Previous page
Table of Contents
| Previous page |
Table of Contents |
Next page |
The FITZWILLIAM MUSEUM SYNDICATE beg leave to present their one hundred and fifty-second Annual Report to the Council.
At their meeting in July 2001, the Trustees of the Heritage Lottery Fund (HLF) awarded a grant of £5,626,084 to the Museum for the proposed Courtyard Building. This news, which was received at the very end of the year under review, ensured the success of the campaign to raise £12m for the extension and related improvements. Throughout the year a Development Committee chaired by Nicholas Baring worked indefatigably to raise the Museum's share of that sum, encouraged initially by the allocation we reported last year of £1m from the bequest of the late Paul Mellon, KBE, and a development grant of £302,000 from the HLF.
Two further donations of £1m, from an anonymous donor and Trinity College respectively, put heart into the fundraising effort at a relatively early stage while the announcement during the summer of a challenge grant to be claimed pound for every pound contributed up to a ceiling of £500,000 has spurred on the Committee's efforts to realize their target by December 2001. To Nicholas Baring and his colleagues we offer heartfelt thanks, and to Anthony Tootal, Acting Director of the University's Development Office, and all his colleagues.
The plans which we commissioned from the architects John Miller and Partners have received both planning permission and listed building consent. By claiming the redundant area which was created by the building of the 1975 extension, the Museum will gain some 3,000 square metres of new and renovated space.
On the ground floor, the present shop will be converted into a new entrance equipped to deal with tours and large groups of visitors. From it, they will be able to proceed through the Armoury to the Courtyard itself, fully enclosed, to accommodate the shop and a café as part of a multi-purpose orientation hall at the heart of the complex. Below, accessible by lift and stairs, there will be a new Education Suite comprising a classroom, a studio, and flexible activities space. Above, on the mezzanine, the Departments of Antiquities and Applied Arts will acquire new offices and seminar rooms in the midst of an enlarged reserve gallery. The principal addition to the first floor will be a new gallery for temporary exhibitions built parallel to the Adeane Gallery which will be refitted, in turn, to display the Arts of the twentieth century.
In a brief account of this kind, it is difficult to summarize all of the benefits which will accrue from the development of the Courtyard. It will provide far greater access to the collections physically and intellectually, increase their availability for teaching and research, and provide much needed additional space both for the works of art and for their growing numbers of users.
On 1 October 2000 Dr Stella Panayotova joined the Museum as the Assistant Keeper in charge of the Department of Manuscripts and Printed Books. Although the Committee which was established to consider, inter alia, the relationship of that Department to the Museum's Reference Library recommended a separation of the two, they remain joined until such time as the funding for further posts has been identified. Under the circumstances, we are indebted to Dr Panayotova for her willingness to shoulder the double burden.
In November, Dr Lucilla Burn was appointed as the Keeper of Antiquities and it is with special pleasure that we record her election shortly thereafter into a Fellowship at Newnham College. We also thank Julie Dawson, Senior Assistant Keeper, Conservation of Antiquities, for her willing and able stewardship of the Department during the months which intervened between the departure of Dr Vassilika in May 2000 and the arrival of Dr Burn at the end of February 2001.
Dr Pamela Davis joined the staff of the University's Development Office as a Fundraising Executive in November and was assigned half-time to manage the Museum's fundraising campaign. In doing so she has been ably assisted on site by Jayne Vaughan-Lane; together they have ensured the smooth running of the appeal.
In our last report, we referred to the decision by the Higher Education Funding Council for England (HEFCE) to transfer responsibility for funding university museums and galleries to the Arts and Humanities Research Board (AHRB). After consulting widely, the AHRB advertised a new scheme for 'special funding' as it has been termed, and this museum submitted an application along with all of the other eligible museums and collections belonging to the University. While we did not receive the full amounts for which we applied, it is gratifying to note that all of our currently funded museums received modest increases, around 9% in our case, while two further collections, Kettle's Yard and the Museum of Zoology, were added for the first time to the list of institutions which will receive recurrent funding for five years from 2001-02 onwards.
In the year under review, the Chest contributed £480,589 on top of endowment income of £267,143, and £875,879, representing the last of the HEFCE grants under the old scheme of non-formula funding. To that the Museum was able to add £371,803 derived from a wide range of other sources which we acknowledge below. By far the largest claim upon those additional funds was for the salaries of non-established staff, a salutary reminder of the need to increase the Museum's endowment funds on the one hand and its allocations from the Chest on the other. We encourage the Director's aim to augment the endowment, but we also urge the University to respond to his efforts with a resource allocation model for the Museum which takes account of its unique profile and position in Cambridge.
