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Imperial War Mus

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We will clean loan wheelchairs after use, and there will also be a self sanitisation point for loan wheelchairs should visitors wish to use it.

We are committed to ensuring IWM London is accessible to all visitors. Step-free access to the museum is via the West Entrance.

For more information please follow the link to our accessibility guide below. Our shop will be open and customers will be free to browse products as normal.

We ask that customers use a hand sanitisation station before and after doing so. We will not be able to accept cash, but you can still pay by card.

Our shops offer a wide range of inspiring and unique gifts, from books, clothing and accessories to vintage posters, homewares, toys and souvenirs, all inspired by our collections and the stories they tell.

Our cafe will remain closed until further notice but light refreshments will be available to buy from the Museum shop. IWM is a registered charity and relies on your support to help us preserve our unique collections for future generations.

To help us preserve our collections you can donate with a quick and easy contactless donation, with a credit or debit card by tapping it at various locations around the museums.

Alternatively you can donate online now on the link below. Thank you for supporting IWM. You are welcome to take photos and video at our museums for personal, non-commercial use but please refrain from using flash or tripods.

Our museums can get busy at times and we therefore ask that you do not film people without their permission. Please observe signage indicating where photography and filming is not permitted.

If you require further information on the day of your visit, please head to our information desk which is located on the ground floor.

Our staff will be happy to assist you with your enquiries. Unfortunately, we will be unable to provide lockers while the existing coronavirus measures are in place.

We request that visitors do not bring large heavy bags or other difficult to carry objects. We will have a buggy park near the locker area at the west entrance of IWM London.

The safety of our visitors and staff and the preservation of our collections are of the upmost importance to IWM.

We therefore kindly ask that you allow sufficient time on entry to our museums for our staff to complete their security checks to ensure this is maintained.

Please do not bring any prohibited items with you as they will be confiscated. IWM Museum Collection. Home Learning Hub. Learn with IWM. What's On.

On sale now. Online Talks. The museum refused, however, to return some historic items such as a naval gun from HMS Lance which had fired Britain's first shot of the First World War or a gun served by Victoria Cross -winning boy seaman Jack Cornwell.

On 31 January the museum was struck by a Luftwaffe bomb which fell on the naval gallery. A number of ship models were damaged by the blast and a Short Seaplane , which had flown at the Battle of Jutland , was destroyed.

In October the museum mounted a temporary exhibition, the first since the end of the war in August, which showcased technologies developed by the Petroleum Warfare Department.

The museum reopened a portion of its galleries in November In , with Commonwealth forces engaged in Korea and Malaya the museum began its current policy of collecting material from all modern conflicts in which British or Commonwealth forces were involved.

Dr Noble Frankland , the museum's director from to , described the museum's galleries in as appearing 'dingy and neglected [and in a] dismal state of decay' the museum's 'numerous stunning exhibits' notwithstanding.

In the museum's Southwark building was extended to provide collections storage and other facilities, the first major expansion since the museum had moved to the site.

The development also included a purpose-built cinema. Both had been fired in action during the Second World War. They went on permanent display outside the museum in May On his conviction in he was sentenced to four years in prison.

Needing further space, the museum duly requested permission to use part of the site as temporary storage. The entire site was later transferred to the museum in February and Duxford, now referred to as Imperial War Museum Duxford became the museum's first branch.

The museum was reluctant due to its new commitments related to Duxford and HMS Belfast , but agreed in By the museum was again looking to redevelop the Southwark site and approached engineering firm Arup to plan a phased programme of works that would expand the building's exhibition space, provide appropriate environmental controls to protect collections, and improve facilities for visitors.

The following year, in April , the Cabinet War Rooms were opened to the public as a branch of the museum. The first phase of the works to the Southwark building started in and were completed in , during which time the museum was closed to the public.

The work included the conversion of what was previously the hospital's courtyard into a centrepiece Large Exhibits Gallery. This gallery featured a strengthened ground floor to support the weight of very heavy exhibits , a first floor mezzanine and second storey viewing balcony.

Into this space were placed tanks, artillery pieces, vehicles, ordnance and aircraft from the First World War to the Falklands War.

In September the museum was the target of a Provisional Irish Republican Army attack against London tourist attractions. Two incendiary devices were found in a basement gallery, but were extinguished by staff before the arrival of the fire brigade , and caused only minor damage.

The second stage of the redevelopment of the Southwark building, during which the museum remained open to the public, was completed in The following year, , the final phase of the Southwark redevelopment was completed.

