Friday, October 18, 2019

Surrealism x visual impairment

Artist Cerys Dyson is currently exhibiting her photographic project ‘surrealism x visual impairment’ on ‘The Wall’- Wakefield Museums and Castles mini gallery- in Create Café at Wakefield One.

Photophobia, by Cerys Dyson

We asked Cerys about her work:

"My name is Cerys Dyson, I have studied a HND in photography at Wakefield College which is where the idea & project of ‘surrealism x visual impairment’ came from for my final major.

As well as just a project it has a deep sentimental value for me as I was born with nystagmus - living with it means I know what it’s like, but I wanted to push my boundaries further to investigate different conditions and raise awareness of how visually impaired people see!

Pictures within my project cover conditions such as photophobia, diabetic retinopathy, cataract, macular degeneration, tunnel vision and of course nystagmus! I also made a book which explains the conditions in detail to match the pictures.

Diabetic Retinopathy, By Cerys Dyson

Further progression for this project's audiences could ideally be in eye clinics, hospitals and other photographic galleries! "

Surrealism x visual impairment will be exhibited at Create Cafe until 11 November.
See more work from Cerys on Instagram: @cdysonphotography

Cerys Dyson

Wednesday, October 16, 2019

Sandal Castle Illustrations

Wakefield Museums and Castles are looking to commission a number of illustrations for use at Sandal Castle.

Sandal Castle has been undergoing conservation works, totaling £734,000 funded by Wakefield Council, to preserve the heritage for current and future generations.  As part of this work we are looking at how to tell the fascinating story of Sandal Castle.  These illustrations will form part of that on site interpretation.

General requirements

-          Illustrations will need to be provided digitally, in full colour and high resolution.
-          Wakefield Museums and Castles will have full use of the illustrations for purposes of interpretation and marketing.
-          A brief will be provided but some historical and contextual research may be required.
-          All illustrations will be checked by the project team for historical accuracy.
-          Finished illustrations will be required by Friday 10 January 2020

The Illustrations

1.      A brief history of the castle since 1066
-          ‘Comic’ style illustration layout
-          Outlining 6  key periods / events at the castle:
o   De Warennes; Battle of Wakefield; Richard III; The English Civil Wars; Picturesque Ruins; Excavations.

2.      A castle in ruins
-          Illustration of ruins as we see them today
-          Main ruins that can be seen labelled and with an interesting fact highlighted with detail image (this will relate to finds and / or documentary evidence)

3.      A day in the life of a medieval castle
-          Recreated drawing of the castle from 1275
-          Cut a-ways into rooms
-          Animated with people
-          Reference to finds and documentary evidence

4.      The Battle of Wakefield
-          A recreated view of the Battle of Wakefield
-          To feature weaponry, armour, the Wakefield Sword, Richard Duke of York

How to submit a proposal

If you are interesting in one or more of the illustrations please provide the following information to by Tuesday 5 November.

-          Which illustration/s you are interested in.
-          A sample of your illustration style.
-          Your fee.
-          How you will ensure the deadline for finished illustrations is met.

If you require further information please contact

Thursday, August 1, 2019

Ancient Egyptians across West Yorkshire

Wakefield Museum has recently opened a new exhibition about death and the afterlife in ancient Egypt. Gateway to Eternity invites visitors to step inside a recreated ancient Egyptian tomb.

Treasures on display include grave goods borrowed from The British Museum and National Museums Liverpool, World Museum. These are displayed alongside the mummy of a woman named Perenbast, a temple singer who lived over 2500 years ago, on loan from The Manchester Museum, The University of Manchester.

The exhibition also features objects from Wakefield's own collection, including a mummified baby crocodile. These were collected by local merchant, William Fennell, who helped fund some of the first scientific excavations in Egypt in the 19th century.

Wakefield Museum is on the lower ground floor of Wakefield One, Burton Street, Wakefield, WF1 2DD. The exhibition runs until July 2020 and is free to visit.

We aren't the only museum in West Yorkshire with exhibitions about ancient Egypt! Why not go on an intrepid journey to discover more fascinating collections. From fashion and jewellery, to writing and art work.  Meet Nesyamun and see the sarcophagus of Ta-di-ta-nebet-hen. Can you visit them all?