In the third and final year of the Designation Challenge Fund, the Department of Culture, Media, and Sport allocated £132,000 to the Museum for documentation of the collections. As in the previous two years, this enabled us to employ research and computing assistants in the curatorial departments. The imminence of the courtyard development has given a sense of urgency to the need for automated record-keeping and we will make every effort to secure future funding to complete the project from the same or similar sources.
Thanks to grants from the Monument Historic Buildings Trust we were able to continue the conservation of the Entrance Hall. Phased over two years, at a total cost of £185,000, this has resulted in the uncovering of the original wall colours and relief decorations. The cleaning process, which was carried out with meticulous care by Tobit Curteis Associates, uncovered the signature of the original craftsman together with the date 1871. More importantly it restored to their former glory the gilded and polychromed surfaces of this prime example of high Victorian architectural decoration.
From Cambridge City Council, we received £17,900 towards the cost of opening the Museum at weekends. South Cambridgeshire District Council also continued to provide support for weekend opening and made a contribution of £12,000 towards education in the Museum, to which Cambridgeshire County Council added a further £10,000. We are grateful for all of these allocations, not least because we attach great importance to the support we receive from our local authorities. We share the concerns expressed by their members and officers about the lack of resources to sustain museums, libraries, and archives in our region, and we join them in looking both to central government and the increasing number of regional agencies through which it works to invest far more heavily in institutions like ours with the ability to provide access and education in the widest sense, with best value for money and a considerable social dividend.
Once again, the work of the Education Department was made possible by a large number of contributors, public and private. We record our gratitude to Trinity College, the Pye Foundation, the RK Charitable Trust, and the Paul Hamlyn Foundation. Thanks to the Severis Foundation, the Department of Antiquities was able to augment its exhibition of Cypriot art, to organize a week-long programme of events including the production of a play and to inaugurate what will become an annual lecture series. Support for the Department of Coins and Medals continued from the Arts and Humanities Research Board, the British Academy, the Leverhulme Trust, the Fondation Wiener-Anspach, the Charles Wallace India Trust, and the Robinson Charitable Trust. Christopher Jeeps, CAI, has established a fund for the acquisition of Oriental coins.
We are grateful to Professor James Marrow, Dr Emily Marrow, and the Daniel and Joanna S. Rose Fund for their continued support for the Department of Manuscripts and Printed Books. The Isaac Newton Trust continued to provide matching funding for the post of Metals Conservator, and Sir Harry Djanogly made a further contribution towards the conservation of ceramics.
In a year when we placed unprecedented demands upon all of our supporters, individual and institutional alike, in order to fund the courtyard development, it is especially important to record our gratitude to those who maintained their support for key areas of our on-going activities.
During his lifetime, the distinguished Byzantinist the Hon Sir Steven Runciman CH, T, made clear his intention of bequeathing to the Museum his masterpiece by Alessandro Magnasco (1667-1749), a characteristically windswept landscape containing monks praying, and an earlier and rarer work by the Ferrarese, Gian Francesco Maineri (active 1486-1504), of the Virgin and Child with Saints Cosmas and Damian, St Eustace and St George. After light cleaning, both were hung in the appropriate galleries to immediate effect.
Gifts to the Museum ranged across the collections, from Roman coins to contemporary crafts. We wish to single out especially the generosity of Sir Nicholas and Lady Goodison whose gifts of works by current craftspeople, made through the National Art Collections Fund (NACF), continue unabated. It goes without saying that we are extremely fortunate to be able to count among our benefactors the Chairman of the Crafts Council, who is also our Honorary Keeper of Furniture. Thanks to an anonymous donor, we acquired a cast in bronze of Mrs Griffiths, 1966, by Ivor Roberts-Jones. Among other twentieth-century acquisitions the painting by Ian Stephenson, 1961, presented in memory of the artist by Sir Alan Bowness, was notable.
