From New Brunswick to Fulham

It’s been a very busy few months since my last blog post. We’ve been away travelling in Europe, reliving our inter-railing student days but with a touch more luxury. Decent train reservations and nice hotels rather than cheap nights in dodgy Eastern European youth hostels (I’m talking early 1980s – I’m sure they’re much nicer now) or dossing in a field somewhere in Belgium. Travelling in comfort is definitely de rigueur once you get to a certain age. We visited Brussels, Cologne, Berlin, Prague, Vienna and Amsterdam. Think Michael ‘Choo Choo’ Portillo (my Overseas readers might like to google him) but without the annoying flourescent suits.

I’ve been mudlarking too, not as many visits to the foreshore this year as I’d like, though this has picked up in recent weeks. Sometimes these visits have been a bit ‘smash’n’grab’ rather than a decent three hours or so, but even a quick lark is better than nothing and I’m grateful for even an hour of searching.

There have also been our Hands on History mudlarking exhibitions. Last month I made my way to Henfield Hall in West Sussex for a wonderfully busy and well attended event, where we mudlarks were guests of the Henfield History Group. There will be more exhibitions to come, including an exciting weekend at the stunning St Martin-in-the-Fields, Trafalgar Square, on Saturday 20th and Sunday 21st June, from 10am to 4pm, free entry. A date for your diaries – do come!

Two weekends ago, just as the current heatwave was on its way, there were some decent low tides scheduled so I took myself down to the foreshore in South West London to see what the Thames might give me.

One of the wonderful things about mudlarking is that you never know what you’ll find. I arrived two hours before the predicted low for that day and could already see the tideline much further out than expected. Clearly it was going to be a corker, though that’s no guarantee of finding anything, as all mudlarks will tell you. But it doesn’t stop you hoping and it does guarantee access to areas of foreshore that are normally invisible and inaccessible.

Strolling along the tideline I saw something bizarre and more than a little disturbing. One of my nightmares, and that of many mudlarks, is finding something grisly on the foreshore – dead animals, human remains (which must be reported to police immediately) or eerie, potentially cursed objects. A fellow mudlark told me he’d recently found artefacts related to dark practices, felt extremely unnerved by this, and sensibly left them where they were. For those who are sensitive to this kind of thing, which is probably most of us, it can be an issue. I’ve thankfully never found human remains though mudlarks have been known to find Bronze Age skulls or bones relating to 18th/19th century convicts once kept on prison hulks moored on the river. When these poor souls died it wasn’t unknown for their bodies to end up in the Thames. However, I have found dead animals, unpleasant in itself, obviously – rats, a drowned puppy, foxes caught on the foreshore as the tide turned with no means of escape and, once, a dead cat in a plastic carrier bag. There’s no way of disguising this, it can be grim, but I made myself open the bag and take a look. It turned out to be what looked like an Edwardian gent’s efforts at amateur taxidermy. Moth eaten, mangy, glass eyes, not pleasant but at least not recent. I disposed of the poor thing carefully and respectfully.

Back to the bizarre thing.

This is what I spotted as I strolled about. Staring up at me, near a bridge from where I suspect someone had once lobbed it into the river, was this head. Picking it up, I couldn’t work out who this weather-beaten, toothless, bearded face belonged to. He was also very heavy, which might explain why his head was still intact with very little damage as far as I could see. Thrown into the Thames on a high tide the river would have broken his fall while he sank slowly to the bottom. Because of the exceptional low tide that weekend in SW London he wouldn’t normally have been visible.

Kassem – Vintage Bossons Chalkware Wall Mask Plaque

I’ll admit I found him strange. The monotone colour, white face and black head covering, was dramatic and theatrical but also a bit unnerving, though that could just have been his direct gaze. Turning the head over there was a hole at the back, so clearly this had once been hung on someone’s wall. I didn’t feel any really negative ‘do not touch’ vibes from him so I decided to take him home with me and try to research who he was. However, the family weren’t pleased when I took him out of my finds bag in the kitchen and there was an overwhelming vote for me to take him back where I’d found him. My lot can be wusses.

