Hidden Thames Treasures Revealed In New Exhibition
-Pictures Revealed For First Time-

…WITCH BOTTLES, TO WARD OFF EVIL INTENTIONS…BOAR BRISTLE TOOTHBRUSHES…
FAIRY PIPES…WORLD WAR TWO BOTTLE TOPS…VICTORIAN TOYS…
ANTI AIRCRAFT SHELLS…

30 August 2007: Fragments from the Foreshore, a striking exhibition of contemporary photography of ancient and modern objects found on the foreshore the River Thames providing vivid snapshots into our past is on display at the River & Rowing Museum, Henley on Thames, www.rrm.co.uk. The exhibition continues until 4 November 2007.

Roman figures and roof tiles, medieval clay pipes through to World War Two bottle tops and anti-aircraft shells are just some of the 1,000 objects presented in themed photographs, taken by artist Michael O'Reilly. O'Reilly collected over 4,000 fragments during 15 years of kayaking along the Thames and this is the first time the photographs have been displayed.

The pictures provide vivid and unexpected glimpses back into every day life along the Thames, ancient beliefs and the river's historical role as a dumping ground. They also powerfully illustrate how rubbish discarded, no matter how long ago, is retained in the environment and returned to us as evidence of past lives and actions. Example pictures include:

	A Fragment of a 'Bellarmine' jar, a type of alcohol filled vessel imported from Germany and sometimes used as witch bottles to ward off evil intentions of a supposed witch. Urine, nail clippings and bits of hair were mixed in the jug and heated up. This was meant to cause the boiling of the witch's blood and water. The bottle would then be buried under the threshold of the victim's house, or cast into the nearest river. Pins, iron nails and fabric hearts could also be added. Bellarmine jars were imported between the 1500s and 1600s and named to ridicule Cardinal Bellarmine (1542-1621) who was widely disliked in Northern Europe for his persecution of Protestants and opposition to alcohol. The jars bear distinctive faces on their necks, meant to represent a burgher (German civic) dignitary and symbolise prosperity.
	A cattle bone toothbrush which would have contained coarse bristles from the neck of a boar is just one of the objects in the 'buttons and bones' photograph. The boar bristles would have been pulled through holes in the bone handle and secured by wire - Nylon bristles were only introduced in 1938. The brush, together with copper boat nails, a Victorian lead soldier, porcelain doll's legs, washing pegs (made and sold by poor East End families following the decline of the weaving industry in 1700) provide a colourful cross-section of everyday objects discarded or lost in the Thames.
	A graceful picture of the clay pipes captures the country's smoking habits from 1558 when tobacco was first introduced into the UK. By 1650 there were at least a 1,000 pipe makers in London alone. Their round shape helps enables them to roll in the water protecting them from the ebb and flow of the tide. Some still bear the maker's decoration from Royal crowns and coats of arms, to decorations of thistles, roses and hoofs. At low water O'Reilly can hear the water tinkling and chiming on the pipes before he sees them. Some can be found in perfect condition, protected by the Thames' mud and silt since they were thrown away or lost over 200 years ago.

Other photographs display objects as diverse as rubber glovers, a 1950s hot water bottle, fragments of French and British china, old bottle tops and workings from Greenwich Power Station.

The photographs have a powerful aesthetic quality and often directly reflect the colour of a specific stretch of Thames from which the items are sourced. The powerful force of the river is also visible. Clay roof tiles, once large and heavy, appear like red pendants, worn and smoothed.

Unusual for contemporary photographs, they are presented with two detailed captions to enable the viewer to see the picture in two very different ways. O'Reilly gives the artistic impression and his reasons for themeing the objects in the picture to form a visual statement, while Netty Rawlings, River & Museum, Exhibition Curator, provides the historical background to the objects and how they would have been used.

O'Reilly collected the majority of his fragments on the foreshore of the tidal Thames between Gravesend and Richmond. He has composed and photographed the objects using natural light to bring out the colours, textures and patterns of the fragments.

Michael O'Reilly, artist, said: "The Thames is liquid history', said John Burns an MP in 1929. This statement is powerfully true. I kayak along the river to explore and understand what the Thames really means to the urban and rural communities it passes through.

"My interest is driven by the excitement of discovery and finding items that inspire me. I am fascinated by the frequency with which certain kinds of objects keep appearing, for example clay roof tiles can often be found in one location and have turned the foreshore a rusty red colour as they are slowly broken down by the river."

Netty Rawlings, River & Rowing Museum Curator said: "The photographs in Fragments from the Foreshore act as striking and colourful windows into ancient and modern lives along the Thames. These fragments of rare, or every day items, bring communities to life - from brushing one's teeth to roofing a house - all aspects of living are displayed in the images."

Fragments of the Foreshore is on show at the River & Rowing Museum until 4 November 2007. The Museum has four galleries with exhibitions for adults and children, as well as a terrace café, shop, a dedicated events programme and full time education centre with programmes for adults and children. Full details can be found at: www.rrm.co.uk

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