Canaletto: Celebrating Britain

Art from Ammunition: Trench Art from

the First World War

Summer 2014

inside Compton

Verney

We will be celebrating Italian culture throughout

September. Join us for art, music, gallery tours, a

special talk series and Italian-inspired food and

drink in the Restaurant.

Italian month talks

Migrating Con Gusto:

Italian Taste in 18th century Europe

2 September, 3pm

Palladio in Britain

9 September, 3pm

Canaletto in Britain

16 September, 3pm

The Italian Car

23 September, 3pm

Price per talk £18, concessions £17, Members £10.

Buy all four tickets and get one free.

Italian Weekend 13 - 14 September

Celebrate the desirability and influence of Italian

art. There will be ‘Rat Pack’ style music with Me and

My Shadow and The Mad Hatters dance troop will

teach you how to dance to it. Make a 3D replica of

yourself and your family with our craft activities.

Join us for Italian Baroque music on the 14th with Cabinet of Curiosities.

Included in collections and grounds admission.

Concert and Cream Tea 7 September

Italian Aria: a celebration performed by The Rocco

Quartet. This concert tells the story of 18th century

opera from its early roots in Naples to its flourishing

throughout Western Europe. Includes arias written

by Vincci, Glück and Mozart. Followed by a

delicious cream tea.

Tickets: £23.50, concs £22.50 and Members £15.

To book call 01926 645 500

Contents Page 2 Viva Italia!

Page 3 News Bites and New Catering Partners

Page 4 Canaletto: Celebrating Britain

Page 8 Art from Ammunition: Trench Art

from the First World War

Page 10 Music at Compton Verney; Fundraising

Opera a Success

Page 11 Tell us what you think: Consultation

about Re-Viewing the Landscape

Page 12 Behind-the-Scenes at Compton

Verney: Creating a Living Work of Art

Page 13 Start a Passion for Art at Compton

Verney

Page 14 New Volunteer Co-ordinators

Page 15 A Day in the Life: Alice Kirk,

Learning Programmer

Page 16 Fairport Convention Bunting Boost

Page 17 Spreading the Word

Viva Italia! 2 - 28 September 2014

2 Cover photo: Start programme participant

Gaspare van Wittel, Posillipo with the Palazzo Donn'Anna, about 1700-1702

Giraffe Attack!

Visit the Ice House Coppice and meet some new

friends. Ten giraffes decorated by staff and local

artists are waiting around corners and tucked

under the trees. Bring the children or

grandchildren and see how many you can find,

then enjoy our ARTspace summer activities in the

Learning Centre.

Polymath Director Strikes Again

Noted architectural historian, expert in the history

of gin and now chronicler of the auto, Dr Steven

Parissien, Compton Verney’s Director, is publishing

a new book entitled The Life of the Automobile. The

book is receiving rave reviews such as that from the

New York Times: “Parissien takes the reader on a

fascinating ride through the topsy-turvy makes, models and marques of yesteryear to explain how

we’ve arrived where we are today.”

3

New Catering Partners Ampersand is delighted to be Compton

Verney’s new catering partner.

Serving visitors in the café and restaurant, as

well as corporate hire and wedding guests, can

be challenging in a new setting, but we are

committed to getting things right.

As one of the UK's leading venue and event

caterers, our portfolio of prestigious locations

spans museums, stately homes, royal palaces,

restaurants and many esteemed establishments

in London and across the UK.

Why not stop by and try out our summer menu

featuring summer garden tagliatelli with fresh

baby plum tomatoes, garden peas, pesto and

boccaccini, or Thai salmon with cucumber salsa

and summer salad?

In September, for Italian month, we will have

themed specials and a selection of Italian wines.

Join us!

- Stuart McNeil, Catering Manager

News Bites Recent Grants

We are incredibly grateful to the following for

supporting a range of activities:

Arts Connect West Midland

Who generously donated £5,000 towards

researching and developing an “early years” Forest

School. This will enable parents and young children

to explore the outdoors together through facilitated

activities with our Learning Team and Forest School

leader, Vix Curtlin.

The Ratcliff Foundation

Who recently awarded £2,000 towards our four

week-long summer learning programme,

ARTspace, with daily drop-in creative activities

inspired by our current Moore Rodin exhibition.

Arts Council England

Which recently awarded us a very generous grant of

£123,412 towards installing Wi-Fi throughout our

galleries, and improving our gallery environmental

with new lighting and air handling units. This

project is due to be completed by March 2015, and

should have a significant impact on how visitors

experience and engage with our collections and

exhibitions, as well as our energy efficiency.

Marketing staff prepare giraffes for installation

Visitors enjoying lunch on the terrace

Gaspare van Wittel, Posillipo with the Palazzo Donn'Anna, about 1700-1702

4

Canaletto: Celebrating Britain

Canaletto served his apprenticeship with his

father and brother as a theatrical scene painter

but, inspired by contemporaries such as the

Roman artist Giovanni Pannini, began to paint

urban architectural vistas. These works proved –

as Pannini’s had done over the previous

decades – very popular with rich, aristocratic

Grand Tourists from Britain. By the late 1720s

Canaletto made much of his money by

providing British visitors to Venice (or,

conversely, British aristocrats who liked to

pretend they had been to Venice) with suitable

views of the city and its teeming canals. Thus

from his earliest years, Canaletto was very

familiar with the tastes and habits of British

milordi.

Canaletto was happy to stay in Venice for most

of his early life. According to his earliest

biographer, Antonio Maria Zanetti, he only left

his native city once during his formative years,

travelling briefly to Rome in 1719-20 to help his

father design and make opera stage sets. His

next journey further afield was not until 1742,

when, with his nephew and pupil Bernardo

Bellotto, Canaletto went on an Italian sketching

expedition. Having made a number of drawings

in Padua and in the town of Dolo, both of

which were close to Venice in the Veneto, the

pair then proceded to Rome, where Canaletto

made sketches for six large architectural

scenes for his principal British patron, Joseph

Smith – banker, connoisseur, collector and,

from 1743, the British Consul in Venice. It was

Smith who effectively acted as agent for

Canaletto for six years after 1729, and who

helped to build the latter’s reputation

amongst the British aristocracy.

