F L A G
NEWSLETTER
January 2026
www.friendsofleamingtonartgallery.co.uk
Chairman’s thoughts
It is a pleasure to report on another productive and rewarding year for our society.
Throughout the year, FLAG has remained steadfast in its core purpose: to support, promote
and champion Leamington Art Gallery and Museum for the benefit of the local community
and its visitors. In a changing cultural landscape, the continued enthusiasm and commitment
of our members has been both encouraging and vital. Our membership has remained strong,
and together the subscriptions and attendance at events underpin everything we do. FLAG is
fortunate to have a loyal and engaged membership, which helps to ensure that LSAG&M
remains vibrant and relevant.
This year, FLAG was pleased to contribute financially to a range of projects. In particular, we
contributed to the acquisition of John Piper’s Wolfhamcote Church and the catalogue for A
Different View. As usual we have provided the prize for the People’s Choice Award, and
supported learning activities together with conservation work. These and other initiatives
help enrich the visitor experience and safeguard the collections for future generations. We
have also been involved with the exhibition planning meetings and the close and constructive
relationship between FLAG and the Gallery team is something we both greatly value.
Our programme of talks, visits, and social events not only raises essential funds but also
provides opportunities for members to extend their knowledge and meet like-minded people.
I should like to thank everyone who helps to organise these events, often behind the scenes
and always with great dedication. The work of the Committee deserves special recognition. I
am extremely grateful to my fellow committee members for their time, energy and expertise.
Their thoughtful decision-making and willingness to take on responsibilities ensure that
FLAG is well run and able to respond positively to new opportunities and challenges. I would
also like to thank our officers for their careful stewardship of the society’s affairs.
Looking ahead, we remain committed to supporting the Gallery and Museum as they develop
their programmes, reach new audiences, and respond to the challenges facing cultural
organisations today. We will continue to seek ways to grow our membership, broaden our
activities, and ensure that FLAG remains a welcoming and active community.
Paul Baker
Chairman
F L A G
NEWSLETTER
January 2026
www.friendsofleamingtonartgallery.co.uk
2026 Meeting dates
Wednesday 18th February at 2.30pm
Dr Graham Twemlow – Chiltern Landscapes, Art and Design in the Chilterns
Tuesday 17th March at 7.30pm
Lewis McNaught – Returning Heritage, Informing the Restitution Debate
Tuesday 14th April at 7.30pm – AGM, followed by Adam Wood – Victorian Crime in
Leamington
All meetings are held at the Dormer Conference Centre in Dormer Place, close by St Peter’s
multi-storey car park
Subscriptions
Subscriptions for 2026/7 will be due on 1st February. While we are, of course, happy to
receive your renewal by cheque, the bank makes a charge for each cheque, so if you can
make the payment by Bank Transfer our funds will go further! The Membership Secretary is
also happy to receive cash at either the February or March meetings.
Further information will follow by email, but the FLAG bank details are:
Bank Transfer
HSBC
a/c 90360244
Sort code 40-27-06
Friends of Leamington Art Gallery
Please add your name as reference
Arley Hall and Gardens, Cheshire
Our July trip to Arley Hall and Gardens was a splendid day out and much enjoyed by all. Arley is only open to the public a couple of days a month as it is the home of the Viscount and Viscountess Ashbrook and their family. We were able to explore all the main rooms on two floors at our own pace but with guides available to answer questions. The present Viscount’s mother’s family, the Warburtons, have had their home on the site since the 15th century. The main house was completely rebuilt between 1832 and 1845 by Roland Egerton-Warburton and his architect George Latham. They visited many 16th-century properties as they wanted to replicate what they called the ‘Queen Elizabethan’ style. Internally and externally it is so exquisitely done that it’s hard to believe that the house is not 16th century.
There are magnificent plasterwork ceilings by Latham, a beautiful oak staircase and much period ornamental detail. Despite its beauty and grandeur, the rooms were not too large and we sensed the house was very much a home. Outside, the brickwork looks Elizabethan as they had special 16th-century style bricks made from clay dug on the estate and the tall chimneys also look authentic.
