A Stalker’s Reward

Hip flask and ghillie’s knife belonging to Donald and Alec Urquhart, stalkers on the Inverewe and Letterewe Estates, acquired by Gairloch Heritage Museum in 2016 with an NFA grant of £200.

Osgood Hanbury Mackenzie (b1842) was the third son of Francis, 12th Laird of Gairloch and founder of the world famous Inverewe Garden. Osgood and his daughter Mairi, who inherited Inverewe and left it to the National Trust for Scotland, employed local families for the garden and to service the hunting, shooting and fishing on the wider estate which was their main source of income. One of those who spent all his life in the hills in their service was Donald Urquhart of Poolewe. In his memoir, A Hundred Years in the Highlands (1921), Osgood referred several times to his ‘old friend’ Donald whom he praised as a valued servant and prolific stalker.

Duncan Urquhart, Stalker Inverewe 001Donald Urquhart of Poolewe

When Donald retired in December 1927 his eldest son Alec was appointed to take his place as gamekeeper on the estate where he remained until 1939. He later worked on the Letterewe Estate for the Whitbread family and the Marquis of Zetland.  Alec’s obituary in 1977 speaks of his uprightness, intelligence and physique and his knowledge of ‘old ways’ and hard work.

Alec UrquhartAlexander (Alec) Urquhart

In the summer of 2016 the opportunity arose for both Gairloch Heritage Museum and the National Trust for Scotland at Inverewe to acquire items associated with the Urquhart family, including photographs, family papers and a signed first edition of Osgood Mackenzie’s book. The two finest objects in the collection, an engraved silver hip flask and a rare ghillie’s knife, cast light on the relationship between the Urqhuarts and their employers.

P1070381Knife made by Holtzapffel & Co, London

The knife, made of spring steel with a nickel coated frame, dates from the First World War period. Its construction is unusual – the sides open laterally through 180 degrees with a hinged latch fastener at the head for holding them firm in both open and closed positions. The maker was the London firm of Holtzapffel & Co which, though best known for tools and lathes, also made high quality gentleman’s accessories. A catalogue entry dating from 1923 tells us that the knife cost 25 shillings, more than the average agricultural worker’s weekly wage.  It is likely to have been a highly valued gift to Donald from his employer.  Ron Flook’s London Knife Book records only four examples of this type of knife.  (The London Knife Book: An A-Z Guide to London Cutlers 1820-1945. London, 2008).

P1070382Sterling silver, glass and crocodile skin hip flask, 1922, made by G & J W Hawksley, Sheffield

While the accompanying hip flask is not particularly rare or unique, it is a very nice example of its kind and well preserved. The flask is made of sterling silver and glass with a crocodile leather skin shoulder mount. The bayonet fit lid and pull-off cup base are of silver with gold-gilt interior. The hallmarks show that the flask was made in 1922 by G & J W Hawksley of Sheffield, silversmiths and manufacturers of dram bottles and powder flasks. It is the inscription and accompanying letter, however, that make this such a wonderful acquisition for the collection at Gairloch. The flask is engraved with the following inscription:

ALEXANDER URQUHART
FROM
HUMPHREY WHITBREAD
IN GRATEFUL MEMORY OF
19TH SEPTEMBER 1947
ON
LITTLE BEINN THARSUINN
15ST. 12LBS – 13 POINTS: 15ST. 11LBS – HUMMEL

In the accompanying letter, Whitbread writes of a happy day on the hill during which, with Alec’s help, he bagged a thirteen pointer stag and a very large hummel (an antlerless stag). He feels he will never again have such results and offers the hip flask as a reminder of a remarkable day.

3. Urquhart x 2 + Lord KnutsfordLeft to right: Alec Urquhart, Lord Knutsford and Donald Urquhart with a dead deer

Gairloch Heritage Museum is delighted to acquire these two objects which, with the papers, photographs and other items that accompanied them, represent a relationship of mutual esteem between landlord and tenant.

