Top 12 Waistcoats (part 1)

 

This is a guest post by Zoe-Marie Dobbs, a volunteer with Tyne & Wear Archives & Museums. 

In the costume collection at the Discovery Museum, there are over 250 waistcoats which span from the 17th century to the present day.

King Charles II was the first person in British history to mention the waistcoat. Having been inspired by the vests worn at the Persian court, he officially endorsed the wearing of these garments in 1666- when he declared that waistcoats should be recognised as part of proper court attire in England.

 

A waistcoat from the Tyne & Wear Archives & Museums collection

TWCMS: D333 From the Tyne & Wear Archives & Museums collection

This men’s waistcoat (above) is one of the oldest waistcoats in the collection. It dates from 1690-1720.Waistcoats during this period often had sleeves. This waistcoat is made of cream linen and features beautiful and intricate hand embroidery in vibrant yellow silk thread. The color and design reflect the influence of the Indian textiles that were imported to Britain from India during this era. The shape of the embroidered leaves and flowers which decorate this waistcoat mirrors the design of printed Indian cottons. This waistcoat would have been worn on informal occasions in the daytime, probably during the summer months. A gentleman would have worn this waistcoat with a plain coat and breeches.

 

A very similar example can be seen at the V&A Museum: http://collections.vam.ac.uk/item/O137743/waistcoat-unknown/

 

A mid 18th century waistcoat

TWCMS: E4481 From the Tyne & Wear Archives & Museums collection

This waistcoat (above) dates from 1750- 1760. By the beginning of the 18th century, waistcoats became shorter in length and became sleeveless. This is a typical example of an 18th century waistcoat with its elaborate embroidery. The waistcoat was often the most decorative part of a man’s wardrobe .This waistcoat with its rich decoration, including sequins and metallic thread would have been worn during formal occasions. Although waistcoat fronts were elaborately decorated, the back would be made of plain lining material as this would never be seen in public.

 

A late 18th century waistcoat

TWCMS: E4475 From the Tyne & Wear Archives & Museums collection

This late 18th century waistcoat (above) is of red silk satin stripes. The world of fashion was dominated by French during this period. Opulent waistcoat designs such as this one would have been made to reflect the flamboyant styles worn at the court of Versailles. Floral motifs, vibrant colours, rich brocades and silks were very popular and this is reflected in many 18th century waistcoats. Red, green, pink and cream were all popular colours. The number of buttons that would be done up on the waistcoat, and how much of the cravat was revealed changed from year to year.

 

 

A waistcoat dating from 1820-1840

TWCMS: P1425 – from the Tyne & Wear Archives & Museums collection

This waistcoat (above) dates from 1820-1840. By the early 19th century, the waistcoat reached to just below the waist and the collar and revers had diminished in size. It also became fashionable to wear two waistcoats at once.  Men’s fashion had become more sombre. Linen and broadcloth in darker more muted colours replaced the rich silks and satins used in menswear during the previous century. The waistcoat would have been the most colorful and decorative part of a man’s wardrobe. Highly decorative waistcoats such as this gold one made of gold satin would have been reserved for more formal occasions. In the 1830s waistcoats with shawl collars were very popular.

 

 

A waistcoat from 1830-1870

TWCMS: G3062 From the Tyne & Wear Archives & Museums collection

By the early 19th century, men’s waistcoats were more boxlike in shape. This waistcoat (above) from 1830-1870 is a particularly striking example with its ornate frogging detail. It is constructed from cream grosgrain silk and is trimmed with metallic gold braiding and decorated with tasseled gold frogging. The addition of braid trimming to waistcoat edges become fashionable in the 1850s. After 1850, light or white plain ones were most preferred.

 

 

TWCMS: G17146 From the Tyne & Wear Archives & Museums collection

TWCMS: G17146 From the Tyne & Wear Archives & Museums collection

This waistcoat (above) is dated from 1840-1860. Bold, colorful tartan and check patterns were very popular and the 1850s and 1860s- featuring in both men’s and women’s dress.  This waistcoat would have been worn in winter during the daytime. Woven silk and velvet waistcoats such as this one were typically worn during the colder months and light silks were worn during the summer. Day waistcoats were usually double breasted and evening waistcoats were single breasted. Evening waistcoats were also often made of finer materials. Waistcoats worn specifically for sporting activities came into fashion such as the ‘golf vest’.

 

To see the rest of the waistcoats in my top 12, check out my next blog post: Top 12 Waistcoats part 2!

