The Highlanders' Museum World War 1 / Artist Residency

A Museums Galleries Scotland funded Artist Residency undertaken by Robyn Woolston at the Highlanders' Museum (Queen's Own Highlanders Collection)

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I’m not sure what exactly I expected from the exhibition itself, but it was astonishing how Robyn achieved her vision, sometimes in an ornate way and sometimes with stunning simplicity, as in the graphic of the Seaforth and Camerons dead. I think there were a few damp eyes when one or other detail caught people by surprise. The temporary internal division worked well; it is easy to take such things for granted but a lot of thought and work had gone into it. The choice and quantity of exhibits was exactly right: more would have been too much.   The involvement of the Ardersier Primary School pupils was a great success, and it was very interesting to speak to another fellow Board member, Cllr Trish Robertson, who has grandchildren at the school. We were greatly impressed by the collage of imaginary “letters from the front”, written by pupils, upstairs in the Blue Hackle room.

Lieutenant Colonel Douglas Young

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Artist in Residence Exhibition

‘Summer Has Been Turned To Winter By The Guns’ (2017)

at 

The Highlanders’ Museum (Queen’s Own Highlanders Collection) 

8th October 2017 – 18th March 2018

“It has been a real experience for staff, volunteers, visitors and local schoolchildren to work with our Artist in Residence on this project – seeing our World War One archive through fresh and creative eyes. Robyn Woolston’s exhibition is stunning, thought-provoking and presents a personal response to ‘The Great War’ from the artist and the children and adults who contributed to the project.”

Education Officer, Gill Bird

Project Blog: https://highlandersmuseumww1.tumblr.com

Location: 

Fort George is a ‘registered Ancient Monument’ and for over 235 years has been a military garrison and training depot for a Regular Infantry Battalion of the British Army. It is currently home to the 3rd Battalion The Royal Regiment of Scotland.

Set in what was formerly the Lieutenant Governor’s house, the Highlanders’ Museum was founded over 60 years ago. The museum houses more than 5,000 gallantry awards and campaign medals won by the fighting men of the regiment as well as silver and personal artefacts. It also contains a set of Colours carried at the Battle of Waterloo and King Edward VIII’s regimental uniform.

Opening Times: 10.00am - 3.15pm  / closed at weekends Dec & Jan

Admission to the Highlanders’ Museum (Queen’s Own Highlanders Collection) is FREE but you must pay an admission charge to visit Fort George. Adult - £9.00 Concession - £7.20 Child aged 5–15 - £5.40 Under 5 - FREE

Exhibition Fabrication: G & T Project Management

http://gtprojects.wixsite.com/home

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Moving On / Making More

I’m now at a point in my Museums Galleries Scotland funded Artist Residency at the Highlanders' Museum (Queen's Own Highlanders Collection) where I’m moving from research into making. It’s a stage which requires me to spend less time ‘on location’ & more time in the studio.

After collating 1408 separate files comprised of photographs from the archive, notes sent both to-and-from the front line, official documents from Buckingham Palace, official portraits, and domestic snaps etc it is a time to focus upon narratives that will saturate and direct my final exhibition.

During the last 6 months I’ve been most touched by:

- ‘traces’ left by the human hand, a note scribbled in the corner of a printed army document or the inside of a cigarette wrapper. - hand-sewn greetings cards and notes - salvaged materials used within sweetheart pin-cushions (old uniforms, sack-cloth etc) - harrowing personal accounts of life in the trenches: ‘Our wounded were streaming back, some ghastly sights; holding on arms, legs, broken and smashed’ & ‘All that will be left is a nation of legless, and armless, blind and helpless except those that are making money’ (1917)

Alongside extracts from newspapers such as the Shipley Express and Times from 1st June 1917 describing Arras:

‘…over wires, over shell holes, past mined patches and death traps…faced a torrent of fire aimed at us’

And then there are the thoughts of historians such as E.J. Hobsbawn raising pertinent questions such as: how did ‘the era of peace, of confident bourgeois civilisation, growing wealth and western empires within itself the embryo of the era of war, revolution and crisis put an end to it?’

In parallel I’m now diving deep into materials and techniques. Exploring hand-sewn and domestic processes alongside industrial fabrication techniques. I’m locating harvested cloth (from Highland charity shops and the collection itself) and found objects.

