to 10 June, 10:30am – 4:30pm, at the Guildhall, Quayside, NE1 3AF, and entry is free.

For more information, see http://www.ncl.ac.uk/apl/news/events/NCF.htm.

Guest post by Ben Jones: The Spence Watson Archive Project

I started meeting with people from Bensham Grove Community Centre in Gateshead whilst undergoing research for my PhD. Through conversations with Shirley Brown, Chair of Bensham Grove and local historian I became fascinated by the history of the building in particular the nineteenth century residents of the house the Spence Watson’s family (1). After attending the Half Memory event at the Tyneside Cinema I contacted John Coburn of Tyne & Wear Archives and put forward the idea of creating a digital community art project, using archive material found in Tyne & Wear Archives, about the history of Bensham Grove and the surrounding areas of Bensham & Saltwell. In December 2013 I was successful in getting an Arts Council grant for research and development of the history of the building and to run a series of workshops in the community.

Bensham Grove Community Centre

Bensham Grove Community Centre

The ‘Spence Watson Archive Project’ involves the creation of a series of participatory digital artworks using heritage and archival material from Tyne & Wear Archive and other local collections (2).

Concerning the Spence Watson family and their time living at Bensham Grove House, Gateshead between 1875 and 1919, the project is a collaboration with artists, community members and community organisations to develop a digital art and heritage project that will be displayed in the house itself, which is now a community centre, and online (website of the artwork will be launched in June 2014; the blog about the research and workshops can be found at http://towardsthecommonweal.wordpress.com/).

Portrait of Robert Spence Watson, 1897, by Ralph Hedley. Shipley Art Gallery, Gateshead.

Portrait of Robert Spence Watson, 1897, by Ralph Hedley. Shipley Art Gallery, Gateshead.

 

The project acts as a visual artwork and an educational tool that aims to bring the history and heritage of the area to a wider audience, To bring the archive material back to the house it was created and came from and back to its place of origin, and enable the archive to be visible beyond TWAM (Tyne & Wear Archives & Museums) and the other collections and to produce new archival material about the area of Bensham & Saltwell.

The material found in the archive, and other local collections, includes personal items of Elizabeth and Robert Spence Watson including hand written letters to and from family members and acquaintances (including many prominent Victorian artists, poets, politicians, social activists, academics, scientists and adventurers); a hand written poetry book; and typed recollections of their time in the house.

A letter by Robert Spence Watson about a lecture on Joseph Swan's lightbulb

A letter by Robert Spence Watson about a lecture on Joseph Swan’s lightbulb

 

Content of the materials involve discussions and recollections about visitors to the house, talks by speakers at the Lit & Phil and University of Durham College of Medicine (which became Newcastle University), concerning local elections, social and historical issues as well as mundane family life. There is also discourse concerning educational reform, the suffragette movement and the promotion of women in education and society. For this project I am interested in giving equal weight to the writing and actions of Elizabeth alongside Robert, her better-known and more celebrated husband.

Portrait of Elizabeth Spence Watson

Portrait of Elizabeth Spence Watson

 

Description by Elizabeth Spence Watson of a women's peace rally she attended in London, 19 June 1900

Description by Elizabeth Spence Watson of a women’s peace rally she attended in London, 19 June 1900

We have held three workshops and one event where local people have worked with artists using the archive as inspiration to be creative. Writer and artist Stevie Ronnie ran a creative writing workshop with local people using letters and material found in the archives that discussed the many and varied visitors to the house. Actor and theatre director Pete Ross, who has a long history of working in Bensham, worked with the Scribblers writing group, to develop stories, plays and poems about the building and surrounding area. These were presented over an evening in Bensham Grove in front of an audience, alongside which, sound artist Nick Williams, recorded visitor’s views on the house and its history and created a soundscape that was played in the building on the night. Ben Jeans Houghton worked with ten 7 and 8 year olds at Kelvin Grove Primary School to create a film about the history of the area and about its future. Finally Jane Dudman worked with users of the centre to create a new digital archive and history looking at the women who lived and visited Bensham Grove.

