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The Rothschild Foundation, charity number 1138145Your support really makes a difference to us.All proceeds go towards the upkeep ofWaddesdon Manor.

Front cover: Anish Kapoor, Untitled(detail), 2009 © Anish Kapoor© Richard Bryant/arcaidimages.comPhotos: Paul Barker, Mike Fear. © TheNational Trust, Waddesdon Manor

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LocationWaddesdon is just off the A41 between Aylesbury and Bicester, 20 minutes from J7 (northbound) and J9 (southbound) of the M40.

Luton

Aylesbury

Bicester

London

Oxford

A329

A41M1

A6M1M6

A5

A1

M40

M40

A44

M5

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M25

Birmingham

A418

A40

A34

A420

A404

Aylesbury Vale Parkway

Heathrow

Contact details for archive users:Windmill Hill ArchiveThe Rothschild FoundationSilk Street, WaddesdonNear Aylesbury Buckinghamshire HP18 0JZT 01296 653414 E waddesdon.archive@nationaltrust.org.ukwww.waddesdon.org.uk

WORKSOF ARTWINDMILL

HILLARCHIVE

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The Rothschild Foundation at Windmill Hill continues the grand tradition of Rothschildarchitectural patronage in the Vale of Aylesbury. Taking full advantage of the views that attractedBaron Ferdinand de Rothschild (1839-1898) to this part of Buckinghamshire, the new Archiveand Reading Room is on the site of a former dairy farm.

Designed by Stephen Marshall Architects of London, the building celebrates the conservationand environmental work pursued by the Rothschild Foundation, in addition to providing publicaccess to and storage space for the important family archives at Waddesdon.

Windmill Hill has been conceived as a place to enjoy art and architecture. Its hilltop location is a perfect setting for contemporary art, sculpture and design. Here are some highlights of acollection that will grow over time.

Overview

OutsideOn rolling lawn: Richard Long, b. 19451 Brotherlines, 2011 Blue grey paving slate from Delabole, CornwallThis specially-commissioned piece unites anoutdoor sculpture by Richard Long with anindoor wall work (Energy Gravity) for the firsttime, linked by the glass wall that alsoseparates them. The lines of un-predetermined slates meander across therolling lawn in five naturalistic strands,representing the original “Five Arrows”, thefive founding brothers of the branches of theRothschild family. Long’s work is rooted innatural forms and the relationship betweenmaterial, shape and landscape.© Richard Long. All Rights Reserved, DACS 2015. Accession number 52.2011

In front of the building on the hill:Sarah Lucas, b. 19622 Perceval, 2006Painted bronze and concrete The work playfully evokes different meaningsand is open to interpretation; from the shirehorse as a symbol of the countryside to achild's toy with its shiny finish. The name,Perceval, makes reference to the Knight of theRound Table and his quest for the Holy Grail.Sarah Lucas became famous as one of theYoung British Artists in the 1990s, working asa sculptor, installation artist and photographer.

At Windmill Hill her work is united with thatof Angus Fairhurst, another key figure of theYoung British Artists, whose two gorillasculptures are installed in the courtyard. © Sarah Lucas, courtesy of Sadie Coles HQ, London. Accession numbers 7.2008

In courtyard:Alison Crowther, b.19653 Six sculptural benches, 2011-12,Unseasoned English Oak Alison Crowther is a sculpture and furnituremaker who works primarily with hugesections of unseasoned English oak. The workevolves as the wood seasons with time. Thebenches, a special commission for WindmillHill, are simple in form but are textured withhand-carved lines that mirror the naturalrhythms of the grain. These organic woodenforms contrast with the smooth finish of thestructural wood which makes up the frame ofthe Archive building itself.© Alison Crowther.Accession number 39.2012

Michael Craig-Martin, b.19414 Umbrella (yellow) and Umbrella (blue), 2011, steel Michael Craig-Martin is one of the key figures inthe first generation of British Conceptual artists.He taught at Goldsmiths and his studentsincluded leading artists Damien Hirst, GaryHume, Sarah Lucas and Rachel Whiteread.Craig-Martin's work uses subjects drawn fromordinary life, such as hammers, pitchforks or

umbrellas enlarged for maximum impactwhen displayed outside. His sculptureappears light hearted but ultimately hasserious intent, using simple things to describecomplex ideas about form and purpose, and tochallenge our notions of scale and space.© Michael Craig-MartinAccession numbers 72.2011 and 73.2011

Robert Adams, b.1917, d.19845 Roundel for Brittanic House, 1966Bronzed steel Roundel of bronzed overlapping steel shapesmade for Brittanic House in Finsbury Circus,London, designed by Sir Edwin Lutyens in1921 (building completed in 1925), the formerheadquarters of BP. Adams was drawn to theConstructivist group and the work of VictorPasmore. His work explores abstract formsand the links between art and architecture.© The estate of Robert Adams.Accession number 58.2011

