Annual Review 2013-2014 We Are Bath’S University Museum

Annual Review 2013-2014 We are Bath’s University Museum. We have a long-standing, successful and mutually beneficial relationship with both Bath Spa University and the University of Bath and acknowledge the financial support they provide to the Museum.

In 2013 we formalised our relationship with Bath Spa University by becoming its Cultural Partner. As a hub of creativity and culture, with a strong focus on enterprise and education, Bath Spa University provides students with opportunities to develop new skills and gain new experiences through a year long programme of lectures by Museum staff, placements, projects and volunteering.

Cover: Beadwork basket (about 1665-70), detail All images © Holburne Museum unless otherwise stated Event images thanks to Cardwell Photography CHAIRMAN’S REPORT

This has been a wonderful year for the Holburne Museum with record breaking exhibitions and more people than ever before attending and enjoying our events, concerts, lectures and workshops.

In April 2014 we were pleased to This was the first year, since well reported elsewhere, we also purchased welcome his Royal Highness the Duke before we set out on our development a fascinating Bath miniature and of Gloucester to the Museum, to show project over a decade ago, in which acquired an intriguing ivory portrait. him what we have achieved over the our budgeted operational deficit was Most importantly we were the grateful last several years, and to take him round more than covered by the income from recipients of the wonderful portrait our building and our critically acclaimed our Capital Fund. This has long been by Joseph Wright of Derby given by ‘Joseph Wright of Derby’ exhibition. a key objective for the Board and I am my predecessor, David Posnett, under During the visit he had the opportunity delighted that we have achieved it. the Cultural Gifts scheme. Wright has to meet many of those who contribute But it is also right to offer a word of long been a notable absentee from our to the Museum’s success from our caution. We currently rely on significant fine collection of British eighteenth- teams of volunteers and staff, to our levels of revenue funding, including a century portraits and it was a typically Friends and major supporters. number of grants from individuals and imaginative and generous act from trusts which are specifically intended to David to fill that particular gap so In last year’s review I set out what I provide funding as we seek to raise our beautifully. believed to be the priorities for the endowment. It remains imperative that Holburne in the coming years. I am we achieve our objective. In January, Xa Sturgis announced that happy to report significant advances he would be leaving the Holburne towards achieving those objectives There is also, it seems to me, a risk to take up the role of Director of the over the last twelve months. Our that comes with success – a possibility Ashmolean Museum in Oxford after campaign to build an endowment with that grant giving bodies will believe nine years at the Museum. These have the ambitious target of increasing the Holburne is not in as much need been momentous years for the Museum our Capital Funds to £8million by our as others. We must therefore continue and he has been an inspirational anniversary year of 2016 got off to a to make our case for support as Director through the development very encouraging start. 2013 saw us all strongly as we can. It is only through and re-opening of the Museum. Its but complete our ‘Catalyst Campaign’, the support of so many of you that current success and standing owes matching the grant of £1million from we can continue to act as a Museum much to that leadership. His new role the Heritage Lottery Fund, which will for everyone, offering free entry and is testimony to the reputation of the see our Capital Funds increase to a little encouraging so many people from a Holburne, as was the exceptionally shy of £5million. In addition we have broad cross-section of society to enjoy strong field from which we were able to also received an exceptionally generous our collections, our exhibitions and our select his successor. We are delighted pledge from the Medlock Charitable activities and events. to be welcoming Jennifer Scott, Foundation which, once it too is currently Curator of Paintings at the matched, will see the creation of an If raising our endowment is one of Royal Collection, as the Museum’s new Education Fund, the income from which the priorities the Trustees have set for Director in August and look forward will provide secure funding for our the Museum, continuing to enhance to working with her as we take the Education work now and into the future. our collection remains another. When Museum forward over the coming years. We hope that this will be the first of a I suggested as much last year I could number of lead gifts over the coming not have foreseen what a spectacular year to help us reach our target. year for acquisitions we would have. Not only was our campaign to raise Thanks in no small part to the success the money for the exquisite beadwork of our Catalyst Campaign, 2013 marked basket that appears on the cover of Richard Fleck CBE an important milestone for the Museum. this year’s review successful, but as CHAIRMAN

1 below right: Bath Spa University Heritage DIRECTOR’S REPORT and Context Degree students volunteer at the Museum as part of their course

The last twelve months have been exceptionally successful ones for the Holburne. Visitor figures remained high at just under 125,000 through 2013, while more people came to see our temporary exhibitions than ever before.

Vesuvius and the firework display at the undergraduate and MA students from Castel Sant’Angelo in Rome from Tate the Bath School of Art and Design, and The Walker Art Gallery in Liverpool in which they have created works respectively, versions of which were first responding to the collection, are among exhibited in Bath some two hundred the many collaborations undertaken as and forty years ago. part of our flourishing and important partnership with Bath Spa University. As ever thanks are due to the many generous lenders both institutional and If the temporary exhibition programme private for supporting the Museum and and thriving education programme, trusting it with their treasures and to speak of the Museum’s ambition and those funders including Arts Council energy, I am particularly pleased England, The Paul Mellon Centre, Bath that perhaps the most significant Spa University, the Foyle Foundation, developments for the Museum over There have been many highlights Iwan and Manuela Wirth and our the last twelve months have been during the year, few of which could Friends who provided vital support for permanent. These have included the match the thrill of welcoming the our exhibition programme, including our building of our endowment to almost astonishing group of Dutch and Flemish series of contemporary commissions £5million which will provide income to paintings from the Royal Collection and displays in the Wirth Gallery and support the Museum for years to come, for our summer exhibition. It was a on our Ballroom table. The role of and the spectacular additions to the huge pleasure and privilege (if slightly the Museum and its collection as an permanent collection including Joseph nerve-racking responsibility) to have inspiration for artists and a catalyst for Wright’s beautiful profile portrait of these great works by Rembrandt, De commissions is an important element Mrs Balguy given by David Posnett Hooch and company under our roof, of what we do. The dialogue between and the splendidly elaborate beadwork quite apart from the joy of having them past and present, encouraged by such basket bought after a public campaign a step away from my office to be visited commissions and installations, can at and described elsewhere in this review. at will over the summer months. I’m its best deepen our engagement with Exhibitions, events and activity are of happy to say that I was not the only and enjoyment of both the art of the course vital to the life of a museum. one enticed into the Roper Gallery past and the present. Stunning works They generate press coverage, attract by their presence and the exhibition created for the Museum by Bettina proved itself to be the most successful von Zwehl, Junko Mori and Kathy in the Museum’s history. Not that these Dalwood over the past year have made were the only distinguished visitors the point particularly forcefully, each to the Museum over the last year. The in their very different ways casting group of works from the Arts Council a thoughtful eye onto the Museum’s Collection included its own share of collection or setting while at the same stonkers and, as I write, we have just time creating exceptionally beguiling closed the splendid Joseph Wright of works. As important for us has been the Derby exhibition which among its many use of the collection by art and design highlights paired the great views of students. The projects we have run with

2 below left: below right: Visitors wore 3D glasses to The Holburne Lantern enjoy the never before exhibited Procession had over 1000 images in ‘Stereoscopic participants in 2013 photographs of Pablo Picasso by Robert Mouzillat’

‘Don’t miss this wonderful gem in Bath’s cultural crown’ Trip Advisor October 2013

is a ridiculously small city to have supporters. The Holburne is much loved 17 museums acting unilaterally and and it has been an honour to have been I am confident that the project will trusted with helping it reach something demonstrate the benefits of us working of its potential over these years. I know together, while also showing that I leave it in the very good hands of all doing so is possible. I very much hope those who care for it and of Jennifer its legacy will see a fundamental shift Scott who I wish all kinds of well. I am in the way the city’s museums work confident that she will enjoy herself together in the future. here, and if there is inevitably some sadness in saying goodbye there is also new audiences and encourage repeat This is my last annual report. It has been excitement at the thought of seeing visits; they also certainly demand much a huge privilege to lead the Holburne what this very special Museum will do of the energy of the organisation. It is over the last nine years. They have been next. however additions to the collection and years of (almost) unalloyed pleasure the security provided by a significant and looking back it is astonishing how endowment that will provide the most much has been achieved. That it has lasting and important legacies for future been has been down to a remarkable generations. and energising sense of common purpose among Trustees, staff and Alexander Sturgis Also permanent, I hope, will be the the Museum’s band of passionate DIRECTOR partnerships forged with the other museums in Bath during the year as part of the project Building Audiences for Bath’s Museums, generously funded by Arts Council England. Bath

‘First-rate small museum, with free sections every bit as enthralling as the changeable exhibitions. Interesting mix of centuries – old items from the original bequest, through to contemporary additions’ Trip Advisor July 2013

3 below: Elizabeth Balguy, nee Gould THE COLLECTION (1756–1821) Joseph Wright (1734–1797) Oil on canvas, about 1783

2013-14 has been an exceptional year for the collection with seven new acquisitions including a fascinating self-portrait miniature, a spectacular beadwork basket (which came to the Museum after a successful fundraising campaign), and a wonderful portrait by Joseph Wright of Derby donated under the Government’s Cultural Gifts scheme by our former Chairman of Trustees.

