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winchcombearchivecollection

Winchcombe Archive Collection at Long Room Gallery The Winchcombe Archive Collection is essentially a private museum and gallery housed in a traditional timber framed and stone built 400 year old merchants house, dedicated to recreating and celebrating aspects of the arts and crafts lifestyle of the Cotswolds in the inter-war years of the 1920s and 1930s. Having at its core a major foundation collection of early studio slipwares made by the renowned potter Michael Cardew and his Winchcombe team, it also acts as a permanent home and venue for the display, study and discussion of this and related art and design of the same period through regular exhibitions and talks. Taking a primarily domestic approach to both its chosen creative media and its display ethos, the Collection seeks to provide ready public access to such furniture, ceramics, wall hung and applied art of its period, displayed in closed cabinets where necessary but majoring on an open room setting approach. The intention is to illustrate to visitors, how such craft made and well designed objects were used in domestic interiors of their period, and through employing as far as possible a hands on approach, to promote a greater appreciation of both the individual items, and the context for which they were originally created. Structuring of exhibitions and shows: Aside from the continuing and rotating display of primarily slipwares of the Cardew School sourced from four private foundation collections, exhibitions are held every six months in May and November relying additionally on outside loans from other participating private collections of wall hung art and other creative media. Diverse shows are thus periodically curated on a wide range of topics chosen thematically and/or chronologically to illustrate the transferability of common aesthetic themes and styles across a wide range of hand made objects. Exhibitions are further enhanced through Saturday teatime talks given by invited experts in their chosen fields, held to give visitors a greater appreciation of the creative processes behind exhibits and enhanced by selective handling sessions. Selling element: To raise funds for the continuing running costs of the Collection and promote current day makers, selling shows are also held in tandem with these six monthly exhibitions, with contemporary ceramics and some art for sale selected to be directly complimentary to the given theme. Similarly, and subject to availability, period art and ceramics are also offered for purchase. Past and present show themes: Exhibition themes to date have focussed on the output of Winchcombe Pottery in the 1920s and 1930s, and more recently the use of brushwork to embellish and decorate the everyday tablewares of Cardew and his team. May 2016 will see a large retrospective tribute to the long career of Cardew’s successor at Winchcombe, Ray Finch, as summer 2016 marks the 80th anniversary of his arrival at the Pottery. Michael had a deep seated love of music and popular regional culture and folk craft, an area in considerable vogue between the wars for both his friends and in the wider artistic community. This aspect of his creativity will be elucidated by a Folk Art themed show this November, with the exhibition and sale of both period and contemporary objects imbued with a folk or naïve aesthetic. Plans for 2017-2018: Subject to the support of private lenders, the Collection intends to host a run of complimentary exhibitions of neo-romantic art of the inter war years primarily in wood engraved and etched media. The artists selected will range from the Cotswolds based FL Griggs (May 2017) through alumni of Goldsmiths College of the 1920s to the etcher and educationalist Robin Tanner (May 2018). The connections of such art with our foundation collection of ceramics range from the primarily geographic to the directly personal, with all broadly imbued with a love of the English Countryside and its lifestyle - notably the Cotswolds - and of its traditional built environment. External curators: We already benefit from the advice and help of retired professionals from the public museums sector, both in the curation of individual shows and in planning and sourcing our future exhibitions. We are also open to approaches from like minded external curators working in similar media for us to host shows here in the medium term (2018-). Future donations: We would be particularly keen to attract future donations and legacies of Cotswolds School and related display and domestic furnishings to complement existing Collection assets. It is the direct experience of our existing collaborators, that objects entrusted to public museums are all too frequently consigned to reserve collections, only rarely to be displayed and thus enjoyed by the general visiting public. We have the principle of accessibility as a core founding ethos, and hope that this is a principal shared by other private individuals who might chose to contribute loved objects from their collections on temporary loan or as permanent donations or legacies in the future. Charitable trust: The medium term intention is to create a permanent charitable trust to be the recipient and guardian of loved objects from private collections, undertaking their periodic display subject to the context of individual exhibitions, and ensuring their accessibility where possible, subject to necessary issues of care and conservation to ensure their enjoyment by future generations. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Related heritage venues: We maintain cordial relations, particularly with Court Barn Guild of Handicraft Museum, Chipping Campden, the Friends of The Wilson, and with the Gordon Russell Trust, Broadway. All have, to a greater or lesser extent, kindly proactively assisted the establishment of the Collection here through Friends mailings and website promotion. This reflects common cause in celebrating a unique period of early Modern Movement craft creativity in the Cotswolds, with our initiative designed in part to fill a significant gap in the coverage of the pottery side of things which, in its time, stood shoulder to shoulder with then contemporary art and sculpture. JANUARY 2016

An overview of the Archive Trust

THE  WINCHCOMBE  ARCHIVE  COLLECTION  TRUST

This Charitable Trust (registered number 1186295) was first established in this name in 2014, although formed part of the Long Room Gallery, an art and crafts venue dating from 2005. The Trust itself was formed as a CIO (Charitable Incorporated Organisation) in early 2019, when the Trustees applied for charitable status to secure the future of its major collection of artist made slipwares of the area dating from 1927-1939 – one of the largest such groupings in the UK. This status was given in November 2019.