Bagshaw Museum
Wilton Park Batley WF17 0AS

Tuesdays to Thursdays 11am - 5pm 
Saturdays and Sundays 12noon - 5pm
[From September Bagshaw Museum is open on weekends and Kirklees school holidays - 12noon - 4pm]

Free entry

Ancient Egypt: the Kingdom of Osiris

Discover this stunningly atmospheric gallery where dramatic lighting effects help you to imagine exploring the interior of an ancient Egyptian tomb.
  • Marvel at a very rare complete cartonnage mask, the face an Egyptian woman presented to the gods in the afterlife.
  • Find the mummified human hand and learn about the process to preserve the body after death.
  • Admire the jewellery, cosmetics, mirrors and containers the dead considered essential to accompany them into the next life.
  • Discover the sarcophagus of Ta-di-ta-nebet-hen with all its intricate and mysterious decoration.
  • Learn what ancient Egyptians ate, the textiles they wove, and how they recorded their lives.
For more info visit: Bagshaw Museum 


Bagshaw Museum: Cartonnage Mask
Bagshaw Museum: Mask

Bankfield Museum
Boothtown Road, Halifax, HX3 6HG

Tuesday – Saturday 10am – 4pm
Free entry

The Fashion Gallery

Showcasing Calderdale Museums’ fashion and textile collections from ancient Egypt to modern day.

Calderdale Museums has one of the best but little known textile collections in the country. There are 17,000 objects, collected from all over the world. The collection began when the museum first opened in 1887. It represents the influence of world textiles on local production as well as how local textiles have been exported around and influenced the world. The collection includes significant objects from Ancient Egypt, The Balkans, China, Japan and the Indian Subcontinent. A range of English embroidery, samplers, costume, court dress, military uniforms, pattern books from West Yorkshire manufacturers and the design archive of Crossley’s Carpets. On display in the new Fashion Gallery are highlights from this fascinating collection.

For more info visit:  Bankfield Museum - Fashion Gallery


Bankfield Museum: Fashion Gallery poster

Cliffe Castle Museum
Spring Gardens Lane, Keighley, BD20 6LH

Tuesday to Friday 10am - 4pm 
Saturday, Sunday and Bank Holiday Mondays 11am - 4pm
Last admission 3.30pm
Free entry

Cliffe Castle Museum has a small dedicated ancient Egyptian Gallery whose centrepiece is the black sarcophagus (coffin) made of sycamore fig, probably of a Pharaoh or nobleman, dated around 800 BCE. This came from a collection at Penrhyn Old Hall, Llandudno and was gifted to Keighley Museum in 1948. Cliffe Castle Museum also has its own mummy that was found at Thebes. It is of a young girl from the 4th century, thought to be the daughter of a temple priest. The mummy was donated to Keighley Museum in 1901 by Sir John Briggs who had a passion for Egyptology. There are also many hundreds of ancient Egyptian artefacts on display in the gallery including, jewellery, beads, amulets and cartonnage masks.  

For more info visit: Cliffe Castle Museum 


Cliffe Castle Museum: sarcophagus
Cliffe Castle Museum: Cartonnage Mask

Cliffe Castle Museum: Gallery displays

Leeds City Museum
Millennium Square, Leeds, LS2 8BH

Monday: closed
Tuesday to Friday: 10am–5pm
Weekends: 11am–5pm
Free entry

Ancient Worlds Gallery

Find out how the Egyptians, Romans and Greeks lived and died through investigating objects in the Ancient Worlds gallery.

Visit the final resting place of Nesyamun, the 3000 year old Leeds Mummy, and the only known mummy from the 20th Dynasty. Discover clues to the past in art and architecture, objects in the earth, ancient writing and burials.

The Ancient Worlds gallery is located on the third floor of the museum.


Leeds City Museum: bead collar necklace c.728-663 BC

Leeds City Museum: outer coffin of the mummy Nesyamun

Let us know how many of the above you have visited @WFMuseums #Perenbast #GatewayToEternity

The loans in Gateway to Eternity are supported by the Weston Loan Programme with Art Fund.

Created by the Garfield Weston Foundation and Art Fund, the Weston Loan Programme is the first ever UK-wide funding scheme to enable smaller and local authority museums to borrow works of art and artefacts from national collections.