Angus Fairhurst, b.1966, d.20086 The Birth of Consistency, 2004Bronze and stainless steel© The estate of Angus Fairhurst, courtesy of Sadie Coles HQ, London.Accession number 25.2002

7 A Couple of Differences BetweenThinking & Feeling, 2000Bronze Fairhurst was born in Kent and trained atCanterbury Art College and Goldsmith’sCollege, London. A contemporary of DamienHirst, the pair shared a studio in the late1980s. He exhibited widely in this country andabroad, both as a sculptor, and an eclecticartist producing works on paper, paintings,computer-animated images and installations.These sculptures form part of a series ofgorillas in different poses, questioning ourperceptions of what is animal and what ishuman, and delighting in the unusual, often with a humorous touch.© The estate of Angus Fairhurst, courtesy of Sadie Coles HQ,London. Accession number 70.2011

At end of main corridor:8 Column, 2nd or 3rd centuryRed and white marbleA Roman mottled red marble column withwhite marble base and ionic capital (from alarger column).Accession number 60.2011

InsideOn wall outside Reading Room:Richard Long, b. 1945 9 Energy Gravity, 2011China clay on plaster This specially-commissioned wall workis the first to be conceived in parallel witha piece of Long’s outdoor sculpture,Brotherlines. Long is one of the most radicaland innovative artists working in Britain. Hiswork is inspired by nature and his solitarywalks through landscapes, and exploresrelationships between time, distance,geography, space, light and natural forms.These wall works are made with a slip-likesolution of china clay in water which isapplied by hand in vigorous sweeps andswirls, allowing the residue to splash over thewall below, capturing the movement of theliquid medium.© Richard Long. All Rights Reserved, DACS 2015.Accession number 52.2011

Edmund de Waal, b. 196410 Unpacking my Library, 2012Porcelain, gilding, glass, lacquer Edmund de Waal, one of the world's leadingceramic artists, created a series ofinstallations in 2012, through the ground floorrooms at Waddesdon Manor. Thiscontemporary intervention into the historiccollection created unique and suggestiveinteractions between the old and the new. Atthe same time, de Waal made this piece andremembering x, I think of Y for Windmill Hill.The title Unpacking my Library refers to anessay by Walter Benjamin which discussesbooks in the context of where they comefrom, to whom they belonged and whopurchased them. The artist explained: 'Withinthis piece, shelved like a proper archive, arememorialised snatches of the installations inWaddesdon itself'. This piece responds to hiswork at Waddesdon and also engages withthe function of the Archive building itself. © Edmund de Waal.Accession number 35.2012

In Reading Room: Edmund de Waal, b. 196411 remembering X, I think of Y, 2012Porcelain, gilding, glass, aluminium, Perspex These vitrines containing porcelain vesselswere made as a reverent response to archivalinstitutions while becoming 'part of the day-to-day work of looking, thinking andconnecting that goes on in this place' (Edmundde Waal). The importance of Libraries andArchives to the artist is apparent in his book,The Hare with Amber Eyes (2010). Much of thestory takes place in the archives and librariesof Europe while he explores his family historythrough a collection of Japanese Netsuke.© Edmund de Waal.Accession number 36.2012

Anish Kapoor, b. 195412 Untitled, 2009Stainless steel Kapoor is one of the most exciting sculptorsworking in Britain today. Born in Bombay, hetrained in England in the 1970s and has beenbased here ever since. He represented Britainin the 1990 Venice Biennale and won theTurner Prize Award in 1991. He has workedon both intimate and monumental scales indiverse materials including stone, purepigment and highly reflective stainless steel.Much of Kapoor's work focuses on theseemingly impossible endeavour of depictingthe void. The artist explains: 'If at one level thehistory of sculpture is the history of material, I have found in my practice that material leadsme to non-material. That is why I first startedmaking void objects and then mirroredobjects or non-objects.'© Anish Kapoor.Accession number 75.2011

Humberto & Fernando Campana, b. 1953 and 1961 13 Set of eight Harumaki chairsCarpet, rubber, EVA, fabric and estela formedinto “sushi” rolls, partially covering brushedaluminium structureThe Harumaki Chairs are part of the ‘SushiSeries’, a body of work that is formed outof rolls of lino, rubber and carpet lining. Thesushi rolls spread organically over a stainlesssteel framework chair creating a multicolouredand flamboyant surface. The Campanabrothers live in Sao Paulo, Brazil.

