Reflections on Wainwright: 2025

Article by Chris Butterfield

With 2025 now behind us, it feels like the right time to reflect on a remarkable year celebrating the life and work of Alfred Wainwright. At the heart of it all was a simple intention: to mark the 70th anniversary of The Eastern Fells, first published in 1955, and to remember Wainwright himself.

The idea first took shape in early 2023. Knowing the anniversary was approaching, I began to wonder whether it might finally be the right moment to bring my archive out from behind the website and into a physical space. For many years, people had seen individual items online, but very few had seen the material as tangible history up close – the printing artefacts, personal possessions, rare books and working pieces that together tell the story behind the famous guides.

Rather than assembling a traditional display of objects, my aim was to create an exhibition that told a story. I wanted visitors to follow Wainwright’s timeline from his early years in Kendal, through his work as Borough Treasurer, to the moment he began the first guidebook and the remarkable thirteen-year journey that followed in creating the seven Pictorial Guides. Just as importantly, I planned to show a different side of Wainwright – his friendships, his generosity, and the charitable work he quietly carried out.

The choice of venue mattered enormously. The Armitt in Ambleside felt uniquely appropriate. Only a short distance from its entrance lies the start of the route to Dove Crag – the walk Wainwright first described on Sunday 9 November 1952, when he effectively began writing the story that would become the Pictorial Guides. Holding an exhibition there meant placing the celebration almost at the geographical starting point of Wainwright’s incredible journey.

In June 2023, I contacted the museum’s manager and curator, Faye Morrissey, with the proposal. After presenting the full concept in person, the decision went to the trustees. A few weeks later, the response was unanimous approval. It marked the beginning of a long, demanding, but deeply rewarding process.

The following spring, I returned to The Armitt and to the very room where the exhibition would take place. At the time, it housed the Beatrix Potter and Roman exhibition. I took photographs and measurements and began planning the layout from home.

The 2025 season at The Armitt was built around three concurrent exhibitions, with Alfred Wainwright as the central display, alongside A Battle of Ambleside, which explored the Roman past, and The Armitt Explores Beatrix Potter. Preparing the museum for the opening required a collaborative effort. From January onwards, it was very much all hands on, with the team working together to bring each exhibition to life ahead of the public opening on 12 February. While the wider team prepared the museum as a whole, I worked closely on the Wainwright exhibition with my wife, Priscilla, whose support was invaluable.

Exhibitions are planned well in advance, and much of 2024 was devoted to shaping the layout and translating ideas into a workable design. Having never created an exhibition before, I produced drawings from photographs of the gallery space, mapping how visitors would move through it. Eight large interpretive panels formed the backbone of the exhibition, carrying the narrative alongside individual object captions. I supplied the written content, historical research and imagery, while Faye did an excellent job designing and bringing the panels to life.

In the final days before opening, David Rigg of Titus Wilson visited while installation was still underway. It is thanks to David that I became the custodian of the original printing materials connected to the Pictorial Guides.

The exhibition officially opened on 12 February 2025, preceded by a private preview attended by trustees, collaborators and supporters. Seeing the gallery filled for the first time and hearing the early reactions brought enormous relief. The exhibition had become real – and, thankfully, it was warmly received.

Media interest followed immediately. ITV arrived early on the official opening day to film the exhibition. In the months that followed, the BBC visited to produce a feature report, and BBC Sounds recorded a Secret Cumbria episode featuring sculptor Clive Barnard and David Rigg, whose printing firm, Titus Wilson in Kendal, continued producing the guides for decades after the Westmorland Gazette era. The Daily Telegraph also visited, adding to the unexpectedly broad national coverage.

Journalist Roger Ratcliffe interviewed Wainwright on numerous occasions, and it was a pleasure to meet him at the exhibition. Roger also kindly provided some fabulous photos of Wainwright, which were taken by his former friend and colleague, Peter Dunne, and went on display as a tribute to his memory.

BBC Radio Cumbria featured the exhibition as part of its Secret Cumbria series, with contributions from David Rigg, the former Director of Kendal printer Titus Wilson, and Wainwright sculptor Clive Barnard.

Florida filmmakers and long-distance walkers Chris and Lorena Linke visited the exhibition. Inspired by Alfred Wainwright’s Coast to Coast Walk, which first introduced them to walking in England, they went on to create a successful documentary about the Herriot Way in the Yorkshire Dales.

Although no longer with us, Andrew Nichol’s presence ran through the exhibition. Widely regarded as the unsung hero of the Wainwright story, Andrew had played a decisive role in safeguarding the Pictorial Guides during his years at the Westmorland Gazette. For me, he was a mentor and a friend. Working closely with him in the final years of his life allowed me to learn from someone who had known Wainwright personally – and who remained deeply committed to preserving his work and place in Lakeland history.

Running alongside the exhibition was another project connected to the same anniversary. Over the years, both the 50th Anniversary Edition box sets and the later Readers Edition had gradually moved away from Wainwright’s original presentation. The guides, with their hardback format, dust jackets and gold blocking, reflected the traditional form in which his books had always been known. The 70th anniversary presented an opportunity to return to that classic format.

I approached the publisher, Frances Lincoln, with a proposal for a new 70th Anniversary Edition that would restore the guides to hardback form. The project required personal financial involvement and therefore carried risk, but both the publisher and the Wainwright Estate approved the idea.