Monday, May 20, 2019

Replication of Civil War graffiti at Pontefract Castle

The Key to the North Project is a £3.5 million project at Pontefract Castle which includes conservation work to the monument, a new visitor centre, café, gift shop and museum, and site developments that open up parts of the castle not seen by the public since 1649.  As part of the project new information panels have been added to the site.  One of which features a replicated piece of graffiti left by Civil War Soldiers as they were held prisoner.  This is a guest blog, by Peter Maris, a sculptor who created the piece of graffiti

Guest blog by Peter Maris

The dungeon wall at Pontefract Castle is really quite alive with names carved by prisoners incarcerated during the English Civil War. Access to the dungeon is very limited for safety and security reasons and so only a few visitors on guided tours are able to see the amazing collection of graffiti for themselves. However, so that more people could be informed about the prisoners, I was invited by the Wakefield Council Museums Service to recreate a section of graffiti that could be placed in a new display for visitors to see at the Castle.

My task, as I understood it, was partly to replicate how Captain Robert Brier carved his name in 1648 and also to replicate how it appears today.

The names carved into the wall are quite well preserved and form important historical evidence identifying particular people actually within the very small gloomy space that they were kept in. I was able to visit the space myself to take a number of good photographs for reference and also to realise  and absorb the very limiting and poor conditions the prisoners would have lived in.

It is very dark in the dungeon and it would not have been particularly comfortable especially as it’s a relatively small space which possibly held 20+ prisoners at any one time. The quality of the carvings are, therefore, all the more remarkable too given the lack of appropriate cutting tools and the lack of sufficient daylight in such a basic and over-crowded space.
The crowded graffiti wall
Certainly, the carving that Robert Brier made shows considerable evidence of a determined and skilled effort to make a really proficient job of the lettercutting. The original carving is partly eroded but it is still possible to see how the letters were constructed. Close scrutiny reveals that the letters were far from just scratched purposefully into the wall. In fact, one can see that the letters were cut to make a ‘v’ shaped groove as is the case with traditional lettercutting methods. Additionally, one may assume that the ‘tool’ used to cut and scrape the graffiti was probably also used in a rotary motion to make small rounded shapes to help form and give character to particular letters, especially the ‘i’’s, numeral 1 and with the vertical, stand-alone line forming part of the capital ‘R’.

Despite the discomfort that Robert would have felt, one can see the desire to produce some quite elegant letters as there are attempts to make some consistently smooth shaped curves to help form his name. It is also quite impressive to see that many of the prisoners tried very hard to carve letters complete with serifs as they would have known them from handwriting and printed letter styles of the time.

The dungeon wall though, is very congested with graffiti and so space to add another name was very limited. However, in an attempt to mark himself out from the others, Robert has also added a loosely drawn and achieved border line to give his name and rank some individual prominence within a kind of frame.

Prisoners in the dungeon would obviously not have had access to anything other than the few belongings that they had about them and so would have had to improvise tools and methods. For me, as a professional sculptor and letter-cutter, this made for quite an interesting exercise and project as I had to basically ‘unthink’ the way that I would normally go about carving letters and put myself into that same ‘improvisation mode’

Rough dressing to change the stone surface.

I was initially supplied with a piece of stone though which I needed to ‘dress’ very roughly with a mallet and chisel in order to transform the machine-sawn appearance but also to crudely emulate the uneven wall surface in the dungeon. However, for the actual lettercutting, traditional hammers and chisels needed to be put aside.

Tracing over a photo of the original.
Once the stone surface was prepared, I started to make a stencil of the lettering arrangement re-sized and traced from my photographs. This was then laid onto the stone so that I could draw out the design.

I then set about selecting a variety of ‘found’ implements that I thought could be useful for cutting, scraping, scratching etc. These comprised a few bolts, screws, nails, washers, a small brass tube, a couple of metal brackets and a modelling knife.

A selection of potential tools.
I tried them all out initially but quickly settled upon using a 4 inch nail which proved to be the most effective. It was probably the closest object and shape comparable to that part of a belt buckle which, I had been informed, the Civil War prisoners may have used as a scribing and cutting tool.

