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REVIEWING SIGNIFICANCE:a framework for assessing museum collections’ significance, management and use

September 2010

REVIEWING SIGNIFICANCE:a framework for assessing museum collections’ significance, management and use

CONTENTS

PART 1 INTRODUCTION AND CONTEXT 3

1.1 Developing the REM Reviewing Significance Framework 3

PART 2 THE REM REVIEWING SIGNIFICANCE FRAMEWORK 6

2.1 Introduction to the Framework 6

2.2 Guidelines for using the Renaissance East Midlands Statement of Significance Process 9

2.3 Guidelines for using the Renaissance East Midlands Collections Review Process 14

2.4 Key components of the Framework 19

PART 3 PILOTING THE FRAMEWORK: CASE STUDIES 29

PART 4 ANNEXES 47

4.1 The Australian Significance Model 47

4.2 The UCL Collection Review model 49

4.3 Using the Collections Trust Revisiting Collections approach to support Reviewing Significance

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ACKNOWLEDGEMENTS, REFERENCES AND CONTACTS 52

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PART 1 INTRODUCTION AND CONTEXT

1.1 Developing the REM Reviewing Significance Framework

In November 2009 Renaissance East Midlands (REM) commissioned consultants Caroline Reed, Jayne Dunn, Subhadra Das and Emma Passmore to develop a regional framework to establish criteria and offer a methodology for reviewing the significance of key museum objects and of whole and part museum collections across the region. The project was managed for REM by consultant Stuart Davies and led by Jonathan Wallis, Assistant Head of Derby Museums.

The consultants’ draft framework was piloted, modified and greatly improved with input from colleagues in the following museum services:

Buxton Museum and Art Gallery Erewash Museum Flintham Museum Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life National Trust Museum of Childhood, Sudbury Hall Northampton Museum and Art Gallery

The aim of this project is to enable East Midlands museums to take a lead in tackling the issue of assessing collections’ significance in a structured way that can be used to inform their strategic planning for collections’ development, management, use and interpretation. A key objective for the project was to develop a regional approach to assessment that highlights the importance of collections to small, specific or local communities as much as to regional, national and international audiences.

1.1.1 Background: The heart of all we do, the Australian Significance model, UCL Collections Review and Revisiting Collections

During 2008-2009, consultant Caroline Reed researched and wrote The heart of all we do: a collections development strategy for East Midlands Museums.

The Heart of all we do noted that:

Since 1997, MLA’s national Designation scheme has been assessing museum, and more recently archive and library, collections against the single criterion of being: ‘pre-eminent collections of national and international importance’… Discussion is opening up nationally and regionally around the need for a more subtle, more inclusive approach to assessing collections’ importance and significance for users.

Section 4 of the strategy document notes:

We understand that as well as the need to map and develop a clear overview of the current strengths and distribution of the region’s collections, there is an impetus to identify pre-eminent objects and collections held by museums across the region. These are identified as individual objects and whole collections that have a particular resonance, significance or meaning for their local users, for the region as a whole, or much more widely for a national or international audience.

The strategy recommended:

During 2009-2011 REM should lead the way in developing and piloting a set of assessment criteria (based on the Australian Heritage Collections Council Significance model) for both individual objects and specific whole collections. The criteria will adequately reflect and recognise the different meanings and significance that objects may have for local, regional, national and international audiences. The methodology should include use of the Revisiting Collections approach to understanding significance for a diversity of users. Any criteria used to assess significance need to be able to reflect both the great variations in scale between regionally held collections and the intensity of locally specific value. The resulting model and pilot outcomes should be shared with MLA and all other English regions.

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Delegates at a strategy consultation held in February 2009 agreed that a well-designed, inclusive assessment tool would give smaller museums a methodology to quantify and express their own understanding of their collections’ importance, to explore this with users and, ultimately, to identify, describe and promote the significance of their collections to funders and managers. It would help museums to make key decisions about the allocation of their resources and the targeting and justification of funding bids for investment in collections information management, digitisation and preservation.

The strategy recommends that East Midlands museums should lead the way in grappling with the contentious issue of categorising significance and develop a regional approach to assessment that highlights the importance of collections to small, specific or local communities as much as to regional, national and international audiences. As well as citing Significance and Revisiting Collections, The heart of all we do commends and includes a short case study on the collections review model developed during 2007–2009 by University College London (UCL) Museums and Collections department.

Significance

The key model that the strategy cited for consideration and development for piloting in the East Midlands is the Collections Council of Australia’s Significance: a guide to assessing the significance of cultural heritage objects and collections (published 2001). A new edition, ‘Significance 2.0: a guide to assessing the significance of collections’ was published in mid 2009. This edition gives guidance on the systematic assessment of individual objects, whole or part collections and distributed collections.

The Significance model supports curators to produce a ‘Statement of Significance’ that assesses and describes the value of collections and individual objects for past, present and future generations in terms of four ‘primary criteria’: historic; artistic or aesthetic; scientific or research potential; social or spiritual. Five comparative criteria are used as ‘modifiers’ to evaluate the degree of significance: provenance; rarity, or representativeness; condition or completeness; interpretive capacity.

Both large and small museums in Australia have found the Significance model empowering. It provides evidence and a valuable tool for persuading governing bodies and funders of museums’ potential to address such issues as equalities and inclusion, community identity, cohesion and sense of place.

A description of the Australian Significance model is given at Annex 4.1

University College London’s Collections Review

In 2007-2009, a small review team led by Jayne Dunn carried out a whole collection review across UCL’s four Accredited museums and 14 departmental teaching and research collections. The overarching objective was to develop a clear view of what UCL had, where they had it, why it had been collected, how it was currently being used and what its potential might be. Jayne Dunn developed an assessment ‘Rubric’, which looked at collections’ current usage, uniqueness, historical and intellectual significance and at collection care and management issues: security; storage; packing; condition; and documentation.

After piloting in the Grant Museum of Zoology and Comparative Anatomy, each collection was divided into discrete subsets, termed Review Units, and then evaluated using the ‘Rubric’. The scale of the Review Unit was determined to reflect the demands of each collection. In the Grant Museum, for example, it was decided that each individual shelf, drawer, tank, slide drawer or display case would become a Review Unit.

The full UCL Collections survey was then carried out store-by-store, cupboard-by-cupboard or drawer-by-drawer. It proved quick and effective to break down a large store into many Review Units and the results provided sufficiently detailed data for assessment.

This pragmatic methodology allowed a small team of no more than three people at any time to complete a useful and informative assessment of nearly 400,000 objects, dispersed across multiple sites, stores and display areas, in 18 months. The team members did not have subject expertise in every area of the collections, but all had a museum background. They were supported by minimal, but well targeted, input from specialist curators or academics. The review identified key ‘hot spots’ where prioritised investment of curatorial time and resources would make a demonstrable difference to collection sustainability and access.

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As part of the REM project, Jayne Dunn and her UCL colleagues, Subhadra Das and Emma Passmore, have drawn on this experience to inform the development of a Collections Review Process that is more relevant to the requirements of a range of East Midlands museums.

Further information on the UCL approach is given at Annex 4.2.

Revisiting Collections

To support significance assessment and a range of related activities, The heart of all we do recommends that East Midlands museums consider using the Collections Trust’s Revisiting Collections methodology to help them understand the importance and penetrate the layers of meaning that collections hold for a diversity of users.

Revisiting Collections supports museums to tap into community based and other external specialist expertise as well as to capture and record collections knowledge already held within the museum, or by members of the museum team, but not yet held in the museum’s collections information management system.

Knowledge gathered and retrieved through using the Revisiting Collections approach can be used to inform not only significance assessment, but also collections review, information management and interpretation and access strategies.

Further information on Revisiting Collections is given at Annex 4.3.

Revisiting Collections at Snibston Discovery Park, 2008

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PART 2 THE REM REVIEWING SIGNIFICANCE FRAMEWORK

2.1 Introduction to the Framework

As described above, this REM Reviewing Significance Framework draws heavily on two source methodologies: the Australian Significance 2.0 model and the UCL Collections Review model.

By combining and modifying the two approaches the Framework: Provides a tool that will support East Midlands museums to work both individually and collaboratively to

assess the significance of individual objects, whole or part collections and regionally distributed collections. Provides a time-efficient collections review methodology for museums to assess the current and potential

usage of objects and collections and also their current care and management

By combining collections knowledge gathered through the ‘Statement of Significance’ process with the information about usage and collections management generated by the ‘Collections Review Process’, we anticipate that museums will be able to identify ‘hot spots’ for curatorial intervention. These could range from collections care, documentation and information management, to recognising and fulfilling the potential for increased usage.

The Renaissance East Midlands Reviewing Significance Framework provides: A ‘Statement of Significance Process’ comprising a ‘Significance Assessment Grid’ and a ‘Statement of

Significance Template.’ These can be used to support the development of Statements of Significance for either individual objects or collections/sub collections

A ‘Collections Review Process’ comprising a ‘Usage Grid’, a ‘Collections Management Grid’, a ‘Collections Review Survey Form’ and a ‘Collections Review Datasheet’ (created as a spreadsheet in MsOffice Excel)

2.1.1 Benefits of using the Framework

A regional consultation workshop held in February 2009 agreed that for individual museums a well-designed significance assessment tool would:

Clarify understanding of collections’ meaning and value to a variety of audiences Highlight areas for curatorial intervention and provide a strong foundation for building strategy around

collections development, use and management Communicate collections’ importance to governing bodies, managers and funders Highlight objects with potential for increased or specific usage, transfer or disposal Inform key decisions about allocation of resources Support/justify bids for targeted investment in collections management, care, documentation, digitisation,

interpretation

At the regional level, it would: Identify pre-eminent objects and collections that have a particular resonance for local users, for the region as

a whole and/or for a national or international audience Provide evidence to inform ‘mapping and gapping’ of the current strengths and distribution of the region’s

collections Inform future region-wide strategy for collections development, resource allocation and funding bids

Undertaking systematic collections review and significance assessment will provide East Midlands museums with a powerful evidence base to inform their strategic planning for collections development, management, use and interpretation.

It will help museums to make an informed and compelling case to governing bodies and external funders for prioritised, targeted investment, whether in collections care and management or in display and access initiatives.

The Framework will support museums’ planning to meet the MLA museums Accreditation standard for collections management and access. At the time of writing the Accreditation standard is under review. The new standard is likely to recommend collections review as a valuable part of collections management.

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Clearly, systematic review must be a critical first step towards any procedure to rationalise, disperse or dispose of material from collections.

2.1.2 Deciding when to use the Framework

The two strands of the REM Reviewing Significance Framework (the Statement of Significance Process and the Collections Review Process) are complementary. They can be used in tandem or separately at different stages in a museum’s ongoing work with collections. They will be especially helpful to support the areas of work noted below:

Statement of Significance Process:

Capturing and structuring all in-house knowledge about an object/collection/sub-collection from across paper based files and other sources. Identifying knowledge gaps where external specialist input may be required

Selecting objects and developing key interpretation themes for: new permanent displays; temporary exhibitions; education or outreach programmes; web-based resources etc.

Reviewing the impact and / or effectiveness of current displays and interpretation (especially useful for e.g. an incoming curator looking to update displays)

Introducing new staff / volunteers / external supporters such as Museum Development Officers to the collections

Knowledge transfer – e.g. when working with external subject specialist(s), researchers, community groups, retiring or former staff members etc. (Note: we would recommend using in conjunction with Revisiting Collections methodology so that the revealed information gets captured in the museum’s collections information management system)

Considering / prioritising objects for ‘rationalisation’, including transfer or disposal

Prioritising resource investment e.g. in conservation or documentation (especially when undertaken in conjunction with Collections Review Process)

Proactive acquisition planning and decision making on whether to accept offered material

Developing clear evidence to demonstrate the public value of collections and / or support funding bids

Developing the case for recognition of a collection’s significance under the MLA’s Designation Scheme (see: www.mla.gov.uk/what/raising_standards/designation)

Collections Review Process:

Generating a systematic, quickly achieved overview of a museum’s collections: what is where; how it is currently being used and managed; and its potential for future use. This will provide a vitally important tool for forward planning and also for communication e.g. to governing bodies, funders or incoming staff. It could be a very useful handover tool when preparing for a change of curators – especially if there is likely to be / has been a staffing gap

Identifying key collections management / collections information management issues and prioritising use of resources - including curatorial time

Quickly identifying objects / object groups which would benefit from closer scrutiny through the Statement of Significance Process

Preparing for Museum Accreditation. Although not seen as a substitute for more in-depth tools such as the MLA Benchmarks in Collections Care self assessment checklist, the Review Process gives a quick, clear overview of the current status of collections management and provides clear pointers for improvement. This will inform and assist in the development of relevant action plans e.g. for documentation and preservation.

