Newsletter 134
Issue Winter 2022
Table of Contents Letter from the Chair ........................................................................................................ 3 Introducing Our New Trustees ........................................................................................ 4 Introducing Lisa Edgar ...................................................................................................... 6 Volunteering at Holst Victorian House ........................................................................... 7 New Members .................................................................................................................... 8 Events .................................................................................................................................. 8 Two Exhibitions at Compton Verney ................................................................... 8 Pissarro: The Father of Impressionism (Nick Nelson) ....................................... 8 Art and Architecture in Oxford ............................................................................ 9 Morris, Burne-Jones and the Business of Stained Glass (Adrian Barlow) ... 10 Friends of The Wilson Quiz Night .................................................................... 10 Historic Coventry ................................................................................................ 10 Edward Adrian Wilson (Nick Nelson) ............................................................. 12 Kelmscott Manor and Fairford (St Mary’s Church) ........................................ 13 Edward Wilson Birthday Picnic ........................................................................ 14 Keeping in Touch on FOTW Trips .............................................................................. 14 Events and Exhibitions .................................................................................................. 14 Tewkesbury Abbey Birthday Celebrations ................................................................. 15 The Wilson’s Costume Collection ................................................................................ 16 Favourite Works of Art: The Fat and the Lean ........................................................... 18 Book Review ................................................................................................................... 19 Reviews ............................................................................................................................ 19 The Story of Tewkesbury Abbey: John Jeffreys ................................................ 19 ‘Jewels in the Crown’: Sezincote and Chipping Campden ............................. 20 Friends’ Reunion and Reception ....................................................................... 21 Photo credits ................................................................................................................... 23 Contacts ........................................................................................................................... 23
Mary Greensted at Sezincote House during the Friends’ outing in September. Read more from page 20. (Image taken by Adrian Barlow)
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Liz Giles and Martha Alleguen at Court Barn Museum in Chipping Campden. Read more from page 20. (Image taken by Adrian Barlow) Friends of The Wilson Newsletter
Guest speaker Loyd Grossman at our Friends’ reunion and reception in October. Read more from page 21. (Image taken by Jaki Davis)
Dear Friends, Welcome to this, the Winter edition of the Friends’ Newsletter. Spring and normal life (whatever normal means these days), seem a long way off at the moment, but by the time the May Newsletter appears The Wilson should have re-opened, enabling us to sample the new Arts Café, to inspect the Charles Irving Community Gallery and to reconnect with the collections for the first time in two years. I hope we shall soon learn The Cheltenham Trust’s plans for the 2022 programme of exhibitions and events at The Wilson. These will include, of course, the first display of the Angelika Kauffmann portrait of John Rushout, Lord Northwick, the most significant addition to the Fine Art collection for several years. This is the painting whose acquisition the Friends were able to negotiate in 2020 on behalf of the Council and The Cheltenham Trust. The portrait is important in its own right as a fine example of the work of one of the key women artists in Europe of the eighteenth and early nineteenth centuries. It is also important to the history of Cheltenham: as the town’s prosperity as a Spa began to wane, Lord Northwick’s astonishing collection of European art, open to the public at Thirlestaine House, made Cheltenham one of Britain’s leading cultural destinations outside London in the first period of Queen Victoria’s reign. We must all hope that the reopening of The Wilson will help Cheltenham to become once again a leading cultural destination. 2022 of course sees the 150th anniversary of Edward Wilson. It is
understood that The Wilson’s main exhibition, marking his birthday and focusing on his legacy, is likely to be in the autumn but there will also be talks, events and displays in the Open Archive. It will be especially good to see for the first time the recently conserved album of artwork, memorabilia and ephemera compiled by Edward’s sister Ida; the cost of conserving this album, which up to now had been too fragile to exhibit, has been met by a grant from the Friends. We are also intending to pay for the conservation of Edward Wilson’s Polar suit – one of the most iconic items in the museum’s collection. There will be a number of events in the Friends’ own programme for 2022, starting with the talk by David Elder to mark the publication of his new book, a biography of Edward Wilson’s father, Dr Edward Thomas Wilson. ETW, as he was affectionately known, was the founder of the original Cheltenham Museum, which opened in 1907. I hope very much that the portraits of ETW and his wife (both painted by Alfred Usher Soord) will find a place in the Edward Wilson exhibition later in the year. Edward Wilson’s mother was herself a remarkable woman who farmed and bred poultry at The Crippetts, above Leckhampton. This was one of Edward’s
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favourite retreats and, to mark his birthday (Saturday 23 July), the Friends are organising a celebration walk and picnic from Crickley Hill to The Crippetts. You’ll find full details of this and our other planned trips and talks in the following pages.
With all good wishes for a happy and safe 2022,
Introducing Our New Trustees I’m very pleased to say that we have recruited three new trustees since the last AGM – Vanessa Graham, Connie Price and Judie Hodsdon – who introduce themselves below. Each of them brings their own distinctive professional and personal experience to the role and I am grateful to them all for agreeing to become trustees at an important and challenging time for the Friends of The Wilson. According to our usual practice, they have already been co-opted onto the committee of trustees until the 2022 AGM, at which point they will stand for election. Vanessa Graham
I am delighted to be involved in Friends of The Wilson as a trustee. Passionate about education and culture, I relish the chance to be involved in supporting the relaunch of The Wilson in Spring 2022. Visual culture and history are crucial to the lifeblood of a community, and we are lucky enough to live in a town 4
which hums with all sorts of culture throughout the year through our festivals – but also through the fantastic number of artists living and exhibiting in Gloucestershire. Now we have a new chance to give the best of the visual arts – and our historical collections – a chance to shine through a reinvigorated art gallery and museum. What can I bring to the party? My career to date has been in educational publishing and marketing. After a degree in History & History of Art at Cambridge, I worked firstly for Macmillan Publishers as a History & Art History Publisher before becoming Editorial Director of Manchester University Press, where I continued to commission Art and History books, with a particular interest in Early Modern History and Renaissance Art. After moving to Cheltenham in 2001, I trained as a primary school teacher, then moved back into publishing – but this time in a marketing role at Oxford University Press – learning all the skills of digital marketing and communication. Marketing is fundamentally about telling compelling stories which I hope is a skill that could be put to good use within the Friends. My own interest in art and history is undimmed. Two recent visits were to see an Eric Ravilious Exhibition in Devizes, and the Frans Hals exhibition
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at The Wallace Collection. We also collect modern Scottish art – and my dream painting to own would be a Joan Eardley landscape. Sadly, out of my budget! Connie Price
culture and education in Bangladesh, South Africa and Nigeria. In the UK, I led global programmes building partnerships often involving young people and I received the OBE in 2018 for services to building relationships with Nigeria. I wish to contribute more locally now I am back home. I am a trustee for a local Students Union and, keeping up my commitment to Africa, chair of a small charity working in Togo called Deki.