The archive material, on the whole, is text based with very little visual material, which as a visual artist, results in a reconsideration of your practice to think of how to visualise written material. These workshops and the resultant outcomes use the archive material to inspire new ways of understanding the local area and its rich history and to create new artworks and writing rather than through direct use and presentation. This initial stage was research and development to find out what material is in the archives and to see what potential there is to bring it back and use it in a creative manner in the community it came from. The next stage of the project aims to be more ambitious and invite artists to work on long-term residencies and projects in the community with community groups, local schools and other local cultural organisations. Using the archival and artistic material that has been found and created as a starting point and inspiration to work with specific community groups and organisations, to create artworks and creative events in the community of Bensham and Saltwell.

Spence Watson Archive Project blog: http://towardsthecommonweal.wordpress.com/

1. The Spence Watsons lived in the early 18th and late 19th century at Bensham Grove House, Gateshead and were prominent social activists in Newcastle and the surrounding area. Robert Spence Watson was a founder of Armstrong College (later Newcastle University), secretary and president of the Lit & Phil, and a prominent expert on labour law. His wife, Elizabeth Spence Watson, was also active and heavily involved in women’s rights and educational reform. Since 1919 Bensham Grove House has been an educational settlement and in 1948 a community centre, which it still is today.

http://www.benshamgrove.org.uk/basis.html

http://www.localhistorygateshead.com/localhistory/gateshead-places/bensham

2. Archives and libraries include Tyne & Wear Archives, The Lit & Phil, The Robinson Library, Newcastle Library and Gateshead Central Library as well as material found in Bensham Grove Community Centre.

Ben Jones

Ben is an artist, curator and PhD researcher at Newcastle University who creates socially engaged digital art projects and spaces for communities to connect and be creative at the intersection between site (place) and the virtual (digital).

The Training Ship “Wellesley” at North Shields 1868-1914

School Ship on the Tyne – The Training Ship Wellesley at North Shields 1868 – 1914.

The driving force behind having a training ship on the Tyne was James Hall, a local shipowner. Hall was worried about declining numbers of British seamen aboard the nation’s merchant ships, but he was also a social reformer with concerns about the links between poverty and crime. He proposed that a ship be brought to the Tyne and an Industrial School be established aboard. The Industrial Schools Act of 1866 had given magistrates the power to send to a certified industrial school any destitute child under 14 years.

Boy on joining

Boy on joining

James Hall saw this as an opportunity both to help neglected boys and ensure a steady supply of British seamen to the merchant fleet.

 

James Hall, shipowner and philanthropist of Tynemouth

James Hall in a portrait painted after his death by Thomas Eyre Macklin 1906 TWCMS : 2013.533

 

 

 

 

 

 

 

 

 

 

The former 74 gun ship HMS Cornwall was acquired and brought to the Tyne. The ship was moored opposite Coble Dene, North Shields and on July 30th 1868 she was inaugurated as the training ship Wellesley.

The inauguration of the first Wellesley July 1868

The inauguration of the first Wellesley, July 1868

 

 

 

 

 

 

 

In 1873 HMS Boscawen replaced the old Wellesley and took on the Wellesley name. She was still at the Coble Dene mooring when the nearby Albert Edward Dock opened in 1874, but soon after she was moved to a mooring off the North Shields Fish Quay. Most likely her presence moored close to the entrance of Albert Edward Dock was a hazard for ships entering or leaving the dock.

River scene c1880 with Wellesley moored off Coble Dene, North Shields in a watercolour by B B Hemy.

