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List of Vehicles - The National Motor Museum Trust

Preservation 

Modern preservation techniques take a great deal of time and care, and are carried out by a dedicated team of specially trained staff and volunteers.

Step 1: Assessing the Damage 

Before any treatment can be carried out the damaged object needs to be assessed to note where and what damage has occurred. This leather motoring coat had several split seams.

Photo Collection Archive - 307

Step 2: Repair 

Re-stitching split or torn seams; this is a two stage process as both the leather and lining materials were both damaged.

Step 3:Cleaning 

Removal of surface dirt from a leather motoring coat using specialist cleaning materials.

Step 4: Display 

With all repair work carried out the leather coat is now suitable for display.

The Wakefield Trophy, 1929 

The Wakefield Trophy 1929

The Wakefield Trophy 1929

The Wakefield Trophy was awarded to Major Henry O’Neal de Hane Segrave by wealthy industrialist oil king Sir Charles Cheers Wakefield. Segrave had driven Golden Arrow to achieve a new World Land Speed Record of 231.362mph/372.341kph on 11 March 1929, at Daytona Beach, Florida, USA. The holder of the record was given a silver trophy to retain, along with £1,000 per year by Sir Charles.

Designed by Phoebe Stabler and cast by her husband Harold at their Hammersmith workshop, the hallmarked silver trophy depicts a leaping figure of Jupiter carrying a lightning bolt as a sign of invincible power. Like the Golden Arrow car, the styling reflects that of the Art Deco movement popular during the late 1920s and 1930s.

The trophy was purchased by the National Motor Museum at auction in December 2002, with support from the Heritage Lottery Fund.

The trophy is currently on display in the Land Speed Record Breakers Gallery of the Museum.

About the Collection 

The National Motor Museum has been collecting objects associated both with vehicles in the collection and also with motoring on the roads of Great Britain in general since the museum itself was first established. We currently hold around 42,000 objects some of which are on display in the museum or loaned out to other museums, many are held in our reserve store.

The collection is very varied and includes costume, mascots, trophies, and badges, smaller car parts like lamps, horns, instruments, spark plugs, bulbs and engine spares. We also collect paintings, prints, posters, ephemera including advertising flyers, calendars, promotional material, log books, maps, licences, and legal documents. We also have travel trunks, items associated with petrol such as, oil and petrol cans, measures; we have road signs and roadside furniture such as traffic lights, cat’s eyes and bollards. In recent years we have focussed more on developing the social history side of the collection through items such as, toys and games, car accessories, popular culture e.g. annuals, models, videos and DVDs, crockery & china.

The collections are cared for by the Curatorial Officer and a dedicated team of volunteers whose aim is to research, preserve, document and increase access to the collections through display, digitalisation and cataloguing.

Care of the Object Collection

We are continually striving to keep our collections in the best possible way to ensure they are here for generations in the future to enjoy. The Curatorial Officer and an enthusiastic team of students and volunteers work behind the scenes on a number of projects to preserve and care for the collection.

Highlights of the Motoring Object Collection

The Coach Builders’ and Wheelwrights' Art Journal 1901 

Plate 1113 Gentleman's Driving Phaeton.

Plate 1113 Gentleman's Driving Phaeton.

First published in 1880 as The Coach Builders’, Harness Makers’ and Saddlers’ Art Journal this periodical underwent a number of title changes to reflect the growing interest in the motor car and by 1901 was featuring illustrations of motor vehicles alongside those of the more traditional horse-drawn carriage such as the two colour plates shown here of a Gentleman’s Driving Phaeton and a Panhard Phaeton Motor Car.

Introduced in the 18th century and named after a character in Greek mythology, the four-wheeled horse-drawn Phaeton was a light carriage with open sides in front of the seat. The Highflyer, an extreme form made popular by George IV when he was Prince of Wales could be viewed as the sports car of its day, the horse-drawn equivalent of a Jaguar E-Type or Aston Martin DB4. Young men drove their Phaetons with great dash at high speeds with their groom or 'tiger' perched up on the seat behind them.

Loans Boxes

We have a selection of loans boxes available to borrow. They consist of original and replica handling items sourced from the National Motor Museum Collections. They provide an ideal opportunity to run reminiscence sessions, intergenerational work and school projects. They can be hired for a whole school term for a nominal fee.

Golden Arrow 

This is the Golden Arrow

Fun Activities

Jaguar Jamboree

For 2009, the National Motor Museum exhibited, ‘Jaguar Jamboree’, which showcased the iconic Jaguar marque, with a selection of models from its illustrious past. Vechicles that defined Jaguar as a car of style, elegance and sophistication, were exhibited, as well as memorabilia, accessories and film clips.

This exhibition has now ended.

Vehicles that were on display:

Enquiries

History of the Collection

The Shell Advertising Art Collection is one of the most important collections of commercial art in Britain. It spans the period from the 1920s to the 1970s and contains some of the most memorable advertising ever produced in Britain.

The collection contains posters, press advertisements, paintings and illustrations, as well as early postcards, books and a unique collection of Valentine cards. Previously stored at Shell-Mex House in London, the Shell Advertising Art Collection has been housed at Beaulieu since May 1993.

Learning

Shell postcard

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The earliest items in the collection are charming postcards dating from the early 1900s. The lively and colourful illustrations refer to events of the time and capture the spirit of the period. From vehicles of a bygone era to the endorsement of women’s rights, Shell’s wit and vision illustrates a charming and innocent period of motoring history, in a uniquely English manner.

