Liam Story and Maddie Harris were with us at the beginning of April.
We are both history students currently studying at the University of Exeter, both raised in the local area, and still live here when we are not at University. As such, the Salisbury Museum was an obvious choice for us, we both have an interest in local history and knew that this would be the perfect place to further our knowledge and gain some valuable experience in the workings of a museum.
our placement at the Salisbury Museum, from Monday the 1st of April
to Friday the 5th, we took part in a number of different activities.
This ranged from cataloguing to behind the scenes tours.
Our week began with an induction tour of the building, learning about the brief history of some of the exhibitions. Later that day, we had a spotlight tour which further sparked our interest in objects within the museum and its displays. For Liam this was the fascinating Drainage Collection, and for Maddie it was the Creative Wiltshire Art Exhibition. The following day, we had a buildings tour which taught us about the extensive history of the building which stretches back to the 13th century, and about the King’s Room. Interestingly, James I of England stayed here on two separate occasions, in 1610 and 1613. This room is now occupied by the Wedgewood Collection. Later the building became a teachers’ training college, and inspired Thomas Hardy, whose sisters attended here. Our final tour came on Thursday which was a behind the scenes tour, and this highlighted the sheer amount of work that goes in to cataloging and preserving Salisbury Museum collections.
We were fortunate
enough to assist a number of the hard-working volunteers in cataloguing some of
the collections. This started with the ceramics collection on Monday, where we
had to measure a magnificent Toby Jug and input this into a system called
Modes, which deals with the vast number of objects the museum holds (which is
currently over 91,000). On Tuesday, we spent the afternoon wrapping and
labelling the Social History Collection, including a World War Two gas mask. Also
a particularly fascinating object was a Scold’s Bridle, a crude item used by
men to silence their wives. On Wednesday, we helped to photograph and measure
some of the wonderful costumes donated to the museum by local people. Finally,
on Friday, we were lucky to be able to view the Rex Whistler Archive, one of
the largest in England, this ranges from sketchbooks containing small scribbles
and architectural drawings to letters and correspondences. The museum displays
five of Whistlers original oil paintings, three of which contain Edith Olivier
and her Daye House estate in Wilton Park.
would like to say a massive thank you to the Salisbury Museum, and all its
staff and volunteers for welcoming us and giving us this great opportunity.
This experience has been unique, and has exceeded our expectations. Not enough
credit goes to the staff behind the scenes of museums, and has definitely
opened our eyes to the large amount of work that occurs to help with the
preservation of the archives, and the research which goes on to put together an
An email came in recently for Volunteer Alan Clarke who we all know – he looks after our photographic archive. Here is the story….
“…I live in Whiteparish, I’m interested in finding the negative to a picture that was taken on the 15th June 1966 at Alderbury Sports field. It was printed in the Salisbury Times on the 17th June, on page 14. I have spoken to a professional colleague of yours … who advised me that if the negative existed you would know where to look.
The picture is of Whiteparish Junior School at a sports day in Alderbury (which we won). I would like to enlarge the picture from the original negative and identify as many of the children (who are now very much older) and hang it in the new Village Hall at Whiteparish.
I would very much appreciate your invaluable help to see if the negative still exists,
Many thanks and kind regards….”
“It looks as though you might be in luck.
Salisbury museum has three images. The Newspaper
archivist only kept some of the negatives, not all.
We are scanning all the negatives at high resolution.
You should be able to download the images attached her. (See below)
The image size should be suitable for a modest sized print.”
We can provide at a far larger resolution if required.
And a further email from a satisfied customer…
“Thank you so much, that’s absolutely fantastic. It’s more than I could have hoped for!”
One of our ‘costume ladies’, museum Volunteer and member of the Arts Society, Sarah Brumfitt, models a very unusual Georgina Von Etzdorf stole from our collection.
Georgina von Etzdorf is a British textile designer whose fashion label is renowned for its luxurious velvet scarves and clothing accessories, worn by royalty and celebrities . Much of her work has emanated from, as she describes it, a barn near Salisbury. We now have some of it here at the museum.
The stole is called ‘Hands’. Look again and see why! It is from a collection called ‘The Sun’s Anvil’ and was designed in 1998 for the Spring Collection that year. The pattern was laser cut on a gold a silver fabric.
