The Volunteer Summer 2017

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In this edition: Volunteering in the Constable Exhibition Being a Collections Volunteer Being a Visitor Service Volunteer Why I Volunteer Volunteer Dates for the Diary News at the Museum Object on Display Object from the Stores Staff in the Spotlight Exhibitions Events Contact Us

Event Volunteer Mary Crane helping with a museum family event Volunteer Voices

Volunteer Roy Wilde on being an Engagement Volunteer produced during his visits to the Fisher Family. Duty at the exhibition brought both the obligation and the enjoyment of studying Constable ‘up close’ and entering into some of the entertaining debates with our visitors on rainbows, ‘Wiltshire’ carts, wagtails versus magpies, out-of-scale houses, and just what did grab the dog’s attention? The opportunity

to participate in the volunteers’ visit to the Tate

[see image overleaf], vital to our understanding of how Constable’s style changed over time, was significant in settling the artist’s preference “…being an engagement for wagtails over magpies in his Flatford Mill. volunteer…has…brought most Unfortunately, we paid for such enlightenment enjoyable discussion with our with our four-hour sojourn on the M3 later that evening. visitors.”

During a military career, I spent a considerable Over the following months many discussions amount of time on the archaeologically-rich and light-hearted research followed, on points surroundings of the Salisbury Plain. My first as diverse as - was Constable’s rainbow an retirement project was to complete an MSc in impulse afterthought; whether Turner could archaeology at the University of Southampton, actually see the King’s House from where he during which my research brought me into painted the Cathedral north door; or did contact with the museum. Adrian Green kindly Charles II really reach Salisbury in 1651? permitted me liberal access to the library and the many Iron Age and Romano-British pottery However, it was participation in the museums’ assemblages to be found in the museum’s two-day watercolour art workshop run by Claire ceramic store. Thanks to the help of the Thomas in February that encouraged the museum’s staff and volunteers I was able to twenty aspirant artists to view the exhibition in submit a suitably convincing research a more demanding light. We were all tasked to dissertation. Accordingly, I resolved that, produce speed-sketches of one or two of the amongst the other projects and interests that works on show and then required to develop a would keep me from getting under my wife’s scene of the Cathedral or its surroundings from feet during the retirement week, I would repay them [see image overleaf]. Many of the works the museum’s support by becoming a produced under Claire’s tutelage would have volunteer. complemented the exhibition and certainly reflected well in comparison to Mr Kossoff’s The spectrum of volunteer activities of the past demanding etchings. two years have enabled me to reinforce a schoolboy interest in both history and art. Happily, local representation in the exhibition Acting as an Engagement Volunteer for the was assured by our young visitors’ Constable in Context exhibition provided the representation of Salisbury Cathedral from the ideal opportunity to immerse myself in the life Meadows in around 65,000 Lego pieces [see of an artist I had not studied since my teenage image overleaf]. In all, being an Engagement years. Whilst I was aware of some of Volunteer during the exhibition has increased Constable’s Wiltshire works, I had no idea of my knowledge (if not my artistic appreciation of the significance of the more than 300 paintings the more modern works) and brought most and sketches of the Salisbury area that he enjoyable discussion with our visitors. Volunteer Voices

Salisbury Cathedral from the Meadows, exhibited 1831 John Constable (1776-1837) ©Tate, London 2013 Purchased with assistance from the Heritage Lottery Fund, The Manton Foundation, the Art Fund (with a contribution from the Wolfson Foundation) and Tate Members.

Roy Wilde’s watercolour of Salisbury Cathedral completed during the two-day

painting workshop at the museum, inspired by the Constable in Context exhibition.

The museum’s LEGO half term event – to build a life-size version of Constable’s painting of Salisbury Cathedral from the Meadows, 1831 in Lego! Volunteer Voices

Volunteer David Balston on being a Collections Volunteer

be supported I began to be more involved in the management of the database. Two years ago, I resigned as a Trustee so that I could concentrate on this role. So, what do I do now?

