Pietro Lorenzetti was one of the most active artists in fourteenth-century Siena, and this panel painting is his only autographed work in the UK. It would have once formed part of a larger altarpiece structure and is thought to have originally sat above a panel depicting the Virgin and Child, now in Philadelphia Museum of Art, for the Church of Santa Maria dei Servi in Siena.
Saint Paul - with his head bowed and brow furrowed - holds the sword which symbolises his martyrdom, wrapped in a decorative belt. Saint Peter, one of Christ’s closest apostles, carries the keys to Heaven and Hell. He looks across to Jesus, who raises his hand in blessing. The emotional connection between the figures, created through their expressions, movement and gestures, demonstrates Lorenzetti’s originality and innovation. The panel is formed from many different layers which would have first begun with priming the wood. As is characteristic of Sienese painting of the time, the panel has a gold ground and is delicately painted in egg tempera, the medium which preceded the invention of oil paint.
Christ between Saints Paul and Peter can be seen on display in Gallery 1 at Ferens Art Gallery.
This painting is typical of the realism favoured during the Victorian era. Rosa Bonheur, trained by her father, had already established her reputation with a vast painting, The Horse Fair, and was one of numerous women who developed successful careers portraying animals during the 19th century. Striving to be as accurate in detail as possible Bonheur visited slaughterhouses and cattle-markets, and kept many animals to sketch from. This painting was worked from close observation of a pair of Nubian lions and their cubs with which she shared her studio in Fontainebleau.
Eccentric behaviour was characteristic of Bonheur, who attracted much comment in her day; going against the prevailing norms for women, she cropped her hair short, wore trousers (for which she needed a police permit) and smoked cigarettes.
Exhibited first in London in 1882, The Lion at Home was an immediate success with both the public and the critics:
"With apparently inexhaustible artistic powers this greatest of French animal painters again comes to the front with a large and singularly fine picture she calls THE LION AT HOME."
(The Queen, April 22 1882)
The Lions at Home can be found at the Ferens Art Gallery.
A variant on the neo-classical tradition of the late Victorian era, Draper's pictures often had a nautical theme; he was particularly fond of painting nymphs and mermaids.
The subject of the Ferens' painting is taken from Greek legend, as described in Homer's Odyssey, the epic poem describing the adventures of Ulysses (Odysseus) on his journey home from Troy. Ulysses and his men had to sail past rocks where sirens sang, tempting sailors to their doom. To overcome the temptation, Ulysses ordered his crew to plug their ears and keep rowing, whilst he tied himself to the ship's mast.
The image of the temptress frequently occurs in late Victorian art, often as little more than an excuse for eroticism. Ulysses and the Sirens can be found at the Ferens Art Gallery.
This painting is one of the few undoubted Canalettos in an English municipal collection. The artist made many paintings of the Grand Canal, from slightly different viewpoints, but employing the same distinctive perspective. It is this re-working of subjects that helps to make his work so familiar to modern audiences.
Canaletto was the most prolific of the Venetian vedutista or view painters, whose work depicted towns like Rome and Venice. Accurate paintings were in demand by patrons as souvenirs of their 'Grand Tours' of Italy. Later in his career, Canaletto applied a similar treatment to London.
His earlier works, amongst which this ranks as one of the best, have more atmosphere, light, warmth and shadow. Details are richly painted and lively figures populate the scene.
View on the Grand Canal can be found at the Ferens Art Gallery.
Elwell studied art in Antwerp and Paris. Amongst his contemporaries were the many British artists who were at that time exploring their own reactions to French art, such as those of the Newlyn School. The warm, dappled light that illuminates The First Born reveals Elwell's own brand of English Impressionism. Overall, however, his realistic, technically skilled style remained constant throughout his career, during which he exhibited regularly at the Royal Academy. In many ways his works continue the kind of realism combined with idealisation that is typical of late Victorian narrative genre painting.
The 'first born' of the picture was one week old Muriel Thompson (now Holtby), the daughter of a Beverley police constable. The mother was a Mrs Utteridge and the figure of the father a Mr Constable, who tragically died before Elwell had painted the father's loving gaze. He frequently used local people as models to suggest an ideal or type; here, in a romanticised picture of married life, the 'ideal' mother, doting father and 'perfect' baby.
First Born can be found at the Ferens Art Gallery, and is one of the gallery's most popular paintings, attracting numerous enquiries from people all over Britain.