Her fabrics have been mainly made into jackets, gowns scarves and ties; also into gloves, belts hats and sleep wear.
‘The Origins of Photography in Salisbury, 1839-1913’
exhibition reminded me of a box of 22 glass lantern slides I had stowed away,
given to me by a former rector of St Paul’s Church, probably in the late 1960s.
A lantern slide is a glass transparency that is viewed using a slide
projector that casts an image onto a wall or other suitable surface. The light
source evolved over time from oil lamps through limelight, carbon arc lamps,
and finally electric light. Prior to the invention of photography, painted
images on glass were projected for entertainment.
The photographic lantern slide was invented during the 1840s by the
Philadelphian daguerreotypists, William and Frederick Langenheim, when they first used a glass plate negative to print
onto another sheet of glass, thus creating a transparent positive image that
could be projected. These were used well into the 20th century for displaying photographic
images for entertainment and educational purposes. They could be mass-produced
and were thus easily available and affordable.
Lantern slides were created by placing a dry plate negative directly onto
light-sensitive glass, which was dried, fitted with a cover glass and sealed
with tape. Sometimes a black and white photographic image was hand-coloured
with special inks before covering.
Among my lantern slides were seven of astronomical interest: two of the full Moon, taken at the Lick Observatory1, four of comets taken in 1906 and 1908 and one of the 1889 solar eclipse. The latter was labelled ‘R.A.S. No. 1. 1889 solar eclipse. Pickering’ (Fig 1) and was accompanied by a snippet from ‘The Observatory’, “provided by the NASA Astrophysics Data System”.
Part of the magazine snippet read,
“American astronomers are to be cordially
congratulated on the brilliant success which has attended their efforts to make
the most of the late eclipse. It was not a favourable eclipse in many ways; the
duration of totality was short, and winter is not the best time for
observations; indeed some of the intending observers found it too cold to make
the drawings they wished. But the central line was more readily reached than
usual; indeed, though no fixed observatory was actually on the line, several
were within a comparatively easy distance of it, and the partial phase was
visible both at Lick1 and
Washington. It is satisfactory to find that the advantages thus offered for
bringing to bear larger telescopes than those which have hitherto been
selected, on the score of portability, were fully recognised; and for the first
time we find a 13-in. telescope used to photograph the corona., Mr W.H.
Pickering having taken from Harvard the instrument provided by the Boyden Fund”.
This eclipse was visible across western United States, and central Canada. Partiality was visible
across the northern Pacific Ocean including Hawaii,
and all of the United States.
William Henry Pickering (Fig.2) was the younger brother of the distinguished astrophysicist E.C. Pickering, and was born in Boston, Massachusetts, on 15 February 1858. He was educated at the Massachusetts Institute of Technology, where his brother had been professor of physics; and both were associated with Harvard University virtually their entire professional lives. Thus both were later directors of Harvard Observatory facilities; Edward serving as the Director of the principle observatory for over four decades and William serving as the director of several Harvard substation observatories; one in Jamaica, another near Mt. Wilson and another, Boyden Station in Peru. William was appointed an assistant professor at Harvard observatory in 1887 and set up Harvard’s Boyden Station at Arequipa, Peru in 1891. Around 1900 he led expeditions to Jamaica, and from 1911 he was in charge of a permanent Harvard observing station there. On retiring in 1924 the Jamaica station became Pickering’s private observatory.
William Pickering was a pioneer in dry-plate celestial photography, and the Harvard photographic sky survey was undertaken at his suggestion. He also made extensive visual observations of the planets and their satellites and in 1888 he produced some of the earliest photographs of Mars, using blue-sensitive plates and the 13-inch Boyden refractor telescope2 (Fig 3).
He reported “oases” on Mars (1892), and claimed short rotation periods (now
known to be incorrect) for Jupiter’s Galilean satellites.
