Heritage Open Days 2017

Here’s a list of what’s on in Warrington during this year’s Heritage Open Days Festival (7-10 September 2017)

Please note, these events are not organised by Culture Warrington or Warrington Museum & Art Gallery. Please contact the individual organisations listed below for more details, or look at the Heritage Open Days website. Information correct at the time of going to press.


Friday 8th September
• St Oswald’s Church in Winwick is open 10 am – 3 pm
• St Mary’s Church in Great Sankey is open 10 am – 4 pm
• Hatton: a century of change walking tour – please note that places are limited, you must book by emailing the organiser at chair@ddhg.org.uk. The tour meets at the car park of the Hatton Arms at 6 pm

Saturday 9th September

• Cairo Street Chapel is open 10 am – 4 pm
• Church of St John the Evangelist in Walton is open 10 am – 4 pm
• Museum of Freemasonry is open 10 am – 4 pm (with pageants at 11 am and 1 pm)
• Museum of Policing in Cheshire is open 10 am – 4 pm
• St Mary’s Church in Great Sankey is open 10 am – 4 pm
• St Oswald’s Church in Winwick is open 10 am – 3 pm

Sunday 10th September
• Cairo Street Chapel is open 12 noon – 4 pm (with lecture on prominent Unitarians at 3 pm)
• Museum of Freemasonry is open 10 am – 4 pm
• St Mary’s Church in Great Sankey is open 12 noon – 4 pm


Details of this year’s events:

Cairo Street Chapel
4 Cairo Street,
Warrington,
Cheshire WA1 1ED

The earliest dissenting chapel in Warrington part of the 1662 ejection. Monuments to pupils of Warrington Academy and prominent families of the chapel including the Gaskells, Aitkins and Monks. Displays featuring the lives of Joseph Priestley who was ordained in the chapel. Anna Letitia Barbould 18th century poet and novelist, Rev Pearsall Phillip Carpenter agitator for social reform. Lectern in memory of John Howard Prison Reformer who attended Cairo Street on his many visits to Warrington. The burial grounds contains many graves including the grave of William and Elizabeth Gaskell’s son . Visitors can sit in the garden which is a quiet oasis in the town centre. A quiz based on the chapel and burial ground will be available for children and parents to complete. Visitors can take photographs, a booklet of the history of the chapel is available for £1.

Open Saturday 9th September 10 am – 4 pm
Open Sunday 10th September 12 noon – 4 pm (with lecture on prominent Unitarians at 3 pm)


Church of St John the Evangelist, Walton
Old Chester Road,
Higher Walton,
Warrington,
Cheshire WA4 6TF

The church was consecrated in 1885, having been built by Sir Gilbert Greenall, first Baronet, as part of the Walton Estate. It was designed by Paley Austin of Lancaster in a Gothic style and constructed in Cheshire sandstone. A central feature is the ornately carved reredos in the sanctuary. The organ, a 3 manual instrument built by Hill & Sons of London, is one of the finest in the area. There are many other beautiful features to view and to admire in this lovely church. The church is very close to Walton Hall and gardens and to the Bridgewater canal, so a visit will form part of a great day out.

Open Saturday 9th September 10 am – 4 pm


Hatton: A Century of Change
Hatton Arms
Hatton Lane,
Hatton,
Warrington,
Cheshire WA4 4DB

Please note that places on this tour are limited, you must book by emailing the organiser at chair@ddhg.org.uk. The tour meets at the car park of the Hatton Arms at 6 pm

An evening stroll through Hatton to celebrate a century of change. One hundred years ago, Hatton had more than a dozen working farms and many residents worked on them and on Gilbert Greenall’s estate. Come and join us on a walk of about 1.5 hours, to find out about life in the village and how it has changed over the decades since.

Please note that places on this tour are limited, you must book by emailing the organiser at chair@ddhg.org.uk. The tour meets at the car park of the Hatton Arms at 6 pm


 

Museum of Freemasonry
15 Winmarleigh Street,
Warrington,
Cheshire WA1 1NB

Featuring the Tercentenary Textiles Exhibition of Masonic banners, regalia and embroidery exhibitions. There will be guided tours (maximum 12 people) of the masonic rooms and museum and on the Saturday there will be two costumed Masonic timeline pageants 1717 – 1813. For families there will be face painting, a teddy bear hunt and activity sheets allowing visitors to design their own apron.

