research & cultural collections - a guide

Research and Cultural Collections: An introduction

Foreword 4Introduction 6TheDanfordCollectionofWest AfricanArtandArtefacts 8TheInstituteofArchaeologyandAntiquityMuseum 10CollectionofHistoricPhysicsInstruments 12TheBiologicalSciencesCollection 14MedicalSchoolCollection 16TheSilverandPlateCollection 18UniversityHeritageCollection 20TheCampusCollectionofFineandDecorativeArt 22Whatwedo 28Visitus 30Map 30

Text by Clare Mullett, Assistant University Curator

Acknowledgements: Karin Barber, Holly Grange, David Green, Graham Norrie, Jonathan Reinarz, Dave Roach, Gillian Shepherd, Chris Urwin, Sarah Whild, Robert Whitworth and Inga Wolf

Graham Chorlton (b. 1953) View (detail).Acrylicandoiloncanvas,2008.

The Danford Collection of West African Art and Artefacts

4 ResearchandCulturalCollections:Anintroduction

Research and Cultural Collections

Followinganinitiativetakenin1991bythethenVice-ChancellorSirMichaelThompsonandtheRegistrarDavidHolmes,asurveywasmadeofthemiscellaneousgroupsofpictures,sculpture,artefacts,andceremonialobjectsthatweretobefoundinandaroundtheUniversity.

SueArmitageledthesurvey,workingwiththephotographerRonSwift,andtheunexpectednewknowledgetheygainedgalvanisedtheUniversityintoappointingapart-timecuratortobeginthetaskofcataloguing,organisingandassessingthesenewlyidentifiedcollections,andanyotherswhichmightlateremerge.

InthesubsequentseventeenyearstheUniversityCollections(renamedin2008theResearchandCulturalCollections)hasdevelopedthroughtheincorporationoftheDanfordCollectionofWestAfricanArtandArtefacts,theArchaeologyMuseum,theHistoricPhysicsInstruments,theHistoricMedicalArtefacts,aswellastheFineArtCollection(includingoutdoorsculpture),theUniversityCeremonialSilverCollectionandtheUniversityPortraits.Itisoneofthemostinteresting,variedandactiveUniversitycollectionsinthecountry,operatingwithoutitsowncentralmuseumbuilding.

Thegermfromwhichalluniversitycollectionsdevelopistheacknowledgementthatobjectscanuniquelyloosentheprofessor’stongueandwidentheunderstandingofstudents.Researchprioritieschangeovertimeanditfollowsthatthevalueofaparticularcollectiontoacademicsandstudentswillcorrespondinglyfluctuate.ItisthejoboftheUniversityCuratortodistinguishbetweentheuseandthecareofuniversitycollections,andtomanagethecontinuallyevolvingbalancebetweenthesetwoprinciples.Museumobjectsarerepositoriesofknowledgeandinformation,but,morethanbookswhichareusuallyreplaceable,theymayalsobethefactsthemselves.

Sincethemid-1990saprogrammeofredisplayhascontinuedinlinewithhistoricalprecedent.WhentheUniversitymovedtoEdgbastonin1900thenewbuildingsincorporatedeightseparatemuseumsattachedtodepartmentstoaidteaching,andthispracticewasusedasamodelforthe1990s.TheDanfordandArchaeologyCollectionswerethefirsttobegivenmuseum-qualitydisplaycasesintheirdepartments,thusdrawingcollectionsandteachingtightlytogethersothatstaffandstudentswouldbeconstantlyawareofthepresenceintheirdepartmentsoftheirhistoricobjects,andoftheirteachingvalue.

ForewordbyDrJamesHamilton,UniversityCurator

TheUniversity’sartcollectionsgrewfromthe1960sthroughthededicationofasmallnumberofdeterminedacademicsincludingProfessorsJanuszKolbuszewskiandAnthonyLewis,AngusSkeneandKennethGarlick.TogethertheylaidthefoundationsofthecollectionswithcommissionsandacquisitionsofworkbyartistsincludingWilliamGear,BarbaraHepworthandPeterLanyon.TheirexampleencouragedtheUniversitytocontinuetofostertheartcollectionsfromthe1990s,addingworksbySoniaLawsonRA,JulianMeredith,HumphreyOcean,NicholasPope,JohnWalker,AustinWrightandothers.PerhapsthemostgenerousrecentgiftwasthesetsofprintsandthebequestofplastersbySirEduardoPaolozziRA.

Whilebeingrichsourcesforteachingandresearch,theUniversity’sResearchandCulturalCollectionsalsohaveavitaldecorativefunction.Buildingsneedpicturesandsculpture,andcontinuedcampusenhancementisacentralplankoftheirpurpose.Paolozzi’smonumentalFaradayatWestGateandHepworth’sAncestor IinUniversitySquarearecelebrationsandsignpostsofourconfidenceinourlandscapeandinourselves.Collectionscreateasenseofplace,asthehighunsolicitedandcontinuousdemandfromcolleaguesforartfortheirbuildingsfurtherdemonstrates.

5ResearchandCulturalCollections:Anintroduction

WewouldnothavebeenabletodeveloptheuseandcareofthecollectionswithoutthehelpofmanypeopleincludingPhyllisBenedicz,HollyGrange,AlanLeary,thelateBinnievanderRaay,GillianShepherd,RobertWhitworth,IngaWolfandourmanyvolunteers.MycolleagueClareMullett,AssistantUniversityCuratorsince2002andtheauthorofthisbooklet,ispersistentandunflagginginherworkfortheUniversity.

TheResearchandCulturalCollectionsareabrightlycolouredtwistinthefabricoftheUniversity.TheUniversitywouldfunctionwithoutthem,butitwouldindeedbeadrabplace.

Detail of Egyptian Anthropoid Wooden Coffin Lid of Ahmose.Paintedwood,500BC.

Eduardo Paolozzi (1924–2005)Moonstrips Empire News.Screenprintsonpaper,1967.DisplayedintheentrancetotheSchoolofLaw

6 ResearchandCulturalCollections:Anintroduction

Introduction

TheResearchandCulturalCollectionsisanarrayofcollectionsoncampuswhichvariouslyplayceremonial,commemorative,decorativeanddidacticrolesinUniversitylife.Thecollectionsarehousedindepartmentsrelevanttotheiroriginsorpurpose,andaredispersedthroughoutthecampusintotheveryplaceswherestudentsandstaffstudyandrelax.