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http://www.mla.gov.uk/what/raising_standards/designation

Providing clear evidence to support funding bids

REM’s Collections Specialist Panel have recommended promoting the Framework to external funding bodies such as the Heritage Lottery Fund so that they can understand the rigour of the process it supports and the value of the evidence it generates.

2.1.3 Preparing to use the Framework

Before starting to use the Framework, a group of all the museum’s relevant staff and volunteers, and perhaps external advisers and/or user groups, should take time to consider, agree and record how they want to interpret some elements of the terminology used on the ‘Significance Assessment Grid’. For example, they will want to develop a shared understanding of what for them is a regionally, locally or community significant event, person, family, group, movement, period, activity or theme. In particular, they will want to define what they wish to mean by ‘local’.

It is likely that the group will want to revisit and validate these definitions as the Statement of Significance Process continues.

Similarly, a group including curatorial, outreach, education, exhibition, conservation and documentation staff should consider the Usage and the Collections Management Grids used in the Collections Review Process and decide how they wish to define and apply the criteria used on the two grids.

The Collections Review Process is designed to be conducted by people who have a good understanding of and/or who have been given basic training in general collection care and management requirements. In addition, as part of pre-planning for the process, it is essential that the review team are given any further specific information or training needed so that they can broadly assess the preservation needs and potential for use of the particular collection types to be reviewed. They need to understand what to look out for – and when to ask for specialist advice, whether internal or external to the museum.

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2.2 Guidelines for using the REM Statement of Significance Process

The Statement of Significance Process uses: Significance Assessment Grid Statement of Significance Template

These support the development of Statements of Significance for either individual objects or collections/sub collections

These tools have been colour coded green.

2.2.1 Getting started

Museums considering undertaking a significance assessment of individual objects, whole collections or sub collections might wish to read the full Australian Significance 2.0 document. This explores the thinking that has informed the development of the REM Statement of Significance Process and gives some interesting and helpful case studies. It would be especially useful to read Significance 2.0 Part 4, The Significance Assessment Process and Part 5, The statement of significance (See Annex 1 or download from: http://significance.collectionscouncil.com.au/print).

Building on the Australian model, the REM Framework has developed tools that simplify the process of collating evidence and writing a Statement of Significance, whilst ensuring that that process remains thought provoking and enlightening.

The REM Framework looks not only at:

Regional, national or international significance because of objects’ and collections’ rarity, research potential, inspirational aesthetic quality or emblematic historical meaning

but also at:

Local, regional or wider significance, because related to a specific topography, industry, trade, craft, person or group

Significance because of relation to a particular community with local representation e.g. a village’s population; a minority ethnic group; a migrant workforce; former workers at a particular site or trade; staff and patients from a particular hospital

Significance because of a direct relevance and meaning within the context of a museum’s site, collecting policy and history, building or organisational history

Significance for wider local or regional objectives e.g. because the object or collection is or could be used to encourage or supports community cohesion, ‘ancestral’, ‘literary’ or cultural tourism, learning, creative or economic activity

As noted above, before starting to use the Framework, the museum’s relevant staff, volunteers and perhaps external advisers/user groups should take time to consider, agree and record how they want to interpret some elements of the terminology used on the Significance Assessment Grid.

2.2.2 The Significance Assessment Grid and Statement of Significance Template

To support East Midlands museums through the process of assessing and developing Statements of Significance for both individual objects and whole/sub collections the consultants produced a REM Significance Assessment Grid. This provides a list of prompt questions that museums should ask about their objects / collections as they work through the process of drafting a Statement of Significance.

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http://significance.collectionscouncil.com.au/print

The Framework also provides templates to help with the drafting of Statements of Significance on either single objects or on collections / sub collections.

Part 3 gives copies of both the grid and the template. When reading through this section it is useful to have copies of both to hand. When you actually come to write a Statement of Significance, use the downloadable version of the template in MsOffice Word.

The Significance Assessment Grid and the Statement of Significance Template support assessment by the following criteria:

Column headings:

A PROVENANCE/ACQUISITIONThis invites assessment of the significance of known information (and any information gaps that exist) about: Date, place of origin Creator / manufacturer and their relationship to the object Chain of ownership / history of use prior to coming into the museum collection The acquisition process, including any external funding or support and any proactive collecting policy that

informed the decision to acquire

B RARITY/UNIQUENESS This should be used to consider the object / collection in relation to other examples in publicly accessible

collections (i.e. rather than in private ownership)

C VISUAL & SENSORY IMPACT Here the assessor is required to consider not only the aesthetic appeal of both natural or man-made objects, but

the power of their sensory or visual impact It is recognised that the impact might be deemed positive or negative and might lie in the objects’ symbolism,

stylistic associations etc. as much as in e.g. the quality or otherwise of its design, manufacture or constituent materials

The non-visual senses – smell, hearing, the object’s tactile qualities etc. - should also be considered. The impact might depend on the ‘state’ in which the object is seen or experienced – e.g. in the case of a working

object whether it is seen in operation.

D CONDITION/COMPLETENESS The purpose of these questions is not to generate a condition statement as such, but to draw out what the

current condition of an object might reveal about its history of use and contribute to an understanding of its significance e.g. the assessor might consider how wear to a garment or tool shows how, how much and by what sort of person it has been worn or used; whether there has been more than one generation or type of user etc.

Consider the extent to which an object has been restored - perhaps diminishing evidence of use, but enhancing understanding of its original appearance

Consider whether an object has lost significance because it is badly deteriorated or incomplete

E HISTORICAL MEANING The assessor’s responses to the questions asked here are likely to be informed by the consideration already given

to ‘Provenance / Acquisition’, ‘Rarity / Uniqueness’, ‘Condition / Completeness’, as well as by an understanding of the historical significance of the object itself

The assessor will want to consider what external consultation might be needed to reveal the object’s or collection’s true potential significance for a diversity of individuals and community groups

The museum should consider using the Revisiting Collections approach to investigate objects’ multi-layered meanings

F ‘EXPLOITABILITY’ e.g. for research, enquiries, education, profile raising, business support, tourism Consider whether and how the object or collection is currently used, or has the potential to be used, to serve a

range of outcomes e.g.: display; research; answering enquiries; education; profile raising for your organisation, locality or region; various sorts of tourism

Consider its potential to inspire creativity and/or support the work of the creative industries

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Consider its economic potential for your museum – perhaps as an inspiration for saleable items or as an iconic object with marketing appeal

Row headings:

The purpose of these criteria is to highlight the nature of the object or collection’s significance and to identify to whom it might be significant and how. The structure is not seen as hierarchical i.e. ‘international’ significance is not necessarily seen as having any greater weight than ‘local’, ‘community’ or ‘organisational’ significance.

1 KEY POINTS In this section you should consider overarching points of significance about the object or collection that are not

particularly tied to any of the categories below.

2 NATIONAL/INTERNATIONAL This will include items and collections of outstanding international quality or research potential; supreme

examples of their type in UK collections; or associated with key events themes and people in UK and international history

3 REGIONAL OR CROSS-REGIONAL This might be used to mean the East Midlands region, but each museum may wish to consider what it sees as its

‘natural’ region. Consider whether for your museum the ‘region’ might be a county or a group of counties, or a geographical area

that straddles county and political boundaries. Consider whether the object/collection is significant to regional social, economic and cultural objectives,

community cohesion and sense of place

4 LOCALLY SPECIFIC This will include items and collections that are significant to local community cohesion and sense of place Before completing the grid, each museum needs to define what it means by ‘local’. This could be a particular,

defined geographical area. It might mean an area defined by local government boundaries. It could mean the catchment areas for (potentially repeat) visitors within say a 20, 30, 50 miles radius, who are deemed to regard the museum as representing their area or meeting their specific cultural needs

For some services, e.g. a county wide service, there may be several meanings for ‘local’. It could mean the whole county or a specific part of the county, a town or village

5 COMMUNITY/GROUP This will include objects and collections that are significant because related to a particular group or community The term ‘community’ here is being used to include a diversity of groups and group types e.g. it could be people

who are either defined by others or self define through their ethnicity, faith, sexuality, mental or physical well-being, levels of wealth and poverty, social class etc.

It could be a community with strong, current local representation or distributed more widely across the region and/or beyond

It might be people defined, or who self-define, by their working or life experience e.g. a particular migrant workforce, former workers at a particular site or trade, etc.

6 ORGANISATIONALLY OR SITE SPECIFIC This will include objects that are significant because of a direct relevance and meaning within the context of the

museum building or its immediate environs, its collections or collecting policy Each museum may also need to consider the wider organisation of which it is a part – e.g. local authority,

university, National Trust etc.

It is important to note that neither the letters nor the numbers on this grid represent any kind of ‘score’ or rating. They are simply grid references so that you can tie your responses to the prompt questions on the grid to the relevant section on the template – in this way you can easily revisit and refresh the thought processes that went into writing your first draft of the Statement of Significance.

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2.2.3 Using the ‘Significance Assessment Grid’ and ‘Statement of Significance Template’

Used together, the grid and the template provide a systematic methodology for generating a Statement of Significance about either a single object, a group of related objects, a formally recognised ‘sub-collection’ or even a whole museum collection.

Each box on the grid has a series of ‘prompt’ questions:

A PROVENANCE/ACQUISITION

1 KE

Y PO

INTS

Do we know who created, made, owned or used it? Do we know when it was made or produced? Do we know when/for how long it was used? Is its place of origin or manufacture known and documented? Is there a well-evidenced chain of ownership and use? Is it unusually well-provenanced/documented for its class or type? Do we know how/when it was acquired by the museum and from whom?

Fig.1 Significance Assessment Grid, box A1

Not all of the prompt questions will be relevant or applicable to your object or collection – they are there to help you through the process of thinking about the object or collection in a structured way that will highlight the information – or lack of it - that you will need to shape and inform your Statement of Significance. Whether you believe the answer to a question is ‘yes’, ‘no’ or ‘don’t know’ you should think through the implications of that answer and seek to understand the impact on how interesting and / or significant (or otherwise) the object might be to a variety of potential users.

Each box can be identified and referred to by its grid components. As noted above, the grid components (A1, B1 etc.) are not intended to rate or score significance levels – they are there to serve as a useful reference tool to link any notes you might want to make about an object to the relevant ‘box’ on the grid. The structure of the template reflects that of the grid (see Fig. 2).

Each table on the template represents a column on the grid, e.g. Fig. 2 below represents the whole of column A, ‘Provenance/Acquisition’. As you work through each box on the grid, we suggest that you capture your initial thoughts in bullet points in the relevant box on the Statement of Significance Template.

If, as you work through each box, you will think of useful points that would sit more comfortably at another place on the template, capture them at once by bullet pointing in the relevant section.

A PROVENANCE/ACQUISITION1 KEY POINTS A1

2 NATIONAL/INTERNATIONAL A2 2 REGIONAL (E MIDS)/CROSS REGIONAL

A3

3 LOCALLY SPECIFIC A4

4 COMMUNITY A5

5 ORGANISATIONALLY OR SITE SPECIFIC

A6

ASSESSMENT SUMMARY

Fig. 2 Statement of Significance Template Table A

As you reach the end of each section of the Statement of Significance Template it is helpful to review the facts and comments that you have bullet pointed and use them to draft a short narrative assessment summary of the topics covered by that column of the grid. Doing this as you work your way through the grid and the template will help to make sure that you ‘weight’ the bullet points you have made accurately and capture the essence of your thinking

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about this aspect of the object or collection’s significance while it is fresh in your mind and before moving on to thinking about the next column on the grid. However, if you are working in a group on the bullet pointing it might be more efficient to delegate drafting the summaries until later and just make a few quick notes in the summary box the capture key points about emphasis and context.

