Seven Sudbury Artists at Riverside Art & Glass

Riverside Art & Glass, Wroxham, Norfolk

Seven Sudbury Artists will be taking part in their first group exhibition at The Annexe at Riverside Art & Glass Gallery in Wroxham from 7th to 20th December 2017.

The exhibition will showcase a unique display of contemporary glass art, ceramics, paintings, original prints, textiles and sculpture.

Seven Sudbury Artists at Riverside Art & GlassShow highlights will include the gossamer softness of Clare Kiely’s textiles, all spun, woven or felted by hand with fleece gathered from Norman, Clement and Fergus, her own home-reared alpacas!

There are breathtakingly soft pastels and delicate florals by Judith Glover, sensitive, abstract oil paintings and organic ceramics by Marnie Deakins and Rebecca Mansbridge’s skilfully crafted, fused glass artworks in bright, jewel-like colours.

Anne Townshend’s atmospheric landscape prints are inspired by the Suffolk countryside and Anna Boon’s work moves between graceful, often hauntingly introspective sculptures that explore the beauty of the human body and dynamically energetic paintings.

In contrast, Roger Duke’s graphic stoneware-fired vases and plaques inhabit a space somewhere between pottery and painting.

Riverside Art & Glass is open Monday to Saturday 9:30am to 5:30 pm, and Sunday 11am to 4pm. There is ample free parking, free admission, and a further selection of art on display in the gallery.

Riverside Art & Glass can be found at 24 Norwich Road, Wroxham, NR12 8RX (01603 784000).

About the gallery

Riverside Art & Glass, Wroxham and Gallery in the Lanes, Norwich represent over 60 painters, ceramicists, printmakers and glass artists.  Prices suit every pocket, ranging from £10 to £10,000.

Riverside Art and Glass also has an exhibition space, The Annexe, available for hire between October and March and an outdoor sculpture area. The Galleries operate the Own Art Scheme, enabling purchasers to buy original artwork over £100 in 10 interest-free monthly instalments.

About the Artists

Judith Glover’s practice moves between painting, portraiture and illustration so you could describe her a multidisciplinary artist. Gardening is in her DNA so plants and flowers often feature, as does the human face and form. Her career as a professional illustrator now leads to larger works, often made with pastels. Underlying all her art, whatever the medium, is her ever-present commitment to drawing and aim to further develop her creative voice.

Iris detail, by Judith Glover

Roger Duke‘s vases and plaques are hand-built and stoneware fired. At present, he has a fascination for the graphic quality of white on dark clay and vice-versa, combined with incised lines, texture and colour washes. He feels his work inhabits a space somewhere between pottery and painting. Inspiration comes from the meeting point of physical clay and the demands of his mind’s-eye. He is a Selected Member of Anglian Potters and belongs to the Suffolk Craft Society.

Round Stoneware Vase by Roger Duke

Anne Townsend draws most of her inspiration from the beautiful Suffolk countryside, and she always carries a small sketchbook to record what she sees and feels. Then back in the studio marks are summarised, refined and carved into lino blocks from which she hand-prints her finished images.

The Barge Race by Anne Townsend

Marnie Deakins trained in graphic design at the University of Southern California and subsequently worked in the publishing industry in Los Angeles and London. She has lived in Suffolk for 30 years where her practice now moves between hand-built ceramics and painting with oils and mixed media. Light and a sense of narrative in the landscape motivate her work. In 2011, 2012 and 2013 she was artist in residence at the Steeple, Newburgh, Fife.

Vases by Marnie Deakins

Anna Boon’s work moves between painting and sculpture. Underlying both is a need to explore colour, texture and the figurative form. Within sculpture she has found a method of using mundane, recycled fabrics that can be layered and hardened to replicate bronze and stone. The resulting sculptures capture the ethereal beauty, fluidity and movement of the human figure.

Layla by Anna Boon

Rebecca Mansbridge is an established artist inspired by the colours and textures of the natural world to create multi-dimensional and free standing fused glass artworks that capture the tranquility and beauty of nature. Her creative process involves studying and then interpreting her chosen subject matter before working through the technical process required to achieve the depth and exquisite detail she aspires to. This can involve up to four layers of fused glass and the addition of countless intricate details before the firing process can begin.

