1 Contact details for archive users: The Rothschild Foundation, charity number 1138145 Windmill Hill Archive Your support really makes a difference to us. The Rothschild Foundation All proceeds go towards the upkeep of . Silk Street, Waddesdon Near Aylesbury Front cover: Anish Kapoor, Untitled (detail), 2009 © Anish Kapoor Buckinghamshire © Richard Bryant/arcaidimages.com HP18 0JZ Photos: Paul Barker, Mike Fear. © The National Trust, Waddesdon Manor T 01296 653414 E [email protected] Like us: Waddesdon Manor NT www.waddesdon.org.uk Follow us: @waddesdonmanor

Birmingham

M1 A6 M6 M40

Location M5 Waddesdon is just off the A41 A5 between Aylesbury and Bicester, 20 minutes from J7 (northbound) and Bicester Luton J9 (southbound) of the M40. A44 A40 Aylesbury Aylesbury Vale Parkway Oxford A1 A418 M1 A41 A329 A420

M25 M40 A404 A34 M4 Heathrow WORKS OF ART WINDMILL HILL ARCHIVE 9 Overview

The Rothschild Foundation at Windmill Hill continues the grand tradition of Rothschild architectural patronage in the Vale of Aylesbury. Taking full advantage of the views that attracted Baron Ferdinand de Rothschild (1839-1898) to this part of Buckinghamshire, the new Archive and Reading Room is on the site of a former dairy farm.

Designed by Stephen Marshall Architects of London, the building celebrates the conservation and environmental work pursued by the Rothschild Foundation, in addition to providing public access to and storage space for the important family archives at Waddesdon.

Windmill Hill has been conceived as a place to enjoy art and architecture. Its hilltop location is a perfect setting for contemporary art, sculpture and design. Here are some highlights of a collection that will grow over time.