In 1899 Pickering,
in a search for possible new satellites of Saturn, had photographic plates
taken, on which he discovered Phoebe, and demonstrated that it has a retrograde
orbit. Saturn was the first planet known to possess both direct and retrograde
From 1907 Pickering
paid considerable attention to predicting the location of trans-Neptunian
planets; and after Pluto was discovered, faint images of it were located on
plates taken for him in 1919. Although Percival Lowell is generally accorded
greater credit for this discovery, Pickering’s
observation was quite independent and more accurate in many respects.In 1924, Pickering
came up with a seemingly bizarre and ridiculous idea. He had recorded apparent changes in the
albedo of the lunar surface, which he attributed to hoarfrost and vegetation,
and suggested that changing shadows on
the floor of the crater, Eratosthenes could be swarms of insects or herds of
small animals. These ideas, however, are perhaps not quite so fantastic as they
first appear; one should recall that as recently as the 1960’s the possibility
of lunar life forms was taken sufficiently seriously to require the first
Apollo crews returning from the Moon to undergo extensive decontamination and quarantine protocols. Peter
Ryan in his book, ‘The Invasion of the Moon 1957-70’ (Penguin, 1969) wrote:
decimation of many primitive or isolated earth communities upon first contact
with diseases common to the ‘civilised’ world, NASA had been under pressure
from many scientists to take steps to prevent a repetition in the space
I have donated this whole set of lantern slides to the
Museum and Volunteer Alan Clarke has informed the Director, Adrian Green, that
these slides, together with two other sets of lantern slides, constitute a collection of
Lick Observatory. Lick Observatory is the world’s first permanently occupied mountain-top astronomical observatory, owned and operated by the University of California. It is situated on the summit of Mount Hamilton, near San Jose, California.
Boyden 13-inch refractor telescope. This was constructed in 1888 by Alvan Clark & Sons for Harvard College Observatory. In 1889 it was relocated to Mount Wilson Observatory in California. During its time at Harvard and Mt. Wilson, Pickering used it to take some of the earliest photographs of Mars, and the following year it was moved again to Harvard’s southern station at Arequipa in Peru.
Our hugely knowledgeable costume Volunteers, also members of the Art Society, have uncovered some treasures recently. They, and other Volunteers, are systematically unpacking, checking, re-cataloging and re-packing the museum’s huge and important collection of costume. Week by week anything and everything which broadly comes under the heading of costume is lovingly poured over.
A fortnight ago, a petticoat of white lawn cotton and lace was unpacked by Volunteers Caroline Lanyon, Sarah Brumfitt, Selina Chudleigh, Pam Balchin. Dating from 1901, it had belonged to the donor’s mother and had been part of her trousseau that year. It had been made by Queen Victoria’s underwear seamstress. We might conjecture that, Queen Victoria having died in 1901, the seamstress had sought new customers elsewhere. and so produced this beautiful garment.
The Volunteers described the petticoat as follows:
“This lawn and lace petticoat is made in narrow vertical panels on the bodice in white work and tucked lawn cotton. The sides are gently shaped with tucked V shaped horizontal panels in lawn and the lace shaped with godet darts. The hem of 400mm depth has horizontal panels of cotton lawn and lace. Many of the panels are joined a ladder stitch insertion. The back has a gusset opening to the hips and is fastened by eight covered buttons. The button holes are hand made with two top hand-worked loops.”
In an earlier blog (5 March) we had two photographs, passed across to us by photographic archive Volunteer Alan Clarke. We asked if any of the people who appeared could be named, and received the following…. from none other than Peter Saunders, Curator Emeritus, and special friend of the museum.
“I don’t recall who the ‘gentlemen’ are but the thin chap with the luxuriant hair, moustache, and wearing the same tweed jacket in the photos – with the uniform of the Wilts Local Volunteers in 1977, and the Home Guard trophies in 1976 – is the then curator, me. The photos were taken while still in the old museum in St Ann Street. I note that the long hair continued in fashion into the 1980s, though by then the parting had changed sides…”
“… the photo of me with the Giant and Hob Nob and the fire engine from Downton was taken in 1981 when we had just successfully brought these treasures from St Ann Street to the new museum site, the King’s House. The fire engine was transported on an AA trailer and, dated 1768, was said to be the oldest vehicle ‘rescued’ by the AA in Salisbury. I’m smiling that our largest objects had arrived safely, and in the knowledge that we were about to engage in a little sleight of hand. It’s little-known that when onlookers and the press had departed, these objects, enormous compared with all the new museum’s doors, were walked to the rear of the building to be located in what was to become the Salisbury gallery. Few saw us unceremoniously easing them through a wall that had to be partially demolished to allow access.”
Thank you Peter! We should have recognised you anywhere!