Then the mudlarking hive mind came to my aid.

Vintage Bossons of Congleton, Cheshire, Chalkware Wall Mask Plaques

My Thames-found head was part of a collection of chalkware heads and figurines made by Bossons of Congleton, England. Bright, colourful creations, they were produced in the 1960s and were hugely collectible. When I posted about my Bossons head on another social media platform last week, a number of people messaged me to say that their parents, grandparents or some other relative had once collected these. They’re still collectible today though I have to be honest and say they’re not my taste. Maybe it’s me but there’s an odd vibe, a national stereotype to these faces, though they were from the 1960s when times and cultural attitudes were very different. Kitsch and slightly garish, Bossons produced Scotsmen, Albanians, Robin Hood, Country Squires, Nigerian gents, Arab Sheikhs, Swiss yodellers in Tyrolean hats, French onion sellers called Pierre, and plump-cheeked country milk maids. The range of Bossons heads was quite extensive.

My chap would have been once quite colourful, not the monotone he was when I saw him on the foreshore. It seems that decades immersed in the river had washed all the original paintwork away.

Having got him home and been unable to persuade the family that he definitely wasn’t cursed, I decided to take him back to the river the next day. I left him where I’d originally spotted him for someone else to find and then crossed over to the north side of the Thames to see what else might come my way.

There are times when the river takes your breath away.

This part of the foreshore in SW London has an ancient history. It literally holds secrets of some of the oldest settlements in what is now modern London. There are intertidal prehistoric peat deposits on both sides of the river here, at Putney and Fulham, when the landscape was once very different. The peat deposits contain diverse plant and animal remains giving important information on past environments and ancient landscapes.

Split anchor lying on a bed of prehistoric peat on the Fulham Foreshore in SW London. Traditionally anchors were cut in half once their boat was decommissioned
Area of prehistoric peat on the Fulham Foreshore facing upstream

In 2009 the Thames Discovery Programme (TDP) recorded three timber piles on the north bank of the foreshore at Fulham. Carbon-dated to the Iron Age (in Britain this is from 800 BCE to 43 CE, ending with the arrival of the Romans) it’s unclear what their function is. It’s known that there was a large Iron Age Roundhouse further upstream so it’s possible that the posts might have been part of a causeway or river crossing. Evidence of likely ancient ritual activity – the finding of worked stone tools and antler mattocks – has also been recorded in this vicinity so these tools may have been deposited in the Thames as offerings.

Three Iron Age timber posts on the Fulham Foreshore

The three Iron Age timber posts come and go. They should be visible at every low tide but this hasn’t been the case for quite some time. The river has done it’s usual ‘thing’ of shifting, changing and re-arranging itself so the timber posts have been covered by stones and gravel for a while.

However, luckily for me, on this occasion they’d re-appeared and were visible again. As I crunched my way along the shingle towards them to take some photos I noticed a bottle lying on the sand in front of one of them.

Fellows & Co. Chemists. St John. NB, apothecary bottle

Convinced it was bound to be broken I picked it up carefully but aside from a small chip on the rim it was complete. The cork was still in situ though closer examination of the contents revealed that whatever had once been inside had now been replaced by river water. My day was made, my mind was blown. Iron Age Britain metaphorically shaking hands across time with the 19th century. This is why I love mudlarking.

The bottle was embossed with the name ‘FELLOWS & CO. CHEMISTS. ST JOHN N.B.’ Made from clear glass, Victorian-era, definitely not a poison bottle as that would have been blue or green in colour. I still can’t believe it was just lying at the base of an ancient Iron Age timber post, deposited gently on that morning’s low tide as the waters slowly receded.

