Issue 66 | April 2012

Newark Civic TrustMAGAZINE

Caring about the town’s environment

contents

Newark Civic Trust Magazine

Editor Rupert Vinnicombe

Print Willsons Printers

Content is kindly provided by various contributors

Front cover illustration Patty Temple

Rear cover illustration Bryony Robins

Sponsorship

Willsons Group Services Tel: 01636 702334

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Executive Committee Members

Acting Chairman: Mr George Wilkinson, The Cottage, Lincoln Road, Newark NG24 6HH 01636 671413

Secretary: Mr Rupert Vinnicombe 36 Winchilsea Avenue, Newark NG24 4AD 01636 689081

Treasurer: Ms Amanda Ferguson, C/O Duncan & Topliss, 14 London Road, Newark NG24 1TW 01636 640321

Membership Secretary: Mr Neil Hinchley, 24 Beacon Heights, Newark, NG24 2JS 01636 704699

Chairman of Planning: Mr Michael Hawes, 7 Beacon Hill Road, Newark NG24 1NT 01636 611349 www.newarkcivictrust.org.uk

Corporate members

British Sugar NewarkBenoyTalentsRichard Watkinson & CoCBP ArchitectsHodgson ElkingtonGuy St John TayloreSurvJeffrey Keays Associates

Foreword 03 A few words from the Chairman

Newark Civic Trust 04 Awards Scheme Two Award presentations recalled by Rupert Vinnicombe

50th Anniversary Project 06 By Rupert Vinnicombe

Placecheck Workshop 08 16 February 2012 A report by Neil Hinchley

A National Civil War Centre 13 at Newark Museum By Bryony Robins

Robert Kiddey (1900 – 1984) 14 Artist and Teacher By Patty Temple

Casework 18 By Matthew Slocombe

Front cover photo Robert Kiddey. “Madonna and Child”

Message from the editor

This edition of the Newark Civic Trust Magazine contains a timely article by Bryony Robins on the proposed National Civil War Centre as the bid for funding has been submitted and is being considered by the Heritage Lottery Fund. Also, we are very pleased to include a major article by Patty Temple on Robert Kiddey the Newark artist and sculptor. I have long believed that Kiddey was an important artist and ranked alongside others of the period such as Eric Gill, Jacob Epstein and Augustus John and Patty’s piece is an excellent introduction to his work and relevance to Newark.

You will find reprinted on pages 18 - 19 an article that originally appeared in the Society for the Protection of Ancient Buildings Magazine “Cornerstone” brought to our attention by Trust Member Chris Healy. The article is reproduced with the kind permission of the author Matthew Slocombe, the editor of “Cornerstone” Robin Strummer and the Newark Advertiser as suppliers of the original photographs.

Rupert Vinncombe

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A few words from the chairman

During my more leisurely year much has happened. The saga regarding the future of The Robin Hood Hotel raged furiously for a while, ending with a reprieve for the place, but we must wait a little while longer for the final verdict after the review. It is inevitable that whatever the final decision is, some members will be disappointed.

More recently, an unexpected approach by Nottinghamshire County Council (NCC) to Newark & Sherwood District Council (NSDC) seeking to purchase the Gilstrap Centre in which to re-house the Register Office, thus enabling NCC to relinquish its tenancy of part of the old Municipal Buildings in Balderton Gate, presently leased from NSDC.

The Gilstrap Centre, originally the public library gifted to the people of the parish by Sir William Gilstrap. Public library services became part of the remit of NCC and the building re-opened to provide educational services after the opening of the new library on Beaumond Gardens. It comprises presently: The Castle Story, (now augmented by the erection at long last of the chapel archway, previously languishing in the castle undercroft where it has laid since its discovery when the castle grounds were landscaped and remained unidentified until work by Professor Maurice Barley identified it for what it is); an exhibition hall and the Tourist Information Centre (TIC).

The proposal to purchase and maybe the willingness to sell the Gilstrap Centre met with vehement and vigorous public indignation. Almost unanimously, the collective opposition made it quite clear that The Gilstrap Centre was given to and belongs to Newark. I have to declare that both on a personal level and in committee that the proposal for purchase by NCC should be rejected.

The result of the continued, well researched and argued opposition was that NSDC issued a statement which quite rightly says that there is an obvious need for detailed, in depth research into all ramifications regarding the past history.

Any sale would necessitate the relocation of the TIC. There are two suggestions. One is at the proposed new museum complex in Appleton Gate. Always supposing the recently submitted lottery bid is successful, it will be at least three years before occupation can proceed. Not very practical!!! The second suggestion is at the Palace Theatre. Another equally impractical solution since it is proposed to close the theatre on some days. The TIC is ideally situated where it is easily found. Leave it where it is!!!

