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City, University of London Institutional Repository City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS........................................................................... 12 CHAPTER 2:THE NATURE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR COLLECTIONS............................... 12 2.1. National Institutions: Models of Collecting.......... 12 2.2. Growth, Progress and Survival.............................. 20 2.3. Central Government Policy.................................... 33 2.4. Local Authority Art Gallery and Museum Collecting Policies................................................... 36 2.5. The Local and Regional Nature of Local Authority Art Galleries and Museums ••••..••..••....•• 38 CHAPTER 3:THE PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR COLLECTIONS.............................. 40 3.1. Education ................................................................ 40 3.1.2. Art Galleries, Museums and Aesthetics ••••••••.•.••.•• 45 3.1.3. Applied, Practical or Useful Knowledge •••••••.••••••••• 55 3.2. Art History ............................................................... 59 3.3. Patronage................................................................. 63 3.4. Heritage................................................................... 67 SECTION 2 CENTRAL GOVERNMENT-FUNDED ART COLLECTION SCHEMES .................................................................................... 70 CHAPTER 4:THE V. & A. PURCHASE GRANT FUND .•••..•••• .. 70 41. 0 rlgIDs ...................................................•..........•...... 70 4.2. The Fine Art Category-........................................... 74 4.3. The Heritage Issue ................................................ 78 4.4. Modem British Art ................................................ 79 4.5. The Oil Painting Category 1959 .•••.•••••••••••.•••••••••••• 80 4.6. 'Survey of Provincial Museums and Galleries' 1963 ......................................................................... 89 (ii) 4.7. Creation of the M.G.C.IV. & A. Purchase Grant Fund......................................................................... 93 4.8. Impact of the V. & A. Purchase Grant Fund.... 95 CHAPTER 5:SPIN-OFFS AND ADJUNCTS............................. 97 5.1. War Artists' Advisory Committee.......................... 97 5.2. National Heritage Memorial Fund......................... 98 5.3 Tate Gallery Five-Year Distribution Schemes ••.••••••.• ~ .••••••••.••••...• _................•.••••••••••••....• 101 5.4. Arts Council Art Collection..................................... 102 SECTION 3 INDEPENDENT ART COLLECTION SCHEMES................... 105 CHAPTER 6:INTRODUCTION................................................. 105 CHAPTER 7:THE NATIONAL ART COLLECTIONS FUND 108 7.1. Origins ..................................................................... 108 7.2. Aims......................................................................... 111 7.3. The Modern Art Fund and Collection Schemes.... 114 7.4. Contemporary Art Initiative 1992......................... 116 7 .5. Postscript ........................... _.................................... 117 7.6. Impact of the National Art Collections Fund......... 118 CHAPTER 8:THE CONTEMPORARY ART SOCIETY.......... 120 8.1. Origins..................................................................... 120 8.2. Aims........................................................................ 124 8.3. C.A.S. Collection ...............'..................................... 130 8.3.1. Acq uisition Process................................................ 132 8.3.2. C.A.S. Purchases: Pictures 1909-39...................... 137 8.3.3 C.A.S. Purchases: Pictures 1939-45...................... 138 8.3.4 C.A.S. Purchases: Pictures 1946-79...................... 140 8.3.5 Private Gifts and Bequests 1910-97...................... 144 8.4. C.A.S. Exhibitions................................................... 147 8.4.1. Loan Exhibitions to the Provinces 1911-79........... 147 8.4.2. Sales Exhibitions 1931-45....................................... 153 8.4.3. Themed Exhibitions 1953-58.................................. 154 8.4.3.1. 'Figures in Their Setting' 1953-55......................... 156 8.4.3.2. 'The Seasons' 1956................................................ 158 8.4.3.3. 'The Religious Theme' 1958.................................. 160 8.5. Linked Exhibition Schemes.................................... 162 8.5.1. Wartime Exhibitions................................................ 162 8.5.2. C.A.S. and Arts Council Exhibitions....................... 163 8.5.2.1 'Sixty Paintings for '51' 1951.................................. 164 8.5.3. C.A.S, Tate Gallery and Whitechapel Art Gallery Exhibitions............................................................... 170 8.5.3.1. 'British Painting in the '60s' 1963........................... 170 (iii) 8.5.3.2. 'British Sculpture in the Sixties' 1965 ................... 175 8.5.4. 'Visual Arts U.K.' 1996.......................................... 176 8.6. Local Authority Art Gallery and Museum Subscribing Memben............................................. 177 8.7. C.A.S. Gifts to Local Authority Art Galleries and Museums.......................................................... 183 8.7.1. ,Status of Gifts......................................................... 183 8.7.2. Gifts and Gap-Filling............................................... 184 8.7.3. C.A.S. Distribution of Works 1915-45................... 185 8.7.4. C.A.S. Distribution of Works 1946-92................... 192 8.8. C.A.S. Purchase Grants.......................................... 195 8.9. The C.A.S. Special Purchase Scheme 1979-84...... 201 8.10. The Pilot Purchase Scheme: Harris Museum and Art Gallery 1985-97 ................................................ 204 8.10.1. Origins..................................................................... 204 8.10.2. Aims......................................................................... 207 8.11. The C.A.S. Special Scheme 1992-97...................... 212 8.11.1. Origins..................................................................... 212 8.11.2. Wolverhampton Art Gallery................................... 216 8.11.3. Ferens Art Gallery .................................................. 221 8.11.4. Towner Art Gallery and Local Museum ••••••••••••••• 224 8.12. The C.A.S. Special Collection Scheme 1997-2004 227 8.13. C.A.S. and the Collecting of Specific Art Forms and Categories........................................................ 231 8.13.1. Prints and Drawings Fund ...................................... 231 8.13.2. Sculpture.................................................................. 236 8.13.3. "National" Art........................................................ 238 8.14. Impact of the Contemporary Art Society............... 242 CHAPTER 9: OTHER NATIONAL INDEPENDENT ART SCHEMES .................................................................................... 246 9.1. Scottish Modern Arts Association ••••••••••••••••••••••••• 246 9.2. Contemporary Art Society for Wales •••••••••••••••••.•• 250 9.2.1. Acquisitions ............................................................ 251 9.2.2. Distribution of Art Works ..................................... 253 9.2.3. Exhibitions .............................................................. 254 9.3. Henry Moore Foundation ...................................... 255 9.3.1. Impact of the Henry Moore Foundation•••.•••••••••••• 257 (iv) YOLUMED SECTION 3 INDEPENDENT ART COLLECTION SCHEMES................... 1 CHAPTER 10: THE GULBENKlAN FOUNDATION ART COLLECTION SCHEMES 1959-79...........................................
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