On two occasions during the year the Museum applied successfully to the Heritage Lottery Fund for grants towards acquisitions. After protracted negotiation, descendants of the nineteenth century English artist John Linnell (1792-1882) offered for sale by private treaty an extensive archive of his journals, papers, and memorabilia. The Fund's contribution of £77,000 was augmented by grants from the Friends of the National Libraries and the Charlotte Bonham-Carter Charitable Trust. Later in the year, we were offered by Dr William Conte his superb collection of English medieval coins of the period 1066-1279, including an outstanding series of Henry I, Stephen, and the Anarchy. Towards that purchase, the HLF contributed £425,000 and the National Art Collections Fund £95,000. Once again, we were heavily dependent upon the generosity of the NACF throughout the year, and upon a catholicity of taste which mirrors our own. Their contributions enabled us to buy an album of prints by Utamaro (c.1756-1806), a portrait in oils of the eleventh Earl of Pembroke by Greuze (1725-1805) and one in black and red chalk of his mistress, Margaret Lemon, by van Dyck (1599-1641). In that endeavour they were joined by the grant-in-aid which is provided by Resource and administered by the Victoria and Albert Museum. Last year we referred to the uncertain future of this fund which was instituted by the Museums and Galleries Commission to encourage regional museums to acquire works of art. While we are not aware of any long-term assurances, we are grateful beneficiaries, like so many museums around the country, of its renewal on an annual basis.
No Annual Report of acquisitions is complete without mention of the Friends of the Fitzwilliam Museum. Their gifts during the year included a glass obelisk with an inscription designed by David Peace to commemorate the 150th anniversary in 1998 of the opening of the Museum and a design for the tomb of Piero de'Medici by Antonio da Sangallo (1484-1546), which they gave in memory of Miss Doreen Lewisohn. They also presented a Bolognese miniature from an early fourteenth century manuscript of Gratian' Decretum, a Wedgwood dessert plate designed by Eric Ravilious (1903-42), a red chalk drawing by Jh. Marchand of Jean-Baptiste Adanson (1732-1804), a charcoal drawing by Robert Austin (1895-1973) of a Peasant Woman driving a mule, a Surimono diptych by Utagawa Kunisada (1786-1865), a sculpture in sycamore, Tidal Object, by John Cobb (b. 1946) and two etchings by G. B. Castiglione (1609-65) which complemented two further gifts of prints by the same artist, respectively from Mr and Mrs Victor Cornish, and Mr David Scrase who generously gave an impression of The Angel awakening Joseph on the presence of the Virgin and Child in memory of Myril Pouncey.
In the period covered by this Report the Museum mounted eighteen exhibitions. Picture This! Picture Book Art at the Millennium opened in the Adeane Gallery in August. It was organized by Frances Sword and Morag Styles, Reader in Children's Literature at Homerton College, who arranged an international symposium to coincide with the exhibition. Quentin Blake, the Children's Laureate, led a distinguished group of artists who lent work and took part in the activities which surrounded the event. One particularly effective element in the exhibition was a seating area well stocked with books for young readers in addition to one with blank pages for their comments. During the Michaelmas Term, the Museum hosted The Popular Print in England 1500-1850, an exhibition organized by Sheila O'Connell of the British Museum and toured by National Touring Exhibitions. The showing in Cambridge was sponsored by the Independent newspaper, and for obvious reasons, engaged the particular interest of social historians in addition to its wider appeal. In January, that was followed by Richer Dust, an exhibition of carborundum prints and related paintings and drawings made in the last five years by Hughie O'Donoghue. We were particularly fortunate that the artist came to Cambridge during the exhibition and gave a number of highly informative talks about his closely interrelated works dealing with such universal themes as conflict, memory, and redemption. Organized by Craig Hartley in association with Purdy Hicks Gallery, the exhibition toured subsequently. During the Easter Term, the Museum hosted the only showing outside Paris of artists' books from the Bibliothèque Littéraire Jacques Doucet. The Dialogue between Painting and Poetry 1874-1999 contained works by Picasso, Braque, Giacometti, Derain, Arp, Léger, Matta, and Tapiès among others. It was organized by Jane Munro and Jean Khalfa, Fellow and Newton Trust Lecturer at Trinity College. We are indebted to the Master and Fellows of Trinity for their support for the exhibition and the accompanying catalogue, and additionally to the French Embassy, London, the French Cultural Delegation, Cambridge, Schlumberger Cambridge Research, and the Association Française d'Action Artistique, Paris. It was a special pleasure to welcome to the vernissage His Excellency M. Daniel Bernard, the French Ambassador, who marked the occasion by dubbing Miss Munro, Chevalier dans l'Ordre des Arts et des Lettres. Finally, during the summer months, we mounted Town and Gown: Cambridge on Parade, an exhibition of civic and academic regalia, memorabilia, and views of the city and the University, to mark the octocentenary of the civic charter granted by King John. We are grateful to Taylor Vinters for sponsoring this exhibition and to the Mayor and Aldermen of the City of Cambridge, and Sergeant-at-Mace, George Swindells, for helping us to assemble an appropriately festive celebration.
