The Holburne Museum Annual Review 2008

Contents

Chairman’s Introduction 1

Director’s Report 2

Building for the Future 4

Caring for the Collection 6

Exhibitions and Events 10

Learning 12

Fundraising 16

Statement of Financial Activities 18

Financial Overview 19

Officers and Management 20

Professional Advisers and Bankers 21

Donors to the Museum and Appeal 22

THIS PAGE Detail of the Witcombe Cabinet, c.1695, allocated to the Holburne Museum as part of the Acceptance in Lieu Scheme and recently restored by the Wallace Collection, London Chairman’s Introduction ‘I am thrilled that the Trustees have decided that the re-opened Holburne will be free to enter. This historic step will transform the Holburne’s relationship to its public, allowing the Museum to play a far more vital, familiar and approachable role in the life of the region’

It has been a tumultuous year. The benefit to the city and region. But it is parent and partner universities in Bath chaos of the financial markets and the role it can and will play in enhancing and Bristol. It was also wonderful to see the developing recession have shaken the region’s cultural life that we have in the building teeming with students and us all but especially those who, like our sites. The pleasures of art are vital their work – fresh and optimistic – in the Holburne, depend upon charitable ones and need to be made available our grand if slightly shabby galleries. grants and donations, endowment and accessible to everyone; perhaps revenue and government funding. particularly in times like these. From I am confident that our spectacular this point of view the Holburne’s modern extension which is now taking In this climate of financial anxiety, development and what it hopes to shape behind our wonderful eighteenth- closing the Museum to embark upon achieve could not be better timed. century building will create some of this our development project has required same energy within the Museum, but it us to hold our nerve and redouble our Against this background and with is the activity inside – our exhibitions efforts. That we have done both is these goals in mind I am therefore and workshops, our displays, lectures shown by the fact that construction thrilled that the Trustees have decided and concerts which will ensure our work has now started and that, during that the re-opened Holburne will be success and it is as a record of this the year, we raised almost £1.8 million free to enter – with no admission charge activity over the last year that we towards our project and over £220,000 to look at the collection. This historic present this Review. for our ongoing activities and costs. step, as has been shown so many times Both these figures speak loudly of the elsewhere, will transform the Holburne’s The development project requires a strength of our support and the belief relationship to its public, increasing major commitment from the staff and that people have in the Museum’s future visitor numbers but also allowing the also a great deal of time and effort and its ambitions. I was particularly Museum to play a far more vital, familiar from trustees who have given their happy that we received a grant of and approachable role in the life of the time so generously. We have also £200,000 from Bath & North East region. A free museum becomes, far has the support of many consultants, Council, a welcome more naturally, a place to drop into for notably from Eric Parry and his team demonstration of their commitment to a moment’s peace or to meet a friend; of architects who, despite many our success and their understanding of to take your parents or your children; disappointments in the planning the benefit a renewed Holburne Museum to see a new display or revisit an process, have never let us down. will bring to the city and the region. old favourite. I thank them all.

But there is another side to this story, We had a taste of this enticing future for while bleak news emerges from the during June, when we opened the markets a rather different tale is being Museum free of charge, albeit emptied David Posnett told on the arts pages. More people are of most of its objects, and took CHAIRMAN visiting museums and galleries than advantage of the empty galleries to ever before. As recession casts its host work from the degree show of the shadow people turn to the pleasures Bath School of Art and Design. This that museums and art afford. Of course was a fitting manifestation of our status we know that a successful and vigorous as a University Museum and reflects Holburne Museum, attracting visitors our determination to develop the ways from far and wide to its ambitious in which our collections and resources exhibitions, will bring economic can support Higher Education with our

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Director’s Report ‘All of us at the Holburne are working away to ensure that when, after two years absence, our public and Collection meet again it will indeed be surprising, stimulating and exciting and that we will be making all kinds of new introductions’

A year in which we emptied the Museum The year had many highlights both RIGHT FROM TOP and closed its doors to the public for the significant and incidental. Among the Packing up the Collection first time since the Second World War most memorable was the arrival in the The Holburne Museum as it was originally displayed can scarcely be described as run of the Museum of the two wonderful portrait in its first home in mill. 2008 was another momentous year drawings by the youthful Thomas Charlotte Street, c.1895 for the Holburne, but it was essentially Lawrence, the long-wished-for first one of preparation and transition. works by the artist to enter the Early in the year the Heritage Lottery Collection; the development with the Fund granted us our stage two pass, ’s History of Art confirming their major grant of almost Department of a new MA course £5million towards our development focussed upon the Museum’s collection project. Just under a year later, in of Renaissance Maiolica, offering January 2009, having met all the students valuable and rare experience conditions of the grant, they awarded of object-based learning; a wonderfully us our “Permission to Start” giving the energetic family workshop producing green light for work to commence. As wildly imaginative cityscapes in the I write, men in hard hats swarm over empty galleries as part of the national the site starting the hard work of Big Draw celebrations and the award building for the Museum’s future. of our fourth Holburne Portrait Prize to David Fisher by an enthusiastic Between these milestones there has and distinguished panel chaired by been an enormous amount of activity, the artist Humphrey Ocean. Among much, but by no means all of it, taking the year’s unexpected pleasures was place behind the scenes. In April we the discovery, in a wooden box in the shut our doors as, with a stalwart team basement, of a set of hundred-year-old of volunteers, we carefully packed up glass negatives showing the Holburne and carried away every one of our many Collection crammed cheek-by-jowl thousand objects not to mention all our into its first home in the Savings Bank office equipment and accumulated building in Charlotte Street. At the time files and books. Looking back at the the photographs were taken, early in year, the surprise is that, despite this the twentieth century, the Trustees complicated operation and the other were working to find a new home for aspects of preparing for the the growing collection which eventually development, we also mounted four led them to converting the Sydney Hotel successful exhibitions, ran an ever into our present home. One hundred expanding education programme and years later many of the same problems a continuing series of popular events, of lack of space and facilities have concerts and lectures. Encouragingly, led to our current project – a means even though we were closed for eight of securing the Museum for the months of the year, we attracted twenty-first century. over 20,000 people to our exhibitions, workshops and events – figures that certainly bode well for the re-opened Museum.