The Trust is now run by five independent trustees with extensive experience in various areas of industry and the arts, complemented by an informal advisory committee which includes a big four accountancy professional still in practice. It currently has a 350 strong mailing list and is in the process of establishing a Friends of the Archive Collection organisation offering a range of benefits and opportunities for lovers of the aesthetic and craft made, in exchange for a modest annual subscription.

Shows held at Queen Anne House by the Trust are comprised of a changing selection from the Trust’s permanent collection of ceramics, furniture, textiles and metalware of the 1920s and 1930s, and a growing number of etchings and engravings and art of the period. It also benefits greatly from the kindness and generosity of private lenders, notably the family of Paul Whitfield, who built up a magnificent collection during a lifetime spent in art and applied arts. The Trust has also had important crafts and artefacts of the period donated of late by the family of Robin Tanner, a 1920s contemporary at Goldsmiths College of Graham Sutherland and Paul Drury.

A key tenet of the Archive Trust is to make readily accessible to the public, ceramics, textiles, art and craft in its collection with opportunities to view and handle the majority. This is in contrast to some Public museum collections, where holdings have lately been held in reserve rather than on active and accessible display. In reflection of this core principle, in normal times the Trust holds an annual series of talks by leading speakers in their fields, complemented by handling sessions of objects displayed in current exhibitions. We are also strong believers in providing loans of items in our trust to assist temporary exhibitions in fellow heritage institutions: forthcoming examples include agreed show loans to Court Barn, Chipping Campden and Ditchling Museum, Sussex.

Winchcombe Archive Collection Trust would warmly welcome the support of private collectors and collections to assist us in our prime aim of making the aesthetic accessible to a wider public, and informally educating both visitors and researchers with physical examples of the beautiful, rather than through an image on the printed page or the computer screen.

GUY WARNER Meet the artist

Saturday 19th December 2020

An opportunity to meet local artist Guy in conversation with John Edgeler over a convivial cup of coffee. Two sessions available at 11am and 12 midday. Minimum donation of £2.50 per head. Single household groups + bubble of up to a maximum of four individuals. Please ring 01242 602 319 or email johnedgeler@gmail.com to book

WINCHCOMBE VIDEO TEAS

Saturday 12th December 2020 initially at 3pm

One of our Trustees at the Archive Collection, Richard Chamberlaine Brothers, earlier this year generously donated the majority of his collection of Winchcombe Pottery to the Trust. To mark the occasion we have created a video of Richard in conversation with Lead Curator John Edgeler.

The video also provides something of the history behind the formation of our Cotswolds Living pottery book imprint, our early shows involving Sid Tustin and Ray Finch and the formation of the Trust. The video lasts 30 minutes and will be followed by tea and refreshments.

Single household groups + bubble of up to four viewers are permitted. Minimum donation £7.50 per head. Please ring 01242 602 319 or email johnedgeler@gmail.com to book

ROMANTIC LANDSCAPES OPENING 2ND DECEMBER

Our delayed show will open to the public initially from 9am to 5pm on Wednesday 2nd December 2020

Thereafter it will be open from 11am to 5pm daily until Saturday 19th December inclusive (not Sundays)

Visits are restricted to single household groups plus those in a related bubble up to a maximum of four people

Visitors will also be welcome strictly by prior appointment after the Christmas week holidays from 28th December 2020

To book appointments (advisable if travelling) please telephone 01242 602 319 or email me at johnedgeler@gmail.com

JOHN LAWRENCE

To download a catalogue of wood engravings for sale by John Lawrence, please click here :

MIRIAM MACGREGOR

To download a catalogue of wood engravings and pochoir paintings for sale by Miriam, please click on this link:

ANDREW HAZELDEN

To view lustre wares by Andrew for sale now including prices please just click on the link below

GUY WARNER

To view the landscape oils for sale by Guy please just click on the link below

JOHN LAWRENCE

John Lawrence, now in his eighties and mostly retired due to health issues, has had an illustrious career as an illustrator of children’s titles, in particular for Walkers Books. I first came into contact with him some years ago when curating a 60s show here at the Archive Collection.

I was already aware of his amazing work through acquiring titles decorated by him, notably Susan Hill’s The Magic Apple Tree. I then spotted that he had produced delightful watercolours for the Cranks Cook Books beloved of the ‘brown rice brigade’ of that time.

His work is particularly appropriate for this show as it shows the direct influence of rural romanticism, notably in his engravings for John Clare’s The Shepherds Calendar. These also show great wit and charm, imbued also with the style of the early 19th century illustrator, Thomas Bewick.

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