Arley’s style has been called Jacobethan, as it was built between 1832 and 1845, copying both styles.
The house is surrounded by over 15 acres of beautiful grounds and gardens, open to the public daily. The present gardens have been created and added to extensively since 1846. The double herbaceous borders were the first of their kind in England and very impressive. They are beautifully framed by mellow brick walls – they even have topiary buttresses.
Cherry Rosewell
Rugby Museum and Art Gallery
We started at the ‘new’ Museum and Art Gallery (opened in 2000), where a collection of artefacts illustrate the story of a small market town whose expansion was due to the important railway junction facilitated by the Watford Gap. The lines were controlled by the Rugby Bedspread, a 90-foot high signal gantry, represented by a scale model. Long before the railways, a Roman market was based at Tripontium, a small settlement which straddled Watling Street, four miles away. Gaming counters, hair pins and a Celtic bronze head were among the many finds from the bath house drains. Particularly beautiful was a belt buckle inscribed with two peacocks feeding from the Tree of Life.
The town is also synonymous with the game of rugby, and the ball manufacturers, Gilbert, started early in the nineteenth century when Rugby schoolboys brought inflated pig’s bladders to their shoe and boot shop encased in leather. In a different case were the officer’s breeches worn by Lady Dorothy Fielding during her dangerous work as an ambulance driver on the Western Front. Preserved here also is the cold cathode clock which set the time signals for radio from 1927 until 2007.
The art gallery was hosting two exhibitions: Found in the Fields featured linocuts, screen prints and lithographs by Carry Ackroyd to convey the vitality of nature. Many were inspired by the poetry of John Clare, as on the right.
Another exhibition, Woven from the Field, by Sue Kirk, displayed woven hangings of alpaca wool and flax, coloured by natural dyes.
Sue also creates willow basketry sculptures, which combine intricate shapes with practical uses.
Photos: Carolyn Gifford
Ashby St Ledgers Manor House
We then crossed into Northamptonshire and passing the pretty thatched, ironstone cottages (six designed by Sir Edwin Lutyens) in Ashby St Ledgers, on our way to the Manor House. Its large forecourt is enclosed on three sides by buildings, and at its head is the rambling honeyed front of an early Tudor hall, home of the Catesby family from 1400 until 1612. Sir William Catesby was beheaded after the Battle of Bosworth and handsome Robert was killed by a musket ball after the discovery of the Gunpowder Plot.
The property was bought by Bryan Ianson, a wealthy London draper who embarked on the building of a tower and gable on the south side. Another draper, Joseph Ashby, purchased the manor in 1703. He installed the garden statues and started a walled garden.
We were taken on a tour by Nova Guest, who was very relaxed in spite of being accompanied by a camera crew from Channel 4.
Inside, carved dragons and horses adorn the panelling in the corner study, along with a heavily carved Italian Renaissance door installed by Sir Edwin Lutyens, who worked on both the house and gardens for 30 years after Ivor Guest, later 2nd Lord Wimborne, acquired the estate in 1903. In the panelled Card Room William Walton’s piano resides, after he was invited to move in by Lady Wimborne, whose full-length portrait by John Lavery hangs next door. Most impressive was Lutyens’s Stone Hall, with gallery and exposed roof timbers. He built a half-timbered bridge to link his dining room with the Jacobean house on the west side of the forecourt. He also had to accommodate a timber-framed shop, purchased at the White City Exhibition as Ipswich was selling off its ancient heritage.
We spent a sunny hour in the grounds walking through the walled garden which has been recently restored using organic principles. The lawns slope down to a long, river-like pool. We passed on to the famous gatehouse (on the right) which has an atmospheric room where Catesby and his fellow conspirators may have hatched the Gunpowder Plot. Beside it stands the ancient church of St Mary and St Leodegarius, a French bishop in the 600s. It retains its 15th-century rood screen, wall paintings and sanctuary knocker. Our memorable visit was rounded off by excellent tea and cakes in the Stone Hall – a perfect day out.