As you consider the questions on the grid it will become clear that you may need to consult other museum colleagues, or people from outside the museum that have relevant specialist knowledge or expertise or perhaps a particular life experience or cultural understanding of the type of material you are assessing. You should consider using the Revisiting Collections methodology when gathering individuals’ or groups’ responses to the objects. You may need to research internal records about the acquisition or display history of the material, or to undertake a more wide-ranging research project in order to understand a particular aspect of the significance of the object or collection.

It is helpful to capture these thoughts as you go along in the ‘Further research and consultation’ section provided at the bottom of the template. When you have had time to carry out the required research and consultation you will be able to return to the template and adjust your draft statement accordingly.

Once you have completed assessment summaries in sections A-F of the template, we suggest that you drop the ‘assessment summaries’ from each section into the Statement of Significance section of the template. This will give you the basic outline of your statement. It should then be a simple job to edit your text into a final version, taking out any duplication and making sure that key points are emphasised and expanded as necessary.

________________________________________________________________________________________________

THE SIGNIFICANCE OF CONDITION

This image of these two young sisters and their dolls gives a poignant reminder of what the condition of an object in a museum collection can tell us about its history of use. The bisque shoulder head dolls pictured below are both held in the collection of the National Trust Museum of Childhood at Sudbury Hall.

The much worn, and doubtless much loved, doll on the left below belonged to Edith, the younger of the sisters, shown, also on the left, in this double portrait photograph. The photo was taken in about 1894 when Edith was three and her sister Selina, five. The two dolls they are holding were brand new – their elaborate dresses were probably home made. Selina died within two years of the photo being taken. The family treasured her doll – still almost pristine – and her sister’s – hatless, shoeless and bearing all the evidence of years of comforting play - for almost 90 years.

Photographs: National Trust Museum of Childhood at Sudbury Hall.

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2.3 Guidelines for using the REM Collections Review Process

The Collections Review Process uses: Collections Management Grid (colour-coded yellow) Usage Grid (colour-coded light orange) Collections Review Survey Form (colour-coded to match the grids) Collections Review Datasheet (created as a spreadsheet in MsOffice Excel, where review data are colour-

coded with an automated ‘traffic-light’ colouring system)

The Collections Review Process has been developed from the University College London ‘Collections Review Rubric’, described in section 1.1.1 above.

The Collections Review Process is based on two grids and a survey form on which to log the assessment ‘scores’. The survey form supports quick logging and the capture of scoring data in-situ (e.g. within a storeroom) that can then be entered into the Collections Review Datasheet for analysis, leading to the identification of ‘hot spot’ projects for curatorial intervention.

The alternative would be to use a laptop computer in the store and enter scores directly onto the spreadsheet. In practice, however, this is not always convenient – especially when working alone. Both the UCL and the REM pilots have showed working with the Collections Review Survey Form and using a pencil (with eraser!) to be the most time-efficient approach.

2.3.1 Getting started

As noted above, a group including curatorial, outreach, education, exhibition, conservation and documentation staff should consider the Usage and the Collections Management Grids used in the Collections Review Process and decide how they wish to define and apply the criteria used on the two grids.

The relevant specialist staff, volunteers and any specialist external advisers involved need to agree on how best to conduct the review process. It may be decided, for example, that fields such as ‘ownership’ and ‘documentation’ will be filled in retrospectively from the collection database in order to speed up the review process within the store.

The group needs to agree how the review team should count objects and to what resolution the assessment will take place. For example, in an archaeological collection, the team would need to decide whether every individual potsherd needs to be counted or whether they could be counted in logical groups.

Also as noted above, the Collections Review Process is designed to be conducted by people who have a good understanding of and/or who have been given basic training in general collection care and management requirements. As part of the pre planning for the process, however, it is essential to ensure that the review team are given any specialist advice and training that they will need in order to make informed, broad judgements about both objects’ preservation requirements and their potential for use. The assessors need to understand what to look out for – and when to ask for specialist advice.

2.3.2 Review Units

In order to deal with the large quantities of objects contained in most museum collections, and the wide variety of collection types, we recommend rating objects collectively by ’Review Units’. The size of the Review Unit can be determined to allow for the greatest possible efficiency in counting the objects within that unit.

The review of each collection needs to be conducted at a scale of most benefit to each organisation. It is best to aim for the highest resolution possible in the time available. Determining the size of the Review Unit is therefore the critical first step in implementing the review process. A single Review Unit may be as small as a single object or as large as an entire room or sub-collection, and will vary according to the nature of the collection and the time available for review. For example, a large collection (e.g. 10,000 objects) could be quickly assessed in the course of just a few days if it is reviewed on the basis of storage location, where each Review Unit is an entire shelf block or floor area.

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Smaller collections or sub-collections (e.g. 1000 objects) could be reviewed in the same time period with greater resolution, where the Review Unit is a single box or drawer of objects within a shelf or cabinet.

2.3.3 The Collections Management Grid

This grid is not seen as a substitute for more comprehensive tools such as the MLA’s Benchmarks in Collections Care self-assessment framework (downloadable at: http://www.collectionslink.org.uk/index.cfm?ct=search.home/catList/2

Instead it offers a quick method for reviewing collection care and management, using the following criteria:

ROOM SECURITY Assesses the security for the entire store room location Flags up deficiencies in overall security e.g. poor key access control

STORAGE SECURITY Assesses the security of the storage units within the store room Flags up deficiencies in the storage security e.g. no locks on cabinets/racking

ENVIRONMENTAL MONITORING AND CONTROL Assesses the environmental conditions within the store room Flags up deficiencies in the store environment or its management e.g. no pest management system

DISPLAY AND STORAGE AREA CONDITIONS AND MANAGEMENT Assesses the suitability of storage conditions within the store room Flags up deficiencies in general storage conditions e.g. overcrowding of objects on shelves

STORAGE HOUSING MATERIALS Assesses the suitability of housing and packing materials used to support objects or groups of objects Flags up deficiencies in the housing of individual objects or groups of objects e.g. non conservation-grade

materials used

CONDITION ASSESSMENT Assesses the condition of objects or groups of objects Flags up objects or groups of objects that require monitoring, conservation, cleaning or repair e.g. fragile

objects in need of regular monitoring

OWNERSHIP Assesses the ownership situation of objects or groups of objects Flags up situations where ownership is disputed or unknown, and where the ownership status of items is

inadequately documented e.g. accessioned objects that have no ownership documentation or material on ‘indefinite’ or ‘permanent’ loan

DOCUMENTATION Assesses the level of documentation of objects or groups of objects Flags up areas where documentation could be improved e.g. objects lacking accession numbers;

documentation not digitised

2.3.4 The Usage Grid

This grid allows collection material to be assessed using the following criteria:

POPULAR APPEAL Assesses the ‘wow factor’ of an object or group of objects Highlights ‘star’ objects e.g. objects that are deemed to have ‘iconic’ status by the museum or its users

PUBLIC ENGAGEMENT Assesses the current and / or potential public accessibility of an object or group of objects

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http://www.collectionslink.org.uk/index.cfm?ct=search.home/catList/2

Highlights objects or groups of objects that are used for display or have potential for display, or other public engagement e.g. complete sets of objects/objects that are particularly fine examples of their type

SUPPORTS LEARNING Assesses how useful an object or group of objects is as a learning aid Highlights objects or groups of objects that are used for learning activities, or have potential to be used for

learning activities e.g. where multiple examples of a particular object type exist

ENQUIRY AND RESEARCH USE Assesses how useful an object or group of objects is for research Highlights objects or groups of objects that are or could be used for research e.g. objects unique to the

organisation or region

SIGNIFICANCE N.B. This may draw on the Statement of Significance Process outlined in Section 1, or may flag up the need for that process to be carried out

Assesses the level of significance of an object or group of objects Highlights objects or groups of objects that could be used as Statement of Significance case studies

2.3.5 Weighting the assessment of a Review Unit

Unlike the Significance Assessment Grid, the numbers on the two Collections Review Grids do represent a ‘score’ or ‘rating’. If the Review Unit consists of more than one object a weighted system of lowest and highest assessment rating is applied:

The Collections Management Grid requires that you apply the lowest rating that could be applied to any single object within the Review Unit to the whole Review Unit. This ensures that any important objects suffering from poor collection management can be highlighted. For example, if a drawer contains 12 objects and 11 objects are in good condition and rated as a ‘2’ for condition, but one object rates as a ‘4’ and is in need of attention, the whole Review Unit is to be rated as ‘4’. There is space on the Collections Review Survey Form to make explanatory notes e.g. noting the accession number/name of an individual object requiring attention for future reference.

The Usage Grid requires that you apply the highest rating that could be applied to any single object within the Review Unit to the whole Review Unit. This locates and highlights potential ‘star’ objects of the collection. For example, in a box of 20 objects, 17 of the objects may have little potential for use in learning and are ranked at level ‘4’, whereas three of the objects have recognised potential for use in teaching activities and are ranked at level ‘2’. In this instance, the whole box receives a rank of ‘2’, flagging up the three objects that a curator may want to revisit for use in teaching activities. Again there is a space for note taking.

Notes on the system used in the Collections Review Grids:

Review Units need to be assessed against each of the criteria on the two grids in order to develop an overall picture of the collection and create a ‘snapshot’ of the situation at the time of the review. Inevitably that situation will change with time e.g. objects will be moved and the condition / environment will fluctuate,. When assessing your Review Units it is important to remember that you are assessing objects in their current environment, whilst looking at both their current usage and their potential for use.

Once your standards for the review process have been agreed (see above), the assessor/s should use their own judgement in rating each Review Unit, working within the framework of the grids. When looking at the Collections Management Grid it is important to be both objective and consistent. An expensive painting or fragile textile should be assessed with the same degree of rigour (no more, no less) as a steam engine or a fossil. The physical scale of the object, or the size of the whole Review Unit is irrelevant - the key objective is consistency.

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2.3.6 The Collections Review Survey Form

The aim of the Collections Review Survey Form is to ensure fast, accurate logging of collection management and usage data, within the storeroom. The use of the Collections Review Survey Form is best demonstrated by looking at a real example. Figure 3 shows a survey form completed at the Museum of Lincolnshire Life, where the Costume Collection was under review. In this example, individual garments had been packed and then stored together in conservation-grade boxes, which were then stored together in a dedicated portion of shelving on roller racking. The Review Unit was determined as a single box, which contained between one and 14 garments. If all the garments in a single box were not accurately counted then this was indicated in the ‘object number notes’ field, as ‘est.’ (estimated). It was decided in this case that the documentation/ownership ratings could be ascribed to each box retrospectively using the digital catalogue, hence these columns were not filled out in the store, speeding up the review process. The ‘research’ and ‘significance’ of particular garments could not be determined in all cases by the team conducting the review – in these instances the Review Unit was scored as ‘0’, clearly indicating the garments that needed to be looked at by a costume specialist. In this example, the ‘notes’ field was largely used to describe condition problems.

Practical notes on the use of the Collections Review Survey Form

If undertaking a review for the first time, or reviewing a particular collection for the first time, try to start the review with a least two people. After reviewing 5 or 6 Review Units together it will quickly become apparent if you are being consistent

It is practical to fill the survey form in using pencil, particularly at the beginning of the review process. Mistakes, or changes of heart, can then be quickly rectified on the sheet. Don’t be afraid to go back to the first Review Unit after looking at 10 others and change the score for a particular column. Revising your scoring system after looking at several Review Units helps to maintain consistency in the long run

It is a good idea to take several copies of the survey form into the store, so that a new one can be started when the review comes to a logical break e.g. at the end of a shelving bay

Having the survey form and the two review grids on a clip-board allows for easy reference, particularly if you are half-way up a ladder in a store-room

It is useful to number the survey sheets as you go, and to ensure that the location information for each Review Unit is carefully recorded. Remember that you may be coming back to a partially-completed review after several days’ break: it is very important to name your Review Units in a meaningful manner e.g. rather than ‘blouse box’, use ‘Bay 2, Rack 3, blouse box’

If you are conducting a lengthy review it is advisable to laminate the two review reference grids, to prevent them getting damaged by dust/water.

