Wednesday, February 9, 2011

The beautiful things...

Dear readers,

As you know, we have been packing the museum collections and preparing to move them offsite so that redevelopment work can begin in earnest. One of the most rewarding aspects of this is that we get to see (and handle!) some of the remarkable objects in the museum stores. This morning I spent some time looking at the various remarkable urns and other pieces of assorted pottery in the archaeology collections. These things have been found locally (with some exceptions, of course, where would we be without exceptions?). I was especially drawn to the labelling on these objects. It is interesting to me that archaeologists put labels directly on objects.

felmersham
Felmersham Churchyard: 4 feet deep
 
Coming from a Fine Art background, writing directly on an artefact seems fairly odd, and these artefacts have not only been written on, they have fragments of text cut out and stuck to them, and stenciling in two different colours. The reason for this labelling, is that for the archaeologist, the most important thing about the artefact is not what it looks like, but the information associated with it. What I like about it is the level of craftsmanship on these labels, they are a record of all the hands the artefact has been through, since it re-emerged into the world.

possibly from a cowheard
The text on this urn reads 'contained the remains possibly from a cowheard,
as the terminal of an ox goad was found with the cremation'
I think another reason that these labels struck me, was that they are so direct. As a digital and social web enthusiast, I seem to spend a lot of time linking things to things in the great big World-Wide Web. The cut and paste approach taken here seems very refreshing, and you can't say it doesn't work. That said, our Keeper of Archaeology, Liz Pieksma informs me that the remains in this urn are most likely 'not from a cowheard'.

A lot of the finds have the initials and names of the collector emblazened on them - Tom Perrett, Head of Collections and Exhibitions said 'to me this reflects the competition there was between antiquarian collectors to get their hands on the 'best bits'.'


a fine specimen
( a fine specimen ampulla 1st Century) from the Elliot Collection

Some of the finds that I saw in the archaeology store had barnacles on them. Surely these weren't found in Kempston, Felmersham or Biggleswade? Indeed they were not. They were found off the coast of Kent, at the site of a famous shipwreck, Pudding Pan Rock! The pieces in our collection are very similar to others in The British Museum collection, where I found this description of how they were found.

'Fishermen often dragged up Roman bowls, plates and cups in their nets when they fished near Pudding Pan Rock. Sometimes the fishermen’s families cooked and ate from the bowls, but often they sold them to antiquaries. Gustavus Brander (1720-87), a Trustee of the British Museum, once served dessert to fellow antiquaries from dishes found at Pudding Pan Rock.

 
There was much speculation about this pottery's origins in the 1770s and 1780s. In 1773 John Pownall went with a local fisherman to 'fish' for pottery and other artefacts in what was probably the first marine archaeological investigation to take place in Britain'

Banacle
Roman pottery from Pudding Pan Rock
barnacle 2


papers
flower

I love how beautiful the textures and shapes of all these objects are. There are quite a few more photos on Flickr. Have a browse and let know what you think of all these things. I especially like how the little handled jars have their papers tucked under their arms, I think it gives them a lot of personality!

Wednesday, January 19, 2011

High Kicks & Low Life: Lithography explained.....

To many people the idea of an original print can seem like a contradiction, with the connotation that, somewhere, there must be an ‘original’ work of art from which a reproduction has been made.
As we are currently hosting the British Museum’s touring exhibition of graphic works by Toulouse-Lautrec, I thought it would be a good idea to post about what we mean by the term ‘artist’s original print’ and to explain the process Lautrec used to create many of his most enduring images: stone lithography.


 Henri de Toulouse-Lautrec (1864-1901) Marcelle Lender, en buste, 1895. Colour crayon lithograph
© The Trusttes of the British Museum



When making an original print, an artist will first choose the medium they want to work in. This could be lithography, etching, woodcut, or any one of a number of other methods, depending on the desired effect.

Marks are then made directly onto the printing surface and an impression is taken. The important thing here is that the resulting print is an original work of art – not a copy of an already existing image – which will be printed in an edition size chosen by the artist or a publisher.

Lithography is a very expressive form of printmaking. Artists can use materials that are very close to those they might choose for other mediums, which has made it popular as a technique since its invention at the end of the 18th century.

