Cricket in Derbyshire – have you got a story to tell?

Lien and I visited the County Cricket Ground in Derby on Friday the 19th, to meet heritage enthusiasts from a range of cricket clubs across the county.  We were there to offer some practical advice to clubs that look after their own archives, covering the best ways of managing and caring for old records.  If your heritage group would appreciate a training session on archive management or conservation (very reasonable rates), do get in touch and we will do our best to help.

The photograph above was taken during a moment of gravely studious concentration.  For balance, the picture on the right is rather more animated, being Thomas Rowlandson’s 1811 depiction of what is reckoned to be the first recorded women’s county cricket match, between Surrey and Hampshire (the subject of one of Helen’s posts back in 2013).  This match must have been the subject of many a treasured tale, and we are fortunate to have Rowlandson’s illustration to remember it by.  Memories of other events and experiences, by contrast, slip by without being documented in this way – how much heritage is lost when the stories stop being told?  David Griffin of the Cricket Derbyshire Foundation, organiser of Friday’s event, told us a little of the Foundation’s current oral history project, which is all about capturing those memories for future generations.  I bet they would like to hear from you if you have a tale or two to tell about the game and your own experience of it.  For more on the project, see the Cricket Derbyshire Foundation website.



Matthew Goodden of Abergavenny: toll gate entrepreneur, forger of railway tickets

We have published a few previous posts about Roger’s work as a cataloguing volunteer.  In the following post, Roger tells us about another recent discovery in the records of the Thornsett Turnpike Trust:

A document in this collection which made me curious was an invoice from Matthew Goodden of Abergavenny for water and gas supplied to a Thornsett toll house: why might someone living in Abergavenny have a commercial interest in a toll gate situated in New Mills? In turnpike days entrepreneurs made a business out of toll collection. Local turnpike trusts would let out toll collection to the highest bidder: the lessee, having paid a fee, expected that the money they collected in tolls would amount to substantially more than the fee. Matthew Goodden was one such lessee.

From census records and a baptism register it is clear that Matthew Goodden was born in Yeovil, son of a toll collector. As a youth he collected tolls at Smallway gate, Castle Cary, close to the Galhampton gate operated by his father. The subsequent development of Matthew Goodden’s enterprise, not only with toll roads but also with toll bridges, can be traced through historic newspapers.  His name, sometimes under alternative spellings of Godden or Gooden, appears in local newspapers particularly through his appearances before local magistrates: characteristically as accused or accuser in disputes with travellers. One interpretation might be that he was a man who gave offence and took offence easily. An alternative is that disagreements about the toll payable were inevitable given the ambiguities in toll schemes. Disputes might easily arise given different tolls, for example, for a chaise in private use and a cart carrying goods. How should a journey be charged if a cart passed through a gate only to return loaded with goods a few minutes later? No toll was to be charged for someone riding to church: but did that concession apply to someone claiming to be travelling to a distant church when their local parish church was accessible without passing through the toll gate?

As a young man Matthew Goodden appears to have had interests in the south west of England. The parish register entry for his marriage in 1846, the subsequent baptisms of three children and the census of 1851 show that within a few years he lived in toll houses at Heavitree, near Exeter; West Lydford, Somerset; Nubbis Ash near Cam, Gloucestershire and Downside, Shepton Mallett. An announcement of Matthew Goodden’s temporary insolvency in the London Gazette in 1856 lists further toll houses in Gloucestershire where he had worked: Hawbridge at Deerhurst; Mythe and Ashchurch near Tewkesbury. By 1861 he was at Dowdeswell near Cheltenham: his first wife Hannah Mundy was buried there in 1862. Later Ann Williams, a young woman from Dowdeswell, became Matthew Godden’s “wife”.