Hals is considered to be one of the greatest painters of the 17th century, the Golden Age of Dutch painting. In the history of portraiture his use of fluid, impressionistic brush strokes was revolutionary and is exemplified in The Laughing Cavalier, his best known work. Compared with his animated sitters, those in earlier styles of portraiture can appear dull and frozen.
Most of his later portraits show the old people of Haarlem where he worked but Hull is fortunate to have a work of this period that depicts someone young. Painted in his sixties, it shows a new subtle and more penetrating approach to the challenge of capturing the character of the sitter on canvas.
Portrait of a Young Woman is one of the most important paintings in the Ferens Art Gallery collection. It is widely regarded as one of Hals' supreme achievements. It typifies his later period when he developed a remarkably sensitive approach to characterisation.
This wooden figurehead from the Trans-Atlantic paddle steamer Sirius is carved into the shape of a Newfoundland dog.
The Sirius, built in 1837, was the first ship to cross the Atlantic solely under the power of steam. She made the crossing in a record 19 days from Cork to New York in 1838. The crew and 44 passengers were welcomed enthusiastically upon their arrival in New York, the night before St. George's Day.
The Sirius arrived only four hours ahead of the Great Western steamer designed by Isambard Kingdom Brunel. Although the Great Western made the same trip in four less days, it had set out too late and was unable to catch up with the Sirius.
In November 1840 the Sirius came to Hull to have new boilers fitted by Messrs Pim and Gibson. The dry dock was lengthened before her arrival to accommodate her 57 foot long body.
In January 1847, on a journey from Glasgow to Cork, the Sirius was shipwrecked off Ballycotton Head near Dublin, and broke into pieces with 19 crew and passengers lost. The figurehead was salvaged and is currently on display until April 2017 at Hull Maritime Museum.
This painted wooden ship's figurehead shows Benjamin Disraeli in his robes as the Earl of Beaconsfield.
Disraeli became a Tory Prime Minister briefly in 1868 following the resignation of Lord Derby. However, in the 1868 General Election that followed, William Gladstone and the Liberals returned to power. Six years later Disraeli and the Conservative Party won the 1874 General Election.
Benjamin Disraeli was known for getting on very well with Queen Victoria and in August 1876 she granted him the title Lord Beaconsfield.
At university Disraeli was friends with future Hull MP James Clay (1805-1873) and they went on to travel through the Middle East together.
This figurehead is from the sailing ship The Earl of Beaconsfield. In 1887 the ship left Calcutta in India to sail to Hull with its cargo of linseed and wheat. However, the ship never made it after been deliberately run aground. The figurehead was salvaged and is now on display at the Maritime Museum, Hull.
This is a whale’s ear bone, also known as a tympanum. It has been hand-painted to look like somebody's face, a common practice as the shape of the bone lent itself to the profile of a human head. It was most likely painted by somebody involved in the 20th century whaling trade.
Whaling became more efficient in the 1900s. After it had been killed, most of a dead whale's body was used to make money in contrast to earlier, more wasteful methods. Modern methods meant that difficult to reach bones like this became more available for painting.
During the 1970s the world began to realise that many species of whale were becoming endangered with extinction. Since then, legislation to protect whales and marine mammals has saved many from harm. However, some countries argue that whale populations have recovered and want the ban on whaling to be lifted.
This whale's ear bone can be seen on display at Hull Maritime Museum.
This decorated sperm whale tooth is a piece of scrimshaw. It shows a sailor waving the Royal Navy's flag with the name of his ship, the Cornelia, emblazoned across his uniform.
The Cornelia was a fifth rate ship built in 1808. Fifth rate ships had up to 32 guns, or cannons, on board. One of these guns can be seen on the tooth, just behind the sailor.
Scrimshaw was at its height in the early 1800s and was created by carving or engraving the teeth and bones of whales and other marine mammals. Whalers often spent long periods of time at sea with very little to occupy them, so crafting scrimshaw became a popular activity to pass the time.
It is unusual for a piece of British scrimshaw to be made from a Sperm whale's tooth. A lot of scrimshaw is from the US, especially pieces made from the teeth. Sperm whales were hunted in the South Seas and off America.
This tooth can be seen on display at the Maritime Museum in Hull, which has the best scrimshaw collection in the UK.
This wooden ship model is of the barque 'Harpooner' of Whitby, built in 1768. A barque is a sailing ship, typically with three masts and a particular style of rigging. This model displays the Red Ensign that was typically flown by British vessels. Another flag shows a blue border around a white square, the signal that a ship was about to set sail.
