Friends Newsletter - Issue 3

Friends

Dear Friends,

Like the gardens, Auckland Palace and our other sites appear dormant in deep winter, with gates closed and ground bare. Yet behind the doors and beneath the soil new shoots and plans are taking shape. Now Spring is here we can see the results: the gardens bursting into green, and visitors exploring new displays and trying new menus.

I do hope you will be able to join us this Spring. There is so much to see and explore across all our sites: the Tom McGuinness centenary displays at the Mining Art Gallery, a new Ribalta on display at the Spanish Gallery, an exhibition by Roger Wagner at Auckland Palace, and new work by glassmaker Rachael Woodman at the Faith Museum. The Market Place and surrounding areas are starting to look quite different too, with construction beginning on the hotel and the Art Hub buzzing with activity.

Finally I do hope you might be able to follow in the footsteps of Asher and Joseph, who are travelling to the National Gallery for the long-awaited Zurbarán retrospective. We have a very special opportunity for Friends to see this exhibition as private guests at the National Gallery: do look at the last pages for details. Closer to home we are marking what would have been Tom McGuinness’s birthday at the Mining Art Gallery with an event for Friends.

Jane Ruffer

Art

This year the Mining Art Gallery celebrates the centenary of Tom McGuinness (1926–2006) with a whole year of exhibitions and displays. Sent into the mines as a ‘Bevin Boy’, Tom McGuinness nurtured a talent for drawing at the Spennymoor Settlement. His muchloved artworks capture life in the mines and community with great clarity and affection. In this special interview for Friends of The Auckland Project, Tom’s daughter Corinne Aspel remembers her father.

Tom McGuinness, Face Workers, Unknown Date, Oil on canvas on board.

Gemini Collection, Zurbarán Trust

© Estate of Tom McGuinness

How do you remember your dad?

Dad was a quiet modest man with a dry sense of humour. He was kind and generous and loved spending time with his five grandchildren. His art was something I think we took for granted growing up... it was just something Dad did. We were used to him being in the attic (his studio) or sitting watching tv whilst doodling on his sketchbooks.

Which is your favourite piece in the exhibition? And why?

It’s difficult to choose one piece but I think the portrait of my Mam holds a special place as she died at just 44 years of age and Dad gifted it to me on my 40th Birthday.

Did you ever go into your dad’s studio and what do you remember about it?

As very young children we used to paint in the studio and Dad would put our pictures on the walls in there and I remember doing lino prints and silk screen printing.

We’ve heard that the family’s shower had to go in order to make room for your dad’s printing press. Is that right?

The printing press lived in the hall between the kitchen and the downstairs bathroom and trying to get past it late at night especially after a night out was quite a challenge and I had many bruises as a result!

The moon seems significant in many of your dad’s paintings. Can you tell us more about this?

The moon features quite a lot and would beautifully illuminate the scenes he was creating. When my boys were small and there was a full moon with a blue haze around, we would say it was a ‘Tom McGuinness Moon’.

The exhibition includes a portrait of you at the age of 18, as well as portraits of other members of the family. Did your dad usually capture family moments and milestones, and produce personalised pieces for people he knew well?

Dad liked to create personal pieces for family and friends with hand painted cards for birthdays and Christmas. These would often reflect our interests such as a cricket scene for my son Brandon and an angel for my friend Karen. He did my portrait when I was 18 before I started my nurse training and one for Karen for her 18th Birthday. I also have drawings of my sons as babies. He also created the ‘Cool Blues’ saxophone player print for my late brother Shaun who was a very talented saxophonist and a mixed media computer piece for my brother Anthony as this was his passion playing computer games.

Can you describe your dad’s artistic style and what makes his work special?

I think that Dad had a unique style which captured the harsh reality of working down the pit as well as the day-to-day life in the pit villages. His ability to use such a wide variety of mediums to create his art was inspiring. I particularly like his use of blues and greens in his underground scenes and his inclusion of women in many of his images such as waiting for news at the pit gates following pit disasters, gossiping in the streets or knocking up the men for their shifts.

What do you think of as your dad’s legacy?

Dads’ legacy is that we have this amazing body of work which captures a very important part of the industrial and social history of our region.

Tom McGuinness Corrine, 1980, Lithograph. Gemini Collection, Zurbarán Trust © Estate of Tom McGuinness.

Heritage

With the excavations refilled and lawn returfed at Auckland Palace, The Auckland Project’s archaeological partnership with Durham University begins its next phase: analysing the objects recovered from the excavations at Auckland Palace in an ‘Open Laboratory’ in the Market Place. Archaeology Curator John Castling describes how ‘postexcavation’ work contributes to the discovery of Bishop Auckland’s past – and why it is happening in the centre of town.