River scene c1880 with the second Wellesley moored off Coble Dene, North Shields in a watercolour by B B Hemy. TWCMS : G7299 South Shields Museum

 

 

 

 

 

 

 

View of the Tyne featuring Wellesley at her mooring off Coble Dene. Watercolour by T M Hemy d1881

View of the Tyne featuring Wellesley at her mooring off Coble Dene. Watercolour by T M Hemy 1881 TWCMS : G5014 Shipley Art Gallery

 

 

 

 

 

 

There was an expectation that many boys would go on to a life at sea, but Wellesley was primarily an Industrial School. Seamanship skills were taught, but schooling, and what we would call work experience, were given a higher priority.

 

Boys in a practical seamanship class

Boys in a practical seamanship class

Boys received an education that was comparable to that which they would have received in an ordinary school. There were examinations every year and boys received a grade just as they would have done ashore.

Shoemaker boys at work

Shoemaker boys at work

In 1906 Wellesley sent 69 boys to sea in British merchant ships and 2 boys to foreign vessels.

Boy ready for sea

Boy ready for sea

 

 

 

 

 

 

 

 

E J Hatfield – Wellesley boy 1912-1916

E J Hatfield was brought to Wellesley from a children’s home in Meriden, Worcestershire aged 12. He seems to have thrived on the ship and was trained as a tailor. He was on the Wellesley when she caught fire in March 1914. In 1916 he left the school and joined the oil tanker ss Massasoit as an ordinary seaman and signal boy. He was still in the Merchant Navy at the end of the First World War, by then an Able Seaman who was beginning to make a success of his life.

Wellesley boy EJ Hatfield’s first ship, the oil tanker ss Massasoit, which he joined in 1916

Wellesley boy EJ Hatfield’s first ship, the oil tanker ss Massasoit, which he joined in 1916. TWCMS : G8017G

 

 

 

 

 

 

A key figure in Hatfield’s life was the tailor master aboard the Wellesley, Mr Warnly. Hatfield was probably partly chosen to be a tailor boy because of his small stature, but his abilities with the needle soon made him a favourite of the tailor master. When Hatfield went to sea he kept in contact with Mr Warnly by letter. After a year of correspondence the tailor master and his wife invited Hatfield to come and stay with them when he was paid off from his ship. Hatfield continued to spend most of his time at sea but at last, aged 18, the boy from the children’s home had a family and a place he could call home.

Tailor boys making clothes for all the Wellesley boys

Tailor boys making clothes for all the Wellesley boys

In 1977 the now Captain E J Hatfield was interviewed about his life aboard the Wellesley in a series of recordings lasting over three hours. These are now part of the audio collections of Discovery Museum. From the recordings we know that eventually he became a master mariner, and he was married, but apart from that we know almost nothing of his life between 1919 and 1977. Captain Hatfield’s memories of the Wellesley form the authentic ‘voice’ behind the exhibition. I found listening to the recordings fascinating, but also at times moving and sad.

“You were kitted out when you left the training ship for sea, given oilskins, but you weren’t given sea boots, so you can understand until I had (earned) enough money to buy sea boots, washing down decks and that in cold weather was pretty grim, especially (barefoot) on steel decks with the plate edges sticking up.”

Captain E J Hatfield TWCMS : 2000.6119.2)

 

 

Edward Joseph Hatfield's Merchant Navy identity card

Edward Joseph Hatfield’s C.R.10 identity card

Online copies of Merchant Navy identity cards for Hatfield give us his first and middle names, Edward Joseph, and provided a black and white photograph of him taken in 1918. We also found out that he was 5 feet 5 inches tall (1.65m), had brown eyes, dark hair and a dark complexion.

Photograph of Edward Joseph Hatfield on his C.R.10 identity card

Photograph of Edward Joseph Hatfield on his C.R.10 identity card

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Fire on the Wellesley

At 2.30 on the afternoon of 11th March 1914 a fire broke out in the Wellesley’s drying room. It quickly took hold and, despite the efforts of the boy firefighters and Tyne Commissioners fire tugs, the fire spread right through the ship. Hatfield was on board the ship at the time and he talked about what happened on one of the recordings.

