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Orphaned Collections in West Midlands local authority museums:
A mapping study
Contents
Introduction 2
Methodology 2
Definition of ‘Orphaned’ Collections 3
Summary of findings 4
Local authority museums in the West Midlands and their collections 5
Relative size of collections 16
Active and inactive collecting areas 18
In‐house specialist knowledge and access to expertise 18
The ability of museums to offer specialist advice to other museums in the region 20
Stored collections 21
Collections identified as being ‘orphaned’ or at risk 22
Collection areas which are currently of most concern 23
Opportunities for closer co‐operation with other museums and institutions
in the region 24
Barriers to closer collaboration 25
Regional awareness of good practice 26
Other collections in the region at risk 26
Conclusions 27
Recommendations 30
Appendix A: Orphaned Collections Mapping Programme questionnaire 32
Appendix B: Perceived strengths and weaknesses in local authority museum
collections 34
Appendix C: Examples of good practice in the other UK regions and nations 36
Appendix D: Subject Specialist Networks 41
Appendix E: West Midlands Regional Geology Stewardship project 49
Appendix F: Case Study: MOTHS (Museums on the High Street) 51
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Orphaned Collections in West Midlands local authority museums:
A mapping study
Introduction
The West Midlands Museum Development (WMMD) Programme has commissioned this mapping
study to identify Orphaned Collections in Accredited Local Authority collections in the West
Midlands region and to help develop a strategy to strengthen their position and to improve their
visibility with stakeholders.
The aim of the study is to identify the publicly owned collections which are most at risk from a
reduction in specialist staff expertise and knowledge. Local Authority services were identified as a
priority for this review because of the broad range of collections that they hold and the well‐
documented impact of the reduction in financial and human resources on their collections over
the last few years.
The main objectives of the survey were to identify where there are already regional gaps in
collections specific expertise, which types of collection are most at risk of becoming orphaned and
where support might be found to mitigate the risks.
Methodology
The information presented in this study is drawn from a survey of collections in West Midlands
local authority Accredited museums and desk‐top research that was undertaken in January 2016.
A questionnaire was distributed via email to collection officers in all local authority museum
services in the West Midlands region (all but one of which are Accredited). This was designed to
identify collections that may already be considered ‘orphaned’ and those which are at risk of
becoming orphaned. The questionnaire also sought to determine levels of access to specialist
expertise and to identify areas where individual museums might co‐operate in order to improve
the quality of care for particular collection types.
A copy of the questionnaire is available in Appendix A.
Desk‐top research was undertaken to identify relevant work previously undertaken and examples
of good practice elsewhere in the UK. Contact was made with Museum Development Officers in
the other English regions and the museum development agencies in the other UK nations.
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Information was also sought from the Subject Specialist Networks (SSNs) along with research into
developments in other parts of the world. This research is summarised in Appendix C and
Appendix D.
The questionnaire was distributed early in January 2016 and recipients were asked to respond by
25 January. This deadline was extended for two weeks as a number of museums were unable to
provide the required data in the time given and it was intended to conduct as comprehensive a
survey as possible.
Reminder emails were sent to a number of museums and, eventually, all the Accredited museums
in the cohort completed the survey.
One service submitted three separate returns for each individual museum within its remit. The
collections data was incomplete in the return from several services and can only be regarded as
indicative.
Definition of ‘Orphaned’ Collections
Throughout this report the term ‘orphaned collection’ is taken to mean a collection that no longer
has specialist curation. As curatorial posts disappear, so collections become ‘orphaned’.
This term would accurately apply to a collection for which there is no‐one (members of staff or
expert volunteers) within the museum who holds specialist knowledge of that collection and is
able to properly advise on its care and use.
The impact of such a loss of knowledge can be quite significant, as a particular collection may in
effect ‘disappear’ from the public view, overlooked by the remaining staff and no longer used in
exhibitions and displays.
In many museums responsibility for a collection area has been passed to someone with a
background in an associated discipline. For example, a number of archaeology collections are now
part of a wider ‘local history’ collection, under the care of a social history curator. In some better
resourced museums a degree of training may be provided to give non‐specialists an overview of
the particular needs of a collection for which they are now responsible. In others, they may be left
to their own devices to pick up as much knowledge they can.
It has been suggested that the impact of the loss of specialist expertise is greater for some
collection types than others. A recent survey reported by the Museums Association showed a
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decline in natural science curators of over 35% in the past 10 years and biological collections, by
their very nature, are extremely vulnerable to decay and cannot be left without care.
The Museums Association’s annual cuts survey illustrates the impact of local authority spending
reductions on collections based work in museums. The most recent survey (2015) shows that
almost a fifth of respondents are planning to do less work on exhibitions, 17% less on research into
collections and 12% less on collections management. These figures accord with those in preceding
years and suggest that staff cuts are resulting in a significant loss of knowledge and expertise. The
survey concludes that: ‘After several years of staff cuts, many respondents this year have raised
concerns about the loss of skills and expertise and the impact this is having on the quality of the
museum’s work.’
The term ‘orphan’ is sometimes employed to describe an object whose provenance is doubtful,
disputed or unknown and which cannot therefore be legally licenced for copyright purposes. It is
estimated, for example, that more than two million archive photos in the Imperial War Museum
are unavailable for cultural or commercial use for this reason. This is an issue which has been
discussed by the European Commission, which proposed a draft Directive on Orphan Works. It is
not an issue that is covered by this study.
Archaeological finds that are missing contextual information and archaeological collections that
museums have declined to acquire have also been described as ‘orphaned’. Again, this is not a
definition that is used in this study.
Summary of findings
The survey indicates that there are already a number of collections identified as orphaned. These
include archaeology, numismatics, costume and textiles, social history, agriculture, natural
sciences, decorative art, fine art, archives and photographs. There are some collection areas where
there are either a very small number of salaried specialist posts or none at all.
The collection areas mostly commonly cited as being of ongoing concern are:
archaeology (9)
numismatics (6)
natural sciences (4)
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costume and textiles (3)
arms and armour (3)
geology (2)
Some collections receive support from non‐specialist officers whose remit covers a number of
subject areas but who have knowledge of one or two fields.
Some museums have specific concerns relating to a particular collection, its storage,
documentation or their capacity to address these issues.
The specific local context differs from service to service, but all are facing continuing, and in some
cases severe, funding reductions.
Local authority museums in the West Midlands and their collections
Twenty local authorities in the West Midlands currently provide museum services, with a further
authority, Stratford‐on‐Avon District, involved in a partnership with Warwickshire County Council
to support Roman Alcester. With one exception (Staffordshire Moorlands), all these services are
fully Accredited. Between them, they are responsible for the care of more than two million
individual objects and archival items. Their collections are rich and diverse, and contain material of
local, regional, national and international significance, reflecting the region’s remarkable human
and natural history. Many collections also provide a window on the wider world, reflecting other
cultures and artistic traditions. Coventry and Stoke‐on‐Trent hold collections that are Designated
as being of outstanding significance.
Many of these municipal collections have their origins in collections begun by local scientific and
antiquarian societies in the 19th century. The Warwickshire Natural History and Archaeological
Society collection was begun in 1836, for example, and transferred to the Warwickshire Museum
when it was created by Warwickshire County Council in 1932. Such collections were often wide‐
ranging, and included examples of what we would now term ‘world history’ material. In
subsequent years, collecting in many museums has often focused on objects and specimens with
local or regional provenance, association, connections or relevance. Consequently, some collecting
areas have become inactive and those collections are regarded as ‘closed’.
A summary of each museum service, highlighting the range and strengths of their collections, is
given below.
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Coventry
Coventry has extensive archaeology, social and industrial history, costume, natural history, visual
art and transport collections.
There are around 15,000 objects in the archaeology collection including important examples of
Medieval stonework. Social and industrial history holdings include Designated transport
collections, material relating to ribbon weaving, a large collection of photographs and more than
200 oral history recordings. The natural history collection holds around 180,000 specimens ranging
from birds, fish and mammals through to rocks, minerals, fossils and insects. The visual arts
collection includes paintings, drawings, prints, textiles, sculptures, ceramics and works in new
media. As well as topographical views, particular strengths are British watercolours, British 20th
century painting and British figure drawing. Extensive road transport collections include cars,
commercial vehicles, cycles, motorcycles, engines, advertising signs and other related material.
There is also a large transport archive.
The Culture Coventry charitable trust, which was set up by Coventry City Council in 2013, manages
two museums, a resource centre and two historic sites:
The Herbert Art Gallery & Museum
Coventry Transport Museum
Coventry History Centre
The Lunt Roman Fort
The Priory Visitor Centre
Dudley
Dudley’s collections are particularly rich in geology, glass and fine art. Although not Designated,
the geological and glass collections are widely recognised as outstanding. The geological collection
is of international significance and contains the definitive collection of Much Wenlock limestone
marine invertebrate fossils as well as a fine collection of Middle Coal Measures plant and animal
fossils. The glass collection covers more than 400 years of production and includes more than
10,000 items. 18th century tableware, Victorian cameo glass, paperweights and contemporary
studio glass are all well represented. The fine art collection includes Victorian oil paintings, 19th
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and 20th century British watercolours, modern prints, and works of local and topographical
interest.