TheResearchandCulturalCollectionsisoneoffiveindependently-managedmuseumstructuresattheUniversityofBirmingham.AlongwiththeBarberInstituteofFineArts,theLapworthMuseumofGeology,SpecialCollectionsandArchives,andWinterbourneBotanicGarden,weprovideabreadthanddiversityinculturalassetsrangingfrompublicmuseumstosmallspecialistresearchcollections.

TheUniversitydisplaysandteachesfromthousandsofobjectswithinseveraldistinctcollectionsintheResearchandCulturalCollections.TheyaretheDanfordCollectionofWestAfricanArtandArtefacts,theInstituteofArchaeologyandAntiquityMuseum,theCollectionofHistoricPhysicsInstruments,theBiologicalSciencesCollection,theMedicalSchoolCollection,theSilver

andPlateCollection,theUniversityHeritageCollectionandtheCampusCollectionofFineandDecorativeArt.Therearealsoimportantobjectswhichareyettobeformalisedintocollections,suchasanhistoricallyinterestinggroupofChemistryartefacts.TheseincludeequipmentusedbyNobelPrizewinnerSirNormanHaworthwhenhesynthesisedVitaminCatBirminghaminthe1930s,andvarioussynthesisedchemicalsandcompoundssuchasrubberandTerpenefromtheUniversity’soriginalAppliedChemistryMuseum.Therearealsoanumberofartefactsthatrelatetothedevelopmentofcomputing.

Sinceourbeginnings,objectshavebeenintegraltoteachingandresearchattheUniversityofBirmingham,withtheresultthatsomecollectionsareembeddedwithinvariousacademicdepartments.Othercollectionsenhancetheirenvironment,andofferinspirationandenlightenmenttoall.

TheResearchandCulturalCollectionsisaregisteredmuseum.Ifyouwouldliketoknowmoreaboutthecollections,pleasevisitusonlineatwww.rcc.bham.ac.ukormakeanappointmenttovisitinperson.

FromArchaeologytoZoology,fromWestAfricanMaskstomodernBritishlandscapepaintings,theUniversityofBirminghamResearchandCulturalCollectionshostsavastrangeofextraordinaryartefactsthatplayavaluablesocial,culturalandeducationalroleincampuslifeandinwidercommunities.

7ResearchandCulturalCollections:Anintroduction

William James Bloye (1890–1975)Mermaid Foundation.Bronzeandstone,1960.

Commemorative medallion struck for the opening of Mason Science College.Bronze,1880.

Brian Robb (1913–1979)Venetian waterscape.Oiloncanvas,1971(detail).

The Danford Collection of West African Art and Artefacts

TheDanfordCollectionrangesfromdomesticandceremonialutensilstocontemporaryfineart,andisoneofthefinestcollectionsofitskindinEurope.ThecollectionisanactiveteachingresourceintheUniversity,comprisingapproximately800objects,includingwoodcarving,metalwork,pottery,textiles,paintinganddomesticandvotiveobjects.

Thenucleusofthecollectionwascollectedbetween1943and1957byJohnDanfordOBE,aprofessionally-trainedartistwhowasforsomeyearsaBritishCouncilrepresentativeinNigeria.DanfordlentthecollectioninitiallytoUniversityCollege,Ibadan,Nigeria(1957–63),butinthemid1960shemovedittotheUniversityofBirmingham’sCentreofWestAfricanStudies(CWAS).CarvingsandotherartefactsacquiredduringDanford’sfinalpostinginSierraLeone(1966–69)wereaddedinJuly1970,sometwomonthsbeforehisdeath.

TheDanfordCollectionwaspurchasedbytheUniversityfromDanford’sestatein1975,withhelpfromtheWACadburyCharitableTrust,JohnCadbury,andtheVictoriaandAlbertMuseumPurchaseGrantFund.Ithasbeen

regularlyaugmentedbygifts,bequestsandloansfromvariousdonors,notablySisterEvelynBellamy,whosecollectionofGhanaianartefactsweredonatedin1968.EHDuckworth,foundingeditorofNIGERIAmagazinewhowasaninfluentialpatronofNigeriancraftsmenduringthe1930s,wasanothergenerousdonor,aswasWACadburywhocontributedartefactscollectedinAngolaandtheGoldCoast(nowGhana)between1908and1931,andPeteTunleywhohaslentawiderangeofHausacraftsmen’stoolsandcraftproductscollectedinthemid1970s.

ThestrengthofthecollectionliesmainlyintheYorubamaterialDanfordassembledwhileinIbadanintheearly1950s,stemmingfromhisroleasapatronoftraditionalcarverssuchasBamgboyeandLamidiFakeyeatatimewhenchieflyandreligiouspatronagewasalreadydeclining.Theirmagnificentsculptedmasqueradehead-pieces,housepostsanddivinationbowlsformthecentrepieceofthisbeautifulcollection.Theoldestpiecesinthecollectionareapproximately100yearsoldandthecollectionisstillgrowing.MembersofCWASvisitAfricancountrieseveryyearandbringbackobjectstoaugmentthecollection.

TheDanfordCollectionofWestAfricanArtandArtefactscelebratestheextensiveculturaltraditionsandartisticexpressionofcountriesinWestAfrica.

TheDanfordCollectionispopularwithbothstaffandstudentsoncampusandisanimportantresourceforschoolsintheWestMidlandsandthelocalcommunityingeneral.Educationgroupsvisitthecollectiontobeinspiredbyitscontents,andrespondtotheartefactsbyproducingtheirownversions.ThecollectionalsohostsmusicianswhoperformtraditionalAfricanmusicandteacheducationgroupsaboutAfricaninstrumentsandsong.TheCentreofWestAfricanStudiesregularlyholdspoetryreadingsandperformancesbyprominentAfrican,Caribbean,BlackBritishandrelatedwritersandartistsintheDanfordRoomamongstthecollection.ThosewhohaveperformedincludeLintonKwesiJohnson,NiyiOsundare,KwameDawesandFemiOyebode.

