Heritage Open Days: Behind the scenes at the museum store

The Wakefield Museums & Castles collection contains more than 111,000 objects that tell the story of our district from the distant past to the present day. Today, we can only display a small proportion of the collection at any one time. But even if they're not on show, all the objects are kept safe for future use. To celebrate Heritage Open Days 2020, we thought we'd give you a sneak peek behind the scenes at the museum store, sharing some highlights of the collection and how we care for them.

A century of collecting

Our collection has been in development for over a century and continues to grow today. The first museum in Pontefract was established by volunteers at Pontefract Castle in the 19th century. In Wakefield, Holmfield House in Clarence Park opened its doors as the city's first museum and art gallery in 1923. And by the 1930s, objects were also being collected in Castleford, originally by the local library. 

Pontefract's first museum opened at the castle on 29th April 1892 with 256 objects.

Visitors enjoying an exhibition at Holmfield House, 1930s

In 2020, our social history and archaeology collections are a treasure trove of fascinating stories that form the basis of our main museum galleries, our special exhibitions, and many displays in our communities across the district. We regularly update our displays to showcase as many different objects as possible. Those that are not currently on display are looked after at the museum store.

From the very small...

This tiny pig shaped Stanhope viewer contains six early 20th century images of Castleford and measures just 16 x 21 x 10mm!

Demonstration of viewing the images in the pig Stanhope viewer

... to the very large! 

Dennis Big Four fire engine

The engine was used by the City of Wakefield fire bridge, 1935-1954, before being acquired by the museum in 1968.

And the very old...

Ancient Egyptian clay mould for jewellery manufacture, c. 1200-1400 BC

... to the very new.

Child's Peppa Pig bowl and cup set, 2018

All shapes and sizes

In the collections store, we organise objects according to a variety of criteria, including size, shape, material or theme. This makes the best use of our space, allows us to meet the varied conservation needs of different kinds of objects, and helps us to find things more easily. Our objects are packed using inert materials that won't cause their condition to deteriorate and will help protect them from dust and dirt, changes to the environment, or damage by movement and vibration.

Here's a whistle stop tour!

These archive boxes contain our photographic and ephemera (paper based) collections, organised by theme.

Ephemera is kept flat in conservation grade polyester sleeves and supported by acid free cardboard.

A selection of typewriters in one of our small social history aisles

Most small social history objects are wrapped in acid free tissue and boxed.

These drawers contain some of our large plastics collection. Plastic requires specialised care and, unlike other objects, these need air circulation and so are not stored in sealed boxes. We store plastics according to their type (e.g. PVC) and they are supported on inert Plastazote. 

Storing suitable objects on wall mounted wire mesh allows us to save shelf space for bulkier items.

More than you can shake a walking stick at

The right tool for the job

Our large social history racking includes our furniture collection.

Our archaeology aisles contain many thousands of finds from local excavations.

Larger archaeology such as stonework is kept on wooden pallets on stronger shelving, which can support heavy objects. 

Like these cannon balls!

Hive of activity

As well as our weird and wonderful objects, there's often a few members of the collections team to be found at the store - our natural habitat! This is where we add new objects to the collection and prepare for exhibitions, amongst many other tasks.

Every object is given a unique identification number on our collections database. After a new acquisition has been accepted into the collection, we create a record that tells us what it is and what it looks like, how and when we acquired it, and what's special or interesting about it. During the object's lifetime in the collection, its record is updated to document when it is exhibited or used, any change in its condition or any conservation work, or if we find out any new information about it. 

Once we have catalogued the object, it will be marked with its unique number. We use materials that won't damage the object and write the label somewhere where we can find it but that won't be visible on display. All labelling is semi-permanent - we don't want the number to come off so that we can't match it to its record but we also don't want to permanently change the object's appearance.

Cataloguing kit

After labelling, the object goes for photography. Good images help us to identify objects in future and keep a track of their condition. It also means that we can share our collections online - whether in our searchable databases, on our social media, or here on this blog!

A new acquisition ready for its close up!

Finally, the object is carefully packed and put away, making sure to record the location on its catalogue record so that we can find it in future, for example if we want to include it in an exhibition.

When we're choosing objects for exhibitions, we need to check their condition to make sure that it won't cause them any damage. Sometimes, we need to send items for conservation before we can display them. 