The nail was very good for scraping and pushing the stone material away to make the basic letter shapes especially when used with water – the prisoners would have used saliva. The stone though, is sandstone which is an abrasive material and wears the metal away quite quickly. However, because of this facility, it can also be used to sharpen up the metal as well and prisoners would have been well aware of that as a common method to sharpen knives, swords etc. Consequently, I was able to sharpen the end of the nail to form a small blade which made cutting far more effective and, with the addition of a small block of wood to hit it with, became more like a chisel rather than a scraper. The prisoners could quite possibly have used something similar too or perhaps used the heel of a boot as a hammer or a small rock from the wall or floor.

Work in progress.

This photograph shows the carving in progress with the stencil still attached, the drawn and part-cut graffiti with the nail and wooden wedge block

The completed replication.
As can be seen in this image of the completed carving, the nail was also perfect as the rotary tool to make the aforementioned rounded shapes, most noticeable on the letter ‘i’ and then, as a sharpened blade, to give a crisp, distinct line at the bottom of each ‘v’-cut line forming the letters.

As a project, this was also quite an interesting exercise reminding me just how much can be achieved quite simply through improvisation and determination when the ‘right’ tools aren’t available.

“Where there’s a will, there’s a way”

Peter Maris
April 2019

Thursday, March 28, 2019

Work experience with refugee communities

We are happy to welcome a guest-blog post from a Leeds University work experience student, Yanlinyi Xia.

I am an international student from China currently studying Art Gallery and Museum Studies at the University of Leeds. For my studies I am undertaking a placement with Wakefield Museums and Castles. The course I study covers different aspects of museum and gallery work including interpreting the past, engaging audiences and the history of museums. This provides me with a context and background in museum theory but my course also includes a work experience module, undertaking a placement with a museum to work on a project and get real world experience. 

My work experience project is with Wakefield Museums and Castles and I am supporting their work with Wakefield refugee communities. This project is a partnership between the museum service, World Jewish Relief for refugees (part of their Specialist Training and Employment Project (STEP) programme), and Horton Housing Association. I was so excited when I saw this, as an international student from China I am also new to the UK, and I think most of us have no idea about what happens to refugees in the process of resettling somewhere else. This experience has changed my thinking a lot. The STEP programme supports resettled Syrian refugees at the beginning of their journey into employment in the UK. This is a pilot project with the museum service and aims to provide a cultural and historic context, supporting the refugees to get to know the heritage of the local area where they are now settled. Tali Krikler, a freelance Learning and Participation consultant working for World Jewish Relief collaborated with the Museum Collections Officer to develop workshops in the museum exploring the local history and working heritage of the Wakefield District. Horton Housing, a not-for-profit organisation providing housing, training and support services to the most vulnerable people in society, supported the participants to attend the sessions and provided translation services.

In total five workshops were arranged over five weeks, meeting once a week on Wednesday afternoons. Each workshop covered a specific theme working with participants to investigate different industries and working life in Wakefield, historically and today. Tours were arranged around the museum for participants to see some of the displays and the workshops also featured hands-on sessions looking closely at different historic objects and discussing how they relate to work in Wakefield and their own working lives. I am still disappointed I could not attend on the “Food day” and taste the delicious cakes the participants brought in!

In total five workshops were arranged over five weeks, meeting once a week on Wednesday afternoons. Each workshop covered a specific theme working with participants to investigate different industries and working life in Wakefield, historically and today. Tours were arranged around the museum for participants to see some of the displays and the workshops also featured hands-on sessions looking closely at different historic objects and discussing how they relate to work in Wakefield and their own working lives. I am still disappointed I could not attend on the “Food day” and taste the delicious cakes the participants brought in!

I have really enjoyed recording all the special moments in this project, talking with participants and photographing the sessions. The handling objects sparked curiosity, and everyone had an opportunity to handle the artefacts and learn more about the heritage of their new home town. People also liked to link unfamiliar objects to what they are familiar with from their lives in Syria. We look forward to finding more links between Wakefield and Syria to help spark discussion and raise the confidence of those who attend. The workshops also helped the participants to develop their English language and learn new words.  

Seeing participants learning and exploring by visiting the museum was the best thing for me!

There were lots of things to consider when planning the workshops; how do we decide the weekly theme? What methods do we use to encourage engagement? How do we measure what they have learned and how much they feel the sessions were useful? We are now planning a small display to highlight some of the key objects and themes that sparked interest. Please check back here and other social media for more details coming soon!

