ART FUND IN 2016/ 17 We know these are difficult times for UK museums and that, for many, the future looks uncertain. Over the past year our work – not just as a funder, but also as an advocate of and ally to arts organisations – has never seemed more important, or more crucial.

Art Fund is an independent charity and does not receive government funding. In 2016 our income totalled £15.2m (up from £14.8m in 2015) and so, rather than cutting back, we began investing in activities to extend our membership and increase the funds we raise. This will mean we are able to do even more to support museums in the years ahead.

In 2016 we gave over £4.7m in acquisition grants to help museums build their collections, 75% of which were awarded to organisations outside CONTENTS London. We have seen our support have a real impact. The Scottish National Gallery of Modern Art, for example, became the first UK museum to own a work by a Czech Surrealist, Toyen’s The Message of the Forest, while the Bowes Museum acquired a rare and important picture from the workshop of the pioneering painter Dieric Bouts the Elder that would have otherwise been sold to a buyer abroad. Page 2 BUILDING COLLECTIONS We also continued to fund development opportunities for curators across The acquisitions we support the UK, fulfilling a need that many museum budgets cannot meet. This year we helped curators travel to six of the seven continents to carry out Page 18 DEVELOPING TALENT 3 vital research for their exhibitions or collections through our Jonathan 4 Ruffer Curatorial Grants programme. Our support has also enabled more The opportunities we offer curators than 400 other curators to receive training to further their skills. SUPPORTING MUSEUMS But grants are not the only way in which we support museums. This year Page 34 we collaborated with Royal Museums Greenwich on a public campaign to The ways we help museums do more save the Armada Portrait of Elizabeth I for the nation; we helped museums crowdfund for an exciting range of projects through our specialist Page 46 CONNECTING COMMUNITIES platform, Art Happens; and we supported touring programmes that The networks we foster brought great works of art to venues nationwide.

We don’t act alone. All we achieve is made possible by the hard work and Page 58 WORKING EFFICIENTLY dedication of the museums, organisations, artists and partners we work Extracts from our financial statements with, and the generosity of the 123,000 members and other donors who support our work.

Together, we can meet the challenges before us.

Lord Smith of Finsbury Chairman, Art Fund 5 6 BUILDING 2016 COLLECTIONS IN NUMBERS

We award more than £4m in grants We helped museums across the UK buy 246 every year to help museums make new works of art, objects or collections acquisitions. Our support ranges anywhere from a couple of hundred to hundreds of —— We gave 96 acquisition grants

7 thousands of pounds, and covers museum totalling £4.5m 8 objects of all types from throughout history. We also help to place gifts and bequests. —— We awarded 75% of these grants to organisations outside London Why do we do this? Because we believe art has the power to —— We supported works by 129 transform lives. A new acquisition does different artists or makers not just add depth, variety or colour to a museum’s collection. It also provides a new —— We placed 113 works with 15 opportunity for each of us to be amazed, museums through our gifts and inspired, confounded or intrigued. bequests scheme BUILDING COLLECTIONS FROM £2,000 TO £2,000,000

Chloe Dewe Mathews, Shot at Dawn Numbers 14 & 22, 2013 Attributed to the workshop of Dieric Bouts Herbert Art Gallery & Museum, Coventry the Elder, St Luke Drawing the Virgin and Child, c1440-75 During the First World War more than 900 British, Commonwealth, The Bowes Museum, Barnard Castle French and Belgian soldiers were executed for crimes of desertion or cowardice. At the time, senior officials believed this While Dieric Bouts may not be a household would prevent other soldiers from abandoning their posts and name, he is certainly one of the most jeopardising the stability of the army. remarkable 15th-century Netherlandish painters. This lovingly detailed devotional In 2013 photographer Chloe Dewe Mathews visited 23 locations painting – the only work of its date, Courtesy of The Bowes Museum where soldiers had been shot, taking pictures at moments as nationality and subject matter in a British public collection – shows 9 close as possible to the precise anniversary at which their deaths him to be a pioneer of the oil-painting technique and one of the first 10 ‘The acquisition of this occurred. With our help the museum has acquired two images Northern European artists to use single-point perspective. outstanding piece sheds from this thought-provoking series – commissioned to mark the new light on the museum’s centenary of the conflict – for its Peace and Reconciliation Gallery. In 2015 the government placed it under a temporary export bar permanent collection. We to stop it from going abroad to an overseas buyer. As well as a will now focus attention contribution of £260,000 we were able to offer further support by on our existing holding of Art Funded £2,235 purchasing the painting and then gifting it to the museum, so as to Netherlandish and Flemish paintings, and work to (total cost £5,670) take advantage of associated tax benefits. improve the display of this section of the collection.’

Art Funded £260,000 (with a contribution Bernadette Petti, curator, the Bowes Museum from the Wolfson Foundation) (total cost £2,095,815)

© Chloe Dewe Matthews BUILDING COLLECTIONS FURNITURE TO FILM

Courtesy Thomas Dane Gallery, Marian Goodman Gallery © Steve McQueen Fred Baier, Tetrahedron Toroid, 1995 Steve McQueen, Ashes, 2002-15 Fitzwilliam Museum, Cambridge The Whitworth, Manchester

It was Fred Baier’s grandfather who first inspired him to begin This video installation tells the story of Ashes, a young man from the making things, teaching him the basics of woodworking when he Caribbean who was tragically shot dead in a gang-related crime. was just a boy. Baier went on to study furniture design at college The initial footage of Ashes on his boat in Grenada was filmed on while shuttering concrete for the M6 during his holidays. a Super 8 camera in 2002. When McQueen returned to the island in 2013, he heard of the boy’s death and decided to make a second Since the 1980s Baier has been a pioneer of the transition from film documenting the construction of his tomb to play alongside the industrial to digital – in fact, he says he now uses computing at images of him smiling and laughing at sea.

11 every stage of design and development. This geometric tetrahedron 12 table is a perfect example of how he has been able to make The first piece by McQueen to join a public collection outside ‘This is a great work by practical use of digital tools. Presented by Sir Nicholas and Lady London, this is a significant acquisition for The Whitworth and an artist of remarkable Goodison through our gifts and bequests scheme, this is the 107th demonstrates its continued commitment to collecting artists’ film. power, insight and gift the couple have given In 2017 the gallery was also able to acquire Elizabeth Price’s K, subtlety, so it was an important moment for to the Fitzwilliam Museum through our Moving Image Fund scheme. us when we were able over the past 20 years. to acquire it. It will form a core part of our Black History Month Art Funded £71,000 (with a contribution Gift of Nicholas and Judith programme that we are from the Wolfson Foundation) Goodison through Art Fund developing with young (total cost £236,447) men – black and white – local to our part of Manchester.’

Mary Griffiths, senior curator, The Whitworth BUILDING COLLECTIONS LONDON TO CARDIFF

Unknown maker, Elizabeth I cameo ring, c1600 Attributed to Jean Henri de Moor, pair of silver andirons, 1680-81 Victoria and Albert Museum, London National Museum Wales, Cardiff

Worn to indicate allegiance and proximity to the queen, cameos A showy statement of wealth and elegance, French-style silver were often gifted to foreign monarchs or loyal servants by the court fireplace furniture was at the height of fashion in Britain during the – yet only a rare few survive in such remarkable condition as this. reign of Charles II. These andirons bear the coat of arms of Admiral Diminutively sized yet exquisitely decorated, it is one of the finest Edward Russell and his second wife, Lady Margaret Russell, who British rings of its date. were extravagant patrons of the arts during this period.

In 1960 British collector Kenneth Snowman acquired the ring, As the finest surviving example of their kind, the andirons are of which he would loan frequently to the Victoria and Albert Museum key significance to the study of 17th-century decorative art. Offered 13 for display. Snowman’s son, Nicholas, presented the piece to the for sale to UK organisations after the government placed them 14 ‘These andirons say new V&A in 2016 through our gifts and bequests scheme as a symbol of under a temporary export bar, they have joined the National and perhaps unexpected his family’s connection with the museum, and to coincide with our Museum’s outstanding collection of silver on display in Cardiff. things about silver to our successful campaign to save the Armada Portrait of Elizabeth I. visitors. About how it was used in furnishing interiors, for example, Art Funded £150,000 or how it conveyed the status and values of its Presented by Nicholas Snowman OBE (total cost £541,000) owner. I think this is why through Art Fund we have received such enthusiastic support for this acquisition. It shows that the museum’s silver collection is alive and has the potential to attract new audiences.’

Andrew Renton, keeper of art, National Museum Wales

© Victoria & Albert Museum

© Amgueddfa Cymru – National Museum Wales BUILDING COLLECTIONS COMMISSIONS TO ACQUISITIONS

Gabriel Orozco, The Orozco Garden, 2016 Roni Horn, Pink Tons, 2009 © Roni Horn, courtesy Hauser & Wirth, London South London Gallery Tate Modern, London

Gabriel Orozco set out to create a secret garden or ‘urban ruin’, Roni Horn’s pink glass cuboid is one of a series of contemporary overgrown with herbs and plants and dotted with spherical ‘rooms’ acquisitions made by Tate to display in its new 10-floor Switch – a nod to his continued work with circles – where different exhibits House extension. The title references the sheer size of this cast- or activities could be staged. He wanted visitors to be able to explore glass sculpture, which weighs 4,514 kilogrammes – or 4.5 tons. and discover the garden as a work of art. While at first glance its apparent simplicity suggests it might be Working in collaboration with 6a architects and horticulturists at described as Minimalist, closer observation reveals its wonderful Royal Botanical Gardens Kew, the artist took two years to realise complexity. The sculpture’s appearance changes not only according 15 his vision. In order to make a connection between the indoor gallery to vantage point – whether peering in to its reflective heart, or 16 ‘From my first visit ‘My favourite moment and the new outdoor gazing flatly at its opaque sides – but also the time of day. Situated I was impressed by was showing it to a group South London Gallery’s space, Orozco used next to a huge floor-to-ceiling window, it glows with varying intensity of five-year-olds during commitment to its local bricks salvaged from as the natural light changes. the opening events. community and intrigued the original Victorian I asked them to guess by the relationship building. He has also what the work was between the garden created a planted made of, how much it space and its different weighed, to describe its walkway that gives Art Funded £75,000 audiences. I wanted colour, to jump up to see to create something the neighbouring (total cost £1,500,000) its top surface, whether that could provide an housing estate direct it was always the same inspiring platform for access to or whether it changed. all of them.’ the garden. They were completely captivated.’ Gabriel Orozco, artist Mark Godfrey, senior curator, international art, Art Funded £70,000 Tate (total cost £283,300)

© Gabriel Orozco. Photo: Andy Stagg BUILDING COLLECTIONS REALIST TO SURREALIST

Alexander Gibson, Gibson & Sons Photographic Archive, 1870-1905 Toyen, The Message of the Forest, 1936 Penlee House Gallery and Museum, Penzance Scottish National Gallery of Modern Art, Edinburgh

After taking his first picture in 1869 John Gibson decided to give up Born Marie Čermínová in Prague in 1902, seafaring and set up his own photographic company. By 1877 he the artist renamed herself ‘Toyen’ in order had two studios and his sons, John and Alexander, had joined the to assume a genderless identity. Toyen business. The family became known for their pictures of shipwrecks, started out as a children’s book illustrator © ADAGP, Paris and DACS, London 2017 but Alexander – who shot the majority of work in this archive – also but grew increasingly interested in the developed an interest in photographing archaeological sites, as well writings of Sigmund Freud and the as the local fishing community. philosophies of the Surrealist movement as her career developed. 17 Containing 1,200 original photographic prints and 290 glass 18 ‘We are really excited to ‘We have a world-famous negative plates, this archive offers new insight into the affinity This scene looks as if it could have come directly from have been able to acquire Surrealist collection, such an important record between the Gibsons’ work and the social realist paintings of the a nightmare, capturing an eerie owl-like creature holding the but the Toyen adds a new of life in West Cornwall Newlyn School, as well as providing visual context for many other severed head of a girl in its talons. The first work by any of the dimension. The work during the late 19th and items in the museum’s collection. Czech Surrealists to find a home in Britain, it is now on display has struck a chord with early 20th century. Both to the public for the first time. the public; it is really from a social historic and big – not a little token technical point of view, thing – and is able to hold these photographs are of its own in our Surrealist intrinsic value to our Art Funded £8,450 Room, where it hangs understanding of life in (total cost £31,366) Art Funded £150,000 among paintings by the area at that time.’ (total cost £486,449 with a contribution Ernst and Dalí. So with from the Wolfson Foundation) this one piece we have Katie Herbert, curator, enlarged our holdings in Penlee House Gallery a significant way. There and Museum is nothing else like it in Britain.’

Patrick Elliott, chief curator, National Galleries Scotland

© Penlee House Gallery and Museum BUILDING COLLECTIONS: ACROSS THE UK GRANTS FOR 84 ORGANISATIONS JAN–DEC 2016

Aberdeen Art Bristol Museum & The Fry Art Gallery International Slavery Michelham Priory National Portrait Royal Crown Derby University of Gallery Art Gallery Museum Gallery Museum Salford A Gallery Oldham Museum of M Aberystwyth British Museum G Ipswich Museum Archaeology and New Walk Museum Science Museum Victoria and Albert University Garden Museum and Gallery Anthropology and Art Gallery Museum Broughton House Scottish Maritime Armitt Museum and Grundy Art Gallery Islington Museum Museum of Bath Norwich Castle Museum V&A Museum of

19 Library Bushey Museum & Architecture Museum & Art Childhood 20 Art Gallery Gunnersbury Park IWM London Gallery Scottish National Ashmolean Museum Museum (Imperial War The Museum of Gallery of Modern Walker Art Gallery Captain Cook C Museums) English Rural Life Nottingham Castle Art The Atkinson Memorial Museum Harris Museum & Museum & Art The Wallace W Art Gallery Kelvingrove Art Museum nan Eilean Gallery South London Collection Ayscoughfee Hall Cartwright Hall Art Gallery and Gallery Museum Gallery Herbert Art Gallery Museum K Museum of London Pallant House S The Whitworth & Museum Gallery The Stewartry Barber Institute of Charleston Kirkcaldy Galleries The Museum of Museum Wiltshire Museum Fine Arts Herschel Museum of Somerset Penlee House P Crafts Council Astronomy Laing Art Gallery Gallery and The Stirling Smith Wolverhampton Art Ben Uri Gallery National Maritime Museum Art Gallery and Gallery Deaf Museum and The Higgins Bedford Leamington Spa Art Museum Museum Birmingham Archive Gallery & Museum The Potteries Museum & Art D The Holburne National Museum of Museum & Art Tate Britain T Gallery Derby Museum and Museum H Leeds Art Gallery Scotland Gallery Art Gallery N Tate Modern The Bowes Museum Holst Birthplace Macclesfield Silk National Museum Queen’s House Doncaster Museum Museum Museum Wales Towner Art Gallery Brecknock Museum and Art Gallery Royal Albert and Art Gallery Hunterian Museum Meffan Museum and Memorial Museum University of Fitzwilliam Museum Art Gallery Edinburgh BUILDING COLLECTIONS THE ARTISTS BEHIND THE ACQUISITIONS

DUDLEY ADAMS WILLIAM BURGES JOHN FAED TRISTRAM PAUL WYNDHAM LEWIS WILLIAM PLUMPTRE SHAO CHANGZONG WANG PING HILLIER DANLAMI ALIYU EDWARD BURNE- OMER FAST BROOKIE MAXWELL GWEN RAVERAT JOSEPH SOUTHALL WANG QIN JONES DAVID HOCKNEY HANY AL-SAYED JEAN-HONORE ANGUS MCBEAN ERIC RAVILIOUS WILLIAM STOTT OF POUL WARMIND AHMAD ABD AL-QADIR FCB CADELL FRAGONARD JORIS HOEFNAGEL OLDHAM STEVE MCQUEEN ANNE REDPATH JAMES CROMAR WATT STANLEY ANDERSON STEVEN CAMPBELL JOHN GAUDY RONI HORN GRAHAM JEAN HENRI DE MOOR NICHOLAS-FRANÇOIS CLARE WINSTEN SUTHERLAND MAXWELL ARMFIELD CAO FEI ALEXANDER GIBSON EDWARD ATKINSON REGNAULT ALASTAIR MORTON JOHN WEBBER HORNEL JUN TAKEGOSHI FRED BAIER BARBARA CARTLIDGE CLAËS GIERTTA OSCAR GUSTAV PAUL SANDBY MUNN BJÖRN WECKSTRÖM RICARDO IDAGI REJLANDER CHARLES HEATHCOTE WILHELMINA CHARLES CLAY STEPHEN GILL BARTOLOMÉ TATHAM TAPIO WIRKKALA 21 BARNS-GRAHAM GERTRUDE JEKYLL GEORGE ROMNEY 22 JOHN SELL COTMAN MELANIE GILLIGAN ESTEBAN MURILLO CHARLES DE TEMPLE MARY WONDREAUSCH JOHANN GOTLEIFF OLWEN JONES FRANCESCO WILLIAM CROZIER DUNCAN GRANT JOHN OPIE BILSINDS ROSSELLI TOYEN MILLICENT TAM JOSEPH ALEXANDER SAMUEL HIERONYMUS GABRIEL OROZCO WOODFORDE NICKY BIRD SUE RYAN JMW TURNER CUMMING GRIMM ISAAC JULIEN CORNELIA PARKER RICHARD WRIGHT ELIZABETH FRANK OWEN ERIC VAN HOVE FIONA DEAN HAN XI GRETE PRYTZ BLACKADDER PENG ZANBIN SALISBURY JOSEPH WRIGHT OF KITTELSEN JOHN VARLEY HELEN DE MAIN KENNETH HALLIWELL DERBY ERNEST BLYTH GRAYSON PERRY PAUL SANDBY ANNI KNUDSEN TONE VIGELAND CHLOE DEWE FRANK HAMPSON WU HAO DAVID BOMBERG SIGURD PERSSON KARL MATHEWS BENT KNUDSEN JOHN WALTER FRANCIS HAYMAN SCHMIDT-ROTTLUFF FRED YATES DIERIC BOUTS THE PABLO PICASSO PETER DUTENS MIYAGAWA KŌZAN II WAN LIYA ELDER THOMAS HEATH KURT SCHWITTERS ZHAO LANTAO JOHN PIPER PHILIP EGLIN LOTTE LASERSTEIN WANG HUANGSHENG MARTIN BOYCE HUBERT VON PAUL SCOTT ZHUANG XIAOWEI PIERRE PLATEL TRACEY EMIN HERKOMER THOMAS LAWRENCE BOYLE FAMILY 23 24 DEVELOPING 2016 TALENT IN NUMBERS

As public funding declines, we know it is —— We awarded 50 curators Jonathan increasingly difficult for museums to support Ruffer Curatorial Grants to fund curatorial development and we want to research trips across six continents help. We have already committed £1m to

25 the New Collecting Awards, a major funding —— Our investment in the New 26 initiative that supports ambitious young Collecting Awards reached £1m, curators with innovative collecting projects, helping curators to collect in areas and we give £75,000 a year in Jonathan ranging from neon art to French Ruffer Curatorial Grants to help curators couture carry out research in the UK and abroad. We also support other learning —— We funded three traineeships for opportunities, such as fully funded curator new curators, who were mentored at traineeships and places at conferences and two major London galleries before networking events. being placed at museums across the UK Why do we do this? Because we know that supporting —— We supported networking and curators strengthens museums. For every training opportunities that inspiring exhibition, imaginative display or benefited more than astonishing collection that we see, there is 370 curators nationwide a skilled curator whose research, creativity and knowledge have made its presentation to the public possible. DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Lucy West, National Gallery and Art Fund 2015-17 Curatorial Traineeship

I applied for the traineeship as a decisive step in pursuing a career as a curator.

The unusual opportunity to learn at both a national and a regional art gallery really attracted me. Of course, working among the riches of the collection and the wealth of expertise at the National Gallery was a key part of this, but the brief for the project at the Ferens Art Gallery in Hull was also really extraordinary, offering 27 the chance to be involved at an extremely important moment in its 28 Opposite: Pietro Lorenzetti, Christ history (Hull is UK City of Culture 2017). Between Saints Paul and Peter, c1320, The culmination of my traineeship project was curating ‘Pietro Ferens Art Gallery, Lorenzetti: Siena to Hull, A Masterpiece Revealed’. Steering the Hull, Art Funded 2013 display from the initial research and loan requests through to installing the works was an amazing learning experience.

I have always loved carrying out research, but during the traineeship I’ve seen how I can share that research with others for them to enjoy. Whether leading volunteer sessions or giving talks and tours, I have really enjoyed watching people engage with the Lorenzetti project.

One of most magical moments of the traineeship was unpacking Pietro Lorenzetti’s 14th-century gold-ground panel Christ Between Saints Paul and Peter on its arrival at the Ferens. Following four years of intensive conservation treatment at the National Gallery, there was certainly a collective intake of breath as everyone got their first glimpse of Hull’s piece of Sienese history.

The National Gallery and Art Fund 2015-17 Curatorial Traineeships are made possible through the generous support of the Vivmar Foundation. DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Hannah Jackson, The Bowes Museum, Barnard Castle £60,000, New Collecting Awards

I used my grant to collect French haute couture. The Bowes Museum’s co-founder, Joséphine Bowes, was a fashionable 19th- century Parisian woman so this project has helped us to create a legacy in her name. It has given our acquisitions strategy a focus, and inspired me to think about collecting and display techniques that would benefit the museum in the future.

29 As an early-career curator, receiving this support has really 30 Opposite: Elsa Schiaparelli, couture boosted my confidence. Not only has the scheme enabled me to embroidered midnight- develop my research skills and tested my curatorial knowledge, blue velvet evening jacket, it has helped me to expand my network of contacts with key 1937-38, courtesy of individuals and organisations. The Bowes Museum

With museums nationwide facing financial uncertainty, this funding gave me access to unique development opportunities which would have otherwise not been available – for example, I was able to take part in international conferences and courses.

The New Collecting Awards are made possible through the generous support of a consortium of funders, including the Esmée Fairbairn Foundation, The Wolfson Foundation, The Ruddock Foundation for the Arts, The Headley Trust, the Vivmar Foundation and other contributions from private individuals. DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Richard Parry, Grundy Art Gallery, Blackpool £80,000, New Collecting Awards

I used my grant to collect light-based works, including Tracey Emin’s I Know I Know I Know and Joseph Kosuth’s WFT#1B.

The Grundy Art Gallery is based in Blackpool, which has a rich history relating to light. It was one of the first places in the UK where you could see large-scale outdoor neon and one of the first in the world to use it for display rather than advertising. It has been 31 hosting its annual illuminations for more than 100 years. 32 Left: Tracey Emin, I know I know I know, 2002, at ‘Neon: The The I Know I Know I Know acquisition received a great reaction Charged Line’ at Grundy from the public – not just locally in Blackpool but also across Art Gallery, Blackpool, the country. With Emin holding status as one of the UK’s most © Tracey Emin. All rights celebrated artists and with her family connections to the town, the reserved, DACS 2017 work is the most significant contemporary acquisition we have ever made and represents a step change for us.

This award has enabled us to upscale our ambition as an organisation. Through our light programme we have seen our audience figures double, attracted unprecedented media interest and received positive feedback from key stakeholders such as Blackpool Council and Arts Council England.

The support that the gallery has received from Art Fund has been exceptional. It is rare for an organisation to be so wholly generous, not only financially, but with its time and its willingness to see what other forms of support might exist – for example, connecting us with mentors, introducing us to potential supporters and helping us to increase our profile in the media and among our peers. DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Sarah Rothwell, National Museums Scotland, Edinburgh £50,000, New Collecting Awards

I used my grant to collect items of jewellery designed and created between 1946 and 1978 in the Nordic countries and Britain. This project not only bridged a gap in our own jewellery collection, but also strengthened it.

One of the most important pieces I acquired was Domino, a ring designed in 1952 by the pioneering Norwegian Modernist Grete 33 Prytz Kittelsen. Intended to be an affordable piece of jewellery for 34 Opposite: Domino ring, and necklace, both enamel the younger generation, the ring was the first product in Norway and silver, designed by to be designed for this emerging demographic. It acknowledges Grete Prytz Kittelsen the ideals of Modernism, balancing functionality with individuality in 1952 for J Tolstrup, thanks to its range of colours and adjustable sizing. Norway

I am so proud to have been given the opportunity – especially as an early-career curator – to acquire such key items of international significance for the nation. It is a wonderful feeling to know that I have created a collection that will promote further research into this period of jewellery production.

Not only has Art Fund’s support given me a fantastic opportunity to further my knowledge and to develop a research profile, it has led me to meet, consult and work with a network of leading historians, curators, dealers and collectors in the field of jewellery. This network has, in turn, introduced me to designers who have rarely been discussed in print, to visit their collections and to view items at first hand.

DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Eleanor Clayton, The Hepworth Wakefield £1,000, Jonathan Ruffer Curatorial Grant

My grant took me to India, to carry out research for an upcoming exhibition ‘Howard Hodgkin: Painting India’ and an associated publication.

Shortly before his death, I interviewed Hodgkin in his Mumbai studio. We discussed how and why India had been important for him and he recommended places for me to visit that have 35 appeared in his work. 36 Opposite: Howard Hodgkin, Mrs Acton in Delhi, 1967-71, © Howard I was able to understand more about Hodgkin’s artistic process and Hodgkin. Courtesy the how this had developed over the years. It was interesting to be able artist, Gagosian and The to discuss with him what he thought made a good subject. Visiting Hepworth Wakefield him in India meant I was able to see both the tangible subjects and how they appear in paint.

The best moment was sitting with Hodgkin on the terrace of his studio, watching the light change with the sunset.

The Jonathan Ruffer Curatorial Grants are made possible with the generous support of the Lempriere Pringle Trust. DEVELOPING TALENT OPPORTUNITIES FOR CURATORS

Kate Newnham, Bristol Museum & Art Gallery £1,400, Jonathan Ruffer Curatorial Grant

My Ruffer grant allowed me to visit Tokyo, Osaka, Kyoto and Shizuoka Prefecture to research aspects of Bristol Museum & Art Gallery’s fine but little-known Japanese collections.

I visited six workshops specialising in woodblock printing, glass- blowing, Tokyo cut glass (Edo Kiriko) and doll-making. Here I was able to watch the artists at work, as well as to have a go at printing 37 some designs myself. This transformed my understanding of these 38 The Adachi Print Institute, Tokyo arts: you can read about techniques in books, but it is hard to fully appreciate them unless you see the process first-hand.