With his brother Robert, Matthew Goodden acquired interests beyond the south western counties. In 1853 they faced magistrates in Dorset about a dispute at a toll gate at the Passage Bridge, Portland and magistrates in Wiltshire about a dispute payment at the Devizes Green turnpike. In the 1860s Matthew Goodden’s name appears in connection with toll roads in Hornsey and South Newington in London and Shavers End on the road from Dudley to Wolverhampton. Perhaps the brothers over-reached themselves: in 1866 they were formally ejected from a contract in relation to a turnpike road near Huddersfield. It is around this time that Matthew Goodden is described as living at the Old Brewery toll gate in Dudley; here at some point a new partner, Harriet Hill, joined Matthew Goodden‘s household. She had been the wife of a fellow toll collector the Dudley area. By 1874 Matthew Goodden had become lessee of tolls for a road in Abergavenny and the census taken in 1881 shows him and Ann living at the toll house on Brecon Road Abergavenny: later they lived at nearby Gilwern. Toward the end of the nineteenth century the practice of providing for road construction and maintenance through tolls was discontinued. But some bridges remained subject to tolls and Matthew Gooden was able to continue as a toll collector at the Glangwryney (or Llangrwyney) bridge over the River Usk in the parish of Llangenny between Crickhowell and Abergavenny. The Llangenny parish registers are available on line and record that Matthew Goodden died at Glangwryney in 1903. He was succeeded as toll collector by his brother Robert, who not only moved into the toll cottage but also married Harriet Hill just ten weeks after Matthew Goodden’s death.

Clearly Matthew Goodden’s interests in turnpikes at various locations across England and Wales involved him in substantial travel. It is ironic that a man who made his living from road users made much use of the railways. While travelling on their trains he was not above taking the railway companies for a ride. At Gloucester Assizes in 1859 he appeared with his brothers having boasted about travelling by train without a ticket. In 1868 he was convicted of a similar offence by magistrates at Dudley. Then on a Friday evening in December 1870 at Derby Midland station Matthew Godden’s ticket for a journey from Rotherham to Smethwick was inspected by a railway employee Levi Till. He was immediately suspicious: Smethwick was not a Midland Railway Company station and that company did not issue such a ticket. The subsequent events were widely reported in local newspapers across the country. Matthew Goodden was taken into police custody: a number of tickets were found in his pockets as well as letters, numbers, a printing frame and ink. He was also holding about £190 in cash, said to be toll receipts. In his bedroom at the Old Brewery toll house were found about one thousand forged railway tickets, with names of a variety of stations, together with rolls of paper, printing materials and ink. Some genuine tickets were also found, bearing alterations to dates and destinations. At Derby Assizes the prosecution failed to persuade the court that a charge of forgery was appropriate: Matthew Goodden pleaded guilty to misusing tickets and was imprisoned for two years. The sentence was served in Nottingham prison. He was caught again in July 1890, travelling by train from Abergavenny to Hereford. At Hereford Assizes he was this time convicted of forgery and sentenced to twelve months in prison. He served the sentence in Hereford prison.

John Kenyon Winterbottom: turnpike trust clerk, not wholly trustworthy

We have published a few previous posts about Roger’s work as a cataloguing volunteer.  In the following post, Roger tells us about some recent discoveries:

In the mid-nineteenth century the Thornsett Turnpike Trust managed a number of roads in and around New Mills. Some Trust records have survived in Derbyshire Record Office collection D535, and in the course of listing these records I have come across two small documents that made me curious. The first is a letter written in 1844 by Edward Reddish, clerk to the trust, to Ebenezer Adamson, treasurer. Reddish mentions a “hiatus” in the books between 1840 and 1843 “following the absconding” of John Kenyon Winterbottom. Winterbottom was a Stockport solicitor who amongst many public offices undertook the duties of clerk to a number of turnpike trusts. He was for a time town clerk of Stockport and a local magistrate. He was a founding partner in a local bank and his was one of the names printed on that bank’s banknotes. His story is remarkable, not only for what happened but also for the amount of information available to anyone wanting to discover his story.

Through digital collections of historic British newspapers it is possible to follow the story of his downfall.  By 1840 he was facing financial difficulty. Under threat of bankruptcy he absconded. There were rumours that he had been seen on the quayside at Liverpool close to a ship bound for America. An alternative speculation was that he had gone to France. He was found to have forged signatures in order to receive payment of £5,000 from the life insurance policy of one of his former clients. After four years’ absence Winterbottom returned to Liverpool where he was recognised and arrested. He was convicted of the forgery and sentenced to transportation for life.