Dudley Museums Service currently operates two sites and has a large store:
Dudley Museum and Art Gallery
Red House Glass Cone ‐ the last surviving complete glass cone in Stourbridge
Himley Hall collection store ‐ the museum service also contributes to exhibitions and
activities held here
The Broadfield House Glass Museum closed in September 2015 and its extensive collections are
being transferred to a new display at the White House Cone.
Herefordshire
Herefordshire’s wide‐ranging collections hold around 100,000 objects mostly reflecting the
cultural and natural history of the county.
The costume and textile collection is of national significance and includes 18th and 19th century
costume, as well as 19th‐20th century agricultural smocks.
The fine art collection includes early English watercolours, work by artists with local associations,
in particular First World War artist Brian Hatton, and works on paper. Decorative art holdings
include studio ceramics, pottery, glass and silverware, as well an outstanding collection of English
oak furniture.
The archaeological collections are particularly strong in Iron Age and Roman objects, but
incorporate substantial collections of Saxon, Medieval and post‐medieval excavated material.
Natural history material includes early Woolhope Club collections such as herbaria, geological
specimens and invertebrates.
The social history collection encompasses local crafts, trades, agricultural implements, wheeled
vehicles, domestic artefacts and documentary archives. It includes a collection of photographic
equipment and items belonging to the antiquarian Alfred Watkins, the author of the Ley Line
theory.
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There are also collections of arms and armour, ethnographic material and numismatics, including
two hoards and individual coins recovered from the Roman town of Magna at Kenchester.
Herefordshire Museums operates three sites:
Hereford Museum and Art Gallery, which opened in 1874, but is temporarily closed
due to the discovery of trace levels of asbestos
The Old House, a 17th Century timber‐framed building, furnished to give an insight
into daily life in the Jacobean period
The Museum Resource and Learning Centre, a climate controlled central storage
facility which also offers curatorial advice and monthly identification sessions and
drop in visits
Leamington Spa (Warwick District Council)
Leamington Spa Art Gallery & Museum (LSAG&M) has over 12,000 objects in its collections,
including works of art, craft, sculpture, glass, ceramics, local and social history, numismatics,
archaeology and ethnography. Most have been donated by local people, beginning in the 1860s
and continuing to the present day.
An additional specialised field of collecting, art and medical sciences, was adopted after LSAG&M
moved to the Royal Pump Rooms in 1999. This reflects the history of the building as a centre for
different types of medical treatments, especially hydrotherapy and physiotherapy. Contemporary
British artists represented in the collection include Damien Hirst and Marc Quinn. A number of the
acquisitions were funded through the Medicate Project, which was supported by the Wellcome
Trust between 1999 and 2005.
Newcastle‐under‐Lyme
Newcastle‐under‐Lyme’s collections relate primarily to the history of the town and include social
history, archaeology, decorative arts, costume and a large photographic collection. The collections
hold around 30,000 items.
The social history collection is wide ranging and covers commerce and industry, childhood,
wartime, medicine and community life.
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The service operates one venue, the Brampton Museum and Art Gallery, which features a ‘street
scene’ of reconstructed shop displays and other interiors including a doctor’s surgery.
Nuneaton
Nuneaton Museum and Art Gallery cares for around 15,000 objects and photographs. The social
and industrial history collections include material relating to the area’s coal mining industry,
commercial and domestic life in the late 19th and early 20th century and personalia. There is also
a relatively large military/wartime collection. The fine art collection includes a core collection of
late nineteenth‐century oil paintings, work by local artists and works collected from local art
society shows during the 1970s and 1980s. Significant paintings in the collection include Before the
Deluge by the 17th century Flemish artist Roelandt Savery, and the Battle of Vitoria by the military
painter James Prinsep Beadle. There is a strong ethnography collection.
The Museum and Art Gallery is located in the grounds of Riversley Park and houses displays
related to local history, fine art, the author George Eliot and the television personality Larry
Grayson, who was born locally.
Redditch
Redditch has a unique and comprehensive collection of material illustrating the heritage of the
local needle‐making and fishing tackle industries. The collection includes some very rare needle
and fish hook displays which were made for the British Empire exhibition of 1924, needle cases
produced by the Redditch needle companies and a large collection of photographs relating to the
needle industry.
Much of the collection is displayed in the Forge Mill Needle Museum, which is housed in the
world’s sole surviving water powered scouring mill along with much of the original Victorian water
powered machinery. Models and recreated scenes show how needles were made, and how
Redditch once produced 90% of the world's needles.
The museum service is also responsible for a collection of archaeological material excavated from
the nearby Bordesley Abbey.
Rugby
Rugby’s collections include archaeological material excavated at the site of the Romano‐British
town of Tripontium and extensive social and industrial history collections, reflecting community,
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domestic, personal and working life in the town, particularly its engineering heritage. The core of
the fine art collections is the Rugby Collection, which was begun in 1946, when the Town Council
adopted a policy to acquire ‘works by artists of promise and renown’. In the years that followed
the gallery acquired work by Paul Nash, Christopher Wood, LS Lowry, Bridget Riley, RB Kitaj, Lucian
Freud and John Duncan Fergusson. Other significant works include The Bride’s Secret Diary by
Paula Rego, and Three Groups of Figures on a Pink Ground by Barbara Hepworth. The collections
are housed and displayed in Rugby Art Gallery and Museum, which since 2008 has also become a
formal depository for archaeological archives from Rugby Town and the parishes immediately
surrounding the town.
Sandwell
Sandwell’s collections include a fine collection of Ruskin Pottery, significant collections of 17th and
19th century furniture and a strong costume collection but do not fully represent the diverse
history of the borough.
Sandwell Museums Service operates seven sites:
Bishop Asbury Cottage, the 18th century boyhood home of Francis Asbury, America’s
first Methodist bishop
Galton Valley pumping station
Haden Hill House Museum and Haden Old Hall
The Manor House Museum
Oak House Museum, a 16th century farmhouse
Tipton Community Heritage Centre, which is housed in Tipton library
Wednesbury Museum and Art Gallery
Shropshire Museums
Shropshire Museums care for more than 300,000 objects. These collections have been built up,
mainly through public donations, over 180 years. Principal collections are archaeology, decorative
arts, geology and natural history, together with the agricultural material at Acton Scott.
Shropshire Museums currently runs six museum sites and a museum resource centre.
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Shrewsbury Museum & Art Gallery was recently relocated to the town’s Old Music
Hall complex. The museum’s collections reflect the county’s geology, ecology and
archaeology. There is also a rich collection of fine and decorative art including
Caughley and Coalport porcelain.
Acton Scott Historic Working Farm houses collections which reflect traditional
farming practices and life on an upland South Shropshire Farm at the end of the 19th
century.
Coleham Pumping Station houses two steam‐driven beam engines which were
installed in 1900 as part of the town’s new sanitation system.
Ludlow Museum was founded by the Ludlow Natural History Society in 1833 and is
one of the oldest museums in the UK. It is currently closed and being relocated in the
Buttercross.
Much Wenlock Museum was recently refurbished with Heritage Lottery Fund
support. Its collections reflect the archaeology of southwest Shropshire, the history
of the town, including the Wenlock Olympian Games, and the geology of Wenlock
Edge.
Shrewsbury Castle houses the collections of the Shropshire Regimental Museum
Trust including pictures, uniforms, medals, weapons and military equipment.
Ludlow Museum Resource Centre houses climate‐controlled collections for the entire
county including internationally important geological material.
The future of the service is uncertain as Shropshire Council has announced that it will cut the
£800,000 museums and tourism budget to zero in 2017/18.
Stafford Borough
Stafford’s collections are primarily site‐specific. For example, the collections housed at Izaak
Walton Cottage relate to the history and evolution of angling.
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Stafford Borough operates three sites:
The Ancient High House (which also houses the Staffordshire Yeomanry Regiment
Museum)
Izaak Walton Cottage
Stafford Castle and Visitor Centre
Staffordshire
Staffordshire’s collections focus on the history of the county during the past 200 years and are
particularly strong in social, rural and agricultural history. Themes such as health, childhood,
domestic life and service are well represented within the social history collections. The collection
also includes a number of fine horse‐drawn carriages, the nationally significant Douglas Haywood
Puppet Collection and an extensive costume collection, which ranges from wedding gowns to
servants’ dress. There is also a significant collection of shoes and boots from Lotus Ltd, Stafford
and Stone's last shoe manufacturer. The large and varied photograph collection contains over
40,000 photographs covering Staffordshire places, buildings, people, trades, organisations,
activities, entertainment, transport and events since the 1850s.
The fine art collection reflects the landscape and people of Staffordshire and includes work by
both local and nationally known artists. Contemporary crafts include jewellery, automata, textiles
and toys.
Staffordshire Archives & Heritage manages the collections at two sites:
The County Museum at Shugborough
The Shire Hall Gallery in Stafford
Staffordshire Moorlands
The Nicholson Collection comprises around 900 paintings, drawings, embroideries, ceramics,
costumes, coins and other artefacts that reflect the history of Leek and of the Staffordshire
Moorlands. A selection of this material is displayed in the Nicholson Art Gallery and Museum,
which is housed on the first floor of the Grade II listed Nicholson Institute building in Leek. The
service is not Accredited and is not included in the survey.