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2.3.7 The Collections Review Datasheet

The Collections Review Datasheet enables the reviewer to digitise the data acquired during the review process quickly and accurately, allowing for ease of analysis and interpretation. Two versions of the datasheet are available for download.

The preferred datasheet provided is in MsOffice Excel (version 2007), which allows the scores recorded on the survey form to be colour-coded using a ‘traffic-light’ system. In this system, 5 = red, 4 = orange, 3 = yellow, 2 = pale green, 1 = bright green, 0 = grey. (Please note that the colour-coding is automated using the ‘Conditional Formatting’ function in Excel 2007 – earlier versions of Excel lack the function required to automate this formatting, which can be done manually, but is tedious if large numbers of objects are under review. However, an MSOffice 2003 version of the spreadsheet is also provided for users without access to MsOffice 2007).

The traffic-light colour-coding visually flags up in red or orange objects / Review Units that are assessed as poorly managed and / or under-used. Those that are well-managed and / or used are flagged up as yellow or green. The ‘don’t know’ score of zero is flagged up in grey and clearly shows the areas where specialist advice is required in order to assess that particular object / Review Unit.

It is important to read the data acquired across the whole Review Unit, and also to view the Review Unit as it sits within the storage area. For example, if a single Review Unit is coloured red / orange in all its management criteria, but is yellow / green in its use criteria, then this Review Unit can be interpreted as being inadequately managed, but well / appropriately used.

Viewing the Review Unit in relation to others in the same store quickly flags up inconsistencies in management or use – for example, the one Review Unit coloured red for condition should stick out amongst others in the same store that are in good condition, and coloured green.

See, for example, the three Review Units on Figure 4 that are ranked ‘3’ for condition, and consequently are highlighted in comparison to other Review Units in the same store. Similarly, the colour coding means that objects in your collection that could be on display / used for teaching or research should show green or yellow in a sea of more subdued oranges. See, for example, those Review Units within the costume collection on Figure 4 coloured yellow: these have more potential for public engagement or teaching than the other Review Units.

Remember that the aim of the review is not to achieve greens (score ‘1’s) across the board for all your objects. In many cases objects may not require, for example, purpose made packaging or support in order for them to be perfectly adequately stored. Similarly, a group of objects may lack popular appeal or ‘wow factor’, but they may include multiple duplicates, making them useful for teaching or handling. The colour-coding system is simply a way of interpreting your data visually, and quickly checking for inconsistencies within a given storage area.

Practical notes on the use of the Collections Review Datasheet

If you are reviewing objects that are all located in the same storage area, remember that many of the management criteria for the store will remain the same, e.g. environmental conditions and the store security – the score for one Review Unit can therefore be dragged down for all the other Review Units.

It is advised that you enter data from one survey sheet at a time, then quickly scan through the numbers entered in the spreadsheet to check that they are correct, before moving on to the next survey sheet.

Try to enter the data from the survey sheets into the datasheet as soon as possible after completing the review. It is very easy to forget what your scribbled pencil notes on the survey form actually mean!

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Fig. 3 Example of a survey form from Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, Textile and Costume Collection (staff names and security data obscured)

Fig. 4 Example of a data sheet (relates to Figure 3) from Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, Textile and Costume Collection (staff names and security data obscured)

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2.4 Key components of the Framework

REM SIGNIFICANCE ASSESSMENT GRID page 1

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REM SIGNIFICANCE ASSESSMENT GRID page 2

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REM STATEMENT OF SIGNIFICANCE TEMPLATE:

STATEMENT OF SIGNIFICANCE TEMPLATE

Used with the REM Significance Assessment Grid, this template will help you construct a Statement of Significance for a single object, a group of related objects, a formally recognised ‘sub-collection’ or even a whole museum collection.

SINGLE OBJECT

Museum name

Object ref no.

Short object name

Brief object description

COLLECTION / SUB COLLECTION

Museum name

Collection/ sub collection nameShort description

Number of items

Storage space(s)

Display space(s)

Use the tables below to collate and structure information gathered in response to the prompt questions on the REM Significance Assessment Grid

A PROVENANCE / ACQUISITION1 KEY POINTS A1

2 NATIONAL / INTERNATIONAL

A2

3 REGIONAL (E MIDS) / CROSS REGIONAL

A3

4 LOCALLY SPECIFIC A4

5 COMMUNITY A5


A6

ASSESSMENT SUMMARY

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B RARITY / UNIQUENESS1 KEY POINTS B1


B2


B3

4 LOCALLY SPECIFIC B4

5 COMMUNITY B5


B6

ASSESSMENT SUMMARY

C VISUAL & SENSORY IMPACT1 KEY POINTS C1


C2


C3

4 LOCALLY SPECIFIC C4

5 COMMUNITY C5


C6

ASSESSMENT SUMMARY

D CONDITION / COMPLETENESSKEY POINTS D1


D2


D3

4 LOCALLY SPECIFIC D4

5 COMMUNITY D5


D6

ASSESSMENT SUMMARY

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E HISTORICAL MEANING1 KEY POINTS E1


E2


E3

4 LOCALLY SPECIFIC E4

5 COMMUNITY E5


E6

ASSESSMENT SUMMARY

F ‘EXPLOITABILITY’1 KEY POINTS F1


F2


F3

4 LOCALLY SPECIFIC F4

5 COMMUNITY F5


F6

ASSESSMENT SUMMARY

STATEMENT OF SIGNIFICANCE

FURTHER RESEARCH AND CONSULTATION

Use this section to indicate further research needed and to identify key individuals and/or groups to be consulted about the significance of the object

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REM COLLECTIONS MANAGEMENT GRID

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REM USAGE GRID

26

REM COLLECTIONS REVIEW SURVEY FORM

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In addition to a PDF of this document, the following electronic resources are downloadable from www.mla.gov.uk/renaissanceeastmidlands

PDF versions of Significance Assessment Grid, Collections Management Grid, Usage Grid

MsOffice Word version of Statement of Significance Template

PDF version of Collections Review Survey Form

MsOffice Excel 2007 and 2003 versions of Collections Review Datasheet

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http://www.mla.gov.uk/renaissanceeastmidlands

PART 3 PILOTING THE FRAMEWORK

3.1 Piloting the framework

The consultancy team were delighted to be able to test and improve their original draft for the REM Reviewing Significance Framework in partnership with teams from six museum services:

Buxton Museum and Art Gallery Erewash Museum Flintham Museum Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life National Trust Museum of Childhood, Sudbury Hall Northampton Museum and Art Gallery

All of these colleagues were generous with their knowledge, enthusiasm and time. All were fully committed to the project – challenging, constructive and keen to make the Framework a really useful tool for the future. All the components that make up the Framework, and especiallly the three grids, passed through several iterations as the pilots progressed, both in response to colleagues’ comments and through the practical experience of testing them with many different types of collection.

The consultants spent two days on site at each museum, in most cases working closely beside museum staff on both strands of the Framework.

The usual programme for these piloting visits was to:

1. Start with a set up meeting – reviewing the components of the framework in light of each museum’s organisational need and setting the priorities and timetable for the remainder of the visit.

2. Go through the process of conducting at least one single object significance assessment, using the Significance Assessment Grid and the Statement of Significance Template. This was largely a paper / discussion exercise and drew on the museum’s existing documentation supported by curatorial knowledge. The purpose was both to familiarise the museum staff with the assessment process and to work with them on the improvement of the grid and template.

Before starting, everyone viewed the object either in store or on display. Then the consultants and museum staff worked as a group, usually around a computer. All contributed to exploring the object’s known and potential significance (or lack of it) prompted by the questions on the grid. One person, usually a museum staff member, typed bullet point summaries of the discussion directly into the Statement of Significance Template. Generally, that staff member then took responsibility for drafting the final Statement of Significance for the object.

Four museums also completed Statement of Significance Templates for a sub collection.

In general, the group bullet pointing process – coupled with explanation of the grid and its function and some ad hoc research into accession registers, catalogue entries etc. took 1½ - 2 hours. Drafting the full statement took perhaps another hour. The process would be quicker, but less complete, if carried out by one person. If carrying out the process alone it would be helpful to ask a colleague to peer review the template at the bullet point stage.

A key part of the process was found to be identifying and recording lines of further research required and also those individuals, community groups, organisations etc. who would be well placed to add further content to the statement.

3. Go through the process of conducting a ‘Collections Review’, using the Usage Grid, the Collections Management Grid and the Collections Review Survey Form. This exercise was very much hands-on, involving members of the consultancy team working in a storage area both with members of the museum teams and independently, as decided at the set up meeting. Again, the purpose of this exercise was in part to ensure that the relevant members of the museum team become familiar with the Collections Review Process, and

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also to help the consultants ensure that the final REM grids and spreadsheet reflect East Midlands museums’ organisational needs.

3.2 The case studies

As a result of this process we are able to present examples from across the pilots including:

Brief summary of museums’ key objectives from the exercise Sample Statements of Significance A report on an on site review process A Sample Collections Review Survey Form with corresponding sample page from Collections Review

Datasheet

Please note that sensitive information, such as comment on security arrangements, has been omitted from the published case study material.

3.2.1 Lincolnshire County Council Culture and Adult EducationMuseum of Lincolnshire Life

3.2.1.1 Statement from the Lincolnshire County Council Culture and Adult Education team:

At present, as a Service with responsibility for a very large and diverse range of collections and sub-collections, we were looking for a simple, quick, robust and transparent methodology to enable collections staff and management to make informed, long term strategic decisions on issues around significance, care and usage.

The aim of becoming involved in the pilot study was fourfold:

To establish how the methodology could be useful for us. If the methodology was applicable, to identify any what bespoke amendments that might improve it for

our needs. As professionals, to develop an understanding of the methodology for our own benefit and/or potential

work with partners in the future. As a REM partner, to assist the project team with its development process by enabling them to apply and

test the methodology in new and perhaps more unusual environments.

Initially we were concerned that by using the Statement of Significance Process we may actually be in danger of making everything appear highly significant and thus not provide meaningful data. However, after using the process, we found it a useful and constructive method for objectively generating a clear, structured and transparent report.

Our experience of the Collections Review Process was equally positive and useful. The process generated useful and meaningful information relatively quickly. The key we found to making the process a success was to work as a minimum of two people. This ensured a balanced opinion was formed and that other perspectives were considered. It was important to acknowledge that initially the process would be quite slow as staff became familiar with the grading grids. However, once staff had developed their understanding of these, the process became much quicker. It is important however, to ensure that appropriate management interpretation is applied to the results generated and that the context and objectives of the survey remain clear.

Both processes quickly highlighted useful areas for further work on the collections we piloted. These ranged from basic collection care issues, with which we were already familiar to a large extent, through to others such as key knowledge gaps or objects of which we should be making more use. Perhaps the most useful outcome was the realisation that, by completing the Collections Review first, it highlighted where it would then be beneficial to spend time completing Statements of Significance for objects, which in turn would support decisions over further potential actions around use, care needs and priorities, rationalisation or grant bids.

Overall, the process does have the potential to deliver significant benefits. In particular it can support objective decision making, assist with advocacy, establish collection care needs and priorities, highlight potential areas for rationalisation, and support arguments for greater use/profile of collections or grant bid applications. However, as

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with any management tool, both processes require care and planning for them to deliver useable results. The Collections Review Process requires considerable staff resources, appropriate interpretation, and for the process to be completed within a viable timeframe, so that the information developed may be meaningful. Similarly, the Statement of Significance Process benefits from careful planning of (for example) who needs to be consulted to ensure meaningful delivery. Perhaps though, as an unforeseen benefit of both processes, by applying the methodology it will encourage staff/volunteers to revisit their collections, and review them in a new and structured way. This can only be a positive outcome for all concerned - the Service or Institution, its staff, partners and customers and the objects and collections involved.

