inside Compton Verney

Transcription

1 inside Compton Verney Autumn

2 Summer success stories Our automata exhibitions, Marvellous Mechanical Museum & Rodney Peppé s World of Invention have pulled in the crowds over the summer and attracted great coverage in the press. The Banbury Guardian, reported, Machines, art and life collide in a striking exhibition at a top gallery and The Observer s, Laura Cumming wrote, With its theatrical installation and jewel-coloured lighting, this show is a performance in its own right. Just under 3,000 people visited Artspace in our studio between 24 July - 31 August. Whole families were involved building their own take-away automata and contributing to the mechanical installation by Fire the Inventor, with grandparents enjoying themselves every bit as much as their grandchildren. See page 13 for more details. Forest School Family Thursdays ran throughout the summer holidays, attracting 1,270 visitors with their mechanically inspired activities, as well as the regular mud kitchen, music area and bug hunting. 608 visitors attended the STEM (Science, Technology, Engineering, Maths) activity lead by Chris Mossman, STEM Ambassador based at MoD Kineton. STEM is an integrated approach to teaching maths and science in a hands-on way. Chris Mossman, set up a stall in our Wellingtonia Avenue and involved families in rocketlaunching and STEM workshop with MoD Kineton helicopters. He also came in and worked with school groups, introducing them to engineering kits and problemsolving. This year s Summer Fayre pulled in a happy crowd on a sizzling hot day, and featured Morris-dancing, music, and stalls amongst other things. It inspired Kate from Country Idyll to write in her blog, This weekend we headed off to the Compton Verney Summer Fayre. We often visit Compton Verney during the school holidays as it offers a fantastic day out for the whole family with children s activities, arts and crafts, Forest School, an adventure playground, and plenty of stunning grounds for picnics, exploring and games. The Fayre was wellorganised and it was refreshing to find a variety of traditional village fayre games available for the children without being charged each time they had a go. A major hit with our three children who particularly enjoyed the tin-can alley and splat the rat games. Sunday 8th July saw us celebrating National Meadows Day, showcasing our two wonderful meadow areas. Visitors enjoyed meeting the pollinators, foraging with John Noble, drop-in sessions with our own Head of Landscape & Gardens, Gary Webb, a badger treasure hunt, pebble painting and a nature acoustic. Our Mindfulness Walk on 15 July saw Cotswold artist, Nick Pike, lead a ticketed two-hour walk around the grounds and part of the old estate, encouraging participants to focus on our beautiful landscape, including the places they might have overlooked or not considered visiting. The walk, which was a trial 2

3 for us, filled up fast and excitingly it highlighted the potential for other such park-based events in the future. Our Historic Quest trail was launched on Sunday 22 July with a volunteer team including KADS (Kineton Amateur Dramatic Society) bringing to life 11 characters from our past. Visitor feedback was very positive; a superb way of engaging young and old, and excellent - they presented the history in a visual and conversational manner. Maps, historical Stepping back in time with our Historic Quest. Left to right: Linda, Sylvia, Ann, Ryan, James, Gary, Clifford, Fiona, Jeremy, Sarah, Anne & John. information and a quiz for children will soon be available for all visitors to enjoy, in the form of a grounds-based trail from our Welcome Centre. Sat Aug 4 and Sun Aug 5 saw Compton Verney manning a stall at Leamington s fifth Art in the Park. Around 600 children made leaves for our recycled tree and lots of new families were introduced to what Compton Verney can offer. The theme for 2018 was trees in all their glory and as Susan Watt, Volunteer Coordinator who developed our activities explained, At Compton Verney art meets nature so this was a perfect event for us. On 6 June we were delighted to host Stratford College s Dance students, as they performed Conflict Reimagined, which they had choreographed in response to our Created in Conflict exhibition. It was great to see the whole site used so well for their performance. In August we welcomed back a group of our original staff, the Class of 98 who had a reunion visit to see how things had changed. The group Contents Left to right back: Sue Grove, Anne Walker, Caroline Hartwell. Front Beth Wrench, Corrinda Wakefield-Wylde, Barbara Summerfield. remembered their time at the gallery very fondly: one of the best things about working at the gallery back then was you never knew what you were going to get involved in, it was a case of all hands-to -the deck at times. It is lovely to see how far the gallery has come. A new Introduction to Foraging adult workshop was trialled on 22 September. Marlow Renton from Wildfood UK delivered the session, which commenced with elderflower champagne and ended with a three-course lunch created from foraged foods and cooked in the woodlands. An event to celebrate the labyrinth took place on Sunday 23 September with dowsing workshops and sessions on the myths and legends associated with labyrinths, with author and life-coach, Sarah-Jane Menato. Visitors attending China Family Day on Saturday 7 October enjoyed dances and music from Birmingham s Chinese Community Centre, learned more about the bronzes and Guardians, and had a go at water calligraphy. Page 2 & 3 Summer success stories Page 4 Dates for your dairy Page 5 Textile Fair Page 6 & 7 Farewell to Steven Page 8 Introducing our Interim Director Page 9 Painting Childhood Page 10 & 11 Meet the Gallery Interpreters Page 12 Forest School volunteer award Page 13 Artspace Page 14 & 15 Meet the volunteer shuttle drivers Page 16 Supporters 3