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Stoke‐on‐Trent
Stoke‐on‐Trent’s collections comprise more than 650,000 individual objects and have local,
regional, national and international significance. The city’s collection of Staffordshire pottery is
acknowledged as the finest in the world. Recent additions include Victorian Minton and Doulton
ware, works by Turner prize winner Grayson Perry and a major collection of 20th century studio
ceramics. There is also a definitive collection of sanitary‐ware. A strong archaeological collection
includes material from the Anglo‐Saxon Staffordshire Hoard, which is co‐owned with the
Birmingham Museums Trust.
There are extensive natural history and geology collections, as well a Mark 16 Spitfire, designed by
the locally‐born Reginald Mitchell. The fine art collections include works by artists associated with
The Potteries as well as nationally significant contemporary artists such as Mona Hatoum, Richard
Slee and Edmund de Waal, acquired through the Contemporary Art Society’s Special Collection
Scheme. A strength of the decorative art collection is work by contemporary makers that blurs the
distinction between arts and crafts. All the collections are Designated.
Stoke‐on‐Trent City Council currently operates two museums (a third, Etruria Industrial Museum is
currently mothballed):
The Potteries Museum & Art Gallery
Gladstone Working Pottery Museum
Tamworth
Tamworth’s collections include Tudor, Jacobean, Georgian and Victorian furniture and furnishings
(many of which are used to interpret the period room displays within the Castle), social and
industrial history (including examples of locally produced ceramics and terracotta), numismatics,
arms and armour. The archaeological collection contains the findings of local excavations, mostly
undertaken during the 20th century. There are also small fossil and mineral collections and a
nationally significant Victorian botanical collection of Staffordshire and Warwickshire mosses and
wild flowers. The visual art collection includes oil paintings, portraits of significant local figures,
including Sir Robert Peel, and topographical works.
Tamworth Borough Council operates a single site, Tamworth Castle Museum.
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Walsall
Walsall’s leather collection is extensive and is particularly rich in material relating to saddlery and
harness making, the production of small leather goods, luggage and accessories and associated
metal trades (lorinery). There is also an outstanding collection of trade catalogues covering the
periods 1870‐1920 and 1980‐present. The social history collections, which are now in storage,
reflect the diversity of trades in the six towns of Aldridge, Bloxwich, Brownhills, Darlaston,
Willenhall and Walsall itself. The Hodson’s Shop Collection of early to mid‐20th century everyday
clothing (the unsold stock of a Willenhall draper’s) is of particular significance.
Following the recent closure of Walsall Museum, the Museums Service now operates only one
site, Walsall Leather Museum, which is housed in a renovated former 19th century lorinery works.
Warwickshire Museums
Warwickshire’s collections reflect the county’s natural and cultural heritage and are particularly
strong in archaeology and social history. The archaeological holdings include Palaeolithic, Roman,
Early Saxon and Medieval material. The Palaeolithic material is of international importance and
there are around 10,000 Roman objects including finds from the sites of Alcester, Mancetter and
Coleshill. The social history collection reflects community, domestic and working life within the
county, particularly within the date range of 1850‐1950, and includes around 1700 dolls, toys and
games.
Natural history collections encompass botany, zoology and invertebrates, and there is an extensive
collection of fossils.
The numismatics collection is among the larger collections in the West Midlands, containing
around 8,000 coins. The large collection of costume, accessories and textiles is of regional
significance, and includes the Sheldon Tapestry Map of Warwickshire c.1588. There is also a small
number of musical instruments of significance, including a lute by Hans Frei and a harpsichord by
Herman Tabel.
The service operates two museums:
St John’s Museum is housed in a Jacobean mansion, and showcases the social history
collections, with displays on childhood, toys and games, education, costume and
domestic life. Other collections include fine art and geology. The building also
houses the Royal Warwickshire Regiment of Fusiliers Museum.
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The Market Hall Museum is currently closed for refurbishment, funded by the HLF,
and is scheduled for re‐opening in the Summer of 2016
Warwickshire County Council is also a partner with Stratford on Avon District Council and Alcester
Heritage Trust in Roman Alcester. This museum displays a large collection of Roman household
objects, coins, jewellery and other items discovered in the town, which were previously held in the
Warwickshire Museum.
Wolverhampton
Wolverhampton Art Gallery has a very strong collection of visual art, including 18th, 19th and 20th
century British paintings, and post‐1960s visual art, particularly British and American Pop Art.
There is also a special collection of contemporary work relating specifically to the Troubles in
Northern Ireland. Decorative art collections include many examples of locally made japanned
ware, enamels and steel jewellery, some of which is displayed at Bantock House within a series of
period room settings. Local history material includes dolls and toys. A small selection of decorative
art and craft items, particularly enamels, is also held by Bilston Craft gallery. The Fraser geological
collection (which is now closed to further acquisition) includes about 7,000 specimens, primarily
British fossils.
Wolverhampton’s Culture, Arts and Heritage service operates three museum sites:
Wolverhampton Art Gallery
Bantock House, a partially refurnished Edwardian family home
Bilston Craft Gallery (the emphasis here is on temporary exhibitions)
Worcestershire
Museums Worcestershire cares for the museum collections of the city of Worcester and the
county of Worcestershire.
Worcestershire county's wide‐ranging collections reflect the cultural history of a quintessentially
rural English county. They include a nationally important collection of gypsy caravans, costume,
domestic history, archaeology, travel and transport and examples from significant industries
including the Bromsgrove Guild.
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Worcester city’s collections include Victorian natural history collections, a fine art collection with a
focus on the landscape, and social history and archaeology collections that reflect the human
occupation, development and use of the county town. There are significant items from
Worcester’s main industries of glove, porcelain and sauce‐ and vinegar‐making.
Museums Worcestershire is responsible for three sites:
The County Museum at Hartlebury Castle
Worcester City Art Gallery & Museum
The Commandery
Wyre Forest
The collections at Bewdley Museum contain items associated with the social history of the area,
geological and archaeological specimens, a 19th century herbarium, fine arts, coins, medals and
other objects. The extensive photographic collection and oral history recordings are a particular
strength.
The fine art collection includes paintings that were transferred from Kidderminster Museum,
etchings by Frank Brangwyn and drawings by Lord Leighton. Archaeology has been identified as
the weakest collecting area as it has not been catalogued.
Relative size of collections
The largest collection areas, in terms of the number of individual objects, are archaeology, biology,
social history and geology. With the exception of social history, these collections are largely
taxonomic in nature, with large numbers of specimen types.
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Among the other subject areas, photography accounts for a significant proportion of total
collection holdings and is probably the fastest growing area of active collecting.
0100000200000300000400000500000600000700000800000900000
1000000
Agriculture
Archaeology
Archives
Arm
s & arm
our
Biology
Costume & textiles
Decorative arts
Ethnography
Fine art
Geo
logy
Med
icine
Music
Numismatics
Oral history
Personalia
Photography
Science & industry
Social history
Transport
Relative collection size (all collections)
total no. objects
0
20000
40000
60000
80000
100000
120000
Relative collection size excluding archaeology, biology and social history
total no. objects
18
Active and inactive collecting areas
Number of active and inactive collections
Although most of the museums, for historical reasons, have a diverse range of collections, many
no longer collect in certain subject areas. A number report that they have ‘closed’ collections, for
which they no longer seek additional material. Limited collecting takes place in the fields of
numismatics and arms and armour. However, the only area in which no collecting is taking place at
all is ethnography. The most common areas where active collecting is going on are social history,
decorative arts and photography. Active collecting in fine arts is also strong.
In‐house specialist knowledge and access to expertise
Most services have at least one specialist curator with knowledge of specific areas within a subject
area although the post remit may cover other collection groupings. Some museums have specialist
knowledge of a very specific object type, for example puppets (Staffordshire) or a localised trade
(Redditch).
0
2
4
6
8
10
12
14
16
Active
Inactive
19
In a number of museums a curator who is a specialist in one particular area is also responsible for
the collections in an associated area. For example, Shropshire has an archaeology specialist who
also has oversight of the social history collections. Fine and decorative arts are often bundled
together as are biology and geology.
In some of the smaller services, such as Tamworth Castle, one officer is responsible for the care of
all collections. Collection officers tend to have detailed knowledge of documentation and
collection care issues with a broad‐brush knowledge of collection types, possibly with more
detailed knowledge of one or two areas of the collection. In Stafford, for example, staff have a
broad knowledge of arms and armour and specific aspects of fishing history.
There are currently two specialist geology curators in local authority museums in the region, but
one of these will retire in 2016. A third geology specialist with additional natural science
knowledge was recently made redundant by Shropshire County Council although there is an
intention to create entry level curatorial post later in 2016. The important post of Keeper of Glass
and Fine Art at Dudley is currently vacant but Dudley Council plan to recruit a new Keeper.
None of the museums in the group has an ethnography (world culture) or numismatics specialist,
although some coin and medal collections are quite large. However, Coventry does have an object
conservator with a detailed knowledge of numismatics.