If only we knew! A guest post by Michael Metcalf

 

This blog post follows Michael’s previous post which you can read here

Being in West Berlin and having recovered from travelling and filming in East Berlin we carried on with filming in West Berlin.

We filmed various people and bands in West Berlin.  One person who had become quite famous due to the release of a movie about the drug scene in Berlin in the 1970’s, following tape recordings of Christiane F.   At 14 although legally too young, she had asked a friend to take her to a new discotheque with the most modern equipment.  There she is exposed to the drug scene which ends up dominating her life.

Another highlight from the trip, was to have special relevance in the last couple of years.

It was decided that we would do a night shoot filming a band on the GLIENICKE BRIDGE which had famously been used as the place to exchange spies.

You could drive on the bridge from West Berlin and East Berlin but half way across was barriers – barbed wire etc to prevent you getting all the way across.  The East Berlin soldiers were constantly on the bridge to prevent people crossing or swimming across the river HAVEL.  The West Berlin soldiers (often Americans) would drive to the barrier and taunt the East German soldiers by playing with their ‘dog tags’.  This was meant to show that they (the Allies) would be eventually going home but the East Germans soldiers would be there for ever.

It was a very surreal experience filming a band with these images in the back ground.

Little did we know at the time that the movie BRIDGE OF SPIES would show this bridge as the place the Russians exchanged USA Spy Plane Pilot Gary Powers for Soviet Spy Colonel Rudolf Abel.

What makes the story even more unbelievable is that Rudolf Abel was actually born William Fisher at 140 Clara Street, Newcastle upon Tyne.  He was the son of revolutionary parents who fled tsarist oppression in Russia and settled in Tyneside.   William’s family later moved to Whitley Bay and he attended Whitley Bay High School.

How do I know all this, well another Tyne Tees Television Alumni – Vin Arthey wrote the book ‘The Kremlin’s Geordie Spy’ which became the backdrop of the movie.

It is a very small world!

 

Michael worked in television for over 30 years as a Director and Producer and was involved with The TUBE from the very beginning as a Production Assistant during filming and then subsequently directing part of series 4.

He is now retired from television and heavily involved in charity work. As well as being on the committee for the Make A Wish Foundation, he is an Ambassador and mentor for Northumbria Coalition Against Crime, Chairman of Newcastle East Sea Cadets and Junior Vice President of Ponteland Rotary.

Michael became involved with Discovery Museum when he joined three ex colleagues from Tyne Tees Television who also worked on the TUBE when they visited the museum to see the TUBE neon logo that was in storage. From that visit, the idea of the TUBE exhibition came into being.

An exhibition of items relating to the Tube, including the neon Tube sign, is on show at Discovery Museum until 30 June. More details. 

The Exhibition Explorers’ latest adventures

Exhibition Explorers is now midway through. We’re having a fascinating time exploring museums and galleries from toddlers’ perspectives. Between sessions, everyone’s been embarking on a ‘Family Adventure’ and coming back with tales of what they discover. We add these to our big ‘Exhibition Explorers Encyclopaedia’ and do a storytime with a difference, sharing tales of where everyone’s been. When planning this we thought it’d mainly be for the parents and the children wouldn’t take much notice of tales of other museums and galleries – but as you can see from the photo below, the children are always eager for this part of the session.

Sharing the Exhibition Explorers Encyclopaedia

Sharing the Exhibition Explorers Encyclopaedia

Here are some of the families’ latest adventures and a few ideas for museums and galleries to visit:

Discovery Museum was a really fun day out for Elias, who returned with a beautiful drawing of the ship Turbinia which he saw there. During the visit he enjoyed dressing up, playing on the soft play and splashing about at Play Tyne – an interactive waterplay area depicting the River Tyne. Mum noted that remembering a change of clothes would be a good idea next time though!

Isabelle also enjoyed Play Tyne at Discovery Museum, and brought us a fab picture of her splashing about beside the model of the Tyne Bridge. Isabelle’s other favourite parts of the visit were looking at her reflection in the mirrors, and playing the soft play. The family took lunch with them and ate it in the indoor picnic area. They told us, ‘Rating: 10 out of 10 – we loved it!’ The Great North Museum: Hancock they found slightly less suitable for Isabelle’s age, although she enjoyed the light up box room and soft play in the Mouse House.

Explorer Zoe went to Seven Stories: the National Centre for Children’s Books. There were more nautical adventures to be had, in the Rhyme Around the World exhibition. Zoe and her family gave it 10 out of 10 and rated the café as having ‘best hot cholcolate for kids EVER!’