I am of Welsh/Maltese heritage and growing up, I spent many summers exploring historic sites in both countries. I have been based in Cheltenham for over 20 years and am now home to stay! My early interest in history prompted studying Ancient History and Archaeology at Exeter University and working on archaeological digs at Crickley Hill, St. Oswald’s Priory and a Roman fort close to the Antonine Wall. My first full time job was in Cheltenham Library, so The Wilson was a familiar neighbour. Thanks to the support and encouragement of colleagues, I ventured further afield and gained experience as a community librarian in Brockworth and then working for Essex County Council. I then joined the British Council which, at the time, had a network of libraries overseas that was the envy of many countries. While my early roles focused on libraries, I soon took on leadership of a wide range of programmes in arts,
The Wilson was always a port of call on visits home with my daughter. We enjoyed discussing the exhibits and what they suggested about the people here before us. Working in other countries showed me what happens when arts and culture are suppressed or ignored and, in contrast, the richness and confidence of communities who know their story. I hope to bring some of that learning to the FOTW. Judie Hodsdon
I have lived in Cheltenham since the early 1970s so feel almost a native! Since retiring from the Civil Service in 2009 I have held several trustee positions. These have included at Bletchley Park where I was a trustee during the time it changed from a hand to mouth existence to a thriving national museum. What made the
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change was a dedicated team of executives and trustees with a longterm strategy and sound plans that convinced grant givers, especially the HLF, to back the renovation of old buildings and improvement of facilities that led to fourfold increase in visitor numbers. More locally I have been a school governor and an active member of Friends of Pittville, including being chairman for several years. I am a member of the team that works with CBC staff to renovate historic features of the park, beginning with the restoration of Pittville Gates which involved a significant amount of fundraising. We have now embarked on improvements to the surroundings of the Pump Room and hope to make some progress in the coming year after a bit of a Covid-imposed hiatus. I also take part in the fortnightly working parties in the park which is a good way to get some fresh air and exercise.
I was one of the original trustees of The Cheltenham Trust, stepping down at the end of my term in early 2021. It proved more difficult than we had thought to increase the income of the Trust sufficiently to cover the cost of running The Wilson Art Gallery and Museum and I was very conscious of the help provided by the Friends to cover some essential costs. Perhaps the new income from the Trust’s cafes at the Pump Room and Town Hall will make for a brighter future when the situation is fully back to normal with The Wilson reopened. I particularly enjoy living in Cheltenham for its location and for its cultural offerings and I am a member of many societies, including the Friends of The Wilson for several years. I hope by becoming a trustee I can contribute to The Wilson becoming an integral part of Cheltenham’s cultural life again and a shining example of what a civic museum and art gallery can be.
Introducing Lisa Edgar The Friends of The Wilson welcome Lisa Edgar, who this month joins The Cheltenham Trust as Head of Culture. Here Lisa gives a brief sketch of her career to date before looking forward to her new role and to the re-launch of The Wilson with the opportunities and challenges its transformation will offer. Lisa Edgar has 30 years experience as an arts manager, curator and educator. Currently acting Head of Art at National Museum Wales, Lisa leads a team focused on making one of Europe’s great art collections accessible to broad audiences through an exciting programme of exhibitions, events and community projects across Wales. 6
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Her work is grounded in communities working with diverse groups and a wide range of partners, and she takes a strategic role in placing visual art within mainstream education as curriculum advisor on GCSE and A Level Art and Design. Formerly, she has led an award-winning engagement programme in her role as Head of Education at Ffotogallery, Wales’ national agency for photography and film. She has also led public programmes for the Diffusion International Festival of Photography, and is a founder member and chair of g39, an arts organisation which has won international acclaim as a platform for new artists and creative innovation. It includes galleries, studios and WARP – the Wales Artists’ Resource Programme. She has worked on major exhibition projects including Wales at the Venice Biennale, and a major British Council arts exchange programme with India.
Lisa said: ‘I am delighted to be appointed to the role of Head of Culture at The Cheltenham Trust and look forward to working with Laurie Bell and the Executive Team to lead the re-launch of The Wilson Gallery and Museum in 2022, which aims to invigorate the creative art community across Cheltenham, lead the conversation around the production and display of art, contemporary exhibitions and share our exceptional historic, modern and contemporary art collections. The transformed Wilson will include new galleries, artists’ studios, a new café bar and co-working facilities supporting art practice, providing a place for experiencing and creating art and culture. I look forward to working closely with communities across Gloucestershire to drive an exciting and inclusive art and engagement programme and welcoming our audiences in the Spring.’
Volunteering at Holst Victorian House It is an exciting time at Holst Victorian House. Following a successful rebranding exercise, the house is now attracting fans of Victoriana as well as music and is busier than ever. We do suspect currently being the only museum in Cheltenham open to the public has also had an impact. Nevertheless, we hope to be able to continue to grow our audience throughout 2022 but need more volunteers to be able to do so. Did you know that for c.20 years the museum has been run almost entirely by volunteers? Initially set up by Cheltenham Borough Council in 1974, it was saved from closure by enthusiastic volunteers who formed a charitable
trust to manage it independently. More recently, volunteers stepped up to the plate again when staff were furloughed in 2020. They worked hard to keep the museum in people’s hearts and minds with online events, and then even harder in implementing a bookings system to allow the museum to reopen as soon as possible. Volunteering offers the chance for a varied range of roles, from working with collections and giving tours to less heritage-specific work such as PAT testing our electrical equipment or merchandising the shop. If this interests you then don’t worry, no prior knowledge is needed, just a friendly face and a can-do attitude!