It was the practice that any pleas for mitigation of sentence were made not at the trial but subsequently to the Home Secretary. One consequence is that amongst the Home Office records held at Kew (National Archives series HO 18 and HO 19) are the many petitions and letters submitted on Winterbottom’s behalf.  (Some Home Office records are included in a data set called “England & Wales, Crime, Prisons & Punishment, 1770-1935” on, which can be used free of charge in Derbyshire Record Office or your local Derbyshire library.) The sentence provoked such disquiet that within weeks petitions signed by some 20,000 residents of Stockport, Liverpool and Manchester were submitted: signatories included almost every magistrate, clergyman and businessman of Stockport and district. Poignantly there were letters not only from Winterbottom’s wife but also from his victim, the widow who had trusted Winterbottom to deal with her late husband’s estate.

The sentence was not changed and aged in his mid-fifties Winterbottom was taken first to Millbank prison in London and then to the penal colony of Norfolk Island and ultimately in 1847 to Tasmania.  Convict records survive in Kew (National Archives series HO 10 and HO 13) and several records are available on Find My Past or Ancestry (also available for free to visitors here).  During this time there were further fruitless appeals by Winterbottom himself and by associates in England: a final petition was submitted in 1852, accompanied by testimonials to Winterbottom’s exemplary conduct written by senior members of staff and visiting magistrates at Norfolk Island and Tasmania. Winterbottom followed an established sequence: work at the penal colony followed by confinement at a probation station and assignment to local civilian employers. In 1855 he was granted the relative freedom of a ticket of leave.

By 1857 Winterbottom had sufficiently re-established himself in Hobart that in competition with fourteen others he was appointed town clerk of Hobart. A further digital collection, of Australian newspapers, is valuable:  It is clear from reports of a meeting of Hobart town council that by 1867, when Winterbottom reached the age of 78, there were misgivings about his work as town clerk. But how might the aldermen challenge their venerable old servant? They broached the subject by suggesting that he should take some leave; then made a formal request for his resignation, with a pay-off of a year’s salary. But it seems that once the aldermen had openly voiced their misgivings others were freed to speak. Within a week the aldermen learned that two years earlier Winterbottom had sold council debentures and kept the £400 payment for himself. He was allowed a few days’ grace but did not repay the money. In court he pleaded not guilty but offered his advocates nothing substantial as a defence. He was found guilty and sentenced to two years imprisonment which he served in Hobart prison. He was released in September 1869, a few months after his eightieth birthday and appears to have lived in Hobart until his death in 1872.


Authenticity Hoo-Ha pt. 3: Is this Mr Glover’s sketch book?

Authenticity is what archives are all about.  Here is the last in my series of three blog posts on this subject.

Some months ago, I had a message from a researcher who had recently been looking at copies of an original document we hold, described in our catalogue as the sketch book of the antiquarian Stephen Glover (1794-1869). Stephen Glover is well known in this county as a pioneering antiquarian and compiler of trade directories, and naturally enough the researcher wanted to know how we had arrived at this attribution. It certainly was not from a signature, as none of the sketches is signed.

The answer was helpfully supplied by our colleagues at Buxton Museum and Art Gallery. A note in their files, stamped by the Derbyshire Museum Service, suggests that the book was purchased after having been identified as Glover’s work by an expert in English watercolourists.

So far, so good.

Imagine my surprise when I saw that the note made it pretty clear we had got the wrong Glover!  The note referred not to Stephen, but to John Glover (1767-1849), known as “the father of Australian landscape painting”.

When the Derbyshire Museum Service closed in 1992, the sketch book was among a large number of historic documents transferred to the custody of Derbyshire Record Office. I can only suppose that one of our archivists must have mis-read their own notes, and mentioned Stephen Glover in the catalogue entry by mistake. And we all know how long a mistake can endure once it has been put in writing, don’t we?

I certainly didn’t want to replace the mistake in the catalogue with another mistake, so needed an expert on John Glover’s work to verify all this. Step forward David Hansen, Associate Professor at the Centre for Art History and Art Theory, part of the Australian National University in Canberra. Prof Hansen took a look at some sample images from the book and quickly got back in touch to say this discovery had made his day: he was confident that they are the work of John Glover, and even suggested that the suggested date of c1810 might be a few years late.

John Glover was born at Houghton-on-Hill in Leicestershire, the son of William Glover and his wife Ann. He earned a strong reputation as an artist and drawing master and became president of the Old Water Colour Society in 1807. At the age of 64, in 1831, he moved to Tasmania. He was very active as a painter in his new surroundings and by the time of his death in 1849, Glover had made what would prove to be a lasting contribution to Australian art.

