Wolverhampton Arts and Museums Service

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.

1.1.11 Repatriation and Restitution: The museum’s governing body, acting on the advice of the museum’s professional staff, if any, may take a decision to return human remains, objects or specimens to a country or people of origin. The museum will take such decisions on a case by case basis, within its legal position and taking into account all ethical implications. ]

1.2 Gifts 1.2.0 The Head of Arts and Museums has the authority to accept or reject gifts and bequests of items falling within paragraphs 3.0 to 3.4 of this policy. 1.2.1 In every case where a gift is accepted, full details should be obtained from the donor or how/whether the gift is to be acknowledged.

1.3 Purchases 1.3.0 The Head of Arts and Museums may purchase items within the terms of the agreed collecting policy, up to the normal limits imposed by Financial Standing Orders, from the Art Fund. Purchases requiring Committee approval will be submitted in the due manner. 1.3.1 In every case where an acquisition is proposed for purchase, the Head of Arts and Museums should ascertain the following points: Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 3 I. that the fixed price, or estimated price at auction represents reasonable value for money

II. that grants and donations from various sources be obtained where possible to alleviate the net cost to the Purchase Fund

III. that acknowledgement be given to grand-aiding bodies as appropriate.

1.4 Loans 1.4.0 The Head of Arts and Museums has the authority to accept or reject loans falling within paragraphs 3.0 to 3.4. The stated position is that the Service does not accept loans for the collections except in exceptional circumstances where it adds to significantly to displays and where the loan lies within an open collecting area. 1.4.1 Loans may be short-term or long-term but will be made for a specified period of time and supported by legal documentation setting out the terms of the loan. Each period will be a maximum of ten years, renewable subject to agreement by both parties. The term ‘permanent loan’ has no legal status. 1.4.2 The valuation of loans for insurance purposes is the responsibility of the receiving curatorial officer.

1.5 Co-operation 1.5.0 The Service recognises and supports the need for co-operation and consultation between museums and other organisations and will respect the collecting policies of other museums where appropriate. In particular, note is taken of the policies held by other Black Country Museums: Dudley, Walsall, Sandwell and the Black Country Museum, and in specific subject areas, the policies held by Birmingham City Museum and Art Gallery (fine art, enamels and japanning), Victoria & Albert Museum (enamels and japanning), Manchester City Art Gallery (enamels), Liverpool Museums (enamels) and the National Museum of Wales (japanning). The Service will support Archives and Local Studies in its collecting.

1.6 The Service Will Not Seek To Acquire:-

1. any item which is likely to be beyond its capabilities and resources to adequately house, document, conserve and exhibit.

2. any item from its closed collecting areas:- Dolls and Toys, Ceramics, Asian Decorative Art, Plate and Fictile Ivories, Costume, Glass, Archaeology and Geology.

3. any item from an open collecting area where there is temporarily no staff or resources to deal with the acquisition. In these circumstances, exceptional gifts will be considered by the Head of Arts & Museums by taking expert advice.

4. printed ephemera and other paper records upon which the Archives and Local Studies Service have equal and sometimes prior claim.

5. any local item of printed ephemera which does not serve to interpret existing collections; such items should be referred to the City Archivist.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 4 6. objects in serious need of conservation where there are no realistic expectations that conservation can be completed.

7. items/collections not referred to in paras. 3.0 to 3.4, without the approval of the Portfolio Holder for Leisure and Communities.

2.0 DISPOSAL

2.1.0 By definition, ‘Museums enable people to explore collections for inspiration, learning and enjoyment. They are institutions that collect, safeguard and make accessible artefacts and specimens, which they hold in trust for society.’ (adopted by the Museums Association, 1998)