CentreofWestAfricanStudies,ArtsBuildingt:01214145128e:cwas@bham.ac.uk

8 ResearchandCulturalCollections:Anintroduction

9ResearchandCulturalCollections:Anintroduction

Bandele, Son of Areogun – Helmet Dance Mask. Yoruba,Nigeria.Paintedwood,collected1952.

Yoruba Mother and Child. Nigerian,woodandcowrieshells(detail).

Selection of calabashes. Yoruba,1940s.

Ibo Nigerian Dance Mask. Paintedwood,1952(detail).

The Institute of Archaeology and Antiquity Museum

IntheUniversityofBirmingham’searlydays,JohnHopkinson,anenthusiasticlecturerinGreek,purchasedantiquitiestobeusedforinspiringhisstudentsandexcitingtheirhistoricalimagination.Hewasgranted£100tospendonGreekArchaeology,andthusthenucleusofthecollectionwasformed.

Inadditiontothedisplayedobjects,thereisalargeandvaluablecollectionofpotsherds,assembledoverthetwentiethcenturybymembersofstafffromtheInstituteofArchaeologyandAntiquity(IAA).TherediscoveredEgyptiansarcophaguslidfromBeniHasan,Egypt,c.550BC,isahighlightofthecollection.Itwascleanedin2001inordertoremovedirtyparaffinwaxpouredoverthelidintheearlytwentiethcenturyinanattemptto‘age’it.Therestorationrevealedfreshlycolouredpaintandalsotracesofgoldleafappliedtothehumanfacecarvedonthelid.ThesarcophaguswasgivenbyJohnGarstang,excavatorofBeniHasan,totheUniversityin1904,andwassubsequentlydisplayedformanyyearsatLeamingtonSpaMuseum.

AdvancesintechnologygavetheUniversity’sarchaeologistsfurthercluesastothecontentsofaCanopicjarmadeinAncientEgypttoholdvitalorgansaspartofthemummificationprocess.AfterbeingCTscanned,medicalexpertsfromtheQueenElizabethHospitalconfirmedthatthejarcontainsanorganwiththedensityofliverorintestines.Afterfurtheranalysisitshouldbepossibletoobtainmoreinformationaboutthepersondescribedinthejar’shieroglyphicsandtheperiodinwhichhelived.Inthisrespect,IAA’sstudyoftheancientworldhasbenefittedfrominter-disciplinaryresearchandtechnologicaladvancementandhasproducedavaluablenew‘reading’ofinformationwithinanobjectthathasbeenanalysednumeroustimes.

TheInstituteofArchaeologyandAntiquity’sVisualandSpatialTechnologyCentre(VISTA)isoneofthebestequippedarchaeologicalvisualisationlaboratoriesinEurope.In2003anancientterracottastemmedcupmadeinEastGreeceintheseventhcenturyBCwasscannedintheVISTAcentretocreatea3Dimageand

TheInstituteofArchaeologyandAntiquityMuseumisanactivelyusedteachingcollectionofapproximately2000examplesofGreek,Mycenaean,RomanandEgyptianpottery,funerary,domesticandreligiousobjects.

reconstructedinmetalbytheUniversity’sDepartmentofMetallurgyandMaterialsusingmoderntechnologiesbasedonthoseusedbyAncientGreeks.

TheArchaeologyandAntiquityMuseumisamajorteachingandresearchresourceforthedepartmentandisalsothehometoanundergraduateMuseumStudiesoption.

InstituteofArchaeologyandAntiquity,ArtsBuildingt:01214145497e:arch-ant@bham.ac.uk

www.iaa.bham.ac.uk/museum/museum.htm www.vista.bham.ac.uk

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11ResearchandCulturalCollections:Anintroduction

Red-figure lebes gamikos. Rhodes,325–300BC.

East Greek Oinochoe, of grey-beige clay with trefoil mouth. Middle Wild Goat style,7thcenturyBC.

Attic black-figure lekythos,520–500BC.Mycenaean Flask ofbuffclaywithdarkbrownpaint,c1350BC. Egyptian Anthropoid Coffin Lid of Ahmose. Paintedwood,550BC.

Collection of Historic Physics Instruments

WhenthefirstProfessorofPhysics,JohnPoynting(1852–1914),setupthenewlaboratoriesintheearly1900shepurchasedthebestequipmentavailableatthetime.AnotableexampleistheRieflerclock,whichwassetbythestars,usingthecollection’stransittelescope.

AlthoughprimarilyengagedwithhisroleasfirstPrincipaloftheUniversityofBirmingham,SirOliverLodge(1851–1940)continuedhisscientificresearchparticularlyinthedevelopmentofradio.LodgeworkedwithAlexanderMuirhead(1848–1920)todevelopwirelesstelegraphyandalsoinventedtheelectricsparkplugfortheinternalcombustionengine.Muirheadsubsequentlyformedacompanytodevelopandmakescientificinstruments.TheSchoolofPhysicsandAstronomyhasbeeninvolvedinmajorresearchprojectsthroughoutitshistory.Thecollectionincludesseminalitemsrelatingtothiswork,includingPoynting’smeasurementofthegravitationalconstant,thusenablingtheweightoftheearthtobecalculated.Oneoftheworld’sfirstprotonsynchrotronacceleratorswasdevelopedattheUniversityfromthe1950sand60s,aswastheMagnetron,inventedby

ProfessorsRandallandBoot.ThisbecamethebasisofradarandenabledthebuildingofradarstationsaroundtheBritishcoaststodetectincomingaircraftduringtheSecondWorldWar.Itlaterbecamethecentralcomponentofthemicrowaveoven.Fromearlygalvanometersandchartrecorderstorayoscilloscopesandthelatestdigitaltechnology,thecollectiondemonstratestheevolutionofphysicsinstrumentation,beforetheadventofthecomputer,andtheevolutionofscholarshipthatfollowsnaturallyfromthis.PartsofthePhysicsCollectionaredisplayedwithinthePhysicsdepartmentuntilfundscanbefoundtoprovideadditionaldisplay.Thereareopportunitiestheseethecollectionin‘BehindtheScenes’lecturesandhandlingsessionswithacademicsandmuseumstaff.SchoolofPhysicsandAstronomy,PoyntingBuildingt:01214144564e:headphys@bham.ac.uk

TheCollectionofHistoricPhysicsInstrumentsiscomprisedofover800objectswhichbroadlyfallintotwocategories,thehistoryofPhysicsteaching,andequipmentdevelopedattheUniversityofBirminghamforpioneeringexperimentandresearchoverthelastcentury.

