Holburne Museum Annual Review 2012 - 2013
A summary of the Museum's collection, exhibitions, education, events, volunteering, fundraising and marketing activities from May 2012 to May 2013.
Annual Review 2012â€“2013 Cover: Presence: The Art of Portrait Sculpture exhibition Dr Antonio Cocchi (1695–1758), Joseph Wilton RA (1722–1803), 1755, marble (bust) © Victoria and Albert Museum, London All images © The Holburne Museum unless otherwise stated Event images with thanks to Cardwell Photography CHAIRMAN’S INTRODUCTION I am extraordinarily fortunate to have the privilege of succeeding David Posnett as Chairman of this remarkable Museum. But with that privilege comes responsibility – and I know I speak for all our Trustees when I say how conscious we are of our responsibility for the continued growth and long-term success of the Holburne Museum. The Museum today is very different from that taken on by David Posnett some thirteen years ago. The transformation of the Holburne under his leadership has been astonishing and, deservedly, it has been celebrated in many ways. The vision of the renovation and extension to the Museum, the quality of the displays, the vibrancy of our programmes and the new relationships we have forged with our visitors, through free admission, all speak of an institution that knows what it is doing and is doing it well. Although the Holburne no longer faces the fundamental challenges that it did a decade ago, challenges remain and the Trustees are clear about the priorities for the Holburne for the next five years. First and foremost is the need to ensure the Holburne’s long-term sustainability as an independently funded and free-toenter museum. Two years in to the ‘new’ Holburne’s operation it is clear how our business works. There is always room for improvement – for maximising our commercial revenues and being vigilant on expenditure – but it is also clear that our first priority must be to increase our Capital Funds. Only increased Capital Funds can provide a stable and secure income to support our running costs and to ensure we can devote our energies to the exhibition and education programmes. We have therefore set ourselves the target of increasing our Capital Funds to £8million by 2016, when we will celebrate our centenary in the current building. There were obvious anxieties at the prospect of embarking upon another substantial fundraising drive so soon after completing the development campaign. However, with the help of the ‘Department of Culture, Media and Sport and the Heritage Lottery Fund Catalyst: Endowments’ scheme the start we have made has been exceptionally encouraging with £1,595,218 raised to date. We are confident that our Capital Funds will increase to a little shy of £5million by the end of 2013. We cannot and will not rest on our laurels. This is a fantastically encouraging start and speaks of the faith that so many of you have in our long-term plans. Next, and as important as the Capital Funds, is our collection. The collection is the beating heart of the Holburne. I am determined that it should continue to grow and develop. There have been some spectacular additions to the collection in recent years – none more so than the Somerset Maugham Theatrical Paintings Collection given to the Museum by the National Theatre in 2011. Every notable acquisition adds life to the Museum, suggesting new connections with the works we hold and opening up new areas for exploration and discovery. As I write we are attempting to acquire a quite spectacular seventeenth-century bead basket that, if we are successful in our fundraising, will speak to and transform our important collections of stump-work embroidery of the same period, as well as giving huge pleasure to countless visitors. I hope that it is the first of many notable acquisitions in the coming years. Finally, whilst Eric Parry’s extension has transformed the Holburne, it was always intended to be the first step towards the restoration of Sydney Gardens and the fuller reintegration of our site with the Gardens. In many ways our development will not be complete until this work is done. I am particularly happy that in February, together with Bath and North East Somerset Council, we submitted an application to the Heritage Lottery Fund for funding towards this important project. Sydney Gardens is a park as rich in possibilities as it is in history, and I look forward to helping to ensure that these are fully realised. Richard Fleck CBE CHAIRMAN 1 DIRECTOR’S REPORT There have been many highlights for the Holburne over the last 12 months. 2012 saw 130,278 visitors through our door, with over 13,000 of them attending our workshops, events, concerts and talks. Many more have enjoyed the eighteen exhibitions and special displays in our galleries and gardens – from major shows to contemporary installations ranging from a labyrinth of light to a ceramic mushroom cloud. The breadth and variety of the Museum’s activity has been invigorating. For me personally, perhaps the most thrilling moment was presiding over the installation of our exhibition of portrait sculpture and watching one supreme masterpiece after another emerge from its packing case. For the Holburne to play host to such an array of masterpieces from Greek bronzes to Ron Mueck including works by Roubiliac, Brancusi, Degas and Giacometti was spine-tingling. We could not possibly mount exhibitions of this calibre without the support of our many lenders. The goodwill and generosity demonstrated by national museums and institutions towards the Holburne over the last year has been particularly noteworthy: The British Museum, V&A and Tate have all lent astonishingly important pieces to our sculpture show and our revelatory exhibition of Baroque cabinets was almost wholly drawn from the V&A’s unrivalled collection; most recently our exhibition Painted Pomp: Art and Fashion in the Age of Shakespeare was built around English Heritage’s generous loan of nine exceptional Jacobean portraits by William Larkin from Kenwood House. Funders too have demonstrated similar levels of belief in and support for the Museum. Our DCMS/Heritage Lottery Fund Catalyst: Endowments grant of £1million has almost been completely matched by many others and is helping us build our Capital Funds. This will prove transformational for the Museum. As significant and vital have been a series of grants repeated over several years from a number of outstandingly generous trusts, foundations and individuals: The Foyle Foundation, The John Ellerman Foundation, The Linbury Trust, The Monument Trust, Brian and Margaret Roper, Iwan and Manuela Wirth, and Manny and Brigitta Davidson. They have made grants in support of salaries and programmes underpinning all our activity as we work towards increasing our Capital Funds to £8million by 2016. We are grateful to the University of Bath for their continued support. Our relationship with the University goes back many years. Not only do they support our work with an annual grant, they also provide essential back-office services such as managing our IT systems and supporting our payroll and HR services. We are delighted that this established relationship has been joined by three new and equally significant partnerships, all with long-term exciting opportunities for the future of the Holburne. At the beginning of 2013 we entered into a new five-year partnership with Bath Spa University. Built on the work we already do together, this seeks to develop the ways in which the Museum, its collection and its staff can work in partnership with the University. 2 Opposite page from top: Lydia Dwight Dead, John Dwight (1633–1703), grey salt glazed stoneware, 1674 © Victoria and Albert Museum, London Yoko XXI, Don Brown, 2008, edition of 6 © Collection of the artist, courtesy of Sadie Coles HQ Below: Circuit: A Light Labyrinth by Martin Richman in the Museum’s garden In February, in partnership with Bath and North East Somerset Council, we submitted an application to the Heritage Lottery Fund for a grant towards the restoration of Sydney Gardens which we hope will complete the work of re-linking the Holburne to the park in which we sit. Finally in April 2013, we received the news that a partnership of Bath’s principal independent museums, instigated by the Holburne and including the Bath Preservation Trust and the American Museum in Britain, has received a substantial grant from Arts Council England. This is to be directed towards joint work on audience development and marketing which aims to transform the way that Bath’s many museums work together. 