However, after 1742 the flow of British and

other wealthy visitors coming to Venice as

part of their quasi-cultural Grand Tour began

to dry up as the War of the Austrian

Succession, which had erupted late in 1740 in

the form of an Austro-Prussian struggle over

Silesia, spread across Germany. (In June 1743

a pro-Austrian allied army commanded by

King George II defeated the French, who had

allied with the Prussians, at Dettingen in

Bavaria – a battle long celebrated in Britain as

the last time a reigning British monarch led

troops into battle.) Grand Tourism ceased

almost completely during the winter of 1743-

4, when the French began to assemble an

invasion armada at Dunkirk, designed to

support the landing of a French army in

England supporting the Catholic Jacobite

claimant to the English throne, ‘Bonnie Prince’

Charles James Stuart – the ‘Young Pretender’

to the British government and King Charles III

to his Jacobite adherents. As the antiquarian

George Vertue noted in the mid-1740s, ‘of

late few persons travel to Italy from hence

during the wars’.

In an attempt to revive his fortunes, Canaletto

– urged by both his friend, the artist Jacopo

Amigoni, and, as we shall see, by his English

patron Hugh Smithson – decided to follow his

former supply of patronage to its source. In

1746 Vertue noted in his journal that, at the

‘Latter end of May, there came to London

from Venice the Famous Painter of Views

Cannalletti [sic]’, and that ‘the Multitude of

his works done abroad for English noblemen

and Gentlemen has procured him great

reputation & his great merrit & excellence in

that way, he is much esteemed and no doubt

but what Views and works He doth here, will

give the same satisfaction.’ Canaletto stayed

in Britain for almost nine years, returning to

Venice just once, for 18 months in 1750-1.

Canaletto’s decision to come to Britain was

swiftly vindicated. He was as busy in England

as he ever was in Venice’, and soon attracted

wealthy clients from the City of London and

the aristocracy – among them the affluent

City merchant Richard Neave, the multi-

talented writer and minister the 4th Earl of

Chesterfield, and the Whig

grandee Charles Lennox, 2nd

Duke of Richmond, for whom

Canaletto painted a large

panorama of the Thames and a

view of Whitehall in 1747, and

who is now perhaps best

remembered as the Godfather

of English Cricket.

What is fascinating about the

paintings and drawings which

Canaletto executed between

1746 and 1755 was that the

Italian master was not just

documenting scenes and

landmarks of his own or his

patrons’ choice in the manner

of a traditional painter of views.

The vast majority of his works were instead

specifically designed to celebrate the latest

achievements of British architecture and

engineering – and, by implication, the

impressive accomplishment, success and wealth

of the rising British nation.

Ironically, given the attention that Canaletto

had inevitably paid to the architectural

landmarks created by the sixteenth-century

Paduan architect Andrea Palladio in Venice, the

same artist’s programme in Britain did not

centre on the latest ‘Palladian’ architecture –

which, as a native of Venice wholly familiar with

Palladio’s buildings, he might be expected to do

– but an eclectic mix of the very latest British

buildings, whether they were couched in a

Palladian, Baroque or even Gothick style. The

result was a series of astonishing canvases and

drawings which celebrated a newly-confident

Britain, works whose vigorous and infectious

patriotism mirrored emerging nationalistic

trends in popular culture during the 1740s – a

decade which witnessed the rediscovery and

canonisation of William Shakespeare as a British

hero; the creation of G F Handel’s Messiah and

Thomas Arne’s immortal ‘Rule

Britannia’ (written to celebrate the British

capture of Porto Bello); and the propagation of

the nationalistic cults of King Alfred and, in

Bath, of King Bladud. The growing sense of

confidence, pride and nationhood in the

Canaletto: Celebrating Britain

Giovanni Antonio Canal (1697-1768), known popularly as Canaletto, is today remembered as one of

Italy’s greatest view painters. Born in Venice, he was the son of the painter Bernardo Canal – hence

his unintentionally prescient nickname of Canaletto: ‘Little Canal’.

Giovanni Antonio Canal, London: The Old Horse Guards from Saint James’s Park c.1749. The Andrew Lloyd Webber Foundation

Canaletto served his apprenticeship with his

father and brother as a theatrical scene painter

but, inspired by contemporaries such as the

Roman artist Giovanni Pannini, began to paint

urban architectural vistas. These works proved –

as Pannini’s had done over the previous

decades – very popular with rich, aristocratic

Grand Tourists from Britain. By the late 1720s

Canaletto made much of his money by

providing British visitors to Venice (or,

conversely, British aristocrats who liked to

pretend they had been to Venice) with suitable

views of the city and its teeming canals. Thus

from his earliest years, Canaletto was very

familiar with the tastes and habits of British

milordi.

Canaletto was happy to stay in Venice for most

of his early life. According to his earliest

biographer, Antonio Maria Zanetti, he only left

his native city once during his formative years,

travelling briefly to Rome in 1719-20 to help his

father design and make opera stage sets. His

next journey further afield was not until 1742,

when, with his nephew and pupil Bernardo

Bellotto, Canaletto went on an Italian sketching

expedition. Having made a number of drawings

in Padua and in the town of Dolo, both of

which were close to Venice in the Veneto, the

pair then proceded to Rome, where Canaletto

made sketches for six large architectural

scenes for his principal British patron, Joseph

Smith – banker, connoisseur, collector and,

from 1743, the British Consul in Venice. It was

Smith who effectively acted as agent for

Canaletto for six years after 1729, and who

helped to build the latter’s reputation

amongst the British aristocracy.

However, after 1742 the flow of British and

other wealthy visitors coming to Venice as

part of their quasi-cultural Grand Tour began

to dry up as the War of the Austrian

Succession, which had erupted late in 1740 in

the form of an Austro-Prussian struggle over

Silesia, spread across Germany. (In June 1743

a pro-Austrian allied army commanded by

King George II defeated the French, who had

allied with the Prussians, at Dettingen in

Bavaria – a battle long celebrated in Britain as

the last time a reigning British monarch led

troops into battle.) Grand Tourism ceased

almost completely during the winter of 1743-

4, when the French began to assemble an

invasion armada at Dunkirk, designed to

support the landing of a French army in

England supporting the Catholic Jacobite

claimant to the English throne, ‘Bonnie Prince’

Charles James Stuart – the ‘Young Pretender’

to the British government and King Charles III

to his Jacobite adherents. As the antiquarian

George Vertue noted in the mid-1740s, ‘of

late few persons travel to Italy from hence

during the wars’.

In an attempt to revive his fortunes, Canaletto

– urged by both his friend, the artist Jacopo

Amigoni, and, as we shall see, by his English

patron Hugh Smithson – decided to follow his

former supply of patronage to its source. In

1746 Vertue noted in his journal that, at the

‘Latter end of May, there came to London

from Venice the Famous Painter of Views

Cannalletti [sic]’, and that ‘the Multitude of

his works done abroad for English noblemen

and Gentlemen has procured him great

reputation & his great merrit & excellence in

that way, he is much esteemed and no doubt

but what Views and works He doth here, will

give the same satisfaction.’ Canaletto stayed

in Britain for almost nine years, returning to

Venice just once, for 18 months in 1750-1.