2 I am now in the peculiar position of overseeing a shut museum. Peculiar because although all the work of planning for exhibitions, displays and publications continues, although we continue to run creative workshops in schools and colleges and in our outpost in the Gardener’s Lodge and although the relentless task of fundraising carries on unabated, we do not have daily contact with the two essential elements that brought us to work in museums in the first place: the Collection and the public.

The work of museums is, in essence, to bring their public and their collections together and to make the most of the encounter. The most successful museums make this meeting a thing of excitement, pleasure and inspiration, through imaginative and beautiful displays, exhibitions, events and the whole wide-range of interpretation. All of us at the Holburne are working away to ensure that when, after two The excitement of all these years absence, our public and Collection developments has of course been meet again it will indeed be surprising, tempered by the inevitable sadnesses stimulating and exciting and that we will that accompany the end of any era. be making all kinds of new introductions. Locking the doors on an empty museum For the moment, however, I think it is fair was not easy and the year also saw us to say we miss our Collection and we say goodbye (for the moment at least) miss our visitors and we can’t wait to to our team of volunteer stewards and have them both back. our dedicated front-of-house team. We also saw the doors close on the much-lamented teahouse which had been run for so many years with such Alexander Sturgis care and flair by David Garlick and DIRECTOR Elaine Hay. The expected brightness of the future does not make such farewells any easier.

3 Building for the Future ‘The new spaces of the extension are also ideally suited to the Collection’s intimate scale and quirky, eclectic nature: a contemporary cabinet of curiosities’

2008 was a vital and successful year Development Control Committee to for the Holburne’s development project secure the necessary planning consents. which saw the ground being prepared – The consents were granted in February both literally and metaphorically – for 2009 allowing work to commence in construction to start early in 2009. March. The Museum has been greatly helped through the process of design In March 2008, following the award of development and the negotiations with our stage two pass by the Heritage planners, contractors and consultants Lottery Fund, we appointed Sir Robert by the indefatigable efforts of Trevor McAlpine as our main contractor on a Osborne who joined the Board during two-stage Design and Build contract. the year. With his help and experience In the months that followed, McAlpines we agreed a fixed-price contract with worked with Eric Parry Architects and McAlpine shortly after work the rest of the design team to develop commenced on site. the detail of the design, informed by investigative surveys carried out in the At the same time as work has existing building and site. The aim of progressed on the building in all its this vital and painstaking process was details, we have been working with our to ensure that the designs were worked exhibition designers Metaphor on the up in sufficient detail before signing vital and hugely enjoyable task of the main contract to ensure both the developing the displays of the Museum’s building’s quality of design in all its Collection for its re-opening in 2011. details and, as importantly, its It has been a huge privilege to explore buildability and affordability. the Collection with our enthusiastic and deeply knowledgeable curatorial team The process led to one important, and the exhibition designers: looking at and beneficial, change to the scheme. its many hidden treasures; considering It was previously proposed that essential ways to show objects and paintings to air-conditioning plant would be located best advantage; working on groupings in a vault to the side of the Museum, and the stories that they can tell. The which had been filled in early in the results will be a revelation for our 20th century. On excavation it was visitors. The Collection will show itself discovered that it could not as full of surprises even to those who accommodate the necessary equipment feel they know it well, and we will be without significant modification to showing many treasures for the first what appears to be part of the original time in decades. The new spaces of the eighteenth-century building. We extension are also ideally suited to the therefore decided to extend the Collection’s intimate scale and quirky, basement under the new extension to eclectic nature: a contemporary provide the necessary space, a change cabinet of curiosities. which meant that we once again had to take the scheme before the Council’s

4 FAR LEFT FROM TOP LEFT FROM TOP Excavation for the Aerial sketch of the extension May 2009 proposed extension © Eric Parry Architects, 2007 Sketch of a new cabinet of curiosities Drawing the by exhibition designers development Metaphor Sketches of packing up the Museum by artist Karen Wallis © Karen Wallis

Celebrating cutting the first sod for the development project 23 March 2009 © Marlow and Cardwell

In the development of the displays we have also been able to call on our Trustee Design Team of Caryl Hubbard, Luke Syson and (ex-Trustee) David Mlnaric, who between them have worked on major redisplays at the British Museum, National Gallery, V&A, Waddesdon, Dulwich Picture Gallery, and the Ashmolean Museum.That they feel able to give the time they do to the demands of the Holburne is testament to the affection in which the Museum is held but also invaluable for us in ensuring the developing scheme’s quality and coherence.