3.2.1.2 Collections Review report: Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, Textile and Costume Collection

Project: REM Assessing Significance Pilot – Review elementCollection: Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, LincolnAssessor/s: Collections Officers / Emma Passmore (consultant)Date: 27/01/2010

Background: The Museum of Lincolnshire Life (MLL) is a social history museum located to the north of Lincoln’s historic centre, in a building formerly used as a barracks. The museum’s collection consists of objects and machinery associated with agricultural, industrial, commercial, domestic and community life within Lincolnshire, from 1750 to the present day. The museum also houses collections from the Royal Lincolnshire Regiment. The entire collection consists of approximately 250,000 objects.

Desired outcomes: Collection Management staff are keen to review the Costume Collection, which has been carefully

packaged and stored but is currently underused

Review pilot strategy:The main case study was a review of the Costume Collection. The collection is stored on-site in a dedicated store. Individual garments are wrapped in conservation-grade packing and packed into conservation-grade boxes. After a discussion with Collection Management staff about the resolution of the Review Unit it was decided to review the Costume collection box-by-box, where each box contained between one and approximately 14 garments. All sections of the Collection Management part of the Review Process were completed within the store, except for scoring on documentation and ownership, which could be determined retrospectively by examining the MODES records for groups of objects. The full Usage review was conducted on all review units, using the ‘don’t know’ facility where there was a knowledge gap concerning research or significance.

The review was conducted by a group of 3 museum staff and an external consultant. The review of all the boxes within one portion of roller racking containing the Costume collection took approximately 3 hours. It was estimated that by using the Review Process at this level of resolution the entire Costume collection could be reviewed by 2 staff in approximately 10 working days. Comments made by the Collection Management staff during the review process concerning the Collections Management and Usage grids were noted, and were used to inform a revision of the grid after the site visit.

Storage overview:The Costume Collection is stored on-site in a dedicated store. Access to the store is strictly controlled and the area is locked and alarmed out-of-hours. The store is environmentally monitored and there is some environmental control in the form of central heating. The collection is stored in a dedicated area of labelled roller racking, where each garment is individually wrapped and then housed with several others within a conservation-grade acid free box. Review recommendations – Costume collection (Bay 19)

Management Shelf 1/Box 1 is overcrowded. Consider splitting contents over two boxes Shelf 1/Box 2 – monitor metal fittings on textiles Shelf 1/Box GOH585 is overcrowded. Consider splitting contents over two boxes Shelf 1/Box 5; Shelf 2/Box GOH587; Shelf 2/Box 6; Shelf 2/Box 7; Shelf 2/Box 11; Shelf 3/Box GOH588;

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Shelf 3 Box GOH592; Shelf 3/Box 16 – all contain long skirts that have been folded in half. Consider putting these items in longer boxes

Shelf 2/Box GOH586 – box contains garments of different weights. Consider putting heavier garments in their own boxes

Shelf 2/Box 9 – mixed garments in the same box. Consider re-arranging so that similar garments are stored together

Shelf 2/Box 10 – monitor metal fittings on textiles

Usage Shelf 1/Box 4 – check significance and research potential of bodice and veil with a textiles/costume expert Shelf 1/Box 5 - check significance and research potential of silk skirt with a textiles/costume expert Shelf 2/Box 8 - check significance and research potential of skirt with a textiles/costume expert Shelf 2/Box 11 - check significance and research potential of complete outfit with a textiles/costume

expert Shelf 3/Box GOH590 - check significance and research potential of wedding outfit with a textiles/costume

expert Following the outcome of the review by a textiles/costume expert, consider writing significance

statements for single objects within the collection Consider storing objects that may be useful for teaching/research/display together Consider storing full outfits e.g. Shelf 2/Box 11, in hanging storage for ease of access

Summary:The storage conditions for the Costume collection are generally adequate for the needs of the collection, except where specific instances have been highlighted for action using the Review Process.

Long term projects to consider include using the Review recommendations to make effective use the time of a costume/textiles expert, who will be able to assess research potential and significance of specific items within the costume collection

Feedback for the REM Collections Review process:The ‘don’t know’ option was used when reviewing the Costume Collection if a knowledge gap was identified concerning the research potential or significance of a garment and provides a very good indication very quickly of where gaps in knowledge were. The storage security column on this table is a very good indication of where appropriate management comment supplied with the table would show that the column of ‘4’ in this case is not a major cause of concern and the grouping of 3 ‘fives’ in red highlights a hot spot for further action. Collection Management staff felt that this was a very valid way of quickly reviewing a large collection in order to identify the specific areas where specialist knowledge would be required to make a decision on significance.

See page 19 above for:Fig. 3 Example of a survey form from Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, Textile and Costume CollectionFig. 4 Example of a data sheet (relates to Figure 3) from Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life, Textile and Costume Collection

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3.2.2 Northampton Museum & Art Gallery

Background:

Northampton Museum & Art Gallery is a focal point and showcase for the town and region’s history as Britain's boot and shoe-making capital. The Boot & Shoe Collection – which is a Designated collection – is the largest and widest-ranging shoe collection in the world. Current collecting policy is focussed on the acquisition of trainers, which are a significant gap in the collection and scheduled to feature in an exhibition next year.

The collection also contains objects relating to Social History (including Military), Archaeology, Geology and the Fine and Decorative Arts. The latter include a substantial and valuable collection of Oriental Ceramics and an equally impressive collection of 15th – 18th-century Italian paintings.

Documentation for the whole collection is currently in the form of registry cards. These are in the process of being transcribed and inputted into MODES for Windows. The collections have already undergone a ‘Best Value’ Review, which made a substantial contribution to developing an in-depth understanding of their strengths and weaknesses. During the course of this pilot, the art objects contained in the collection were also undergoing a major insurance reassessment. This will have implications for the future storage arrangements for the collection.

Desired outcomes:

As the collections have previously undergone a Best Value Review, it was agreed that the primary potential for the Collections Review pilot process would be in informing and enacting current and future projects in collections management and care.

A Collections Review could be used to: Monitor the progress of upgrading the museum’s documentation Develop and inform action plans to enact recommendations by the insurers following their assessment Develop future exhibition and public engagement programs

The Statement of Significance pilot process focussed on the Italian Art Collection. The Museum and Gallery team wanted to assess the usefulness of the Significance Grid and Statement of Significance tools to support exploring and analysing the relevance and importance of the collection to Northampton Museum & Art Gallery as an organisation and to current and potential users locally, regionally, nationally and internationally. Statement of Significance Templates were completed for both the Italian Art Collection as a whole and for a single item: Antonio Bellucci’s Diana. The two completed templates are given below. They show how the Statement of Significance Template can be used both as a prompt for trawling and collating existing collections knowledge (e.g. information held in object history files, accession registers, correspondence files etc.) and also for quickly capturing more randomly associative ideas about an item (e.g. does the name ‘Diana’ has a special resonance for some generations in Northampton because of Diana, Princess of Wales?).

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3.2.2.1 Single object Statement of Significance Template for Antonio Bellucci’s Diana



SINGLE OBJECT

Museum name Northampton Museum & Art Gallery

Object ref no. 1974.59

Short object name Diana

Brief object description Oil paining on canvas by Antonio Bellucci date 1720


A PROVENANCE / ACQUISITION1 KEY POINTS A1 Bellucci (1654 - 1726) is a known artist of some significance.

Documentation indicates that it may have been painted between 1716 and 1722, because the artist resided in England during these dates. We have no evidence at the moment to corroborate this, but the work shows an English style church in the background, and Eric Young believes it displays the Rococo elegance of his work from that time.

Whilst he was in England, he worked at Buckingham House, amongst others. It was chosen for purchase through a V&A grant fund scheme, whereby the

V&A gave 50% of the purchase cost. The cost was £2000, but this was a ‘special price’ from Thos Agnew & Sons.

Purchased from a dealer (Agnew). No evidence of past provenance available. MGC/V&A grant


A2 Appears to be of international importance.


A3 No known regional significance

4 LOCALLY SPECIFIC A4 No

5 COMMUNITY A5 In connection with Diana, Princess of Wales does the name ‘Diana’ have a resonance?

Is there a resonance for local Italian community?6 ORGANISATIONALLY OR SITE SPECIFIC

A6 The Italian Art Collection is part of the Museums Service’s identity. As part of the collecting policy in the past.

ASSESSMENT SUMMARY Probably painted between 1716 and 1722, when the artist resided in England as the work shows an English style church in the background, and Eric Young believes it displays the Rococo elegance of his work from that time.

Bellucci (1654 - 1726) is a known artist of some significance. This work shows Diana, the huntress, and forms part of Northampton Museum and Art Gallery’s popular Italian Art Collection.

B RARITY / UNIQUENESS1 KEY POINTS B1 We think it is an average example of a Diana theme

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Frame is interesting and good condition, possible contemporary Not a rare example


B2 Not of national or international significance However, Bellucci was one of the few established Italian Artists to travel and

work in England in the early 18th Century.3 REGIONAL (E MIDS) / CROSS REGIONAL

B3 Unusual for the region but does not compare well with the Midlands (i.e. Birmingham). Was collected as it was “prestigiously unique” in a provincial gallery and complemented works by Bellucci’s teacher already in the Italian Art Collection.

4 LOCALLY SPECIFIC B4 Yes it is.

5 COMMUNITY B5 No


B6 One of the better examples of our Italian Art Collection. It is by a name artist (i.e. not school of….)

ASSESSMENT SUMMARY This is one of the better examples in our Italian Art Collection, and Bellucci is a known, established artist, who was one of the few to travel to England at that time. Whilst it was collected to be a rare example of fine work in the provinces, there may now be other works of equal significance in the region.

C VISUAL & SENSORY IMPACT1 KEY POINTS C1 Well designed and crafted.

If it were on its own it would have more impact particularly with the cheetah skin. The large canvas next to it may overshadow it.

Yes, because it was chosen for purchase through V&A purchase fund. It had symbolic meaning at the time of its creation. Strong response – has the potential to stir different emotions.


C2 Bellucci was part of a long line of Italian painters of the Venetian School. He was both influenced by, and in turn influenced, important artists.


C3 We do not know if the work has influenced regional artists.

4 LOCALLY SPECIFIC C4 This work is visually outstanding within local collections. We do not know if the work has influenced local artists.

5 COMMUNITY C5 We do not know if the work has influenced regional artists, but it may have influenced the Writers Group who meet in the room where it is hung.


C6 The work is part of the Italian Art Collection held at Northampton Museum and Art Gallery. As such, it is a well known piece and forms part of the public identity of the Art Gallery.

ASSESSMENT SUMMARY This work has strong visual impact because it is well painted, with bold colours and strong symbolic themes. Due to its themes, it has the potential to stir the sense and influence emotions. The work is visually outstanding within local collections. It was purchased to become part of the Italian Art Collection held at Northampton Museum and Art Gallery. As such, it is a well-known piece and forms part of the public identity of the Art Gallery.

D CONDITION / COMPLETENESSASSESSMENT SUMMARY This work and its frame are in very good condition. There is no evidence of any

alterations or conservation to either the frame or the painting.

E HISTORICAL MEANING1 KEY POINTS E1 It is interesting that he lived in England – this needs further research. We

would like to try to establish whether or not this piece dates from this period of Bellucci’s work.

It is significant that his work is reflected more outside Italy than inside, particularly Germany and England.

It contributes to the understanding of the period. Is an example of the transition from purely Christian allegory to a more

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classical mythological approach2 NATIONAL / INTERNATIONAL

E2 It is an object that reflects a period of English cultural history Bellucci was part of a long line of Italian painters of the Venetian School. He

was both influenced by, and in turn influenced, important artists. Bellucci was one of the few established Italian Artists to travel and work in

England in the early 18th Century.3 REGIONAL (E MIDS) / CROSS REGIONAL

E3 It is not of any particular regional significance.