Fellows & Co. Chemists. St John. NB, apothecary bottle
Fellows & Co Apothecary Bottle showing a slightly cracked rim but otherwise intact, complete with original cork

A quick online search revealed that Fellows & Co were Isaac Fellows and his son, James I. Fellows. Originally from St John, New Brunswick, Canada, they manufactured various household remedies, tinctures and medicines, also selling perfumes and other ‘fancy articles’ to the public, and advertising themselves as ‘Apothecaries to the Army and Navy’. Their most famous product was a tonic called ‘Fellows Compound Syrup of Hypophosphites.’ A further search of the contents of this ‘syrup’ revealed it contained some grisly ingredients – manganese, iron and alkaloid strychnine. Yet at that time it was deemed suitable for both adults and children. I’m making a wild guess that many patients felt far worse after taking it.

A promotion advertising ‘Fellows & Co’ medicines, chemicals and other sundry items from their store at Foster’s Corner, St John, New Brunswick, c.1878

You can say what you like about the 19th century but they knew how to advertise and Fellows & Co advertisements were ubiquitous and prolific. They also had their own laboratories – in Montreal, Canada; Vesey Street, New York; and in 1881 they opened one at 7 Snow Hill in the City of London. The latter might explain how this bottle ended up on the Thames Foreshore at Fulham. It would have been manufactured in Snow Hill then distributed to apothecary shops across the capital, so its journey here wasn’t quite as far as I’d originally thought.

My Thames-found bottle hadn’t contained their famous Compound Syrup of Hypophosphites as this would have been embossed on the bottle. More likely it contained another type of tincture or tonic. Some fairly ambitious and wild claims were made about the Compound Syrup at the time. One was that it was deemed highly efficient in the treatment of Tuberculosis, Chronic Bronchitis ‘and other affections of the respiratory organs. It is also employed in various nervous debilitating diseases with success.’

Fellows & Co relied heavily on testimonials from patients who were ‘cured’ or from doctors who had successfully ‘cured’ their patients having used these products. A signed statement from the Mayor of St John, New Brunswick, was an example of the praise lavished on this product:

‘I, Aaron Alward, Mayor of the City of St John, in the Province of New Brunswick, having examined the signatures attached to the foregoing permit of reference, hereby certify I believe them all genuine. I can also testify to the high therapeutic value of Fellows Compound Syrup of Hydrophosphites, consider it deserving of attention by the profession generally.’

Unfortunately for the Mayor and others who helpfully submitted testimonials, in June 1918, the American Medical Association Journal declared a complete lack of evidence showing that this product had any therapeutic value. Fellows & Co eventually took this criticism on board and by 1928 all wild claims regarding cures were if not removed at least heavily muted and the syrup was rebranded simply as a ‘good tonic.’ Quacks and quackery, those who were making dishonest claims about their medical skills, expertise and promising cures, were now being taken to task.

There’s quite a community of collectors of vintage medicine bottles with numerous examples of different types of Fellows bottles for anyone interested in pursuing this further, all easily found online with a quick search. I haven’t been able to find the exact date the company was wound up but am imagining probably in the 1940s or 1950s. If any of my North American readers have any more accurate info please let me know.

NB A valid permit is needed from the Port of London Authority for anyone wishing to mudlark, metal detect or search the Thames in any way. Link to read more here:

Thames foreshore permits | Port of London Authority

Thank you for reading.

Lost and Found Jewels: From Prague to Richmond-upon-Thames (via New York)

The annual Richmond Draw-Off is at an end for this year, and it’s been a spectacular one. The perfect note on which to end my final blog of 2025. It’s given me some fabulous finds, one in particular was very special, and allows me the indulgence of musing about lost and found jewels.

I’ve blogged about the Draw-Off before but, for those unfamiliar with it, it’s that time of year when the Port of London Authority (PLA) open Richmond Lock and Weir in order to carry out vital repairs. This results in some excellent low tides where, on occasion, it can look as though someone has pulled the plug on the Thames. This year’s Draw-Off has been longer than usual, beginning on Monday October 27th and ending on Friday 19th December.