4 Dates for your diary Christmas. If you re making your Christmas list look no further than Compton Verney for inspiration. The Welcome Centre will be transformed from the end of October with novelty affordable gifts, stocking fillers and a fantastic range of Christmas cards. In addition, look out for our Selfie Elfie photo opportunity in December. 20 October - 16 December This autumn sees Compton Verney casting a new light on the work of the great late-victorian master, James McNeill Whistler ( ), with an exhibition exploring his relationship with nature. The exhibition has already been picked up by The Guardian as one of their top 10 exhibitions to see in 2018, Gorgeous atmospherics from the great nineteenth century painter. These include the Nocturnes, in which he captured smog-filled London. Friday 7 December Meet the artist: Jackie Morris. Back by popular demand after last year s The Lost Words exhibition, Jackie will be demonstrating her work and talking about her newly-installed café artwork. We ve plenty going on to get you in the spirit. On 2 & 9 December Father Christmas and his reindeer will be visiting. There are natural wonders tree decoration workshops on 2, 9, 15 & 16 and join us for festive storytelling on 15 Dec. There s a choral performance from the Royal Birmingham Conservatoire Chamber Choir in our chapel on Friday 14 and to close the season, we have fireworks and a Brass Band on Sunday 16. To book tickets, and for prices and times call or see our website. This autumn sees the return of our light installation in the grounds. Step into a spectacular and colourful adventure when we transform our mansion and parkland with light and sound installations. Over three weekends, a new artwork designed by Musson+Retallik will bring Compton Verney to life. Exploring the relationship between the human mind and machines, the work picks up on themes from our earlier Summer Exhibition, The Marvellous Mechanical Museum. Become part of the installation, shining a torch onto 4,000 reflective shapes that lead you on a migration through the park, and witness how modern technology combines with Victorian inventions to reveal a secret, cinematic world Oct, 2-4 Nov & 9-11 Nov from 6.30 to 9.30pm. Advance booking is recommended. Timed entry: 6.30pm, 7.30pm & 8.30pm. Refreshments available. Adult 10 or child 5. Call to book, or see our website. 4

5 2018 Textile Fair Crafters, textile artists, and canny shoppers take note; Saturday 17 November sees Compton Verney s Textile Fair return for its eight year! The popular fair showcases an impressive range of independent textile artists, featuring high quality items which are available to purchase throughout the day, as well as craft supplies. Lindsey Fox, Retail Buyer explains how the annual event came into being and why it remains such a highlight of the Compton Verney event calendar: We were looking for a retail fair to attract new audiences to Compton Verney. Our Folk Art and Enid Marx collections have many fine pieces of textile design, so it made sense to build on this, especially as I have a background in textiles myself. The first year was terrifying, because we had no idea how many people would attend. I was convinced nobody would come, especially as it was such a miserable, windy day. I remember getting the stallholders together for their morning briefing and saying how sorry I was that the weather had put people off coming. And they all laughed at me because through the window behind me they could see a long procession of women striding up the drive, shopping bags and purses in hand. We ve never looked back since. I think that the secret to its success is that the people, who book the stalls year after year, are passionate about textiles and want to share this with each other as much as anything. Any money they make after that is an extra bonus! They get inspired by each other and Compton Verney s artwork and that feeds back into the textile artwork they make to sell at the next year s fair. Visitors get a unique setting for their shopping - the stalls look fabulous in our Naples collection and beautiful Georgian Adam Hall, and most importantly there s a great selection of textile artwork to buy, just in time for Christmas. The event stays fresh because we try to have a different emphasis each year. One year was embroidery, another patchwork, another we had wedding dresses and this year there will be drama costumes from Birmingham Costume Hire in the British Portrait gallery, and the Leamington Embroiderers Guild will be exhibiting and demonstrating their work in the Chapel. This year we are excited that we are also hosting mixed-media and textile artist and author, Anne Kelly. Anne, who is based in Kent and also teaches textile art, is a perfect fit for our fair because she takes inspiration from our folk art collection. We are lucky that she will be discussing her artwork, inspiration and techniques on the day, and will be signing copies of her new book, Textile Folk Art, her first solo publication published by Batsford. Available to purchase from Compton Verney s gift shop for The Textile Fair runs from 10.30am to 5pm. Entry is included in a Membership, Annual Pass or Exhibition day ticket (which includes admission into Whistler and Nature). For further information about the fair see our website: textile-fair-3/ Textile artist, Anne Kelly at work 5

6 So long, farewell Saying goodbye to Steven Parissien In November, Professor Steven Parissien, our Chief Executive & Artistic Director, will leave Compton Verney to take up his new position as Executive Director of the Bata Museum in Toronto. Here he recalls the highlights of his time with us and reflects on the challenges he faced has been a record year for Compton Verney, with rave reviews for exhibitions and visitor figures likely to hit 97,000 once again. The picture was somewhat different, though, when I started as the gallery s Director ten years ago. It s easy to forget that Compton Verney is still a very young gallery. -eye on most issues. As a gallery we will always be indebted, too, to the generosity of Sir Peter Moores: restoring Compton Verney was an unparalleled philanthropic gesture in the UK art world, and without him the place would now be just a romantic ruin. The exhibition subsidy which he had given the team in the first five years had been absolutely essential for start-up, but you could say it cushioned them from some economic realities. With that money going, Rachel and I drew up a more realistic and outward-looking business plan based on our new financial parameters. It was a sad time, as a third of our core staff went in So one of my first priorities was to rebuild staff morale, convey my vision and instil a sense of purpose. Luckily the staff were then (and still are) an extraordinarily talented and positive bunch. One of my earliest memories was 2009 s World War Two weekend we held as part of the Heritage Lottery funded Memories programme. Everyone dressed in period outfits, the house was covered with sandbags, and we had the Battle of Britain Memorial Flight Spitfire and Hurricane fly repeatedly over our balustrade. The whole day was brilliant, and was an early indication of the big audiences we could attract for one-off events. Plus I got to operate the air raid warning siren. There was such a good atmosphere, and I was hugely impressed by the fact that all staff pitched in and dressed up, and offered such a fantastic welcome to the visitors. That still continues to be the case ten years later, when our visitor numbers have more than doubled. One of the first changes we made was to introduce Everyone dressed in period outfits, the house was covered with sandbags, and we had the Battle of Britain Memorial Flight Spitfire and Hurricane fly repeatedly over our balustrade. The whole day was brilliant! When I joined it had only been officially open for five years. Visitor numbers were around the 38,000 mark, with some incredibly popular shows such as the Van Gogh exhibition in 2006, but with no programming consistency. It was a bleak time for museums nationally, on top of which the very generous subsidy which the Peter Moores Foundation gave the gallery, to help establish itself, was coming to an end. I joined the gallery at a critical point, and I am grateful that from the beginning I had the consistent support of Rachel Davies, our Deputy Director. We worked together very well as a team, and saw eye-to charging for the park from our ticket lodge (or ticket van as it was initially!). Some were worried that charging to come in to the park separately to the collections and exhibitions would drive people away. But it was a brave move that paid off: we had only 2,000 visitors to the park in 2010, before charging, but in 2011 we attracted 18,000 generating funds that could be invested back into the park. It turned out that, by attaching a monetary value to our historic parkland, we actually added value to it and we have never looked back. In 2011, thanks to a grant from Natural England, we restored the Ice House; 2015 saw major investment 6