At Windmill Hill her work is united with that Outside of Angus Fairhurst, another key figure of the , whose two gorilla On rolling lawn: sculptures are installed in the courtyard. Richard Long, b. 1945 © , courtesy of Sadie Coles HQ, London. Accession numbers 7.2008 1 Brotherlines, 2011 Blue grey paving slate from Delabole, Cornwall In courtyard: This specially-commissioned piece unites an outdoor sculpture by Richard Long with an Alison Crowther, b.1965 indoor wall work (Energy Gravity) for the first 3 Six sculptural benches, 2011-12, time, linked by the glass wall that also Unseasoned English Oak separates them. The lines of un- Alison Crowther is a sculpture and furniture predetermined slates meander across the maker who works primarily with huge rolling lawn in five naturalistic strands, sections of unseasoned English oak. The work representing the original “Five Arrows”, the evolves as the wood seasons with time. The five founding brothers of the branches of the benches, a special commission for Windmill Rothschild family. Long’s work is rooted in Hill, are simple in form but are textured with natural forms and the relationship between hand-carved lines that mirror the natural material, shape and landscape. rhythms of the grain. These organic wooden © Richard Long. All Rights Reserved, DACS 2015. forms contrast with the smooth finish of the Accession number 52.2011 structural wood which makes up the frame of the Archive building itself. In front of the building on the hill: © Alison Crowther. Sarah Lucas, b. 1962 Accession number 39.2012 2 Perceval, 2006 Michael Craig-Martin, b.1941 Painted bronze and concrete The work playfully evokes different meanings 4 Umbrella (yellow) and Umbrella (blue), and is open to interpretation; from the shire 2011, steel horse as a symbol of the countryside to a Michael Craig-Martin is one of the key figures in child's toy with its shiny finish. The name, the first generation of British Conceptual artists. Perceval, makes reference to the Knight of the He taught at Goldsmiths and his students Round Table and his quest for the Holy Grail. included leading artists , Gary Sarah Lucas became famous as one of the Hume, Sarah Lucas and . Young British Artists in the 1990s, working as Craig-Martin's work uses subjects drawn from a sculptor, installation artist and photographer. ordinary life, such as hammers, pitchforks or umbrellas enlarged for maximum impact when displayed outside. His sculpture Inside appears light hearted but ultimately has serious intent, using simple things to describe On wall outside Reading Room: complex ideas about form and purpose, and to Richard Long, b. 1945 challenge our notions of scale and space. 9 Energy Gravity, 2011 © Michael Craig-Martin Accession numbers 72.2011 and 73.2011 China clay on plaster This specially-commissioned wall work is the first to be conceived in parallel with Robert Adams, b.1917, d.1984 a piece of Long’s outdoor sculpture, 5 Roundel for Brittanic , 1966 Brotherlines. Long is one of the most radical Bronzed steel and innovative artists working in Britain. His Roundel of bronzed overlapping steel shapes work is inspired by nature and his solitary made for Brittanic House in Finsbury Circus, walks through landscapes, and explores London, designed by Sir Edwin Lutyens in relationships between time, distance, 1921 (building completed in 1925), the former geography, space, light and natural forms. headquarters of BP. Adams was drawn to the These wall works are made with a slip-like Constructivist group and the work of Victor solution of china clay in water which is Pasmore. His work explores abstract forms applied by hand in vigorous sweeps and and the links between art and architecture. swirls, allowing the residue to splash over the © The estate of Robert Adams. wall below, capturing the movement of the Accession number 58.2011 liquid medium. © Richard Long. All Rights Reserved, DACS 2015. Angus Fairhurst, b.1966, d.2008 Accession number 52.2011 6 The Birth of Consistency, 2004 Bronze and stainless steel Edmund de Waal, b. 1964 © The estate of Angus Fairhurst, courtesy of Sadie Coles 10 Unpacking my Library, 2012 HQ, London. Porcelain, gilding, glass, lacquer Accession number 25.2002 7 Edmund de Waal, one of the world's leading A Couple of Differences Between ceramic artists, created a series of Thinking & Feeling, 2000 installations in 2012, through the ground floor Bronze rooms at Waddesdon Manor. This Fairhurst was born in Kent and trained at contemporary intervention into the historic Canterbury Art College and Goldsmith’s collection created unique and suggestive College, London. A contemporary of Damien interactions between the old and the new. At Hirst, the pair shared a studio in the late the same time, de Waal made this piece and 1980s. He exhibited widely in this country and remembering x, I think of Y for Windmill Hill. abroad, both as a sculptor, and an eclectic The title Unpacking my Library refers to an artist producing works on paper, paintings, essay by Walter Benjamin which discusses computer-animated images and installations. books in the context of where they come These sculptures form part of a series of from, to whom they belonged and who gorillas in different poses, questioning our purchased them. The artist explained: 'Within perceptions of what is animal and what is this piece, shelved like a proper archive, are human, and delighting in the unusual, memorialised snatches of the installations in often with a humorous touch. Waddesdon itself'. This piece responds to his © The estate of Angus Fairhurst, courtesy of Sadie Coles HQ, work at Waddesdon and also engages with London. Accession number 70.2011 the function of the Archive building itself. © Edmund de Waal. At end of main corridor: Accession number 35.2012 8 Column, 2nd or 3rd century Red and white marble A Roman mottled red marble column with white marble base and ionic capital (from a larger column). Accession number 60.2011 In Reading Room: They are among the world’s most sought-after Edmund de Waal, b. 1964 designers, working both in mass production 11 remembering X, I think of Y, 2012 and in hand-crafted, unique objects. © Humberto and Fernando Campana. Porcelain, gilding, glass, aluminium, Perspex Accession number 41.2010.1-8 These vitrines containing porcelain vessels were made as a reverent response to archival 14 Broken Dreams, 2010 institutions while becoming 'part of the day- Glass and steel to-day work of looking, thinking and These lamps are a collage of fragments from connecting that goes on in this place' (Edmund classic Venini designs, a typically exuberant de Waal). The importance of Libraries and example of the Campanas’re-use of Archives to the artist is apparent in his book, redundant materials. The Hare with Amber Eyes (2010). Much of the © Humberto and Fernando Campana. story takes place in the archives and libraries Accession number 45.2010.1-2 of Europe while he explores his family history through a collection of Japanese Netsuke. Tony Bevan © Edmund de Waal. Accession number 36.2012 15 Archive (PC1412), 2014 Acrylic and charcoal on canvas Anish Kapoor, b. 1954 © Tony Bevan, 2015. 12 Untitled, 2009 Accession number 111.2015 Stainless steel 16 Archive (PC144), 2014 Kapoor is one of the most exciting sculptors Acrylic and charcoal on canvas working in Britain today. Born in Bombay, he Tony Bevan is one of the Uk’s leading trained in England in the 1970s and has been contemporary painters. These two paintings based here ever since. He represented Britain belong to a series titled Archives in which in the 1990 Venice Biennale and won the Bevan explores infinite space and the Award in 1991. He has worked containment of knowledge. They are based on on both intimate and monumental scales in the surreal short story by José Luis Borges, diverse materials including stone, pure ‘The Library of Babel’ (1941) which describes pigment and highly reflective stainless steel. the universe as a library. The grid-like pattern Much of Kapoor's work focuses on the of the shelving compartments expand beyond seemingly impossible endeavour of depicting the limits of the canvas, alluding to the infinite the void. The artist explains: 'If at one level the space of the imagination, sprinkled with history of sculpture is the history of material, charcoal star-like clusters. The pattern of I have found in my practice that material leads ambiguous and unidentified documents or me to non-material. That is why I first started books reference the possibility of recording making void objects and then mirrored and preserving knowledge and creativity objects or non-objects.' even in its most mysterious forms. © Anish Kapoor. © Tony Bevan, 2015. Accession number 75.2011 Accession number 112.2015

