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Horniman Museum to Reopen from Thursday 30 July
For immediate release Issued Wednesday 8 July 2020 Horniman Museum to reopen from Thursday 30 July The Horniman will reopen its doors to the public from Thursday 30 July, for the first time since mid- March. Visitors (including Members) will need to pre-book for a free, timed entry slot, via the website horniman.ac.uk. As well as the popular galleries of natural history, world cultures and musical instruments, the Permian Monsters exhibition will also reopen on 30 July, with ticket prices from £5, and an extended run until 3 January 2021. However, some attractions will remain closed initially, including the Aquarium and Butterfly House, and some interactive exhibits have been removed or covered up. Social distancing and other safety measures will be in place throughout the Museum, including hand sanitisation stations, an enhanced cleaning regime, updated signage and a one-way visitor route. During the Museum’s 134-day closure, the Horniman’s Gardens have remained open, giving local residents much-needed green space for their daily exercise during the Coronavirus lockdown. The Horniman has gradually reopened additional facilities including toilets and Café Kiosks in the Gardens, and the Sunday Market. The main Café will reopen at the same time as the Museum with specific safety measures in place. Nick Merriman, Chief Executive of the Horniman Museum and Gardens, says: ‘We’ve heard from many of our visitors how much they’ve missed the Museum. We are immensely grateful for their support during closure and look forward to welcoming them back. Our priority as we return is to increase the diversity of our visitors, address our colonial history and accelerate work on the climate and ecological emergency.’ Pre-booked tickets will be available on the website from Monday 20 July. -
National Dimensions
ONS NATIONAL DIM NATIONAL DIMENNATIONAL DIMENSIONS NAL DIMENSIONS DIMENSIONS NATIO This report was researched and written by AEA Consulting: Magnus von Wistinghausen Keith Morgan Katharine Housden This report sets out the collaborative work undertaken by the UK’s nationally funded museums, libraries and archives with other organisations across the UK, and assesses their impact on cultural provision across the nation. It focuses on the activities in recent years of members of the National Museum Directors’ Conference (NMDC), and is largely based on discussions with these institutions and selected partner organisations, as well as on a series of discussion days hosted by the NMDC in different regional centres in July 2003. It does not make specific reference to collaborative work between NMDC organisations themselves, and focuses on activities and initiatives that have taken place in the last few years. For the sake of simplicity the term ‘national museum’ is used throughout the report to describe all NMDC member organisations, notwithstanding the fact that these also include libraries and archives. In this report the term ‘national’ is used to denote institutions established by Act of Parliament as custodians of public collections that belong to the nation. It is acknowledged that the NMDC does not include all museums and other collecting institutions which carry the term ‘national’ as part of their name. Specific reference to their activities is not contained in this report. Published in the United Kingdom by the National Museum Directors' -
Artist Katie Schwab Joins New Collective to Co-Produce Horniman’S 2019 Studio Exhibition
For immediate release Issued 28 February 2019 Artist Katie Schwab joins new Collective to co-produce Horniman’s 2019 Studio exhibition London-based visual artist Katie Schwab has joined a new Collective of 10 local community members to co-produce the 2019 exhibition in the Horniman Museum and Garden’s new arts space, The Studio. The Collective will explore ideas around ‘memory’ and draw inspiration from the Horniman’s anthropology collections for the next Studio exhibition which will open in October 2019. The exhibition, bringing together new artwork and collections, will be accompanied by a programme of events and activities also co-produced by the Collective. The Collective members collaborating on the exhibition are: Ahmadzia, a volunteer at Southwark Day Centre for Asylum Seekers (SDCAS) and a kite maker, who came to the UK in 2006 from Kunduz, Afghanistan, and is a refugee Carola Cappellari, a photojournalism and documentary photography student who volunteered her skills to produce promotional material for the Indoamerican Refugee and Migrant Organisation, a community-led organisation supporting Latin Americans to build secure and integrated lives in the UK Francis Stanfield, a multi-tasker when it comes to music who describes himself as ‘the original stuporman’. He is influenced by surrealism, films and art, likes ‘anything out of the weird’ and joined the Collective through his involvement with St. Christopher’s Hospice Godfrey Gardin, from Kenya but living in London, who volunteers with SDCAS ‘because it enriches the community where I live’ and who also has an interest in gardening Jacqueline Benn, who has a career background in TV programming planning and immersive theatre, and whose interests lie also in the arts, and producing short films. -