Dr Karen Buchanan
Curator
Gairloch Heritage Museum

www.gairlochheritagemuseum.org

Frozen in Time: The Frank Plumley Collection

Collection of personal items, archives and photographs which belonged to Frank Plumley (1876-1971), a stoker on SY Discovery during the British National Antarctic Expedition, 1901-1904, acquired by Dundee Heritage Trust in 2016 with an NFA grant of £12,500.

In 1901 48 men risked their lives in pursuit of the unknown. Led by Captain Robert Falcon Scott on board SY Discovery, the British National Antarctic Expedition of 1901-1904 set sail to pursue scientific and geographic discovery in this largely untouched continent.

Here at Discovery Point, while we aim to tell this story of Antarctic exploration by showcasing both the ship and the men who served on her, the nature of collecting means that our narrative often focuses on just 11 men, the officers and scientists. Some of them published diaries and reports and a few, Scott, Ernest Shackleton and Edward Wilson, went on to become celebrated figures in this Heroic Age of Antarctic exploration. As a result, more material relating to higher ranking men has been recorded and preserved.

Frank Plumley

Frank Plumley in naval uniform

We were therefore delighted when an opportunity arose to redress the balance to some extent. With the support of the National Fund for Acquisitions we secured a collection of 35 items which belonged to Frank Plumley, one of five stokers on board the 1901 expedition and a man we previously knew very little about. The collection includes personal notebooks, poems and letters, service and polar medals, photographs and personal items, including an Expedition Royal Doulton mug, snow goggles and a pipe. Preserved by his grandson, the collection also includes many newspaper cuttings and articles relating to Frank’s later life, allowing us to build up a fascinating history.

Officers and crew of Discovery, Sept 1904

Crew and officers of Discovery on 14 September 1904, the morning after the Lord Mayor’s banquet to celebrate their return. Frank Plumley is in the 4th row, 3rd from the right

Born in 1876 Frank joined the Royal Navy at the age of 20. Five years later at Cape Town, South Africa, he joined Discovery from HMS Gibraltar. During the expedition he was part of Lieutenant Barne’s first attempt in March 1902 to reach Cape Crozier, which struck trouble when a blizzard swept over the Hut Point Peninsula sending George Vince to his death. He later played a part in Captain Scott’s Western Attempt in October 1903. After Discovery he served on a number of Royal Navy ships, including HMS Dreadnought, HMS Venus and HMS King George V, and saw active service during the First World War. He returned to civilian life in 1919, employed as a blacksmith at Gun Wharf in Portsmouth. Frank died in 1971, aged 95, in Newport on the Isle of Wight.

Selection of Plumley material

A selection of material from the Frank Plumley collection

For more detail on these objects or to see other highlights of our fascinating collection please visit our Collections Online http://www.dhtcollections.com/

Louisa Attaheri
Curator
Dundee Heritage Trust

http://www.rrsdiscovery.com

 

 

 

A Waterloo Pistol?

A 1796 pattern Other Ranks heavy cavalry pistol acquired by The Royal Scots Dragoon Guards Museum in 2015 with an NFA grant of £4,000.

1796 Other Ranks Heavy Cavalry pistol of the 2nd (or Royal North British) Dragoons, c1800

1796 pattern Other Ranks heavy cavalry pistol of the 2nd (or Royal North British) Dragoons

In 2015, the bicentenary of the Battle of Waterloo, The Royal Scots Dragoon Guards Museum acquired a pistol which has particular significance for the collection. Regimental markings on the trigger guard link the pistol to the 2nd (or Royal North British) Dragoons, better known as The Royal Scots Greys, which is one of the regiments whose history is interpreted by the museum. The Greys formed part of the ‘Union’ cavalry brigade at the battle and, at a critical moment, charged into columns of French infantry, wreaking havoc and halting their advance upon the British and Allied line. During that charge, the Greys’ Sergeant Charles Ewart captured the standard and Eagle of the French 45th Infantry Regiment: both standard and Eagle are preserved in the regimental museum today.