Euan also enjoyed Seven Stories, especially the Maisie Mouse themed activities, celebrating the character’s 25th birthday! There was a dragon egg hunt at Easter, and Seven Stories’ famous train set was a hit. Looking out of the big windows was also a highlight of the visit!

Beatrice also went to Seven Stories for Maisie Mouse’s celebrations, and brought us two beautiful artworks she made there.

Molly went to Woodhorn, and told us there was ‘lots to see, lots of galleries to explore, and lots of open space to run around’. As well as a snake exhibition and craft activities during the holidays, there was a narrow gauge railway to ride on, which Molly loved. The family combined their visit with a walk around the park and feeding the swans and rated the visit 9 out of 10.

Sophie went to Baltic and enjoyed making some artwork inspired by the exhibitions. At Baltic there are sessions for little ones such as Toddler Time and Busy Bees. Sophie’s family rated it 8 out of 10.

Alex explored Seaton Delaval Hall where there was ‘lots of outdoor fun and safe spaces to run around, with a lovely little adventure playground that Alex struggled to leave. The hall made Alex say ‘Wow!’ and he enjoyed relating the fireplace he saw to the Stickman book he has at home. The family loved the dark, spooky cellars and also having a run around outside collecting sticks.

Evie went to the Alnwick Garden for Easter Sunday. ‘Having just found her feet it was the perfect wide open space to explore!’ the family told us. The sound of the running water and occasional spray from the fountain proved fascinating, and there was lots of splashing to be done in wellies.

We’re really looking forward to the next session where we’ll discover more places the families have explored!

 

Only a TUBE crew! A guest post by Michael Metcalf

 

Working on the TUBE was not always about filming in glamorous locations and meeting world famous rock stars!

Because the show wanted to bring all kinds of music and culture to the UK  audience one of our more memorable trips was the opportunity to go and film in East Berlin!

We flew from Heathrow to West Berlin, this was before the days of strict airport security and so I was delighted to be asked up to the flight deck for the approach into West Berlin.

It is hard to remember now that West Berlin was surrounded by East Germany which was at that time a Communist country and that West and East Berlin were divided by the Berlin Wall, thereby separating families who happened to be on either side of the wall.

Sitting up in the cockpit of the aeroplane as we were arriving in West Berlin, the pilot pointed out the lack of lights below us and said to watch for the change.  Suddenly the ground seemed to light up below us and he explained that we were now flying over West Berlin and would be landing shortly.

Obviously being the TUBE we were not going to let the chance of filming in both West and East Berlin to pass us by.

On the agreed day, myself as Production Assistant, Producer and Director had to travel via Check Point Charlie (the entry point for cars and pedestrians going into East Berlin).

Having seen reconstructions of Checkpoint Charlie in movies, did not really prepare us for the experience.  You had to enter from West Berlin and walk through a series of wooden huts to have you paper work checked and passports stamped.  There was an uneasy atmosphere as you were doing this as East German/Russian guards with rifles were watching your every move.

We had gone in as pedestrians but were told that if we had been driving, we must not get out of the vehicles under any circumstances.

At this time, people were still being shot for trying to escape from East Berlin and cross the Wall.

Eventually we were through and met by our official East Berlin representative who would take us to a meeting to finalise the filming.

This meeting took place in a large building and we were put into a large room with one round table and chairs whist we thrashed out what it was we wanted to do.

We quickly realised that we would be strictly governed and watched as to where we went and what we filmed.

Eventually after agreeing things, we made our way back to Check Point Charlie to return to West Berlin and meet the crew.

Finally the day of our move to East Berlin was here and we set off to Check Point Charlie once again.  I reminded the crew about not getting out of the vehicle under any circumstances as we pedestrians started our journey.

You would think a simple reminder would have been enough but as we existed one of the wooden huts to walk to the next, we came out to find ‘the crew’ out of the vehicle and surrounded by soldiers with rifles poised.  Apparently the crew need to go to the loo was more pressing than staying in the truck!

Eventually we all arrived safely through into East Berlin.

We were met by our official guide who escorted us to our hotel.  Checking in we all obviously had seen too many James Bond movies, so it was not until we met up later that we found out that we had all gone and checked our rooms for microphones and cameras!

It is interesting to state at this point that the hotel was one of the most luxurious hotels we had stayed in during the time on the TUBE but then realised it was especially for Western visitors and had a gift shop on the bottom floor with everything you could imagine for sale.

