2015______16

(Art _ Patron Trustees* Her Majesty the Queen Caroline Butler Richard Calvocoressi CBE 2015______16 Chairman Professor Richard Deacon CBE RA Lord Smith of Finsbury Dame Liz Forgan Philippa Glanville FSA OBE Treasurer Professor Chris Gosden FBA Jeremy Palmer Professor Antony Griffiths FBA Alastair Laing FSA Director James Lingwood MBE Dr Stephen Deuchar CBE Sally Osman Professor Marcia Pointon Axel Rüger Professor Deborah Swallow Professor Lisa Tickner FBA Michael G Wilson OBE

*As at June 2016 1 Going further p 04

2 Building collections p 10

3 Fuelling talent, developing expertise p 46

4 Helping museums go further p 54

5 Seeing more, seeing differently p 70

6 Working effectively p 80

(Art _ ____1 Thanks to the ingenuity of museums, together with Going further the support of our members, these and countless other works of art are now in public collections for everyone to enjoy, forever. We’ve given 65 organisations nationwide grants totalling £4.6m for 160 new acquisitions in the last year alone.

But we’re not stopping there. We want to support museums in more ways, so this year we invested in The appetite for art in Britain has never been greater. initiatives to help develop the skills of the people Seventy one million people visited the UK’s museums behind their success. During 2015, 165 curators and galleries in 2015-16, and Art Fund membership benefited and we plan to double the support we has increased by more than half in the last five years offer by 2020. Whether it’s by providing the means alone. But we could all go even further. Museums for a curator to research their new book or exhibition want to build their collections and make more of through a Ruffer grant, or the injection of funding them. More people than ever want to engage with and expertise to build a collection through the and enjoy visual culture in new ways. In this, New Collecting Awards, we’re here to help foster Art Fund is an agent for change. and fulfil ambition.

Art can be transformative. Whether we’re gripped We’ve been listening to what is happening around by the intensity of an El Greco crucifixion or Britain, and we’ve been responding. immersed in Douglas Gordon’s obsessive journey through 82 films, art has the ability to take us all somewhere beyond the everyday.

6 Chapter 1 Going further Viewing Grazia Toderi, Orbite Rosse (Red Orbits), 2009, Birmingham Museum & Art Gallery; New Art Gallery Walsall. Art Funded 2010 © Grazia Toderi. Eighty percent of individual grants are awarded Photo: Philip Sinden to institutions outside London, and, in partnership with museums and galleries, we’ve helped increase access to art everywhere. Thirty nine million people have now seen an exhibition drawn from the Artist Rooms collection, which includes works by Robert Mapplethorpe and Phyllida Barlow, while the touring show Art From Elsewhere has presented the exceptional talent of 39 artists from 22 countries at six UK venues.

The total value of our charitable programme in 2015 was £11.2m. Our strength and independence comes straight from our members, partners and supporters. Thanks to the insight and generosity of 122,000 people who believe, like us, that art is both essential and transformational, we will continue to grow in reach and impact.

Lord Smith of Finsbury Chairman, Art Fund

8 Chapter 1 Going further ____2 In 2015 we gave 65 organisations £4.6m in total Building towards the purchase of 160 works of art – including a majestic Roman bull statuette, medieval stained collections glass panels, sculpture by Lorenzo Bartolini and Barbara Hepworth and painting by Rose Wylie.

Individual grants range from under £1,000 to over £1m, for works in all media from ancient treasure to contemporary commissions. Grants are made by By making grants of more than £5m each year our trustees all year round. for works of art and other projects, we help museums and galleries do what they couldn’t do alone. Here are just some of the works of art that we With you – ­our members, supporters and partners – supported in 2015: we have been able to contribute more than £70m to build the nation’s collections over the last 12 years, with our grants consistently helping to unlock further vital support from other funders. Thanks to the generosity of individuals, we’ve also been able to give public homes to many privately owned works this year, gifted through us to the nation.

12 Chapter 2 Building collections Acquisition highlights 2015

El Greco______County Durham Benedetto da Rovezzano______London Cornelis de Heem______Gloucestershire Lorenzo Bartolini______Edinburgh/London Douglas Gordon______Glasgow Paul Strand______Edinburgh Barbara Hepworth______Orkney El Greco Christ on the Cross, c1600–10 Auckland Castle, Bishop Auckland Art Funded £377,348 with support from the Wolfson Foundation (total cost £2,501,400)

In this intense painting by El Greco (1541–1614) This masterpiece of the Spanish Renaissance has Christ’s agony is palpable; his eyes are moist as now entered the growing collection at Auckland they look to the skies and blood runs freely out Castle, County Durham, where it will be shown of the wounds from the nails driven into his hands alongside other important paintings of its era. and feet. The atmosphere around the figure is The works will soon have a brand new venue similarly charged: the monstrous clouds are in to house them –­ a former bank in the adjacent violent movement, which seems to echo the form town of Bishop Auckland is being converted into of Christ’s body. The painting captures one of a £4m gallery. The Auckland Castle Trust has the most dramatic moments in the Passion: when ambitious plans for the new building, including Jesus turns to his heavenly father and cries, bringing together international loans to help ‘My God, my God, why hast thou forsaken me?’. tell the wider story of Spanish art. This El Greco will be a stellar centrepiece.