In‐house specialist expertise in Accredited local authority museums in the West Midlands
Collection area Primary specialism Secondary/general
Agriculture Nuneaton, Staffordshire
Archaeology Herefordshire, Shropshire*, Stoke‐on‐Trent, Warwickshire, Worcestershire*
Coventry
Archives Newcastle‐under‐Lyme
Arms and armour Stafford
Biology (natural history) Stoke‐on‐Trent* Warwickshire
Costume and textiles Herefordshire, Staffordshire, Tamworth
Coventry
Decorative and applied arts Dudley*, Stoke‐on‐Trent*, Wolverhampton, Worcestershire*
Ethnography
Fine art Coventry, Dudley*, Herefordshire*, Stoke‐on‐Trent*, Warwick, Wolverhampton, Worcestershire*
Geology Dudley, Stoke‐on‐Trent*, Warwickshire
Medicine
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Music
Numismatics Coventry
Oral history Coventry Nuneaton, Staffordshire
Personalia Nuneaton
Photography Staffordshire Newcastle‐under‐Lyme, Nuneaton
Science, industry and maritime Coventry, Walsall (leather industry) Nuneaton, Tamworth
Social History Coventry, Herefordshire, Nuneaton, Shropshire*, Staffordshire, Tamworth, Warwick, Wolverhampton, Worcestershire*
Newcastle‐under‐Lyme, Sandwell, Warwickshire
Transport Coventry (motor industry) *denotes that the specialist curator is responsible for more than one subject area (e.g. Natural History and Geology)
Some of the museums have access to external expertise in particular collection areas. Dudley is
able to access external expertise in glass, Nuneaton ethnography and Staffordshire fine and
decorative art and agricultural machinery. Worcestershire has recently used short‐term contracts
for its herbarium and numismatics collections and receives advice in specific areas of natural
history from specialist volunteers. Warwick and Stoke‐on‐Trent hire in specialist conservators.
When external funding is available Wolverhampton Art Gallery employs specialist curators to
undertake specific projects. A curator is currently being employed to deliver a project focused on
Black Art and funded by HLF.
Rugby has not hired in outside advice, but has had specialist support from Warwickshire Museums,
and receives costume loans from Coventry through the Effective Collections scheme.
Eleven museums report that they do not bring or hire in external specialist support.
The ability of museums to offer specialist advice to other museums in the region
Nine of the museum services are able to offer specialist support to other museums, at least in
principle.
Subject area Museums able to offer expert advice
Agriculture Nuneaton, Staffordshire,
Archaeology Herefordshire, Stoke‐on‐Trent, Warwickshire
Archives Staffordshire (via Staffordshire Record Office)
Biology Stoke‐on‐Trent, Warwickshire
Ceramics Stoke‐on‐Trent
Costume and textiles Coventry, Herefordshire, Staffordshire, Tamworth
Decorative art Herefordshire
Fine art Herefordshire
21
Geology Dudley Stoke‐on‐Trent, Warwickshire
Oral history Nuneaton, Staffordshire
Photography Nuneaton, Staffordshire
Social history Coventry, Herefordshire, Nuneaton, Staffordshire, Warwickshire
Science and industry Coventry, Nuneaton, Walsall
Transport Coventry
As well as being the base for the Ceramics Subject Specialist Network, The Potteries Museum & Art
Gallery is the depository for archaeological archives for Staffordshire. Walsall offers specialist
expertise in the history of the leather industry and leather goods. Dudley has often provided
advice on the glass industry and its products but is currently unable to do so.
Wolverhampton Art Gallery has expertise in contemporary art and craft, as well as the history of
the Black Country, but could only provide support to other museums if funding could be found to
back‐fill curatorial time. Worcestershire expressed willingness to provide advice in principle, but
thought it unlikely that the service would have the capacity.
Stored collections
The majority of museums report that a large proportion of their collections are in storage. In
Herefordshire 98% of the collection is in storage, while Coventry (99%, excluding transport),
Nuneaton (96‐97%), Walsall (95%), Warwick (90%), Wolverhampton (95%) and Worcestershire
(90%) have similar high percentages. In Stoke‐on‐Trent, at the Potteries Museum & Art Gallery,
95% of local history, 90% of arts and 85% of the ceramics collections are in storage.
In Dudley, 99% of the glass collection is currently in storage, following the closure of Broadfield
House Glass Museum, while 5% of art and less than 10% of geological material is on permanent
display.
In Shropshire, a rationalisation programme is under way with 3,000 items in off‐site store under
review with the intention of improving access and reducing storage costs. 500 archaeology project
archives are also housed in an off‐site store which is hard to access due to its location and limited
staff resources.
The exception to the rule is Stafford, where 95% of the collections at the Ancient High House and
Izaak Walton Cottage are on display.
Several museums, including Herefordshire and Warwickshire are able to provide good public
access to their stored collections.
22
Collections identified as being ‘orphaned’ or at risk
Museums were asked ‘What percentage of your collections would you regard as being ‘orphaned’
or at risk?’ Responses ranged from none (Rugby, Stafford, Worcestershire) to 75% (Walsall, where
the closure of Walsall Museum has left a large social history collection orphaned).
The collection types most frequently identified as already orphaned included numismatics (3),
archaeology (3) costume and textiles (2), social history (1 orphaned, 1 ‘semi‐orphaned’, 1 short of
resources), natural sciences (2), and visual arts (2).
In Dudley a number of collections including social history and costume have been earmarked for
disposal. Even the fine art and nationally important geology and glass collections could be at risk
as Dudley Museum and Art Gallery faces closure in 2017 and no alternative has yet been
identified.
In Shropshire eight collections could be classed as orphaned. The important agricultural collection
which is the focus of Acton Scott Historic Working Farm has no specialist curation. Specialist
support for the archive and photographic collections is provided by Shropshire Archives, while
other collections such as costume, decorative art, fine art and numismatics rely upon volunteer
expertise.
23
Coventry did not provide a percentage estimate of collections considered to be orphaned or at risk
of being so, but does not have specialist expertise in natural sciences, and has recently seen an
experienced archaeologist move into another post elsewhere in the service. Similarly,
Wolverhampton does not provide a figure, but indicates that a number of ‘closed’ collections such
as geology may be considered as orphaned, although these are seen as a low priority by the
service.
Some museums report that in addition to orphaned collections, they have other collections that
are at risk due to issues of capacity or reduced resources. In Herefordshire around 30% of the
collections are at risk because of a shortage of resources, including archaeology and areas of social
history. In Stoke‐on‐Trent some collections, such as local history, are effectively semi orphaned as
there is little capacity to actively develop them and public access is limited. It is difficult to quantify
this at present. Worcestershire, on the other hand, report that they have mitigated the risk by
finding new and non‐traditional ways of making each part of the collection accessible or useful.
% of collections considered as ‘orphaned’
Collection areas which are currently of most concern
The collection areas mostly commonly cited as being of concern are archaeology (9), numismatics
(6), natural sciences (4), costume and textiles (3), arms and armour (3) geology (2) and
ethnography.
A number of museums have specific concerns relating to a particular collection, its storage,
documentation or their capacity to address these issues. In Stoke‐on‐Trent, for instance, there are
0
10
20
30
40
50
60
70
80
24
specific concerns relating to the storage of costume and textiles and local history material.
Staffordshire has concerns relating to horse‐drawn vehicles, while the condition of historic
wallpaper is causing concern in Stafford. Other museums express frustration that they do not have
the capacity to unlock the full research potential of some stored material.
Several museums report that they are very nearly at full storage capacity for some collection
types. Large archaeological collections are cited by many museums as a particular concern. Others
have more general concerns relating to unsatisfactory storage conditions and severe budget
constraints.
In Warwickshire, the natural history and social history collections are most at risk as they are no
longer covered by specialist curatorial posts and they are the most vulnerable in terms of
infestation and environmental degradation.
Opportunities for closer co‐operation with other museums and institutions in the region
While a few museums consider themselves comparatively well‐staffed in terms of collections care,
relative to many other museums, nearly all respondents agreed that a co‐operative approach
would enable them to address their concerns more effectively.
Areas suggested for collaborative working included collections reviews to determine the regional
significance of material held by museums and the integration of online collections databases and
information to create a regional database. Other suggestions included the development of joint
funding bids and regional advocacy to counter widespread misperceptions about the nature and
purpose of stored collections.
A couple of museums welcomed the idea in principle but expressed doubts about their capacity to
allocate over‐stretched resources to this end.
Skill and expertise sharing was the most commonly cited form of co‐operation (8) while other
suggestions included:
familiarisation visits and training sessions to better understand other museum
collections
small inventory and review projects
development of common reference collections
25
shared online collections databases
joint acquisition and disposal policies
joint exhibitions
shared storage
shared advocacy
collaboration with Subject Specialist Networks
greater collaboration with other heritage services such as Archives
One service expressed doubts about the costs and practicalities involved in shared storage, while
acknowledging that space for archaeology deposits will continue to be an issue for the sector as a
whole. Another stated that they no longer had the human capacity for additional activity.
