
Warwick Market Hall Museum hopes to see Henry VIII portrait restored
A fundraising campaign has been set up to restore a historical portrait of King Henry VIII.Warwickshire's museum service wants to display the Tudor painting at the Market Hall Museum in Warwick.It was discovered "hiding in plain sight" when art historian and Sotheby's consultant Dr Adam Busiakiewicz noticed it "by chance" in a photo posted on social media.The artwork was commissioned by local landowner Ralph Sheldon in the 16th Century and was long thought to have been lost.
Dr Busiakiewicz spotted the painting in the background of a photo posted online by the Lord Lieutenant of Warwickshire Tim Cox.He said the painting had a distinctive arched top which caught his attention, and he arranged to view it in person.After a closer look, and further research, Dr Busiakiewicz confirmed the portrait was a Sheldon Master, part of a 22-piece portrait collection from the 1590s.The collection featured portraits of kings, queens and significant figures from the time.They were commissioned by Ralph Sheldon, along with four tapestry maps, for his home at Weston House near Shipston-on-Stour – but they were sold in 1781 by his descendants and dispersed.Portraits from the set can now be found in various places, including the National Portrait Gallery, Eton College, Knebworth House and several private collections.The location of the full set of 22 portraits remains unknown, however.
'Wonderful opportunity'
A spokesperson for Warwickshire Museum Service said they hoped to carry out conservation work on their portrait before putting it on public display."This is a wonderful opportunity to bring one of Sheldon's original portraits into Market Hall Museum to sit alongside a portrait of the artist himself and the Sheldon Tapestry, all sited less than 20 miles from where the portraits and tapestry hung at Weston House in the 1570s," said councillor Heather Timms, portfolio holder for culture at the council."We are committed to conserving this significant artwork and bringing it to Market Hall Museum, ensuring that this piece of our shared heritage is accessible to all."Conservation work, reglazing and specialist lighting is expected to cost about £18,000, according to the council.It is hoped once the work is completed the painting will hang next to a portrait of Ralph Sheldon, by the Sheldon Tapestry Map of Warwickshire, in the museum's gallery.The museum is open free of charge, and attracts more than 90,000 visitors per year.Contributions to the fundraising can be made by contacting Market Hall Museum or by visiting in person.
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The Guardian
7 days ago
- The Guardian
We in the cultural sector must stand up to Trump's attacks – if not now, when?
In one of his recent Truth Social posts, Donald Trump appeared to fire Kim Sajet – the fearless and utterly brilliant director of the Smithsonian Institution's National Portrait Gallery in Washington DC. The president used his social media platform to claim that Sajet's support for diversity, equity and inclusion (DEI) made her unsuitable for her role. 'Upon the request and recommendation of many people, I am hereby terminating the employment of Kim Sajet as Director of the National Portrait Gallery', Trump wrote. 'She is a highly partisan person, and a strong supporter of DEI, which is totally inappropriate for her position. Her replacement will be named shortly.' Where to start? By now, we all know the arts has become the terrain for a brutal proxy battle for hearts and minds. A culture war 2.0, where not just reputations are at stake, but institutions, whole sectors and ways of thinking. But I am hoping that even Trump's support base have begun to grow a little bored with these attacks on figures and institutions in the cultural sector. The culture war has moved beyond farce into the deeply tragic. I am sure even many of the president's most loyal supporters know deep down that the Smithsonian (a vast complex of 21 museums) is a genuine force for good, an institution that represents so much of the US at its very best. And like the Kennedy Center, the cultural institution that Trump took control of earlier this year, or the universities his administration has attacked, the Smithsonian is a fish in a barrel: easy to bully, its financial destiny in significant part tied to public funding, with limited scope to defend itself. This contrived political theatre damages critical institutions, threatens the careers of talented, dedicated people, and its repercussions will be deep and long-lasting. Good museums are not sleepy institutions trapped in heritage-aspic. Across its 178-year history, the Smithsonian has consistently evolved to reflect ambient change and address public need. Like many other national museums around the world, these changes, particularly in recent years, have been driven by an aspiration to engage and enfranchise, to broaden audiences and to catalyse national conversations. I would have thought that seeking to give value back to a greater number of the population is uncontroversial. Institutions this important, mostly sponsored by the public, must simply, continually, work to be ever more universal, inclusive and open. Left or right, that has value. In times like these, when we are, as citizens of western democracies, so riven and divided, the arts have a job to do of being a space for inclusive debate. But the truth is that DEI isn't some new-fangled indulgence. That drive to be inclusive is what good museums were created to deliver. Twenty-five years ago, I began my career at the British Museum. I still remember reading its founding purpose for the first time. The British Museum was created for 'all studious and curious persons'. I remember thinking that the word that does the really hard work in that statement is 'all'. The British Museum was created in the mid-18th century around an inclusive imperative, around the idea that we might all hope to find ourselves reflected in its spaces and concerns. Its founders must have recognised the powerful need for a national museum: it was created at a time when Britain was going through a period of existential anxiety, when Scots were rebelling; the country needed a unifying narrative. I am sure the British Museum's founders knew exactly what they were doing when they committed the institution to that beautifully enfranchising ambition of being for us all. And yes, I know museums have so often failed miserably to live up to these inclusive objectives, but we must never stop trying, nor relinquish the basis on which the public can hold us to account. Universities and museums are vital for healthy societies, and their independence, their bravery, their sometimes maddening honesty, underpins so much that is important. We undermine that at our peril. I spent a number of treasured years as a Smithsonian museum director and fell for its ethos and its dedicated people. It was founded on an ambition to propagate 'the increase and diffusion of knowledge'. It was created to enable transformational change through sharing and empowering US citizens with knowledge, with truth. I cannot think of a time when this has been more important. It is unclear whether Trump has the authority to fire Sajet. What is clear is that his move is designed to demoralise her and all my former Smithsonian colleagues. That's why, directing a different museum now, across the Atlantic, I feel moved to write. We in the cultural sector everywhere need to stand up and be counted, we need to celebrate Kim Sajet, we need to not retreat from diversity here in Britain. To my former colleagues, I say that speaking the truth and having the courage to do so when it is difficult does not make you unsuitable for your roles in a demographically complex democracy; it is probably the most important aspect of what we are called upon to do. It is easy writing the diversity action plan, but having the moral courage to stand up for those principles when they are needed – that is heroic. Gus Casely-Hayford is a curator, cultural historian, broadcaster and lecturer who is currently the director of V&A East


The Guardian
02-06-2025
- The Guardian
Cambridge University appoints first Jewish professor of Hebrew
When Henry VIII established a royal professorship in Hebrew nearly 500 years ago, the idea that a Jew would fill the role at Cambridge studying the ancient language of the Israelites was impossible. 'It's not surprising, if you know that at the time of Henry VIII Jews were banned from England. So that was quite a technical obstacle,' said Prof Aaron Koller, who later this year will become the first Jewish occupant of the post since 1540. Henry's motives for founding the Regius professorship of Hebrew studies read like a chapter out of Wolf Hall, bound up with the aftermath of his divorce from Catherine of Aragon and England's break with the church of Rome. Koller suspects Henry wanted to boost England's intellectual firepower after the rupture with the papacy, with Hebrew a critical tool for retranslating sections of the Old Testament and offering competing interpretations to those used by the church in Rome. 'I need to learn about the Tudor background to this, but about 10 years earlier he and Catherine had been tangling over the interpretation of Leviticus [a book of the Bible and the Torah] and whether their marriage was legal or not,' said Koller. 'For the papacy, Jerome's Latin translation had taken pride of place as the Bible. But as part of the Protestant reformation – [Martin] Luther was very big on this, and in England it happened as well – the thinking was: we have to go back to the original, so we want to read about it in the Hebrew and the Greek.' Royal attention could also be dangerous. After Mary I acceded to the throne, the body of one of Koller's predecessors as professor of Hebrew was dug up, charged with heresy and burned, in a sign of her regime's displeasure. But Koller said Henry's decision also reflected the status of Hebrew alongside ancient Greek and Latin as a classical language of scholars. Studying Hebrew allowed intellectuals to tap into thousands of years of literature spread across the world. Koller, who teaches at Yeshiva University in New York, said part of his new role will be 'convincing the British public that Hebrew studies is of broad interest,' regardless of background or religion. Koller said: 'One of the challenges we've had, politically and educationally, is that the idea of Hebrew has been tied in with a particular nation state in the past 75 years. 'While that has some advantages – suddenly you have 10 million native speakers of the language – it also has educational disadvantages because people are thinking, Hebrew is quite a political thing. Whereas no one thinks that about Latin, it's easier to sell it as politics-free than Hebrew, which immediately makes people think: what am I doing with this country of Israel? Do I like it? Do I want to go there? 'But part of my role is to say: Hebrew has a massively and really fascinatingly long history, and has nothing to do with the nation state that happens to exist today in the 21st century. 'You can study medieval Hebrew and be enthralled by the poetry and the philosophy without coming across as taking a stand on a contested issue.' Cambridge's archives include the priceless Genizah Collection of nearly 200,000 books, letters and documents, written mainly in Hebrew, Arabic and Aramaic, retrieved from a Cairo synagogue's storeroom at the end of the 19th century. Koller's own research has included an ancient Hebrew text discovered in a cave in Dunhuang, western China, alongside 40,000 Buddhist manuscripts. Sign up to First Edition Our morning email breaks down the key stories of the day, telling you what's happening and why it matters after newsletter promotion Even during the centuries when Jews were banned from Britain, Koller said there were scholars of Hebrew working on medieval manuscripts in college libraries, although Jews were barred from academic posts until 1871. Geoffrey Khan, Cambridge's current Regius professor, said that until the 1930s the holder had to be an ordained Anglican, and until Khan's own appointment in 2012 the holders had been primarily biblical scholars. Khan said it was 'important to see Hebrew in a wider perspective, including ancient, medieval and modern manifestations,' alongside related Semitic languages and cultures. 'Aaron Koller has a similar interest in taking a wider perspective in his work. I am very happy with his appointment,' said Khan. 'This wider contextualisation of Hebrew in the broader cultures of the Middle East is, I believe, a key change to the profile of the Cambridge professorship of Hebrew that is significant for the history of the post.' Koller said: 'One of the things that attracted me to the job is that Hebrew, as conceived in the position, is not religiously aligned. It's a world cultural language, it's alongside Farsi, Chinese, Japanese, Arabic. 'The same way that we have classics – where we teach Greek and Latin because there are sources and texts that need to be accessible and of interest to all people who are interested in humanistic inquiry – the same is true of Hebrew, and Farsi, and Chinese. And that's how I see my role.'


Reuters
30-05-2025
- Reuters
Trump fires National Portrait Gallery director, citing DEI support
May 30 (Reuters) - U.S. President Donald Trump said on Friday he had fired the director of the National Portrait Gallery in Washington, D.C., describing her as a supporter of diversity, equity and inclusion initiatives and saying she was inappropriate for the role. Trump did not cite any specific actions or comments by Kim Sajet that may have triggered her firing, which he announced in a brief social media post. Representatives for Sajet, the National Portrait Gallery and the Smithsonian Institution, which owns the museum, did not immediately reply to requests for comment. "Upon the request and recommendation of many people, I am herby terminating the employment of Kim Sajet," Trump said in his post on Truth Social. "She is a highly partisan person, and a strong supporter of DEI, which is totally inappropriate for her position." He added a new gallery director would be named soon. Sajet was the first woman to serve as director of the gallery, a landmark Washington institution that houses portraits of distinguished Americans, including every president. It contains over 26,000 works, according to its website. It was not immediately clear whether Trump had the legal authority to fire Sajet. The Smithsonian is technically independent of the federal government, despite receiving most of its budget from the U.S. Congress. Sajet's firing is the latest salvo in Trump's war against DEI initiatives. It also comes as Trump seeks to reshape the capital's arts and culture scene, including by dismissing Kennedy Center board members and installing himself as chairman. Trump's DEI actions have alarmed advocates, who say they effectively erase decades of hard-fought progress on leveling the playing field for marginalized communities. Trump's administration claims DEI initiatives are discriminatory and stifle merit. Sajet, a Nigerian-born art historian, has served as the gallery's director since 2013. In a 2015 interview with the Washington Post, opens new tab, Sajet reflected on the gallery's efforts to examine issues of race and gender. "Where are all the women and African Americans?" Sajet told the Post of the gallery's collection. "We can't correct the ills of history. Women and men and women of color — their portraits weren't taken. How are we going to show the presence of absence?"