Category Archives: Visits

The Hawley Tool Collection — Wed 3rd July 2019

After Nick Duggan’s talk on his own cut­lery col­lec­tion two days earlier, the ‘made in Sheffield’ theme con­tin­ued when 22 Stumperlowe Probus Club mem­bers gathered as arranged at the iconic Bessemer Converter out­side Kelham Island Museum ready to start our guided tour of the Hawley Tool Collection.

The man who star­ted it all, the late Ken Hawley MBE (1927–2014).

As Nick, the cur­ator, poin­ted out, the Hawley Collection might be one of Sheffield’s best kept secrets but it is an inter­na­tion­ally import­ant record of tool making, cut­lery man­u­fac­ture and sil­ver­smith­ing during the city’s indus­trial heyday, com­ple­men­ted by mater­ial from other parts of Britain and the world.

Keith Crawshaw, chair­man of the trust­ees, brings us up to speed on the work of the char­ity.

The col­lec­tion houses a stag­ger­ing 100,000 items, of which 40,000 are on dis­play at any one time. The col­lec­tion is housed in what was ori­gin­ally the Wheatman and Smith saw works, so it is appro­pri­ate that the Saw Shop, situ­ated slightly away from the main tool col­lec­tion, con­tains no fewer than 2,000 examples of what, 250 years ago, was lit­er­ally cut­ting edge tech­no­logy.

We learnt the origin of the words top dog and under­dog. When planks were sawn by hand, with two men using a two-handed saw, the senior man took the top handle while the junior was con­signed to the sawdust-strewn pit below. The irons that were used to hold the wood securely were called dogs.

At one time there were 200 firms in Sheffield man­u­fac­tur­ing saws. The city’s cut­lery her­it­age is rep­res­en­ted just as impress­ively by a col­lec­tion which con­tains 800 dif­fer­ent man­u­fac­tur­ers’ stamps on knife blades, from table­ware to pen­knives.

Tim Marsh admires a fine dis­play of Footprint tools, a Sheffield brand known around the world.

The col­lec­tion does not just con­tain tools, it con­tains the tools which were used to make the tools; it is unique in com­bin­ing fin­ished arte­facts and ‘work in pro­gress’ to illus­trate how things were made, as well as pub­lished cata­logues, archive mater­ial, pic­tures, pho­to­graphs, tapes and films.

For over 50 years the late Ken Hawley – he died in 2014 at the age of 87 – had col­lec­ted what became the basis of the col­lec­tion, and during his work­ing life, which included 30 years selling tools in his own shop, he acquired an unri­valled know­ledge of Sheffield’s indus­trial her­it­age.

John Hopkins and Richard Walker get the low­down on the massive saw col­lec­tion from volun­teer guide Paul Kipling.

The build­ing at Kelham Island hous­ing the Hawley Gallery and stor­age areas was cre­ated in the last unused build­ing on the Kelham Island Museum site fol­low­ing a suc­cess­ful bid to the Heritage Lottery Fund. The £595,000 HLF grant, awar­ded in 2008, was used to refur­bish the build­ing to create dis­plays, stor­age and research facil­it­ies, and the Gallery opened its doors two years later.

Dave Powlson, Barrie O’Brien and Ian Darley admire the Sheffield Year Knife, made in 1822 from 1,822 blades by Sheffield cut­lers Joseph Rodgers & Sons Ltd. As well as knife blades, it ncludes scis­sors, cork­screws, nail files, hack­saw blades and button hooks. Further blades were added to bring the number up to 2,000 by the time of the Millennium, and some of the more recent blades were engraved to mark spe­cial events such as the 1966 World Cup and the Queen’s Silber Jubilee in 1977.

Ken saw the col­lec­tion as a trib­ute to the crafts­man­ship, skills and excel­lence dis­played over the cen­tur­ies by Sheffield firms and work­people, and it was his wish that the col­lec­tion should stay in the city to provide the people of Sheffield as well as vis­it­ors with a per­man­ent, last­ing record.

After being wel­comed by Nick Duggan, we were given an over­view of the Kelham Island site by volun­teer guide Paul Kipling before being taken into the research area where Keith Crawshaw, chair­man of the trust­ees, spoke to us about Ken Hawley the man, and his vision which led to the cre­ation of the museum.