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13ResearchandCulturalCollections:Anintroduction

J&W Cary. Celestial Globe. 1816(detail). Selection of Galvanometers and other Scientific Instruments

Max KohlHelmholtz’s Resonators.Brassonwoodenbase,late19thcentury.

W Jones of Holborn, LondonA New Portable Orrery.Paintedmetal,late18thcentury.

Société Centrale de Produits Chimique. Curie Gold Leaf Electroscope, late19thcentury.

The Biological Sciences Collection

ZoologyTheZoologyCollectioncomprisesapproximately2000zoologicalspecimens,ofwhicharoundhalfareliquidpreservedspecimens,collectedforteachingpurposessincethe1880s.Thespiritcollectionscontainexamplesofmostmajorinvertebrateandsomevertebrategroups.Theremaindercomprisesskeletalandmountedspecimensofmammals,birds,reptiles,amphibiansandpinnedinsects.Thereisalsoacollectionofmicroscopeslides.TheSchoolofBioscienceshasadisplaycaseinthereceptionareawhichshowsregularlychangingexhibitionsofzoologicalandrelatedmaterial.

SchoolofBiosciences,Zoologyt:01214145465e:c.m.urwin@bham.ac.uk

HerbariumTheUniversityHerbarium,orbotanycollection,containsapproximately75,000specimensofnationalimportance,collectedovermorethanonehundredyearsbybotanistsfromalloverBritain.ItincludesmaterialfromlocalfloracollectionssuchasthatamassedbyAugustinLey(1842–1911)whilstwritinghisbookA Flora of Herefordshire(1889).Thecollectionismainlycomprisedofvascularplants,buttherearealsogoodexamplesoflocalbryophytes(mossesandliverworts.)TherearealsosomesignificantcollectionsofcriticaltaxathatareofnationalimportanceincludingRubusandHieracium,orbramblesandhawkweeds.

AccesstotheHerbariumislimitedbutadigitalrepositoryisbeingdeveloped.EnquiriesaboutresearchloansandthedigitalrepositoryshouldbedirectedtotheHerbariumCurator,DrSarahWhildonthefollowingcontactdetails:

SchoolofBiosciences,Herbariumt:01743355137e:s.j.whild@bham.ac.uk

http://herbariaunited.org/athome

TheBiologicalSciencesCollectionsarecuratedbytheSchoolofBiosciences.

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15ResearchandCulturalCollections:Anintroduction

Please supply imageZoology

Arachis Monticola upper Volta Specimen. Herbarium (detail)SelectionofspecimensfromtheZoologycollection

SelectionofbutterfliesfromtheZoologycollection SelectionofpreservedreptilespecimensfromtheZoologyCollection

Medical School Collection

Itemsrelatingtothehistoryofanatomyandpathologyareparticularlyrich.Forexample,thecollectionincludesararegroupoflatenineteenthandearlytwentieth-centuryanatomicalwaxmodelsoriginallyusedfordemonstrations.Relatingtothehistoryofembryology,thespecimensweremadebythewellknownGermanmodeller,FriedrichZiegler.TheyarenowusedforteachingtheHistoryofMedicine.

Anextensivehistoricalpathologycollection,theChamberlainMuseumofPathology,surroundsabusystudyareaintheMedicalSchool.Thecollectiondatesbacktothemid-nineteenthcenturyandisstillusedforteachingpathology,althoughmanyspecimensreflectconditionsthatarenolongerprevalentinBritain,andsoonlyhaveanhistoricalinterest.AparticularlyinterestingspecimenisthediseasedhandofthepioneerradiologistJohnHall-Edwards(1858–1926),whosehandwasamputatedafterdevelopingskincancerasaresultofexperimentingwithx-raysonhimself.TheChamberlainMuseumofPathologyisprincipallydirectedatmedicalstudentsandmanagedbytheMedicalSchool.

ModernengravedglasssurroundingthestudentcommonroomsintheWolfsonWingdepictsscenesfromAndreasVesalius’anatomicalRenaissancestudyDe Humani Corpis Fabrica (On the Fabric of the Human Body),anotherreminderofthecentralityofanatomicalknowledgetomedicaltraining,pastandpresent.Inaddition,theMedicalSchooldisplaysnumerouspaintingsandsculptureswhichreflectitshistory.TheseincludeportraitsofdistinguishedphysicianswhoplayedkeyrolesinthedevelopmentoftheteachingandpracticeofmedicineinBirminghamoverthepasttwohundredyears.Ofparticularnotearetwoportraitsoftheschool’sfounder,WilliamSandsCox,inhisyouthandoldage,andabustbyJacobEpsteindepictingProfessorDameHildaLloyd,thefirstfemalePresidentoftheRoyalCollegeofObstetriciansandGynaecologists(1949–52).Arecentdonationofmorethan700artefactswhichformerlycomprisedtheNursingHistoryGroupMuseumcomplementstheexistingcollectionandprovidesausefulresearchtoolformedicalstudentsstudyingintheCentre

TheMedicalSchoolCollectioncontainsanumberofinterestinghistoricalitemswhichreflectthedevelopmentofparticularspecialties,includinganatomy,ophthalmologyanddentistry,andartefactswhichreflectthedevelopmentofthemedicalschoolandmedicaleducationmoregenerally.

fortheHistoryofMedicine.Ahandsomenineteenth-centurymedicalcabinet,completewithearlytwentieth-centurymateriamedicaanddonatedbythefamilyofageneralpractitionerwhoworkedintheMidlands,makesanimportanthistoricaladdition.Similardonationsincludethecompletecollectionsofearlytextsinthefieldsofdentistryandophthalmology.t:01214146804e:j.reinarz@bham.ac.uk

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17ResearchandCulturalCollections:Anintroduction

Cornelius Saftleven (1607–1681)The Ages of Man.Oiloncanvas.