During the course of a difficult year for fundraising we raised almost £1.8million towards the project and have now secured almost £11million towards our overall target of over £13million, which we aim to reach before reopening in 2011. We continue to concentrate our efforts upon major individual donors, trusts and foundations and the many we have to thank are listed at the end of this Review.

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OPPOSITE BELOW LEFT Caring for the Collection Gainsborough’s Byam Curators Amina Wright Family on its way to the and Matthew National Gallery Winterbottom inspecting works before packing up

BELOW Tazza, Patanazzi workshop, Urbino, c.1580–1610, tin-glazed earthenware

The Holburne’s Collection can seldom Before the Museum closed at the have had a more eventful year. 2008 saw end of March a vast array of packing the whole collection leave the building. materials had to be ordered, from tiny Many of our most important pieces polythene pouches and acid-free labels have found happy temporary homes for gems and coins, to heavy plywood in museums and galleries both in Bath crates for the most valuable paintings. and around the country; other pieces Our resources also included a series have become part of the Education of forms and packing documents to Department’s Travelling Collection to be keep track of every single item and box used in schools’ workshops throughout as they moved around the building and the region. The rest of the Collection is external stores. safely packed and stored away. We recruited and trained a fantastic The packing project began in 2007 team of about twenty volunteers to pack, with a series of inventory and condition list, and move the Holburne’s treasures, checks to ensure that every item was to prepare their containers and to enter listed on the database and in a safe all the information onto the computer condition to travel. We now have 9,000 database. The four-month operation items logged, including historic books began with a two-day training course and archives. The books from the given by specialist conservators reference library have moved to Halahan Associates, and was sustained Corsham Court, where they can be by plenty of cakes and a great deal of used by students from the Bath School patience. The Museum’s own front-of- of Art at . house team took care of the fragile paintings and heavier items, with help from professional art handlers. We are delighted to report that not a single item was damaged. ‘Clearing the Museum has inevitably thrown up some new discoveries and encouraged us to look again at some of our objects’

7 BELOW FROM TOP ‘The basement has yielded some surprises, On display at the National Gallery: including a box of glass negatives of the ’s Holburne Museum crammed into its first Byam Family, c.1762–1766, oil on canvas home at Charlotte Street’ © The National Gallery, London Installing Holburne loans at Dulwich Picture Gallery

Of the nine lorry-loads that left the Museum, not all were bound for the store; a few went further afield: Gainsborough’s Byam Family (on long-term loan to the Holburne from the Andrew Brownsword Arts Foundation) has joined some of its most magnificent contemporaries at the National Gallery, and is currently hanging alongside the portrait of Queen Charlotte by another Bath resident, Sir . At Dulwich Picture Gallery, the Holburne’s extraordinary Temptation of St Anthony by the rare Jan van de Venne is juxtaposed with the work of Rembrandt and his contemporaries, and Guardi’s Coast Scene and two Panini capricci have joined works by Canaletto. 2009 will see an exhibition (Seeing is Believing) of some of the Holburne’s Georgian portraits and miniatures at Compton Verney, and in the autumn the best of the Netherlandish paintings will be exhibited at the Barber Institute in Birmingham.

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BELOW RIGHT Model of Sir Thomas Francesco Guardi, Brock’s memorial to Coast Scene, Lord Leighton on its c.1750–1790, way to Leighton House oil on canvas

Clearing the Museum has inevitably This opportunity to get to know the thrown up some new discoveries and depth and breadth of the Museum’s encouraged us to look again at some holdings has encouraged us to consider of our objects. By transferring the the Holburne’s collections in the light works on paper collections into new of the Museums Association’s current solander boxes, we have been able Effective Collections programme. to begin re-assessing their quality Effective Collections aims to increase and have already discovered some the value of lending and borrowing previously uncatalogued works. between museums and to encourage the review of stored collections, so that Among these is a group of drawings reserve items can be displayed in other that can be attributed to Thomas Barker museums or permanently transferred of Bath, one of them probably a to institutions where they have a compositional study for his Bandits of greater relevance. 1793 (now in Bristol’s City Museum & Art Gallery). An album of silhouettes cut Two works by Sir Thomas Brock, out of black paper was found to include a plaster model of his memorial to a life-size profile by William Hamlet of Lord Leighton and a plaster bust of Frank Holburne, Sir William’s tragic Leighton, were de-accessioned and older brother. transferred to Leighton House in London. Both pieces had remained The basement has yielded some in store for many years; Leighton surprises, including a box of glass House was delighted to receive them negatives of the Holburne Museum and plans to have them fully conserved crammed into its first home at and on permanent display in the house. Charlotte Street around 1895. Several Similarly, the Holburne is aiming to nineteenth-century gilt bronze mounts supplement some of its displays in were also found. These have now been the future with long-term loans from reunited with the oriental ceramics other museums and galleries. from which they had been removed in the early twentieth century. They Amina Wright include a spectacular five-light CURATOR OF FINE ART candelabrum made from a Chinese Matthew Winterbottom vase. We were also able to reconstruct CURATOR OF DECORATIVE ART a nineteenth-century Chinese table screen from previously unidentified fragments. Both these objects are from Sir William Holburne's collection and will be conserved and displayed in the redeveloped Museum.