A whaling ship of the name 'Harpooner' sailed from Whitby in 1786 under the respective commands of Captains Marwood and Peacock.
Hull Maritime Museum has a large collection of ship models on display alongside this one, reflecting the city’s importance as a port and its proximity to the wider Yorkshire coastline. These models are miniature versions of fishing vessels, merchant ships and passenger vessels that passed through Hull's great docks and were often built locally. Many of these docks can still be seen along the River Humber today, part of the infrastructure of what remains one of the largest ports in the country.
This state coach is dated c.1860 and is a large, ornate vehicle that would have been reserved for ceremonial occasions and for driving the nobility to appearances at the royal court.
Coaches and carriages of this type were designed to reflect the status of their owners. These families wanted to show off their wealth and position by advertising their own ancestral colours or their heraldic family crests on the doors and bodywork of their vehicles. This carriage bears the arms of Sir H. Readett-Bayley of Hunmanby, who was the one-time Deputy Lieutenant of the East Riding of Yorkshire.
The coach could carry four passengers, and was pulled by four or six horses fitted with ornate harnesses. It is richly decorated, with padded, woven textile interiors even on the ceiling and on the inside the doors. The carriage itself was made by Smith & Sons of Doncaster, which is unusual as most surviving carriages of this type were made in London.
The State Coach is part of a wonderful collection of horse-drawn carriages and coaches which is currently on display at the Streetlife Museum.
Built in 1871, this is Britain's oldest surviving tramcar. It was commissioned by the Ryde Pier Company to transport ferry passengers 700 yards from the ferry landing at the end of the pier to the town of Ryde on the Isle of Wight.
Originally, the tram would have been pulled by horses along its own private track. But eventually the horses were replaced by electric winches, and finally steam engines when a direct link to the railway was opened in 1880.
The tram has royal connections. It was built for Emperor Frederick of Germany and his wife - our Princess Royal and Queen Victoria's daughter. As Crown Prince and Crown Princess of Germany they travelled to the Isle of Wight in 1872 for health reasons. Queen Victoria herself may also have travelled in it during her frequent trips to Osborne on the island.
The tram remained in use until 1935 when it was badly damaged in a crash. It was brought to Hull in 1936 and restored. It can still be seen on display, with the opportunity to enter inside, at the Streetlife Museum.
French engineers Rene Panahard and Emile Levassor originally manufactured woodworking machinery, but in 1886 they expanded their business by constructing Daimler gas oil engines under licence. In 1890 Levassor also inherited the right to manufacture Daimler engines.
At this time all motor vehicles were horse drawn with the addition of an engine. Levassor, however, experimented with several new designs. Finally, in 1891, he placed the engine at the front, with the clutch and gear-box in line, driving the rear wheels. The engineers developed the Systeme Panhard, a car so revolutionary it would influence car design well into the late-20th century.
This Motor Wagonette, built in 1899 and on display at the Streetlife Museum is similar to the famous No 8 Panchard et Lavassor which won the 1,050 mile Paris to Marseille race in 1896 in a total of 68 hours, 11 minutes and 5 seconds. The design won many long distance road races in the 1890's, and in 1892 Panhard and Levassor published their first motor catalogue. A four wheel motor dog-cart cost £200, and a motor wagonette cost £212. Iron shod wheels were the standard, but solid rubber tyres could be fitted for £20 extra.
Sleighing was a popular pastime with wealthy landowners during the 18th and 19th centuries. Used purely for pleasure, sleighs were used on grand country estates during short periods of winter snow. This ornate example is probably of Russian origin and dates from c.1810. The main body is shaped like a unicorn with a seat, and painted silver and gold. At the front are two red, blue and gold spiral uprights which meet below a golden swan neck. It was pulled by one horse and carried a single passenger with the driver sitting on the small rear seat.
The Countess of Chesterfield, Edith Enid Scudamore-Stanhope, of Beningbrough Hall near York donated the sleigh to Hull Museums. Born in 1878, she was the daughter of Charles Wilson - the 1st Baron Nunburnholme and joint owner of Hull's famous Wilson Line shipping company.
Lady Chesterfield had a keen interest in horses and had spent her childhood at Warter Priory, her family's estate in Nunburnholme near Pocklington where this sleigh was used. The Wilson Line had close trading links with the Baltic and Russia. It can now be seen on display at the Streetlife Museum.