7 in opening up the park; and 2016 saw our landscape featured as part of the celebrations for the tercentenary of Capability Brown. With the subsidy gone, we had to programme differently. We now couldn t afford to make mistakes with our exhibitions. For example, the Francis Bacon show which I inherited was absolutely terrific and received great reviews. I don t doubt that in London that exhibition would have been a smash-hit; but at Compton Verney visitor numbers were low because it didn t appeal to our regional audience. We know that most of our visitors come from less than an hour away, and we have learned that for a show to be a success we need to cater to their taste. Since then, we have created partnerships with other regional visitor attractions, with museums and universities, and particularly with local communities. We now know and value our neighbours and have a much stronger community profile. From 2011, our new approach to programming meant that we now make sure we plan exhibitions with big names or compelling themes, whilst trying to add a new twist, or explore new areas. I think that s why an exhibition like Seurat to Riley was such a success. It s hard to pick what have been the greatest achievements over the last decade. Perhaps, though, I m most proud of the partnerships we have forged. When I started in 2009, I recognised that partnerships and networks would be hugely beneficial to us, and now we work with everyone from the Alzheimer s Society and the Warwickshire Wildlife Trust to the Armed Forces, the BBC and Oxford and Coventry Universities. It means a great deal that we are now used as an exemplar by the Arts Council for the way we manage our collections, tour our shows, run our volunteer scheme and build national partnerships. Compton Verney is known as a standard-bearer amongst independent museums, a sector which is rapidly expanding as local authorities convert more of their museums into charitable trusts. Recognition is very important to us, given our rural location. Our setting affects everything we do, and presents us with a particular set of challenges quite different to those faced by urban galleries. Because we don t have much passing trade, we need exhibition titles that not only convey a mood and a subject, but also tell people what to expect from a show. Not easy! Our challenges are also, though, what make us unique. I m incredibly proud of Compton Verney being granted National Portfolio status by the Arts Council last year. Not just because this has secured us substantial funds over four years to invest in art in our wonderful park; but also because it is a major seal of approval from the Arts Council regarding all that we have done over the last nine years. And I m also proud of winning the HLF funding in 2015, which enabled us to restore the chapel, enhance the park and build a welcome centre. It allowed us to breathe life into our Capability Brown parkland, to make far more of our wildlife, and to introduce new audiences to our history, exhibitions and collections. Best of all, it brought our 18th century chapel back from the brink of dereliction. Celebrating the gallery s 10th birthday in 2014 with some of the team But really I d like to think that the cornerstone of my legacy is something less visible: our reputation for friendliness and welcome. The success of an attraction like ours depends on more than just the art or the historic fabric of the place. What makes Compton Verney so special is the positivity, knowledge and commitment of our staff. You can have all the resources in the world; but if your staff don t care, then nothing else matters. The trick is to strike the right balance between helpful and intrusive, and to make art accessible to all which was, of course, the core of Sir Peter s original vision. In our TripAdvisor reviews and visitor attraction quality assessments it is always our welcome that gets the headline news; the exhibitions, collections and park come second. Some of my happiest memories stem from the exhibitions I have worked on. Not all directors get involved in curating exhibitions, but it is part of that collaborative spirit of Compton Verney, which is one of our strengths. It has also given me invaluable insights into how we plan, install and run our exhibitions. All the shows I have worked were gratifyingly successful, and it s hard to pick a favourite. The Stanley Spencer show in 2011 was brilliant, as it showed there was a whole new side to his work, and by exploring his vision of gardens we drew in a whole new audience. The success of Stanley Spencer and the English Garden also made the point that a bigger show is not always a better one. Neither the Spencer nor my Canaletto exhibition of 2015 were huge shows. Canaletto won outstanding reviews, not just here but throughout its tour, while it also cemented our relationship with the Royal Collection and our partner galleries in Bath (the Holburne) and Kendal (Abbot Hall). One of my exhibition highlights has to be working with the inspirational Prof. Michael Rosenthal of Warwick University on the Turner and Constable show we planned with Tate in The choice continued page