Exhibitions displayed elsewhere in the Museum, while smaller in scale than those shown in the Adeane Gallery, are no less important for one or both of two reasons. They enable us to rotate material from those parts of the collections which do not lend themselves to permanent display and they are often linked to specific research or teaching. In the autumn of 2000, to mark the publication of the Hamilton Kerr Institute's Bulletin no. 3, we mounted an exhibition of paintings which have been treated there recently. It included the large panel of The Judgment of Zaleuceus by Ambrosius Francken and the late fifteenth-century painting of the Nativity traditionally ascribed to Mainardi but the cleaning of which has revealed unmistakably the hand of Domenico Ghirlandaio (1448/9-94). To continue the theme of objects Caught in Time, an exhibition of works of art on paper conserved by Bryan Clarke, the Michael Jaffé Conservator of Prints, was mounted in the Shiba Gallery. This focused on remedial treatments and included a number of important works that have been reconstructed after suffering severe damage. In January, the emphasis shifted to the twentieth century, with the display in the Octagon of a visually outspoken suite of prints illustrating The Song of Songs, together with related drawings, by the American artist Judy Chicago. At the same time the Shiba Room was devoted to European Drawings of the Last Century, many of which came from a private collection.
The French eighteenth century also received attention during the year, with a selection of drawings from the Museum's collection on display in the Charrington Print Room and books from the Founder's Library in the table cases in the Glaisher Gallery. These were also utilized to display Handel and his Music; items chosen from the collection of music, manuscripts, portraits, and memorabilia belonging to the Handel House Trust. This exhibition took place while the material was stored in the Museum, available by appointment to scholars and others, during the renovation of Handel's former residence at 25 Brook Street, London. Finally in July Selections from the Archive of John Linnell made by Nicholas Robinson, Senior Library Assistant, were shown in the Glaisher Gallery to mark the acquisition by the Museum of that artist's archive. In April, the Department of Coins and Medals installed in the Octagon Between East and West: Influence and change in coinage. Ranging from Muslim Spain to Japan under the Shoguns, this exhibition set out to demonstrate how coinages have long been influenced by the movement of peoples, cultures, and trade. It was followed, in July, by an exhibition organized by Primavera of ceramics and glass by two contemporary craftsmen, Alan Caiger-Smith and Peter Layton. In the Shiba Room, the year ended with a three-part series of exhibitions devoted to Kabuki actor prints by Utagawa Kunisada (1786-1865), which together constituted a part of the Museum's contribution to the Japan 2001 Festival. A virtual exhibition of these prints with an exposition of Kabuki theatre was mounted simultaneously and remains on the Museum's website (http://www.fitzmuseum.cam.ac.uk/).
Finally, in this brief account of exhibitions, we wish to record our gratitude to two lenders in particular. An anonymous lender enabled us during the year to augment the display in the Twentieth Century Gallery with works by Bacon, Caro, Moore, Picasso, and Sutherland, among others. By lending the portraits which were painted by Sir Anthony van Dyck for Thomas Wentworth, Earl of Strafford, Lady Juliet Tagdell allowed us to transform Gallery III into a van Dyck gallery for the summer months. Among the loans, the double portrait of Strafford and his secretary, Philip Mainwaring, joined briefly the unfinished one it inspired; Reynolds' painting of Strafford's descendant, the Earl of Rockingham, with his secretary, Edmund Burke. Elsewhere in the Museum, four of Rockingham's prized paintings by George Stubbs (1724-1806) lent also by Lady Juliet and her Trustees, joined the Museum's holdings in a small but choice tribute to 'The Ingenious Mr Stubbs'.