Autumn Glory by Rebecca Mansbridge

Clare Kieley’s work is inspired by the gentle beauty of her three alpacas and the glorious softness of their fleece. In a world that is obsessed with speed, her art is slow and sustainable, using the natural colours of the alpacas and spinning, weaving and felting by hand. The simple forms and designs focus attention on the materiality of the objects and she often uses ancient symbols such as spirals and runes representing deeper fundamental truths.

Alpaca Felted Pot by Clare Kieley

Rembrandt ‘Lightening the Darkness’ Exhibition

Rembrandt Harmensz. van Rijn 1606-1669 the three trees (only state) 1643. Etching, engraving and drypoint on paper. 21.1 x 28 cm. © Norfolk Museums Service

Rembrandt Harmensz. van Rijn 1606-1669 the three trees (only state) 1643. Etching, engraving and drypoint on paper. 21.1 x 28 cm. © Norfolk Museums Service

A major exhibition of prints, paintings and drawings by Rembrandt is to be held at the Norwich Castle Museum & Art Gallery from Saturday 21 October until Sunday 7 January 2018. This is the latest in a series of world-class exhibitions mounted by the Norwich Castle Museum & Art Gallery.

Rembrandt’s fascination with print-making

Rembrandt Harmensz. van Rijn (1606-1669) Self-portrait Leaning on a Stone-sill (II/II) 1639 etching with touches of drypoint on paper, 20.5 x 16.4 cm signed and dated in plate upper left 'Rembrandt f. / 1639' Norfolk Museums Service (Norwich Castle Museum & Art Gallery)

Rembrandt Harmensz. van Rijn (1606-1669) – Self-portrait Leaning on a Stone-sill (II/II) 1639 – etching with touches of drypoint on paper, 20.5 x 16.4 cm – Norfolk Museums Service (Norwich Castle Museum & Art Gallery)

Rembrandt: Lightening the Darkness focuses specifically on one of the less well-known aspects of Rembrandt’s creativity, his fascination with print-making. The Dutch artist used this medium to explore innovative tonal gradations to produce evocative images of the Dutch landscape, biblical scenes and many introspective self-portraits.

Not many people today know that during his lifetime, Rembrandt was as famed for his etchings as for his paintings. In Britain, for example, he was far better known as a print maker.

A compelling exhibition

Forming the core of this compelling exhibition is the Norfolk Museums Service outstanding collection of Rembrandt etchings. It’s the fourth most important collection in the country after the British Museum, The Ashmolean Museum and The Fitzwilliam Museum.

The passionate art collector, Samuel Courtauld

The collection comprising 93 examples, was bequeathed to the Castle in 1951 in the will of the London art dealer Percy Moore Turner (1877-1950). He was a trusted advisor of Samuel Courtauld, a passionate art collector who helped to establish the Courtauld Collection and encouraged the Tate and National Galleries to purchase Impressionist and Post-Impressionist paintings for the nation.

Public access to art

Turner spent part of his life in Norwich and was involved with the Castle during the 1920s and 1930s. He believed in the importance of museums, and that the public should have access to great art.

The exhibition is curated by Dr Francesca Vanke, Keeper of Art and Curator of Decorative Art, and Dr Giorgia Bottinelli, Curator of Historic Art, both of Norwich Castle Museum.

This is the first time Norwich Castle’s extraordinary collection of etchings by Rembrandt have been exhibited as a group for more than thirty years. The exhibition demonstrates how Rembrandt’s handling of light and darkness, expressed purely through the medium of black lines and the white space around them, was unsurpassed. – Dr Francesca Vanke.

83 of the etchings from Norwich Castle’s Rembrandt collection are included in the exhibition. The subjects of the prints cover the whole range of his oeuvre including self-portraits, portraits of friends and family, among them a particularly lovely study of Rembrandt’s mother, landscapes, biblical scenes as well as genre and nude studies.

Rembrandt Harmensz. van Rijn 1606-1669
 - the Flight into Egypt

Rembrandt Harmensz. van Rijn 1606-1669
 – the Flight into Egypt: Crossing a Brook (only state) 1654. Etching, engraving and drypoint on paper. 9.4 x 14.4 cm. © Norfolk Museums Service

Specially selected works

Rembrandt: Lightening the Darkness showcases his preoccupation with light and shade can be seen throughout his work, as exemplified by specially selected additional works which complement the prints.

Three oil paintings: A Woman in Bed from the National Galleries of Scotland, Christ and St Mary Magdalen at the Tomb from the Royal Collection and Anna and the Blind Tobit from the National Gallery have generously been loaned to Norwich for this exhibition.