To keep the Trustees in the picture I prepare a quarterly report on the status of the Documentation projects undertaken by volunteers. I have been told that this is much appreciated. As a related activity, I initiated and chair quarterly meetings with Adrian to manage these projects. There are currently 20 projects covering the whole range of objects found in “…it’s not what I expected, but all the museum. the same I continue to enjoy the Three years ago we upgraded Modes, the contribution I’m able to make.” museum’s collections database, and this introduced a lot more constraints on the data Approaching retirement, I thought it would be that can be entered in a wide range of specific interesting to explore volunteering at the fields. I had already imposed more discipline, museum. I assumed I'd be assigned a subject especially in the terms used for the storage and be able to explore it depth. I didn't mind locations of objects, but the upgrade took us to what. I had worked in electronics research for a whole new ballpark. We now have over much of my career and so hoped to continue 80,000 records in the database and whenever learning new facts and skills. the data in a field does not meet the criteria a red cross appears in the margin. After the I had a meeting with the then Curator of upgrade we had over 250,000 red crosses! I Archaeology and told him I knew “little about have already reduced the number to 90,000 history and nothing about museums”. His face but there is still a long way to go. fell. Then I mentioned that I was computer literate. Whoosh, I was sat down in front of a I also train new volunteers in the intricacies of computer and told to explore the database of Modes; interface with the Modes Support team objects. I've been working on it for nearly 17 to resolve problems and get small programmes years now. written to perform special tasks; propose new projects to Bridget and Adrian; and provide a It hasn't all been databases however. Not long supporting role for several existing projects. after starting I was asked if I would join the Museum's Management committee. I ended up In the course of all this I have learnt a lot but as a Trustee for 12 years including six as hardly anything about the actual objects in the Treasurer. One of my proudest achievements museum. So, as you can see, it's not what I in that time is chairing the selection committee expected, but all the same I continue to enjoy that chose Adrian Green as our new Director. the contribution I'm able to make. I had continued to work on the collections during this time and when it was decided that the role of Collections Manager could no longer

Volunteer Voices

Volunteer Richard Keller on being a Visitor Service Volunteer

Since retirement I have added other volunteering roles as a Guide and Concert Steward at Salisbury Cathedral; Usher at Salisbury Playhouse; and House Guide at Mottisfont Abbey. This, along with membership of Probus and the Salisbury Luncheon Club makes for a busy life.

I particularly enjoy engaging with the visitors at the museum, explaining what there is to see, how the ticketing works etc. and mostly they are friendly and interested. Of course, we do get some who expect museums to be free of charge and we have to explain sometimes why “One of the best aspects is when a ours is not. On the whole, they are reasonable happy visitor leaves saying how but we do get the occasional difficult customer! much they enjoyed their visit....” People sometimes ask how long it takes to see round the museum (often because they are on

a coach tour and have a tight schedule). A I first joined the museum as a Visitor Service difficult question to answer! Volunteer (working in reception issuing tickets, giving information, and selling merchandise) in On Tuesdays, I normally work with Hannah the spring of 2014. I was still in full time work at Grigson who is incredibly busy as she does the the time so I came in on Saturday afternoons. I volunteer rota as well as issuing tickets for the was planning for retirement and finished work museum events and dealing with enquiries on in November 2014. Since April of 2015 I have the telephone. Hopefully I can take some of the been doing a regular slot on Tuesday burden off her by selling entrance tickets and of mornings. I wanted, in retirement, to be busy course items from the shop. after a hectic job and do something useful. I have a particular interest in history. One of the best aspects is when a happy visitor

leaves saying how much they have enjoyed My career prior to that was in the three ‘P’s’: their visit and that they hope to be back. We Printing, Paper and Publishing. I worked for the had several of these this morning! Hamlyn Publishing Group, Penguin Books, and most recently as UK Sales Director for the

Swedish Forest Products Company SCA - selling paper produced in Sweden for magazines and newspapers to publishers and printers throughout the UK. SCA are the largest private forest owners in Europe with forest land about half the size of Wales. The major paper mill is in Sundsvall, the sixth largest city in