16 Chapter 2 Building collections Benedetto da Rovezzano The Wolsey Angels, 1524–29 Victoria and Albert Museum, London Art Funded £500,000 (total cost £4,619,381)

In 1524 Cardinal Thomas Wolsey commissioned Following the civil war, the only known surviving the Florentine sculptor Benedetto da Rovezzano element of the tomb, a black stone chest, was (1474–c1554) to create four bronze angels for finally used as the centrepiece of Nelson’s tomb his magnificent Renaissance tomb. Wolsey’s fortunes in St Paul’s Cathedral. As for the angels, their were soon to suffer a rapid decline. He fell out location – if they had survived at all – was of favour with King Henry VIII after he failed to unknown. In 1994, a Sotheby’s catalogue listed persuade the pope to annul Henry’s marriage to two bronze sculptures ‘in Italian Renaissance style’. Catherine of Aragon. When Wolsey died in 1530, A Parisian art dealer bought them, and soon his possessions were appropriated by Henry for afterwards they were attributed to Benedetto. his own use – angels and unfinished tomb included. In 2008, the second pair was discovered at Harrowden Hall in Northamptonshire. After the King’s death, details of the angels’ whereabouts became scant. Elizabeth I moved The Wolsey Angels are closely interwoven much of the tomb to Windsor in 1565, with some with our national history and artistic heritage. parts sold to help the Royalists in the civil war. They are now finally reunited and preserved Sometime before his execution Charles I expressed at the V&A for future generations to enjoy. his wish to be buried in the tomb but was instead interred at St George’s Chapel, Windsor, in the same vault as Henry VIII – two former admirers of Benedetto’s craftsmanship buried side by side.

18 Chapter 2 Building collections Cornelis de Heem A Still Life of Flowers and Fruit, c1685 Dyrham Park, Gloucestershire Art Funded £100,000 (total cost £574,000)

This beautiful Dutch vanitas painting lovingly and William Blathwayt, the connoisseur and builder fulsomely depicts wilting roses, lilies and peonies of Dyrham Park in Gloucestershire, probably bought tumbling onto overripe fruit showing the first signs the painting in the 1690s, and it hung on those of mould and decay. The scene symbolises the same walls until 1956, when the picture was sold transitory nature of life, hinting that all things will by his descendants. The estate is now owned by come to an end. It is one of the very finest paintings the National Trust, and the painting has returned by Cornelis de Heem (1631–95), son and pupil there to be reunited with other works of art from of the great 17th-century still-life painter, Jan Blathwayt’s remarkable collection. Davidsz de Heem. Both in his choice of still life as his subject matter and in his style, Cornelis followed closely in his father’s footsteps, though this work is unusual for its large scale and outdoor setting.

20 Chapter 2 Building collections Lorenzo Bartolini The Campbell Sisters Dancing a Waltz, 1820–21 Scottish National Gallery, Edinburgh, jointly with the Victoria and Albert Museum, London Art Funded £98,800 with support from the Wolfson Foundation (total cost £523,800)

Bartolini (1777–1850) was a revolutionary sculptor The Campbell Sisters Dancing a Waltz is a fine now considered among the European greats. example of the sculptor’s innovative naturalism. His naturalistic style was distinct from that of It depicts an intimate moment between the two his neo-classical contemporaries, attracting the sisters, Emma and Julia, with the elder guiding attention of the Napoleonic government and her sibling in learning the routine. Bartolini infuses helping to secure his fame. In 1839, the Italian was his subject with fluidity and charm and recalls the appointed professor at the Florentine Academy lifestyle of the family when living in Italy, away of Fine Arts where he gave a legendary life class from the formalities of Edinburgh and their mother’s which overturned academic traditions, as he native London. This important work, exuding both presented a hunchbacked model to his students. charm and technical virtuosity, is now shared by the Scottish National Gallery in Edinburgh and the V&A in London, which will each show the work for seven years at a time.

