DOCSLIB.ORG

Wolverhampton Arts and Museums Service

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Agenda Item: 5F Wolverhampton City Council OPEN EXECUTIVE DECISION ITEM (AMBER) CABINET Date 25 MAY 2011 Portfolio(s) LEISURE & COMMUNITIES / COUNCILLOR MATTU Originating Service Group(s) EDUCATION & ENTERPRISE Contact Officer(s)/ CORINNE MILLER Telephone Number(s) EXT 2050 KEY DECISION: YES/NO IN FORWARD PLAN: YES/NO Title DESIGNATION - WOLVERHAMPTON ARTS + HERITAGE ACQUISITIONS AND DISPOSALS POLICY AND MANAGEMENT AND CARE OF COLLECTIONS STRATEGY RECOMMENDATION That Cabinet ratify the policy documents in support of the application of Wolverhampton Arts + Heritage to the Museums Libraries and Archives Council (MLA) to designate the Northern Ireland Collection as a collection of national importance. 1 1. PURPOSE 1.1 To ratify the Acquisitions and Disposals Policy and the Management and Care of Collections Strategy and the Documentation and Cataloguing Plan. 2. BACKGROUND 2.1 In 1997 the government launched a scheme to recognise organisations that care for pre-eminent collections of national importance in non national museums. These collections represent a significant part of England’s cultural heritage. There are currently 131 collections recognised under scheme. 2.2 The Scheme allows organisations to include a Designation logo in their promotional material and can be a deciding factor in gaining approval for grant applications such as the Designated Challenge Fund. Designation can be influential in attracting gifts and bequests as the award requires museums to meet professional standards of collections care and management. 2.3 Wolverhampton has an exceptional collection of works relating to the Troubles in Northern Ireland; the product of courageous and enlightened collecting since the 1980s which has recently been further supported with a grant of £199,000 from the Heritage Lottery Fund. 2.4 The Northern Ireland collection is now rated as a collection of national and international importance. Wolverhampton Arts + Heritage has acquired a new work by Willie Doherty in partnership with the Imperial War Museum and is working with them and the Ulster Museum to tour the collections to the Imperial War Museum North, the Ulster Museum and to an international venue, possibly in the USA, in 2013. 2.5 Wolverhampton does not currently have a collection designated under the scheme. 2.6 As part of the submission, Wolverhampton Arts + Heritage revised the Acquisitions and Disposals Policy, the Management and Care of Collections Strategy and the Documentation Plan. These documents were submitted with a covering letter of support signed by the Cabinet Member for Leisure & Culture and the Strategic Director, Education & Enterprise. 2.7 The Review Panel has subsequently required the policies and strategies to be signed off at Cabinet level for the application to proceed at the end of June 2011. MLA has greed to table a report if Cabinet ratifies these policies and strategies at the review panel meeting on 7 July 2011. The Council would receive the outcome of the submission at the end of August 2011. If the report is not received in time the application will be deferred to the January 2012 review panel meeting. This would compromise funding applications that the service proposes to make in the autumn to mitigate the loss of the Renaissance funding from April 2012. 3. FINANCIAL IMPLICATIONS 3.1 The financial implications for the documentation management and care of the collections are an audit requirement and covered in the existing revenue budget. [JJ/110502011/K] 2 4. LEGAL IMPLICATIONS 4.1 There are no direct legal implications attached to this report. [MW/16052011/Y] 5. EQUAL OPPORTUNITIES IMPLICATIONS 5.1 There are no equal opportunities implications attached to this report. 6. ENVIRONMENTAL IMPLICATIONS 6.1 There are no environmental implications attached to this report. 7. BACKGROUND PAPERS • The Acquisitions and Disposal Policy 2011-2016 • The Management and Care of Collections Strategy 2011-2016 • The Documentation Plan 2011-2016 3 APPENDIX 1 WOLVERHAMPTON ARTS AND MUSEUMS SERVICE ACQUISITIONS AND DISPOSAL POLICY 2002-2007. 1. Acquisitions 1.2 Gifts 1.3 Purchases 1.4 Loans 1.5 Co-operation 1.6 The Service Will Not Seek To Acquire:- 2.0 Disposal 3.0 The Existing Collections 3.1 Fine Art 18th Century British Oil Painting 19th Century British Painting and Sculpture 18th and 19th Century Works on Paper Modern British Painting, Sculpture and Works on Paper The Twentyman Collection - Works by John Piper and Others British and American Pop Art Contemporary British Painting, Sculpture, Works on Paper, Photographic Works, Video and Digital Media. Local Artists The Northern Ireland Collection Collecting in Depth 3.2 Decorative Art 18th Century English Enamels 18th and 19th Century Japanned Ware of the West Midlands Dolls and Toys, 1780-1950 18th and 19th Century Ceramics Asian Decorative Art Elkington Plate and Fictile Ivories 19th/early 20th Century Costume 18th and 19th Century Glass Mediterranean Ceramics and Other Archaeological material 3.3 Local History 3.4 Geology The Fraser Collection 4.0 First adopted Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 1 Wolverhampton Arts and Museums Service Museums covered by this policy: Wolverhampton Art Gallery, Bantock House & Park, Bilston Craft Gallery Museums and Galleries Commission Registration Numbers 705, 706 and 707 ACQUISITIONS AND DISPOSAL POLICY 2002-2007. Third edition. First published 1991. Revised 1997, 2002, 2006, 2011. 