Open Saturday 9th September 10 am – 4 pm (with pageant at 11 am and 1 pm)
Open Sunday 10th September 10 am – 4 pm


Museum of Policing in Cheshire
Warrington Police Station,
Arpley Street,
Warrington,
Cheshire WA1 1LQ

Housed in the Victorian cells in Warrington Police Station the Museum of Policing collects, preserves and exhibits artefacts spanning the history of policing in the county since the force was founded in 1883. Items on display include a replica TARDIS-style police box, a CID custody office, a full size working police car, a Victorian cell with prisoner and custody officer, police uniforms and hats throughout the century and around the world, photographs, hand cuffs, truncheons, saber swords, police records, medals & plaques and much, much more.
On the day visitors can view a crime/forensic scene, see inside police cars & vans, hear the police band drum section, dress up in capes and helmets for photographs, solve the mystery of the missing prisoner, search constabulary family records, view books and souvenirs on sale and lots more!

Open Saturday 9th September 10 am – 4 pm


St Mary’s Church, Great Sankey
Liverpool Road,
Great Sankey,
Warrington,
Cheshire WA5 1RE

A historic grade II listed building there has been a place of worship on the site since 1640 although the current building dates from 1729. There has been a modern re-ordering in 2008, making it a fascinating mix between the old and new.

Open Thursday 7th September 10 am – 4 pm
Open Friday 8th September 10 am – 4 pm
Open Saturday 9th September 10 am – 4 pm
Open Sunday 10th September 12 noon – 4 pm


St Oswalds Church. Winwick
Golborne Road,
Winwick,
Warrington,
Cheshire WA2 8TA

The church building has been closed for some 7 years due to death-watch beetle in the ceilings; the building has been reordered and was reopened on the 2nd July 2017. Visitors will be able to look around the church; be shown around or wander by themselves. There is information to help and refreshments are on sale. Depending upon the weather, the tower will be open to visitors on Saturday 9th September. There is a children’s treasure hunt to solve clues in the church and land outside to play and picnic on. The Pugin Chancel is beautiful to see and prayerful to spend time in. There are memorials to the Legh and Gerard family and much more.

Open Friday 8th September 10 am – 3 pm
Open Saturday 9th September 10 am – 3 pm

Artist interview: Bex Ilsley

Emotional Processing – Image: Bex Ilsley

Lydia Prescott talks to artist Bex Ilsley, winner of last year’s Warrington Contemporary Open about her new exhibition. ‘Emotional Processing‘ is on show at Warrington Museum & Art Gallery from 29 July – 28 October 2017.

How did you become interested in digital art? Is digital art your preferred medium to work with?

I started to think about digital art because I was already making it. Using my Instagram account to post pictures of what I was working on at university seemed like a no-brainer – I was enjoying it and I noticed that I wanted to show it off. After upload, the online images of my older paintings and sculptures seemed to become works in their own right, parts of a continuous feed. My posts became more popular, I felt more self-conscious and I saw that reflected in the level of polish and effort I began to put into what I was sharing. Others began to repost my images or re-use them as part of digital collages and memes. I saw how much of a journey away from the original physical object that was and I read a little theory about that, ultimately deciding to put my own body through the same journey of flattening and commodification. I like working in many different ways and wouldn’t necessarily say I prefer to work digitally over anything else. The boring, truthful answer is that is has reach, it’s relevant and it’s useful because it isn’t as expensive to make web-based art as it is to make sculptures.

Your work often explores the difference between physical reality and digital constructs that we experience in modern life, how do you think this difference affects our mental health?

I can only speak for myself, and so of course it’s anecdotal, but I’ve experienced both my happiest days and my worst ones through the maintenance of a virtual ‘persona’ (though I don’t really see the figure as separate to myself). At its best, social media has connected me to unprecedented opportunities – my most successful collaborations and most important connections. The links I made through Instagram have taken me places from The Flaming Lips’ tour bus to Grand Rapids, Michigan for transatlantic collaborative projects. If you tell people through images that you’re a hardworking interesting person, they might just believe you and sometimes magic happens.

Of course, it’s very difficult to maintain that momentum, I established myself as a kind of branded artist, with a certain aesthetic language which couldn’t then grow or change easily. So you stay the same, interest begins to slip, as it always does, and it can feel like a personal failing. I have definitely become preoccupied with this mediated, imitative part of my existence to the detriment of other important aspects of my life.