22 Chapter 2 Building collections © Douglas Gordon Douglas Gordon Photos: © Glasgow Life 2014 Pretty Much Every Film and Video Work From About 1992 Until Now. To Be Seen on Monitors, Some with Headphones, Others Run Silently, And All Simultaneously, 1992–in progress Gallery of Modern Art, Glasgow Art Funded £150,000 with support from the Wolfson Foundation (total cost £450,000)

Douglas Gordon first came to public attention Pretty Much Every Film and Video… concisely when he slowed down Hitchcock’s notorious thriller presents the artist’s obsessions and anxieties. for his film 24 Hour Psycho in 1993, audaciously It brings together 82 of his film and video works, manipulating a classic. Born in Glasgow in 1966, displayed on old television screens. Whether Gordon studied at Glasgow School of Art in it is the battle between James Stewart’s voice the mid-1980s, where he became associated with and Bernard Herrmann’s film score in Hitchcock’s a tight-knit group of important emerging artists. Vertigo or his smaller-scale works in which the His Turner Prize win in 1996 cemented their artist turns against himself, wrestling his own reputation and paved the way for many younger arm, Gordon’s art is haunted by opposing forces. artists in Scotland. This compact but encyclopaedic installation will continue to grow as his new pieces are added. Its acquisition by Glasgow Museums confirms their close and ongoing relationship with one of the most significant and influential Scottish artists of our time.

24 Chapter 2 Building collections Paul Strand Nine prints from the Hebridean photographs series, 1954 Scottish National Portrait Gallery, Edinburgh Art Funded £20,000 (total cost £37,124)

In 1954, the great American photographer Paul The nine photographs from the series bought by Strand (1890–1976) travelled to the Hebridean the Scottish National Portrait Gallery are original, islands off the west coast of Scotland to document richly textured prints made by Strand himself. the remote communities who lived there. He shot Among them are portraits, landscapes and abstract pictures of the people and landscapes of Benbecula, details. They are the first works by this renowned South Uist and Eriskay and then edited them down photographer to enter a public collection in to the 105 plates published in his classic 1962 book Scotland. This an acquisition of great beauty, Tîr a’Mhurain (Land of Bent Grass). The project rarity and importance. was part of Strand’s ongoing attempt to record the ideal community.

26 Chapter 2 Building collections Barbara Hepworth Two Forms (Orkney), 1967 Pier Arts Centre, Stromness Art Funded £100,000 with support from the Wolfson Foundation (total cost £602,889)

This late stone carving by the great modernist The work also commemorates the friendship sculptor Barbara Hepworth (1903–75) has strong between Hepworth and Gardiner. The two significance for the Pier Arts Centre, which was met in London in the 1930s and became close founded by Margaret Gardiner, a friend and patron friends and confidantes. Gardiner was to become of the artist. The sculpture’s two carved slate stones one of Hepworth’s key early patrons, supporting are arranged as if in conversation, with one stone the artist by buying her work. As part of the centre’s pierced and the other carved with a smooth collection it now stands as one of the most concave circle. It strongly alludes to the Neolithic prominent works by the artist in Scotland, monuments of northern Scotland and the title and as a testament to the friendship of two suggests Hepworth had the romantic landscape of remarkable women. Gardiner’s Orkney home in mind when she named it.

28 Chapter 2 Building collections Inverness Museum Pier Art and Art Gallery Mercer Centre Museums that received our funding Art Gallery for works of art in 2015 Stromness Inverness Scottish National Portrait Gallery Harrogate Captain Cook Hill Memorial Museum FE McWilliam House York Art Whitby Gallery and Studio Edinburgh Gallery Helensburgh East Lothian Penrith and Eden Banbridge Museums Service York Museum Scottish National Haddington Gallery Penrith Harris Museum and Art Gallery National Museum of Scotland Leeds Manx Auckland Preston Dorman Art Gallery Museum The Castle Hunterian Museum Douglas Potteries Museum Leeds Gallery of Bishop Middlesbrough and Art Gallery Modern Art Auckland Manchester Temple Art Gallery Glasgow Stoke City Newsam Manchester Archives

World Museum Stoke-on Liverpool Geffrye Newstead -Trent William Heath Museum Abbey Walker Art Robinson Trust Gallery Museum of Nottingham British London Deaf Museum Liverpool Aberystwyth Museum and Archive University Arts Council Aberystwyth Collection Lambeth Warrington The Collection: Art and Palace Library Ashmolean Archaeology in Lincolnshire London Museum Wisbech and Lincoln RIBA Library Drawings Fenland Museum National Maritime and Archives Collections Bodleian New Walk Museum Museum Nature and Art Gallery Wisbech Library Kensington in Art Leicester Victoria and Norwich Castle Palace Gloucester Albert Museum Oxford Fitzwilliam Museum and Art Gallery Fan Museum Museum of Norwich Museum of Museum Cambridge Stained Glass Somerset Museum Taunton National Ely Whitchurch Heritage Crafts Study Museum Cardiff Cambridge Centre Centre Plymouth City Swindon Museum Whitchurch Farnham Cardiff Museum of Archaeology Museum and Art Gallery and Art Gallery and Antropology Swindon Plymouth Ditchling Museum Kingston Dyrham Southampton of Art and Craft Victoria North Wrest Penlee House Lacy Park City Art Gallery Art Gallery Hertfordshire Park Gallery and Museum 30 Wimbourne Ditchling Gloucestershire Bath Hitchin Luton Penzance Southampton The artists behind the acquisitions, commissions and projects we’ve supported in 2015