The development included the installation of the museum's Holocaust Exhibition which was opened by the Queen on 6 June A second phase took a wider 20th century historical remit; it comprised a learning programme using overseas visits and social media , and a professional development scheme for educators.

In September the museum secured funding from NESTA , the Arts and Humanities Research Council and Arts Council England to develop "social interpretation" systems to allow visitors to comment on, collect, and share museum objects via social media.

Chaired by Jonathon Harmsworth the foundation was charged with raising funds to support the redevelopment of Imperial War Museum London's permanent galleries.

The museum partially reopened on 29 July From the s onwards the Imperial War Museum began to expand onto other sites.

The hospital building was designed by the hospital surveyor, James Lewis, from plans submitted by John Gandy and other architects, and construction completed in October The hospital consisted of a range of buildings feet long with a basement and three storeys, parallel to Lambeth Road , with a central entrance under a portico.

The building was substantially altered in by architect Sydney Smirke. In order to provide more space, he added blocks at either end of the frontage, and galleried wings on either side of the central portion.

He also added a small single-storey lodge, still in existence, at the Lambeth Road gate. Later, between —46, the central cupola was replaced with a copper-clad dome in order to expand the chapel beneath.

The building also featured a theatre in a building to the rear of the site. The building remained substantially unchanged until vacated by the hospital in After the freehold was purchased by Lord Rothermere , the wings were demolished to leave the original central portion with the dome now appearing disproportionately tall and Smirke's later wings.

When the museum moved into the building in the ground floor of the central portion was occupied by the principal art gallery, with the east wing housing the Naval gallery and the west wing the Army gallery.

The Air Force gallery was housed in the former theatre. The first floor comprised further art galleries including rooms dedicated to Sir William Orpen and Sir John Lavery , a gallery on women's war work , and exhibits relating to transport and signals.

The first floor also housed the museum's photograph collection. The second floor housed the museum's library in its west wing, and in the east wing the map collection and stored pictures and drawings.

In September the building received Grade II listed building status. The original hospital building is now largely occupied by corporate offices.

The extension houses the library, art store, and document archives while the s redevelopments created exhibition space over five floors.

The ground floor comprised the atrium, cinema, temporary exhibition spaces, and visitor facilities. The first floor included the atrium mezzanine, education facilities, and a permanent gallery, Secret War , exploring special forces , espionage and covert operations.

The second floor included the atrium viewing balcony, two art galleries, a temporary exhibition area and the permanent Crimes against Humanity exhibition.

The third floor housed the permanent Holocaust Exhibition , and the fourth floor, a vaulted roof space, accommodated the Lord Ashcroft Gallery.

The galleries are set to open in and will replace the existing permanent exhibition. The building, which backs onto Geraldine Mary Harmsworth Park , was originally an orphanage opened by local philanthropist Charlotte Sharman , then later used as a hospital.

It houses the museum's photographic, film and sound archives, and offices. The site accommodates a number of British Army regimental museums, including those of the Parachute Regiment and the Royal Anglian Regiment.

Duxford remained an active RAF airfield until Many of Duxford's original buildings, such as hangars used during the Battle of Britain, are still in use.

A number of these buildings are of architectural or historic significance and over thirty have listed building status. The site remains an active airfield and is used by a number of civilian flying companies, and hosts regular air shows.

The site is operated in partnership with Cambridgeshire County Council and the Duxford Aviation Society, a charity formed in to preserve civil aircraft and promote appreciation of British civil aviation history.

She saw further combat in the Korean War. Expected to be disposed of as scrap after she was decommissioned in , in efforts were initiated to preserve Belfast as a museum ship.

A joint committee of the Imperial War Museum, the National Maritime Museum and the Ministry of Defence was established, and reported in June that preservation was practical.

In the government decided against preservation, prompting the formation of the private HMS Belfast Trust to campaign for her to be saved for the nation.

The Trust was successful in its efforts, and the government transferred the ship to the Trust in July Opened to the public in October Belfast became a branch of the Imperial War Museum on 1 March , being acknowledged by the then Secretary of State for Education and Science , Shirley Williams , as "a unique demonstration of an important phase of our history and technology".

Located beneath the Treasury building in the Whitehall area of Westminster , the facilities became operational in and were in constant use until their abandonment in August after the surrender of Japan.

Their historical value was recognised early on, and the public were able to visit by appointment. However, the practicalities of allowing public access to a site beneath a working government office meant that only 4, of 30—40, annual applicants to visit the War Rooms could be admitted.