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A full induction process, including shadowing of experienced volunteers, is provided, and any commitment small or large is gratefully appreciated.
More details can be found online at www.holstvictorianhouse.org.uk, or by emailing Lucy Moriarty at learning@ holstvictorianhouse.org.uk
New Members We welcome the following members who have recently joined the Friends: •
Jenny Lockwood
•
Purvi Shah
Events Covid-19: We continue to monitor the situation for outings and public talks. We are limiting our booking numbers on the coach and allowing for distancing indoors (Compton Verney). Masks are to be worn on the coach and inside (unless exempt). Should it be necessary to cancel any event, a full refund will be made. Two Exhibitions at Compton Verney: Grinling Gibbons: Centuries in the Making & John Nash: The Landscape of Love and Solace Wednesday 19 January Tour by coach Cost per person: £35 Group Leaders: Martha Alleguen & Sue Pearce www.friendsofthewilson.org.uk/events/ two-exhibitions-at-compton-verney/ Pissarro: The Father of Impressionism (Talk by Nick Nelson) Monday 14 February, 1.30 p.m. Venue: Church of St Phillip and St. James (Pip and Jim’s), 60 Grafton Road, Leckhampton, Cheltenham, GL50 2DL Cost per person: £10, to include tea or coffee Camille Pissarro certainly rivals Claude Monet apropos of the epithet ‘the father of Impressionism’, given he was the only painter to exhibit in all eight Impressionist exhibitions, which he accordingly financed and organised 8
to boot! Growing up on the Caribbean island of St Thomas, he believed that men, women and children were equally valuable. Politically, he was instinctively drawn to anarchism, not as the destruction of government, but as the creation of an egalitarian society which could be built gradually through the education of future generations about equality and liberal political theories. In his artworks, Pissarro depicted peasants and their daily lives much in the way Jean-François Millet had done, placing them on the same par as the upper echelons of society by making them appear dignified and important. Pissarro’s temporary exile to London during the Franco-Prussian War (1870–71) led to a formative alliance with the art dealer Paul Durand-Ruel, who became the main distributor of Impressionist art and who built their artistic networks in London. Of seminal importance also is the period spent in Pontoise during the mid 1870s – arguably Pissarro’s most Impressionist phase. However, dubbed ‘a nervous eclectic’ by Bernard Denvir, he sojourned
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into the fashionable Pointilliste mode of painting, having been introduced to the neo-Impressionist mode of working by his son Lucien. His most Divisionist works were executed at Eragny where the artist was living at the time. His later works capture the urban vistas of Haussmann’s Parisian boulevards, replete with scurrying figures representing a new social milieu. This talk, whilst we are sure it will be enjoyable in its own right, will be a good introduction to our visit to Oxford in March, when we will visit the exhibition of the same name at the Ashmolean.
Art and Architecture in Oxford – Pissarro: Father of Impressionism at the Ashmolean and tour of the Bodleian Library (Visit to Oxford) Wednesday 23 March Tour by coach Cost per person: £40 (£34 for Art Fund Members – proof of membership to be shown on the day) Pick up points: Evesham Road Pittville Pump Room bus stop (townbound) 8.40 a.m., Royal Well Coach Station 8.50 a.m., Six Ways (by St Edwards School) 9 a.m. Group leaders: Sue Pearce and Martha Alleguen Linked to our February talk, ‘Pissarro: Father of Impressionism’ by Nick Nelson, we invite you to join us on this coach tour to view this major exhibition at the Ashmolean in Oxford.
Camille Pissarro (1830–1903) is one of the most celebrated artists of nineteenthcentury France and a central figure in Impressionism. Considered a fatherfigure to many in the movement, his work was enormously influential for many artists, including Claude Monet and Paul Cézanne. This major exhibition, of works drawn from the Ashmolean’s collection as well as international loans, will span Pissarro’s entire career. We will visit the museum in the morning. After free time for lunch, we move on to the Bodleian Library (a 10-minute walk from the Ashmolean) for a private guided tour of the Divinity School, a masterpiece of English Gothic architecture built between 1424 and 1488. Featuring a beautiful stone carved ceiling and furnishings dating back to 1669, it is the university’s oldest teaching room. We will also visit Duke Humfrey’s library, the oldest library room of the Bodleian Library; Convocation House, an impressive seventeenth-century meeting room; Chancellor’s Court, the university’s imposing former courtroom where students were put on trial by the university for their misdemeanours and high jinks; and The Radcliffe Camera, Oxford’s most iconic building and a beautiful piece of classical architecture. The tour will take about an hour. Due to restricted space in both venues, we will be visiting with timed tickets in smaller groups. There are refreshments available at both the Ashmolean and Bodleian Library. We will leave Oxford at about 4 p.m. Included in this tour is coach travel, entrances to the special exhibition at the Ashmolean and its collections and a private guided tour of the Bodleian Library and associated buildings.
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Morris, Burne-Jones and the Business of Stained Glass (Talk by Adrian Barlow) Thursday 31 March, 2.30 p.m. Venue: Church of St Phillip and St. James (Pip and Jim’s), 60 Grafton Road, Leckhampton, Cheltenham, GL50 2DL Cost per person: £10, to include tea or coffee
always a fascinating experience – and some of it, for example the triumphant series of windows in St. Philip’s Anglican Cathedral in Birmingham, is aweinspiring; but how much does it actually owe to Morris himself? Friends of The Wilson Quiz Night Tuesday 5 April, 7.30 p.m. Venue: Cheltenham Spa Bowling Club (5 St Georges Place, Cheltenham GL50 3LJ) Cost per person: £5 Come and test your general knowledge at a Friends’ Quiz evening at Cheltenham Spa Bowling Club. You are welcome to come with a team of your friends and family or come along and join other players looking to form a team. The maximum team size is 6. Nibbles will be provided and a bar will sell both alcoholic and soft drinks. There will also be a raffle and prizes for winning and losing teams.