Here’s an extract from the transcript of Hatfield’s interview to give a flavour of what it was like for the boys when the ship caught fire:

“So although the deck underneath was all alight, we didn’t know that. And the weight of water on top was making it a bit dangerous. They kept us there so long, and then we were told to go up on the main deck. There were tugs all around us. And I think when this order was given, it was decided to flood her and sink her. Scuttle her. I think that was their intention when that order was given, for us to abandon. I didn’t think that it was because of the dangers of the deck caving in. I think there was plenty of safety margin you see. But the fire had got such a hold that they couldn’t contain it and they were going to sink her. Well, we went up on deck. Of course, the atmosphere in the orlop deck, our eyes were watering because of the tar and pitch in the seams, you see? The smoke was colouring. Not the ordinary smoke, it was yellowy with this tar content in it. Therefore we had to go to the port every so often and take a breather and then come back. There was, there was no bother at all. We weren’t panic stricken. It was all orderly. It was just, had to be done sort of style. In fact I think most of us were glad that she was burning. And you’re not panicking when you’re happy, you know.”

 

Postcard of Wellesley on fire photographed from South Shields.

Postcard of Wellesley on fire photographed from South Shields. TWCMS : 2002.886

E J Hatfield was among a group of boys operating a manual pump on the orlop deck. The pump was worked continuously until the order was given to abandon ship. As soon as the boys stepped back on one side others would take over. The boys carried on pumping even though they could see flames coming up from the bathroom below.

When the order was given to abandon ship the boys were mustered on the main deck and then they went over the side in an orderly fashion. Hatfield went into the tug Vigilant, but there were also other vessels taking boys and staff off Wellesley.

Soon after 6 pm the ship settled down on the bottom at her moorings, with a large part of her upper works and masts remaining above the surface of the river.

All the boys were taken on board the drill ship HMS Satellite where they stayed for the next two weeks. Satellite was cold in comparison to the centrally heated Wellesley and blankets given to the boys were infested with lice.

Postcard of Wellesley sunk at her moorings after the fire.

Postcard of Wellesley sunk at her moorings after the fire. TWCMS : 2002.887

 

 

 

 

 

 

 

After the Fire

After the fire it was clear that Wellesley was a total loss and she was broken up. Satellite was not suitable as a school ship so a new home had to be found. The Wellesley boys were transferred to the Tynemouth Palace (known more recently as Tynemouth Plaza and demolished after a fire in 1996) where they stayed throughout the First World War.

After the war the need for a permanent home became urgent and the management committee was fortunate to secure the recently built submarine base at Blyth. The boys moved into the base on 18th May, 1920 and Blyth remained the home of the Wellesley for the next 86 years.

From the 1930s onwards Wellesley became more of a reform school but still took boys on a voluntary basis or who were destitute. In 1973 Wellesleybecame part of Sunderland’s Social Services Department. Gradually the nautical aspect of the school was reduced in favour of general education and training. Eventually Sunderland decided to close the operation and in 2006 Wellesley was shut down.

 

 

JMW Turner : The Thames Near Walton Bridges, 1805

Joseph Mallord William Turner : The Thames Near Walton Bridges, 1805 © Tate 2013

Joseph Mallord William Turner : The Thames Near Walton Bridges, 1805 © Tate 2013

Fresh, vivid, spontaneous – this is one of Turner’s most attractive oil sketches, I think. He’s responding to the visual sensations of this spot on the River Thames – the colours and shapes of the landscape, and the light flooding the scene. It’s complete in itself – no larger painting was ever painted from the sketch. Turner painted this scene from his boat, moored in the middle of the river, where he could get a really expansive view and make the most of the light reflecting from the water. He got a boat probably at the time he started renting a riverside house in 1804. Turner embarked on trips along the river in summertime for the next few years, fishing and painting, and tying up overnight at convenient landing places. His oil sketch of The Thames Near Walton Bridges is on show in the Laing’s current exhibition (ticket entry) of naturalistic landscape sketches and paintings – Sketching from Nature, selected from the Tate collection, London.