Canaletto’s decision to come to Britain was

swiftly vindicated. He was as busy in England

as he ever was in Venice’, and soon attracted

wealthy clients from the City of London and

the aristocracy – among them the affluent

City merchant Richard Neave, the multi-

talented writer and minister the 4th Earl of

Chesterfield, and the Whig

grandee Charles Lennox, 2nd

Duke of Richmond, for whom

Canaletto painted a large

panorama of the Thames and a

view of Whitehall in 1747, and

who is now perhaps best

remembered as the Godfather

of English Cricket.

What is fascinating about the

paintings and drawings which

Canaletto executed between

1746 and 1755 was that the

Italian master was not just

documenting scenes and

landmarks of his own or his

patrons’ choice in the manner

of a traditional painter of views.

The vast majority of his works were instead

specifically designed to celebrate the latest

achievements of British architecture and

engineering – and, by implication, the

impressive accomplishment, success and wealth

of the rising British nation.

Ironically, given the attention that Canaletto

had inevitably paid to the architectural

landmarks created by the sixteenth-century

Paduan architect Andrea Palladio in Venice, the

same artist’s programme in Britain did not

centre on the latest ‘Palladian’ architecture –

which, as a native of Venice wholly familiar with

Palladio’s buildings, he might be expected to do

– but an eclectic mix of the very latest British

buildings, whether they were couched in a

Palladian, Baroque or even Gothick style. The

result was a series of astonishing canvases and

drawings which celebrated a newly-confident

Britain, works whose vigorous and infectious

patriotism mirrored emerging nationalistic

trends in popular culture during the 1740s – a

decade which witnessed the rediscovery and

canonisation of William Shakespeare as a British

hero; the creation of G F Handel’s Messiah and

Thomas Arne’s immortal ‘Rule

Britannia’ (written to celebrate the British

capture of Porto Bello); and the propagation of

the nationalistic cults of King Alfred and, in

Bath, of King Bladud. The growing sense of

confidence, pride and nationhood in the

Compton Verney’s celebrated Canaletto The Grand Walk, Vauxhall Gardens, about 1751 .

© Compton Verney

6

Britain of the late 1740s was perhaps best

epitomised by the canvases and prints of

William Hogarth.

Hogarth’s pugnacious, Eurosceptic

philosophy was best revealed in a work which

embodied the spirit of the age more forcefully

than any other artistic production of the time:

his 1749 oil Calais Gate – popularly, and

appropriately, known as O The Roast Beef of

Old England after the celebrated patriotic

ballad whose lyrics had been written by Henry

Fielding in 1731 and which had been set to

music by Richard Leveridge in 1735.

When Canaletto arrived in the land of old

English Roast Beef in 1746, Britain was a more

stable and assured place than it had been

even twenty years before. As a result of the

Treaty of Aix of 1748, which ended the War of

the Austrian Succession, Britain had both held

onto its new colonial gains and had

succeeded in forcing Spain to open up South

America to British traders.

Equally importantly, at Aix, the French king

Louis XV agreed to drop its support of the

Jacobite cause once and for all, and indeed to

expel the Jacobite Stuarts and their adherents

from his country. The Jacobite threat, much

reduced since Culloden, now evaporated

almost overnight – a welcome development

represented by the figure of the indigent,

starving Scots Jacobite in the foreground of

Hogarth’s Calais Gate.

For the first time since 1688, Britain was no

longer dreading the prospect of a French

invasion in support of a Catholic claimant to

the throne. The outlook for Britain both at

home and abroad was more tranquil, indeed,

that at any time over the previous two

centuries.

Britain was at peace. The economy was

booming. And a new, more assured mid-

Georgian generation, increasingly assured by

Britain’s manifest status as a major European

and world power, was now prepared to be

less timid and more vocal about its opinions

and its choices.

This new national confidence was, by 1750,

becoming increasingly apparent in the

fields of architecture and design. The new

cohort of patrons and architects was less

prepared to be dictated to by Italian

precedents, and less regimented by

Palladian rules, than their forbears of thirty

years before. By 1750 the first generation of

Palladian architects and patrons – men like

Lord Burlington, Colen Campbell, Rioger

Morris and William Kent – were dead, and

the nation was ready for a more liberal

attitude to architectural design.

As a result, from 1750 Britons tended to

more eclectic in their architectural

patronage. Gothick, Rococo, and even

‘Chinese’ styles proliferated alongside the

Palladian classical forms made popular in

the 1720s. This, in turn, can be seen in

Canaletto’s British views. His paintings were

never intended as a manifesto for

Palladianism, but included the work of

Baroque masters such as Christopher Wren

(notably Wren’s St Paul’s Cathedral) and

recent Gothick commissions such as the

rebuilt church of St Mary’s in Warwick and

Nicholas Hawksmoor’s soaring west towers

at Westminster Abbey – work on which was

only completed in 1745, a year before

Canaletto’s arrival in London.

Perhaps the crucial prerequisite for the

majority of Canaletto’s views was that they

were intended to showcase buildings which

had either just been erected, or which had

recently been remodelled or refurbished.

The style of the building was irrelevant.

Canaletto celebrated new construction or

refurbishment that had taken place both at

great Palladian piles such as Badminton

House, where William Kent was employed

in 1745-8; at Baroque confections such as

Greenwich Hospital, completed in 1742 by

the Comptroller of the Royal Works and

Surveyor of Greenwich Hospital, Thomas

Ripley; at medieval monuments such as

Eton College, whose library had been

completed in 1729 by Thomas Rowland;

and at Gothic seats such as

Northumberland House and Warwick

Castle, both of which were substantially

remodelled in the 1740s.

Britain was the ferment of activity, the

eclectic building boom which was a very

tangible expression of Britain’s wealth,

optimism and economic potential, and

which marked the nation out as the modern

equivalent of the golden-age Venetian

Republic, which was the real subject of

Canaletto’s British views.

Moreover, almost every British view created

by Canaletto focused on a new piece of

architecture or a recent (or possibly

impending) urban development.

Breathtaking panoramas of the River Thames

were intended a tribute to the post-Fire City

of London, glorying in the forest of Wren

church towers and, sailing above the

rooftops, Wren’s majestic St Paul’s

Cathedral – completed as recently as 1714.

And although Canaletto painted London in

exhaustive attention to detail, he could

always see the wood for the trees, and

ensured that the magnificence, wealth and

scale of the capital were evident in almost

every canvas.