“It is an ill wind that blows nobody any good”, says the adage. By virtue of WWII, Newark is blessed with a first class venue for large events at the Winthorpe Showground. Events held there include Newark & Notts

Agricultural Show; Newark Antique & Collectors Fair and Lincolnshire Agricultural Machinery Manufacturers Association (LAMMA). There are many more. Exhibitors and visitors always suffer the same problem - where to stay?

All hotels, boarding houses and bed and breakfast establishments have repeat bookings for two years and more hence for these events. Travel Lodge at A1/A46 intersection have virtually doubled their number of rooms. Lincoln has at least two hotels that have extended massively, partly on the strength of the demand. Press reports for LAMMA informed us that exhibitors were lodged as far away as Louth and Doncaster. I am pleased that these faraway places are able to profit by filling a need, but how much better it would be if Newark had a large hotel that could relieve these people of their lovely lolly. Newark needs a big hotel. NOW!

At the library meeting in January, The Work of The Trent Vale Landscape Project by Hester Kapur, several questions were asked. Any that Hester could not answer there and then, she forwarded to relevant bodies. I have all answers and have passed on the information to all but one re usage of owl boxes. If you would like to contact me I will pass on the latest news and contacts.

George WilkinsonActing Chairman

Most of you will know that I have re-assumed the Chairman’s mantle.

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The aim of the Scheme is to recognise and encourage developments usually of a minor nature that enhance the quality of the built environment within our area. The area was agreed by the Trust some time ago and actually includes that bounded by the parishes of Newark, Muskham, Collingham, Winthorpe, Coddington, Balderton, Farndon and Kelham.

Nominations are encouraged and may be submitted by any current member of the Trust and the Scheme Coordinator will usually visit the nominated work before discussion and approval by the Executive Committee.

Two Awards have been made recently – the first was to long standing Trust member, Chris Healy for his work on rebuilding a riverside warehouse on the historic Huddlestone’s Wharf. This is the final property of three now restored on the site and Chris

has appropriately renamed the building “Healy’s Wharf”. Chris wrote an article entitled “Pumps up the heat” in issue 62 of this magazine detailing the rebuilding processes and the inclusion of a Swedish ground source heat pump. Back issues of the Trust Magazine may be viewed on our website www.newarkcivictrust.org.uk or in Newark Library where a complete back file is maintained.

This superb piece of work was opened to public viewing last year and received excellent coverage in the Newark Advertiser. A nomination for a Civic Trust Award was made by Mrs Pat Thompson and George Wilkinson, the Acting Chairman recently presented Chris with a framed certificate recognising his contribution to the quality and appearance of the environment in Newark by this rebuilding project. Chris is no stranger to the Award Scheme having previously received two Awards for his work on Starr’s Yard and at 62 Castlegate.

The second Award was to Mr Michael Thurlby for his renovation, extension and return to commercial use of the former Woolpack Inn now called “The Prince Rupert”. The original building is a real gem that has been dated by dendrochronology to c.1452 and would probably have originally been the second and third bays of a Wealden House, a style originating in Kent and rare as far north as Newark.

The Prince Rupert actually appears in two of the Civic Trust Trails: “Timber Framed Houses” and the “Civil War

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Trail” which is a clear indication of the importance of this building in the town.

Peter Duncan our past Chairman nominated The Prince Rupert for a Civic Trust Award which was presented to Michael in Newark Library on the 23rd February by Rupert Vinnicombe and the brief ceremony was followed by a fascinating talk by Michael on his work of restoring the regions taverns.

Michael ran through the many pubs he had restored from his first purchase of the Black Bull, followed by others in Stamford before expanding into Bourne and Ufford. In 2006, Michael opened the highly acclaimed Tobie Norris also in Stamford in a beautiful and historic building dating back to 1280 beginning life as a medieval hall. In 1617, the house was purchased by Tobias Norris whose son Thomas created a bell foundry, and later a second, to enable both large and small bells to be made and we were informed that around 300 are still in use today. Many owners followed the last being the Royal Air force Association who made few changes and gave Michael an ideal opportunity to create what looks to be a wonderful venue.

Michael’s passion and enthusiasm for restoring old buildings came over strongly in his talk and this was next applied to Newark with his purchase of the Woolpack in 2007. Work was delayed for two years as until the Tobie Norris was completed which I recall caused some concern in the town at the time.

I am sure Trust members will be aware that the work was expensive as it progressed and though a figure was not mentioned, on his own admission Michael stated: “There was a terrific overspend and no budget!” The tables came from Newark’s Wing Tavern and bar from a Barclay’s Bank in Thrapston. Michael suggested that the missing section of the Wealden house was not as a result of a fire

as no evidence of this was found during the renovation so another Newark mystery remains unanswered. Michael’s pub, The White Hart in Ufford also now has a micro brewery attached and this supplied an opening beer for the The Prince Rupert named “Rupert’s Wardog”!