Acquisitions The year began with the purchase of a rare self-portrait miniature by John Lacon of Bath painted in 1755. When not painting, Lacon and his family ran a puppet theatre in Bath, London and Tunbridge Wells, featuring life-size wax figures. At two inches high, the miniature is unusually large for a work on ivory of this period. It has remained within the same family for over 250 years, to whom it was given ‘by the ingenious Artist himself’. The Holburne has been delighted to welcome Lacon’s portrait back to Bath, thanks to gifts from the V&A Purchase Grant Fund, the Art Fund and a number of individuals.

The Art Fund also helped with the Holburne’s successful appeal to acquire a unique seventeenth-century beadwork basket. It was made in England around 1665 from thousands of brightly coloured glass beads skilfully threaded onto fine wires. It probably depicts Charles II and his queen Catherine of Braganza in a leafy landscape with a castle and surrounded by charming beaded appliqués of flowers, birds, insects and animals. Its maker was almost certainly an amateur: girls were taught the art of beadworking in much the same way they were taught other forms of needlework. Beadwork was an expensive pastime limited to the privileged few: the glass beads were imported at great expense. The basket’s vendor generously allowed us to display it for a four-month campaign, during which over 400 members of the public came forward with donations amounting to over £20,000.

4 below: Self Portrait John Lacon (active 1740–1757) Watercolour on ivory, 1755 right: The exceptional beadwork basket (about 1665-70) recently acquired by the Museum thanks to the generosity of so many supporters

The National Heritage Memorial Fund and the Art Fund also made significant grants. Other major donors included Manny and Brigitta Davidson, Polly Devlin, Jane Glaser, Patricia Nguyen, the Norie Trust and Patricia Robertson Glasgow.

Our second 2013 grant from the V&A Purchase Grant Fund enabled the Holburne to buy Karen Wallis’s sketches from her informal residency during the 2008-11 redevelopment. The six sketchbooks, which became the basis of our 2011 exhibition ‘Karen Wallis: Drawing the Development’, follow Museum staff, contractors and guests from the day in summer 2008 when we took delivery of packing cases for the Holburne’s transformation vividly A late eighteenth-century silver loving- the precious collection, to the opening to life. Extracts can be seen on the cup made in Jersey was donated in celebrations in May 2011. The sketches artist’s website, www.karenwallis.co.uk/ memory of ‘Jersey Girl’ Gill Lockley, are like a visual journal that brings holburne. one of our most loyal volunteers and a other more conventional records of regular in the old Tea House. The Holburne’s two exquisite ivory micro-carvings by Bath artists Stephany Finally, the Holburne was the proud and Dresch were joined by a portrait of recipient of the third item to be a Mary Ickeringill of York made around allocated under the Government’s 1795. The cameo-like ivory relief is new Cultural Gifts scheme, a fine surrounded by a garland of Stephany portrait by Joseph Wright of Derby. and Dresch’s characteristically minute The sitter, Elizabeth Gould, was carvings of perfect flowers. The portrait typical of Wright’s clients. When was generously donated by a Friend of Wright painted her around 1783, she the Holburne, Mrs Ickeringill’s great- had recently married John Balguy, a great-great niece, Ann Wilson. member of a long-established gentry family in Derbyshire. Elizabeth Balguy A descendant of Thomas Brayne, Sir was donated by David Posnett OBE, William Holburne’s uncle, bequeathed our former Chairman of Trustees, to a collection of items relating to the commemorate his contribution and that Brayne family, including a pretty of an exceptionally generous group of pincushion commemorating Uncle local donors and trustees to the 2008- Thomas’s marriage in 1799 and a 2011 redevelopment. memorial ring marking his death in 1835.

5 left: The Auriol and Dashwood Families Johan Zoffany (1733-1810) Oil on canvas, about 1783-7 On loan from The Dashwood Family

below right: Head of a Laughing Child Chelsea Porcelain Factory Slip-cast soft-paste porcelain, about 1746-49 On loan from a private collection

Loans In Loans out 2013 saw the addition of a spectacular Loans to other exhibitions included group portrait by Johann Zoffany, The the beautiful mid-seventeenth-century Auriol and Dashwood Families, to our portrait of an unknown lady by the displays. Painted by Zoffany during Dutch artist J A Backer to the Museum his residence in India in the 1780s, the of London’s ‘The Cheapside Hoard: conversation piece has been lent to London’s Lost Jewels’. Our portrait, the Holburne by descendants of the whose subject wears abundant pearls sitters. It commemorates the marriages and an intriguing ring and necklace, in 1782 of Charlotte and Sophia Auriol, hung alongside spectacular jewellery seen under the trees of an estate mysteriously abandoned under a house near Calcutta with their brothers, in Cheapside around the time of the husbands and servants, showing Civil War. how the fashionable British way of Documentation life carried on as normal in the heat Henry Robert Morland’s beguiling MuseumIndex+, the Holburne’s new of the subcontinent. This loan brings Lady’s Maid Soaping Linen in her collections management system, is the Holburne’s number of paintings flowered gown hung with embroidered now live. With the help of volunteers by Zoffany to six, the largest public gloves from the Fashion Museum’s we are adding information regularly to collection of his work outside London. Glover’s Company Collection in an over 9,000 object records. The online exhibition at the Garden Museum in collection is also constantly growing. The decorative art displays were London, ‘Fashion and Gardens’. Meanwhile, the Public Catalogue greatly enhanced by the loan of an Foundation has photographed our exceptionally rare head in Chelsea Closer to home, the Holburne has lent latest acquisitions of oil paintings, porcelain. Until its recent discovery, the some more paintings to the extended including the sixteen oils in the only known example of this sculpture and refurbished No. 1 Royal Crescent: Somerset Maugham collection, and was one of the most celebrated pieces Dutch seascapes by Adriaen Van published them on the BBC’s ‘Your of porcelain in the Ashmolean Museum. Diest and Jan Claesz. Rietschoof, and Paintings’ website. The head, depicting a laughing child, an intriguing portrait of a gentleman is thought to have been modelled by holding a mineral specimen. The The Collections Team Francois Roubiliac and made in the late portrait, which Sir William Holburne Roger Vercoe, our temporary 1740s. believed to be by Gainsborough, Collections Officer, left in June. In March has recently been cleaned, enabling 2014 Matthew Winterbottom moved us to research its identification and on after eight years at the Holburne, attribution. to take up the post of Curator of late nineteenth-century British sculpture and decorative arts at the Ashmolean Museum. His replacement, Catrin Jones, has recently joined us from the V&A. She has also worked at Waddesdon Manor, the Ashmolean and the Geffrye Museum, and is a ceramics specialist.

below left: The ‘Rembrandt’ exhibition in the Roper Gallery

‘Ravishing Rembrandts . . . . An exhibition of pure pleasure’ Adrian Hamilton, The Independent