This BMW Isetta 300 motor tricycle, also known as the bubble car, was developed in Germany from a 1953 design by the Italian firm ISO, from which the name derives. These cars were built from 1954 - 1964 and were under licence in Britain from 1957 - 1964.
The design of the Isetta is attributed to Ermenegildo Preti, a respected professor and aeronautics engineer who in the early 1950s had sought to design a revolutionary small car.
The BMW version differs from the Italian version as it replaces the 236cc twin cylinder two stroke engine with a 245cc single cylinder four stroke. The British version also changed from twin rear wheels to the single rear wheel vehicle seen in this example on display at the Streetlife Museum.
This particular car was registered to a Hull owner from new in 1978. Its colour meant that it was nicknamed 'The Flying Banana'!
William Wilberforce was born in Hull in 1759. He was christened at Holy Trinity Church and attended Hull Grammar school for a classical education studying Latin and Ancient Greek.
Elected MP for Hull in 1780 and then MP for Yorkshire in 1784, he held office in Parliament for over 40 years and was known for his pleasant speaking voice, being nicknamed the ‘Nightingale of the Commons’.
Wilberforce worked tirelessly on the campaign to abolish the slave trade. Having made his first abolition speech in the House of Commons in 1789, the abolition bill was continually defeated in Parliament until the year 1807 when it was finally passed. Parliament gave a round of applause to Wilberforce who had tears running down his face.
This oil on canvas portrait shows William Wilberforce aged 29. It was painted by John Rising, c.1790. See it on display and find out more of Wilberforce’s story at Wilberforce House Museum.
This pin cushion dates from the First World War and was either acquired or made by a soldier who sent it to his sweetheart. Soldiers often made these pin cushions which could be bought in a ready to make kit in order to keep busy; needlework was thought to be a great way of occupying the mind.
The cushion is decorated with beads and silk panels. On the left hand side the pink ribbon message reads, 'Absence makes my heart grow fonder, though you're away I'll be true, I'm not the one to change my love, absence makes the heart grow fonder'. The right hand pink ribbon message reads, 'Think of me when the golden sun is sinking and your mind from care set free, when of others you are thinking will you sometimes think of me'.
The central panel indicates that the soldier was connected with the East Yorkshire Regiment. The ‘XV’ references the regiment's origins as the Fifteenth Regiment of Foot. The cushion can be viewed in more detail on display at Wilberforce House Museum.
Silversmiths worked from premises on Church Lane which was opposite Holy Trinity Church. They stamped their pieces with three crowns which represented the town's arms. From the late 1600s a change in the law dictated that silver had to be tested at an official assay office. The nearest office to Hull was situated in York, so silver manufacture slowly declined in Hull.
This silver porringer was made c.1650 by Hull silversmith James Birkby, whose workshop was on Church Lane. It has a squat baluster body and twin ribbed scroll-shaped handles that are topped by decorative masks. It is stamped twice with Hull's hallmark.
Porringers were used as small soup bowls or for hot drinks. The name comes from the word 'porridge' which in the 1600s meant a thick stew of meat and vegetables.
This example was made for Yorkshire-born Sir Thomas Herbert who was an English historian, Royalist supporter and close acquaintance of King Charles I. It is now part of the Hull Silver collection, and can be seen on display at Wilberforce House Museum.
This small wooden model has become iconic and is based on a British slave ship owned by Liverpool merchant Joseph Brooks. The Ship was one of nine vessels measured for the parliamentary enquiry into the slave trade in 1788.
The model was made c.1790-1 and was presented to the House of Commons by William Wilberforce as evidence of the brutal conditions endured by enslaved men, women and children during transportation from Africa across the Atlantic to the Americas. A paper diagram on the ship’s deck shows the cramped conditions and the limited space which each person would have been allocated. Handwritten notes partition different sections into the 'Boys Room', 'The Mens Room', 'Cabin / Girls Room' and 'Womens Room'. It is accompanied by a tin lid which is decorated with the inscription 'Wm. Wilberforce Esqr. to the House of Commons' in gold painted lettering.
William Wilberforce was MP for Hull and Yorkshire and led the Parliamentary movement to abolish the British slave trade. The “Brookes” ship model can be seen on display in his birthplace and childhood home, Wilberforce House Museum.