Michael related an amusing tale about the floor tiles in the Rupert where 500 were purchased from a reclamation yard only to find they were 200 short. A further visit to the yard where a hopeful enquiry received a positive response of: “Yes, of course, we will make some more for you” and the floor was duly completed! The upstairs is currently being worked on and Newark beer drinkers can look forward to extra space in a favourite local pub.

The change of name reflected Michael’s wish for a fresh start and a personal interest in Prince Rupert and his role in the English Civil War and whilst he acknowledged local criticism, he felt pub names had often changed over the years and not always for the better as we can recall with the Zoo!

All in all, a good turnout of Trust members heard a fascinating talk from a totally committed pub developer who is amazingly also a full time farmer currently very busy with the lambing season and managing 40 beef cattle. For more information on all Michael’s establishments start at his website: www.theprincerupert.co.uk

Rupert Vinnicombe Civic Trust Secretary

A couple of years ago Bill Davidson, then Chairman of our Planning Committee, wrote a piece about the forthcoming 50th Anniversary of Newark Civic Trust. Bill highlighted a number of similar initiatives carried out by Civic Societies around

the country and asked for ideas to recognise this important anniversary. Despite further requests, only a few have been forthcoming though one that seems to be worthy of consideration is a refurbishment of the Market Place Pump and Bear

Baiting Post together with some form of interpretation and a Civic Trust commemorative plaque.

Further ideas are again being sought before the Executive Committee makes a final decision and considers

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50th Anniversary Project

how to proceed – possibly with small bids to the Heritage Lottery Fund and the County Council’s Local Initiative Scheme. The latter has been particularly supportive of our work on the Trails leaflets now approaching the final total of 8 titles.

When the Executive Committee first discussed the Anniversary Project, it emerged that we did not know the exact date of the Trust’s foundation and that enabled my rather rusty library research skills to be revived! Newark Library has an excellent and comprehensive local studies section that includes an index to the microfilms of the Newark Advertiser and this provided the required information.

I had spotted a full page advertisement promoting the “Newark-on-Trent Civic Association” as being founded in 1932 in the “Pageant of Newark Official Programme July 13th – 18th, 1936”.

The original Association folded, perhaps because of the Second World War and it was not until 1959 that a revival was suggested when the Advertiser noted the early development of a Southwell Civic Society and proposed that Newark should not lag behind!

The idea was raised at the Newark Discussion Club in February

1960 but met with little interest. Members of the Club seemed to be more concerned about the Government’s proposals to limit alcohol consumption by drivers with the suggested “rate” working out at two double whiskies. A local doctor noted that seemed rather a lot and suggested that a glass of milk or “a fatty substance like olive oil would enable him to take much larger quantities with impunity”!

November 1963 saw a determined effort by the Newark Junior Chamber of Commerce to press for a civic society or trust and a small working party was chaired by Councillor Douglas Blatherwick and included Norman Brown interviewed by Bill for the earlier article. The inaugural meeting was held on 21st April, 1964 in the Town Hall and the guest speaker was Mr. Arthur Ling, then City Architect and Planning Officer for Coventry and soon to become the first Professor of Architecture at Nottingham University.

Mr. Ling paid tribute to Newark and said: “...the town had many fine buildings of architectural and historic interest. They are fine not only in themselves but as a group particularly in the central area where they form together a fine piece of town planning with the Market Place as a focal point.”

Councillor Blatherwick at the opening of the meeting said: “It is not a group of men and women opposed to change. We want to construct an organisation we hope will encourage a sense of civic pride. I have a very strong personal conviction that more influence can come from a body of people representative of the whole town than be done on many occasions by those in authority.” The Mayor was later elected as the first Chairman of the Trust which had already attracted representation of 9 of the town’s organisations and 52 individual members. Today we have 8 corporate members and 136 individual members of the Trust.

Long standing Trust member Mr. John Oldham wrote to me recently and passed over a list of members as at 31st March, 1977 and amongst the very familiar names listed there are still a few current members. John also included copies of 3 reports published around 1970 that were prepared by the Improvements Committee of the Trust which included Guy Taylor and John Oldham. The topics covered were the Lombard Street car park, Newark Market Place and a Pedestrianisation Survey and they make fascinating reading in the light of developments that have followed and indeed are still under discussion. I am thinking here of the recent proposal for tighter bollard control of vehicular access to the market area that is long overdue.

However, to return to the 50th Anniversary Project, the Executive Committee would be very pleased to receive realistic suggestions for their consideration. This is an important anniversary for Newark Civic Trust and for the town and we must ensure it is marked in the most appropriate manner.

Please contact me via the website www.newarkcivictrust.org.uk or by telephone on 01636 689081.

Rupert Vinnicombe Civic Trust Secretary

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Newark Civic Trust executive committee was invited by English Heritage to attend this “workshop” somewhat belatedly, i.e. the day before, but we managed to have four representatives attending. Other attendees (about 20 in all) were employed by various town, city, and county councils within the East Midlands, usually from Planning Departments or similar.