8 Saying farewell to Steven continued Introducing our Interim Director of artworks was all his, but he generously left me to curate it. I remember that, having brought him into the empty gallery space the day before we opened to the public to show him the hang, Michael burst into tears thankfully, of joy. I will also remember the Fifties exhibition of 2016 with great fondness: it was a huge success and everybody got behind it. You can still see great images of the staff who dressed up (of their own volition, honest!) in Fifties outfits for the press promotion, and who also loaned items to the show. More recently, I ve been very proud of the Women s Library project, which restored our 1860s reading room back to its former glory. It shows that working with the right partners in this case Oxford University s English Department, and in particular the marvellous Dr Sophie Ratcliffe can bring both artistic and financial benefits. This would, I suppose, be part of my advice for my successor. Don t be introspective: our rural location means that we can t afford to be inward-looking. Instead, ensure that you build on all those partnerships and relationships, which have kept us current and sustainable. Most importantly, I would also urge my successors to treasure their staff, because they are so central to our success. It sounds trite, but it s true. I also think there is still some way to go in spreading the message that we are a charity in need of support. Admissions, memberships and retail sales alone don t cover our annual outgoings. Sometimes I think the site looks almost too good, which in turn makes fundraising a challenge. It s far easier to raise pennies for a chapel when there is a big hole in the ceiling. Not that we aren t grateful! It is never an easy decision to move on, but after ten years at the helm of Compton Verney, and following a gratifyingly successful year, I felt it was time not only for a new challenge, but also for somebody new to steer the gallery into the next decade. And Canada definitely qualifies as a new challenge. The Bata Museum is set in the heart of Downtown Toronto; so I m going from a rural idyll to a city of five million people. It is a young museum, like Compton Verney, so there will be some similarities, but major differences in terms of what needs to be done. Finally, what would I pack in my bag to remind me of Compton Verney? What a difficult question. How to choose?! I suppose it would have to be the ivory and mother-of-pearl cabinet in our Naples Collection. It s an absolutely stunning piece, and would come in handy for storing all sorts of little treasures: a cabinet of memories in which all my happy recollections of Compton Verney would feature prominently. Oh, and I wouldn t mind a Canaletto or two 8 Providing continuity during the transition between Steven leaving and the recruitment of our new Director, Caroline Collier will be acting as our Interim Director. She will be working part-time until the new Director can start. Caroline has extensive experience as a director, CEO and board member and as a curator and writer. She has also worked as a policy maker, strategist and funder. On leaving Tate earlier this year, after more than a decade as a senior Director, Caroline set up an independent practice as a consultant and coach, specialising in the arts and cultural fields. She is a professional coach-mentor, qualified at Senior Practitioner level, and balances working with people and art with a lifelong interest in animals, the countryside and the environment. I am delighted to have the opportunity to work with the team at Compton Verney, and have been so impressed already by the commitment, skill and knowledge in all the people I have met. Compton Verney is a magical place, and a multifaceted organisation, founded on the spirit of generosity, animated with passion and verve by its family of staff and volunteers. I aim to support the team at this time of transition, bringing an independent perspective and an understanding of what it is like to work in different roles in a wide range of organisations and cultural settings. I have followed Compton Verney from its inception and it will be a joy to get to know the organisation, its people, collections and programmes - and this special place - from the inside. Chair of Governors, Kirsten Suenson-Taylor said, The governors are all very sad to receive Steven s resignation. Under his leadership Compton Verney has flourished building visitor numbers and our standing in the museum community. The board has engaged a firm of executive search consultants to help us find Compton Verney s next Director. We plan to interview in November with a view to having someone in post early in the new year. We d all like to thank Steven for his service over the last ten years, for helping to shape the organisation into what it is today, and establishing a solid grounding for future leaders to see Compton Verney into the next era of its already impressive history. We are sure our new Director will continue his excellent work in realising our shared vision of Compton Verney as a welcoming place of discovery, play and reflection.

9 Painting Childhood: From Holbein to Freud and Childhood Now by Amy Orrock, Curator Our spring 2019 exhibitions programme provides fresh perspectives on the enduring theme of childhood in two distinct, but related shows. The first of these, Painting Childhood: From Holbein to Freud, will trace the appeal of children as artistic subjects throughout the centuries in more than sixty works, including 22 loans from the Royal Collection. Navigating the boundaries between public and private worlds, Painting Childhood will present regal images of Charles I s children by Anthony Van Dyck alongside Queen Victoria s private sketches of her own nine children. On loan from Lady Lever Art Gallery in Liverpool will be John Everett Millais touching portrait of his grandson Willie James blowing bubbles, an image made famous when it was used for advertising by Pears Soap. One of the most exciting loans to be agreed is William Hogarth s monumental group portrait, The Graham Children, from the National Gallery, London, which will be paired for the first time with the artist s preparatory sketch from the British Museum. The historic exhibition will close with works by great 20th century painters, including Stanley Spencer, Winifred Nicholson and Lucian Freud. of children over the centuries, and the challenges faced by artists in capturing the fleeting moments of youth. Our second exhibition, Childhood Now, will further the conversation initiated in Painting Childhood and bring the subject right up to date by featuring new work by three of the most exciting figurative painters working today - Chantal Joffe, Mark Fairnington and Matthew Krishanu. Drawn to the subject of children, each of these British artists depict childhood today in very different ways. Mark Fairnington s approach turns a scientific eye to the depiction of his twin sons with hyper-realistic Matthew Krishanu, Limbs, 2014, oil on canvas, 180 x 140cm Matthew Krishanu, Courtesy of the artist. Frans Xaver Winterhalter, King Edward VII when Albert Edward, Prince of Wales, 1846, Royal Collection Trust/ Her Majesty Queen Elizabeth II We are thrilled to have secured so many incredible loans, which will provide a rich insight into the motivations of adults in commissioning images precision, while Matthew Krishanu s radiant paintings reveal memories of his own exotic childhood growing up in Bangladesh. Joffe has said that becoming a parent is the most radical change you can ever experience and her bold portraits chart her daughter Esme s journey from birth to adolescence alongside her own changing role as a mother. Huge and uncompromising, they provide a thrilling assurance of the continued power of painting as a medium. The exhibitions run 16 March - 16 June and will be supported by a programme of events, including a Study Day with guest speakers on Friday 29 March. 9

