Negotiating the Imperial War Museum's First World War

Total Page:16

File Type:pdf, Size:1020Kb

Negotiating the Imperial War Museum's First World War Commemoration, Memory and the Process of Display: Negotiating the Imperial War Museum's First World War Exhibitions, 1964 - 2014 Submitted by James Wallis to the University of Exeter as a thesis for the Degree of Doctor of Philosophy in Human Geography In October 2015 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 1 Abstract This thesis explores the key permanent and temporary First World War exhibitions held at the Imperial War Museum in London over a fifty year period. In so doing, it examines the theoretical, political and intellectual considerations that inform exhibition-making. It thus illuminates the possibilities, challenges and difficulties, of displaying the 'War to End All Wars'. Furthermore, by situating these displays within their respective social, economic and cultural contexts, this produces a critical analysis of past and present practices of display. A study of these public presentations of the First World War enables discussion of the Museum’s primary agendas, and its role as a national public institution. In considering this with the broader effect of generational shifts and the ever-changing impact of the War’s cultural memory on this institution, the thesis investigates how the Imperial War Museum has consistently reinvented itself to produce engaging portrayals of the conflict for changing audiences. 2 Acknowledgements My utmost and warmest thanks to my supervisors, Professor David Harvey and Dr Nicola Thomas, for their guidance and unwavering encouragement over the last seven years, for which this represents a point of culmination. I also extend my gratitude to the Arts and Humanities Research Council and Imperial War Museums (IWM) for their financial support of this Collaborative Doctoral Award. I further benefitted from the generosity of The James Dewhurst Trust Fund, which supported my attendance at several conferences. It is not possible to accurately thank all those staff members at IWM London who have contributed towards this project, but suffice it to say that collectively they make the institution what it is, and this proved to be a thoroughly enjoyable and fulfilling environment in which to conduct research. I remain indebted to my IWM supervisor, James Taylor, to whom I will always be grateful for placing faith in me to complete this project, and for his sage advice along the way. To the industrious members of the Regeneration Team – James, Paul, Laura C, Louise, Ian, Sophie, Jo, Becky, Laura W, Hannah, Sam and Ann; watching you pursue your collective goal with such passion and drive, and seeing these efforts come to fruition, was a great privilege. Thank you for your respective inputs, and I hope this record captures something of your combined experiences. I am grateful to Nigel Steel, Terry Charman and Kate Clements for sharing their historical expertise with me. For my archival research, special mention must go to Sarah Henning, the Museum’s archivist, Andrew McDonnell, the Exhibitions Registrar, the staff of the Research Room, and Helen Mavin from the Photograph Archive. Additionally I must convey gratitude to my fellow IWM PhD students Dr Alys Cundy and Rebecca Coll for sharing material of mutual interest with me, from which this thesis has benefitted. I would also like to thank the five members of the 2014 First World War Galleries Academic Advisory Board – particularly Professor David Reynolds, who helped to shape my thinking for Chapter 7 – and to John Pickford, Ruhel Ahmed-Akash and Roger Mann at Casson Mann. Additionally my heartfelt thanks to those individuals 3 who spoke with me at length about the Museum’s past exhibitions, especially those who invited me into their homes. My sincere thanks to friends kind enough to provide me with accommodation during my time spent in London. My parents and sisters offered support and encouragement, in addition to the generosity and kindness shown to me by my late grandfather, with whom I stayed for much of 2011 and 2012. Though he passed away in June 2013, he was a great source of inspiration. Finally to my wonderful girlfriend, Susie. She has accompanied and supported me through the intense highs and lows of producing this thesis, for which I will always be grateful. 4 Contents Page Abstract...........................................................................................................Page 2 Acknowledgements........................................................................................Page 3 Figure Reference Table..................................................................................Page 16 List of Abbreviations......................................................................................Page 25 Chapter 1 – Introduction 1.1 – Researching the Imperial War Museum..................................................Page 26 1.2 – Background to the Imperial War Museum...............................................Page 28 1.3 – Aims of the Thesis...................................................................................Page 31 1.4 – Research Questions................................................................................Page 34 Chapter 2 – Literature Review 2.1 – An Account of the Recent Changes within the Museum Sector..............Page 36 2.2 – Historical Museum Exhibitions – Spatially Communicating Narratives of Time...................................................Page 41 5 2.3 – Displaying the First World War