Caroline Achaintre Axel Herman Haig Vera Lutter George Marshall Strapps Patrick William Adam Barbara Hepworth Rut Blees Luxemburg Thomas Tompion Robert Anderson Adrian Heath Charles Rennie Mackintosh Jacob Thompson William John Bankes Frank Gascoigne Heath David Le Marchand William Hamo Thornycroft Phyllida Barlow Cornelis de Heem Helen Marten Kitagawa Utamaro Lorenzo Bartolini Charles Napier Hemy FE McWilliam Keith Vaughan Max Beckmann Howard Hodgkin Pedro de Mena Kelley Walker FCB Cadell Dan Holdsworth Guy Moreton James Ward Edward Burne-Jones Frank Holl Morel and Hughes John Webber Simon Carroll Edward Robert Hughes William De Morgan Alison Wilding Patrick Caulfield Kurt Jackson Emil Nolde Rose Wylie Marvin Gaye Chetwynd Thomas Jeckyll David Oxtoby Takahiro Yede Camille Corot Thomas Jenkins Grayson Perry Shirley Craven Charles Jervas Vicente López y Portaňa Marjolijn Dijkman David Jones John Riddy Charles-Nicolas Dodin Rachel Kneebone WH Robinson Christopher Dresser Atta Kwami Benedetto da Rovezzano William Powell Frith Peter Lely Charles Shirreff Douglas Gordon Wang Ping Richard Smith El Greco AWN Pugin Paul Strand

32 Chapter 12 GoingBuilding further collections This year we also launched the Moving Image Fund Omer Fast 5,000 Feet is the Best, 2011 – the first scheme of its kind in the UK – which Towner Art Gallery, Eastbourne and Imperial War Museum, helps to bring major works of film and video by London. Art Funded 2016 © courtesy of the artist contemporary artists into public collections. This innovative new funding partnership with Thomas Dane Gallery has enjoyed the generous support of a number of trusts and individuals.

Towner Art Gallery in Eastbourne and the Whitworth in Manchester are the first to benefit from the £400,000 fund in its pilot phase. Among the first acquisitions, Isaac Julien’s acclaimed Ten Thousand Waves (2010) is being shared by the two galleries – the first public collections outside of London to include his work – while Omer Fast’s 5,000 Feet is the Best (2011) has been jointly acquired by Towner Art Gallery and Imperial War Museums.

We aim to open up this opportunity to more museums in the future, and will work in partnerships with the ICA and Arts Council Collection to encourage further curatorial interest in this medium.

34 Chapter 2 Building collections Isaac Julien Ten Thousand Waves, 2010

Towner Art Gallery, Eastbourne and the Whitworth, Manchester. Art Funded 2016 © Isaac Julien. Courtesy of the artist and Victoria Miro, London

36 Chapter 2 Building collections Art Fund is well known for mounting major campaigns Minton Archive Plate design from a patent book to help save for public ownership important works of art Stoke-on-Trent City Archives, Art Funded 2015. that might otherwise be lost. Early in 2015 we worked © Holly Pickering behind the scenes to raise £1.56m, including a £1.16m grant from the National Heritage Memorial Fund, to save the famous Minton Archive – which encompasses an exceptionally important collection of works of art, pattern books and industrial documents detailing the company history from its foundation in 1793 at Stoke-on- Trent, formerly the centre of British pottery production.

The archive, which also comprises that of Royal Doulton and other smaller companies, was in danger of being sold and dispersed. Following our successful appeal to save the Wedgwood Collection in 2014, we were able to bring together local and national partners to secure the archive’s future. After its acquisition, we gifted it to Stoke-on-Trent City Archives, which will loan items to the World of Wedgwood and the Potteries Museum and Art Gallery for display.