2012 also saw the retirement of David Posnett as chairman after thirteen years. I cannot sign off this report without paying tribute to the quite extraordinary amount that he has done for the Holburne during this time. It was David’s singleness of purpose and unbounded energy that lies behind so much of what has been achieved. All of us owe him an enormous and keenly felt debt for helping create the vibrant and thriving museum we have today. ‘I am delighted that we have formalised our long and successful partnership with the Holburne Museum. Bath Spa University is a hub of creativity with a strong focus on culture and enterprise. For some years, our staff and students have worked closely with colleagues at the Museum. We look forward to a flourishing cultural partnership.’ Professor Christina Slade, Vice-Chancellor, Bath Spa University IN PARTNERSHIP WITH Alexander Sturgis DIRECTOR 3 THE COLLECTION Over the past year the most significant work on the collection has been carried out behind the scenes. This has involved the transfer of our entire collection onto a new electronic catalogue, generously funded by Brian and Nellie Ashford-Russell. This will not only greatly improve our care and management of the collection, but in the fullness of time it will also allow us to make the entire collection available online. Acquisitions Local Heroes was a showcase exhibition of the five Holburne Portrait Prize commissions made since 2002, including the unveiling of the latest two works which now enter our collection: Bill Bailey by Sally Muir and Stephanie Cole by David Fisher. The Museum has also received generous donations of books for the reference library from David Posnett, the late Barbara Ellis, Trevor Fawcett, the Fashion Museum and Bath Spa University. Loans Long-term loans continue to be an important part of the Museum’s permanent displays. 2012 saw the addition of a magnificent Still Life with Fruit and Shellfish by the Antwerp painter Cornelis de Bryer (active 1634–1671). Visitors have enjoyed searching for the twenty-two different types of fruit that the artist has depicted so realistically among the shellfish. Our collection continues to be popular with other museums and galleries who have requested loans for their exhibitions. Zoffany’s portrait of David Garrick as Sir John Brute in ‘The Provok’d Wife’ featured in the National Portrait Gallery’s First Actresses, and the same actor in ‘Venice Preserv’d’ travelled to the Royal Academy and the Yale Center for British Art in America for Johan Zoffany RA: Society Observed. Joseph Wright of Derby’s copy of his Dead Soldier was an important element in the Foundling Museum’s touching exhibition Fate, Hope and Charity. Compton Verney’s summer exhibition Flight and the Artistic Imagination featured our Jacob’s Ladder embroidery. The most unusual loan request was for two very dark, dirty paintings from store to become part of an installation by the Dutch artist, Melvin Moti, at the Arnolfini in Bristol for the exhibition Version Control. ‘A gem of a museum. One of those stunning smaller museums based on the collection of a single individual that are such a part of England’s cultural heritage. Eccentric, but brilliant and with some real standout masterpieces, such as the Gainsboroughs. This is a must if you are visiting Bath. And it’s free!’ Visitor comment 4 Conservation A generous donation from David Pike has enabled us to conserve three eighteenthcentury British works. The much-loved portraits of Thomas Barker and his wife Priscilla Jones by Thomas Barker have been treated by Helen White. Several layers of discoloured and dirty varnish were removed from both portraits, which were in good condition and needed very little retouching. The couple’s faces are now brighter and both look as young and fresh as they did in the 1790s when Barker painted them. Their frames were also cleaned, repaired and toned so that the difference between the two (not originally a pair) is less discernible. David Pike’s donation has also allowed us to display another theatrical portrait from the Somerset Maugham Collection, a small conversation piece recently reattributed to Johan Zoffany. An inscription on the stretcher of this painting reads ‘Foote and Weston in Dr Last’. The comical charlatan Dr Last first appeared in Samuel Foote’s play The Devil upon Two Sticks, a satire on the medical profession, and a later spin-off Dr Last in his Chariot, an adaptation of Molière’s Malade Imaginaire. Although Foote and Thomas Weston appeared in the original productions of both plays in the late 1760s, there is no likeness to them in this portrait. Zoffany scholars Martin Postle and Charles Greig have identified the very short actor on the right as Jeffrey Dunstan (about 1759–1797). Dunstan, a popular celebrity, was a foundling and, following a severely deprived childhood of malnutrition and heavy labour, he grew no higher than four feet and had knock knees and a large head. He made his living selling old wigs in London, but his comical appearance and lively wit led to his election as ‘Mayor of Garratt’. Mayors of Garratt were chosen through mockelections held in a Wandsworth pub which awarded witty and often radical speeches by popular local characters. Dunstan appeared on the London stage only once, in an extract from The Devil upon Two Sticks. According to Charles Lamb, Dunstan, then ‘in the flower of his popularity’, was hissed off the stage as he faltered over his lines. Zoffany is therefore imagining this performance, which may be a scene from Act III of Dr Last in his Chariot in which the physician Last offers ‘the juice of a simple yerb’ to a patient. The rough brushwork suggests that the painting was left unfinished. The painting arrived at the Holburne in a rather untidy condition: the ground and paint layers had been badly affected by an early twentieth-century lining process and clumsily retouched. Somerset Maugham’s original composition frame had been irreparably damaged; a new Morland-style frame has been made by Martin Turner. The conservator removed a layer of grey surface dirt and retouched some scratches; cracks in the paint were cleaned out, filled and retouched. The most challenging area was the dark space between Dr Last’s hands, which had been interpreted as a vial of medicine, but which turned out simply to have been some very clumsy retouching. On removing this very carefully with a scalpel under magnification, we discovered that the space actually contains nothing. This presents us with a puzzle: if there is nothing in the doctor’s hands, have we misidentified the scene? And what is his friend chewing? We are awaiting news on funding for a planned collaboration with the University of Bristol drama department that could help to answer these questions. The Curatorial Team This year the curators have been joined by a new member of staff, Roger Vercoe, who has been appointed to help the department through the Arts Council’s Accreditation scheme and to see the new collection management database installed. Roger’s part-time, sixteen-month post has been funded by the Paul Mellon Centre for Studies in British Art as part of its grant to enable Amina Wright to research and plan the exhibition Joseph Wright of Derby: Bath and Beyond (25 January to 5 May 2014). In July 2012, Matthew Winterbottom was awarded a scholarship to attend the 18-day Attingham Summer School. Opposite page from left: Once Upon a Time (Stephanie Cole), David Fisher (1946–2013), the 2008 Holburne Portrait Prize Winner, oil on canvas, 2011–12, 101 x 150 cm: Bill Bailey, Sally Muir, the 2010 Holburne Portrait Prize Winner, oil on canvas, 2012, 60 x 75.7 cm Above: A Theatrical Scene, possibly Jeffery Dunstan as Dr Last, Johan Zoffany (1733–1810), oil on canvas, about 1782–3, 39 x 56 cm 5 EXHIBITIONS Below: Dressed Dancer, Edgar Degas (1834–1917), bronze edition of 22, 1919–2 © Amgueddfa Cymru National / Museum Wales Below left: Mask II, Ron Mueck, mixed media, 2001–2 © Antony d’Offay, London ROPER GALLERY Presence: The Art of Portrait Sculpture 26 May –2 September 2012 Supported by the Friends of the Holburne and the Henry Moore Foundation This exciting exhibition brought together some of the most striking sculpted portraits ranging from the ancient world to the modern day including astonishing heads from Ancient Greece and Rome; eighteenth-century masterpieces; works by some of the 20th century’s greatest sculptors including Giacometti and Brancusi, and sculptures by such major contemporary artists as Marc Quinn, Daphne Wright, Don Brown and Ron Mueck. Ambitious in its aims and broad in its chronological scope the exhibition sought, through the careful selection of around forty works, to explore the particular qualities of portrait sculpture. Gathering many supreme examples of the sculptor’s art it examined the often troubling power of the sculpted portrait – its sense of ‘presence’. Through thought-provoking juxtapositions it also looked at the tensions between realism, idealism