Marilyn Lowe
Photos: Carolyn Gifford 5
Visit to Royal Holloway College
Our tour of Royal Holloway College began beneath the imposing North Clock Tower which forms the main entrance to the palatial building. Born in 1800, Thomas Holloway made his money by producing and selling patent pills and ointments to cure a wide range of ailments by ‘expelling gross humours’. His beloved wife, Jane Driver, helped in his enterprise and it was her idea for some of the fortune (swelled by investments) to be used for women’s education.
Some £600,000 was available for the creation of a college on the 90-acre site by William Crossland, a former pupil of George Gilbert Scott, who had already designed a sanatorium for the Holloways. He was sent to study the Chateau of Chambord, upon which the Renaissance Revival edifice is based, using red brick with stone dressings and embellishments.
The death of Jane in1875 was a heavy blow, and even Thomas did not live to see his creation opened in 1886 by Queen Victoria, who was persuaded to officiate by Count Gleichen who sculpted an imperious statue of her in the north quad and another, more affectionate, image of the Holloways in the south quadrangle.
The sloping ground of the south quad allows an extra storey in the southern section which houses a museum, physics laboratory, lecture theatre and a library, which we walked through to the wide corridor, which runs the whole length of the building (550 feet). The college was built to accommodate 250 students. The first intake of 25 arrived in 1887 (with their maids). Their day began at 7.30am and ended at 10.00pm. There were daily sessions of outdoor activities.
Photo: Marianne Pitts
The chapel is a gilded extravaganza of paintings and bas-reliefs by Ceccardo Egidic Fucigna (1834-1884). The apse depicts the Creation of Woman with lions, a deer, a silver hare and tortoise looking on. The chaplain brought out a precious jewelled altar cross which was given by Matilda Ellen Bishop, the first principal of the College (1887–1897). She resigned when non-conformist services were instituted on alternate Sundays (the Holloways were non-conformists).
We ate lunch in the art gallery surrounded by Victorian landscapes and seascapes, and historical and salutary scenes. One of the largest was The Railway Station by William Powell Frith, 1842, bustling with farewells, arguments, an arrest, dogs and luggage. A pair smaller, dark oils by Millais depicted the Princes in the Tower and the captive Princess Elizabeth. Landseer’s painting Man Proposes, God Disposes, which shows two polar bears
savaging the remnants of Franklin’s ill-fated ship, is usually covered during examinations as students feel uneasy sitting by it.
Man Proposes, God Disposes – photo by Mark Tollerman, on Wikimedia Commons
The grounds are still beautiful with old oaks and beech, cedars and monkey puzzles. Springs feed ornamental pools and cascades. We all enjoyed this rare opportunity for a look behind the scenes of this progressive seat of education.
Through the archway, Count Gleichen’s sculpture of Thomas and Jane Holloway in the south quadrangle. Gleichen was the youngest son of Prince Ernst of Hohenlohe-Langenburg and born as Victor Ferdinand Franz Eugen Gustaf Adolf Constantin Friedrich in 1833. After a successful career in the Royal Navy, he became a sculptor.
Photo: Marianne Pitts
Marilyn Lowe
Art Gallery News
As we start 2026 we are entering the final stages of the roof repair work, which caused a good deal of disruption in 2025. We thank you for your support as we have negotiated our way through unexpected closures, delayed deadlines, and some sadly bare walls in the main gallery. On the positive side, we now have a watertight roof, and we are making plans for making good the areas damaged over years of water ingress and preparing to re-display the collection and re-open areas of the building which have been unusable for many years. Despite the disruption, our exhibition programme continued largely as planned.
Exhibitions and displays
Unravelling History: Unpicking the collections and reworking textile traditions
2025 opened with a bang with Unravelling History: Unpicking the collections and reworking textile traditions, co-curated by Abi Flack and artist Annabel Rainbow. It showcased the work of five other internationally renowned textile artists from the midlands: Laura Kemshall, Linda Kemshall, Daniel Lismore, Jennie Moncur and Stephanie Redfern, whose work was presented alongside items from the LSAG&M collections. The exhibition was a huge success for us, drawing a large audience and receiving an overwhelmingly positive reception, especially for Annabel Rainbow’s series of portraits of Windrush elders.