Rembrandt and his Contemporaries: records of the visual world was also Paintings from the Royal Collection explored through an inventive and 25 May to 29 September 2013 popular audio guide in which experts in Lead sponsor City Monument various fields, from farming to shipping, Partner sponsor Withy King provided revealing responses to the paintings in the show. Hugh Fearnley- Our ravishing summer exhibition saw Whittingstall considered what Dou’s the Roper Gallery hung with some of young maid might have been preparing the Royal Collection’s greatest treasures in her kitchen, a cinematographer from the Dutch and Flemish Golden discussed the lighting in De Hooch’s Age. The most visited exhibition in the interior and Maggi Hambling offered a Holburne’s history, the show included painter’s appreciation of Rembrandt’s masterpieces by the greatest artists mesmerising study of old age. of the period including Rembrandt’s early painting of his ‘mother’, Gerrit The exhibition was a collaboration Dou’s jewel-like painting of a young between the Holburne and the Royal girl chopping onions, landscapes by Collection and we are immensely Ruisdael and van der Heyden and a grateful to the support we were given sun-filled interior by Pieter de Hooch. by both Desmond Shawe-Taylor, Surveyor of the Queen’s Pictures, and Opening with a contrast between a Jennifer Scott, Curator of Paintings at typically exuberant Rubens altarpiece the Royal Collection. The show was (painted in the Southern Netherlands at accompanied by a short book written the beginning of the century) alongside by Alexander Sturgis. Almost all the Rembrandt’s quietly dramatic image paintings within the show had been of Christ appearing to Mary Magdalen, collected by George IV. It was George’s the show explored the revolutionary enthusiasm for the artists of the Dutch aspects of painting in the Northern seventeenth century that did much to Netherlands in the age of Rembrandt. establish the British taste for Dutch art, This was a period in which artists in a taste reflected in William Holburne’s the young Protestant Dutch Republic own collection of paintings assembled, looked at the world in new ways, with a rather more modest budget, a developed new subjects and genres, generation later. and painted for a new and hungry art-market. Every painting in the show, Exhibition programme supported from a crowded genre scene by Jan by the Foyle Foundation Steen to Willem Claesz Heda’s calmly Contemporary Programme supported composed still life, demonstrated the by Iwan and Manuela Wirth way in which Dutch artists responded Paint Partner Farrow & Ball to the stuff of contemporary life. The extent to which these paintings were (and were not) straightforward

7 top left: below left: Medusa, 2008 Students enjoy a tour around Hew Locke the ‘Characters’ exhibition Arts Council Collection, Southbank Centre, London © The Artist

Characters: People and Portraits from the phantom of the opera. Works by the Arts Council Collection contemporary artists included Hew 12 October 2013 to 7 January 2014 Locke’s Medusa, a fantastical image of the Queen constructed from hundreds This striking and entertaining exhibition, of cheap plastic toys and jewellery selected by the Holburne from the Arts that trod an interesting line between Council Collection, brought together the exuberant and the sinister, and the a host of characters, both real and mysterious figure L’Ortolan by Turner- imagined, painted by British artists Prize nominee Lynette Yiadom-Boakye. over the last half-century. It featured works by many of the leading figurative Arranged in two contrasting but artists of the last fifty years including connected halves, the exhibition Francis Bacon’s imaginative portrait sought to consider the twin traditions of Van Gogh, an intense small portrait of observation and invention in the by Lucian Freud (generously lent painting of people. It opened with a from Waddesdon Manor) and Richard particularly strong group of paintings Hamilton’s striking and aggressive by Frank Auerbach, Euan Uglow, Craigie re-imagining of Hugh Gaitskell as Aitchison and Lucian Freud all of whom insisted on the presence of the model to produce their very different responses to individuals and the observable world. A group of drawings, including a fascinating early portrait by Howard Hodgkin, continued the theme of the artist as a recorder of the visible world. In contrast, the second half of the show included invented and distorted characters from Peter Blake’s portrait of the fictional boxer Baron Adolf Kaiser to John Bellany’s aggressively grotesque ‘The Gambler’.

Portraiture is central to both the story of British Art and the Holburne and the exhibition sought to show how the traditions of portraiture, so well represented at the Museum, have been exploited and developed in this country since the Second World War. The exhibition was accompanied by a series of talks and lectures given by a number of artists represented in the show including a typically entertaining and acerbic talk on portraiture by Maggi Hambling and an enlightening conversation between Hew Locke and Milena Dragicevic.

8 top left: below right: ’A cracking show about a Maria, from Sterne The Annual Girandola at the Joseph Wright ‘of Derby’ Castel Sant’Angelo, Rome fascinating painter’ (1734-1797) Joseph Wright ‘of Derby’ 1777, oil on canvas, (1734-1797): Richard Dorment, The Telegraph 100.3 x 125.7 cm 1775-6, oil on canvas, Private Collection, photograph 138 x 173 cm by A J Photographics Walker Art Gallery

its fourteen-week run the exhibition attracted over 7,700 visitors. It also had excellent press coverage, with articles in the Times, Guardian, Observer and World of Interiors during the first few days. In The Daily Telegraph, Richard Dorment gave the ‘first class’ ‘cracking show’ the rare accolade of 4.5 stars.

A busy programme of events included a successful study day, convened with the History and Heritage department at Bath Spa University and generously supported by the Paul Mellon Centre for Studies in British Art. The writer A N Wilson visited to lecture on Wright’s patron Josiah Wedgwood with some fascinating and very personal insights into the history of the Wedgwood factory. For families, there were demonstrations of spectacular science, including some very messy volcanic eruptions during the Joseph Wright of Derby: book, published by Philip Wilson Easter Eggstravaganza. Bath and Beyond Publishers, sold out and it has also been 25 January to 5 May 2014 selling well in bookshops. The most generous lender, Derby Sponsored by Lowell Libson Ltd Museum and Art Gallery, will host the Supported by The Paul Mellon Centre The exhibition showed how Joseph exhibition from 24 May until 31 August for Studies in British Art Wright’s failure to replace Gainsborough 2014. as Bath’s leading portrait painter led The Holburne first exhibited works him to reinvent himself as an artist. associated with Joseph Wright’s ‘To keep me from idleness’, he worked somewhat overlooked Bath period up the landscape sketches made (1775 to 1777) in 2002. Since then, during the previous two years in Italy, more paintings have come to light and to produce some of the most brilliant Wright’s correspondence has been pictures exhibited in Britain in the published, enabling us to return to 1770s. We were delighted to be able to Bath most of the extant works from the include loans from the National Gallery, artist’s eighteen months here. the Musée du Louvre (our first major international loan) and Tate among Senior Curator Amina Wright was able many others, including several generous to research the subject in depth, thanks private lenders. to a very generous grant from the Paul Mellon Centre, and the result has been Just as, in 1776, the whole of Bath one of the Holburne’s most successful ‘rang with commendations’ of Wright’s exhibitions. Our allocation of Amina’s paintings, so visitors flocked to see ‘lively and informative’ accompanying them once again in 2014. During

9 left: below right: below: Ruby (with Diamond) ‘Simon Brett. Fifty Years of The artist Paul Emsley in Bettina von Zwehl Wood Engraving’ on display front of his portrait 2012 in the Wirth Gallery, 2013 HRH The Duchess of Cambridge C-type Paul Emsley (born 1947) Edition of 5 2012. Oil on canvas National Portrait Gallery, London A National Portrait Gallery Commission given by Sir Hugh Leggatt in memory of Sir Denis Mahon through the Art Fund, 2012