Through the activities of its staff, the Museum contributes directly to the core functions of the University. Research is fundamental to the curatorial function, whether it is carried out individually, as in the case of the catalogue of Italian drawings on which the Keeper of that Department, David Scrase, is engaged; or collectively, as happens with the Medieval Coinage project on which a team of researchers are working in the Coin Room under the overall direction of the Keeper, Mark Blackburn, and the Honorary Keeper, Philip Grierson. At the Hamilton Kerr Institute, research underlies all treatments and has outcomes both in publication and in the teaching of interns and students. Teaching carried out by members of staff is detailed in the separate Annual Report of Teaching Activities which is presented to the Syndicate each year, together with a list of publications. In 2000-01 members of staff collectively gave more than sixty lectures or classes to undergraduates and graduate students of this University in a number of different Faculties including Architecture and History of Art, Classics, English, Archaeology and Anthropology, History, Modern and Medieval Languages, and Oriental Studies. They supervised research students and undergraduates and served as assessors and examiners in several Departments. Of those who are members of Faculties, a number were asked to submit their publications for inclusion in the Research Assessment Exercises. In drawing attention to these contributions, we do not intend to diminish the use of the collections by university teaching officers as opposed to members of our own staff. It is one of the purposes of the Committee on Research and Teaching, chaired by Dr Massing, to bring together teaching officers who have an academic interest in the collections with members of the curatorial staff. A number of collaborations have arisen as a result, such as the 'Objects of Art History' course which all first-year students in the History of Art Department take during the Michaelmas and Lent Terms. They visit the Museum once and sometimes twice weekly for classes taught by a combination of University teaching officers and Museum staff. It is a model which we recommend to others, underlined by our conviction that the collections provide an inexhaustible mine of material relevant to a wide range of disciplines. We would also like to see greater use of the Museum by other institutions of higher education. We welcome the increased incidence in the number of classes taught by the staff of Anglia Polytechnic University, which serves to remind us of the wider responsibility we have as custodians to our sector as a whole.
Acting on the advice of the Head of Education, Frances Sword, we have established an Education Advisory Committee which met for the first time in November. Its membership is designed to reflect the broad spectrum of its activities and their stakeholders. It includes representatives of the City, District and County Councils, Local Education Authorities, adult education organizations, regional agencies, and users. Its aims are to provide a forum for informed discussion about the Department's services and their development; to consult regularly with existing funders and to seek new sources of support; and to co-ordinate our efforts with those of other providers. We are grateful to the members who have agreed to serve on the Committee and for their commitment to this vitally important aspect of our work.
In October, Robert Lloyd-Parry joined the Department as the researcher for A Museum for All. This exciting project to which we referred in the last Report is made possible by the Heritage Lottery Fund's Museums and Galleries Access Fund. It will comprise a database of some three hundred 'key' objects in the collections, each one of which will unlock windows to enable the user to look out on to different fields of knowledge. When completed, it will be available at terminals in the Museum, and online for virtual visitors.
As usual, the Education Department made full use of the temporary exhibitions which were mounted during the year, from Picture This! in the autumn to The Dialogue between Painting and Poetry in the late spring. In May, thanks to support from the Severis Foundation, the Museum of the Moving Image was commissioned to write and produce a play about the goddess Aphrodite. In the course of a week they staged eleven performances in the Cypriot Gallery to schools and families, drawing many of the younger members of the audience into the action.
Special projects undertaken by the Department during the year included Music Plus Plus, in which we collaborated with musicians from the Mobius Ensemble and the staff of Kettlefields Primary School to explore with their pupils the links between Islamic art, mathematics, and music. This week-long project culminated in a performance in the Museum. Throughout the year, the Department worked with the Young Offenders Team and the Special Needs staff of Priory Primary School and Coleridge Community College to help a group of children deemed to be 'at risk' during their transition from primary to secondary education.
We estimate that during the year 22,170 visitors came to the Museum in organized primary or secondary school groups. A further 8,000 visitors were adults attending educational activities provided by the Museum. In congratulating ourselves that well over 10% of our visitors are the beneficiaries of our education service, it is important to remember that it is staffed by two people, Frances Sword full-time and Rachel Sinfield part-time. On behalf of more than 30,000 users, we thank them.
Throughout the academic year, the Museum provided a varied programme of lunchtime gallery talks, evening lectures, and concerts. Many of the talks focused upon the exhibitions and we were fortunate that, invariably, the principal spoke; Morag Styles on Reading Pictures, Hughie O'Donoghue on Richer Dust, Ian McClure on Caught in Time and Jean Khalfa on The Dialogue between Painting and Poetry. In the case of Judy Chicago, she was joined by Edward Lucie-Smith, who introduced her work with a brief slide-show before engaging her in conversation. It was not an isolated event either; New Hall played host to her visit to Cambridge, and there she challenged her audiences to question conventional attitudes to the arts generally as well as questioning the basic premise of the College's collection of women's art! Once again several of the lectures were either organized or sponsored by the Friends of the Fitzwilliam; a further instance of the many ways in which they support the Museum. In turn, their funds benefited from income generated by our dedicated band of Museum Guides who continued to provide both introductory tours and more specialized talks about the collections on display.