4 LOCALLY SPECIFIC E4 It is not of any particular local significance.

5 COMMUNITY E5 Reflection aristocratic life in the 18th century.


E6 Relates directly to The Italian Art Collection. The decision to bring the Secondary Masters to the ‘provinces’ was made by Northampton Museum and Art Gallery but was backed by external, national bodies, such as the V&A Art Fund.

ASSESSMENT SUMMARY This work reflects a period of English cultural history, and is an example of the transition from purely Christian allegory to a more classical mythological approach.Bellucci was one of the few established Italian Artists to travel and work in England in the early 18th Century. He was part of a long line of Italian painters of the Venetian School. He was both influenced by, and in turn influenced, important artists. This work was purchased to become part of Northampton Museum and Art Gallery’s The Italian Art Collection. The decision to bring the Secondary Masters to the ‘provinces’ was made by Northampton Museum and Art Gallery but was backed by external, national bodies, such as the V&A Art Fund.

F ‘EXPLOITABILITY’1 KEY POINTS F1 Potential for working groups such as the Writer’s Group to use the picture for

inspiration. Of use to those researching Italian Art. Of use to those researching 18th European culture. Has been used as a main discussion point in at least two journal articles

(Apollo). Could be useful for schools. Has been chosen for display. May be of interest to bio diversity research (leopard / cheetah skin)


F2 Potential loan for exhibition Potential to be included in international journals and publications. Can add to the understanding of 18th European Culture.


F3 Potential loan for exhibition Potential to be included in international journals and publications.

4 LOCALLY SPECIFIC F4 It could contribute to the wider understanding of the culture of the local Italian community – in that during the 18th Century, Italian art was the pinnacle of fashion and influenced fashion, interior design and architecture as well as art itself.

5 COMMUNITY F5 Potential for working groups such as the Writer’s Group to use the picture for inspiration.

University of Northampton Fashion School but not particularly this object6 ORGANISATIONALLY OR SITE SPECIFIC

F6 This work helps us understand the development of the Art Collection at Northampton Museum and Art Gallery.

This work could be used to highlight the Italian Art Collection, and thus draw in more visitors.

Flickr – by a digital copy it great potential to reach new and wide (international) audiences through this Web 2.0 platform.

This work is currently on display, and has been part of many exhibitions. As such, it is one of the works most widely recognised by the visiting public.

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ASSESSMENT SUMMARY This work is currently on display, and has been part of many exhibitions. As such, it is one of the works most widely recognised by the visiting public. It could be useful to those researching 18th European culture, as well as students of Italian Art and Art History. It has been used as a main discussion point in at least two journal articles (Apollo), and has the potential for further publication. It could be loaned to other museums within the UK and Europe, which would raise our standing in the museum community.


This work is entitled ‘Diana’, and was painted by Bellucci, 1654 – 1726, an artist of some significance.

This is one of the better examples in NMAGs Italian Art Collection. Whilst it was collected to be a rare example of fine work in the provinces, there may now be other works of equal significance in the region.

The work was probably painted between 1716 and 1722, when the artist resided in England, as the work shows an English style church in the background, and Eric Young believes it displays the Rococo elegance of his work from that time. Bellucci was one of the few Italian Artists to travel and work in England in the early 18 th Century. He was part of a long line of Italian painters of the Venetian School. He was both influenced by, and in turn influenced, important artists. As such, this work reflects a period of English cultural history, and forms part of the story of Italian Art and Art History.

Depicting Diana the Huntress, this work has strong visual impact because it is well painted, with bold colours and strong symbolic themes. Due to its subject matter, it has the potential to stir the sense and influence emotions. It is also an example of the transition from purely Christian allegory to a more classical mythological approach.

The work is visually outstanding within local collections. It was purchased to become part of the popular Italian Art Collection held at Northampton Museum and Art Gallery. As such, it is a well-known piece and forms part of the public identity of the Art Gallery. The decision to bring the Secondary Masters to the ‘provinces’ was made by Northampton Museum and Art Gallery but was backed by external, national bodies, such as the V&A Art Fund.

This work is currently on display, and has been part of many exhibitions. As such, it is one of the works most widely recognised by the visiting public. It has been used as a main discussion point in at least two journal articles (Apollo), and has the potential for further publication. It could be loaned to other museums within the UK and Europe, which would raise NMAGs standing in the museum community.

FURTHER RESEARCH AND CONSULTATION

Use this section to indicate further research needed and to identify key individuals and/or groups to be consulted about the significance of the object look at entry record look for “history file” – found research the two referenced articles in ‘Apollo’ research the paintings provenance prior to it’s purchase by NMAG try to establish whether the painting was made during Bellucci’s English period. check with Friends consult with Northampton Art Panel

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3.2.2.2 Collection / Sub Collection Statement of Significance Template for the Italian Art Collection



COLLECTION / SUB COLLECTION

Museum name Northampton Museums Service

Collection/ sub collection name The Italian Art Collection

Short description 15th to 18th century

Number of items Approx. 30

Storage space(s) Art Store 1 & 2 plus room 3

Display space(s) Art Gallery Room 2 and possibly Abington Museum


A PROVENANCE / ACQUISITION1 KEY POINTS A1 A decision was made to actively collect 17th and 18th Century Italian Art to

bring such works to the provinces. Artists include Guardi, Antionio Zanchi, Bellucci, Giovanni Raggi, Vincenzo

Damini, Benvenuto Tisi da Garofalo, plus works from the seventeenth and eighteenth century Venetian, Roman and Veronan Schools. Date range 15th to 18th century.

Artists chosen were identified as being classed as Secondary Masters. Priority was given to the Venetian School. Mainly in Italy but some in other places in Europe including England Pre museum ownership – sketchy information / documentation The Italian Art Collection was collected mainly between 1967 and 1987. Extensive external funding – Friends, V&A, Art Fund etc


A2 Beyond the nationals and major regional museums, it is one of the best of its kind in Britain.

Artist of international importance occur in the collection3 REGIONAL (E MIDS) / CROSS REGIONAL

A3 No strong regional connections

4 LOCALLY SPECIFIC A4 Individual items donated by notable persons included Lady Hesketh.

5 COMMUNITY A5 Friends of The Museum were major players in acquiring Italian Art in the past.


A6 Proactive collecting from 1950s to 1970s. High level of external support for collections development. A conscious decision was made focus on collecting Italian Art. Priority was given to works from the Venetian School. Focus was given to works of high quality from secondary masters.

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ASSESSMENT SUMMARY Northampton Museum and Art Gallery has an important collection of secondary masters, particularly from the Venetian school. Most were consciously collected between 1967 and 1987, as a result of a committee decision to concentrate purchase in this one area of the collections.Artists include Guardi, Antionio Zanchi, Bellucci, Giovanni Raggi, Vincenzo Damini, Benvenuto Tisi da Garofalo, plus works from the seventeenth and eighteenth century Venetian, Roman and Veronan Schools. Date range 15th to 18th century.

Collections Description from our archives:The Collection was begun Charles Frederick Watkins, Vicar of the celebrated Saxon church at Brixworth, Northamptonshire, who, in 1868, donated Jacob and Rachel of the eighteenth century Italian Venetian School, previously attributed to Castiglione, and which proved to be the very first of the Museum’s Italian paintings. The closest Northampton Museums have come to a founding gift, the usual basis for many museum collections, came in 1913 with three gifts from Mrs Henrey and Miss Lindsay, nieces of Lady Wantage whose family also presented Abington Park to the Borough. These were A Classical Sacrifice (1500–1515), studio of Cima da Conegliano, Virgin and Child with Saints Stephen and Lawrence (1495–1510), attributed to Girolamo da Santacroce, and Virgin and Child (1460–1500), attributed to Quirizio di Giovanni da Murano. This small group, the nucleus, was expanded with the addition of The Holy Family with Saints (1510–1520) by Benvenuto Tisi da Garofalo, presented by Lady Hesketh in 1946.

Active collecting of Italian art began in earnest in the early 1950s prompted by the establishment, under the Northampton Act, of an Accumulating Art Fund, and also by the expansion of the government grant-awarding scheme administered by the Victoria and Albert Museum. With this essential financial assistance, together with that of The Art Fund, and also our very supportive Museum ‘Friends’ group, we were in the unusual position, up until the end of the 1970s, of making relatively regular purchases. Welcome gifts have also enhanced the Italian Collection, and these include Piazza san Marco attributed to Giacomo Guardi from the Alexander Bequest, via The Art Fund in 1973, and two works by Antonio Balestra and Alessandro Magnasco respectively from Mrs Harold Thompson in 2000. Finally, a picture by Guardi which was offered to the Museum through Acceptance in Lieu.

B RARITY / UNIQUENESS1 KEY POINTS B1 The works are of a high quality but the artists have been identified as being

Secondary Masters. Priority was given to the Venetian School. Other than that, there does not

appear to be a focused, thematic or overarching systematic approach to collecting within the Italian Art theme.

The works are typically characteristic of the period and style of their production.


B2 Beyond the nationals and major regional museums, it is one of the best of its kind in Britain.


B3 There are few other collections like this in the region, and they all contain different works of art by different artists.

4 LOCALLY SPECIFIC B4 There is no other collection locally that is similar to this.

5 COMMUNITY B5 No.


B6 The Italian Art Collection has been identified as one of the iconic collections within Northampton MNAG

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ASSESSMENT SUMMARY The works are of a high quality but the artists have been identified as being Secondary Masters. Priority was given to the Venetian School. Other than that, there does not appear to be a focused, thematic or overarching systematic approach to collecting within the Italian Art theme.

Beyond the nationals and major regional museums, it is one of the best of its kind in Britain. The works are typically characteristic of the period and style of their production.

The Italian Art Collection has been identified as one of the iconic collections within Northampton MNAG.

C VISUAL & SENSORY IMPACT1 KEY POINTS C1 Whilst these works are not of top level, they are major works by Secondary

Masters. The works were selectively purchased based upon individual merit to form

part of the collection. The works are inspirational, beautiful, interesting and striking. Currently, the collection is mostly displayed together in one large room.

Several items are in storage. Together the value of the works is more than the sum of its parts. The works are not so many that they overload the viewer or dominate the

space completely. They form a cohesive and complementary collection. There is a predominance of religious iconography, both Christian and Ancient

Greek, within the collection.2 NATIONAL / INTERNATIONAL

C2 They are good examples of their kind.


C3 “Virgin and Child with St Stephen and St Lawrence” from the School of Verona, inspired artist Keir Smith (1950-2007) to create “Girolamo’s Conversation” (220-2007), consisting of 3 sculptures. Smith had a passion for the lesser-known artists of the Italian Renaissance. This work has been donated to NMAG, and is currently on display with the work that inspired it.

4 LOCALLY SPECIFIC C4 “Virgin and Child with St Stephen and St Lawrence” from the School of Verona, inspired artist Keir Smith (1950-2007) to create “Girolamo’s Conversation” (220-2007), consisting of 3 sculptures. Smith had a passion for the lesser known artists of the Italian Renaissance. This work has been donated to NMAG, and is currently on display with the work that inspired it.

5 COMMUNITY C5 Christian religious iconography sculpture above. Writer’s group.


C6 The room has always been known as The Italian Art Gallery. The collection has been used as the basis for a major exhibition and event

season, Venezia 2008, and thus drew in many new and returning visitors.

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ASSESSMENT SUMMARY Whilst these works are not of top level, they are major works by Secondary Masters, and are good examples of their kind.

The works were selectively purchased based upon individual merit to form part of the collection. Together the value of the works is more than the sum of its parts. Currently, the collection is mostly displayed together in one large room, with several items in storage. The works are not so many that they overload the viewer or dominate the space completely.

They form a cohesive and complementary collection, which is inspirational, beautiful, interesting and striking. There is a predominance of religious iconography, both Christian and Ancient Greek, within the collection.