The Annunciation by Edward Burne-Jones and William Morris (1862–63) at St Martin-on-theHill, Scarborough (Alastair Carew-Cox).
Stained glass was one of the first forms of decorative art to be associated with the name of William Morris. Although the firm he established, Morris & Co., closed finally in 1940, the name remains a powerful brand to this day and the label ‘William Morris’ is treated as a guarantee of fine design and craftsmanship in the Arts and Crafts tradition. In this illustrated lecture, however, I shall argue that the name and the label are both easily misapplied, that Morris is often credited with work that should more accurately be attributed to his colleagues and friends, and that it becomes increasingly difficult to attach the term ‘Arts and Crafts’ accurately to the output of his works at Merton Abbey. Experiencing ‘Morris’ glass is 10
Historic Coventry, Boughton House and Upton House and Gardens (Tour organised by Harry Shaw Group Travel on behalf of the Friends of The Wilson) Thursday 19 – Saturday 21 May (3 days / 2 nights) This tour has been arranged specifically for the Friends of The Wilson with a focus on history and art. Coventry is celebrating being named as UK City of Culture and we have been able to secure a very good value tour for Friends, looking at aspects of historic Coventry as well as treasures in two historic houses. Full details of this exclusive tour, including cost and booking arrangements, can be found on our website. Day 1 – Depart Cheltenham by coach and travel to Boughton House near
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Kettering. Boughton House is one of Britain’s grandest and best-preserved stately homes, containing outstanding collections of fine art, furniture, tapestries, porcelain and carpets. Only accessible to organised groups, Friends can view a magnificent range of paintings by great artists, including The Adoration of the Shepherds by El Greco, Thomas Gainsborough’s Portrait of Lady Elizabeth Montagu, Breaking Cover by John Wootton and several grisailles and portraits by Anthony van Dyck. Boughton also has some of the best-preserved baroque state rooms in the country. A set lunch is included, followed by a comprehensive ‘King’s Tour’ that covers over two floors and approximately 20 rooms, including an ascent of the grand entrance staircase to view the High Pavilion and State Apartments created for the visit of William III. We then depart for the recently opened Telegraph Hotel, which is situated in the centre of Coventry. Accommodation is reserved for two nights on a half board basis.
Day 2 – After breakfast, the group will walk to St. Mary’s Guildhall, which is near Coventry Cathedral. Dating back to 1352, The Guildhall has recently gone through a £5.6 million restoration and is home to the significant Coventry Tapestry. Mary Queen of Scots was
held here in 1569, it was a theatre for Shakespeare and an inspiration to George Eliot, and it miraculously survived the Blitz of 1940, standing as a monument to the power and wealth of medieval Coventry.
With magnificent interiors, collections of armour, historic furniture, artworks and internationally important tapestries, the Guildhall offers a window into Coventry’s glorious past. Entrance and guided tour are included. After the visit we shall have free time to visit some of Coventry’s many places of interest including the Cathedral, the Coventry Transport Museum and the Herbert Art Gallery and Museum. Later in the afternoon, the coach will transfer us to Charterhouse, a unique Grade I listed fourteenth-century Carthusian monastery, one of only nine ever built in Britain. The precinct walls and the Priors’ House and refectory survive, together with an outstanding fourteenth-century wall painting of the Crucifixion which originally decorated one wall of the double-height refectory. Group entrance and guided tour are included. Day 3 – Following breakfast, we board the coach for travel on to Upton House and Gardens near Banbury. As this is a National Trust property, please see the
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booking form if you are a member. Tea and coffee will be included upon arrival, after which there will be free time to explore at leisure the honey-coloured country house, as well as its dramatic terraced gardens and world-renowned art collection. The 1930s home of Lord and Lady Bearsted, the house also holds a vast collection of tapestries, paintings and porcelain. The vast paintings collection contains works by George Stubbs, Pieter Saenredam, William Hogarth, Hieronymus Bosch, El Greco and Thomas Gainsborough. We depart the house by coach to arrive back in Cheltenham late afternoon. Harry Shaw Group Travel has agreed to undertake all booking arrangements on our behalf. Please refer to our website for costs, booking arrangements (including Terms and Conditions) and details of our hotel. We anticipate that there will be a high demand for places on this tour and so encourage early booking, especially for single rooms. Edward Adrian Wilson (1872–1912) (Talk by Nick Nelson) Monday 30 May, time TBC Venue: TBC Cost per person: TBC Although known chiefly as a polar explorer, Edward Adrian Wilson was something of a polymath: ornithologist, natural historian, physician and artist. This illustrated talk is designed to commemorate the 150 years since Wilson’s birth in 1872. As a long-standing member of staff at Cheltenham College, Nick Nelson is acutely aware of Wilson’s contributions in the field of science, natural history and polar exploration. In fact, Westal Boarding House at the college is named 12
after his former family home (now the site of Eagle Star Tower). His room at both school and Cambridge was allegedly like a museum, adorned as it was, with bones and skulls.
As a naturalist, Wilson was the first to study the breeding biology of the Emperor penguin, which laid its eggs in the middle of the Antarctic winter. He had a great eye, coupled with a wealth of knowledge; traits which are best illustrated through an anecdote. He had 20 bats in his collection and when working one time from a live model, a flea crawled out of its fur and hopped onto the end of his pencil. Wilson knew immediately it was a rare genus of flea, put it into a tube and it entered the collection of Charles Rothschild. Thus, this talk partly circumnavigates the fateful Antarctic journey of 1912, and turns to his artistic endeavours instead, achieved in the face of huge adversity. At a temperature of -50oC, during which the pus in his frostbite froze and the enamel on his teeth cracked, Wilson continued to paint, despite sunburn of the eye, snow blindness and frostbitten fingers. He could only work with one eye at a time through the narrow slit in his snow goggles, and only for a few minutes at a time too. Talk about suffering for your art!