Oil paintings generously loaned to the exhibition

The British Museum has also loaned a chalk and wash drawing The Angel preventing Abraham from sacrificing his son Isaac, together with four prints. It is highly unlikely that these works have ever been exhibited together before.

By comparing prints with a chosen group of paintings and drawings we are showing how physical and metaphorical light and darkness meet and combine in Rembrandt’s work in all media, creating narratives that communicate to the viewer across time. – Dr Giorgia Bottinelli.

Each of the prints vividly reveals Rembrandt’s outstanding ability to capture the many nuances of light and shade. Enigmatic figures emerge from evocative darkened backgrounds, night is subtly differentiated from shadow, while narrative and emotion are heightened by contrasts and perfectly added highlights.

Printmaking, a constantly evolving art

Rembrandt Harmensz. van Rijn 1606-1669, the Pancake Woman (II/ VII) 1635

Rembrandt Harmensz. van Rijn 1606-1669, the Pancake Woman (II/ VII) 1635. Etching on paper. 10.9 x 7.9 cm. © Norfolk Museums Service

Unlike many artists Rembrandt printed the plates himself and often re-worked them as can be seen from comparing different states of the same subject. As such, printmaking to him was a constantly evolving art.

Different papers, European and Oriental, as well as oatmeal and vellum, were also a means to create further gradations in texture and contrast.

An artistic medium

Rembrandt treated print-making as an artistic medium in its own right, rather than merely a means of the mass reproduction of existing works, as had been the case up to this point.

The exhibition includes a print room to guide visitors through the print-making process while original copper etching plates from the Norwich School of artists drawn from the Norwich Castle collections will also illuminate this fascinating process.

Rembrandt ‘Lightening the Darkness’

The exhibition is accompanied by a publication, the first devoted to the Norwich Castle Rembrandt etching collection, written by Dr Francesca Vanke and Dr Giorgia Bottinelli. The exhibition is supported by headline sponsors Birketts LLP.

Visitors to the Rembrandt exhibition will also have the opportunity to view another new show, which brings together eleven locally- based contemporary artists working with print and printmaking.

Locally based artists

Their specially commissioned work has been produced in response to the modern and contemporary print collection at Norwich Castle and will be shown alongside the prints that have influenced or shaped the direction of the commissions.

The exhibition will be accompanied by an events programme as well as a publication and will draw connections with the Rembrandt exhibition in the main galleries to demonstrate the alluring appeal of printmaking on artists working today.

International Photographer of the Year exhibition


International Photographer of the Year exhibition, Sheringham Park

Norfolk photographer is the overall winner of this year’s International Photographer of the Year exhibition!

The International Photographer of the Year exhibition returns to the National Trust’s Sheringham Park for a third year this autumn, featuring more images than ever before.

Photographs displayed from all over the world

Located in the tranquil surroundings of the Bower Garden, over 40 images from around the world will be on display, as part of this year’s exhibition. The overall winner is a Norfolk photographer Lee Acaster (from Diss), for his autumnal image taken in Snowdonia.

Lee Acaster, PhotographerLee Acaster revealed:

With thousands of fantastic entries from all over the world, it was a real honour to discover that the judges had chosen my image as the overall winner.

The shot itself was taken on a rainy autumn day. I noticed there were a few leaves left on a blackened birch tree, which were highlighted against the inky water of the lake behind. Being quite abstract in nature, the image won’t appeal to everybody, but I was thrilled that the judges liked it as much as I did. I think the ambiguity of the subject, it’s not immediately clear what you are looking at, was a big part of its appeal to them.

There is no substitute for seeing photographs printed on a large scale to appreciate them properly, so I’m really looking forward to seeing the exhibition in the wonderful surroundings of Sheringham Park. There can hardly be a better place to appreciate nature photography.

‘Breathing Spaces’ category

International Photographer of the Year exhibition, Sheringham ParkThe exhibition also includes the ‘Breathing Spaces’ category, which is sponsored by the National Trust. This year it was won by Anil Sud for his Mountain Fog picture taken in Colorado. Runners-up images in this category also show landscapes from Derbyshire to Italy.

A new category

This year’s competition also features a new category on Humphry Repton, who designed Sheringham Park and stated it was his most favourite work. The 2018 exhibition will display the winning images from this category, as part of the celebration of Repton’s life – 200 years on from his death.