Another highlight was seeing snow falling against the backdrop of a Kyoto temple – it really made me appreciate the 50 or so woodblock print snow scenes in Bristol’s collection.

From this trip the museum gained 13 new objects for its collection (supported by the Friends of Bristol Art Gallery) and I was able to identify other potential acquisitions for the future. It also gave me fresh ideas for how to present Bristol’s existing Japanese collections. I have been able to pass on what I learnt to my colleagues, for example information about woodblock printing to our paper conservator.

This award is a godsend. It enabled me to take a career-enhancing trip that would have been impossible given the financial constraints faced by our local authority. Ruffer grants give staff in regional museums the means to develop skills and stimulate our ambition in a way that is often only open to curators in national museums. DEVELOPING TALENT OTHER WAYS WE SUPPORTED CURATORS IN 2016

ARTS COUNCIL COLLECTION GOING PUBLIC NAVIGATING THE ART MARKET WHITECHAPEL GALLERY CURATORS’ DAYS To support National Museums Sheffield’s We partnered with Sotheby’s Institute of CURATORIAL DEVELOPMENT Working with the Arts Council Collection, project exploring the relationship between Art to provide a course offering a practical COURSES we ran two events (one at The Whitworth in private philanthropy and the public art understanding of the art market through Together with the gallery we provided 10 Manchester, the other during Artes Mundi sector, we helped fund an exhibition, two a combination of online learning and expert-led courses on practical subjects in Cardiff) that enabled curators from seminars and a report by Louisa Buck. seminars in London. spanning from curating public programmes

around the country to meet and network. Curators: 23 Curators: 30 to writing successful grant applications. Curators: 60 Curators: 50 HOW GLOBAL? CONFERENCE NEW CONTEMPORARIES ART FUND CURATORS As part of our support of the ‘Art From Together with New Contemporaries, an WORKING TOGETHER: THE PROGRAMME AT FRIEZE Elsewhere’ exhibition tour, we helped fund organisation supporting emerging young IMPACT OF ARTISTS ON 39 MASTERS an associated conference in Bristol, during artists from UK schools, we organised INSTITUTIONS 40 Working with Frieze, we brought together which leading museum directors, academic a day-long symposium at Bluecoat in We supported the East Contemporary five curators from UK museums with five scholars, artists and curators discussed Liverpool that addressed the cost of Visual Arts Network and Wysing Arts from the USA to share their knowledge and the challenges of developing international education, long-term provision for studio Centre in the development of a symposium discuss their experiences as part of the collections of public art in the 21st century. space and alternative funding models for exploring the relationship between artist,

activities at the fair. Curators and other arts professionals: 113 artists. curator and organisation. Curators: 10 Curators: 15 Curators: 10 ICA ART & SCREEN NETWORK GASWORKS Our support enabled the ICA to hold two V&A PHOTOGRAPHY CURATORS’ ART NIGHT In collaboration with the London gallery curatorial exchange meetings that saw TRAINING PROGRAMME To celebrate the new all-night contemporary Gasworks, we supported two fellowships partners within its Art & Screen Network We supported a two-year pilot programme arts festival in London, we supported a that allowed UK curators to carry out come together with Art Fund Moving Image during which a trainee spent six months workshop informed by the themes of the research at art organisations within the Fund recipients to share expertise. gaining specialist skills in curating event, led by its 2016 curator, Kathy Noble.

Triangle Network (spread across Africa, Curators: 11 photography collections at the V&A before Curators: 20 Asia and South America). taking up a placement at the Graves Gallery

Curators: 2 ICA ARTISTS’ FILM BIENNIAL in Sheffield. We funded seven events during the four-day Curators: 1 biennial, which included talks, curator- selected programmes, a symposium and seminar groups examining moving-image practices today.

Curators: 33 41 42 SUPPORTING 2016 MUSEUMS IN NUMBERS

We use our voice to support museums in a —— The V&A won the £100,000 prize for variety of ways. We run public campaigns becoming Art Fund Museum of the Year to save works of art under threat, recognise 2016 and reward exceptional achievement

43 through Art Fund Museum of the Year, —— 8,000 people donated to the campaign 44 support national exhibition tours and help to save the Armada Portrait of Elizabeth I museums to raise money for important for Royal Museums Greenwich projects through our crowdfunding platform, Art Happens. We are also —— Artist Rooms celebrated its working on several new schemes, such as a 40 millionth visitor ticketing management system that will serve museums large and small across the UK. —— 1,284 people donated to Art Happens crowdfunding projects Why do we do this? Because we are more than just a grant- giving body. As champion, advocate, mentor and ally to the UK’s museums, we want to use our resources to promote their growth, success and longevity. SUPPORTING MUSEUMS ART FUND MUSEUM OF THE YEAR

Through our annual prize we are able to shine a spotlight on In 2016 ... the best work that museums do. With £100,000 at stake for the winner, it is the largest award of its kind and enjoys international —— The Victoria and Albert Museum won the prize for a year recognition. of exceptional achievement, including its record-breaking Alexander McQueen exhibition, transformed Europe 1600- But it is not just about finding the winning museum. Each year our 1815 galleries and imaginative India Festival shortlist reflects the scope and scale of achievement that has been made by museums and galleries across the UK. The prize enables us —— Arnolfini was recognised for its ambitious interdisciplinary to amplify the accomplishments of each of our finalists and share programme of contemporary art, performance, film them with the world. and music, as well as its range of innovative audience engagement initiatives 45 In 2017 we will also be awarding £10,000 to each of our shortlisted 46 Victoria and Albert ‘As a small organisation museums alongside the main prize. —— Bethlem Museum of the Mind was recognised for its Museum staff with artist with big ambitions, it Yinka Shonibare MBE, impressive refurbishment, including a exhibition space was hugely exciting to be 2016, © Rankin exploring the history of mental health through audio-visual shortlisted in our first year and interactive displays of opening. It really raised our profile both within —— Jupiter Artland was recognised for its development and the cultural sector and with the general public. expansion – as well as its new Ballroom gallery, the Our visitor numbers organisation launched a scheme supporting emerging increased and there was artists and expanded its learning programme for more than a noticeable buzz around 10,000 children a year our events.’

Caroline Smith, director, —— York Art Gallery was recognised for its dramatic renovation, Bethlem Museum of the including the launch of a dedicated space for its ceramics Mind (2016 finalist) collection and a new Artists’ Garden

—— The prize was presented by HRH the Duchess of Cambridge at a ceremony at the Natural History Museum, London SUPPORTING MUSEUMS ART ON TOUR

Art Fund is not a London-centric organisation – we want to help In 2016 ... everyone get closer to art, no matter where they live in the UK. The touring programmes we support create crucial opportunities for —— A multi-venue exhibition in Bristol completed the six-city individual works, exhibitions or collections to be shown in museums ‘Art From Elsewhere’ exhibition tour in July. Works by both inside and outside the capital. Ai Weiwei, Kara Walker and Imran Qureshi travelled to Glasgow, Middlesbrough, Birmingham, Preston, Eastbourne and Bristol as part of the programme (in partnership with Hayward Touring)

—— Constable’s Salisbury Cathedral from the Meadows was shown at Oriel y Parc in Pembrokeshire as part of a series 47 of celebrations marking the artist’s 240th birthday. In the 48 Opposite: Phyllida Barlow, autumn it returned ‘home’ to Salisbury Museum, to be Untitled: Upturned House, 2, displayed next door to the cathedral it portrays. Its five- 2012, at Tate Modern, year tour finishes in Edinburgh in 2017 (in partnership with Artist Rooms, acquired Tate and Heritage Lottery Fund) jointly for National Galleries of Scotland and —— Van Dyck’s Self-Portrait starred in an exhibition at Tate through The d’Offay Donation with assistance Birmingham Museum and Art Gallery in 2016, curated from the National Heritage by artist John Stezaker. The painting is being shown in Memorial Fund and Newcastle and Edinburgh this year (in partnership with Art Fund 2008, National Portrait Gallery and Heritage Lottery Fund) © Phyllida Barlow. photo © Yui Mok/PA —— A new three-year Artist Rooms programme launched in October, during which works by Andy Warhol, Phyllida Barlow and many others will be shown at 30 museums and galleries the length and breadth of the UK (in partnership with Tate, National Galleries of Scotland, Arts Council and Creative Scotland) SUPPORTING MUSEUMS ART HAPPENS

With more than 100 years’ fundraising experience to our name, In 2016 ... we are keen to share our expertise with other arts organisations. In 2014 we developed our specialist crowdfunding platform Art —— 183 funders raised £10,938 for Walthamstow’s William Happens, so we could help museums and galleries to fundraise for Morris Gallery so that artist Clare Twomey could create a a project using our infrastructure. chrysanthemum design tile with the help of 67 apprentices over 67 days Over the last two years we have worked with 25 organisations to raise the money they need to stage exhibitions, create new —— 257 funders raised £12,770 so that Ditchling Museum of commissions and make important restorations. But more than that, Art + Craft could turn a 12.5-tonne vintage steamroller into our partner museums have developed vital fundraising, marketing a massive printing press and take it on tour and networking skills that will continue to benefit them far into 49 the future. —— 272 funders raised £22,843 so that Old Royal Naval 50 Opposite: Captain Kris ‘In all honesty we College, Greenwich, could re-gild the proscenium arch of and Amara Por Dios’ street probably wouldn’t have art, part of the Amy Street We have just one goal for Art Happens in 2017: to help more its magnificent 300-year old Painted Hall done it if the Art Fund Art Trail, created by The museums run even better crowdfunding campaigns. team hadn’t approached Jewish Museum —— 194 funders raised £25,860 so that Art Night could launch us first. Although we Below: Joan Jonas and a contemporary arts festival for London that featured free had wanted to try Jason Moran’s performance installations and performances in spaces along The Strand crowdfunding for some Reanimation at Art Night time, we were anxious 2016, courtesy the artist about the work involved and Wilkinson Gallery —— 127 funders raised £14,111 so that Modern Art Oxford and the risk to our could create a 50th anniversary publication featuring reputation if we did not Marina Abramović, Richard Long, Yoko Ono and others meet our target – Art Fund’s encouragement —— 155 funders raised £26,227 so that the River & Rowing and support gave us the confidence to try it. Museum, Henley, could create a new gallery in which to It certainly helped us display its collection of works by local artist John Piper think of and present the gallery as a fundraising —— 96 funders raised £14,011 so that Jewish Museum London organisation, which had could create a street art trail through Camden to celebrate been a challenge for us in the return of its acclaimed Amy Winehouse exhibition the past.’ James Gray, marketing and audience development manager, William Morris Gallery SUPPORTING MUSEUMS SAVE ELIZABETH

Since 1906 when we launched our first public campaign to save Diego Velázquez’s Rokeby Venus for the National Gallery, we have been running major fundraising appeals to help secure at-threat works of art for museums across the country.

In 2016 Art Fund supported Royal Museums Greenwich in its bid to raise £10m to acquire the Armada Portrait of Elizabeth I, which was being sold by the descendants of its first owner, Sir Francis Drake. After announcing our own pledge of £1m and £400k from the museum, we opened the appeal to the public.

51 Revealing widespread enthusiasm for the portrait, 8,000 people 52 Opposite: English School, The Armada Portrait gave to the campaign in just 10 weeks, meaning that – with of Elizabeth I, c1590, donations being matched pound-for-pound – we were able to National Maritime raise £1.5m in less than two months. Major contributions also Museum, Art Funded came from the Linbury Trust, the Garfield Weston Foundation 2016, © Royal Museums Greenwich and the Headley Trust.

Recognising the strength of popular support for the acquisition, the Heritage Lottery Fund granted the museum the final £7.4m. More than 420 years after it was painted, the portrait has entered a public collection and is now on display at the Queen’s House in Greenwich – close to the site where Elizabeth I was born. ‘This support enables us to bring the painting into the national collection, thus safeguarding its future. It will be the centrepiece of future displays, talks, tours, and education initiatives.’

Kevin Fewster, director, Royal Museums Greenwich SUPPORTING MUSEUMS ART TICKETS

In order to offer meaningful support to museums and galleries, we try to listen and respond to their needs. In 2014 we found that 45% of all charging museums had no online ticketing capability, so we began researching ways we could help.

Working with representatives from 17 museums from around the UK, we developed a prototype ticket management system tailored specifically to their requirements. Several of our collaborators have successfully piloted the system as part of this first phase of the project.

53 Thanks to private funding, including a grant from Fidelity UK 54 Opposite: The Whitworth, Manchester, © Janie Airey Foundation, in 2017 we plan to upscale the system so it can be made available to more museums; we know that as many as 100 could benefit from using it.

Not only will we cover the set-up costs, we will also be working with museums on the associated marketing opportunities this new platform will offer – for example how it can be used to increase advance ticket sales or to provide the public with better information ahead of visiting. 55 56 CONNECTING 2016 COMMUNITIES IN NUMBERS

Art Fund exists in a distinct space in the —— Our membership increased to art world – we seek to serve both our UK 123,000 museums and their visiting public. Through our National Art Pass we are able to —— Support from private donors

57 create a bridge between the two. The pass enabled us to give free National 58 generates the income that makes our work Art Passes to 4,000 students at 17 with museums possible and, in turn, allows universities our members to see the impact of their support by visiting for free or at reduced —— 188 Art Partners donated over price. We are always thinking of ways to £650,000 towards our work develop the scheme that will help us to reach new communities and connect them —— 12 Artist Partners joined us as to the art that is on offer across the country. ambassadors and supporters

Why do we do this? Because supporting museums is only half of the story. We want everyone to be able to access and enjoy them. Art encourages new ways of thinking, seeing and being, and we believe that by inspiring more people to experience more art, we can help create a culturally richer nation. CONNECTING COMMUNITIES NATIONAL ART PASS

We receive no government funding, and the National Art Pass is one of the ways we are able to generate income for our grant- giving activities. But it is much more than that. Through the pass we have been able to build a network consisting of over 700 museums and 123,000 members of the public and connect them with each other.

While our partner organisations stand to gain from additional promotion and increased visitor numbers, our members receive a range of admission, shop and café discounts and benefits.

59 In 2016 ... 60 ‘We have been working ‘So excited about getting a closely with Art Fund #NationalArtPass. to find creative ways —— We launched the National Art Pass Plus One, a new flexible 2017 = my year of of achieving our key form of double membership allowing pass holders to take travelling the length objectives – for example, any guest along on their museum visit of the country to visit raising awareness of galleries.’ our art collection and —— We gained 17 new National Art Pass partners including increasing visitor @RachElizRose Blenheim Palace; Freud Museum; Gunnersbury Park; numbers to our varied via Twitter exhibitions.’ Jerwood Visual Arts; Knebworth House; Petworth House; Scottish Maritime Museum; South London Gallery; Olivia Parker, marketing Surgeons Hall Museums; and Talbot Rice Gallery officer, Waddesdon Manor

—— The number of charging venues offering free admission with the National Art Pass rose to 240 © Colombe Clier —— Pass holders received 50% off major exhibitions including ‘Vogue 100: A Century of Style’ at the National Portrait Gallery, ‘Storms, War and Shipwrecks: Treasures from the Sicilian Seas’ at the Ashmolean Museum, ‘Georgia O’Keeffe’ at Tate Modern and ‘Botticelli Reimagined’ at the V&A CONNECTING COMMUNITIES STUDENT NATIONAL ART PASS NATIONAL ART PASS FOR COMPANIES

Thanks to the support of a consortium of private donors, trusts and In 2015 we launched the National Art Pass for Companies which foundations, we have been able to provide free National Art Passes allows employers to give cards directly to their staff. In 2016 we to more than 12,000 art students at 22 universities over the last five focused on promoting awareness of the scheme. We believe it to years. With 87% of recipients surveyed saying that regular visits to be the cultural benefit of choice, and that organisations of all sizes museum and galleries were vital to their studies, we know the pass and across all sectors can benefit from taking part. is an invaluable asset to their creative education. Our corporate members have told us that National Art Pass But we want to do more. With over 140,000 people currently experiences have helped fuel their creative thinking, brought them studying for an art-related degree in the UK, there is huge potential closer to their colleagues and provided new spaces for them to to expand and develop our Student National Art Pass scheme. recharge and relax. The breadth of appeal is made clear by the We not only want to provide more passes to more people; we also range of companies that offer the pass to their employees – from 61 want to connect this vast network of students with our partner fashion brands to architecture practices, publishing houses to 62 ‘Not only does the Design Museum, London, organisations in ways that go beyond the visitor experience. insurance firms. Student National Art © Andy Smith Pass give you many advantages when We are looking to secure funding to create a new online platform visiting galleries and that will allow arts organisations to share knowledge and resources exhibitions, but it also with art students to help prepare them for a career in the gives you a great sense of creative industries. This might be anything from work experience identity – you feel part of opportunities and details of upcoming talks and events to practical the art world.’ advice and guidance. MA History of Art student, University of Glasgow CONNECTING COMMUNITIES ART PARTNERS

As our closest supporters, Art Partners play a crucial role in enabling us to do more for museums across the country. Like us, they believe wholeheartedly in the importance of strengthening our public collections, and pledge their philanthropic support to help make that possible.

As well as receiving all the benefits of a National Art Pass holder, Art Partners are invited to take part in an exclusive programme of events that brings the impact of their support to life – from meeting artists in their studios to private views of exhibitions and behind-the- scenes access to museum collections. 63 64 ‘Being an Art Partner A behind-the-scenes tour In 2016, 188 Art Partners ... gives so much - the of the collection at Towner privilege of going behind Art Gallery in Eastbourne, the scenes at museums, —— Enjoyed a programme of exclusive visits to 14 museums, © Janie Airey meeting artists in their galleries, art collections and artists’ studios studios, attending private views of exhibitions —— Saw hundreds of works secured with Art Fund support, with their curators and by artists from Sandro Botticelli to Cornelia Parker speaking to collectors who want to share their passions with us. —— Donated over £650,000 towards the acquisition of works At a time when many of art, and special projects including the Armada Portrait museums and galleries campaign, the New Collecting Awards and the Student face a difficult future, National Art Pass it is so worthwhile to contribute towards the work of Art Fund, which —— Supported our national campaign for regional museum supports institutions collections outside London, raising over £69,000 across the UK.’

Gillian Shaw, Art Partner CONNECTING COMMUNITIES ARTIST PARTNERS

In 2016 we announced a new strand of our Art Partners scheme. In recognition of our important relationship with contemporary British artists, we welcomed a dozen leading figures to join us as ambassadors and supporters of our work.

The knowledge they bring to Art Fund is invaluable as we commit to expanding the range of contemporary work in public collections. We are excited to be working together with them on our mission to make art available for everyone to enjoy.

Our Artist Partners are ... 65 66 Art Fund trustees Isaac Julien and Richard Deacon ZARINA BHIMJI MARTIN PARR © Janie Airey

RICHARD DEACON BOB AND ROBERTA SMITH JEREMY DELLER MITRA TABRIZIAN ISAAC JULIEN CLARE TWOMEY ANISH KAPOOR JONATHAN YEO MICHAEL LANDY

CORNELIA PARKER CONNECTING COMMUNITIES SPREADING THE WORD

We use our communication channels to share the accomplishments and activities of our partner museums, and to inspire the public to visit them. Across our website, app and magazine, Art Quarterly, we offer a range of features, news, exhibition previews, videos and interviews, produced by a host of talented writers and presenters including Charles Darwent, Nancy Durrant, Jeremy Paxman, Alistair Sooke and Rachel Spence. Meanwhile our fortnightly e-newsletter engages almost 170,000 subscribers, while our social media channels help us reach audiences of more than 165,000 people.

In 2016 ... 67 68 ‘The website is really ‘@artfund latest issue of —— More than 35,000 people watched Bettany Hughes explore useful at helping me find #artquarterly is stunning things to visit. It has the ‘Sunken Cities: Egypt’s Lost Worlds’ exhibition at the – so much in there that encouraged me to step British Museum through our YouTube channel I can’t wait to read.’ outside my typical choice Gareth Gardner, of museums and galleries —— In his interview with Art Quarterly Peter Blake revealed @gardnergareth via and explore ones I’d never that it took him 30 years to finish his portrait of the fashion considered visiting before.’ Twitter designer Paul Smith MA Contemporary Theory student, Goldsmiths, —— The public voted in their thousands to name the Armada University of London Portrait of Elizabeth I their Art Funded work of 2016 using our online poll

—— We wrote about more than 200 exhibitions in Art Quarterly and featured over 270 on our website 69 70 WORKING 2016 EFFICIENTLY IN NUMBERS

—— We raised £15.2m in total income, up from £14.8m in 2015 As an independent charity, we receive no statutory funding from government. Our —— Our support costs are paid for by ability to deliver a sustainable programme our investment portfolio and in to museums and galleries is entirely 2016 represented 8.6% of our total

71 dependent on the ongoing generosity of spend (excluding special appeals) 72 our supporters. And we use our portfolio of investments to fund our administrative —— We increased our underlying costs. charitable contribution by 23% in 2016 Why do we do this? It is simple. So the highest possible —— We invested £0.8m from reserves proportion of donated income can to grow our community of members go directly towards our charitable work. and supporters, to develop ways of raising more income, and to build secure and efficient technical systems WORKING EFFICIENTLY TREASURER’S REPORT

REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 DECEMBER 2016 PERFORMANCE Our total income increased to £15.2m in 2016 (2015: £14.8m) thanks to growth in members’ The Trustees are pleased to present their annual report together with the consolidated financial subscriptions and special fundraising appeals. This increase was offset by the reduced amount of statements of the charity and its subsidiary for the year ended 31 December 2016. legacy income we received, which was £1m in 2016 (2015: £3.3m), as well as a small decrease in The financial statements comply with the Charities Act 2011, the Charities and Trustee donations income of £0.1m. Investment (Scotland) Act 2005, the Memorandum and Articles of Association of Art Fund After adjusting for the impact of volatile special appeals, legacy income and other exceptional Services Limited, and Accounting and Reporting by Charities: Statement of Recommended items (such as the £1.8m of income recognised as a consequence of Art Fund acting as Schedule Practice applicable to charities preparing their accounts in accordance with the Financial 3 body to support the acquisition of St Luke Drawing the Virgin and Child attributed to the Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January workshop of Dieric Bouts the Elder, by The Bowes Museum), underlying income grew from £10.1m 2016). in 2015 to £10.9m in 2016 (7.9% growth). Our financial performance is monitored by the Finance & General Purposes Committee, which 73 Membership subscription income reached £6.9m in 2016 (2015: £6.1m), growing by 13.1% as our 74 comprises a sub-group of expert trustees and special advisors. I would like to thank my fellow increased investment in the National Art Pass began to take effect. We are enormously grateful committee members and especially our non-trustee special advisors, Brendan Finucane, Ruth to our volunteer committees who run events all over the UK that raise funds to support our Jarratt and Celia Clear, for their support and counsel during the year. charitable programme. In 2016 their contribution, net of costs, increased to £387k (2015: £353k), 2016 was a year of growth for Art Fund’s charitable programme as the financial value of our an increase of 9.6%. Other income reflects £351k of commercial trading and property income support increased to £16.6m (2015: £11.2m). Our total income reached £15.2m (2015: £14.8m), (2015: £386k). and importantly, our underlying income – which excludes volatile special appeals and legacy Our financial statements show an ‘operating deficit’ of £2.9m (2015: £2.1m surplus). Both these income – grew by £0.8m, rising to £10.9m (2015: £10.1m, up by 7.9%). figures are reported before the application of our total return investment policy, which allows us It was also a year of investment. Our trustees had previously set aside the £2.9m legacy from to treat a portion of investment gains as income. This then becomes available for us to spend Donald Parker to fund income and infrastructure development, and during 2016 they approved on core operating and administrative costs, meaning that the highest possible proportion of all a long term programme of investment that aims to both respond to demand and to amplify the donated funds can be applied directly to charitable purposes. In addition, the grant of £1.0m impact of the organisation by 2020. made to support the acquisition of the Armada Portrait of Elizabeth I was made from free reserves.

Our investment in 2016 has focused on three key areas: to stimulate long-term growth in the EFFICIENCY AND SECURITY reach and value of the National Art Pass (£0.6m investment); to support income-generating The costs we put towards generating voluntary income increased to £862k (2015: £859k) this projects (£0.1m); and to ensure the resilience and security of our technology systems (£0.1m figure includes the investment we made from the Parker Fund to develop our community of Art investment). The Parker Fund means we can invest in such long-term projects without Partners. compromising our grant-giving and wider charitable programme. This is crucial at a time when demand for our support is greater than ever. In line with our strategy to deliver a robust, efficient and scalable Art Fund, we increased our support costs to £1.2m in 2016 (2015: £1m) so we could invest directly in infrastructure and data security. Underlying support costs (i.e. net of temporary project expenditure) were £1m (2015: £0.9m). WORKING EFFICIENTLY TREASURER’S REPORT

IMPACT Connecting communities The total financial value of our charitable programme in 2016 was £16.6m (2015: £11.2m). Our charitable programme is made possible thanks to the income we raise through the Excluding the effect of special appeals – which can fluctuate significantly each year – our 123,000 individuals who buy the National Art Pass. However, the pass represents much underlying charitable programme grew to £12.2m in 2016 (2015: £9.9m), an increase of 23%. more to us than a simple stream of income. We believe the growth and development of Art Fund membership is a critical strategic and charitable objective in its own right and so Building collections in 2016 we invested £0.6m from the Parker Fund towards this aim. Expenditure of £4.0m In 2016 we awarded acquisition grants of £4.5m to support 96 acquisitions with a total (2015: £3.1m) relates to our efforts to recruit, retain and service our membership. In 2016, value of £23,425,170. The grants we offer can range from a few hundred, to hundreds highlights included the launch of the National Art Pass Plus One, a new flexible form of of thousands of pounds. As well as direct grant giving for acquisitions, we also support double membership allowing pass holders to take a guest along on their museum visit, the individuals and museums wishing to place works of art into public collections through our development of our hugely popular Student National Art Pass scheme, and the creation gifts and bequests scheme. In 2016, 113 works were presented to 15 museums as part of of our Artist Partners network – a growing group of 12 artist ambassadors who work 75 this initiative. closely with us to advocate our cause. Expenditure in this area also includes the cost of 76 publishing Art Quarterly magazine. Developing talent Funding that provides curators with opportunities to develop their expertise continues to decline. We recognise that without skilled curators there would be no inspiring exhibitions or astonishing collections and we want to help. In 2016 we committed a further £183k to curatorial support. Highlights of the year include the continued success of the Jonathan Jeremy Palmer Ruffer Curatorial grants scheme, which enabled 50 curators to take research trips across Treasurer, Art Fund the world, and the news that the total amount we had committed to the New Collecting Awards had reached £1m. We also supported a wide range of training and networking opportunities throughout the year.