“Virgin and Child with St Stephen and St Lawrence” from the School of Verona, inspired artist Keir Smith (1950-2007) to create “Girolamo’s Conversation” (220-2007), consisting of 3 sculptures. Smith had a passion for the lesser-known artists of the Italian Renaissance. This work has been donated to NMAG, and is currently on display with the work that inspired it.

D CONDITION / COMPLETENESSKEY POINTS D1 Is there any notable Rococo artist absent? If we were trying to have a

comprehensive inventory of Secondary Masters, who have we missed? There has not been a systematic programme of intervention that we know of. Frames are good condition. Paintings are good condition.

ASSESSMENT SUMMARY The paintings and frames are in good condition, and there has not been a systematic programme of intervention that we know of.

We do not know if the collection represents a level of completeness within the type and age of work it represents, e.g. we do not know yet if any notable secondary masters of the Italian rococo period are absent.

E HISTORICAL MEANING1 KEY POINTS E1 The collection is associated with a small group of influential local people,

Friends Members and Curators. The collection as a whole contributes to our understanding of Italian Art of

this period (C15th- C18th), in particular those works of the Venetian School.2 NATIONAL / INTERNATIONAL

E2 We do not know if other museums and art galleries have a notable Venetian School collection. If not, then it may be nationally or internationally significant.


E3 Squires and Spires! – The art collection is in great part existent due to the prevalence of landed gentry and influential churches.

The collection is notable in that there are few other Italian Art Collections in the provinces.

4 LOCALLY SPECIFIC E4 Influential local people: e.g. Hesketh’s family, Hussey, local Church fathers…

5 COMMUNITY E5 NMAG Friends Association.


E6 Mr Terry. The act of collecting a particular period of non-local art is quite uncommon

for a non-national museum or art gallery.

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ASSESSMENT SUMMARY The act of collecting a particular period of non-local art is quite uncommon for a non-national museum or art gallery. The collection is notable in that there are few other Italian Art Collections in the provinces. The collection is partly a reflection of the type of people living in the county and their tastes and interests over a long period of time.

The collection as a whole contributes to our understanding of Italian Art of this period (C15th- C18th), in particular those works of the Venetian School.

F ‘EXPLOITABILITY’1 KEY POINTS F1 Items are lent to other museums and art galleries.

Works have been used for research. The collection and items forming it have art history research and

museological research potential. As an information resource for other museums. No strong National Curriculum links, though items could be used in a

supportive role, or for other subjects, e.g. drama or citizenship. Art History Students – research… The works have been referenced in major journals and publications. Potential to be included in international journals and publications. Can add to the understanding of 18th European Culture.


F2 Only on demand. Items can be lent internationally. With more marketing, they could become a

significant international resource. One painting will soon be going to Toulouse for exhibition.

The collection feature in quite a few books, journals and publications. The collection will feature in the PCF / BBC.


F3 We would like to research why this market town collect in this way? E.g. was Lady Hesketh’s donation, a one off or a normal way of obtaining works? If many were donated / purchased from local landowners, that could be interesting…

Could be a point of local interest for tourism – as it’s unusual in the region to have such a collection.

There are possibilities for other people to use the collection in new and inventive ways. A recently an artist drew inspiration from one work to create 3 new sculptures, so this could be encouraged.

4 LOCALLY SPECIFIC F4 The works could contribute to the wider understanding of the culture of the local Italian community – in that during the 18th Century, Italian art was the pinnacle of fashion and influenced fashion, interior design and architecture as well as art itself.

5 COMMUNITY F5 The artistic communities including the Town and County Art Group…etc… The Friends Group. Potential for working groups such as the Writer’s Group to use the picture for

inspiration. University of Northampton Fashion School


F6 The collection is iconic within the museum and within existing museum visitors.

The art-focused visitor is aware of the Italian Art Collection as an iconic collection whether they appreciate the collection or not.

The collection is very much secondary in importance to the Shoe Collection. Some works have recently been made available to purchase as a high quality

canvas art print. Some items have been reproduced as postcards or as other merchandise. Reproduction fees for magazines, publications, etc. e.g. Apollo Magazine. Flickr… The collection helps us understand the development of the Art Collection at

Northampton Museum and Art Gallery. Flickr –great potential to reach new and wide (international) audiences

through this Web 2.0 platform.

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Many of the works are currently on display, and have been part of many exhibitions. As such, it is one of the collections most widely recognised by the visiting public.

The collection has been used as the basis for a major exhibition and event season, Venezia 2008, and thus drew in many new and returning visitors. It could be used in a similar way in the future.

ASSESSMENT SUMMARY Items from the Italian Art Collection have been referenced in major journals and publications, and have been lent to other museums and art galleries. Works can be lent internationally; with more marketing, they could become a significant international resource. They have been used for Art History research and have museological research potential.

The collection helps us understand the development of the Art Collection at Northampton Museum and Art Gallery.

Some items have been reproduced as postcards or as other merchandise. Some works have recently been made available to purchase as a high quality canvas art print. The works draw reproduction fees when published.

The collection can add to the understanding and impact of 18th European Culture, including its influence on fashion, interior design and architecture as well as art itself. The works could contribute to the wider understanding of the culture of the local Italian community.

The collection is iconic within the museum and within existing museum visitors. Many of the works are currently on display, and have been part of many exhibitions. As such, it is one of the collections most widely recognised by the visiting public. The art-focused visitor is aware of the Italian Art Collection as a significant collection whether they appreciate the collection or not. However, the collection is seen as very much secondary in importance to the Shoe Collection. The collection has been used as the basis for a major exhibition and event season, Venezia 2008, and thus drew in many new and returning visitors. It could be used in a similar way in the future.

Antonio Bellucci’s Diana, Photo: Northampton Museum and Art Gallery

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The Italian Art Collection held by Northampton Museum and Art Gallery is an important collection of secondary masters, particularly from the Venetian school. The collection was begun in 1868 by a donation from Rev Frederick Watkins of Brixworth Church, Northamptonshire. Active collecting of Italian art began in earnest in the early 1950s prompted by the establishment, under the Northampton Act, of an Accumulating Art Fund. Most works were consciously collected between 1967 and 1987, as a result of a committee decision to concentrate purchase in this one area of the collections. Most recently, a Guardi was offered to the Museum through the Acceptance in Lieu scheme.

Artists represented include Guardi, Antionio Zanchi, Bellucci, Giovanni Raggi, Vincenzo Damini, Benvenuto Tisi da Garofalo, plus works from the seventeenth and eighteenth century Venetian, Roman and Veronan Schools. The dates of works range from the 15th to 18th century.

The works are of a high quality but the artists have been identified as being Secondary Masters. Whilst priority was given to the Venetian School, there does not appear to be a focused, thematic or overarching systematic approach to collecting within the Italian Art theme.

Beyond the nationals and major regional museums, this collection is one of the best of its kind in Britain. The works are typically characteristic of the period and style of their production. Currently, we cannot state the international importance of many of the works or artists, or schools within the collection, but we do intend to research this. The collection helps us understand the development of the Art Collection at Northampton Museum and Art Gallery.

The works were selectively purchased, or accepted, based upon individual merit to form part of the collection. Together the value of the works is more than the sum of its parts. Currently, the collection is mostly displayed together in one large room, with several items in storage. The works are not so many that they overload the viewer or dominate the space completely.

The works form a cohesive and complementary collection, which is inspirational, beautiful, interesting and striking. There is a predominance of religious iconography, both Christian and Ancient Greek. The works could be, and have been, of significant inspirational value. Artist Keir Smith (1950-2007) drew on the collection to inspire his own work.

The paintings and frames are in good condition, and there has not been a systematic programme of intervention that we know of. We do not know if the collection represents a level of completeness within the type and age of work it represents, e.g. we do not know yet if any notable secondary masters of the Italian rococo period are absent.

The collection as a whole contributes to our understanding of Italian Art of this period (C15th- C18th), in particular those works of the Venetian School. The collection can add to the understanding and impact of 18 th European Culture, including its influence on fashion, interior design and architecture as well as art itself.

The act of collecting a particular period of non-local art is quite uncommon for a non-national museum or art gallery. The collection is notable in that there are few other Italian Art Collections in the provinces. The collection is partly a reflection of the type of people living in the county and their tastes and interests over a long period of time.

Items from the Italian Art Collection have been referenced in major journals and publications, and have been lent to other museums and art galleries. Works can be lent internationally; with more marketing, they could become a significant international resource. They have been used for Art History research and have cultural and museological research potential.

Some items have been reproduced as postcards or as other merchandise. The works draw reproduction fees when published. Some works have recently been made available to purchase as a high quality canvas art print.

The Italian Art Collection has been identified as one of the iconic collections within Northampton MNAG. Many of the works are currently on display, and have been part of many exhibitions. As such, it is one of the collections most widely recognised by the visiting public. The art-focused visitor is aware of the Italian Art Collection as a significant collection whether they appreciate the collection or not. However, the collection is seen as very much secondary in importance to the Shoe Collection. The collection has been used as the basis for a major exhibition and event season, Venezia 2008, and thus drew in many new and returning visitors. It could be used in a similar way in the future.FURTHER RESEARCH AND CONSULTATION

Use this section to indicate further research needed and to identify key individuals and/or groups to be consulted about the significance of the object Ask a history student to research the collecting policy/ committee papers / Act of

Parliament, etc, to understand better the origins and ethos behind the collection.

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Ask writers group if they’ve been inspired… check their book of works downstairs… Re. Conservation: ask an expert if there has been any insensitive restoration or notable

good repair of things etc… Someone with more time or knowledge to research the history of the represented

artists, and schools, so that we may better state the importance of the artists within the collection. Perhaps this information will come out of the Insurance Evaluation currently being undertaken.

Someone with more time or knowledge to research the history of the paintings, so that we may better state the importance of the works within the collection. Perhaps this information will come out of the Insurance Evaluation currently being undertaken.

We would like to research why this market town collect in this way? E.g. was Lady Hesketh’s donation, a one off or a normal way of obtaining works? If many were donated / purchased from local landowners, that could be interesting…

We do not know if other museums and art galleries have a notable Venetian School collection. If not, then it may be nationally or internationally significant.

Is there any notable rococo artist absent? If we were trying to have a comprehensive inventory of Secondary Masters, who have we missed?

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3.3 Some comments from the pilots:

National Trust Museum of Childhood, Sudbury Hall

Statement of Significance ProcessWe applied the Statement of Significance process to three very different objects from the Museum of Childhood collections. Going through this process with the consultants really did challenge the way we had previously dealt with these objects and provoked a lot of deep thinking and questions about the interpretation of them. On a larger scale we could see how this would indeed help inform out understanding of the quality of the collection and the value different audiences would give to the objects.

The recommendations from the Collections Review regarding our store locations are helpful and could help to inform future planning/funding priorities.

Buxton Museum and Art Gallery

Statement of Significance ProcessWe wanted to look at how the tool could be used over a large collection/archive – to establish the significance of the whole and of the parts and so to inform us of where effort needed to be placed. Did this confirm/challenge our thinking? It might have done if we were newer in post and less familiar with the material.

Collections Review Process … we were able to use a sampling method to start to build up the picture. We still felt this required curatorial knowledge (probably extensive for collections) and thought it could be a good tool to be used alongside a Monument Trust Fellowship for this sort of collection, or by people with varied knowledge of other collections. Having said this, you could highlight areas where you needed to gain more knowledge.

We felt it would develop a good discipline to record the thinking about collections – selections for acquisition, or for exhibitions.

We felt that it may be more effective in a larger organisation or with a larger team, but that if the discipline could be developed/imposed, then it would be good for succession planning.

It would have been a useful tool in prioritising a big tidy-up programme.

Short list of the processes / areas of working practice that the Framework could be used to support?Acquisition; exhibition selection; prioritising resources for improvements in galleries and stores (at al levels and costs); prioritising conservation expenditure; prioritising research needs; a model for new starters and volunteers in understanding collections; rationalisation.