also worked with designer Laura Lee to incorporate eye miniatures into jewellery. Bettina photographed the eyes of children at her daughter’s school and these images were placed within the main galleries of the Holburne. The FREE EXHIBITIONS AND DISPLAYS, exhibition was accompanied by a full- WIRTH GALLERY colour publication and Ruby’s Room has since toured to the Barber Institute of n Ruby’s Room. Photographic Fine Arts in Birmingham. Miniatures by Bettina von Zwehl 22 May to 1 September 2013 In September we were delighted to be Sponsored by Arts Council England the first museum outside London to Supported by Laura Lee Jewellery show the first official painted portrait of HRH The Duchess of Cambridge. n The Duchess of Cambridge The painting, by artist Paul Emsley, was by Paul Emsley unveiled at the National Portrait Gallery 7 September to 6 November 2013 in January 2013. Glasgow-born Paul Emsley grew up in South Africa but now In complete contrast our final exhibition n Simon Brett. Fifty Years of Wood works in Bradford-on-Avon. In 2007 he of the year presented, for the first time, Engraving won the prestigious BP Portrait Award a remarkable collection of colour 3D 16 November 2013 to 9 Feb 2014 and subsequent commissions included photographs of Picasso taken over portraits of V S Naipaul (2009) and the Easter weekend of 1957 by the n Stereoscopic photographs of Pablo Nelson Mandela (2010). His portrait of pioneering stereoscopic photographer Picasso by Robert Mouzillat the Duchess, hanging on its own in the Robert Mouzillat, and generously lent by 22 February to 1 June 2014 Wirth Gallery, attracted a steady stream his daughter Elizabeth Mouzillat Jowett of visitors to the Museum and excited from the extensive archive of his work. Our free exhibition space saw four much comment. Taken at the height of Picasso’s fame, contrasting exhibitions including these fascinating photographs showed specially commissioned new work, The calendar year ended with a the artist in his home and studio at La the first exhibition outside London of retrospective, in small compass, of the Californie near Nice and visiting the an important royal portrait, a career work of Simon Brett, one of Britain’s Bullfight in Arles. For the exhibition the retrospective and an extraordinary leading wood engravers whose prints photographs were specially digitised so group of photographs of Picasso. have been bookplates, limited editions they could be displayed on 3D screens. and commissioned book illustrations. A book to accompany the exhibition In May we unveiled new work The exhibition celebrated the fifty was sold with a stereoscopic ‘OWL’ commissioned from the photographer years Simon has spent making wood viewer (designed by Brian May) to Bettina von Zwehl in response to our engravings, using the Christmas enable readers to see the images in 3D. collection of historic portrait miniatures. cards he has created during the five In exploring our displays, Bettina was decades since 1961 to unlock a lifetime’s particularly struck by an unusual early work and including a Christmas card nineteenth-century miniature on loan produced especially for the Museum. from the Victoria Art Gallery showing a The exhibition, as well as considering group of single eyes, all belonging to the the process of print making, explored members of one family. The commission Simon’s ingenious gift for expressing enabled Bettina to experiment with abstract ideas through images revealed photographic miniatures and the idea through his illustrations to works of of the eye portrait. Using her husband philosophy, poetry, theology and and daughter Ruby as subjects, she literature.

10 below: below middle: below: below: Junko Mori ‘Coppiced Wood Kathy Dalwood’s ‘The Secret Teapot and cover with Propagation Project; New Work by Junko Mori’ Society: A Ballroom Banquet’ gilded ram Coppiced Wood, Seed, 2013. On display in the Davidson on display in the Davidson James Giles (1718-1780) and Forged mild steel, wax-coated Ballroom Galleryin memory Ballroom Gallery Worcester Porcelain Factory of Sir Denis Mahon through About 1765-68, porcelain, the Art Fund, 2012 height 13.5cm, Dish, about 1770, soft-paste porcelain, diameter 22.9cm

ON THE TABLE

Coppiced Wood New Work by Junko Mori 6 July to 8 September 2013

James Giles ‘Ingenious’ Painter of Porcelain 28 September to 10 November 2013

Kathy Dalwood The Secret Society: A Ballroom Banquet 15 February to 21 April 2014

The year saw three contrasting referenced the coppicing of trees and James Giles’s Soho workshop. Giles installations on the table that stretches the concentrated energy she saw in the (1718-1780) produced some of the most through the middle of the Davidson sprouting of stems and branches from a beautifully decorated of all English Gallery. In July it was graced with coppiced trunk. These new works were eighteenth-century porcelain and glass. new work by Junko Mori, one of the complemented, both on the table and His workshop specialised in decorating country’s most exciting and innovative within the room, by loans of earlier work plain white porcelain (produced in other contemporary metalsmiths. Three by the artist in steel and silver. factories) with a wide variety of painted major new pieces made from blackened birds, flowers and fruit. The exhibition steel, and inspired by the Holburne’s In contrast to the spare display of large- was held in memory of Stephen setting within the eighteenth-century scale contemporary pieces of Junko Hanscombe, a long-time supporter landscape of Sydney Gardens, took Mori’s work, the autumn saw our first of the Museum and himself both a pride of place on the centre of the temporary display of historic porcelain collector and scholar of Giles’s work. table. These exciting large-scale pieces on the table and brought together The exhibition had been planned with marked a new departure for Junko and a large group of works decorated in Stephen before his death and although we were pleased to be able to mount it, it was obviously a great sadness not to be able to do so with its progenitor.

In February the Ballroom was invaded by the exuberant and surreal ‘Secret Society’ for an astonishing, deliquescent banquet created by artist Kathy Dalwood. Part Mad Hatter’s tea party, part Miss Havisham’s wedding feast, this large scale installation was peopled by characters from Dalwood’s growing series of surreal plaster busts together with an amazing array of found objects ossified beneath layers white plaster. First shown at Sir John Soane’s Pitzhanger Manor in west London, the installation was specially enlarged and adapted for the Holburne’s table.

11 below: ‘Meet the Museum’ school EDUCATION workshop

Our Education activities and events attracted more people than ever before over the last year and continue to bring new visitors to the Museum and deepen their engagement with and understanding of our collection.

in which the new Primary History curriculum can be delivered using Bath and the local area as a focus. In January, the department joined other arts and heritage organisations at a Bath History Fair attended by more than eighty teachers from fifteen different schools. In the autumn we received a grant from the Charter Trustees of Bath to run art competitions for children linked to the exhibition ‘Characters: People and Portraits from the Arts Council Collection.’ The prize winners’ event was attended by the Mayor and achieved Formal Education a double-page spread in the Bath Schools Chronicle. Sixty eight school sessions were delivered between the start of May Further & Higher Education 2013 and the end of April 2014, Our work with students extends across engaging over 2000 pupils in our all departments of the Museum. Our standard workshops, bespoke sessions, partnership with Bath Spa University workshops linked to temporary has seen the entire Museum team exhibitions and lantern-making for the deliver talks and participate in seminars annual lantern procession. about the work of the Museum to students in Heritage, Curatorial Practice The Head of Education is on the Bath and Education. The Education & History Curriculum Project working Outreach Officer together with the group; the project, led by Bath Spa Decorative Arts Curator and Director University, is aimed at mapping ways have worked with Textile and Ceramic students and undergraduate art students at the Bath School of Art and Design, Bath Spa University on projects taking inspiration from the Museum collections, building and site.

The work arising from these projects ‘The collections of the was exhibited at the Museum and Museum are outstanding. the Holburne has also provided the Don’t know why we didn’t inspiration for a series of performances by dance students and the venue for come before’ concerts by student musicians. The Teacher, Lycee Saint Sermin – Toulouse Education team also worked with the

12 left (top): below: A workshop for blind and Gardener’s Lodge Art partially sighted Group working in the Gardener’s Lodge left (below): There is something for everyone at our ‘Meet the Artist’ workshops

‘We loved it – it kept three Senior Lecturer in Arts Education at Special Projects Bath Spa University to co-deliver The Gardener’s Lodge Art Group, for generations of our family several sessions to PGCE students. people who have been affected by entertained’ Two American interns have also worked homelessness and associated issues, Attendee of ‘Meet the Artist’ with the Education department as part is going from strength to strength, Workshop of the Advanced Studies in England with new community partnerships programme. being forged. Participants have worked on a number of projects over the past Art for All year including a wire sculpture project The regular Early Years sessions that was exhibited at Bath Artists’ continue in popularity and Saturday Studios, portrait sculptures that were Art Club is thriving, with several exhibited around the café, a project with children having achieved, and others ceramicist Jo Taylor that ended with working towards, their national Arts a celebration ‘Feast’ using the objects Awards at Explore and Discover Level. they had made, and participation in the The children’s Art Camps during the annual lantern procession. summer and Easter holidays are often fully booked and a two-day art camp for The Museum received funding from older children in February was over- the Medlock Charitable Trust and the subscribed, highlighting an area for V. Callis Charitable Trust to carry out expansion. a ten week pilot project for people in the early stages of dementia and their Adult workshops have included poetry, carers. We have been working in close jewellery making and even tea-tasting partnership with Avon & Wiltshire – all inspired by the collections, plus a Mental Health Partnership NHS Trust. wonderful workshop with the sculptor Evaluation from the project will inform Junko Mori. We have also organised a funding bid to continue the work. tours and workshops for blind and partially sighted and deaf adults.