Supporting museums Expenditure in this area supports our efforts to promote ambition, enterprise and resilience within UK museums. We do this in a variety of ways, for example through partnership, policy, advocacy and digital innovation. Highlights include the £10m fundraising campaign, generating £1.5m through our public appeal, which helped to secure the Armada Portrait of Elizabeth I for Royal Museums Greenwich, the £100k prize for Art Fund for Museum of the Year awarded to the Victoria and Albert Museum, and £101k generated through our Art Happens crowdfunding platform. SUMMARY OF AIMS AND OBJECTIVES ORGANISATION Art Fund exists to help museums and galleries all across the UK to buy, show and share The Board, while retaining overall responsibility, delegates certain functions to two sub- great art so that it can be experienced and enjoyed by everyone. Set up over a hundred committees and executive staff as described here. years ago, Art Fund is the leading national fundraising charity for art and is independently funded and supported by 123,000 members. The Finance and General Purposes Committee, which meets up to four times a year under the chairmanship of the Treasurer, considers all matters relating to finance, investments, Our four strategic objectives to 2020 are as follows: risk management and the administration of the charity including the property. It currently —— Art: has four Trustee members and two non-Trustee advisory members. Building our national funding programme to enable public art collections to grow, develop and be enjoyed. The Nominations Committee, which meets at least annually under the chairmanship of the Chairman, considers candidates for membership of the Board and terms of appointment. —— Sector: Encouraging and enabling museums to be more creative, innovative and ambitious The day-to-day direction of Art Fund’s affairs is the responsibility of the Director who in what they do. reports to the Board through the Chairman. The Director is supported by a Senior —— Community: Management Team consisting of the Director of Finance & Resources, Director Broadening our community of members and museum visitors to generate more of Development, Director of Programmes, Director of Marketing and Director of support and income for UK public collections. Communications. —— Resources: Increasing our income, building our support systems and making efficient use of RELATED PARTIES AND CO-OPERATION WITH our existing resources to enable us to maximise our charitable impact. OTHER ORGANISATIONS None of Art Fund’s Trustees receive remuneration or other benefit from their work with the STRUCTURE, GOVERNANCE & MANAGEMENT charity. Details of Trustees’ expenses and related party transactions are disclosed in the APPOINTMENT OF TRUSTEES notes to the accounts. 77 Art Fund is governed by its Board of Trustees, which meets six times a year. It currently has 78 17 members. Vacant Trustee positions are advertised to the membership in Art Quarterly The trading activities of Art Fund are carried out by its service company, Art Fund Services and are appointed by the Board, on the recommendation of the Nominations Committee. Limited, a company incorporated in England and Wales (registered number 01487654). The subsequent appointment is then notified to the membership at the Annual General The company is wholly owned by Art Fund and it donates all its profits in the year to Art Meeting (AGM) following their appointment. The five Trustees who have been longest Fund by way of Gift Aid. in office since their last election must ‘retire’ each year at the AGM, and are eligible for re-election. Trustees can serve for a maximum of two consecutive terms of five years, and PAY POLICY FOR SENIOR STAFF normally retire at the age of 75. The pay of the Senior Management Team is reviewed annually and, along with that of the entire staff body, is considered against key inflation measures and cost-of-living TRUSTEE INDUCTION & TRAINING benchmarks. Remuneration is benchmarked against similar roles within the not-for-profit All new Trustees attend an induction in which they are briefed on their legal obligations and cultural sector. under charity law, the Charity Commission guidance on public benefit, the content of Art Fund’s Royal Charter, the board structure and decision-making processes, Art Fund’s RISK MANAGEMENT strategy and recent financial performance. The major risks to Art Fund’s business, finance and reputation, as identified by the Board, have been reviewed and systems have been established to mitigate those risks. A full risk During the induction each new Trustee will meet the Director of Art Fund, Senior register has been compiled and is held at 2 Granary Square, London, N1C 4BH. Management Team members and other key Art Fund personnel. New Trustees are issued Risk is unavoidable and the resources available for managing risk are finite. The aim of with a portfolio of documents outlining their responsibilities as a charity trustee including a risk management within Art Fund is therefore to achieve an optimum response to risk, Board policies and procedures manual. prioritised in accordance with an evaluation of the risks. The approach adopted takes into account the Charity Commission guidance on management of risk with reference to best practice risk management standards. Art Fund assesses risk through consideration of the likelihood of an event occurring, and the impact that would arise if the event were to occur. The Trustees of Art Fund have set a target for free reserves of between 3-6 months of total Risk management within Art Fund includes: unrestricted operating expenditure. At the end of 2016 free reserves stand at £6.2m (2015: £8.2m) and are therefore at the upper end of the target range. —— Identifying and assessing risks (the “inherent risks”). —— Assigning each of those risks to an individual risk owner; PERPETUITY FUND This designated fund serves as the core component of Art Fund’s capital distribution policy. —— Setting an agreed risk appetite (the “risk targets”); The annual value drawn from this fund guarantees the existence of Art Fund in perpetuity —— Evaluating the effectiveness of relevant mitigating controls; by meeting the cost of core operating and administrative expenses thereby ensuring that the maximum proportion of donated income is applied to charitable purposes. —— Assessing the risks remaining given the controls in place (the “residual risks”); and The minimum target for this fund is the grossed-up value of Art Fund’s core operating and —— Agreeing, implementing and monitoring controls to reduce the variance between administrative costs based on a distribution rate of 3.5% of the trailing 12 quarter value of residual and target risks. the investment portfolio. At the end of the 2016 the target value for this fund is £34.2m.

FUNDRAISING THE PARKER FUND Section 162a of the Charities Act 2011 requires charities to make a statement regarding In 2015 the Trustees designated the value of £2.8m to the Parker fund following the fundraising activities. The legislation defines fundraising as “soliciting or otherwise receipt of a legacy from Mr Donald Parker, who had been a member of Art Fund since procuring money or other property for charitable purposes,” and such amounts receivable 1977. The Parker fund represents the aggregate amount that we have set aside to fund are presented in our accounts as “voluntary activities” income and includes legacies. internal income and efficiency projects and is available to be used if cash resources in any particular year prove insufficient to meet the cost of major initiatives. In relation to the above we confirm that all solicitations are managed internally, without There is no specific target for this fund, as it is anticipated that the full value of the fund the involvement of commercial participators or professional fund-raisers, or third parties. will be expended over a period of five years. 79 The day to day management of all income generation is delegated to the executive team, 80 who are accountable to the trustees. The charity is not bound by any undertaking to be FIXED ASSET FUND bound by any regulatory scheme, however the charity is a member of the Fundraising This designated fund represents the carrying value of Art Fund’s fixed asset base. Regulator and complies with the relevant codes of practice. WEDGWOOD FUTURE FUND Art Fund has established a formal complaints policy to facilitate the monitoring and The Wedgwood future fund was established by the Trustees in 2015 to provide support for reporting of relevant issues. This policy is available online. Also available online is our the ongoing care of the Wedgwood collection following the transfer of its ownership to the fundraising promise which confirms that Art Fund is registered with the Fundraising Victoria and Albert Museum. There is no target value for the fund. The current value of the Regulator and affirms our organisational commitment to conducting open, honest and fund is £604k and it is anticipated that the reserve will be expended in full over a period of respectful fundraising practices. approximately 20 years, or as required by the beneficiary.

RESERVES POLICY AND GOING CONCERN CHALLENGE FUND The Board of Trustees is of the opinion that Art Fund has adequate resources to operate This fund was generously gifted by Sir David Verey to be used for leveraging match funding as a going concern for the foreseeable future and the accounts have been prepared on in support of Art Fund’s charitable programme. The current value of the fund is £203k and that basis. it is anticipated that the reserve will be expended in full over five years.

FREE RESERVES INVESTMENT POLICY The Trustees review Art Fund’s reserves policy on an annual basis to consider the gap The Trustees adopt a total return policy regarding Art Fund’s investment portfolio and so between the spending and receiving of income and to ensure that sufficient liquid Art Fund withdraws 3.5% of the trailing 12 quarter value of the portfolio each year in order resources are available to meet liabilities as they fall due, in the event of a sudden shortfall to meet core operating and administrative costs. The intention is to produce a consistent in income. Moreover, the responsive and often uncertain nature of Art Fund’s programme, and sustainable amount to pay for core costs while maintaining the purchasing power especially around special appeals, means it is essential that adequate resources are of the portfolio over the long term and ensuring that the maximum possible proportion always available to meet the cost of exceptional works under threat. of donated funds are applied to charitable activities. Although financial markets have REFERENCE AND ADMINISTRATIVE DETAILS performed well in the last few years, in the light of recent uncertainty we remain cautious and have maintained the distribution rate at 3.5%. Art Fund was established in 1903 as the National Art Collections Fund and was granted a Royal Charter in 1928. It is registered as a charity in England and Wales under number PUBLIC BENEFIT 209174 and in Scotland under SC038331. In May 2006 the ‘Art Fund’ was adopted as its The Trustees have taken the Charity Commission’s guidance on public benefit into public and trading name but its full name has been retained for legal purposes. consideration when reviewing the aims and objectives of Art Fund. In setting out the strategy and developing its programme of activity, Art Fund has focused on delivering MEMBERS OF THE BOARD REGISTERED OFFICE broad public benefit, in particular through works of art being acquired by public collections in the UK and being available for the public to enjoy; by works of art being Lord Smith of Finsbury, Chairman (N) 2 Granary Square shown and shared by public collections, backed up by the curatorial expertise to Jeremy Palmer, Treasurer (F,N) King’s Cross understand and communicate them to the public; by celebrating creativity and excellence Caroline Butler (F) London N1C 4BH in museums which benefit the public through the annual Art Fund Prize for Museum of the Richard Calvocoressi CBE Year; and by making enjoyment, understanding and appreciation of works of art available Professor Richard Deacon CBE RA to the public through the National Art Pass, Art Fund website, Art Quarterly and other Dame Liz Forgan (F) editorial channels. Philippa Glanville OBE FSA Professor Chris Gosden FBA (N) PLANS FOR FUTURE PERIOD Professor Antony Griffiths FBA In 2017 Art Fund will continue to run a series of infrastructure projects that will enable it Isaac Julien – Appointed December 2016 to operate on a more robust and agile basis. We continue to seek innovative new ways Alastair Laing FSA to leverage income for the benefit of the museums and galleries sector at large and will James Lingwood MBE continue to develop the sophistication and impact of the charitable programme to deliver Sally Osman (N) impact where it is needed most. 81 Professor Marcia Pointon 82 Axel Rüger This report was approved by the Board of Trustees at its meeting on 24 April 2017 and the Professor Deborah Swallow – Retired June 2016 Chair of Trustees was authorised to sign the report and the annual financial statements on Professor Lisa Tickner FBA (N) its behalf. Michael Wilson OBE (F)

F: Also a Member of the Finance and General Purposes Committee N: Also a Member of the Nominations Committee

Lord Smith of Finsbury Chairman 24th April 2017 ADVISORY MEMBERS OF THE FINANCE AND STATEMENT OF TRUSTEES’ RESPONSIBILITIES GENERAL PURPOSES COMMITTEE The Trustees are responsible for preparing the Annual Report and the financial statements Brendan Finucane QC in accordance with applicable law and regulations. Ruth Jarratt Celia Clear Stepped down November 2016 Charity law requires the Trustees to prepare financial statements for each financial year in accordance with United Kingdom Generally Accepted Accounting Practice (United DIRECTOR AND SENIOR MANAGEMENT TEAM Kingdom Accounting Standards and applicable law). Under charity law the Trustees must Dr Stephen Deuchar CBE Director not approve the financial statements unless they are satisfied that they give a true and fair Rachel Mapplebeck Director of Communications view of the state of affairs of the group and parent charity and of the incoming resources Nicholas Maynard Director of Finance & Resources and application of resources, including the income and expenditure, of the group and Sarah Philp Director of Programmes parent charity for that period. Amy Ross Director of Development Carolyn Young Director of Marketing In preparing these financial statements, the Trustees are required to:

PROFESSIONAL ADVISERS —— select suitable accounting policies and then apply them consistently;

AUDITORS —— observe the methods and principles of the Charities SORP; BDO LLP —— make judgments and accounting estimates that are reasonable and prudent; 55 Baker Street London W1U 7EU —— state whether applicable UK Accounting Standards have been followed, including FRS 102, subject to any material departures disclosed and explained in the financial statements; 83 INVESTMENT ADVISORS 84 Cambridge Associates LLP 80 Victoria Street —— state whether a Statement of Recommended Practice (SORP) applies and has been followed, subject to any material departures which are explained in the London SW1E 5JL financial statements;

BANKERS —— prepare the financial statements on the going concern basis unless it is Coutts & Co inappropriate to presume that the parent charity will continue in business. 440 Strand The Trustees are responsible for keeping adequate accounting records that are sufficient London WC2R 0QS to show and explain the charity’s transactions and disclose with reasonable accuracy at any time the financial position of the group and parent charity and enable them to ensure SOLICITORS that the financial statements comply with the Charities and Trustee Investment (Scotland) Farrer & Co LLP Act 2005, regulations 6 and 8 of the Charities Accounts (Scotland) Regulations 2006 (as 66 Lincoln’s Inn Fields amended), the Charities Act 2011 and the regulations made thereunder. They are also London WC2A 3LH responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Financial statements are published on the parent charity’s website in accordance with legislation in the United Kingdom governing the preparation and dissemination of financial statements, which may vary from legislation in other jurisdictions. The maintenance and integrity of the parent charity’s website is the responsibility of the Trustees. The Trustees’ responsibility also extends to the ongoing integrity of the financial statements contained therein. —— have been properly prepared in accordance with United Kingdom Generally INDEPENDENT AUDITOR’S REPORT TO THE TRUSTEES OF THE Accepted Accounting Practice; and NATIONAL ART COLLECTIONS FUND

—— have been prepared in accordance with the requirements of the Charities Act We have audited the financial statements of the National Art Collections Fund for the year 2011, the Charities and Trustee Investment (Scotland) Act 2005 and regulations 6 ended 31 December 2016 which comprise the consolidated and parent charity statement and 8 of the Charities Accounts (Scotland) Regulations 2006 (as amended). of financial activities, the consolidated and parent charity balance sheet, the consolidated cash flow statement and the related notes. The financial reporting framework that has MATTERS ON WHICH WE ARE REQUIRED TO REPORT BY EXCEPTION been applied in their preparation is applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). We have nothing to report in respect of the following matters where the Charities Act 2011 and the Charities Accounts (Scotland) Regulations 2006 (as amended) requires us to This report is made solely to the charity’s trustees, as a body, in accordance with the report to you if, in our opinion: Charities Act 2011 and the Charities and Trustee Investment (Scotland) Act 2005. Our audit work has been undertaken so that we might state to the charity’s Trustees those —— the information given in the Trustees’ Annual Report is inconsistent in any material matters we are required to state to them in an auditor’s report and for no other purpose. respect with the financial statements; or To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charity and the charity’s trustees as a body, for our audit work, for this —— sufficient accounting records have not been kept; or report, or for the opinions we have formed. —— the parent charity financial statements are not in agreement with the accounting records and returns; or RESPECTIVE RESPONSIBILITIES OF TRUSTEES AND AUDITORS —— we have not received all the information and explanations we require for our audit. As explained more fully in the statement of trustees’ responsibilities, the Trustees are 85 responsible for the preparation of the financial statements and for being satisfied that they 86 give a true and fair view.

We have been appointed as auditor under section 144 of the Charities Act 2011 and section 44(1)(c) of the Charities and Trustee Investment (Scotland) Act 2005 and report in accordance with regulations made under those Acts. Our responsibility is to audit and BDO LLP express an opinion on the financial statements in accordance with applicable law and Statutory Auditor International Standards on Auditing (UK and Ireland). Those standards require us to London comply with the Financial Reporting Council’s (FRC’s) Ethical Standards for Auditors. United Kingdom Date:

SCOPE OF THE AUDIT OF THE FINANCIAL STATEMENTS BDO LLP is eligible to act as an auditor in terms of section 1212 of the Companies Act A description of the scope of an audit of financial statements is provided on the FRC’s 2006. BDO LLP is a limited liability partnership registered in England and Wales (with registered number OC305127) website at www.frc.org.uk/auditscopeukprivate.

OPINION ON FINANCIAL STATEMENTS

In our opinion the financial statements:

—— give a true and fair view of the state of the group’s and the parent charity’s affairs as at 31 December 2016 and of the group’s and parent charity’s incoming resources and application of resources, including the income and expenditure, for the year then ended; WORKING EFFICIENTLY

PERFORMANCE 25 EFFICIENCY 16.0

14.0 Special appeals 22 Total expenditure (exc special appeals) 12.0 Trading, investments & other Support costs

Legacies 15 10.0 This chart illustrates our support costs as proportion £m Donations and fundraising of total expenditure, excluding special appeals. In £m 8.0 10 line with our plan, we increased our support costs by Membership £0.2m in absolute terms largely owing to investment 6.0 in infrastructure, marginally decreasing as a This chart shows how our total income has 5 proportion of total underlying expenditure to 8.6%. 4.0 fluctuated over the past 5 years, having been 87 2.0 88 influenced by volatility in special appeals and 0 6.1% 6.4% 7.2% 8.8% 8.6% legacy income in particular. The trend line, however, 2012 2013 2014 2015 2016 2012 2013 2014 2015 2016 demonstrates how our underlying income, defined NB: 2012 excludes £3.9m of income arising from the sale of as membership income and donation income, has Millais House grown steadily since 2012.

IMPACT 14.0

12.0 Connecting communities 10.0 Supporting museums 8.0 £m Building collections and developing talent 6.0

4.0

This chart shows the way in which the composition 2.0 of our charitable spend has changed over the past 5 years. While we seek to respond to demand from our 2012 2013 2014 2015 2016 beneficiaries by diversifying our support, ‘Building NB: data excludes special appeals which sit outside the annual collections and developing talent’ remains the budget, in order to show the underlying trend bedrock of Art Fund’s charitable output. CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES CHARITY STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING CONSOLIDATED INCOME AND EXPENDITURE ACCOUNT) (INCLUDING INCOME AND EXPENDITURE ACCOUNT) For the year ended 31 December 2016 For the year ended 31 December 2016

Note Unrestricted Restricted Endow- Total Unrestricted Restricted Endow- Total ment ment Note Unrestricted Restricted Endowment Total Unrestricted Restricted Endowment Total 2016 2016 2016 2016 2015 2015 2015 2015 2016 2016 2016 2016 2015 2015 2015 2015 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Income from: Income from: Voluntary activities: Voluntary activities: Donations 1,109 1,510 - 2,619 1,568 1,169 - 2,737 Donations 1,109 1,510 - 2,619 1,568 1,169 - 2,737 Legacies 993 12 - 1,005 3,248 16 - 3,264 Legacies 993 12 - 1,005 3,248 16 - 3,264 Special appeals - 3,312 - 3,312 - 1,402 - 1,402 Special appeals - 3,312 - 3,312 - 1,402 - 1,402

Charitable activities: Charitable activities: Members subscriptions 6,860 - - 6,860 6,060 - - 6,060 Members subscriptions 6,860 - - 6,860 6,060 - - 6,060

Other trading activities: Other trading activities: Fundraising events 892 - - 892 809 - - 809 Fundraising events 879 - - 879 802 - - 802 Other income 351 - - 351 386 - - 386 Other income 156 - - 156 157 - - 157

Income from investments 138 9 6 153 131 8 5 144 Income from investments 281 9 6 296 268 8 5 281 Total income 10,343 4,843 6 15,192 12,202 2,595 5 14,802 Total income 10,278 4,843 6 15,127 12,103 2,595 5 14,703 Expenditure on: Expenditure on: Raising funds: Raising funds: Cost of generating voluntary 862 - - 862 859 - - 859 Cost of generating voluntary income 862 - - 862 859 - - 859 income Cost of fundraising events 505 - - 505 453 - - 453 Cost of trading subsidiary 65 - - 65 96 - - 96 Investment adviser’s costs 28 - - 28 26 - - 26 Cost of fundraising events 505 - - 505 456 - - 456 Total cost of raising funds 1,395 - - 1,395 1,338 - - 1,338 Investment adviser’s costs 28 - - 28 26 - - 26 Total cost of raising funds 1,460 - 1,460 1,437 - - 1,437 Total charitable expenditure 12,384 4,199 6 16,589 8,667 2,545 5 11,217 Total charitable expenditure 12,384 4,199 6 16,589 8,667 2,545 5 11,217 Total expenditure 13,779 4,199 6 17,984 10,005 2,545 5 12,555 Total expenditure 5 13,844 4,199 6 18,049 10,104 2,545 5 12,654 Operating (deficit) / surplus (3,501) 644 - (2,857) 2,098 50 - 2,148 Operating (deficit) / surplus (3,501) 644 - (2,857) 2,098 50 - 2,148 Net gains on investments 4,467 478 246 5,191 722 46 30 798 Net gains on investments 4,467 478 246 5,191 722 46 30 798 Net income 966 1,122 246 2,334 2,820 96 30 2,946 Net income 966 1,122 246 2,334 2,820 96 30 2,946 Transfers between funds 13 (20) 20 - - (43) 43 - - Transfers between funds 13 (20) 20 - - (43) 43 - - Net movement in funds 946 1,142 246 2,334 2,777 139 30 2,946 Net movement in funds 946 1,142 246 2,334 2,777 139 30 2,946 Total funds brought forward 44,996 2,859 1,798 49,653 42,219 2,720 1,768 46,707

Total funds carried forward 13 45,942 4,001 2,044 51,987 44,996 2,859 1,798 49,653 Reconciliation of funds

Total funds brought forward 44,999 2,859 1,798 49,656 42,222 2,720 1,768 46,710 Total funds carried forward 13 45,945 4,001 2,044 51,990 44,999 2,859 1,798 49,656

The statement of financial activities includes all gains and losses recognised in the year and all income and expenditure are derived from continuing activities. The statement of financial activities includes all gains and losses recognised in the year and all income and expenditure are derived from continuing activities. The notes on pages 97 to 115 form part of these financial statements. The notes on pages 97 to 115 form part of these financial statements. CONSOLIDATED AND CHARITY BALANCE SHEET CONSOLIDATED STATEMENT OF CASH FLOWS As at 31 December 2016 For the year ended 31 December 2016

Group Group Charity Charity Group Group 2016 2015 2016 2015 2016 2015 £’000 £’000 £’000 £’000 £’000 £’000

Fixed assets: Cash flows from operating activities 2,334 2,946 Tangible assets 6 5,989 5,941 5,989 5,941 Investments 7 44,582 40,857 44,582 40,857 Adjustments for non-cash items: 50,571 46,798 50,571 46,798 Depreciation of tangible fixed assets 127 109 Unrealised (gain) on investments (3,693) (652) Current assets Stock 8 2 - - - Movements in working capital Debtors 9 1,464 2,206 1,693 2,278 Decrease in debtors 742 24 Cash at bank and in hand 5,946 5,529 5,709 5,429 (Increase)/decrease in stocks (2) 1 7,412 7,735 7,402 7,707 Increase in creditors: Current liabilities 341 502 Increase/(decrease) in creditors: Long term 21 (2) Liabilities Increase/(decrease) in provisions 754 (240) Creditors falling due within one year 11 (2,743) (2,402) (2,737) (2,377) Provision for grants authorised but not paid 3 (2,994) (2,241) (2,994) (2,241) Net cash generated from operating activities 623 2,688 (5,737) (4,643) (5,731) (4,618) Cash flows from investing activities 91 92 Net current assets 1,675 3,092 1,671 3,089 Purchases of tangible fixed assets (175) (19) Purchase of investments (2,002) (15,729) Total assets less current liabilities 52,245 49,890 52,242 49,887 Proceeds from sale of investments 1,970 12,974

Creditors: due after more than 1 year 12 (255) (234) (255) (234) Net cash from investing activities (207) (2,774)

Net assets 51,990 49,656 51,987 49,653 Net increase in cash and cash equivalents 417 (86)

Funds of the charity: Analysis of changes in cash Permanent endowment funds 13 2,044 1,798 2,044 1,798 Cash and cash equivalents at the beginning of the year 5,529 5,615 Other restricted funds 13 4,001 2,859 4,001 2,859 Designated funds 13 39,785 36,843 39,785 36,843 Total cash and cash equivalents at the end of the year 5,946 5,529 General funds 13 6,160 8,156 6,157 8,153

Total charity funds 51,990 49,656 51,987 49,653 Cash and cash equivalents comprise:

The Trustees have prepared group accounts in accordance with section 138 of the Charities Act Cash at bank and in hand 5,946 5,529 2011. The notes on pages 97 to 115 form part of these financial statements. Approved and authorised for issue by the Board on 24th April 2017 and signed on its behalf by

Treasurer Chairman Jeremy Palmer Lord Smith of Finsbury WORKING EFFICIENTLY Fund does not have entitlement to these resources until the goods or services have been provided, the income is deferred. NOTES ON THE ACCOUNTS c. Expenditure Expenditure is recognised on the financial statements on an accruals basis. Expenditure is classified in the SOFA under the principal categories of costs of raising funds, and cost of charitable activities rather than the type of expense.

Grants payable are recognised when a grant has been approved and this has been communicated to the recipient.