This back saw, made by Thomas Harrison of Sheffield in 1760, is the oldest in the col­lec­tion.
Saws of every shape and type were on dis­play.
Most of our mem­bers had already seen this mag­ni­fi­cent saw, which fea­tured in Simon Barley’s talk to us entitled “The Princess and the Saw” in March 2019.
If you’re squeam­ish, look away now.
If it was made in Sheffield, it’ll be in here some­where.
A fine dis­play of Marples tools for the 1949 British Industries Fair.
Not everything can be on dis­play at the same time, and the stor­e­rooms behind the scenes are an Aladdin’s cave.

 

Wentworth Woodhouse — Wed 20th March 2019

Most of our mem­bers had read Catherine Bailey’s fas­cin­at­ing book Black Diamonds, the Rise and Fall of an English Dynasty, which maps the his­tory of coal mining in South Yorkshire and the down­fall of the Fitzwilliam family.

So it was with great anti­cip­a­tion that we gathered at Wentworth Woodhouse — formerly Britain’s largest private res­id­ence, with a 606-foot front­age — for a guided tour by the excel­lent volun­teers of the Wentworth Woodhouse Preservation Trust.

It was our first out­side visit of the year and one of the most pop­u­lar ever, with a party of 52 mem­bers and their part­ners arriv­ing in glor­i­ous sun­shine on the spring equi­nox for what turned out to be a 90-minute tour of just some of the more import­ant formal rooms in two sep­ar­ate groups.

The Georgian mas­ter­piece of Wentworth Woodhouse, largely hidden from public view on the edge of the vil­lage of Wentworth, boasts an east front wider than that of Buckingham Palace and in its heyday provided employ­ment for 1,000 local people main­tain­ing its reputed 365 rooms and sur­round­ing estate.

A member of staff work­ing on the res­tor­a­tion of a statue.

The Grade I listed coun­try house was bought for the rel­at­ively knock­down price of £7 mil­lion by the Trust, which aims to restore it to its former glory at a cost of up to £200 mil­lion, with assist­ance from the National Trust who are cur­rently paying the wages of the full-time staff. Scaffolding alone, which shrouded much of the famous façade on the day of our visit, is cost­ing £1 mil­lion.

Ongoing work on the East Front, as seen from the inside.

The house has 250,000 square feet of floor space and covers an area of more than two and a half acres, sur­roun­ded by 180 acres of park­land and an estate of 15,000 acres.

The ori­ginal Jacobean house was rebuilt by Thomas Watson-Wentworth, the first Marquess of Rockingham (1693–1750), and vastly expan­ded by his son, the second mar­quess, who was twice Prime Minister. In the 18th cen­tury, the house was inher­ited by the Earls Fitzwilliam who owned it until 1979 when it passed to the heirs of the eighth and tenth earls, its value having being boos­ted by the vast quant­it­ies of coal dis­covered on the estate.

However, this turned out to be a double edged sword. Following nation­al­isa­tion of the coal industry on New Year’s Day 1947, Manny Shinwell, the Minister of Fuel and Power in the Labour gov­ern­ment, ordered that the formal park­land in front of the house be sac­ri­ficed to open­cast coal mining, and the work­ings exten­ded right up to the front door of the house. Controversially, Shinwell insisted that the coal be obtained ‘at all costs’ in the interest of Britain’s post­war indus­trial drive, des­pite the pres­id­ent of the Yorkshire Mineworkers’ Association claim­ing that it amoun­ted to van­dal­ism.

A con­tem­por­ary news­pa­per pho­to­graph show­ing what the pres­id­ent of the Yorkshire Mineworkers’ Association described as the ‘van­dal­ism’ of the lawn in front of the house.

Although the grand east front of the house is the best known and the most illus­trated, it was the west front fin­ished in 1734 which was inten­ded to be for the family’s private enjoy­ment rather than the impress­ive east front which demon­strated their social and polit­ical ambi­tions.

Wentworth Woodhouse actu­ally com­prises two joined houses. The west front, with the gar­dens facing north west towards the vil­lage, was built of brick with stone detail. The grander east front is said to have been built as a result of rivalry between two branches of the family. The Stainborough branch of the Wentworth family inher­ited the Earl of Strafford’s minor title of Baron Raby but not his estates, which went to Thomas Watson (who added Wentworth to his sur­name). The Stainborough Wentworths, for whom the Strafford earl­dom was revived, lived at nearby Wentworth Castle.