Exhibition begins:  7th October 2017

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Accompanying paperwork (linked to previous photographs) for Capt Lennox Robert Murray Napier served 2nd Camerons 1911-15

He served with the 2nd Battalion in India and on the outbreak of World War 1 he remained there in charge of married families, until rejoining the Battalion, then near Dickebusch, 17th Feb 1915. After being wounded at the battle of Frezenberg Ridge, 8th May 1915, he was posted to the 1st Battalion and commanded ‘C’ Company during the trench fighting in the Bethune sector, and at the battle of Bazentin Ridge when he was mortally wounded while leading the assault, and fell into the hands of the Germans.  

Died as a Prisoner of War on the 28th July 1916 in a German Field Hospital, of wounds received in action 23rd July 1916. Originally reported missing.

(ACC 79-19)

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‘...mortally wounded while leading the assault’

Capt Lennox Robert Murray Napier served 2nd Camerons 1911-15

He served with the 2nd Battalion in India and on the outbreak of World War 1 he remained there in charge of married families, until rejoining the Battalion, then near Dickebusch, 17th Feb 1915. After being wounded at the battle of Frezenberg Ridge, 8th May 1915, he was posted to the 1st Battalion and commanded ‘C’ Company during the trench fighting in the Bethune sector, and at the battle of Bazentin Ridge when he was mortally wounded while leading the assault, and fell into the hands of the Germans.  

Died as a Prisoner of War on the 28th July 1916 in a German Field Hospital, of wounds received in action 23rd July 1916. Originally reported missing. 

(ACC 79-19)

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... a brave life given for others ... Memorial / 18258 LCpl William Boyd, killed in action 12th October 1917, Passchendaele.

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Midway Point

I’m midway through the research stage of my residency at Fort George, a large 18th-century fortress near Ardersier, to the north-east of Inverness, Scotland. Working out of the Highlanders’ Museum (Queen’s Own Highlanders Collection), the museum covers three floors of Fort George’s former Lieutenant Governors’ House.

Project Aims:

To respond creatively to the World War 1 displays and archives at The Highlanders’ Museum (Queen’s Own Highlanders Collection).

To engage with local children and communities

To produce a finished artwork/exhibition to be exhibited at The Highlanders’ Museum (Queen’s Own Highlanders Collection) for 6 months (October 2017 - March 2018)

So far I’ve been working here for three months and completed 5 primary school workshops which have resulted in a wall-based battlefield mural, a series of imaginary medals, a collection of Trench Poetry and a series of letters home to loved ones.

‘We are absolutely delighted to welcome artist Robyn Woolston to The Highlanders’ Museum as our Artist in Residence and are excited about the work she has already been doing. The project will help bring our First World War archive to life featuring some of the interesting stories and characters which exist in the original letters, diaries and photographs kept by Highland soldiers during the conflict.’

Gill Bird / Education and Outreach Officer 

From personal, hand-drawn, love letters to military orders, each visit provides a proliferation of compelling avenues for investigation.

It’s a time of immersion and editing, of reflection and navigation through a collection that houses thousands of objects, photographs, paintings, uniforms and reference texts.

‘God bless my DEAR DADDY at the WAR and keep him safe. With little Duncan’s love.’ /  SGT DAVID J MCRAE 240180 

‘Take this for your mascot’ / SGT DAVID J MCRAE 240180 

It’s also a time of contemplation in terms of the ‘axis’ that embodies ‘where’ creative response meets military rigour. Of considering how suitability and juxtaposition may highlight-and-handle harrowing conflict-based narratives. I’m conceiving of plans which will both comment and illuminate with the intention of partially pushing aside many of the traditional conventions, or norms, in terms of museum display. Questions arise as to ways in which one can effectively honour tradition whilst reigniting/reframing perceptions.

S U M M E R    H A S    B E E N    

T U R N E D    T O    

W I N T E R    B Y    T H E  

G U N S  

(A label found below a photograph housed deep within a section of the photographic archive not open to the general public)

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ARRAS / ‘FIGHTING WITH THE CAMERON HIGHLANDERS, WOUNDED TWICE IN BATTLES, OFF TO FIGHTING FRONT FOR THIRD TIME’.

The following extract was handed to me by Dave Chapman (Research and Volunteer Co-ordinator at the museum) via Richard Coomber. It vividly details the horrific nature of the Battle of Arras and the significance of the bagpipes during one particular moment of conflict:

Private Walter Teale, of 19 Fletton Terrace, Undercliffe, has been through some heavy engagements at the front with the famous Cameron Highlanders. He was wounded in the Somme battle on the 17th of last August, being injured in the fingers and shoulders.

After a spell in Nottingham Hospital he re-joined his regiment and took part in the great Arras battle and was wounded again on the Bapaume Road, on March 3rd. This time he was sent to the hospital at Clacton-on-Sea and having now recovered, he went to the front for the third time last Tuesday.