The original method, as discovered by Alois Senefelder, uses limestone blocks that are ground down to make a smooth, flat surface and relies on the interaction of two incompatible surfaces: grease and water. Marks are made directly onto the surface of the stone using grease-based substances, such as special lithographic crayons. With chemical treatment, the areas that have been marked will accept printing ink while the undrawn areas, dampened with water, remain free of ink. Finally, the image is transferred to paper by passing the stone through a printing press.

 Example of a stone prepared for a lithographic print.
This Wikipedia and Wikimedia Commons image is from the user Chris 73 and is freely available at Wikipedia



Lautrec’s first lithograph was Moulin Rouge – La Goulue, which used four separate stones for the four main colours. He quickly mastered the technique and began to experiment with a range of techniques, including spatter, where paint is sprayed onto the surface of the stone by running a knife along the edge of a brush.

Henri de Toulouse-Lautrec (1864-1901) Moulin Rouge –La Goulue, 1890. Colour brush and spatter lithograph © The Trustees of the British Museum
From this early use of stone, other lithographic techniques have developed, including grained zinc plates and light-sensitive translucent film. For a glimpse of this magical printing technique being carried out today, you can’t do much better than this film showing Paula Rego at work with our friends at the Curwen Studio.

Monday, January 10, 2011

High Kicks & Low Life: our curators putting up the Toulouse-Lautrec Exhibition




In an anticipation of the exhibition opening on 15th January, here are a few pics of Tom, Kristian and Liz putting up the High Kicks & Low Life: Toulouse-Lautrec Prints exhibition. And speaking of highs and lows we would love to hear what you're highs and lows are from the exhibition. Favourite print? Least favourite? Or perhaps something about the experience that you particularly enjoyed or disliked. You can let us know here, by commenting on the blog, or Tweet us or comment on our Facebook page. We would love to hear from you.

Wednesday, January 5, 2011

Online Gallery in the Independent Online

There is a lovely article and online gallery about our upcoming 'High Kicks & Low Life: Toulouse-Lautrec Prints' in the Independent Online.

Monday, December 20, 2010

Out and About

Since the museum closed for redevelopment in October 2010, our education team haven’t been able to have schools come and spend the day at the museum. However, this hasn’t stopped them keeping busy. They have taken their programme on the road, visiting schools within a 1 hour radius, bringing artefacts, costume and lots of fun along with them. Here is some of the feedback we’ve received from children and teachers.

You can find out more about our education team, and the services they offer at http://www.museumeducation.bedford.gov.uk/formal2.htm













Tuesday, December 7, 2010

What's On - new leaflet out soon.

With less then 2 weeks left of our popular R100 & R101: Airships at Cardington Exhibition, it's high time we let you know what's coming up in the new year. Here is a preview of our new leaflet, which will be out soon.

High Kicks & Low Life: Toulouse-Lautrec prints - A British Museum Tour is our final exhibition before the gallery closes for a major redvelopment project. Read more about the redevelopment here. The exhibition runs from 15th January - 10th April 2011.

Bedford Gallery will be closed from 19th December - 15th January whilst we changeover the exhibition. The curatorial staff will all be working hard over the Christmas holidays installing the works from the British Museum alongside some pieces from the Cecil Higgins Collection by contemporaries of Toulouse-Lautrec. We'll be sure to keep you updated with our progress and we hope that you're as excited as we are about the imminent arrival of so many Toulouse-Lautrec prints here in Bedford.

Wednesday, December 1, 2010

Update: We need your help to save the Burges Settle for the Nation



We need your help to save the Burges Settle for the Nation!

We have secured £400,000 from the NHMF, £150,000 from the Art Fund and £100,000 from The Trustees of the Cecil Higgins Art Gallery. We are nearly there but we still need to raise £100,000 from other sources.

Every penny counts!

If you would like to donate to the Burges Settle Campaign, please make cheques payable to The Trustees of the Cecil Higgins Art Gallery and send them to
Cecil Higgins Art Gallery & Bedford Museum, Castle Lane, Bedford, MK40 3XD

You can Gift Aid your donation. Simply email gemma.hutton@bedford.gov.uk to request a Gift Aid form.
The export bar on the settle only lasts until 20th December. Please do help us to acquire this wonderful, unique artwork for Bedford.

Thursday, November 11, 2010

Great films, inspired by our collections and made by young people from Bedford Foyer

Over 2010 the Cecil Higgins Art Gallery & Bedford Museum has been working with Bedford Foyer, Elizabeth Thomas and Orphan Pixel Company on an exciting Foyer film project funded by the Heritage Lottery Fund.

