Mould for Livery Buttons

livery button mould

Marked Bullivant & Tipson, October 1830

Design for making livery uniform buttons; embossed design in the shape of a griffin.

Bullivant & Timpson were button makers, based on Great Charles Street, Birmingham, recorded in the trade directories from 1818 – early 20th century.

In the Worcestershire County museum collection.

Miniature Model Beer Engine

0125maThe model beer engine was made by William Stokoe (whose granddaughter-in-law donated it to the Worcester City museum collection in 2001) a water engineer working around Worcester circa 1900, and is thought to be an apprentice piece made by Mr. Stokoe during his training. The beer engine is believed to be a miniature copy of the type of pumps used to raise beer from the barrel to the glass in a traditional public house.

The beer engine has a wooden case decorated with floral marquetry. Inside the lower case are four working brass valves connected by rods to four working levers on the curved upper section of the case. The valves are also connected to four taps on the front of the model; below the taps is a lead lined sink with a small drainage hole. Access to the lower case and the drain is via a small door on the case front.


Mayors of Worcester, 1621 to 1651

  • 1621        Edward Hurdman
  • 1622        John Watts
  • 1623        John Hazelock
  • 1624        John Hanbury
  • 1625        Elias Rawlingson
  • 1626        John Smith
  • 1627        Richard Heming
  • 1628        John Brineton
  • 1629        Robert Farley
  • 1630        Henry Morley
  • 1631        Thomas Chetle
  • 1632        George Dauncey
  • 1633        John Nash
  • 1634        Humphrey Vernon
  • 1635        George Street
  • 1636        William Beauchamp
  • 1637        Roger Fairbourn
  • 1638        Thomas Huntback
  • 1639        Daniel Tyas
  • 1640        William Norris
  • 1641        Edward Foley
  • 1642        Henry Ford
  • 1643        S. Daniel Tyas
  • 1644        Thomas Hackett
  • 1645        William Evett
  • 1646        Edward Elvins
  • 1647        Robert Stirrup
  • 1648        James Taylor
  • 1649        Thomas Bearcroft
  • 1650        Thomas Lysons
  • 1651        Edward Elvins

Charles Ginner (1878-1952), Malvern Hills, 1940s

Charles Ginner’s landscape painting of the Malvern Hills demonstrates his signature style: the use of a small, regular touch of thick paint, a method that can give his paintings the appearance of densely worked embroidery.

Ginner was born in Cannes, France. In 1904 he began to study painting at the Académie Vitti under Paul Gervais. Unfortunately Gervais disliked Ginner’s bright palette so much that the student felt he had to leave. He settled in London in 1910 and became a founder member of the Camden Town Group which also included Duncan Grant and Walter Sickert.

In 1914 Ginner published a manifesto which encouraged artists to look at nature in more detail, to use solid pigment, and to be influenced by Cezanne, Van Gogh and the Post-Impressionists. His paintings became more concerned with observation and description, and he turned his attention from interiors to landscapes.

In the Worcester City museum collection.


Mayors of Worcester, 1750 to 1775

  • 1750 Samuel Parkes
  • 1751 Philip Tomlins
  • 1752 George Baylis
  • 1753 Edward Weston
  • 1754 Benjamin Pearkes
  • 1755 Thomas Lane
  • 1756 William Haden
  • 1757 John Corne
  • 1758 Timothy Edwards
  • 1759 Samuel Hill
  • 1760 Walter Haines
  • 1761 Thomas Wakeman
  • 1762 Thomas Giles
  • 1763 Thomas Cornwell
  • 1764 James Oliver
  • 1765 Charles Trubshaw Withers
  • 1766 Edward Squire
  • 1767 Joseph Millington
  • 1768 William Dowding
  • 1769 George Farley
  • 1770 Edward Wellings
  • 1771 William Davies
  • 1772 John Paine
  • 1773 Edward Jackson
  • 1774 William Mathers
  • 1775 John Williams

David Davies (1864-1939), Cheltenham Parade, 1920s

David Davies was particularly interested in the transparency of paint and he often used varnish as a medium to create a luminous feel. He even experimented with varnishing pastel sketches to give a porcelain glaze appearance.

Davies was born in Ballarat, Victoria, Australia, the son of a miner. Both of his parents were from South Wales.

While still a student at the National Gallery Art School, he sold a painting to art collector James Oddie for a hundred guineas. This sale enabled Davies to pursue his artistic studies abroad, and he left Melbourne late in 1890. He travelled to Paris, where he studied at the Academie Julian under Jean-Paul Laurens.

Two years later, soon after their marriage in Paris, Davies and his wife, Janet, moved to Cornwall, where they mixed with the Newlyn artists’ colony. After a period back in Australia, they went on to settle in Dieppe where both taught to fund their painting.

Occasionally during the 1920s, Davies visited his friend Richard Heyworth in Cheltenham and they painted together. This picture was from one of these visits and was donated to the museum by Heyworth in 1937.


Worcester Tramways

horse tram 1912

Horse-drawn tram from the Worcestershire Tramways, stopping at The Ketch on Worcester’s Bath Road in about 1912.

foregate street c

Electric tram outside Worcester City Library and Museum on Foregate Street, about 1925.

The Tramways and Accidents
Berrows Worcester Journal;
Saturday, February 23rd 1884.
Three accidents occurred on Monday in this city in connection with the opening of the tramways for the public use. One arose out of the crowding near the rails, and the others from boys following the cars. A lad named Henry Winscombe, painter, aged 14, was running after one of the cars down the Tything with a number of other lads, when he fell, and his right foot getting under one of the wheels, three of his toes were severely crushed. He was removed to the Infirmary, where it was found necessary to amputate two of the toes. The lad is progressing favourably. A boy about ten years of age and a woman named Bertha Eshbury. Fifty-four years of age, were also dealt with at the Infirmary in the course of the day for injuries sustained in the crowd which assembled near the tram lines. In the case of the woman, she was knocked down by a passing spring-trap – one of the wheels of which passed over her chest – in getting out of the way of one of the tram cars.

electric tram routes