2.2.0 In accordance with the Museum & Galleries Commission’s Registration Scheme, Wolverhampton City Council accepts that: 1. It should have a long-term purpose and possess (or intend to acquire) substantial permanent collections in relation to its stated objectives. 2. The Authority accepts the principle that there is a strong presumption against the disposal of any items in the Service’s collection except as set out below. 3. In those cases where a museum is free to dispose of an item (e.g. by virtue of an Act of Parliament or of permission from the High Court or the Charity Commissioners), it should be agreed that any decision to sell or dispose of material from the collections should be taken only after due consideration by the museum’s governing body, and will not be made with the principle aim of generating funds. Once a decision to dispose of material in the collection has been taken, priority will be given to retaining it within the public domain, unless it is to be destroyed. It will therefore be offered in the first instance, by gift, exchange or sale, directly to other Accredited Museums likely to be interested in its acquisition before offer to interested individuals or organisations is considered. 4. In cases in which an arrangement for the exchange, gift or private treaty sale of material is not being made with an individual museum, the museum community at large must be advised of the intention to dispose of material. This should normally be through an announcement in the Museums Association’s Museum Journal. The announcement should indicate the number of specimens involved, the prime objects concerned and the basis on which the material would be transferred to another institution. A period of at least two months must be allowed for an interest in acquiring the material to be expressed. 5. A decision to dispose of a specimen or work of art, whether by exchange, sale, gift or destruction (in the case of an item too badly damaged or deteriorated to be of any use for the purposes of the collections), should be the responsibility of the governing body of the museum acting on the advice of professional curatorial staff, and not of the curator of the collection concerned acting alone. Full records should be kept of all such decisions and the specimens involved and proper arrangements made for the presentation and/or transfer, as appropriate of the documentation relating to the object concerned, including photographic records where applicable. 6. Any moneys received by a governing body from the disposal of specimens or works of art should be applied for the benefit of the museum collections. This should normally mean the purchase of exhibits for the collections but in exceptional cases improvements relating to the care of collections may be justifiable.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 5 7. The governing body, acting on the advice of professional staff and, if necessary, independent assessors, may recognise cultural or personal claims to artefacts in the collection and may on occasion decide that objects should have restrictions on their display, or be returned to the country, or people of origin. This action would not be done for material gain, but would be in accordance with the established procedure above. 8. Any item or collection which has been acquired with the aid of an external grant or bequest will only be disposed of after due permission from the relevant organisation, and the Museum recognises that it may have to repay any grant if the item were ever sold. 2.3.0 Wolverhampton City Council being the governing body of Wolverhampton Arts & Museums Service (hereinafter called the Service) hereby publishes its acquisitions and disposal policy, which is subject to review every five years, with Re:source being notified, in writing, of any changes and their implications for the collections. 2.4.0 Refs.: Aim Guideline no. 14 “Museum Collecting Policies and Loan Agreements”. MGC’s “Guidelines for a Registration Scheme for Museums in the UK”.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 6 3.0 THE EXISTING COLLECTIONS The existing character of the collections can be taken as the starting point for any collecting policy, and in Wolverhampton, the following broad subjects apply: 1. Fine Art 2. Decorative Art 3. Local History 4. Geology

3.1 Fine Art

18th Century British Oil Painting 3.1.0 The Service holds a collection of Georgian paintings which features several works of the highest quality including examples by Gainsborough, Zoffany, Fuseli, Richard Wilson, Joseph Highmore (his finest surviving family portrait), Francis Wheatley, Wright of Derby and Raeburn. The collection also includes a number of works by Edward Bird RA, a local artist who rose to prominence as a court painter. 3.1.1 In order to present a more accurate picture of British art during this period, the collection requires good examples of: a sporting picture, a conversation piece, a history painting and a work by Sir Joshua Reynolds. We will seek to acquire: I. a sporting picture (and/or an equestrian portrait) II. small-scale conversation pieces by e.g. Arthur Devis or School of Devis III. history paintings reflecting the interest in classical culture and the Grand Tour e.g. work by Benjamin West, Gavin Hamilton or Angelica Kauffman IV.an example of the work of Sir Joshua Reynolds (it is unrealistic to consider purchase at present prices, but a ‘tax in lieu allocation’ should be considered if offered or made available or the possibility of a Heritage Lottery application should be considered) V. 18th century sculpture to complement the existing collection.

19th Century British Painting and Sculpture 3.1.2 The Service’s holding of 19th century pictures is especially strong in domestic ‘genre’ paintings and its collection of works by the Cranbrook Colony of painters is the finest in the UK. This is the most important asset within our historical collections and its continued development should be seen as a high priority. The Cranbrook collection, apart from being of immense educational and recreational value, has the highest income generation potential (from reproduction fees and royalties) of any part of the permanent collection. 3.1.3 The Service is not in a position to develop a ‘survey’ collection of major British art movements of the Victorian period; this is already well done by Birmingham City Museum & Art Gallery, and the necessary costs would be prohibitive. Nevertheless, works by major members of the Cranbrook Colony are currently under-represented and should be sought.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 7 We will seek to acquire: I. domestic genre painting II. ‘Cranbrook’ works by major members of the group, especially, in order of priority, Thomas Webster, J.C. “Clothes” Horsley, A.E. Mulready, George Hardy, F D Hardy, and G B O’Neill. III. Small sculptures to relate to existing collections.

18th and 19th Century Works on Paper 3.1.4 The collection includes fine work by Turner, Sandby, De Wint, Varley and others, but lacks examples of Grand Tour topography, which was a very influential factor in British art of this period We will seek to acquire: I. selected works by e.g. Cozens, Francis Towne, William Pars etc II. watercolours by artists working in the Indian Sub-Continent e.g. George Chinnery, William and Thomas Daniell etc We will also seek to acquire: 18th, 19th and early 20th Century works of local relevance, including: I. landscape II. portraiture III. history painting IV.works by e.g. Edward Bird and Joseph Barney.

Modern British Painting, Sculpture and Works on Paper 3.1.5 This aspect of the collection has been significantly improved by strategic purchasing since the mid 1970s. The aim has been to represent some of the major influences and trends in British figurative painting and sculpture from between the Wars. The emphasis has been on artists associated with Unit One and the Surrealist movement and acquisitions have included major works by Paul Nash, Edward Wadsworth, Hillier, Humphrey Spender, Armstrong, Bigge and John Banting, alongside pictures by Julian Trevelyan and Sir Roland Penrose. This is rapidly becoming one of the best collections of its kind in the region, and with selected future purchases could achieve national importance. 3.1.6 The Service should continue to acquire works of specifically local relevance from the inter-war period.