through Exhibitions................................Page 43 2.4 – Geographers Working With Museums and the Space of Heritage........................................................................................................Page 45 2.5 – Contextualising the First World War........................................................Page 51 2.6 – Considering the Imperial War Museum’s Function as a Memorial.........Page 53 2.7 – Final Thoughts.........................................................................................Page 58 Chapter 3 – Methodology 3.1 – Introduction..............................................................................................Page 59 3.2 – Ethnography 3.2.1 – “Following the Regeneration Team”– An Ethnographic Account.....................................................................Page 62 3.2.2 – The Challenges of Implementing Ethnography.........................Page 65 3.2.3 – Life with the Regeneration Team..............................................Page 67 3.2.4 – Working Out My Role in Proceedings.......................................Page 72 3.2.5 – Practical Considerations of Implementing Methodology...........Page 74 3.3 – Interviews 3.3.1 – Approach to Interviews.............................................................Page 76 6 3.3.2 – Interviews conducted for Chapters 4, 5 and 6 Research...........Page 80 3.3.3 – Transcription of Interviews.........................................................Page 83 3.4 – Archives 3.4.1 – The Imperial War Museum’s Archival Material..........................Page 81 3.5 – Conclusion 3.5.1 – Starting Out...............................................................................Page 87 Chapter 4 – ‘Oh! What A Lovely Exhibition!’ The Imperial War Museum’s First World War 50th Anniversary Displays, 1964-1968 4.1- Introduction 4.1.1 – “Then & Now” - Photographic Comparisons..............................Page 89 4.2 – Photography during the First World War 4.2.1 – Capturing the Conflict Pictorially...............................................Page 93 4.2.2 – The Daily Mail Wartime Postcards............................................Page 97 4.2.3 – Museum Displays of the Official War Photographs...................Page 98 4.2.4 – The Official War Photographs within Illustrated Publications.........................................................................Page 100 4.2.5 – The Wane of Wartime Photography........................................Page 108 4.3 – Sir Peter Masefield 4.3.1 – Background.............................................................................Page 109 7 4.4 – The Special Photographic Exhibitions 4.4.1 – The Dichotomy of Interpretation.............................................Page 113 4.5 – Masefield’s Use of the Official Photographs 4.5.1 – The Process of Selecting Photographs...................................Page 118 4.6 – The Wider Context of the 1960s 4.6.1 – Changing Cultural Interest in the War initiated through Key Works................................................................Page 120 4.7 – Conclusion 4.7.1 – “In a Snapshot”........................................................................Page 124 Chapter 5 - ‘The Exhibition to End All Exhibitions?’ The Imperial War Museum’s 1990 ‘Permanent’ First World War Galleries 5.1 – The Art of Displaying History 5.1.1 – The Impact of Frankland’s Ideological Changes....................Page 128 5.2 – Structural Strains 5.2.1 – The Necessity to make the Museum Building Fit for Purpose......................................................................Page 130 5.3 – The Appointment of Dr Alan Borg 5.3.1 – The ‘New’ Imperial War Museum...........................................Page 136 8 5.3.2 – Rethinking the Purpose of the Museum.................................Page
Recommended publications
  • Looking Ahead Museum Sector Research May 2021 Summary Report
    Aberdeen Art Gallery, joint winner Art Fund Museum of the Year 2020, © Marc Atkins/Art Fund 2020 Looking ahead Museum Sector Research May 2021 Summary Report [Art _ CONTENTS Introduction 5 Now 9 Next 19 The role of Art Fund 31 Conclusions 37 Gairloch Museum, joint winner Art Fund Museum of the Year 2020 © Marc Atkins/Art Fund 2020 INTRODUCTION What has emerged is a new We would like to thank our model for the museum, one in colleagues in museums and which the physical space of the galleries across the UK who, at a Almost exactly a year ago, I wrote We hope our findings will not museum is no longer dominant. point at which it felt like there was the introduction to Art Fund’s first only inform Art Fund’s charitable Instead, the museum is divided a new survey to fill out every other survey on the impact of Covid-19. programme, but also help other into three: on-site, on-line, and day, took the time to answer our At that time, our sector faced an organisations, funders and out in the community; each space questions and have yet another unprecedented crisis. One year agencies, across and beyond equally important and informed Zoom meeting. It is a privilege to later and little has changed: across the sector, understand where our by the other two. Alongside this is be part of a sector full of generous, the UK museums and galleries are continued support is most needed. new thinking about recovery: for creative, and dedicated people. only just starting to reopen, finances many, a continual growth model is The themes in this survey will not remain extremely precarious, untenable, and the sector must ask Sarah Philp be a surprise to anyone working in and the future uncertain.