Coming out of university was hard for me, I’ve been depressed, and needing time to find my feet again felt like slacking in comparison to others I knew who were busy in the studio or travelling the world. I am definitely guilty of comparing myself to these ‘highlight reels’ – my friends’ ‘best selves’ and I have felt inadequate and miserable. I’ve fallen into a trap of thinking far too much about what kind of image I was putting across, even when I knew that semi-ironic mocking self-branding was what I had sought to do in the first place. I told myself that ‘@bexilsley’ was a person who says ‘yes’, so I was doing things I wasn’t even sure I was comfortable with to sustain that appearance. I began to measure my success by my follower count. I have scrolled and scrolled in bouts of total self-loathing. Even knowing what I was participating in, I still let the downsides consume me.

Do you think that attitudes towards our digital image are sustainable alongside our offline lives?

Like anything, heightened connectivity can work for us or against us. It’s important to remember and to teach that this is media, not truth, that there are many types of success. Knowing when you need to disconnect is vital.

Many of your works contain relatively sexualised images of the female form; do you consider yourself to be a feminist? How do you think the concept of gender equality is perceived and represented on social media?

I do consider myself a feminist but I don’t think I’m a very good one in practice. I find it hard to follow my own advice. I can understand why, to some, I don’t necessarily look like much of a feminist when I’m naked on my back wearing hair extensions and false eyelashes. Of course, feminists don’t ‘look like’ any one thing, but I’ve really struggled with how I approach representation because I’m very much aware of where my body stands on a spectrum of bodies, where I benefit from and where I lose out to structures of power, standards of beauty, and so on. I don’t feel qualified to speak on behalf of anyone but myself. I would put myself far down the list of artists who have insightful feminist messages to put across.

That said, it’s an important lens to view any artwork through. So, thinking about self-branding led me to explore ideas along the lines of Ann Hirsch’s assertion that “Whenever you put your body online, in some way you are in conversation with porn”. I felt so looked-at and the way I watched myself inside my own head changed. It became more voyeuristic. What value does the flattened image of my body have to consumers? As an awkward teen who really struggled with body image, I had never dared to see myself as sexually desirable or attractive. I felt this was completely off limits – something for skinny girls, for tanned girls, for girls with nicer hair and better bodies. So, doing that felt like… wobbly irony. Joking-not-joking. It’s definitely problematic to say ‘oh, thank god I can use Photoshop and the guise of Art to feel sexy!’ I can use the unreal, a confident, transcendent vision of myself which wins against all criticism and self-doubt. I’m malleable, I can distort the image instantly, so it doesn’t matter if the goalposts keep moving. It’s not a noble thing to aspire to; to finally fall in line with something that damages people. I don’t mind being problematic sometimes; it tends to open up good debate.

In your artist statement you use the phrase “’performative existence’ or ‘voluntary objecthood’” when describing attitudes and behaviours on social media. How does the virtual world affect our view on reality?

‘Performative existence’ and ‘voluntary objecthood’ are not synonymous with or confined to the limits of the virtual self. I don’t equate the virtual with fakery or the physical with authenticity. It’s blurrier than that – all of it is jumbled somewhere in the middle. I perform ‘Bex’ the entire time I’m alive. Social media is a platform for inauthentic representations of experience, but so is any kind of media. So is ‘dressing for the job you want’. So is small-talk – saying ’fine thanks!’ when really, you kind of want to die. Perception management is everywhere. Adam Curtis would agree that we live in an entirely simulated, simplified world. Perhaps debates about authenticity are useless now.

It’s about living one step removed from myself as I interact, self-consciously watching myself, judging how I’m doing – the voyeur in my head. Even now, responding to these questions, I’m writing as the part of me that wants you to take me seriously as an artist, writing as the part of me that hopes I don’t sound stupid. That feels just as much like performing as posting my best selfie does. I no longer trust in my ability to be authentic. My sense of self is wobbly at best. There’s a sense of being observed, of playing a part, even when I’m alone. Maybe it’s paradoxically more honest to say ‘here’s a mask’, to be upfront about it. This thinking is heightened by maintaining an image on social media but social media is not its sole cause.

Your exhibition at Warrington Museum & Art Gallery is called Emotional Processing, how do you interpret this title?