Canaletto cast London as the new Venice: of

Canaletto’s 48 English views, 35 featured

London subjects. Canaletto was particularly

fascinated by the capital’s contemporary

triumphs of engineering – notably the new

bridge at Westminster, constructed to the

design of Swiss architect Charles Labelye and

completed in 1750. Westminster Bridge was

not only one of the major European

engineering feats of the age; it also

guaranteed the future development of

London as a great world port and vastly

improved communications within the city. It

was thus an ideal symbol for the aspiring

painter of London’s expansion and

development.

Dr Steven Parissien

7

Britain of the late 1740s was perhaps best

epitomised by the canvases and prints of

William Hogarth.

Hogarth’s pugnacious, Eurosceptic

philosophy was best revealed in a work which

embodied the spirit of the age more forcefully

than any other artistic production of the time:

his 1749 oil Calais Gate – popularly, and

appropriately, known as O The Roast Beef of

Old England after the celebrated patriotic

ballad whose lyrics had been written by Henry

Fielding in 1731 and which had been set to

music by Richard Leveridge in 1735.

When Canaletto arrived in the land of old

English Roast Beef in 1746, Britain was a more

stable and assured place than it had been

even twenty years before. As a result of the

Treaty of Aix of 1748, which ended the War of

the Austrian Succession, Britain had both held

onto its new colonial gains and had

succeeded in forcing Spain to open up South

America to British traders.

Equally importantly, at Aix, the French king

Louis XV agreed to drop its support of the

Jacobite cause once and for all, and indeed to

expel the Jacobite Stuarts and their adherents

from his country. The Jacobite threat, much

reduced since Culloden, now evaporated

almost overnight – a welcome development

represented by the figure of the indigent,

starving Scots Jacobite in the foreground of

Hogarth’s Calais Gate.

For the first time since 1688, Britain was no

longer dreading the prospect of a French

invasion in support of a Catholic claimant to

the throne. The outlook for Britain both at

home and abroad was more tranquil, indeed,

that at any time over the previous two

centuries.

Britain was at peace. The economy was

booming. And a new, more assured mid-

Georgian generation, increasingly assured by

Britain’s manifest status as a major European

and world power, was now prepared to be

less timid and more vocal about its opinions

and its choices.

This new national confidence was, by 1750,

becoming increasingly apparent in the

fields of architecture and design. The new

cohort of patrons and architects was less

prepared to be dictated to by Italian

precedents, and less regimented by

Palladian rules, than their forbears of thirty

years before. By 1750 the first generation of

Palladian architects and patrons – men like

Lord Burlington, Colen Campbell, Rioger

Morris and William Kent – were dead, and

the nation was ready for a more liberal

attitude to architectural design.

As a result, from 1750 Britons tended to

more eclectic in their architectural

patronage. Gothick, Rococo, and even

‘Chinese’ styles proliferated alongside the

Palladian classical forms made popular in

the 1720s. This, in turn, can be seen in

Canaletto’s British views. His paintings were

never intended as a manifesto for

Palladianism, but included the work of

Baroque masters such as Christopher Wren

(notably Wren’s St Paul’s Cathedral) and

recent Gothick commissions such as the

rebuilt church of St Mary’s in Warwick and

Nicholas Hawksmoor’s soaring west towers

at Westminster Abbey – work on which was

only completed in 1745, a year before

Canaletto’s arrival in London.

Perhaps the crucial prerequisite for the

majority of Canaletto’s views was that they

were intended to showcase buildings which

had either just been erected, or which had

recently been remodelled or refurbished.

The style of the building was irrelevant.

Canaletto celebrated new construction or

refurbishment that had taken place both at

great Palladian piles such as Badminton

House, where William Kent was employed

in 1745-8; at Baroque confections such as

Greenwich Hospital, completed in 1742 by

the Comptroller of the Royal Works and

Surveyor of Greenwich Hospital, Thomas

Ripley; at medieval monuments such as

Eton College, whose library had been

completed in 1729 by Thomas Rowland;

and at Gothic seats such as

Northumberland House and Warwick

Castle, both of which were substantially

remodelled in the 1740s.

Britain was the ferment of activity, the

eclectic building boom which was a very

tangible expression of Britain’s wealth,

optimism and economic potential, and

which marked the nation out as the modern

equivalent of the golden-age Venetian

Republic, which was the real subject of

Canaletto’s British views.

Moreover, almost every British view created

by Canaletto focused on a new piece of

architecture or a recent (or possibly

impending) urban development.

Breathtaking panoramas of the River Thames

were intended a tribute to the post-Fire City

of London, glorying in the forest of Wren

church towers and, sailing above the

rooftops, Wren’s majestic St Paul’s

Cathedral – completed as recently as 1714.

And although Canaletto painted London in

exhaustive attention to detail, he could

always see the wood for the trees, and

ensured that the magnificence, wealth and

scale of the capital were evident in almost

every canvas.

Canaletto cast London as the new Venice: of

Canaletto’s 48 English views, 35 featured

London subjects. Canaletto was particularly

fascinated by the capital’s contemporary

triumphs of engineering – notably the new

bridge at Westminster, constructed to the

design of Swiss architect Charles Labelye and

completed in 1750. Westminster Bridge was

not only one of the major European

engineering feats of the age; it also

guaranteed the future development of

London as a great world port and vastly

improved communications within the city. It

was thus an ideal symbol for the aspiring

painter of London’s expansion and

development.

Dr Steven Parissien

Canaletto: Celebrating Britain is staged

between 14 March and 7 June 2015. It

will be accompanied by a lavishly

illustrated book by Paul Holberton.

Canaletto’s The Interior of the Rotunda, Ranelagh, 1754

© Compton Verney

8

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Art from Ammunition: Trench Art from the First World War

Below: matchbox cover depicting hands clasped across the

sea with the legend ‘Made from the lifeboat of SS Arranmore,

Glasgow, torpedoed 21st March 1916’ on the reverse

When the First World War began in Europe in

the summer of 1914, the Arts and Crafts

movement and the Art Nouveau style were

the height of fashion.

The armies that faced each other on the

Western Front included all kinds of craftsmen

and collectors from across the world. Almost

immediately, souvenirs were created and

distributed, as soldiers and civilians on both

sides began to make objects as a way of

recording and dealing with their experiences.

As the fighting continued over the next four

years, and more countries became involved in

the war, a huge variety of Folk Art objects

were made on an unprecedented scale, which

soon became known as ‘Trench Art’.

The industrialized nature of the first truly

global war meant that ammunition was used

on a scale never previously seen; this in turn

provided the raw materials needed to create

an extraordinary array of trench art.

This exhibition displays the wide variety of

objects created during the First World War by

soldiers, prisoners of war, civilian internees

and refugees. The objects here come from

over 25 of the countries directly involved in

the war, and most are by unknown artists.