    [Show full text]
  • The Semaphore Circular No 661 the Beating Heart of the RNA July 2016
    The Semaphore Circular No 661 The Beating Heart of the RNA July 2016 The No 3 Area Ladies getting the Friday night raffle ready at Conference! This edition is the on-line version of the Semaphore Circular, unless you have registered with Central Office, it will only be available on the RNA website in the ‘Members Area’ under ‘downloads’ at www.royal-naval-association.co.uk and will be emailed to the branch contact, usually the Hon Sec. 1 Daily Orders 1. Conference 2016 report 2. Remembrance Parade 13 November 2016 3. Slops/Merchandise & Membership 4. Guess Where? 5. Donations 6. Pussers Black Tot Day 7. Birds and Bees Joke 8. SAIL 9. RN VC Series – Seaman Jack Cornwell 10. RNRMC Charity Banquet 11. Mini Cruise 12. Finance Corner 13. HMS Hampshire 14. Joke Time 15. HMS St Albans Deployment 16. Paintings for Pleasure not Profit 17. Book – Wren Jane Beacon 18. Aussie Humour 19. Book Reviews 20. For Sale – Officers Sword Longcast “D’ye hear there” (Branch news) Crossed the Bar – Celebrating a life well lived RNA Benefits Page Shortcast Swinging the Lamp Forms Glossary of terms NCM National Council Member NC National Council AMC Association Management Committee FAC Finance Administration Committee NCh National Chairman NVCh National Vice Chairman NP National President DNP Deputy National President GS General Secretary DGS Deputy General Secretary AGS Assistant General Secretary CONA Conference of Naval Associations IMC International Maritime Confederation NSM Naval Service Memorial Throughout indicates a new or substantially changed entry 2 Contacts Financial Controller 023 9272 3823 [email protected] FAX 023 9272 3371 Deputy General Secretary 023 9272 0782 [email protected] Assistant General Secretary (Membership & Slops) 023 9272 3747 [email protected] S&O Administrator 023 9272 0782 [email protected] General Secretary 023 9272 2983 [email protected] Admin 023 92 72 3747 [email protected] Find Semaphore Circular On-line ; http://www.royal-naval-association.co.uk/members/downloads or..
    [Show full text]
  • IWM Digital Resource for Volunteers
    IWM Digital Resource for Volunteers An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by: Linda Baker Shintaro Clanton Andrew Gregory Rachel Plante Project advisors: VJ Manzo Jianyu Liang June 23, 2016 This report represents the work of one or more WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. ABSTRACT The Interaction Volunteers at Imperial War Museums London engage with visitors in the exhibits and discuss about certain artifacts. The communication of information among the Interaction Volunteer team, however, has been inefficient as the system relied on paper resources. Our IQP team surveyed volunteers and conducted a focus group to gather input about layout and features for a potential digital resource which the Interaction Volunteers could use in management of artifactual content and digital forms. This information was then used to design a website utilizing a content management system in order to make the communication of information more simple and efficient for the Interaction Volunteer team. ii ACKNOWLEDGEMENTS Our team would like to thank our advisors, Professors V.J. Manzo and Jianyu Liang, for their continued support and guidance in completing this project. We would especially like to thank Mr. Grant Rogers, Informal Learning and Engagement Manager at Imperial War Museums London, for sponsoring and providing insight for our project and for sharing his enthusiasm for the museum. In addition, we would like to extend our gratitude to the Learning and Engagement Department and Digital Design Department at Imperial War Museums London, for providing us the resources we needed to complete our project, and to the Volunteer Program at Imperial War Museums London for their advice and participation in our project.