and abstraction – a tension exemplified in the splendidly paradoxical object that greeted visitors as they entered the show: the waxwork of Henry Moore, a sculptor whose own ideas about the power of sculpture completely rejected, ‘the second-hand life of realistic waxworks’. Above all the exhibition set out to bring together works of exceptional quality and it was, perhaps, for this concentration of quality that it was most memorable. The show encompassed works as iconic as Brancusi’s Danaide or Degas’ Little Dancer as well as lesser-known but no less mesmerising woks such as the desperately touching ceramic portrait of the small dead girl, Lydia Dwight, (1674, V&A collection) cast by her father in the white glazed stoneware technique that he had invented. The show was accompanied by a book written by Alexander Sturgis and was exceptionally well received, garnering a particularly glowing review in the Observer who voted it one of their top ten shows of the year. ‘wonderfully vivid and ambitious’ The Times ‘terrific, original and inventive’ The Observer ‘exhilarating’ The Independent 6 Below: Self Portrait, Charlotte Sorapure, oil on gesso panel, 2010–2012 © the artist Below right: Volunteer ‘show and tell’ session with visitors at the Secret Splendour exhibition. Cabinet-on-stand, Flemish (Antwerp), oak, rosewood, ebony, tortoiseshell and ivory with gilt bronze mounts, about 1650, with extensive later additions and stand 2012 Holburne Portrait Prize 22 September –14 October 2012 Sponsored by Moore Stephens Secret Splendour: The Hidden World of Baroque Cabinets 27 October 2012 – 6 January 2013 Supported by the Henry Moore Foundation Our ever-popular biennial Portrait Prize for artists in the south west was this year judged by Sir Christopher Frayling, Catherine Goodman and Mike Tooby. The Judges were unanimous in their decision to award the prize, and £5,000 commission, to Charlotte Sorapure for her ‘Self Portrait’. The judges spoke of the portrait’s quiet self-assurance and above all were drawn to it by its painterly qualities, Catherine Goodman commenting: ‘It is beautifully painted and drawn and is quietly confident, which is very appealing. The standard of the competition is very impressive with a variety of styles as well as some celebrated names; in some ways this competition has more variety than other national exhibitions.’ The People’s Prize voted for by visitors to the exhibition was won by Ben Hughes for Every Cup Of Tea she ever had; while the online vote was won by John Puckey for his portrait of Sir Richard Carew-Pole. This revelatory exhibition brought together an astonishing group of seventeenth-century cabinets and flung open their doors. These exceptional pieces of furniture, made from a wide variety of rare and exotic materials including amber, ivory, tortoiseshell, pietra dura and silver, are often overlooked, standing with doors closed in historic interiors. This exhibition successfully revealed their theatrical splendour by opening doors to reveal colourful and intriguing interiors, with mirrored compartments, painted, inlaid and carved panels, and secret drawers. With generous loans from the Victoria and Albert Museum and Corsham Court, the exhibition explored the original use and contents of these extravagant pieces. A particularly popular element of the show was the Holburne’s own Antwerp Cabinet which was dressed with a wonderful array of shells, minerals and coral and opened on the hour by our team of expertly trained volunteers to allow visitors to explore its contents of intriguing curiosities. 7 Painted Pomp: Art and Fashion in the Age of Shakespeare 26 January – 6 May 2013 Supported by the Heritage Lottery Fund and the Friends of the Holburne Museum In partnership with Bath Spa University Our first exhibition of 2013 was built around one of the most important groups of Jacobean portraits in the country. Nine sumptuous full-length portraits by William Larkin, painted around 1613–18, were displayed alongside rare survivals of dress from the period to reveal the heights of Jacobean art and fashion. The portraits, generously lent by English Heritage, depicted members of an extended family: relatives of Thomas Howard, the first Earl of Suffolk. They may have been made to mark the marriage between the Cecil and Howard families, the cream of courtly society during a turbulent period of intrigue and social change. The portraits were shown with a selection of early seventeenth-century clothing and accessories including exceptionally rare fans, shoes, beautiful punto in aria – literally stitches in the air – lace, remarkable gloves and gauntlets embroidered in silks and trimmed with fabulously expensive gold and silver, and an astonishing embroidered bodice (lent from Bath’s Fashion Museum). Every exhibition the Museum stages influences our events and education work, but Painted Pomp took this engagement to a new level thanks to the generous support of the Heritage Lottery Fund and sponsorship from Bath Spa University. In particular the Heritage Lottery Fund grant allowed us to extend the scope of the show and the programme of activities that surrounded it. With their help we were able to borrow two beautiful replica outfits from Shakepeare's Globe together with a specially commissioned film explaining the intricacies of Jacobean dress. The extra funding also meant we were able to run incredibly popular hands-on costume sessions, exhibition tours for the blind and partially sighted as well as creating the Jacobean fashion mag ‘Oyez’ with illustrations by one of our highly talented volunteers, Carlo Cortes, as a family guide to the exhibition. The learning team were also able to offer free workshops to primary and secondary schools and colleges, allowing us to work with many schools for the first time, while the events programme featured a sell-out talk by Sir Roy Strong as well as concerts of music from the court of James I and a Jacobean Easter Eggstravaganza with falconry and pomander Making. ‘They really got inspired by the paintings because of the way you set the scene – usually they wouldn’t be so interested in these sorts of formal paintings’ Art and Textiles teacher, GSCE group ‘A great interactive workshop, the costumes really brought the exhibition and visitor experience alive! Having that ‘hands-on’ element that made it accessible to the audience, young and old’ Guided Dressing-Up Workshop participant Above: Richard Sackville, 3rd Earl of Dorset, William Larkin, oil on canvas, around 1613–18 © English Heritage Left: Dressing-up workshops in the Brownsword Picture Gallery; Sackler Discovery Centre Activities 8 FREE EXHIBITIONS AND DISPLAYS WIRTH GALLERY Local Heroes: The Holburne Portrait Prize Commissions 21 April – 24 June 2012 See page 2 A Gallery for Elisabeth Frink: Designs by Bath Architecture and Engineering Students from the University of Bath 30 June –15 July 2012 What Are You Like? from the House of Illustration 21 July –17 October 2012 Belfast Boy: Clarke’s Cabinet of Home, Heart and Hearth by Mark Clarke 27 October 2012 –17 February 2013 Sponsored by The Norie Trust and Enlightened Lighting In marked contrast Mark Clarke’s Belfast Boy was a moving and witty installation created especially for the Holburne to complement our exhibition of baroque cabinets. Part hearth, part cabinet of curiosities, part shrine, the piece was inspired by the death of Clarke’s Uncle Robert, a Merchant Seaman who drowned at sea in 1955 off South America at the age of 24. The installation took the form of a poignant and surreal reimagining of his grandparents’ family hearth and mantelpiece. For the final exhibition of the year we turned to our own collection, showing a selection from the group of drawings that Sylvia Gosse (1881–1968) gave the Holburne in 1934. Made in 1916 when Gosse was working with Walter Sickert, the drawings were shown alongside photographs by Dan Brown of the same views as they appear today allowing visitors to compare the Bath of today with that of a century ago, while also seeing the degrees of fidelity and licence with which Gosse had recorded the streets of the city. This exhibition was curated by Faunsia Tucker, one of our Duty Managers, as part of her MA in Museum Studies at Leicester. Sylvia Gosse: Streets of Bath 27 February –12 May 2013 Supported by the Framing Workshop Our free exhibition space housed four very different exhibitions over the year, including contemporary commissions, an exuberant collection of illustrations, and a little-seen group of drawings from our own collection. Local Heroes saw the unveiling of our most recent Portrait Prize commissions: David Fisher’s portrait of Stephanie Cole and Bill Bailey by Sally Muir. David’s portrait was completed despite his long battle with cancer from which he very sadly died earlier this year. In June we were pleased to host a display of a selection of entries for the University of Bath’s annual Basil Spence Architectural Prize which this year involved designing a gallery for the work of Elisabeth Frink. Excitingly, the display included some works by Frink herself generously lent by the Frink estate. The popular What Are You Like?, organised by the House of Illustration, displayed a wonderfully inventive group of self-revealing illustrations by artists as diverse as David Shrigley, Posy Simmonds, Quentin Blake, Glen Baxter and Brian Eno. Based on the Victorian parlour game, each contributor had been invited to illustrate eight of their favourite things. We learned of Andrew Marr’s love of malt whiskey and Peter Capaldi’s predilection for brothel creepers. Top: Mark Clarke’s Belfast Boy – Clarke’s Cabinet of Home, Heart and Hearth Above left: Walcot Church, Sylvia Gosse, pen and pink wash on blue paper, about 1916; (inset) Walcot Church today © Dan Brown Above: David Shrigley’s illustration for What Are You Like? 9 ‘You will never look at your napkin folding in the same way – GO GO GO!’ Visitor comment THE TABLE SERIES Bouke de Vries: War & Pieces 1 September – 2 December 2012 Supported by Arts Council England and the Royal Netherlands Embassy Folded Beauty: Masterpieces in Linen by Joan Sallas 2 February – 6 May 2013 Supported by the Stephen Clark 1957 Charitable Trust and The Textile Society In partnership with Waddesdon Manor The year saw the first of what we hope will be many spectacular contemporary installations on the table that stretches down the middle of our Ballroom Gallery. The Series was launched in impressive style by Bouke de Vries’ War & Pieces which was inspired by eighteenth-century dining table displays of porcelain and sugar sculptures. At its centre stood a dramatic mushroom-cloud made from the found fragments of broken porcelain figures while along the length of the table a pitched battle was fought by figures derived from 1770s Derby porcelain, some of which had mutated into cyborgs using elements from plastic toys. Since its display at the Holburne the work has travelled to the Charlottenburg Palace in Berlin and is soon to be shown at Alnwick Castle in Northumberland. The Arts Council funding also enabled us to offer a study day: Subversive Ceramics in partnership with Bath Spa University for practitioners in the south west and free workshops with secondary schools. Also inspired by extravagant historic table displays was Folded Beauty, an exhibition of elaborately folded napkins and linen made by Joan Sallas after Renaissance and Baroque patterns. Sallas is the world’s leading authority on historic linen folding and a virtuoso folder. Based on meticulous research of court etiquette, he has almost singlehandedly revived the extraordinary art that first appeared in Renaissance Italy but reached its zenith in German-speaking lands in the 17th century. Exhibiting in the UK for the first time, Sallas and his assistant worked on site to fold a sequence of extraordinary and eccentric creations including a 1.5mhigh table fountain flanked by heraldic beasts, a 12m-long snake and numerous animals, vegetables and architectural features – all original designs that would have graced the tables of courts and high society across Europe. An exceptional enthusiast and expert, Sallas also ran a series of popular linen-folding workshops, passing on his knowledge and skills with great grace and charm. The exhibition has since travelled on to Waddesdon Manor. ‘Fantastic, powerful. Setting is wonderful more contemporary art please. Enhances the museum.’ Visitor comment Top: Bouke de Vries’ War & Pieces on display in the Davidson Ballroom Gallery, 2012 Above: One of the elaborate folded napkin and linen table displays created by Joan Sallas for Folded Beauty 10 OTHER DISPLAYS An Affair with Scale: Monumental Ceramics by Felicity Aylieff 25 May –2 September 2012 Garden Café By arrangement with Adrian Sassoon Below clockwise from top: ‘Ladies, Let's Rip!’, Julie Verhoeven © David Tucker Pigeon English, Ceramic Installation, Catherine Grey, MA Design: Ceramics, Bath Spa University, 2012 Harvest, Rosie Venables, MA Design: Ceramics, Bath Spa University, 2012 Fencai Leaves I, Felicity Aylieff, 2009 © Felicity Aylieff/Adrian Sassoon Horrible Histories: Illustrations by Martin Brown 30 September –7 October 2012 Clore Learning Space In partnership with the Bath Kids’ Literature Festival Bath Spa University Students from the MA Ceramics and BA Ideas Materials and Objects 2 –19 October 2012 In the Collection Galleries Emergence: Ceramic Sculpture by Jo Taylor 27 October 2012 – 6 January 2013 Garden Café Bath Art Affair: Architectural Apparatus by Doug Clark 8 – 19 November 2012 Front Garden Transient Graffiti 22 – 23 November 2012 In partnership with Suited & Booted Supported by the Arts Council Bath in Fashion: ‘Ladies, Let’s Rip!’ by Julie Verhoeven 13 – 19 May 2013 In partnership with Bath in Fashion Sponsored by Bath Spa University There was no part of the Museum that did not house some kind of temporary display during the year. At one time or other during the year visitors were surprised and we hope delighted by extraordinary displays of monumental pots by leading ceramicist Felicity Aylieff or Baroque-inspired creations by Jo Taylor around our cafe; drawings by superstar illustrator Martin Brown in our Clore Learning Space; interventions created by art students from the Bath School of Art and Design in our galleries; projections created through various community projects on our façade and monumental steel sculptures by Doug Clark on our lawns. Earlier this year strange and wonderful ‘ladies’ created by fashion artist Julie Verhoeven peopled a whole variety of spaces in and around the Museum. 11 EDUCATION Below: Prize winner Beatrice Richens with her Granny; (inset) Beatrice Richens’ winning portrait Year-on-year the popularity of the Museum’s Education activities continues to increase. We are now offering opportunities to every age group, from babes-in-arms through our early years workshops to older people through our adult poetry writing days. FORMAL EDUCATION Schools In the past 12 months 84 school sessions were delivered to approximately 2,900 pupils. These have been a mixture of our year-round workshops (Meet the Museum, Gorgeous Georgians, Landscape in Art and Sensing Sculpture) and bespoke workshops to complement specific learning outcomes for schools and exhibition-driven activities, such as the recent Tudor Fashion as part of our Painted Pomp exhibition. A particular highlight of our work with schools was being invited to deliver Bathwick St. Mary’s CE Primary School’s art curriculum for the year, which is continuing in 2013. We also celebrated the creativity of every child in Bath through a Schools’ Portrait Competition staged alongside the Holburne Portrait Prize 2012. The Prize was sponsored by Moore Stephens and saw 100s of entries from reception years to A-Level students. A prize-giving ceremony was held in October, followed by an exhibition of all the entries during the half-term holiday. Further and Higher Education In partnership with Bath Spa University and with the support of Arts Council England we staged the Subversive Ceramics symposium alongside Bouke de Vries’ fantastic exhibition. It was a sell-out success with 90 people attending, including ceramic artists and students from Bath Spa University and the University of Glamorgan. The Team has worked with students from Bath Spa University, Bath University, City of Bath, Strode and Somerset Colleges delivering workshops and lectures and supporting student projects across a range of courses. The department hosted placements for two photography students from City of Bath College, a Bath Spa University Education and History student and three American interns from the Advanced Studies in England programme. ‘The sponsorship of the Holburne Portrait Prize and Schools Competition proved a great success. We had a very successful private view of the entries which was much enjoyed by our staff, clients and contacts. Being associated with such a well-known and prestigious organisation as the Holburne helped to further raise our profile. We also had a lot of fun helping to choose the winner of the schools’ prize which we ran alongside the main competition for which a huge number of high quality entries were received’ Andrew Vince, Moore Stephens 12 Special projects The Gardeners’ Lodge Art Group at the Holburne (formerly the Holburne Association of Homeless Artists) continues to meet weekly for art activities, food and company. The sessions are open to local people who have experienced homelessness and are referred to us by local support organisations. In 2012 they worked