Pistol 1

Detail showing the engraving of Regimental markings on the trigger guard

The pistol is of the type that would have formed part of the personal side-arms of soldiers of the 2nd Dragoons at the Battle of Waterloo. It is a single-shot, muzzle-loading, flintlock weapon with a calibre of 16 bore. This type of pistol was issued singly to Other Ranks (enlisted men) and was carried in a heavy leather holster fastened to the front of the soldier’s saddle on the off-side. It had a maximum effective range of about 50 yards but was most deadly when its lead ball was fired at very close range into the body, or horse, of an adversary.

Paul Newman
Assistant Curator
The Royal Scots Dragoon Guards (Carabiniers & Greys) Regimental Museum

http://www.scotsdgmuseum.com/

 

 

 

Heavy Metal and the Natural World

Six pieces of jewellery and a silver and enamel pill box by Norman Grant acquired by Aberdeen Art Gallery and Museums in 2015 with an NFA grant of £1,587.

In May 2014 I wrote a post on a brooch and pendant by North East Scotland’s own Norman Grant, acquired for our collection with NFA funding.

All that glisters is not gold … it’s very often silver

With our increased knowledge about the pieces Grant created, and access to his original sketchbooks and designs, we have acquired seven other examples of Grant’s beautiful enamelled work, again with NFA support.

Norman Grant was born in Forres, Moray in 1943 and studied at Gray’s School of Art in the 1960s. He was a student of David Hodge who established a goldsmithing and jewellery course at Gray’s in 1954, leading the department until he retired in 1975. Hodge remembered Grant as one of the students who made his teaching career memorable.

In the late 1960s Grant began to design jewellery, initially working in a shed in his garden. His preferred medium was translucent enamel which he combined with sterling silver. The comparatively low cost of materials enabled him to be experimental in his work while keeping the cost to the customer reasonably low. Knowing that to be successful he had to sell, Grant showed examples of his work to local jewellers and was surprised when all the pieces sold in one morning. Right away Grant found himself working full time to complete orders and within a year the popularity of his work was assured. With its psychedelic colours and Pop Art patterns, his jewellery reflected the fashion and style of the period.

Having initially studied graphic design before switching to silversmithing, Grant often maintained that he was influenced by the natural forms of the coastal landscape he had grown up with. Inevitably these influences found their way into his early jewellery designs; microscopic plant cell structures, petals, stamens, seed heads, trees, driftwood, shells, seaweed, anemone-like forms and later fish, wave and cloud motifs can all be seen in his work.

Gold and Moss Agate Frog and Lily Pad Pendant

‘Gold and Moss Agate Frog and Lily Pad Pendant’ by Norman Grant

Gold and Moss Agate Frog and Lily Pad Pendant is an example of Grant’s later work and reflects his love of the natural world. Not only does the pendant incorporate a frog and lily pad but the pond is made from a piece of pale moss agate. Scottish moss agates are primarily found in Fife where Grant’s workshop was established, forging another link with the geology of the area. The pendant and chain are made of gold although Grant worked predominantly in silver during this period.

Stickleback Motif Blue Pendant

‘Stickleback Motif Blue Pendant’ by Norman Grant

Often Grant’s designs were made up in the workshop by one of his silversmiths but we know that Stickleback Motif Blue Pendant was made by Grant himself. Grant’s original design brochures feature this pendant as design number PG17. The piece is finished in vitreous glass (kiln-fired) enamel in translucent shades of cobalt, aqua, and sky blue set within the silver cells which form the abstract outline of a stickleback fish and give the pendant a kaleidoscopic effect.

Rockpool and Reflections Pendant

‘Rock Pool and Reflections Pendant’ by Norman Grant

Rock Pool and Reflections Pendant, made in 1978, is a variation on the theme of ‘organic’ designs. We now know that the ‘silver and enamel pendant’ featured in my last post should more correctly be called Rock Pool Pendant. The two are linked in their circular form, redolent of areas of sea water contained by the rocks around them.