The workshop was organised by a practice called Urban Design Skills on behalf of English Heritage and others such as Civic Voice. The original Placecheck idea was developed in 1998 and is a way for a community, or groups of people within a community, to investigate record and seek action to address problems and improve aspects of their area. To those who are, or have been involved in our Conservation Watch activities this must sound familiar.

Furthermore, in concept, the Placecheck system is identical to the “Street Pride” system we tried during last September (AGM day) but extended to the inspection of buildings, spaces and streets i.e. the environment in general.

After a short presentation we split into four groups (each led by a Civic Trust member) and viewed the marketplace, Cartergate, Lombard Street and back to the Town Hall for discussions.

When carrying out the area inspection three questions are used:

What do I like about the area?What do I dislike about the area?What needs to be done to improve the area?

Essentially local people and businesses and groups know their area well and with this prior understanding a walk-around is done of the study area to observe, identify, discuss and record answers to the three questions. The system can identify issues over a broad range of topics.

The headings given as examples were:

A special placeA well-connected, accessible and welcoming placeA safe and pleasant placeA green placeA planet-friendly place

It is then up to the group to prioritise concerns and present them in a format (could be a report, presentation or video) to “sell” their vision and ideas to others and in particular to bring in people from local councils, businesses or other organisations to see if particular issues can be improved and a way forward developed in the long term. When using Placecheck there is no right or wrong way to do it and it can be of any scale and scope you want it to cover. It can be small in terms of the area covered and the numbers of people involved and it can cover or be limited to certain aspects, such as the urban environment. It could create a simple action plan or report at the end. At the other end of the scale the process could bring in representatives, for example from councils, the police, local businesses, charities or schools and could involve several practical walkabouts, meetings and presentations. It could itself be the forerunner for further work undertaken by others leading

to, for example, Conservation Area Appraisals, Town Centre Health Checks or the new emerging Neighbourhood Plans.

Placecheck is a “bottom up” approach to improving the quality of our local area and this is a vital aspect; it is a process that is done mainly by local people, not by councils, hence it is relevant to Government thinking at the moment. It can be used to convince such councils and promote action; whether by fixing broken paving slabs or by re-planning the traffic system.

It seems that the Placecheck method could be adopted by Newark Civic Trust for use with our Conservation Watch activities by introducing a more structured approach. We could incorporate photographs with our report on the various areas and present them to Newark & Sherwood District Council as a Placecheck report thus lending the report more gravitas (with the hope that action is taken to improve the deficiencies we perceive).

If Trust members have any views or comments on this report, or indeed would wish to become involved, please contact any member of the Executive Committee.

Neil Hinchley Membership Secretary

Placecheck Workshop 16 February 2012

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On a snowy morning in February the application to conserve and develop the Old Magnus Buildings (OMB) at Newark was finally submitted at the Heritage Lottery Fund Offices in Nottingham. After years of development the simple act of handing over the plans, marked a pivotal stage in the process of transforming these complex historic buildings into a heritage destination and community resource. It represented the culmination of a long process which involved many people and organisations and demanded a great deal of commitment by everyone concerned.

Seven years ago Newark Museum closed its doors with the view to developing a new museum and arts facility at the site. After many revisions during the development time our final scheme is a solution which will secure a future for the historic buildings, a heritage resource and community venue and a tourist attraction. It will support the local economy and attract investment to the town and district. As a result, this project has become a key priority for Newark and Sherwood District Council.

In developing the project we took the opportunity to consider and review our entire heritage offer and consulted with many different audiences to identify where we could make improvements. Our findings underpin the plan, so it encompasses activities not only at the new museum, but also the Queen’s Sconce and Newark Castle. In improving services and uniting programmes in this way, we hope to encourage more people to become interested in heritage and to participate in the exciting activities which we hope to provide.

The new museum at the Old Magnus Buildings will provide a gateway for learning and form a hub for local heritage – we want it to be a vital and active community resource.

The final scheme has been reviewed through public consultation and in co-operation with our advisory bodies and project partners. Significant contributions have been made by the Friends of Newark and Sherwood Museum Service, the Academic Panel who advised on the content of the exhibition interpretation, the Learning Forum in developing education and events programmes and the

Access Group who have supplied invaluable direction towards the physical access of the buildings and the inclusivity of the interpretation and activity programmes. Without their support this proposal would not be as strong, and we will continue to work with these groups through the next development stages to make sure our museum is a first-rate visitor attraction.