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Exclusive visit to Kelmscott Manor, followed by St Mary’s Church, Fairford Wednesday 29 June Tour by coach Cost per person: £38 Pick up points: Evesham Road Pittville Pump Room bus stop (townbound) 8.50 a.m., Royal Well Coach Station 9 a.m., Six Ways (by St Edwards School) 9.10 a.m. Group leaders: Sue Pearce and Sue Reeves
The inspirational Cotswold retreat of William Morris, the father of the Arts and Crafts movement, Kelmscott Manor is always a delight to visit. The house has been closed for nearly two years for important conservation and improvements, funded by the National Lottery Heritage Fund; reopening is scheduled for April 2022 and we have arranged exclusive access for Friends. Today, visitors can experience the beauty and seclusion that inspired many of William Morris’s most important designs and writings. Described as ‘Heaven on Earth’ by Morris, he appreciated the manor house and its adjoining farm buildings as a work of true craftsmanship, unspoilt and in harmony with the surrounding countryside. The recent conservation and improvement works have protected the site for years to come.
On display is an outstanding collection of possessions and works of Morris, as well as those of his family and associates, plus the roses should be in bloom in the garden for our tour. Friends will join our coach in Cheltenham in time to arrive at Kelmscott just after 10.00 a.m. The coach is required to park a 10-minute walk from the house. If notified in advance, transport from the coach park to the manor can be provided for those who may have mobility issues. On arrival we will be welcomed in the Stables Tea Room with included tea/ coffee and homemade biscuits at 10.30 a.m., before a private guided tour in small groups of no more than 10. This arrangement offers an in-depth experience with an expert tour guide. There are stairs up to the upper floors of the house; please let us know if you will be unable to access the upper rooms due to mobility issues. A fully illustrated folder will be made available. Friends can then enjoy the grounds and garden at their leisure. The gift shop offers a wide range of unique gifts and the excellent tearoom will be open after the tour for hot and cold lunches, beverages, cakes and snacks. Please note picnics are not permitted. We join the coach again at 2 p.m. to move on to Fairford and St. Mary’s Church. Our chairman, Adrian Barlow, will be our guide as we explore the church and its beautiful stained glass windows – the only complete set of Late-Medieval glass in a parish church in the country. There has been a church on this site for 1,000 years, the present one dating from about 1497. We anticipate returning to Cheltenham by 5 p.m.
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Save the Date: Edward Wilson Birthday Picnic
in 1872 so this year is a particularly special birthday!
Saturday 23 July
Please join us for a guided walk over Crickley Hill towards the location of his former home at The Crippetts, followed by a birthday tea. Further details will be available in our next newsletter.
You will know that Saturday 23 July 2022 is the anniversary of the birth of Dr Edward Adrian Wilson. He was born
Keeping in Touch on FOTW Trips We try to offer a range of trips for Friends during the year. We also like to make them as accessible as possible, drawing attention to trips that we realise may be more physically demanding, so that Friends can make informed choices on whether each is for them. We hope that you find that our programme offers something you might enjoy, and we are always happy to receive suggestions. To help keep everyone safe, we provide emergency contact phone numbers for use on the day. We also ask you to provide a contact number. Accidents do sometimes happen, and things don’t always go to plan. By keeping in touch, we hope to make your trip as enjoyable and stress free as possible. For example, you might need to contact us if you have had a problem getting to a pickup point in time so that we can discuss possible options, or you may need help or support if you have an accident or become unwell on the day. We might need to contact you if the coach has broken down and we need to change arrangements, or if you have not joined the coach at the agreed time when we do a head count.
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Please ensure you have a reminder of the contact numbers. On the day, keeping in touch with the organisers can save you a lot of anxiety, and maybe even avoid embarrassment at keeping others waiting. It can also mean any necessary help will arrive sooner and will save the organisers a lot of worry if arrangements have to change or someone is missing. We will also be asking for an emergency contact for future trips so that we can, in an emergency, keep them informed. To enable us to keep in touch please bring a fully charged mobile phone with you on the day and make sure we have the number. Do introduce yourself to people sitting near you on the coach – it is a ‘Friendly’ gesture, but it also helps to quickly identify who may be missing. If you don’t have a mobile, we very strongly encourage you to spend the day in the company of someone who does. Please make the organiser on the day aware that you don’t have a mobile phone with you and we will seek to pair you with someone who does. We hope you enjoy your next trip with us. The Events team •
Kirsty Hartsiotis: Exploring Quilts and Quilting in The Wilson’s Collection. Pittville Pump Room, Tuesday 15 February, 12.30 p.m. (£25 + £1.50 booking fee; includes afternoon tea)
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Kirsty Hartsiotis: Celebrating May Morris for International Women’s Day. Pittville Pump Room, Tuesday 8 March, 11a.m. (£25 + £1.50 booking fee; includes afternoon tea)
The Holburne Museum, Bath • Sunil Gupta: The New PreRaphaelites (until 19 January) • Thomas Lawrence Coming of Age (online until 31 May) • Mick Peter: Old Ghosts (14 January – 15 May) • People Make Museums (27 January – 2 May) • The Tudors: Passion, Power & Politics (28 January – 8 May) Victoria Art Gallery, Bath • Bronwyn Williams-Ellis: Mythical
• • •
Beasts Past & Present (until 27 February) Myths and Monsters (until 27 February) From Hogarth to Hodgkin: Our Best Prints (5 March – 4 May) Jean Rose: People, Parks and Plants (5 March – 4 May)
Bristol Museum & Art Gallery • Netsuke: Miniature Masterpieces from Japan (until 5 June) • Grayson’s Art Club (until 4 September) Swindon Museum & Art Gallery Closed; see their ‘Art on Tour’ initiative Please check websites.