Erewash Museum

Statement of Significance Process … it was a valuable exercise to conduct the Statement of significance Process in the way that we did. Although we were all somewhat sceptical of the merits of assessing a piece of paper ephemera, the process yielded much more than we had initially expected. Likewise, assessing a display featuring part of a collection, (instead of looking at a collection to see what is suitable for display) helped highlight the strengths and weaknesses of the gallery in a constructive and rational way. I think that testing the toolkit in these slightly unorthodox situations demonstrated how well it was working by the time the Erewash pilot took place.

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PART 4 ANNEXES

4.1 The Australian Significance model

The Collections Council of Australia published Significance: a guide to assessing the significance of cultural heritage objects and collections in 2001. A new edition, Significance 2.0: a guide to assessing the significance of collections, was published in mid 2009. Significance assessment is a practical and effective process of studying and understanding the meanings and values of objects and collections. The process involves three tasks: analysing the object; understanding its history and context; and identifying its value for communities.

The Australian Significance model supports curators to produce a ‘Statement of Significance’ that assesses and describes the value of collections and individual objects for past, present and future generations in terms of four ‘primary criteria’: historic artistic or aesthetic scientific or research potential social or spiritual

Five comparative criteria are used to evaluate the degree of significance. These are modifiers of the main criteria: provenance rarity or representativeness condition or completeness interpretive capacity

4.1.1 The principles underpinning Significance

1 Manage items and collections to conserve their meaning and valuesThere is an obligation in managing public collections in trust for communities to ensure that their meanings and values are conserved for current and future generations. Conservation means all of the processes involved in looking after an item or collection so as to retain its significance. Significance assessment is the key process to explore and describe the meanings and values of items and collections.

2 Understand significance before making decisions about items and collectionsSignificance helps guide decisions about all aspects of the management of items and collections, including acquisitions, preservation, risk assessment, access, interpretation, return and repatriation. It makes sense to understand how and why an item is important before making decisions that could affect its conservation or meaning.

3 Recognise important relationships between people, places and collectionsEvery item and collection has associations with people and places. These associations can be an important element of their significance. Relationships with people and places are easily ruptured as items are moved into collections. Recognising and documenting the connections between people, places and collections illuminates their meaning and may guide decisions about how items and collections are managed.

4 Identify and consult people and communities who may have a particular interest in items and collectionsAlways ask ‘to whom is the collection or item important?’ Collection managers can learn a lot about the significance of items and collections by consulting people and communities who have knowledge of how an item or collection was made, used or valued. This knowledge may not be available in the future so it is important that people and communities are consulted without delay, as an integral part of the process of assessing significance. Conserving the significance of some items may require the continuing involvement of interested people or communities.

5 Recognise and respect the relationship between Indigenous people and collectionsCollections may hold special values and meanings for Indigenous people, illuminating culture, country, beliefs, identity, and family and community history. Understanding the significance of items and collection made by or about Indigenous people requires consultation and the continuing involvement of appropriate Indigenous people and groups. This helps to ensure that the significance of the item or collection is properly understood, and that the meaning and values of the item are conserved into the future.

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6 Keep good records to preserve the significance of items and collectionsSignificance assessment is based on good records, which answer questions about collections now and in the future. Preservation, access, research and the security of collections all rely on good records. The records of collections may be an important dimension of their significance, linking items with intangible meanings and enhancing research values.

7 Foster research exploring the context and meanings of items and collectionsResearch in all its forms animates and illuminates the significance of items and collections. It also builds relationships between collections, custodians and those who have an interest in, and knowledge of the material. Research may change understanding of significance and unlock the potential of collections to contribute to Australian life today and in the future.

8 Consider that there may be different points of view about what makes an item or collection significantCommunities and collection managers may have different views about what makes an item significant. Significance can encompass a range of ideas about how and why the item is valued. All values should be considered and expressed in the Statement of Significance.

9 Consider that significance may change over time and need reinvestigationSignificance is not fixed in time but may alter with changes in communities, culture, politics, science and the environment. New research may lead to the reappraisal of the significance of items and collections. Statements of significance should be reviewed from time to time to take account of change and new research.

Information taken from Collections Council of Australia website: www.collectionscouncil.com.au

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4.2 The UCL Collection Review Model

UCL Museums & Collections developed the Collections Review Model in order to assess their collections, with a specific focus on how to care for and use them. The Collections Review was the first ever survey carried out across all the stores and museums, from Art to Zoology collections, in one continuous project.

The result was a clear and accurate picture of the contents of these collections, where and how they were housed and to what degree they were integrated into teaching, research and public engagement at UCL. The overarching nature of the Review also considered the historical significance of the objects in the collections and their potential for use in future UCL projects.

4.2.1 Overall Aims

To ensure that UCL has the collections it requires in order to fulfil its short and long-term strategic objectives

To develop an overarching acquisition and disposal policy for UCL Museums & Collections, and review policies for individual museums and collections

To develop a methodology for assessment, disposal and renewal that could be adopted by other universities and museums

To dispose of those collections UCL no longer requires openly and responsibly, in a manner which clearly serves the strategic aims and overall mission of UCL, its museums and collections

4.2.2 Collection Aims

Identify all collections material held by UCL and the type and extent of the collections. How many objects does UCL hold? What are the highlights?

Identify the number and location of stores, on-site and off-site. What is the condition and security of stores? How much material is on display, how much in storage?

Identify current curatorial activity and standards, for example, collections management. What is the extent of any documentation backlogs? What condition are our collections in?

Analyse and identify general conclusions about current provision, for example, support for teaching and research,

public access and engagement

Identify what material we use for teaching and research. Do the collections need to integrate more fully into UCL as a resource and service? Is there the potential in our collections to do this?

Generate better/greater use of the stored collections

Provide a framework for the individual collections to benchmark themselves for future development and identify future needs

Develop a new standards framework with regard to forward planning, teaching and research, documentation, storage provision, collections care, conservation and disaster planning

Produce a rigorous Acquisition and Disposal policy for each collection and develop a methodology for assessment, acquisition, disposal and renewal

The Collections Review was designed to cover all aspects of the physical care and intellectual value of the nearly 380,000 objects in the collections within a single, all-encompassing review. By considering both these elements it was possible to determine exactly how the collections are used in day-to-day teaching and research, and simultaneously

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assess strengths and weaknesses. The Collections Review helps collection staff to prioritise and highlight areas where work is needed, and enable UCL Museums & Collections to realise their full potential.

4.2.3 Process

The Collections Review used an original methodology. This methodology was developed with reference to other review processes conducted at various other museums e.g. the Natural History Museum and the National Maritime Museum, and was tailored to apply to the UCL context. The final product was the Collections Review Rubric, which allowed for different aspects of collections care and use to be rated in a single survey of all the material held by the collections. Assessment criteria covered all aspects of collections care, such as storage, security, environmental conditions, housing material, documentation and ownership, as well as the ways in which the collections are used in teaching, research and public engagement, and their historical and uniqueness values. The Review also involved counting the number of objects held in the collections as accurately as possible. This was done by accession number where possible, with estimates made with less well-documented collections where the sheer volume of material made counting individual objects impractical.

In another innovation, in order to deal with the large quantities of objects contained in the collections plus the wide variety of collection type, objects were rated collectively by Review Units. The size of the Review Unit, e.g. a drawer within a given cabinet or a shelf within a given case, was determined to allow for the greatest possible efficiency in counting the objects within that unit. By this logic, a Review Unit may be as small as a single box or drawer or as large as an entire room, depending on the quantity of objects it contains.

Once the Reviews of each collection had been conducted the data gathered were calibrated to ensure a consistent approach to physical matters such as security and environmental conditions, and formatted to allow for analysis. Each Collections Review Report lists recommendations for work that needs to be done to improve collections care and, where possible, to increase use. These recommendations are also listed in an Action Plan in order of priority. The priority of recommendations are based on the system used by the UCL Internal Audit Services and have been tailored to meet the purposes of the Collections Review. The Action Plans provide a format in which recommendations can be systematically enacted and which can be integrated into each collection’s strategic plan.

The outcomes of the Collections Review have highlighted some very practical measures for improving collections care, and clear directions for consideration to be adopted by UCL Museums & Collections. While reports have been written outlining detailed and specific recommendations and action plans for individual collections, recommendations were also outlined that have been enacted centrally to ensure the strategic management and development of UCL Museums & Collections as a whole.

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4.3 Using the Collections Trust Revisiting Collections approach to support Reviewing Significance

Revisiting Collections is an innovative methodology developed by the Museums, Libraries, Archives Council (MLA) and Collections Trust. There are Revisiting Collections toolkits for museums and archives. In summary, these support collection managers to:

Research, reveal and record information known to the museum or its staff, but held outside the accessible collections information management system

Open up the collections for external scrutiny and comment

Work closely with community groups or individuals with a special perspective or knowledge in order to reveal a new understanding of objects and records

Conduct new research into collections and identifying objects and records that contribute to our awareness of the interlinking histories of a diverse population

Give respect and value to newly revealed information about objects and records by incorporating it into the collection information management system and making it permanently accessible to all users through re-cataloguing, re-description and re-interpretation

Use this enhanced understanding of the relevance of their existing collections as a platform for proactive work with non-traditional audiences

The museum toolkit’s procedures for modifying museum object documentation are incorporated into the 2009 edition of SPECTRUM (v.3.2), the Collection Trust’s national industry standard for museum documentation. The Revisiting Museum Collections toolkit can be downloaded and further information can be seen on the Collections Link website: http://www.collectionslink.org.uk/?ct=search.home/tagList/108

We recommend that East Midlands museums seeking to assess the significance of their collections, or individual objects, consider using the Revisiting Collections approach to gather input from current and former colleagues (including volunteers), external subject specialists and community groups. This will help reveal and record new perspectives and demonstrate the multiple layers of meaning museum collections hold for a diversity of current and potential audiences.

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http://www.collectionslink.org.uk/?ct=search.home/tagList/108

ACKNOWLEDGEMENTS, REFERENCES AND CONTACTS

Copyright in all the photographs used in this publication rests with the consultancy team unless otherwise credited

References

Item For further information:Benchmarks in Collections Care from Museums Archives and Libraries: A self-assessment checklist Resource, 2002 (database version MLA/Collections Trust 2007)

Context and downloadable in PDF and database formats at: http://www.collectionslink.org.uk/index.cfm?ct=search.home/catList/2

The heart of all we do: a collections development strategy for East Midlands’ museums 2009-2019 – particularly Chapter 4 in the full versionRenaissance East Midlands, 2009

Contact Renaissance East Midlands

Significance 2.0: a guide to assessing the significance of collectionsBy Roslyn Russell and Kylie WinkworthCollections Council of Australia Ltd, 2009

Context: http://www.collectionscouncil.com.au

Downloadable PDFs: http://significance.collectionscouncil.com.au/print

Revisiting Collections methodology, toolkits and context

Context and downloadable PDFs: http://www.collectionslink.org.uk/Increase_access/revisiting_collections

The UCL Collections Review model http://www.ucl.ac.uk/museums/review/

Project team:Jonathan Wallis REM Project leaderStuart Davies REM Project managerCaroline Reed Framework development consultant (lead contact)Jayne Dunn Framework development consultantSubhadra Das Framework development consultantEmma Passmore Framework development consultant

Museums participating in the piloting phase:

Museum Focussing on these collections/locations:Buxton Museum and Art Gallery Romano British archaeology, archaeological/geological archives

including books, papers, photographs, personal artefacts and specimens

Erewash Museum Industrial heritage collection and art store

Flintham Museum Whole collection: the contents of one-time village shop, business records and personal papers of its owners

Lincolnshire County Council Culture and Adult Education - Museum of Lincolnshire Life

Textile and Costume Collection and the Large and Working Object Collection

National Trust Museum of Childhood Collections held in museum stores

Northampton Museum and Art Gallery Italian paintings collection

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http://www.ucl.ac.uk/museums/review/

http://www.collectionslink.org.uk/Increase_access/revisiting_collections

http://www.collectionslink.org.uk/Increase_access/revisiting_collections

http://significance.collectionscouncil.com.au/print

http://www.collectionscouncil.com.au/



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