Eight Enamel Panelled Necklet

‘Eight Enamel Panelled Necklet’ (‘Mexican Blanket’ series) by Norman Grant

Eight Enamel Panelled Necklet is part of the ‘Mexican Blanket’ series which also includes the enamel brooch discussed in my previous post. It has been a very rewarding process to work with some of the original design sources in order to positively identify the prototypes. The series derives from the traditional Mexican saltillo (or serape) blanket design which dates back to the Chichimeca people of pre-colonial times. The necklet is formed of eight irregular panels of coloured enamel with silver borders and seven ball and chain features suspended below. The pendant is attached to a thin silver torque. It was made in 1972 at a time when Mexican culture was becoming increasingly popular as a result of the social, political and cultural Chicano Movement.

Silver and Titanium Parrot Pendant

‘Silver and Titanium Parrot Pendant’ by Norman Grant

Silver and Titanium Parrot Pendant is from Grant’s ‘Titanium Futuristic Jewellery’ collection of the late 1970s and early ’80s which included pendants, earrings, brooches and bangles. This is very different in style to his earlier work. Titanium jewellery became fashionable during this period as designers sought to move away from more traditional metals. Developed for use in the aerospace industry, titanium is a light, strong metal that can be anodized to create a variety of vivid colours. This is achieved by passing an electric current through the metal. The parrot was one of the most difficult pieces of titanium jewellery made by Grant owing to its curved and uneven surface which exacerbated the difficulty of making titanium adhere to silver. Later titanium pieces by Grant are often unmarked and can only be identified by style. The parrot pendant, however, bears Grant’s ‘NG’ punch mark.

Silver and Enamel Pill Box

‘Silver and Enamel Pill Box’ by Norman Grant

This small pill box is one of a limited edition. The decorative enamel lid suggests a cross-section of a plant, the granulated orange and pink sections similar to the cells of a seed head.

Honesty Brooch/Pendant

‘Honesty Brooch/Pendant’ by Norman Grant

Similarly, Honesty Brooch/Pendant illustrates Grant’s fascination with plant life. Whereas the structured lines or septa of the pill box are formed of grey enamel, the septa on the brooch forming the structure of the cross-section are slightly raised ridges of silver, the enamel poured in around them.

Support from the National Fund for Acquisitions has allowed us to continue to acquire pieces by this creative and highly individual designer and to increase our knowledge of his design methods, his breadth of style and the ideas which inspired him.

 

Vikki Duncan
Curator of Decorative Art
Aberdeen Art Gallery

http://www.aagm.co.uk/

Sir Robin Philipson

The year 2016 marks the centenary of the birth of Sir Robin Philipson (1916-1992), one of Scotland’s most celebrated and distinguished artists. Between 1965 and 1996 the National Fund for Acquisitions supported the purchase of artworks by Philipson for eight Scottish collections. They range in date from 1958 to 1987 and include oil paintings, a gouache design for a poster for the Edinburgh International Festival and a design for a tapestry.

Born in Broughton-in-Furness, Cumbria, Philipson moved to Scotland with his family in 1930 at the age of 14, settling in Gretna and becoming a pupil at Dumfries Academy. He went on to study at Edinburgh College of Art from 1936 to 1940. By the time he graduated Britain was at war and Philipson joined the King’s Own Scottish Borderers, seeing action in India and Burma. Philipson’s wartime experience had a profound influence on his art and two of the paintings acquired with NFA support explore this theme.

Fallen Soldier

Oil on canvas, Fallen Soldier, c1966, acquired by Paisley Museum in 1966 with a grant of £125 (NFA.2774). Picture credit: Paisley Museum, Renfrewshire Council. © The Artist’s Estate.

 

The Attack

Oil on canvas, The Attack, 1961, acquired by Fife Council in 1965 with a grant of £157.10s (NFA.1147). Picture credit: Fife Cultural Trust (Kirkcaldy Galleries) on behalf of Fife Council. © The Artist’s Estate.