Friedrich ZieglerWax Anatomical Model,late19thcentury.

Friedrich ZieglerWax Anatomical Model of a Human Foetus,late19thcentury.

Henry Room (1803–1850)Portrait of William Sands Cox (1802–1875).Oiloncanvas,late1840s.

Jacob Epstein (1880–1959)Dame Hilda Lloyd.Bronzebust,1951.

Friedrich ZieglerWax Anatomical Model of a Human Heart,late19thcentury.

The Silver and Plate Collection

Principalamongitarethetwoceremonialmaces:one,theArtsandCraftsUniversityMace,wasmadein1900byPhilipWebb,andtheother,theCentenaryMace,wasmadebyClaireDaviescommissionedin2000bytheBirminghamAssayOfficefortheUniversity.Themacesarecarriedateverygraduationceremony.Otherobjectsincludebowls,goblets,salversandcandlestickscommissionedovertheyearsbytheSeniorCommonRoom,theGuildofGraduates,Chancellor’sHallAssociation,UniversityHouse,theHoldsworthClub(Law),theMedicalSchool,theSchoolofDentistry,theDepartmentofChemicalEngineering,StFrancisHallandtheMunrowSportsCentre.Thesilverismainlykeptinstorebutisusedatcongregationdinnersandotherspecialoccasions.

t:01214146750e:rcc@contacts.bham.ac.uk

Thiscollection,whichisentirelyceremonial,comprisessilverandplatecommissionedforandpresentedtovariousdepartmentsorschoolswithintheUniversityduringthetwentiethcentury.

University Mace designedby Phillip Webb. Silverparcelgiltwithenamel,garnetandchalcedonyinlay,1902.

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19ResearchandCulturalCollections:Anintroduction

One of a pair of late Victorian baluster fluted peppers,1888.

Robert Welch. Modernist condiment sets,1964.

Barker Bros. Edwardian three piece oval semi-reeded teapot,1902.

University Heritage Collection

ObjectsrangefromthefirstkeytotheUniversity,tothesmallUnionJacktakenontheChallengerSpaceMissionwhichin1985carriedatelescopebuiltattheUniversityintoearthorbit.ThereismaterialrelatingtothetwoWorldWars,includingaquiltembroideredbysoldiersconvalescingintheGreatHallwhenthiswasusedasahospitalfrom1914–18,andshrapnelfoundbystudentsafteranairraidin1940.ThecollectionalsoincludesarchitecturalfixturesandfittingssuchasRollsofHonourandcommemorativeplaques.

TheprecursoroftheUniversityofBirminghamwasJosiahMason’sScienceCollege,firstopenedin1880.Masoncamefrommodestbeginnings,whichdrovehisdesiretocreateacollegewhichwas ‘easily accessible to persons of all classes, even the humblest.’ThefaçadeoftheoriginalbuildinginEdmundStreetwasdecoratedwithMason’screstandthecarvedheraldicshieldsofKidderminster,Worcester,BirminghamandWarwickshire.ThesearenowinstalledoutsidethewestentrancetotheSchoolofLaw.

TheUniversityasweknowittodaywasfoundedin1900byJosephChamberlainwhosevisionfortheUniversitywasas‘a school of universal instruction, not confined to any particular branch of knowledge but taking all knowledge in its province.’ThisisexpressedinstoneoverthemainentrancetotheAstonWebbbuildinginafriezeofninecarvedfiguresfromtheworldsofart,philosophy,scienceandindustry,includingPlato,Shakespeare,Darwin,WattandFaraday.AnothersculpturewhichrepresentsUniversityheritageisthelittleseenworkbyAlfredDruryofEdwardVII(1912)whoformallyopenedtheUniversityofBirminghamon7July1909.ThesculpturewasoriginallysitedintheMarbleHall,butwasmovedaftertheFirstWorldWartomakeroomfortheUniversity’swarmemorialrollsofhonour.Plansareinhandtoresiteitmoreappropriately.AtitsbasearewordsfromEdwardVII’sinauguralspeech:‘to you the students I say that the honour and dignity of this University are largely in your hands and I look to you to initiate and hand down worthy traditions to your successors.’

ManyobjectsintheUniversitycollectionsthrowlightonitshistoryanddevelopingtraditions.Theseincludecommemorativeportraits,ceremonialrobesandpersonaleffectsofsomenotablestaffandstudents.

TheHeritageCollectionalsoincludesartefactsthatrelatetotheUniversity’smanuscriptandarchivedeposits,suchaspersonaleffectsofEdwardVII,JosephChamberlain,LordAvonandNoelCoward,commemorativemedals,boxes,busts,plaquesandtextiles.

t:01214146750e:rcc@contacts.bham.ac.uk

Also,SpecialCollectionsandArchives:www.special-coll.bham.ac.uk

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21ResearchandCulturalCollections:Anintroduction

Albert Drury (1856–1944)King Edward VII.Marblesculpture,1912.

Commemorative Medals issuedfortheopeningoftheUniversityofBirminghambyKingEdwardVII.Bronze,1909.

Commemorative Key. ReplicaofthegoldkeyusedintheopeningceremonyoftheUniversityofBirmingham,1909.

Henry Pegram (1862–1937)Architectural Carvings of Beethoven, Virgil, Michelangelo, Plato, Shakespeare, Newton, Watt, Faraday and Darwin.DarleyDaleStone,1907.

Commemorative portraitureTheCampusCollectionofFineandDecorativeArtbegantodevelopsoonafterthefoundationoftheUniversitywhenitcommissionedportraitsinoil,marbleandbronze,ofdistinguishedUniversityfigures.ThereareportraitsofChancellors,Pro-ChancellorsandVice-ChancellorswhichstartwithourfounderJosiahMasonandcontinuetocharttheprogressionthroughtothepresentday.ArecentcommissionistheportraitofProfessorMichaelSterlingbyPaulBrason.