13 below right: right: ‘Light to Light’ by Patrick Visitors exploring Sydney Woodruff transformed the Gardens using the interactive Museum’s Garden game and map Ghosts in the Garden

Talks, Concerts and Events Our community events have become the brightly illuminated trees of the We continue to stimulate discussion highlights in Bath’s cultural calendar garden. Patrick Woodroffe, one of the and debate through our talks and and continue to attract and engage world’s leading lighting designers, who lectures and have welcomed leading new audiences in their thousands. has lit everything and everyone from artists, critics and authors such as Colourscape returned to our front lawn the London Olympics to the Rolling Maggi Hambling, Desmond Shawe- for a second year as part of our summer Stones, designed the piece especially Taylor and A N Wilson to the Museum. season. Comic Book characters at our for the Holburne. It was accompanied Our contemporaries programme has Big Draw event inspired a whole new by a specially commissioned soundtrack brought contemporary artists such generation of superheroes to explore by composer Matt Cllifford which as Hew Locke, Gavin Turk and Dexter the myths and legends held within could be listened to on headphones by Dalwood to the Museum and enabled our collection. Over two and a half mesmerised visitors as they wandered our audiences to engage with emergent thousand people attended our ‘Wright around the installation. artistic practice and critical theory. of Derby’ themed Explosive Easter Eggstravaganza combined this year Whilst looking to the future, we with World Heritage Day held in Sydney have also nodded to our past as our Gardens. partnership with Bath Spa University enabled us to recreate and reinterpret Our annual lantern procession brought Georgian Pleasures, via a conference Bath to a stand-still with a dazzling and outdoor performance. We time array of ‘Feast-themed’ willow lanterns. travelled with the University of the Spoons, jugs and willow-pattern plates West of England and their Ghosts in rubbed shoulders with giant jellies, the Garden, a unique immersive audio lobsters and the type of luscious feasts experience and adventure that enabled pictured in our still life paintings. We visitors to interact with characters from delivered 35 workshops to schools, the 1820s. Our partnership events with students, artists and community groups the Jane Austen Festival have enticed a enabling over 600 people to make host of bonneted visitors to explore the 50 giant and many hundreds of small Pleasure Gardens. individual lanterns which processed from the Museum down Great Pulteney We’re growing a reputation as a prime Street and through the city to Parade venue for chamber music in the city. Gardens. World class musician Peter Donohoe CBE performed the complete cycle of The year ended with Patrick Beethoven’s Piano Sonatas to a sell-out Woodroffe’s spectacular Light to Light audience across seven concerts. Our installation in the Museum’s garden. lunchtime recitals thrive with diverse The third of the Holburne’s Christmas performances from soloists to a full light installations Light to Light involved Baroque orchestra and are evolving into one hundred LEDs programmed seasons that complement our changing to create a rich and ever-changing exhibition programme. layered bed of light, viewed against

14 left: below: DEVELOPING AUDIENCES We ran various community The jaw dropping marketing workshops campaign FOR BATH’S MUSEUMS

The research led to us experimenting Using the joint purchasing power of with a digital marketing campaign for the partnership we were able to install ‘Joseph Wright of Derby’, targeting a a new box office system. This allows known segment of our audience. We are for data capture, marketing activity also participating in a ground-breaking and online ticket sales all of which we strategic joint marketing campaign plan to exploit in the coming months, developed with our core partners and increasing not only commercial encompassing the 17 museums in Bath opportunities, but also knowledge of on the theme of 300 years since the and access to our audiences. start of the Georgian era. A key partner in the campaign is Bath Tourism Plus The community engagement strand who levered in an extra £22,000 via a of the ‘developing audiences’ project Visit England/Regional Growth Fund has four groups working across three grant to make the campaign national. main partnership sites, including the One project that has had an impact The Holburne has also been able to Holburne, participating in activities across all Museum activities in the last develop visitors’ understanding of its inspired by the collections. To date year is the Arts Council’s Strategic story by creating two new interpretation 37 workshops or sessions have been Support Fund project ‘Developing tools. A new Welcome leaflet features planned or undertaken reaching an Audiences for Bath’s Museums’. a new plan of the Museum and directs estimated 107 participants. Our learning A partnership of the Holburne, the visitors to highlights of the collection. from this new way of working with American Museum in Britain and We are also about to unveil a new digital communities will inform future working the Bath Preservation Trust received interactive, explaining and exploring practices and a bid for multi-year over £420,000 in April 2013 to work the rich history of the Museum and its funding with our partners to ensure that in partnership and with other Bath surrounding area. this work can continue in the future. museums over two years to develop audiences through research, marketing, new interpretation tools and community engagement.

A Project Co-ordinator, Anna Bryant, was appointed in June to oversee delivery of the different strands of the project. From June until December the focus was on research, to inform the partnership’s activities. We participated in an unprecedented visitor survey across 12 museums in Bath giving us all access to information about our own visitors, visitors to Bath’s museums as a whole and the extent of cross-over visits between museums. In addition a ‘potential visitors’ survey was undertaken on the streets of Bath. Qualitative market research was also undertaken to measure the effectiveness (and gaps in) our interpretation and the visitor experience.

15 top left: below left: VOLUNTEERS A select band of our We have over 240 volunteers went to the volunteers who look British Museum to collect after our galleries and their award visitors alike

Our volunteers are vital and central to the Holburne’s work. Without volunteers the Museum would not be able to open its doors but nor could we deliver our events, exhibitions and education workshops, or care for our collections. There is no corner of our activities to which volunteers do not contribute.

testament to the hard work and passion they put into their roles at the Holburne.

We are working to develop the volunteer programme in a number of ways to ensure that our volunteer body is as inclusive and diverse as possible and that the volunteer experience meets the needs of those who volunteer for us, providing vocational training where appropriate and exploring the possibility of the Museum offering vocational qualifications through its programme. We aim to not just replicate The Holburne’s volunteer programme what is already happening within continues to go from strength to volunteering in the arts but to develop strength with volunteers contributing new ways of supporting, training and an impressive 30,000 hours of their developing those who volunteer. time over 2013. They perform a wide variety of roles across the Museum People volunteer for a wide variety of from welcoming visitors at our reasons and although we are proud of information desk, to supporting the the number of student volunteers at the work of our Education, Marketing Museum who have successfully secured and Fundraising teams and helping paid employment within the sector with care and cataloguing of our (including at the Holburne itself) we collection and library. Their infectious strive to ensure that volunteering at the commitment and enthusiasm helps Museum meets the needs and desires of ensure that the Holburne is one of the all who help us. What is certain is that most welcoming and vibrant museums the inclusive and diverse nature of our in the country. volunteers enhances the experience of everyone who works here and all our The Holburne Volunteers were once many visitors. The opportunities offered again nominated at the BANES during my time at the Chairman’s Business and Community Awards, for Best Volunteer Team in Holburne have been BANES and the Volunteer Manager invaluable; I didn’t expect for best Volunteer Management. In such a dynamic range of the summer of 2013 the Holburne Volunteers were invited to the training and experience. British Museum to collect the Marsh Oliver Adams Trust Award for Museum Learning a

16 below: MARKETING AND COMMERCIAL A wedding reception in the Davidson Gallery © Paul Reed Photography

Shop Marketing and Communications The Museum Shop had its most We continue to enjoy the support of our successful year since reopening. The local and regional media and have also success of the ‘Rembrandt’ exhibition been successful in attracting a diverse brought in a huge amount of shoppers range of national press coverage. and the catalogue was so popular it The value of our media coverage is had to be reprinted after two months approximately £1.4m. Coverage has of the show. The ‘Joseph Wright of included articles and reviews in Apollo, Derby’ exhibition with its guidebook, The Art Newspaper, Art Quarterly, the beautifully written by our senior curator Burlington Magazine, Crafts, Country Amina Wright, had a similar influence Life, The Daily Mail, The Financial Times, on sales. As a result the Conversion The Guardian, House and Garden, Rate (CR) for the shop grew above 12% The Independent, The Observer, and Average Transaction Value (ATV) Red Magazine, The Times, The Daily slightly below £9 as compared to last Telegraph, World of Interiors and Vogue. year’s CR of 10% and ATV of £7.67. We have continued to strengthen our Café and Venue Hire digital output with our monthly e-shot The Museum has seen a significant now reaching 4,400 subscribers; we increase in venue hire over the last have 3,900 followers on Twitter and year and the Museum has never been 1,500 likes on Facebook. We had 90,642 more popular as a place for catered unique visitors to our website with 63% entertainment. Our corporate clients of visitors looking at the site for the have enjoyed our exclusive catering first time. We have successfully used top left: Corporate events are regularly offer and entertained hundreds of social media for campaigns such as the held in the Garden Cafe guests under the management of our beadbasket acquisition appeal and the new in-house private hire team. Thanks Connect 10 challenge to compete with middle left: The Museum caters for all to advance bookings we know that 2014 other cultural organisations for an artist will see a record number of weddings for Museums at Night. below right: The ‘Joseph Wright of Derby’ taking place in the elegant surrounding exhibition catalogue sold out of our Brownsword and Davidson galleries.