with local media company Suited and Booted, through an Arts Council grant, to create animations that were projected onto the front of the Museum. Members were also inspired by Secret Splendour: the Hidden World of the Baroque Cabinets exhibition to create their own cabinet. It has been selected for FAB! Fringe Art Bath and Bath Abbey’s Think Different exhibitions in 2013. Art for All Our rich and varied Art for All programme is designed to excite and inspire people of all ages. Early Years workshops and fortnightly Saturday Art Club provide children with the opportunity to be inspired and create their own art. They both regularly have long waiting lists. Day-long art camps during the summer and Easter holidays have also proved a popular new addition to our programme. Activities in the Sackler Discovery Centre and a ‘Discovery’ trail both offer visitors creative engagement with the collection and exhibitions every day of the year. Monthly ‘Meet the Artist’ sessions continue to attract all ages. Poetry and paper-cutting have proved the most popular adult workshops. The Team In 2012 Emma Finch left her role as the Education and Outreach Officer to study for an MA at the Royal College of Art. Her replacement, Louise Campion, joined in November and brings a wealth of experience as a secondary school art teacher and of other school and youth related work. We also have a new part–time Administrator, Vanessa Wells and part-time Assistant, Laura Jones (both of whom previously volunteered at the Holburne). We have established a strong group of freelance educators and artists who help deliver our activities. We also have a growing team of dedicated volunteers. ‘I have been taking my little boy to the Holburne for two years (first yearlings, then toddlealongs). We have tried many kids classes in Bath and this is without doubt the best…There’s no doubt that the kids (and parents!) get a lot out of this course. Highly recommended’ Toddlealong parent Above: Plate decorating in the Clore Learning Space; Transient Graffiti in partnership with Suited & Booted, 2013 Right: Toddlealong in the Gardener’s Lodge; Painting a full-size Jacobean portrait, Easter Holiday Art Camp 13 ‘Sponsoring Colourscape at the Holburne provided us with an opportunity to host our first real client ‘family’ event. It is fair to say we were a little daunted but the Museum staff were excellent and ensured every last detail was just right. The event definitely had the wow factor and the feedback from our guests could not have been better. We will definitely do more events like this in the future.’ Mogers Solicitors Spectacles and Family Events Light has been central to the past year’s dazzling events programme. Colourscape landed on our front lawn in August bringing over 5,000 visitors to enjoy an amazing other-worldly experience of natural light and colour and a programme of contemporary music. Colourscape, one of the most unusual experiences the Museum has ever offered, was only possible thanks to the sponsorship of Mogers Solicitors. Over 3,000 visitors navigated artist Martin Richman’s Circuit: A Light Labyrinth, which lit up the winter evenings with a maze of electro-luminescent wire, a contemporary re-imagining of the labyrinth that was once the principal attraction of the Georgian pleasure garden. Within the maze a soundscape created by Charlie Kerr provided ghostly and distorted snippets of voices and music suggesting the pleasure-seekers of the past. Sponsorship from Benugo, Feilden Clegg Bradley, Mogers and two private donors funded the installation of this new work. The annual Holburne Lantern Procession grew both in scale and spectacle in 2012 thanks to the generous support of The Cobalt Trust and Bath Tourism Plus. Large-scale lanterns created by schools and community groups joined the parade of candle-lit withy lanterns carried by over 1,000 people to mark the opening of the Christmas Market. 14 ‘Concerts at the Holburne Museum – Excellent. What a fabulous Museum this is... I truly recommend the lunchtime concerts, now that is a treat! Where can you go, and listen to a lunchtime concert, which is held in a room where you are surrounded, by amongst others, a Gainsborough collection!’ TripAdvisor Along with the Lantern Procession we have established two other high profile family events: The Easter Eggstravaganza and The Big Draw. These events attract and sustain new audiences and engage visitors with our exhibitions and the collection. Talks, Concerts and Performance We continue to widen the debate on our collection and temporary exhibitions. Sir Roy Strong inspired a sell-out audience to further explore our exhibition Painted Pomp whilst visiting lecturers and academics presented an additional twelve talks on subjects ranging from The Grand Tour to Dressing for the Pleasure Gardens. We have enabled our audiences to engage with contemporary critical dialogue. Our Holburne Contemporaries programme has included artists’ talks by Bouke de Vries, Daphne Wright and Felicity Aylieff, film screenings and live musical accompaniments to silent movies. Our collaborations with Bath Festivals, Bath in Fashion and the Jane Austen Festival have brought high profile authors, illustrators and speakers to the Museum including former children’s laureate Anthony Brown, Horrible Histories awesomely popular Martin Brown and fashion designer Julie Verhoeven. Bath Spa University students of Composition and Choreography performed site-specific works in and around the Museum leading to discussions on future opportunities for dance at the Holburne. Our classical music programme goes from strength to strength. The Holburne’s Second Evening Concert Series has enabled local audiences to enjoy high quality chamber music from awardwinning musicians such as Tamsin WaleyCohen and The Smetana Trio. Our fortnightly lunchtime concert series has provided a performance platform for local musicians and delighted audiences alike. Further, a series of five concerts by early music specialists accompanied our exhibition Painted Pomp to provide further insights into Jacobean courtly life and entertainment. This page from top: The Holburne Lantern Procession, 2012 Iford Young Artists’ performing Handel in the Brownsword Picture Gallery, July 2012 The Easter Eggstravagana, 2013 Opposite page from top: The Eye Music Trust performing in Colourscape, 2012 Circuit: A Light Labyrinth by Martin Richman in the Museum’s garden, 2012/13 15 VOLUNTEERS Below from top: Volunteers’ training session for the Secret Splendour ‘show and tell’ activity Members of the ERASMUS programme The roles undertaken by volunteers at the Holburne are some of the most important at the Museum. Volunteers allow us to offer the highest quality visitor experience, whilst involving the local community in our work. The Holburne is able to offer a friendly and inspiring work place for volunteers to learn, meet new friends and be involved in every aspect of our work. Without volunteers, the Museum would not be able to open its doors for free and they are also vital to help deliver many of our activities. Whether volunteers are able to offer a few hours a month or two days a week, it is their time and energy that makes the Holburne one of the most welcoming and vibrant museums in the country. Throughout 2012/13 the Holburne has managed to extend its volunteer programme and work with over 250 volunteers across all departments, contributing an amazing 29,000 hours of their time stewarding galleries, helping with school workshops, running our Information Desk and assisting in the Shop. The volunteer programme also provides support to every department and specialist teams are engaged in vital areas such as the monitoring of light and humidity levels and collection cleaning. The Holburne provides relevant training to our volunteers, helping them develop skills. We operate a work placement programme which offers structure to voluntary work, enhancing key employability skills and a greater understanding of museums and how they function, as well as on-the-job training. We also offer regular training sessions with our staff who share their knowledge of the Museum, the collection, exhibitions and their professional expertise. Our volunteers were recognised in 2012 at the Bath and North East Somerset Community & Business Awards when they received a special commendation from the Chairman of the Council, declaring them the Best Volunteer Team in Bath and North East Somerset. On the same night our Visitor Services & Volunteer Manager was also awarded The Chairman’s Special Quest Award. The volunteer programme has built strong links with many foreign universities and has offered 12 foreign language students placements as part of the international ERASMUS programme, with a further 14 placements committed