I find titles hard and I’ve come to accept the fact that every single one I come up with is going to be cheesy and gimmicky, and that’s okay. ‘Emotional Processing’ refers to processing as a computing term, so a nod to what I’ve spoken about here – our lives as data, the mediation of intimacy, vulnerability within a superficial feedback loop. It also refers to the terrible year I’ve had, to depression, to losing sight of myself and feeling helpless, watching my internal responses to trauma and anxiety. My own neurological processes have been trying to make sense of the state of things while my phone stays stuck to my hand, uploading my latest thinly veiled cry for help, spilling my feelings into the ether as data and hoping something inside that realm might save me from myself. Two concurrent emotional processes.

Many of your previous works are in the digital format only, what effects do you hope to create by combining sculpture and digital art in this exhibition?

The objects I’ve chosen to put together are questions more than they are answers. They bring together elements of leisure, exercise and furniture design, which can be a nod to a sort of plastic, playful version of the performed ‘aspirational lifestyle’. I aim to reference commodification, commercial colour palettes, screens and mirrors, self-conscious looking, manufactured body parts – fragmented, perfected, thing-like, isolated from the whole. It’s the body torn up and mangled by all of the above. Alongside that, I use looped video and circles because this search for personhood feels, to me, circular. I have tried to define myself both within and outside these virtual stages and it has never felt like a liberating, linear journey. There is no A to B, no transformation, nothing to be found. I’m wary of the idea of ‘progress’ because ‘progress’ never benefits every person neatly. Maybe it’s something like taking comfort in ideas like eternal return and amor fati – at least that takes the pressure off me while I’m figuring out what it means. The world is very strange; I feel a sense of powerlessness against what seems like a constant tide of lunacy, destruction and fear. So the loop is ‘stuck-ness’ too.

Your sculptures feature several items associated with children including a trampoline and a sand pit, what made you include them in your work?

I think the use of childhood references and some of the playfulness in these new pieces to speak of the temptation of regression and a blurred sense of time and identity on a personal level, as well as a responsibility towards the effect technological progress and reality-simulation may have on future generations. What parts of us are new, and what parts have always been? What’s inevitable and what should we take responsibility for? Which cycles can be broken?

NHS in Warrington – share your memories

Staff at Orthopaedic Department (Warrington Infirmary)

On July 5th 2018 the National Health Service will be 70 years old. Initially instigated by the Beveridge Report in 1942 which argued for a universally accessible health care service that provided the public with social security ‘from cradle to grave’, it was an ambitious idea which aimed to make healthcare available to all based on need rather than the ability to pay. The NHS has changed life in Britain forever. It is one of the largest employers, with approximately 5% of the people employed in Britain working for the NHS. For the first time, it brought hospitals, doctors, opticians and dentists together under an umbrella organisation.

In March 2018, Warrington Museum and Art Gallery will be opening a new and exciting exhibition to celebrate this milestone and we would like to feature the memories and stories of anyone locally who may have worked for the organisation or used this service. As well as recording your memories we would also be interested in having a look at any objects that you might have relating to the life of the NHS. Do you have a pair of NHS glasses or some old uniform?

If you’d like to share your experiences of the NHS in Warrington over the last 70 years with us, you can do so by emailing x-hwhite@culturewarrington.org or Tel: 01925 442015. Alternatively, you might like to post something on our Facebook page or Tweet us! @warringtonmus #WarringtonNHS70.

Borough operating theatre 1950s

Young painter with new Warrington exhibition is shortlisted for major art prize

Mould II, Louise Giovanelli, 2017, oil on canvas

Mould II, Louise Giovanelli, 2017, oil on canvas

A young painter who recently unveiled a solo exhibition at Warrington Museum & Art Gallery has been shortlisted for a major national art prize.

Louise Giovanelli, 24, who was described as ‘one to watch’ by leading online art gallery Saatchi Art, has been announced as one of 12 artists in the running to win the 2017 Contemporary British Painting Prize.

One of the pieces she entered in the competition, Mould II, can now be seen at the Warrington gallery as part of her new body of work, A Throw to the Side, which was inspired by the gallery’s collection.

Louise admitted she was surprised but overjoyed to discover she had been shortlisted.

“I’m just really pleased,” she said. “All the other artists are really good; they’re all older and more experienced so I’m just grateful to have made it this far.”

Three of Giovanelli’s paintings will be featured in a special exhibition in August, at London’s The Stables Gallery along with the other shortlisted artists’ work, when the winner will be announced.

If she wins, Louise will be awarded a solo exhibition at The Herrick Gallery in London, a critical essay on her practice by art critic and curator Nicholas Usherwood and a £2,000 purchase prize of her winning work which will then enter The Priseman Seabrook Collection of 21st Century British Painting.