Networking was also seen as important, both physically through meetings, conferences, site visits
and practical sessions, and, increasingly, online. There was a feeling that there were fewer
networks now than previously, so communication has reduced. Warwickshire has a social history
network and it was suggested that regional subject specialist networks or strategic groups for
particular areas like collections management would be useful in generating creative ideas for
managing and accessing collections without specialist care. Several respondents saw a central role
for the WMMD Museum Development Officers in improving the ways in which information about
collections at risk is shared.
Barriers to closer collaboration
Almost all the museums cited time constraints caused by decreasing capacity as the most
significant barrier, closely followed by lack of financial resources to compensate specialists for
their time. This is particularly acute in museums with a lack of subject specialists where collections
care and management is just one of a number of functions for which individual members of staff
are responsible.
Several museums also cited poor or incomplete documentation of particular collections as an
impediment to developing collaborative collections‐based projects.
26
For some services the internal challenges that they face as part of the local authority are the main
issue. When the immediate priority is simply survival, there is little time left for developmental
work around collections.
It was also pointed out that a clear regional lead needs to be taken regionally to develop a long‐
term strategy for sustainability which addresses decreasing capacity, skilling‐up and succession
planning.
Regional awareness of good practice
A couple of the larger services are involved in, or have benefitted from, Subject Specialist
Networks (SSNs). The Ceramics SSN is based at the Potteries Museum & Art Gallery, while
Wolverhampton Art Gallery is involved in the networks for contemporary art, British art and
Middle East collections.
Nuneaton Museum & Art Gallery has received support from a scheme operated by the Islamic Art
and Material Culture SSN which aims to unlock the potential of Islamic collections in museums and
to broaden knowledge and expertise in caring for and managing these collections. A grant has
enabled the museum to access specialist support to assess the significance and develop new ways
of interpreting material from its Islamic collections.
Staffordshire cited the Rural Museums Network, Social History Curators Group’s Object Lessons
and FirstBASE, the Museum Ethnography Group and numismatic training as examples of good
practice. However, there generally seems to be a limited awareness of, or reluctance to take
advantage of, SSNs. One small museum with a broad spectrum of collections to care for was aware
of the SSNs but did not feel able to access them ‘as there are too many areas to keep up to date
with’.
There seems to be little awareness of wider developments, although Stoke‐on‐Trent mentioned
work done with regard to natural history collections by American museums such as the North
Carolina Museum of Natural Sciences.
Other collections in the region at risk
Several respondents were aware of other collections at risk in their areas. These include the
Coventry Police Museum, the Stafford Shoe Industry Collection and the Les Oakes collection of
wagons and architectural features in Staffordshire. In Warwickshire there are a number of
27
independent collections in need of support in terms of training, advice and resources, and the
situation is similar in the other counties where a number of services have had to scale back the
support that they offered to smaller, independent museums. There are also collections of
photographs, archives and even some objects in local libraries which are risk due to staff changes,
closure and relocation.
Conclusions
A number of museums in the region have already identified certain collections in their care as
orphaned.
The collection areas mostly commonly cited as being of ongoing concern are:
numismatics
archaeology
natural sciences
costume and textiles
Archaeology and natural history collections tend to be large, because of the vast number of
excavated items or zoological type specimens. Some museums have specific concerns relating to a
particular collection, its storage, documentation or their capacity to address these issues.
The future of some museum services is in doubt and there is a real risk that there will be more,
and quite significant, orphaned collections in the near future.
There are some collection areas where there are either a very small number of salaried specialist
posts or none at all.
The following collection areas are not currently covered by specialist posts in any of the local
authority museum services in the region:
arms and armour
ethnography (world cultures)
medicine
28
music
numismatics
Some collections are heavily reliant on the accumulated knowledge of existing members of staff
which may be lost if they move on or retire. There is a real risk that some subject specialisms will
be lost to the region.
Some museums access specialist knowledge from outside their own organisation. Nine of the
museums surveyed are able to offer specialist support to other museums, at least in principle.
Deploying their expertise could help mitigate the impact of the further loss of posts.
Anecdotal information suggests that where oversight of a collection is provided by someone with a
loosely associated specialism day to day workload pressures often prevent that officer from
dedicating much time to that collection.
While the number of specialist posts in local authority museums in the region has fallen more roles
for ‘generalists’ have been created. On the other hand, some types of collection are highly
localised and do not fall within a recognised subject type.
A large proportion of collections are in storage, although a number of museums report that they
are able to offer good public access to stored material.
There is a general recognition that museums need to share expertise, skills and resources among
themselves, and think creatively about how they collaborate with other organisations outside the
sector to ensure that their collections are used more effectively. Several museums were doubtful
that they still had the capacity to do so.
Some museums are aware of wider good practice and take advantage of opportunities to increase
their skill and knowledge base. However, many museums in the region make limited use of Subject
Specialist Networks or special interest groups.
There is a general recognition of the need to raise the profile of collections, particularly stored and
fragile collections that are not normally on display. Several museums cited their frustration at the
misconception that they ‘keep things locked away’ whereas they are trying to open up their
collections. Some are using objects as a catalyst for creative activity, commissioning artists in a
variety of media to explore their collections and create new work. Examples include the MOTHS
29
project in Worcester (see Appendix F), Shrewsbury Museum and Art Gallery’s Collectors Boys
Dancing project and writers, poets and craft‐workers in residence at a number of museums.
The funding situation for local authority museums post‐2016 looks bleak. While some local
authorities are further down the road to austerity than others, it is clear that all services face
continued and substantial funding reductions. Anecdotal evidence suggests that some are better
prepared for this than others.
The future of a number of museums in the region is uncertain, while others do not know much
longer they will be able to maintain current levels of specialist support for their collections. It is no
exaggeration to warn of an impending crisis within the region’s local authority museums.
30
Recommendations
WMMD works with appropriate Subject Specialist Networks to deliver collection
workshops for non‐specialists in West Midlands museums – e.g. money and medals
numismatics workshop
WMMD explores opportunities for making more effective cross‐regional use of
specialisms that are in danger of disappearing
WMMD develops a collection review programme, to establish local strengths and
areas of overlap within specific collection types, and a methodology to rate orphaned
collections according to their significance, potential and quality of their care. This
should build on the leaning gained from previous regional geology and biology
collection reviews.
WMMD consider developing a bid to secure funding to employ temporary subject
specialist curators to provide expertise and advice to all services in the region along
the model of the Assistant Collections Officer (Regional Geology) (see Appendix E)
WMMD explore the opportunities for local services to collaborate with ACE Major
Partner Museums to access specialist advice, facilities and equipment
The museums should establish appropriate channels to share expertise and promote
best practice in engaging people with collections
The museums should establish a peer group for non‐specialist collection managers to
explore common solutions to problems relating to orphaned collections and over‐
crowded stores
The museums should investigate the viability of externally funded partnership
programmes focused on collections, e.g. joint digitisation projects providing online
access to orphaned material
The museums should further develop the potential of their collections as a catalyst
for creativity and raise their public profile through commissioning and partnering
artists, performers and creative agencies
31
Museums investigate the opportunities for joint advocacy to decision makers and the
wider public to raise the profile of collections and emphasise their value as a
community asset e.g. touring displays or joint events that improve the public visibility
of orphaned material
Museums should share information relating to any collections or orphaned material
which they are considering for disposal and work together to identify an appropriate
repository
32
Appendix A: Orphaned Collections Mapping Programme questionnaire
33
34
Appendix B:
Perceived strengths and weaknesses in local authority museum collections
Service Collection strengths Weaknesses
Coventry archaeology (medieval stonework)
biology (entomology, birds’ eggs)
costume,
science and industry (ribbon weaving)
social history
transport (motor industry)
missing areas of local history, particularly the Civil War
sculpture
art photography
Dudley glass
geology
collections not Designated despite international recognition
loss of specialist expertise
Herefordshire archaeology (Iron Age hillfort material)
18th century costumes and textiles
herbaria and geology
topographical art
Newcastle social and local history
toys
lack of specialist expertise
lack of time to research and develop knowledge of diverse collection
Nuneaton ethnography
late 19th and early 20th century social history large
military/wartime collection.
second half of the 20th century less well represented in social history collections
poor documentation
Rugby Roman archaeology
social and industrial history
fine art
lack of specialist expertise
inability to realise full potential of archaeological deposits
Sandwell
Victorian art collection
Ruskin pottery
Social history that connects people
lack of human resources
pressures of time
Shropshire archaeology
decorative arts
geology
natural history
loss of geology specialist with wider natural history experience
Stafford period furnishings
fishing paraphernalia
lack of storage space
lack of authentic arms and armour
Staffordshire agriculture and rural life
domestic life
costume and textiles (esp. shoes)
photographs
horse‐drawn vehicles
puppets
35
numismatics
oral history
Stoke‐on‐Trent 17th‐21st century ceramics
Staffordshire Hoard
archaeology (Prehistoric and Medieval)
natural history and geology
British, European, Japanese prints
Lady Bagot costume collection
Spitfire Mk XVI aircraft
photographs
lack of in‐house social history expertise
continental ceramics are under‐represented
Tamworth social history
local industry
photographs
archives
lack of objects relating specifically to Tamworth Castle.