The photo below, taken this year on the first day of the Draw-Off, Monday 27th October, gives a real sense of how low the tide has been and how much of the foreshore was tantalisingly visible, making the prospect of finds very intriguing. The foreshore here is hidden for the rest of the year so it’s a very special feeling to be able to step down ancient (and rather slippery) river stairs and search for artefacts.

Richmond Riverside during the 2025 Draw-Off. The foreshore visible here is under water for the rest of the year.

For those readers unfamiliar with this part of South West London, the London Borough of Richmond-upon-Thames is well worth visiting for its green spaces (home to Richmond Park, London’s largest deer park), scenic riverside walks and rich history. It’s the home of the long lost Richmond Palace, a stunning Tudor royal residence rebuilt and renamed by Henry VII in 1497-1501 on the site of the old Shene Palace, partially destroyed by a distraught Richard II in 1395 after the death of his wife Anne of Bohemia.

Only The Gatehouse and parts of The Wardrobe remain of the palace, though there is also surviving archaeology on the Thames Foreshore in the form of timbers from a jetty, carbon-dated to the late Tudor/early Stuart period. (Both The Gatehouse and jetty timbers are pictured below.) We also have surviving household accounts from Elizabeth I’s time here. Richmond Palace was thought to be one of her favourite homes and where she died on 24th March 1603. The Queen particularly enjoyed spending Christmas at Richmond, entertained by William Shakespeare’s acting company, the Lord Chamberlain’s Men, who performed for her and favoured members of the Royal Court.

Sadly, contemporary images of the Tudor Richmond Palace are few and far between. The best visual view we have is Antonis Van der Wyngaerde’s sketch from 1562 showing its magnificent riverfront, complete with pepperpot turrets and gardens, drawn from the north (Middlesex) side of the river at what is now St Margaret’s. After Charles I’s execution in 1649, Oliver Cromwell ordered Parliament to assess the cost of demolishing the buildings and it was sold for £13,000, the stones re-used elsewhere. Eventually returned to Charles II following the Restoration of the Monarchy in 1660, by then the cost of rebuilding was too great and what remained of the ruined Richmond Palace was left to fall apart.

A Thames Heron faces the spot where there are still visible traces of the old Tudor/Stuart jetty. In Tudor times, Herons were hunted and eaten at Royal feasts.
The Gatehouse, one of the few surviving buildings of the Tudor Richmond Palace. It can be accessed via Richmond Green nearby, once used for sport, jousting and other Royal entertainments.
Sketch of the Tudor Richmond Palace riverfront by Antonis Van der Wyngaerde, c. 1562.

It was in the vicinity of the Tudor/Stuart jetty that I spotted one of the prettiest artefacts I’ve ever discovered on the Thames Foreshore. I’ve never found anything quite like this and it opened the door to a story that began in Central Europe in 1845 before somehow ending up in the river at genteel Richmond when I spotted a glint of something gold and tantalising in the water during this year’s Draw-Off.

Tantalising first view of something gold and glittering in the River Thames.
Turning it over in the water and seeing this beautiful jewel for the first time since it was lost in the river.

I knew I’d found something interesting and unexpected but wasn’t sure, at that stage, exactly what. A brooch of some sort, obviously, but clearly beautifully made to a very high standard using what appeared to me to be precious metals and semi-precious stones. It was also complete and undamaged, with a pin at the back. Taking it out of the river I gently removed a number of freshwater shrimps who’d made this their home over the decades, and re-housed them elsewhere in the water. There was quite a bit of mud in the nooks and crevices at the back of the brooch indicating this had been in the Thames for some time.