As one of the country’s most promising young painters, Louise’s work has attracted huge interest since she studied fine art at Manchester School of Art, for which she was awarded a first degree.

A Throw to the Side is a completely new collection of haunting yet beautiful work which explores the sensorial possibilities of paint.

“I like to consider the figure and object,” she added. “I’m really interested in art history and talking about where our visual tradition comes from.

“Over the last couple of years I’ve been visiting galleries around the world, taking snapshots of different elements of paintings, reinterpreting and reimagining them in new pieces.”

Louise has done the same with Warrington Museum & Art Gallery’s collection by creating alternative narratives to existing work; in this way painting is used as a camera, drawing attention to details that would otherwise be left overlooked or unexplored.

Her starting point was the work of John Warrington Wood, a sculptor of mythological and biblical subjects who was born in the town but later moved to Rome to work. His statues of Raphael and Michelangelo stand at the entrance to the Walker Art Gallery in Liverpool.

Giovanelli has reflected upon and considered not only the pieces of his held within Warrington and the art gallery itself, but his wider reach and legacy and how these can be connected to her recent investigations into the relationships between painting, sculpture and architecture.

A Throw to the Side is Louise’s third solo exhibition, with previous displays at Grundy Art Gallery in Blackpool and Touchstones Rochdale.

She is currently working with The International 3 Gallery in Salford and her work is in great demand, with a month-long residency at The Griffin Gallery in London later this year and a dual show at Liverpool’s Crown Building Studios in June.

Louise has already been the recipient of a number of prizes including The Leonard James Fine Art Prize, The Manchester Academy of Fine Art Award and The Ken Billany Painting Prize, and in 2015 she was awarded second place in the Saatchi Art Showdown online art competition.

Her work is held in private collections in the UK, USA, Canada, China, Germany, Slovakia and Italy.

Derek Dick, outreach and engagement manager for Culture Warrington, the charity which runs Warrington Museum & Art Gallery, said: “We’re really proud to be featuring work by Louise Giovanelli, especially as she’s now been shortlisted for a top competition like the Contemporary British Painting Prize.

“She has a really keen eye for subtleties and nuances which others might overlook, and the fact that the new work featured in A Throw to the Side was inspired by exhibits from our collection makes it a really unique display.

Warrington Contemporary Arts Festival is returning this autumn and I hope Louise’s work and achievements inspire other artists to enter the Open Art competition.

“Here at Culture Warrington one of our aims is to support and provide opportunities for emerging artists within the region; Louise’s exhibition is proof of that commitment.”

Great Sankey Neighbourhood Hub Memories Project

Mrs Hilda Gleave and Mrs Ann Clarke at Fox Street Silver Jubilee Party, Sankey Bridges, 1977

Mrs Hilda Gleave and Mrs Ann Clarke at Fox Street Silver Jubilee Party, Sankey Bridges, 1977

Here in the archives at Warrington Museum, we are undertaking a new project. With construction of the Great Sankey Neighbourhood Hub well underway, we thought that this would be the perfect time to look back at the rich history of the area the new hub will serve.

We’ve scoured the official records in our collections of West Warrington and we have some huge gaps we need YOUR help in filling. We have old maps, documents and photographs of the area to help build up a great picture of life in the late 19th and early 20th centuries, but very little to tell the story of the area from the late 1940s to today. This recent history would help us tell the story of a moment in the history of Warrington. They show the growth of suburbs and housing estates and a new way of life.

We believe you can help us fill in these gaps although you may not even realise your stories and photos are of interest to others but we’d really like your help!

Here’s how:-

  • Were you one of the pioneers of the new districts like Hood Manor, Barrow Hall or Westbrook? Are you one of the residents of Sankey, Penketh or Burtonwood who has seen this area of Warrington change almost beyond recognition from the 1960s?
  • Did you take part in a Coronation party in 1953, or a Silver jubilee party in 1977, did you attend the opening of a new building, or were you one of the first students in a new school? Did you move to the area from somewhere else, and if so why did you choose Warrington?
  • Do you have any pictures of the area from the 1950s that you would be willing to let us scan and keep a copy of?
  • Do you have any posters or leaflets, adverts or parish magazines that record an event taking place that we could make a copy of?
  • Or do you have a memory of an event that took place that we could record you talking about?

We’d love to talk to you about any of these things or anything else you remember about the area. If you would like to share your memories, or would like to learn how to record other people’s memories and help us in that way, please contact me at the details given below.