in 2013. Our volunteers have spent the last twelve months not only learning about our collection and helping visitors to engage with it but have also taken on challenges with our temporary exhibitions. They have guided visitors around our awe-inspiring Presence exhibition and were trained to handle and talk about a huge variety of curiosities and objects found inside the wonderful Baroque cabinets displayed in Secret Splendour. The volunteers won the South West 2012 British Museum and Marsh Award for Museum Learning for their work on the Secret Splendour ‘show and tell’ sessions. The national prize winner will be announced in July 2013. ‘We are ambassadors for the Museum. I am so proud to be part of such a wonderful team’ Bob Chippendale, Gallery Steward ‘I love being surrounded by art. The team of Volunteers and staff here at the Holburne are such a warm and friendly bunch. It’s the highlight of my week’ Rosemary Utidjian, Shop Volunteer 16 COMMERCIAL AND MARKETING Below from top: An example of our most popular Shop range, the Curator’s Choice chinaware series, sourced by our decorative arts curator, Matthew Winterbottom Two of our best selling books – Presence: The Art of Portrait Sculpture, written by the Museum’s Director, Alexander Sturgis and our own Museum Souvenir Guide Book Marketing and PR The Museum’s exhibitions received extensive press coverage in all local and regional target media in addition to national newspapers, including the Guardian and the Sunday Times, the Art Newspaper, art magazines including House & Garden, BBC History, World of Interiors; regional magazines television and radio coverage including BBC Points West and BBC Radio Bristol. Using the industry standard of calculating the value of PR coverage against the equivalent advertising spend we have secured coverage with a value of about £1.75m. Advertising and leaflets were aimed at art lovers in Bath and a regular e-shot was sent to over 3,000 subscribers. We acquired 2,173 followers on Twitter, 1,051 followers on Facebook and 80,140 unique hits on the website. Our visitor survey showed that 55% of our visitors were tourists, and 66% described themselves as non-local, which is a significant increase. 60% were female and 40% male. A grant of about £420,000 from the Arts Council's Strategic Support Fund has been secured for a project to work with other Bath museums to develop audiences through research, joint marketing and community engagement. This will help to improve the understanding of current and potential visitors to Bath’s museums and develop strategies for joint marketing. It will also improve data capture and sharing through new ticketing software, which will lead to a better understanding of audience cross-over, market gaps and areas of strength to ensure effective programming of our events. Shop The Museum Shop was refitted resulting in 26% extra display space. A new enthusiastic and committed Shop Manager, Mari-Liis Konts, started and ensured that the product range was refreshed, introducing new homewares, including tea towels, mugs, bag, candles and even netsukes made from boxwood, and ensuring that lines were replenished, especially in the busy last few weeks of exhibitions. Just over 10% of our visitors made a purchase from the Shop at an average transaction rate of £7.67. The sales force of dedicated Shop Volunteers underwent training and contributed suggestions for new products. Café and Venue Hire Benugo operate the Garden Café concession and coordinate venue hire. While the lack of hot, sunny weather meant that sitting outside was only for the brave and the hardy, the Café was busy and continued to develop its menu. The first wedding took place at the Museum in May 2013 and corporate functions, dinners, receptions, private parties and even wakes proved popular. 17 FUNDRAISING ‘It is amazing to realise that all the bank notes dropped into the Museum’s donation boxes raised £35,791 in 2012. This amount is equivalent to the Museum’s exhibition marketing spend, including the production of three What’s On guides a year. This vital activity attracted our 130,000 visitors to see the exhibitions and attend our programme of talks, concerts and family events.’ Building for the Future Each year our Capital Funds support those things that aren’t always attractive to funders, but are vital, such as our daily cleaning, utility bills, building maintenance and even the fundraising team’s salaries. These represent about a quarter of our annual running costs. The investment generated by our current Capital Funds only covers some of these costs. To change this, and to make sure all future donations go directly to giving people the opportunity to enjoy art and creativity through our exhibitions, collection and learning programme, we have set the goal to grow the Capital Funds to £8million by 2016. In 2012, the Campaign got off to an amazing start with a £1m grant from the DCMS/Heritage Lottery Fund Catalyst: Endowments scheme. This is just the start; to secure the full grant we have to match it £1 for £1. We had expected this to take several years, but we have been thrilled to receive several significant donations that have accelerated the Campaign and, with your continued support, we should match the £1m before the end of 2013. Our thanks go to a Trust, who wish to remain anonymous, for giving £250,000 to the Campaign on the condition that we match it £1 for £1 by the end of October 2013. This has meant we have been able to quadruple donations matched by the Trust and again by the HLF. We must also acknowledge an incredible gift given by the late Miss Barbara Ellis in her Will. Barbara was a long-term supporter, Patron and Friend of the Holburne. One of the most significant gifts she gave in her life time, in 1994, is the Dutch Marquetry Cabinet that recently featured in the exhibition Secret Splendour. The cabinet is one of the most exquisite pieces of furniture in the collection. Barbara sadly passed away in 2012. Her last gift, an amazing £240,000, came from a Gift in her Will. We are thrilled to honour her memory and generosity by doubling this with the HLF grant. Her gift will continue to give the Museum about £24,000 a year, forever. This figure could fund an exhibition in the free-to-enter Wirth Gallery or a year-round project with vulnerable adults. The Annual Fund Whilst we work to grow the Capital Funds we are hugely grateful to everyone who has made a donation to the Annual Fund. The Fund underpins the work of the Museum by supporting our core work of caring for the collection, producing exhibitions of the highest standard and our learning programmes for schools. As mentioned in the Director’s Report, this includes the fantastic support we have received from many people, and trusts and foundations towards salaries and programmes over a number of years. Above from top: Detail of the Dutch cabinet-on-stand generously given to the Museum by Miss Barbara Ellis. Dutch, oak, walnut and marquetry of various woods, about 1670, (stand twentieth century), 168 x 112 x 55 cm Chairman’s Dinner in the Brownsword Picture Gallery, 2012 18 Patrons, Friends, Contemporaries and Corporate Members The support of our members is essential to our success. In return members are able to enjoy special access to the Museum, collection, exhibitions and visits to other art and heritage sites. Our Patrons were thrilled to be invited to Lyegrove House in Gloucestershire last spring to see the private collection of one our loyal supporters. The annual Summer Party, held at the beautiful Ammerdown House in Radstock, along with the full-tobursting Christmas Party at the Museum, both proved extremely popular and a lot of fun with great music, dancing, magic and food! Inspired by our Corporate Members’ Breakfasts we have started a new series of Patrons’ breakfasts with special collection handling sessions. Rosalind Plowright, International Opera star, launched her new CD at a fundraiser for the Holburne. The varied programme appropriately included two Rachmaninov songs played by Philip Mountford on our Rachmaninov Steinway piano. It was a wonderful concert attended by our Patrons and Friends and raising over £500. Our amazing Friends of the Holburne go from strength to strength and now form one of the largest Friends organisations in the south west. Tireless in their support, encouragement and fundraising initiatives, they have consistently produced an interesting programme to help fundraise for and preserve the collection. In 2012, Undine Concannon was appointed as the Friends’ Membership Secretary and has done a wonderful job getting the membership process in order. Our grateful thanks to the Friends, especially the Friends’ Committee and its long-standing Chairman Sidney Blackmore, who retires at the AGM in 