Last week, Volunteer Christine Mason wrote for us about the remarkable story of her involvement with the museum’s Rex Whistler archive. Thanks to this talented lady, some of the Whistler story is spreading far and wide…
Nothing of what happened throughout 2018 in preparation for the show would have been possible without the help, enthusiasm and encouragement of Louise Tunnard, and it was a gamble for her, as if the event wasn’t a success the museum stood to lose money.
that there should be two readers, male and female, and I was very fortunate
that two professional actor friends, Jill Fenner and Edward Halsted, expressed
interest, so it was up to me to produce a script that would appeal to them. I
started, naturally, by reading every item in the correspondence section of the
archive, approximately 700 items, but of those 700, although some were just a single
sheet, others were six or more pages long.
I selected about 59 possibilities to work on. In the case of transcripts I could photocopy
them to take home, but for the originals the photographs on Modes had to be
retrieved, and here I was greatly indebted to volunteer David Balston for doing
that. Bearing in mind always that the
performance had to be strictly of an hour’s duration was a good discipline when
it came to editing the letters. The
first lines to go were the apologies that began almost every letter. I have said that Whistler was a reluctant
letter writer, and his correspondents always had to wait a long time for
replies, even when commissions were being offered. Repetition, references to people or events
unknown today also disappeared. Finally
27 letters and one envelope made up the script.
Once the shape was in place I had to provide a linking narrative, and
decide on the division of the letters between the readers, which was roughly
that the female would read letters addressed to women and the male those to
men, but this was not strictly adhered to.
The title, ‘Darling Edith and others’ was arrived at by Louise and me
over a lunchtime sandwich, and she designed the attractive poster advertising the
event. So with the script done, and
timed with helpful friends reading aloud with me, copies were sent to the
actors, who fortunately were both enthusiastic about it.
the script was completed, I was stewarding in the Henry Lamb exhibition, and
one of the visitors was Katherine Olivier, the great-niece of the Darling Edith
of the title. We talked, and she said
she lived in America so would not be able to come to the performance, but at
her request I sent her a copy of the script, which she reviewed very kindly and
script completed and accepted, I then had to think about the staging, bearing
in mind the limitations of the Lecture Hall as a performance venue, with its
very low stage making for difficult sightlines, and the lack of effective
lighting. Any staging, however minimal,
is a costly business. Both actors had
offered to waive their fees, but this could not be allowed. Louise negotiated with Edward’s agent, and
Jill’s costs and other expenses were sponsored.
These included a dress being made to a 1930s pattern for Jill, and a
donation to Salisbury Playhouse for the loan of furnishings, for which they
generously had made no charge, and had given me a freehand to pick anything I
wanted even including a vase of artificial flowers from the theatre’s
foyer. Other items to dress the set and
genuine 1930s jewellery were scrounged from friends. A superb copy of the self-portrait held by
the museum was made, and two personal items from the archive also helped dress
the set, Whistler’s Welsh Guard’s cap and the drinks flask he carried.
months before the date of the show, Jill and Edward came to Salisbury for a
rehearsal one Saturday when the Lecture Hall was not in use. This was our only rehearsal before the actual
day, and all other notes and directions were conducted by e-mail between the
three of us, but I could not have wished for more co-operative and amenable
morning of 7th December we were to rehearse and set the stage, so it
was disconcerting to arrive and find a decorated, artificial Christmas tree on
the acting area and the hall bedecked with totally inappropriate bunting. Fortunately, Jill’s partner who worked for years
backstage at the Coliseum for English National Opera, removed the bunting with
Wagnerian thoroughness, but his fight with the Christmas tree was more in the
style of opera comique, and apologies
if the tree was never the same again.
To our great
relief the evening was completely sold out, and the performance went
smoothly. It had to end with a
black-out, which was difficult to do, so I hid on stage behind a screen before
the audience arrived, and Louise joined me after her introduction. We had to have four hands on four switches to
achieve the black-out, and we had been unable to synchronise this at the afternoon’s
rehearsal, but by a miracle we managed it when it mattered.
It is very
gratifying, that after so many months’ work by everyone involved, ‘Darling
Edith and Others’ will be seen again.
Lewes Little Theatre, Sussex, with a suitable donation to the museum,
has programmed it into their next season as a Sunday afternoon foyer
performance on 31st May 2020, so if you missed it in Salisbury. . .