He may have been a Leicestershire man by birth, but there is a strong Derbyshire flavour to the work preserved in the pages of the book, including scenes of Haddon Hall, Ault Hucknall parish church, Kedleston Hall, Chatsworth House, Bolsover Castle and South Wingfield Manor.

A digital copy of the whole book can be viewed in our search room using CD/406 – or if you need to see the original itself, please order using the reference D3653/30.  To whet your appetite, here are some samples:

D3653 30 1_00082 Repton


D3653 30 1_00080 cattle

Some cattle and some people, drawn by John Glover.

D3653 30 1_00069 Bolsover Castle

Bolsover Castle

D3653 30 1_00026 Kedleston Hall

Kedleston Hall

D3653 30 1_00004 Haddon Hall

Haddon Hall

Authenticity Hoo-Ha pt. 2: Did Lord Byron and Princess Victoria etch their names on the windows?

Sir Hilary Jenkinson held that authenticity is one of the defining characteristics of the archive. Here is the second of three blog posts about some recent authenticity issues.

On being asked to visit a former hotel to pick up a donation of records, any archivist would expect there to be guest books. Less expected is a pane of window glass. In fact, I would go so far as to say that the “Byron Window” is the most unusual item I have accessioned in twelve years as an archivist. Why is it called the Byron Window? Because it is said that Lord Byron (i.e. George Gordon Byron, 6th Baron Byron, 1788-1824) scratched a poem onto it. The lines read:

Where so ever is folly court
Mortal unthinking will resort
For want of reason, still,
Shame on our sex! As for the fair
They all want something everywhere
And something want they will

These etched lines have not gone unnoticed. The Byron Window is mentioned in a variety of magazine articles, including a feature in Derbyshire Life in 2010, and the sale catalogue from when the Temple Hotel was auctioned in 1975.

But how do we know this to be the work of Byron? We don’t, really – in fact, I am not even sure that the squiggle nearest the poem says Byron!

D8116/3/1: The Byron Window

D8116/3/1: The Byron Window

An article on the Andrews Pages cites William Adam’s 1840 guide book “The Gem of the Peak” as evidence that the poet visited the Old Bath in Matlock Bath, and at first glance, I thought the Adam reference extended to the etched window itself – however, it certainly isn’t mentioned in any of the editions we hold here.

William Adam describes The Temple as “originally built as a lodging house or appendage to the Old Bath for the comfort and convenience of those visitors, who wished to be out of the noise and bustle of a crowded Inn”, and observes that the house had been “much improved and enlarged” by its owner, Mrs Evans. He also remarks that the name of Walter Scott is inscribed on a window in room 5 (without making any claim as to who made the inscription).

So, hang on… William Adam was interested enough in Byron to mention his visit to Matlock Bath and interested enough in inscriptions on windows to mention Scott – but did not think to tell us about Byron inscribing a window?

What puts the kybosh on the thing is the date right next to those lines. “6 Oct 1784” is the easiest bit of the whole thing to read, and dates it to before Byron’s time.  (Unless the date and the poem are unrelated?  I would be delighted to be proved wrong!)

The window pane is, transparently, something that a large number of people have inscribed over the course of centuries – so whether or not their number includes Lord Byron, this is an amazing addition to our collections.  I don’t think I have the heart to investigate the other claim, which is that a young Princess Victoria put her name on the same bit of glass!

Authenticity Hoo-Ha pt. 1: Did the Rolling Stones sign the guest register at The Temple Hotel?

Sir Hilary Jenkinson’s “Manual of Archive Administration” (1922) maintains that authenticity is one of the defining characteristics of the archive.  A trio of authentication problems have imposed on my time recently, so I thought I would share them with you in three blog posts.  Here is the first.

Derbyshire Record Office recently accepted the donation of some records from The Temple Hotel in Matlock Bath (D8116). The hotel is no longer open for business, but has a long history of hospitality behind it.  Among the signatures in one of the guest registers, you can find the names of Mick Jagger and Charlie Watts, giving their address as The Rolling Stones, and the date as 16 January 1965. I hope it was really them! The names are in the same hand (fishy, do you think, or easily explained?) and they do not bear much similarity to autographs that can be found online.