We will seek to acquire works by: I. Eileen Agar, Ithel Colquohoun, Grace Palethorpe, Barbara Hepworth, Conroy Maddox, John Melville and other artists associated with the Surrealist Movement and Unit One II. work of specifically local relevance from the inter-War period, e.g. R J Emerson and Charles Wheeler and their pupils and associates III. topographical works by local artists e.g. Sidney Causer, George Phoenix etc.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 8 The Twentyman Collection - Works by John Piper and Others 3.1.7 The acquisition of this major collection which includes an important group of paintings, drawings and ceramics by John Piper, has enhanced the Service’s holdings of post-war British paintings (hitherto very weak) and bridged the gap between the late 1940s and the Pop collection of the 1960s. The Twentyman collection features significant works by members of the St Ives School, e.g. Patrick Heron, Patrick Hayman, W B Graham and Ben Nicholson and a small work by Graham Sutherland. The recent acquisition of works by Cecil Collins, through the Elisabeth Collins bequest via the NACF, has complemented this collection. 3.1.8 It forms the basis for development of a representative collection of post-war British Romantic painting. 3.1.9 The acquisition of this mass of work by John Piper (and associated archives deposited with the Archives and Local Studies Service), gives the Service the opportunity to further develop its Piper holdings and become a major centre for the study and interpretation of Piper’s work. The range and quality of the collection is unrivalled by other galleries in the West Midlands. We will seek to acquire: I. Michael Ayrton, John Craxton, Graham Suherland, Richard Eurich, Winifred Nicholson, Ben Nicholson, Alfred Wallis, Bryan Wynter, Peter Lanyon and other members of the St Ives school II. a small-scale bronze or maquette by Henry Moore III. works by John Piper.

British and American Pop Art 3.1.10 In 1970, a renewed emphasis was placed on the purchase of contemporary art, particularly items associated with the ‘Pop’ art movement of the 1960s and 1970s. Works by American as well as British artists were acquired and by 1980, Wolverhampton Art Gallery had won national recognition for the quality of its collecting in the contemporary field - a vindication for this strong but often controversial element of the collecting policy. 3.1.11 This is the finest regional collection of its kind in the UK and includes work by Lichtenstein, Warhol, Lindner, Rivers, Hamilton, Blake, Rosenquist and many others. It is extremely popular and a potential money-earner for the Service if toured. Its educational value is immense, especially in cross-curricular projects. 3.1.12 Work involving the music, politics, literature and popular culture of the 1960s. Wolverhampton is the only gallery in the Midlands to be consistently collecting such works and should continue to do so. We will seek to acquire: I. works by Allen Jones, Peter Phillips, Tom Wesselman, R B Kitaj, E Paolozzi, George Segal, Robert Rauschenberg, Mel Ramos and other important members of the ‘Pop’ and photo-realist schools. II. We will also seek to acquire works by members of the Pop art movement, or those directly influenced by it, who are not currently represented in the collection such as Claes Oldenburg, Yves Klein, Jasper Johns, Bill Woodrow, Tony Cragg, Julian Opie, Richard Smith, Antony Donaldson and Gerald Laing.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 9

Contemporary British Painting, Sculpture, Works on Paper, Photographic Works, Video and Digital Media. 3.1.13 It has been the policy of the Service to keep the collections abreast of contemporary developments in British art. Important works were added in the 1980s - e.g. Ana Maria Pacheco, John Bellany, Adrian Wiszniewski, Jock McFadyen, Gavin Jantjes, Gilbert and George, Conrad Atkinson, Eileen Cooper and many others. The Service has also acknowledged the importance of acquiring works by women artists and artists of Afro-Caribbean and Asian origin and these collections have been expanded through the acquisition of works by Usha Parmar, Shani Rhys James, Eugene Palmer, Julie McNally-Hayes and May Cornet. Wolverhampton Art Gallery is part of a network of contemporary art galleries (‘M6’ group) in the West Midlands region, who are committed to showing contemporary art. The profile of the region has been raised over the past few years with the creation of new gallery buildings for Walsall Art Gallery and Ikon Gallery as well as Birmingham’s new ‘Waterhall’ space. Wolverhampton Art Gallery has an important role to play in this regeneration of contemporary art in the West Midlands. 3.1.14 The contemporary collection is an increasingly important educational asset, not just for Wolverhampton, but for the region as a whole. The Service’s participation in the first Contemporary Art Society (CAS) / Arts Council of England (ACE) Collection Scheme, 1993 - 96, greatly enhanced the status of the collection through the addition of works of national quality. The foundations were laid for the creation of a contemporary art collection of national importance. The Service is currently participating in the CAS Special Collection Scheme, (1998 - 2003) with funds from the National Lottery. This will enable the Wolverhampton Art Gallery to become one of the leading centres for the study and enjoyment of contemporary work in the UK with collections equalled only by the national museums. In tandem with the proposed extension to the Gallery premises, the establishment of a nationally important collection of contemporary art will help to determine a positive role and identity for the Service for the first quarter of the 21st Century. To this end, the continued improvement of this collection should be seen as the main priority within the Collection strategy as a whole. 3.1.15 The works acquired under the first CAS / ACE Collection Scheme with assistance from the Museums and Galleries Commission, included major examples by David Mach, Helen Chadwick, Paul Graham, Willie Doherty, Tony Bevan, Lisa Milroy and Suzanne Treister. In order to give the acquisitions a coherent theme we opted to develop an existing strength of the collection and to acquire works which, in some way, reflected social, ethical and environmental aspects of life in modern Britain, within a global context. This has given the Service a uniquely focused collection that demonstrates the capability of art to be a relevant and powerful voice in today’s society addressing everyday issues of war, race, gender, civil liberties and national identity. It is particularly rich as a resource for the National Curriculum. The CAS Special Collection Scheme has enabled us to further develop this theme with the acquisition of works, in a variety of media, by Tom Hunter, Breda Beban, Rut Blees Luxembourg, Richard Billingham and David Rayson, Chad McCail. Future acquisitions should continue this general theme and follow through the exciting developments already in place.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 10 We will seek to acquire: I. works by British artists whose work reflects the political and social climate of contemporary Britain and the world that impacts on it. eg. Gillian Wearing, Janice McNabe, Christine Borland, Steve McQueen, Yinka Shonibare and other national and international artists of the first rank. II. Works by international artists who comment on the global issues of war, identity, oppression and civil conflict. Eg. Shirin Neshat, Janane Al-ani, Nan Goldin, Gustave Metzger, Ann-Sofie Siden, Helio Oiticica and Zarina Bhimji. III. Film work which builds on our existing collection of film and video art by artists including Cornford and Cross, Willie Doherty and Seamus Harahan.