1. ACCOUNTING POLICIES Expenditure comprises direct expenditure including direct staff costs attributable to the activity. Where costs cannot be directly attributed, they are allocated to the activities to The principal accounting policies adopted, judgements and key sources of estimation which they relate as shown in note 5. Costs of raising funds are those incurred in seeking uncertainty in the preparation of the financial statements are as follows: voluntary contributions for Art Fund, the cost of fundraising events, cost of operating the trading subsidiary and investment management fees. a. Basis of preparation The financial statements have been prepared in accordance with the Financial Reporting Grant support costs comprise the costs of processing grant applications, including support Standard applicable in the UK and Republic of Ireland (FRS 102). The organisation is a to actual and potential applicants. Other charitable activities comprise costs incurred in public benefit entity for the purpose of FRS 102 and a registered charity, and therefore has attracting new members and providing services to existing members, including publications also prepared its financial statements in accordance with the Statement of Recommended and communications. Governance costs are those costs incurred in connection with Practice applicable to the charities preparing their accounts in accordance with the the general governance of Art Fund including compliance, constitutional and statutory Financial Reporting Standard applicable in the UK and Republic of Ireland (The FRS 102 93 requirements. 94 Charities SORP), and Charities Act 2011. The financial statements have been prepared under the historical cost convention as modified by the valuation of fixed-asset investments d. Fixed asset investments and in accordance with Art Fund’s Royal Charter. Investments are stated at market value, which is measured at bid price, in accordance with the revised Statement of Recommended Practice. As a result the Statement of Financial The consolidated financial statements include the accounts of the National Art Collections Activities includes those unrealised gains and losses arising from the revaluation on the Fund and its subsidiary undertaking, Art Fund Services Limited, which is wholly owned and investment portfolio throughout the year. The Statement of Financial Activities does registered in England and Wales. Transactions and balances between the charity and its not distinguish between the valuation adjustments relating to sales and those relating to subsidiary have been eliminated from the consolidated financial statements. continued holdings as they are together treated as changes in the value of the investment portfolio. b. Income Income is usually accounted for on a receivable basis. Voluntary income, comprising e. Tangible fixed assets donations and legacies, are recognised as incoming resources when Art Fund becomes Assets with an economic life greater than one year and with a value exceeding £500 or entitled to the income. For donations this is when there is certainty of receipt and value, more are capitalised. and for legacies this is when the receipt and value are probable.

Depreciation is provided on all tangible assets at rates calculated to write-off the value of Annual ordinary membership income is recognised at the point at which benefit is each asset over its expected useful life with no residual value assumed: transferred, being the date that the membership begins. Life membership income is recognised on a straight line basis over a ten year period. Freehold property - 1%

Contractual or trading income is recognised as incoming resources to the extent that Art Computer equipment - 33% Fund has provided the goods or services. Where income is received in advance and Art

Fixtures and fittings - 20% A full year of depreciation is charged in the year of acquisition and no depreciation is —— Restricted funds whose investment or usage is subject to specific restriction charged in the year of disposal. Impairment reviews are carried out at the end of each imposed by sponsors and donors. reporting period in accordance with FRS 102 to ensure that the carrying value of assets does not exceed their recoverable amounts. —— Designated funds which have been set aside at the discretion of the Trustees for specific purposes. f. Stocks Stocks represent goods for sale, stated at the lower of cost or net realisable value. —— General funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of Art Fund. g. Liquid resources Liquid resources, as referred to in the cash flow statement, are current asset investments The major funds comprising each category, the summary results for the year and a that are disposable without curtailing or disrupting Art Fund’s business and are either description of the movements between the funds are described in note 13. readily convertible to known amounts of cash at or close to their carrying value or traded in an open market. m. Critical accounting estimates and areas of judgement In preparing financial statements it is necessary to make certain judgements, estimates h. Pensions and assumptions that affect the amounts recognised in the financial statements. The Art Fund operates a defined contribution pension scheme. The assets of the scheme are following judgements and estimates are considered by the Trustees to have most held separately from those of Art Fund in an independently administered scheme. The significant effect on amounts recognised in the financial statements. pension cost charge represents the amounts payable by Art Fund amounting to £180,000 (2015: £162,000). 1) The Charity has taken the view of the Trustees that valuing the property at fair value would incur undue cost and effort and has therefore continued to use historical cost i. Provisions as the deemed cost for its freehold property. Art Fund provides for legal or constructive obligations which are of uncertain timing 95 or amount on the balance sheet date on the basis of best estimate of the expenditure 2) The Charity has also not adopted the FRS 102 SORP requirement for a property 96 required to settle the obligation. Provisions are recognised where there is a present to be apportioned between its investment use and operational use. This has not been obligation as a result of a past event, it is probable that the transfer of economic benefits adopted as it is impractical to do so and in addition, the element of the property covered will be required to settle the obligation, and a reliable estimate of the amount can be by the sub-lease is occupied by a charitable organisation whose objects are similar to made. Art Fund’s own. Therefore the property has been measured in line with SORP 2005 on its primary use, and is recognised as a tangible fixed asset. j. Leases Art Fund has no finance leases. Costs relating to operating leases are charged on a 3) The method for allocating central expenditure to income streams is a judgement. straight line basis over the life of the lease period to which it relates. The Group allocates these costs based on head count.

k. Taxation 4) For all legacies income has been recognised dependent on type: Art Fund is eligible under Part 11 Corporation Tax Act 2010 and section 271 Taxation of Chargeable Gains Act 1992 to exemption from taxes on income, donations and —— Pecuniary legacy – the earlier of cash receipt or probate date capital gains arising from the pursuit of its charitable objectives. Art Fund Services Limited donates its profits to Art Fund and therefore is not liable to pay capital gains or —— Residuary legacy – the earlier of cash receipt or accounts date corporation tax.

l. Funds structure Art Fund has the following categories of funds:

—— Restricted permanent endowment funds which the donors have stated are to be held as capital. 2. NET SURPLUS OF THE TRADING COMPANY 3. RECONCILIATION OF GRANTS GIVEN FOR THE PURCHASE OF WORKS OF ART Art Fund has a wholly owned trading subsidiary which is incorporated in the UK. Art Fund Services Limited has a share capital of £100 and sells merchandise, advertising and 2016 2016 2015 2015 affinity promotions on behalf of Art Fund. The company donates its taxable profits to Art £’000 £’000 £’000 £’000 Fund and also pays interest on any loans from Art Fund. A summary of the results of the trading company is shown below. Audited accounts have been filed with the Registrar Grants outstanding at 1 January 2,241 2,481 of Companies. ummary of the results of the trading company is shown below. Audited Grants offered during the year 6,007 3,240 accounts have been filed with the Registrar of Companies”. Grants subsequently not taken up (1,519) (260) Grants from a previous year - - no longer required 2016 2015 £’000 £’000 4,488 2,980 Profit and loss account Turnover 208 236 Minton - 1,361 Cost of sales (45) (80) Armada 2,464 - Gross profit 163 156 Bouts 1,836 - 8,788 4,341 Administrative expenses (19) (19) Grants committed 11,029 6,822 Interest payable (1) (1) Grants paid during the year (8,035) (4,581) Net profit 143 136 (see note 4) Gift aid (143) (136) Adjustments for other grants paid - - 97 in prior year 98

Retained in subsidiary - - 2,994 2,241

Total turnover of £208,000 comprises £7,000 included in fundraising events income and £201,000 in other income in the consolidated Statement of Financial Activities. (2015: £241,000, £4,000 and £237,000 respectively). The assets and liabilities of the trading company as at 31 December 2016 were as follows:

2016 2015 £’000 £’000 Balance sheet Total assets 254 144 Total liabilities (251) (141)

Net assets 3 3

The total income of the parent charity was £15,127,000 (2015: £14,703,000) and the total surplus was £2,334,000 (2015: £2,946,000). The surpluses are the same as in the con- solidated accounts because the profit of the trading company is counted as investment income to the charity. 4. TOTAL GRANTS FOR ACQUISITIONS PAID IN 2016 London Museum of London 40,000 South West Museum of Somerset 15,400 £ London National Maritime Museum 2,463,646 Wales Aberystwyth University, School of Art 5,000 Scotland National Museums Scotland 11,846 Wales Aberystwyth University Ceramic Collection and Archive 1,500 Wales National Museums Wales 200,000 Scotland ANGUSalive Museums 3,563 London National Portrait Gallery 236,862 Northern England Armitt Museum and Library 15,000 East Midlands New Walk Museum and Art Gallery 7,447 Central Southern Ashmolean 261,100 North West Atkinson Art Gallery 1,500 East Anglia Norfolk Museums Service 8,500 East Midlands Ayscoughfee Hall Museum 5,662 South West Penlee House Gallery and Museum 16,450

London Ben Uri Gallery and Museum 2,750 South West Royal Albert Memorial Museum 9,500 West Midlands Birmingham Museum & Art Gallery 35,000 East Midlands Royal Crown Derby Museum 13,500 Wales Brecknock Museum & Art Gallery 11,333 London Royal Museums Greenwich 100,000 South West Bristol Museum and Art Gallery 19,983 London British Museum 180,000 London Science Museum 131,100 Scotland Broughton House & Garden (National Trust for Scotland) 4,500 Scotland Scottish Maritime Museum 15,000 Central Southern Bushey Museum and Art Gallery 3,500 Scotland Scottish National Gallery of Modern Art 250,000

Yorkshire Captain Cook Memorial Museum 8,000 London South London Gallery 70,000 Central Southern Charleston 10,000 Scotland Stewartry Museum 8,000 East Anglia Colchester and Ipswich Museums 23,000 Scotland Stirling Smith Art Gallery and Museum 1,875 London Crafts Council 60,000 North West Deaf Museum and Archive 5,842 London Tate 282,395 99 East Midlands Derby Museum and Art Gallery 94,091 Northern England The Bowes Museum 2,095,815 100 Yorkshire Doncaster Heritage Services 243 London The Fan Museum 1,500 Scotland Fife Cultural Trust 5,500 South West The Herschel Museum of Astronomy 9,000 East Anglia Fitzwilliam Museum 200,000 Central Southern The Higgins Bedford 3,150 East Anglia Fry Art Gallery 53,170 Scotland The Hunterian 9,301 London Garden Museum 15,000 London Gunnersbury Park Museum 611 Scotland University of Edinburgh 24,500 North West Harris Museum and Art Gallery 4,000 North West University of Salford 25,000

West Midlands Herbert Art Gallery and Museum 4,035 London V&A Museum of Childhood 15,000 South West Holburne Museum of Art 105,000 London Victoria and Albert Museum 472,073 South West Holst Birthplace Museum 1,500 North West Walker Art Gallery 89,000 London Imperial War Museum 27,500 North West International Slavery Museum 3,500 London Wallace Collection 1,000 London Islington Museum 6,170 North West Whitworth Art Gallery 104,000 Scotland Kelvingrove Art Gallery and Museum 6,000 South West Wiltshire Museum 8,424

Yorkshire Leeds Art Gallery 45,400 West Midlands Wolverhampton Art Gallery 41,028 North West Macclesfield Silk Museum 9,211 Scotland Museum Nan Eilean 1,125 Total 8,034,092 South West Museum of Bath Architecture 10,080 Central Southern/South East Museum of English Rural Life 4,411 5. ANALYSIS OF TOTAL EXPENDITURE SALARIES AND PENSIONS

Staff Grants *Support Depre- 2016 2015 2016 2015 costs & direct costs ciation Total Total expenses £’000 £’000

£’000 £’000 £’000 £’000 £’000 £’000 Total salary and pensions costs are: Salaries 1,859 1,717 Expenditure on raising funds Social security costs 195 175 Other pension costs 180 162 Cost of generating voluntary income 544 132 153 33 862 859 2,234 2,054 Cost of trading subsidiary 15 50 - - 65 96 No. of staff No. of staff Cost of fundraising / events - 505 - - 505 456 Average number of staff employed 52 49 Investment advisor’s costs - 28 - - 28 23 559 715 153 33 1,460 1,437 Employees with emoluments excluding pension contributions, but including Employer’s National Insurance contributions totalling £60,000 or more: Expenditure on charitable activities

£60,001 - £70,000 3 1 Grants for acquisitions - 4,488 - - 4,488 2,980 £70,001 - £80,000 1 - Strategic collecting - 418 - - 418 8 £80,001 - £90,000 1 1 Other projects - 414 - - 414 428 £140,001 - £150,000 - 1 Special appeals - 2,835 - - 2,835 1,361 £150,001 - £160,000 1 - Grant support 340 42 97 21 500 388 Building collections 340 8,197 97 21 8,655 5,165 101 The charity operates a defined contribution pension scheme. Contributions in respect of these staff 102 were £55,704 (2015: £33,661). Curatorial support - 183 - - 183 765 Developing talent - 183 - - 183 765 Members of the Board did not receive any fees in the current or preceding year. One (2015: three) Members of the Board received a total of £2,727 (2015: £140) reimbursement for expenses incurred Membership servicing & recruitment 475 2,729 136 29 3,369 2,385 in the year. Publications 183 379 49 11 622 658 The key management personnel of the parent charity, comprise the Trustees and the Senior Man- Connecting communities 658 3,108 185 40 3,991 3,043 agement Team. The total employee benefits of the key management personnel of the Charity were £557,382 (2015: £467,481).

Museum partnerships 191 685 54 12 942 1,058 Touring & display - 192 - - 192 242 Policy & advocacy 220 18 53 7 298 291 Digital & communications 266 451 68 14 799 653 Special appeals - 1,529 - - 1,529 - Supporting museums 677 2,875 175 33 3,760 2,244 Total Charitable Expenditure 1,675 14,363 457 94 16,588 11,217

Total Expenditure 2,234 15,078 610 127 18,048 12,654

The audit fee for the year was £19,090 (2015: £19,350). The auditors’ fees for other services in the year were £nil (2015: £13,652).

* Support costs do not include salaries of £572,000, which are included in the Staff costs column (2015: £430,000). 6. TANGIBLE ASSETS 7. FIXED ASSET INVESTMENTS

Group and charity Freehold Computers, Total Group and Charity property fixtures & fittings 2016 2015 £’000 £’000 £’000 £’000 £’000 Cost Investments at market value comprised: At 1 January 2016 5,943 210 6,153 UK equities 8,777 8,124 Additions 95 80 175 Overseas equities 16,046 13,022 Disposals - - - Private equity 4,048 4,455 Hedge funds 1,339 3,284

At 31 December 2016 6,038 290 6,328 Inflation hedge 2,094 1,770 Overseas bonds 1,773 1,760

Accumulated depreciation Cash 10,505 8,442

At 1 January 2016 (119) (93) (212) 44,582 40,857 Charge for the year (60) (67) (127) Movement in investments – group and charity Depreciation on disposals - - - Market value at 1 January 40,857 37,450

At 31 December 2016 (179) (160) (339) Sale proceeds (1,970) (12,974) Acquisitions at cost 2,002 15,729

Net book value Net unrealised gains on revaluation 3,693 652 At 31 December 2016 5,859 130 5,989

103 Market value at 31 December 44,582 40,857 104 At 31 December 2015 5,824 117 5,941

Historical cost at 31 December 36,656 36,288

Investments constituting at least 5% of the portfolio at 31 December 2016 (at market values) were:

2016 2015 £’000 £’000 Schroders Private Equity Fund IV 2,309 (5.2%) 2,220 (5.4%) AXA Framlington 2,614 (5.9%) 2,513 (6.2%) Longview Partners 6,408 (14.4%) 4,987 (12.2%) Old Mutual 3,781 (8.5%) 3,359 (8.2%) Artemis 2,381 (5.3%) 2,253 (5.5%) Matthews Asia 2,941 (6.6%) 2,451 (6.0%) MFG Investments 5,300 (11.9%) 4,298 (10.5%) Coutts 90-day notice account 4,022 (9.0%) 4,003 (9.8%) Blackrock Sterling 4,000 (9.0%) 4,000 (9.8%) 8. STOCK 11. CREDITORS

Group Group Charity Charity Group Group Charity Charity 2016 2015 2016 2015 2016 2015 2016 2015 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000 Stock for resale 2 - - - Falling due within one year Trade creditors 726 377 726 372 Tax and social security 59 51 59 51 Other creditors and accruals 1,856 1,869 1,850 1,849 9. DEBTORS Deferred income 102 105 102 105 Group Group Charity Charity 2,743 2,402 2,737 2,377 2016 2015 2016 2015 £’000 £’000 £’000 £’000 12. LONG-TERM CREDITORS

Group Group Charity Charity Trade debtors 77 88 65 52 2016 2015 2016 2015 Amounts due from subsidiary undertaking - - 244 119 £’000 £’000 £’000 £’000 Prepayments and accrued income 907 825 904 834 Other debtors 124 154 124 134 Deferred income as at 1 January 234 236 234 236 Accrued legacy income 189 1,091 189 1,091 Released during the year (76) (59) (76) (59) VAT 167 48 167 48 Deferred during the year 97 57 97 57 1,464 2,206 1,693 2,278 Deferred income as at 31 December 255 234 255 234 Within Other debtors is £200,000 in respect of a grant (2015: £300,000). Of this, £100,000 (2015: 105 £200,000) is due in more than one year. 106

The deferred income falling due after one year is the money received for life membership subscrip- tions, which is released to the Statement of Financial Activities over a period of ten years.

10. CONTINGENT ASSETS – LEGACY INCOME

As at 31 December 2016 the Charity has been notified of £1,409,177 residuary legacies and £2,500 pecuniary legacies, which did not meet Art Fund’s recognition criteria and have therefore not been recongnised. 13. NET MOVEMENT IN FUNDS - GROUP NET MOVEMENT IN FUNDS – CHARITY

These funds are split between permanent endowment funds where the capital must be retained and other re- stricted funds where both capital and income can be spent in accordance with the donor’s wishes. Investment income on endowment funds is expendable in accordance with the donor’s wishes. Any income unspent at the Balance Balance Balance end of the year is carried forward to the next year as a restricted fund. at 31 at 1 at 31 Dec Jan Net gains Transfers Dec Expendi- on invest- between Balance at Balance at Income Expenditure Net gains Transfers Balance at 2014 2016 2016 31 December 1 January on invest- between 31 December Income ture ments funds 2014 2016 ments funds 2016

General fund 7,156 8,156 10,321 (13,041) 744 (20) 6,160 Total unrestricted funds 42,219 44,996 10,278 (13,779) 4,467 (20) 45,942 The Parker fund 2,800 2,880 22 (846) - - 2,056 Total restricted funds 2,720 2,859 4,843 (4,199) 478 20 4,001 Perpetuity fund 25,100 27,210 - - 3,723 - 30,933 Total endowment funds 1,768 1,798 6 (6) 246 - 2,044 Fixed asset fund 6,031 5,941 - 48 - - 5,989 Challenge fund 308 208 - (5) - - 203 Total funds 46,707 49,653 15,127 (17,984) 5,191 - 51,987 Wedgwood future fund 827 604 - - - - 604 Total unrestricted funds 42,222 44,999 10,343 (13,844) 4,467 (20) 45,945 Restricted funds W M BOND BEQUEST LONDON HISTORIC expected donations and some WM Bond bequest 243 248 1 - 34 - 283 HOUSE MUSEUMS TRUST Gift Aid which were ultimately RI Gunn bequest 604 616 2 - 85 - 703 The bequest is to be held in transferred from general funds. David and Liza Brown bequest 114 85 - (8) 10 - 87 trust for the Laing Art Gallery, The funds were received from David Armstrong bequest 21 19 - - 3 - 22 Newcastle upon Tyne, and is the transfer of the assets of the ART HAPPENS to be devoted to the purchase London Historic House Museums London Historic House Museums Trust 1,063 1,083 2 - 149 - 1,234 of antique china, pottery and Trust in October 2009 and is to This fund relates to Art Fund’s Friends of National Museums Liverpool 59 4 - (3) - - 1 furniture to be displayed in that be applied towards the purchase crowdfunding initiative which Van Dyck appeal (28) ------gallery. of works of art for Kenwood enables museums to make Art Happens 55 75 101 (147) - (29) - House, Hampstead; Marble fundraising appeals to the public Jonathan Ruffer curatorial scheme 60 94 75 (80) - - 89 107 R I GUNN BEQUEST Hill House, Twickenham; The in support of specific works of art 108 Photography curators scheme 40 56 - - 8 - 64 or projects. The bequest is to be applied Ranger’s House, Blackheath; and Student National Art Pass - - 43 (43) - - - towards the purchase of one or Chiswick House, Chiswick. JONATHAN RUFFER New Collecting Awards 341 27 230 - 35 9 301 more paintings or drawings of CURATORIAL GRANTS Moving Image Fund 60 201 61 (400) - 40 (98) FRIENDS OF THE the French Impressionist school SCHEME Digital R&D fund for the arts 35 18 - (18) - - - NATIONAL MUSEUMS for presentation to one or more LIVERPOOL Bill Viola Commission 53 333 71 (200) 28 - 232 of the museums or collections of This fund supports collections- Modern British group - - 1 - - - 1 pictures belonging to the nation The funds were received from based onresearch for curators Bouts acquisition - - 1,836 (1,836) - - - in London or the University of the transfer of the assets of the working across fine and applied Armada Portrait - - 1,477 (1,464) - - 13 Oxford. Friends of the National Museums art collections Garfield Weston UK Loans Programme - - 750 - 102 - 852 Liverpool and is to be applied PHOTOGRAPHY Regional grants appeal - - 69 - 9 - 78 DAVID AND LIZA BROWN towards assisting acquisitions BEQUEST CURATORS SCHEME Online ticketing platform - - 107 - 15 - 122 of art by the National Museums National Museums Scotland - - 5 - - - 5 The bequest is for the benefit of Liverpool in accordance with The scheme will support curators De Livera legacy - - 12 - - - 12 the Department of Prints and Art Fund’s standard grant giving working in photography. Total restricted funds 2,720 2,859 4,843 (4,199) 478 20 4,001 procedures. Drawings at the British Museum STUDENT NATIONAL ART Permanent endowment funds and the Southampton City Art VAN DYCK APPEAL PASS Campbell Dodgson bequest 3 3 - - - - 3 Gallery. Cochrane trust 132 134 1 (1) 18 - 152 The appeal was held to support The income is used to finance DAVID ARMSTRONG Fulham fund 513 522 2 (2) 71 - 593 the acquisition by the National the provision of free National Art BEQUEST Ramsey Dyce bequest 119 121 - - 17 - 138 Portrait Gallery of Sir Anthony Passes to students of the History Reginald Jones bequest 266 271 1 (1) 37 - 308 The funds are for the benefit of van Dyck’s Self Portrait. A of Art. deficit on the fund was brought Modern art fund 693 704 2 (2) 96 - 800 Stirling and Falkirk Museums. forward because of a delay in Wakefield fund 42 43 - - 6 - 49 the collection of some of the Total endowment funds 1,768 1,798 6 (6) 246 - 2,044 Total funds 46,710 49,656 15,192 (18,049) 5,191 - 51,990 NEW COLLECTING Child, attributed to the workshop COCHRANE TRUST 14. UNRESTRICTED FUNDS AWARDS of Dieric Bouts the Elder. The income may be used for This programme will enable ARMADA PORTRAIT the purchase of works of art not At the balance sheet date, Art Fund’s reserves comprised the following: promising and ambitious being the work of any person 2016 2015 curators to pursue new avenues The appeal was held to support living at the date of purchase. £’000 £’000 of collecting for their museums, the acquisition by Royal and at the same time build Museums Greenwich of The FULHAM FUND Total funds per Balance sheet 51,990 49,656 Armada Portrait of Elizabeth I. critical professional skills. The income generated is neither Endowment funds (note 13) (2,044) (1,798) Restricted funds (note 13) (4,001) (2,859) MOVING IMAGE FUND GARFIELD WESTON UK restricted nor designated and is LOANS PROGRAMME therefore taken to unrestricted Unrestricted funds as per the Balance Sheet 45,946 44,999 This is a fund to support new funds. acquisitions of artists’ moving This is a three year programme Parker fund (2,056) (2,880) image work initially at Towner to support loans to regional RAMSEY DYCE BEQUEST galleries across the UK from Perpetuity fund (30,933) (27,210) Art Gallery and Whitworth Art The income must be used national galleries and museums. Fixed assets held for charity use (5,989) (5,941) Gallery over the next two years, to acquire objects of art to with another round of funding REGIONAL GRANTS be added to the permanent Challenge fund (203) (208) planned. APPEAL collection of the Aberdeen Art Wedgwood future fund (604) (604) Gallery. General funds at 31 December 2016 6,161 8,156 DIGITAL R&D FUND FOR The appeal was launched THE ARTS to support the acquisition REGINALD JONES This a 12 month project to of artworks for galleries and BEQUEST museums based outside of investigate opportunities for 15. ANALYSIS OF NET ASSETS BETWEEN FUNDS – GROUP London. The income is to be used to online aggregated ticketing in purchase pictures and other the arts sector. The fund has ONLINE TICKETING works of art that are at least 100 General Designated Restricted Endowment Total Total been provided by the Digital funds funds funds funds funds funds 109 PLATFORM years old. 110 R&D Fund for the Arts - Nesta, 2016 2016 2016 2016 2016 2015 Arts & Humanities Research This is a development from the MODERN ART FUND Council and public funding by Digital R&D Fund for the Arts £’000 £’000 £’000 £’000 £’000 £’000 The income is to be used towards the National Lottery through Arts to launch our online ticketing Fund balances at the purchase of twentieth Council England. platform. 31 December are century art. represented by: BILL VIOLA NATIONAL MUSEUMS COMMISSION SCOTLAND WAKEFIELD FUND Tangible fixed assets - 5,989 - - 5,989 5,941 Investments 8,742 33,796 - 2,044 44,582 40,857 The funds will support the This fund was set up by David The income is to be used for the Current assets 3,411 - 4,001 - 7,412 7,735 acquisition of a video installation and Anne Hyatt King to make purchase of contemporary craft by Bill Viola at St Paul’s money available to National Total liabilities (5,993) - - - (5,993) (4,877) Cathedral. Museums Scotland to purchase a painting by Taki Katei. Total net assets 6,160 39,785 4,001 2,044 51,990 49,656 MODERN BRITISH GROUP DE LIVERA LEGACY Included above are unrealised gains on investment assets at 31 December 2016 of £3,606,000.

This is a group of donors who The legacy was left to Art Fund have supported acquisitions of to contribute towards the work by modern British artists. acquisition of decorative arts in Cornwall or Devon. BOUTS ACQUISITION CAMPBELL DODGSON This fund which arose in 2016 BEQUEST as a result of Art Fund acting as Schedule 3 body on behalf of The income is for the benefit of the Bowes Museum to acquire the Department of Prints and St Luke Drawing the Virgin and Drawings in the British Museum. 15. ANALYSIS OF NET ASSETS BETWEEN FUNDS – CHARITY ACKNOWLEDGMENTS SUPPORTERS General Designated Restricted Endowment Total funds Total funds funds funds funds funds 2016 2015 2016 2016 2016 2016 £’000 £’000 £’000 £’000 £’000 £’000 Fund balances at 31 December are represented by: Tangible fixed assets - 5,989 - - 5,989 5,941 Investments 8,742 33,796 - 2,044 44,582 40,857 Current assets 3,411 - 4,001 - 7,402 7,707 Our work is entirely dependent on the help of our supporters – the Total liabilities (5,986) - - - (5,986) (4,852) 123,000 members and the Art Partners, private donors, grant-makers and corporate supporters who share our belief in art for everyone.

