Museum and archive collections are, in their very nature, eclectic. They often have roots in one person’s fascination with the past and they develop and grow much like a tree putting out roots. They are often dependent on donations, and collecting policies within museums are developed to provide some structure to this form of collecting, making sure that very valuable storage space is used to advantage and the best are represented. It is not that often that choices can be made by museum and archive staff about what to purchase, what gaps to fill and who to represent.
The Heritage Lottery Funded Creative Wiltshire project has aimed to facilitate just that. With a carefully prepared bid back in 2014 we were successful in achieving funding to add to some of our Wiltshire collections and with careful consideration we have purchased items that aim to fill gaps, often representing a new creator with a strong Wiltshire connection. We are now reaching the end of this project and our final exhibition at Salisbury Museum will show off some of our recent purchases.
This project is not just about the purchases, it is also about offering training and development to volunteers and staff associated with museums within the county, as well as education workshops, a tool kit for teachers and other events in the wider community. The exhibition at Salisbury Museum has provided a perfect opportunity to put an ‘Exhibitions Assistant Trainee’ in place, to plan, oversee and install the final exhibition with the support of the Salisbury Museum Director, Adrian Green and his team. Thank you to Emily Smith, our successful applicant, who has been able to gain great ‘hands on’ experience of all aspects of exhibition work within a museum context. We gave her a tough brief; expecting planning, curation, exhibition design, mounting of work, co-ordinating staff, borrowing and transferring of objects required from around the county and she has had a busy four months putting this in place. We thank you for your enthusiasm and we are thrilled with the results. The exhibition at Salisbury Museum has now been extended to 29th September 2019; why not pop in and see what you think? You will find work by Rex and Laurence Whistler, Howard Phipps, Nancy Nicholson, Nick Andrew, Jonathan Wylder and Wilfred Gabriel de Glehn, amongst others.
During the course of the project other exhibitions have been held at Swindon Museum and Art Gallery and Chippenham Museum and both have focused on recent acquisitions to their collections. Sophie Cummings of Swindon Museum and Art Gallery says the project has exceeded her expectations and allowed them to purchase pieces by Ken White, previously un-represented in their collection, as well as fine art by Joe Tilson, Harold Dearden, David Bent and Janet Boulton and ceramics by Katherine Pleydell-Bouverie, Patricia Volk and Sasha Wardell.
The current exhibitions at Swindon Museum and Art Gallery are well worth a visit.
An Art of the People – Ramsbury & Cricklade Potteries features work by Ivan and Kay Martin of Cricklade, and Peter Holdsworth of Ramsbury.
Out of the Box: An exhibition of paintings by David Bent
An exhibition of work by David Bent which includes geometric landscapes, intricate photographic collages and paintings as well as his aviation art and “Movement 2000” series. Stunning and inspiring work by this Swindon based artist.
World Heritage is the shared wealth of humankind. Protecting and preserving this valuable asset demands the collective efforts of the international community. This special day offers an opportunity to raise the public's awareness about the diversity of cultural heritage and the efforts that are required to protect and conserve it, as well as draw attention to its vulnerability.
Endorsed by United Nations Educational, Scientific and Cultural Organisation UNESCO the day is an opportunity to raise the profile of World Heritage Sites across the globe and to recognise and explore their unique and special features. Many of you will know the most famous Sites such as the Great Wall of China, the Egyptian Pyramids and the Amazon Rainforest in Brazil but did you know that we have 31 World Heritage Site in the United Kingdom and that the most recent of these is the Lake District which was added to the List last year?
Here in Wiltshire we are incredibly fortunate to have the Stonehenge, Avebury and Associated Sites World Heritage Site – to use its proper title. The globally iconic stone circles are instantly recognisable but do you know about all the other monuments and sites which form part of this 50 square kilometre landscape which makes up our World Heritage Site? The partners that look after all things World Heritage are planning to make sure that this year Wiltshire marks World Heritage Day with an array of fun activities and events all across Wiltshire to help you find out more about our World Heritage and how to get involved.
At Avebury you can join the National Trust for a guided walk and find out why this World Heritage Site is globally important as you explore the landscape visiting the Bronze Age 'hedgehog' barrows and stroll down to Neolithic West Kennet Avenue. You'll discover some of the most exciting parts of the prehistoric landscape at Avebury.
Or join the Human Henge group for a more sensory experience of Avebury's ancient landscape. Human Henge is a ground-breaking project about archaeology, mental health and creativity that is interesting, adventurous, safe and fun. Walk, sing and learn in the company of archaeologists and musicians, connecting with others who have walked here before us.