This exquisite dial face forms part of a long case clock. It shows both Roman and Arabic numerals and is hand decorated with floral designs and two atlas globes. The moon phase dial, often called a moon roller, in the top arch would have turned to reveal different scenes, including a sailing ship and the face of the moon.
The clock was made by Samuel North from Leconfield in the East Riding of Yorkshire. North was born in January 1737, and was the son of William North, also a clockmaker.
The inclusion of Roman and Arabic numerals is a useful dating guide, as typically any long case clocks that show both tend to be from the period c.1785 – 1825.
Long case clocks, also known as Grandfather clocks, became popular in the 18th century, and over time painted dials such as this one replaced earlier brass dials.
This example is part of a large collection of locally made time-pieces on display at Wilberforce House Museum.
Frederick Schultz Smith was a prolific artist in the Hull area between 1880 and 1920. This pen and ink drawing shows the bustling River Hull from North Bridge c.1880.
Smith's drawings represent visual 'snap shots' in time, often showing buildings and places in great detail either shortly before demolition or after construction. Many of his drawings were commissions for C.E. Fewster, a paint maker in Hull, who collected historical records. Others were produced for commercial reasons, and were often sold to the people who owned the premises he drew.
Smith's drawings mapped significant changes across the city during the late Victorian and Edwardian eras. He captured changes in architecture, street layout and even the introduction of electricity. The scope of his drawings range from key industries to small businesses, and from civic buildings to the slum-like dwellings that were once abundant in the city centre but have long since vanished.
Over 800 of his drawings are held by Hull Museums which, due to conservation issues, are not on public display. However, the F. S. Smith collection can be viewed on the Hull Museum collections website at: www.hullcc.gov.uk/museumcollections
This oil painting shows Alderman George Crowle, his wife Elianor and six of their children.
George Crowle was born in 1613. He was a wealthy merchant and influential citizen of Hull, becoming Sheriff in 1657 and Mayor in 1661 and 1679. In 1651 George married Elianor Kirikby (or Kirkby) and they went on to have fifteen children.
George and Elianor were charitable benefactors and contributed much to the town of Hull. They founded Crowles Hospital, an almshouse for poor people, on Sewer Lane in 1661.
The Crowles had strong connections with Holy Trinity Church. George was Church Warden and Elianor was the chief benefactor of the Library. Elianor gifted a silver alms dish to the church in 1664 which is now on display in Wilberforce House Museum. The Crowle family lived at 41 High Street, a property which still stands today and is identified by a blue plaque.
George and Elianor are buried in Holy Trinity Church. This painting of their family can be seen on display at Hands on History Museum.
Mrs Emily Clapham opened a dress making salon in Hull in 1887, which by the 1890's was highly regarded and attracted world-wide attention for the quality and style of its creations. Able to maintain a high profile clientele, Madame Clapham designed high quality, bespoke garments for the rich and famous, including Queen Maud of Norway.
This maroon velvet and cream lace evening gown was made c.1897 by the renowned Hull dressmaker. It was worn by either Sarah Davis or her daughter, who were members of the family who established the Edwin Davis department store on Market Place in Hull, next to Holy Trinity Church.
Madame Clapham's reputation as a fine dressmaker was at its height from 1890 until the outbreak of the First World War. As her reputation grew she received many orders for dresses for young ladies to be presented at court during the "coming out" season. She added the title of Court Dressmaker to her salon's labels as a mark of her highly regarded reputation.
Learn more about Madame Clapham at Hull’s Hand’s on History Museum.
This painted wooden funerary boat, c.1990BC, was buried in the tomb of an ancient Egyptian official. It was discovered between 1902-1904 by the Egyptologist John Garstang during excavations at the site of Beni Hasan in central Egypt. It had been placed on top of the coffin of the tomb owner, Tjay, alongside a second boat now in Bristol Museum.
There are nine figures in the boat. One holds a long rudder which he uses to steer it. The other eight men are rowers, although their oars have not survived. Models were left in Egyptian tombs in the hope that they would provide for people after death. In Tjay’s tomb, they included a granary, a bakery and a butchers. Model boats were intended to transport the deceased to the afterlife.
The boat can be seen on display at Hull’s Hands on History Museum. The museum is also home to a real mummy and a unique collection of replica items from the tomb of Tutankhamun, which were created for the British Empire Exhibition of 1924.
Henry's Gun is the stave-built iron barrel and breech of a Tudor 'port-piece' - an early gun for use against ships. It was found at the site of Hull's South Blockhouse near where The Deep is today and would have been one of several set up to protect the Old Harbour in the mouth of the River Hull.