Local Artists 3.1.16 The Service has a collection of high quality works by local artists and artists who originated in this area of whose work has a direct bearing on the locality or community. The acquisition of such works is an important practical method of supporting and promoting the local arts community and offers recognition and exhibition space to many young artists at the outset of their careers. We will seek to acquire: I. the work of local artists i.e. those who grew up, were trained in, or who live in the area, or whose work is concerned with the area II. work specific to the area, concerning the people or landscape of Wolverhampton, through commissions. III. Work to support artists (possibly through purchase) who occupy the Makers Dozen studios, which are part of the Art Gallery complex.

The Northern Ireland Collection 3.1.17 The Service has a particularly strong collection on the theme of the conflict in Ulster, the foundations of which were laid in the 1980s. Wolverhampton Art Gallery curated a ground-breaking exhibition in 1994, to co-incide with the IRA ceasefire of that time and has since built a reputation for tackling issues in Northem Ireland, which other museums and galleries have been afraid to address. It is the only collection of its kind in the UK. The collection includes work by Jock McFadyen, Willie Doherty, Paul Graham, Anthony Davies and John Keane, Terry Atkinson, John Kindness, Paul Seawright, Victor Sloane and Sean Hillen 3.1.18 We will seek to acquire: I. work by artists who are concerned with the issue of conflict in Northern Ireland who are not currently represented in the collection including Anthony Haughey, FE McWilliam, Brian Maguire

Collecting in Depth 3.1.18 Rather than collecting a series of “one offs” the Service should attempt to represent selected artist’s work in the round through a group of works in a variety of media in order to interpret their output in context. This has already been done in the case of Ana Maria Pacheco (artist in residence at the National Gallery 1997) with sculpture, drawings, prints and a painting which enable us to present an insight into her work and working methods. This collection, gradually assembled Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 11 over 10 years, has stimulated some of the most exciting project work in schools including, dance, drama, creative writing, drawing and printmaking. It has become a magnet for visitors from within this region and beyond. Once developed, these groups of representative works can form the nucleus of fully fledged exhibitions on site or for touring.

3.2 Decorative Art

18th Century English Enamels 3.2.0 Outside the Victoria and Albert Museum in London, Wolverhampton has the finest collection of enamels in the country with examples of Bilston, Birmingham, South Staffordshire, Battersea and Liverpool manufacture. It is a collection of regional and international significance and a source of great local pride. The collection includes outstanding examples of the enamellers’ craft and important documentary objects, as well as a range of snuff patch boxes, pill boxes, tea- caddies, candlesticks and so on, which illustrate the variety of objects made and mirrors the fashionable society for which they were produced. 3.2.1 The collection has been acquired chiefly through the Bantock Bequest, through the purchase of large collections by both Wolverhampton Art Gallery & Museum and Bilston Museum & Art Gallery prior to the boundary changes in 1966, and more recently by purchase at auction. 3.2.2 Given the significance of the enamels collection, it is important to continue an active acquisitions policy in order to present a more representative picture of their social and manufacturing histories, and to build up a collection of comparative examples from various periods and regions of the world. We will seek to acquire: Enamels which I. bear a signature, date, mark or other documentary evidence, especially if of local significance II. exemplify a particular manufacturing technique or form of decoration, not represented in the collection III. illustrate social, political or economic developments in the society which produced and used them IV.illustrate links between enamelling and other areas of decorative art, e.g. glass and ceramics, japanning V. illustrate links between enamelling and fine arts, such as items decorated with derivations of prints and paintings VI.illustrate any cultural cross-over and cross-pollination between enamelling traditions