Friday, November 9, 2018

Armistice100 at Wakefield Museum

11th November 2018 marks a hundred years since the end of the First World War. A century ago in northern France, Private George Kellett wrote in his 1918 diary,

We heard that an Armistice had been signed but we keep hearing explosions and cannot tell     whether it is gunfire or not.

Lett’s No 26 diary 2018 belonging to Private George Kellett
George was a joiner from Agbrigg Road, Sandal serving with the Duke of Cornwall regiment. He had received the diary as a Christmas present along with a Christmas cake, parkin and apples. His matter of fact account of such a historic occasion is typical of his stoic, often mundane diary entries that document a year at war. George began 1918 recovering from injury before rejoining his regiment. He writes of daily activities such as inspections and parades, writing letters and receiving news from home. When he’s not busy with tasks such as digging communication trenches and laying cabling, he enjoys games of cards, draughts and billiards, and training with a tug of war team.
In and amongst the daily routine though, there are reminders of the reality of war.

4 September 1918: Went out burying the dead today. 

11 September 1918: Packed our kits and went up the line at 9am, two guides of the Stafford and Bucks met us and took us into the front line. G.West and three more fellows in our platoon got killed and four or five wounded going up. We went over the top at 6:30pm [?] Burton, Bill Revitt and three or four more were wounded and three more killed. We reached a trench just over the canal and had to stand to all night.

George’s diary is a fascinating insight into an ordinary soldier’s experience of the First World War. We were honoured when his family donated it to our collections and are very proud to put it on display at Wakefield Museum as part of our Armistice 100 commemorations. You can also follow George’s year at war on Twitter: @WW1_Diary.

George scribbled this note to his future wife, Emma, upon his demobilization.

Hand-tinted photograph of Sergeant Arthur Cox during the First World War
George survived the war and was demobilised in 1919. He came home to marry his sweetheart. Tragically, Arthur Cox of Thornes Lane didn’t return to his family in Wakefield. A Sergeant with the Royal Field Artillery, Arthur earned the Military Medal for bravery in the field but sadly died just a few weeks after the government announced his award in the London Gazette. Unlike George, Arthur was an experienced soldier, having previously risen to the rank of Corporal with a volunteer regiment, the Queen’s Own Yorkshire Dragoons. He had fought in South Africa during the Second Boer War and been honoured with the Freedom of Wakefield.

A photograph of Sergeant Cox’s grave sent to his widow
Arthur was killed in action on 29th July 1917 ahead of the 3rd Battle of Ypres, better known as Passchendaele. He is buried at the Godeswaersvelde British War Cemetery in France, near the Belgian border. After the Armistice, Arthur’s widow received a photograph of his grave, his posthumous service medals, and a memorial plaque. Sometimes called the ‘Widow’s Penny, these plaques were sent to the next of kin of all fallen soldiers. Arthur’s family proudly displayed the plaque surrounded by his medals from both wars. Today, we have their collection on display in our Wakefield Museum Welcome Space to commemorate the service given by him and so many other local men. Alongside the objects are several hand-made poppies. These were contributed by our Young Curators (aged 8-13), who have been learning about Arthur and George and wanted to help honour them.

Arthur’s Military Medal (top left), service medals and memorial plaque
The commemorations continue in Create café, where we are also remembering Nurse Marion Walker and her colleagues and patients at the White Rose Auxiliary Hospital, Heath Hall. Many soldiers spent time there recovering from their injuries and illness before returning to the front lines. Volunteers like Marion helped to care for them during their convalescence.

Staff and patients at the White Rose Hospital
As the Armistice was signed in France, Marion was collecting signatures of her own from the soldiers in her care. Carrying an autograph book was common practice for auxiliary nurses. Patients passed away their time and showed appreciation for the nurses by leaving their names, mottos and messages, and often doodles and cartoons on the pages.

Leatherette autograph book belonging to Nurse Marion Walker
Marion’s book, compiled between 1917 and 1919, gives a moving glimpse into wartime resilience. Despite the hardships the men had endured, their entries are full of friendship and love, humour and hope.
We have reproduced a selection of our favourite pages to display in Create. We hope visitors will enjoy this selection and take some time to remember the men who produced them as well as Marion, George and Arthur.

‘If writing in albums remembrance ensures/ With the greatest of pleasure, I’ll scribble in yours./ Some write for pleasure. Some write for fame./ But I simply write to sign my name.’