Teresa Corona

The Warrior
Mixed media

Semi precious stone, organic matter, acrylic paint.

The Warrior was inspired by the highly polished Jadeite Axe Head which originated in the Italian Alps but was found near Stonehenge. It was probably used as a highly symbolic ceremonial gem. Creating a romantic tale, I used an arrow head to represent a warrior protecting his priestess.


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Penny Hewitt

Abstract of Paleolithic Flints

These quartz flints are some of the oldest exhibits in the collection(460 000 years old). The picture is in black and white because originally the flints when shaped were grey, other colours being developed over thousands of years. Although particularly interesting for us flints were critical for Stone Age Man.


J.E.Manser
Cutting Edge
2015 watercolour


Behind the latest smart phone is the shadowy outline of a flint hand axe, each at the frontier of technology in its day; both are tributes to power of humans to manipulate their environment and change the world we live in.

J.E.Manser
Connections
2015 Watercolour


Manual dexterity and intellectual curiosity, the urge to 'find a better way', has marked the development of mankind from the Stone Age to the Digital Age. The internet connects people across space, our common journey connects us through time.


J.E.Manser
Money Money Money!
2015 wood engraving


Trade and commerce have existed since earliest times and metal coins have been in use since c. 700 BC. Just as Romans hoarded coins in a jar, we still save coins in a piggy bank, though electronic transfers are now preferred for larger payments.

J.E.Manser
2015 Flightpath
Engraving on resin


Speed, range and precision... the triangular outline of a stealth bomber echoes the shape of a flint arrowhead. Modern man, in his urge to push boundaries and develop ever better weapons, follows his ancestor, the Amesbury archer.


 

Becca Allen

Spoon for Rowena
Mixed Media

Imagine this belonged to Rowena, an Anglo-Saxon name of the time. This spoon, the original made of a tin/copper alloy, was more than a utensil; it was symbolic of the wealth of her family, saying much about her short life of only 8 years. It was my inspiration.

 

 

 

 

 


Jenny Frazer

Amesbury Archer
Pastel

The skeleton of the Amesbury Archer is in Salisbury Museum. This pastel drawing is what the Amesbury Archer may have looked in 2200 BC.

Moira Ross

The Miniature Hoard
Maltese Limestone

I was fascinated that people of the distant past thought to collect and save items. The Tisbury and Salisbury Hoards contain treasures separated by one or two thousand years. Attracted to smaller items that appear in the Wessex Gallery, I decided to create some miniatures of my own.

Moira Ross

'Just in Case' Domestic Hoards Found Objects

Most households have this type of collection. Items are gathered because it's believed they might be needed in the future, no one can think of what else to do with them or they hold memories of past times. We don't always remember what the items are for and only occasionally are they truly needed. Containers vary - jars, tins, boxes, Tupperware, glasses, drawers.

Pennies. Collected over several years date from 1993 to 2014. Other collections in this series have made their way to the bank but not this one. Artist's own collection

Buttons. Started from a collection of Ida Macdonald (mother) but added to by the artist. From one of several button containers.
Artist's own Collection

Brass Curtain Hooks. Found under the kitchen sink in 2002 in a house with only plastic curtain tracks.
Donated by P Blakemore

Household DIY bits and Pieces. Kept under the stairs.
Artists own collection

Shells. From Paignton beach 2004 (probably).
Artist's own collection.

Workshop Bits and Pieces. Part of the large collection of the Late George Marskell.
Donated by his grandson, T Bevington








Nikki Sheppard

Amesbury Archer 2015
Oil on Canvas

The Archer reminds us of the inevitable passage of time, the objects arrest time and give a sense of the accumulated bric-a-brac of life. We glimpse into an enduring moonlit ocean and a fragile alpine flower both a metaphor for the transience of earthly things and indicate the Archers journey.

 


 

 

 

Kate Skillings

“Stonehenge Geometry”
Mixed media


This work is not an accurate portrayal of the position of the features of Stonehenge, nor a diagram of theories held by scholars, enthusiasts, astronomers or archaeologists. It explores the interest shown in this special place and attempts to illustrate the myriad interpretations and meanings given to the stones and their landscape

 


Kate Skillings

“The Stones and the Crow”
Gouache on paper

At Stonehenge today the only creatures with unfettered access to the stones are the birds. People circle the ancient monument at a respectful distance, gazing in awe or snapping friends and selfies, while Corvus sits atop the bluestone enjoying the view and squawking. Is this what they call “crowing”?

 

 

 

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Judith Kemsley

Full moon over Langford

Drawing in ink, Wax, Chalk and Charcoal

Inspired by the brooches found in the ancient camp above Langford and the engraved Maps showing the site in the 1812 book ‘Ancient Wiltshire’ by Richard Colt Hoare. The materials were chosen for their organic qualities and the bronze and rust colours in the brooches. The moon and the stars in the night sky are the same today as they would have been seen by the inhabitants of the camps who wore the brooches.



Sally Middleton

Bespoke headpiece from 'Papaver' collection

Silk and organza poppy with sinamay swirls and beads on a sinamay base secured with a comb.
Model: Nikki Sheppard


I was drawn to beads, gold jewellery and hair clips in the Wessex gallery likely worn by high status Anglo Saxon women. I wondered what they would wear on their heads. The modern headpiece takes known elements of that era; a poppy, a veil, a comb, beads, patterns and rich colours to display a sense of occasion in contemporary way. I am also a 2D visual artist with Sarum Artists. On this occasion millinery was the medium of expression. My millinery training is with Judy Bentinck.Two frothy headpieces on white and silver sInamy will complete this collection.

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Ray Brotherton

"The Once and Future Family"
Oil on canvas

Despite the wealth of discovered artefacts, we know so little about our ancestors. Who they were, how they spoke, their beliefs and rituals are all mysteries. I was particularly drawn to the burial urns, which indicate that they cared about members of their society’s afterlife. Burial urns are one of the few pieces of surviving, tangible evidence that indicate that “Ancient Britons” had a belief in an afterlife.

 

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Phillip Hutchings

Great Bustards over Old Sarum in the 12th century

Oil on canvas

In 1066 the Normans invaded England and chose a 500 year old hill fort on Salisbury plain for their military and religious head quarters. They built a stone castle, a Cathedral and a Royal Palace and named the place as Old Sarum The medieval buildings are now only ground level ruins but the whole site is one of the most popular and interesting historical places in the United Kingdom.

 

         

Jane Shepherd

Under the Chase
Mixed media. 

Inspired by large burial urns, this was an exploration of their surface textures and colours reflecting the clay they came from and the vagaries of firing. A former life as grain storage, and then reuse as burial urns reminding us that our recycling ethic is nothing new.

Judith Morane-Griffiths

"Thank a Teacher"
Mixed media