Total net assets 6,167 39,785 4,001 2,044 51,987 49,653 In 2016 their extraordinary generosity enabled us to do more than ever for museums, their collections and the public who visit them.

Over 8,000 donors helped us to save the Armada Portrait of Elizabeth I for public view, and we are hugely grateful for their decisive support. 16. OPERATING LEASES We would like to thank our 59 volunteer fundraising committees. At 31 December 2016 the charity had minimum lease commitments under operating leases which 111 In 2016 our 545 volunteers raised £387,000 through a variety of 112 expire: special events across the country. 2016 2015 £’000 £’000 We are grateful to the 3,370 members who make regular donations In the first year 8 8 on top of their subscription, raising £387,096 in 2016, and to those In the second to fifth years inclusive 7 15 who have remembered Art Fund with a gift in their will; last year 15 23 their legacy gifts totalled £1.05m.

17. RELATED PARTY TRANSACTIONS Thank you for your support. Together, we look forward to doing even more for UK museums in the year ahead. During the year five Trustees (2015: one) made donations to Art Fund totalling £4,795 (2015: £2,113).

A donation was made on 23 November 2016 of £24,985 by the Dana and Albert Broccoli Charitable Foundation, of which Michael Wilson is a trustee.

At the Board meeting on 18 April 2016 Art Fund considered and approved a request for a grant of £40,000 from the Towner Art Gallery and £36,000 from the Whitworth Art Gallery, to jointly acquire Ten Thousand Waves by Isaac Julien. Isaac Julien was subsequently appointed as a trustee to the Board on 12 December 2016; he therefore had no part in the discussions.

On 5 July 2016 a grant was approved through the small grants process for £10,000 to Triangle Arts Trust (trading as Gasworks) of which Rachel Mapplebeck, a member of the Senior Management team, is a trustee. Rachel Mapplebeck was not involved in the proposal or approval of this grant. Geoffrey Collens Anne Rogers Haley and Lady Leggatt Penny Moore ACKNOWLEDGMENTS John F Haley Jr Tim Compton DM Leighton Keith Morris and D Halsall Catherine Mason OUR THANKS TO John Cresswell Esq Paula Lent Sir David and Lady Hardy Richard and Penelope Thomas Dane Ann Lewis Murley Edward and Victoria Clare Dawson Harley Britta & Jeremy Lloyd Adeline Nolan Family Charity PG De Courcy-Ireland Mark Harris The Countess of Rothes Humphrey and Ann Lloyd John and Dana Malcolm Herring Maureen Paley Denis-Smith Rosemary Lady Heseltine Lomax-Simpson Michael Palin Michael Diamond J Paul Getty Jr Charitable Sfumato Foundation Richard and Rosamund TRUSTS AND Andrew Hochhauser QC The Loveday Charitable Jeremy and Angela FOUNDATIONS Trust Bernays Sir Harry and Lady ShareGift and Graham Marchant Trust Palmer Djanogly The 29th May 1961 The Jerusalem Trust Margaret Ann Bird Vivmar Foundation Patrick Holmes Kate and Martin Lovell Michael and Teresa Charitable Trust Anthony d’Offay and the The John & Tessa James Blewett Parker The Wolfson Foundation Artist Rooms Foundation Jeffrey Horne Dr Dorothy A Lunt The Albert Van den Fearnley Charitable Trust RA Booker Maurice and Catherine Bergh Charitable Trust Dr J Lindsay Duncan Lady Horton Beatrice Lupton The Kirby Laing The Wyseliot Rose Parry-Wingfield Foundation Charitable Trust John Booth The Aldama Foundation Hugo Eddis HA Hulton Sue Lyon Norman Parsons SUPPORTERS Stephen and Stephanie The Ampersand The Leche Trust Sir John and Lady Elliott Keith Charles Humphrey Kate Mackrodt Bourne John Pattisson Foundation Richard and The Linbury Trust John and Fausta Eskenazi Wendy Hefford Sir John Mactaggart Diana Allan Brian Bradbury J Perkins The Antony Hornby (Mrs Huter) 113 The Mercers’ Company R Vandenburgh Farr Sir Laurie and Lady 114 Charitable Trust Ryan Allen Jane Brafman Richard and Elizabeth David and Anne Hyatt Magnus The NOSWAD Charity Hewson Fawcett Philipps The Binks Trust Farah Asemi The Deborah Loeb Brice King S Malvern The OJ Colman Foundation Brendan Finucane and The Lord and Lady The John S Cohen Celia and Chris and Janet Ingram Charitable Trust Fiona Horlick Rebecca Marks Phillimore Foundation Edward Atkin Elizabeth Brooks Dr G Jenkins The Ofenheim Charitable SRE Fletcher Suzanne Marriott David Pike Dana & Albert R Broccoli Keith and Barnabas Brunner Trust MJG King Foundation Barbara Bain Sir Christopher and Lady Richard and Janet Martin Martin and Katharine Robert Burgess Oliver Stanley Charitable Floyd James and Clare Kirkman Pinfold The Derek Hill Christopher and Ruth John and Bridget Trust Richard and Foundation Baker Francis and Kate Ford Jamie and Julia Korner Maynard John Poulter Outset Young Patrons Catherine Burns Doric Charitable Trust Mathew CT Prichard Circle Lawrence and Elizabeth Gerry Fox Antony and Zarrina Kurtz Professor Richard Mayou Banks Richard and Sarah Esmée Fairbairn Neil and Julie Record PF Charitable Trust Buxton Madeleine Gantley Diana and Terence Kyle The Anthony and Foundation John Barker Elizabeth Mellows Peter and Sally Cadbury G Ringrose The Paragon Trust Dame Helen Ghosh DCB H Huntsman & Sons Charitable Settlement Garfield Weston DG Barnes Eric and Virginia Campus Lady Rivett-Carnac Foundation The Roger De Haan Alan and Mary Gibbins Steven Larcombe and Carol and Robin Victoria Barnsley and Charitable Trust Sonya Leydecker Michaelson Hannah Rothschild The Godinton Charitable Nicholas Howard Francis and Angela Andrew and Juliet Gibbs Chronnell Trust The Rothschild George and Anne Law Richard and Rosemary Jackie and David Russell Penny Baylis Lydia and Manfred Foundation Colin Clark Esq Millar The Headley Trust Gorvy Paul and Jenny Lazell D Ryder Linda Beecham The Ruddock Foundation Victoria Miro Russell and The Ian Askew Charitable Frances Cloud Gillian Goss David and Amanda for the Arts Marcia Mishcon Piffa Schroder Trust Leathers Sadie Coles Mari Goulandris Mark and Anne Sebba Katherine and Simon Van CORPORATE Norma Green Kathrine Walker Beatriz Chadour- Sonja Power Hagen SUPPORTERS Sampson Louisa Service Arthur and Helen Grogan Anne Warburton Lord Renfrew Sir David and Lady Verey Christian Dior Judith Clark Sophia Service Patricia Haigh GIFTS IN Andrew Renton Felicity and Robert Christie’s MEMORY Claire Corrin Vivien Hall Richard and Elizabeth Waley-Cohen Peter Riley Setchim COS Mary Endacott George Dalgleish Carole Howells R Katharine Wedgbury Duncan Robinson Gerald Shamash and The CTP Group James Hall Richard Dunn Rosemary Hurst Naomi Angell Alexandra Wedgwood Nick Rogers Drapers’ Hall Lesley Herford Rupert Featherstone Peter James Gillian Shaw The Hon Mrs Simon Frank Salmon Farrer & Co Ann Ingham Brendan Finucane Weinstock Ralph Jones Dasha Shenkman OBE (chair, Art Partners) Debra Schmidt-Bach Feilden Clegg Bradley Rosemary James Sir Samuel Whitbread Freda Lax Jenni Spencer-Davies Greg and Rachel Sinfield Studios Jenny Gaschke KCVO Kenneth Kiernan Jennifer Lee Judith Stevenson John Singer Fenwick Ltd Martin Goldberg Nicholas White James Perkins Anthony Leeks Anne Stewart JF Skinner Financial Times Andrew Hamilton H Wilcockson O Pole-Carew Patricia May Alice Strang Brian Smith The Goldsmiths’ Ben Harman Raymond Wilder Gillian Pye Company Fiona McFadyen Priscilla Smith Tanya Harrod Nicholas Thomas Dave Williams and Mary Trustram-Eve John Doe Malcolm McQueen Nicholas Snowman OBE Reba White Williams Andrew Hemingway Philippa Tinsley Communications Ltd Jane Wall Elcie Montagu Stuart and Caroline Jane Williamson David James Jennifer Tonkovich Lazard and those donors Southall Stephanie Morland Cathy Wills who prefer to remain Ruth Jarratt Charlotte Topsfield 115 Morley College 116 David Speller Valerie Owen Hughes anonymous. Michael and Jane Wilson Rolf H Johannsen Fiona Venables QuantumBlack Leigh Spiers Jeanne Pakes ADVISERS Anthony J Wingate Sarah Lloyd-Durrant Rosemary Watt Slaughter and May JB Stainton Donald Parker Simon Baker Anne and Barrie Wood Catharine MacLeod Godfrey Worsdale Stephenson Harwood Sir Hugh and Lady Peter Barber Paul and Pat Zatz LLP Joan Perkin Gareth Williams Stevenson Marcel Marée Megan Barford Paul Zuckerman and SUTTON PR Anthony Petty Werner Zinkand Virginia Surtees Andrea Martin Sarah Greenall Clare Barlow The7stars UK Ltd Geoffrey Riddle Andrew Sutherland Tom Mayberry AMERICAN Jim Bennett Wartski Ltd June Rudman Sir Hugh and Lady Sykes FRIENDS Patrick McCaughey LEGACY GIFTS Evelyn Saunders Jonathan Betts Jiew Cheng Tan The American Friends Marilyn McCully of Art Fund contributed Joan Scott Elaine Blake Ingeborg Bratman Roderick Mills Stephan and Lesley $269,900 to our work in Brian and Mary Senior Claire Blakey Taylor 2016. Jeremy Bunting Sarah Monks John Smith Richard Blurton John and Maura Tilney PREMIER Betty Cairns Anthony Mould CORPORATE Anne Speight Steven Bode Hazel Trapnell PARTNER Nina Costin Tessa Murdoch Nicholas Turner Barbara Stott Ben Borthwick UBS Geoffrey Cox Amber Oliver Philip Taverner Sabine Breitweiser Baroness van Dedem Brendan Garrynathan Kathleen Palmer Elizabeth Veale Victor Buchli Johnny Van Haeften William George Venetia Porter Julia Carver Patricia Grier Jennie Mills Susan Hoffman Tony Seward ACKNOWLEDGMENTS (until March 2016) Diana Huntingford Mike Nesbit Helen Toplis Sim Hughes 2016 VOLUNTEER COMMITTEE MEMBERS Julia Longe Brenda Taggart Northumberland TOTAL RAISED £ 387,000 (until October 2016) Elizabeth Lubienka and Tyne & Wear Jane Paton-Smith Steven Taggart Rosalie MacFarlane Pam Portsmouth Emma Roodhouse (until October 2016) (from October 2016) Veronica Brodie Catherine Whitworth NOTTINGHAM- Lorella McDonald Jones (until July 2016) SHIRE Bill Gibbon Averril Paterson EAST MID- Sally Machin Madeleine Hooper LANDS Sophie Service Henry Blagg Barbara Moffatt CENTRAL Garry Griffiths (from March 2016) Clive Lucas £9,523 NORTH SOUTH: (until October 2016) Dianne Morgan Fenella Davidson Carolyn Wilson Georgina Gamble £21,254 £38,906 Derbyshire Sue Lucas Henry Machin Regional Chair: David Pearson Anna Griffiths EAST ANGLIA (until October 2016) Regional Chair: Richard Eastwood Lesley Taylor £36,638 Steve Ray Mary Villiers Angus Johnson Diana Roberts Sir Alastair Stewart Gill Curtis Regional Chair: Cumbria NORTH WEST Berkshire Christina Wilson Mark Roberts John Brasier Norfolk Anne Pook (until December 2016) Philip Cropper £31,153 Fergus Madden Margery Wilson Cambridgeshire Sandy Heslop Geoff Pook Northamptonshire Charles Lambrick Regional Chair: Jeff Branch LONDON Hanny Woods Jenny Josselyn Jenny Chamberlin Joan Travis Katie Lindenbaum £70,241 Keith Macmillan Andy Gibbs Cheshire Richard Andrewes Penny Clarke Leicestershire and 117 (from November 2016) Katherine Cadbury Regional Chair: John McDowell 118 Rutland Maria Bell-Salter Hilary Banner Jean Calhoun Charlotte Crawley Madeline Holl Alex Corrin Jane Pollock Mark Newton Michelle Barnes Fraser Ashman Janet Eastwood Emma Hazell Diana Humble Michael Loe Aileen Rosie Manuela Cridland Susie Blundell Richard Bell Marr Grieve Andrew Moore Mike Moss Louise Sheppard Margaret Sutcliffe (until February 2016) Kiki Everard Su Collins Nigel Harris Derek Newman Durham and Kay Murphy Oxfordshire Peter Boughton Mary Henniker-Major Catherine Corbet Kate Steen Roderick O’Donnell Cleveland Tim O’Donovan Barbara Snell Milward Anne Marr Stephanie Hutton Essex Gervas Steele Lesley Taylor Buckinghamshire Susan Crawford Peter Cowen Kenneth Rowland (until January 2016) Sue Milward Jane Atkinson Jane Yates Mary-Jane Gibson Janice Jones Arthur Drysdale Cynthia Short Francesca Vanke Nini Murray-Philipson (from March 2016) Jacqueline Brown Chris Allen Cate Barber (until December 2016) Richard Wilson Caroline Graham (until November 2016) Inger Trevor-Barnston Fiona Mann John Gray Diana Newton Lionel Avery Rica Hene Elizabeth Conran Jane Yeoward (from November 2016) Mary Yule Doreen Parker Sue Parr Sylvia Avery Helen Statham Steven Fawkes Lancashire Henry Greenfield Suffolk John Pears Maria Groundes-Peace Lincolnshire Maggie Stockton John Findlay Andrew Penny (until March 2016) Marian Griggs Caroline Cowper Christine Harris Dianne Middleton Anthony Thompson Colin Hardy Gill Crook Richard Pullen Gareth Gunning Diane Cook Janice Tunnicliffe Jeffrey Stansfield (until London Events Gabrielle Heath Catherine Penny Kevin Senior Nicholas Hinde Christine Cutler January 2016) Helpers (until June 2016) Sarah Turner (from March 2016) (from December 2016) Victoria Engleheart Diana Rawson Hendy Farquhar-Smith Carole Cohen Olga Senior Sandra Pollard Hertfordshire Helen Kent Caroline Shelford Horace Farquhar-Smith Caroline Garvey Anne Ridgway Patsy Stothert Rosemary Chambers Surrey Helen Ball Beryl Whidden Sue Eastham Diana Dixey Richard Lockett (until December 2016) Tim Stothert Diana Geering Michael Andrews Judie Yung Elizabeth Forbes Susanne Dixon Lis Madge Caroline Chataway (from November 2016) Alex Walker (until December 2016) Sue Casbon Abi Cush Dorset Anna McDowell Elizabeth Errington (from April 2016) (until October 2016) The Hon Lady Morrison Henrietta Cooke Marion Foster Liz Donaldson David Orr Christina Richard (from November 2016) Tricia Wilson Jimmy Garnier Tor Hardman Nicholas Grealy Denis Gamberoni Philippa Francis John Stoller Andrew Sanders Hanny Woods (from April 2016) (until September 2016) (until September 2016) Crescent Giffard Jill Hunter Carol Hammick Annabel Sanders Greater Fiona Hare Joe Studholme Veronica Lillis Andrea Harris Sidney Morton Manchester Tim Hobson (from January 2016) Richard Slawson Andrew Palmer Sarah Sparrow Elizabeth Henley Joy Oura Mary Mallick (from September 2016) Rachel James WEST Fenella Smyth (until October 2016) Clare Thompson Jeremy Love Elizabeth Williamson MIDLANDS (until May 2016) Eileen Eastwood (until September 2016) Sandra Pearce £19,563 Penny Loder Christina Trant YORKSHIRE Barbara Goodman Barbara Robertson Cornwall Alex Macpherson Herefordshire Gareth Williams £20,182 (from November 2016) Nigel Thimbleby (from April 2016) Maggie Cooper Alison Lakin Jane Scarborough Regional Chair: Peter Scott Sally Wilkin Warwickshire Simon Privett Raye Bachmann Jane Crease Rosemarie Letherman (from May 2016) Fiona Annesley Somerset Brian Phillips Penny Rudd Jane Mutch (until October 2016) York and East Stella Lowe Stewart Smith Mary Fryer Gill Ashley-Smith Yorkshire Katherine Sellon Gil Patrick Philip Baldwin Mike Potter Joan Smyth (from September 2016) Michael Armstrong Peter Ashley-Smith Moira Fulton Alison Vaissiere John Borron Merseyside Sussex Joy Reynolds (from August 2016) Sandra Clowes Patrick Walker Sarah Armstrong Darrell Buttery Peter Woods 119 Annie Flitcroft Tim Russ Jemima Bristow David Custance 120 Sarah Webster Pilla Dingle Brian Councell (until January 2016) (until August 2016) (until May 2016) Derek Bunting Gerard Bagley Lynda Grange Lindsay Councell Kent Ingrid Sofrin Mary Caiger Penny Hughes Barbara Farmer Stephen Chandler Michael Layard Jane Crease Jane Johnson (until September 2016) (from August 2016) (from August 2016) Olwen McLaughlin Susan Chandler (from Eryl Williams Nicky Llewellyn Susannah Edmonds Faith Matthews Helen Geddes Maggie Bowman March 2016) Pam Meredith-Jones (from February 2016) (from May 2016) Colin Mattingley Julia Green Dianne Page Jenny Cook Jill Holloway Susie Noble Devon Judith Glover Stephen O’Malley Neffy Hensher Susan Yeomans Julian Cronk Marilyn McInnes (until December 2016) Sandra Penketh Jo Hawkins Tom Rees Rosie Joy Marjory Morris Jonathan Petitpierre Worcestershire Richard Green Sally Warnock (until December 2016) Gri Harrison Tim Robinson Laura O’Grady Ann Lansdell Catherine Corbet Richard Johns SOUTH EAST Maggie Robinson John Hitchins Elisabeth Rutherford Milward £44,278 Alison Philip Jane Pace Anne McLean (until November 2016) Miles Robinson Irene Herman Anne Carter John Townson Dorothy Nott Regional Chair: John Power (from October 2016) Rosalie Trefgarne (from February 2016) Dina Thorpe Shropshire Wimpy Derbyshire Hilary Younger David Wilkinson Fiona Incoll Hampshire Felicity Seton SOUTH WEST Michael Younger Katherine Garnier Sam Driver White (until October 2016) (until June 2016) Katherine Lacey £42,420 Myriam Barling Nigel Goodman North Rosemary Andreae Wiltshire Jo Shepherd-Barron Jeremy Logie Yorkshire (until December 2016) Regional Chair: Peter Beckett Andrew Grant Judie Yung Susie Blundell Lou Tasker Lesley Noakes (until October 2016) Gillian Fieldhouse Sarah Broke Beatrice Grant (until June 2016) (from March 2016) Tim Battle Bath and Bristol Richard Bifield Gail Bent Auriol Byrne Caroline Hornyold Pi Townsend Richard Pocock Gerry Blundell Patrick Dingwall Olive Duncan Hughes Munro Jennifer Simmers Hermione Malcolm Pat Goodall Karen Hiscock Jo MacLachlan (until January 2016) (until August 2016) (until December 2016) Julia Lawson-Tancred Iain Ellvers Sarah McConnel Ken Jones NORTHERN Elspeth Skinner Gwen Scott Lucy Hobhouse IRELAND Humphrey Mather (from Antonia Orr Jane Murray-Flutter Amanda Renwick March 2016) Fiona Skinner Jane Stodart Richard Hoffman Mark Donnelly Michael Smyth William Oakes Swansea Finella Orr Dorothy Stewart Sabina Struthers Susan Rathbone Dan Calley Clara Young Carin Sykes (from September 2016) Kirstine Dunthorne Jill Robinson Grampian Dyfed Olive Gamble Borders Edinburgh Tibi Weir Deanna Harding Miranda Sampson Lucy Campbell Marion Hutton Alexandra Greer Jan Watson James Holloway Perth and Kinross Ceri Barclay Dee Venner Maire Lanaghan Linda Blackwell Rosalind Mulholland Harriet Busby Susan Godfrey (from January 2016) Anne Steuart Janet Clark South Yorkshire Fothringham Stan Gibby Henrietta Reade Jane Douglas Home Gillian Henshaw Juliette Paton Jennifer Crooks Anne Thompson Angela Bell Christopher Gillham Anne Stewart Francis Hamilton Patricia Lancaster William Paton Richard Daugherty Lesley Cogher Ewen Honeyman Margaret Gwynne Lloyd SPONSORSHIP Jane Neagle Rachel Lloyd (from January 2016) Neil Harding 2016 Paul Golding Charles Wemyss Clare Heal Erica Reeves John Mackie Alistair Reid Constance Hill (until April 2016) Bonhams (from December 2016) Fiona Wemyss Gwent David McLellan Jane Richardson Catherine Parker Pauline Hill Handelsbanken (until September 2016) Walter Riddell-Carre Sophie Younger Patricia Milling Mark Medcalf Angelica Salvesen Janet Walker (until Janu- Investec Wealth Jean Jones Georgina Seymour Sarah-Jane Gilchrist ary 2016) Helen Ruthven John Whittall Strathclyde & Investment Ltd Victoria Tweedie CHANNEL Trevor Knox Highlands Robert Ferguson Rosemary Hall Emily Walsh ISLANDS AND 121 122 Sylvia Thompstone Helen Usher Katrina Clow Patricia Halliday NORTHERN Fife Ian Barr (until November 2016) IRELAND Carol Waddington Central Scotland Kaye Horsfall Rosemary Trump John Beaton £5,297 Anne Sutherland West Yorkshire Shaun Nesbitt Norman McLean Patricia Wright Richard Bevens Guernsey Judith A. Livingston Nicholas Merchant Johnnie Cuthbert Kerri Moogan NORTH WEST Jenni Black Elisabeth Evans John Nicholson (until November 2016) WALES Susan Hindley Kirsty Cuthbert Annie Cairns Wendy Hales Sue Pianta Scott Efric NcNeil Mary Rickards Ann Holdsworth Kate Luke Jane Gillies Caroline Harris Mary Wilson Pam Painter Rhiannon Charles Holdsworth Fiona Robertson (until October 2016) Humphreys-Jones Morna Harwood (until December 2016) Pamela Robertson Olivia Stross Ann Gunn Lothians (until January 2016) Anthony Peters Anthony Weld-Forester Michele Hilton Mary Callander Margaret Wallis (from January 2016) Jeanette Guy Gib Steele Ann Pugh Jersey Jane Haig Melissa Bradley Tim Walls Dumfries and Pippa Stephenson David Roberts Karen Stone Galloway Valerie Kyle Wendy Cochrane SCOTLAND WALES £14,113 Jeremy Yates (from October 2016) Anne Binney £33,531 Beverley Vaux Harriet Dalrymple Clwyd Powys Charlotte Barnes Regional Chair: Janey Lambie Buffy Carson Janey Dalrymple (from June 2016) Michael 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Michael and Jane Wilson Ruth Jarratt Charlotte Topsfield QuantumBlack Leigh Spiers Jeanne Pakes ADVISERS Anthony J Wingate Rolf H Johannsen Fiona Venables Slaughter and May JB Stainton Donald Parker Simon Baker Anne and Barrie Wood Sarah Lloyd-Durrant Rosemary Watt Stephenson Harwood Sir Hugh and Lady Peter Barber Paul and Pat Zatz LLP Joan Perkin Godfrey Worsdale Stevenson Catharine MacLeod Megan Barford Paul Zuckerman and SUTTON PR Anthony Petty Gareth Williams Virginia Surtees Marcel Marée Sarah Greenall Clare Barlow The7stars UK Ltd Geoffrey Riddle Werner Zinkand Andrew Sutherland Andrea Martin AMERICAN Jim Bennett Wartski Ltd June Rudman Sir Hugh and Lady Sykes FRIENDS Tom Mayberry LEGACY GIFTS Evelyn Saunders Jonathan Betts Jiew Cheng Tan The American Friends Patrick McCaughey of Art Fund contributed Joan Scott Elaine Blake Ingeborg Bratman Marilyn McCully Stephan and Lesley $269,900 to our work in Brian and Mary Senior Claire Blakey Taylor 2016. Jeremy Bunting Roderick Mills John Smith Richard Blurton John and Maura Tilney PREMIER Betty Cairns Sarah Monks CORPORATE Anne Speight Steven Bode Hazel Trapnell PARTNER Nina Costin Anthony Mould Nicholas Turner Barbara Stott Ben Borthwick UBS Geoffrey Cox Tessa Murdoch Philip Taverner Sabine Breitweiser Baroness van Dedem Brendan Garrynathan Amber Oliver Elizabeth Veale Victor Buchli Johnny Van Haeften William George Kathleen Palmer Julia Carver      

Aberystwyth Aberystwyth Ambleside Ambleside Barnard Castle Barnard Castle Aberystwyth University Aberystwyth University Armitt Museum and Library Armitt Museum & Library The Bowes Museum The Bowes Museum