The 3 films shown here were devised by residents of Bedford Foyer who were involved throughout the whole process, from editing and sound to acting in front of the camera! The films are aimed at getting young people interested in history and their heritage by telling a gripping personal story about the past. Each script was inspired by an object chosen from the museum’s collections by the young people involved.







The photographs show the young people during the process of making the films.
Richard Fuller, MP for Bedford, has described the films as demonstrating “a remarkable combination of simplicity of execution, clarity and precision of dialogue and first class acting.”

Below are some of the objects that inspired the project.



Viking Sword - Iron sword blade from 10-11th centuries, found at Russell Park, Bedford

Crossbow bolt - good quality iron bolt from the 14th century, found in Bedfordshire.The bolt would have fitted on to a wooden shaft and been fired from a large crossbow. It was strong enough to pierce armour.


This project is part of our Audience Development Project. This is a four-year project which aims to engage a wide range of communities and groups in Bedford Borough with the Museum and Gallery collections and their own heritage through creative activities, events, consultation and involvement in new exhibitions. The project has been funded by the Heritage Lottery Fund, Bedford Borough Council, The Bedford Charity (The Harpur Trust) and Lousada Plc.








Friday, November 5, 2010

We aim to raise £800,000 to save a unique zodiac settle designed by William Burges for the nation - with your help!


A unique zodiac settle designed by William Burges is currently subject to a temporary export bar put in place by Culture Minister Ed Vaizey, following a recommendation from the Reviewing Committee on the Sale of Works of Art and Objects of Cultural Interest. The export bar expires on 20 December 2010.
Following the decision, Cecil Higgins Art Gallery & Bedford Museum has been identified as the most appropriate UK institution to mount a fundraising campaign to raise the £800,000 necessary to acquire the settle and save it for the nation.


The settle (1869-70) is an ornate seat or bench that combines the form of an Italian Renaissance day-bed with a castellated canopy inspired by the English Gothic. It is made from painted, stencilled and gilded wood, decorated with rock crystal and slips of vellum. The central panel, painted by Burges’ collaborator Henry Stacey Marks, features the sun on a throne, surrounded by the dancing signs of the zodiac, while other panels show the Planets as musicians and female figures.


Designed by Burges for his own use, the settle was firstly in his rooms on Buckingham Street off the Strand in London, and later moved to Tower House, the gothic residence Burges built for himself in Holland Park. Tower House has been described as one of the most important architect’s houses of the 19th century. Burges left hundreds of drawings of Tower House showing his plans for the interior design schemes. These show that the zodiac settle was placed in the Drawing Room, decorated on the theme of love, from which Burges intended to completely remove chairs. Unlike other pieces of his painted furniture, such as cabinets and bookcases, the settle was an experiment in form and design that was never repeated in any of his later furniture commissions.


If we were succesful in acquiring the settle, it would be the perfect addition to the collection of work by Burges already held here. The collection includes the Sleeping Beauty Bed, the Narcissus Washstand and a dressing table, all from Burges’ own bedroom, as well as a pair of cabinet doors, a wardrobe and a zodiac-themed bookcase. The collection also includes a tulip vase, a decorative silver decanter, a set of knives and forks, an enamelled silver bracelet, and a set of 30 zodiac-themed tiles. The settle would form a central piece of the new Gothic Revival Gallery proposed in our redevelopment plans.



You can support or campaign to save the settle for the nation by sharing this online booklet on your website, facebook or blog page.



Just follow this link http://issuu.com/cecilhigginsandbedfordmuseum/docs/booklet and then copy and paste the embed code into your page.


You can also add our twibbon to your Twitter, Facebook or Blog.




If you would like to pledge your financial support, contact us on 01234 211222 or at gemma.hutton@bedford.gov.uk

Tuesday, November 2, 2010

Extra Film Event Planned

Thank you to all those who attended the one-off screening of British Pathe newsreel on Sunday 31st October at Bedford Gallery. Record visitor numbers were reached!

Happily another film event has been scheduled. On Wednesday 24th November at 1pm we will be showing  'R100’s construction at Howden with commentary from its designer Barnes Wallis'

Not only that, Peter Rix, Chairman of the Barnes Wallis Memorial Trust will be here to give an introduction to the film, and to answer your questions afterwards.