1. Acquisitions 1.1.0 The Service adopts the Museums Association’s Code of Practice for Museum Authorities (1987), and the Code of Practice for Museum Governing Bodies (1994). 1.1.1 The Service will only acquire an object for the collection where the legal provenance is well established, and the acquisition of title to the object is valid. In particularly the object must only be acquired if all legal procedures have been followed both in this country and, if relevant, any country in which it has been legally owned. This remains the case both for open and closed collections. 1.1.2 In accordance with the provisions of the UNESCO 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, which the UK ratified with effect from November 1 2002, and the Dealing in Cultural Objects (Offences) Act 2003, the museum will reject any items that have been illicitly traded. The governing body will be guided by the national guidance on the responsible acquisition of cultural property issued by DCMS in 2005. So far as biological and geological material is concerned, the museum will not acquire by any direct or indirect means any specimen that has been collected, sold or otherwise transferred in contravention of any national or international wildlife protection or natural history conservation law or treaty of the United Kingdom or any other country, except with the express consent of an appropriate outside authority. The museum will not acquire archaeological antiquities (including excavated ceramics) in any case where the governing body or responsible officer has any suspicion that the circumstances of their recovery involved a failure to follow the appropriate legal procedures, such as reporting finds to the landowner or occupier of the land and to the proper authorities in the case of possible treasure as defined by the Treasure Act 1996 (in England, Northern Ireland and Wales) or reporting finds through the Treasure Trove procedure (in Scotland). 1.1.3 Any exceptions to the above clauses will only be because the museum is either: acting as an externally approved repository of last resort for material of local (UK) origin; or acquiring an item of minor importance that lacks secure ownership history but in the best judgement of experts in the field concerned has not been illicitly traded; or acting with the permission of authorities with the requisite jurisdiction in the country of origin; or in possession of reliable documentary evidence that the item was exported from its country of origin before 1970. In these cases the museum will be open and transparent in the way it makes decisions and will act only with the express consent of an appropriate outside authority. Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 2 1.1.4 The Service will only acquire an object for the collection where there is adequate resources in terms of storage, documentation, security, conservation and professional advice and support to ensure that the object is well cared for and safe. In addition, any repair, restoration, framing, exhibition or special conservation needs will be considered as part of the acquisition. 1.1.5 The Service will only acquire an object for the collection where there is an open collecting remit, and where the object will make a significant addition to the collection. The acquisition policy will also reflect the priorities determined in the artistic and cultural policies. 1.1.6 In considering acquisition, the Service will not normally accept any gift, bequest or loan to which any special conditions apply (e.g. that items will be permanently displayed, kept in a separate room etc.). 1.1.7 In every case, where an acquisition is proposed, whether by gift or bequest, the Head of Arts and Museums and Senior Curator should ensure that its acquisition includes copyright for the purposes of exhibition, marketing and education. 1.1.8 The Service may occasionally acquire items falling outside this Policy. Such acquisitions will be made only in exceptional circumstances and then only when approved by The Portfolio Holder for Leisure and Communities. 1.1.9 Management of archives : As the museum holds / intends to acquire archives, including photographs and printed ephemera, its governing body will be guided by the Code of Practice on Archives for Museums and Galleries in the United Kingdom (3rd ed., 2002). 1.1.10 Spoliation: The museum will use the statement of principles ‘Spoliation of Works of Art during the Nazi, Holocaust and World War II period’, issued for non-national museums in 1999 by the Museums and Galleries Commission.
Recommended publications
  • Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809

    Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809

    SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted.
  • Matthew Boutlon and Francis Eginton's Mechanical

    Matthew Boutlon and Francis Eginton's Mechanical

    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository MATTHEW BOULTON AND FRANCIS EGINTON’S MECHANICAL PAINTINGS: PRODUCTION AND CONSUMPTION 1777 TO 1781 by BARBARA FOGARTY A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The mechanical paintings of Matthew Boulton and Francis Eginton have been the subject of few scholarly publications since their invention in the 1770s. Such interest as there has been has focussed on the unknown process, and the lack of scientific material analysis has resulted in several confusing theories of production. This thesis’s use of the Archives of Soho, containing Boulton’s business papers, has cast light on the production and consumption of mechanical paintings, while collaboration with the British Museum, and their new scientific evidence, have both supported and challenged the archival evidence. This thesis seeks to prove various propositions about authenticity, the role of class and taste in the selection of artists and subjects for mechanical painting reproduction, and the role played by the reproductive process’s ingenuity in marketing the finished product.
  • Cat Talogu E 61

    Cat Talogu E 61

    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 61 [The Alternative of Williams Burg.] A New Method of Macarony Making, as Item 288 practiced at Boston. Item 289 All items listed are illustrated on our web site: www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. Drawings from Original Pictures of Boswell and Dr.Johnson. While Cox's name is on Philip Reinagle, Esq. R.A. No. 2. Mrs these pieces he would have had to depend on skilled Wrightson (subscriber's name in craftsmen to produce the elaborate exhibition pieces contemporary ink mss]. that can now be seen in the Metropolitan Museum of By an Amateur. [n.d., c.1826.] Art. A spectacular survivor of Cox's Museum is a Imperial folio, original printed wrappers, four Peacock that was taken to St. Petersburg in 1781 and is lithographic plates on india, stitched. Wear to edges. now in the Hermitage. British Library: 000807157 Stock: 40010 £280 Four untitled British landscape scenes presented in their original wrapper, apparently the complete second 4. The Duke of Bedford's Stables, with the installment of what became a series of 16 plates after New Tennis-Court & Riding-House at Woburn Reinagle. We have seen another wrapper with the Abbey subscriber's same in the same handwriting, suggesting [Anon, c.1750] it was written by the anonymous 'Amateur'.
  • 2013-2018 Collections Development Policy

    2013-2018 Collections Development Policy

    Agenda Item: 5D Wolverhampton City Council OPEN EXECUTIVE DECISION ITEM (AMBER) CABINET Date 5 MARCH 2012 Portfolio(s) COUNCILLOR E MATTU / LEISURE AND COMMUNITIES Originating Service Group(s) EDUCATION AND ENTERPRISE Contact Officer(s)/ CORINNE MILLER KEY DECISION: NO Telephone Number(s) 2050 IN FORWARD PLAN: YES Title CULTURE, ARTS & HERITAGE - COLLECTIONS DEVELOPMENT POLICY RECOMMENDATION That Cabinet approve the Culture, Arts & Heritage Collections Development Policy in support of the application of Wolverhampton Culture, Arts & Heritage to Arts Council England for Accreditation, a national museum standard, which is a requirement for a number of funding streams. 1 1. PURPOSE 1.1 To approve the Collections Development Policy (formerly known as the Acquisitions and Disposals Policy) for the museums and galleries that are part of Wolverhampton Culture Arts and Heritage (WCAH). The Archives have a separate but complimentary acquisitions policy. 2. BACKGROUND 2.1 The Accreditation Scheme recognises museum services that meet nationally agreed standards of museum provision. The three museums and galleries of Wolverhampton, Bantock House Museum, Bilston Craft Gallery and Wolverhampton Art Gallery, have been invited to apply for Accreditation in April 2013. Three submissions will be made, one for each venue. The submissions have to include all the policies and procedures for the service in addition to site specific information. 2.2 The Accreditation Scheme requires the Collections Development Policy to be approved by Cabinet. 2.3 The Collections Development Policy is based on the Acquisitions and Disposals Policy which was agreed by Cabinet in March 2012. 2.4 Since March 2012 some additions have been made to the policy which now covers the period 2013-2018, and the policy has been checked for compliance with the new national standards.
  • Cchsieh@Ncu.Edu.Tw. ������� 2020 � 06 ��������� 57-142