Officialportraitscreateasenseofcontinuityandself-esteemforaninstitution.Throughthemthehistory,purposeandlongevityoftheirorganisationcanbeexpressed,beitanation,afamily,acommercialfirm,orauniversity.Royalportraitsrevealthefluctuatinghistoryofanation,whilethoseofauniversityreflectthechangesinthewayanacademicinstitutionpresentsitselftoitscommunity.

TheportraitsinBirminghamshowthesepurposesclearly.TheChancellorportraits,displayedinGreatHall,rangefromtheformallateVictorianandEdwardianposesofJosiahMasonandSirJosephChamberlain,tothemore

approachablefigureofthenaturalistSirPeterScott,whoseemsill-at-easeinhisacademicrobes.HestandsinfrontofthelakeatthebirdsanctuaryhefoundedatSlimbridgein1946.InthecorridortheportraitsofPro-Chancellorsarehung.Mostareshownwearingceremonialgowns,afashionthatwasdroppedinsomemorerecentportraitsbyHumphreyOceanRA,PeterEdwardsandTomPhillipsRA.Theacademicgownisastandardsignifierforuniversityportraits,buttheartistsoftheportraitsofSirJulianBullard,RogerBurmanandLordHannaychosemorepersonal‘attributes’.

OthernotablefiguresfromUniversitylifearecommemoratedinpaintingsandsculptureswhichhanginrelevantdepartments.TheportraitofthegeologistCharlesLapworthbyBernardMunns(1914)hangsintheLapworthMuseumofGeology,surveyingthefossilsandspecimensbelowhim.Margaret Nettlefold before Her Dining Room at Winterbourne,paintedbyJohnByamShaw(1904)showsMrsNettlefoldlookingoutofherwindowatWinterbourneBotanicGarden,andAnguished Skein(c.1975–80),anunconventionalcommemorativesculpturebyPatrickMaher,standsintheFinance

departmentwhereitplaystributetothepersonalityoftheUniversityTreasurerAngusSkene.SkenewasoneofthedrivingspiritsbehindthedevelopmentoftheUniversitycollectionsinthe1960s,andonseeingthisworkhewrote:‘it conjures up all sorts of images from the Staffordshire Knot in the making, through the Angler’s nightmare, and the graph of the progress of the Finance Officer, to the dilapidated phallic object.’OtherartistsintheportraitcollectionincludeSirJamesGunnRA,PhilipdeLaszlo,NormanHeppleRA,TomWoodandJohnNotter.

The Campus Collection of Fine and Decorative Art

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23ResearchandCulturalCollections:Anintroduction

Humphrey Ocean b. 1951 Sir Julian Bullard, Pro-Chancellor (1928–2006), (detail).Oiloncanvas,1994.

Peter Edwards b. 1955 Roger Burman, Pro-Chancellor (1994–2001), (detail).Oiloncanvas,2002.

George Reid (1841–1913) Sir Oliver Lodge (1851–1940), (detail),FRS,Principal.Oiloncanvas,1919.

John Byam Shaw (1872–1919)Portrait of Margaret Nettlefold before her dining room at Winterbourne. Oiloncanvas,1904.

24 ResearchandCulturalCollections:Anintroduction

Art in public spacesSincethe1960stheCampusCollectionofFineandDecorativeArthasdevelopedthroughcommission,purchase,loanandgifttoincludeavarietyofstylesandgenresofworkbymanyacclaimedartists.Theseworksaredisplayedthroughoutdepartmentsandspacesinsideandoutside,andacrossthecampusesinEdgbaston,SellyOak,BirminghamcitycentreandStratford-upon-Avon.Theyhavebothcommemorativeandemblematicpurposeandenhancetheirsurroundings,encouragingunexpecteddialoguesandresponses,andreachingthousandsofpeople.

Acquisitionshavehistoricallybeendrivenbyparticularindividuals,orbysmalladhocgroups,notablyinthe1960sand1970sbythelateProfessorsKolbuszewskiandLewis,andthethenUniversityTreasurerAngusSkene.Together,theyandothersacquiredworksbyPeterLanyon,BarbaraHepworthandWilliamGear.PeterLanyon’sArts Faculty Mural(1963)minglesreflectionsontheartist’snativeCornishlandscape,weatherandlightwiththeredbrick

andicyspacesoftheUniversityinthesnow.ThisisLanyon’slastlargeworkpaintedayearbeforehisuntimelydeathinaglidingaccident.DavidPrentice’sseriesofmirrorpaintingsPleides(1971)wascommissionedforthenewMetallurgyandMaterialsbuildingandrelatestoresearchintotheformationofmetalliclatticesandgridsonamicro-scaleandalsothestructurallinesofPhilipDowson’sconcretearchitecture.

Sincetheearly1990s,gifts,commissionsandpurchaseshaveincludedSoniaLawson’sGuardian I and II(1994),fullofvividpoeticimageryevokingcompanionshipandreliability.JulianMeredith’sSewen(1994),hangsintheLapworthMuseumofGeology,itsfishshapescarvedfromatreetrunkarepreservedinprintedinkasiffossilisedlikethefishspecimensfromWyomingdisplayednearby.JohnWalker’sThe Blue Cloud(1996)intheArtsBuildinguseslandscape,figuresandliteraturetoconsiderthecyclicalnatureoflifeanddeath;andsunflowersandaselfportraitbyJohnBratbyRAdecoratethewallsoftheBratbyBarinStaffHouse.Thebarwasnamedfortheartist,whowasgivenanhonorarydegreebytheUniversityin1992.