Heritage ArchitectureThe Old Magnus Buildings are located within the central conservation area of Newark and the site is Grade II* listed. The Magnus School was established as a free grammar school in 1529, when Thomas Magnus granted a gift for its foundation. The Tudor hall, the original school building, dates from 1532 and the school expanded over the years, with subsequent Georgian, Victorian and Edwardian extensions. By 1911 the school had outgrown the site and the buildings were sold to Newark Borough Council for a museum and education offices. It is a remarkable survival of a complex of buildings which witnessed the development of education in Newark over nearly 500 years.

national civil War centre

at newark Museum

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Following the successful stage 1 application to the Heritage Lottery Fund the design team, including the Council and heritage architects Purcell Miller Tritton, reviewed the proposed architectural plans. One of the most challenging aspects was to design an accessible route-way through the buildings that would enable visitors to make sense of the different exhibitions. The Tudor Hall and Georgian frontage both have three floors, but these are on different levels. The schoolroom is at 90 degrees from these buildings therefore the circulation core has to be located in the corner for easy access.

The Tudor Hall is the heart of these historic buildings, and we are determined to restore it to the best of our understanding. In 1914 the buildings underwent considerable “restoration”, which unfortunately resulted in the loss of some of the Tudor fabric, and has left us with a rather artificial space. However all is not lost as investigations have revealed the original timber frame currently hidden under cladding. Most striking are the Tudor attics which once restored will make an impressive and atmospheric environment. We have uncovered historic graffiti, the oldest of which dates back to 1608, and also some historic wall painting

in the Tudor hall, which might possibly reveal a school motto.

It is likely that during the 1914 restoration the stone walls in the Tudor hall were refaced and unfortunately nothing remains of the original decoration. In the restoration therefore we shall have to rely on our knowledge of other buildings of this date. The end wall however, potentially with a painted motto, appears to be decorated in larkspur blue on a paler base. The beams have revealed an ochre colouring which in combination with the blue would be a vibrant colour scheme. The Hall has a beautiful, yet rather incongruous, parquet floor, which will be removed and re-used within the community building. It will be replaced by oak boards or stone flags in keeping with the historic period.

We are keen to interpret the Hall as an historic environment, rather than an exhibition gallery. The historic space will encourage visitors to pause and reflect. Subtle interpretation will be provided, and it will house an area for the café. Seating will also be provided in the old Headmaster’s garden, to the rear of the Tudor Hall with direct access from the Hall into the south-facing courtyard gardens.

The English School will house the National Civil War Centre and the Georgian Headmaster’s House fronting onto Appleton Gate. It will form the main exhibition area for the history of Newark and Sherwood. Interior partitions will be removed to create two sizeable galleries on each floor; symmetrically positioned around the central stairway. Permanent exhibitions will be sited on the ground floor, temporary exhibitions on the first floor and hireable space for artists and local history groups on the top floor.

Due to their state of disrepair, the original plans also included the demolition of the old Gymnasium (or former Careers Office), to allow for secure vehicle access, a requirement

The Tudor HallPhotograph courtesy of Purcell Miller Tritton LLP

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when borrowing objects from national museums. In reviewing the plans we reconsidered the use of the building and the need to provide a dedicated learning space for school groups. The Gym is ideal for this being self contained and situated towards the back of the site within the former playground area. This will continue to provide an area for children to play away from the main museum facilities. In retaining this building however we had to create vehicle access elsewhere as the driveway has a very tight bend, preventing anything other than cars entering

the complex. We propose to make an opening in the boundary wall between the rear of the Palace Theatre and the back of the OMB site. Although this wall sits on the line of the old Chauntry House it has been much altered. At one time it was at least three times its present height in order to provide the back wall of the fives courts. Bringing children into inspiring learning spaces outside the school environment enhances their learning and understanding and the development of such a dedicated learning space is seen as important in the success of the museum.

Similarly it is paramount to our plans that the community are actively involved in the museum, not only as visitors but also involved in key decision making in the future of the district’s heritage. The former Handicraft Centre, based at the back of the Headmaster’s garden (once a canoe store) will be redeveloped as a dedicated community facility for use by the Friends and local groups to provide talks and workshops. The benefit of using this room is that it will be possible to allow secure access out of museum opening hours for evening events.

The restoration of the Old Magnus Buildings will see a practicable and appropriate future for the site. The project will conserve and interpret valuable architectural heritage. The fabric of the buildings will be reinstated to the best of our best understanding, and where possible features will be highlighted to ensure that audiences can appreciate and understand them.

National Civil War CentreIt is important that we build new audiences and a crucial element of our application is the development of a National Civil War Centre. It will attract people from across the country in a way that a local museum cannot and therefore help to increase visitor numbers. The Centre will be the first of its kind, a place to explore our shared history of these significant times, and reflect on the lasting legacy of the British Civil Wars. Interpretation will link other heritage sites across the country, and visitors will be able to indulge their appetite for learning through study facilities and online resources.

The museum team and volunteers undertook research into how other museums, galleries and heritage sites depict these times. This indicated that although there was a wealth of information out there within many different heritage sites, it tends to concentrate on local stories of battles, resulting in a rather fragmented

Tudor Hall and gardenPhotograph courtesy of Purcell Miller Tritton LLP

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picture. Interpretation at the Old Magnus Buildings will address the national story of the British Civil Wars through the lens of Newark, drawing on the town’s unique contributions, but the story doesn’t end there. It will also interpret the wider story including civilian experiences and provide programmes and activities, such as conferences, talks and living history events.