38 Chapter 2 Building collections Minton Archive Zodiac tile designs

Stoke-on-Trent City Archives, Art Funded 2015. © Holly Pickering

40 Chapter 2 Building collections Art Fund also receives works of art through The Geoff and Scruffy Series of paintings made by gifts and bequests. From Domenico Piola’s Baroque Wilhelmina Barns-Graham in St Ives in the 1950s vision of a saint ascending into the clouds for the was inspired by the relationship between her friend Ashmolean Museum in Oxford to Peter Blake’s Geoffrey Tribe and his dog, a mongrel stray called playful Pop art print placed at Chichester’s Pallant Scruffy. One fine example of these works, abstracting House, we were able to give public homes to 118 the shapes and rhythms of the coastal landscape, privately owned works in 2015, thanks to the has now been gifted by the Barns-Graham Charitable generosity of a number individuals. Trust through Art Fund to Abbot Hall Art Gallery in Kendal. Meanwhile a beautiful brooch by the One such donor is former Art Fund chairman Pre-Raphaelite artist Edward Burne-Jones is now part Sir Nicholas Goodison, whose first visits to the of the collections at the V&A in London, the fourth Fitzwilliam Museum as a Cambridge student in the generous gift to a museum made through Art Fund 1950s inspired his life-long passion for fine and by British jewellery specialist Geoffrey Munn and decorative arts and contemporary craft. This year, his wife Caroline. Nicholas and Judith Goodison have presented the museum with a pair of chairs by influential furniture maker John Makepeace. It is the 107th gift they have made to the Fitzwilliam through Art Fund over the last 20 years.

42 Chapter 2 Building collections Edward Burne-Jones Openwork bird brooch pendant, 1885–95

Presented to the Victoria and Albert Museum by Geoffrey and Caroline Munn through Art Fund, 2015

Wilhelmina Barns-Graham Untitled (Geoff and Scruffy Series), 1956

Presented to Abbot Hall Art Gallery by the Barns-Graham Charitable Trust through Art Fund, 2015 © Courtesy of the Barns-Graham Charitable Trust

John Makepeace Pair of chairs, 2015

Presented to the Fitzwilliam Museum by Nicholas and Judith Goodison through Art Fund, 2015 © John Makepeace

44 Chapter 2 Building collections ____3 The New Collecting Awards support some of Fuelling talent, the UK’s most promising curators by offering both the necessary funds and the access to advice that developing expertise will enable them to pursue new avenues of collecting. From light-based works for the Grundy Art Gallery, Blackpool, to French haute couture for the Bowes Museum, this scheme not only helps to build our national collections but also allows emerging curators to learn at first hand the art of making acquisitions and contributes more generally to their professional growth. Museums are not just about objects and visitors, but also about the people who work there. If we fail to ‘The programme will open up my role as an retain and sustain the talented individuals who give assistant curator, offering me the chance to delve organisations their energy and brilliance we undermine into an area of research that might otherwise our national potential. And so, responding directly to have been left untouched.’ need, we’ve significantly stengthened our investment Hannah Jackson, in the development of museum professionals Assistant curator of fashion and textiles across the UK. The Bowes Museum, County Durham

48 Chapter 3 Fuelling talent, developing expertise New Collecting Awards Recipients

Sara Bevan Julie-Ann Delaney Mark Elliott Thomas Hockenhull Hannah Jackson Curator of contemporary art Curator Curator of anthropology Curator of modern money Asst curator of fashion and textiles

at IWM London (Imperial War at the Scottish National at the Museum of Archaeology at the Department of Coins and at the Bowes Museum, County Museums) awarded £80,000 Gallery of Modern Art, and Anthropology, Cambridge Medals at the British Museum, Durham awarded £60,000 to to build a collection of work Edinburgh awarded £80,000 awarded £50,000 to build London awarded £50,000 to build a collection of French exploring the theme of war towards a collection focused on a collection of contemporary build a collection of numismatic haute couture. and the digital. contemporary performance art. works by artists and makers from material from socialist and former indigenous communities in India. socialist governed countries.

Charlotte Keenan Jenny Lund Rebecca Newell Richard Parry Mariam Rosser-Owen Sarah Rothwell Curator of British art Curator of fine art Curator Curator Curator of Middle East Asst curator of art and design at the Walker Art Gallery, at the Royal Pavilion and at the National Army Museum, at the Grundy Art Gallery, at the Victoria and Albert at the National Museums National Museums Liverpool, Museums Brighton and Hove, London awarded £60,000 Blackpool awarded £80,000 Museum, London awarded Scotland awarded £50,000 awarded £60,000 to build a fine awarded £80,000 to build to build a collection of to build a collection of light- £50,000 to build a collection of to build a collection of Northern art collection relating to Lesbian, a collection of artists’ moving contemporary art that based art. contemporary applied art from European Modernist Jewellery Gay, Bisexual and Transgender image works. explores hidden histories the Middle East. circa 1945–79. culture and history. in the British Army.