After a gentle clean-up at home, research into the brooch began in earnest. My trusty magnifying glass revealed a series of hallmarks – 925 UPM MMA – the 925 indicating gold-plated sterling silver. The other materials were mother of pearl, green enamel and garnet. Further research revealed that UPM stood for The Museum of Decorative Arts in Prague, and MMA for the Metropolitan Museum of Art in New York. This was very exciting and I immediately emailed the museum in Prague to see if they could help shed more light on the jewel.

My brooch cleaned up and showing the rear view, hallmark 925 and the initials UPM and MMA.
Another view of my brooch from the back.

I was immensely grateful to the prompt reply from the team at The Museum of Decorative Arts in Prague who were extremely helpful and were able to provide me with information that helped colour in the backstory of my Thames find. I am particularly grateful to Dr Lucie Vlčková, who I contacted first and then signposted me to Dr Petja Matějovič, who provided so much helpful detail. I’m also grateful to Veronika Mědílková who, for the purposes of this blog, organised permission for me to use the museum’s images of the original necklace my found brooch was reproduced from.

Front view of the brooch, before clean-up, showing gilded leaves, mother of pearl flower, garnet stone and green enamel leaf.
The brooch, after clean-up, showing a visible loop at the top where it would have been attached to the other parts of a necklace.

In 2000, the Museum of Decorative Arts in Prague collaborated with the Metropolitan Museum of Art in New York, allowing MMA to reproduce a limited edition collection of copies of approved artefacts. The reproductions, if this brooch is anything to go by, were beautifully made and used semi-precious materials. My find from the Thames at Richmond is one of these reproduced items.

Dr Matějovič kindly sent me images from the original necklace that my brooch was reproduced from. The original necklace is now part of the collection of the Museum of Decorative Arts in Prague and was originally made in Central Europe c 1845. This necklace was fashioned from gold, silver, ivory, pearl, enamel and rubies. Common to this style, parts could be separated and worn as a brooch. It would have been commissioned for a high status and wealthy woman.

Original necklace c.1845. Image ©UPM – Museum of Decorative Arts in Prague (Invoice No. 53470)
Original necklace c.1845. Image ©UPM – Museum of Decorative Arts in Prague (Invoice No. 53470)

The original necklace, like so many beautiful things, would have been vulnerable during the Nazi occupation of Europe. It’s thought that it remained in private ownership and was eventually confiscated by Czech authorities after 1945 before transferring to the UPM in Prague in 1961. It has been on display here as part of an exhibition called ‘ART, LIFE.’ Dr Matějovič describes the necklace as a time capsule, symbolic of several stages of the life cycle of a plant. You can see this clearly in the way golden tendrils weave together the gold and enamel leaves, bejewelled flowers and seed pods.

The necklace also features in Dr Matějovič’s book ‘Jewellery -Form-Content’, bringing together jewellery past and present: jewellery still worn today, and jewellery that has not survived.

‘Jewellery -Form-Content’ by Petra Matějovič.

I have kindly been invited by Dr Matějovič to visit the Decorative Museum of Arts in Prague for their new exhibition ‘Jewellery and Figure’, which will be open until 29th March 2026, and hope to make the trip to Czechia sometime in the new year. A great start to 2026 and a wonderful experience to look forward to. I have included a link to the museum for more information about location and opening times:

Poster advertising the new exhibition – ‘Jewellery and Figure’ – currently on at UPM, the Decorative Museum of Arts in Prague, until 29th March 2026.

Finally, thank you to Angela (@up_for_a_lark on Instagram, please give her a follow) who was with me when I found this stunning brooch and was able to share the moment of discovery with me.

As the tide began to come back in and I set off for home I couldn’t help thinking that Elizabeth I would have approved of this find, made within the vicinity of her long lost Tudor Palace, albeit separated by a span of over four hundred years since she last spent time here. I’ll never know how this artefact got into the river, one can only speculate; it was lost, then found again. This is what mudlarks do – we find lost things and bring them and their stories into the light again.

View of the Tudor/Stuart jetty with Richmond Railway Bridge and Twickenham Road Bridge visible downstream.