Sweden, and from there paper is shipped to

Tilbury for distribution around the UK. Sadly, the market for newspapers, books and magazines is declining rapidly and paper mills are closing - including the major one in Kent built by SCA only 20 years ago. Why I Volunteer

Ben Dryer, Collections Volunteer:

Number of current “I have been lucky enough to volunteer at the volunteers at the museum for the past three years. The work that museum I do with the Pitt-Rivers collection has given me 234 the chance to experience a jaw dropping range of artefacts from around the world, as well as Pam Balchin, Costume Project Volunteer: get some insight into how such an amazing institution is run. If that were not motivation “Like many other people I have coped with enough, the walk across The Close is such a depression for many years and at a time when mindful experience first thing on a Monday I quite literally ‘needed to get out more’ I saw morning.” some information about volunteering at the museum. As I have always been interested in Ian Dixon, Learning and Engagement history, archaeology and anthropology this Volunteer: seemed like a good idea. The costume project entails our cataloguing of every single item in “Through volunteering I can offer, use and the collection, and as each artefact is different further develop skills acquired in primary one can never get bored. We see some teaching. I'm privileged to work with talented, absolutely exquisite needlework, and more committed staff and meet visitors from all over home-made items each tell a story of their the world. Engaging youngsters, their teachers origins. I have made new friends (we rarely and families in the exciting Salisbury Museum have a volunteering session without a giggle) project feels rather special!” … and contact with the museum gives access to all the exhibitions, lectures and special Sue Bale, Learning, Engagement and Events Volunteer: events like the archaeology festival. Volunteering has opened a whole range of "I volunteer at the museum because I love doors, and I feel it is the best thing I’ve done in working with children. My reward is watching years!” their enthusiasm, seeing their minds open up and sharing with them the endless questions Mary Crane, Collections and Events which are there to be explored." Volunteer:

“I have always wanted to touch things in Kate Crouch, Engagement and Events Volunteer: museums. As a child, I got a stuffed red squirrel out of its case (not in a museum, I “I find it very rewarding to see so many children hasten to add) but it disappointingly fell to bits. and parents enjoying the museum - the Lego The chance to get my hands on some of Pitt- Constable day was amazing! It is also good to Rivers bits and pieces has been a real learning be part of such an enthusiastic and committed experience and a delight. On family event days team of staff and volunteers, everyone is so I love being part of helping to pass on the helpful and welcoming.” wonder of all things historical. The staff here are a great crowd to work with.”

6,072

Number of hours volunteers gave to the museum between January-May 2017

Volunteer Dates for the Diary

SALOG volunteer Christine Mason on the Rex Volunteer trip to Whistler archive at the museum. No need to Avebury RSVP. We will aim to deliver three collections lectures a year (as well as three volunteer coffee mornings a year). Please let me know On Monday 12 June we are running a if you would be prepared to give a talk about SALOG (Stonehenge and Avebury Learning an aspect of the collections – or if there is and Outreach Group) volunteer trip to anything you would love to hear about. All of Avebury. The visit will include a guided tour of our volunteer presentations will be recorded the stone circle and entrance to the and will soon be available to listen to on the Alexander Keiller Museum, as well as a museum website. I will let you know when chance to meet volunteers from the other this is in place. SALOG partners (Wessex Archaeology; Wiltshire Museum; English Heritage and the National Trust) over tea and refreshments.

The offer is for 12 volunteers from each organisation. Our volunteers snapped up the Summer chance and there is now a waiting list. We will Volunteer Party investigate if we can organise our own visit to the site later this year. 2017

This years’ Summer Volunteer Party will be

Festival of held on Tuesday 5 September from 6pm-

Archaeology: 7.30pm. There will be food, drink, merriment

and the much loved Museum Quiz! 22&23 July

This is a small way to say thank you to all of Would you like to be involved and volunteer our volunteers for all the hard work and at the festival? If you are interested, please dedication you give to the museum. Please email Katy England on RSVP to me: [email protected] [email protected]

There are two briefing sessions for volunteers who would like to help out:  Friday 16 June 10.30am – 11.30am Volunteer  Tuesday 20 June 2.30pm – 3.30pm Coffee Mornings

