In the run up to the opening of At Home with the Queen on 25 May, participant, Miles Landesman, tells us about the history of his Queen memorabilia (The Queen by artist Graham Dean) and what it means to him. I first saw The Queen, by artist Graham Dean, at Nicholas Treadwell‘s art gallery in 1975. At that time Treadwell was promoting Superhumanism amongst the artists working for him. Superhumanism defines any work that is urban and unorthodox, be it angry, humorous, quirky, or ironic. My father, Jay Landesman, was a man who appreciated unusual art. He bought the painting […]
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The story of London Tweed
So this is how the story goes. In 1826 a London merchant decides to buy some cloth from a weaver in Hawick, a town in the Scottish borders famous for its cloth production. Very happy with his order, he decides to get some more but – crucially – misreads the weaver’s dashed handwriting. Instead of ‘twill’ this Londoner reads ‘tweed’, and assumes this new cloth must take after the River Tweed which runs fast and clear through the textile areas of lower Scotland. ‘Tweed’ and not ’twill’ has been the term used ever since.
A few weeks ago I found myself surrounded by fascists. I was on my way to the West End when at Tower Hill station a large group of French-speaking men with assorted girlfriends and wives (I presume) entered my tube carriage.
From saintly to saucy: the medieval badge that wasn’t as innocent as it seemed
Cataloguing the Museum’s collection of medieval pilgrim badges for Collections Online has been a great opportunity for me to look really closely at our objects and sometimes to find out that items are not at all what they appear to be. A great example recently has been a tiny little badge in the shape of a comb.