2013. The Holburne Contemporaries membership offers people with a particular passion for contemporary art and cultural thinking events that engage with our contemporary programme. Highlights of the 2012 programme included a live music soundtrack performed to Nosferatu by Minima, a reception and talk to launch Bouke de Vries’ War & Pieces and a linen-folding workshop with Joan Sallas. Corporate Members continue to enjoy regular networking breakfasts and evening receptions, which provide exclusive exhibition tours with our Director and handling sessions with our curators; the most popular of which was a full-house breakfast devoted entirely to apostle spoons! The Team The Fundraising Team grew by one member last year; Alison Coleman-Smith, Development Officer, manages the Patrons, Contemporaries and Corporate Members, as well as working closely with the Friends. She has successfully increased membership to all the schemes and has taken charge of their events programmes; giving everyone at least six months’ notice of key dates, which we know is essential for busy diaries. As we write this annual review we are sad to say that Marnie Whiting our Head of Development is leaving. Marnie has been with us six years and in that time has achieved the fundraising for the development, dramatically increasing the annual fundraising income nearly sixfold and almost completing the first phase of the Capital Funds Campaign. We are thrilled that her new job is with Bath Spa University, which presents fantastic opportunities for us to share her skills in fundraising for joint projects. Thank you for every donation you have given us. Together we have achieved an exciting year of exhibitions, events and learning projects that have engaged over 130,000 people in the pleasure and enjoyment of art and creativity. Looking ahead to our future exhibitions and growing programme of projects with children and vulnerable adults, your continued commitment is essential. Please keep supporting Bath’s Art Museum for Everyone. Below from top: Downside Girls’ Choir perform at the Patrons’ Christmas party, 2012 Friends trip to Dresden, 2012 Felicity Aylieff, Matthew Winterbottom and Sidney Blackmore at the opening of the Presence exhibition 19 STATEMENT OF FINANCIAL ACTIVITIES for year ended 31 December 2012 Unrestricted Funds General Funds Capital Funds Restricted Funds Endowment Fund Total Funds 2012 Total Funds 2011 £ INCOMING RESOURCES Incoming resources from generating funds: Voluntary income Activities for generating funds Investment income Incoming resources from charitable activities Total incoming resources RESOURCES EXPENDED Fundraising trading: cost of goods sold and other costs Investment management costs On charitable activities Governance costs Total resources expended NET INCOMING/(OUTGOING) RESOURCES BEFORE TRANSFERS TRANSFERS BETWEEN FUNDS NET INCOMING/(OUTGOING) RESOURCES AFTER TRANSFERS OTHER RECOGNISED GAINS AND LOSSES Gain/(Loss) on investment assets Actuarial loss on defined benefit pension scheme Pension scheme deficit Net movement in funds FUND BALANCES BROUGHT FORWARD FUND BALANCES CARRIED FORWARD £ £ £ £ £ 273,591 282,417 665 99,258 655,931 – – 21,153 – 21,153 549,144 – 2,317 – 551,461 181,533 – – – 181,533 1,004,268 282,417 24,135 99,258 1,410,078 2,731,098 202,910 25,937 106,686 3,066,631 64,099 – 884,709 55,290 1,004,098 – 8,890 – – 8,890 – – 498,677 – 498,677 – – – – – 64,099 8,890 1,383,386 55,290 1,511,665 65,576 8,518 1,161,812 42,084 1,277,990 (348,167) (362,808) 12,263 374,528 52,784 (11,720) 181,533 – (101,587) – 1,788,641 – (710,975) 386,791 41,064 181,533 (101,587) 1,788,641 – (50,000) – (760,975) 336,975 (424,000) 63,069 – – 449,860 1,432,802 1,882,662 – – – 41,064 10,428,404 10,469,468 – – – 181,533 – 181,533 63,069 (50,000) – (88,518) 12,198,181 12,109,663 13,471 (26,000) – 1,776,112 10,422,069 12,198,181 The above results relate wholly to continuing activities; there are no other recognised gains or losses in the year. The statement of Financial Activities and the Balance Sheet are an extract from the Statutory Accounts, which have been independently audited and are available on request. The Auditor’s Report has a qualified opinion arising from the disagreement with the Financial Reporting Standard for Smaller Entities and the Statement of Recommended Practice, Accounting and Reporting by Charities 2005, being the Trustee’s decision to exclude from the financial statements all newly donated or donated heritage assets, on the grounds that inclusion of such assets from the Museum’s collection is inconsistent with the treatment of the majority of the Museum’s collection, which was a legacy from the Holburne family. INDEPENDENT AUDITOR’S STATEMENT TO THE TRUSTEES OF THE HOLBURNE MUSEUM for year ended 31 December 2012 We have examined the summarised consolidated financial statements in accordance with applicable United Kingdom law and the recommendations of the charities SORP. RESPECTIVE RESPONSIBILITIES OF THE TRUSTEE AND THE AUDITOR The Trustee is responsible for preparing the summarised consolidated financial statements in accordance with applicable United Kingdom law and the recommendations of the charities SORP. Our responsibility is to report to you our opinion on the consistency of the consolidated summarised financial statements with the full annual consolidated financial statements and the Trustee’s Annual Report. Our report on the charity’s full annual consolidated financial statements describes the basis of our opinion on those financial statements. We conducted our work in accordance with Bulletin 2008/3 issued by the Audited Practices Board. OPINION In our opinion the summarised consolidated financial statements are consistent with the full annual consolidated financial statements and the Trustee’s Annual Report of the Holburne Museum for the year ended 31 December 2012. MOORE STEPHENS Chartered Accountants & Statutory Auditor, 30 Gay Street Bath BA1 2PA BALANCE SHEET for year ended 31 December 2012 Unrestricted Funds General Funds Capital Funds Restricted Funds Endowment Fund Total Funds 2012 Total Funds 2011 £ FIXED ASSETS Heritage Assets Tangible fixed assets: The Museum Others Investments Total fixed assets CURRENT ASSETS Stock Debtors Bank balances and cash in hand – – 12,637 – 12,637 £ – 550,000 – 781,584 1,331,584 £ – 8,525,246 981,150 1,066,047 10,572,443 £ – – – – – £ – 9,075,246 993,787 1,847,631 11,916,664 £ – 9,251,478 992,345 1,044,942 11,288,765 46,802 221,421 6,095 274,318 (286,955) (12,637) – – (424,000) (424,000) – – 551,078 551,078 – 551,078 – 1,882,662 – 1,882,662 – – 330,296 330,296 (183,271) 147,025 (250,000) 10,469,468 – 10,469,468 – – 181,533 181,533 – 181,533 – 181,533 – 181,533 46,802 221,421 1,069,002 1,337,225 (470,226) 866,999 (250,000) 12,533,663 (424,000) 12,109,663 47,006 496,695 1,897,464 2,441,165 (924,749) 1,516,416 (250,000) 12,555,181 (357,000) 12,198,181 CREDITORS: Amounts falling due within one year Net current assets/(liabilities) CREDITORS: Amounts falling due after more than one year NET ASSETS/(LIABILITIES) BEFORE PENSION DEFICIT Pension scheme deficit Net assets/(liabilities) ENDOWMENT FUND RESTRICTED RESERVES Specific Purposes Fund: Revenue Specific Purposes Fund: Capital Special Acquisitions Fund Development Fund UNRESTRICTED RESERVES Designated Reserves: Revaluation Reserve Capital Fund General Fund Less: Pension reserve deficit – – – 181,533 181,533 – – – – – – – – – – – 42,443 22,548 1,000,000 9,404,477 10,469,468 – – – – – 42,443 22,548 1,000,000 9,404,477 10,469,468 14,991 22,548 1,000,000 9,390,865 10,428,404 – – – – (424,000) (424,000) (424,000) 550,000 1,332,662 1,882,662 – – 1,882,662 1,882,662 – – – – – – 10,469,468 – – – – – – 181,533 550,000 1,332,662 1,882,662 – (424,000) 1,458,662 12,109,663 550,000 882,802 1,432,802 693,974 (357,000) 1,769,777 12,198,181 The financial statements were approved by the Trustees at their meeting on 13 June 2013 and were signed on their behalf on 13 June 2013 by: Richard Fleck CBE CHAIRMAN Antony Constantinidi TREASURER FINANCIAL OVERVIEW General & Specific Fund Income 2012 General & Specific Fund Income 2012 General & Specific Fund Expenditure 2012 General & Specific Fund Expenditure 2012 Grants and donations Grants and donations University partnerships University partnerships Patrons and Friends Patrons and and Friends Education, lectures concerts Education, lectures and concerts Exhibition admissions Exhibition admissions Business sponsorship Business sponsorship Commercial income Commercial income Museum activities Museum Premises costsactivities and maintenance Premises costs and maintenance Fundraising Fundraising Education Education Exhibition costs Exhibition costs Commercial activities Commercial activities Governance Governance 2.9%2.9% 6.8% 6.8% 3.4% 3.4% 26.4% 