18th and 19th Century Japanned Ware of the West Midlands 3.2.3 Wolverhampton was a leading centre for the craft of japanning - the application of thick varnish as both protection and a base for spectacular decoration to tin, iron, papier mâché and wood. The collection enjoys strong regional significance, as well as wider repute both nationally and internationally. It came to the Service largely by way of gifts from manufacturers and their descendants, and those employed in the industry. Since the 1970s the Service has pursued an active acquisitions policy and so raised the profile of the collection to become a major Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 12 resource for the study of such wares. We should therefore continue to develop the collection with a view to making it fully representative of this important Midlands industry. 3.2.4 Birmingham City Museum and Art Gallery, which has a good but smaller collection, does not actively seek to acquire objects in this field. To complement our holding, a small number of objects are on loan from the Victoria and Albert Museum in London, and from private collections. 3.2.5 We will support the Local History & Archives department in the acquisition of photographs or other printed images of workpeople, workshops, tools, products etc. relevant to the industry and recognise the local History & Heritage Society’s research in this area. We will seek to acquire: I. objects of a type not already in the collection, to illustrate the wide product range II. marked, signed or dated pieces III. objects which illustrate social, political or economic developments in the society which produced and used them IV. pattern books and trade catalogues used by and printed for Midlands japanners V. tools and equipment associated with the industry VI.any outstanding examples of the manufacturing and/or decorative skills of the Midlands japanners

Dolls and Toys, 1780-1950 (CLOSED) 3.2.6 The doll collection, largely acquired in 1952 through the gift of Miss Daisy Mander, divides into three groups: historical European dolls, dolls in national and regional costumes and ethnographic dolls. A collection of toys and objects associated with the education of children, was begun in the 1970s and has been acquired almost entirely by way of gifts 3.2.7 The collection has rich educational use as an illustration of childhood at different periods, especially in the context of Bantock House, and for educational sessions focusing on costume, mechanics and materials. The ethnographic and national dolls are also a useful resource for sessions on geography, citizenship and cultural diversity. We will not seek to acquire any further items

18th and 19th Century Ceramics (CLOSED) 3.2.8 A small representative collection covering the history of the English ceramic industry from the Industrial Revolution to the late 19th century and ranging from highly sophisticated porcelain, to lively, cheaply produced cottage ornaments. It includes a small but fine collection of 1st Period Worcester porcelain (1751-80) bequeathed by Alderman and Mrs A B Bantock and representative pieces from most major English factories: Bow, Chelsea, Caughley, Wedgwood, Spode, Derby, Coalport, Barr, Flight & Barr and others.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 13 3.2.9 The collection has been acquired partly through gifts and bequest and partly through the purchase of a small but good collection of late 18th/early 19th century English pottery for Bilston Museum in the 1950s. It is particularly useful in the context of Bantock House. 3.2.10 Given the proximity of major ceramics collections like that at the City Museum and Art Gallery, Stoke-on-Trent, and the Museum of Worcester Porcelain, we will not seek to acquire any further items.

Asian Decorative Art (CLOSED) 3.2.11 The collection includes Japanese and Chinese material and a small range of Indian and Middle Eastern objects, comprising: lacquer, swords and sword furniture, carved ivories and bronzes; ceramics, carved ivories, soapstone and jade and bronze figures and vessels and includes a small number of outstanding items. 3.2.12 The collection has been acquired through gifts, including several from the Bantock family, and was mostly collected in the early 20th century. It has strong educational potential, particularly in the context of the history of Bantock House. We will not seek to acquire any further items

Elkington Plate and Fictile Ivories (CLOSED) 3.2.13 A collection of reproductions of previous metalwork and ivories from historic European collections. Such reproductions were commissioned by the Department of Science and Education to advance ‘the progress of art’, by use in schools of art and display in museums. It was acquired in the 1880s and stands as a useful collection in its own right, as a supporting collection and as an educational resource. We will not seek to acquire any further items

19th/early 20th Century Costume (CLOSED) 3.2.14 As a result of the fine skills employed in making christening robes, bonnets and underwear and sentiment for those who wore them, such garments have been donated in large numbers to museums throughout the country. Wolverhampton’s collection was no exception and included much so-called ‘whiteware’ and miscellaneous pieces of 19th and 20th century costume. 3.2.15 Given the specialist display and storage requirements of such a collection, unavailable at Wolverhampton, we have transferred the collection to Walsall Museum, except for five items to be used as handling objects in educational sessions. We will not seek to acquire any further examples.

18th and 19th Century Glass (CLOSED)

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 14 3.2.16 A small collection acquired by various gifts over a number of years. While it includes several attractive pieces, it is too disparate a group to display in its entirety, especially with a major collection so close by at Broadfield House, Kingswinford. Individual pieces are useful in connection with the enamel displays. We will not seek to acquire any further examples and will explore with Dudley the possibility of loans to Broadfield House Museum.

Mediterranean Ceramics and Other Archaeological material (CLOSED) 3.2.17 Along with many museums earlier this century, Wolverhampton benefited from the generosity of the Brassey family whose archaeological explorations to many parts of the world led them to form collections of material from the various sites they visited. Other gifts have enhanced the collection which includes small groups of Egyptian artefacts, Roman domestic pottery and glass, and a larger group of Cypriot pottery which recently formed the subject of a scholarly paper. 3.2.18 Although not sufficiently comprehensive nor rich to display, the collection nevertheless includes some good examples. It is a useful educational resource and it is only in this context that the non-local material is retained. We will not seek to acquire further material But will seek a closer relationship with Birmingham Museum & Art Gallery’s Archaeology department regarding the collection and use of local items.