Contact Sheet
CONTACT SHEET The personal passions and public causes of Prince Albert, husband of Queen Victoria, are revealed, as photographs, prints and letters are published online today to mark the 200th anniversary of his birth After Roger Fenton, Prince Albert, May 1854, 1889 copy of the original Queen Victoria commissioned a set of private family photographs to be taken by Roger Fenton at Buckingham Palace in May 1854, including a portrait of Albert gazing purposefully at the camera, his legs crossed, in front of a temporary backdrop that had been created. Queen Victoria and Prince Albert In a letter beginning ‘My dearest cousin’, written in June 1837, Albert congratulates Victoria on becoming Queen of England, wishing her reign to be long, happy and glorious. Royal Archives / © Her Majesty Queen Elizabeth II 2019 Queen Victoria kept volumes of reminiscences between 1840 and 1861. In these pages she describes how Prince Albert played with his young children, putting a napkin around their waist and swinging them backwards and forwards between his legs. The Queen also sketched the scenario (left) Royal Archives / © Her Majesty Queen Elizabeth II 2019 Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.rct.uk After Franz Xaver Winterhalter, Bracelet with photographs of Queen Victoria and Prince Albert’s nine children, 1854–7 This bracelet was given to Queen Victoria by Prince Albert for her birthday on 24 May 1854. John Jabez Edwin Mayall, Frame with a photograph of Queen Victoria and Prince Albert, 1860 In John Jabez Edwin Mayall’s portrait of 1860, the Queen stands dutifully at her seated husband’s side, her head bowed. -
UK Seminars on Art, Science, & Exploration Since
H-Early-America UK Seminars on Art, Science, & Exploration since C18 Discussion published by John Daniel Saillant on Monday, August 25, 2014 Aaron Mulvany Monday, August 25, 2014 H-Asia DEADLINE: 5 September 2014 The Art Fund and Heritage Lottery Fund have generously funded a series of seminars (‘Travellers’ Tails’) at the National Maritime Museum and partner museums around the UK to investigate the histories, practices and interpretation of art, science and exploration from the Enlightenment to the present day. The seminars will bring together scholars, artists, scientists, explorers, members of the public and museum professionals to examine the changing nature, impact and legacies of European exploration since the mid-18th century. The seminars will focus on today’s audiences and discuss the display and interpretation of the material culture of exploration within gallery, heritage and museum environments. Seminars will interrogate the relevance of the subject and issues surrounding its presentation in a post-imperial world. George Stubbs’ iconic paintings of a kangaroo and dingo, recently acquired by the National Maritime Museum, will provide a starting point for wider-ranging papers and discussion within a multi-disciplinary environment. Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to [email protected] by no later than Friday, 5 September 2014. We welcome submissions for papers and less-formal presentations from academics, curators, artists and other specialists in the fields. Proposals from -
Annual Review 2016/17
Historic Royal Places – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) Annual Review 2016/17 1 2 06 Welcome to another chapter in our story Contents 07 Our work is guided by four principles 08 Chairman’s Introduction 09 Chief Executive – a reflection 10 The Year of the Gardens 14 Guardianship 20 Showmanship 26 Discovery 32 Independence 38 Money matters 39 Visitor trends 40 Summarised financial statements 42 Trustees and Directors 44 Supporters 46 Acknowledgments Clockwise from top left: The White Tower, Tower of London; the West Front, Hampton Court Palace; the East Front, Kensington Palace; the South Front, Hillsborough Castle; Kew Palace; Banqueting House. 4 This year, the famous gardens of Hampton Court Palace took Guardianship: Welcome to centre stage. Already a huge attraction in their own right, this Our work is We exist for tomorrow, not just for yesterday. Our job is to give year the historic gardens burst into even more vibrant life. these palaces a future as valuable as their past. We know how another Prompted by the 300th anniversary of the birth of Lancelot guided by four precious they and their contents are, and we aim to conserve ‘Capability’ Brown, we created a spectacular programme of them to the standard they deserve: the best. chapter in exhibitions, events and activities. A highlight was the royal principles Discovery: opening of the Magic Garden; our playful and spectacular We explain the bigger picture, and then encourage people to our story 21st century contribution to 500 years of garden history. -