At Stonehenge, English Heritage invite you to meet their friendly volunteering team. See them make and decorate prehistoric style pottery, fashion rope out of water reed, and make cheese and bread over the open fire in the Neolithic Houses. Learn about the plants foraged from the Stonehenge landscape and chat to the volunteers as they repair the chalk daub walls of the houses. There will be a chance to sign up and join this amazing team and learn some essential Neolithic life skills! There are also free guided walks around the site, a trail for grown-ups, prize giveaways during the day, and a Stonehenge100 talk by Archaeologist Phil Harding in the evening.
Now in The Salisbury Museum, the Salisbury Giant and Hob-Nob were first mentioned in 1570 and 1572 respectively, in records from the Salisbury Guild of Tailors but it is probable he existed by the 1400s. Originally used by the Salisbury Guild of Tailors on the eve of the feast of St John (Midsummer’s Day), they have been a part of processions and festivals in Salisbury, originally to mark the eve of St John the Baptist’s Day (June 23rd) and the eve of the feast of St Osmund’s translation (July 15th), but later to be paraded for special occasions, such as royal weddings and jubilees.
The Salisbury Giant is a tall (now 12ft) figure made from a wooden frame; the oldest part of which is the head. Hob-Nob’s purpose in celebrations and parades was to clear the way for the Giant – he is smaller, and horse-like, with jaws fitted with hob-nails to snap at members of the crowd if they were in the way. In the nineteenth and twentieth centuries there were reports of the hobby horse chasing people and ripping their clothes with his teeth as a result of people throwing things at him. The Giant and Hob-Nob could each be supported by one man holding the frame. This resulted in the Salisbury Giant having a very life-like sway and movement.
The physical appearance of the Giant has changed frequently since the sixteenth century. Most depictions of him in the nineteenth century show a tricorn hat and tobacco pope, but in the twentieth century he was garbed in fifteenth century style robes. One of the biggest changes to his appearance was also in the twentieth century, when his face was painted over with shellac to preserve it, but had the side effect of making him look as if he was from African descent. A restoration later on discovered around 6 layers of pink-ish paint underneath.
Some say that the Salisbury Giant represents St Christopher, the biblical giant, and that he was detached of his religious significance during the Reformation and the Puritan era. However, it has also been pointed out that other than his bearing, the Salisbury giant has no other similarities to the saint.
Wilfrid Gabriel de Glehn has often been described as “one of England’s leading Impressionists” due to his ability to capture variations in sunlight and shadow as well as a painterly style and a feel for colour that perfectly captured his subject. He has been highlighted while researching for Creative Wiltshire, a Heritage Lottery Funded project and we discovered that we hold one of his pieces within the county; a portrait of Dr. Edwin Sloper Beaven dated 1939 and held at Dewey Museum in Warminster. (Ref. WAMDM:D4414)
However, while he was known for his portraits and received regular commissions, it is perhaps his landscapes that inform us of the man; often capturing a sense of place with huge accomplishment and care. He worked in oils or watercolours and travelled widely, so his subject matter is hugely varied and genuinely reflects his love of people and places.
In 1891 he was invited to assist in the murals for Boston library by Edwin Austin Abbey and so began his long association with America, leading to his marriage in 1904 to Jane Erin Emmet, cousin of the novelist Henry James. He also began a lifelong friendship with John Singer Sargent and the three often travelled together, painting side by side as they visited wonderful locations such as Venice, Rome, Corfu, Granada, St. Tropez and areas in the south of France along with locations closer to home, such as Hampshire, Wiltshire and Cornwall. Wilfrid and Jane settled in London, in Cheyne Walk, close to Sargent’s studio, and Wilfrid began to establish himself as a portrait painter, exhibiting at the Royal Academy and other private galleries in the early part of the 20th century.
His painting was interrupted by the First World War when he and his wife worked as orderlies in a French field hospital and this contrast with his earlier pre-war life had an impact on them both. He took time to return to painting after the war but had produced watercolour sketches during his experiences depicting patients resting in the landscape, playing cards and recuperating, and these demonstrate his eye for figures and a wonderful ability to capture a sense of place and nature.