3.3 Local History 3.3.0 The local history collections currently comprise: I. locks and keys II. cut steel III. printed ephemera IV. photographs V. post-medieval archaeology VI. decorative and architectural metalwork VII. commercial vitreous enamelling. VIII. Miscellaneous 3.3.1 During the first 80 years of the Service’s history, and in accordance with its stated aims, attention was focused upon the acquisitions of decorative produces manufactured in the region, enamels, japanned ware, cut steel and so on. We aim to build on these strengths in future collecting for the displays at Bantock House and respect that other museums in the area have stronger collections relating to Wolverhampton’s history. 3.3.2 Through generous gifts and the Bantock Bequest in 1941, the Service has good collections of local photographs and printed ephemera, which dovetail together with those held by the Archives & Local Studies. We will support Archives & Local Studies in their collecting and aim to bring the two collections closer together. We would seek to acquire: I. 18th and 19th century cut-steel toys: jewellery, buckles, small tools etc. Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 15 II. exceptional examples of locks, keys and related goods III. exceptional examples of commercial vitreous enamelling IV. objects of particular connection to the Bantock family and V. To collect any item which reflects the social, cultural, industrial, religious and political life within the stated boundary which is relevant to particular educational projects for handling purposes.

3.4 Geology

The Fraser Collection (CLOSED) 3.4.0 Dr Fraser, president of the Dudley and Midlands Geological and Scientific Society, and medical practitioner in Wolverhampton, bequeathed his collection of geological specimens in 1911. It includes about 7,000 specimens and is almost entirely composed of British fossils, representing main groups though most stages of geological history; many specimens are of excellent quality and come from localities which no longer exist. It is consequently a rich educational resource. 3.4.1 We will work with Dudley Museums and the West Midlands hub Partnership to integrate the collection with others in the region to make it more accessible. We will not seek to acquire any further items

4.0 First adopted by the Leisure Services Committee, 9 October 1991, Minute no. 124. Revised policy adopted 9th April 1997. LSC minute no. 193 “That the Museum Collection and Disposal Policy be approved and be submitted as part of the Museums and Galleries Commission registration phase II application.” Revised and approved by Committee in accordance with MGC guidelines 14th April 1999. Revised to reflect changes in staffing, building development and changes in the art world, June 2002. Adopted by Lifelong Learning cabinet team, 20/6/2005. Date of next formal review April 2011.

Wolverhampton Arts and Museums Service acqdispo.doc 18/05/11 16 Rachel Lambert Jones-Draft February 2011

Appendix 2

Management and Care of Collections Strategy 2011-2016

This is a draft outline document. Following the recent Investors in Excellence award and assessment, the service is reviewing all its policy documents. These strategy documents will be reviewed by the new Portfolio holder for Leisure and Culture (Wolverhampton City Council has a new structure in place from April 2011). We anticipate this will take approximately six months as all policies will be subject to an Equality Impact Assessment. On completion, the document will go forward to cabinet for approval by the new portfolio holder.

Background One of the primary roles of Wolverhampton Arts and Heritage service is to preserve, protect and enhance Wolverhampton’s cultural inheritance, through the acquisition and care of its collections of internationally, nationally and locally significant art and objects.

Wolverhampton Arts and Museums service has been actively collecting since 1884, the year before the Art Gallery was founded. The Bilston Museum collection was integrated with the Wolverhampton collection with the local authority changes in 1966. Early concentration was on fine and decorative arts, starting with several extensive personal collections of art from across the world donated by local industrialists. In common with many museum services, collections grew haphazardly and were often cared for inappropriately, sometimes even disposed of without record. The first Acquisition and Disposal policy was put into place in 1992 and the first Management of Collections Strategy in 1997.

Over the 1980s and 1990s, the number of permanent staff with non- fine art curatorial expertise was reduced resulting in many of the collections being closed. Potential donors for these areas are encouraged to approach other museums in the region. In the past ten years the Renaissance in the Regions programme provided a significant boost to the service in terms of funding and professional development. Significant capital investment also funded extensive refurbishment and an ambitious extension project, which in turn provided scope for more ambitious collecting and exhibitions programme.

Active collecting once again concentrates on fine arts and developing the strengths of this nationally significant collection. Curatorial expertise is particularly focussed around contemporary art.

Existing collections are cared for at a consistent level of good practice. They are on display over three venues and in store in eleven rooms at Wolverhampton Art Gallery and in two stores at Bantock House.

A number of items are on long term loan to Thinktank, Birmingham, Moseley Old Hall (National Trust), Mayor’s Parlour, Wolverhampton Combined Courts, Bilston Town Hall and several other museums. We also care for a handful of long-term loans from private collectors, which are with us under exceptional circumstances. 7 staff have direct responsibility for collections as part of their job role.