Angus McBean (1904-90) Philip Eglin (b1959) Kurt Schwitters (1887-1948) Kurt Schwitters (1887-1948) Attributed to the studio of Dieric Elsa Schiaparelli (1890-1973) Collection of photographic prints Scribble 1- (Untitled) Old Ambleside; Untitled (Silver Howe, Grasmere) Bouts the Elder (c1420-75) Couture embroidered and collages 2015 2- (Untitled) View from Blue Hill; 1945 St Luke Drawing the Virgin and Child midnight-blue velvet 1936-85 Slip-decorated earthenware 3- (Untitled) Fair eld; Oil on paper c1440-75 evening jacket Height 45cm 45 × 18cm 4- (Untitled) View from Peggy Hill 49 × 68cm Oil on canvas (transferred from 1937-38 Photographic prints and collages 1945-47 panel) Blue velvet lined with blue satin; 127 Various dimensions Philip Eglin is one of the leading Various materials This is one of the rst paintings 109.2 × 86.4cm gilt cord embroidery by Lesage; 128 gures in ceramics in the UK. His Various dimensions Schwitters produced after he rhinestones and brass closure This remarkable group of prints work includes sculptures, vessels settled in Ambleside. It depicts Bouts was one of the greatest hooks. (some unique) and collages by the and plates in a vigorous The German-born artist Kurt Silver Howe, a substantial house Netherlandish painters of the Bust 86cm Surrealist photographer Angus Postmodernist idiom drawing on Schwitters settled in England in that was originally built in about generation after Jan van Eyck. McBean comes from the collection a wide range of references from 1940 and from 1945 lived in 1798 as a modest cottage for He created a distinctive style, Josephine Bowes was acknowledged of his friend and biographer Adrian both high art and popular culture. Ambleside. In his native Hanover William Gell, who later became a notable for solemn, very slender as one of the best-dressed women Woodhouse. Some items were given He says ‘I enjoy being  ippant and he was a leading gure of the distinguished classical gures and exquisite landscape of her age and the museum that to Woodhouse by McBean, and subversive’, and that he aims for a anarchic Dada movement in the archaeologist. The painting comes backgrounds, and his work had bears her name appropriately has others were bought from dealers balance between ‘the reverent and period between the two World from the collection of Harry wide in uence. Outside the an outstanding costume collection, and at auction over the past 30 the irreverent, the sophisticated Wars, but in his later years he often Bickersta , who was a close friend National Gallery in London, he is to which this piece makes an years. The collection is now the most and the crude’. worked in a more naturalistic, of the artist. virtually unrepresented in UK public impressive addition. Italian by birth representative group of McBean’s impressionistic vein, as in these collections, so the acquisition of but resident in Paris at the peak of work held by any public institution Art Funded £1,500 four paintings. Art Funded £2,500 this major work is a great coup for her career, Schiaparelli was one in Britain. Total cost £2,970 Total cost £10,000 the Bowes Museum. of the key personalities in fashion Art Funded £12,500 design in the period between the Art Funded £5,000 Total cost £37,000 © DACS Art Funded £260,000 two World Wars. Total cost £25,000 (with a contribution from The © DACS Wolfson Foundation) following Art Funded £31,229 © Adrian Woodhouse temporary export deferral Presented through Total cost £2,095,815 New Collecting Awards Total cost £31,229      

Bath Bath Bath Bedford Birmingham Blackpool The Holburne Museum Herschel Museum of Astronomy Museum of Bath Architecture The Higgins Bedford Birmingham Museum & Art Gallery Grundy Art Gallery

Sir Thomas Lawrence (1769-1830) Dudley Adams (1762-1817) Thomas Heath (active 1720-53) George Romney (1734-1802) Sir Edward Burne-Jones (1833-98) Tracey Emin (b1963) Portrait of Arthur Atherley Pair of terrestrial and celestial Set of drawing instruments Five sketches of John Howard The Good Shepherd I know, I know, I know 1791 pocket globes belonging to John Wood the Elder visiting a Lazaretto 1857-61 2002 Oil on canvas 1784 c1740-50 1793 Stained glass Neon 62.2 × 50.8cm paper, wood, metal and sh-skin Silver and sh-skin case containing Pencil on paper 132 × 51cm 112 × 261cm 7.5cm each in diameter silver, steel and ivory instruments Each 23 × 41cm 129 Lawrence was a child prodigy and 13 × 6.7 × 2.1cm This panel derives from the rst Appropriately for a gallery in a 130 was already well embarked on his The museum is housed in the Although he was hugely successful design Burne-Jones ever made for town famous for its lights festival brilliant career when, aged 22, he former home of the astronomers This superb set of drawing as a society portraitist, Romney’s stained glass. He became one of (the Blackpool Illuminations), painted this lively preparatory study William and Caroline Herschel, a instruments belonged to John Wood heart lay elsewhere and he always the most eminent designers in the the Grundy has begun to make for a portrait of Arthur Atherley, handsome Georgian town house. Its the Elder (1704-54), the architect had ambitions to paint historical eld, his work including windows a collection of light-based work future MP for Southampton. The collections include objects relating who was chie y responsible for and literary subjects. Throughout for four churches in Birmingham and in 2016-17 held an impressive Holburne Museum already has two to their work and achievements. making Bath the most attractive his life he used sketchbooks to (his home city), notably four exhibition entitled ‘Neon: The pencil drawings by Lawrence, but Dudley Adams was o cial globe Georgian city in England. The set develop his ideas, but they rarely large windows for the cathedral. Charged Line’. Emin is one of the this is the rst oil painting by this maker to George III and this includes a particularly ne ivory came to fruition. These ve studies Birmingham Museum & Art Gallery best-known artists to work in the celebrated local artist (he was born example of his skill is remarkable sector rule with silver mounts, two are taken from a sketchbook that appropriately has the world’s best medium, and this example, which in Bristol) to enter the collection. for its sheer quality and superb pens and a mounted pencil. Wood’s depicts the philanthropist and collection of Burne-Jones’s work, featured in the exhibition, makes a state of preservation. coat of arms is engraved on the prison reformer John Howard visiting to which this panel makes an notable addition to the permanent Art Funded £105,000 lid of the case and the base is a lazaretto (plague hospital). outstanding addition. collection. Total cost £420,000 Art Funded £9,000 engraved with his name. Total cost £20,000 Art Funded £3,150 Art Funded £35,000 Art Funded £50,000 Art Funded £10,080 Total cost £3,150 (with a contribution from Presented through Total cost £26,040 The Wolfson Foundation) New Collecting Awards Total cost £80,000 Total cost £50,000

© Tracey Emin. All rights reserved, DACS      

Brechin Brechin Brecknock Brecknock Brecknock Brecknock ANGUSalive Museums (Me an ANGUSalive Museums (Me an Brecknock Museum and Art Brecknock Museum and Art Gallery Brecknock Museum and Art Gallery Brecknock Museum and Art Gallery Museum and Art Gallery) Museum and Art Gallery) Gallery Unknown maker John Varley (1778-1842) Paul Sandby Munn (1773-1845) Unknown makers Unknown maker John Piper (1903-92) James I silver chalice and paten Brecon on the River Usk, South Brecon Bridge with the Castle Beyond 1- Medieval gold ring Medieval silver gilt ring The Devil’s Bridge Waterfall, 1614-15 Wales Watercolour over pencil on paper c500-1500 c500-1500 Aberystwyth, Wales Silver c1800 c1802 Gold Silver gilt 1944 Chalice height 17.8cm; paten Watercolour over pencil on paper 18.3 × 27.1cm Diameter 1.9cm Diameter 2.5cm Pen and ink, watercolour diameter 7.6cm 21.6 × 36.2cm 131 2- Medieval seal matrix heightened with pastel on paper Munn’s forenames derive from 132 c500-1500 The bezel of this ring is decorated 21.6 × 36.2cm This communion plate is from the Varley was one of the outstanding his godfather Paul Sandby, who Copper alloy with a pair of clasped hands, church of St Michael in the village watercolourists (and one of the gave him his rst instruction in art. 2 × 1.6 cm indicating it was probably given as In spite of its title, this romantic of Llan hangel Nant Brân, Powys leading watercolour teachers) of his Later he knew many other leading a symbol of betrothal or friendship. scene has recently been identi ed (about 12 km west of Brecknock). time. He rst visited Wales in 1798 watercolourists of the day and in The ring, discovered in the county The hoop is inscribed IHES, a as depicting Bwa Maen, a striking Both pieces have the London or 1799, returned several times, particular was a close friend of John of Angus, is plain on the outside contraction of the Latin for Jesus limestone formation in the Vale hallmark for 1614. The chalice is on and found the country an enduring Sell Cotman, with whom he made and engraved on the inside with of Nazareth, King of the Jews. This of Neath, Powys, South Wales. a domed foot and is engraved with source of inspiration for his art. This several sketching tours at home and ve letters interspersed with six was believed to protect the wearer Piper visited the area in 1942. the maker’s mark IR. The paten is sketch later inspired a watercolour abroad. They visited Wales together symbols. These suggest it was given from violent death. The ring will be The picture makes a handsome on a pedestal foot engraved with of 1837 purchased by the museum in 1802 and this watercolour as a romantic gift. The seal matrix displayed in the Me an Museum, addition to the museum’s art the name of the village, the date in 2012 with assistance from the perhaps dates from this time. features a hunting horn and lettering Forfar, the nearest museum to the collection, which focuses on works 1615 and a number of initials. Art Fund. and may have belonged to a forester. discovery site. inspired by the dramatic scenery of Art Funded £750 These items will now be displayed in the Brecon Beacons from the 18th Art Funded £4,583 Art Funded £1,000 Total cost £1,875 the Me an Museum, Forfar. Art Funded £1,000 century to the present day. Total cost £10,575 Total cost £2,500 Total cost £2,000 Art Funded £2,563 Art Funded £5,000 Total cost £5,125 Total cost £15,000      

Bristol Bushey Cambridge Cardi Cardi Cheltenham Bristol Museum & Art Gallery Bushey Museum & Art Gallery Fitzwilliam Museum National Museum Cardi National Museum Cardi Holst Birthplace Museum

Shao Changzong, Wu Hao, Zhao Sir Hubert von Herkomer Unknown maker (cabinets) and Attributed to Jean Henri de Moor William Burges (1827-81) Millicent Woodforde (1880-1923) Lantao, Wan Liya, Wang Ping, (1849-1914) Charles Heathcoate Tatham (c1645-1722) Tulip vase Portrait of Isobel Holst Wang Qin, Han Xi, Zhuang In the Black Country (1772-1842) (stands) Pair of silver and irons 1874 1910 Xiaowei, Peng Zanbin 1891 Pair of ebony-veneered cabinets of 1680-81 Porcellaneous stoneware with slip Oil on canvas 11 pieces of contemporary Chinese Watercolour on paper architectural form Silver glaze, painted and gilded 65 × 50cm ceramics and glass 39 × 48.5cm c1625 (cabinets) and c1800 (stands) 46.2 × 23.8 × 13.5cm Height 36cm 133 2010-14 Wood, ebony, coloured marbles, The soprano Isobel Harrison 134 Porcelain, stoneware and glass The German-born Herkomer semi-precious stones, gilt bronze This magni cent pair of andirons This vase is one of four designed married the composer Gustav Various dimensions settled in England as a child Without stand: 125 × 93 × 43.5cm is the nest surviving example of by the architect William Burges Holst in 1910. This is one of only and became a major gure in With stand: 222 × 93 × 43.5cm the fashion for French-style silver as part of the decorative scheme three known portraits of her, so These 11 works by nine Chinese Victorian and Edwardian art. replace furniture in Britain during for the Summer Smoking Room it nds the ideal home in the artists have been selected from He lived in Bushey for much of These magni cent cabinets were the reign of Charles II. One andiron at Cardi Castle, the sumptuous museum dedicated to Holst, his the 45 pieces shown in the 2014-15 his life and the museum has an made for a member of the princely bears the maker’s mark IM, most Gothic Revival house that ranks as work, his family and friendships. touring exhibition ‘Ahead of the outstanding collection of his work. Borghese family in Rome in the early likely that of the Dutch goldsmith his masterpiece. Ceramics designed The painter of the portrait, Millicent Curve: New China from China’. This example, which shows his 17th century. They were later Jean Henri de Moor, who worked by Burges are extremely rare, and Woodforde, was a family friend. They nd an appropriate home concern with social issues, depicts mounted on English neo-classical in Paris before moving to London, the local associations of this piece Her restrained harmonies show in Bristol Museum, which has an a night-time scene in the West stands and displayed as Grand Tour where he is recorded in 1678. make it a superb addition to the some in uence from Whistler. outstanding collection of Chinese Midlands, with a group of three trophies in the Long Gallery at Castle collections of National Museum art, particularly glassware. workers, including a child, in front Howard. The stands were probably Art Funded £150,000 Wales. Art Funded £1,500 of a mill and glowing furnaces. designed by the architect Charles following temporary export deferral Total cost £4,550 Art Funded £19,983 Heathcote Tatham, who remodelled Total cost £541,000 Art Funded £50,000 Total cost £58,115 Art Funded £3,500 the Long Gallery in 1800-2. following temporary export deferral Total cost £7,000 © Amgueddfa Cymru - National Museum Total cost £163,000 Wales © Zhuang Xiaowei Art Funded £200,000 (with a contribution from The Wolfson Foundation) following temporary export deferral Total cost £1,240,010

© The Fitzwilliam Museum, Cambridge      

Colchester and Ipswich Museums Coventry Coventry Derby Derby Devizes (Ipswich Museum and Gallery) Herbert Art Gallery & Museum Herbert Art Gallery & Museum Derby Museum and Art Gallery Royal Crown Derby Museum Wiltshire Museum Chelsea Porcelain Factory Unknown makers Chloe Dewe Mathews (b1982) Brookie Maxwell (1956-2015) Joseph Wright of Derby (1734-97) Unknown artist The Rendlesham Collection Shot at Dawn numbers 14 and 22 Due Diligence Arkwright’s Cotton Mills, by Day and Collection of Chelsea-Derby Gold tremissis 5th century AD 2013 2014 Willersley Castle, by Day porcelain c655-75 AD Gold, silver, copper alloy, lead Archival C-type prints 13 engraved wooden-handled 1795-96 c1770-85 Gold Various dimensions Each 150 × 120cm carbon-steel machetes, tar Oil on canvas Ceramics Weight 1.27g Each machete 58.5cm long; Each 58.8 × 76.2cm Various dimensions 135 This remarkable collection of These two photographic works overall size of installation variable This extremely rare gold coin 136 objects, excavated close to the are from ‘Shot at Dawn’, a series Derby Museums appropriately In 1770 the Chelsea Porcelain was unearthed at East Grafton, village of Rendlesham, near (commissioned by the Ruskin Brookie Maxwell was an artist, have the world’s best collection Factory was bought by the owner Wiltshire, in April 2015. The coin Woodbridge, Su olk, includes 40 School of Art, Oxford) recording curator and founding director of Wright’s work, but these two of the Derby Porcelain Factory, was struck in what is now France, Anglo-Saxon coins, ne jewellery some of the sites at which British, of Gallery 138, New York, which paintings show an aspect of and from then until the Chelsea during the time of the Merovingian and other items believed to be French and Belgian soldiers helped start the careers of many his output that was previously works closed in 1784 the products kings. Coins were very unusual in related to an Anglo-Saxon palace were executed for cowardice or young artists. Her work was often unrepresented - the depiction of of the two centres were virtually Anglo-Saxon England at this time that once stood on the site. There desertion during the First World concerned with promoting peace the Derbyshire landscape. They indistinguishable. Consequently and usually represent a royal or are clear links between the items War. The quiet, contemplative and reconciliation. Due Diligence were perhaps commissioned by the they are referred to as Chelsea- ecclesiastical gift, sometimes given in this collection and the contents images now stand as a memorial to comments on the violence and industrialist Sir Richard Arkwright Derby porcelain. This collection to people who travelled to France of the world-famous burial site these brutal events a century after su ering endured by the people of (a friend of the artist), who owned has been acquired from Stephen or Rome. This example depicts a excavated at nearby Sutton Hoo they took place. Rwanda during the country’s bloody Willersley Castle as well as the Mitchell, a leading authority on the Christian king modelling himself in 1939. civil war. It made a powerful impact cotton mill (one of the rst factories subject. on a Roman emperor. Art Funded £2,235 on visitors when it was on loan to in England). Art Funded £23,000 Total cost £5,670 the Herbert in 2014. Art Funded £13,500 Art Funded £8,424 Total cost £75,684 Art Funded £94,091 Total cost £33,750 Total cost £21,600 © Chloe Dewe Matthews Art Funded £1,800 (with a contribution from Total cost £5,000 The Wolfson Foundation) Total cost £229,492 © the artist’s estate      

Doncaster Edinburgh Edinburgh Edinburgh Edinburgh Edinburgh Doncaster Museum and Art National Museums Scotland National Museums Scotland Scottish National Gallery of Scottish National Gallery of University of Edinburgh Gallery Modern Art Modern Art Unknown artist James Cromar Watt (1862-1940) Melanie Gilligan (b1979) Elston of Doncaster Two fragments of a decorative box Arts and Crafts enamel- and pearl- Toyen (Marie Čerminova) Steven Campbell (1953-2007) The Common Sense Pair of 40-bore  intlock pocket of King Amenhotep II set necklace (1902-80) On Form and Fiction 2014-15 pistols c1400 BC c1905 The Message of the Forest 1989-90 Video integrated with sculptural c1770 Cedar wood, ebony, ivory, gold and Enamel, pearls, glass, gold, 1936 Nine acrylic paintings on paper installation Length of barrels 6.3cm plaster/faience earthenware Oil on canvas and 105 ink drawings on paper Dimensions variable 137 Height 9.5cm and 4.5cm Length 39cm 160 × 129cm Various dimensions 138 These pistols bear the name of Gilligan is a Canadian artist, best the local rm Elston, and were These two fragments are parts that Watt quali ed as an architect in his The Scottish National Gallery of Campbell’s high-pro le career known for her video works, which probably made by Abraham were missing from a cylindrical box native Aberdeen, but early in his Modern Art has a world-class helped to create a boom in explore life in the near future in Elston, who had a shop on Goose in the Ancient Egyptian collections career he worked mainly in jewellery, representation of Surrealist contemporary Scottish art, a dark and sometimes humorous Hill in Doncaster, near the Market of National Museums Scotland. producing some outstanding art, to which this is a notable particularly in his native Glasgow. way. The Common Sense is the rst Place. They are of excellent quality The box is a masterpiece of examples in the Arts and Crafts addition - the rst work by a Czech On Form and Fiction was acquisition made by the University and their interest is enhanced by craftsmanship that ranks among idiom. This piece has a teardrop Surrealist to enter the collection. rst created as an immersive of Edinburgh’s Contemporary Art their provenance: they belonged the nest examples of decorative pearl as its main feature, with six Marie Čermínová adopted the installation at the Third Eye Centre Research Collection. It is a video to the Warde family of Hooton woodwork to survive from Ancient green enamel panels of varying sizes. un-gendered name Toyen in 1923 in Glasgow in 1990 and later installation comprising 15 episodes, Pagnell Hall, one of the most Egypt. It was perhaps used to store Watt gave up jewellery after the and often referred to herself using toured to other venues across each six minutes long. Its dystopian notable country estates in cosmetics or perfume in a royal First World War, evidently because masculine pronouns. This dark, Britain. It has now been acquired narrative does not have to be the area. palace. of failing eyesight. unsettling painting embodies jointly by the Scottish National viewed chronologically, o ering two typical Surrealist concerns such Gallery of Modern Art, Edinburgh, alternative outcomes. Art Funded £243 Art Funded £10,000 Art Funded £1,846 as irrationality and the power of and Glasgow Life. Total cost £810 Total cost £25,000 Total cost £3,750 nature over the human world. Art Funded £24,500 Art Funded £100,000 Total cost £49,014 Art Funded £150,000 Total cost £200,000 (with a contribution from © Melanie Gilligan The Wolfson Foundation) © The artist Total cost £486,449

© ADAGP, Paris and DACS, London      

Edinburgh Edinburgh Edinburgh Edinburgh Edinburgh Edinburgh National Museums Scotland National Museums Scotland National Museums Scotland National Museums Scotland National Museums Scotland National Museums Scotland

Björn Weckström (b1935) Sigurd Persson (1914-2003) Claës Giertta (1926-2007) Anni (b1926) and Bent Knudsen Ernest Blyth (1939-95) Poul Warmind (b1929) Flowering Wall necklace and Gold bangle with tourmalines Necklace (1924-1997) Two gold brooches Necklace earrings and amethysts 1966 Bracelet 1969-70 c1955 1973 1963 Gold, white gold c1965 Gold Sterling silver and enamel Gold and tourmaline Gold, tourmaline, amethyst Weight 58.5 g Sterling silver, amethyst 6.5 × 4.5cm; 4.5 × 3.5cm Length 40cm Length 28.5cm, pendant 7.5 × Width 6cm 139 4.3cm Claës Giertta was a Swedish The Danish husband and wife Blyth designed these brooches for Warmind is one of the most 140 Persson was one of the most silversmith, sculptor and designer. team of Anni and Bent Knudsen Ivan Tarratt Jewellers of Leicester. distinguished  gures in modern Weckström is a versatile Finnish admired Swedish designers of He established his own workshop established their own business in Tarratt worked with leading Danish jewellery. His output has artist best known for his jewellery the 20th century, renowned for in Stockholm in 1957 and later 1956. Their work - in various media designers of the day to develop been mainly restricted to small designs. He says that ‘a piece of the elegant purity of his forms. was appointed silversmith to the - exempli es the elegant restraint an in-house collection of jewellery, limited editions or one-of-a-kind jewellery is a miniature sculpture’ He worked in various materials, Swedish royal court of King Carl characteristic of much of the best a collection that continued to be pieces. He has worked in pewter, and his sources of inspiration including metals, enamel, XVI Gustav and Queen Silvia. modern design in their country. This developed and produced until the bronze, silver and gold, and he include the winter landscape of glass and plastics. In 1942 he His jewellery designs are highly bracelet is an exceptional example late 1970s. The clean forms of the is particularly well known for his Finland, re ected in the broken, established his own studio in sculptural, featuring rich relief of their work, and features their brooches show the in uence of technique of matt enamelling, uneven surfaces of his work. He Stockholm, and he also worked e ects and varying constructions favourite stone, amethyst, which modern Scandinavian design. as seen in this striking and was one of the  rst designers to as head of design for Stigbert, of geometric forms. almost acted as a signature. sophisticated necklace. combine new materials such as a progressive Swedish jewellery Art Funded £1,000 acrylic with traditional precious company. Art Funded £4,100 Art Funded £2,200 Presented through Art Funded £575 metals. Presented through Presented through New Collecting Awards Presented through Art Funded £8,000 New Collecting Awards New Collecting Awards Total cost £1,000 New Collecting Awards Art Funded £8,750 Presented through Total cost £4,100 Total cost £2,200 Total cost £575 Presented through New Collecting Awards New Collecting Awards Total cost £8,000 Total cost £8,750      

Edinburgh Edinburgh Eastbourne Eastbourne Exeter Fife National Museums Scotland National Museums Scotland Towner Art Gallery jointly with IWM Towner Art Gallery jointly with Royal Albert Memorial Museum Fife Cultural Trust (Kirkcaldy London (Imperial War Museums) Manchester, The Whitworth Galleries) Grete Prytz Kittelsen (1917-2010) Tone Vigeland (b1938) John Piper (1903-92) Med punkter (With Dots) Brooch Brooch Omer Fast (b1972) Isaac Julien (b1960) The Quay, Exeter Unknown maker 1953 1958 5,000 Feet is the Best Ten Thousand Waves c1944 Penannular brooch Silver Silver 2011 2010 Watercolour, pencil, ink, coloured cAD 800 Diameter 5.5cm 4.5 × 6.5cm Single-channel video projection Three-screen  lm installation crayon, body colour and collage Silver, silver gilt, copper alloy 30min 49min 41s on paper Two incomplete pieces: 9.56 × 1.15 141 Sometimes known as the ‘queen The Norwegian jeweller Tone 30.5 × 68cm × 0.4cm; 5.52 × 3.92 × 0.38cm 142 of Scandinavian design’, the Vigeland comes from a family of The video artist Omer Fast was Julien is a British  lm-maker and Norwegian Grete Prytz Kittelsen artists and was immersed in art, born in Israel and studied in installation artist who has won Piper’s large and varied output The term ‘penannular’ is applied in was exceptionally wide-ranging in craft and design from a young America before settling in Berlin. several prestigious awards and was included many landscape and archaeological contexts to objects her work, which included utilitarian age. She has worked in various 5,000 Feet is the Best is based nominated for the Turner Prize in architectural views, but this is his that are roughly ring-shaped but items in steel and cast iron as materials, but silver has always on a series of interviews with a 1991. Ten Thousand Waves is one only known depiction of Exeter, so with a gap in the circumference. well as jewellery and silverwork. been central to her jewellery. There former US drone pilot. The title of his most ambitious works to it could not have a more  tting In Pictish culture, brooches such She designed the “Med punkter” are points of comparison between refers to the optimum altitude for date. Shot on location in China, home than the city’s museum. It as this were probably worn by (With Dots) range as a modern her work and Viking art and she identifying targets on the ground. this multi-screen immersive  lm- joins several other paintings in the high-status individuals, used as reinterpretation of traditional silver also draws inspiration from the By incorporating aerial views of a installation explores the country’s collection that show Exeter during exchange goods and gifts, but also  ligree brooches worn with the landscape of Norway. family car entering warlike terrain identity and culture, poetically the Second World War. Many of possibly as protective charms and Norwegian national costume. the  lm brings home the horror of weaving together stories linking its them concentrate on bomb damage, as an expression of faith. Art Funded £150 drone strikes. present and its ancient past. but this work has a positive Art Funded £180 Presented through message of survival. Art Funded £3,000 Presented through New Collecting Awards Art Funded £83,127 Art Funded £72,000 Total cost £6,000 New Collecting Awards Total cost £150 Presented through Moving Image Presented through Moving Art Funded £5,500 Total cost £180 Fund and New Collecting Awards Image Fund Total cost £15,000 Total cost £87,502 Total cost £80,000

© courtesy of the artist © Isaac Julien, courtesy the artist and Victoria Miro, London          