As the famous opening line of L.P. Hartley’s 1953 novel, The Go-Between, proclaims “the past is a foreign country: they do things differently there.”

As an archaeologist I’d say I think this is probably half true. Certainly, the people of the past sometimes did strange things for reasons we may neither know nor be able to understand, but they were also people living ordinary lives in whatever turbulent or peaceful time and place they found themselves. Not so foreign to us perhaps. What I do like

about this famous quotation is that it frames archaeology in the way that I think it is best understand, as an activity of exploring. If the past is a distant land, archaeologists are explorers, piecing together the geography of the stories of our predecessors. It all sounds very romantic and grand, doesn’t it?

The reality of archaeological work is often both far more mundane and yet more tangible than any romantic image of exploring foreign countries. As those who have followed our

archaeological work at Auckland Palace will know, we have spent almost ten years excavating at the site: discovering vast walls and buildings of the medieval castle, and unearthing rare and spectacular objects. We have been on TV programmes and in international publications, and our archaeology videos on social media have been some of our most widely viewed content. Far from having finished, once the trowels are laid down at the end of the excavations, the work of archaeological discovery becomes more focused on the less glamourous objects which have their stories to tell too. This next phase is called, imaginatively, the ‘postexcavation’ work.

It involves the detailed study of every object recovered from the excavations – over 350 boxes of them – as we clean, measure, weigh, count, catagorize and record all the things we removed from the ground. These objects include animal bones which will tell us about the Prince Bishops’ household’s diet, pottery that will illuminate the extent of everyday trade connections to medieval Bishop Auckland, metal dress accessories which will tell us about the wealth

and fashions of those who lived here. They range from carved building stones the weight of a small car to almost microscopic charred seeds. The excavations have given us an outline of the previously little-known story of Auckland Palace between 12001660, the results of the postexcavation phase will fill in the colour on that picture.

In keeping with our approach to making archaeology accessible and engaging for local and visiting audiences at The Auckland Project, we’re trying something new in the way we do this post-excavation analysis. Normally such work is done in laboratories buried within universities, but we have decided to bring as much of the process as we can back to Bishop Auckland, and to undertake it both with and in front of the public. Our weekly ‘Open Lab’, which runs most Fridays from 16th January through 2026, invites people to come and watch us work. We’ll be sitting in the window at No.1 Market Place, hosted by TAP’s Hearth team, and will be welcoming people to come in and see what we’ve been working on at the end of each day.

‘Open Lab’ is part of a strong commitment to enabling local volunteers to help us do the post-excavation work, and a conviction that members of the public hugely enjoy and benefit from seeing the process of archaeological discovery unfolding before them. The objects may be the mundane rubbish of broken pottery and discarded animal bones, but they hold a deep and tangible connection to the past lives of Bishop Auckland’s residents. By throwing open the shutters to welcome visitors to engage closely with their stories we are discovering the past just as much as in our trenches. As well as giving more confidence to engage in the more traditional heritage of our other sites, we’re also hopeful the ‘Open Lab’ can help people to find and forge their own connections and communion with the ‘foreigners’ of the distant ‘country’ of the past.

The ‘Open Lab’ runs most Fridays from 10:00am–4:30pm, with visitors welcome to come into the ‘lab’ from 3:30pm–4:30pm. For up-to-date details and to check which days it is running, see the Hearth Facebook page.

Gardens

This Spring will see the gardens bursting into colour, and the completion of the final piece in the jigsaw of gardens around Auckland Palace. Andy Nesbitt, our Head Curator of Parks and Gardens, shares progress from the winter months and plans ahead.

This spring will see the Cart Shed Garden on the northwest corner of the Auckland Palace curtilage come to completion.

Construction will be finished very shortly and the simple design of the garden will be complemented by a splash of colour around the outer borders. The Cart Shed and garden around it have been designed to get the most of this enclosed space. The connection to the Wilderness Garden and Paradise Garden link the the whole Auckland Palace garden suite together offering a welcoming space for all to enjoy.

Within the Cart Shed itself there will be an outdoor kitchenette with two solid oak trestles made by our wonderful volunteers

(they are coming along great).

The timber for the trestles came from trees that fell in the Deer Park so it is all homegrown. The space will be used for schools and other groups exploring the gardens.

As spring is the time for the gardens to awaken, the palace gardens will showcase spring bulbs. The team have been hard at work over the autumn and winter months planting bulbs throughout the gardens complex. We will see early flowering bulbs on the banks of the bowling green: 10,000 bulbs in total here, kindly planted throughout the horticulture show by visitors, friends and families.

We have planted nearly a ton of bulbs in the Upper Terrace of the Walled Garden, and an additional 12,000 daffodils within the Orchard, beside the Walled Garden. Visitors will see around 50,000 daffodils in the Orchard alone.