10 A Journey of Discovery & Appreciation : Meet the Gallery Interpreters If you have ever been lucky enough to join one of our public tours, you will already know what a huge asset our Gallery Interpreters are to the gallery. With their expert knowledge, enthusiasm and good humour, they bring our permanent collections and exhibitions to life daily for our visitors and groups; adding context and anecdote and enriching understanding. Search tour on our TripAdvisor site, and you come up with an abundance of rave reviews: What an uplifting and informative experience, the guide was able to present interpretations, ideas and a HOST of facts in an entertaining and accessible manner. Or better yet, a regular tour attendee writes, I look forward to being led on a journey of discovery and appreciation by the very knowledgeable, sensitive and informative guides, who seem to be so enthusiastic in aiming to enable the best experience possible for the visitors. Without their valuable input the exhibitions would not achieve the same level of fulfilment or enjoyment and memories of visits would not be quite as enduring. Well done Compton Verney for having the foresight to engage these facilitators who I'm sure are a major factor in inspiring people to continue patronage of this stunning jewel in Warwickshire's countryside. Emily Medcraft, Visitor Experience Manager, explained, The Gallery Interpreter role was a natural development in our public programme and team structure. We had team members who were champing at the bit to deliver tours and an audience with an appetite to know more about the collections, park and exhibitions. We started the role and regular programme of tours in 2009 and it has gone from strength to strength ever since. Christine and Jane were part of the original team of five, with Steve being the latest recruit in There s a caveat to the role you have to have at least a year as a gallery assistant before you can apply for any Gallery Interpreter (GI) vacancies. The reason for this is that you need to have a sound base knowledge of the collection and how we think about our exhibitions because none of the tours are scripted. Instead, the GIs are given time with the curator to understand the curatorial story for the exhibition and they then develop their own individual tours from there. This means that each tour is different, one GI might focus more on a historical aspect, another more about technique. I believe this is why our GIs are so successful, the role remains interesting for them and our visitors. I do like to challenge our team of five, especially when we are busy with group bookings all wanting tours. But the team always rises to the challenge and always with professionalism and good grace. I think (and hope) that s because they find their role rewarding, invigorating and enjoyable. Here the team; Emma Caplin (EC), Christine Cluley (CC), Steve Hobbs (SH), Jane Hornby (JH) and Liz Kimberley (LK) talk about what they love about their role. 10 What s the best part/most challenging part of the job? One of the best parts is leading the tours, welcoming groups and giving talks. It is exciting and rewarding to research and acquire more information about all the exhibitions and add to my knowledge. It is a challenge and a joy! (CC). Seeing the spark in people ignite as some hidden narrative becomes Christine Cluley apparent. Enabling that certain awakening is just the best feeling, especially in someone who has had limited access to art before (SH). Someone saying I brought the exhibition to life for them (LK). Welcoming visitors, regular or new to Compton Verney. A lot of our visitors are quite perceptive and often have good knowledge of the history of art. One of the challenges is to ensure accuracy of knowledge being given out on the tours. Another challenge is to cope with guiding a large group through the galleries when they are busy with other visitors. We are very conscious of all visitors enjoyment and we try to balance it all as best we can! (JH) It is fantastic when visitors say I've brought an exhibition to life for them. It is especially rewarding when they are not regular gallery goers. I really enjoy doing background research; discovering quirky details, and adding fascinating anecdotes to my tours. I have also made some lovely new friends through working at Compton Verney. As a youngster I was very shy (difficult to believe now, I know!). If you had said to me then, that in 30 years time I would relish standing in front of a group of complete strangers, and enjoy speaking to them about art, I would never have believed you! (EC) Favourite collection? Northern European, for the eloquent, yet subtle way the gallery informs us of the compelling humanity of Northern European art, in its truth to nature, its concern for the human condition, and its passionate responses to contemporary religious, political, social and artistic changes (SH). British Folk Art - Steve Hobbs there is something for everyone: to charm, to cheer, to amuse, to captivate (LK). This is a really tough question because I love them all. However, I favour our Naples gallery because of my knowledge and love of Baroque art, and also the Chinese gallery we have such a wonderfully important collection and I am deeply indebted to Morgan, our expert in that particular gallery. I am inspired by the incredible bronzes created mainly two