Benugo continue to run our café concession and have also seen their most successful year since reopening.

17 top left: below left: OUR FUNDRAISING YEAR The Patrons enjoyed the ‘The Joseph Wright beautiful gardens at Bel- of Derby’ exhibition combe Court, venue for the in the Roper Gallery. Summer Party Sponsored by Lowell Libson Ltd and supported by The Paul Mellon Centre for Studies in British Art

As a museum that receives no regular government or council funding the Holburne relies upon income from its Endowment or Capital Fund. Every year we receive extraordinary support from our many Friends and Patrons as well as numerous charitable trusts and individuals but income from the Capital Fund is vital to underpin all our work.

Building an Endowment supporters didn’t disappoint and thanks In 2012 we set ourselves the ambitious to them we raised all of the money target of increasing this Fund to needed to match the £250,000 by the £8million by 2016, our anniversary year. deadline. An additional major grant If we are successful this will provide from the Esmée Fairbairn Foundation income of about £400,000 a year and a bequest from Miss Barbara Ellis to support the Museum’s underlying mean that we have now all but matched running costs allowing our fundraising the HLF Catalyst grant adding just effort to concentrate on supporting our under £2million to our Funds. activity: the exhibitions, the education programme, acquisitions and events Looking forward the challenge is to that engage audiences and give the raise a further £3million over the next Museum its vitality and energy. three years. Here too we have made an encouraging start boosted by an As reported in the last annual review exceptionally generous pledge from the the Campaign was boosted in 2012 Medlock Charitable Trust of £250,000 by a Heritage Lottery Fund Catalyst towards the Endowment to support Endowment grant of £1million with education, provided that this too is the challenge that this be matched by matched. We hope and are working 2016. Further support was provided to ensure that this will be the first of a by an anonymous trust which donated number of donations and pledges which £250,000 also on condition that it will help us meet our target. be matched £1 for £1 with a deadline of October 2013. This meant that all Annual Fundraising donations received by that date were While we work to increase our Capital matched and then matched again, Fund, we remain immensely grateful to effectively quadrupling them. Our the many trusts and foundations that

18 below left: below right: Corporate member Friends trip to events are often held Amsterdam, 2013 in the Garden Cafe

have supported our work this year. The delighted to open up our collection to Monument Trust, The Davidson Family our closest supporters through a range Charitable Trust, The Foyle Foundation of events: breakfasts, artists’ talks, and the John Ellerman Foundation evening receptions and private views. all contributed towards salaries and Patrons’ events and visits through the core costs supporting our work and year included a spectacular Summer allowing us to focus our efforts on Party held at Belcombe Court, home of the Endowment fundraising plans. As the TV and film Director Paul Weiland. ever individual exhibitions, projects Paul kindly opened up the beautiful and events relied on generous external gardens of his lovely home allowing for support including major grants from a very special Holburne evening. the Paul Mellon Centre to support the Patrons were also treated to a tour of ‘Joseph Wright’ exhibition and from Frogmore House, Windsor, with one of Arts Council England to support the our trustees, Desmond Shawe-Taylor, Sponsors of this year’s exhibition exhibition of newly commissioned Surveyor of the Queen’s Pictures, as programme included the Monument work from Bettina von Zwehl. We their personal guide. Frogmore House is Property Group and Withy King who were very grateful to Bath and North rarely open to the public but Desmond kindly supported ‘Rembrandt and his East Somerset Council for supporting kindly gave our Patrons access and Contemporaries’ and Lowell Libson our spectacular light installation over insights into this fascinating home, Ltd who sponsored the ‘Joseph Wright Christmas and to Bath Tourism Plus much used by Queen Victoria and her of Derby’ exhibition. Meanwhile our and a local trust for their support of our children and still used by the Royal partnership with Bath Spa University bigger, better and ever-popular Lantern family for private occasions today. also saw them undertake to sponsor Procession. In addition the year saw the our contemporary programme and generous funding of three important The Holburne’s Friends continued to membership through 2014 helping acquisitions supported by the Art Fund, work tirelessly to support the Holburne to raise the profile of our important The National Heritage Memorial Fund, with their fundraising initiatives and University partner and their focus on The V&A Purchase Grant Scheme and more Friends were recruited to the culture and creativity throughout the a successful public appeal (contributed cause during the ‘Rembrandt’ exhibition year. to by over 400 individuals) to buy the than ever before. This year saw the wonderful beadwork basket illustrated retirement of Sidney Blackmore Thank you on the cover of this year’s Review. as Chair after seventeen years of We have had a busy and extremely exceptional service to the Friends and fruitful year. Thank you. Our Museum is Patrons, Friends, Contemporaries to the Museum for which we remain your Museum. Without the generosity and Corporate Supporters enormously grateful. He has been of all who have given to support our All our membership schemes help succeeded by Antonia Johnson. activities, from the large trusts to the our donors remain engaged with the visitors dropping their pennies into the Museum offering special access to our The Holburne Contemporaries donation boxes, we could not survive, collection and staff. Each year we are membership was introduced to offer still less deliver, our exciting programme opportunities for those wishing to of exhibitions, events and learning support our ambitious programme programmes. To all who care for and of contemporary art. Among other support the Holburne thank you for things membership offers admission helping us to keep our doors open and to exclusive artists’ talks and visits to remain free to enter. private contemporary collections.

Our Corporate members enjoyed a range of special events as well as opportunities to use the Museum to entertain their staff and clients.

19 STATEMENT OF FINANCIAL ACTIVITIES

Unrestricted Funds Restricted Endowment Total Funds Total Funds Funds Fund 2013 2012 General Capital Funds Funds

Note £ £ £ £ £ £ INCOMING RESOURCES Incoming resources from generating funds: Voluntary income 1 328,410 - 492,100 1,525,691 2,346,201 1,020,463 Activities for generating funds 2 303,500 - - - 303,500 266,222 Investment income 3 745 18,509 661 344 20,259 24,135 Incoming resources from charitable activities 4 140,083 - 1,000 - 141,083 99,258 TOTAL INCOMING RESOURCES 772,738 18,509 493,761 1,526,035 2,811,043 1,410,078

RESOURCES EXPENDED Fundraising trading: cost of goods sold and other costs 5 99,807 - - - 99,807 64,099 Investment management costs 6 - 12,829 - - 12,829 8,890 On charitable activities 7/8 918,207 - 570,356 - 1,488,563 1,383,386 Governance costs 9 25,101 - - - 25,101 55,290 TOTAL RESOURCES EXPENDED 1,043,115 12,829 570,356 - 1,626,300 1,511,665

NET INCOMING/(OUTGOING) RESOURCES BEFORE TRANSFERS 11 (270,377) 5,680 (76,595) 1,526,035 1,184,743 (101,587)

TRANSFERS BETWEEN FUNDS 251,377 (251,377) - - -

NET INCOMING/(OUTGOING) RESOURCES AFTER TRANSFERS (19,000) (245,697) (76,595) 1,526,035 1,184,743 (101,587)

OTHER RECOGNISED GAINS AND LOSSES Gain/(Loss) on investment assets 14a - 318,275 - - 318,275 63,069 Actuarial gain/(loss) on defined benefit pension scheme 19 121,000 - - - 121,000 (50,000)

NET MOVEMENT IN FUNDS 102,000 72,578 (76,595) 1,526,035 1,624,018 (88,518)

FUND BALANCES BROUGHT FORWARD (424,000) 1,882,662 10,469,468 181,533 12,109,663 12,198,181

FUND BALANCES CARRIED FORWARD (322,000) 1,955,240 10,392,873 1,707,568 13,733,681 12,109,663

The above results relate wholly to continuing activities; there are no other recognised gains or losses in the year. The statement of Financial Activities and the Balance Sheet are an extract from the Statutory Accounts, which have been independently audited. The Auditor’s Report has a qualified opinion arising from the disagreement with the Financial Reporting Standard for Smaller Entities and the Statement of Recommended Practice, Accounting and Reporting by Charities 2005, being the Trustee’s decision to exclude from the financial statements all newly donated or donated heritage assets, on the grounds that inclusion of such assets from the Museum’s collection is inconsistent with the treatment of the majority of the Museum’s collection, which was a legacy from the Holburne family.