Walsall leather industry
costume (especially 20th century and utility clothing)
lock industry
lorinery industry
lack of pre‐industrial local history material
lack of working clothing and men’s clothing
lack of objects that reflect the town’s cultural diversity
Warwick (Leamington Spa)
fine art
social history
lack of specialist in‐house expertise and knowledge relating to arms, ethnography and decorative art collections
Wolverhampton Pop Art
work relating to the Troubles in Northern Ireland
locally‐made decorative arts ‐ steel jewellery, enamels and japanned ware
lack of specialist expertise in non‐art collection areas
Worcestershire landscape paintings
special items relating to rural life including Gypsy waggons
some important natural history specimens
Wyre Forest (Bewdley)
photographic collection
oral history recordings
fine art
archaeology collection is not catalogued and poorly stored
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Appendix C:
Examples of good practice in the other UK regions and nations
Some active work to address the issues associated with orphaned collections has been undertaken
by other museum development agencies, particularly in the North West, Yorkshire and London.
Museum Development North West
A number of collection reviews have been carried out in the North West, some of which have
happened on the back of the Collected Collections survey which was commissioned by the North
West Federation of Museums & Art Galleries in 1998. This was designed to identify:
overlaps and gaps in the geographical collecting areas
overlaps and gaps in the subject fields being collected in the region
centres of curatorial expertise
collections or items of regional, national or international significance
Although this is an old document now, much of the data is still relevant and many of the smaller
museums in the region do not have expert staff for most collection areas.
A number of collections reviews were supported by Renaissance North West, helping individual
museums to discover more about their collections, and leading to the disposal of unwanted items
and the improved use and care of the remaining objects. These resulted in a number of
publications which are available on Museum Development North West’s website.
Over the past few years Museum Development North West (MDNW) has developed and has
continued to support a numismatics network, in partnership with the British Museum. MDNW, in
partnership with the Harris Museum & Art Gallery, has run a series of workshops on how to get
the most out of orphaned numismatic collections. This has resulted in a number of numismatic
collection reviews which the MDOs will be supporting over the next year or so.
Museum Development North West is also working with the region’s Major Partner Museums to
develop a series of specialist collection workshops for non‐specialist curators to support them to
care, understand and make better use of their collections. It is anticipated that these workshops
37
will result in a further collection reviews with different collection types over the next few years.
Details will be published on the Museum Development North West blog in due course.
London
Archaeological collections have been identified as the most problematic area for local authority
museums in London. Museum of London holds 85% of London's archaeology, but the 15% that
resides in London's (mainly) local authority sector still represents a significant amount of material.
Incremental staff cuts since 2010, in what were already small services, have led many of these
museums to question whether they can still adequately care for or provide access to these
collections, and Museum of London has been seeing a gradual increase in enquiries about whether
it can take the collections. In some instances funding cuts have also led to loss of storage space,
and again archaeology has been the first thing the museum has thought of disposing.
In most cases Museum of London would prefer for the 15% to remain where it is, and for the
Museum Development service to deliver skills sessions both on how to record and care for the
material, and how to engage the public with it.
Although archaeology has been the most pressing concern for museums in London, the most
extensive piece of work undertaken so far relates to social history collections. This is because
Museum of London's History department has embarked on an extensive review and rationalisation
programme of its large social and working history collections and has developed the latest skills to
share on this. Collections workshops, using this as a case study, have explored how a review can
benefit both the museum and the wider community by offering innovative opportunities to
release the full potential of museum collections. The take up of these events has generally been
good and Museum of London is hopeful that this will encourage the development of best practice
among the local authority museums.
Museum Development Yorkshire
Museum Development Yorkshire undertook a Survey of Access to Collections Specific Expertise in
2011. The aim of the survey was to identify where there are sub‐regional or regional gaps in
collections specific expertise and to ascertain which types of collection are most at risk of
becoming orphaned. A secondary aim was that this information should be used to inform the
business plans of individual museums and to provide data for funding bids or programmes. The
review concluded that few collections in the region were currently orphaned, but that this
situation might change in the near future as spending cuts bite.
38
York Museums Trust now employs a regional numismatist as it was recognised that this was one
collection area with very little access to expertise. This has really helped some museum services
(including very large organisations) develop a much greater understanding of the collection type
and how numismatic material can be better used.
In West Yorkshire, there is a peer group of local authority collections managers, which meets to
discuss collections based issues with a view to sharing skills and collaborative working. This group
has discussed orphan collections and the ways in which their potential may be maximised.
South West
There is currently no specific activity to map orphaned collections in the South West region.
However, the South West Museum Development Programme has set up a joint project with Bristol
Culture, with funding support from the John Ellerman Foundation, which aims to mitigate the
effect of the loss of curatorial expertise and skills in natural science collections across the region.
Details can be found at: http://www.southwestmuseums.org.uk/projects‐grants/john‐ellerman‐
foundation‐project/
East Midlands, North East England and South East England
No similar work is currently being undertaken in the East Midlands or North East, nor are there
current plans to do so. An ‘Orphan Collections’ project was undertaken in the South East, in
partnership with Portsmouth University’s School of Law. This did not address the loss of curatorial
expertise but that of unclear ownership of objects held by museums.
Museums Galleries Scotland
In Scotland there have been some reductions in local authority museum provision, particularly as a
result of the erosion of middle management, which is where curatorial expertise tends to sit in
local authority organisational structures. However these changes have been gradual and in many
cases there has been good succession planning and knowledge transfer. Museums Galleries
Scotland has funded several Monument Fellowships, which offer some examples of good practice
in this area. There have been a few closures, but collections have then been brought together by
the local authority and consolidated rather than mothballed.
The regional infrastructure in Scotland is smaller than that in England with only 32 local
authorities, 28 of which have collections. Museums Galleries Scotland is able to keep a watching
brief on them all. The biggest change has been the shift to cultural trusts with the majority of local
39
authorities either having transferred their museum services to this model or actively considering it,
with the notable exception of Edinburgh. There is also a growth in interest in community asset
transfer in the context of the Scottish Parliament’s Community Empowerment Bill. Museums
Galleries Scotland has made a number of interventions to ensure there is a sensible timescale in
place and these changes are not rushed so that vital collections knowledge is not lost.
Museums Archives and Libraries Division, Wales
There are certainly issues in Wales around 'orphaned' collections. Over the years, Museums
Archives and Libraries Division (MALD) staff have worked with museums in Wales to gather the
information and evidence required to identify key issues and priorities and to look at how the
sector can work together to improve the situation.
A Museums Strategy for Wales 2010 ‐ 2015 (2016 onwards is in development) offers realistic
actions that museums can take to improve services and to demonstrate the benefits of museums
to society as a whole, particularly in difficult times. It identifies three key principles for museums;
the relevant principle when considering orphaned collections is 'A collection for the nation ‐
Museums will hold care for and continue to develop collections for the nation which represent our
rich and diverse culture'.
A key action point was to define the concept of a distributed national collection. The idea is that
individual museums, archives and libraries each hold items of cultural significance that combine to
tell the story of Wales. Work to identify collections with important themes for Wales has already
begun with the aim of sharing information, identifying gaps and areas of overlap within
collections, and promoting informed collecting and disposal
A three‐year project ‘Linking Natural Science Collections in Wales’ is being led by the Federation of
Museums and Art Galleries in Wales and supported by the Esmee Fairbairn Collections Fund.
Amgueddfa Cymru – National Museum Wales and MALD are major project partners. The aims are
to implement the concept of a Distributed National Collection, and to increase the profile and use
of natural science collections in Welsh museums. Natural science collections were identified as
being at particular risk because of a lack of specialist expertise. Twenty partner museums have
benefited from collection reviews, knowledge sharing and training, and as a result the natural
science collections in Museums in Wales are better understood and used. A further outcome is a
touring exhibition, 50 Wonders of Nature in Welsh Museums, which highlights the quality of local
natural science collections.
40
MALD undertakes a review of museums in Wales every four years. Spotlight on Museums is a data
gathering exercise that presents facts, figures and analysis structured around issues identified
within A Museums Strategy for Wales. Through this it is possible to build up a picture and
comparison of collections and staffing levels over a period of time. The reviews are published
online on the Welsh Government’s website: http://gov.wales/topics/cultureandsport/museums‐
archives‐libraries/museums/spotlight/?lang=en
The recently published Expert Review of Local Museum Provision in Wales looked specifically at the
issues that are the priorities for local authority museums, including collections and workforce. The
review gathered evidence on the current status of collections and the level of collections
information, and recommended a major review of collections and collecting. Responding to the
work of the Linking Natural Science Collections project, the review acknowledged that there has
been a gradual erosion of specialist collections posts in recent years. Recognising the importance
of leadership and access to specialist staff, the review makes a series of recommendations to
address the challenges facing collections, including the issue of orphaned collections.
Northern Ireland Museums Council
No specific work has been undertaken by the Northern Ireland Museums Council (NIMC) in
relation to orphaned collections. However, various issues regarding local authority run museums
are beginning to emerge consequent to a recent restructuring of local government in the province.