A Different View, Women Artists at Leamington Spa Gallery & Museum
This surveyed the contribution that women artists have made to LSAG&M, tracing how individual artists’ stories fit within the wider narrative of female access to artistic education and professionalism in Britain from the end of the 19C onwards. The work of women artists is relatively well represented within the collection and as such, the overall tone was celebratory, whilst acknowledging the struggles of individuals. The exhibition also included work by women working now in the West Midlands: Lou Blakeway, Julie de Bastion, Mary Riley and Laura Adkins contributed paintings, sculpture and an artist’s book which were displayed in dialogue with items in the collection by artists from the past. Roof leaks delayed its opening but it was well received with over 16,000 people attending, many leaving positive feedback in the comments book. A symposium/workshop event was held on 22nd September in the main gallery and while free, quickly sold out. An associated publication was produced and we are very grateful for FLAG’s generous support of this project.
Childish Things
Also slightly delayed due to the roof repairs, the final exhibition of 2025 opened just in time for the October half term. Childish Things is a playful, nostalgic and intergenerational exhibition designed for all ages. Presenting artworks and objects from across the LSAG&M collection, the exhibition invites visitors to reflect on the things we put away as we grow and to view things through the eyes of their inner child.
The exhibition design includes bespoke murals and replicas painted by talented members of our casual staff. Younger visitors can engage with the exhibition through interactive activities and tailored labels, which sit alongside the ‘grown up curation. The introduction of tactile elements and additional labels have been well-received by visitors of all age
OPEN 26
On from 20th February until May 3rd, OPEN 26 showcases the work of artists living and working in the West Midlands. As always, the winner will receive the OPEN 26 Artist’s Award of £1,000 alongside a spotlight exhibition. Throughout the show visitors will have the opportunity to vote for their favourite artwork and the winner of the People’s Choice Award vote will receive £500 which is very kindly supported by FLAG.
Sunil Gupta & Charan Singh
Rehang of the permanent collection – Autumn 2026 to Autumn 2028
The rehang will coincide with the centenary of the gallery and be a celebration of the collection. We will work with two school groups to co-curate the displays and we would also like to work with FLAG volunteers on a display that celebrates your contribution to the life of LSAG&M. For more information, please contact Kellie.Sabin@warwickdc.gov.uk.
Collections
Henry Scott Tuke, The Critics
In mid-September Kellie Sabin visited Kunstsammlung Nordrhein Westfalen (also known as K20) in Dusseldorf, Germany to escort a painting to their museum. K20 had requested that The Critics by Henry Scott Tuke (1858-1929) be part of their new exhibition Queer
Modernism 1900-1950. The exhibition is the first comprehensive show in Europe dedicated to the contribution of queer artists to modernism and we are delighted that a picture from our collection is part of such a significant exhibition, on show until 15th February.
Simeon Solomon, Sleepers and One that Waketh
Last year we were approached by Delaware Art Museum in the United States who requested the loan of Solomon’s Sleepers and the One that Waketh, to be displayed in their Solomon retrospective in 2027. As part of the loan, the gallery has offered to support conservation of the painting and frame, as well as a generous donation towards the collection which will be used to frame the new Sunil Gupta acquisitions.
Learning & Engagement
A very busy year ended with the successful panto-related afternoons at the AG&M, all devised and delivered by Elina Smith (our current apprentice). The two afternoons at the Pump Rooms were supported by FLAG members who provided refreshments for our visitors. Many thanks to the members that attended, and as always, your support is most appreciated. The two pre-panto activity afternoons were also a great success, with feedback from parents being extremely positive. Looking forward to the next few months, our regular programme of Friday Focus talks, Arty Tots sessions, adult and children’s workshops and the current schools programme will be enhanced with the launch of a new series of Home Education sessions for home-schooled children. Finally (and sadly) Elina will be ending her successful apprenticeship with us in March. I’m sure that you would like to join us in wishing her all the very best in her future work and whatever she does next.