Tewkesbury Abbey Birthday Celebrations After our September talk by John Jeffreys about Tewkesbury Abbey, we hope many of you were able to visit the abbey when it was dressed up for its 900th ‘Birthday Bash’ (2–5 November). The spectacular son et lumière was created by the awardwinning Luxmuralis: a collaboration between artist Peter Walker and composer David Harper. For those of you who were unable to visit, here are some stunning photographs. Light and sound art transformed the majestic internal space and told the unique story of the town and the history of the abbey. Several architectural features were highlighted, and a sequence bathed the west wall to bring attention to aspects of its 900 year history. The grounds were also bathed in spectacular colour. More than 5,000 people shared the experience and profits will go to the upkeep of the fabric of the abbey. What a fantastic birthday party. Friends of The Wilson Newsletter
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The Wilson’s Costume Collection The Wilson’s website describes Cheltenham’s Costume Collection as an integral part of the town’s history: ‘The museum’s dress collection reflects the fashionable reputation the town maintained during the late 18th and 19th centuries. Some items are similar to those you would find in other fashionable regional towns, others are unique to Cheltenham [….]. The collection has some unique examples of dress with local importance; some are nationally significant as well. These include a small group of clothes worn by the Whinyates family who lived in Cheltenham and India in the early 19th century. The clothes are European in style but made from Indian fabrics, for example muslins embroidered with silver and gold thread work or beetle wings.’
steps on the other side of the cabinets they read a sequence of illustrated boards explaining the history and evolution of Cheltenham itself. The costumes on display were frequently changed: as far as possible no costume stayed on display for more than six months at a time. This was to prevent damage caused by prolonged exposure to light or to fabric stress. Clothes are simply not designed to be worn twenty-four hours a day and twenty-four weeks (or longer) at a time.
The Costume Collection can trace its origins back to its first acquisition – a pair of shoes, possibly Persian – in 1900. Today it contains 4,500 items of clothing and costume accessories but it never had its own home, until it opened in the Pittville Pump Room in 1983. Before then, individual items were occasionally included in the different displays of the ‘Cheltenham Art Gallery and Museum’, which had opened in 1907.
The ‘beetle-wing dress’ (early nineteenth century), one of the Costume Collection’s most significant Anglo-Indian dresses, given to the Museum in 1943.
In the Pump Room the collection was displayed in the East and West Rooms, where it attracted good numbers of visitors every year between 1983 and October 1999. In the centre of each room, the costumes were displayed in a sequence of cabinets set out broadly in an S-configuration. As visitors passed each cabinet, they saw the costumes and read the interpretation panels that accompanied them; then, retracing their
It is all too easy to label everything to do with Cheltenham as ‘Regency’, and in any case the importance of the collection can only be fully assessed by seeing its complete range of costume from the Jacobean period, via the Pre-Raphaelites and the formal late Victorian era into the twentieth century right up to the 1980s. This was when the latest acquisitions (nearly all the items were donated to the museum, not purchased)
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Detail of the material, onto which more than 3000 beetle-wing cases were sewn. The fabric is stamped with the mark of the East India Company. There is a full account of the history and design of this dress on The Wilson’s website.
were added to the collection. One of the distinctive features of the nineteenthand twentieth-century costumes is that many of them had been originally displayed and sold in local Cheltenham dress shops and outfitters. The axe fell in October 1999 when, in the wake of severe local government funding cuts, both the Pump Room and the Holst Birthplace Museum were under threat. In the event, the latter was transferred to an independent trust and the doors closed on the Costume Collection. Staff at the time who dismantled the cases and packed away the costumes were told the Pump Room Museum was simply being mothballed, but this clearly was not the case. Back at the art gallery and museum in Clarence Street, two accessories cases were commissioned to show aspects of the collection, and there have been a small number of temporary exhibitions, though not since The Wilson opened its doors in 2013. How many Friends can recall the exhibition Edwardian Glamour to Hippie Chic (October 2007– January 2008)?
Selfridges’ wedding dress (1960s), one of the last costumes added to the Costume Collection.
In 2017, The Cheltenham Trust wrote to the Friends, seeking our support in funding the Feasibility Study that would define the options for ‘Phase 2’ of the Art Gallery and Museum’s development. The Friends met the full cost (£35,000) of this Study. Among the ambitions that the Trust outlined to us in this request for funding was the following promise about the Costume Collection: ‘This rarely seen collection will be brought back into the light to explore technology, public history and cultures and tap into the resurgence of public interest in sewing, textiles and fashion today.’ The Friends do not yet know the Trust’s plans for the collections once The Wilson reopens in April 2022. But it would be reassuring indeed to see the Costume Collection brought back into the light. At a time when museums around the world are beginning seriously to rethink ways of addressing issues of Empire and colonialism, Cheltenham’s Costume Collection has an important story to tell. Adrian Barlow
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Favourite Works of Art: The Fat and the Lean symbolism, drawn from the narrative of the Bible, were no longer acceptable. In short, art in churches was not part of mainstream Protestant thinking, and the place for paintings soon became the home and civic buildings. In turn, the Dutch Republic flourished, grounded in trade and commerce, and saw a huge urban expansion. The urgent need for accommodation led to a boom in building houses with integral warehousing, often sited along the developing canal system. The impact was a fundamental shift away from large paintings for churches (and palaces) to small paintings for smaller domestic interiors. Subject matter, too, became increasingly ‘domestic’ – family interiors, the countryside of their forebears, portraiture, and, the subject of this essay, ‘moralising’ subject matter using contemporary life, in place of the traditional Biblical references and mythology.