JMW Turner : The Thames Near Walton Bridges, 1805 (detail) © Tate 2013

Joseph Mallord William Turner : The Thames Near Walton Bridges, 1805 (detail) © Tate 2013

Turner’s sketch is full of colour, which is really quite bright in places – for example, the blue hills behind the yellow arches of the bridge in the distance. In the sky, he’s balanced the bold blue smear and white dashes of cloud with the subtle colours of the setting sun on the horizon. He’s concerned with impressions, not with fine detail – little blobs of paint indicate ducks on the water near boats moored along the river bank.

Turner’s rented house was at Isleworth, near Richmond (both places were still little villages that time), and Walton is not far away. This stretch of the Thames was idyllic countryside, though it’s now effectively part of greater London’s urban sprawl. Turner’s boat was really his mobile studio, making it possible for him to paint such a relatively large open-air sketch (72 cm wide). It’s on mahogany – a close-grained wood very good for painting on, but very heavy. On the boat, he could easily carry his painting equipment and didn’t have to worry about smudging wet oil paint – he could put his sketch aside to dry. His boat opened up the experience of painting in the open air in oil paints, with all their variety and flexibility of expression. He didn’t need to rely on interpreting pencil outline sketches or notes in watercolour back in his studio. Memory and imagination were important to him, and so too was the inspiration of old master paintings. But capturing his immediate sensations in oil in the open air also had major significance for the growing naturalism of the way he depicted the light of landscape scenes in studio-painted pictures.

After Joseph Mallord William Turner, Walton Bridge, on Thames, Surrey (detail), engraved by J.C. Varvall, published 1830 © Tate

After Joseph Mallord William Turner, Walton Bridges, on Thames, Surrey (detail), engraved by J.C. Varvall, published 1830 © Tate

Turner’s own boat may have looked rather like the small boat on the left of this detail from an engraving of a view Turner painted very close to Walton Bridges. (As the print detail shows, the two bridges were linked by an island in the river.) Like the small craft in the print, Turner’s boat would have had a canopy to protect him and his equipment. He may have rowed his own boat, or hired a lad to do it for him.

Alongside Turner’s oil sketch of The Thames Near Walton Bridges, there are another 9 sketches by Turner in the exhibition, dating from 1805 to 1809. They range from tiny panels that he could carry into the countryside in his pocket to large pictures on canvas which he cut from a roll he transported on his boat.

My earlier blog looked at John Constable’s Hampstead Heath with the House Called ‘The Salt Box’, also in the Sketching from Nature exhibition. Both Constable’s outdoor painting and Turner’s sketch are wide, airy views. Constable chose, as usual, a landscape scene that he felt emotionally connected to, and his naturalistic representation of the sky is a crucial part of the picture. Turner’s interest was much more the light plus the ‘abstract’ qualities of form and colour in the scene, it seems to me – see if you agree!

Bazaar or just bizarre?

Bazaars have long been used by organisations as a way of raising money for good causes. The main event would usually consist of a variety of stalls selling donated items. Bazaars could be meticulously organised affairs and detailed programmes were printed to help promote them. The Archives holds quite a few old bazaar programmes and they’re particularly well represented in our church collections.

Front cover of Chapter Row Wesleyan Centenary Bazaar programme, 2-4 February 1909 (TWAM ref. 1096/163)

Front cover of Chapter Row Wesleyan Centenary Bazaar programme, 2-4 February 1909 (TWAM ref. 1096/163)

Some programmes were clearly produced at significant expense and didn’t just include details of stalls but also included names and even photographs of stallholders. There are some lovely examples in a souvenir of the Grand Bazaar held at High West Street Wesleyan Methodist Church, Gateshead, 19-21 March 1907.

Sweet Stall holders, High West Street Wesleyan Methodist Church, 1907 (TWAM ref. C.GA7/37/3)

Sweet Stall holders, High West Street Wesleyan Methodist Church, 1907 (TWAM ref. C.GA7/37/3)

As you can see these stallholders are named, which makes the programme of real genealogical interest. I also have to admit that some of the hairstyles are outstanding. Alice Dodds in particular has more than a passing resemblance to Minnie Mouse!