We often use the space at store to practise our exhibition layouts and test what will fit in our cases and which arrangements look best. 

We hope you've enjoyed this special Heritage Open Days glimpse into our store. For more behind the scenes content and collections stories, stay tuned to the blog and our social media. 

And if this has whet your appetite, you'll find some of our collections available to browse online.

Visit our Heritage Open Days: Hidden Histories of Wakefield Museums & Castles page for more from our weird and wonderful collections and sites.

Collections on the Move

At Wakefield Museums & Castles, we hold over 110,000 objects, which tell the story of our district from prehistory to modern day. As with most museums, we only have space to display a small proportion of these objects in our museums – the rest are carefully looked after in our museum store. You can go behind the scenes at the museum store here.

Racking in the store, with furniture and larger social history objects

In the autumn and winter of 2021, we will carry out a partial move of our stored collections. We need to move around half of our collections to a new building. Thankfully, this new building is on the same site as our existing store, so we don’t have far to move. However, it’s vital that we protect our objects during the move, so that nothing gets damaged.

Racking in the store, with boxed objects

To protect our objects, we are currently re-packing them, using conservation-grade materials such as acid-free tissue paper. This involves making lots of tissue puffs and tissue sausages, which we can use to pad out the box, making sure that the objects don’t move around when the box is lifted or carried. This also prevents the objects from touching or rubbing against one another, which can cause damage.

A re-packed box, containing glass bottles

Larger objects need to be wrapped in acid-free tissue paper and bubble wrap, or secured in crates for moving. We’re also taking the opportunity to give everything a good clean. Conservation students Kylie and Zoe, from Lincoln University, have been helping us to clean our objects, using conservation cleaning methods.

All of this work takes a lot of time and effort. Our Collections team are working on this project almost full-time and we also have five amazing volunteers who are supporting us. 

It is our responsibility to care for our collections so that generations of people can enjoy, learn from, and be inspired by their heritage. Please bear with us while we work on this important project and stay tuned for more updates.  

Cleaning up history

We're very lucky to have lots of brilliant volunteers help us with our projects. In this special post, Kylie tells us about her recent experience as a conservation volunteer and explores one object she found especially interesting during her time with us.

This summer preparations began for the Wakefield Museums & Castles partial store move, which meant dusting and packing objects that are not currently on display at any of the museum locations. Together as volunteers, under supervision, we were able to help review shelves of objects so that their documentation would be up to date and their condition for moving would be improved.

Objects kept at the store will typically have significance to Wakefield and the surrounding area. There were many interesting objects for us to clean. For example, typewriters could have dust settle under the keys whilst on open shelves. Using brushes, microfibre cloths, smoke sponges, or museum vacuums, they were returned to a clean state. These dry-cleaning methods will not always cause drastic changes in appearance, but it is still satisfying to know objects are cleaner and protected from damage by dust.

Some of the typewriters before we dry cleaned and repacked them.

An object of particular interest was a black case of entomology equipment, used to study insects. The donor information named Walter Fletcher as the former owner, which is corroborated by the ‘WF’ scratched into a magnifying lens in the kit. Unfortunately, not much else is recorded about him, but it is clear he had a passion for entomology and took time to curate the required supplies over a long period of time. 

Walter Fletcher's entomology kit

Inside there were 44 small empty boxes, some made of metal but most were paper. The majority also had labels for tablets from chemists. The size of these must have been perfect for storing insects. Discerning the exact date of the supplies and owner is difficult, but the labels of the various pill boxes  inside the case suggest it is from 1935-1968 due to the company name, Timothy Whites & Taylors. There are no objects made of plastic in the box, which may suggest earlier than the 1960s.  

Pill boxes from local chemists seem to have been repurposed to store insect specimens.

There were also wooden blocks with string wound around them that would have been used to hold insects in place while drying them. There were metal tools, scalpel blades and packages of pins to assist in this process. A large net that could be dissembled was also able to fit in one compartment of the case. Everything needed for this hobby or passion to be fulfilled.

There was care to detail in so much of what Fletcher kept. He had nine glass slides with different insects, each carefully labelled.