11 to three thousand years ago by such skilled craftsmen. The jade loans are amazing (JH). My favourite gallery is Northern European. I love religious art, especially Dutch and German and I have been involved for ten years now in research on one of the paintings, which has been very exciting, and rewarding. I also love the miniatures we have on loan in the British Portrait Collection (CC). The Collection I find most intriguing is 'China'; as I knew very little about ancient Chinese culture before I became a GI. The age and technical brilliance of many of the objects are what I find amazing. One of my favourite items is the very oldest; the terracotta cooking vessel. Partly, I love its peculiar bulbous shaped legs, but also that it's survived intact for ~ 5,000 years. Especially as things so often get dropped and broken in my kitchen at home! (EC) 11 Favourite exhibition to date? My favourite exhibition was Moore and Rodin in Wandering around the stunning sculptures set in Compton Verney's beautiful grounds, on a sunny afternoon, was my idea of perfection (EC). My two favourite exhibitions were Emma Caplin Periodic Tales and Op Art. The former was my introduction to science, and boy, was that a challenge, but I rose to it (with help from my husband, Dick) and suddenly there was a whole new world. Op Art was my introduction into modern art; Compton Verney is a great place to widen one s horizons (CC). What a difficult question! Each exhibition becomes my favourite, but if I was forced to choose it would be Ravilious and Co. It celebrated the wonderful work of this group of artists, linking their lives, shared interests and experiences in a truly world class exhibition (LK). Bellini, Botticelli, Titian: 500 years of Italian Art (2013), such a wealth of Italian art on loan from Glasgow Museums. Then there was Stanley Spencer and the English Garden, a phenomenally successful exhibition in His daughter was on one of my tours - no pressure!! Followed closely by the Moore/Rodin exhibition - wow! We have been so lucky with all the extraordinary exhibitions that have been available at Compton Verney (JH). Shakespeare in Art: this exhibition showed an eclectic mix of responses to Shakespeare s work. The narrative was strong and compelling, and there were so many spine-tingling moments for me, not least Ophelia in her watery grave, and the gloriously sensuous works of Fuseli (SH). What forthcoming exhibitions at CV are you most looking forward to? We always look forward to the next exhibition. I think Whistler will bring in many visitors because of his name. I have been to various exhibitions of his work in London over the years, including Tate Britain recently which featured Impressionists in London. There will be so many stories to tell about the artist himself as well as being able to look closely at his Jane Hornby work (JH). Tea! The kettle is always on at our house and I want to learn more about my addiction of choice (LK). I always look forward to the next exhibition to learn something new and exciting. I m well into the research on Whistler! (CC) I am looking forward to 'Painting Childhood' and 'Childhood Now' next spring, an exhibition about children, a subject which has dominated my life for the last decade! It s wonderful to see grandparents and grandchildren coming around the gallery together. This pair of exhibitions should have a wide appeal: to young and old (EC). Lucas Cranach, hopefully a telling exposition of this most fascinating of Northern masters, at once portraitist, political activist, religious revolutionary, entrepreneur and friend. Along with Dürer, an outstanding figure of the Northern Renaissance (SH). Dream dinner party guests which three artists (dead or alive) would you invite to dinner? I m going for an all-girl guest list. Tirzah Garwood and Enid Marx would have lots to chat about. Artemisia Gentileschi could join them and we could discuss why women are still under-represented in the art world (LK). Francis Bacon, Michelangelo Merisi da Caravaggio, Tracey Emin. I d prefer to be painted by Caravaggio (CC). William Liz Kimberley Blake, Artemisia Gentileschi and David Hockney (SH). Only three?! Well, I ve narrowed it down to these: Jan van Eyck; one of his patrons was the powerful and rich Philip the Good, Duke of Burgundy, and just to be in his court must have been extraordinary. Anthony van Dyck, how fascinating to listen to his encounters with Charles I, Henrietta Maria and Rubens. Grayson Perry; he must come dressed as Claire, of course, and bring along his teddy bear, Measles! What an incredible artist and so eloquent on the subject of art (JH). I would love to host a dinner party for my favourite artists Frida Kahlo and Louise Bourgeois. We would have a pretty raucous evening. Another guest would be Jane Maltass (the subject of the painting 'Mrs Baldwin'). It would be great to find out more about her life, and her experience of posing for the artist Joshua Reynolds (EC). What sends you home happy after a day at CV? I feel very fortunate to work with a group of people with diverse backgrounds, who have enjoyed wideranging experiences, are multi-talented and are very happy to share all they know with each other. All of us can offer something to each other. It creates a rich mix, (CC). Walking down the drive and over the Adam Bridge; savouring the landscape; and glimpsing wildlife. It's always uplifting (EC). Being fortunate to work with a great team of gallery colleagues and knowing that visitors have enjoyed tours and one-toone discussions about the art at Compton Verney, hopefully going away with the wish to come back (JH). Seeing smiles on people s faces (SH). If people have enjoyed my tour, I ve had a cheerful chat with a colleague, spent five minutes looking at the Canalettos, glimpsed a cedar tree from one of the windows and spotted a swan on the lake on my walk to the car park, it counts as a pretty perfect day in my book (LK).

12 Hooray for our Forest School volunteers! families and children coming along to the Early Years and Family Drop-In Sessions. Again, they encourage parents, children & carers to have a go at different activities. They take time to get to know individuals and welcome everyone that attends. The volunteers bring a wealth of experience and passion to our team. It s great that they received this recognition. Collecting their award. Left to right: Del Swain, Tim Rose, Janet Clough & Emma Butchart. Compton Verney was thrilled to be nominated for the West Midlands Museum Development Volunteer Awards, and on the night we were blown away to win not just the Museum Champion Team Award, for our Forest School volunteers, but also the prestigious overall Judges Award; a magnificent achievement! Emma Butchart, who took over the role of Grounds Learning Programmer from Vix Powell in 2018, was delighted to see the volunteers recognised in this way. She explained, All of our Learning volunteers support our programmes and the team so much, for which we are so very grateful. We have a regular crew of Forest School volunteers; Tim Rose, Averell Kingston, Del Swain, Janet Clough and Catherine Wickens who enter into the spirit of the sessions with unwavering enthusiasm and commitment, through rain, frosts and wind! They are happy to dress up as Vikings, Stone Age people, Saxons, to name a few. They are brilliant at extending the learning opportunities for the children attending by encouraging, discussing, questioning and really getting stuck in. The volunteers support activities like: bread making, wattle and daub, shelter building and cave painting. Our volunteers form positive relationships with 12 I d like to say a huge thank you to them all and include in that John Bishop and Clifford Newgas who were instrumental in developing the role. On top of its sessions for schools, Compton Verney has been holding public Forest School sessions in the specially-developed area next to the playground in a small way since 2012, but the project took off thanks to funding from the HLF in In term-time there are sessions on a Thursday for preschoolers from pm. In school holidays the sessions open up to all ages, and they are 11am - 3pm. The sessions are incredibly popular with new activities being added to the old favourites: bughunting, mud kitchen and woodland art. One regular attendee wrote, We just wanted to say thank you for a wonderful morning. Our girls really enjoyed making autumn hats, mud painting, making conker soup, and toasting marshmallows! Your staff were wonderful as always. To find out about opportunities to volunteer with the team, or elsewhere in the gallery, please emily.medcraft@comptonverney.org.uk.