NotablegiftsofworksofartincludeagroupofpaintingsbyRogerFry,givenbytheartist’ssisterMargeryFryinthe1920s,andthebequestofJohnGalsworthyfamilyportraitsfromRudolfSauterin1977.In2001,sixpaintingsweregiventotheUniversityfromtheRoyalAcademy’sChantreyBequest,includingworksbyJohnAldridge,Kum-SiewMakandBrianRobb.AsubstantialandparticularlygenerousgiftisthatofthesculptorandprintmakerSirEduardoPaolozziRA(1924–2005).AlongwithFaraday,thecolossalsculptureattheWestGate,theartistbequeathedaseriesofplastermaquettesofhissculpturesandalsopresentedfivesetsofprints–Bunk!, Z.E.E.P., Moonstrips Empire News, General Dynamic FUN and Calcium Light Night.VariousUniversitycollegesanddepartments,includingLaw,theBusinessSchoolandAmericanandCanadianStudiesdisplayPaolozzi’sprintsintheirroomsandcorridors.In2006ThroughtheUniversity’sAlumniFund,SportandExerciseScienceacquiredaseriesofprintsbyNicholasPopetohanginthefoyeroftheirnewbuilding.Suchcommitmentdemonstratesaninvestmentinthedepartment’ssurroundings,withworksofartprovidinganinspiringandengagingenvironmentforstudentsandstaff.

Roger Eliot Fry (1866–1934)Landscape.Oiloncanvas,1910.

Peter Lanyon (1918–1964)Arts Faculty Mural.Oilonboard(detail),1963.

25ResearchandCulturalCollections:Anintroduction

Sonia Lawson b. 1934Guardian I.Oiloncanvas(detail),1994.

David Prentice (b. 1936)Pleides (detail).Oilonmirroredglass,1970.

John Walker b. 1939The Blue Cloud (detail).Oiloncanvaspolyptych,1996.

26 ResearchandCulturalCollections:Anintroduction

SculptureAttheWestGateoftheEdgbastoncampusstandsthemonumentalbronzesculpturebySirEduardoPaolozziRA.Faradaywasmadein2000andpresentedbytheartisttomarktheUniversity’sfirstcentenary.Thishighlycontemporarygiant,half-manandhalf-machine,isasculpturethatlooksequallytothepastandtothefuture.Thesculptureexpressestheachievementsofexperimentalscientistswhounlockandtransformunderstandingofnaturalphenomenaandisalsoanallegoricalfigurerepresentingthecontrolofpower.Astheartistsaid,‘TheworkisforFaraday,notofhim.’AroundthebaseofthefigurearelinesfromThe Dry SalvagesbyTSEliot,reflectingupongrowthandchange.TheybearavaluablemessageforallUniversitystudents:‘Here between the hither and further shore, While time is withdrawn, consider the future, and the past with an equal mind.’

ThecolossalpieceactsasanemblemandameetingplacefortheUniversity,asdomanyofthesculpturesinthediversecollection.OtherpiecesincludeWilliamBloye’sMermaid Fountain(1961)asmilingandwelcoming

sculpturalversionofthemermaidfromtheUniversitycoatofarms;SirAnthonyCaro’sScorched Flats(1974)*whichrollsacrossthegroundwithoutaplinth,relinquishingtheideaofaworkofartbeing‘superior’;BarbaraHepworth’sAncestor I(1970)**whichrecallsherinspirationfromtheancientstandingstonesinCornwall,andSirJacobEpstein’sPortrait bust of Dame Hilda Lloyd(1951)whichcelebratesthispioneeringdoctorthoughboldmodellingandroughlytexturedsurfaces.

TheUniversity’ssculpturecollectionhasbeentheinspirationforanumberofartcoursesandworkshopsincludingTheBigDraw,organisedbytheCampaignforDrawing.TheCampusSculptureTrailisanentertainingwayforvisitorstoorientatethemselvesandexploretheUniversity.AcopyofcanbedownloadedfromthewebsiteorpickedupfromthemainreceptiondeskintheAstonWebbbuilding.

*Scorched Flats is on loan from the artist

**Ancestor I is on loan from the trustees of the Hepworth Estate

Eduardo Paolozzi (1924–2005)Faraday.Bronze,2000.

Michael Sandle (b. 1936)Woman for Heidelberg, (detail). Bronze,1987.Onloanfromtheartist.

Anthony Caro (b. 1924)Scorched Flats.Steel,1974.

Bernard Sindall (1925–1998)Girl in a Hat.Bronze,1972.

27ResearchandCulturalCollections:Anintroduction

Furniture, fixtures and fittingsTherearearound200significantitemsoffurniture,fixturesandfittingsincludingoriginalarchitecturalfittings,carvings,plaques,gardenornamentation,fireplaces,staircasesandwindowswithinthemanybuildingsinandaroundEdgbaston.ImportantpiecesoffurnitureincludesomeofthehistoricMasonChairs,presentedintheearlytwentiethcenturytotheprofessorswhoheldtheoriginalProfessorial‘chairs’endowedbyJosiahMason,adeskmadeforGeorgeFiedler,thefirstProfessorofGerman,andthedeskbelongingtotheoriginalBarberProfessorofJurisprudence.Eachofthesearehousedinrelevantoraccustomedplacesaroundcampus.

t:01214146750e:rcc@contacts.bham.ac.uk

Shakespeare InstituteThecollectionsattheShakespeareInstituteinStratfordincludefurniture,paintings,drawingsandprintswhichfurnishamagnificentGeorgiantownhouseandgardenandtheJohnsonLibrary.Thefurnitureisappropriatetotheperiodofthehouse,andthepicturesarelargelyofShakespeareanthemesorportraitsofformermembersofstaff.Anoilpaintingonpanelfromthesixteenthcentury,The Portrait of Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Moorish Ambassador to Queen Elizabeth I,isthoughttobetheonlyknowndepictionofthemanwhoinspiredShakespearetowriteOthello.TheJohnsonLibraryhousesseveralworksofartincludingthebeechwoodsculptureLear(1954)byAustinWrightandpaintingsofShakespeareansubjectsbyJohnUzzellEdwards,‘When I was born the earth did shake...’(1995)and ‘Once more unto the breach’.(1999)

British SchoolTom Skelton (detail).Oiloncanvas,17thcentury.

Portrait of the Moorish Ambassador to Queen Elizabeth l.Oilonoakpanel,1600.

28 ResearchandCulturalCollections:Anintroduction

What we do

Exhibition and displayObjectsfromthepermanentcollectionsaredisplayedthroughoutthecampus.Museumcasesshowobjectswhichformanarrativethroughtheirrelationshipwitheachother,andinterpretationpanelsandlabelsofferfurtherinformation.WeworkwithcolleaguesfromtheUniversity’sfiveCollegesincommissioningorinvestinginworksofarttoenhancetheirenvironment.Objectsarealsoloanedinandoutfromothercollectionsforexhibitions.