Civil Ceremonies Weddings &
WEDDINGS & CIVIL CEREMONIES Dulwich Picture Gallery Dulwich Picture Gallery, situated at the heart of Dulwich Village, offers an exclusive setting for your special day. Founded in 1811, the unique building - designed by Sir John Soane - was the first purpose-built public art Gallery in the world. Displaying one of the finest collections of Old Masters in the world, your guests will be surrounded by some of the greatest names in Baroque painting, such as Rembrandt, Rubens, Canaletto, Murillo and Veronese. This prestigious venue with both indoor and outdoor options, offers flexible event spaces for your civil ceremony, drinks reception, wedding breakfast and dancing. Talk to us about your bespoke requirements or look at our ceremony packages and list of approved suppliers at the back of this brochure. Dulwich Picture Gallery is one of Britain’s most valued artistic and architectural treasures. All money generated through venue hire goes towards the conservation and care of the gallery and the development of our leading education and exhibition programmes. Contact the events team for more information: [email protected] Soane Gallery Sir John Soane’s design for Dulwich Picture Gallery has inspired gallery architecture world- wide. This suite of eight perfectly proportioned rooms interlink to form a stunning enfilade. Famous for its rich red walls and natural lighting, the Old Master paintings are densely hung to recall the Gallery’s Victorian splendour. Choose the Soane Gallery for your wedding breakfast or a drinks reception. The Soane Gallery is also licenced for civil ceremonies upon special agreement at 6pm Tuesday- Saturday, or throughout the day on a Monday when the Gallery is closed to the public. -
Conserving Our Past for Tomorrow
Historic Royal Places – Spines Format A5 Portrait Spine Width 25mm Spine Height 210mm HRP Text 14pt (Tracked at +40) Palace Text 21pt (Tracked at -10) Icon 15mm Wide (0.5pt/0.25pt) Conserving our past for tomorrow Collection care and conservation policy CONSERVATION& COLLECTIONS MANAGEMENT The collections are some of the palaces’ most significant assets... Contents Contents Purpose 4 Context 4 The Collection 6 Guiding principals 10 Standards 14 Collection care and conservation programme 16 Supporting others 20 Appendix 22 Acknowledgements 23 Version 1.1 Reviewed by: Executive Board – 17 June 2014 Approved: Board of Trustees – 23 July 2014 Review date: on or before July 2019 CONSERVATION & COLLECTIONS COLLECTIONS MANAGEMENT ...they are the physical embodiment of our stories 3 Purpose The purpose of this policy is to help us make the best decisions about how we care for, conserve and manage our precious collection. As a bridge between HRP’s overarching Cause and Principles and CCC’s operational guidelines and procedures, it guides everything we do. The collection consists of items owned by Historic Royal Palaces (HRP) along with items under the care of the Royal Collection Trust and in-situ at the HRP-managed palaces because we can show them in their original or early contexts. The Royal Armouries and many other lenders also own items. For simplicity, we use the term ‘the Collection’ to encompass them all, as conservation care covers all the objects in all the collections. CCC is an international leader in conservation practice and research, so the policy recognises our responsibility to share our discoveries. -
Annual Review 2011 – 2012
AnnuA l Review 2011 – 2012 Dulwich Picture Gallery was established more than 200 years ago because its founders believed as many people as possible should see great paintings. Today we believe the same, because we know that art can change lives. I w hat makes us world-class is our exceptional collection of Old Master paintings. I england – which allows visitors to experience those paintings in an intimate, welcoming setting. I w hat makes us relevant is the way we unite our past with our present, using innovative exhibitions, authoritative scholarship and pioneering education programmes to change lives for the better. Cover image: installation view of David Hockney, Mr and Mrs Clark and Percy, 1970-71, acrylic on canvas, 213 x 304. Tate, Presented by the Friends of the Tate Gallery 1971 © David Hockeny / Tate. Dulwich Picture Gallery is built on history. Picture Our From our founders’ wish to have an art Future: The Campaign for Dulwich Picture recognises a number of things of which gallery ‘for the inspection of the public’, Gallery has begun. Alongside my co-chair artists and scholars, aristocrats and school of the Campaign Cabinet, Bernard Hunter, particularly to celebrate our long-time children have come by horse, train, car we look forward to working with all of the Trustee and supporter Theresa Sackler, and bicycle to view our collection – Van Gallery’s supporters to reach this goal. who was recently awarded a DBE Gogh walked from Central London to view in the Queen’s Birthday Honours List, the Gallery in 1873. The paintings and The position we start from is a strong adding even more lustre to the Prince of building are a monument to the tastes of one: against the background of a troubled Wales’ Medal for Philanthropy which was two centuries ago, yet it is a testament world-economy, the Gallery exceeded its awarded to her in 2011. -