INDEPENDENT AUDITOR’S STATEMENT TO THE TRUSTEES OF THE HOLBURNE MUSEUM for the year ended 31 December 2013 We have examined the summarised consolidated financial statements in accordance with applicable United Kingdom law and the recommendations of the charities SORP.

RETROSPECTIVE RESPONSIBILITIES OF THE TRUSTEE AND THE AUDITOR The Trustee is responsible for preparing the summarised consolidated financial statements in accordance with applicable United Kingdom law and the recommendations of the charities SORP. Our responsibility is to report to you our opinion on the consistency of the consolidated summarised financial statements with the full annual consolidated financial statements and the Trustee’s Annual Report. Our report on the charity’s full annual consolidated financial statements describes the basis of our opinion on those financial statements. We conducted our work in accordance with Bulletin 2008/3 issued by the Audited Practices Board.

OPINION In our opinion the summarised consolidated financial statements are consistent with the full annual consolidated financial statements and the Trustee’s Annual Report of the Holburne Museum for the year ended 31 December 2013.

MOORE STEPHENS Chartered Accountants & Statutory Auditor, 30 Gay Street Bath BA1 2PA

20 BALANCE SHEET

Unrestricted Funds Restricted Endowment Total Funds Total Funds Funds Fund 2013 2012 General Capital Funds Funds

Note £ £ £ £ £ £ FIXED ASSETS Heritage assets ------Tangible fixed assets The Museum 13 - 550,000 8,349,014 - 8,899,014 9,075,246 Others 13 17,722 - 950,451 - 968,173 993,787 Investments 14a - 1,151,568 1,000,000 996,000 3,147,568 1,847,631 TOTAL FIXED ASSETS 17,722 1,701,568 10,299,465 996,000 13,014,755 11,916,664

CURRENT ASSETS Stock 15a 46,657 - - - 46,657 46,802 Debtors 16a 186,961 - - - 186,961 221,421 Bank balances and cash in hand 114,694 253,672 276,679 711,568 1,356,613 1,069,002 348,312 253,672 276,679 711,568 1,590,231 1,337,225

CREDITORS: Amounts falling due within one year 17a (366,034) - (183,271) - (549,305) (470,226) NET CURRENT ASSETS/(LIABILITIES) (17,722) 253,672 93,408 711,568 1,040,926 866,999

CREDITORS: Amounts falling due after more then one year 18 - - - - - (250,000)

NET ASSETS/(LIABILITIES) BEFORE PENSION DEFICIT - 1,955,240 10,392,873 1,707,568 14,055,681 12,533,663 Pension scheme deficit 19 (322,000) - - - (322,000) (424,000)

NET ASSETS/(LIABILITIES) (322,000) 1,955,240 10,392,873 1,707,568 13,733,681 12,109,663

ENDOWMENT FUND 20 - - - 1,707,568 1,707,568 181,533 RESTRICTED FUNDS 21 Specific Purposes Fund: Revenue - - 67,992 - 67,992 42,443 Specific Purposes Fund:Capital - - 22,548 - 22,548 22,548 Special Acquisitions Fund - - 1,000,000 - 1,000,000 1,000,000 Development Fund - - 9,302,333 - 9,302,333 9,404,477 - - 10,392,873 - 10,392,873 10,469,468

UNRESTRICTED FUNDS Designated Funds: Revaluation Fund 22a - 550,000 - - 550,000 550,000 Capital Fund 22a - 1,405,240 - - 1,405,240 1,332,662 - 1,955,240 - - 1,955,240 1,882,662 General fund - - - - Less: Pension reserve deficit 20 (322,000) - - - (322,000) (424,000)

22a (322,000) 1,955,240 - - 1,633,240 1,458,662

(322,000) 1,955,240 10,392,873 1,707,568 13,733,681 12,109,663

The financial statements were approved by the Trustees at their meeting on 13/06/14 and are signed on their Richard Fleck CBE Antony Constantinidi behalf by: Chairman Treasurer

The accompanying accounting policies and notes form an integral part of these financial statements. OFFICERS AND MANAGEMENT

The Board of Directors of The Holburne Museum Professional Advisers and Bankers Trust Company (‘The Trustees’)

Richard Fleck CBE [1,2] Prof. Vaughan Hart [5] SOLICITORS CHAIRMAN Nominated Trustee, Professor of Thring Townsend Midland Bridge Solicitor and Partner with Herbert Smith Architecture at The University of Bath Bath BA1 2HQ 1980 – 2009 Director, Financial Reporting Council, Antonia Johnson [4] Withy King 2004 to date Nominated Trustee, Chairman of James Street West The Friends of The Holburne Museum Green Park Prof. Brian Allen Bath BA1 2PA

VICE CHAIRMAN Michael King AUDITORS Chairman, Hazlitt Group Chairman of Stone King LLP solicitors Moore Stephens Former Director of Studies at the Paul Chartered Accountants & Statutory Auditors Mellon Centre Trevor Osborne FRICS FRSA 30 Gay Street Chairman of the Trevor Osborne Bath BA1 2PA The Countess of Oxford – Property Group Limited 1973 to present INVESTMENT MANAGERS AND ADVISORS Clare Asquith Court Member and visiting Fellow, Ruffer LLP Writer and lecturer Oxford Brookes University 80 Victoria Street (Architecture and Planning) London SW1E 5JL Cllr. Nicholas Coombes [3] Trustee of The Royal Fine Art Nominated Trustee, Bath and North East Commission Trust Capita Financial Managers Ltd 2 The Boulevard Somerset Councillor for Bathwick City West One Office Park Desmond Shawe-Taylor Gelderd Road Antony Constantinidi [1,2] Surveyor of the Queen’s Pictures Leeds LS12 6NT HON.TREASURER Chartered Accountant Prof. Christina Slade [6] INSURANCE BROKERS Former tax partner, Nominated Trustee, Vice Chancellor Bluefin Insurance Services Ltd Castlemead PricewaterhouseCoopers of Bath Spa University Lower Castle Street Bristol BS1 3AG Patrick Despard [1] Adrian Tinniswood [1] CHAIRMAN, FINANCE & GENERAL Architectural historian, author, Aon Limited PURPOSES COMMITTEE lecturer and broadcaster. 8 Devonshire Square London EC2M 4PL Associate of The Royal Institute of A consultant with The National Trust Chartered Surveyors. and formally Chairman of the HLF BANKERS Formerly Chief Executive of City committee for the South West. CafBank Ltd & West End Property Group. London W1 PO Box 289 Notes West Malling Kent ME19 4TA David Embleton [1,2] [1] Member of Finance & General Purpose Committee* Chairman, Sulis Fund, a seed investment [2] Member of Investment Committee fund for the Universities of Bath, Bristol [3] Nominee, Bath and North East Somerset and Southampton Council Co-Founder of Eden Ventures, Bath [4] Nominee, The Friends of The Holburne Former Pro-Chancellor of the University Museum of Bath, 1996-2003 [5] Nominee, The University of Bath [6] Nominee, Bath Spa University [*Formally the Executive Committee] FINANCIAL OVERVIEW 2013

Professional Advisers and Bankers General and Specific Fund Income General and Specific Fund Expenditure

• Grants and donations 42.9% • Museum activities 45.7% • University Partnerships 8.0% • Premises costs and maintenance 11.6% • Patrons and Friends 8.3% • Fundraising 5.4% • Education, lectures and concerts 2.7% • Education 12.0% • Exhibition admissions 10.2% • Exhibitions 17.5% • Business sponsorship 4.5% • Commercial activities 6.2% • Commercial income 23.4% • Governance 1.6%