We’re thrilled to be returning to Sheringham Park with this anniversary exhibition, which will be the largest outdoor display at any venue to date. Our relationship with Sheringham Park continues to grow as we work together to champion the beauty and importance of plants, gardens and green spaces, both in the UK and around the world

Curtis McGlinchey, from International Garden Photographer of the Year.

The free exhibition opens at the National Trust’s Sheringham Park on Saturday 2 September, for two months and can be viewed daily from dawn to dusk.

Parking at Sheringham Park is free of charge for National Trust members, please remember to display a valid car sticker and bring your membership card to be scanned in the car park. Parking fees for non-members are at a reasonable rate.

Contact Sheringham Park on 01263 820550 for more information.

Holkham - photo by Lee Acaster

Holkham – photo by Lee Acaster

‘Summertime Feast of Music’ a roaring success

Belle Aire Holiday Park - Summertime Feast of Music

Belle Aire Holiday Park has long been a family favourite, renowned for its fantastic holiday experience, great on-site entertainment and the warm welcome received at Club Belle for both holiday makers, locals and day trippers. This year, Belle Aire hosted their first ever free music event which was a complete success!

Elvis at the Summertime-Feast of MusicThe Summertime Feast of Music which took place on Sunday 20th August from 12:30 ’til late promised an eclectic mix of great performers and they certainly kept the audience entertained and on their feet dancing! With tribute acts from Elvis, to 1980’s classics, this unique experience acted as a time machine through the decades of different musical experiences.

The event catered for people of all ages from toddlers through to grandparents, with a bouncy castle, inflatable side, BBQs, face-painting, table tennis, along with the park’s fantastic outside play area and sandpits.

Despite the clouds, the day stayed dry and sunny, with the event attended by hundreds of people enjoying an entertaining day at Club Belle. With the event open to all, it was attended by both holiday makers, day trippers and local residents.

There was even a visit from ‘Mini-Elvis’, a young Elvis fan, dressed up as his idol who was in awe of Peter King as he sang a string of stars hits!

No event at Club Belle would be complete without a visit from the park’s mascot Benjii Belle, who came out to meet the children and pose for photos.

Speaking at the close of the summer event last night, Joanne Hubbard, Manageress of Belle Aire’s ‘Club Belle’ said:

We are thrilled that our first Summertime Feast of Music event was such a successful day. We saw hundreds of people of all ages enjoying themselves throughout the day and a diverse range of musical performers entertaining the crowds. We were delighted to welcome back some familiar faces as well as new visitors to Club Belle and hope to see everyone return for some of the excellent entertainment we have planned for the rest of the season. We’re also really looking forward to planning next year’s festival!”

For further information, please visit


The ‘Nelson & Norfolk’ Exhibition

The Battle of the Nile, 1 August 1798. End of the Action, 1799, by Thomas Whitcombe. © National Maritime Museum, Greenwich, London

The Battle of the Nile, 1 August 1798. End of the Action, 1799,
by Thomas Whitcombe. ©National Maritime Museum, Greenwich, London

“I am myself a Norfolk man,” to the Immortal Memory of Lord Nelson.

Admiral Lord Nelson (1758 –1805) and his affection for his native county of Norfolk is the subject of a major exhibition entitled ‘Nelson & Norfolk’. It’s a one-off exhibition curated by the Norwich Castle Museum & Art Gallery that runs from 29th July  to 1st of October.

Admiral Lord Nelson, 1801 by William Beechey (1753-1839). © Norfolk Museums Service

Admiral Lord Nelson, 1801 by William Beechey (1753-1839).
© Norfolk Museums Service

The exhibition includes:

  • An early French Tricolour Ensign captured from the French warship Le Généreux in 1800.
  • The single bullet (or musket ball), which mortally wounded Admiral Lord Nelson at the Battle of Trafalgar in 1805, generously lent by Her Majesty The Queen from the Royal Collection.
  • Nelson’s undress coat and hat worn at the Battle of the Nile, reunited for the first time for more than 100 years.
  • A locket containing two different locks of hair – possibly that of Nelson and Emma Hamilton.
  • A black velvet drape from Nelson’s funeral car, together with the commemorative hatchment. Both were used at his funeral and not seen together since circa 1826.

A collection of extraordinary objects

The exhibition displays some of the most extraordinary objects connected to Nelson, from his boyhood in Norfolk to his death at the Battle of Trafalgar in 1805.