Patron Events
Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. autumn / winter 2017 December 19 Royal Collection Tour Help us reawaken Hampton Court Palace the dragons of Kew 6 Chief Executive 11.00 Christmas Drinks Join Royal Collection We are seeking supporters to help us to recreate one of Patron Events The Tower of London Club: Superintendent, Christopher the most stunning original features of the Great Pagoda: The Keys Stevens, in the stores at its flight of 80 dragons. 18.30 Hampton Court Palace as he prepares a number of key Our ambition is to recreate and like Chambers’ original vision for the Join new Chief Executive, pieces for the forthcoming reinstate the dragons in time for the Great Pagoda can be restored John Barnes, for his first Royal Academy of Arts reopening of the Great Pagoda in and maintained. Christmas drinks in the unique exhibition ‘Charles I: King 2018. Expert research has created an surroundings of the newly and Collector’. authentic design and the dragons will We invite you to support the refurbished Tower of London be manufactured using a combination production of one of these dragons Club: The Keys. Only accessible of traditional craftsmanship and the and help us to restore the Great to invited guests the club latest technology. Pagoda, a landmark in the capital boasts an array of Beefeater and one of the greatest examples of The eight dragons on the lowest level Chinese-inspired design anywhere memorabilia, including plaques We hope you enjoyed the last six representing the regiments from of the building will be hand carved by in the world. -
Kids Activities in London
Kids from 7 to 11 years old IN LONDON Step into Land of the Lions Land of the Lions is here! ZSL London Zoo’s newest and most breath-taking exhibit transports visitors from the heart of London to India’s vibrant Sasan Gir, where they can get closer than ever before to mighty Asiatic lions. Shrek’s Adventure London London's newest family attraction! Step into the kingdom of Far Far Away and enjoy a brand new madcap Shrek adventure where amazing DreamWorks animation, captivating story-telling and a good dose of Donkey’s cheekiness awaits. The London Dungeon (all ages) It has all the ghastly gore and black comedy of the old Tooley Street attraction in a bigger and more high-tech package. A jokey celebration of torture, death and disease, visitors can journey back in time to London's plague-ridden streets (rotting corpses, rats, vile boils and projectile vomiting all come as standard) and meet some of the city's unsavoury characters, from Guy Fawkes to demon barber Sweeney Todd. A cast of blood- splattered actors are joined by 'virtual' guests, such as Brian Blessed as Henry VIII, and as well as the 18 different shows and 'surprises' – which could see you on the run from Jack the Ripper or getting lost in London's Victorian sewers – there are two rides to raise the adrenaline: a turbulent boat trip down the Thames towards execution, and a dark drop ride plunging three stories in the pitch black. Note that the London Dungeon is unsuitable for young or easily scared children. -
Collections Development Policy
Collections Development Policy Name of museum: Horniman Museum & Gardens Name of governing body: Horniman Public Museum and Public Park Trust Date on which this policy was 15 October 2015 approved by governing body: Policy review procedure: The C ollections Development Policy will be published and reviewed from time to time, at least once every five years. Date at which this policy is October 2018 due for review: Arts Council England will be notified of any changes to the collections development policy, and the implications of any such changes for the future of collections. 1. Relationship to other relevant policies/plans of the organisation: ......................... 2 2. History of the collections ....................................................................................... 3 3. An overview of current collections......................................................................... 3 4. Themes and priorities for future collecting ............................................................ 3 5. Themes and priorities for rationalisation and disposal .......................................... 5 6. Legal and ethical framework for acquisition and disposal of items ....................... 6 7. Collecting policies of other museums .................................................................... 6 8. Archival holdings ................................................................................................... 7 9. Acquisition ...........................................................................................................