FINANCIAL OVERVIEW 2013

124,861 visitors 24,807 paid to visit exhibitions 7,213 children have participated in our learning programmes including school visits, workshops and family events 7,853 adults have participated in our learning programmes including workshops, talks, concerts and study days 18,300 people attend Colourscape, Christmas Lights and other public events 97% of people rate their visit enjoyable, 62% as very enjoyable 97% agree our exhibitions are interesting and enjoyable, 59% strongly agree 96% agreed our volunteer staff are friendly, informative and helpful, 64% strongly agreed 70% of our visitors are non-local, of which 63% are tourists 30% are local, travelling within a 30 minute drive time DONORS TO THE MUSEUM 2013/14

Heritage Lottery Fund, Department Project and Core Funding Anthony and Louise Clarke City Monument Property Group for Culture, Media and Sport, Catalyst John and Yvonne Cullum Dukes Hotel Endowment Appeal The Friends of the Holburne Museum William and Letty Darby Emtone Printing The Holburne Museum Volunteers Manny and Brigitta Davidson Enlightened Lighting Ltd The Heritage Lottery Fund Bath Spa University Ian and Morny Hay Davison Farrow & Ball The Linbury Trust Patrick and Nikki Despard First Great Western The Esmée Fairbairn Foundation Viscount Amory’s Charitable Trust Simon Dickinson George Bayntun Miss Barbara Ellis Arts Council England Eva and Van DuBose Great Western Wine Company Ltd Brian Ashford-Russell Caroline Ellert Handelsbanken The Annett Charitable Trust Bath and North East Somerset Council Miss Barbara Ellis Lowell Libson Ltd Bernadette Bailey Bridget and Philip Beck David and Karin Embleton Mogers Solicitors LLP Rodney and Deborah Barber Edna Blackwell Richard and Mary Fleck Momentum Consulting Engineers John and Alison Barneby Rosalie Challis Andrew Fletcher OBE Monkton Combe School Ken and Vera Barnes Undine Concannon Richard and Carolyn Frewer Moore Stephens Mr and Mrs A J Bateson Manny and Brigitta Davidson Anthony and Julia Fuller Pearson May Chartered Accountants BEDFAS - Bath Evening Decorative and Fine Gitte Dawson Nicola Hanscombe Roper Rhodes Ltd Arts Society Barbara Ellis Pamela, The Lady Harlech Rotork PLC Christopher Bell David and Karin Embleton Vivienne Haskell Sanlam Investment Management Ltd John and Rhona Bell The English Ceramic Circle Tessa Hayward Savills (UK) Ltd Anthony Benn Nicholas Falk Elizabeth Henley Stone King Christopher and Georgie Birrell Lord Faringdon KCVO Sir David Hoare Bt The Framing Workshop John and Ros Bishop Andrew Fletcher OBE Michael Jodrell Tasburgh House Hotel Sidney Blackmore The Foyle Foundation Derek and Daphne Johns Thrings Solicitors The Bryson Corbett Charitable Trust The Henry Moore Foundation Antonia and Simon Johnson Villa Magdala Rosalie and John Challis Heritage Lottery Fund Timothy Kent Withy King Solicitors Dr Marianna Clark Henry Hoare Michael and Frances-Ann King The Jeremiah Colman Gift Trust Dr Anthony and Louise Clarke Alastair and Hana Laing Holburne Contemporaries Patrick Clarkson, QC Michael Jodrell Sandra le Marchant Zib Baines Antony and Amanda Constantinidi The John Ellerman Foundation David and Fiona Lees Stephanie Bodano Alastair and Ann Cowan The Joyce Fletcher Charitable Trust Gerard and Juliet Leighton Angie Brooker Peter and Christine Davis The Ken Biggs Charitable Trust David Lewis Jan Byrne Ian and Morny Hay Davison Sandra le Marchant Lowell Libson Alex Chapman Peter Edwards The Mackintosh Foundation Sir Timothy and Lady Lloyd Dr Suzanne Campbell-Jones Simon and Olivia Eliot Valerie Macready Nigel and George Mackintosh Colette Dartford Nicholas and Penelope Elliott The Medlock Charitable Trust Valerie Macready Alexandra Davidson Mr and Mrs Feilding The Monument Trust David Medlock Prof Ruth Davies Nicholas and Angela Fiennes Guy Morrison Bel Mooney and Robin Allison-Smith Sara Foster Richard and Mary Fleck The Norie Trust Duncan and Dee Moss Christine Gregoire-Roberts Andrew Fletcher OBE Trevor Osborne Patrick and Christine Newall Constance Hepworth The Greenham Common Trust Christopher Overton Edward and Polly Nicholson Elena Hill Simon Heale The Paravicini Dyer Charitable Trust John Nicoll Sam Hodgson The Hoare Charitable Trust William and Vanessa Parker Kevin and Victoria O’Sullivan Helen Kershaw Caryl and John Hubbard The Paul Mellon Centre William and Veronica Otley Belinda Laws Michael Jodrell The Peter Stormonth Darling Charitable Trust The Paravicini Dyer Charitable Trust Lynne Locker Derek and Daphne Johns David Pike William and Vanessa Parker Jim and Liz McAuliffe James Joll The Pitt-Rivers Charitable Trust Anthony and Val Pitt-Rivers Kathryn Shayler Neil and Rosemary Kennedy David Posnett OBE David and Suki Posnett Mark Saunders Sandra le Marchant John Robinson John and Belle Robinson The Perfect Setting Margaret Ledbury Brian and Margaret Roper Chris and Denise Rogers Dr Karen Wallis David and Fiona Lees The Hon Michael Samuel Brian and Margaret Roper Derry Watkins and Peter Clegg Nicholas and Sarah Lewis Stone King Foundation Michael and Julia Samuel Marnie Whiting Sir Timothy and Lady Lloyd The Textile Society Adrian Sassoon Nigel and George Mackintosh The University of Bath Juliet Schubart and Andrew Wilson Principal Donors to the Bead Basket Appeal John and Tessa Manser Beatrice Viennet Andrew and Belinda Scott Art Fund Deirdre McSharry and Ian Smyth The William Gibbs Trust Hugh and Catherine Stevenson Bath Evening Decorative Fine Arts Society Terence Mordaunt Will and Elin Wilson The MJC Stone Charitable Trust Jennifer Bereska The Norie Trust Manuela and Iwan Wirth Lady Strasburger Manny and Brigitta Davidson Louise Oddy Ann Zwemmer Stephen and Clivette Taylor, Polly Devlin The Paravicini Dyer Charitable Trust Ian and Christa Taylor Jane Glaser The Peter Stormonth Darling Charitable Trust The Holburne Museum Benefactors Betty Thayer and Henry Morris Vera Gray Roger Plant John and Tessa Manser Matthew and Leigh Thorne Patricia Hanscombe The Reed Foundation Trevor Osborne Sir Michael and Lady Turner Jane Austen Society Sir Adam and Lady Ridley Richard and Sue Wales National Heritage Memorial Fund Julian and Jane Rigby The Holburne Museum Patrons Christine Walker Patricia Nguyen Neil and Anna Robertson Charmian Adams Nigel and Sandra Websper Hon Sally Plummer Brian and Margaret Roper Josefa Angelo-Sparling Anthony Wilkinson Norie Trust Victor and June Scott Rodney and Deborah Barber Will and Elin Wilson Patricia Robertson-Glasgow Emily and Jonathan Showering Sarah Barlow Miranda Winram Peta Smith Hugh and Catherine Stevenson John and Alison Barneby Patrick and Lucy Woodroffe West of England Costume Society Sir John and Lady Stuttard Ken and Vera Barnes John and Margaret Wragg Julian and Diana Barran Betty Thayer and Henry Morris Mrs John Yates, OBE Thank you to all those who gave Edward and Laura Bayntun-Coward Jeremy and Cynthia Thring Ann Zwemmer anonymously and for all the smaller Bridget and Philip Beck Christopher and Josephine Weston donations too numerous to mention here. John and Rhona Bell Anthony Wilkinson Corporate Members and Sponsors The Holburne Museum receives no regular Jennifer Bereska Peter R. Wilson Abbey Hotel government and council funding; every Christopher and Georgie Birrell Will and Elin Wilson Ambersphere Solutions donation helps us to continue our work. Mrs Ann Zwemmer John and Ros Bishop Apple Tree Guest House Andrew and Christina Brownsword Bang & Olufsen of Bath Rosalie and John Challis benugo Suzanne and Graham Chase Bisque Dr Marianna Clark Charles Stanley