A key theme in the interpretation will be Newark residents’ experiences of the sieges. Aside from siege pieces, few museum objects are able to depict the difficulties and complexities of siege life, so this theme will be interpreted through a multi-layered audio visual resource. The archival collections documenting civilian life during the first British Civil War are unique, and the content for this production will be based on these rich resources. The archives identify a number of individuals who experienced hardship and loss as a consequence of the war. Their voices along with imagery, museum objects and replicas will place visitors in Newark at the time of the siege. The storyline will be illustrated through significant sites, such as: the Queen’s Sconce, Newark Castle and the Governor’s House and the challenges in the living conditions brought about by overcrowding and severe food restrictions.

Together these elements will weave an entertaining narrative of human ingenuity that has shaped our history and governance. A compelling and emotive story will make this interpretation accessible and engaging, and ensure wide visitor appeal. Known as an “Object Theatre”, this concept is frequently used in America, and to our knowledge, this will be the first example used in a museum in Britain. The theatre will be the centrepiece of the visitor experience.

Newark History GalleriesThe museum will not only be about the Civil War, but will also promote

and celebrate the history of Newark and Sherwood. In order to tie together interpretation about the Civil Wars and local history, interpretation will be united into a single underlying “Big Idea” that guides the content of exhibitions, provides the message that visitors take away and summarises what the museum is about.

Our big idea was drawn from workshops with the Academic Panel, local history groups and representatives from learning organisations. Several themes were put forward, but the one that unites our story most effectively, is “The story of Newark and Sherwood and its residents demonstrates the resilience of ordinary lives set against affairs of the nation and the world”.

The complex nature of the Old Magnus Buildings has enabled us to create distinct exhibition areas, not only for permanent exhibitions but also a changing programme of displays and art exhibitions. The ground floor of the Georgian Headmaster’s House will house the permanent exhibitions. These will bring the story of Newark and the surrounding district to life and will showcase significant items from the collections; the Iron Age torc, the printing press that first brought Byron’s work to public, a Roman early Christian cross and highlights from our art collections.

The temporary history galleries, on the first floor of the Headmaster’s house, will provide a changing programme of loaned exhibitions from other museums and community curated displays. Involving the community in interpreting our collections will be an important part of the programme. On opening in 2014, the first exhibitions will include an exhibition curated by ex-military servicemen, working with contemporary soldiers to interpret the First World War as part of the Centenary. The top floor galleries will be available for hire and will show a programme of history and art exhibitions.

What this means for Newark and SherwoodOur plans will attract 60,000 visitors to the museum and involve 17,000 people in heritage learning activities. This is an increase or more than 200% on Millgate Museum visitors, and will generate upwards of £100,000 tourism spend for the district (based on Visit England calculations). The museum will provide additional and more structured volunteer placements that could support people in gaining work related skills. In addition adult learning, training and a programme of creative workshops will be on offer. During the development of the site, apprentice placements will be created for trainees in heritage construction skills and open days held so that people can see the progress of the restoration. The museum will support professional placements to enable young people to learn about the heritage sector.

The learning, exhibition and events programmes will ensure that the museum becomes a lively and engaging facility for both tourists and residents. We want the museum to become fundamental to the district, and provide inspiring activities for all. The rich heritage architecture will provide a unique setting, and realising our plans will create a major heritage destination for the town and district. This is a truly exciting project that will make a significant contribution to the local community and support the local economy. The Heritage Lottery Fund is considering our application, along with around dozen others, from March to May. Until then, keep your fingers crossed for a positive decision.

Bryony RobinsOld Magnus Buildings Development Manager, Newark and Sherwood District Council

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When I came to work at the Town Hall and the name ‘Kiddey’ was mentioned for the first time, I thought the reference was to children! I quickly realised otherwise as people told me about a highly gifted, modest man with old fashioned manners, often in smocks, bow ties and a pork pie hat. This was the artist Robert Kiddey who had spent almost 50 years working in Newark. However, it was a generous gift of nearly 70 pieces of his artwork and archives donated to Newark Town Council in 2001, by his great nephew, Paul Kiddey, which provided the ideal opportunity to catalogue and assess his talent.

This wonderful donation included Robert Kiddey’s iconic piece, The Divine Tragedy, now hanging on

permanent display in our fine art gallery. The relief was initially submitted as one of Kiddey’s competition pieces for the Rome Scholarships of 1930. Although not successful (he came second), his work was highly praised by the art critic of the time, P.G. Konody, who thought that Kiddey’s work “show[ed] exceptional promise”2.

In 1929, Robert Kiddey had his first major national success with this crucifixion scene in low relief at the Royal Academy, London. Later, this same piece was displayed in 1933 at the Salon des Beaux Arts, Paris, (equivalent to the Royal Academy), with high commendations.