The centerpiece is the important, early French Tricolour – the monumental Ensign (or flag) of the French warship Le Généreux, which took part in the Battle of the Nile in 1798. A British victory, the battle sealed Nelson’s reputation as one of England’s greatest heros.

The Ensign of Le Généreux, St Andrews Hall, Norwich, October 2016. © Norfolk Museums Service

The Ensign of Le Généreux, St Andrews Hall, Norwich, October 2016.
© Norfolk Museums Service

The centrepiece

Although Le Généreux was one of only two ships from the French fleet to escape this historic battle, on 18th February 1800 it was subsequently captured, by Nelson’s flag captain Sir Edward Berry, on board the HMS Foudroyant.

When the huge Ensign of Le Généreux was “struck”, that is removed from the flagpole at the rear of the ship. It was surrendered to Sir Edward Berry and immediately despatched as a gift to the City of Norwich.

It’s one of the largest (it measures 16m x 8.3m that’s roughly the size of a tennis-court) and most iconic objects connected to Norfolk’s most famous son, Admiral Lord Nelson. It is the first time this historic object has been on public display for more than a century.

Fatally wounded by a single musket ball

The Nelson Bullet, (1805). Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017

The Nelson Bullet, (1805).
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017

In addition to the flag the single bullet (or musket ball), which mortally wounded Admiral Lord Nelson at the Battle of Trafalgar in 1805, is also on display.

Measuring 15 mm, the lead shot bullet is mounted in a hinged silver locket together with some remnants of gold lace from Admiral Nelson’s uniform and a small handwritten note with the words, “The bullet by which Nelson was killed”.

The exhibition is built around key objects such as this emblematic ensign, with its remarkable history. In explaining the story of the ensign, together with those of each of the other important exhibits, we are providing insights into Nelson and his times, the cult of his personality and the way he has been lionised and commemorated. The exhibition’s main themes are Nelson’s extraordinary legacy, his reputation and the ongoing nature of his ‘Immortal Memory’.” – Ruth Battersby Tooke, Senior Curator of Costume and Textiles at Norwich Castle.

Nelson’s famous coat

Undress Coat worn by Nelson at the Battle of the Nile.
© National Maritime Museum, London, Greenwich Hospital Collection

Exhibited together with the Ensign from Le Généreux is Nelson’s famous coat, which he wore at the Battle of the Nile kindly loaned by the National Maritime Museum Greenwich.

Made in wool and linen with large brass buttons and gold alloy braiding, this is a typical flag officer’s undress coat of the period. The coat also gives an indication as to how slight Nelson was.

The hat, which Nelson wore at this decisive battle is also on display and it’s the first time the coat and hat have been reunited since 1891.

The freedom of Thetford

The exhibition will be divided into several sections each one examining a key part or element of Nelson’s life and career starting with his birth and early years in his beloved home county of Norfolk.

The Norfolk section will include the Burnham Thorpe Parish Register, (the village where Nelson was born), that’s annotated in the margin by Nelson’s father, rector of the parish, with dates of significant milestones and naval victories.

The register will be displayed alongside the poignant “Dear, dear Burnham letter” written by Nelson in 1804. Also of interest is a Freedom Box, presented to Nelson by the Corporation of Thetford following the decision to bestow upon him the Freedom of the town in 1798.

Diverse objects

Personalia from Strangers’ Hall in Norwich include a lock of Nelson’s hair, owned originally by Captain Hardy and given to Norwich Museums in 1847, a napkin bearing the monogram of NB for Nelson Duke of Bronte, an honour conferred to him after the Battle of the Nile, as well as scraps of the British Ensign and sailcloth from HMS Victory. Collectively these diverse objects all illustrate Nelson’s early life and the affection for his home county.

Other sections will focus on The Battle of the Nile, which took place on 1 August 1798, Naples and Emma, Nelson’s Death, and finally his Funeral.

The Battle of the Nile

The drama of the final moments of this historic Battle of the Nile are vividly depicted in a dramatic oil painting by artist Thomas Whitcombe. Amidst the smoke from cannons and fires, the magnificent ships are shown with their sails billowing and respective ensigns flying, the foreground littered with debris of wrecked ships and lifeboats filled with sailors lucky to have escaped alive. The painting was executed in 1799 a year after the Battle of the Nile took place.

