This week I found out by chance, before a day trip to Bangor, that the University has an art collection. I was fortunate to be given a brief, last-minute tour and history by the Storiel Museum and Bangor University Collections Officer Helen Gwerfyl.
The collection was established in the nineteenth century for educational use in the university. The university has a number of educational collections for use in teaching, with others comprising zoological and musical artefacts, and offering a history of ceramics. A number of ancient Mexican musical instruments from another of these collections, made of pottery and shaped like animals, are currently on display in the Storiel gallery as part of a doctoral research project.
Bangor University’s art collection has benefited from a number of bequests over the years, and is still acquiring work: in recent years, the winners of student art awards have been added to the collection. In addition, work acquired and commissioned for a teacher training college has now been accessioned into the university collection.
The majority of the work is paintings, although there are also statues and busts, and a small number of sculptures. Whilst lots of the collection hangs in offices – some of these usually unseen paintings were the subject of an exhibition at the museum – other are displayed around the university in lecture theatres, corridors and stairwells.
A 1940 bequest by William Evans, a bank manager in Chester and Holywell, enabled twelve paintings by leading British artists to be purchased, including Edward Wadsworth, Frances Hodgkins, Paul Nash, Winfred Nicholson and John Aldridge, ten of which are displayed in a lecture theatre. There are also several mountain landscapes by leading Welsh artist Kyffin Williams.
The university collections benefited from a Heritage Lottery Grant, which enabled condition surveys and cataloguing work to be undertaking, as well as a programme of events to raise the public visibility of these ‘hidden collections’. The Storiel museum took over responsibility for the art collection, which was previously administered by volunteers. Some of the work has had to be moved from the foyer, where doors constantly opened and closed and subjected the work to the wind, rain and cold. Other work has been moved to places with better light conditions. Interpretation has also been added to some of the work which is on display.
For more information about the history of the art collection visit www.bangor.ac.uk/community/history-collection.php.en.
Paintings from the collection can be browsed online at https://artuk.org/visit/venues/bangor-university-6854.
One of the sculptors who exhibited most frequently at Pictures for Schools was Ghisha Koenig, who contributed reliefs and sculptures inspired by factory work, labour and movement, as well as a maquette for a work in St John’s Church in Earlsfield, London.
An exhibition at the Henry Moore Institute displays some highlights of her work, as well as the sketch books and large-scale drawings on which they were based, which entailed hours of observation in local factories. Like other sculpture displayed at Pictures for Schools, Koenig’s sculptures are small in scale. They depict both workers and machinery; materials and products, from paper to expanses of tent fabric, delicately represented in sheets of bronze, are as prominent as the workers themselves, who are often presented as just one among many, sitting in uniformed rows and all engaged in the same repeated sets of movements.
Like many of the artists at Pictures for Schools, Koenig’s work was drawn from a narrative, realist tradition, depicting recognisable places and activities in an accessible, relatable style grounded in close observation and everyday life.
Ghisha Koenig: Machines Restrict their Movement is at Henry Moore Institute, Leeds until Sunday 13 August. For more information visit www.henry-moore.org/whats-on/2017/05/25/ghisha-koenig-machines-restrict-their-movement.
Last week’s post looked at the ideals which generated Harlow New Town’s unique programme of public art works and its early years. Frederick Gibberd, Harlow’s architect-planner, had envisaged its civic centre as ‘home to the finest works of art’ – both a homage to the past and its Renaissance glories and a mark of the cultured urbanism aspired to in England’s new Elizabethan age.
This is a record of my visit last year, an eclectic mix therefore, rather than a comprehensive record – a sympathetic attempt to see and understand the works in situ and in the context of the mission Gibberd proclaimed.
By the early sixties, Harlow town centre – Gibberd’s broadly conceived civic centre – was taking off. FE McWilliam’s Portrait Figure, stands in West Walk, bought by the Harlow Art Trust in 1957 after featuring in the London County Council’s open-air sculpture exhibition that year. It’s a portrayal…
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The 1951 Festival of Britain showcased achievements in science, technology, industry, architecture and the arts in venues across the country. Much of what was built for the Festival was dismantled at the end – but there are some remarkable remnants.
As well as personal memories and mementos passed through families, the Festival survives in a number of intriguing and unexpected places.
Reg and Joy Bond, who had come to the festival from New Malden, Surrey. Image kindly supplied by their granddaughter, Becky.
Here we take a look at 8 examples:
1. Susan Lawrence and Elizabeth Lansbury Schools, London Grade II listed
Part of the Festival of Britain was a ‘Live Architecture’ exhibition in the Stepney / Poplar area of London. Nearly a quarter of buildings in the area…
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I recently spent some time in the store of the University of Salford Art Collection, which has been acquiring contemporary art since the university’s inauguration in the late-1960s, and finding out about its history and future plans from curator and assistant curator Lindsay Taylor and Steph Fletcher.
To read my interview visit http://theshriekingviolets.blogspot.co.uk/2017/05/an-education-through-art-university-of.html.
There aren’t too many people perhaps who would compare Harlow to Florence, or at least not favourably, but withhold the cynicism because the Italian city did inspire an important part of the New Town’s founding vision. Frederick Gibberd, Harlow’s architect-planner, believed that the ‘Civic Centre should be home to the finest works of art, as it is in Florence and other splendid cities’. Later, his book Town Design set out his vision of the ‘kind of environment he hoped to achieve, one in which the creative arts were to be valued and given an important role in the community’. (1)
Gerda Rubinstein, Portrait bust – Sir Frederick Gibberd (1979) in the Gibberd Gallery, Harlow Civic Centre
What follows is a roughly chronological run-through of some of the sculptures and art works dotted around Harlow which aimed to fulfil the ideals of Gibberd and those who supported him. It’s not a…
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An artist who showed at Pictures for Schools.
Peter Laszlo Peri, the émigré artist, lived a most extraordinary life. By his death in 1967, he had left an innovative body of work that was characterised by the social awareness of his life and the spirit of the post-war years.
Peri’s most famous work, The Sunbathers, created for the Festival of Britain in 1951 was thought to be lost, but last year it was miraculously discovered in a hotel garden in London. We’re crowdfunding to secure its restoration and return to public display – find out more here.
Peter Laszlo Peri’s sculpture The Sunbathers on the north wall of Station Gate at the Festival of Britain, 17 May 1951. Image credit PA Images
Lead image: Peter Peri working outdoors with some of his sculptures around him
watched by onlookers over the garden gate, Tate Archive ©Tate, London 2017.
Peri was born in Budapest, Hungary in…
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