The success of The Divine Tragedy

provided Kiddey with the stepping stone he needed to enter the art world. Art critics were impressed not only by its simplicity, but by the restrained power and drama that the piece displayed. Kiddey believed that “simplicity is the basis of true art” and this low relief plaster with economy of line, confirms this.

Interestingly, although Robert Kiddey was born in Nottingham on 20th May 1900, there appears little reference to him. He was one of triplets born into a Catholic family of 11 in Lilac Street, Nottingham. In fact, the only acknowledgement to him is the poorly marked family grave (with his mother and triplets only) in the Rock Cemetery3, Nottingham.

As one of the most promising sculptors of his generation, this lack of recognition is odd because Robert Kiddey started his artistic career aged 14 at Nottingham Art School on Waverley Street. At 18, his studies were interrupted when he was called up to serve in the First World War. Service as a Private with the Notts and Derbyshire Regiment delayed for a couple of years, but did not unduly hamper, his studies.

Returning to his Nottingham studies, Kiddey specialised in sculpture with his favourite materials, granite and hardwoods.

He worked in the mid-1920s on civic buildings such as the Nottingham Council House frieze of figures

Robert Kiddey (1900-1984)

Artist & teacher“simplicity is the basis of true art”1

Robert Kiddey

The Divine Tragedy

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beneath its dome, a three-year project.

The new Council House was opened in 1929 by the then Prince of Wales, later King Edward VIII.

During the 1920s and 1930s, Kiddey was at the height of his artistic powers, exhibiting alongside Pablo Picasso, Augustus John, Jacob Epstein, Eric Gill and Jasper Johns4. He won a scholarship to travel across communist Russia5 where he was attracted to the pared down simplicity of Social Realism. He received a Rome scholar’s bursary to study classical art in Italy and also visited France and Germany, experiencing

first hand recent developments on the art scene. A sketch of Three Ukrainian Women, 1931, was done during one of these trips.

In Yugoslavia he met the well-known religious sculptor Ivan Mestrovic (1883-1962)6 whose work influenced a number of Kiddey’s subsequent religious panels.

It was in 1931 that Robert Kiddey accepted a teaching post in Newark at the former Technical College where he remained for the rest of his working career. It has been suggested that the reason Kiddey chose to leave Nottingham and base himself in Newark was due to the lack of recognition given him in Nottingham. Kiddey did not keep diaries or notes so it is difficult to know of his private thoughts at that time.

However, during the 1930s and 1940s, it was in Newark that Kiddey created a number of remarkable and dramatic religious pieces. Brotherhood was shown at the Salon in Paris in 1937 and using Burmese teak, The Flight into Egypt, exhibited in the Royal Academy in 1939, is now to be found in Southwell Minster. Newark Parish Church St. Mary Magdalene also has three artworks, The Pieta (created in 1951 as a memorial to those who died in the Second World War), The Crucifixion (1955) and The Cross of Nails.

Another particularly fascinating religious piece, East, was exhibited at the Royal Academy in 1937. On seeing East7, the artist Stanley Parker remarked that it was a “design which held in its every line the hidden mystery of the Orient”8. The choice of South American walnut helped to reinforce the exotic treatment of the subject. The clarity and directness of Egyptian art is also evident in this piece. The interest in texture and pattern are shown in the detailed decorative elements such as the braided tassels and swirling lines of the sand against a plain, flat background. The eye is not drawn directly to Mary and Joseph but rather to the majestic and dignified figures of the camels. But note the way the artist extends Mary’s head beyond the edge of the wood background, a feature Kiddey uses on other panels.

Although Kiddey appears to have been attracted to creating religious pieces, he also created pieces of a secular nature. Heavyweights 1938, a carved wood panel in African black walnut, depicts a victorious boxer standing over his defeated challenger. On a much smaller, less spectacular scale, there are two sporting pieces on display of footballers. These were created at the request of a friend of Robert Kiddey for her nephew who was a sports journalist for a Nottingham paper. The plaster model

Nottingham Council House

Robert Kiddey Teaching Students

East

is meant to depict the promising young goalkeeper, Peter Shilton at the beginning of his career, who later was part of the Nottingham Forest team which twice won the European Cup. Despite their modest size, both models demonstrate movement, power and energy through their fluid lines, as you can see from the images shown.

Kiddey’s commissions were wide-ranging, both local and national. In 1935 he sculpted an equestrian model for the Sir John Monash9 Memorial in Australia (coming second in the competition) and in 1938 he created the Virgin and Child stone panel for Durham Cathedral. Locally, he sculpted a bronze head of the editor of the Newark Advertiser, Mr Cyril E. Parlby in 1949 who was also Mayor of Newark in 1942 and 1943. He also carved decorative stone murals for the exterior of a newly opened block (1929) of the Technical College, and much later in 1961 designed a mural for the front of Newark Rowing Club boathouse.