In 1898, a considerable sum of money was given to Cheltenham by the MP Baron de Ferrieres to erect an art gallery adjoining the library. Alongside this, over 40 or so ‘old master’ paintings were bequeathed, including two related paintings attributed to the seventeenth-century Dutch artist Jan Steen – The Fat Kitchen (top) and The Lean Kitchen (bottom). These works are a good example of ‘moralising’ subject matter in an avowedly Protestant republic – traditional Catholic subjects or 18
Our pair of paintings are a (subversive) comment upon the immorality of the division in society between those that ‘have’ – The Fat Kitchen – and those that do not ‘have’ – The Lean Kitchen. Like other similar work, these were commissioned as a pair – hanging prominently in a domestic living space as a reminder of the Christian moral imperative in this ‘reformed’ religious society. Interestingly, Steen has dared to indicate that he (and other artists) are often members of the ‘have-nots’ by including, on the left hand side of The Lean Kitchen, an artist’s paint palette! David Addison was Director of Cheltenham Art Gallery & Museum in the 1970s. www.addisonart.co.uk
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Book Review Arts and Crafts Churches by Alec Hamilton (9781848223219) Published by Lund Humphries in September 2020, £45 (hbk, 352pp) What a delight this book is. Sumptuously illustrated with many high-quality photographs, it is accompanied by a text that is scholarly enough for the knowledgeable or academic reader but also eminently accessible for the general one. The author’s meticulous research is in evidence throughout, but it is worn lightly and never feels intrusive. The book is divided into two parts, the first being a short but comprehensive section, which covers a lot of ground in just a few pages, exploring what an Arts and Crafts church actually is – something which the author admits is, in fact, hard to define – and setting out the parameters he has used. Then, he places the churches in their artistic, religious and societal context, ably setting the scene for the reader. This is enormously helpful, both for the less well-informed as well as thought-provoking for the more expert reader. Then on to the prime focus of the book, which is a comprehensive regional gazetteer, divided into 14 geographical areas, with some charming simplified maps at
the end of the book. Each section has detailed descriptions and illustrations of the featured buildings, with short inset essays on individual architects and other relevant subjects ranging from, for example, the Settlement movement to Oxford chapels. At the end of each region, a short list of other churches of note is included. After the gazetteer, more valuable information is attached with some helpful and practical hints and advice on how to gain access to the buildings, plus a depressing list of demolished or at-risk buildings. Plenty of suggested further reading will no doubt prove irresistible to many readers. This a large and relatively heavy book, and will hardly fit into a pocket, but unlike many art and architecture books it is nevertheless a reasonable size to take out and about if travelling. All in all, this is pretty much essential reading for anyone interested in churches, their architecture and decoration, or the Arts and Crafts movement in general. There is something for everyone here, and it will definitely be a volume you will want to turn to again and again. Mandy Jenkinson
Reviews The Story of Tewkesbury Abbey: John Jeffreys (13/09/21) On 13 September 2021, in the year that celebrates the 900th anniversary of the consecration of Tewkesbury Abbey, John Jeffreys treated us to a
most interesting and informative online ‘ramble’ (his word!) through the life and times of the abbey. John structured his talk around the stages and changes the abbey has experienced throughout the centuries and started by clarifying the difference between an abbey and a
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cathedral – the former being a church that stood at the heart of a monastery. Building work on the abbey began in 1101–2 when monks arrived from Cranbourne. John’s talk brought to life the visual aspect of the abbey, detailing the materials, colours, designs and architectural features that characterised the building. Few other ecclesiastical buildings have more Norman features, and its current tower is thought to be the largest of its kind in Europe. John skilfully paralleled the changes to the building with the changing fashions over time. The twelfth century, for example, saw the preference for tombs in the walls rather than in the chapter house. The next phase of ‘tomb fashion’ would see people being buried in their own chapels (chantries). In Tewkesbury Abbey, these included many famous people such as Edward of Westminster and Robert FitzHamon. Up until the dissolution in 1540, there were very few written records about the abbey. The Founders’ Book: A Medieval History of Tewkesbury Abbey is the principal record. After dissolution, the abbey house and land were purchased by the people of Tewkesbury and the abbey became the parish church. We were extremely fortunate to have John to provide such a cogent distillation of the key impacts of the abbey on the town and the political and historical landscape in which it has operated. Jackie Chelin ‘Jewels in the Crown’: Sezincote and Chipping Campden (21/09/21) You approach Sezincote House over a bridge, under which a stream flows 20
down through woods with beautiful mature trees. On each side of the bridge sit two Brahmin bulls, providing a clue that this may not be the typical English country house. On the driveway is an antique car decorated with dried flowers on the bumpers and gold upholstery inside. Even the steering wheel and gearshift are upholstered. Certainly not an ordinary car! In 1795, the house was bought by John Cockerell, on his return from Bengal, from the 3rd Earl of Guildford. He wanted an ‘Indian-style’ house but died in 1798. His youngest brother, Sir Charles Cockerell, inherited the property and employed another brother, Samuel Pepys Cockerell, to build him a house in the Indian manner. First impressions are very much of an exotic Indian-style building with various temples dotted through the landscape. When George IV visited the house as Prince Regent, he was said to be so influenced that he made changes to his palace in Brighton. Unfortunately by the 1940s, the house had fallen into a dilapidated state and was taken over by Sir Cyril and Lady Kleinwort. They spent many years restoring the house and gardens to their former glory and their family still live there today. The main two-storey house has a main copper dome and minarets with copper domes on top. The masonry work carries on the same mogul theme in its decoration. A stunning orangery curves out from the left-hand side of the building the inside walls of which are covered with abutilon, plumbago, passion fruit and other semi-tropical plants. In front of the orangery is a Persian-style garden with a fountain and a water course with two elephants at the end.
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We entered the house through a hall complete with paintings by Thomas Daniell and a beautiful George III table, on which was a model of the house made by Lord Linley. The hall led us through to an unusual staircase furnished with rare tapestries framed by John Fowler. It also had a magnificent chandelier hanging down from the dome. From there, we went to Lady Kleinwort’s bedroom and other formal rooms. Her Ladyship had been a very astute buyer of pictures and furniture from stately homes, including furniture from Blenheim and St Petersburg. Lady Kleinwort’s bedroom was enormous with some lovely pieces of Chippendale furniture, chairs and commodes, but for me the guest bedroom was more remarkable for a very effective trompe l’oeil mural in the corner of the room which hid a door leading to a bathroom. The original ballroom had a black ceiling when Sir Cyril moved in but after cleaning, a magnificent gold ceiling was discovered. Another room with murals was the dining room. It was also decorated with mirrored shutters, which would have reflected the light from candles lit for dinner. From the dining room, doors lead out towards the orangery, where our tour came to an end. We thanked our very knowledgeable guide and left for our visit to Court Barn Museum in Chipping Campden. After a fortifying lunch we made our way up to the museum. It was founded to celebrate the work of designers and craftspeople who have worked in the area for the past hundred years. The museum originally opened in 2007 following funding from the Heritage Lottery Fund.