Humberto & Fernando Campana, b. 1953 In corridor towards Seminar Room: and 1961 Circle of Baron d’Hancarville, 13 Set of eight Harumaki chairs b.1719, d.1805 Carpet, rubber, EVA, fabric and estela formed 17 Set of twelve allegorical painted panels into “sushi” rolls, partially covering brushed Oil on canvas, laid down on board aluminium structure Set of allegorical painted panels in the style of classical red figure vase painting. The The Harumaki Chairs are part of the ‘Sushi panels were inspired by the Collection of Series’, a body of work that is formed out Etruscan, Greek and Roman Antiquities from of rolls of lino, rubber and carpet lining. The the Cabinet of the Hon. W. Hamilton, his sushi rolls spread organically over a stainless Britannic Majesty’s Envoy Extraordinary and steel framework chair creating a multicoloured Plenipolentiary of the Court of Naples, 1767, and flamboyant surface. The Campana a copy of which has been acquired for the brothers live in Sao Paulo, Brazil. library at Windmill Hill. The illustrations and explanatory text were Beatrice Caracciolo, b.1955 published with an introduction by the French 20 Trees and Clouds, circa 2010 scholar Pierre François Hughes, baron Two large black and white photogravures d’Hancarville. Hamilton’s collection of vases is depicting landscapes. The photogravure now in the British Museum. process was developed in the 1830s and Accession number 20.2011 involves a metal photographic plate being coated and etched, before being printed. In corridor outside Seminar Room: Beatrice Caracciolo is an Italian artist based in Guillermo Kuitca, b. 1961 Paris. She often depicts landscapes, but with a 18 Untitled, 2010 deliberate haziness that presents nature on Oil on linen the edge of chaos. © Beatrice Caracciolo. Kuitca is one of the most renowned Accession number 67.2011.1-2 Argentinean artists working today. Although his work has rarely been exhibited in Britain, In Rothschild Foundation Office Reception: his international profile was established when Zigelbaum & Coelho he represented Argentina in the 2007 Venice Biennale. Much of Kuitca’s work reveals a 21 Six-Forty by Four-Eighty, 2010 fascination for mapping, ergonomics and the Custom electronics, software, and injection exploration of architectural pattern. The visual moulded plastic language of maps is appealing to the artist for This work consists of forty moveable and its combination of the abstract and colour-changing magnetic light pixel tiles. representational. The tension between these Each tile is an independent computer, and different visual forms is present in the work visitors can move them into patterns, touch Untitled. The pattern of familiar cubed spaces, any pixel-tile to change its colour, or touch evoking architectural ground plans is smudged two in sequence to send the colour of the first into abstraction. Layered above these forms is to the second. Six-Forty by Four-Eighty exists a barbed wire effect which gives the in several different versions. Zigelbaum & composition a sense of danger and unease. Coelho is a design studio founded by Jamie © Courtesy of the artist and Hauser & Wirth. Zigelbaum and Marcelo Coelho, based in Accession number 41.2012 Cambridge, Massachusetts. Their computer- inspired works of art and installations are In Seminar Room: exhibited all over the world. Edward Bawden, b.1903, d.1989 © Zigelbaum & Coelho. 19 English Garden Delights, circa 1947 Accession number 64.2011 Oil on panel A large mural in nine panels, English Garden Lauren Booth Delights was commissioned by the Orient 22 Sea, 2010 Steam Navigation Company for the first class Resin on board, with neon zip lounge of the liner Orcades, launched in 1948. Lauren Booth makes abstract sculptures The Orcades sailed mainly between the UK using a range of materials. Sea is a work that and Australia via the Suez Canal. She was combines neon and resin. The resin evokes a decommissioned and scrapped in 1973. depth of colour and material while the neon Bawden was a painter, printmaker and charges the piece with intensity and light. graphic designer and one of Britiain's most Booth started making a series of works original and versatile artists. Aside from this combining resin and neon in 2009, as a tribute screen (and a similar one commissioned for to Barnet Newman’s (1905-1970) zip paintings. Orcades' sister-ship Oronsay), he also She has described resin as a ‘magical designed the ship's porcelain dinner service. material’, transforming from a liquid to a © Estate of Edward Bawden. solid, in which the mixing of the colours Accession number 95.1998 becomes a kind of alchemy. © Lauren Booth. Accession number 62.2011

4

2

3 5 6 6

8

7

11 12

14

9 13

10 17 18

20

21

15

19 22