The staff recently enjoyed the assistance of a young man called Dylan who gave up his Saturday mornings to sample life in a museum and art gallery. We strive to give placements to students aspiring to a career in the arts or heritage and hopefully, we don’t put them off!
We asked Dylan to write about his favourite objects in the museum and he chose one which attracts a lot of curiosity in this part of the world:
Blue John crystals are only found in two places in the whole world: the Treak Cliff and Blue John caverns in Castleton. And is hailed as “Britain’s rarest mineral”, it is a mineral called fluorite. Yes I have nabbed this straight from the ’Wonders of the Peak’ exhibition, but none the less a fascinating crystal. It is still being mined and sold today but their peak in popularity was throughout the 19th century and Regency period with people making vases, columns, tables and even windows in many of the finest houses in Britain, most notably Buckingham Palace and Chatsworth House, Derbyshire, the home of the Duke and Duchess of Devonshire.
They also played a role in World War One; there was a rising need for supplies and machinery to help assist with the ongoing war effort. This meant that fluorspar also became in high demand as it was often used in blast furnaces. Blue John being a rare form of calcium fluorite was mined purely for this purpose throughout the war period. During this time tons of Blue John material had been extracted and transported to the nearby city of Sheffield. Leaving many of the recognised Blue John veins in very short supply and in some instances fully worked out, which meant that the larger Blue John pieces required to produce ornamental items had been lost during this period but at Buxton Museum and Art Gallery, there is a collection of Blue John ornaments bowls, urns, cups and even souvenir eggs. You can plan your visit here.
The Derbyshire Open Art Exhibition was officially opened last night and you can see the amazing artwork yourself for free until Friday 13 September 2019. Most of the works are for sale. The overall winner, The Derbyshire Trophy is a purchase prize and joins over a thousand other works in the museum’s collection for future generations to enjoy.
The Derbyshire Open Art Competition is run annually by Derbyshire County Council. In this the competition’s 37th year, 258 entries have been received from across Derbyshire and neighbouring counties. 22 entries from young people under 21 years were included in this year’s selection.
Three judges had the difficult task of choosing the pictures to exhibit and selecting the award winners. Sandra Orme is a Buxton artist and previous winner of the Buxton Spa Prize, Amanda Penman is the editor of Artbeat Magazine which promotes all sorts of artistic and creative activity in Derbyshire and Chris Walters is a member of The Friends of Buxton Museum and Art Gallery. The judges’ selection provides an exhibition celebrating the county and living here: where we live, the view and how we spend our time. It shows a good feeling about living in Derbyshire: the landscape, the friendliness of the people and the impressive architecture.
The Friends of Buxton Museum and Art Gallery sponsor a purchase prize. Chair of the Friends, Lindsay Crowe presented the award to this year’s winner which will be added to the museum’s collection.
One prize has yet to be decided. Visitors are encouraged to help choose the Visitors Choice Prize which will be announced in August. You can plan your visit here.
If you had to leave your home at a moment’s notice and could only take one possession with you, what would you choose? For this blog, Richard and Amanda Johnson from Kidology Arts describe their current ‘work in progress’.
Buxton Museum and Art Gallery’s collection is made up of objects that have been chosen. Someone, at some point in time, has deemed them to be special and worth keeping. One of those objects is the Hopton hand axe. Around 350,000 years ago it was lost by its owner – probably a migrant hunter-gatherer following herds of deer north having crossed the land bridge that then connected what is now Britain to continental Europe. The axe would have been essential to its owner; its loss would have been serious.
We want to make an artwork that draws parallels between the story of the people who first migrated to Britain and migrants who have come here recently. We hope to point out that migration is not something that has only happened in the UK in the last 50 years, but something that has been essential to its growth for millennia.
To enable us to hear first hand accounts of the journeys that migrants take and the choices they have to make we have recently begun a series of engagement workshops at Derby Refugee and Asylum Centre.
To make the artwork we will collaborate with choreographer Kevin Turner and emerging dance artist Maddie Shimwell from Company Chameleon in Manchester. The work will be inspired by real stories of recent migrants and will result in a 20 minute dance piece devised by Kevin and performed by Maddie, accompanied by Amanda on violin, performing a new piece of music she has written especially for the project. During the performance Maddie will interact with a piece of visual art made by Richard that, at this stage, we envisage will take the form of a large square of printed or painted material. As Maddie dances, she will manipulate the material into different forms: she might hide beneath it, wrap herself in it or bundle it up to cradle it like a baby.
The performance will be filmed and will appear on Buxton Museum’s web app, the Wonders of the Peak.
Funded by Arts Council England, this commission is a creative collaboration between Kidology Arts and Company Chameleon in celebration of Buxton Museum’s 125th year.
A few weeks ago, I promised to write more about Douglas Marshall Rigby, the talented amateur artist brought up in Buxton, whose artwork we have been delighted to display at the museum over recent months. My previous blog explored Douglas’ family life and growing up in Buxton where, at a remarkably young age, he produced many of his surviving sketches and watercolours. Now I want to talk about his life as a soldier, as we move towards remembrance Sunday and the close of our exhibition.
The 1911 census records solicitor Marshall Rigby and his wife Grace still living at White Knowle, Buxton with their children. Honor (aged 22) has her occupation listed as gymnastics teacher and Douglas (19) as clerk to a iron merchant. Later that year the family moved from Buxton to the market town of Knutsford in Cheshire. When the First World War broke out in 1914, Douglas soon enlisted in the Cheshire Yeomanry, a cavalry brigade formed of men of every class from the county. Several months later he took a commission in the Cheshire Regiment, which would eventually take him to the front.