9 BELOW TOP BELOW BOTTOM Exhibitions and Events Original roundel artwork The Aardman Directors for the Penquin edition with artist Vincent of The Odyssey by Brown at the unveiling William Grimmond of Supper at Aardman (c.1945) © Penguin Books Ltd Models created in the Clay Animation weekend workshop organised in conjunction with the Painting Aardman exhibition

Despite the fact that the Museum was The Holburne closed to the public at closed for eight months during 2008 we the end of March to allow for packing still managed to mount four successful and storing the Collection. In June we exhibitions and continue our popular re-opened for one month with three programme of lectures, concerts and exhibitions. events. The exhibition programme was inevitably coloured by the upheavals Painting Aardman caused by the development but these 7 June – 6 July 2008 also provided opportunities. The Sponsored by Savills emptying of the Museum allowed us to give our galleries over to the students of This exhibition unveiled the Holburne’s Bath School of Art and Design for their most recent commission, an oil painting degree show and – later – to the artist by Vincent Brown, winner of the 2006 Tom Nicholson. Towards the end of the Holburne Dukes Portrait Prize. Painting year, with the Museum closed we were Aardman unveiled a wonderful portrait very happy to be able to mount our inspired by Caravaggio’s Supper at fourth Portrait Prize exhibition at Emmaus depicting the three Directors Chapel Row Gallery. of the famous animation studio Aardman: Peter Lord, David Sproxton Seventy Years of Penguin Design and Nick Park. The exhibition explored 8 January – 24 March 2008 the development of the portrait from Sponsored by Knight Frank and Withy King, initial studies to finished work and supported by Arts & Business also included pieces from the Aardman archive. This popular exhibition traced the story of the development of Penguin The finished portrait Supper at Aardman book design from the iconic logo to the included, in addition to the Directors, most groundbreaking, well-loved and three of Aardman’s most famous distinctive cover designs. The show creations: Morph and Wallace & Gromit. included material from the Penguin The Aardman Directors supplied archives and the University of Bristol Vincent Brown with models and as well as original artwork. The exhibition reference material to work from as explored the refinement of Penguin’s well as giving their time for sittings. original iconic covers and the Gromit and Morph also appeared in innovations of some of the important the exhibition together with material figures from the history of Penguin describing the history of Aardman design including the German émigrés and their own creative process. An Jan Tschichold and Hans Schmoller in oversubscribed weekend workshop the 1940s and 1950s and the designers of clay animation was perfect for and illustrators of the sixties and aspiring model and film makers. seventies such as Alan Aldridge and David Pelham.

10 LEFT BELOW FROM TOP BOTTOM Opening night of Bath Humphrey Ocean, Michael York during Spa’s School of Art and John Leighton and the filming of The Four Design’s Degree show Victoria Glendinning. Seasons at The Holburne judges of this year’s Museum Holburne Portrait Prize

David Fisher’s winning portrait Dead Man Posing

Bath School of Art and Design, The prize is a commission of £5,000 Bath Spa University, Degree Show for a portrait of an individual identified 7 – 15 June 2008 with the cultural life of the South West which becomes part of our permanent The emptying of our galleries allowed collection. In addition to the main prize the Museum to host part of Bath Spa’s the People’s Choice prize, in an online School of Art and Design’s annual poll run in collaboration with our media degree exhibition. The first floor gallery partner The Bath Chronicle, was won was taken over by students from by Katy Sullivan for Calm. A second Ceramics while the top gallery was filled People’s Choice prize, voted for by with fabulous designs from the Fashion visitors to the exhibition, went to Sue department. Paintings from the Fine Art Burns for her portrait of her son, Joe. course were displayed from the ground to the top floor in the stairway. Music and events

Lines Towards Another Century Our successful series of popular 24 June – 6 July 2008 lunchtime concerts continued up until the closure of the Museum at In another successful collaboration we the end of March. Evening concerts gave over our empty top floor Picture included one on the Schantz fortepiano Gallery to a piece commissioned by by the leading harpsichordist Richard Media Art Bath, by the Australian artist, Lester. On Saturday 28 June we had Tom Nicholson and New York based our final open-air film show before composer, Andrew Byrne. The work took the redevelopment, when 378 people as its starting point a list of the national came to watch Withnail and I under boundaries created during the 20th the stars. Century, and its showing opened with a live performance by The Elysian Quartet. 2008 saw the release of the film The Duchess starring Kiera Knightly as The Holburne Portrait Prize, 2008 Georgiana, Duchess of Devonshire and 4 – 28 October 2008 Chapel Row Gallery featuring the Holburne Museum as her Bath residence. The Museum was also The Holburne Museum’s biennial used as a film location playing the part portrait competition for artists in of a gentleman’s club for an adaptation the South West is one of our most of a Rosamunde Pilcher novel The Four successful projects. The fourth in the Seasons, starring Michael York and exhibition series took place at Chapel Tom Conti. Row Gallery in Bath. A distinguished panel of judges comprising the author Victoria Glendinning, John Leighton, Director of the National Galleries of Scotland and the artist Humphrey Ocean RA awarded the prize to David Fisher for his portrait Dead Man Posing.