Philip Jeffs
Archives and Heritage Officer
Culture Warrington,
Warrington Museum & Art Gallery,
Cultural Quarter,
Warrington,
WA1 1JB

Telephone:  01925 443023

Email: pjeffs@culturewarrington.org

Miss UK 1969 (Sheena Drummond) opens an extension at penketh Co-op in 1970, shown here with staff member William Smith

Miss UK 1969 (Sheena Drummond) opens an extension at penketh Co-op in 1970, shown here with staff member William Smith

Commemorating the 210th anniversary of Trafalgar Day

Trafalgar day

Trafalgar Day is an annual event celebrating the victory won by the Royal Navy, commanded by Vice-Admiral Horatio Nelson over the combined French and Spanish fleets at the Battle of Trafalgar on 21 October 1805.

A movement to celebrate Nelson’s legacy was prompted by the formation of the Navy League in 1894. Trafalgar Day was commemorated by parades, dinners and other events through the 19th and early 20th century. It is still commemorated by the Navies of the Commonwealth.

Warrington Museum & Art Gallery will be commemorating the 210th anniversary of Trafalgar Day with a display of museum and archive collections in the Archives display area of Warrington Library.

International Day for the Remembrance of the Slave Trade and its Abolition: 23rd August 2015

The International Day for the Remembrance of the Slave Trade and its Abolition is held annually on 23rd August. This is a significant date, as it commemorates an uprising of enslaved Africans on the island of Saint-Domingue (modern Haiti) in 1791. The date has been designated by UNESCO as a reminder that enslaved Africans were the main agents of their own liberation.

We have a number of items in the Museum’s collections connected to slavery including a slave whip of plaited cow hide and a sand box inscribed ‘Health to Ye sick, Honour to the Brave, Success to Ye Lover, and Freedom to the slave’. Some of these items can be seen on display in Gallery 2.

There is also a portrait painting of Thomas Patten (1690-1772) in the Museum collections. He came from a family of wealthy merchants in Warrington, then in Lancashire (now in Cheshire). They operated a copper smelter at Bank Quay, near their home, manufacturing bangles for trading for slaves in Africa, as well as copper vessels for boiling sugar and distilling rum in the West Indies.

Within the Rylands family archive, records show that Thomas Rylands was an ardent supporter of the abolitionist movement, as Philip Jeffs discusses in his Glazebrook-Rylands blog.

Commemorative display for the Bicentenary of the Battle of Waterloo

Battle of Waterloo by William Sadler II

Battle of Waterloo by William Sadler II

The 18th June 2015 marks the 200th anniversary of the start of the Battle of Waterloo. This was the final battle of the long running Napoleonic Wars (1803-1815) fought between the French Empire and their European opponents. It brought over 20 years of conflict in Europe to an end and left a lasting legacy on the world.

After nearly 11 hours of fighting, French armies led by Napoleon were defeated by coalition armies under the Duke of Wellington and General Blücher. It marked the end of the Emperor Napoleon’s final bid for power, the so-called ‘100 Days’ and was the final chapter in what was a remarkable career.

To help commemorate this event the Museum has put together a display of collection items from both the Museum and archives. It is located in the ‘under stairs’ area off the main Large Art Gallery and is one of many events that are being held by a range of organisations in the UK throughout 2015.

The display supports the ‘Waterloo 200’ Project which is the official body recognised by the UK government to support the commemoration. ‘Waterloo 200’ is supporting a range of activities, from a service of commemoration at St Paul’s Cathedral to the restoration of Hougoumont Chateau on the Waterloo battlefield in Belgium.

Further information about the range of commemorative events and activities taking place can be found on the National Army Museum website.

Mr Smith’s: Your Memories Wanted…

Mr Smith's pictured in the 1980s. Image (C) Warrington Museum & Art Gallery

Mr Smith’s pictured in the 1980s. Image (C) Warrington Museum & Art Gallery

Did you enjoy a film at the Ritz or ABC cinema, dance the night away at Mr Smith’s nightclub or were you a part of the audience for ‘The Hitman and Her’?  Do you have any memories, photos or items related to Mr Smith’s, the ABC or the Ritz cinemas that you can share with us? Warrington Museum & Art Gallery is developing an exhibition to commemorate and celebrate the iconic Mr Smith’s building and we need your help.

If you can help us please call into the Museum and leave your contact details with our Front of House team or contact Michelle Hill at the Museum on 01925-443536 or mhill1@culturewarrington.org.