 

 

 

 

 

 

We roun­ded off our morn­ing visit with lunch at either the Rockingham Arms or George & Dragon pubs in Wentworth vil­lage.

 

Drax Power Station — Wed 5th Sept 2018

On a good day, the 12 cool­ing towers and 851-foot main chim­ney of Drax Power Station are a famil­iar site on the hori­zon from the uplands to the west of Sheffield, 35 miles away as the crow flies.

But 28 mem­bers and guests of Stumperlowe Probus Club were afforded a much closer look at Britain’s largest power gen­er­at­ing facil­ity with a three-hour visit during which we learnt much about Drax’s trans­ition from a coal-powered sta­tion, when it was the UK’s largest emit­ter of carbon diox­ide, to a much greener future which could even­tu­ally see it pro­du­cing ‘carbon neg­at­ive’ elec­tri­city, taking more carbon diox­ide from the atmo­sphere than it pro­duces.

In 2003, Drax took its first steps away from fossil fuel, which had defined elec­tri­city gen­er­a­tion for more than a cen­tury, and began the trans­fer to bio­mass fuel as a renew­able altern­at­ive to coal.

Fifteen years later, three of the station’s six gen­er­at­ing units now run entirely on com­pressed wood pel­lets, mostly impor­ted from respons­ibly man­aged work­ing forests in the United States and Canada, while coal has been releg­ated to a sup­port­ing role to cover spikes in demand and main­tain the sta­bil­ity of the system.

Now Drax has con­ver­ted a fourth unit from coal to bio­mass, which rep­res­ents the passing of a two thirds marker for the power station’s coal-free ambi­tions and rep­res­ents more than 600 mega­watts of renew­able elec­tri­city going into Britain’s national trans­mis­sion system. It is the largest decar­bon­isa­tion pro­ject in Europe. Drax sup­plies six per cent of the country’s elec­tri­city and 11 per cent of its renew­able power.

As well as being an import­ant stra­tegic asset nation­ally, Drax is also vital to the local eco­nomy, employ­ing more than 700 people at the plant and sup­port­ing 3,650 jobs through­out Yorkshire and the Humber. The eco­nomic con­tri­bu­tion to the region stood at £419.2 mil­lion in 2016.

Drax dis­tri­bu­tion ter­min­als are loc­ated at four ports on the east and west coasts of north­ern England – Hull, Newcastle, Immingham and Liverpool — rout­ing fuel from ships for onward deliv­ery into the heart of the sta­tion by rail. A 12,500-ton ship­load of wood pel­lets will keep Drax’s tur­bines oper­at­ing for two and a half days.

Each of the station’s six tur­bines actu­ally con­sist of five sep­ar­ate tur­bines, namely one high pres­sure (HP), one inter­me­di­ate pres­sure (IP) and three low pres­sure (LP). To pro­duce steam, Drax has six boil­ers each weigh­ing 4,000 tonnes. They con­vert energy from bio­mass or coal into steam at the rate of more than four mil­lions pounds in weight per hour inside 300 miles of steel tubing.

The steam tem­per­at­ure of raised to 568 deg C and the pres­sure to 166 bar. The boil­ers oper­ate either con­tinu­ously or on a daily cycle of morn­ing start-up and night shut­down as required by demand, known as ‘two-shifting.’ Exhaust steam from the 140-megawatt high pres­sure tur­bine is returned to the boiler for reheat­ing before being used in the 250mw inter­me­di­ate pres­sure tur­bine at 565 deg C and 40.2 bar. It then passes to the three 90mw low pres­sure tur­bines at 308 deg C and 6.32 bar.

The steam strikes and lifts a series of angled blades moun­ted on the tur­bine shaft, making it rotate at 3,000 rpm (50 cycles a second). The steam then passes to two con­dens­ers and is taken to the 12 cool­ing towers, two for each of the six gen­er­at­ing units.