The artist Rex Whistler, 1905-1944, is less well known than his contemporary Eric Ravilious, 1903-1942. One only has to look at the greetings cards in the museum shop to realise that. Both were killed in World War II, both at the age of 39, and at the height of their powers with so much more to give. Salisbury Museum is in a unique position to promote Rex Whistler’s work to a wider audience.
been retrospective exhibitions of Whistler, notably the Army Museum 1994,
Brighton Art Gallery 2006 and Salisbury Museum 2013. Whistler’s younger brother, Laurence, amassed
a huge archive of everything and anything connected with his sibling, and this
remained with the family after Laurence’s own death, and was purchased by the
museum after the 2013 exhibition. It is
the most appropriate home for it, as a few years before his death Whistler had
taken a lease on 69 The Close, a near neighbour of the museum.
volunteer steward at the 2013 exhibition, I was invited to an evening’s viewing
of part of the archive soon after its arrival.
This was heaped on the tables in the Meetings Room, and it was almost
impossible to pick out what to look at first, and the Director assured us it
was only a small sample of the whole collection, which had never been fully
catalogued. In the five years since
then, and most importantly, almost everything has been stored in protective
sleeves where necessary, and proper storage boxes. Where Laurence had put items into manila
envelopes or similar, the contents have been removed, and the envelopes kept
and added to the records, as they often provide clues on what they previously
held. The cataloguing continues, and the
collection has been photographed. As the
cataloguing records are completed in longhand in pencil, the details are then
transferred to Modes.
The cost of
holding the archive did not stop with its purchase. The materials for its protection are
expensive, and some of the original works of art are in need of conservation,
having been kept in unsuitable conditions or folded when they should have been
is, of course, available to bona fide
researchers, and the Talking Objects scheme adopted by the museum during summer
months, has given a wider public a taste of Whistler’s enormous talent in
portraiture, mural painting, book illustration, film and theatre design,
advertising, etc., etc. This small
selection also includes photographs and some of his correspondence, he being a
reluctant but skilled letter writer, even though his spelling was always
was asked to give an illustrated talk to fellow volunteers, which I did. Subsequently I took this talk to an outside
group, and a generous cheque was sent by them to the museum, and further
bookings are in the pipeline with the possibility of more fees for the museum.
This gave me the idea of using the archive as performance matter, rather than lecture material, and early in 2018 it was agreed that something along those lines could be programmed into the museum’s events calendar. I was given the date of 7th December to work towards, and I decided to base the evening on the correspondence tracing Whistler’s life from a 12 year old boy just starting at boarding school, through his work and the high society life of the 20s and 30s to his army service with the Welsh Guards from 1940 until his death in 1944.
This fascinating account of a Volunteer’s interest becoming a public performance is continued next week… Thank you Christine!
Volunteer Alan Clarke, who, as regulars will know, looks after our photographic archive, has sent in two apparently random photographs, from the collection, for us to enjoy.
But they are not random of course. Both the Home Guard of the 1940s and the local volunteers of the eighteenth century had taken on the same task- when all else failed, when the enemy was ‘at the gate’, they would defend it.
Volunteer forces were set up after 1859 when the government realised that half the British army was scattered to foreign parts, defending the Empire. In the Crimean War (1853- 56) even the yeomanry (volunteer cavalry regiments raised from landowners) had been sent out to make up numbers. Some arrangement was needed to defend things closer to home.
Wikipedia includes this about the volunteer forces:
Corps were only to be formed on the recommendation of the county’s lord-lieutenant.
Officers were to hold their commissions from the lord-lieutenant
Members of the corps were to swear an oath of allegiance before a justice of the peace, deputy lieutenant or commissioned officer of the corps.
The force was liable to be called out “in case of actual invasion, or of appearance of an enemy in force on the coast, or in case of rebellion arising in either of these emergencies.”
While under arms volunteers were subject to military law and were entitled to be billeted and to receive regular army pay.
Members were not permitted to quit the force during actual military service, and at other times had to give fourteen days notice before being permitted to leave the corps.
Members were to be returned as “effective” if they had attended eight days drill and exercise in four months, or 24 days within a year.
The members of the corps were to provide their own arms and equipment, and were to defray all costs except when assembled for actual service.
Volunteers were also permitted to choose the design of their uniforms, subject to the lord-lieutenant’s approval.