    [Show full text]
  • Imperial War Museum Annual Report and Accounts 2019-20
    Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1.
    [Show full text]
  • Timetables Content
    Timetables Content Page 2 – RB1 Service Weekdays Page 4 – RB1, RB1X & RB5 Service Weekends Page 6 – RB2 Service Page 7 – RB4 Service Page 8 – RB6 Service Page 9 – Route Map thamesclippers.com @thamesclippers /thamesclippers /thamesclippers RB1 Timetable Weekdays Departures every 20 minutes. Travel to and from Westminster to North Greenwich (The O2) and Woolwich (Royal Arsenal) RB1 Westbound - Weekdays (towards Central London) Woolwich (Royal Arsenal) 0600 0630 0650 0710 0730 0750 0810 0830 .... 0850 0920 0942 .... .... .... .... .... .... .... .... .... .... .... .... .... North Greenwich - The O2 0608 0638 0658 0718 0738 0758 0818 0838 .... 0858 0928 0950 1010 1030 1050 1110 1130 1150 1210 1230 1250 1310 1330 1350 1410 Greenwich 0616 0646 0706 0726 0746 0806 0826 0846 .... 0906 0936 0958 1019 1038 1059 1118 1139 1158 1219 1238 1259 1318 1339 1358 1419 Masthouse Terrace 0620 0650 0710 0730 0750 0810 0830 0850 .... 0910 0939 1001 .... 1041 .... 1121 .... 1201 .... 1241 .... 1321 .... 1401 .... Greenland (Surrey Quays) 0624 0654 0714 0734 0754 0814 0834 0854 0904 0914 0942 1004 .... 1044 .... 1124 .... 1204 .... 1244 .... 1324 .... 1404 .... Canary Wharf 0629 0659 0719 0739 0759 0819 0839 0859 0909 0919 0946 1008 1025 1048 1105 1128 1145 1208 1225 1248 1305 1328 1345 1408 1425 Tower 0638 0708 0728 0748 0808 0828 0848 0908 .... 0928 0955 1017 1035 1057 1115 1137 1155 1217 1235 1257 1315 1337 1355 1417 1435 London Bridge City 0642 0712 0732 0752 0812 0832 0852 0912 .... 0932 0959 1021 1040 1101 1120 1141 1200 1221 1240 1301 1320 1341 1400 1421 1440 Bankside 0646 0716 0736 0756 0816 0836 0856 0916 .... 0936 1003 1025 1044 1105 1124 1145 1204 1225 1244 1305 1324 1345 1404 1425 1444 Blackfriars 0649 0719 0739 0759 0819 0839 0859 0919 ...
    [Show full text]
  • Journal Biological Curation
    Journal of Biological Curation Volume 1, Number 1, 1989 Journal of Biological Curation Published by the Biology Curators' Group Editor Dr JH Mathias Keeper of Biology, Leicestershire Museums, Arts and Records Service, 96 New Walk, Leicester LE1 61D. Tel 0533.554100 Special Publications Editor Dr GReid Keeper of Biology, Horniman Museum and Library, London Road, Forest Hill, London SE23 3PQ. Tel 01.699.1872 Officers and Committee of the Biology Curators' Group Chairman Mr SP Garland, Bolton Museum Secretary Mr D Whiteley, Sheffield Museum Treasurer and Membership Secretary Ms K Way, Natural History Museum, London Committee Members, 1989-90 Mr A Coles, Sunderland Museum Mrs R Down, University College, London Ms C Fisher, Liverpool Museum Mr J Lee, Museum of North Devon, Barnstaple Mr W Milne, Kendal Museum Mr G Stansfield, Dept of Museum Studies, Leicester University Mr R Sutcliffe, Glasgow Museum Mr A Wright, Coventry Museum Geology Curators'Group Representative Ms D Smith, Haslemere Educational Museum The Biology Curators' Group was founded in 1975 with the following terms of reference: 1. To facilitate the exchange of information between individuals concerned with collectioruco l biological specimens and records, their conservation and interpretation. 2. To present the views of biological curators to the Museums Association and other bodi<a. BCG holds regular meetings, usually based on topical themes, and occasionally in association wi th other groups. There are usually two meetings a year, one in the Spring which incorpora te~ the AGM, and one in the Autumn. BCG publishes three Newsletters a year, one volume of the Journal of Biological Curation a ye· u , and a series ofSpecial Reports and leaflets as the need arises.