In conserving this case, all objects were removed and the interior cleaned by brushes and a museum vacuum. Some objects required wrapping in acid free tissue, which will help stop any reactions between materials. This included the metal boxes because they react to relative humidity more than other organic materials like paper. Objects that were loose, like two large feathers, were also wrapped in tissue. Other objects were put into zip sealed plastic bags. This included loose pins and other sharp hazards. The goal is that all the different parts of the kit would stay together if the case was moved and it would be unlikely for damage to occur.

There are many more interesting objects to be found in the store. Dry cleaning and improving packaging for storage is helpful so that the objects will remain conserved for study or display in the future.

Special thanks to Kylie and all our conservation volunteers for their help preparing objects for the move. To keep up to date with this project and see what other treasures we discover, follow us on social media. Look out for updates on the hashtag #WFWhatsInStore.

Wayne: My Work Placement with Wakefield Museums and Castles

This blog has been written by Wayne who has been volunteering with us at the museum store since 2021. He has also been doing a university course on preventative conservation. Wayne has been looking at how museum objects can be stored, displayed, and generally looked after in ways that protect them from damage.

As part of Wayne’s course, he had to do a student placement where he would put some of what he has learned into practice. He chose to do his student placement with us! Read on to find out what he's been up to.

Wayne lightly dusting a uniform cap with a paintbrush and the Museum Vac at the Museum Store

My Work Placement with Wakefield Museums and Castles

I'm Wayne. I have just completed my university student placement module with Wakefield Museums and Castles at the museum store. I have also been a volunteer here for a long time now and so it was nice to take on a different role.

During my placement I worked closely with various members of the Museums and Castles Team on different projects. The guidance and generosity of the staff played a crucial role in my development. They helped me expand my knowledge further by putting into practice what I have been learning.

My first project was to look at light levels. I was checking if the light in the museum and the museum cases was too bright for the objects on display. Different types of objects have different reactions to brightness levels. Some of these reactions can cause permanent damage or colour fading to the object. Light levels are checked with a light meter. This measures the brightness of light in lux, or by the amount of light that falls on a surface, which is measured in lumens per square metre.  

Rows of boxes of carefully stored objects in the Museum Store

I started the project by locating light-sensitive objects (objects most likely to fade or become damaged) that are on display in the museums, using the collections database. I then checked how long they had been on display for. Damage caused by light can also be affected by how long an object has been exposed to light.

To prevent light damage from happening, it is important to regularly test, monitor, and set light brightness. We also calculate how long the object can be displayed for before it becomes at risk of light damage. When an object reaches its display time limit, it should be moved to dark storage where it can “get some rest”. 

The next stage of my work was to identify which of the museum objects on display have reached their display limit so that they can be swapped and moved to dark storage.

Food collections

Now this may sound strange to many people that already know food and museum collections don’t go together normally! Food can rot or attract pests like mice and insects. These may then damage other objects as well.

However, there are some food objects in the museum collection. They can tell us a great deal about the past. One such object is a hot cross bun from the Crimean War. This bun is nearly 200 years old. It is said to have survived inside a pocket of a soldier because he forgot it was there “like you do”.

The hot cross bun that survived the Crimean War!

This brings me to my next project, which I also decided to base the written part of my student placement on. Before I could start the project, I had to locate all the food objects in the museum collection. This was not easy! A lot of the object records on the collections database describe the wrapping, or box, but not always whether the food itself was still in the packaging.

Once I identified the food, I looked at its condition and whether it was in sealed packaging and whether it had dried out or started to rot or fall apart. I then looked at how these food-based objects could be stored and displayed in a way that would prevent or stop any deterioration.

After I started to research this, I soon realised that there was a gap in information in this area. The information I did find included protecting the food from the threat of pests by keeping them in sealed containers. These will keep out even the smallest insect.

A freshly repacked box with food collection objects - not to be mistaken for your lunch...

The food was also placed inside separate plastic bags. This meant that more than one object can be packed in a box, but each object is still sealed and separate. I also placed a humidity strip and silica gel into the boxes. The humidity strip monitors how much moisture is in the box and the silica gel absorbs it.

Once everything was repacked into plastic boxes, I put all of the food objects into the same storage area. This will make it easier to check them, as this will need to done regularly.   

Working with the museum team, we did make the decision to remove some of the food from its packaging and dispose of it. Some of these objects included food that were in open packets, like some crisps from 1981 that really did smell bad!

Out-of-date commemorative Bovril Flavour crisps, anyone?