In 1965 Philipson wrote to the curator of Kirkcaldy Art Gallery, William Hood, with a fascinating account of the inspiration behind The Attack. He described the execution as both difficult and exciting because he was ‘discovering the expressive possibilities of a new way of painting’. He went on to explain how he found inspiration in the tone and colour of photographs and how he contrasted the powerful image of the dead soldier in the foreground with the vignette in the upper right corner of the canvas which depicts ‘a battle scene as portrayed in the grand manner by a 19th century French painter’. Philipson’s message was essentially pacifist; the key to reading the painting lies in the contrast between these images. ‘I had hoped’, he wrote, ‘the observer would be able to read simultaneously the irreconcilability of the glorious vision and the terrible reality’. (Letter from Philipson to William Hood, dated 16 November 1965, Fife Cultural Trust Collection).

After the war Philipson returned to Edinburgh where he undertook a teacher training course at Moray House. He joined the staff of Edinburgh College of Art in 1947, first as a librarian then lecturer, eventually succeeding William Gillies (1898-1973) as Head of School of Drawing and Painting in 1960, a post he held until he retired in 1982. Philipson belonged to the Edinburgh School, a loose grouping of artists many of whom had studied and/or taught at Edinburgh College of Art. They included Gillies, John Maxwell (1905-1962) and Anne Redpath (1895-1965).

The earliest of the artworks acquired with NFA support was a design for a poster for the Edinburgh International Festival.

Design for a poster for the Edinburgh International Festival

Gouache on paper, Design for a Poster for the Edinburgh Festival, 1959, acquired by Aberdeen Art Gallery and Museums in 1996 with an NFA grant of £1,100 (NFA.711). Picture credit: Aberdeen Art Gallery & Museums Collections. © The Artist’s Estate.

Although the composition, featuring the Scott Monument and a drummer, was used for Philipson’s poster for the 1958 Festival, he changed the date to 1959, perhaps suggesting that he considered reusing the design the following year. Certain themes emerged in Philipson’s work: war, cockfighting, church interiors, a series of paintings depicting the Crucifixion. An example of the latter, in the unusual medium of oil, tempera and gesso on canvas, was acquired by Dundee City Council with NFA support in 1980.

Crucifixion

Oil, tempera and gesso on canvas, Crucifixion, 1960/80, acquired by Dundee City Council in 1980 with a grant of £625 (NFA.3011). Picture credit: Dundee City Council (Dundee’s Art Galleries and Museums). © The Artist’s Estate.

Although Philipson originally painted Crucifixion in 1966, he worked on it again in 1980, changing the blue palette of the original by adding yellow sections to either side of the rose window and darkening the ground behind Christ to shades of grey and brown. Crucifixion was intended to be hung above eye level, forcing the viewer to look up at the tortured figure of Christ, emphasising the suffering conveyed in the splayed fingers, stretched arms and tormented face. The painting also conveys Philipson’s interest in ecclesiastical architecture which he explored in a series of church and cathedral interiors. These are often characterised by a bold use of colour and heavy impasto. The NFA supported the acquisition of an example from this series, Iconostasis, for the collection of Lillie Art Gallery.

Iconostasis

Oil on canvas, Iconostasis, c1973, acquired by East Dunbartonshire Council in 1974 with a grant of £450 (NFA.1714). Picture credit: Lillie Art Gallery, Milngavie, East Dunbartonshire Leisure & Culture Trust. © The Artist’s Estate

Titles occur and recur in Philipson’s work. The word ‘threnody’, which refers to a poem, song or speech of lamentation, is included in the titles of a number of paintings including Threnody Meeting which was acquired with NFA support by the Andrew Carnegie Birthplace Museum in 1970.

Threnody Meeting (detail)

Detail of oil on canvas, Threnody Meeting, acquired by the Andrew Carnegie Birthplace Museum in 1970 with an NFA grant of £190 (NFA.1391). Picture credit: The Andrew Carnegie Birthplace Museum. © The Artist’s Estate.

In spite of Philipson’s teaching commitments and his public roles – he was President of the Royal Scottish Academy from 1973 to 1983 and was knighted for service to the arts in Scotland in 1976 – he was a prolific artist who constantly explored the boundaries of his art, pushing himself to achieve better expression and greater technical mastery. He believed that to be an outstanding teacher it was essential to be a practising artist, fully engaged with his art.

