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-- bio art appreciation talks addison art « older posts discovering cheltenham art gallery & museum : no.3 by david | published: november 30, 2017 a personal ‘window into the wilson’ one of the current exhibitions, ‘window into the wilson’, at cheltenham art gallery & museum (the wilson) seeks to involve the general public in understanding the work involved in running an art gallery and museum. the photograph below gives an idea of what visitors are faced with as they enter the gallery – a room within a room, but with glass walls – an ‘open store’. like the proverbial ice-berg there is a great deal of essential hidden work which continuously goes on behind the scenes looking after the very extensive and important collections which belong to the people of cheltenham. throughout the next six months or so this ‘exhibition’ is on view – useful information sheets explain the idea behind the design of the exhibition and a list and information on some of the items seen on the shelves. on wednesdays and fridays, from 11am to 3pm, relevant curatorial staff will be working in the ‘bubble’ and visitors are encouraged to wander in, explore, and have a chat with the specialists. the exhibition has been open for over a week so it is early days – for it could appear ‘different’ and challenging – and possibly initially incomprehensible! i have, as a fine art curatorial volunteer, manned several sessions with a colleague and have found the experience mixed but interesting – in fact the work i was doing frequently was interrupted by curious and enquiring, and often hesitant, visitors. what has already been revealed is that, given the opportunity, visitors have very useful and interesting comments to make about a variety of things – including practical things which are very useful as the art gallery and museum is constantly seeking to develop and improve its ‘visitor experience’. one experience in the last few days stands out – a couple who were visiting cheltenham for the first time had climbed the massive new staircase and having seen the paintings and sculpture in the first gallery to the right they had ascended further and wandered into the next gallery on the right (window into the wilson). after looking around and chatting to us they commented that there did not seem to be many paintings or museum objects which they had expected. i realised that some serious pr work was needed here! i started by showing them a design for a brass candle-sconce and told them that they could see the finished work in the arts and crafts gallery – and emphasizing that cheltenham held the major national collection of arts and crafts items, including not only furniture and metal work but other related objects and an important and extensive archive of drawings and designs. so i led them in to the arts and crafts gallery and showed them the candle-sconce and then took them on a quick guided tour of the extensive museum galleries, which include important paintings. sadly the sign-posting for the museum galleries is sadly lacking and nothing downstairs in the entrance space is apparent for any but a regular visitor. as a postscript to this tale – i saw my ‘boss’, the senior curator, and told her about this experience. she was pleased – and then asked if i had got them to make a comment in the visitors book! i had not! so i quickly returned to the galleries and found that they were still exploring the hidden treasures and, telling them i had been told off by my ‘boss’ (a bit of an exaggeration!!!) i asked them if they could possibly pop a comment in the book – they assured me they would make some favorable comment (i have not dared to look!). posted in cheltenham art gallery & museum , cheltenham paintings , uncategorized | leave a comment the northwick collection : no.1. by david | published: november 10, 2017 who was lord northwick? in the annals of art history the important art collection of john 2nd lord northwick, who died in 1859, is referred to frequently – but with little attention to detail, particularly in relation to the man himself and his collecting. one reason for this is the fact that he did not marry, and therefore no son to inherit. but the main reason is that he appears not to have made a will – at least one could not be found – which necessitated the enforced sale of his collection. my concern in this series of essays is predominantly with his collection of paintings – but his enormous collection included much more – works on paper (watercolours, prints, and drawings), applied art (cameos, gems, coins, and ‘antiquities’), as well as books and manuscripts. items from his entire collection have found their way into major collections in this country and abroad – and a northwick provenance is of enormous value, not least in the sale room. in this first essay i am concerned with attempting an initial picture of the man – someone who did not seek publicity and thus no iconic painted portrait as there was with most other collectors. the only visual records seem to be from his youth – first as a young child with his mother and two sisters – secondly a portrait by his family’s favourite painter, angelika kauffmann, whilst he was on his grand tour, a work which appeared briefly in a mid twentieth century sale and has now again disappeared into obscurity. daniel gardner : ‘lady rushout with her three children’ : c1774 angelika kauffmann : ‘sir john rushout’ (later 2nd lord northwick) : 1794. family history the family history of the northwick’s is difficult to unravel partly because it seemed to suffer greatly from frequent early deaths and the lack of sons to carry on a direct line – and it was only in 1797 that the baronetcy of northwick was granted, a title which john, the 1st lord northwick, did not long enjoy dying in 1800. rushout was the family name and whilst early history of the family is uncertain things become clearer from the early seventeenth century when john rushout, a native of france, settled in london and listed as a flemish merchant. he seemed to have quickly settled in and became a wealthy man – acquiring northwick park, in the village of blockley which straddled the gloucestershire and worcestershire boundary, as his country seat, soon to be regarded as the main family home. clearly influential and desirous of further social and political development he arranged for his son james, then 17 years old, to be created baron of maylards(possibly later ‘maylords’) in the county of essex. james was ambitious and hard working becoming the mp for the constituency in which northwick park was sited. after several early deaths the fourth baronet, sir john rushout, took up his title in 1711. he was an active politician and served as treasurer of the navy in 1743/4 when he was made a privy counsellor and from 1762 to 1768 he was father of the house of commons. he died in 1775 aged ninety. godfrey kneller : sir john rushout, 4th baronet : 1685-1775 the fourth baronet was succeeded by his son, also john, who benefited from his father’s work and aspirations by being elevated to the peerage as the first lord northwick in 1797 – but not for long as he died in 1800. the title then passed to his son, another john, who was the subject of these essays, the 2nd lord northwick, born in 1770. unlike many of his contemporaries the second lord was not educated at one of the major public schools, or at one of the two english universities – instead his parents sent him abroad for his teenage education. in 1790 he embarked on an extensive grand tour – visiting several european countries but particularly italy. our john took the grand tour very seriously and enthusiastically embarked upon it in a spirit of eager enquiry – quickly making several important serious contacts including edward gibbon, sir william hamilton and his wife emma, horatio nelson, and richard payne knight – as well as several major artists including antonio canova (sculptor) and vincenzo camuccini (painter). euro

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