2024 marks the beginning of a very exciting project for Aberdeen Archives, Gallery & Museums, as we undertake a collection review of over 1000 objects that have not been researched for a long time.
As Rationalisation Officer it is my job to look through the shelves of objects and see what stories and histories these objects might hold and where they fit into the rest of our collection. It’s now a few months into the project and with the help of our amazing volunteers, the rest of our highly skilled collections team and some helpful insights from the public; we’ve discovered some interesting objects.
Apple IIe computer
Though it may look a little clunky by today’s standards of smart phones, iPads and laptops; the Apple IIe was the height of modern computing technology when it was released in January 1983. Successor to the Apple II+, the ‘e’ stood for 'enhanced', and at the time, it certainly warranted the name.
Apple had, under lead designer Steve Wozniak, already made massive strides in technology with the earlier Apple II. The pioneering 8 bit Apple II was the first Apple computer to come complete with a standardised moulded plastic case, rather than the stand alone motherboard of the Apple I. The Apple I had required consumers to fashion their own cases from all manner of things; from wood to briefcases. The Apple II on the other hand, was fully equipped for the modern consumer of 1977, spearheading many things we take for granted today and making early steps towards personal home computing.
Looking to move towards a more business focused product, Apple decided to start from scratch with the Apple III code named Lisa, doing away with many of the complex engineering that Wozniak had developed for the Apple II. This along with the one year deadline that engineers where given to provide revolutionary new features, such as 80 column text, proved to be a disastrous decision and the Apple III did not live up to the expectations the company had for the machine.
With the situation at the company looking less than favourable, they finally looked back to the strengths of the Apple II and II+ to find their way forward after the huge set back of the Apple III. Enter the Apple IIe, this new machine was the first Apple machine with a ASCII keyboard making the addition of lower and upper case possible as well as the 80 column text the company had so desired in the Apple III. Many computer features we use on a daily basis at work, school and home were used for the first time by Apple IIe users including the delete and tab keys. The Apple IIe stands as a relic of the early developments that came to shape the modern world of technology as we know it.
Hand Painted Tulip Mirror
Tulips have had a long and interesting history, influencing the art world and even the economy in the 17th Century. The flower has been a muse for artists from Monet to Jeff Koons and was even the subject of an alleged economic craze in the Netherlands known as 'Tulipmania'. While the accounts of Tulipmania are largely exaggerated, the influence of the tulip on culture cannot be denied. One of the most prominent influences the tulip on the arts was in the work produced by the Arts and Crafts movement. The delicate naturalistic form of the flower became a symbol to subvert the imagery of industrialisation. It was featured prominently in the work of William Morris and later in the word of Rene Lalique and designer Eero Saarinen. Perhaps the most famous use of the tulip motif in the arts and crafts movement was in the work of Charles Rene Mackintosh himself, who used the flower repeatedly in his furniture designs and even painted them in watercolour. The creator of this hand mirror is unknown but the soft interwoven tulip design is reminiscent of the arts and crafts movement.
Bone or Horn Netsuke
This small object is likely to be a Japanese netsuke, carved from bone or horn. These small ornate sculptural pieces are an example of a practical need being supplemented with ornate and beautiful craftsmanship.
During the 17th Century in Japan, the kimono was the common garment worn regardless of gender or class. These beautiful robes spanned from being simple in decoration to incredibly ornate. One problem that arose from wearing a kimono was the garment did not have any pockets. Smaller objects could be kept in the wearer’s sleeves, however for money, medicine, seals, tobacco and anything else a person may wish to carry; a solution was needed. This led to the incorporation of sagemono into Japanese dress, which translates from Japanese to 'Hanging Thing'.
Sagemono came in many different forms from coin purses to pouches however one of the most interesting variations of sagemono were inro boxes. These ornate cases contained many compartments for storing personal items and were attached to the wearers obi belt. To do this they required a netsuke; the sculptural toggle or pendant which attached to the opposite end of the cord and a bead to tighten the cord, affixing the object to the obi. These netsuke only required the presence of two holes (or in rare cases one) to thread the cord through, and nothing sharp or protruding that may snag on the wearer’s kimono. Other than these conditions, artisan craftsmen could fashion them into whatever shape they desired. Netsuke were often made from wood, bone, ivory, horn and tusk. Netsuke designs are often playful, unusual, ornate and incredibly detailed and stand as small wearable sculptures.
Barvas Ware Tea set
This tea set’s unusual design has been recently identified as Barvas Ware. The name comes from the place they originate; the village of Barvas on the Isle of Lewis. tea sets like these were made by local women in the tradition of craggans to imitate the fine china of Staffordshire and the Scottish Lowlands after pieces from major factories had been introduced to Lewis.
Craggans are hand built pots used for storing food and oils, which were made in the Hebrides for around seven hundred years. Barvas Ware was intended to combine outside influences with traditional craft, rather than imitate it, which is why the traditional techniques were incorporated. This gave the pieces a rustic appearance but with a more contemporary form.
The teapots tend to have a distinctive pointed handle and the sugar bowls often have a defined ‘pastry cutter’ edge. There are sometimes simple decorations to the surface and even relief work in some cases.
Barvas Ware is traditionally hand built, glazed with milk and low-fired in a peat hearth. These tea sets were made from the 19th Century until the 1930s and thought to be made primarily for sale as souvenirs on the mainland. They are usually quite porous, and the spouts of the teapots are often blocked with clay making them ineffectual for practical use.
Caithness Glass Bud Vases
Glassware can be difficult to identify, as glass makers do not brand their work with makers marks like ceramicists do. Identification relies on physical characteristics, which is how these Caithness Glass vases were identified.
These vases are Caithness glass 4022 slim bud vases in 'Peat' and ‘Loch Blue’, made in Scotland by Domhnall O'Broin. O’Broin was an early pioneer of the firm and while the collection contains several pieces of Caithness glass, these are the only pieces designed by O’Broin in the early years of the firm. O’Broin was very inspired by Scottish landscapes and it influenced his designs at Caithness glass, as is evident in pieces like these from the ‘Stroma’ series. His work incorporated the colours of the Scottish landscape into Scandinavian inspired forms.
Domhnall O’Broin had an illustrious career and made many contributions to glass design and technology as a designer and master engraver. He even designed and engraved impressive presentation pieces for the likes of German Chancellor, Ludwig Erhardt, and Prince Philip. He was integral to the establishment of Caithness Glass, having specified equipment, contributing start up capital and sourcing the finest glass workers from Italy, Austria and Germany to train the workers at the factory and also employed Paul Ysart as a factory supervisor. Domhnall O’Broin was the only designer in the company and in 1965 became director before he eventually emigrated to the US. His work at Caithness Glass is a testament to his legacy as a giant of 20th Century glass.
The Rationalisation project has given us a chance to look with a critical eye at some of the objects that have not been researched for a long time. You can keep up to date with other interesting finds from the project with our object of the week posts on threads and twitter and see our exhibition ‘What’s Your Treasure? – Museum Misfits’ at our Hub Open days. You can also let us know what you think of the objects from the review. Do you have any information about them? Do you think they fit with the collection? Let us know your views by contacting us at https://www.aberdeencity.gov.uk/AAGM/about-us/contact-us