To gen­er­ate the elec­tri­city, an elec­tro­mag­net on the rotor spins inside a stator (the sta­tion­ary sec­tion) of copper wind­ings, gen­er­at­ing 19,000 amps at 23,500 volts. A trans­former increases the voltage to a mind bog­gling 400,000 volts before send­ing it via cables to the adja­cent National Grid sub-tation for dis­tri­bu­tion into our homes, offices and factor­ies.

After an intro­duc­tion in the ‘learn­ing centre’ where our party was split into three groups and the work­ings of the power gen­er­at­ing pro­cess were explained with sev­eral scale models, we were kitted out in in hi-vis jack­ets, plastic hel­mets and pro­tect­ive eye­wear for an out­door tour of the vast site in elec­tric bug­gies. Inside the build­ings, with the 1,400-foot tur­bine hall as the centrepiece, we were given head­phones to allow us to hear the inform­at­ive com­ment­ary by our guides in the very noisy sur­round­ings.

Our heads were buzz­ing not only with noise but a slight over­load of facts and fig­ures as we peeled off our pro­tect­ive layers and climbed back into the com­fort of our coach for the jour­ney home to Sheffield via a lunch­time stop at the Brewer’s Arms in Snaith to round off a most enjoy­able day.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Carr Head Farm Vineyard visit — Wed 18th July 2018

Several mem­bers of Stumperlowe Probus Club have more than a passing interest in wine, includ­ing at least two who are share­hold­ers in a commercial-size French vine­yard, but they learnt much about the trials and tribu­la­tions of smal­ler scale pro­duc­tion on a Peak District hill­side 950 feet above sea level.

A party of 26 club mem­bers enjoyed lunch at a local hostelry before pro­gress­ing to the farm on the out­skirts of Hathersage for a tour of the vines fol­lowed by a tast­ing and buying oppor­tun­ity.

Michael Bailey, the pro­pri­etor of Carr Head Farm with his wife Mary, planted the first of his 1,700 vines on a one and a half acre, south west facing slope in 2014, so the ven­ture is still in its early stages. It was largely a retire­ment pro­ject; it is very labour intens­ive and he admits that a vine­yard of that size will never become a highly prof­it­able busi­ness.

Members listen intently as Michael talks us through some of the tech­niques of grape pro­duc­tion

Michael was an engin­eer by pro­fes­sion, and his career change began when he took a course at Plumpton College, the UK’s centre of excel­lence for wine which, as well as teach­ing the skills of viniculture, has its own vine­yards in East Sussex stretch­ing to 25 acres pro­du­cing 40,000 bottles of award-winning still and spark­ling wines each year.

 

After the recent heat­wave, it has the mak­ings of an excel­lent har­vest, although the grapes still have some way to go before being picked towards the end of September

When we star­ted the course, the tutor went round the class and asked us all where we wanted to start grow­ing grapes,” Michael recalled. “There were people from the places you might expect – South East England, Cornwall, and up into the Midlands, and when I said North Derbyshire at an alti­tude of almost 1,000 feet, his reply was to the effect of ‘well, good luck to you!’”

 

 

Michael explains the use of a refracto­meter which will meas­ure the spe­cific grav­ity of the grapes and thus the alco­hol con­tent of the fin­ished wine

The sev­eral vari­et­ies of grapes pro­duced each year go to make the white, spark­ling rosé and still rosé offered by Carr Head, although there is no winery on site at Hathersage and the grapes are sent away to be pro­duced by the Halfpenny Green vine­yard at Bobbington, Staffordshire.

 

A Visit to The Yorkshire Air Museum

A small but select group of Stumperlowe Probus Club mem­bers enjoyed an inspir­a­tional and at times emo­tional visit to the former RAF Elvington air base near York which now houses the Yorkshire Air Museum or, to give it its full name, the Allied Air Forces Memorial and Yorkshire Air Museum, on Wednesday, September 13.

Our select group, minus the pho­to­grapher of course, with some of the exhib­its on show behind us.

As with other visits in the past, for example to the National Rail Museum, the four and a half hours we had allowed proved barely time enough to explore all the exhib­its, indoor and out­door, as well as the archive mater­ial and cinema screen­ings, not to men­tion a lunch­time visit to the NAAFI where many of the British and French air­crew lost during World War II would have enjoyed their last meal.