D8116 1 2

D8116/1/2: Temple Hotel visitors book, Nov 1963 to July 1971

This is the only bit of the register you will get to see without an applicable exemption under data protection legislation! But these registers will be freely available to all researchers in generations to come.

Several fan websites go into minute detail about where the band were at any given moment, and from these it seems that the Rolling Stones were making a live appearance on Ready, Steady, Go! on the 15th and were then in a recording session in Los Angeles on the 17th. They must have spent the 16th on a transatlantic flight. Mustn’t they? Does anyone remember seeing 2/5 of The Rolling Stones around Matlock Bath that winter?

Let us suppose the signatures above are not genuinely those of Mick Jagger and Charlie Watts. What then of archival authenticity?  Good news: Sir Hilary would still regard the register as an authentic record of the hotel’s activities, deriving as it does from the business function of recording guests’ details. Since the Immigration (Hotel Records) Order 1972, hotels have actually been under a legal obligation to maintain such a record – but of course there was already a long-established practice of registering hotel guests. And there was an equally long-established practice of hotel guests signing in a false name for nefarious purposes, or just for a giggle.  It’s an authentic record of a transaction – it’s the transaction itself that was lacking in authenticity.

Fun fact about hotel guest registers: one of America’s greatest writers signed himself “Samuel Clemens” and gave his profession as “Mark Twain”.

The Junction Arts story

Congratulations to Christopher Bevan – his film, “The Junction Arts Story” has been nominated for a 2017 Royal Television Society Midlands Award in the Factual Programme of the Year category. The winners will be announced at the end of November.

Derbyshire Record Office

One of my main preoccupations of 2016 was the Junction Arts archive collection – and a fine preoccupation it was too.  Now comes an opportunity to share some of that experience with you – in the form of a specially-commissioned film, The Junction Arts Story:

Derbyshire Record Office’s first encounter with Junction Arts was back in 2012 when they brought a group of young people to carry out some research as part of a farming heritage project called Combine. A couple of years later, Junction Arts let us know that they were applying to the Heritage Lottery Fund for a community-based project relating to their archive material, to celebrate their fortieth anniversary.  We were only too happy to support the JA40 project application, especially as the proposal involved the transfer of the Junction Arts archive to us.

The application was successful. The unprocessed archive of four decades was passed into our…

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A week of work experience at Derbyshire Record Office

This post comes from Richard and Cara, who have been at Derbyshire Record Office all week on a work experience placement.  We are all agreed they have done really, really well.

Work experience this week has been fantastic. We’ve done multiple activities such as conservation; Picture the Past and the NUM Project work. We’ve learnt a lot here, and have also gained some experience of being in an amazing work environment such as the Derbyshire Record Office. Everyone here is extremely friendly; you can’t really see a bad side to anyone.

On the first day we both had a tour of the building lead by Paul Beattie. He walked us down into the huge archives, apparently with over five miles of shelve space. It was really interesting to see a deed of a grammar school from Queen Elizabeth I and also the earliest cook book with the recipe for a Bakewell tart. After lunch, we joined in with the NUM project work. This is a two year project where Paul, Emma and Hilary list over ten thousand miners from the county. They look into their births, deaths and any injuries they had during their work. This was really fun, as we got to go down into the archives and fetch some boxes for Paul Carlyle, the Project Manager.

The next day, we were both split up. Cara went to local studies, and Richard went to the search room. Cara looked at her family history and found that one of her ancestors was Scottish. She also learnt how to use the card catalogue. Richard, in the search room, went onto the computers and had a look at the online catalogue for all the documents in the archives. He ordered out two documents, one being a map of the area around where he lives, the other of some sales documents of his road. He found it quite interesting, as he saw that his house dates back to the mid-1700s. After lunch, we went to the computer room in Local Studies and met with Mark, who was looking after the enquiries. We answered some enquiries by using the card catalogue, which was interesting.

On Wednesday, we both swapped around. Cara went to the search room and Richard went to local studies. Cara had to look through all the reference numbers of previous documents because one had been misplaced. After that she answered some enquiries about schools in Derbyshire. Richard sorted out some order cards from previous documents, similar to what Cara was doing. He then looked on and searched for his great great Grandad.   After lunch, we had a brief explanation of digitisation from Matthew. He explained how to scan a document, which is what he does in digitisation. After that we met with Nick, who explained ‘Picture the Past’. This is where he digitises historic pictures. He gave us the task to find locations of undescribed photos without a location.