A bazaar is more than just a sale it’s also a celebration, bringing community members together. These events often include entertainments such as games and musical or theatrical performances.  You might imagine that a church bazaar would be quite a straight-laced affair but that clearly wasn’t always the case. Bazaar programmes can sometimes make pretty hilarious reading as they give us glimpses into the antics of our ancestors.

Popular competitions in the early Twentieth Century included nail-driving and whistling for ladies (although not presumably at the same time) and hat trimming for gentlemen.

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

It seems that the organisers in Whitley Bay were expecting trouble with the nail-driving. The programme notes ‘Nails, Hammer and Bandages provided’. While those activities might seem a little bizarre they were probably great fun and enjoyed by all.

The Whitley Bay bazaar also included an unexpected activity – an occult experience provided by the Mysterious Thauma. You wouldn’t normally associate talking to the dead with a Methodist Church event.

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

Altogether more strange is the ‘entertainment’ offered at the Great Bazaar held at the Southern Memorial Hall in Low Fell, Gateshead. For the price of a penny you could treat yourself to an electric shock at the hands of Master Arthur Coulson. It was probably considered therapeutic at the time.

Advert from the Great Bazaar programme, Southern Memorial Hall, Low Fell, 1-3 June 1910 (TWAM ref. C.GA17/17/2)

Advert from the Great Bazaar programme, Southern Memorial Hall, Low Fell, 1-3 June 1910 (TWAM ref. C.GA17/17/2)

Given that it was a Methodist Bazaar I particularly like the rather disconcerting quote from John Wesley “Some genteel people were inclined to smile at first, but their mirth was quickly over”. Those words were taken from Wesley’s journal entries for October 1780 and I suspect that when he wrote them he didn’t have Master Coulson’s coil in mind.

Bazaars have witnessed a wide variety of events. One which caught my eye was an exhibition of chemical experiments by a Mr H.A. Brown. This was advertised in a programme for a Grand Bazaar in aid of the new Sunday Schools of Dock Street United Methodist Free Church, Sunderland held in November 1891.

Grand Bazaar programme, Dock Street United Methodist Free Church, Sunderland, November 1891 (TWAM ref. C.SU18/27/3)

Grand Bazaar programme, Dock Street United Methodist Free Church, Sunderland, November 1891 (TWAM ref. C.SU18/27/3)

We can only hope that Mr Brown knew what he was doing. It seems like tempting fate to hold chemical experiments in a brand new Sunday School on Bonfire Night.

Bazaars have usually been well supported by local businesses, which placed advertisements in their programmes. These can really evoke a bygone era. The programme for the bazaar at Whitley Bay includes a page advertising tobacco and carpet beating. How times have changed!

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

Programme for Grand Bazaar and Dutch Fair, United Methodist Church, Whitley Bay, 16-18 March 1910 (TWAM ref. C.WB1/37/3)

The adverts sometimes also include attractive old photographs or sketches of shop fronts.

Advert for Crofton’s Department Store, King Street and Market Place, South Shields, 1909 (TWAM ref. 1096/163)

Advert for Crofton’s Department Store, King Street and Market Place, South Shields, 1909 (TWAM ref. 1096/163)

The Archives holds a wide variety of church records (besides bazaar programmes) covering the Tyne & Wear area. From baptism and marriage registers through to minute books and membership lists these documents can be invaluable for family history, local history or social history. To find out more why not pay us a visit or look at the user guides on our website. Details of our location and opening times can be found on our website.

If anyone has any memories that they would like to share of unusual events at bazaars then I’d be delighted to receive your comments. I’d also like to take this opportunity to thank the members of the North East Methodist History Society who recently visited the Archives. My session with them was hugely enjoyable and is the inspiration for this blog.