There were also some bonbons that had turned brown in colour. We did keep the packaging for the museum collection, however.

A jar of plums 'bottled on the first day of the Great War, 1914-18'

I would like to thank all the staff at the museum store and many others that made my work placement an enjoyable experience.

What Wakefield Wore

In 2025, we'll be opening our New Library and Museum in the former BHS Wakefield building! 

Digital Volunteer Rebecca has been looking back at BHS Wakefield's history, and explores how it influenced 'what Wakefield wore' in this guest blog:

BHS Wakefield - at the heart of Kirkgate

The department store British Home Stores (commonly referred to as BHS) was founded in 1928 and ran for a total of 88 years. 

There were over 160 BHS stores, located at the heart of high streets across the country. They all closed in 2016.

BHS Wakefield opened in the 1930s on Kirkgate and quickly became popular with local residents. The store mainly sold home goods and clothing for men, women and children. It later also expanded to food. 

BHS Wakefield followed the ethos of encouraging local people to ‘buy British’.

 

Kirkgate in the 1970s - BHS is on the right

John G was a Manager at BHS Wakefield. He remembers that “BHS in the 1970s was very different to the store that entered the 21st century”. 

Over the years, the Wakefield branch underwent many changes. These included increasing the size of its sales floor, beginning to sell a wider range of merchandise and displaying their stock differently. 

Despite these changes, BHS was always renowned for looking after their staff members and creating a close-knit community.

Staff take to the stage

Throughout the 1960s and 70s BHS’s ‘ready-to-wear’ clothing made fashion trends accessible for everyone, including their own staff.

In the 1970s, the staff of BHS Wakefield staged their own fashion show to showcase the clothes available to buy in the store at the time. 

A member of the ‘You know you have lived in Wakefield when…’ Facebook group fondly remembers that the fashion show was held at Unity Hall and that it even made the local newspaper!

The fashion show featured many sought-after characteristics of 1970s fashion, such as floral prints, embroidery, synthetic fabrics such as polyester, athletic wear, different styles of dresses and a large array of nightgowns.

Photo courtesy of John G

In the photo above a staff member is wearing a neutral-coloured shirt dress paired with bold red accessories. 

Dresses in boxy styles such as these became popular in the 1970s. They followed the more ‘masculine’ style of women’s clothing which was seen in shirt dresses of the 1950s. 

Worn with heeled shoes and an on-trend neck scarf, they are showing how these dresses can be styled to look stylish, yet comfortable. 

Another popular trend at the time was bright coloured athletic wear, as shown modelled here:

Photo courtesy of John G

High-rise shorts are seen paired with hoodies and zip-up tops which show how sportwear began to be seen as fashionable rather than purely practical. 

Photo courtesy of John G

Fashion of the 1970s is known for its bold colours and prints, as in the photo above. 

Created in the 1960s, psychedelic prints, such as the one used to make this skirt, featured intense colours and flowing patterns. Here the swirls of different shades of purple come together to create the bold design of this long flowing skirt, also part of the stock at BHS Wakefield.

Photo courtesy of John G

One of the most prominent items of clothing showcased in the BHS Wakefield fashion show is their range of flowing nightgowns for both women and children. 

From long gowns made from satin fabrics with embroidered flowers, to shorter sheer styles with lace details, the variety of these nightgowns shows their popularity within Wakefield in the 70s.

Photo courtesy of John G

Special thanks to John G for sharing his memories and the photos featured in the article and members of local Facebook groups who gave details of their time at BHS.

We want to know ‘What Wakefield Wore’ in the 1970s! Were you inspired by the fashion show? 

What parts of 1970s fashion would you bring back today - or never want to see again? 

Let us know in the comments!

Click here to find out more about our New Library and Museum project

A behind-the-scenes work placement

A guest-blog from our work placement student, Sean.

It is the final hour of my six-week work placement and the culmination of a really enjoyable experience. I am a student studying History at the University of Huddersfield. For my course, it was compulsory to complete a six-week long work placement towards the conclusion of my second year. I have had a keen interest in museums since a very young age and decided to pursue a placement in museums. 

I believe local history is a very important part of the study of past events, leading to multiple interpretations and being in many ways more personal to those who study it. Local history can also affect the way national and global history is studied and viewed. Due to this keen interest, I decided to complete a placement at Wakefield Museums and spent most of my time in their Museum Store.