Our series of Promenade Concerts given during opening hours benefited, as usual, from the extraordinary talents of Instrumental Award Holders and other Cambridge musicians. Among evening events, it was a particular pleasure to welcome the return to the Museum of the Academy of Ancient Music Chamber Ensemble for a concert of Bach and Handel in October and similarly Cambridge Voices whose pre-Christmas concert seems set to become a fixture in the Museum's calendar.
The work of the Institute was highlighted at the Museum by the exhibition Caught in Time, September to December, and by the co-incident publication of Bulletin no. 3, which features discoveries of technical, structural, and art historical kinds, all made as a result of conservation carried out by the staff and students of the Institute. We are grateful to the contributors, to the Assistant Director Anne Massing for her editorial accomplishment and to the Kress Foundation for its support.
In the studios, analysis and treatment continued on the two highly important medieval panel paintings entrusted to the Institute's care, the fourteenth-century retable now located in the parish church of Thornham Parva in Suffolk and the one which originates from and belongs to Westminster Abbey. Despite the ravages of time and the interventions of the iconoclasts, the surviving fragments of painting on the Westminster retable identify it as a masterpiece of medieval English art, and one fully deserving of the monograph the Institute plans to publish on the completion of its conservation. At the same time, treatments were carried out on a wide range of important works from public and private collections throughout the country.
An issue which continues to exercise us is the status of the Diploma which we award to students who complete successfully the postgraduate course provided by the Institute. We share the view of the Advisory Council that this should become a University qualification on a par with other certificated graduate courses. Without that recognition, it will become increasingly difficult for students to obtain grants to study at the Institute, and those who do so are likely to find themselves at a disadvantage by comparison with graduates of other programmes. We intend to press the case for recognition in the coming year, reinforced by the spectacular successes of past and present students and interns. In the current year two students completed the course to go on to internships; Meta Chavannes at the Stichting Restauratie Atelier Limburg in Maastricht and Adelaide Izat at the Royal Collection Conservation Studio at Windsor. Among the Institute's interns, Tiarna Doherty completed hers in July and spent some time at the National Gallery before starting a further internship at the Getty Museum Conservation Department in Los Angeles. Dearbhla Ormond began an internship at the Kollectif in Amsterdam and Lisa Wagner enrolled for a Ph.D. at the Fachhochschule, Dresden. After completing her Paul Mellon Fellowship, Jenny Rose spent a further year at the Institute with funding from the Helen Clay Frick Foundation to work on the Westminster retable. She was succeeded as the Paul Mellon Fellow by Helen Brett, a former Assistant Paintings Conservator at Tate Britain.
Throughout the year, the Institute worked with the Department of Paintings, Drawings, and Prints to prepare condition reports on all of the Museum's paintings in storage prior to their relocation during building works. We are grateful to them for allocating so much of their valuable time to this important exercise which has long-term implications for the care of the collection.
After carrying out a periodic review of the Ebury Street studio it is appropriate to acknowledge the contribution it makes to research and training at the Institute. We welcome this opportunity to thank Simon Bobak and his colleagues for their efforts on our behalf.
In spite of a year of unprecedented activity and achievement, the Institute ran a deficit once again. In the last few years this has been offset by the rising value of the endowment, a consolation which was unavailable at the end of the year under review. The Institute's Advisory Council is painfully aware of this problem and has urged the Chairman to consult with the Directors and the Treasurer in the coming months with a view to preparing a Business Plan to achieve sustainability in the long term.
This is the last Report in which the name of Gareth Jones will appear as Chairman. Members of the Syndicate wish to take this opportunity to acknowledge his remarkable contribution; twenty-three years of devoted service as a Syndic, fourteen of them in the Chair. We are joined by the staff of the Museum in this vote of thanks.
| GARETH JONES, Chairman to 31 July 2001 |
PETER CAROLIN | ANNE LONSDALE, Chairman from 1 August 2001 |
| PATRICK BATESON | CAROLINE ELAM | JEAN MICHEL MASSING |
| JOHN BOYD | CAROLINE HUMPHREY | JOHN PORTEOUS |
| JOHN BROWN | JOHN KEATLEY | JOANNA WOMACK |
| Previous page |
Table of Contents |
Next page |
Cambridge University Reporter, Monday 8 April 2002
Copyright © 2002 The Chancellor, Masters and Scholars of the University of Cambridge.