50 Chapter 3 Fuelling talent, developing expertise Funding for the Jonathan Ruffer Curatorial Grants With support from a small number of special benefactors Programme has increased from £50,000 to £75,000 and the collaboration of the National Gallery and a year. This scheme enables curators to undertake Victoria and Albert Museum, we are also funding a collections and exhibitions research in the UK series of traineeships for curators who wish to or abroad, providing vital support to those without specialise in Old Master paintings and photography access to relevant budgets. Since its inception respectively. These programmes include placements in 2012 over 200 curators have benefited from this in selected museums outside London and thereby programme, and with this increased pledge we facilitate the sharing of expertise from national look forward to supporting many more important to regional museums. In 2015 we also funded arts projects in years to come. career development courses at the ICA, Sotheby’s Art Institute and Whitechapel Gallery. ‘Opportunities like this can’t fail to help curators better understand the objects in their care, and thus perform a little bit more creatively and effectively. Thank you so much for supporting my proposal.’ Tobias Capwell, Curator of arms and armour Wallace Collection

52 Chapter 3 Fuelling talent, developing expertise ____4 Art Fund Museum of the Year celebrates museums Helping museums and galleries across the UK – awarding one go further outstanding winner £100,000. The 2015 winner was the Whitworth, whose £15m development redefined the way the gallery engages with its audiences, connecting the building and surrounding park to its local community in Manchester to create a strong sense of openness and invitation. Beyond our grant giving programme, we are helping museums and galleries to realise their ambitions in ‘Winning the Art Fund Museum of the Year Prize in a number of new ways. This might be by celebrating 2015 meant a huge amount to everyone, not just the their achievements as part of the search for Art Fund staff and visitors to the museum, but to Manchester Museum of the Year or by developing initiatives that as a city that is proud of its cultural heritage.’ help them to generate income, such as our innovative Maria Balshaw, crowdfunding platform Art Happens. Director of the Whitworth

As part of our commitment to furthering audience engagement, outreach and access we have supported numerous national touring programmes presenting works by artists as diverse as Van Dyck, Constable, Sarah Lucas and Louise Bourgeois in venues from Aberystwyth to Orkney.

56 Chapter 4 Helping museums go further Viewing Cornelia Parker’s exhibition at the Whitworth, 2015. Courtesy of the As contenders for Art Fund Museum of the Year, Whitworth, University of Manchester. Photo: David Levene each 2015 finalist enjoyed increased public profile and visitor attendance. From the First World War centenary commemorations at HM Tower of London, Dunham Massey and IWM London, to the transformation of the Oxford University Museum of Natural History, and the MAC Belfast’s contemporary programme, the creativity of our cultural institutions is always energising, often astonishing.

We also champion the interests of museums to those in government, sharing ideas to help inform thinking and policy. Above all we listen to what museums need, want, and aspire to; and we try to help.

58 Chapter 4 Helping museums go further The Whitworth Art Fund Museum of the Year 2015. Viewing Sarah Lucas’ exhibition at the Whitworth, 2015. Courtesy of the Whitworth, University of Manchester Photo: David Levene

60 Chapter 4 Helping museums go further At Home with Vanley Burke Cultural organisations can be laboratories for Ikon Gallery, 2015. Funded through Art Happens new projects and ways of working, and Art Fund aims to provide support for experimentation of many kinds.

Our free crowdfunding platform Art Happens has enabled museums and galleries to raise nearly £300,000 for 16 projects since 2014. Recent examples have ranged from the restoration of the Bloomsbury interiors at Charleston to the creation of a steamroller printing press for Ditchling Museum. This developing initiative is not only helping to bring long-dreamed of projects to fruition, but is also contributing steadily to the development of public fundraising skills in the arts.

62 Chapter 4 Helping museums go further Art Tickets is a pilot project to create a shared online Art Fund aims to help as many people as ticketing system for arts organisations around the possible across the UK to see and experience country. After conducting feasibility research with great works of art. Oxford University and a group of 17 museums, supported by NESTA, Arts & Humanities Research In 2015 we committed to three further years of Council and public funding from the National Lottery support for Artist Rooms, the inspirational collection through Arts Council England, we published our of modern and contemporary masters brought findings in October 2015. We aim to launch the together by gallerist Anthony d’Offay and acquired system in 2017, and estimate that it could provide by the National Galleries of Scotland and Tate with real benefit to more than 100 institutions. the help of Art Fund and other agencies in 2008. Since then over 39 million people have seen a series of exceptional small exhibitions – from Warhol in Colchester to Mapplethorpe in County Durham. In 2016 there will be presentations of Roy Lichtenstein at Wolverhampton Art Gallery, Joseph Beuys at the National Galleries of Scotland and Louise Bourgeois at Tate Modern, and many others.