It celebrates the designer and campaigner C.R. Ashbee who founded the Guild of Craftsmen in London in 1888. He decided to move his guild and about fifty of his craftspeople to the Cotswolds in 1902 to give them a healthier lifestyle away from the London smog. All sorts of designers have been attracted to work in this part of the country: stained glass artists, sculptors, wood carvers, potters, silversmiths and others. The museum has works of nine very well-known artists and designers of the last 100 years on permanent display. These include Gordon Russell, Charles Blakeman, Bernard Leach and C.R. Ashbee. There are very fine examples of silverware, wood carving, jewellery, pottery and stained glass. There is a shop selling a variety of works made by local craftspeople, which would make lovely gifts. Although the museum is small, only two rooms, it provides a very good glimpse of the beautiful work of these artists over the last century. As we had a little time to spare, a few of us went into the neighbouring church and were fortunate to find our chairman Adrian there! He kindly gave us a detailed explanation of all the figures depicted in the great window installed in 1925 which really brought it to life for us; a bonus to end an interesting and stimulating day. Monica Fateh Friends’ Reunion and Reception (07/10/21) We’d waited an awful long time for this opportunity to mingle once again – indoors – as Friends and although we were unable to meet at The Wilson,
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the Pittville Pump Room stepped up as a fabulous substitute. Sue Pearce was also a great substitute for Adrian, our chairman, who was unfortunately taken ill with Covid only hours before the event. Laurie Bell, chief executive of The Cheltenham Trust, kicked off the evening with an insight into how she and a very small team had kept the Trust and its offering ‘on the road’ during the pandemic – repurposing on provision of outdoor events and establishing a café culture around the Pump Rooms and Imperial Gardens. Much had been learned during that period and this knowledge is being applied in the refurbishment of The Wilson, due to reopen in April 2022, with a new Community Arts Gallery, studios and workshops, relocation of the café area and a new focus on access from the revitalised Minster quarter. Our patron, PJ Crook, in addition to welcoming Friends and celebrating this evening of reunion, looked forward to an April re-opening and urged Laurie to include the wider network of artists in plans for The Wilson – including the National Star College and Open Studios. Laurie nodded enthusiastically at this point! The main event was the conversation between Sue Pearce and Loyd Grossman. I for one was astounded at the magnitude of his achievements as listed in Sue’s introductory remarks – a successful journalist, broadcaster and trustee/advocate of a huge number of organisations focussed on the arts. A true friend of the arts matched with a generic appeal and practical insights into how to make arts and museums
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sustainable, accessible and relevant in our rapidly changing world. What were his messages for Friends and The Wilson? • • •
• •
Catch them young – make museum visits fun and get children into the habit of visiting. Engage with the wider public – share the exhibits, not be mere custodians. Recognise the requirement for museums and galleries to have a strong commercial income stream including cafes and shops – neither national nor local government are going to foot the costs. Philanthropy can work – and should be mined. Harness digital communications – widen your reach and gain new supporters.
In addition, we were introduced to ‘Cocktails with a Curator’ – the Frick Collection’s twenty-minute online sessions wherein a curator shared details of their favourite painting and cocktail each Friday during lockdown (available on YouTube), Loyd’s prowess as a punk rock guitarist (eight Glastonbury appearances), the dangers of retroactive demonisation of sponsors and the difficulties in establishing a museum of food and drink. All in all, an inspirational session – evidencing what can be achieved with vision, clarity of purpose, imagination and determination – thank you, Loyd. Do keep in touch, we can learn an awful lot from you. Jaki Davis
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Photo credits Page 9: The Pea Stakers by Camille Pissarro (1890) (© Ashmolean Museum). Page 11: Broughton House, Northamptonshire (© Euan Myles/Wikimedia Commons (CC BY-SA 4.0)); St Mary’s Guildhall – north front (© Coventry City Council/Flickr (CC BY-NC-ND 2.0)). Page 12: Edward Wilson (© SPRI/ Herbert Ponting). Page 15: Tewkesbury Abbey (Simon Probert).
Pages 16 and 17: ‘Beetle-wing dress’ (early nineteenth century) (© The Cheltenham Trust / Cheltenham Borough Council); Selfridges’ Wedding Dress (1960s) (courtesy of Mrs Diana Brown). Page 18: The Fat Kitchen and The Lean Kitchen by Jan Steen (c.1650–55) (© The Cheltenham Trust / Cheltenham Borough Council).
Contacts President PJ Crook Chair Adrian Barlow (01242 515192) chair@friendsofthewilson.org.uk Secretary John Beard (01242 514059) secretary@friendsofthewilson.org.uk Treasurer Liz Giles (01242 224773) treasurer@friendsofthewilson.org.uk Membership Secretary Martin Renshaw (07748 901194) membership@ friendsofthewilson.org.uk Cheltenham Trust Liaison Jaki Davis (07747 795709) jaki.meekingsdavis@ hotmail.com Talks Organiser Sue Pearce (01242 522467) sp68len@gmail.com Collections David Addison (01242 238905) davidaddison10@btinternet.com Volunteer Liaison Robert Rimell (07858 007852) rimell@me.com Events Bookings Alison Pascoe (01242 519413) Martha Alleguen (01242 526601) events@friendsofthewilson.org.uk Newsletter Mailing Sue Reeves (01242 675497) sue.reeves39@gmail.com
Marketing Vanessa Graham vanessacgraham@gmail.com Newsletter Editor Alex Boulton editor@friendsofthewilson.org.uk Trustees Connie Price and Judie Hodsdon Cover photo: Lisa Edgar, the newly appointed Head of Culture at The Cheltenham Trust, who has particular responsibility for The Wilson Deadline for the next issue: 25 March Please send everything to editor@ friendsofthewilson.org.uk The Wilson, Cheltenham Art Gallery and Museum Clarence Street, Cheltenham, Gloucestershire GL50 3JT 01242 237431 artgallery@cheltenhamtrust.org.uk www.cheltenhammuseum.org.uk Friends of The Wilson, Cheltenham Art Gallery and Museum Registered charity number 289514 www.friendsofthewilson.org.uk queries@friendsofthewilson.org.uk editor@friendsofthewilson.org.uk
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