Like many young men of his age, Douglas had enlisted quickly and he was apparently frustrated by the subsequent delays that kept him from the front line. Once he had disembarked for France, in the summer of 1915 and a year into the war, his letters and postcards home reveal a cheery disposition and a fascination with the world around him that seems undiminished by the conflict. As a first lieutenant, he was responsible for the welfare, accommodation and entertainment of the men under his command, and his surviving correspondence is rich in observations of the landscape and an obvious concern for the comfort of his men.
Douglas was first wounded by debris from a mine explosion at Fricourt in June 1916. This ‘Blighty wound’ led to a short period of recuperation in Lincoln General Hospital, after which Douglas rejoined his regiment at Oswestry in Shropshire. Here Douglas was a Bombing Officer, training others to throw grenades into enemy trenches. Very early into this role, a man dropped his missile on Douglas’s foot leading to 18 months of painful operations and physiotherapy. After this protracted and frustrating convalescence, Douglas returned to the front in August 1918, rejoining his regiment at Ypres in Belgium. Two weeks later, on 4 September 1918, he was shot dead by a sniper while leading his company in the advance which contributed to ending the war.
Douglas’s family received news of his death in a War Office telegram on 10th September, almost a week after the event. In the correspondence they received from those he had known and served with, Douglas was universally acclaimed as a splendid chap and a fine officer. His mother Grace wrote this dedication in her journal: “In glad thanksgiving for his life, in proud remembrance of his death.”
Thanks to the generosity and hard work of Douglas’s surviving family members, we have been privileged to share Douglas’s story and artistic output with our visitors this autumn. You can enjoy the display of Douglas’s artworks and a small selection of personal items during our normal opening hours, until Saturday 10 November 2018. A companion book and DVD produced by Douglas’s great nephew, Richard Elsner, are available for purchase from the museum shop. Additional artworks and other items kindly loaned by Douglas’s family can be seen at Knutsford Heritage Centre until 22 December.
On Saturday we were delighted to open a display of sketches and watercolours by amateur artist Douglas Marshall Rigby (1891-1918). This is one of three exhibitions taking place locally to mark the centenary of Douglas’s death, organised by his family to celebrate the life of this remarkable but little-known man.
Douglas was born on the 27 July 1891 in Timperley, near Altrincham in Cheshire, the second child of Marshall and Grace Rigby. Marshall worked as a solicitor. His father, John Rigby, was a partner in Armitage & Rigby, one of the north-west’s most successful manufacturing and merchant businesses, operating mills and warehouses in and around Manchester. John’s business partner and brother-in-law, William Armitage, was also the father-in-law of William Oswald Carver, from another wealthy cotton manufacturing family. The extended family were known as ‘the clan’ because of the large New Year gatherings they held annually in Altrincham. Many of the men in this extended family would later serve in the Great War.
Douglas grew up with his older sister Honor (born 25 June 1888), first in Altrincham and then in Buxton, where the family moved in March 1898 for the children’s health. The family lived at White Knowle House in Burbage, enjoying a comfortable middle class existence with live-in servants, regular visits to family around the country and holidays on the Welsh coast. Grace records in her journal that Douglas had drawn from infancy but began to draw and paint in earnest aged about 7 years old. In May 1899 his father took him to Manchester Art Gallery, and Grace noted several months later that her son would still occasionally tell her something new about a painting he had seen there. In November 1899 she writes: “He is of a restless nature, unable to keep still for a minute together – except when drawing or painting” and “at any spare minute he is always drawing.”
After the move to Buxton, Honor and Douglas were first schooled by a governess and then by their mother. By the end of 1899 Grace was reporting that they also had private lessons in gymnastics and dancing, and that Honor went fencing once a week! In 1900, Douglas had his first art lessons, but these were sporadic. He was later enrolled at Holmleigh Preparatory School on Devonshire Road in Buxton (demolished 1961), and by 1905 he was studying at Marlborough College, a boys boarding school in Wiltshire. Here he took painting and drawing lessons alongside his other subjects. In his own time he drew caricatures of fellow pupils and school staff and was encouraged to paint by his housemaster. In autumn 1907 he won the school watercolour prize.
Douglas begged to leave school when he was 17 and go to a studio so that he could become an artist. He went to a studio in Kensington, London and boarded with a family nearby. Apparently he enjoyed his time there, both working in the studio and visiting places of interest, but soon realised that he was not good enough to make a living as an artist and worried about how much money was being spent on his training. After about a year he decided that he had better follow his father into business. He returned to live with the rest of the family at White Knowle in Buxton and joined the office of one of his uncles, an iron and steel merchant in Manchester.
I can’t imagine that working in an office in the city held much joy for a young man of artistic inclination who loved the outdoors, but this is Douglas’s last known occupation. A few years later, war would break out and his life would change forever. I’ll write more about that in a few weeks time.
You can enjoy the display of Douglas’s artworks and a small selection of personal items during our normal opening hours, until Saturday 10 November 2018. A companion book and DVD produced by Douglas’s great nephew, Richard Elsner, are available for purchase from the museum shop. Additional artworks and other items kindly loaned by Douglas’s surviving family members can be seen in exhibitions in Chester and Knutsford*.