As various councils have merged to form a larger authority, the individual museums from the
former districts have been amalgamated into a single museum service. One question that has
come to the fore is what to do with the various (non‐accessioned) civic collections inherited from
the old councils.
Several collections in the independent museum sector are now in store and without direct
curatorial oversight. Both are associated with larger public service organisations and there are
fears that they will 'get lost in the system' or that they may fall victim to an uninformed decision
about their future or their storage needs.
NIMC is currently considering the possibility of doing a review of a collections survey that was first
undertaken a decade ago. The results of this survey were published in 2007 but it did not identify
any collections that might be considered orphaned.
41
Appendix D:
Subject Specialist Networks
Several of the larger Subject Specialist Networks (SSNs) have undertaken collection reviews or
have organised other activities designed to support museums that no longer have in‐house
specialist expertise in specific collection areas. Some of the smaller SSNs report that they do not
have the capacity to offer this sort of support. The need for better communication between the
different SSNs, particularly in respect of sharing information about collection related initiatives,
has become apparent and a meeting is scheduled for February 2016 in order to discuss the
practicalities of this.
The following SNNs provided information for this study and have indicated their willingness to
offer support to museums in the West Midlands.
Society of Museum Archaeologists
The Society of Museum Archaeologists (SMA) is in the process of commissioning a project which
will conduct an annual survey of museums with archaeology collections, initially for a period of
three years, to establish which ones are continuing to collect archives from archaeological
projects. The survey will also establish the scope and estimated longevity of collecting within each
museum, arrangements for curatorial care for digital material and levels of archaeological
curatorial expertise among staff. The overall aim is to provide information on the level of
collections care offered to the archives resulting from archaeological projects across the sector.
This intelligence will inform discussions on the future of archaeological archive provision in
England at a time when there is growing uncertainty over the role of museums and the ways they
are resourced.
The most recent study respecting archaeological archives undertaken by SMA was published in
2012. This, together with the most up to date archaeological collecting area map available, can be
found on the SMA website front page: http://www.socmusarch.org.uk/index.htm
SMA has indicated that it might be interested in helping to develop the WMMD initiative further
but would need to identify the most appropriate mechanism for their members in providing access
to specialist advice and support and in what form.
Contact: Gail Boyle ([email protected])
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Dress and Textiles Specialists
Apart from publishing a list of specialist collections on their website, the Dress and Textiles
Specialists (DATS) network has not undertaken collection reviews. Their activities have been
focused on sharing knowledge and expertise. However DATS committee members are very aware
of the problems faced by moth‐balled, orphaned collections and where possible have offered
moral support to staff faced with this situation, primarily by email. DATS conferences, focused on
networking and training, are priced to break even and are held in centres with good transport links
in different parts of the country. They have also held workshops funded by the MLA and ACE
involving no or minimal costs for participants. These have included free on‐line training manuals
available on our website. DATS members can also contact other members with requests for
identifications and expertise via the DATS email address. They are considering the possibility of
organising a mentoring scheme, and may run a trial if officers can commit to this.
Contact: Jenny Lister ([email protected])
Museum Ethnographers Group
The Museum Ethnographers Group (MEG) has a long history of supporting 'orphaned'
anthropology or world collections. Activities include identification day visits in which a group of
members will come to a particular museum to look at its collection, support from individual
members with specialist expertise and supporting regional projects that are addressing this issue.
The Uniques project in Kent and Sussex is a good example of this. The project was co‐ordinated by
an ethnography specialist, supported by a free‐lance researcher, a retired MEG member, who
spent a number of days at each of the museums involved. Details of the project can be found at
http://www.uniquesproject.org.uk/ Further information is posted on the MEG website:
http://museumethnographersgroup.blogspot.co.uk/2015/04/identifications‐for‐kent‐and‐
sussex.html
MEG has already been approached by West Midlands Museum Development for help with finding
specialist support for ethnographic collections at Nuneaton Museum and Art Gallery and the
Brampton Museum (Newcastle‐under‐Lyme) and has provided details of a freelance collections
consultant.
In Yorkshire, the curator of World Cultures in Leeds offers expert support to smaller museums in
the county. This is dependent on time being available, but has resulted in whole and half day
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identification visits and follow up email identifications. There have also been a number of regional
partnership projects focusing on world collections, including China in Yorkshire in 2008 and Stories
of the World in 2012. A summary of these is available on the MyLearning website at:
http://www.mylearning.org/museums/yorkshire‐world‐collections/
MEG is very keen to offer practical support to museums in the West Midlands.
Contact: Antonia Lovelace, Chair ([email protected])
Pre 1900 European Paintings SSN
The Subject Specialist Network: European Paintings pre‐1900 is responsible for the National
Inventory Research Project.
http://www.gla.ac.uk/schools/cca/research/instituteofarthistory/projectsandnetworks/nationalin
ventoryresearchproject/
More details about the work of the SSN can be found on their website
http://www.nationalgallery.org.uk/ssn
The SSN is actively involved in sharing knowledge, information and skills sharing. However, it does
not have the capacity to take on any additional work.
Contact: Mary Hersov (Mary.Hersov@ng‐london.org.uk)
Association of British Transport and Engineering Museums
The Science, Technology and Industry SSN had too few people able to carry on organising events
alone, so it is in the process of being absorbed into the Association of British Transport and
Engineering Museums (ABTEM). It is hoped that this will result in a more sustainable organisation.
Knowledge transfer will be the subject for a future ABTEM meeting. ABTEM indicated that they are
interested in this research and would be open to discussing follow‐up activities in the future.
Contact: Tim Bryan ([email protected])
Natural Sciences Collections Association
The Natural Sciences Collections Association (NatSCA) aims to provide resources for supporting
museum professionals responsible for natural science collections. Activities include organising
training, offering advice and making key information freely available online. These resources
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include guidance on the care and conservation of particular collections produced in partnership
with ICON (http://natsca.org/other‐publications), a back catalogue of publications
(http://natsca.org/publications) and the full text of the now out‐of‐print Carter and Walker Care
and Conservation of Natural History Collections (http://natsca.org/care‐and‐conservation). NatSCA
also plans to produce and distribute video and written guidance as part of an SSN project
undertaken in partnership with the Geological Curator's Group.
A key priority is reaching workers in collections who have little background in the natural sciences
to ensure that they are aware of the key legal, health and safety and collections care aspects of
dealing with natural science collections.
NatSCA have indicated that they would be keen to support work in the West Midlands.
Contact: Paolo Viscardi ([email protected])
Money and Medals SSN
The Money and Medals network exists to build and develop relationships between UK museums
with coin, medal and banknote collections in the interest of sharing knowledge in a climate of
rapidly declining specialist expertise. Information on each participating collection, based on a
questionnaire and site visits, is posted on an individual page on the Money and Medals website.
A major aspect of the Money and Medals network’s work is the provision of training. The approach
that the network has taken is to provide training sessions in key UK regions. Specialist expertise is
brought in to provide a series of introductory seminars on a range of subjects relevant to
numismatics. The intention is to encourage people on a local level to form sub‐networks and set
up their own training programmes, for which the SSN can provide support if requested. This
approach has been successfully trialled in the North West and the East of England, and training
days have been organised in Scotland, Yorkshire, the South Coast and the East Midlands.
An introductory training day for the West Midlands was held in Birmingham in November 2013.
This was well‐received but the momentum to set up a numismatic sub‐network was quickly lost.
The SSN is hoping to hold a follow‐up event in spring 2016 which will hopefully kick‐start things.
The Project Co‐ordinator Henry Flynn has indicated that he is willing to take a more active role in
the setting up of a support network if there is sufficient interest. The intention of this would be to
encourage people in the region to get together regularly and to hold training days once or twice a
year that could focus on different aspects of numismatics in the interest of sharing and developing
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knowledge and expertise on a local level. Henry Flynn can provide support for this if requested, or
take a step back if this is what is preferred. He would also be interested in supporting any practical
activities that result from the mapping survey.
Contact: Henry Flynn ([email protected])
Understanding British Portraits
The Understanding British Portraits (UBP) network exists to facilitate the development of specialist
expertise around portraiture in all media and time periods. The network offers a range of events,
funded Fellowships and a resource‐rich website designed to be widely accessible to collection‐
based staff as well as conservators, academics and others interested in developing their research,
interpretation and learning programmes around the portraits in their collection. Details about the
network’s past and future activities are given on their website www.britishportraits.org.uk.
Contact: Caroline Pegum, Co‐ordinator, Understanding British Portraits network
Plastics SSN
Knowledge sharing is at the heart of what the Plastics SSN does. The network has undertaken
three significant collaborative projects to build workforce skills and share excellence and best
practice in collections knowledge relating to plastic objects across the Museum sector. They are:
A curator's guide to plastics which is intended for those with little or no prior
knowledge of plastics and as a starting point for further exploration. It provides clues
to the identity of different plastic materials and how best to look after them. It also
provides a timeline of the introduction of different plastics and of noteworthy uses of
them.
Identifying plastic toolkit which consists of a suitcase of samples with a suggested
identification methodology which can be borrowed at no cost and an online route
map.
Confronting plastics preservation which is an online resource and includes case
studies of objects already deteriorating.