On the Thursday, we had a short staff meeting with everyone at the record office. They just talked about the budgets and other important stuff we didn’t understand. We then wandered off towards Conservation where we met with Lien and Clare, who had given us the task to clean some documents from the 17th century. We both enjoyed that task. We had lunch around 12pm, and then went back to Lien and Clare and did some preservation work with ‘spider paper’ and a heat press. This was both very interesting and also fun. We repaired some mock documents which were classed as ‘ok’. Surprisingly, that was quite the compliment for what we had achieved. We tried to make some pouches for wax seals that were attached to a document. Cara did pretty well, Richard failed. (He hadn’t sewn for a long time!)

So after we left Lien and Clare, we met Paul at the search room and he given us the task to list different types of documents

Today (Friday), we did more of the project work until lunch, and managed to list 118 documents on the excel spreadsheet. We decided to go for lunch, and then went to Local Studies and met with Mark again. This is where we returned some books from the library and then sorted out cards from the card catalogue. Both of us then decided to write a blog, which is where we are now.  Later on we’re going to meet up with Paul and have a ‘review and evaluation’ of the whole week.   😀

This week has been both amazing and fun. All the staff members here are extremely friendly and they always bring in food. We would like to thank everyone for this great experience at the Derbyshire Record Office!

The Junction Arts story

One of my main preoccupations of 2016 was the Junction Arts archive collection – and a fine preoccupation it was too.  Now comes an opportunity to share some of that experience with you – in the form of a specially-commissioned film, The Junction Arts Story:

Derbyshire Record Office’s first encounter with Junction Arts was back in 2012 when they brought a group of young people to carry out some research as part of a farming heritage project called Combine. A couple of years later, Junction Arts let us know that they were applying to the Heritage Lottery Fund for a community-based project relating to their archive material, to celebrate their fortieth anniversary.  We were only too happy to support the JA40 project application, especially as the proposal involved the transfer of the Junction Arts archive to us.

The application was successful. The unprocessed archive of four decades was passed into our care, and a team was assembled to set to work on appraising it and helping to catalogue it.  The team included present and former staff, trustees, academics, artists, and members of the public who had participated in Junction Arts projects over the years.  Also assisting were some pupils from Highfields School in Matlock who were taking part in a Prince’s Trust Excel course.

The project also commissioned original work from an artist in residence, composer Paul Lovatt Cooper, who visited us at the record office and spent an afternoon finding out more about the history of Junction Arts and looking through its archive material. His reflections on four decades of local artistic activity resulted in a piece of music called Valiants Arise, arranged for brass band with samba band.  Its first performance was at the Bolsover Lantern Parade in November 2016, very ably played by Whitwell Brass Band and Handmade Samba.

So how did the film come about? As part of the project, Junction Arts commissioned a film-maker, Chris Bevan, to produce a 20-minute documentary about the charity’s history, which saw its first public showing last December.  More recently, the film has been shown at the International Community Arts Festival in Rotterdam.

I have really enjoyed working with such a rich and varied archive collection. To quote from Junction Arts’s website: “The archive will be a great resource for the public and artists, and we have already had requests from artists to access the archive. The archive is unique in that this isn’t a body of work by one artist or one group. It is a myriad of artefacts and it represents the creative expression of hundreds and hundreds of local people. It tells the stories of people and communities that have experience so much change over the last 40 years through ‘art’ and this is incredibly rare”.

Most of the photographs and documents that illustrate the film come from the Junction Arts archive collection held here – if you would like find out more, you can always have a look at the catalogue of the collection.

Coming up this summer: Ashbourne Treasures

Ashbourne Library, St Oswald’s Church and the Ashbourne Heritage Centre are to host what promises to be an informative and inspiring exhibition during July, August and September of this year.  The exhibits in “Ashbourne Treasures” are all of vital importance to the history of the town, and they include the original charter of Queen Elizabeth’s Grammar School, of which we are the proud custodians.  Go and see the treasures if you can.  While you are at it, you could book yourself a ticket for one of the associated events, running throughout the summer, such as Dan Cruickshank’s talk on Georgian Towns.  More information is available at