Each volume retained its familiar district colour, while platinum-anniversary silver detailing replaced the traditional gold blocking. Over 1,000 box sets were produced to coincide with the exhibition opening. All sold within nine months, with a second print run already finding its way into collectors’ hands.

The exhibition became more than a display; it developed into a programme of events celebrating Wainwright from many perspectives. Talks were given by figures closely connected to his story, including BBC producer Richard Else and photographer Derry Brabbs, all contributing to the exhibition’s theme.

I would like to make a special mention of a dear friend, Sheila Richardson – photographer, writer, and former chair of Animal Rescue Cumbria. Sheila was a close friend of Wainwright, who encouraged her to write, and she went on to publish many successful books of her own.

She generously contributed several important items to the exhibition, including Wainwright’s rocking chair, but her influence on me has been far greater than any single object. Like Andrew Nichol, Sheila became a mentor and a constant source of encouragement throughout my journey. Much of what I understand about Wainwright today comes from conversations with Sheila, and I remain deeply grateful for her friendship and guidance.

This year was especially meaningful as Sheila celebrated her 90th birthday. It was a privilege for Priscilla and me to share the day with Sheila and her close friends, marking this milestone and celebrating a life full of creativity and kindness. Our good friend John Fearn was there, along with John Thomas Cook, Lord of the Manor of Workington, and his sister Sue.

Haystacks – Forty Years On

While the exhibition formed the centrepiece of 2025, another anniversary returned the focus to the fells. In 1985, Alfred Wainwright made his last recorded ascent of Haystacks with the BBC during filming for Wainwright’s Lakeland. Forty years later, that moment was marked in a way that felt entirely appropriate to him.

Working with publisher David Felton of Inspired by Lakeland, we organised a commemorative Countrystride podcast on Haystacks. My role was largely behind the scenes, helping bring together individuals whose lives and work reflect Wainwright’s continuing influence. Low cloud and steady drizzle provided fitting authenticity, echoing the conditions of the original BBC filming.

Author and illustrator Mark Richards, who knew Wainwright, was also present. His Fellranger guidebooks continue the tradition of Lakeland walking guides inspired by Wainwright’s original approach.

Writer Anna Nolan of Keswick embodied Wainwright’s spirit of endurance. Now in her 70s, she has completed all 214 Wainwright fells 11 times by public transport. An impressive feat.

Cartographer and author Chris Jesty was personally authorised by Wainwright to update the Pictorial Guides, a responsibility he assumed following Wainwright’s death. His delicate revisions ensured the books remained practical companions while preserving Wainwright’s original voice.

Brothers Mike and Paul Duff brought a direct personal connection, having accompanied Percy and Betty Wainwright onto Haystacks in March of 1991 when Alfred Wainwright’s ashes were scattered beside Innominate Tarn.

Sculptor Clive Barnard, creator of the full-size Wainwright bronze bust completed in 1987 and now housed in Kendal Museum, represented the artistic response to Wainwright. A personal friend, he had worked closely with Wainwright on several projects.

Inspired by Wainwright’s Coast to Coast Walk, Richard Jennings created the Lakeland Way, a 144-mile route linking valleys and mountain passes across the Lake District.

Chris and Lorena Linke from Florida illustrated Wainwright’s international reach. Their Emmy-nominated documentary, the Herriot Way, reflects their love for the landscapes of Northern England. Having completed the Coast to Coast Walk twice, with a third crossing planned for 2026, they also edited Andrew Nichol’s filmed journey to Innominate Tarn into an 18-minute documentary, recording his remarkable achievement, assisted by the Cockermouth Mountain Rescue Team.

With thanks to the Honister team for driving several guests to Dubs Hut, arranged by Tom McNally. The story behind Wainwright’s connection to Haystacks will form a dedicated chapter within Forty Fells, the forthcoming book published by Inspired by Lakeland in September 2026 under David Felton’s direction.

Returning from Haystacks felt, in many ways, like completing the circle begun at The Armitt earlier in the year. The exhibition had explored Wainwright’s story within the gallery; the walk returned that story to the landscapes that inspired it. As the exhibition season drew quietly to its close, the response from visitors confirmed how Wainwright’s work continues to resonate.

In November, I met with Emma Hawley, Senior Programming & Partnerships Officer for the National Trust at The Armitt, to discuss the possibility of a future exhibition exploring a different theme for 2027.

I gave the final Wainwright talk titled The Eastern Fells at 70, exploring the significance of Wainwright’s first published volume, how the book came into being, and its impact over the decades. The presentation also introduced new material and outlined the possibility of future exhibitions.

By the time visitor figures were confirmed, the impact was clear. Around 7,000 people attended – representing a 50% increase in footfall compared with the previous year. This response was both remarkable and deeply encouraging. I wish The Armitt continued success with their 2026 exhibitions, An A-Z of Beatrix Potter, Modern-Day Martineau and Club Culture Cumbria.

Looking back, this project could never have happened without the many people who contributed to the exhibition and helped shape it into what it became. Everyone involved shared the same intention: to present Wainwright’s life and work with care, respect and historical integrity. For that reason, it feels appropriate to include the final exhibition panel here, acknowledging all those who took part.

Special thanks to Roger Ratcliffe and Shane Wilkinson for their additional contributions to the exhibition.

If 2025 achieved anything, it was to remind us that Wainwright is not simply a figure of the past. His philosophy still resonates, and his story lives on through those who continue to follow in his footsteps.