They are among the world’s most sought-afterdesigners, working both in mass productionand in hand-crafted, unique objects.© Humberto and Fernando Campana.Accession number 41.2010.1-8

14 Broken Dreams, 2010Glass and steelThese lamps are a collage of fragments fromclassic Venini designs, a typically exuberantexample of the Campanas’re-use of redundant materials.© Humberto and Fernando Campana.Accession number 45.2010.1-2

Tony Bevan15 Archive (PC1412), 2014Acrylic and charcoal on canvas© Tony Bevan, 2015.Accession number 111.2015

16 Archive (PC144), 2014Acrylic and charcoal on canvas Tony Bevan is one of the Uk’s leadingcontemporary painters. These two paintingsbelong to a series titled Archives in whichBevan explores infinite space and thecontainment of knowledge. They are based onthe surreal short story by José Luis Borges,‘The Library of Babel’ (1941) which describesthe universe as a library. The grid-like patternof the shelving compartments expand beyondthe limits of the canvas, alluding to the infinitespace of the imagination, sprinkled withcharcoal star-like clusters. The pattern ofambiguous and unidentified documents orbooks reference the possibility of recordingand preserving knowledge and creativityeven in its most mysterious forms. © Tony Bevan, 2015.Accession number 112.2015

In corridor towards Seminar Room: Circle of Baron d’Hancarville, b.1719, d.180517 Set of twelve allegorical painted panelsOil on canvas, laid down on board Set of allegorical painted panels in the style of classical red figure vase painting. Thepanels were inspired by the Collection ofEtruscan, Greek and Roman Antiquities fromthe Cabinet of the Hon. W. Hamilton, hisBritannic Majesty’s Envoy Extraordinary andPlenipolentiary of the Court of Naples, 1767, a copy of which has been acquired for thelibrary at Windmill Hill.

The illustrations and explanatory text werepublished with an introduction by the Frenchscholar Pierre François Hughes, barond’Hancarville. Hamilton’s collection of vases isnow in the British Museum.Accession number 20.2011

In corridor outside Seminar Room: Guillermo Kuitca, b. 196118 Untitled, 2010Oil on linenKuitca is one of the most renownedArgentinean artists working today. Althoughhis work has rarely been exhibited in Britain,his international profile was established whenhe represented Argentina in the 2007 VeniceBiennale. Much of Kuitca’s work reveals afascination for mapping, ergonomics and theexploration of architectural pattern. The visuallanguage of maps is appealing to the artist forits combination of the abstract andrepresentational. The tension between thesedifferent visual forms is present in the workUntitled. The pattern of familiar cubed spaces,evoking architectural ground plans is smudgedinto abstraction. Layered above these forms isa barbed wire effect which gives thecomposition a sense of danger and unease.© Courtesy of the artist and Hauser & Wirth. Accession number 41.2012

In Seminar Room: Edward Bawden, b.1903, d.198919 English Garden Delights, circa 1947 Oil on panelA large mural in nine panels, English GardenDelights was commissioned by the OrientSteam Navigation Company for the first classlounge of the liner Orcades, launched in 1948.The Orcades sailed mainly between the UKand Australia via the Suez Canal. She wasdecommissioned and scrapped in 1973.Bawden was a painter, printmaker andgraphic designer and one of Britiain's mostoriginal and versatile artists. Aside from thisscreen (and a similar one commissioned forOrcades' sister-ship Oronsay), he alsodesigned the ship's porcelain dinner service.© Estate of Edward Bawden.Accession number 95.1998

Beatrice Caracciolo, b.195520 Trees and Clouds, circa 2010Two large black and white photogravuresdepicting landscapes. The photogravureprocess was developed in the 1830s andinvolves a metal photographic plate beingcoated and etched, before being printed.Beatrice Caracciolo is an Italian artist based inParis. She often depicts landscapes, but with adeliberate haziness that presents nature onthe edge of chaos.© Beatrice Caracciolo.Accession number 67.2011.1-2

In Rothschild Foundation Office Reception:Zigelbaum & Coelho21 Six-Forty by Four-Eighty, 2010Custom electronics, software, and injectionmoulded plasticThis work consists of forty moveable andcolour-changing magnetic light pixel tiles.Each tile is an independent computer, andvisitors can move them into patterns, touchany pixel-tile to change its colour, or touchtwo in sequence to send the colour of the firstto the second. Six-Forty by Four-Eighty existsin several different versions. Zigelbaum &Coelho is a design studio founded by JamieZigelbaum and Marcelo Coelho, based inCambridge, Massachusetts. Their computer-inspired works of art and installations areexhibited all over the world. © Zigelbaum & Coelho.Accession number 64.2011

Lauren Booth22 Sea, 2010Resin on board, with neon zipLauren Booth makes abstract sculpturesusing a range of materials. Sea is a work thatcombines neon and resin. The resin evokes adepth of colour and material while the neoncharges the piece with intensity and light.Booth started making a series of workscombining resin and neon in 2009, as a tributeto Barnet Newman’s (1905-1970) zip paintings.She has described resin as a ‘magicalmaterial’, transforming from a liquid to asolid, in which the mixing of the coloursbecomes a kind of alchemy. © Lauren Booth.Accession number 62.2011

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