Thatcher opened the War Rooms in April In a further suite of rooms, used as accommodation by Churchill, his wife and close associates, were added to the museum.

The centrepiece is a 15m interactive table which enables visitors to access digitised material, particularly from the Churchill Archives Centre , via an "electronic filing cabinet".

It was the first branch of the museum outside southeast England, and the first to be purpose-built as a museum. Libeskind's building, overlooking the Manchester Ship Canal at Salford Quays , was based on the concept of a globe shattered by conflict into shards and reassembled.

These shards, representing earth, air and water, give the building its shape. The museum's first floor main gallery space houses the permanent exhibitions.

These consist of a chronological display which runs around the gallery's m perimeter and six thematic displays in "silos" within the space.

The walls of the gallery space are used as screens for the projection of an hourly audiovisual presentation, the Big Picture. The present departmental organisation came into being during the s as part of Frankland's reorganisation of the museum.

The s saw oral history gain increasing prominence and in the museum created the Department of Sound Records now the Sound Archive to record interviews with individuals who had experienced the First World War.

The museum maintains an online database of its collections. The museum's documents archive seeks to collect and preserve the private papers of individuals who have experienced modern warfare.

The archive's holdings range from the papers of senior British and Commonwealth army, navy and air officers, to the letters, diaries and memoirs of lower-ranked servicemen and of civilians.

The foreign collection also includes captured Japanese material transferred from the Cabinet Office. The museum's art collection includes paintings, prints, drawings, sculpture, and works in film, photography and sound.

In the museum established the Artistic Records Committee since renamed the Art Commissions Committee to commission artists to cover contemporary conflicts.

The museum's Film and Video Archive is one of the oldest film archives in the world. The archive also holds government information films and propaganda features such as Target for Tonight and Desert Victory.

As an official repository under the Public Records Act, the archive continues to receive material from the Ministry of Defence.

The archive also seeks to acquire amateur film taken by both service personnel and civilian cameramen. In the museum reported the size of its film archive as being in excess of 23, hours of film, video and digital footage.

The museum's Photograph Archive preserves photographs by official, amateur and professional photographers. The collection includes the official British photographic record of the two world wars; the First World War collection includes the work of photographers such as Ernest Brooks and John Warwick Brooke.

The museum's exhibits collection includes a wide range of objects, organised into numerous smaller collections such as uniforms, badges, insignia and flags including a Canadian Red Ensign carried at Vimy Ridge in , [] a Union flag from the British surrender of Singapore , [] and another found among the wreckage of the World Trade Center following the September 11 attacks , as well a piece of the towers; [] personal mementoes, souvenirs and miscellanea such as trench art ; [] [] orders, medals and decorations including collections of Victoria and George Crosses ; military equipment; firearms and ammunition, ordnance, edged weapons, clubs such as trench clubs [] and other weapons, and vehicles, aircraft and ships.

The museum holds the national collection of modern firearms. Lawrence , [] and an automatic pistol owned by Winston Churchill.

The museum's library is a national reference collection on modern conflict, and holds works on all aspects of warfare, including regimental or unit histories such as rare German unit histories from the First World War , [] technical manuals, biographical material and works on war's social, cultural, economic, political and military aspects.

The library also holds printed ephemera such as the Imperial War Museum Stamp Collection , [] leaflets and ration books, printed proclamations, newspapers, trench magazines such the Wipers Times and trench maps.

The museum's Sound Archive holds 33, sound recordings, including a large collection of oral history recordings of witnesses to conflicts since The sound collection opened to the public in July

The site is operated in partnership with Cambridgeshire County Council and the Duxford Aviation Society, a charity formed in to preserve civil aircraft and promote appreciation of British civil aviation history.

She saw further combat in the Korean War. Expected to be disposed of as scrap after she was decommissioned in , in efforts were initiated to preserve Belfast as a museum ship.

A joint committee of the Imperial War Museum, the National Maritime Museum and the Ministry of Defence was established, and reported in June that preservation was practical.

In the government decided against preservation, prompting the formation of the private HMS Belfast Trust to campaign for her to be saved for the nation.

The Trust was successful in its efforts, and the government transferred the ship to the Trust in July Opened to the public in October Belfast became a branch of the Imperial War Museum on 1 March , being acknowledged by the then Secretary of State for Education and Science , Shirley Williams , as "a unique demonstration of an important phase of our history and technology".

Located beneath the Treasury building in the Whitehall area of Westminster , the facilities became operational in and were in constant use until their abandonment in August after the surrender of Japan.