A chance to meet other volunteers over Collections in coffee and cake and learn about an aspect of

Focus the museum. The next coffee mornings will be held from 10.30am-12pm on:

19 and 20 September: ‘Behind the scenes of the museum: collections and cataloguing’ by The first of our new series of collections talks volunteer David Balston. There will also be for volunteers will be held on Thursday 31 short presentations by volunteers on an August at 10.30am-11.30am. This will be by object of their choice. No need to RSVP. News at the Museum

HLF decision – redeveloping the museum Wessex Partnership Spotlight Loan: As most of you know the museum has Women of Power submitted a bid to the Heritage Lottery Fund for £7.3 million to complete the masterplan to redevelop the museum (the completion of the Wessex Gallery in 2014 was only the first part of the plan). Due to the election For the next twelve months museums of the announcement for 8 June 2017 the HLF have Wessex Museums Partnership (Poole issued an embargo on the results being made Museum, Dorset County Museum, Salisbury public. So unfortunately, we will have to wait Museum and Wiltshire Museum) will be until later in June to hear the result. We will sharing the story of Wessex in the wider let you know then! world by loaning an artefact from their own outstanding collections to the other partner museums.

From 7 June 2017, the artefacts pictured above from Wiltshire Museum will be on display at our museum. These objects were

PAS Intern discovered by William Cunnington in the 19th

– Nadia Century in a barrow in Wilsford. This barrow burial was of an important Bronze Age Messina woman. Contained within her grave were objects that showed her power and authority. Gold, amber and jet beads and pendants Nadia Messina, is the new museum intern were discovered with her remains. The working with the Portable Antiquities Scheme. objects that will be on display are replicas. She is on an Erasmus+ scheme. ERASMUS is an EU programme which helps higher education students live and work abroad for up to twelve months, thus extending their Mini studies and learning a new language, while Museums contributing to their place of work in a new schools country. This follows on from a successful project Erasmus+ internship for Christina Sanna with the PAS at the museum last year.

Nadia is from Syracuse in Sicily. She studied Owain Hughes, the Learning Officer, and his archaeology at Siena University. She has team of Learning Volunteers are undertaking been helping to identify, record and a huge task this summer – to create ‘mini photograph finds discovered by metal museums’ with a further four primary schools detectorists or others, from the Wiltshire area. and 1,230 children! The school first visits the museum, before we then go to the classroom The museum also has a wider student to help them learn about how and why a placement programme. So far in 2017 the museum functions. They then create their museum has hosted eight student own galleries based on a topic they are placements and will be hosting a further eight studying and open their very own museum for placements throughout the year. the school community. The next generation of

curators is on its way! Object on Display

To aid volunteers to further their knowledge about the collections we will now have two articles in each volunteer newsletter about two different artefacts – one artefact that is on display in the museum, and one from our stores. These will be researched by volunteers. I hope that you find them an interesting read.

The Alcock model locomotive by volunteer Jane Hanbidge

chorister at the local church and learned to play the organ. Aged 13 he began studies at the Royal College of Music, and flourished. He was at Westminster Abbey and the Chapel Royal as organist and eventually, Salisbury Cathedral. The connection? Walter Alcock built the model. It was made without drawings or access to model parts. He frequented St Pancras (his own words) and spoke to drivers to ‘grill’ them on sizes, ratios and other engineering stuff. He then built the model from scratch. In fact, he eventually built two models. He knew this one worked because he left it steaming one day