64 Chapter 4 Helping museums go further Sarah Lucas Pauline, 2015

Shown at Sir John Soane’s Museum, London as part of the exhibition Power in Woman, supported by Art Fund. © The artist, courtesy of Sadie Coles HQ, London. Photo: Julian Simmons

Ai Weiwei A Ton of Tea, 2007

Shown as part of the touring exhibition Art from Elsewhere, supported by Art Fund. Bristol Museum and Art Gallery. Art Funded 2011 © Ai Weiwei

Andy Warhol Portrait of Joseph Beuys, 1980

Shown at Firstsite, Colchester as part of the Artist Rooms touring programme, supported by Art Fund. Acquired jointly for National Galleries of Scotland and Tate through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008

66 Chapter 4 Helping museums go further At Sir John Soane’s Museum, we funded a special The exhibition Art from Elsewhere – a truly global display drawn from Sarah Lucas’ 2015 Venice Biennale view of contemporary art­ ­­­representing Ai Weiwei, exhibition, while at the ICA Studio, Art Fund curator Ana Mendieta, Kara Walker, Imran Qureshi and others Fatoş Üstek mounted a memorable series of 50 ­­­– has been shown in six UK cities through Hayward contemporary exhibitions in 50 weeks for the Touring’s programme. Works by these artists were fig-2 programme. acquired through Art Fund International, which helped build collections of international contemporary art Also in 2015 we organised a conference to share in museums and galleries in five national centres information and inspiration from the 36 projects beyond London. funded through the Treasure Plus scheme with the Headley Trust. This aimed to deepen national Many other works of art have been shared more engagement with archaeological finds and to explore widely with our help. Van Dyck’s magnificent the potential of their presentation and interpretation self-portrait, saved by the National Portrait Gallery to the public. with Art Fund in 2014, has toured from Margate to Manchester. Constable’s painting Salisbury Cathedral from the Meadows, 1831, bought with our support by Tate on behalf of five UK museums, has also toured nationwide.

68 Chapter 4 Helping museums go further ____5 We communicate the growing exhibition programmes Seeing more, of nearly 700 organisations to our growing online audience, as well as our e-news subscribers and seeing differently social media followers. This helps to generate profile, attendance and income for our partners, while providing rich content for visitors.

We also make short, accessible and informative films ­­­– Kate Adie on war photographer Lee Miller, for example, or Jeremy Paxman on Goya’s portraits of the powerful. Art Fund wants to help people to interact with visual culture in new ways. We know that our Our 122,000 members are readers of Art Quarterly 122,000 members ­­­– including thousands of student magazine, which offers new perspectives on art by and corporate members – have already started to leading writers including Nancy Durrant, Martin visit more museums, more frequently. But a further Gayford, Rachel Spence and many others. 2 million people also visit our website seeking inspiration for art journeys across the land, from galleries to historic houses to biennials and triennials.

72 Chapter 5 Seeing more, seeing differently Visitors at the Whitworth Photo © Nick Turpin

74 Chapter 5 Seeing more, seeing differently Photo © Colombe Clier The National Art Pass gives free entry to 225 museums, galleries and historic houses, as well as 50% off admission to major exhibitions. Not only does it offer access and opportunity to those who want to see more, but the pass also generates new forms of support for, and extends the reach of, museums and galleries. Thanks to the pass, our membership has grown 60% in the last five years, enabling us to increase our funding to museums and galleries across the country.

The Student National Art Pass was extended to over 8,000 participants in 2015 – primarily those studying art history, fine art or applied art subjects – across 22 universities and colleges. This was thanks to the generous support of a growing consortium of private donors, trusts and foundations who make the scheme possible by sponsoring free passes at individual institutions.

76 Chapter 5 Seeing more, seeing differently Viewing the exhibition Electronic Superhighway at Whitechapel Gallery. Courtesy It’s Nice That Photo: Vincent Chapters The pass gives students the opportunity to see exhibitions and public collections relevant to their studies either free of charge or at a further 50% discount beyond their usual concession levels. Through a series of new initiatives we’re able to bring students closer to artists and curators, offering direct insight into future arts careers.

The Corporate National Art Pass, launched in 2015, brings art and creativity into companies and organisations by giving cards directly to employees. We hope to develop this scheme significantly over the next five years, forging links between museums and a new body of supporters from the business sector.

Meanwhile, the Art Partners – a special circle of our supporters – join us to see art in new ways through expert eyes and in unexpected places in a programme which brings to life their philanthropic support for museums across the UK.

78 Chapter 5 Seeing more, seeing differently ____6 2015 was another year of growth for Art Fund. Working Our membership reached 122,000 individuals, our charitable activity (excluding special appeals) effectively grew by 9% in financial terms and in qualitative terms our programme grew in sophistication and reach through new initiatives such as the Moving Image Fund and the New Collecting Awards. In the early part of the year we mounted an important special appeal to acquire and gift the Minton Archive to the city of We are an independent charity and receive no Stoke-on-Trent where it will be conserved, catalogued statutory funding from the government. Our ability and displayed. to deliver a sustainable programme to museums and galleries is dependent on the ongoing generosity This year we also began a series of infrastructure of our supporters. Meanwhile, all administrative projects that will enable us to articulate our purpose costs are funded by our carefully managed portfolio better, reach new audiences, raise more funds and of investments. This ensures that the highest proportion operate on an ever more robust and agile basis. of donated income can be applied directly to our charitable work.