When we eventually met one of the bands we were going to film, it became apparent that their lives were so different from our own.  Chatting to them (they spoke much better English than we did German) they asked us what Champagne was and could we explain what a banana was, as they had never seen them?  We did film one band that was not recognised by the state and found that although they were allowed to perform, the state would not give them guitar strings (which we had to give them).

Although we would normally find the locations to film in, we were made to film in a Sports Centre that at that time would have put most sports centres in this country to shame.  It was such high specification and obviously something the authorities were very proud of, hence, their wish that we film there.

Our official guide/helper turned out to be a really nice guy although I have to say a little jumpy (he realised that he was being watched all the time by the authorities).  I did ask him if there was anything we could get for him as a way of saying thank you.  I asked if it was possible he would like some BEATLES albums.  The shop in the hotel had a huge selection of albums available, so I purchased a few albums for him.  He got very spooked when I tried to hand them to him in the street and asked if I could just leave them in the car when we got out.

Eventually our time in East Germany came to an end and we had to travel back once again through Check Point Charlie.

This time, I impressed upon the crew to go to the loo before the journey and not to get out of the vehicle.

Setting off again, we snaked our way through the wooden huts getting various stamps on our documents (the return journey was no less frightening).

Could you believe it, we came out of yet another hut and once again the crew were out of the vehicle.

This time, the hired vehicle had a flat tire.  Being hired, there was no jack in the car.  The Guards decided to then stop all the cars following until they found a jack that could be used and proceeded to change the tire for the TUBE Crew on the vehicle!  Amazing!

Michael worked in television for over 30 years as a Director and Producer and was involved with The TUBE from the very beginning as a Production Assistant during filming and then subsequently directing part of series 4.

He is now retired from television and heavily involved in charity work. As well as being on the committee for the Make A Wish Foundation, he is an Ambassador and mentor for Northumbria Coalition Against Crime, Chairman of Newcastle East Sea Cadets and Junior Vice President of Ponteland Rotary.

Michael became involved with Discovery Museum when he joined three ex colleagues from Tyne Tees Television who also worked on the TUBE when they visited the museum to see the TUBE neon logo that was in storage. From that visit, the idea of the TUBE exhibition came into being.

An exhibition of items relating to the Tube, including the neon Tube sign, is on show at Discovery Museum until 30 June. More details. 

The Hatton Collection is on the Move!

Kurt Shwitter's Merzbarn, A new display area is being built around the sculpture Whilst it is boxed in for protection

Kurt Schwitters’ Merzbarn, A new display area is being built around the sculpture Whilst it is boxed in for protection

In March the Hatton Gallery closed for 18 months in order to modernise and improve its facilities, entailing a large amount of building work. In order to keep the collections safe during this period it will be necessary to remove all works from the building giving the builders a safe and uncluttered space to work and preventing the collection from becoming damaged.

As with most galleries only a small amount of objects are ever displayed at one time. The Hatton stores are packed with a wealth of objects ranging from 14th century panel paintings to modern and contemporary works including sculpture, world history, prints and designs make up a rich and diverse collection of objects all of which have their individual packing needs and environmental requirements.

Some objects such as Kurt Schwitters’ Merz Barn wall is not possible to move and will have to be carefully  sealed in a protective casing for the duration of the building works.

Over 3,000 objects will need  to be moved. Each item carefully wrapped and labelled in order to go into storage at the Laing Art Gallery. Temporary mobile racking shelving and crates have been found to make sure no damage occurs in the move and the packing and movement of these objects will be supervised by the TWAM conservation team. Everything moved will need to be carefully documented and the records updated so they can be easily found in there temporary store because whilst the building is closed the collection is not and will still be used for exhibitions and loaned to other institutions.

Fig a. Oval Landscape by John Kinnaird. The cleaned area is visible on the left.

Fig a. Oval Landscape by John Kinnaird. The cleaned area is visible on the left.

 

During the last year the conservation team have carried out a survey of the whole collection in order to identify key items in need of attention. We hope that while the improvements to the building are carried out the conservation team will be supervising improvements to the collection. Many objects need cleaning or repairing in order to make them of an exhibition standard. A few were worked on for the final exhibition bellow (fig. a) is an image of Oval Landscape by John Kinnaird. The cleaned area is visible on the left.

The closure of the Hatton Gallery affords us an invaluable opportunity to work on the core collection and work the infrastructure of the buildings should improve the lifespan of the collections.