My role was to go through objects in the Museum Store, check their condition and audit their location onto the museum database; which is a brand new skill that I know would come in handy for a future job in years to come. 

The most interesting objects I came across at the store were in the Miners' Strike section, where I came across badges and memorabilia in support of the miners - and also in opposition to the so-called ‘scabs’ who didn’t participate in the strikes. Next year, I am completing a dissertation on Margaret Thatcher and the study of these objects has really helped.  

I was taken aback by the sheer variety of objects which I recorded onto the databases. In the end, I managed to audit just over 1450 very diverse objects, including: 

• Fans
• Paintbrushes
• Punch and Judy Memorabilia
• Moulder’s Tools
• Miners Strike Badges/Miners Lamps etc
• Shaving Accessories
• Brewery Bottles
• Pipe Bowls
• Collection of Glass Negatives
• Cigarette/Tobacco Accessories

I thoroughly enjoyed the experience and will take away many skills for future employment. I feel like I have learnt a significant amount about local history in the West Yorkshire region and this will bode well for my academic studies back in Huddersfield.

Research, development and recreation of Cistercian ware - Naomi Aderonke

Naomi Aderonke, a local ceramicist who has a passion for history, has recreated a style of pottery made in medieval Wakefield. 

In the middle ages Cistercian ware was made in Potovens (pot ovens) in Wrenthorpe. Initially, they supplied practical bowls and cups to Cistercian monks in their abbeys. The abbeys closed in 1540. However, the pots were so popular in Wakefield that they kept making them. In the 1600s, they started also decorating the pots in coloured slip. 

Naomi lives near the site of the Wrenthorpe pottery kilns. She has researched the medieval techniques and style to recreate examples from our collections. Her work has now gone on display with original Cistercian ware at Wakefield Museum.

Read on to discover more about Naomi's research and work in her guest blog.

Naomi Aderonke hosting her tyg making workshop

Why Cistercian ware?

I was looking for a historical link between Wakefield and Ceramics. I’d been interested in looking into alternative industries that might have been significant in Wakefield's history, that weren't textiles and coal mining.

Being a ceramicist myself I wanted to find a link between where I grew up and the craft I loved. 

Researching this I stumbled upon an article on Engole. Here I learnt of Wakefield's link to Cistercian ware. 

I then cross-referenced with other sources, like the archaeology data service and Historic England's records. I learnt more about Cistercian ware's significance, not just to Wakefield, but the surrounding areas of Yorkshire.

The first hurdles

Initially, I wanted to truly recreate as much as I could of the original process that was used in the 1500s.

Potovens was named for the kilns there. A recreation of the original kilns used is outside Wrenthorpe's village hall. Sadly, I do not have the funding, land or skill to recreate an original replica of a working Potovens kiln.

Another issue I had was sourcing local clay. I worked with a local geologist who obtained maps of clay deposits in the area. I started my inquiries.

I sent several emails to the local parks, castles, estates, canals, lakes. I also contacted the original places the potters would use for their clay, Outwood Colliery.

All answers came back as negative. However, it did give me a deeper insight into the local land.

Most original clay deposits would later become coal mines; leaving the land surrounding them unstable. The old pits themselves have been rewilded into marshland for local birds and animals. The castles, parks, estates and lakes such as Newmillerdam and Pugneys are protected land or have been made unstable due to mining. And finally, the canals cannot be dug up due to it causing canal erosion. 

While initially I felt sad and frustrated at this dead end, I knew that the protection of Wakefield's wildlife and history was more important than a few bags of wild, local clay.

Project research and development 

One of the first things I did once I was able to start this project was contact Wakefield Museum. I wanted to learn more about Cisterian ware in Wakefield from an historian's perspective. 

A piece of Late Cistercian ware pot, decorated with white slip and a heavy iron oxide glaze

I was invited by them to the museum store in Ossett. I got to handle original Cistercian ware dug up from both Sandal Castle and Pontefract Castle.

After seeing these original examples of Cistercian ware I threw myself into the practical development side of the project. 

A Wrenthorpe pot used to practice pulling handles on - hence all the handles! 

What makes Cistercian ware look the way it does?

First I looked for a red clay to recreate the original red clays used at the time. I ended up using one called Keuper Red. This gave me the dark reddish, almost purple, when fired, clay.  