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LEFT BELOW Learning Pupils enjoying the A Teen Sunday Special Museum’s Collection participant

Cleo Witt, Head of Education, presenting Museum on the Move, part of an extended programme for schools using the Collection during the Holburne’s development

Education and learning is fundamental These outreach programmes not supported us in taking our successful to the Holburne. Our planned only continue to offer access to the workshops with toddlers and their development will vastly improve the Holburne’s Collection they have allowed carers out of the Museum to reach facilities for learning at the Museum us to expand our audiences, visiting new audiences in the villages around and transform what we in the Education schools who in the past have found it Bath – a programme we will continue Department can do. But learning can difficult to visit us. With the help of in 2009. The Network also funded and take place in all kinds of circumstances funding and support from the Museum’s helped us develop an inspiring and it has always been the plan that we Network we have also extended our intergenerational project where older would continue to deliver our service reach in other ways. people shared their experience of even when the Museum was closed World War II with Year 6 students during the development works. This year The Museum Network is a partnership who translated these recollections saw these plans come to fruition and between the Wallace Collection, into poems and portraits. Also for even though the doors of the Museum The Bowes Museum, Compton Verney, schools the Network funded a project have shut we have been busier than Waddesdon Manor and The Holburne. on The Power of the Object which ever, continuing our programme of Supported with money from the explored the benefits and value of workshops in the Gardener’s Lodge Government’s Strategic Commissioning using real Collection objects to inspire behind the Museum and taking our Fund the Network has helped us develop and engage children. Travelling Collection out to schools and many vital elements of our Education other community groups where it plays programme, to learn from our partners We also worked with the Network for a vital role inspiring creative learning and share our experience with others the Big Draw event which took place and discovery. in the partnership. In 2008 the Network in our empty galleries and was run

13 BELOW RIGHT Participants lending Eli Bower with his figure a hand in the Big Draw for the installation in partnership with The Night People created architects Stubbs Rich for Bath International Music Festival

in collaboration with architects Stubbs Rich. A crowd of participants of all ages were encouraged to create cityscapes and places, some of them translating their imaginative creations into 3D images using computer-aided design technology.

The Network is just one fruitful partnership and we also continue to develop our work with our university partners in Bath and Bristol. As well as hosting the Bath School of Art and Design’s degree show, successful collaborations with Higher Education partners over the year included the development of a biennial MA unit centred upon the Museum’s maiolica collection with Bristol’s History of Art Department and our teaching contributions to Bath Spa University’s History BA and Postgraduate Certificate in Education. We have also advised Bath Spa University in the development of a new Foundation Degree in Heritage Management which we will be contributing to and continue to run day-schools in collaboration with the Universities of Bath and Bristol.

The Gardener’s Lodge remained a hive of creative activity throughout the year and we continued to offer our varied and vibrant programme of Art for All workshops and free drop-in events for families such as the Bank Holiday Picnic in the Park; a week of half-term activities for Heritage Open Week including Family Snaps, photographic portraiture to celebrate the fourth Holburne Portrait Prize exhibition; and our popular Christmas Lantern Procession which marks the opening

14 RIGHT Life-size figures inspired by portraits in the Holburne’s Collection created by teenagers working with Compass and Mentoring Plus

‘One of the key reasons of Bath’s Christmas Market and is In another initiative we teamed up preceded by a series of free lantern- with two new partners: Compass and for the project working so making workshops. This year – Mentoring Plus for an October half-term well was the participants miraculously the rain stayed away and art project with young people at risk of 301 adults and children processed down offending. Both organisations work with were empowered to drive Great Pulteney Street to the Abbey at-risk young people and brought them the direction of their children singing and lanterns swinging. into the Museum to create their own contemporary versions of the figures creative activity’ As well as events that appeal to a wide found in the Holburne’s historical public we have also worked hard this portraits. After studying the costume, year to engage with a number of harder pose and sitters in a range of portraits, to reach groups in order that some of the students drew their own the most socially excluded groups can interpretations of the figures before also benefit from and enjoy the Museum transforming them into life-size portrait and its Collection. We are particularly boards. These had their faces cut out proud of our sustained work with the so that anyone could pose behind them homeless men and women from Julian and were placed around House, a local night-shelter, for whom – for people to enjoy. Visitors to the over more than a year – we have been Gardens were invited to take pictures providing regular weekly drop-in on their mobile phones and send the sessions giving them the opportunity, picture to the Holburne for a photo the space and materials for their own gallery on the Museum’s website. creative activity. These sessions have been made possible through funding Looking back at a year of upheaval secured from Bath & North East and change we are thrilled that our Somerset Council’s Arts Development learning programmes have barely Department, The Norie Trust and John broken step. It is vital for the Holburne Ackroyd Charitable Trust. that we continue to engage as broad and as wide a range of people with the Among the spectacular products of Museum and its Collection and the these workshops was a group of life- work of the Education Department sized sculptures of homeless figures helps ensure that we succeed in doing which they chose to create to place so. Over the year 3,565 children and in doorways and on benches for the young people participated in the schools opening of Bath International Music programme (93 primary sessions and Festival’s Party in the City, through 25 secondary school sessions), while which the group succeeded in raising overall the Education Department the profile of homelessness in the city worked with 7,404 children, young and the help that is needed to tackle people and adults. the issues it creates. Cleo Witt HEAD OF EDUCATION

15 BELOW FROM TOP Fundraising Conservator at work on the marble figure group Diana and Endymion by Giuseppe Plura dated 1752