Their historical value was recognised early on, and the public were able to visit by appointment. However, the practicalities of allowing public access to a site beneath a working government office meant that only 4, of 30—40, annual applicants to visit the War Rooms could be admitted.

Thatcher opened the War Rooms in April In a further suite of rooms, used as accommodation by Churchill, his wife and close associates, were added to the museum.

The centrepiece is a 15m interactive table which enables visitors to access digitised material, particularly from the Churchill Archives Centre , via an "electronic filing cabinet".

It was the first branch of the museum outside southeast England, and the first to be purpose-built as a museum. Libeskind's building, overlooking the Manchester Ship Canal at Salford Quays , was based on the concept of a globe shattered by conflict into shards and reassembled.

These shards, representing earth, air and water, give the building its shape. The museum's first floor main gallery space houses the permanent exhibitions.

These consist of a chronological display which runs around the gallery's m perimeter and six thematic displays in "silos" within the space.

The walls of the gallery space are used as screens for the projection of an hourly audiovisual presentation, the Big Picture.

The present departmental organisation came into being during the s as part of Frankland's reorganisation of the museum.

The s saw oral history gain increasing prominence and in the museum created the Department of Sound Records now the Sound Archive to record interviews with individuals who had experienced the First World War.

The museum maintains an online database of its collections. The museum's documents archive seeks to collect and preserve the private papers of individuals who have experienced modern warfare.

The archive's holdings range from the papers of senior British and Commonwealth army, navy and air officers, to the letters, diaries and memoirs of lower-ranked servicemen and of civilians.

The foreign collection also includes captured Japanese material transferred from the Cabinet Office. The museum's art collection includes paintings, prints, drawings, sculpture, and works in film, photography and sound.

In the museum established the Artistic Records Committee since renamed the Art Commissions Committee to commission artists to cover contemporary conflicts.

The museum's Film and Video Archive is one of the oldest film archives in the world. The archive also holds government information films and propaganda features such as Target for Tonight and Desert Victory.

As an official repository under the Public Records Act, the archive continues to receive material from the Ministry of Defence. The archive also seeks to acquire amateur film taken by both service personnel and civilian cameramen.

In the museum reported the size of its film archive as being in excess of 23, hours of film, video and digital footage. The museum's Photograph Archive preserves photographs by official, amateur and professional photographers.

The collection includes the official British photographic record of the two world wars; the First World War collection includes the work of photographers such as Ernest Brooks and John Warwick Brooke.

The museum's exhibits collection includes a wide range of objects, organised into numerous smaller collections such as uniforms, badges, insignia and flags including a Canadian Red Ensign carried at Vimy Ridge in , [] a Union flag from the British surrender of Singapore , [] and another found among the wreckage of the World Trade Center following the September 11 attacks , as well a piece of the towers; [] personal mementoes, souvenirs and miscellanea such as trench art ; [] [] orders, medals and decorations including collections of Victoria and George Crosses ; military equipment; firearms and ammunition, ordnance, edged weapons, clubs such as trench clubs [] and other weapons, and vehicles, aircraft and ships.

The museum holds the national collection of modern firearms. Lawrence , [] and an automatic pistol owned by Winston Churchill. The museum's library is a national reference collection on modern conflict, and holds works on all aspects of warfare, including regimental or unit histories such as rare German unit histories from the First World War , [] technical manuals, biographical material and works on war's social, cultural, economic, political and military aspects.

The library also holds printed ephemera such as the Imperial War Museum Stamp Collection , [] leaflets and ration books, printed proclamations, newspapers, trench magazines such the Wipers Times and trench maps.

The museum's Sound Archive holds 33, sound recordings, including a large collection of oral history recordings of witnesses to conflicts since The sound collection opened to the public in July As part of the museum's First World War centenary programme, the museum is producing Voices of the First World War , a podcast series drawing upon the museum's oral history recordings.

In some cases, there are images of the item, or contemporary photos, which can be shared and reused under a Creative Commons Licence.

Information material used in composition, the condition of the memorial, its address and coordinates with a satellite map plot are recorded for each of the memorials.

There are over 70, memorials on the register. Those who paid for a subscription had the ability to add records from Findmypast's collections.

Each person's profile in the database could have been further built up, so as to document when that person was born, when they died, family members etc.

If a person needed to be added, or a duplicate existed that needed to be merged, such activity was requested via a support forum manned by IWM volunteers.

A user with a subscription had the ability to group person profiles together into a "Community".