In 1983, just after Philipson retired from Edinburgh College of Art and stepped down from his role as President of the Royal Scottish Academy, his role in Edinburgh’s artistic life was recognised by the acquisition of a painting for the city collection.

Zebra

Oil on canvas, Zebra, acquired by City of Edinburgh Museums and Galleries in 1983 with a grant of £975 (NFA.4077). Picture credit: City Art Centre, Edinburgh Museums and Galleries. © The Artist’s Estate.

The painting marked a new departure in Philipson’s work, captured in a statement prepared for the Jean F Watson committee in support of the acquisition:

A new departure in the last year has been the artist’s interest in pictures within paintings. Zebra is the first in this series, uniting elements such as an animal painting with the accoutrements of a studio, allowing a combination of details which would otherwise be unusual. Levels of reality suddenly appear and coexist in the tradition of baroque painting.

The subject was inspired by a travelling scholarship which Philipson undertook to South Africa and Kenya in 1976. The zebra was to appear again in a tapestry woven by the Edinburgh Tapestry Company after a painting in Philipson’s Humankind series.

Humankind

Cotton warp and wool tapestry, Humankind, 1988, interpretation of an original design by Sir Robin Philipson, woven by the Edinburgh Tapestry Company. Acquired by Glasgow Museums in 1992 with a grant of £8,312 (NFA.3843). Picture credit: CSG CIC Glasgow Museums Collection. © Dovecot Tapestry Studio.

Philipson wrote of the title that it ‘needs to stir a train of thought by its sound as much as its sense. The name ‘Human Kind’ – all kind involving humankind – was proposed by George Bruce, hoping, as he says, that a word will take the viewer into the painting’s heart’ (Robin Philipson Retrospective, Edinburgh College of Art exhibition catalogue, 1989). The specific theme of this painting is apartheid, set within the landscape of South Africa and showing the love of a white boy for a black girl.

The tapestry was woven by master weavers of the Edinburgh Tapestry Company, David Cochrane, Shirley Gatt, Harry Wright and Johnny Wright. Professor James More, Managing Director of the Edinburgh Tapestry Company from 1987-1993, described the dynamic and creative relationship which grew between weavers and artist and it’s worth quoting in full for the insight it gives into this distinct creative process:

The quality of this wonderful tapestry arises from the robust and enthusiastic relationship that developed then, between the master weavers and Sir Robin, and their shared commitment to producing a vibrant work in tapestry that responded to the nature and the passion of the painting, the ideas it represented and the way in which they were portrayed. The tapestry took on a life of its own. It began and continued to develop through rich and detailed discussions between the artist and the weavers about the abounding, opulent diversity of colour, shape and texture; the psychology of seeing, sensitivity and understanding; the perceptions of cultural sensibilities; and the politics of art. Yarn and woven sample trials were produced and, while the original painting was available for a very short time, work progressed in relation to exceptionally good slides and Sir Robin’s frequent visits.

(From Elizabeth Cumming (ed), The Art of Modern Tapestry, Dovecot Studios Since 1912. London: Lund Humphries Ltd, 2012.)

The subject of the painting expresses the humanity evident in Philipson’s work throughout each phase of his long and successful career as both a teacher and artist. It is worth noting that Glasgow City Council chose this work from its collection to send to the G8 Summit at Gleneagles in July 2005 as an expression of support for the aims of the 31st summit which focused on debt relief and aid for Africa.

 

Dr Hazel Williamson
National Fund for Acquisitions Manager
National Museums Scotland

With thanks to Lady Diana Philipson for permission to reproduce the artworks.

The painting Fallen Soldier will be included in the exhibition Gesture – Expression in Modern Art at Paisley Museum, 16 July – 1 November 2016. http://www.renfrewshireleisure.com/paisleymuseum/

http://www.aagm.co.uk/

http://www.carnegiebirthplace.com/

http://www.edinburghmuseums.org.uk/

http://www.edlc.co.uk/arts/lillie_art_gallery.aspx

https://www.onfife.com/

http://www.glasgowlife.org.uk/museums/Pages/home.aspx

http://www.leisureandculturedundee.com/

 

Archaeology and the NFA: A Beautiful Romance

Susie Dalton, former Archaeology student in the School of History, Classics and Archaeology at the University of Edinburgh, wrote her MA dissertation on Treasure Trove in Scotland and the reporting of artefacts by metal detectorists. Here she writes on the role of the NFA in supporting museums to make acquisitions through the Treasure Trove process.