Standing cup German (Augsburg), c.1650, silver-gilt

In 2008 against the background of the breakfasts, which assisted in securing emerging recession, the shape of our a number of sponsorships of exhibitions fundraising changed, but the aims for and events and developing relationships the Fundraising Team remained the with a range of local businesses. The same: to increase the level of revenue partnership between Knight Frank and income, focusing on exhibitions and Withy King Solicitors as sponsors of education, and to continue to raise Seventy Years of Penguin Design was money for the development project as supported by Arts & Business South we prepared for construction to start. West. This three-way partnership enabled the exhibition to be marketed During the year we successfully at the Bath Literature Festival and raised £220,000 towards our exhibition created two private events hosted by and education programme and our the sponsors for their clients. By working core running costs. From trusts we in partnership we were able to achieve received notable grants from the Esmée more, reach new people and begin to Fairbairn Foundation, the John S. Cohen look at how we will work with businesses Foundation, the Ernest Cook Charitable when we reopen. In a difficult year for Trust, and Bath & North East Somerset businesses sponsorship we also Council’s Heritage Services Department. received support from Savills for Painting Aardman and Emery’s of Bath The Education Team’s work continued who supported the Christmas Lantern to be a focus for the Museum’s revenue Procession. fundraising as the most ‘visible’ activity during the development period and due The Adopt a Treasure scheme continued to the variety and range of their work to raise funds towards the conservation with young people and adults. The scale of individual items in the Collection; we and quality of their work was dependent were awarded £4,200 by The Association on the necessary funds being secured. of Independent Museums/Pilgrim Trust In particular the Education Team for the conservation of The Visit of the increased its level of work with ‘at risk’ Godfather by Pieter Breughel the young people and adults through the Younger. We also continue to depend Julian House and the Compass / upon the support of our exceptionally Mentoring Plus projects, both of which strong and committed groups of attracted donations from trusts and Friends and Patrons who support us individuals who hadn’t previously funded in all kinds of ways, many of which are work at the Museum; including Bath & unquantifiable. They also collectively North East Somerset Council’s Arts contribute over £60,000 towards our Development Department and The core running costs. William Gibbs Charitable Trust. The Fundraising Team with assistance A new energy was brought to our from the Executive Appeal Committee relationship with local businesses successfully secured pledges and through a programme of business donations of almost £1.8million from

16 BELOW BOTTOM ‘By working in partnership we were able to Andrew Cronan (on the The Christmas right) from Savills who Lantern Procession achieve more, reach new people and begin to sponsored the exhibition made possible with look at how we will work with businesses Painting Aardman with the kind support of artist Vincent Brown Emery’s of Bath when we reopen’

individuals and trusts towards the development project; including sizeable grants from The BAND Trust, The Foyle Foundation, The Grocer’s Charity, The Dr. Mortimer & Theresa Sackler Foundation, The Underwood Trust, Garfield Weston Foundation and The Wolfson Foundation.

Today as we enter the construction phase of the project we are entering a new phase of our fundraising programme which must both close the £3million funding gap and plan and implement a revenue fundraising strategy for the re-opened Museum. As the Museum prepares for its new life in its new building its fundraising must ensure that the Holburne has the financial confidence it needs to plan ahead with certainty. The recession with its deep and far-reaching consequences for every area of fundraising activity has inevitably coloured these plans but we are confident that we have in place a robust and achievable plan for the coming years which spreads the fundraising risk across a broad range of target sectors.

It has been an exciting time. The challenges are not going to go away and may in fact deepen but, fortified by the help of our supporters, we know our strengths and believe we have what it takes to succeed in raising the final £3million for the development project and in maintaining our fundraising income while we achieve this.

Marnie Whiting FUNDRAISING MANAGER

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Statement of Financial Activities for year ended 31 December 2008

Unrestricted Funds Restricted Funds Total Funds Total Funds General Designated Specific Development 2008 2007 Funds Endowment Purposes Fund Funds Funds Note £££ £ ££ INCOMING RESOURCES Incoming resources from generating funds: Voluntary income 1 196,741 227,040 108,933 782,450 1,315,164 1,400,702 Activities for generating funds 2 13,985 – – – 13,985 31,505 Investment income 3 7,807 43,583 – 20,726 72,116 45,935 Incoming resources from charitable activities 4 72,872 – – – 72,872 103,919 Total incoming resources 291,405 270,623 108,933 803,176 1,474,137 1,582,061

RESOURCES EXPENDED Costs of generating funds 5 – – – 55,233 55,233 86,418 Costs of bookshop 6 13,897 – – – 13,897 23,197 Investment management costs 7 5,288 – – – 5,288 3,917 On charitable activities 8/9 403,712 – 22,098 4,358 430,168 471,706 Development Project 8/9 – – – 205,731 205,731 526,140 Governance costs 10 25,080 – – – 25,080 14,747 Other resources expended 11 – – 10,597 – 10,597 – Total resources expended 447,977 – 32,695 265,322 745,994 1,126,125

NET INCOMING/(OUTGOING) RESOURCES BEFORE TRANSFERS 13 (156,572) 270,623 76,238 537,854 728,143 455,936

TRANSFERS BETWEEN FUNDS 14 204,148 (117,648) (86,500) – – –

NET INCOMING/(OUTGOING) RESOURCES AFTER TRANSFERS 47,576 152,975 (10,262) 537,854 728,143 455,936

OTHER RECOGNISED GAINS AND LOSSES Losses on investment assets 17 – (203,698) – – (203,698) (3,443) Actuarial loss on defined benefit pension scheme 21 (8,000) – – – (8,000) – Pension scheme deficit – – – – – (167,400) Net movement in funds 39,576 (50,723) (10,262) 537,854 516,445 285,093

FUND BALANCES BROUGHT FORWARD (82,026) 1,543,312 50,936 241,391 1,753,613 1,468,520 FUND BALANCES CARRIED FORWARD (42,450) 1,492,589 40,674 779,245 2,270,058 1,753,613

The above results relate wholly to continuing activities; there were no other recognised gains or losses in the year.