The Collections The collections in total number approximately 17,000 and comprise the following areas:

Fine Art (18% of total collection) 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 (of National Significance) Contemporary British Painting, Sculpture, Works on Paper Photographic Works, Video and Digital Media (of national Significance) The Northern Ireland Collection (of National Significance)

Decorative Art (26% of total collection) 18th Century English Enamels (of National Significance) 18th and 19th century japanned Ware of the West Midlands (of National Significance) Dolls and Toys, 1780-1950 18th and 19th Century Ceramics Asian Decorative Art Elkington Plate and Fictile Ivories 18th and 19th Century Glass Mediterranean Ceramics and Other Archaeological Material 1 Rachel Lambert Jones-Draft February 2011

Local History (16% of total Collection)

Geology- The Fraser Collection (approximately 38% of total Collection)

In the future we will create a strategy for improved documentation and use our geology collection

Use and Access The objects in our care have been collected to be seen and shared with our visitors, both today and in the future. The overriding principle is that they should all be accessible to anyone who wishes to see them. Through loans, workshops, events, talks, study days and a greatly improved online presence objects normally in store have successfully been made more accessible.

Objects in store are available to be viewed by appointment. To protect staff, the viewing of edged weapons has a special procedure.

Wherever possible, objects from the collection are integrated into projects and programmes of activities. Some objects are so fragile that the ways they can be used are restricted by the collections manager.

Through programmes of intensive photography, thousands of objects have been digitised and are now available through numerous websites, many with ‘opensource’ access.

In the future we will maximise the use of the collections resource centre through marketing promotion and partnerships with other institutions. We will continue to run and enquiry service, allow access to our collections through on-line resources and run an active loans programme.

Display

Following a 10 year programme of extensive refurbishment and extension to Wolverhampton Art Gallery, completed in 2007, the gallery now has 13 exhibition spaces. Three are given over to touring exhibitions and the remaining ten display either permanent or semi permanent collections based exhibitions.

Approximately 6% of the collection is on display at any one time. The majority of this is in the permanent displays and long-term exhibitions of Georgian and Victorian paintings, The Pop Art Collection, Northern Irish Collection, Contemporary and locally made art at Wolverhampton Art Gallery, and the permanent displays of decorative art on display at Bantock House / craft on display at Bilston Craft Gallery.

We have a commitment to facilitating loans whenever possible and there is a strong presumption towards promoting the collection as widely as possible. This results in numerous international, national and regional loans every year.

A further 4% of the collection is used in temporary exhibitions each year. Approximately 15% of the entire collection is used exhibited and effectively.

During opening hours, objects on display are protected through invigilation by the visitor assistants. Objects that are particularly fragile or vulnerable to touching (decided by discussion between curators, 3D manager and collections manager) are protected by glazing or display in a case or behind a barrier.

Gallery furniture, floor and wall coverings are selected so as not to damage objects on display.

Storage

Following a 10 year programme of extensive refurbishment and extension, all stores are now secure and well-equipped. Perimeter security, secure doors, additional racking, additional air conditioning units and 24hour alarms have been added, as have state of the art facilities for the storage of the fine Art collection.

There is sufficient space to store the entire collection onsite in secure conditions, with stores designated as collections only and each having its ‘home’ area. Collections are stored on archivally stable furniture and at least 10 cm above the floor. Six of the eleven stores (Containing fine and decorative arts) are environmentally controlled.

2 Rachel Lambert Jones-Draft February 2011

In the future we will:

• We will transfer hosting environmental controls to Property Services / Corp IT • Extend monitoring to all storage areas • New Media provision- create a model for joint acquisition and storage of new media building on IWM and ACE partnership • We will transfer archival material to archives & Local Hist dept • We will plan for future growth with other museums in the region

Environment Each venue in the service has galleries and store rooms that are naturally fairly stable as regards temperature and humidity. Wolverhampton Art Gallery has used air conditioning systems in its temporary exhibition spaces fro many years, and the major systems were fitted during the refurbishment of 2007. Temperature, relative humidity and light levels are continually monitored within all exhibition spaces and within most stores. We have a regular pest monitoring programme in place and a robust housekeeping routine.

Documentation

Historically, documentation at Wolverhampton Museums and Galleries has been poor. Curators have put their energies into exhibiting the collection rather than researching it and even basic information about an object has often not been recorded.

The collection was computerised from valuation records in 1998 and the curatorial team have since made great progress labelling objects, recording locations and conditions and photographing objects. All objects are now numbered and recorded, many have been photographed.

Having learned from the mistakes of the past, vast improvements have been made in documentation, with all collections (except geology, manually recorded) now electronically documented and thousands of objects photographed.

Documentation is now a priority and all new works entering the collection are documented as fully as possible, often involving direct contact and detailed discussions with the artist/ maker.

An annual inventory check of the most used collections-fine art- and improved cabling and network points ha enabled us to keep accurate information and steadily increase the level of documentation available. The entire collection is documented to SPECTRUM minimum standards and the most used collections documented to a higher standard.

In the future:

• We will extend the inventory check to other collections • We will seek funding to re-evaluate our collections • We will continue our Programme of photography of the collections with funding from Renaissance in 2011.

Conservation The service follows a strategy of preventative conservation, keeping vulnerable objects as stable as possible in store and on display.

The condition of objects and artworks in the collection is monitored by the collections manager, with freelance conservators used for more specialised detailed advice and remedial work. There is a budget of at least £2,500 allocated each year for conservation, which normally follows exhibition needs.

Objects and artworks are checked each time they are moved and during the annual inventory check and concerns are recorded on computer or on a condition report in the object file.