Speaking of the Arras battle he says: 

“We did about an 18 mile march during the night and opened the ball in a new place at 5 a.m. For five days a torrent of shell fire had been raging at this spot and the ground was ripped and torn and furrowed with the Huns’ big guns, and the air was sulphurous almost to the point of suffocation. When the order was given for our men to go over the top, we did so with right goodwill.

After mounting the parapet we advanced steadily across the shell-swept zone, picking our way between the shell craters and eventually lined up on the slope of the enemy’s parapet before taking part in the last grim struggle. We could see the Germans taking aim at us from behind their defences and then the Highland pipers struck up the Cameron march, which sent an exultant thrill through all our men. I believe it was the music at that moment which made it possible for us to go through the terrible ordeal that followed.

Anyhow, we dashed for the Huns, over the wires, over shell holes, past mined patches and death traps, and faced a torrent of fire aimed at us. At the top of the parapet men gripped each other in deadly embrace. Dead and wounded fell, some sticking on the barbed wire and others rolling down the slope.

The Germans spared neither men nor munitions in their desperate efforts to throw us back. As far as we could see, they were lined along the front, shoulder-to-shoulder, and behind them was another line of reserves ready to be moved up to fill vacancies in the first. Further back still was another line ready to relieve the others when the strain became too great. Of course, we had no such luck as a double-line of reserves. After a desperate struggle we smashed through their first line, though they tried hard to close up the gap we had made by sending forward more men. With us it was a question of holding on or dying where we were. The Germans were furious at our success and hurled their best troops against the Highlanders but we were immoveable and victory remained with us at the end.”

Shipley Express & Times 1 June 1917, page 9

Further background info related to Arras: http://www.bbc.co.uk/news/uk-scotland-39500498

‘Arras was fought from 9 April to 16 May 1917 and marked the beginning of the spring offensive on the Western Front.’

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Image 1: Beaumont Hamel - Battle of the Somme. This image was provided by Dave Chapman, Research and Volunteer Coordinator at the museum in response to our battlefield mural below it. He took this photograph on a battlefield tour and went on the tell me that the tree was used by both sides as a reference point for target indications during WW1. 

Image 2: Battlefield mural created by Ardesier Primary School children as part of my Artist Residency

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Our Primary School workshops continued with a visit to the fort today...

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In our final classroom-based workshop this week we looked at Propaganda Posters and Trench Poetry. 

We took inspiration from the collection at Fort George including a poem written by 8384 Private W Hendry of the 2nd Royal Scots: ‘In the Trenches, somewhere in France’ 

....next week we’ll take a trip to the fort itself and continue our research in-situ.  

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RESIDENCY LOCATION BACKGROUND. Fort George is a large 18th-century fortress to the north-east of Inverness. The current fortress has never been attacked and has remained in continuous use as a garrison. The fortification is based on a star design that remains virtually unaltered. The Highlanders’ Museum (Queen’s Own Highlanders Collection) covers three floors of Fort George’s former Lieutenant Governors’ House.

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Primary School Medal Workshop (photoset 2 of 2)

I’ve been exploring WW1 medals, honours and awards with a group of local primary school children. We’ve taken inspiration from medals found within the collection at the Highlanders Museum, Inverness.

The workshop also considered shape, design, context & colour when creating our imaginary awards.

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Primary School Medal Workshop (photoset 1 of 2)

I’ve been exploring WW1 medals, honours and awards with a group of local primary school children. We’ve taken inspiration from medals found within the collection at the Highlanders Museum, Inverness.

The workshop also considered shape, design, context & colour when creating our imaginary awards.

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Highlanders' Museum (Queen's Own Highlanders Collection) / The Princess Mary 1914 Christmas Gift

The design depicts the head of Princess Mary in the centre, a laurel wreath surrounds her and she is flanked by the ‘M’ monogram. A decorative cartouche contains the words "Imperium Britannicum" at the top with a sword, bayonet and scabbard (for the Army) either side.  On the lower edge, another cartouche contains the words "Christmas 1914", which is flanked by the bows of two Dreadnnoughts (for the Royal Navy) forging through deep seas.

The corners display the names of the Allies: Belgium, Japan, Montenegro and Servia; France and Russia at the edges, each superimposed on their furled flags or standards.

The Princess Mary's Christmas Gift Fund was launched on October 14th 1914, with subsequent advertisements placed in the national press inviting monetary contributions to a "Sailors and Soldiers Christmas Fund". Created by the 17 year old Princess Mary, daughter of King George V and Queen Mary, its purpose was to provide everyone on Active Service on Christmas Day with a "gift from the nation".      