No 77 Squadron suffered heavy losses during its time at Elvington, with over 500 air­crew killed, miss­ing or taken pris­oner and almost 800 Halifax bombers lost as it played a major part in the Battle of the Ruhr and the bomb­ing of Berlin. In May 1944, 77 Squadron moved to the newly opened nearby RAF Full Sutton and was replaced at Elvington by two French squad­rons, num­bers 346 ‘Guyenne’ and 347 ‘Tunisie’ who both played lead­ing parts in the bomb­ing of Germany.

The Handley Page Halifax Mk III

Elvington is the largest ori­ginal war­time RAF Bomber Command sta­tion open to the public any­where in the world. Retaining the authen­tic atmo­sphere of an oper­a­tional base, the site con­tains the 77 Squadron Memorial, the French Air Force Memorial, the Royal Canadian Air Force Memorial, the Commonwealth Air Training Plan Memorial and the Air Transport Auxiliary Memorial.

Elvington was the war­time home of the only two French Air Force Heavy Bomber Squadrons, who flew the huge Halifax four-engined bomber on mis­sions over occu­pied Europe. The museum, which is held in spe­cial affec­tion by many vet­er­ans and the des­cend­ants of those brave airmen , has there­fore enjoyed a unique rela­tion­ship with the people of France, and the French Air Force and gov­ern­ment, since its found­ing more than 30 years ago.

Of the out­door exhib­its, the high­light for many was the French Mirage IV nuc­lear bomber which had been offi­cially inaug­ur­ated at its new home at Elvington only ten days earlier. The Mirage, which was Western Europe’s fast­est mil­it­ary jet cap­able of sus­tained speeds of Mach 2.2 (1,400mph), was trans­por­ted by road on a four-day jour­ney from the Chateaudun air base in France.

The French Mirage IV nuc­lear bomber

The new attrac­tion, which was first pledged to the museum by the French gov­ern­ment more than 12 years ago, was offi­cially unveiled on September 3 by Général Laurent Lesellier, rep­res­ent­ing the Chief of the French Air Force. It joins the much smal­ler Mirage III fighter which is also the only one of its type in Britain.

The Elvington museum opened in 1985 and had only a hand­ful of air­craft to dis­play. In those early years, volun­teers were con­cen­trat­ing on refur­bish­ing the cent­ral build­ings of the ori­ginal war­time site as well as focus­ing on restor­ing an ori­ginal Halifax bomber. The French vet­er­ans who, 40 years after the war, were still very active, were anxious to help and to ensure that their own his­tory within RAF Bomber Command was not for­got­ten.

A Visit to The Sheffield University Diamond Building — 26th April 2017.

Exterior view of the build­ing.

Thanks to Graham Snowdon, our sec­ret­ary, eleven mem­bers enjoyed a very edu­ca­tional visit to the Sheffield University’s latest and most expens­ive build­ing, the Diamond Building. It gets its name from the out­side facade which is dec­or­ated with dia­mond pat­terns. Some people hate it and others love it. At least it makes a state­ment. It is a sci­ence and engin­eer­ing, teach­ing and research facil­ity, with the emphasis on Research.

It has four floors and a base­ment which house:

  • Student-Led learn­ing spaces.
  • 4 com­puter labor­at­or­ies.
  • 9 lec­ture theatres.
  • 3 work rooms.
  • 17 engin­eer­ing labor­at­or­ies.

The whole interior is designed to have an open spa­cious feel about it and max­imum use is made of nat­ural light. The cent­ral sec­tion of the build­ing is open with study pods on stilts to allow the nat­ural light to come down from the ceil­ing.

Each study  pod has two levels, an inner level for quiet study, and an open top study area.

Most of the labor­at­or­ies are around the cent­ral space and on sev­eral floors, whilst the lec­ture theatres are con­fined to the base­ment.

The group look­ing into a lec­ture theatre.

The build­ing is open for stu­dent study 24 hours a day,  7 days a week and it has the capa­city to cater for 4,300 stu­dents.

The visit lasted approx­im­ately 2 to 2.1/2 hours with some mem­bers trying their hand at flying on the flight sim­u­lat­ors.

It was an excel­lent morn­ing for the mem­bers that atten­ded and our grate­ful thanks must go to the uni­ver­sity staff who were so accom­mod­at­ing.