The Battle of the Nile, 1 August 1798. End of the Action, 1799, by Thomas Whitcombe. © National Maritime Museum, Greenwich, London

The Battle of the Nile, 1 August 1798. End of the Action, 1799, by Thomas Whitcombe.
© National Maritime Museum, Greenwich, London

The love of his life

Nelson LocketNo exhibition about Nelson can avoid the subject of his time in Naples, where he met the extraordinary Emma Hamilton, who became the love of his life. Particularly poignant is a charming locket (in the collection of Norwich Castle) that contains two different locks of hair.

The high quality of the workmanship suggests that it was probably a private commission and there is a possibility that the hair enclosed is that of Nelson and Emma Hamilton, making this a hugely romantic and enigmatic object.

Also in this section is the border of a dress embellished in honour of Lord Nelson and worn by Emma Hamilton at Palermo, circa 1799, together with a touching picture embroidered in silk of Nelson and his beloved Emma.


Nelson’s death is illustrated by the painting “The Apotheosis of Nelson” on loan from the National Maritime Museum painted by Scott Pierre Nicolas Legrand circa 1805-18.  It clearly conveys the level of hero-worship that Nelson had inspired during his life-time and continued for generations to come. This highly romantic painting depicts a deified Nelson achieving immortality as he ascends up to the gods on Mount Olympus, while his sailors grieve for him on the decks of the ship below.

Nelson’s funeral resulted in a public demonstration of grief on a national scale. The dramatic black velvet drape from Nelson’s funeral car, together with the painted silk hatchment, both used at his funeral, have not been seen together since the funeral car was dismantled circa 1826.

Funeral memorabilia

There’s also a uniform worn by a Greenwich Volunteer who guarded Nelson’s coffin during his two-day lying-in-state, a model of the funeral barge made by a French prisoner of war at Norman Cross internment camp, a picture on glass showing Lord Nelson Lying in State by J. Hinton and additional extensive Nelson funeral memorabilia.

Nelson received the surrendered swords

Presiding over the exhibition, as a whole, is the large, compelling portrait in oils of Nelson by the artist William Beechey, commissioned by the City of Norwich and completed in 1801.  The portrait features another exhibit, namely the sword surrendered to Nelson by the Spanish Admiral Xavier Winthuysen after the Battle of Cape St Vincent on 14th February 1797.

When two Spanish ships, the San Nicolas and the San Josef, became entangled Nelson was able to board one then the other. On the deck of the San Josef, Nelson received the surrendered swords of the Spanish, including this one. Nelson’s naval officer’s hat, depicted prominently in the portrait and given to the artist William Beechey by Nelson after he sat for the famous portrait.

Unique items generously loaned by private collectors

Complementing the important loans from major national museums and institutions around the country are unique objects drawn from Norfolk Museums Service’s own Nelson archives.

Plus other local collections in the county including those of Norwich Social History, Fine and Decorative Art, the Great Yarmouth Sailors’ Home, and Nelson’s schools; The Norwich School and Paston College. Numerous items have also been generously loaned by private collectors.

Nelson funeral car drape. © Norfolk Museums Service

Nelson funeral car drape.
© Norfolk Museums Service

Bringing together authentic material

Nelson & Norfolk exhibition is not intended to be a chronology of the life and times of Nelson illustrated by objects. Instead this exhibition takes its starting point and narrative from the objects themselves.

In bringing together so much authentic material, the exhibition reflects the ways in which Nelson has been represented in imagery and how his remarkable life story has been told through objects.

Nelson’s affection to Norfolk

A strong theme throughout the exhibition is the affection that Nelson had for the county that ‘gave him birth’ and Norfolk’s immeasurable pride in its most famous son. This is the first time that these objects have ever been presented together in one exhibition.

The exhibition is timely in that coincides with the 200th anniversary of the laying of the foundation stone of the Nelson memorial in Great Yarmouth, the county’s most significant memorial to its local hero. It also follows on from the recent exhibition Emma Hamilton: Seduction & Celebrity at the National Maritime Museum Greenwich (November 2016 to 17 April, 2017).

To be enjoyed by future generations

A recent Just Giving fundraising project was launched in a bid to raise £5,000 towards the £40,000 cost of preserving the exhibition’s centrepiece and to provide accessible storage. This will allow it to be enjoyed by visitors to other venues and to be featured in a proposed permanent display in Norwich.

Please check online for specific admission prices and opening times.

Please note that the last admission is half an hour before close and opening times on Sundays are 1pm to 5pm.

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