The Ropewalk Museum gains Accreditation

By admin |

The Museum at The Ropewalk in Barton upon Humber has just gained officially “Accreditated” by the Museums, Libraries and Archives Council.

The Museum at the Maltkiln Road venue pays tribute to the history of the ropemaking factory, Hall’s Barton Ropery, which opened in 1767 and its workers.

Housed in the Grade II listed building which stretches a quarter of a mile along the length of Barton Haven, the Museum Corridor houses displays, artefacts and other memorabilia telling the history of the factory and its workforce.

“Some of the artefacts were rescued when Hall’s Barton Ropery closed for the final time in 1989 while others were donated by former employees and their families at the time of a Heritage Lottery Fund project which chronicled the history of the factory and its workers through more than 200 years of its history in two books, Unravelling Barton Ropery and Family Ties,” said The Ropewalk’s Managing Director, Liz Bennet.

“Everyone connected with The Ropewalk is delighted that our museum has been able to meet the nationally agreed standards set by the MLA’s Museum Accreditation Scheme,” she continued.

“Much hard work was undertaken prior to our submission and thanks to the support and help of our Curatorial Advisor, Madi Grout, the area’s Museum Development Officer, Jaane Rowehl and the MLA’s Regional Accreditation Officer Robin McDermott we now meet the MLA’s criteria for running a museum and looking after both our collection and our visitors.”

“Now that we have been awarded Accreditation we have been spurred on to develop an archive and research area next year if we are successful with a Heritage Lottery Fund bid,” Liz added.

And Andrew Motion, Chair of the MLA said:  “Being awarded Accreditation is an impressive achievement.  It recognises the high standard and service that The Ropewalk Museum provides and acknowledges the hard work of its staff.”

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Jill Stewart was brought up in rural Northumberland, surrounded by nature and colour, always noticing the tiny details that surround us. After city adventures and unsuitable jobs, she started to make things, and developed unique ways of working in brass, copper, silver and titanium. The clocks developed after she was challenged to make larger items than jewellery, and to really develop a colour palette using the effects of heat on different metals. After cutting out the shapes, a large flame is used to solder parts of the design together, but also makes copper go beautiful unpredictable shades of dark red, and changes the look of other metals, especially the etched parts. The handmade look is important, that you can tell an actual person worked closely with their materials here, not absolutely sure how each process would turn out.

 

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Luke Jerram

Harrison’s Garden

If John Harrison had a garden, how might it have looked?

In 2017, artist Luke Jerram took that thought and turned it into an amazing and imaginative exhibition that has been touring the UK. His idea was to create a ‘an imagined garden’ of clocks clustered into species, forming ‘flowerbeds’, ‘islands’, ‘pathways’ and borders’. Luke’s array of around 3000 timepieces has now visited the beautiful National Trust properties of Nostell Priory, Gunby Hall and Penrhyn Castle.

And in January 2019, Harrison’s Garden will reach its final destination at The Ropewalk. Bringing Harrison’s Garden home has been organised by the Better Barrow Community Project and Luke has kindly offered to donate the clocks to their fundraising cause to erect a statue of John Harrison. The clocks will be auctioned at the end of the exhibition – for further information visit betterbarrow.org

Harrison’s Garden was originally commissioned by Connect! and presented over 5 days at Devon’s Thelma Hulbert Gallery in 2015.

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As a keen walker of the Tenfoots I am never without my camera. I observe and record the fragility of rotting wood, holed by worm and beetle alike. I find the ad hoc nature of Hull’s Tenfoots fascinating: the make do and mend fences; the mock Tudor and Swiss chalet style garages; patched up boundaries and beguiling attempts at security. It would seem that Hull’s Tenfoots appear to be held together by flaking paint and rusting hinges. My paintings are as varied in subject matter and colour as the Tenfoots are in diversity.

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Studio Artists’ Show

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David Alcock
Sally Beaumont
Emily Connor
Deborah Grice
Gill Hobson
Richard Hatfield
Judith Land
Tim Needham
Michael Scrimshaw
Reginald Swinney
Shirley Trumble
Keith Woodcock
85 Fathoms

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On November 24 Michelle will be running a workshop teaching participants how to make their own Fairground Fable. Bookings can be made in the Craft Gallery.

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I paint out of doors and in the studio. Landscape embodies form, colour and light. Painting can reflect these primal elements and leave us with an object akin to poetry. I play with the picture plane and use paint on various surfaces, abstracted to convey feelings and form with a sense of the drama of the place.
Tim Needham

The subjects are the amalgamation of the remembered, the fleetingly observed and the repeated, emblematic motifs left, like an afterimage imprinted on the retina. I look for a sense of the unfamiliar in the ordinary – a gentle disquiet. Some pieces recall a particular moment or episode, often dramatic and transient such as the effects of light or weather, frequently in the extreme. It is at these times that nature can reassert itself into our consciousness and provide us with a taste of something that is awesome in the true sense of the word. Other paintings are less dramatic and conjure up emotions and associations of particular memories and universal fears from early childhood.
Richard Hatfield

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