13 A marvellous mechanical summer in Artspace... Some truly weird and wonderful creations were brought into being in our studio space over the summer holiday. This year s Artspace, which ran 24 July to 31 August helped families find out about the automata seen in our Marvellous Mechanical Museum exhibition. To tie in with our exhibitions, artist Stephen Guy from Fire the Inventor set up his artwork Ensemble for families to add their own wacky additions onto the end of the automata. Jo Essen, Learning Programmer talking about the success of the summer Artspace said, Families were amazed by Fire the Inventor s moving artwork and it inspired them to create their own cardboard automata to take home. Even better, the activity encouraged families to go and see the exhibitions if they hadn t already, and many came back several times, and brought their friends and family. It was particularly nice to see all ages working on it together. It has to be one of our most lively summer Artspace activities; with lots of clapping and cheering. We had 2,900 visitors of all ages taking part over the summer it gets more popular every year. This year we had a feedback box to ask people what they had most enjoyed about their day, and there was some really positive feedback. What did you and your child enjoy most about today? Watching granny & grandad struggle! (Aged 8 &14) Making the model move. ( Aged 7) Pressing the button. (Aged 2,3,5,6,&7) When everything joined together. (Aged 11) Spending time with my family. ( Aged 8 & 9) Museum, walk, picnic, art and crafts! (Aged 8 & 10) Making the world s longest automation and mechanical marvels. (Aged 6 & 10) Trying to get it to work. (Aged 12 & 9) Constructing the automation. ( Aged 7 & 9) Making the mechanical machine from junk. (Aged 6) Seeing the automata in action and making their own models. (Aged 11) Thanks to funding, Artspace has been running since 2012 in the gallery s Learning Centre. Without this support the gallery just couldn t hold the sessions. Fiona Spiers, Development Executive explains, We are always looking for funders to support our education programmes and regularly apply to a variety of trusts and foundations. For the past few years we have successfully received a grant from The Saintbury Trust to help with the costs of running our summer activities. They are very supportive of our education work and Artspace is an attractive project, as it engages different generations, across families, helping them to work together on a creative activity which is fun but educational. If you are interested in getting involved or supporting next summer s programme, please contact the Development Team on We were really pleased to see a lot of families sharing and tagging their creations on Instagram and Twitter. Keep up the good work, folks! 13

14 Volunteers in focus - a big thanks to our shuttle drivers Our volunteer team of shuttle drivers, who we are proud to say were finalists in the Warmest Welcome category at the West Midlands Museums Development Awards, provide an essential service for all visitors. They drive our seven-seater shuttle bus from the car park to the gallery all day long and in the last twelve months have helped over 20,000 visitors and driven over 3,000 miles. Emily Medcraft, Visitor Experience Manager singing their praises said, They are often the first point of contact for visitors and they always have a friendly and cheery welcome. They help visitors into the shuttle, offering any assistance required. They offer a steadying hand, hold bags, walking sticks and frames, lift buggies and steps anything to assist visitors. They meet groups arriving on coaches, assist school children on crutches and even drop people right at their cars when it is raining! By meeting and greeting visitors outside the Welcome Centre, they also help direct Blue Badge parking and arrange for wheelchairs to be waiting in the gallery for those that might need them. On the short drive to and from the gallery, they engage willingly with visitors, answering questions about the site, pointing out features, asking them about themselves and their day out. They really help make Compton Verney accessible to all, and in rainy weather, they are busy all day long! In every sense, they really do go the extra mile. Our shuttle stalwarts are: Martin O Reilly (MoR), Peter Amiss (PA), Martin Preedy (MP), Chris Sharp (CS), Dick Cluley (DC), John Haywood, Ian Harwood and Derrick Parker (DP), with invaluable back-up support provided by Duty Managers, Neil Colledge and Paul Tursner-Upcott, and John Biesok and Rosie Garrison from our security team. Here we talk to a few of the core volunteer team about their role. 14 There is no such thing as an average day as a shuttle driver, something that all the volunteer drivers particularly enjoy: there might be a wedding, a school visit, a lecture, a Forest School drop-in, or a big event, and they all come with their separate challenges and rewards. Some days are quiet, some are busy (the record number of passengers in one day stands at around 200); but one thing they never are is dull. The shuttle is so much more than just a means of transport: our drivers act as mobile information points, I was a House Manager in an opera house and in concert halls and I spent many hours standing on the front-of-house of an evening. Now, my front-of-house is the car park rather than a plush foyer, but I still enjoy welcoming, directing and helping our visitors (CS). During the journey up to the house they get to share their knowledge and enthusiasm. My main role for the last four years has been helping in the galleries, but I have to say I Volunteer shuttle drivers at a recent training session. Left to right: Dick Cluley, Neil Colledge (Duty Manager), Ian Harwood, Martin O Reilly, Porfiris Kefalas (Facilities Manager), Emily Medcraft (Visitor Experience Manager), Peter Amis, Martin Preedy, Derrick Parker. Not present Chris Sharp, John Haywood, Ian Harwood.