and went to have a cup of tea. He left it rather “Intensely audible and visually attractive…”*. A long and the pressure rose dramatically but it wonderful description of the steam locomotive! was all still intact when he returned. Success! No wonder trains and model engines were every man’s joy, and to some degree still are. It When living at 5 The Close he set up a railway is mostly men and boys, but most mothers, track in the garden. Visiting choristers from the sisters and sweethearts have done some Cathedral came to ride round on the wagons trainspotting too. pulled by the loco. Tucked away in the Salisbury Gallery is a A remarkable man. Have another look at the green painted model of a Patrick Stirling steam model next time around. locomotive. Stirling was a Scottish railway *From an article in Model Engineer 1996 by engineer, eventually Locomotive Harold Barton. Superintendent of GNR. His most famous engine was the ‘eight-footer’, so called because of the size of the driving wheel. That’s our model. It doesn’t look much up against the Flying Scotsman. The girls, especially, might pass by without a glance. But it is the model of an engine that held speed records in the 1890s. Thirty years earlier, in 1861, Walter Galpin Alcock was born in Kent. His father became Superintendent of an orphanage in London in 1870 and in 1874 the family moved to Twickenham. All done by train no doubt, as things were in those days. Walter became a Object from the Stores

The Great Coat by Volunteer Sue Allenby

Howard Harris had joined E Battery of the Black Horse Royal Artillery and sailed in April 1854 for the Bosphorus. He and his great coat suffered through the most dreadful conditions. Having made their way from Turkey to the Crimea he tells us, “Fancy, 27,000 troops just landed in a strange country without a single tent or covering more than their great coat…standing in pitiless rain...no bed, no waterproof…no bit of dry ground to sleep on. To make matters worse my horse had tumbled into the sea on landing with all my kit on its back…”. The team unwrapping and cataloguing the tissue-wrapped costumes in store never know The instalments give a chilling account of the what they will find next. The work is always barbarity of that war; the Western European exciting and sometimes even poignant, such as allies fighting the Imperial Russian Army in the when we found a tiny milk stain still on the Crimea, where they were heavily outnumbered. shoulder of a lovely Victorian Christening robe. The excepts graphically describe the privations While we are working and recording in great of the men, the devastating effects of cholera, detail, we cannot help but speculate who it was and the lack of preparation and provisioning, all who wore those racy red Edwardian stockings, told with a soldier’s black humour. He does not or that exquisite silk stomacher, straight out of spare his readers his account of the killing a Gainsborough portrait! fields, including Alma, Balaclava, and Inkerman. What is most thrilling of course is that we are unwrapping Salisbury’s history. When we can Inkerman, where so many commanders were link our finds to other exhibits in the galleries killed, was known as the Soldiers’ Battle. The and even do a little research to create more of first three hours were fought in fog with the the story, then what could be better than British and French troops heavily outnumbered that? The team I joined had recently found a although they eventually won the day. “At military great coat, which had been worn about this time” wrote Harris, having witnessed throughout the Crimean War by a local soldier. the deaths of many of his companions, “a large Big and heavy and navy blue with identifiable shell from the shipping burst over our heads artillery brass buttons on the coat and on its and a fragment of it struck me on the shoulder cape, it was straight out of every artists' and split my greatcoat down the back. I still impression of the Battle of Inkerman. The coat have the old friend.” Today, we are fortunate to was given to the museum in 1976 by Howard have in the museum archives the great coat Harris’ grand-daughter. with its original repair [see image overleaf].

Harris had served throughout the Crimean War Howard Harris served a further 19 years with and witnessed the Charge of the Light Brigade. the Wiltshire Yeomanry after the war, and in Some fifty years later, the Salisbury Times 1897 became Mayor of Salisbury. That was the asked him to write his ‘Memories of the Crimea’ year of Victoria’s Diamond Jubilee, so he must for publication in January and February 1908. figure in the celebrations in Salisbury, along Object from the Stores

with our Giant. Perhaps our Giant had a new suit of clothes made especially for that day, as he had done in 1856 for the Peace Festival after the Crimean War? There is the left hand diagonal half of the magnificent picture of that Peace Festival, cut around the casing for the Giant in the Salisbury Gallery. How very smart our Giant looks in his new PEACE sash.

On my way home on the day I learned about the great coat, I found myself going into the Wardrobe at the top of the Close to ask about the archives for the Wiltshire Regiment, and then into the Guildhall to look for Howard Harris’ photograph.

Perhaps this is a fragment of Salisbury’s history writing itself for a new Salisbury Gallery?

