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New Mudlark-in-Residence role at Southwark Cathedral
Lara Maiklem has been named as the first Mudlark-in-Residence for Southwark Cathedral, in what is thought to be the UK’s only permanent mudlarking role within a cultural or heritage organisation. With almost 25 years of mudlarking experience on the Thames, Lara has published four books on the subject, including the bestselling Mudlarking: lost and found on the River Thames (CA 358).
Lara has already been working with the Cathedral over the past six years, helping to establish the annual Heritage Craft and Mudlarking Festival, as well as curating a permanent free mudlarking exhibition.
In her new post, she will continue to develop the Cathedral’s public engagement programming.
Lead ingots found in 17th-century shipwreck
Three lead ingots have been discovered during investigations of the 17th century shipwreck at Ørsted‘s Hornsea 3 Offshore Wind Farm site. Weighing around 70kg each, they are each stamped with a different mark – ‘IS’, ‘EB’, or ‘H’ – which is similar to other ingots found on the 1664 Dutch Kennemerland wreck off the Shetland Islands. During this period, England produced a large amount of lead, particularly in Derbyshire and the Peak District, which was then formed into ingots and shipped from Hull and London to Amsterdam and Rotterdam. It is believed that the ship carrying the recently found ingots may have been en route to the Netherlands from Hull.
Blue plaque for Mary Beale
Historic England has recently unveiled a blue plaque for Mary Beale (1633 1699), one of the first English women to work as a professional artist. It is located on Allbrook Farmhouse in Eastleigh, Hampshire, where Mary lived for a number of years; it is the only house linked to her that survives today.
Philip Mould, art expert and broadcaster, said: ‘Set aside, for a moment, Mary Beale’s near singularity as a woman artist in a male-dominated profession. What is most striking is the sheer industry of her portrait practice. Academics, divines, and a wide swathe of the professional middle classes and gentry were captured by her brush through a dynamic family enterprise, with Beale at its centre, her husband working behind the scenes, and her two sons helping to complete compositions. She did for this stratum of society what Sir Peter Lely did for the aristocracy.’
Text: Kathryn Krakowka / Photo:
