Tag: private museums

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Museum Closure in the UK

The afterlife of museum collections

A view of the Nottingham Museum of Costume. Two mannequins stand in the centre-right foreground. Both the man and woman wear Victorian clothes; the woman may be wearing a wedding dress. Another mannequin stands in the background, beside a woman handling a bell jar filled with dried flowers standing on a table.
Nottingham Museum of Costume (photo: Edgar Lloyd)

What happens to collections after museums close? Over the next two years the Mapping Museums Lab will be looking at that question in more detail, but even in these early stages of the project we’re beginning to get a sense of some of the outcomes and of the objects’ destinations.

We’re concentrating on museum closure in the UK since 2000 and so far, museums’ governance seems to make a significant difference to where objects end up. The collections from local authority museums are generally returned to or absorbed into the county or city service, and often re-appear in other spaces and exhibitions. For example, the Nottingham City Museums service operated multiple sites including The Museum of Costume and Textiles [1976-2003]. After it closed to the public, the collections were stored onsite, then re-located to the historic house Newstead Abbey, with some items later going on exhibition in various other museums within the service.  Among other things, two seventeenth-century tapestry maps of Nottinghamshire, which had been on permanent display at Museum of Costume and Textiles, and were stored following its closure in 2003, were prominently displayed in the “Rebellion” themed gallery at Nottingham Castle when it reopened in 2021.

A tapestry map of part of Nottinghamshire. It is dated 1632 at the top right and a cartouche contains the words 'At Rampton made wee were by Mistress Mary Eyre'
A 17th century tapestry map of Nottinghamshire

We found similar trends in other local authority museums that closed. Artefacts from St Peter’s Hungate Church Museum [1933-2000] reappeared in the decorative arts galleries at Norwich Castle and in the period rooms at Norwich Museum at Brideswell, museums operated by the same local authority. The Manor House Museum [1993-2006] in Bury St Edmunds had a collection of fine art, costume, and perhaps most notably clocks, which went to their sister institution Moyse Hall.  The costume and art are incorporated into social history displays as and when they are required, while the clocks have a permanent space.

In a few instances the local authority mothballs a museum leaving everything in situ. In some cases, this allows for some continuing use. The Museum of Lancashire [1972-2016] in Preston has been closed for several years, but the galleries with recreated spaces – a Victorian classroom and street scene, and a World War 1 trench – and all the associated objects remain untouched and are regularly used for education sessions. When I first spoke to staff in November 2023, hundreds of schoolchildren had been through the otherwise closed museum in the previous weeks. Moray Council took a more drastic approach when it shut the Falconer Museum in Forres [1871-2019]. The collections in the store and displays in the public galleries remain as they were left when the staff left on their last day, and the only people who have access are the conservation officers responsible for checking the building and collections.

So far, we have not found any independent museums that mothball their collections. In some cases, the trust or organisation that ran the independent museum still exists and they retain ownership of the artefacts, loaning them out to other organisations. For instance, the instruments from the Asian Music Circuit Museum [1998-2014] are on long-term loan to the Music department at York University, although it is not clear whether they will ever be returned. In other cases, the collections are transferred in their entirety to another museum. When the independent Bexhill Costume Museum [1972-2004] faced closure early in the millennium, the director negotiated a complete transfer of collections to Bexhill Museum, which was accordingly redeveloped with support from the local authority, re-opening in 2007. Likewise, the contents of Earby Lead Mining Museum [1971-2015] went wholesale to the nearby Dales Countryside Museum, which was local authority run.

A view of the exterior of Earby Lead Mining Museum. A large oxide red metal wheel dominates the foreground and a two storey stone building stands behind.
Earby Lead Mining Museum (photo: Gordon Hatton)

The collections from the private museums that we have so far researched are frequently sold, often at auction. Occasionally we know who bought the objects. The Cars of the Stars Museum in Keswick, which included vehicles featured in James Bond films, was purchased in its entirety by Michael Dezer who relocated the collection to his museum in Miami, Florida. When the company museum at the entrance to the Minton factory closed [1950?-2002], the Potteries Museum in Hanley bought a 4ft tall ceramic peacock that had stood at the entrance. More usually, these objects disappear into the anonymity of the private sphere.

A ceramic peacock made by the Minton firm. The peacock looks up to the left and stands on a tall rock with its tail feathers draped down the right hand side, reaching the ground. Ivy and other plants decorate the exposed rock surface
The Minton Peacock. Image courtesy of The Potteries Museum & Art Gallery, Stoke-on-Trent

Researching closure is a slow and painstaking task and it will be several months more before we begin to have a more rounded picture of what happens to museum collections. It may be that our observations will be revised in the process. They will certainly be developed and refined. Over the next few months, we will be exploring numerous topics related to museum closure: which objects get scrapped, the emotional aspects of closure, and the possible corelations between social deprivation and dispersed collections. Do subscribe to our blogs on this new website for updates on our progress.

Fiona Candlin

Update: this blog was updated on 12 March 2024 to correct the status of Bexhill Museum.

Categories
Museums in the Pandemic

More openings and closings in the pandemic

Throughout the pandemic we have been keeping track of museums opening and those closing permanently, or without clear plans for future reopening. We last reported on closures in May 2021, and openings in October 2021. This blog adds to those reports and includes closures and openings that took place between 2020–22. A further ten museums have closed, and we have recorded fifteen new museums opening. 

Closures 

Of the ten closures since our last report, three were local authority museums. The Museum at the Mill in Newtonabbey closed in 2020, having been open since 2010, and enquiries so far have not yielded any information about the circumstances of its closure. Do let us know if you have any information. In 2021, Baysgarth House in Barton-upon-Humber closed. Open since 1981, the museum was shut pending redevelopment after management was returned to the local authority, so this closure may turn out to be temporary. And earlier this year, Eastleigh Museum in Hampshire closed. Management of the museum was devolved in 2014 to Hampshire Cultural Trust and One Community, a local health and wellbeing charity. The museum was staffed by volunteers from One Community and served as an access point for their outreach services. The charity relocated their services and Hampshire Cultural Trust stated that the museum generated insufficient revenue to make it possible for them to keep it open. 

Interior of the Museum of Army Music. Glass cases display uniforms, flags, instruments and other items.
The Museum of Army Music

A further seven independent museums also closed in this period. The Museum of Army Music, formerly in Twickenham, closed in early 2020 and is now in storage in Chatham until a new location can be found. In July 2020, the Hall at Abbey-cwm-Hir in Wales closed due to the financial impact of the Covid-19 pandemic, with no plans to reopen. The date of two other closures is somewhat uncertain, but it seems likely that the Shire Horse Farm and Carriage Museum in Redruth closed in 2020, and the Mechanical Memories Museum in Brighton closed sometime between 2020 and 2021. Two other independent museums have closed in 2022. Flame Gasworks Museum in Carrickfergus shut due to what the management described as operational and financial constraints, and Hull People’s Memorial Museum cited similar but more specific reasons for their closure. These included increasing costs, reduced donations from visitors, and an increased difficulty for volunteers of parking near the museum. 

Flame Gasworks Museum

These ten closures bring the current total of closures in 2020–22 to nineteen. Just two of those closures are known to be a direct result of the pandemic. 

Openings 

All fifteen new museums recorded here are independent, three of them private and the remainder not-for-profit. The latter group includes Grimsay Boat Haven and Grimsay Archive, which opened in 2020. Based on the Isle of North Uist, it preserves the maritime heritage of the Western Isles including five Stewart boats in a large shelter. Also on a nautical theme is the New Coracle Shed in Coalbrookdale, which is dedicated to the history of coracles in the Severn Gorge and opened in 2021. The same year, Redditch in the West Midlands gained its third museum with the opening of Redditch Local History Museum, which has also initiated an archive as part of its work to record the history of the town. The last not-for-profit museum to open in 2021 was the Spanish Gallery in Bishop Auckland. The gallery displays a number of paintings from the Spanish Golden Age and is the latest venture in the larger Auckland Project (the project was featured in the recent Radio 4 series The Museums That Make Us). 

Interior of the boat shed at Grimsay Boat Haven. From front to back, a weathered dark green wooden dinghy, a much newer boat painted in dark blue and red, and a third boat with a rubber buoy resting on top.
Grimsay Boat Haven

A further eight not-for-profit museums opened in 2022. These included Glasgow Royal Infirmary Museum, which illustrates the hospital’s contribution to medicine. Kent Mining Museum is concerned with the history of the Kent coalfield and is built on the site of the former Betteshanger colliery. The UK’s first museum dedicated to the LGBTQ+ community, Queer Britain, opened in London’s Kings Cross in May and was the culmination of four years of events and pop-up exhibitions. A short walk away is Somers Town Museum, which focusses on the history of its local area near Euston station and also serves as a community space. In Scotland, The Battle of Prestonpans Museum and Jacobite Heritage Centre commemorates the eponymous battle that took place in 1745. In the West Midlands, Stourbridge Glass Museum celebrates the town’s glassmaking heritage. The Barn Theatre and Museum near Hastings is home to a collection of toys, puppets, and theatre sets dating from the eighteenth century to the present. And in August 2022, the Yorkshire Natural History Museum opened in Sheffield.

The front of Stourbridge Glass Museum, a modern building with white walls, glass frontage to the left. To the right an older brick building with a conical brick kiln rising above it.
Stourbridge Glass Museum
The logo of Yorkshre Natural History Museum. Illustrations of a dolphin swimming above a plesiosaur with water bubbles, a red plant and a starfish.

The three private museums include another on a nautical theme, Margate’s Crab Museum, which opened in 2021. The same year another local history museum opened, in Harwich, Essex. Displays include memorabilia from the popular 1980s TV show Hi-de-Hi!, which was filmed at a holiday camp nearby. On a more literary theme is Mary Shelley’s House of Frankenstein in Bath. The author lived in the city for a time and the museum is dedicated to Shelley and her famous creation.

These fifteen new museums join the fourteen openings in 2020–21 recorded in our previous blog on new museums in the pandemic. As mentioned in that blog, we did not anticipate so many new museums and expected instead to be recording more closures. With nineteen closures recorded altogether so far and twenty-nine openings, the sector has grown slightly during the pandemic. Could this be a sign of resilience, or might we record more closures before the end of 2022? 

Mark Liebenrood 

[All images courtesy of the museums. Header image by Jan Tinneberg on Unsplash.] 

Categories
Museums in the Pandemic

Coronavirus and Museum Resilience: Some preliminary observations

A highway splits around a small hill. Mist and mountains visible in the distance.

The rapid spread of COVID-19 has led to virtually all UK museums being closed. The issue at hand is whether these temporary closures may become permanent, and which museums are likely to be the most resilient, both in the short and long term.    

Of all the museums that have existed since 1960 (when our data collection begins), 18% have closed. However, rate of closure varies by museum governance. 34% of privately-owned museums and 21% of local authority museums have closed, whereas closure rates among national and not for profit museums are comparatively low at 9.5% and 8.5% respectively. Small museums are also much more likely to close than medium, large or huge museums.

These closures took place under very different circumstances to those we face today. Never before has the entire UK museum sector shutdown in this way, challenging the basic operating model of attracting visitors to physical sites. Here we consider what light our data might shed on the current situation.

Independent museums: private

Private museums tend to be owned and operated by individuals or volunteer groups, or are run as a business or are attached to one: they can span a museum in a living room, a privately-owned historic house, or a museum of a large company. In each instance they usually operate outside of the frameworks of professional museum support. Historically, closure rates are high. This can be because the owner has retired and sold assets, because there has been little succession planning, or because the business runs into financial difficulty, resulting in the sale of a site or collection. COVID-19 is a (relatively) short-term threat that presents an acute danger to museum owners’ health and their finances. But the threat posed will likely be different for private museums based on their size and scope.

Private museums that open on an ad-hoc basis by individuals or volunteer groups might be well placed to weather a shutdown. While they may have bills to cover, without significant outlays (particularly paid staff) they may have flexibility to suspend operations in a way that other museums might not. By contrast, private museums that are visitor attractions in their own right, or whose future is contingent on the success of a business, are threatened by the global economic recession which appears likely to accompany the pandemic. A significant downturn in tourism and domestic spending may significantly reduce the means of owners and their ability to open and maintain their museums.

Independent museums: not for profit

Not for profit museums comprise the biggest group of museums in the UK. They are constituted as charitable trusts and this formal infrastructure and eligibility for a diverse range of funding contributes to their longevity. Not for profit museums also span a range of venues, from small village museums to some of the largest museums in the country. Again, museums at the margins might be more resilient to the current circumstances. Some smaller museums, often with a focus on local history and operated by volunteer groups, might be more adaptive to enforced closure. Equally, small museums with diverse funding sources (such a project grants) may be somewhat shielded from declining visitor income.

However, museums that depend heavily on visitor revenue (including admissions and events) face uncertain times, particularly as many not for profit museums do not have significant reserves. For example, the Mary Rose Museum in Portsmouth generates 90% of its revenue from visitors and a prolonged shutdown could see it lose its entire annual income. In the long term this crisis might see a significant reduction in not for profit museums’ operational capacity – the tourist economy will likely take years to fully recover; there may be a decline in donations (given the effect on private finances); and grant-giving bodies are pivoting resources to an emergency footing. The Arts Council is reallocating £160m funding – expending nearly all its reserves – to support cultural organizations and cultural workers during the crisis. This support is likely to last for a significant time following the end of the crisis, and revenue for capital and programme development may be significantly curtailed as a result.

Local Authority museums

Local authority museums are owned and operated by, or on behalf of, local authorities and are largely tied to their economic health. These museums have a closure rate of 21%, and this tends to occur when the authority takes drastic measures to cut expenditure, resulting in the rationalization of museum services. 59 local authority museums closed between 2009 and 2017, following the global financial crisis. Accompanying budgets cuts saw museum roles hollowing out and expertise lost, further undermining institutional resilience. With core operational funding, the threat to local authority museums is not so much in the immediate term but the years ahead as the UK likely faces a more severe recession than 2008. While the government stimulus package (announced 11 March 2020) provides a £500m ‘hardship’ fund for local authorities, the long-term effects of the crisis will likely place a heavy financial burden on local government resources, which will increase the likelihood of further local authority museum closures or asset transfers.

National museums

National museums receive core funding from central government. They have a closure rate of 9.5%, although this is inflated as it includes branch museum closures (e.g. the British Theatre Museum, a branch of the V&A, closed in 2007). Historically, the resilience of national museums is because government grant-in-aid supplied the majority of their operating costs. However, over the past 30 years national museums have been geared towards privatization, significantly increasing self-generated revenue as a proportion of their annual income. This now presents serious implications for national museums. For example, 61% the V&A’s annual income is self-generated and 39% grant-in-aid. The museum’s director, Tristram Hunt, has estimated the museum will lose £1,000,000 per month during closure, while the Museum’s annual report notes its reserves can cover operational costs for between 3 to 6 months. While it is unlikely that national museums will see permanent closures, it is likely that the government will have to bolster their funds and this may be at the cost of jobs, rationalization of core functions, or have implications for capital expansion and exhibition programmes.

Conclusions

The outlook for the museum sector is uncertain because the trajectory of the virus and its impacts are unclear. In China, South Korea and Japan, museums that were instructed to close in January have now begun to reopen to the public, albeit with restrictions. However, these countries mobilized quickly to track the disease and lock down cities in a way that seems unrealizable in the West. The UK government indicates that a shutdown of normal life could last from 3 to 12 months.

The government response and its support for the museum sector has been opaque. It is anticipated that some museums might benefit from small business loans and Business Relief Rates, while calls have been made to utilize the £120m ringfenced for the 2021 post-Brexit ‘Festival of Britain’. However, it is unclear how emergency funds would be deployed and which parts of the sector would most benefit from them. Beyond a blanket bailout, detailed work needs to be done to understand vulnerable museum communities that should be eligible for support.

The magnitude of this crisis will undoubtedly cause museums to close permanently. Already some museums, such as Creswell Crags, have launched their own fundraising appeals to help secure their finances. In the short term, it appears that the most vulnerable will be established independent museums (private and non-profit) that are significantly dependent on visitor revenue and business revenues. By contrast, the repercussions of a massive economic bailout, will likely lead to difficult decisions for local authority support for museums in the coming years.

The Mapping Museums research team will continue to update the database to track museum closure and establish how the museum sector changes as a result of this crisis. The database can be used to find local museums (and prospectively offer support) and can be edited – please inform us if you know of museums that close permanently. Documenting the sector will create valuable data to support decisions taken by government and sector bodies in the challenging times ahead.  

Jamie Larkin