The Paradise Garden and Faith Garden have also seen a great deal of bulbs planted for the Spring. In fact, we planted a combined weight of 1.5 tons of spring flowering bulbs in 2025. This will create an early burst of colour to bring us out of those dull winter months.

Claire Gibbons took up her role as General Manager of the Weardale Railway a year ago: the first woman to hold this role in the railway’s long history. 16 miles of the railway have been carefully restored, with regular trains run by volunteers between Bishop Auckland and Stanhope. Claire reflects on her first year in the role, and on the busy season ahead.

Stepping into the role of General Manager of a heritage railway a year ago felt, at first, like standing on the footplate of a locomotive I’d never driven — thrilling, but undeniably daunting. What transformed that early apprehension into momentum was the unwavering support of seasoned railway professionals, especially my right hand man, Wayne Dixon, a veteran with forty years of experience whose calm expertise has been invaluable. Together, we’ve navigated everything from daily operations to standout achievements, including securing a Northumbria in Bloom Gold Award and Best in Class, a testament to the pride our volunteers take in every inch of the line.

Everyone on the Weardale Railway was honoured to be the test track for Locomotion No. 1, a moment that underscored the trust placed in our team and the significance of our line in the wider heritage landscape. The year has brought its share of high profile moments too, with visits from VIPs such as Michael Portillo and Dan Snow during the testing programme, each adding a sense of occasion to an already extraordinary chapter, and firmly putting the railway on the map both nationally and

internationally. Looking back, the journey has been intense, inspiring, and deeply rewarding.

It certainly feels like it’s full steam ahead for 2026… Spring will arrive in style at Weardale Railway in 2026 with the visit of the historic NER 1903 Electric Autocar, launching the season from late February until after Easter. The Autocar was the world’s first use of an internal combustion engine in a passenger train. At the time the petrol engine was in its infancy and reliable diesel engines were not developed until the middle of the 1930s. This train had its own powerplant in the form of a petrol engine driving a dynamo. The beautifully restored vehicle will operate on selected timetabled days and will also be available for private hire.

A highlight of the Autocar’s stay will be the DMU Gala weekend on 14–15 March, when it will be joined by resident Class 108 and 122 units. A special timetable will operate between Bishop Auckland West and Stanhope, with easy rail connections at Bishop Auckland, making it accessible for visitors from across the region.

Alongside heritage rail travel, visitors can enjoy a range of spring experiences, including

elegant Afternoon Tea services through the stunning Weardale countryside, and enjoy our awardwinning station at Stanhope. If you have always wanted to drive a train, you can enjoy one of our unforgettable Driver Experience days at the controls of the powerful Sentinel locomotive (as seen on BBC Robson Green’s Weekend Escapes).

Easter brings plenty of familyfriendly fun, with heritage train rides, a Bunny Hunt, trackside Easter eggs, spring scenery, gift shops and cafés — making it a lovely way to spend a spring day out.

We’d love to welcome you to Weardale this spring and look forward to seeing you soon.

Claire with Michael Portillo © The Auckland Project

Meet the Team

Michele Armstrong was named Heritage Volunteer Group’s Volunteer Leader of the Year in November 2025 — a national award recognising her 30 year career in leading volunteering.

For the past decade, Michele has brought that experience to The Auckland Project, where around 300 volunteer roles support every aspect of operations, from welcoming visitors to leading learning sessions and caring for the gardens. As Head of Volunteering, Michele leads the team in ensuring volunteers’ skills, interests and passions find the right place to thrive.

What brought you to The Auckland Project?

In my previous role as CEO for 2D, the local Council for Voluntary Service/Volunteer Centre, I supported the then Auckland Castle Trust to develop its volunteer strategy as part of the Heritage Lottery Fund bid for the Castle’s refurbishment. A couple of years later, I was asked to submit my CV for the new Head of Volunteering role – and the rest, as they say, is history!

Where did your interest in volunteering come from?

My first experience of volunteering was in the Brownies, during the old “bob a job” week when we offered our help to neighbours. I remember peeling a lot of potatoes! It wasn’t long before I realised how much volunteering could offer — learning new skills, building confidence and, importantly, having fun.

Where can you most often be found at work?

A lot of the time you’ll find me at my desk, working behind the scenes championing everything to do with volunteering. Much of my work is developmental — persuading, encouraging, and making sure the volunteering journey is full of opportunity and choice. I also love walking around the venues and catching up with volunteers. They’re so enthusiastic, and it’s important to say thank you.

What’s been your favourite volunteering role or interest?

I’ve been involved with Jack Drum Arts for a number of years, offering support and guidance where I can. I now chair the Board of Directors. Trustee roles can sometimes be overlooked as volunteering, but they have been a big part of my own volunteer journey. I am also volunteering with the Advisory Board for the National Heritage Volunteering Group, which is opening up new contacts and exciting possibilities.