Such guns had a short range of about 500 metres. They fired solid stone balls designed to penetrate the side of a ship, or bags of flint and scrap iron which spread like shot-gun pellets to shred its crew and rigging.
The South Blockhouse formed part of the fortifications built between 1541 and 1543 by Henry VIII along the east bank of the River Hull. Henry's fortifications completed the circuit of Hull's defences and were meant to maintain royal control over this strategic port.
Henry's Gun is now one of only four of its type to survive worldwide and makes a huge and impressive spectacle at the entrance to the Hull and East Riding Museum.
In 1836, labourers discovered a group of carved wooden figures whilst cleaning a ditch at Roos Carr, near Withernsea. At least five figures were recovered, together with a piece of wood resembling a boat decorated with a snake's head prow.
The boat and four of the figures were given to the Hull Literary and Philosophical Society and eventually became part of the collections of Hull Museums. A fifth figure was acquired in 1902. One of the finders had apparently given the 'ancient doll' to his daughter to play with!
Modern examination has established that the figures are carved from yew wood and have quartzite eyes, while radion carbon dating has shown them to be about 2,600 years old. While nine other comparable figures have been found in Britain, the Roos Carr figures in their boat are the only group known.
But who are they? There have been many theories over the years - from Noah and his family to Viking warriors! Modern archaeologists consider them to be votive offerings of some kind, perhaps gods or ancestral figures. What is certain is that the Roos Carr figures will continue to fascinate and intrigue us for many years to come, and can currently be seen on display at Hull and East Riding Museum.
This rare and striking Iron Age sword was found by accident in 1902 while estate workers were digging post-holes on Lord Middleton's land near North Grimston. J.R. Mortimer - the pioneering early archaeologist and Driffield corn merchant - was called in and published the extraordinary find in his book 'Forty Years Researches in British and Saxon Burial Mounds of East Yorkshire' in 1905.
The diggers had uncovered the burial place of an important Iron Age warrior. As well as the famous short-sword with its bronze hilt in the shape of a human head, there was another much longer iron sword, two iron rings probably from the sword belt and the fragmentary remains of a shield in the form of pieces of bronze binding.
The North Grimston sword is one of a small number of similar weapons found across Celtic Europe which feature a human figure forming the hilt. Other examples come from Hungary, northern Italy, Switzerland and France. Ownership of such a rare item marks the man buried at North Grimston out to be one of the most important people in Iron Age East Yorkshire.
This sword can now be seen on display at Hull and East Riding Museum.
The Charioteer Mosaic is one of the most striking and unusual mosaics to have been found so far in Britain. Named after the central figure standing on a 'quadriga' or four-horse chariot, it paved a large room at a 4th century AD villa near Rudston, East Yorkshire.
The Charioteer holds symbols of victory : a palm-frond and a wreath. He wears a crash helmet and a leather corslet to protect him in the event of an accident. His red tunic suggests he drives for the 'russato factio', the red club.
The central roundel is only part of this beautiful mosaic. There are also representations of the Four Seasons in the corners. Spring has a swallow on her shoulder and is very skilfully crafted using specially-shaped tesserae, an unusual feature in Romano-British mosaics.
The collection of Roman mosaics on display at the Hull and East Riding Museum are hidden gems of the region and a must-see for anyone visiting the city.
This small, but beautifully formed, gold and garnet pendant was buried with a young woman excavated from the Anglo-Saxon cemetery at Garton Green Lane Crossing, East Yorkshire in 1871. She was also buried with silver earrings, a necklace, a cylindrical bronze 'thread box' and an iron-bound bucket. The number and quality of her grave-goods points to her importance within her community.
The cemetery was excavated by J.R.Mortimer, a Driffield corn merchant and pioneering early archaeologist who spent a lifetime excavating the burial mounds and cemeteries of the Yorkshire Wolds. Many of the objects in the Prehistoric and Anglo-Saxon collections at the Hull and East Riding Museum were found by him.
Unlike some of his contemporaries, Mortimer was very careful to record all his excavations and his detailed plans and notes form one of the most important archives of early archaeology in the country. An award from the Designated Development Fund is enabling vital documentation and assessment work to be carried out on the collection so that this fascinating resource can be fully utilised long into the future.
This pendant can be seen on display at Hull and East Riding Museum in the Medieval Gallery.