Visits to France became part of the couple’s lifestyle; both had studied in Paris and they regularly returned to the city as well as favouring the area around Chartes, the Seine valley and Provence. Wilfrid’s portraiture work funded these summer trips to Europe and in turn fuelled his interest and love of landscape painting. Both he and Jane travelled with their artist’s tools and regularly set up their easels together to enjoy their painting. A love of the English countryside grew and Cornwall became a firm favourite, as well as Hampshire and the River Avon. A theme of castles brought de Glehn to Wardour Castle in the south of the county, and a visit to Downton led to them renting the rectory at Wilton during the 1920s and 1930s, introducing them both to the Wiltshire countryside. The rectory backed onto Wilton Park which provided de Glehn with more subject matter, and he became fascinated with the Palladian bridge spanning the River Nadder. He also painted Heale, a seventeenth century house owned by a friend and many of these paintings were shown at Wilfrid de Glehn’s exhibition at Knoedlers in 1935.
By 1941 the couple were searching for a new home, having lost Cheyne Walk, London in the Blitz and it was at this point that they bought the Manor House in Stratford Tony where they settled for the remainder of his life while still returning regularly to Provence.
It’s been a year since I first started working in Wiltshire – how time flies! Working as part of the Conservation and Museum Advisory Service (CMAS), I work with museums across the county giving support to staff and volunteers on a whole range of topics such as Accreditation, collections, exhibitions, audience development and fundraising.
Over the last twelve months I’ve been getting to know Wiltshire and visiting as many museums and heritage centres as possible. Having moved from South Wales, a very different part of the world with a different story, it’s been great to explore the county and find out more about it. With over forty fascinating museums, amazing archaeology and heritage sites, I’ve been spoilt for choice and I’ve really enjoyed finding out about the history of the area.
Driving around I frequently come across sites such as Silbury Hill, Stonehenge, Avebury and West Kennet. It’s a little treat every time I see them but it’s been many years since I studied archaeology. I was struggling to remember what I’d learnt about these special places – but where better to find out more than at a museum?! Salisbury Museum and Wiltshire Museum in Devizes both have internationally important archaeology collections from the area and are a great place to discover the story of Wiltshire going back over half a million years and see the evidence from the earliest humans living in the area, including beautiful gold jewellery, finely made pottery, coin hoards and everyday tools. What a great introduction to the history of the area and a way to help me understand the things I’d seen out and about!
When I came to Wiltshire I knew the archaeology would be amazing – it’s something the county is famous for around the world. However, there are many other stories that I hadn’t heard about and the ‘Wiltshire’s Story in 100 Objects’ project was a good starting point to help me find out more about them. One hundred objects from Wiltshire’s museums have been carefully chosen to interpret the history of the county from 10,000 BC to the present day. It gives a great overview of the diversity of collections that Wiltshire’s museums collect, care for and interpret.
With Summer struggling to make a reliable appearance, there’s plenty of things to do if you want a day out but the weather’s not up to scratch. Museums in Wiltshire have a fascinating array of collections and exhibitions just waiting to be discovered. Here’s a round-up of just a few of the temporary exhibitions you can see around the County at the moment.
If you’re near Salisbury it’s your last chance to see the Sophie Ryder exhibition at Salisbury Museum which ends on the 9th July. Sophie’s work represents a world of mystical creatures, animals and hybrid beings made in a variety of different materials, including wire, plaster and bronze.
The exhibition has a selection of sketches and working models for Sophie’s pieces and there is a reproduction of her workroom, giving visitors an insight into how she approaches making her creations. And if you visit before the 3rd July you will be able to see some of her larger, monumental sculptures around the Cathedral, with etchings and prints on display at Sarum College in the Cathedral Close.
If your tastes are a little less contemporary, the Museum is also playing host to ‘Writing for Eternity: Decoding Ancient Egypt’, a touring exhibition from the British Museum, until the 3rd September. It is a family friendly and interactive exploration of the development of writing in Ancient Egypt and what it is able to tell us about people’s lives thousands of years ago. You can even try writing in hieroglyphics for yourself!
For those who find themselves on the other side of the Plain, head to Trowbridge Museum for their latest exhibition ‘Reimagined: The Cycling Revolution around 1900’, on display until the 29th October. Enjoy a collection of vibrant, new paintings by Patrick Hallissey inspired by the Museum’s photographs of cycling from the turn of the 19th century - when men sported moustaches as wide as their handlebars and women wore corsets to cycle.
The artwork is complemented by a selection of images and objects from the Museum’s collection, which tell the story of how the bicycle influenced society, giving people a new freedom of movement that affected how they worked and played.