Where can you be found on a day off?

Spending time with my four year old granddaughter — a little miracle whose start in life wasn’t easy. I also like to get out for a walk when I can, especially along the River Wear. When I moved north from Essex in 1993, one of the first things I did was walk along the river at Witton-Le-Wear.

What were the highlights of last year, and what are you looking forward to this spring?

Being nominated for, and then winning, the Heritage Volunteering Group Volunteer Leader of the Year was incredibly humbling. Our Volunteering Celebration event in June was another highlight — so many amazing stories of the impact volunteering has across all our sites here in Bishop Auckland. I also loved compering the Christmas get together! I’m very much looking forward to attending The King’s Garden Party after receiving an invitation. And as ever, spring brings new opportunities to develop the volunteering offer, which is something that always excites me.

What volunteering opportunities are open at the moment?

We’re especially focusing on recruiting Invigilators and Engagers for the Spanish Gallery. Invigilators and Engagers at the Spanish Gallery learn about the works of art and artists in depth, and help our visitors understand what they are looking at in a friendly, informal way. Volunteers have amazing training, and many have enjoyed attending talks by specialists and really diving into Spain’s incredible history and thinking how to share it with visitors.

This is such an exciting time to be getting involved at the Spanish Gallery. The National Gallery has its first ever major Zurbarán exhibition this Spring and Summer, which is travelling to Paris and Chicago (along

with ‘our’ Asher and Joseph from Auckland Palace!). It is really going to raise the profile of Zurbarán and Golden Age Spanish Art and of course, where better for people to explore that than the Spanish Gallery? Our volunteers there really enjoy sharing their knowledge and having quiet time reflecting on the works of art.

I’m also hoping to develop more behind the scenes roles, so watch this space.

Employer Supported Volunteering continues to grow too: we already have six companies booked in with the Gardens Team, and many more conversations underway. Those are always great days with employees from around the area out in our parks and gardens, planting and enjoying fresh air and a break from emails!

Volunteer Taster Event for the Spanish Gallery

Sunday 22nd March 12.30 to 14.30 To sign

Tom McGuinness: Out of the Darkness

18 February 2026 – December 2026. Wednesday – Sunday.

10.30am – 4pm

Mining Art Gallery, Bishop Auckland

Ribalta’s

‘St

Michael the Archangel’

From 18 February 2026, Wednesday – Sunday 10.30am – 4pm

The Spanish Gallery, Bishop Auckland

Bishop Printmakers Taster Sessions

2 March 2026

10.30am – 4pm

The Artist’s Hub, No. 43 Market Place, Bishop Auckland

Whether you’re a complete beginner or looking to refresh your skills, these sessions are a great way to experiment, learn, and connect with others who share a passion for art. All materials are provided. New members are always welcome to the Bishop Printmakers: a group founded by artist Tom McGuinness.

Friends’ Event Tom McGuinness: Talk and Private View

Roger Wagner: The Seeds of Eternity

From 18 February 2026, Wednesday – Sunday 10.30am – 4pm

Bishop Trevor Gallery, Auckland Palace, Bishop Auckland

30th April 2026

3:30pm

The Spanish Gallery, Bishop Auckland

On what would have been Tom McGuinness’s 100th birthday, join co-founders of the Gemini Collection Robert McManners and Gillian Wales for a short introduction to Tom as a friend, an artist, and a miner. This will be followed by an introduction to the exhibition ‘Out of the Darkness’ by Curator Anne Sutherland, and an opportunity to explore the gallery outside of opening hours. Refreshments will be served in the Spanish Gallery conference suite before the talk.

Book here

FRIENDS EXCLUSIVE:

PRIVATE CURATOR’S TOUR OF ZURBARÁN AT THE NATIONAL GALLERY

9am on 11th May 2026

This Spring the National Gallery will show the first major monographic exhibition in the UK devoted to Francisco de Zurbarán (1598–1664).

Around 50 works from collections across Europe and the United States will be displayed throughout seven galleries, providing an opportunity to explore his altarpieces, narrative works, still lives, major commissions and more. Amongst the works on display will be Auckland Palace’s very own Joseph and

Asher, taking a break from the Long Dining Room for a high profile spell in London.

In recognition of this loan and our curators’ support, the National Gallery is offering a private, curator’s tour of the exhibition for Friends of The Auckland Project. This is a very special opportunity to see the exhibition with a curator before the public are admitted. After the tour, Friends will have admission to the National Gallery’s new and very beautiful members-only Supporters’ House.

For this exclusive opportunity. Friends will need to make their own way to the National Gallery in time for a tour at 9am on the 11th May 2026. The ticket includes admission and the tour, but not refreshments. Numbers are limited so please do book if you would like to join.

Book here