Shell poster showing Imperial Airways aeroplane as Shell Oil customer

Lorry Bills are characteristic of Shell’s advertising during the 1920s and 1930s. Posters were displayed on the side of the delivery lorries transporting cans of fuel to customers across the country. This ingenious method of advertising came about when Shell, along with other major companies responded to public outcries against roadside hoardings in the countryside.

The most innovative designs were produced from 1932 when Jack Beddington became responsible for the company’s advertising. Under his direction a list of artists not instinctively associated with commercial art were commissioned to convey simple messages for Lorry Bills. These artists went on to become famous names in British contemporary art, including Paul Nash, John Piper, Vanessa Bell, Ben Nicholson and Graham Sutherland.

Instead of merely illustrating Shell oil and petrol, Shell produced sets of posters with subtle themes centred on catchy slogans in a wide variety of artistic styles. Posters promoted motoring as a pleasurable activity, the British Countryside and its hidden treasures or the extra ordinary range of people who relied upon Shell. Many of the artists explored different art movements such as Abstraction, Cubism and Impressionism and the Lorry Bills introduced the British public to new elements of Modern Art.

After the Second World War there was a short revival of the poster campaigns, but the arrival of the petrol tanker meant the end for the Lorry Bill.

There are over 7,000 printed posters and 1,000 original artworks in the collection reflecting the charm and character of a nostalgic age of motoring.

Shell’s interest in Valentine Cards began in 1938 with the innovative idea of sending Valentine greetings to lady customers, a tradition that continued until the 1970s. The cards carried witty jokes and rhymes on motoring and petrol themes.

Shell extended the collection in 1964 when the company acquired 200 cards from the collection of the late Miss Jane Samuel’s, collector and founder of ‘The Valentine Shop in the Strand’, London.

The Collection traces the history of the Valentine from the early 19th Century onwards, and contains romance, sentiment and gushing sincerity, and also satirical cartoons and cruel verse, expressing the bitterness, and disenchantment of loves lost.

In the 1950s Shell commissioned artists to produce works for a new series of advertisements that appeared in glossy magazines and as school wallcharts. They were colourful paintings based around themes such as nature and the counties of Britain. Stanley Roy Badmin, Tristram Hillier and Rowland Hilder were among the talented artists employed.

The quality of the images and the educational text that accompanied them reinforced Shell as a quality brand without actually mentioning the product. After the sixties Shell continued to bring out calendars and occasionally commission paintings, however, photography took over as the advertiser's medium of choice and campaigns no longer featured artwork as they had done before.

On this page there will be information about: 

  • Shell guides

On this page there will be: 

*A facility to let you make a donation using your credit/debit card

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Jaguar XF SV8 First of Line 

This car was the very first example of the XF off the production line. It was gifted to the Jaguar Daimler Heritage Trust museum collection straight from the factory.

The XF closely followed the design set by the C-XF concept car unveiled at the Detroit Motor Show in January 2007. With the C-XF, Jaguar had announced a completely new direction for future designs and the concept car received tremendous praise for its modern and distinctive styling.

These images of the Isle of Man Tourist Trophy (TT) races were taken between 1922 and 1939 and collected by Graham Walker, a famous motorcycling personality of the time. They were later donated to the National Motor Museum.

Information Sheets

Choose from the people below:

Graham Walker

/graham_walker.pdf

General Enquiries about the Trust

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Camping and Caravanning

A 1933 Standard Little 12 saloon motor car on a caravan tour.

From a caravan weekend at the seaside to tenting at a festival, camping and caravanning are a popular holiday choice. In the late 19th century, these pursuits were often deemed as a curiosity, but as the motor car became more widely available they boomed in popularity. 

Today, as more Britons are choosing to holiday at home, campsites are welcoming bumper bookings, making camping and caravanning as popular as ever.

Camping 

Lightweight cycle campers relaxing at a Caravan Club Rally in 1914. Courtesy of The Caravan Club.

From Native American tipis to makeshift military camps, tents have been used as shelter for centuries. However, camping as a leisure activity only became popular in the 1900s.

Thomas Hiram Holding, a tailor by trade, developed a passion for the outdoors as a child when he travelled across America in a wagon train. Holding was a keen cyclist and canoeist who began to design compact tents and camping equipment. He became hailed as a pioneer of lightweight camping.

In 1901 Holding co-founded the Association of Cycle Campers (later known as The Camping Club) with other enthusiasts. There were many women members despite the frequent scandal provoked by a cycling lady revealing her ankle!

By the 1950s, lightweight camping became less popular. The rise in availability of the motor car provided transport for large heavy-framed tents that could accommodate the whole family. As more campers struggled to squeeze themselves and bulky tents into the car the trailer tent was developed.

Today, camping has come full circle, with new materials and technologies enabling a new generation of lightweight and portable shelters.

Days Out

Just out, Summer Shell, 1933, Drake Brookshaw. Courtesy of the Shell Art Collection.

Before 1871 there were no bank holidays and paid holidays were not introduced until 1938. So it was only the wealthy that had both the spare time and transport to enjoy day trips.

As days off became more frequent and transport links were developed, leisure time was revolutionised for the working masses. This was the beginning of the great British day out.

 

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