Particularly striking is the length of time it

would have taken to create these objects,

many of which have place names, dates and

other details painstakingly etched onto them.

Trench Art continues a tradition of creating

wartime souvenirs that dates back to the early

eighteenth century and which continues to

this day. The pieces exhibited often reflect the

very personal stories of individuals behind the

experience of modern warfare.

Left: Shellcase decorated with an image of injured soldiers returning to Blighty; Above: Beadwork by Turkish Prisoner of War

©James Gordon-Cumming; Below: Photo frame carved from section of a propeller ©James Gordon-Cumming

Related events in our public programme:

11 September and 9 October Talk, Tour and Tea

Director Dr Steven Parissien in conversation with

private collector James Gordon-Cumming about

his vast collection of Trench Art.

29 November Memorabilia Roadshow

Bring photographs, postcards, family memen-

toes and other objects from the First World War

to discuss with lender James Gordon-Cumming,

and be part of Compton Verney’s contribution

to the Imperial War Museum’s national project,

Lives of the First World War.

On the same day we are staging a lecture by

First World War expert Paul Atterbury, most

widely known for appearing on the BBC’s An-

tiques Roadshow. He will also be signing his

forthcoming publication about the First World

War.

15 July - 4 December Discovery Room: Trench Art

Visit the first floor Discovery Room to find out

more about the First World War and join in with

Trench Art-inspired activities. Make your own

shell case from gold paper, engrave your own

message on it and add it to our display.

On Saturday 12 July, Compton Verney

hosted an opera gala fundraiser in a

marquee in the Gallery’s grounds

amongst eleven major pieces of

sculpture by Henry Moore and Auguste

Rodin (part of our major exhibition Moore

Rodin).

Over 250 guests in black tie came to hear

Britain’s foremost chamber opera company,

Diva Opera, dazzle in their beautiful

costumes, with a spectacular performance of

Don Giovanni, all in a bid to raise vital funds

towards the restoration of the ‘Capability’

Brown designed parkland and accompanying

Grade I-listed Chapel.

As formal diners made their way to the

Champagne and canapé reception in the

Naples Galleries, self-catering guests nestled

in the landscape, setting up various

combinations of gazebos, chairs and

hampers, before heading under canvas to

watch the story of

the ill-fated Don

unfold.

Whilst staff scurried

around behind-the-

scenes, fending off

geese making a bee-

line for picnics, on

stage, the Don

(played by South

Korean-born

Changhan Lim),

aided by his servant

Leporello (Matthew

Sprange),

proceeded to grow

increasingly

reckless, attacking

and killing the father of Donna Anna (Ana

James), who swore her vengeance as the first

half came to close.

Upon the arrival of the interval, guests

adjourned to their respective dining locations

with formal diners taking to the remarkable

Adam Hall, as others collected pre-ordered

bento boxes, retrieved their own picnics, or

made their way to the Chapel, illuminated

with Table Art candelabra, and playing host to

the High Sherriff of Warwickshire, Claire

Hopkinson, and her party (above).

Thanks to the committee led by Bridget

Barker and Christine Archer and the

generosity of our guests, the evening was

an overwhelming success raising over

£20,000.

Music at Compton Verney:

Fundraising Opera is a Success

Tell us what you think; Re-Viewing the Landscape

Consultation

We are in the midst of a major consultation

with a wide range of different groups

including home educators, teachers, artists,

writers, wildlife enthusiasts and individuals

with physical and other access issues. The aim

of this exercise is to identify how our five-year

Re-Viewing the Landscape activity plan and

develop our interpretation proposal so we can

achieve our objectives:

To encourage the wider local community

to use and connect with Compton Verney

and foster a sense of ownership and pride

To build strong local partnerships with

community groups to support delivery of a

programme of history and heritage-related

activity

To use the increased activity and facilities in

the grounds to develop new audiences

To develop opportunities for local people

to become actively engaged as volunteers

and to learn new skills

To use the landscape to address issues

surrounding health and wellbeing

To create new resources for education and

life-long learning.

With the help of participants, we are planning

a variety of new and enhanced activities such

as Tai Chi by the Lake; a Forest School

outreach package for schools; health and

wellness coffee mornings; boulevard of artists;

bat, bee and badger watching opportunities;

and many more.

In addition, throughout the grounds and in

the planned new Welcome Centre, there will

be interpretation that aims to provoke, relate

and reveal. The estate provides endless

opportunities and spaces to refresh the mind,

body and soul and we want visitors to find

their own Compton Verney. Within this we

propose the following interpretive messages:

Fascinating Families and Changing Estate.

People have shaped the landscape here for

centuries, from Saxon communities and

Capability Brown to World War II soldiers

and the visitors today. What will you do?

Lawns, Leaves and Lily Pads. The rich

landscape of Compton Verney has changed

and developed over time and now provides

a home to a wide variety of flora and fauna.

What will you see?

Create, Inspire and Feel. The picturesque

landscape and innovative art at Compton

Verney provides an endless source of

creative inspiration. What will you create?

As one of our participants commented, “It is a

space for imagination to grow and breathe. It

is an inspiring and creative place.” We hope

you feel the same and will continue to visit,

enjoy and spread the word as we enhance

your Compton Verney.

As part of the consultation we will be running

a taster session. Join us for

Tai Chi in the Park

Sat 20 September, 10am— 12 noon

This event will be an outdoor Tai Chi Walk

through the park which includes

demonstrations from three instructors in

different areas. Instructors will talk about the

history of the landscape and its trees, birds

and animals - relating Tai Chi moves to what

you are seeing. Afterwards, enjoy a cuppa and

tell us your thoughts on the potential for such

activities in the future.

Visit this link to book or just turn up!

10

In Summer 2015 we are staging The Arts and

Crafts House: Then and Now, an exhibition

looking at the Arts and Crafts Movement in

relation to the Home and its enduring

influence. Celebrating a high point in design

which would integrate the house and garden

at the same time as architecture with craft,

the exhibition will bring together key historic

designers alongside the UK’s leading current

designers.

A key theme within the exhibition is the

garden, and Compton Verney has

approached leading garden designer Dan

Pearson, to commission a new work inspired

by the Arts and Crafts. Pearson was brought

up in an Arts and Crafts house, surrounded

by William Morris designs, and worked on an

important Edwin Lutyens and Gertrude Jekyll

contemporary garden, so his work reflects

these two influences.

Externally, the project will take the form of a

mown parterre (a formal garden) based on

the designs of William Morris, within a wild

flower meadow developed by Pearson

specifically for the exhibition. The meadow,

which will have a long-term life after the

show, will also encourage new species of

native wild flowers (of particular interest to

Morris and Ruskin, who are featured in the

exhibition), and therefore have huge benefits

to wildlife for years to come.

