A programme of disposals was initiated in 2008 at the
Whitworth, motivated by the forthcoming redevelopment. It’s a good opportunity
to take stock of the process, following the completion of the redevelopment.
In the Whitworth’s 124 year history, over 58,700 objects
have been accessioned into the collection. In the same period, just over 400
objects have been deaccessioned. Gillian questioned whether this ratio was
sustainable going forward. She went on to explain that although it is difficult
to say no to gifts, and there is also a sense of betrayal it is as the
responsibility of the museum to care for objects. Many institutions have
storerooms of objects that no one really knows what to do with, and having too
much can be detrimental to the collection.
In terms of the history of the museum, the founders’ legacy
allowed for lots of purchasing of objects in the early years, as well as
accepting almost anything people offered. After World War I, finances were in
dire straits, but people continued to gift works to the museum due to its reputation.
The gallery became part of the University in 1958 and throughout the 60’s they
really began investing. This coincided with the architectural changes to the
museum; gallery spaces were now open plan. The acquisition strategy focussed on
prints as it was easier to represent a range of European artists, rather than
spending money on expensive oil paintings for example.
A new director in 2007 saw changes in terms of acquisitions;
rationalising the collection, shared acquisitions and benefiting from the
V&A’s purchase grant fund. The following year, areas of the collection were
identified to focus on editing; furniture, ceramics, jewellery and
multiple/duplicated items.
Advice was sought from the Museum Association in 2015 for
guidance on curatorial-focussed disposals. When potential disposals were
identified, a disposals form was completed and presented to an internal group
which allowed for discussion by multiple people throughout the whole process.
Disposals were advertised on the MA website, however Gillian felt the most
successful responses were received when specialist groups were approached
directly.
Gillian gave some examples of disposals that were completed
after an open and transparent process, following the MA’s guidelines:
·
A group of ceramics were transferred to Manchester
Metropolitan Museum to complement the existing collection.
·
90 pieces of Scandinavian jewellery that had
been hidden since the 19th century were identified. These have now
been transferred to the British Museum and some are on display.
·
The Whitworth also had some objects that were
donated by Elizabeth Gaskell’s daughters. These are now in the process of being
transferred to the Gaskell Museum.
However transfer of items to other institutions are not
always possible. A collection of ties that were previously part of the
Whitworth’s collection, for example, were sent to a charity shop as the
museum’s remit did not include focusing on the collection of three-dimensional
fabrics.
Issues that have been raised have included items that had no, or very little, information on their catalogue cards. Staff have had to question how to work with such objects. There were also items in the collection where the museum could not prove that certain things belonged to them.
Legally, museums face the challenge of holding some items
that they can't dispose of – for example a gift may have had certain conditions
to it. A way to deal with these types of objects are to find other institutions
whose collections would benefit from these objects and set up long loans.
Gillian concluded with a reflection on the present day. The
museum is thinking differently about how they fill gallery spaces. The
collection is becoming even more international and continues to grow, however
it does this with a balanced view on acquisitions. Scrutinising the collection
will continue as a subtle, diligent and logical process.
By Laura Murphy, Assistant
Collection Registrar, Tate
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