British Museum blog

Have we found Fred and Nellie?

engraved coinBen Alsop, Curator, British Museum

Silver George V shilling re-engraved as a love token, 1916 (J.3283)

Silver George V shilling re-engraved as a love token, 1916 (J.3283)

In February I wrote a post about a First World War love token which we have in the collection of the Department of Coins and Medals. The token, a silver shilling of King George V, had been engraved to carry the simple message ‘FROM FRED TO NELLIE FRANCE 1916’. In the post I wondered who Fred and Nellie were. Had Fred fought at the Somme and if so, did he return home?

These questions I raised far more in hope than in the expectation of anyone suggesting possible answers. The rather limited information that we had about the object, that it had been donated to the Museum in 1966 by Miss Carvell from Hampstead in London, was not a particularly promising place from which to start any investigation.

Fred and Nellie Sharp, 5 August 1916. Photo with kind permission of Joy

Fred and Nellie Sharp, 5 August 1916. Photo with kind permission of Joy

Imagine my surprise when a few days after the post was published, the Museum received an email from a lady who had seen an image of the token on the Museum’s Facebook page and felt compelled to write. In subsequent emails Joy explained that her grandfather Frederick Sharp, known as Fred, had married a lady called Ellen Alden (who everyone knew as Nellie) on 5 August 1916 at the John Street Baptist Church in Holborn. Frederick Sharp had been called up in 1916 and married Nellie just before he left for France with the King’s Royal Rifle Corps. In a photograph taken on their wedding day you can see the newly married couple, Fred in his army uniform and Nellie seated by his side.

Fred and Nellie with their three children, date unknown. Photo with kind permission of Joy

Fred and Nellie with their three children, date unknown. Photo with kind permission of Joy

The King’s Royal Rifle Corps had a total of fourteen battalions engaged at the Battle of the Somme from July 1916 until its end in November that year. So it is possible that Fred did indeed see action in the battle. Thankfully he returned home to be reunited with Nellie and the couple had three children, eventually ending up living in Friern Barnet in North London. Nellie died in 1966, the year the token entered the Museum’s collection as a donation from Miss Margaret Mary Carvell, who lived at 30 Daleham Gardens, Hampstead. Margaret Carvell was evidently interested in coins as she had joined the British Numismatic Society in November 1966 but died just two years later.

So far we haven’t been able to make the link between Margaret Carvell and Fred and Nellie, and maybe we never will. While it’s unlikely we can ever be completely certain that this love token was a gift from Frederick Sharp to his wife Ellen, the evidence kindly put forward by Joy is compelling. I for one hope that the couple shown in the photograph is the one we are seeking and that it was Fred, whom Joy described as ‘a lovely kind man’, who gave the simple token of affection to Nellie before he left to go to war.

The Money Gallery is supported by Citi

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London, a world city in 20 objects: Throne of Weapons

Throne of weaponsChristopher Spring, British Museum

Throne of weapons

Throne of weapons. © Kester 2004

From 1977 until 1992 Mozambique, in south-east Africa, fought a civil war which was fuelled by a global power struggle between east and west – the ‘Cold War’. During this period millions of guns were poured into the country via the international arms trade.

Many weapons remained buried or hidden after the war, representing a threat to peace and stability. In 1995 Bishop Dom Dinis Sengulane of the Christian Council of Mozambique set up the Transforming Arms into Tools project, which offered farming equipment and other materials in exchange for guns. Mozambican artists then turned these weapons into sculptures that reflect the collective creativity of the people of Mozambique and their refusal to submit to a culture of violence.

The Mozambique civil war claimed almost one million lives and left five million people displaced. The Throne of Weapons represents both the tragedy of that war and the human triumph of those who achieved a lasting peace. Its anthropomorphic qualities – it has arms, legs, a back and most importantly a face – actually two faces – link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen and described as human beings.

Although made of guns, the Throne of Weapons harks back to older wooden African stools and thrones used by leaders that showed their prestige, but also their willingness and ability to talk to their fellow men and to the ancestors. The throne is also a contemporary work of art with a global significance, linking the arts of Africa with the Western arts scene, and Mozambique with the global arms trade. None of the guns used were made in Mozambique, or even in Africa, thus it becomes a sculpture in which we are all, one way or another, complicit.

The throne is a war memorial, but it celebrates another kind of courage and another kind of victory. Museums are more and more concerned with portraying intangible as well as tangible heritage as a way of building an emotional bridge with a past inhabited by people rather than by the objects they created, especially when charged with describing traumatic histories of warfare, slavery and the abuse of human rights. The Throne of Weapons allows us to cross that bridge.

This was first published in the London Evening Standard on 29 November 2012.

The Throne of Weapons is on display in Room 25: Africa

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Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum
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