This could be a grouping based around a ship's crew, a unit in the army, or the names of men and women buried in a given war cemetery.

The goal had been to encourage crowdsourcing to build up as many details as possible in the database, and to tap into the popularity of online genealogy as a pastime.

One selling point of the platform had been that the data captured thus would be used in a "permanent digital memorial [] [that] will be saved for future generations.

Imperial War Museum holds around a half of petabyte of digitised data as of This is held in Duxford Cambridgeshire on two SpectraLogic T tape libraries, with the distance of m between.

The Imperial War Museum is an executive non-departmental public body under the Department for Digital, Culture, Media and Sport , from which it receives financial support in the form of a grant-in-aid.

The governance of the museum is the responsibility of a Board of Trustees, originally established by the Imperial War Museum Act , [12] later amended by the Imperial War Museum Act [] and the Museums and Galleries Act and other relevant legislation.

The board comprises a president currently Prince Edward, Duke of Kent who is appointed by the sovereign, and fourteen members appointed in varying proportions by the Prime Minister , and the Foreign , Defence , and Culture Secretaries.

Seven further members are Commonwealth High Commissioners appointed ex officio by their respective governments.

The museum's director-general is answerable to the trustees and acts as accounting officer. Since the museum has had six directors.

The first was Sir Martin Conway , a noted art historian, mountaineer and explorer. He was knighted in for his efforts to map the Karakoram mountain range of the Himalayas , and was Slade Professor of Fine Arts at the University of Cambridge from to Conway held the post of director until his death in , when he was succeeded by Leslie Bradley.

Bradley had served in the First World War in the Middlesex Regiment before being invalided out in He later became acquainted with Charles ffoulkes, who invited him to join the museum where he was initially engaged in assembling the museum's poster collection.

While a Cabinet Office official historian he co-authored a controversial official history of the RAF strategic air campaign against Germany.

In Borg moved to the Victoria and Albert Museum and was succeeded by Sir Robert Crawford , who had originally been recruited by Frankland as a research assistant in She was noted in the media as the first woman appointed to lead a British national museum.

From Wikipedia, the free encyclopedia. This article is about the British national museum organisation. For other uses, see Imperial War Museum disambiguation.

Main article: Imperial War Museum Duxford. Main article: Churchill War Rooms. Main article: Imperial War Museum North.

Retrieved 28 October Retrieved 28 August Museums - The World Museums Network. Journal of Contemporary History. Museums and the First World War.

Continuum International Publishing Group. Retrieved 30 January Opening by the King. Human Interest at the Crystal Palace'. Retrieved 14 April Imperial War Museum.

Retrieved 18 March Imperial War Museum Collection Search. Retrieved 12 October London: Continuum.

Retrieved 1 April Archived from the original on 3 February Retrieved 25 February London: Imperial War Museum. History at War.

London: Giles de la Mare. The Arup Journal. Archived from the original PDF on 3 June Retrieved 25 March Retrieved 16 March Warbirds Resource Group.

Retrieved 16 February The Independent. Retrieved 6 April History Today. Retrieved 2 March Retrieved 6 March The Guardian.

Evening Standard. Archived from the original on 13 December Retrieved 9 December HM Government. Archived from the original on 6 September Retrieved 15 September Retrieved 6 December George the Martyr Southwark and St.

Mary Newington. British History Online. Retrieved 29 January National Heritage List for England. Retrieved 8 January Retrieved 12 November The Times.

Retrieved 3 September Retrieved 20 August November Retrieved 2 February Retrieved 21 August Irish Times.

Press Association. Retrieved 27 September Retrieved 28 July Manchester Evening News. Retrieved 28 January Retrieved 9 October Retrieved 20 November E , Montgomery's Grant tank , office caravan , bedroom caravan , map caravan and staff car.

Imperial War Museum Collections Search. National Register of Archives: Person details: Archive details. Retrieved 26 January Contemporary British History.

Retrieved 11 August London: The Stationery Office. History Workshop Journal. Oxford University Press. The Imperial War Museum. Retrieved 2 June Oxford Art Journal.

Archived from the original on 7 July Archived from the original on 17 March Archived from the original on 5 August Archived from the original on 2 May University for the Creative Arts.

IWM from home. IWM Museum Collection. Home Learning Hub. Learn with IWM. What's On. On sale now. Online Talks. Reserve your place.

Support Us As a charity, now more than ever IWM needs your support to ensure we can continue to tell personal stories and experiences of conflict for current and future generations to come.

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