Fife Glasgow Glasgow Glasgow Irvine Kirkcudbright Fife Cultural Trust Hunterian Museum Hunterian Museum Kelvingrove Art Gallery and Scottish Maritime Museum Broughton House (Kirkcaldy Galleries) Museum Anne Redpath (1895-1965) Karl Schmidt-Rottlu (1884-1976) FCB Cadell (1883-1937) Edward Atkinson Hornel (1864- Unknown maker Cagnes-sur-Mer Trauernde am Strand (Women in Sue Ryan (b1965) and Ricardo The Pier at Cove - Loch Long 1933) Seal matrix c1933 mourning on the shore) Idagi (b1957) c1934 Harvesting, Kirkcudbright c1300 Watercolour, pencil and body 1914 Tagai (Green Saw sh Ghost Net Oil on panel 1885 Copper alloy colour on paper Woodcut on paper Sculpture) 45.7 × 38.1cm Oil on canvas 4.6 × 2.6cm 46 × 59cm 51.2 × 61.8cm 2016 41 × 61cm 143 Recycled gill net, rope, felt The history and culture of steamer 144 This is the only existing seal matrix Anne Redpath is one of the best- Schmidt-Rottlu was one of the Length 450cm travel around the coasts of Hornel was a leading member of William de Lamberton, Bishop loved Scottish artists of the 20th leading German Expressionist Scotland is of particular interest of the Glasgow Boys, a loose of St Andrews. It features a saltire century. She lived in France for artists and one of the greatest of Ghost net is the name given to to the Scottish Maritime Museum, association of painters that was with a scallop shell, a metaphor for several years and travelled widely modern printmakers. He made abandoned  shing materials found and this picture is a rare example a distinctive progressive force in St Andrews as a site of pilgrimage. elsewhere, and landscapes such etchings and lithographs, but he in the sea o the coast of northern of a depiction of the industry Scottish art in the late 19th century. The bird and  sh (symbols as this - bold and broadly handled was particularly outstanding in Queensland, and sculpture made by a modern artist of national In 1901 he bought Broughton associated with Glasgow) may - feature prominently in her work. the medium of woodcut, as in with these materials is a recognised signi cance. Cadell was one of the House, which is now owned by allude to Lamberton’s connection It  ts well into the Hunterian’s this powerfully intense scene of indigenous art form. This example four Scottish Colourists who helped the National Trust for Scotland, with Glasgow Cathedral, where he collection, which has a strong anguished women. It makes a was commissioned by Kelvingrove introduce the in uence of modern maintained as a museum dedicated was canon and later chancellor. representation of 20th-century welcome addition to the Hunterian’s from the Australian artist Sue French painting to their country in to the artist’s life and work. This British - particularly Scottish - art.  ne collection of German Ryan, who collaborated with the early 20th century. early painting makes an important Art Funded £2,500 Expressionist prints. Ricardo Idagi, an indigenous Torres addition to the collection. Total cost £10,000 Art Funded £5,667 Strait Islander. It complements Art Funded £15,000 Total cost £17,000 Art Funded £3,634 Kelvingrove’s collection of Torres Total cost £50,000 Art Funded £4,500 Total cost £10,900 Strait historical cultural material. Total cost £18,000 © The estate of Anne Redpath. All rights reserved 2010 / Bridgeman Art Library © DACS Art Funded £6,000 Total cost £12,000

© Sue Ryan           

Kirkcudbright Leeds Leeds Leicester Lewes Liverpool The Stewartry Museum Leeds Art Gallery Leeds Art Gallery New Walk Museum and Art Gallery Charleston International Slavery Museum

John Faed (1819-1902 John Sell Cotman (1782-1842) Wyndham Lewis (1882-1957) Lotte Laserstein (1898-1993) Duncan Grant (1885-1978) Paul Scott (b1953) Rabbit Catches Greta Woods A Lady Reading Frau im Café: Lotte Fischler Portrait of Vanessa Bell Scott’s Cumbrian Blue(s) The Cockle 1866 1805 1921 1939 c1916 Pickers’ Tea Service Oil on canvas Watercolour on paper Pencil, ink and watercolour Oil on hardboard panel Oil on canvas 2006-7 68.6 × 47cm 43.7 × 34.5cm on paper 81.5 × 53.5cm 51 × 46cm Ceramic 30.5 × 31.1cm Various dimensions 145 A member of a notable artistic One of the greatest British New Walk Museum has one of the Duncan Grant and Vanessa Bell 146 dynasty, Faed enjoyed a successful watercolourists, Cotman produced Lewis was one of the most powerful best collections of early 20th- (1879-1961), two of the leading This service was made to career in England as well as his some of his  nest work during a personalities in British art during century German art in Britain, British painters of their generation, commemorate the bicentenary native Scotland. He spent much  ve-week visit to North Yorkshire the early 20th century - the central with special emphasis on work by lived together from 1916, mainly at in 2007 of Parliament’s abolition of his life at Gatehouse of Fleet and Durham in 1805. It included  gure of Vorticism, a radical semi- women. This painting represents Charleston, which is now preserved of the transatlantic slave trade. It and often used local people a series of on-the-spot paintings abstract movement launched in a signi cant addition to that as a memorial to them and their also gives a reminder that slavery as his models: Sandy Inglis, an along the banks of the River Greta, 1914. Later his style became more collection. Laserstein made a friends in the Bloomsbury Group. is still alive in the 21st century, as elderly farmer, posed for the one of which is this study of a steep naturalistic but still retained a bold considerable reputation in Berlin in This outstanding portrait has been witnessed in 2004 when 21 Chinese poacher in this painting. It  nds an ravine spanned by a bridge set simpli cation of form. This drawing the 1920s, but she left Germany in on loan to Charleston since 1991 cockle pickers (illegal immigrants) appropriate home in The Stewartry against a blue sky. It joins three depicts Iris Barry, Lewis’s lover, who 1937 because of the rise of Nazism and now has been acquired for the drowned in Morecambe Bay. The Museum, Kirkcudbright, just seven other paintings from the 1805 is shown with her hair in a bun and (she was part-Jewish) and settled permanent collection. service’s print is based on the miles from Gatehouse. series in the gallery’s outstanding wearing an avant-garde wrap-over in Sweden, where she painted this ubiquitous willow pattern. collection of his work. waistcoat. striking portrait. Art Funded £10,000 Art Funded £8,000 Total cost £40,000 Art Funded £3,500 Total cost £16,350 Art Funded £25,500 Art Funded £19,900 Art Funded £7,447 Total cost £3,500 Total cost £80,500 Total cost £46,900 Total cost £24,824 © Paul Scott, Cumbrian Blue(s) © Wyndham Lewis and the estate of © DACS the late Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)      

Liverpool Liverpool Liverpool Liverpool Liverpool London Walker Art Gallery Walker Art Gallery Walker Art Gallery Walker Art Gallery Walker Art Gallery Ben Uri Gallery

Bartolomé Esteban Murillo John Walter (b1978) Helen de Main (b1980) Fiona Dean (b1978) Nicky Bird Clare Winsten (1894-1989) (1617-82) Alien Sex Club A Quest for Liberty and Love To the dear love of comrades: in Raging Dyke Network 4/20 Portrait of Joseph Leftwich Oil study for The Virgin 2015 2012 memory of Flora Murray and 14/20 c1920 and Child in Glory Multi-part installation Screenprint on paper 2012 2012 Oil on canvas 1673 Dimensions variable 29 × 21cm Digital pigment  ne art print on Fine art postcard 25.4 × 40.6cm Oil on canvas paper 10 × 15cm 147 36.2 × 25.5cm Alien Sex Club, a multimedia This is one of a series of 21 prints 32.5 × 46.5cm Joseph Leftwich (1892-1983) was 148 installation by British artist John Helen de Main made as part of a Like numbers 7182 and 7183, a Jewish critic and translator who This oil sketch is a preparatory Walter, addresses serious issues commission in which various women Like number 7182, this print was this print was created as part coined the term ‘Whitechapel Boys’ study for an altarpiece Murillo in an accessible and even playful artists created work to mark created as part of a project to of a project to mark the 21st to describe a notable group of painted for a private chapel in way. It uses the concept of a ‘cruise the 21st anniversary of Glasgow mark the 21st anniversary of anniversary of Glasgow Women’s Jewish writers and artists working the palace of Ambrosio Ignacio maze’, found in gay saunas and Women’s Library in 1912. The words Glasgow Women’s Library in 1912. Library in 1912. Raging Dyke in London’s East End during the Spínola y Guzmán, Archbishop of sex clubs, as a means by which ‘quest for liberty and love’ come Flora Murray was a medical doctor Network was a group of radical period 1910-14. Its members Seville. In 1953 the altarpiece was visitors walk through exhibits, from the subtitle of the  rst volume and a prominent su ragette, separatist lesbians active in the included David Bomberg, Mark presented to the Walker by the Art with music accompaniment and (1977) of the autobiography of the campaigning against the forcible late 1990s. At the network’s centre Gertler and Isaac Rosenberg, Fund. With the acquisition of this various interactions, to explore feminist Dora Russell. feeding of hunger-striking prisoners. was an activist in Norwich who as well as the painter of this sketch, the Gallery becomes the the relationship between HIV and The words ‘to the dear love of in 2000 donated materials to portrait, Clare Winsten, the only only institution in the world where contemporary gay culture. Art Funded £250 comrades’ are taken from her the lesbian archive housed at ‘Whitechapel Girl’. a study by Murillo can be seen Total cost £250 gravestone. the library. alongside the  nished painting. Art Funded £8,015 Art Funded £2,750 Presented through Art Funded £200 Art Funded £80 Total cost £6,000 Art Funded £89,000 New Collecting Awards Presented through Presented through (with a contribution from Total cost £8,015 New Collecting Awards New Collecting Awards © the artist’s estate. Courtesy Ben Uri Gallery The Wolfson Foundation) Total cost £200 Total cost £80 Total cost £105,000      

London London London London London London British Museum British Museum British Museum British Museum British Museum Crafts Council

Pablo Picasso (1881-1973) Various artists Various artists Various artists Unknown artist Grayson Perry (b1960) Group of 16 lithographs and three Collection of four posters from Collection of eight Soviet-era Collection of currency from DDR, 100 yuan commemorative note The Essex House Tapestries: Life aquatints Russia, Ukraine and Azerbaijan posters, currency and badge of Lithuania and Yugoslavia 2015 of Julie Cope, 1- In its Familiarity, 1947-59 1930-79 honour 1979-91 Paper Golden and 2- A Perfect Match Lithographs and aquatints on Paper 1940-90 Paper 7.7 × 15.5cm 2015 paper Various dimensions Various materials Various dimensions Two tapestries, both number 149 Various dimensions Various dimensions This note commemorates China’s 4 of an edition of 9 150 The rst two posters in this group These notes have been acquired space programme and the main Each 290 × 343cm This important group of lithographs show the ways in which monetary These objects demonstrate the mainly for their historical interest image features the Tiangong-1 and aquatints comes from a imagery was used to convey various provision of state banking facilities rather than for their aesthetic ‘Heavenly’ space lab, launched in Perry came to fame as a potter collection in Paris and is in mint social, political and economic under the planned economy in qualities. All of them were made 2011. It was scheduled to return to (winning the Turner Prize in condition. It joins the British messages under communism. The the USSR; the complex system at a time of political tension and earth late in 2017, having reached 2003), but since 2009 some of Museum’s already signi cant second two were propaganda of orders and rewards that were change. The Lithuanian notes, for the end of its working life, but some his most notable work has been collection of Picasso prints, which designed to promote state savings conferred on citizens; and the example, help to illustrate a key commentators believe that China in the form of tapestries, which numbers more than 550 items. banks. Issued in Ukraine and way in which these systems were moment in the country’s transition lost control of the spacecraft. The he uses as vehicles for colourful Among the prints in this acquisition Azerbaijan respectively, they are dismantled after the collapse of from a Soviet-annexed territory to a banknote is therefore possibly social commentary. Julie Cope is are mythological studies, garden an ideal complement to the Russian communism. The collection was fully independent state. a memento of an embarrassing a ctitious character, an Essex views and six portraits of Picasso’s savings bank propaganda posters formed by Mary Ginsberg, a former failure. ‘everywoman’ who Perry says is young lover Françoise Gilot, whom already acquired through the New curator at the British Museum. Art Funded £1,188 ‘directly inspired by my life and by he met in 1943. Collecting Award. Presented through Art Funded £58 the people I grew up amongst’. Art Funded £1,560 New Collecting Awards Presented through Art Funded £180,000 Art Funded £2,900 Presented through Total cost £1,188 New Collecting Awards Art Funded £60,000 (with a contribution from Presented through New Collecting Awards Total cost £58 (with a contribution from The Wolfson Foundation) New Collecting Awards Total cost £1,560 The Wolfson Foundation) Total cost £240,000 Total cost £2,900 Total cost £95,200

© Succession Picasso/DACS, London 2017 Courtesy the Artist, Paragon Press, and Victoria Miro, London. © Grayson Perry      

London London London London London London Garden Museum Gunnersbury Park Museum Islington Borough Museum IWM London Museum of London Museum of London

Gertrude Jekyll (1843-1932) Maxwell Arm eld (1881-1972) Kenneth Halliwell (1926-67) William Crozier (1930-2011) Graham Sutherland (1903-80) Stephen Gill (b1971) Album of 59 studies of  owers, Gunnersbury Park Collage Screen Bourlon Wood Collection of nine drawings 1- Lost gardens and rural views 1933 1966 1962 1940-41 2003 c1885-86 Oil on canvas Paper, wood and varnish Oil on canvas Ink, chalk, pencil, gouache and C-type prints Platinum prints in a morocco 86 × 76cm 167.5 × 157cm 154 × 123cm crayon on paper Each 25.4 × 30cm leather album Various sizes 151 15 × 20cm Arm eld had a long and varied This screen was made by the actor The title of this painting refers to an 2- Hackney Flowers 152 career, working in a traditional and artist Kenneth Halliwell for area of forest in northern France These drawings depict bombed- C-type prints Jekyll, the most in uential garden style (he often used tempera paint) Peggy Ramsey, the literary agent of that saw intensive ghting during out buildings and detritus in the 2004-06 designer of the 20th century, and typically in a gently poetic Halliwell’s partner, the playwright the First World War. This violent City and East End of London Each 50.5 × 60.9cm began taking photographs in 1885. vein. He painted this romantic view Joe Orton. In 1967 Halliwell staged time in the landscape’s history is during the Second World War. This important album provides of Gunnersbury Park soon after his rst and only exhibition of his represented by a skeletal gure, a Sutherland worked as an O cial Gill is one of the most original illuminating insight into her ideas the house and grounds became collage work. Later that year he tin helmet still resting on the skull. War Artist from 1940 to 1945 and photographers of contemporary and working practice. Some of the a public park and museum in the murdered Orton and committed The picture’s harsh intensity re ects his dramatic paintings of shattered London. These two series are landscapes and planting seen in late 1920s. It will be displayed at suicide immediately afterwards. the paci sm of the artist, an Irish- buildings are among the most part of his ongoing exploration the photographs directly inspired Gunnersbury Park Museum when it The couple lived in Islington and Scots painter renowned for his vivid memorable records of the Blitz. of the capital and its diverse her later designs, including her own reopens after renovation in 2017. the Borough Museum forms a use of colour. Drawings such as these formed the culture. For Lost he photographed garden at Munstead Wood, Surrey, tting home for this work. basis of his paintings. people consulting street maps. the house created for her by the Art Funded £611 Art Funded £27,500 For Hackney Flowers he spent two architect Edwin Lutyens. Total cost £2,108 Art Funded £6,170 Total cost £57,500 Art Funded £30,000 years photographing Hackney Wick Total cost £9,872 Total cost £80,000 Market and the surrounding area. Art Funded £15,000 © the artist’s estate. Courtesy Imperial War Museum Total cost £58,118 © estate of Graham Sutherland Art Funded £10,000 Total cost £35,700      

London London London London London, Queen’s House London National Maritime Museum National Portrait Gallery National Portrait Gallery National Portrait Gallery (Royal Museums Greenwich) Science Museum

Unknown artist (English School) Joseph Southall (1861-1944) Tracey Emin (b1963) Oscar Gustave Rejlander (1813-75) Richard Wright (b1960) Alexander Cumming (1731-1814) The Armada Portrait of Elizabeth I The Agate Death Mask Album of photographs Untitled installation Barograph clock c1588 1911 2002 c1862 2016 1766 Oil on oak panel Egg tempera with traces of Distressed bronze cast with gold Album bound in gilt and tooled Acrylic paint and gold leaf Mahogany, glass, brass, ivory, steel, 110.5 × 125cm watercolour on linen plating black morocco leather containing 1,200 × 1,200cm paper, silver plate 100 × 50cm 19.5 × 17.5 × 23.5cm 70 albumen prints mounted on 218 × 63 × 29cm 153 There are many portraits of gilt-edged card pages Turner Prize-winning artist Richard 154 Elizabeth I, but none of them is This striking self-portrait shows Emin’s work is intensely 30 × 25cm Wright’s installation at the Queen’s This magni cent instrument is of more magni cent or of greater Joseph Southall with his wife, Anna autobiographical, showing a House is a contemporary national importance. Its creator, historical signi cance than this Elizabeth (known as Bessie). They constant engagement with and Rejlander was evidently Swedish replacement for the 17th-century Alexander Cumming, was a famous work, showing the queen stand on a beach, probably at exploration of her own life and by birth (his early years are ceiling paintings that once graced Scottish watchmaker and inventor against a background celebrating Southwold, Su olk, where they body. She comments that in this obscure), but he spent all his the Great Hall of this historic who settled in London. In 1765 the defeat of the Spanish Armada. enjoyed several holidays, including work she o ers herself in perpetuity documented career in England. building (the paintings, by he designed and built for George The portrait now appropriately hangs their honeymoon. Bessie hands as an enclosed specimen or He has been dubbed ‘the father Orazio Gentileschi, are now in III a clock that also acted as a in the Queen’s House (part of the Joseph an agate, a gemstone found museum display. This was her rst of art photography’ because of Marlborough House, London). barometer, recording changes National Maritime Museum), close on this coast. The couple were sculpture in bronze, a material the way he tried to expand its Wright’s intricate gold-leaf patterns of air pressure on paper - the to the site of Greenwich Palace, dedicated disciples of the Arts that has subsequently played a inventive and expressive range. He are inspired by the carved and rst e ective device of its type. In where Elizabeth was born. and Crafts Movement (Bessie was large part in her work. Four casts made his living mainly as a portrait gilded ceiling ornamentation of the 1766 Cumming made this second an accomplished craftswoman, were made and this is the artist’s photographer and this remarkably Queen’s House, designed by barograph clock for himself. Art Funded £1,000,000 making the frames for Joseph’s preferred version. well-preserved album, recently Inigo Jones. (with additional contributions from pictures). discovered in a private collection, Art Funded £131,000 Linbury Trust, Gar eld Western Art Funded £30,000 adds substantially to the Gallery’s Art Funded £100,000 (with a contribution from Foundation, Headley Trust, other Art Funded £180,000 Total cost £67,500 holdings of his work. Total cost £275,000 The Wolfson Foundation) major donors and over 8,000 Total cost £383,284 (tax remission) Total cost £437,000 (tax remission) members of the public as part of © Tracey Emin. All rights reserved, DACS Art Funded £28,862 © Richard Wright a joint appeal with Royal Museums © National Portrait Gallery Total cost £74,615 © The Board of Trustees of the Science Museum Greenwich) Total cost £9,674,000 (tax remission) © National Portrait Gallery

© Royal Museums Greenwich      

London London London London London London South London Gallery Tate Tate Tate Victoria and Albert Museum Victoria and Albert Museum

Gabriel Orozco (b1962) William Stott of Oldham Roni Horn (b1955) Martin Boyce (b1967) Joris Hoefnagel (1542-1601) Francesco Rosselli (1445-1513) The Orozco Garden (1857-1900) Pink Tons Do Words Have Voices Nonsuch Palace from the South Florence from the South-West 2016 Le Passeur (The Ferry) 2009 2011 1568 c1495 York stone, reclaimed brick, metal, c1882 Cast glass Various materials Black chalk, pen and brown and Tempera and oil on panel water Oil on canvas 110 × 120 × 120cm Various dimensions black ink, watercolour, heightened 146 × 96cm 109 × 214cm with white and gold, on paper 155 This recently completed garden at Roni Horn is an American artist This installation won Boyce the 21.6 × 32.5cm This is one of the earliest surviving 156 the South London Gallery is both a William Stott is a central gure and writer, whose work embraces Turner Prize in 2011. Comprising views of Florence, which at the new public space and permanent in the early phase of British sculpture, photography, drawing six elements that can be shown The Flemish-born Hoefnagel time it was painted was the leading outdoor work of art. The Mexican Impressionism and Le Passeur is and other elds. Pink Tons is a large together or individually, it explores was the leading topographical centre of Renaissance art and artist Gabriel Orozco conceived widely regarded as the crowning cuboid sculpture made of solid the history and legacy of Modernist draughtsman of his time. He architecture. The city is shown the work as a secret garden, a achievement of his short career. It cast glass, weighing 4.5 tons. It is in design and architecture. Boyce travelled widely, making on-the- from an imaginary viewpoint in the rambling and overgrown ‘urban shows two girls beside a river, the the tradition of Minimal Art, but it has said of his work: ‘It’s all about spot drawings of famous places southwest. Many of the buildings ruin’ to be discovered and explored older one watching a ferryman in also deals in subtle optical e ects: landscape. I’m interested in the and buildings to form the basis depicted are still prominent by the gallery’s visitors. The planting the distance and the younger one transparent on top and opaque at psychological landscape, the of engravings. This is the earliest landmarks today, including the features seasonal and perennial observing the passing water. The the sides, it changes in appearance physical landscape, the built and best representation of Henry cathedral in the centre and the selections, including mosses, sensitive observation of evening according to the position of the environment, the things we pass VIII’s extravagant Nonsuch Palace, Palazzo della Signoria (Palazzo grasses, reeds and fragrant plants. light and rich brushwork show the viewer and the quality of the light. through every day.’ which was demolished in the 1680s. Vecchio) to the right. in uence of French painting. It is also of great importance as Art Funded £70,000 Art Funded £75,000 Art Funded £60,000 being perhaps the rst landscape Art Funded £139,573 Total cost £283,300 Art Funded £147,395 Total cost £1,500,000 Total cost £150,000 watercolour in British art. (made possible through the (with a contribution from Acceptance in Lieu Scheme © Gabriel Orozco. Photo: Andy Stagg The Wolfson Foundation) © Roni Horn / Photo: © Tate, 2014 Art Funded £250,000 administered by the Arts Council Total cost £1,473,945 (with a contribution from The on behalf of the Department of Wolfson Foundation) following Culture Media and Sport) temporary export deferral Total cost £436,164 Total cost £1,000,000 © Victoria & Albert Museum © Victoria & Albert Museum      

London London London London London Maccles eld Victoria and Albert Museum Victoria and Albert Museum Victoria and Albert Museum V&A Museum of Childhood The Wallace Collection Maccles eld Silk Museum

Charles Clay (d1740) and Peter Eric Van Hove (b1975) Hany Al-Sayed Ahmad Abd Francis Hayman (c1708-76) Nicolas-François Regnault Joseph Wright of Derby (1734-97) Dutens (1726-61) V12 Laraki, Air Intake Manifold Al-Qadir (b1974) Portrait of Charles Bedford as an (1746-1810) 1- Portrait of John Sta ord Ormolu mantel clock for Frederick, 2013 Second Revolution Khayyamiyya Infant La Fontaine d’amour 1769 Prince of Wales Yellow copper, tin, nickelled silver 2012 1744-45 1785 Oil on canvas 1736 60 × 60 × 15cm Hand-stitched cotton appliqué Oil on canvas Stipple engraving on laid paper 75 × 62cm Ormolu, enamel and brass textile 61 × 51cm 59.7 × 48.5cm 2- Portrait of Barbara Tatton 157 Height 39.5cm Van Hove is a Belgian artist who 250 × 250cm 1769 158 was born in Algeria and works Among the distinguished clients for This print reproduces a painting Oil on canvas The society jeweller Peter Dutens partly in Morocco. This sculpture is One of the younger generation Hayman’s portraits was Grosvenor of the same title by Jean-Honoré 74.5 × 61.5cm supplied this highly decorated a tribute to the Moroccan designer of the ‘Tentmakers of Cairo’, Bedford, deputy Usher of the Fragonard, which is already part clock to Frederick, Prince of Wales Abdeslam Laraki, creator of the Al-Quadir made this piece in Exchequer under Horace Walpole. of The Wallace Collection. It shows John Sta ord (d1779) was burgess (son of George II and one of the rst all-Moroccan car. Under Van secret in his home, as his personal He commissioned this intimate two impassioned lovers seeking the and town clerk of Maccles eld. His greatest of British royal collectors Hove’s direction, more than 50 reaction to the events of the Tahrir portrait of his son Charles (aged soothing waters of the fountain of family were prominent gures in and connoisseurs). The ormolu Moroccan craftsmen have made Square Revolution in January about two), who later also became love. Regnault was one of the best the silk industry and here he wears case, imported from Paris by sculptural versions of the engine 2011, which led to President Hosni deputy Usher of the Exchequer. engravers of his time in France and a colourful jacket and waistcoat, Dutens, houses a movement signed parts, such as this, using traditional Mubarak resigning. It depicts The informal pose and details one of the rst to use the stipple complete with silk-covered by the renowned royal clockmaker Moroccan craft techniques, violent confrontation between (Charles is eating a biscuit) o er technique, of which this print is a Maccles eld buttons. Barbara Charles Clay. In addition to time, processes and decoration. protestors and riot police set a fascinating glimpse into the early ne example. Tatton (1706-76) was the sister the enamelled dial shows days, against the overbearing Mogamma life of upper-class children in the of Sta ord’s wife Lucy. She wears months and signs of the zodiac. Art Funded £3,000 government building. 18th century. Art Funded £1,000 the luxurious fur-trimmed silks for Presented through Total cost £1,757 which Maccles eld was famous. Art Funded £82,500 New Collecting Awards Art Funded £2,000 Art Funded £15,000 Total cost £165,000 Total cost £3,000 Presented through Total cost £29,000 Art Funded £9,211 New Collecting Awards Total cost £20,468 © Victoria & Albert Museum Total cost £2,000 © Victoria & Albert Museum