    [Show full text]
  • The Western Front the First World War Battlefield Guide: World War Battlefield First the the Westernthe Front
    Ed 2 June 2015 2 June Ed The First World War Battlefield Guide: Volume 1 The Western Front The First Battlefield War World Guide: The Western Front The Western Creative Media Design ADR003970 Edition 2 June 2015 The Somme Battlefield: Newfoundland Memorial Park at Beaumont Hamel Mike St. Maur Sheil/FieldsofBattle1418.org The Somme Battlefield: Lochnagar Crater. It was blown at 0728 hours on 1 July 1916. Mike St. Maur Sheil/FieldsofBattle1418.org The First World War Battlefield Guide: Volume 1 The Western Front 2nd Edition June 2015 ii | THE WESTERN FRONT OF THE FIRST WORLD WAR ISBN: 978-1-874346-45-6 First published in August 2014 by Creative Media Design, Army Headquarters, Andover. Printed by Earle & Ludlow through Williams Lea Ltd, Norwich. Revised and expanded second edition published in June 2015. Text Copyright © Mungo Melvin, Editor, and the Authors listed in the List of Contributors, 2014 & 2015. Sketch Maps Crown Copyright © UK MOD, 2014 & 2015. Images Copyright © Imperial War Museum (IWM), National Army Museum (NAM), Mike St. Maur Sheil/Fields of Battle 14-18, Barbara Taylor and others so captioned. No part of this publication, except for short quotations, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the permission of the Editor and SO1 Commemoration, Army Headquarters, IDL 26, Blenheim Building, Marlborough Lines, Andover, Hampshire, SP11 8HJ. The First World War sketch maps have been produced by the Defence Geographic Centre (DGC), Joint Force Intelligence Group (JFIG), Ministry of Defence, Elmwood Avenue, Feltham, Middlesex, TW13 7AH. United Kingdom.
    [Show full text]
  • DAA JAN06 Leaderv5.0
    For Fortitude, Courage, Perseverance and Commitment by Lena Wong e are extremely honoured and very proud to present Scouts Canada’s outstanding Wawards recipients to our membership through these pages. It is astounding to note how many truly outstanding youth and adults we count as members in Scouts Canada. They deserve all the recognition we can give them. JACK CORNWELL AWARD races and never allows his illness to Curtis Irwin (age 11, Kemptville, (for showing high character and become an excuse for not doing his ON) acted quickly when he and his courage in the face of great suffering. best. His teacher sums up Tristan’s mother found a bedroom in flames This decoration is awarded to youth attitude in his statement: “Tristan em- late one night. He made his way members who have persevered through bodies what Scouting stands for: con- down the stairs to call 911, then serious illness or physical challenge.) fidence, drive, compassion and team returned to ensure his mother made building to name a few.” Tristan re- a safe escape. He had the presence Tyler Aboultaif (age 12, Edmonton, ceived his award at a special ceremo- of mind to pick up his cat and grab AB) has persevered in Scouting and ny for the 1st Tarslip Cub Pack. some coats to keep the family warm life despite many challenges present- in the cold November night. ed by serious illness, transplants and BRONZE CROSS hospitalization. He comes through (for gallantry with moderate risk) On his way home from school one these medical difficulties with a hap- afternoon, Daniel Morningstar- py disposition and a smile to cheer When Andrea Jennae Elliott (Brent- Thomas (age 12, Niagara Falls, ON) those who come into contact with wood Bay, BC) saw her husband fall came across a homeless man being him.