Arts Development
The November Spark Scratch Night brought together 48 attendees, including artists, partners, and local audiences, for an evening of new work and creative exploration. Feedback was overwhelmingly positive, highlighting the fun, welcoming atmosphere and variety of performances. Audiences valued the chance to support local arts and expressed strong enthusiasm for more Scratch Nights and a regular programme of creative events.
In August, LSAG&M received funding from the Museum Development Fund to deliver a series of engagement workshops alongside Sonrisa Arts. We’ve welcomed groups ranging from under-5s and home-educated young people to older adults. It’s been exciting to see the gallery space come alive in new ways and reaching a wide range of audiences while engaging young people in creative and innovative activities.
On Saturday 21st February we will be hosting an event at which you can explore
Warwickshire’s queer past through artefacts, archives and expert insight. Taking place at the Conservatory in the Pump Rooms, this free afternoon event brings together leading academics from the University of Birmingham for a series of short talks on trans history, regional Pride, queer lives, and utopian world-building. The programme includes a post-show mini-exhibit and networking session featuring LGBTQ+ archives curated by local partners. Tickets are free, but booking is required.
John Bridgeman, The Unknown Refugee
In March John Bridgeman’s life-size bronze sculpture, The Unknown Refugee was installed in Jephson Gardens. The work, which depicts a mother carrying her child, was the last piece of public art created by the artist and was designed to highlight the plight of those subjected to forced migration. It was originally commissioned in the 1980s in response to the refugee crisis following the Vietnam War, but political changes at the time meant the sculpture was never cast. In 2024, Bridgeman’s family donated the work to Warwick District Council.
A film telling the remarkable story of the sculpture directed by local filmmaker Andrew David Barker, was nominated in the Best Documentary category at the Birmingham Film Festival in November 2025 and has also been selected in the upcoming Rugby Film Festival. It is included in the John Bridgeman display in the main gallery, which will continue until the end of February and is also available on our YouTube channel.
We would all like to thank FLAG members for their support over the past few months, which have been fairly challenging. We look forward to reaching the end of the MEND project and finally being able to enjoy having a watertight building! Very best wishes for the year ahead from us and the team,
Chloe Johnson, Vicki Slade and all the Collections & Engagement Team
Elina Smith: Reflections of a Learning & Engagement Apprentice
Back in November 2024 I was delighted to join the Collections & Engagement team as the latest Learning & Engagement Apprentice. As my time with the gallery draws to an end, it is the perfect moment to reflect on the experience.
The apprenticeship has been two-fold. Time at the gallery has been spent developing practical skills, during which I have gained a wealth of experience in the production and delivery of a diverse and exciting programme of events. A particular highlight has been working with Sonrisa Arts to deliver the ‘Childish Things: Playful Moves, Colourful Sounds!’ dance and movement workshops, made possible with funding from the Museum Development Fund. As part of the project, we have welcomed groups of all ages into the space for workshops which have encouraged a wide range of audiences to engage with the exhibition. Another highlight was the gallery’s participation in Kids in Museum National Takeover Day, a nationwide event held during Creative Careers Week. The initiative seeks to encourage children and young people to consider a career in the museums and gallery sector and in November, the gallery welcomed students from St Peter’s Roman Catholic Primary School. They also returned in January to deliver a Friday Focus sharing work they had created, inspired by their visit. We hope these experiences will contribute towards inspiring the next generation of curators, conservators and creatives.
Alongside the day-to-day operations at the gallery, I have been attending online learning sessions and completing assignments as part of the training towards obtaining the Cultural Learning & Participation Officer qualification. The sessions are led by college tutors with a background in the creative industries and the CLPO course has been skilfully developed to prepare apprentices for a career in engagement within cultural venues.
Before accepting this post, Leamington Spa was somewhat of a mystery town. Over the course of this year, I have been constantly amazed by the richness of creativity and community spirit which the town has to offer. And of course, there is much to look forward to at LSAG&M in 2026!