The National Fund for Acquisitions helps Scottish museums and galleries to acquire a wide range of items of cultural and historical significance. While archaeological artefacts take up a small proportion of the annual grant, they do account for a significant proportion of applications received; in 2013/14 35% of applications were for archaeological material although this accounted for only 9% of total spend. Many of the archaeological finds made in Scotland today by members of the public are made by metal detectorists due to a growth in popularity of the hobby since the 1980s.

Under Scottish law ownerless objects found by chance, or through activities such as metal detecting, field walking or archaeological excavation, become the property of the Crown and may be claimed as Treasure Trove.  While individuals have a legal responsibility to report their finds, the Treasure Trove Unit (TTU) works hard to promote awareness of the Treasure Trove system and advise which categories of object finders are required to report.  This has resulted in a 100% increase in reporting since 2011. Many of the items found and reported as Treasure Trove have the potential to make a significant contribution to our understanding of Scotland’s past and the TTU works to ensure they can be enjoyed by the public and for research. If an item found by a member of the public is claimed, it is advertised to the museums sector. Individual museums may apply for the object to be allocated to their collection if it falls within the remit of their collecting policy. The recipient museum is asked to fund an ex gratia payment to the finder, usually based on the market value of the object.  The NFA can offer a grant of up to 50% of the award. This means that the NFA offers crucial help to small museums local to the findspot of the artefact; museums that could otherwise miss out on exciting acquisitions owing to insufficient funding to meet the ex gratia award. As Dunbeath Heritage Centre manager Meg Sinclair put it:

In the past anything valuable that was found usually ended up going to Edinburgh […]These coins being displayed at the museum is a real coup for us.

Medieval coins of Edward I of England and Alexander III of Scotland discovered in Caithness

Medieval coins of Edward I of England and Alexander III of Scotland discovered in Caithness

Meg was referring to a hoard of medieval coins found by a metal detectorist in the Highlands in 2013. The coins, which date back to the 13th century, are now on display in the Centre thanks to NFA funding half the £2,210 ex gratia award and they are expected to contribute to increased visitor numbers.

Two fragments of gold lunula found in Dumfries and Galloway

Two fragments of gold lunula found in Dumfries and Galloway

A similar story can be found at the opposite end of the country in Dumfries and Galloway where the NFA helped Stranraer Museum to acquire a  remarkable find in 2013 – an early Bronze Age gold lunula (a kind of flat, disc-like necklace), the first found in Scotland in over a century. Contributing a grant of £1,500, the NFA made it possible for a small museum to add this impressive piece to its collections.

The NFA provides a lifeline to small museums which want to display the archaeological finds made in their area. While the majority of finds don’t require a significant proportion of the NFA’s budget, they do make a  considerable difference to small museums and their local communities, especially when many are facing increasing budget cuts. By  helping museums across the country to acquire and celebrate these finds, the NFA is allowing Scotland’s heritage to be enjoyed by all.  As the number of archaeological finds made and reported in Scotland continues to increase as a result of the TTU’s outreach work, the NFA has an important part to play in ensuring they continue to be seen and enjoyed by as many people as possible.

Susie Dalton

Return of the Jam Sandwich

Rover SD1 Vitesse Grampian Police highway patrol car acquired by Grampian Transport Museum in 2015 with an NFA grant of £3,851.