ThereisapopularprogrammeoftemporaryexhibitionswhichareheldintheRotundaoftheAstonWebbbuilding.Theserenewandrefreshinterestinthepermanentcollections,relatetodifferentsubjectareasandintroducetheworkofcontemporaryartiststothecampus.Wealsohosteventsrelatingtotheexhibitionssuchasguestlectures,poetryreadingsandart‘happenings’.

Collections managementThereisacarefulbalancebetweenuseandcareofthecollections.Preventativeconservationintheformofcleaningandmonitoringprolongsthelifeofanartefact,andinconsiderationofthisweworkwithconservatorsfor

specialisttreatments.TheCollectionsaredocumentedonthemuseummanagementsystemMIMSYXG,whichissharedwiththeBarberInstituteofFineArtsandtheLapworthMuseumofGeology.ResearchandCulturalCollectionsisregisteredasamuseumwiththeMLA.

Interpretation and accessibilityThosepartsoftheResearchandCulturalCollectionsthatarehousedwithinteachingroomsanddepartmentsareopentothepublicbyappointmentonly.However,inordertointroducethemtoawideraudiencetheyarebeingmadeavailableonlineviathewebsitewww.collectionsonline.bham.ac.uk.ThereisaCampusSculptureTrailwhichprovideshighlightsfromthesculpturecollectionandothertrailsarebeingdeveloped.Wealsoofferguidedtoursand‘behindthescenes’talks.

Whilesomecollectionsoncampusareofaspecialistnature,alldisplaysareorganisedtobegenerallyandintelligentlyengagingtoall,withinformativelabels.

Artistsinresidencearealsoinvitedtorespondtothecollectionsandofferalternativewaysofinterpretingthem.

ResearchandCulturalCollectionsismanagedbytheUniversityCuratorandtheAssistantUniversityCurator,withsupportandadvicefromacademicexpertsinrelevantdepartments,andateamofvolunteers.TheBiosciencesCollectionsaresolelymanagedbythestaffoftheSchoolofBiosciencesaslistedonpage14.

Education and Outreach TheResearchandCulturalCollectionsareusedforcurrentteachingmodulesandformthebasisandinspirationforacademicresearch.StaffofResearchandCulturalCollectionsalsoprovideslecturesandseminarsonaspectsofmuseumstudiesfordifferentdepartmentsandprovidesupportandguidanceforstudentsstudyingaspectsofthecollections.

Wehostschoolandfamilyworkshopseachyear,featuringdifferentaspectsoftheCollectionsandregularlytakeplaceinTheBigDraw,inconjunctionwiththeBarberInstituteofFineArts,Educationdepartment.

TheResearchandCulturalCollectionsprovideatangibleexampleofthehighqualityoflife,learningandenvironmentthattheUniversityoffersandprovidesanaccessiblewayforOutreachprogrammestoencouragelocalschoolgroupsandcommunitiestointeractwiththeUniversity.

29ResearchandCulturalCollections:Anintroduction

Student Project programmeWehostanactivevolunteerprogrammeinvolvingstudentsfromdifferentdisciplinesacrossandoutsidetheUniversity,developingprojectswhicharemutuallybeneficial.Thestudentsworkonsoloprojectsandingroupstogainvaluableworkexperiencefordevelopingcareersintheheritagesector.

Education and Outreach activities

30 ResearchandCulturalCollections:Anintroduction

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Visit us

Collectionsareopentothepublicby prior appointment withtheschoolordepartmentconcerned.Youcanalsovisitusonlineat:www.rcc.bham.ac.uk

Admission free

StaffDrJamesHamiltonUniversityCurator

ClareMullettAssistantUniversityCurator

Tosearchourcollectionsonline:www.collectionsonline.bham.ac.uk

Opening hoursMonday–Friday10.00am–5.00pm

ResearchandCulturalCollectionsUniversityofBirmingham,Edgbaston,Birmingham,B152TT,UK

t:+44(0)1214146750f:+44(0)1214142225e:rcc@contacts.bham.ac.ukwww.rcc.bham.ac.uk

Collections 1 TheDanfordCollectionofWestAfricanArtandArtefacts

ArtsBuilding,R16

2 TheInstituteofArchaeologyandAntiquityMuseum

ArtsBuilding,R16

3 CollectionofHistoricPhysicsInstruments

PoyntingBuilding,R13

4 TheBiologicalSciencesCollection

SchoolofBiosciences,R26,R27

5 UniversityHeritageCollection

AstonWebbBuilding,R6

6 Rotunda–fortemporaryexhibitions

AstonWebbBuilding,R6

31ResearchandCulturalCollections:Anintroduction

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Peter Scott House

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The Campus Collection of Fine and Decorative Art is dispersed throughout the campus

Sculpture A Workshop of John Nost the Elder

Equestrian Statue of King George l,

1717–1722.BarberInstituteofFineArts

B William James Bloye

Mermaid Fountain, 1961

C Henry Pegram

Beethoven, Virgil, Michelangelo, Plato, Shakespeare,

Newton, Watt, Faraday and Darwin, 1907

D Alfred Drury

King Edward VII, 1912

E Bernard Sindall

Girl in a Hat, 1972

F Maker unknown

Heraldic Shields from Mason College, c.1870–1880

G Anthony Caro

Scorched Flats, 1974.Onloanfromtheartist.

H Pietro Magni

Reading Girl, 1861(LocatedinSpecialCollections:

theCadburyResearchLibrary).

I Barbara Hepworth

Ancestor I, 1970.OnloanfromtheTrustees

oftheHepworthEstate.

J William James Bloye

Engineering Frieze, 1954

K Edward Bainbridge-Copnall

The Wrestlers, 1950

L Eduardo Paolozzi

Faraday, 2000

M Jacob Epstein

Portrait bust of Dame Hilda Lloyd, 1951

N Michael Sandle

N Woman for Heidelberg, 1987.Onloanfromtheartist.

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TextbyClareMullett,AssistantUniversityCurator