Howard Harris as Mayor of Salisbury in 1897

The repair in the back of Howard Harris’ great coat from shell damage – now in the museum collections. Staff in the Spotlight

Sara Willis, Development Officer Valerie Goodrich, Museum Assistant

Hopefully I have introduced myself to many of My role at the museum is very varied and you and you have an idea of what I do but never boring as I have a huge variety of tasks. often there isn’t time for anything but a quick A very interesting part of my job is going introduction in the staffroom! To explain a little through some of the museum archives, sorting further, my role is to manage the museum’s and preserving them for future generations and revenue fundraising programme, develop and making sure they are added to our object maintain relationships with trustees, donors, database. If any of the documents relate to volunteers, members and prospects and raise something in the collections then they are used funds for core operations including, exhibitions, to create an object history file which gives the education, conservation and acquisitions. background information to that particular object. I work very closely and share ideas with Louise Tunnard, Joyce Paesen and Jan Thorne One of the first things I do when I arrive in the regarding fundraising events and marketing morning is check my emails and see what initiatives, also with Roger Wadey enquiries have arrived in my inbox or see if any (Membership Secretary) and Nicola Kilgour- have arrived by post or been handed in at Croft regarding increasing membership and Reception. I answer between 40 and 50 financial matters concerning fundraising. I also requests for information regarding our work on numerous events including private collections every month and I usually know views, fundraising events, sponsors lunches, where to go to find the answers to the huge corporate events, members’ events and variety of questions people ask. I also get lots prospect events. Fundamentally my role is of requests from researchers who want to about building relations with a whole range of come and handle objects for research people, explaining the wonderful work the purposes. Their visit requires a certain amount museum does with the help of its volunteers of organization, not least making sure that the and asking, in numerous formats, if they are objects are available and can be located. willing to support us. Alongside all of this I keep an eye on our insect As I said at the start, I do try to introduce traps to make sure our collections are kept free myself to volunteers wherever possible but from insect damage, something to be avoided please do track me down and ask any at all costs. questions you have. I would also like to thank you all for your commitment to the museum I enjoy finding out new facts relating to our and the help many of you give to make collections and I learn something new every fundraising events successful for the museum. day.

Exhibitions

Major Exhibitions

Terry Pratchett: HisWorld

16 September 2017 – 13 January 2018

The Long Man of Wilmington

Eric Ravilious 1939 The Salisbury Museum, the Pratchett

Pratchett: Hisworld’. This is an exclusive British Art: Ancient Landscapes major exhibition based on the extraordinary 8 April – 3 September 2017 life of Sir Terry Pratchett, the creative

genius behind the Discworld series. Follow The British landscape has been a continual his journey to becoming one of our best inspiration to artists across the centuries and known and best loved writers. This unique particularly the landscapes shaped and exhibition will include artwork by the man marked by our distant ancestors. The himself and treasured items owned by Sir megaliths, stone circles and chalk-cut hill Terry which have never previously been on figures that survive from Neolithic and Bronze public display. Also featured, will be over Age times have stimulated many artists to forty original illustrations by Paul Kidby, Sir make a response. Terry’s artist of choice.

In this major new exhibition curated by

Professor Sam Smiles, these unique artistic responses have been brought together to create a new discussion. Featuring the work Debussy La Mer of some of the greatest names in British art Brian Graham from the last 250 years, see John Constable,

JMW Turner, Eric Ravilious, John Piper,

Barbara Hepworth, Henry Moore, Paul Nash,

Richard Long, Derek Jarman and more, as their work records and reflects on some of our most treasured ancient landscapes.