© the artist      

Manchester Manchester Norwich Norwich Oxford Oxford The Whitworth The Whitworth Norwich Castle Museum Norwich Castle Museum Ashmolean Museum Ashmolean Museum & Art Gallery & Art Gallery Steve McQueen (b1969) Cornelia Parker (b1956) JMW Turner (1775-1851) Wang Huangsheng (b1956) Ashes 1- Jerusalem Unknown maker Unknown maker The High Street, Oxford 1- Moving Visions Series No. 83 2002-15 Black patinated bronze The Binham Hoard The Ashby St Mary Hoard 1809-10 2012 Photographs and videos 2- Oil Stain (Bethlehem) and Spilt 1- Bracteate 44 gold coins Oil on canvas Ink on paper Continuous loop (single sequence Milk (Jerusalem) cAD 500 c17 BC 68.5 × 99.5cm 70 × 70cm - 20min) C-type print Gold Gold alloy 2- Moving Visions 140919 159 3- War, Peace Diameter 5cm Various dimensions Although the Ashmolean owns 2014 160 This video installation highlights Embroidery on linen 2- Bracelet several watercolours by Turner, this Ink on paper the wasteful deaths of many young 2012-15 cAD 500 These uninscribed coins were atmospheric view of Oxford’s High 70 × 140cm Caribbean men by telling the Various sizes Gold minted in the period before the Street is the rst oil painting by him story of a boy called Ashes who Length 26cm Roman invasion of Britain by the to be acquired by the museum. It Wang Huangsheng is one of the was killed by drug dealers. Turner All three of these works appeared Iceni tribe of East Anglia (of which was painted as a commission for leading gures in the art world Prize-winning artist Steve McQueen in Cornelia Parker’s exhibition These objects (found in a eld Boudicca was later queen). They the Oxford framemaker and print- in China. He is a scholar and rst met and lmed Ashes in 2002 that marked the reopening of at Binham, Norfolk) form part are known as ‘Norfolk Wolf’ staters seller James Wyatt, who exhibited administrator as well as an artist, when he visited Grenada. When the Whitworth in February 2015. of the largest hoard of gold because of their distinctive reverse it in his shop in the High Street. The currently holding the post of he returned to the island in 2013 She is one of the best-known discovered from 6th-century Britain. featuring a wolf with its jaws open. extensive correspondence between director of the Art Museum of the he heard of the boy’s death and contemporary British artists and Bracteates are pendant ornaments The motif is supposedly linked artist and patron survives. Central Academy of Fine Arts, decided to record the tragic story. has created a varied body of work of Scandinavian origin made from to Indo-European cosmic myths Beijing. Both these works show his in which she explores powers of gold sheet. This example features dating back to the Bronze Age. Art Funded £245,600 highly skilled and exploratory use Art Funded £71,000 association in objects and the a design with an anthropomorphic (made possible through the of ink. (with a contribution from environment around us. head. The bracelet, distorted from Art Funded £4,000 Acceptance in Lieu Scheme The Wolfson Foundation) its original shape, has punch-stamp Total cost £12,500 administered by the Arts Council Art Funded £12,500 Total cost £236,447 Art Funded £33,000 decoration on one side. on behalf of the Department for Total cost £31,520 Total cost £110,000 Culture Media and Sport) Courtesy Thomas Dane Gallery, Art Funded £4,500 Total cost £885,600 © Ashmolean Museum, University Marian Goodman Gallery of Oxford © Steve McQueen © Cornelia Parker Total cost £13,500 © Ashmolean Museum, University of Oxford      

Oxford Penzance Penzance Preston Reading Sa ron Walden Ashmolean Museum Penlee House Gallery and Museum Penlee House Gallery and Museum Harris Museum & Art Gallery The Museum of English Rural Life The Fry Art Gallery

Unknown maker Alexander Gibson (1857-1944) John Opie (1761-1807) Alastair Morton (1910-63) Stanley Anderson (1884-1966) Eric Ravilious (1903-42) Gold, garnet and pearl nger ring Gibson & Sons Photographic Portrait of an Old Jew Collection of nine drawings Collection of prints from the Two Cows from Bolnhurst and Keysoe Archive 1779 1938-62 ‘English Country Crafts’ series 1935 c1400 1870-1905 Oil on canvas Pencil, ink, crayon, watercolour and 1938-48 Watercolour on paper Gold, garnet and pearl Paper, glass, wood 67.3 × 45cm gouache on paper Engravings on paper 56.8 × 44.2cm Diameter 2.1cm Glass plates 16.5 × 22cm, Various dimensions Various sizes, approximately 161 photographs 15 × 20cm A child prodigy in his native 16 × 14cm The Fry Art Gallery’s collection 162 The Ashmolean has a world- Cornwall, Opie was only 18 when Alastair Morton was an artist focuses on work by 20th- and renowned collection of nger John Gibson set up in business he painted this impressive portrait, and director of the family textile Anderson was thoroughly traditional 21st-century artists who have rings, which is now enhanced as a professional photographer perhaps as a ‘character piece’ to business, Morton Sundour Fabrics in outlook and technique, his work lived or worked in northwest Essex. by this rare and well-preserved in Cornwall in the 1860s and it advertise his talents. The sitter Ltd of Carlisle. Under the Edinburgh being untouched by modern Outstanding among them was example, recently unearthed in the is believed that most of pictures was probably Abraham Hart, a Weavers brand he was responsible developments. He is best known for Eric Ravilious, one of the greatest Bedfordshire parish of Bolnhurst in this archive were taken by Penzance rabbi. Two years later for some of the most innovative his long series recording manual modern exponents of watercolour. and Keysoe. It is set with a faceted his son Alexander. They include Opie moved to London, where he fabrics of the 20th century. These tasks and ways of rural life that were This powerful but intimate study garnet and two of an original four photographs of the shing enjoyed a successful career. The nine abstract drawings now thought to be in danger of vanishing. of two cows in a barn shows his pearls. Two open-work shoulders community that have a close painting now returns to Penzance join ve garments made from Many of the craftspeople featured distinctive sense of form and support the high collet and are a nity with the paintings of the as a record of Opie’s remarkable fabrics designed by Morton in the in the prints have been identi ed pattern, which coexisted with inset with the letters ‘A’ and ‘M’, Newlyn School. Other photographs life and of the town’s Jewish collection of the Harris Museum. and the collection at the Museum subtle naturalism. believed to represent the invocation supply a visual context for various community. of English Rural Life includes tools ‘Ave Maria’. items in the museum’s collection. Art Funded £4,000 that belonged to them. Art Funded £50,000 Art Funded £8,000 Total cost £10,000 Total cost £145,000 Art Funded £3,000 Art Funded £8,450 Total cost £18,000 Art Funded £4,411 Total cost £10,000 Total cost £31,366 © The Estate of Alastair Morton. All rights Total cost £4,901 reserved. DACS © Penlee House Gallery and Museum © Ashmolean Museum, University © Penlee House Gallery and Museum of Oxford © the artist’s estate. Courtesy Museum of Rural Life      

Sa ron Walden Salford Southport Spalding Stirling Stornoway The Fry Art Gallery University of Salford The Atkinson Asycoughfee Hall Museum The Stirling Smith Art Gallery and Museum nan Eilean Museum Eric Ravilious (1903-42) Cao Fei (b1978) Frank Hampson (1918-85) Pierre Platel (1664-1719) Unknown maker Collection of three prints La Town (video-only version) Artwork for ‘Eagle’ comic and other Queen Anne silver-gilt tazza Johann Gotlei Bilsinds Medieval gold nger ring c1926 2014 graphics 1712 (1684-1770) c1200-1300 Woodcut prints on paper Single-channel video 1947-68 Silver gilt Two communion cups from the Kirk Gold and glass Various sizes 41min 56s Pen, ink, gouache and pencil Diameter 35.6cm of Drymen 2.1 × 2.6cm on board 1732 163 These prints make a notable Various sizes This handsome tazza (shallow Silver This ring is a rare nd from a period 164 addition to The Fry Art Gallery’s Cao Fei is regarded as one of ornamental bowl) has a direct Height 21cm when Norse power was declining collection of Ravilious’s work. They the leading Chinese artists of her Frank Hampson was the creator connection to the Johnson family, in the Hebrides. It is inscribed with come from early in his career and generation, with an impressive list and illustrator of Dan Dare, the owners of Ayscoughfee Hall from These cups are rare examples of various letters. The only ones with were made in short print runs, so of exhibitions, commissions and famous comic strip that rst the mid-17th century until 1898. work by Johann Gotlei Bilsinds, a a clear meaning are ‘PENNSE’, a they are comparatively little known. awards to her name. She is best appeared in the launch issue of It was made by Pierre Platel, a Glasgow-based silversmith who is contraction of the French ‘Pense a Procession, in particular, is a very known for video work, in which Eagle in April 1950. Hampson was French Huguenot who  ed France thought to have immigrated from moi’ (think of me), a phrase found rare print. It was Ravilious’s second she characteristically re ects and born in Audenshaw and went to for England in 1685, possibly for Germany They were ordered by the across Europe on jewellery given as commercial commission, for a comments on the rapid changes school in Southport (about 50 Maurice Johnson II (1688-1755), church at Drymen (about 20 miles a romantic gift. pianola roll. taking place in Chinese society miles away), in which Eagle was a notable antiquarian and from Stirling) after four ‘Presbytery today. Set in the future, La Town later produced. This collection founder of the Spalding investigations’ complained of the Art Funded £1,125 Art Funded £3,170 mixes the tragic with the bizarre. includes early artwork for Eagle, as Gentlemen’s Society. church’s lack of communion ware Total cost £2,250 Total cost £5,562 well as an example of Hampson’s of any kind. In the 1880s they were Art Funded £25,000 work for the Ladybird series of Art Funded £5,662 put in storage and not rediscovered Total cost £47,980 children’s books. Total cost £17,262 until 1986.

© Cao Fei Art Funded £1,500 Art Funded £1,875 Total cost £6,000 Total cost £7,500      

Taunton Warrington Whitby Wolverhampton Stoke-on-Trent Chichester The Museum of Somerset Deaf Museum and Archive Captain Cook Memorial Museum Wolverhampton Art Gallery Potteries Museum and Art Gallery Pallant House Gallery

Tristram Hillier (1905-83) Attributed to Sir John Gaudy John Webber (1751-93) Tam Joseph (b1947) Mary Wondrausch (1923-2016) Wilhelmina Barns-Graham The Vale from Cucklington (1639-1709) A View in the Island of Pulo Condore Spirit of the Carnival The Garden of Love, L’Arbre d’amour, (1912-2004) 1944 Portrait of Sir John Gaudy of West 1784-93 1983 Plaisirs d’amour 1- Snow at Wharfedale II Tempera on canvas Harling, Norfolk Pencil, pen and ink and watercolour Acrylic on paper 1997 1957 40.7 × 50.8cm c1670 on paper 200 × 200cm Slipware Oil on canvas Oil on canvas 25 × 29.5cm 49.1 × 74.5cm 165 Hillier was one of the most 74 × 62cm Wolverhampton Art Gallery has Paul Scott (b1953) 166 distinctive British landscape As the o cial artist on Captain recently been awarded a grant Wood Hill Brampton; Foot and 2- Expanding Forms (Entrance) painters of his time, creating Sir John Gaudy was a deaf mute. Cook’s third and nal voyage of by the Heritage Lottery Fund to Mouth No 5 1980 scenes that have a sense of He and his younger brother discovery (1776-80), John Webber acquire work by black artists, and 2003 Oil on canvas hypnotic Surrealist strangeness. Framlingham Gaudy are said to was charged with recording the this powerful picture is a notable Porcelain 121.5 × 121.6cm He lived in Somerset for much have been the rst deaf people places, people, objects and events addition to the collection. It re ects of his life, and this painting in Britain educated using sign encountered on the expedition. He the uneasy relationship between The Potteries Museum already These two paintings signi cantly depicts the medieval church of St language. Sir John later managed was the rst European artist to visit black communities and the police has pieces by both Wondrausch enhance the gallery’s holdings of Lawrence at Cucklington, near the family estate using sign many of the places on the voyage, in Britain during the early 1980s, and Scott, but these three plates the work of Wilhelmina Barns- Wincanton. As a resonant image language. He was a talented and this scene on Pulo Condore particularly at the Notting Hill show aspects of their styles and Graham, one of the leading British of the local landscape, it makes a amateur painter (who had lessons (now the Vietnamese island of Carnival. Tam Joseph was born in techniques that were previously abstract artists of her time. tting addition to the Museum of from Sir Peter Lely) and this Con Son) is a unique record of the the Caribbean and moved to the unrepresented in the collection, Somerset’s collection. portrait may well be from his own island at that time. UK aged eight. thus o ering a more rounded Presented to Pallant House Gallery hand. view of their work. by The Wilhelmina Barns-Graham Art Funded £15,400 Art Funded £8,000 Art Funded £13,500 Trust through Art Fund Total cost £38,500 Art Funded £5,842 Total cost £35,000 Total cost £40,000 Presented to the Potteries Museum Total cost £5,842 and Art Gallery by Professor L and © Courtesy of The Wilhelmina Barns- Graham Trust © Tam Joseph Mrs P Allen through Art Fund      

Birmingham Oldham Bradford Chichester Cambridge Aberdeen Barber Institute of Fine Arts Gallery Oldham Cartwright Hall Art Gallery Pallant House Gallery Fitzwilliam Museum Aberdeen Art Gallery

Collection of works by British Various artists David Hockney (b1937) David Bomberg (1890-1957) Fred Baier (b1949) Elizabeth Blackadder (b1931) artists 10 pieces of studio pottery A Bounce for Bradford Portrait of Lilian Bomberg Tetrahedon Toroid Table Begonia Various dates Various dates 1987 c1930 1995 1978 Various materials Various materials Lithograph on paper Oil on canvas English oak and MDF with polyester Watercolour Various dimensions Various dimensions 50 × 60cm 50.8 × 40.6cm lacquer and mica enamel 27.5 × 37cm Height 50cm 167 This collection features works by These works make an outstanding David Hockney produced this Although he was a neglected gure Dame Elizabeth Blackadder is one 168 several notable 19th- and 20th- addition to Gallery Oldham’s print to support a local campaign for much of his lifetime, Bomberg A graduate of the Royal College of of the most distinguished living century artists: Thomas Girtin, collection of 20th- and 21st-century called ‘Bradford’s Bouncing Back’. is now considered one of the major Art, Fred Baier designs and makes Scottish artists - the rst woman Augustus John, FC Lewis, CRW British studio pottery. This is one The Cartwright Hall Art Gallery British painters of his generation. distinctive avant-garde furniture. to be a full member of both the Nevinson and Walter Sickert. The of the gallery’s areas of greatest is opening a permanent display Between 1929 and 1938 he He describes himself as a furniture Royal Academy in London and two pictures by Girtin are the rst strength - a valuable resource dedicated to Hockney to mark his painted a series of intimate and artist and says that ‘In everything I the Royal Scottish Academy. She to enter the collection. They date for scholars as well as a popular 80th birthday in 2017. This print will powerful portraits of his wife Lilian, make there are all sorts of di erent works in a range of media, and her from his visit to Paris in 1801-02, attraction for the public. be displayed there alongside the notable for their extremely vigorous layers - imagery, narrative, structure watercolours of  owers and plants during a temporary peace in the collection of sketches, paintings brushwork. This painting will appear and use.’ have won great praise. This one war against Napoleon’s France. Presented to Gallery Oldham by and other prints by the artist owned in the gallery’s major exhibition of enhances an already outstanding Trevor Coldrey through Art Fund by his native city. Bomberg’s work opening in October Gift to the Fitzwilliam Museum collection of her work in the gallery. Bequeathed to the Barber Institute 2017. from Nicholas and Judith Goodison of Fine Arts by Charles Branchini Presented to Cartwright Hall by through Art Fund Bequeathed to Aberdeen Art through Art Fund Martyn P Davis through Art Fund Presented to Pallant House Gallery Gallery by Laurence Harbottle from the collection of Bill Weston © The Fitzwilliam Museum, Cambridge through Art Fund and Madeleine Gantley through © David Hockney Art Fund © the artist. Courtesy Aberdeen Art Gallery      

Bradford London Nottingham Stoke-on-Trent London Oxford Cartwright Hall Art Gallery Victoria and Albert Museum Nottingham Castle Museum The Potteries Museum Victoria and Albert Museum Ashmolean Museum & Art Gallery & Art Gallery David Hockney (b1937) Frank O Salisbury (1874-1962) Various makers Various makers XIV Olympic Winter Games, View of the East Hall of the Victoria Paul Sandby (1731-1809) Takegoshi Jun (b1948) Eight pieces of Chinese and A collection of 26 pieces of Sarajevo (1984) and Albert Museum Collection of works 1- King sher dish Japanese ceramics Japanese 1984 Oil on board Various dates Porcelain Various dates ceramics Lithograph on paper 48 × 35.5cm Various materials Diameter 34cm Various dimensions Various dates 85 × 61cm Various dimensions 2- Tall sparrow vase Various materials 169 This painting is a fascinating record Porcelain Six of the pieces in this collection Various dimensions 170 Hockney based this print on his of the museum’s Aston Webb Sandby was one of the most Height 33cm have already been on long-term photographic collage Skater, New wing, which opened in 1909. In signi cant gures in the loan to the museum, featuring This signi cant contribution to the York, of 1982. He referred to these the background can be seen the development of watercolour Takegoshi Jun is an illustrious excellent examples of Hirado Eastern Art department includes collages as ‘joiners’ because he Chancel Chapel from the Church painting in Britain and also a Japanese potter with a long ware, which was greatly renowned a number of rare pieces from the took the photographs from di erent of Santa Chiara, Florence, which notable printmaker (in particular a list of distinctions. His work is in the 19th century. The pieces Meiji (1868-1912) and Taishō angles and then joined them was bought by the V&A in 1860 pioneer of aquatint). He was born characterized by elegance of form feature superb relief decorations of (1912-26) periods, as well as several together. The collage became the and originally displayed in the in Nottingham and the museum and often, as here, by beautifully dragons and a lion dog, as well as earlier Edo ceramics (1600-1867). basis for the poster he created for North Court before being moved to has an excellent collection of his coloured decoration drawn from beautiful depictions of the natural Other leading potters of the late the 1984 Winter Olympics. this new location. Salisbury was a work, to which these ve items are the natural world. world picked out in the distinctive 19th and early 20th centuries are versatile painter working in a solid, a valuable addition. underglaze blue of the period. also represented, including Miura Bequeathed to Cartwright Hall by traditional style. Bequeathed to the Potteries Chikusen (1854-1915), Miyanaga Laurence Harbottle through Art Bequeathed to Nottingham Castle Museum and Art Gallery by Presented to the Victoria and Tozan (1868-1941) and Seifu Yohei Fund Bequeathed to the Victoria and Museum and Art Gallery by Laurence Harbottle through Albert Museum by David and Anne (1851-1914). Albert Museum by Laurence Laurence Harbottle through Art Fund Hyatt King through Art Fund © David Hockney Harbottle through Art Fund Art Fund Presented to the Ashmolean © Victoria & Albert Museum Museum by David and Anne Hyatt © Victoria & Albert Museum King through Art Fund

© Ashmolean Museum, University of Oxford      

Oxford Oxford Oxford Oxford Cardi Barnard Castle Ashmolean Museum Ashmolean Museum Ashmolean Museum Ashmolean Museum National Museums Wales The Bowes Museum

Miyagawa Kozan II (1859-1940) Various makers Miyagawa Kozan II (1859-1940) Various makers Mark Boyle (1934-2005) and Follower of Richard Wilson Bowl with design of peonies Collection of Japanese ceramics and other makers Collection of Japanese ceramics Joan Hills (b1931) (1713-82) c1930 Various dates Collection of Japanese ceramics Various dates Liverpool Dock Hadrian’s Villa with Figures Ceramic Various sizes Various dates Various sizes 1976 Oil Diameter 16.7cm Various sizes Wood, breglass, resin 39.4 × 50.2cm This collection of works from the This collection consists of nine and mixed media 171 Miyagawa Kozan II was one of late 19th and early 20th centuries This collection consists of ve porcelain pieces of various Various sizes The Bowes Museum is famous 172 a distinguished line of Japanese includes a set of ten porcelain ceramic pieces, together with kinds, together with two wooden for its representation of French potters and became head of the teacups by Miyagawa Kozan I protective wooden boxes (with boxes, two wooden stands and a Mark Boyle and Joan Hills and Spanish art, but it has begun family workshop in Yokohama in (1842-1916), acclaimed as one of ink inscriptions) for two of them. protective cloth bag. They date worked together from 1957 and to expand its coverage of British 1917. Even before then his work had the greatest and most versatile Apart from a stoneware vase by mainly from the 19th and early 20th in the 1960s and 1970s became art, and this painting makes a been successfully shown abroad in ceramic artists of his day. It also Miyagawa Kozan II, the pieces are centuries, but the earliest piece is well-known gures in the eld welcome addition to the collection. international exhibitions, notably in includes a tomobako (a wooden all in porcelain, showing a variety of an 18th-century Imari charger with of experimental art (later they Wilson was an in uential gure, Paris but also in London. box used for storing a precious decorative techniques. a design of a scholar’s studio. collaborated with their children with several pupils and imitators, porcelain item). Georgia and Sebastian under the and this painting will make for Presented to the Ashmolean Presented to the Ashmolean Presented to the Ashmolean name Boyle Family). Liverpool Dock fascinating comparison with a Museum by David and Anne Hyatt Presented to the Ashmolean Museum by David and Anne Hyatt Museum by David and Anne Hyatt is part of a long series of works painting from his own hand already King through Art Fund Museum by David and Anne Hyatt King through Art Fund King through Art Fund involving the creation of minutely owned by the museum. King through Art Fund detailed replicas of small, random © Ashmolean Museum, University © Ashmolean Museum, University © Ashmolean Museum, University areas of the earth’s surface. Bequeathed to The Bowes Museum of Oxford of Oxford of Oxford © Ashmolean Museum, University by Donald Parker through Art Fund of Oxford Presented to the National Museums Wales by the Peter Moores Foundation through Art Fund

© Boyle Family     

Michelham Priory London Newcastle upon Tyne, Oldham Leamington Spa Victoria and Albert Museum Laing Art Gallery Gallery Oldham Leamington Spa Art Gallery Samuel Hieronymus Grimm & Museum (1733-94) Unknown maker Olwen Jones (b1945); Gwen Danlami Aliyu (1952-2012) Michelham Priory Elizabeth I cameo ring Raverat (1885-1957); Fred Yates Stoneware jug Various artists c.1784 c1600 (1922-2008) Height 27cm Collection of paintings Ink and watercolour on paper Onyx, enamelled gold Group of three works William Plumptre (b1959) Various dates 13 × 19cm Various dates Stoneware vase Various materials This miniature carved likeness of Various materials Height 25cm Various dimensions 173 Grimm was born in Switzerland Elizabeth I is a ne example of the Various sizes 174 and worked in Paris before settling cameo portraits worn by courtiers These pieces signi cantly expand This collection of 14 paintings in England in 1768. By this time he as a sign of their taste, patriotism These pictures enhance the the range of the gallery’s pottery includes works by the 17th-century had given up oils for watercolour, and proximity to the monarch. Its collection’s holdings of work by collection beyond its main focus Dutch artists Jan Asselyn, Pieter and in 1777 he was described as handsome setting on an enamelled 20th- and 21st-century British on British studio ceramics. Danlami de Molyn and Cornelis van ‘nearly the best draughtsman in gold band is a rare survival. The artists. They consist of a watercolour Aliyu was the most renowned Poelenburgh. They add to an London’. He was highly proli c, ring was bought by Kenneth by Olwen Jones, an oil painting by Nigerian potter of his time. William established collection of 16th- and especially with neat, unpretentious Snowman in 1960 and placed Fred Yates and a wood engraving Plumptre studied for two years 17th-century Dutch and Flemish views of historic buildings such as on loan to the V&A in 1975, soon by Gwen Raverat. in Japan and his work is strongly masters, and will form part of the this. after his friend Roy Strong became in uenced by the country’s forthcoming rehang in the main director. Bequeathed to the Laing Art traditions and techniques. gallery. Bequeathed to Michelham Priory Gallery by J Alero Thomas through by Donald Parker through Art Fund Presented to the Victoria and Art Fund Bequeathed to Gallery Oldham by Presented to Leamington Art Albert Museum from the Kenneth J Alero Thomas through Art Fund Gallery and Museum by and Sallie Snowman collection Mr George Watson through by Nicholas Snowman through Art Fund Art Fund

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Jane Cairns Sarah Philp Follow us Freya Case Mary Pitt t: @artfund BOARD OF TRUSTEES Kanchan Chudasama Eleanor Porter f: @artfunduk (May 2017) Robin Clark Cornelia Prior i: @artfund Caroline Butler Emma Coleman Alice Regent Richard Calvocoressi CBE Samuel Connor Katherine Richards Professor Richard Deacon CBE RA Samuel Coote Amy Ross Dame Liz Forgan Stephen Deuchar Beth Rowan Philippa Glanville OBE FSA Vicky Diaz Vilas Helen Sumpter 175 Professor Chris Gosden FBA 176 Text: Ruth Hazard Jessica Dickenson Professor Antony Griffiths FBA Silvia Tancredi Design: Ana Grigorovici Isaac Julien Robert Dingle Trudy Thom Alastair Laing FSA Melanie Francis Elinor Trigg James Lingwood MBE Catriona Gallagher Sarah Tuppen Sally Osman Catherina Gray Alice Vidal Professor Marcia Pointon Sam Grayson Elke Wiebalck Axel Rüger Ana Grigorovici Charlotte Wood Professor Lisa Tickner FBA Yusif Hameed Michael G Wilson OBE Kate Woodford Katherine Harding Liz Workman Rosalind Hayes Karen Wright CAPTIONS Ruth Hazard Carolyn Young Front cover: Cecilia Bengolea’s video installation at Covent Merrin Kalinowski Garden for Art Night 2016, courtesy the artist and Art Night. Photo: Danilo Moroni; page 2: Curators Sarah Sarah Kaye Rothwell, Kate Newnham, Hannah Jackson and Eleanor Clayton in conversation at The Hepworth Wakefield, Harminder Kharpal © Andy Smith; page 18: Pallant House Gallery, Chichester; page 34: Linder, Destination Moon, You must not look at her!, Cecelia Lagier performance for Art Night 2016, courtesy the artist, Stuart Jessica Lane Shave/Modern Art and Art Night 2016. Photo: Hugo Glendinning; page 46: ‘Pechchaan: Art From Another India’ Jessica Lloyd exhibition at Tramway, Glasgow, featuring works acquired through Art Fund’s Renew scheme within a space design Jorge Lugo Andere Gabriella Marcella, © Andy Smith; page 58: Art Fund board meeting, © David Levene. Rachel Mapplebeck

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