    [Show full text]
  • Download Applications for Smartphones
    City Research Online City, University of London Institutional Repository Citation: Ntalla, Irida (2017). The interactive museum experience: investigating experiential tendencies and audience focus in the Galleries of Modern London and the High Arctic exhibition. (Unpublished Post-Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17280/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Interactive Museum Experience: Investigating experiential tendencies and audience focus in the Galleries of Modern London and the High Arctic exhibition Irida Ntalla Ph.D. Thesis This thesis is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Culture and Creative Industries. Centre for Culture and Creative Industries Department of Sociology School of Arts and Social Sciences January 2017 i Table of Contents Introduction ...................................................................... 1 i.
    [Show full text]
  • List of Scottish Museums and Libraries with Strong Victorian Collections
    Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish
    [Show full text]
  • Studiereizen 2018
    Studiereizen september 2017 toekomstige leerlingen HAVO5 / VWO5 15 februari 2018 Welkom • Idee achter de studiereizen • Keuze van de bestemmingen • Overige informatie Idee achter de studiereizen • Groepsvorming • Educatief • Keuzemogelijkheid: Praag, Florence, Londen, Berlijn, Barcelona, Edinburgh, Krakau • Excursies Inschrijven • Leerlingen maken een 1e, 2e en 3e keus Vanaf donderdag 22 februari (19.00 uur) – 5 maart (19.00 uur) enquête via de mail • In de derde week van maart wordt via de mail de definitieve indeling aan de leerling medegedeeld. • Leerlingen leveren tussen 15 en 24 maart het bevestigingsformulier (ondertekend door de ouder/verzorger) in bij de mediatheek (in enveloppe met kopie paspoort/ID-kaart en zorgpas) => formulier staat op de ELO Kosten Indicatie/richtlijn kosten: • Barcelona € 475,00 • Berlijn € 350,00 • Edinburgh € 450, 00 • Florence € 500,00 • Praag € 350,00 • Krakau € 400,00 • Londen € 350,00 Te betalen in maximaal twee termijnen (per factuur) voor 1 mei 2018 de eerste termijn (of het gehele bedrag), voor 1 juni 2018 de tweede termijn Overige informatie • Data: 3 september t/m 7 september • Zittenblijven • Inbegrepen en niet inbegrepen Vragen? [email protected] Beelden van Londen Verblijf • The 23 Hostel (voorheen Gallery Hyde Park) • Meerpersoonskamers met douche 1 Hostel Winkelen: 2 London Eye Oxford Street 3 National Gallery Regent Street 4 Natural History Museum Borough Market Globaal programma • London Eye Stadswandeling Westminster abbey Big Ben Buckingham palace Tower Bridge St Pauls Cathedral
    [Show full text]
  • PRESS RELEASE the Goldsmiths' Company Becomes a Founding
    PRESS RELEASE The Goldsmiths’ Company becomes a Founding Partner of the new Museum of London and pledges £10m donation Queen Elizabeth II Coronation Cup, designed by Goldsmith R.Y. Goodden in 1953 is pictured in the Corporation of London’s current salt store, which by 2022 will have been transformed into galleries at the new Museum of London in West Smithfield with the Thameslink track running through them. Image © Museum of London. Collection: The Worshipful Company of Goldsmiths. The Museum of London and the Worshipful Company of Goldsmiths (one of the major City Livery Companies) today announced that the Goldsmiths' Company is to become a Founding Partner of the new Museum of London, due to open in West Smithfield in 2022. The Goldsmiths' Company and its affiliated Charity have pledged £10 million to the Museum project. This landmark donation goes towards the Museum’s plans to create a spectacular new home for the history of London and its people in the beautiful but disused market buildings at West Smithfield. This follows the news earlier this year that the City of London Corporation and Mayor of London have together pledged £180 million. Counting the donation from the Goldsmiths’ Company and its affiliated Charity, the Museum has £60 million left to raise. A gallery bearing the Goldsmiths’ name will be at the heart of the new Museum, showcasing the Cheapside Hoard together with highlights from the Company’s world-renowned Collection of historic and contemporary silver. Judith Cobham-Lowe, Prime Warden of the Goldsmiths' Company, said: "We are thrilled to be playing our part in the new Museum of London as a Founding Partner.
    [Show full text]