Brian Graham: Towards Music

27 January – 12 May 2018

This exhibition of the work of artist Brian

Graham, represents a unique interpretation of

the evolution of music and dance. By creating

a series of 40 painted reliefs, Brian takes us

on a visual journey, exploring how he

Exhibitions

imagines the beginning of music-making and dance. This body of work also reflects his research in fields beyond art and encompasses science, archaeology and anthropology. Each of the works is dedicated to a piece of music, a composer or a significant figure from the world of music and dance. The results are stunning and eloquent works, which inspire us to think about our ancestors living long ago, and how they communicated through sound and movement and the ultimate joy of this. Troops in the Middle East 1914 -1918 Henry Lamb Also featuring in the exhibition will be The Pencil drawing and watercolour Cave of Sounds. The Cave of Sounds is an interactive installation featuring eight original Henry Lamb: Out of the shadows electronic musical instruments. The 26 May – 30 September 2018 installation is the product of a collaboration between eight artists, each of whom designed This exhibition is in partnership with Poole and produced one of the instruments. These Museum. instruments don’t have to be played in a particular way – they can be played using Henry Lamb (1883 – 1960) was one of the movement, light, shadow or touch – so leading British figurative painters of the first whether you are a musician or not, you part of the twentieth century. A close decide how to play them. This results in a associate of Augustus John, patron of wide variety of sounds and a unique sound Stanley Spencer and friends with members of experience. The results feed in to a central the Bloomsbury Group he was also a founder computer that keeps everything in key and on member of the Camden Town Group in 1911. beat. The installation is arranged in a circle, He was a very accomplished musician and which mimics prehistoric stone circles. At the trained as a doctor. Friends described him as centre, a visualisation drawing shows exactly a well-read, erudite conversationalist. He how each instrument being played, is became a trustee of the National Portrait connected and allows players to interact with Gallery (1942) and the Tate Gallery (1944). each other, through sound. He became an Associate of the Royal Academy in 1940 and a full Academician in 1949.

Portraiture played an important role in his career as a painter. But his townscapes and landscapes, as well as his early subject pictures of Ireland and Brittany, and his work in both World Wars, reveal him to be a painter of considerable range and talent. This show will give a full retrospective of his work.

Exhibitions

Smaller Exhibitions

Hare coursing at Stonehenge Oil on canvas Samuel Spode, 1817

The Art of Stonehenge Spoons - A stirring tale... 20 May – 27 August 2017 8 April – 3 September 2017 This exhibition complements the ‘British Art: This unusual exhibition of spoons is the Ancient Landscapes’ exhibition on show in result of a project working in collaboration the Main Exhibition Galleries. Featuring with the NFWI Craft Committee. The aim representations of Stonehenge that span the was to encourage WI makers of all abilities centuries and artistic mediums, the exhibition to attend workshops held at the museum and records our continuing fascination with this working with textile artist Suzie Gutteridge, to ancient site. It also provides a unique knit or stitch spoons inspired by those in the opportunity to see works from our collection museum's collection. Once created, all these not usually on display. beautiful and individual pieces were sent to ceramic artist Julie Miles, to be transformed by being dipped in porcelain and fired. The result is a testament to the imagination, skill and creativity of WI members.

Paul Kidby: The Charmed Realm 2 September 2017 – 6 January 2018

Within the walls of this exhibition awaits a secret kingdom where the folk of dreams abide. Venture through the deep forests to glimpse the magical unicorn, climb the snow- covered mountains where the ice dragons dwell and take to the skies where the faeries dance. Take care and beware, for once you step into the Charmed Realm anything is possible! Events and Contact Info

Events Contact Us

Last summer’s paper boat making with artist Bridget Telfer, Volunteer Co-ordinator Suzie Gutteridge If you have any thoughts or comments on the Please pick up a copy of our events guide for Volunteer Newsletter, please do get in touch. all of our museum events from now until the Or if there is anything that you would like to see end of September 2017 or go to our website: included then I would love to hear from you. www.salisburymuseum.org.uk for information and to book tickets. I hope that you enjoyed this edition of the Volunteer Newsletter. Tickets are now on sale for all of our talks at this year’s Festival of Archaeology (22 and 23 Bridget Telfer July 2017): Volunteer Co-ordinator The Salisbury Museum http://www.salisburymuseum.org.uk/whats- The King’s House on/festival-archaeology-2017 65 The Close Salisbury SP1 2EN Also, don’t forget to bring your children or grandchildren along to our summer Discovery Email: [email protected] Days (every Tuesday throughout the summer Telephone: 01722 332151 holidays).