18 Financial Overview

General & Specific Fund Income 2008 2007 n Grants and donations n Core funding from Arts & Humanities Council n Patrons and Friends £7,807 £8,398 £19,059 £41,842 n Education activities, lectures and concerts £18,147 n Admission fees £160,033 £135,020 £19,721 n Sponsorship £30,170 n Commercial activities n Investment income £29,930 £41,720

£21,692 £69,525

£47,524 £83,417 £76,116

General & Specific Fund Expenditure 2008 2007 n Museum activities n Education £3,917 n Governance £5,288 £23,197 £10,597 £0 Shop £13,897 n £14,747 n Investment management £25,080 n Other costs

£111,791

£148,150

£277,659 £359,915

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Officers and Management

The Board of Directors of The Holburne Tessa Coleman [2] Notes Museum Trust Company (‘The Trustees’) Artist [1] Member of Executive Committee Former Investment Banker with Fleming [2] Member of Investment David Posnett Investment Management London and Committee CHAIRMAN Invesco Mim Tokyo and London [3] Nominee of Bath & North East Somerset Former Chairman, The Leger Galleries. London [4] Nominee, The Friends Former Chairman, The Society of London Art Ian Hay Davison CBE [2] of The Holburne Museum Dealers Former Senior Partner, Arthur Andersen & Co and CEO of Lloyd’s Lady Beck [1] Former Chairman of Sadler’s Wells VICE CHAIRMAN Director, The Soho Book Company David Embleton Chairman, Sulis Fund, a seed investment Anthony Wilkinson CA [1, 2] fund for the Universities of Bath, Bristol HON. TREASURER and Southampton Chartered Accountant Co-Founder of Eden Ventures, Bath Former partner, Coopers & Lybrand, Hong Kong Former Pro-Chancellor of the , 1996–2003 Malcolm Baldwin [1] CHAIRMAN, EXECUTIVE COMMITTEE Caryl Hubbard CBE Chairman, Mondo Foods Ltd A Trustee of Pallant House Gallery, Chichester Local Chairman, Clydesdale Bank Former Trustee of Heritage Lottery Fund Formerly a Trustee of the National Gallery, Edward Bayntun-Coward Tate and Dulwich Picture Gallery Antiquarian bookdealer and owner of George Formerly chairman of the Contemporary Bayntun, Bath Art Society Chairman, Bath Preservation Trust Cllr. Marian McNeir [3] Sidney Blackmore [1, 4] Former Chairman, B&NES Unitary Council Chairman, The Friends of The Holburne Member of University of Bath Council Museum Trustee of Arts Council for South West

Dr Anthony Clarke [3] Trevor Osborne FRICS FRSA [1] Medical Practitioner Chairman of the Trevor Osborne Property Council member for Lansdown ward Group Limited 1973 to present Court member and visiting Fellow, Oxford Brookes University (Architecture and Planning) Trustee of The Royal Fine Art Commission Trust Executive Council member of the Georgian Group

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LEFT BELOW Figure of Henry Photograph of David Woodward as The Fine Posnett and Alexander Gentleman, Bow, c.1750, Sturgis soft-paste porcelain © Marlow and Cardwell

Professional Advisers and Bankers

SOLICITORS Thring Townsend Midland Bridge Bath BA1 2HQ

Withy King James Street West Green Park Bath BA1 2PA

AUDITORS Moore Stevens Chartered Accountants & Registered Auditors 30 Gay Street Bath BA1 2PA

Barclays Wealth 29 Windsor Place Cardiff CF10 3AG

INSURANCE BROKERS Dr Martin Postle SBJ UK Ltd Assistant Director, Paul Mellon Centre Castlemead Lower Castle Street Brian Roper [1, 2] Bristol BS1 3AG Chairman, Roper Rhodes Ltd Aon Limited Tim Ryan 40 Torphichen Street Chairman, Bell Pottinger International Edinburgh EH3 8JB

John Sumption OBE QC BANKERS Barrister and medieval historian CafBank Ltd Member of the Judicial Appointments PO Box 289 Commission West Malling Governor of the Royal Academy of Music Kent ME19 4TA

Luke Syson Clydesdale Bank PLC Curator of Italian Paintings 1460–1500, Royal Mead National Gallery 4-5a Railway Place Bath BA1 1SR Jonathan Wyld Partner, Thring Townsend Lee & Pemberton

