Back in 2014 we were fortunate in securing a National Heritage Lottery Fund award as part of their Collecting Cultures project. This gave us funding to connect and support museum collections throughout the county of Wiltshire in a variety of ways. We could add to collections, perhaps filling gaps where creativity was unrepresented, provide conservation, training and support for museum staff and volunteers and generally connect with our museum network in a way that would build strong links for the future. We hoped to create a legacy that would reflect the creative influence of our county.
The journey has taken five years to complete and we have recently submitted our final evaluation and report to mark the journey’s end. And what a journey it has been; we have learnt so much and connected with so many different people and organisations along the way, it has been an absolute pleasure to be part of it.
Our focus has been primarily on the creators who have associations with our county and the chart below will give an indication of the mediums represented and objects subsequently purchased.
It would have been easy to concentrate on fine artists alone, but we quickly realised that there were many different creative industries within the county, so we tried to represent as many as possible. Generally, the work purchased reflected the twentieth century and mid-century design in particular. It was a time of great change as WWII ended and new ideas about art and design began to emerge, some of our objects purchased certainly reflect those changes. The whole project has been supported by accredited Wiltshire museums and we need to especially thank Salisbury Museum, Swindon Museum and Art Gallery, and Chippenham Museum, all supported by a range of organisations and individuals associated with the creative industries and museum service.
Many of our purchases were made direct from the makers and this has led to detailed background knowledge and provenance to accompany the objects, as well as developing strong ongoing relationships that will lead, in some instances, to the deposit of an artist’s archive at the Wiltshire and Swindon History Centre. These archives will be available to all for further study. For some more expensive items, the purchase became a joint effort as partners applied for matched funding from larger organisations, making such additions to collections possible.
Inspired by and supporting this project a wide range of activities and events have been delivered increasing access to, knowledge of and participation in heritage. These have been enjoyed by over 47,000 participants. A mapping project was produced to help museums work together, supporting purchases and collecting policies so there is less overlap and more efficient working. 105 individuals have attended a series of training courses for museum staff and volunteers, covering a variety of topics that will help make their own museums and heritage organisations as sustainable as possible. Exhibitions have been held across the county highlighting newly acquired material and encouraging responses from the audiences and other artists and creators.
This wide-ranging project created the landscape for other activities to grow, raising the profile of creatives across the county and it has been wonderful to focus on this type of contemporary art and give it recognition. Many makers enjoyed the new-found connection with heritage and were inspired to create new works.
Please allow me an indulgence to choose my favourite object purchased during the project; this is a painting by Wilfred Gabriel de Glehn of the countryside surrounding Stratford Tony, where he lived. He was a painter previously unrepresented in a main collection in Wiltshire and his impressionistic work is an important addition. His association and friendship with John Singer Sargent resulted in many painting trips abroad, especially to France and Italy, where they were also accompanied by de Glehn’s wife, Jane Emmet. The painting is now part of the collection at Salisbury Museum and I hope that we can add more works in the future by this accomplished artist.
We are fortunate to have had such a unique opportunity to connect with each other in this way and are so pleased that we have been able to put new collecting practices in place to reflect the legacy of the project. The work does not stop here, it is the start of so much more and we look forward to showing you future collections and acquisitions that reflect the creativity of the county and its people.
The Portable Antiquities Scheme (PAS) is a national programme run by the British Museum in partnership with local bodies; in Wiltshire these are Salisbury Museum, Wiltshire Museum, Wiltshire Council and Swindon Museum and Art Gallery. The primary aims of the scheme are to provide a framework by which members of the public can identify and record finds of potential archaeological significance, as well as to encourage awareness of archaeological issues and best archaeological practice. Whilst the scheme is available to everyone, from field walkers to builders, by the nature of their hobby Metal Detectorists find the majority of the archaeological artefacts we record onto our database; and it is our job to help those engaged in the hobby record as much archaeological information as they can, while also minimising disturbance of in situ archaeological remains.
Metal detecting as a hobby is actually highly comparable to fishing and, anecdotally, I have noticed there does seem to be a great deal of overlap between the two groups. Both hobbies are relatively solitary affairs which can require great deals of patience – they both also exploit a resource in our environment, but this is where the similarities begin to end. Whereas fishing is carefully licenced and managed in order to ensure that the exploitation of our river’s fish is sustainable, there is no such monitoring of the archaeological record.
Crucially, and unlike fish, the archaeological record cannot repopulate itself, once a deposit is disturbed and/or artefact removed, the context is lost for good. This is why it is imperative that detectorists behave responsibly as they exploit this resource which, ultimately, belongs to everyone.
Legally speaking, detectorists in England and Wales are only required to report objects which meet the criteria of the Treasure Act 1996, this is a very specifically worded and narrow set of criteria which frequently miss nationally important finds; a recent example has obviously been the Gloucestershire Dog hoard, but more locally this narrow definition has missed a large hoard of Roman pewter, containing a rare and well preserved tank, thankfully reported by the finder. There is more to detecting responsibly than simply making me aware of unusual finds however, and the perception that I would only be interested in nicer finds is something I often run up against.
Quite often I come across interesting things as I go about my business in the strong rooms at the WSHC. Today was no exception when I discovered this rather odd-looking book. On first glance it appears that someone has rather hurriedly wedged a large book into a small bag but on closer inspection I discovered I was looking at a medieval chemise binding.
The binding contains an Act and Memoranda Book for the Tailors’ Guild of Salisbury including byelaws, admissions of freemen and apprenticeship indentures, dating from 1444-1838 and gives us a wealth of information regarding their organisation and activities.
It is big and extremely heavy and has a particularly large piece of leather skirting along the tail edge (lower edge). It has visible sewing stitches along the edges and two metal clasps on the foredge (front edge) that attach to corresponding slits in the cover. The book dates from 1444 so is most likely an original medieval binding, although more recent sewing repairs are visible around the edges. The text block pages are made from parchment and contain varying manuscripts, some with illuminations.
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.