Although volunteers were to pay for their own firearms, they were to be provided under the superintendence of the War Office, so as to ensure uniformity of gauge.
The number of officers and private men in each county and corps was to be settled by the War Office, based on the lord-lieutenant’s recommendation.
The website of the Wardrobe, the museum of the infantry regiments of Berkshire and Wiltshire (also in the Close – a neighbour of ours), says this about our volunteer regiments, some early versions of which already existed in the county when things were formalised in 1859:
In 1860 the volunteer units were formed into two Battalions of Rifle Volunteers, each 1000 strong. The 1st covered the Southern half of the county with its headquarters at Salisbury, and included Wilton, Warminster, Westbury, Trowbridge and Bradford on Avon. The Northern half embraced the 2nd Battalion and included Devizes, Market Lavington, Chippenham, Calne, and Swindon. In the Cardwell reforms of 1881 the volunteer units were incorporated into the Regimental District. Before being organised into battalions the uniforms of the volunteer corps were bright varied and original. The Wiltshire uniforms were based on “Rifle green and black and remained so right up to 1914. The original uniform of the 1st Battalion was dark green with black lace, similar to that of the rifle brigade. The original Badge was two rakes crossed, with, in the centre, the historic barrel and moon of the Moonraker legend. It was consider merging the two battalions at this stage but no action was taken to facilitate this for twenty two years. About 1889 the 1st and 2nd Battalions, Wiltshire Rifle Volunteers, were renamed respectively the 1st Wiltshire Volunteer Rifle Corps, and the 2nd Volunteer Battalion the Wiltshire Regiment. In 1900, during the Boer War, a volunteer Company was recruited from the two volunteer Battalions as reinforcement to the 2nd Battalion on active service in South Africa. The company was commanded by Viscount Folkestone, joining the Regiment in Bloemfontein in April 1900, and returned home at the completion of its year of service, having seen much active service, and having proved itself in all respects up to the standards of regular troops.
If you are interested in reading more, do visit their website, or plan a visit!
Whether or not the description of the uniform matches the one in our photo is for you to decide. Alan does not give us any clues. If there are any experts in military history amongst our readers it would be good to know exactly what the photograph does show. Some thoughts to be going on with – the colour of the uniform does not seem to be green, the style is earlier than 1859 (perhaps late 18th century) and the cap badge is probably GR – one of the Georges…..
Meanwhile, the very mention of the Home Guard raises a smile, due in part to a certain very popular comedy TV series. However, when Churchill said “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.” it would have been the Home Guard which, amongst others, would have swung in to action. Road signs had already been taken down to try and confuse the enemy if they landed. Documents from the time (this sort of thing is available in local records offices), show that in one village in Dorset, the then secret orders to the Home Guard commander were, that in the case of a landing by the enemy. a cart should be pulled across the bridge on the outskirts in order to stop their advance. A cart.
Again, we may be tempted to smile, even mock, but imagine knowing that the cart was your last defence, that there would be nothing else you could do and you would be expected to do it. And they would have done, too…
“The Home Guard (initially Local Defence Volunteers or LDV) was an armed civilian militia supporting the British Army. Operational from 1940 until 1944, the Home Guard was composed of 1.5 million local volunteers otherwise ineligible for military service, such as those too young or too old to join the regular armed services (regular military service was restricted to those aged 18 to 41); or those in reserved occupations. Excluding those already in the armed services, the civilian police or civil defence, approximately one-in-five men were volunteers. Their role was to act as a secondary defence force, in case of invasion by the forces of Nazi Germany and their allies.
The Home Guard were to try to slow down the advance of the enemy, even by a few hours in order to give the regular troops time to regroup; and also to defend key communications points and factories in rear areas against possible capture by paratroops or fifth columnists. The Home Guard continued to man roadblocks and guard the coastal areas of the United Kingdom and other important places such as airfields, factories and explosives stores until late 1944 when they were stood down, and finally disbanded on 31 December 1945, eight months after Germany’s surrender. Men aged 17 to 65 could join. Service was unpaid but gave a chance for older or inexperienced soldiers to support the war effort.”
Do any of our readers recognise any of the gentlemen in the photo? If so, please let us know who they are. Is there anyone amongst our volunteers who was in the Home Guard and could share a story? Please do contact Bridget if you can contribute on this.
Thank you Alan, as always. We look forward to more photos soon.