Initially in the late middle ages they used a clay called 'glacial clay'. This white clay was easily found on the surface without too much digging. This clay contained many impurities. It was the main clay used in Brandsby-type pottery popular in the 1200s and 1300s.

The next thing I did with this clay was make around 30 to 40 test tiles. It was important for working out how I was going to make the colour for the pots.

After handling the pieces in the museum store I realised there was the use of two slips under the glaze, not one. A red/brown colour and a yellow slip (or so I believed at the time). 

A Wrenthorpe pot in the museum collection

Trial and error: development

I was not sure how they’d done the yellow slip with glaze. However, I knew from extrapolating the resources and knowledge of ceramics at the time, the colour most likely used in the slip was a red iron oxide.

Red iron oxide tends to create a reddish-brown colour. This explained the rich red-brown colour of the pots, even the ones where the glaze had chipped away (but the surface of the clay had not). 

With this, I created a multitude of test glazes and slips with different red iron oxide percentages. I kept some slip and glaze test tiles without the separate and used a mix of both slip and glaze on others. 

Test tiles stood to dry, with differing percentages of red iron oxide

I also tried to create a yellow slip with yellow staining. Unfortunately, this was a failure, and forced me to go back to the drawing board.

The base glaze was a peer-reviewed transparent glaze for dark clays. This prevented the base glaze from causing any clouding.

After working out the glazes, lead-free compared to the glazes used in the late medieval era, I began to focus on the shapes of the pieces.

Shaping the pieces

Similar to using a sketch book, I used my miniature wheel to create miniature versions of Cistercian shapes I had seen and researched.

Creating smaller versions of these reduced clay usage for failed pots. It also allowed me to create multiple variations of shapes without worry of trimming. 

Miniature test pots

Tygs

I decided to try both throwing and hand-building larger versions of Cistercian ware pieces, specifically tygs. This was a later Cistercian ware style, from around the 1700s.

A tyg was a mug with multiple handles, with each handle breathing up the mug into separate sections of the rim. This allowed people to share and pass around a drink more easily.

One of the original, incomplete tygs in our collection, and Naomi's miniature replica

None of the original tygs would have been hand-built. However, I decided to do this due to my desire to later host a workshop on 'making your own tygs'. A hand-built method would allow me to teach multiple people how to make their own tygs more easily.

Using these initial hand-built tygs, I decided to recreate the traditional yellow designs or post-reformation Cistercian ware again. 

I looked back on references from the museum store, as well as yellow and brown slip ware from Staffordshire in the 1600s. From this, I was able to extrapolate that the slip was actually not yellow at all. Instead, I worked out it was the old white clay initially used in Cistercian ware back in the 1400s. It was tinted yellow by the iron heavy glaze used.

I tried this method out on some of my failed pots. Unfortunately, they held little colour as I’d not added enough red iron oxide, nor dipped them for enough time.

However, as you can see on these zoomed-in areas, when the glaze pooled it allowed a colour going towards the yellow colour I was looking for: 

Two close-up examples nearing the desired yellow slip effect

Final stage

After putting all I had learnt to practice, I focused back on the workshop and end pieces for the Cistercian display for Wakefield Museum.

Firstly, I made and tested templates for the tyg workshop. I created net templates to work out how to get the best effect.

After working that out, I sought to create an example tyg using this method. This was then decorated with Yorkshire iconography such as rhubarb and Pontefract cakes. 

One of Naomi's tygs with a 'Pontefract Cakes' design

For the pieces for the museum display I wanted to respect the original pieces, but I did not aim to make exact replicas.

The choice to do miniatures came from the fact miniature throwing is a big part of my practice. I wanted to reflect not only the original piece but recontextualise it for a modern era.

Most people enjoy collecting miniatures of ceramic pieces. It allows them to collect much more, especially if they have smaller homes. Most miniatures are wholly based on modern ceramics. I think that having the ability to have a small part of history (whether local or international) allows people to reconnect more with the ceramics of the past.

Naomi's miniatures with their original inspiration pieces at the museum store

I would like to thank Wakefield Council for funding this as part of Our Year - Wakefield District 2024 and the help and support of Wakefield Museums and Castles.

Naomi's pieces are now on display with original Cistercian ware from our collection, in a new exhibit at Wakefield Museum.

The Cistercian ware display at Wakefield Museum