The timbers of the Tudor/Stuart jetty where I found my brooch, are heavily symbolic regarding other historic jewellery. As mentioned above, Richmond Palace was reputed to be the favourite home of Elizabeth I and the place where she died on 24th March 1603.

Stone monument showing details of the monarchs who lived and died at Richmond Palace, including Elizabeth 1, who died here on 24th March 1603.

When mudlarking near the jetty I often think of the moment of the Queen’s death. According to legend, Robert Carey is said to have taken the Queen’s ring from her finger after she was pronounced dead. He then rushed to a boat, perhaps tethered at this very spot (travelling by road at that time was considered dangerous, the river was viewed as a much safer option) before being rowed down the Thames into the centre of London. He then disembarked and galloped at speed on horseback to James VI of Scotland, now James I of England. Elizabeth had died unmarried and childless, so James was named as her rightful heir (his credentials as the next Monarch were that he was the son of Mary, Queen of Scots, Elizabeth’s cousin, and was also a great-great-grandson of King Henry VII.)

But as so often in history, fact is mixed with a heavy dose of fiction and exaggeration. Carey did indeed make the dash to Holyrood House in Scotland but, as far as I’ve been able to ascertain, documents show that the ring Carey was said to have presented to James was not from the deceased Queen’s finger. Historians of this period, particularly the jewellery experts, believe it far more likely that Carey handed over a sapphire ring (definitely not the Queen’s actual ring) with the words that it had come ‘from a faire lady.’ James had previously given this ring to Carey’s sister, with instructions that it should be returned after the Queen’s death. In returning the sapphire ring so quickly to the new King of England, Carey may have hoped to curry favour with him by giving him assurance that Queen Elizabeth had indeed died. He had rushed north to Scotland without any other official documentation and against the express orders of Eizabeth’s Privy Councillors, an unwise move and which made him unpopular.

The ring that was actually taken from Elizabeth’s finger a week before her death, on the advice of her physicians, is known as the Chequers ring, and is one of the few surviving pieces of jewellery worn by her. The exact circumstances of her death are still a subject of hot debate today. Blood poisoning is commonly cited as the main reason – the Queen was a heavy user of lead-based makeup known as ‘Venetian Ceruse’, or ‘Venetian White’, which was later classified as a poison. She may also have died of pneumonia, streptococcus or even cancer. Permission for a post mortem was refused, probably to protect the cult status of the Queen’s ostensible virginity – in life she had been portrayed as a virgin, a goddess, but never as a normal woman. It was important that this myth was maintained.

Thought to have been given to her in 1575, and worn every day, the Queen’s ring had grown into her flesh over the years causing her considerable discomfort and necessitating its removal prior to her death. The Chequers ring was made from gold, mother-of-pearl, rubies, diamonds. Its chief feature is a locket with two portraits. One is of Elizabeth herself, the other traditionally thought to be her beloved mother Anne Boleyn.

The Chequers Ring. Image © Chequers Collection

Much of Elizabeth I’s jewellery has long since been lost, dispersed by James I after the Queen’s death, nor is it clear what happened to Carey’s sapphire ring either. Quite likely also lost or given away, no one knows where. The Chequers ring is uniquely special in that it survives, probably bought by the Home family, and descended down the line until acquired by Arthur Lee, First Viscount Lee of Fareham, owner of Chequers country house, which was eventually presented to the nation becoming the country home of the prime minister. The ring remains within the private Chequers collection, and is not on public view.

Jewels. Lost and Found in the Thames. And those that survive historic events to tell their tale.

And it’s on that bejewelled note that I hope you’ve all enjoyed a Happy Christmas; wishing you a peaceful and healthy New Year 2026. Thank you to everyone for reading and supporting my mudlarking blog, and for all the kind emails you’ve sent me this year.

NB Please note that a valid permit is required from the Port of London Authority (PLA) in order to mudlark or detect on the Thames Foreshore.