This project has been chosen

for the Art Fund's new

crowdfunding platform Art

Happens. The aim is to raise

the needed £15,000 by 30

September 2014 via online

donations to make the project

happen. For every donation

the giver will receive specially

created Rewards which reflect

the project and the

exhibition. These range from

limited edition artworks to a drinks reception

with Dan Pearson on the opening night of the

exhibition.

To find out more and help us reach our target

for this exciting new project please follow this

link.

Pearson will unveil his work with a new film

which will capture his work at a historically

significant but private Arts and Crafts garden

throughout the seasons. The footage will be

shown alongside historic images taken by

Country Life and give a rare opportunity to

experience Pearson’s ambitious and much

celebrated reinterpretation of Gertrude

Jekyll’s designs.

These two project elements will give

audiences the chance to fully appreciate the

history of the Arts and Crafts Garden at the

same time as celebrate its continuing

contemporary influence with one of our

leading designers.

Find out more about this project at a free talk

with Curator of The Arts and Crafts House

Antonia Harrison and Grounds Manager Gary

Webb on Saturday 30 August at 12 noon.

The Arts and Crafts House: Then and Now runs

from 27 June to 13 September 2015.

Behind-the-Scenes at Compton Verney:

Help us Create a Living Work of Art

Pearson’s conceptualisation of the West

Lawn meadow. ©Dan Pearson Studio

11

A Passion for Art at

Compton Verney

In 2013, Compton Verney was awarded a

prestigious grant from The Prince’s

Foundation for Children and the Arts’ through

their Start Programme. This enabled us to

foster new partnerships with three local

secondary schools who do not traditionally

visit cultural organisations, subsidising visits to

the gallery as well as conducting follow-up

activities in the school setting.

We have now completed year one of the

programme and are delighted to report that

all three schools responded well to the

opportunities provided. It was clear by the

reaction of the students that this was a unique

experience for them. Teachers also benefitted

by having contact with art educators and

looking at artists and disciplines outside of

their areas of expertise. This has encouraged

them to expand their own practise and

programmes of study back in the classroom.

It was noticeable that through participating in

a gallery tour and practical activity, students

who were apprehensive or uninterested on

arrival left having had a positive experience

and had begun to build more informed

opinions of art as a subject and galleries as

venues.

Students who visited twice were keen to

compare one exhibition with the other and

had questions about the technical aspects of

the exhibitions and the gallery which

demonstrated a growing interest in, and

understanding of, the art.

A teacher from Stratford upon Avon School

said, “Our mixed ability Year 7’s

overwhelmingly benefitted from visiting an art

gallery in such unique surroundings. For most it

was the first time setting foot in a gallery space.

The opportunity allows the Art Department to

give its pupils the experience of interacting with

Art and Artists beyond the confines of the

classroom and yet another PowerPoint. Pupils

were able to explore a range of art and respond

to it via the workshops held at Compton Verney

and back at school.

Accompanying teachers and staff were also able

to use the experience to reinforce teaching and

learning in school thus, as a result of the soap

carving workshop, we are now introducing

stone carving to our GCSE students. It has also

provided schools with a hook to engage pupils

for the rest of their time in Key Stage 3 which

may help with the take up of GCSE Art in Year

9.”

Congratulations

to the Learning

Team who have

secured a

second year of

funding for this

exciting

programme

which could

well be a

template for

future outreach.

Image top: Practical activities at Compton Verney.

Above: Pupils get hands on back at school.

12

To learn more or get involved, visit the

website or call Emily on 01926 645 516.

We are delighted to introduce our two new

Volunteer Co-ordinators. Anni Hawkins did a brilliant job volunteering for us last year as our first

Membership Steward, and Imogen has grown up

with us having attended workshops when

younger, been a regular visitor and past volunteer.

Anni explains their new role:

Imogen Hobson and myself, Anni Hawkins, are

currently in a six month job share funded by

Heritage Lottery Fund as Volunteer Coordinators.

We both started our time here as Membership

Stewards in the lodge, so we have a good

understanding of volunteering at Compton

Verney.

The role involves recruiting volunteers to work at

Compton Verney by attending external events to

promote our new and varied volunteer roles. We

have been to Waitrose and talked to their customers, and we have many other opportunities

in the pipeline, including stalls at three other

supermarkets. We are also in regular contact with

the local volunteer bureau who tell us Compton

Verney has a good track record of volunteering, as

set up by Emily Medcraft, our Front of House

Manager.

We were lucky enough to attend a volunteer

management training course at the start of our new roles, which was a wonderful opportunity to

learn some new skills and to gain an insight into

volunteering at other organisations. We are so

lucky to have such a willing team of volunteers,

and we are incredibly proud of their loyalty and

commitment to Compton Verney.

As part of Volunteering Week, we held an

afternoon tea which was a wonderful opportunity

for the volunteering and management teams to

get together, and most importantly for us to say a

big ‘Thank You’.

We now have a chat with our existing volunteers

once a week to check they are happy, and this

means we can receive regular feedback from the

team. Our volunteers kindly took part in a

volunteering survey and the results are now in. We

received extremely high scores in many areas, and

most people wish to continue with us for as long

as they can because they enjoy the work and value

the camaraderie here.

As part of the HLF Project, Compton Verney has

been working hard to try and break the world

record for longest line of bunting. We have,

therefore, attended a variety of local events to

make bunting, including Warwick Museums at

Night and the Stratford River Festival. This really

appeals to the public and gives us a chance to tell

people about us if they have not visited before.

The first three months have gone very quickly, and

we are now half-way through our six month term.

We have lots of ideas we want to explore, and we

are looking forward to developing the role even

further over the next three months.

Join our team of friendly and enthusiastic

volunteers and help make a real difference to

Compton Verney.

We pay travel expenses up to £11 per day and

several other benefits as well as the chance to meet

new people and experience life in a busy visitor

attraction.

Use these links to look at our current opportunities

and see if there’s one that catches your eye:

Membership Steward

Gallery Support

Grounds Steward

Shuttle Drivers

Event Support

Marketing Support

Our Volunteer Co-ordinators

We need you!

Why not support our Learning

Programmes by upgrading

your membership?

By phone on 01926 645 547

By post via Compton Verney, FREEPOST

NAT9520, Warwick CV35 9BR.

By annual or quarterly Direct Debit with the

Direct Debit form you can download here.

Online at www.comptonverney.org.uk

Or come visit and upgrade in the ticket lodge!

