research and cultural collections: an introduction · 26 research and cultural collections: an...
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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:[email protected]
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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:[email protected]
www.iaa.bham.ac.uk/museum/museum.htm www.vista.bham.ac.uk
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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:[email protected]
TheCollectionofHistoricPhysicsInstrumentsiscomprisedofover800objectswhichbroadlyfallintotwocategories,thehistoryofPhysicsteaching,andequipmentdevelopedattheUniversityofBirminghamforpioneeringexperimentandresearchoverthelastcentury.
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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:[email protected]
HerbariumTheUniversityHerbarium,orbotanycollection,containsapproximately75,000specimensofnationalimportance,collectedovermorethanonehundredyearsbybotanistsfromalloverBritain.ItincludesmaterialfromlocalfloracollectionssuchasthatamassedbyAugustinLey(1842–1911)whilstwritinghisbookA Flora of Herefordshire(1889).Thecollectionismainlycomprisedofvascularplants,buttherearealsogoodexamplesoflocalbryophytes(mossesandliverworts.)TherearealsosomesignificantcollectionsofcriticaltaxathatareofnationalimportanceincludingRubusandHieracium,orbramblesandhawkweeds.
AccesstotheHerbariumislimitedbutadigitalrepositoryisbeingdeveloped.EnquiriesaboutresearchloansandthedigitalrepositoryshouldbedirectedtotheHerbariumCurator,DrSarahWhildonthefollowingcontactdetails:
SchoolofBiosciences,Herbariumt:01743355137e:[email protected]
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:[email protected]
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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:[email protected]
Thiscollection,whichisentirelyceremonial,comprisessilverandplatecommissionedforandpresentedtovariousdepartmentsorschoolswithintheUniversityduringthetwentiethcentury.
University Mace designedby Phillip Webb. Silverparcelgiltwithenamel,garnetandchalcedonyinlay,1902.
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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:[email protected]
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:[email protected]
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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The ElmsDay Nursery
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Park House
Priorsfield
Peter Scott House
Lucas House
G15 Westmere House
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HOSPITAL DRIVE
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To Jarratt Hall
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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:[email protected]
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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V INC
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UNIVERSITY ROAD EAST
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B4
B1B2
B7
B8
B6
Med a chool
B5
B3
Pritchatts House
Oakley Court
Ashcroft
The Spinney
Pritchatts Park Village
13 Pritchatts Road
B9Medical Practice and Dental Centre
Medical School
R.30
R3CHANCELLOR’S
COURT
R16R23
R25Munrow
Sports Centre
R3
R4 R8
R6
R12
R13
R9R5
R7
R21
R17
R18R22Main Library
R19
R27
R26
R28
R14R15
R1R2
The BarberInstitute of Fine Arts
R20
R24
R10
R11
O4
O1
The Guildof Students O2
O3
Hornton Grange
Garth House
ConferencePark
G11
G14
G13
G5
G6
G7 G8
G9
G10
G3
G1
G4 ConferencePark
G19
G21
The ElmsDay Nursery
Tennis Court
G20
G18
G17
G16
G12WinterbourneBotanic Garden
G2
Park House
Priorsfield
Peter Scott House
Lucas House
G15 Westmere House
Y4
Y1
Y3
Y6
Y5
Y15
Y11
Y13
Y2
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Y7
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Sport andExerciseSciences
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UniversityStation
NorthGate
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GrangeRoadGate
MAIN ENTRANCE
QUEEN ELIZABETHHOSPITAL
Pedestrian access only
SouthGate To Selly Oak Campus
To city centre
HOSPITAL DRIVE
BRAILSFORD DRIVE
To Jarratt Hall
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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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Edgbaston, Birmingham, B15 2TT, United Kingdom
www.bham.ac.uk
TextbyClareMullett,AssistantUniversityCurator