In the 1950s, he received an important commission from Wilford Power station to create a series of

granite panels depicting Industrial Man. Four huge panels each comprising three sections (about 7 feet tall by 3 feet wide overall) as shown in the picture, weighing about a ton each. Each panel demonstrates a different aspect of electricity production, very much on the Social Realism School and the ideals of communism that Kiddey had come across during his earlier travels in Eastern Europe.

The interruption of the Second World War had proved difficult for Kiddey with little opportunity to

exhibit nationally. Key materials for sculpting, wood and bronze, were rationed. Nonetheless, his output remained prolific, but there was no market for works of art in the austere post-war years and he had to rely on teaching at the Technical College and other schools around Newark, for an income.

During the years that followed, Kiddey worked on portrait heads in plaster and turned increasingly to drawing and experimenting too with quite abstract works. Many of his drawings are of Newark residents and civic dignitaries, such as Thomas Earp (Mayor 1891/92) and Oliver Quibell, (Mayor 1907/08) also an art collector, including works by Kiddey. Kiddey was clearly a much respected artist in the Town, receiving the civic invitation (shown overleaf) from Mayor B. L. Maule in 1949. Another civic commission was an oil portrait of Mayor G. R. Walker’s wife, Hilda, in 1955.

Kiddey’s pencil drawings and those in ink and wash, are particularly fine, revealing some of his most intuitive and sensitive work. A particular

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Peter ShiltonFootballers

Wilford Power Station

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favourite of mine, Woman Reading, shows a female (possibly his muse, Mrs Margaret Graham, née Bennett) engrossed in her book unaware of the artist’s presence. Sometimes his sitters are depicted in deep contemplation, in their own inner world. Other works of children demonstrate Kiddey’s delicate use of pencil to capture the fresh, innocence of youth. One work is that of Andrew10 at about 6 years old and another is Janet11 around 4 years old, both drawn with that light spontaneous assurity of a master artist capturing his sitters’ individual personalities.

When Kiddey died in June 1984 at Hawtonville Hospital, he had had 7 carvings accepted by the Royal

Academy, 6 by the Salon des Beaux Arts in Paris, marking his national and international recognition. However, it is Newark that offered exciting inspiration and it is Newark that has

been wonderfully enriched by his prolific output of work. He left his artistic mark visible on many Newark buildings, his delightful drawings and busts are mostly of Newark people and those Newark residents who were taught by him still retain their fond memories.

Many works of importance were created in Newark, and these along with a wide variety of artwork, his easel, paint box, tools and various documents are on permanent display locally in the Town Hall for the benefit of everyone, and as a testament to Robert Kiddey’s exceptional talent.

Patty Temple, Curator

Town Hall Museum (Open: 10.30am-3.30pm), Newark Town Council

References1. Art in the Making, an article by Stanley Parker in The Nottingham Journal, 13 March 1942, quoting R. Kiddey 2. Konody, P.G. Art and Artists 19303. Grave No: 120634. A selection of catalogues of this period are on display5. Nottingham Journal 11 Jan. 20056. See the ‘Ivan Mestrovic’ website for examples7. East is on permanent display in the art gallery.8. Parker, S. Art in the Making, an article by Stanley Parker ‘The Nottingham Journal’ 23 March 19429. Commander-in-Chief of the Australian Forces in France during the First World War10. Andrew only discovered this picture of himself hanging in the Art Gallery when he started working at the museum as a Volunteer

Guide!11. Janet was walking along the river Trent with a friend, near Millgate, and bumped into Kiddey who offered her sixpence if he could

draw her there and then!

Janet Andrew

Civic Invitation

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civic trust events Programme

2011/1229/9/2011 AGM to include Street Pride “Walkabout” and discussion and Mick Gill Quiz

27/10/2011 Bryony Roberts on the Civil War Museum

24/11/2011 Colin Walker N&SDC Planning Officer on current planning issues in Newark

26/01/2012 Hester Kapur on the work of the Trent Vale Partnership

23/02/2012 Michael Thurlby on Restoring the Region’s Taverns and featuring the Prince Rupert

29/03/2012 James Darwin on the Work of the Georgian Group

26/04/2012 Howard Heeley on the History of the Newark Air Museum

31/05/2012 Evening visit to Newark Air Museum conducted by Howard Heeley and Mike Smith

28/06/2012 Trent Vale Visit detail to be confirmed

Full details and any changes to the programme will be noted on the website and announced at meetings as necessary.

Talks take place in Newark Library and commence at 7.30pm

A selection of Kiddey sculpture on permanent display in the Fine Art Gallery, Newark Town Hall

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Rear cover illustration: The Old Magnus BuildingsPhotograph courtesy Purcell Miller Tritton LLP

Kindly sponsored by Willsons Printers

Newark Civic TrustMAGAZINE