In January 2015 Grampian Transport Museum was successful in its bid to repatriate a former Grampian Police highway patrol car to Aberdeenshire. The Rover SD1 (Special Developments 1) was produced between 1976 and 1986 as a large, high spec hatchback with supercar lines borrowed from the Ferrari Daytona. Rover used a further refinement of their (ex Buick) 3.5L V8 engine and new 5 speed gearbox with 3 speed auto as an alternative for the first cars. Smaller engine and diesel variants followed as a fuel crisis hit the V8’s running costs hard. The car was extremely well received, winning the coveted European Car of the Year award and other accolades. The Rover also established itself in motorsport and so credibility with motorists and performance car enthusiasts was assured.

The Rover Vitesse police car at the Grampian Transport Museum

The Rover Vitesse police car at the Grampian Transport Museum

Britain’s police forces tested the car and placed orders immediately. It was the ideal compromise; a big load space and ample performance for the period. The Metropolitan Police ordered hundreds of mostly 3 speed autos and stuck with them through to 1989. The SD1 is the best remembered original ‘Jam Sandwich’, a new breed of high visibility, high speed police traffic car. In Aberdeenshire, Grampian Police (now part of Police Scotland) purchased several SD1s and Ford Granadas to control speed and road traffic incidents. The drivers all had their favourites but the SD1’s engine and massive torque won many fans and all agreed the supercar looks were a great deterrent to speeding motorists.

The City of Aberdeen underwent huge change as the North Sea oil and gas industry boomed in the 1970s. The city had good sea, air and rail connections but the single carriageway A90 required a rapid upgrade. From 1983 onwards new sections of dual carriageway were planned and constructed, the first being from Aberdeen south to Portlethen. In 1985 the town of Stonehaven was bypassed by a much longer stretch of dual carriageway and the north east had its first section of fast road.

Policing this new road was a concern as new wealth had established a flourishing motor trade in high performance cars, led by John Clark Specialist Cars which offered the Audi 100 and Quattro and the BMW range. Grampian Police ordered another SD1, one of the later high performance fuel injected versions of the 3.5L V8 known in civilian trim as the Vitesse, to patrol the bypass and area around Stonehaven. This car used the 190bhp engine and 5 speed manual gearbox of the production Vitesse along with, unusually for a police car, power steering. All other luxury items were excluded from the build to make it lighter and easier to maintain. Police spec suspension gave a higher ride height to facilitate chasing over central reservations and curbs and stiffer handling. The word Vitesse (French for speed) was removed from the steering wheel and the rear badge panel simply bore the Rover name.

The police car at work

The police car at work

On 10 December 1985 C356YST took up its station on the Stonehaven bypass and went to work. Those who were enjoying the new road remember it well. It would suddenly appear right there in your mirrors and so would points on your licence or a three month ban. The car became something of a talking point among local car enthusiasts, one commenting ‘you can’t relax until you see it going the other way’. Grampian Police ran the car until 20 July 1988 after a hard life that included three back axles and several crashes. In the hands of a series of private owners the inevitable deterioration took place common to most cars from the period due to poor rust inhibition. In 2014 it was rescued in a partially restored condition by the Channel 4 television programme For the Love of Cars, professionally restored for the programme and acquired by Grampian Transport Museum at auction at the NEC, Birmingham on 10 January 2015.

The police car in a field, having left the road on 27 July 1987

The police car in a field, having left the road on 27 July 1987

The purchase was rapidly organised and involved a visit to the restoration workshop on 30 December to ensure that this was the actual car and the build was to museum standards. Grampian Transport Museum receives many donations dedicated to adding great exhibits to the collection. Funds had slowly grown to just over £6,000 and the National Fund for Acquisitions agreed to provide up to a further £4,000. An independent valuation of £10,000 proved accurate with the hammer dropping at £9,750.

The old charger is a perfect fit to the museum’s Collecting Policy. It tells a great local story and better still the police drivers are still there and are hugely enthusiastic about its survival and return. Ian Slorach, who drove the car nearly 30 years ago, was at the museum the day after its arrival to give it a test drive round Grampian Transport Museum’s road circuit, commenting ‘over a career in Traffic this was my favourite car, a real police car. I loved driving it.’ Ian has even offered to be its designated driver at future public engagements!

 

Mike Ward MBE
Curator
Grampian Transport Museum