26.4% 4.3% 4.3% 11.2% 11.2% 3.7% 3.7% 49.9% 49.9% 9.1% 9.1% 12.2% 5.3% 5.3% 12.2% 5.1% 5.1% 46.2% 13.6% 46.2% 13.6% FACTS AND FIGURES • 130,278 visitors • 17,048 paid to visit exhibitions • 6,996 children have participated in our learning programmes including school visits, workshops and family events • 6,582 adults have participated in our learning programmes including workshops, talks, concerts and study days • 16,050 people attended Colourscape, Christmas Lights and other public events • 98% of people rate their visit as enjoyable, 58% as very enjoyable • 98% agree they would recommend a visit to a friend, 51% strongly agree • 96% agree our exhibitions are interesting and enjoyable, 63% strongly agree • 98% agree our volunteer staff are welcoming and helpful, 62% strongly agree • 66% of our visitors are non-local, of which 55% are tourists • 34% are local, travelling within a 30min drivetime OFFICERS AND MANAGEMENT The Board of Directors of the Holburne Museum Trust Company (‘The Trustees’) Professional Advisers and Bankers Richard Fleck CBE [1, 2] CHAIRMAN Solicitor and partner with Herbert Smith, 1980–2009; Director, Financial Reporting Council, 2004 to date (Appointed AGM June 2012) David Embleton [1, 2] Chairman, Sulis Fund, a seed investment fund for the Universities of Bath, Bristol and Southampton; Co-Founder of Eden Ventures, Bath; Former Pro-Chancellor of the University of Bath, 1996–2003 SOLICITORS Thrings 2 Queen Square, Bath BA1 2HQ Withy King Midland Bridge House, Midland Bridge Road, Bath BA2 3FP AUDITORS David Posnett OBE  CHAIRMAN Former Chairman, The Leger Galleries, London; Former Chairman, The Society of London Art Dealers (Retired AGM June 2012) Prof. Vaughan Hart Nominated Trustee, Professor of Architecture at Bath University Moore Stephens Chartered Accountants & Statutory Auditors 30 Gay Street, Bath BA1 2PA INVESTMENT MANAGERS AND ADVISORS Antonia Johnson  Nominated Trustee, The Friends of The Holburne Museum Prof. Brian Allen VICE CHAIRMAN Director of Studies at the Paul Mellon Centre Ruffer LLP 80 Victoria Street, London SW1E 5JL Michael King Chairman of Stone King LLP solicitors INSURANCE BROKERS Bluefin Anthony Wilkinson CA [1, 2] Chartered Accountant; Former partner, Coopers & Lybrand, Hong Kong (Retired AGM June 2012) Trevor Osborne FRICS FRSA  Chairman of the Trevor Osborne Property Group Limited 1973 to present; Court Member and visiting Fellow, Oxford Brookes University (Architecture and Planning); Trustee of The Royal Fine Art Commission Trust Castlemead, Lower Castle Street, Bristol BS1 3AG Aon UK Limited 8 Devonshire Square, London EC2H 4PL BANKERS The Countess of Oxford – Clare Asquith Writer and lecturer CafBank Ltd PO Box 289, West Malling, Kent ME19 4TA Brian Roper MBE  Malcolm Baldwin Chairman, Mondo Foods Ltd; Local Chairman, Clydesdale Bank (Retired AGM June 2012) Clydesdale Bank PLC Royal Mead, 4–5a Railway Place, Bath BA1 1SR Chairman, Roper Rhodes Ltd (Retired AGM June 2012) Desmond Shawe-Taylor Surveyor of the Queen’s Pictures Tessa Coleman  Artist; Former Investment Banker with Fleming Investment Management London and Invesco Mim Tokyo and London (Retired April 2012) Prof. Christina Slade Vice Chancellor of Bath Spa University (Appointed December 2012) Adrian Tinniswood  Architectural historian, author, lecturer and broadcaster; A consultant with The National Trust and formally Chairman of the HLF committee for the South West Cllr. Nicholas Coombes  Nominated Trustee, Bath and North East Somerset Councillor for Bathwick Antony Constantinidi FCA [1, 2] HON . TREASURER Chartered Accountant Former tax partner, Pricewaterhouse Coopers Patrick Despard  CHAIRMAN , FINANCE & GENERAL PURPOSES COMMITTEE Associate of The Royal Institute of Chartered Surveyors; Formerly Chief Executive of City & West End Property Group. London W1 Notes  Member of Finance & General Purposes Committee*  Member of Investment Committee  Nominee of Bath & North East Somerset Council  Nominee, The Friends of the Holburne Museum * Formerly the Executive Committee DONORS TO THE MUSEUM The Holburne Museum is an independent charity and receives no regular government or council funding. Every donation helps us stay free-to-enter as Bath’s Art Museum for Everyone. Thank you to all our supporters listed here, those who give anonymously, the Friends of the Holburne and to all our volunteers who give their time so generously. The Annual Fund Supporting salaries, care of the collection, learning and the Museum’s daily operational costs Viscount Amory’s Charitable Trust Brian and Nellie Ashford-Russell Bath & North East Somerset Council Bath Spa University University of Bath Allen Bergin The Ken Biggs Charitable Trust Rosalie Challis Sir Jeremiah Colman Charitable Trust The Davidson Family Charitable Trust The John Ellerman Foundation David and Karin Embleton English Ceramic Circle Nicholas Falk The Lord Faringdon Charitable Trust The Joyce Fletcher Charitable Trust The Friends of the Holburne Museum Nicholas Gent The William Gibbs Charitable Trust The Ray Harris Charitable Trust Desmond and Fiona Heyward Beverley Hilton The Henry C. Hoare Charitable Trust Isle of Wight NADFAS Timothy Kent Sandra le Marchant The Mackintosh Foundation Lord Marland Charitable Trust The Monument Trust The Paravicini Dyer Charitable Trust William and Vanessa Parker David Pike The Pitt-Rivers Charitable Trust David Posnett, OBE Brian and Margaret Roper Salomon Oppenheimer Philanthropic Foundation The Hon Michael Samuel The Stone King Foundation The Verdon-Smith Charitable Trust Will and Elin Wilson Iwan and Manuela Wirth Exhibitions and Events Arts Council England Bath Spa University Bath Tourism Plus The Stephen Clark 1957 Charitable Trust The Cobalt Trust Heritage Lottery Fund The Paul Mellon Centre Henry Moore Foundation The Royal Netherlands Embassy The Norie Trust The Textile Society Corporate Sponsors and Members Bang & Olufsen of Bath Benugo Best Western Abbey Hotel Bisque Charles Stanley Dukes Hotel Emtone Printing Enlightened Lighting Feilden Clegg Bradley Fine & Country First Great Western The Framing Workshop George Bayntun’s Great Western Wine Company Handelsbanken GL Hearn Knight Frank, Bath Mogers Solicitors Momentum Consulting Engineers Monahans Moore Stephens Pearson May Chartered Accountants Roper Rhodes Sanlam Private Investments Savills Stone King Tasburgh House Thrings Solicitors Villa Magdala Withy King Solicitors Holburne Benefactors Tessa and John Manser Trevor Osborne Holburne Patrons Charmian Adams and Roger Plant Josefa Angelo-Sparling Bernadette Bailey Rodney and Deborah Barber Sarah Barlow John and Alison Barneby Ken and Vera Barnes Julian and Diana Barran Edward and Laura Bayntun-Coward Bridget and Philip Beck John and Rhona Bell Jennifer Bereska Christopher and Georgie Birrell John and Ros Bishop Suzanne and Graham Chase Dr Marianna Clark Anthony and Louise Clarke John and Yvonne Cullum William and Letty Darby Morny and Ian Hay Davison Patrick and Nikki Despard The Dickinson Group Van and Eva DuBose Caroline Ellert The Late Miss Barbara Ellis David and Karin Embleton Richard and Mary Fleck Andrew Fletcher, OBE Richard and Carolyn Frewer Anthony and Julia Fuller Stephen and Nicola Hanscombe Pamela, The Lady Harlech Vivienne Haskell Tessa Hayward Sir David Hoare, Bt. Avon Antiques Michael Jodrell Simon and Antonia Johnson Mike and Kathy Johnson Michael and Frances Ann King Alastair Laing David and Fiona Lees Gerard and Juliet Leighton Sandra le Marchant David Lewis Lowell Libson Sir Timothy and Lady Lloyd Nigel and George Mackintosh Valerie Macready Bel Mooney and Robin Allison-Smith Guy and Penny Morrison Duncan and Dee Moss Patrick and Christine Newall John Nicoll Kevin and Victoria O'Sullivan William and Veronica Otley William and Vanessa Parker Anthony and Val Pitt-Rivers David and Suki Posnett John and Belle Robinson Chris and Denise Rogers Brian and Margaret Roper Michael and Julia Samuel Adrian Sassoon Juliet Schubart and Andrew Wilson Andrew and Belinda Scott Hugh and Catherine Stevenson The MJC Stone Charitable Trust Lady Strasburger Clivette and Stephen Taylor Betty Thayer and Henry Morris Matthew and Leigh Thorne Sir Michael and Lady Turner Richard and Sue Wales Christine Walker Nigel and Sandra Websper Anthony Wilkinson Will and Elin Wilson Miranda Winram Patrick and Lucy Woodroffe John and Margaret Wragg Ann Zwemmer Holburne Contemporaries Elizabeth Baines Angie Brooker Jan Byrne Suzanne Campbell-Jones Alex Chapman Peter Clegg and Derry Watkins Colette Dartford Sara Foster Christine Gregoire Constance Hepworth Elena Hill Sam Hodgson Helen Kershaw Mrs Belinda Laws Jim and Liz McAuliffe The Perfect Setting Marnie Whiting The Holburne Museum Great Pulteney Street Bath BA2 4DB www.holburne.org Registered charity number: 310288 IN PARTNERSHIP WITH