15 always jump at the chance to drive the shuttle; days are never the same. We have lovely visitors and if it is their first time at Compton Verney, I enjoy pointing out features of the site, the giant sequoias, the ice house, the magnificent view of the house from the drive, the bridge and my favourite tree, the Cedar of Lebanon (DP). They all agree that one of their favourite parts of the job is hearing visitors reactions on their return journey to the car park. What I like best is meeting visitors with whom I have interesting discussions about the exhibitions, house, park and even themselves (DC). It is great when they talk enthusiastically about the exhibition they have just seen (MoR). It s only a few minutes journey there and back, but the drivers all say that you d be surprised how much conversation you can strike up in that time. And friendships apparently, I did have one elderly lady who told her friend as she left the bus that she would quite happily marry me! (PA) And all the little journeys soon add up, I drove 29 miles one particularly busy day, and carried over 200 passengers on one occasion, but generally I drive between 15 and 20 miles on a Thursday (MP). The highest number of round trips I have done is 42 on a wedding day, which is about 29 miles down and up the drive. Even on a quiet day we re in demand to carry staff or goods back and forth to the Welcome Centre. The highest number of staff carried in one day was 64 on the day the new Welcome Centre opened in 2016 (CS). Staff and visitors alike are always very appreciative of a lift, especially if it s raining! Some of the shuttle s most vocally appreciative passengers though have to be families with small children, for whom the shuttle is all part of the outing. I love the enthusiastic way children like a ride in the bus. It's another adventure for them and most will sing The Wheels on the Bus - I ve had as many as eight children singing at once (DP). They all have stories to tell of interesting people they have met, events they have worked, or unexpected things that have happened, My favourite days that I ve worked were the displays a few years ago by the Spitfire and Lancaster that accompanied our Flight exhibition. That, and the day I was mistaken for Sir Peter! (MoR). I keep a personal tally of passengers, and we wanted to mark the occasion of my 6,000th, by giving them a small gift on arrival at the house. For about an hour the total remained at 5,998. Then late afternoon three ladies arrived together, so I had to select one of them luckily she turned out to be with her mother and sister, and visiting them from Australia. She was thrilled. Her mum decreed that her daughter must now definitely get married at Compton Verney! (CS). Most of our shuttle drivers got to know, and love Compton Verney as visitors first, before starting as volunteers. Why volunteer here, rather than somewhere else? My wife and I were members and have always enjoyed visiting CV. It is a wonderful place and the opportunity to contribute through volunteering was too good to be missed (DP). I didn t actually volunteer; I was forced (!) to do the shuttle by my wife who works at the gallery. But I ve stayed doing it for eight years, so that tells you I must enjoy it (MoR). Next to the people they meet, one of the best parts of their day is their surroundings. I am fortunate to be able to volunteer in the park which to me is a grand work of art that changes with the seasons. There is great camaraderie between the volunteers and staff. When shuttle driving I often get questions from the visitors regarding the trees especially the Wellingtonia Avenue and the cedars, the icehouse and what's that over there? (DC). I enjoy driving 'offroad' (carefully of course), well away from the usual busy/ congested roads we all have to suffer these days and the park is always beautiful, no matter what the weather. You hear many pleasing comments from the visitors; I can remember one lady who is obviously a frequent visitor saying 'once I come into the grounds I feel relaxed and at ease, it is such a lovely place to come back to' (MP). What sends them home happy after a day shuttling? Enjoying the company of the guests and having been part of the CV team, plus I m always grateful to those that talk to me and make me laugh. There are quite a number of them! (PA). Opening up Compton Verney to those who otherwise could not make the journey (MP). It is rare not to receive a genuine thank you at the end of the short trip. This makes it all worthwhile (DP). Having been busy shuttling appreciative passengers (MoR). I feel that I have deserved a beer and my supper (DC). Three words that describe a day shuttling at Compton Verney? A new experience. (DC); Fun, interesting and tiring (PA); A big smile! (DP) Responsible, valued, enjoyable (M O R); 'Visitors pleasing comments' (MP); Wet or dry? I always check the weather forecast for CV on a Friday! (CS). Crowds enjoying our 10th birthday celebrations in 2014: a busy day for the shuttle 15

16 Thank you for your support Thank you to all our Benefactors, Patrons, Supporters and Corporate Members for your continued support. Your membership makes a huge difference to us and contributes towards all aspects of Compton Verney, from our exhibitions and collections to our grounds and educational work. Benefactors Dr Catherine MS Alexander Adrian Beecroft Paul Cooney Wyn Grant Loyd Grossman Patrons Bridget Barker & Simon Herrtage Janet Bell Smith Clive & Paula Benfield Prof Robert Bluglass CBE & Dr Kerry Bluglass Douglas & Susan Bridgewater The Brook Family Nicholas & Marie-France Burton Roger& Lesley Cadbury Munchi & Ursha Choksey Ludovic & Camilla de Walden Mark & Antonia Davies Ian Findlater & Helen Pires Roy & Margaret Fraser Peter Gregory-Hood & Belinda McMicking Supporters Sir John & Lady Aird Clive Barnes Michael Bell Trevor & Susan Binns Michelle Boycott Robert Branch Jane Brown Lady Butler Paul Bywaters & Olwen Haslam Elizabeth Cariss Lisa Carter Judy Cobham-Lowe Tim & Liz Coghlan Tim & Penny Cox Gay Drysdale Barrie Dugdale Chris Duppa-Miller Robyn Durie James & Anne Forsyth Michael Fox Corporate Members Aquarelle Publishing Ltd Casa California Blackwall Green Design Penguin Austin Heath (Inspired Villages) Philip Mould and Company Christine Lee Alex and Mary Robinson James Robinson Oliver Simon & Madeline Simon Kirsten Suenson-Taylor Janet Grimstone Richard Hurley David & Catherine Loudon Victoria Peers Joanne Perry Helen Rose & Roger Salmons Philip & Augusta Shirley Robert & Jane Spooner Sarah Stoten Peter Thompson The Lord and Lady Willoughby de Broke And those who wish to remain anonymous Jenny Grimstone-Jones David Guest Denise Hobson Adrian & Clare Hopkinson David Howells & Sally Howells Howard Jackson Stephen Large Robert Marchant Sandra Marchant James Mooney David & Decima Noble Karen O'Brien Penny Perriss Julia Pick Christopher Pitchers Rodney Pitts Michael Robarts Margaret Sykes Christopher Trye Benjamin Wiggin Renaissance Creative Rybrook Stratford Mini Silson Ltd Warwickshire Wildlife Trust Zoffany Ways you can support Compton Verney s future Adopt You can make a real difference by adopting a tree, bench or artwork in celebration of a special occasion or memory of a loved one. Prices for adopting artworks range from 100. Prices for adopting a tree range from 200. To adopt a bench costs In all cases you will receive a certificate, and we will put up a commemorative plaque with wording of your choice. Sponsor You can associate your name, or that of a loved one with a place you hold dear by sponsoring a favourite gallery, collection or feature of the landscape. For prices contact the Development Team. Supporter membership Support Compton Verney by upgrading your membership to become a Supporter, Patron or Benefactor, from 200 a year. As a higher-level member, you will enjoy our permanent and changing exhibitions and have the opportunity to meet others who share your interests at exclusive events. Most importantly, you will have the satisfaction of knowing that you are helping to support a unique regional asset, which inspires, educates and entertains. Leave a legacy By leaving a gift in your will, you can help to ensure that Compton Verney continues to provide art for everyone for generations to come. For more information about this, and other ways to support us, please contact the Development Team by polly.hawkes@comptonverney.org.uk or call Thank you. 16