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The network is currently planning a resource relating to the curation of synthetic textiles and
fashion. This will include a collection review of the Museum of Design in Plastics collection within
this subject area and a survey of the strengths and weaknesses in this area in the collections of
other participating museums.
Contact: Professor Susan Lambert, Head of the Museum of Design in Plastics
Rural Museums Network
The Rural Museums Network exists to provide access to collections development information,
audience research and other ongoing research to enhance the profile of rural museums. The
network also reaches out to collectors, related societies and other organisations beyond the
museum circle. The network is promoting the concept of a ‘Distributed National Collection’ of
agricultural objects as a framework for collection reviews. The idea of this model is that it can
be used to identify where significant items are held, by whom and in what condition. For
example, the group conducted a detailed review of around 1000 ploughs held in museums’ rural
collections with the aim of identifying opportunities for rationalisation and the more effective use
and interpretation of exhibits.
The Rural Museums Network commissioned a report in 2011, which considered orphaned
collections among other topics. This highlighted recent rural closures, such as Cotswold District
Council’s Northleach Museum, and the growing loss of expertise even in large services such as
Hampshire County Museums.
Contact: Robin Hanley, Chair ([email protected])
Social History Curators Group
The Social History Curators Group (SHCG) was formed to improve the status and provision of social
history in museums and the standards of collections, research, display and interpretation. In 2014,
the group became a charitable incorporated organisation. It is also the recognised SSN for social
history collections.
SHCG offers an online, searchable database of resources relating to local and social history
collections, FirstBASE. This holds records, signposts, weblinks and downloads for a wealth of
resources (books, articles, websites, significant collections, museums and organisations) that can
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help museum professionals develop their interpretation, and improve their identification, of social
history objects.
The group also offers a series of resources known as Object Lessons, which are designed to help
curators develop skills and confidence in identifying and caring for core materials found in social
history collections.
Contact: Cat Newley, Chair ([email protected])
Ceramics Subject Specialist Network
This network was set up to provide support to curators responsible for ceramic collections. As
many ceramic collections are now cared for by non‐specialist curators, there is a recognition that
training and support is needed to ensure that these collections continue to benefit the public.
The Ceramics SSN organised a training day at the Potteries Museum & Art Gallery in February 2013
which looked at the output of a specific ceramic manufacturer, Spode. This included a session
about handling and identifying ceramics and a session based at Stoke‐on‐Trent City Archives. The
day focused on a single factory in the understanding that facts and techniques learned about can
easily be transferred across many other British factories of the same period. The training day also
provided an opportunity to gather evidence on the state of ceramic collections in various
institutions and what participants felt they would benefit in the future.
The evaluation questionnaire given out at the end of the event also sought to capture information
about the participants’ museums and their collections. All attendees came from Accredited
museums, some with Designated collections, but only one person had previously received any
specialist ceramics training. Asked what sort of future initiatives they would like to see the SSN
develop, suggestions included:
practical advice on collections management and skills
facilitating better access to specialist advice about collections
collaboration on collecting policies and collections rationalisation
improving knowledge of collections through shared web access to/compatibility of
databases
joint funding bids
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collaborative exhibitions
relationship brokerage with other sectors and organisations
advocacy for the sector e.g. for specialist training, audience research
The network also organised a visit to the Fitzwilliam Museum in Cambridge to view China’s White
Gold, an exhibition of contemporary Chinese ceramics. This was arranged in collaboration with the
Northern Ceramic Society, which boosted numbers as well as giving a chance for museum staff to
meet ceramics collectors. The group has also developed links with the contemporary studio
ceramics SSN.
Contact: Miranda Goodby and Claire Blakey, Potteries Museum & Art Gallery
([email protected] [email protected] )
Society of Museum Archaeologists (Medieval Pottery)
The reduction of specialist staff expertise is an issue of concern for the Group and others engaged
in archaeological ceramic work.
In the meantime there have been two reviews of medieval and later ceramic studies:
Mellor M 1994 Medieval Ceramic Studies in England, a review for English Heritage on
behalf of the Medieval Pottery Research Group. English Heritage
MPRG's research framework for post‐Roman ceramic studies in Britain:
http://www.mprgframework.info/
A joint working party of the Prehistoric Ceramic Research Group, the Study Group for Roman
Pottery and the MPRG are currently working on a joint standards document for the study of
pottery from archaeological excavations, the document is due out shortly.
Contact: Julie Edwards ([email protected])
Musical Instruments Collections Network
This network is very small, does not receive ACE funding support and does not have the capacity to
undertake collection reviews.
Contact: Andy Lamb, Bate Collection ([email protected])
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APPENDIX E:
West Midlands Regional Geology Stewardship project
A three‐year project was launched in September 2009 to develop and strengthen natural science
collection stewardship in the West Midlands, with particular emphasis on geological collections.
The project was funded by the Esmée Fairbairn Foundation, who provided a grant of £60,000
towards the salary of an Assistant Collections Officer (Regional Geology), who was based at The
Potteries Museum & Art Gallery, travel costs and materials.
Benchmark assessments were carried out for 38 different institutions and visits were made to 43
different sites to assess and advise on collections care. This provided an overview of the type of
material held in each collection, its condition and accessibility, with recommendations for
improving standards of collections care. In this way it was possible to build up a remarkably
complete picture of the distribution, state and condition of geological collections in the West
Midlands.
Over the course of the project, the Assistant Collections Officer assisted with the curation,
conservation and interpretation of geological specimens. By working alongside staff at different
institutions, practical training in caring for specimens was provided so that staff and volunteers
would be able to carry on caring for and using their collections in the future.
To reinforce training and advice given to staff and volunteers at each of the museums, the
Assistant Collections Officer produced an Advice Pack on geological collections that was given to
each institution after the visit. This aimed to provide non‐geologists with a comprehensive
overview of how to care for geology collections so that staff and volunteers could gain confidence
in working with the collection and using it more in their museum.
Throughout the project, the Assistant Collections Officer worked to strengthen links with subject
specialist networks, to support partnership working across the region. In 2012, for example, she
worked closely with the West Midlands Natural Science Curators Group to help develop a new
website to promote natural science collections and publish further information on the project (see
http://naturalsciencewm.wordpress.com). Contacts were also established and developed with
other organisations outside the museums sector, including regional geology groups, universities
and academic institutions, council ecology units and Wildlife Trusts.
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To ensure that knowledge of previous curatorial and conservation work is preserved and made
accessible for reference in future projects, a centralised archive for geological collections care in
the West Midlands was set up in the Lapworth Museum of Geology at the University of
Birmingham.
The main outcome was to raise the profile of geology collections across the region, giving non‐
specialists more confidence in handling, curating and using geological collections by sharing best
practice and knowledge. Subject specialist group activities were entrenched, establishing a
network of support for regional curators and disseminating information about the location,
accessibility and status of geological specimens in museums and other organisations in the West
Midlands.
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APPENDIX F
Case study: MOTHS (Museums on the High Street)
Worcester's natural history collections are one of the oldest museum collections in the region,
dating back to 1833. Collections such as the butterflies, moths and birds are rarely displayed and
have become largely inaccessible due to their fragile nature.
In 2013 Museums Worcestershire commissioned the Coventry based arts company Imagineer
Productions to deliver MOTHS (Museums on the High Street), a project which aimed to bring
Worcester City Art Gallery & Museum and The Commandery onto Worcester High Street and
provide the general public with an unforgettable museum experience.
Between November 2013 and the end of February 2014, Imagineer produced a series of pop up
street performances, workshops and surprising events inspired by Worcester’s collections. The
project focused on the story of an eccentric Victorian collector, Winnie Bird, who was searching for
the illusive – and fictional – Worcestershire moth, the Worcesterious Giganticus, to add to her
collection. Dressed in a spectacular explorer’s costume, she shared her stories with residents
about her extraordinary journeys and introducing them to all manner of museum objects and
facts.
The involvement of local groups, particularly Vamos Young People’s Theatre and Dancefest, was
crucial to the development of the project. Both groups were keen to take part in a carnival and to
learn more about street performance and carnival art. Banner making workshops were also held at
Worcester City Art Gallery and Museum and at the Commandery, where participants were
encouraged to creat banners inspired by the collections.
The project culminated in a day of surprising performances and events in the streets of Worcester
in February 2014. Carnivalesque birds, butterflies and moths, inspired by the natural history
collection, appeared in unexpected places, and then came together in The Magnificent MOTHS
Parade, a carnival procession with music, world drumming beats and colourful costumes and
banners.
Following the Parade a selection of Carnival costumes was exhibited in Worcester City Art Gallery
& Museum and a number of winged carnival costumes were suspended in The Commandery,
bringing to life the story of the butterflies which are said to appear in Minstrels Gallery.
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Museums Worcestershire felt that the project had a re‐energising effect by proving an opportunity
to collaborate with creative partners and members of the community on an ambitious project.
70% of participants were engaging with Museums Worcestershire and its collections for the first
time. In turn, the service achieved a higher public profile, along with increased confidence in its
work at a political level. The project also provided Museums Worcestershire with a strong impetus
to further develop its use of digital platforms to increase its audience reach. MOTHS reached more
than 72,000 people via Twitter.
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