    [email protected]. 2020 06 57-142

    2020 06 57-142 ** 1754 3 22 1760 99 NSC 99-2410-H-008-045 1754 1778 2011 12 3-4 2011 2012 3 22 Tokyo Woman’s Christian University E-mail: [email protected]. 2020 06 57-142 2020.06 1768Royal Academy of ArtsRA1 〈 〉 Royal Society of ArtsRSA 1754 Society for the Encouragement of Arts, Manufactures, and Commerce2 3 1 」 12 Sidney C. Hutchison, The History of the Royal Academy, 1768–1968, 2nd edition (London: Robert Royce, 1986); James Fenton, School of Genius: A History of the Royal Academy of Arts (London: Royal Academy of Arts, 2006); Charles Saumarez Smith, The Company of Artists: The Origins of the Royal Academy of Arts in London (London: Modern Art Press, 2012). Smith 2 1760 “Society of Arts” 1908 “Royal Society of Arts” RSA 3 <https://www.thersa.org/>2019 8 8 59 1754511London Evening Post 「 4 cobalt 30 madder 30 14 14 17 15 1755 1 4 17 most ingenious and best fancied Designs 5 1757 60 1758 122 polite arts6 4 London Evening Post, May 11, 1754. 5 Public Advertiser, April 21, 1755. 6 1758 1759 Premiums for improving arts, &1760 Premiums for promoting polite arts Premiums Offered by the Society Instituted at London for the 60 2020.06 1758 122 22 33 1759 152 40 1758 1766 7 8 9 1760 Joshua Reynolds, 1723-1792 1769 1 2 Encouragement of Arts, Manufactures, and Commerce (London: printed by order of the Society, 1758, 1759, 1760). 7 1758 1775 D. G. C. Allan, “Artists and the Society in the Eighteenth Century,” The Virtuoso Tribe of Arts & Sciences: Studies in the Eighteenth-Century Work & Membership of the London Society of Arts, eds.
  • George Morland and the Making of the Modern Artist Francesca Bove

    George Morland and the Making of the Modern Artist Francesca Bove

    Nurturing Genius in a Pigsty: George Morland and the Making of the Modern Artist Francesca Bove Volume I: Text Thesis submitted for the Degree of Doctor of Philosophy in the History of Art University of East Anglia School of Art, Media and American Studies May 2018 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This thesis reassesses the artistic oeuvre, practice and identity of the painter George Morland (1763-1804), who last received sustained monographic attention over forty years ago despite being an important figure in the history of eighteenth-century British art. Informed by the recent scholarship in that field as well as sociological theories on art, this thesis interprets Morland’s characteristic rustic imagery as the product of artistic, commercial and exhibition strategies, including strategies for self-definition within the crowded London art world. These included ‘the myth of Morland’, an identifiably modern yet historically-grounded paradigm of the quasi-bohemian artistic persona and biography which previous work on the artist has tended to take at face value. Instead, this thesis argues that Morland’s persona was shaped by the artist in collaboration with dealers, publishers and writers, the result of a shrewd mutual engagement with the possibilities offered by commerce for the reconfiguration of artistic values, during Morland’s lifetime and beyond.