13

My job is very varied and that’s one of the best

things about it, no two days are the same. One

day I could be in the collections with a primary

school exploring Tudor history, the next down at

our Forest School site hunting for mini beasts and

manning the campfire, another meeting with the

rest of the Programming Team to plan future

exhibitions, followed by a screen printing session

and setting up an adult workshop.

During term time, myself and the other two

Learning Programmers, Joanna Essen and Moira

Walters, can usually be found working with school

groups either in the galleries or the Learning

Centre. The summer term has been particularly

busy due to our Moore Rodin exhibition

programme, Investigating Sculpture, so recently I have spent most of my time touring the exhibition

in the morning and then soap carving in the

afternoon. Working with the public, especially

children and young people, is my favourite part of

the job and it was great to work with such a wide

age range on the same programme. No matter

how many times you’ve seen an exhibition or an

artwork, the students always have new insights

that give you a fresh perspective.

In the summer holidays we’re busy with our family

activities including ARTspace, where we’re

sculpting body parts from clay and adding them to

a large collaborative installation, again inspired by

the current Moore Rodin exhibition. As well as

delivering the drop-in activities, it’s really

important to check the backpacks, resource rooms

and other gallery activities on a daily basis to make

sure everything is as it should be.

With changing exhibitions

and projects like the HLF

landscape restoration, we

are always developing new workshops and activities.

At the moment I am

working on four new

schools programmes for the

launch of the new national

curriculum in September:

one using the Chinese

collection to study the

Shang Dynasty, one using

our Forest School to

explore life as a settler in

early Britain, and a new

primary and secondary

programme for the

upcoming British Folk Art

exhibition.

I also work with other

departments, for example working on school’s

postcards or the What’s On with Marketing,

writing funding applications and reports with

Development and coordinating logistics with our

Front of House Team for a busy day in the galleries.

Like everyone at Compton Verney, my days are

always busy and usually full of surprises so when

you get up in the morning you never really know

what will happen which, makes every day different

and is ideal for me.

If you want to know more about the day to day life

of the Learning Team or wider Programming

Department please take a look at our blog.

Alice Kirk

A Day in the Life: Alice Kirk, Learning Programmer

We need you!

Fairport Convention Bunting Boost Compton Verney is attempting to break the

world record for the longest line of

continuous bunting to celebrate our10th

anniversary. As part of this effort, we have

been contacting artists and local festivals to

ask for their support.

“We originally got in contact with Fairport

Convention to see whether we could have a

stand at their annual music festival, Fairport’s

Cropredy Convention. The idea was to get

festival-goers to create bunting over the three

days. The band quickly agreed to give us a

stand but when they said that they wanted to

create their own pieces of bunting, we were

delighted.” said Sam Skillings, Head of

Marketing Compton Verney. “It was more

than we could have hoped for.”

On Friday 30 May, the legendary British folk-

rock band Fairport Convention dropped in to

Compton Verney to deliver the first pieces

of celebrity bunting and also signed

bunting on site in support of our record-

breaking attempt.

Fairport Convention band members Simon

Nicol (guitar and lead vocals), Dave Pegg

(bass and backing vocals), Chris Leslie

(fiddle, mandolin, bouzouki and lead

vocals), Ric Sanders (violin) and Gerry

Conway (drums and percussion) were not

all strangers to the gallery. Ric and Chris

had visited in 2004 for the Peter Greenaway

Luper at Compton Verney exhibition; and the

others, who also live locally, couldn’t

understand why they hadn’t visited before

and promised to come back with friends

and family again as they enjoyed their visit

so much.

Simon Nicol said “We thought that

attempting to break the world record for

bunting was a great way to celebrate

Compton Verney’s tenth anniversary. It also

sounded like a fun way for us to support the

gallery which is a local charity. So we got out

the crayons and the paint box – in fact, we

enjoyed decorating the flags so much we’re

going to invite the other acts at our festival to

have a go too.”

When we turned up at Fairport’s Cropredy

Convention to set up our bunting stand we

were delighted to find that we had been

given a prime spot opposite the main stage

in the children’s area. We were also amazed

to find that bunting had been put on the

cover of the souvenir programme along with

a special feature and lots of kind words about

us from the band members. Even more of a

surprise was that bunting appeared on the

festival tee-shirts.

During the three days of the festival we

talked to lots of people. Some local and

some who had travelled long distances

(including Australia).

It was heart-warming to hear that many of

the locals already knew about us and visit

regularly. For those who hadn’t, it was a

great opportunity to talk to them about all

the fantastic things we have to offer and

persuade them to come along and see for

themselves.

The creative contribution of festival goers

resulted in 3,050 flags decorated, which

exceeded our expectations by a long way.

We have also visited a number of other

festivals and local events, including the

Stratford River Festival and Warwick Folk

Festival, and have been able to engage with

many local groups and societies as part of

the bid. We were even invited along to

Tesco’s in Stratford upon Avon. Overall, it

has proved the perfect way to celebrate our

birthday and help us and others share and

demonstrate their passion for art.

Sam Skillings, Head of Marketing

Bunting update In the time we have been challenging the

world record it has been broken twice. Most

recently by Yorkshire villagers who created

12,115 meters (7 miles 930 yards) of bunting

along the tour de France route.

Our target is to go beyond this, but we need

a little more time and a lot more help to

achieve it. As the grand finale to our 10th

anniversary year we will now be displaying

the full length of bunting at Compton Verney

from Saturday 6 December until the end of

our 2014 season on 14 December.

Fairport Convention visiting Compton Verney. Left to right: Chris Leslie, Ric Sanders, Simon Nicol, Gerry Conway and Dave Pegg.

Fairport Convention Bunting Boost Compton Verney is attempting to break the

world record for the longest line of

continuous bunting to celebrate our10th

anniversary. As part of this effort, we have

been contacting artists and local festivals to

ask for their support.

“We originally got in contact with Fairport

Convention to see whether we could have a

stand at their annual music festival, Fairport’s

Cropredy Convention. The idea was to get

festival-goers to create bunting over the three

days. The band quickly agreed to give us a

stand but when they said that they wanted to

create their own pieces of bunting, we were

delighted.” said Sam Skillings, Head of

Marketing Compton Verney. “It was more

than we could have hoped for.”

On Friday 30 May, the legendary British folk-

rock band Fairport Convention dropped in to

Compton Verney to deliver the first pieces

of celebrity bunting and also signed

bunting on site in support of our record-

breaking attempt.

Fairport Convention band members Simon

Nicol (guitar and lead vocals), Dave Pegg

(bass and backing vocals), Chris Leslie

(fiddle, mandolin, bouzouki and lead

vocals), Ric Sanders (violin) and Gerry

Conway (drums and percussion) were not

all strangers to the gallery. Ric and Chris

had visited in 2004 for the Peter Greenaway

Luper at Compton Verney exhibition; and the

others, who also live locally, couldn’t

understand why they hadn’t visited before

and promised to come back with friends

and family again as they enjoyed their visit

so much.