Where objects and artworks which require AV equipment to run are purchased, the equipment is acquired along with the piece, although not considered a collection item in itself. Issues of future re-formatting are discussed at the time of purchase.

In the future we will seek external sponsorship to increase scope of conservation undertaken

3 Rachel Lambert Jones-Draft February 2011

Handling and loans We recognise that lending objects from our collection to exhibitions has the positive effects of raising the profile of Wolverhampton Arts and Heritage service nationally and internationally, and of facilitating incoming loans to our own exhibitions. Loan requests are discussed with staff at regular meetings and the condition evaluated by the collections manager and if necessary external conservators. When the loan can go ahead but at the risk of damage in travel or installation is high, a courier is sent with the loan.

In some exhibitions or activities, the experience of handling an object adds significant value. Reproductions or original objects acquired for handling are not considered part of the collection. They are identified by a green dot, not stored with the collection and are not conserved. Some objects from the collection can be designated by the collections manager as ‘handling objects’ where the positive effect of use outweighs potential damage and conservation cost. We recognise that handling in this way will result in conservation needs and projects like this are budgeted accordingly. The designation of a collections object as handling is unlikely to be a permanent designation and is regularly reassessed. All staff and volunteers who handle objects in handling sessions or during exhibition changeovers are trained and guidance notes are issued with details of different types of materials.

In the future we will consider transferring the majority of poorly documented local / social history collection as handling, We will explore strategic loans and loans to local business

4 Rachel Lambert-Jones: Draft February 2011

Appendix 3

Wolverhampton Arts and Heritage Documentation and cataloguing Plan 201116.

An analysis of current strengths and weaknesses in collections care Strengths: • Strategic, ethical and thoughtful acquiring ensures resources are utilised to their best advantage • Documentation standards, particularly those of the fine art collection, are good • Access to collections is encouraged. Through long/ short term loans, an online presence and a programme of talks and events, a representation of all aspects of the collection is available to the public and peers. • Onsite storage. All collections currently housed on site and readily accessible to staff and public by appointment. • Organisation has benefitted from Arts Council/ HLF/ Renaissance funding. A large proportion of staff updated their skills, including training in practical collections care through the Renaissance in the Regions programme. This awareness and learning has now been embedded in the organisation as a whole, raising the overall skill set of the organisation. • Successful grant application to the Wolfson Foundation to improve access to the works on paper collection resulted in that store becoming an example of ‘Best Practise’ in storage and preventative conservation. • Four Wolverhampton Arts and Heritage sites (Art Gallery, Museum, Craft Gallery and City Archives) Staff with diverse expertise within the service • Object locations are accurate and logical ensuring ease of access. • Well established links with external conservators • Storage areas are fit for purpose. Access is limited to ensure security and safety of objects. All staff and visitors briefed on risk awareness before entering stores. Regular housekeeping, auditing and monitoring is undertaken • Sufficient budget to maintain current standards of care • The recent nature of the Northern Ireland collection in particular means that artists’ intent can be discussed and clarified first hand and added to the documentation file. Weaknesses:

• Storage space limitations • Minimal guaranteed funding for future collecting • Restricted conservation budget • Minimal collections staff • Staff time to implement all improvements to reach best practice level across all collections • Limited new media storage facility. As this collection is of national importance, a robust system should be developed to capture ‘artist’s intent’ at the point of acquisition. This will inform the future format of the artwork and ensure longevity. Follow the model of shared storage and ownership of recent IWM joint purchase?

1 Rachel Lambert-Jones: Draft February 2011

Priority Actions 201116

• Ensuring the longevity of new media works. Many recent additions to the contemporary collection have been new media based. The care and preservation of new media based works poses challenges in both preservation and display. • Successive planning should aim to bring all collections practices and procedures to best practice level. The number of staff responsible for preservation of the collection would also ideally increase and become embedded in all museum thinking, across all teams. • Although a structure exists to monitor the repairs and maintenance, a building management plan should be drawn up and frequently reviewed to update priorities and track progress on implementing recommendations. • Strategic thinking around collection care should be reviewed and improved. Although, historically collection care plans have been made and implemented, the major building work undertaken 2000-2007 interrupted this on-going work. This thread has been picked up again and an overall review of collections undertaken. • Storage of a few oversized objects should be reviewed and improved. • All cleaning of storage areas is currently supervised, but a written cleaning specification for storage and display areas should also be provided to housekeeping staff. We do not currently keep formal records of collection care programmes. This could be done retrospectively and maintained in future. • Storage improvement work such as re boxing should also be detailed and recorded in a more formal way. Currently information transfer relies on memory. Environmental monitoring records are kept but not examined periodically or a summary prepared. • Policies and procedures are in place for most activity involving collections. The few exceptions should be investigated and written where possible to ensure consistency. • Update IT provision for the BMS system, integrating the Hanwell monitoring system to control rather than monitor, and upgrade some existing environmental control hardware • Dealing with copyright issues. The collection is increasingly accessed online by a huge variety of users. Images of pre 1941 collections are easily shared as copyright will usually have expired, however copyright clearance for contemporary works is time consuming and often difficult to clear. A project to focus on clearing copyright where possible would benefit the gallery and users enormously.