Her public letter released by Buckingham Palace read: 

"I have delayed making known a wish that has long been in my heart for fear of encroaching on other funds, the claims of which have been more urgent. I want you now to help me to send a Christmas present from the whole nation to every sailor afloat and every soldier at the Front. On Christmas Eve when, like the shepherds of old, they keep their watch, doubtless their thoughts will turn to home...I am sure that we should all be the happier to feel that we had helped to send our little token of love and sympathy...something that would be useful and of permanent value and the making of which may be the means of employment in trades adversely affected by the war".

Every box contained a Christmas card and a picture of the Princess. Huge demands were made upon the already stretched postal service at the time yet more than 355,000 were delivered by the yuletide deadline. New Year deliveries contained a card that wished a 'victorious new year'.

Parents of soldiers killed were entitled to boxes alongside nurses and the wounded. Prisoners of war at the time had theirs reserved until they were repatriated.

A shortage of brass also effected dispatch times and lead to many entitled personnel not receiving their gift until as late as the summer of 1916, and by January 1919 considerable numbers had still not been distributed.

When the fund finally closed almost £200,000 had been donated with more than two and a half million boxes with contents delivered by 1920.

There are a number of gift boxes held within the archive at the museum.

To find out more: http://www.iwm.org.uk/history/first-world-war-princess-mary-gift-box

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Residency Progress Report / 20th February 2017

I’m lucky to have spent some concentrated time delving into the archives (photographic + object based) at the Highlanders’ Museum at Fort George, Inverness, over the past 6 weeks. It’s provided a fascinating, funny, and at times, incredibly poignant window onto the everyday lives of families, soldiers and regiments during World War One.

Naturally there are War Diaries, which detail strategic manoeuvres and life-saving co-ordinates, but there are also highly personal notes like the one sent from son to father which signs-off ‘Your dying son’ or the postcard which reads ‘God bless my DEAR DADDY at the WAR and keep him safe’

Out of this densely woven web of narratives I’m beginning to navigate some ‘pathways for expression’ which will lead to an exhibition on-site from October 2017 - March 2018.

Image: The photographs above show my working space at the museum. It’s an ‘open-studio’ of sorts where I can communicate with people visiting the site, explore ideas and get a feel for the over-arching narratives that are emerging out of my residency.

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...WAR, AS IT IS...

Whilst working at the archive and museum today I was utterly struck by the embedded intricacy of this painting. Layer upon brushwork upon detail; soldier beside solder. It manages to convey an epic sense of magnitude alongside the minutiae of war. From the ragged, upstanding, flag to bare and bereft trees.... 

Title: ‘The Seventh Battalion at Hill 70, 1915′

Painter: Joseph Gray

Background: The painting shows the 7th Camerons after taking Hill 70, one of their objectives during the battle of Loos, 25th September 1915. The Commanding Officer, Lieutenant Colonel JW Sandilands, is depicted rallying the survivors of nine different battalions to hold the hill against German counter attacks. The painting was presented to the Regiment by Miss Eveline Barron. Her father, Major J Barron, died of wounds at Loos on 27th September 1915 while serving with the 7th Camerons. 

Biographical info:

‘Gray joined the 4th (Dundee) Battalion, The Black Watch Regiment after the outbreak of World War One and fought with them from August 1914 to March 1916, in the battles of Neuve Chapelle, Festubert and Loos.

There were a number of journalists who joined the 4th Battalion in the early stages of the war and they referred to themselves as ‘Fighter-Writers.' Once he reached the trenches Gray’s talents as a draughtsman were quickly recognised. He was appointed an observer, a role which involved many expeditions into the firing line to make sketches of enemy positions. He was also called upon to duplicate trench maps, as he did before the Battle of Festubert, marking out the positions of the men of his battalion.

During 1915-1916 Gray sent back many reports to the Dundee Courier but was eventually invalided out of service in March 1916. Back home he was appointed official war artist at The Graphic illustrated newspaper and contributed drawings and articles about different aspects of trench life. All his drawings were based on original sketches made during his time in the firing line.’

https://en.wikipedia.org/wiki/Joseph_Gray_(painter)

"Here are shown no... glittering swords, and noble horses, but plain, steadfast, unconquerable men, standing with their faces to the foe and grasping their fixed bayonets in the firm determination to win or die.”

WAR AS IT IS. THE SEAFORTHS AT NEUVE CHAPELLE / The Inverness Courier, 23 September 1920.