Simon Nicol said “We thought that

attempting to break the world record for

bunting was a great way to celebrate

Compton Verney’s tenth anniversary. It also

sounded like a fun way for us to support the

gallery which is a local charity. So we got out

the crayons and the paint box – in fact, we

enjoyed decorating the flags so much we’re

going to invite the other acts at our festival to

have a go too.”

When we turned up at Fairport’s Cropredy

Convention to set up our bunting stand we

were delighted to find that we had been

given a prime spot opposite the main stage

in the children’s area. We were also amazed

to find that bunting had been put on the

cover of the souvenir programme along with

a special feature and lots of kind words about

us from the band members. Even more of a

surprise was that bunting appeared on the

festival tee-shirts.

During the three days of the festival we

talked to lots of people. Some local and

some who had travelled long distances

(including Australia).

It was heart-warming to hear that many of

the locals already knew about us and visit

regularly. For those who hadn’t, it was a

great opportunity to talk to them about all

the fantastic things we have to offer and

persuade them to come along and see for

themselves.

The creative contribution of festival goers

resulted in 3,050 flags decorated, which

exceeded our expectations by a long way.

We have also visited a number of other

festivals and local events, including the

Stratford River Festival and Warwick Folk

Festival, and have been able to engage with

many local groups and societies as part of

the bid. We were even invited along to

Tesco’s in Stratford upon Avon. Overall, it

has proved the perfect way to celebrate our

birthday and help us and others share and

demonstrate their passion for art.

Sam Skillings, Head of Marketing

Bunting update In the time we have been challenging the

world record it has been broken twice. Most

recently by Yorkshire villagers who created

12,115 meters (7 miles 930 yards) of bunting

along the tour de France route.

Our target is to go beyond this, but we need

a little more time and a lot more help to

achieve it. As the grand finale to our 10th

anniversary year we will now be displaying

the full length of bunting at Compton Verney

from Saturday 6 December until the end of

our 2014 season on 14 December.

Spreading the Word The Ambassador scheme was set up at the

beginning of the 2014 season and its main

aim is to support the work of the Marketing

department. As you can imagine with an

organisation dependent on visitor numbers

for its financial sustainability, marketing is a

key function, and these volunteers are a

tremendous help.

There were three stages of recruitment, firstly

we invited all those on our email list within a

certain drive time to apply, we then reviewed

applications and invited those who we felt

suited the role to a meeting to discuss the

scheme. We originally hoped for 10

Ambassadors and ended up with roughly 35.

The Ambassadors assist with reaching new

audiences for exhibitions, increasing

awareness of Compton Verney as a family

friendly venue to encourage a broader range

of visitors and reinforce the message that we

are welcoming to all. Alongside this, they help

us to develop new partnerships with various

groups and engage further with our local

community.

Through the distribution of publicity materials

and social networking, they introduce

Compton Verney to people not familiar with

us, identify new sales possibilities and aid us in

recruiting new Season Pass holders and

Members. We have also used the group as a

forum for consultation (e.g. title testing, print

designs, new ideas).

Anyone can help us spread the word, of

course. If you’d like to put up a poster in your

town, or encourage friends and neighbours to

visit by giving them one of our two-for-one

vouchers, please just contact Sarah Clark on

sarah.clark@comptonverney.org.uk or 01926

645500.

Corporate Members

Thank you for your support

Supporters

Lady Goodhart

Dr Catherine MS Alexander

Kirsten Suenson-Taylor

Adrian and Jacqui Beecroft

Wyn Grant

Alex and Mary Robinson

Paul Cooney

Anonymous

David & Jill Pittaway

David & Sandra Burbidge

Peter Gregory-Hood

Roger Cadbury

Lord & Lady Willoughby de Broke

Mrs Susan Bridgewater

Pam Barnes

Dr & Mrs Munchi Choksey

David & Catherine Loudon

Sarah Stoten

Mrs Joanne E Perry

Mr & Mrs Ludovic de Walden

William & Jane Pusey

Mrs Christine Archer

PE Shirley

Margaret Fraser

Mrs Michael Markham

Sir Martin & Lady Jacomb

Victoria Peers

The Brook Family

Nicholas & Marie-France Burton

Professor Robert Bluglass CBE &

Dr Kerry Bluglass

Bridget Barker & Simon Herrtage

Richard Shore

Mrs Patricia Trahar

Helen Rose and Roger Salmons

Janet Bell Smith

Benefactors

Thank you to all our Benefactors, Patrons, Supporters and

Corporate Members for your continued support. Your membership

makes a huge difference to us and contributes towards all aspects

of Compton Verney, from our exhibitions and collections to our

grounds and educational work.

The Four

Pillars When you purchase a membership at any

level and/or make a donation, you are

welcome to specify an area of your own

interest which your membership/donation

will contribute towards:

The Exhibition Fund for our

exhibitions and collections.

The Adam Fund for our built heritage.

The Inspire Fund for art education.

The Capability Fund for our historic

landscape.

For further information, or if you would like to support The Four Pillars of Compton

Verney, please call Aly Grimes on 01926

645 547 or donate online now via the Big

Give.

Other ways you can help

Consider leaving us a legacy, organising an

event or naming a tree, artwork or room for

yourself or a loved one! Call 01926 645

547 or visit the website for more

information.

Patrons

Clive Barnes

Lady Butler

Mr Peter Boycott

Graham Greene CBE

Jenny Grimstone-Jones

Sarah Holman

David Howells

Howard & Melanie Jackson

Bob & Sandy Marchant

N Meades

Dr James Mooney

Mrs Penny Perriss

Andrew & Julia Pick

Michael Robarts

Christopher Trye

Sir Robert Wade-Gery

Benjamin Wiggin

Tim and Penny Cox

Lizzie Cariss

Peter Thompson

Jan Maulden

Mike & Joan Broad

and 40 others who wish to

remain anonymous, or have

not yet specified how they

would like to be listed.

Martinspeed Ltd Bonhams Farrow & Ball Aquarelle Publishing

Blackwall Green

Fred Winter Ltd

Goldcrest Cleaning Ltd

Lightmedia Communications Ltd

Mitchell Gallery

Renaissance Creative

Wright Hassall

Perrywell Computer Systems Ltd

Larch Consulting Ltd

Audley Binswood Hall

James Butler Ltd

Avidity IP Limited Healthcare Development Services Ltd

Help has been

received from

all sources to

accomplish

out world-

record attempt

bunting

challenge!