21 Donors to the Museum and Appeal

Public Funding Bodies The Medlock Charitable Trust David Orr Andrew Fletcher Arts & Humanities Research Council The Michael Marks Charitable Mr & Mrs Kevin O’Sullivan Peter & Flora Fraser Bath & North East Somerset Council Trust Mr & Mrs William Parker Richard & Carolyn Frewer The Heritage Lottery Fund The Mercers’ Company Mrs John Posnett Anthony & Julia Fuller The Monument Trust Charles & Tineke Pugh Pamela, The Lady Harlech Corporate Sponsors & Donors The Norie Trust John Robinson Chris & Caroline Hart Barclays Charitable Trust The Pitt-Rivers Charitable Trust Brian & Margaret Roper Vivienne Haskell BMT Defence Services The David Posnett Charitable Trust Hilary Rosser Sir David Hoare, Bt Delomosne & Sons The Royal Oak Foundation The Hon. Emma Russell Andrew & Vibeke Jenkins The Dickinson Group The Dr Mortimer & Theresa Sackler The Hon. Mr & Mrs Michael Samuel Timothy Kent Ben Elwes Fine Art Foundation Adrian Sassoon Alastair Laing Emery’s of Bath The Andrew & Belinda Scott The Hon. Mr & Mrs Richard Sharp Gerard & Juliet Leighton Knight Frank Charitable Trust James Sherwin David Lewis GL Hearn The Stanley Foundation Mr & Mrs Peter Sherwin Nigel & Georgina Mackintosh John Lewis Partnership The MJC Stone Charitable Trust Mrs Gordon Simpson Eleanor Macnair Moore Stephens The Underwood Trust Hugh & Catherine Stevenson Jonathan & Penny Marland Oxford Exhibition Services Garfield Weston Foundation Eve Strasburger Lucille Marshall S J Phillips The Wolfson Foundation Mrs David Telling David & Jackie Medlock Rotork Controls Christopher & Sally Tennant Bel Mooney & Robin Allison-Smith Savills Individual Donors Mr & Mrs Matthew Thorne Guy Morrison Wessex Water Charmian Adams The Lord Waldegrave of North Hill Duncan & Dee Moss Withy King Solicitors Ian Askew, MC Anthony Wilkinson John & Pauline Moxon Malcolm & Elizabeth Baldwin Jonathan & Julia Wyld Edward & Polly Nicholson Trust & Foundations John & Alison Barneby Mrs John Yates, OBE Kevin & Victoria O'Sullivan The 29th May 1961 Charitable Trust Lady Beck Ann Zwemmer William & Veronica Otley The Annett Charitable Trust A.N. Benn William & Vanessa Parker The BAND Trust Rosalie Challis Patrons Andrew & Fiona Pitt Lord Barnby’s Foundation Dr Marianna Clark Charmian Adams & Roger Plant Anthony & Val Pitt-Rivers The Bath Rag Cllr Anthony Clarke Josefa Angelo-Sparling David & Suki Posnett The Charlotte Bonham-Carter Charitable Trust Mr & Mrs William Darby Malcolm & Elizabeth Baldwin Charles & Tineke Pugh The Brownsword Charitable Foundation Morny & Ian Hay Davison Julian & Diana Barran John & Belle Robinson The Sir Robin Buchanan Charitable Trust Eva & Van DuBose Edward & Laura Bayntun-Coward Brian & Margaret Roper C H K Charities Limited David & Karin Embleton Diana Berry Lord Rothschild The John S. Cohen Foundation Michael Estorick Sir Philip & Lady Beck Emma Russell The Ernest Cook Trust Andrew Fletcher Andrew & Christina Brownsword Lord & Lady Sainsbury The Cookson Charitable Trust Anthony Fuller Rosalie Challis Michael & Julia Samuel The Davidson Family Settlement Nicholas & Judith Goodison Marianna Clark Adrian Sassoon Esmée Fairbairn Foundation Stephen & Nicola Hanscombe Amanda Clark Juliet Schubart The Lord Faringdon Charitable Trust Pamela, The Lady Harlech Richard Collins Andrew & Belinda Scott The Foyle Foundation Mark Henderson Hugh & Lui Cookson Nicholas & Elodie Stanley The William Gibbs Trust Mr & Mrs Raymond Henley William & Letty Darby Michael & Luisa Stone The Worshipful Company of Grocers Sir David Hoare, Bt. Michael & Anne Davis Eve Strasburger The R. J. Harris Trust Caryl Hubbard, CBE Morny & Ian Hay Davison Kelsey & Rosie van Musschenbroek The Henry C. Hoare Charitable Trust Michael Jodrell Manny & Brigitta Davidson Christine Walker The Idlewild Trust Mr & Mrs H.G.M. Leighton Simon Dickinson Richard & Sue Wales The Inchcape Foundation Sarah & David Machin Van & Eva DuBose Anthony Wilkinson The Anton Jurgens Trust Miss Eleanor Macnair The Late Peter & Penelope Duff John & Margaret Wragg The Leathersellers’ Company Charitable Fund Mrs Lucille Marshall Caroline Ellert Cynthia Yates The Linbury Trust Robert & Chantal Miller Barbara Ellis Ann Zwemmer The J P Marland Charitable Trust Guy Morrison David & Karin Embleton

A special thank you to The Friends of The Holburne Museum for their continued support

And to all those who remembered The Holburne Museum in their wills and those who made an in memoriam gift to The Professor Geoffrey Butler Memorial Fund

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Children from St Mary’s celebrating the cutting of the first sod © Marlow and Cardwell

The Holburne Museum Great Pulteney Street Bath BA2 4DB www.bath.ac.uk/holburne Registered charity number: 310288

COVER IMAGE Sir William Holburne (1793–1874) by Charles Jagger, 1827, minature on ivory (detail)

All images © The Holburne Museum except where indicated otherwise