82 Chapter 6 Working effectively Report of the Trustees for Treasurer’s report Efficiency Helping museums go further the year ended 31 December 2015 Our cost of raising funds has decreased from Expenditure in this area relates to our efforts £1.8m in 2014 to £1.4m in 2015 as a result of one- to promote ambition, enterprise and resilience off fundraising appeals which ran in the prior year. within UK museums and galleries through direct Performance Our support costs (which include salaries) showed partnerships, policy and advocacy and digital The Trustees are pleased to present their annual Between 2014 and 2015 our total income an increase to £998,000 in 2015 (2014: £774,000) innovation. Highlights include the Art Happens report together with the consolidated financial decreased from £24.3m to £14.8m as a result of due to critical infrastructure projects during the year. crowd-funding platform which went from strength statements of the charity and its subsidiary exceptional receipts in 2014 arising from the hugely to strength with £168,000 of donations generated for the year ended 31 December 2015. successful Wedgwood campaign and the Parker Impact in support of 10 projects around the UK. The newly legacy of £2.8m. After adjusting for the impact Excluding special appeals, the charitable refurbished Whitworth Gallery in Manchester won The financial statements comply with the of volatile special appeals and legacy income, programme grew from £9.1m in 2014 to £9.9m the £100,000 Art Fund Prize for Museum of the Charities Act 2011, the Charities and Trustee Art Fund’s underlying income rose from £9.4m in in 2015, an increase of 8.8%. Year 2015 and with £125,000 of funding from the Investment (Scotland) Act 2005, the Memorandum 2014 to £10.1m in 2015 (7.8%) due to steady growth Nesta Digital R&D fund we worked with a group and Articles of Association of Art Fund Services in membership subscriptions and donation income. Building collections and fuelling talent of museum partners to research the feasibility of an Limited, and Accounting and Reporting by In 2015 we offered grants for acquisitions of £4.4m, aggregated ticketing platform for use in the sector. Charities: Statement of Recommended Practice Membership subscriptions grew to £6.1m from a number that would have been significantly higher applicable to charities preparing their accounts £5.6m (growth of 8.8%) driven by a net increase had it not been for the cancellation of the special Seeing more, seeing differently in accordance with the Financial Reporting in membership of 5,000. Art Fund is grateful appeal to acquire Rembrandt’s Portrait of Catrina We are committed to expanding our membership Standard applicable in the UK and Republic to donors and patrons through whose support Hooghsaet in the latter stages of the year to which base as we work to support the overall economy of Ireland (FRS 102) (effective 1 January 2015). £2.7m has been raised to fund a wide range of Art Fund had committed a further £1m. Growth of art in the UK. Expenditure of £3.0m in the year projects and acquisitions (2014: £2.5m). in this strategic area relates to our funding for relates to our efforts to recruit new members curatorial support which increased to £765,000 to Art Fund as well as servicing our existing Elsewhere the network of volunteer fundraising (2014: £402,000). members, including the cost of publishing committees raised £809,000 which net of costs the Art Quarterly magazine. of £453,000 generates a contribution of £353,000 Following the success of the Wedgwood campaign (2014: £356,000). Other income, which includes we were presented with a unique opportunity to commercial trading and property income was acquire the Minton Archive in the early part of broadly consistent with the prior year at £377,000 2015. We were able to raise £1.36m to supplement (2014: 364,000). The investment portfolio generated Art Fund’s own commitment and acquire this income of £144,000 in 2015 (2014: £165,000), but important collection of archive and design material Jeremy Palmer added to this are £798,000 of gains (2014: £2.2m) and gift the material to Stoke City Council Archives Treasurer within the value of Art Fund’s assets. Service where it will be conserved, catalogued and available for public use in perpetuity.

84 Chapter 6 Working effectively Objectives and activities appointment. The five Trustees who have been Related parties and co-operation — Identifying and assessing risks longest in office since their last election must ‘retire’ with other organisations (the “inherent risks”). each year at the AGM, and are eligible for re- None of Art Fund’s Trustees receive remuneration — Assigning each of those risks to election. Trustees can serve for a maximum of two or other benefit from their work with the charity. an individual risk owner; consecutive terms of five years, and normally retire Details of Trustees’ expenses and related party — Setting an agreed risk appetite Summary of aims and objectives at the age of 75. transactions are disclosed in the notes to (the “risk targets”); Art Fund exists to help museums and galleries the accounts. — Evaluating the effectiveness of relevant all across the UK to buy, show and share great Trustee induction & training mitigating controls;  art so that it can be experienced and enjoyed All new Trustees attend an induction in which The trading activities of Art Fund are carried out by — Assessing the risks remaining given the by everyone. Set up over a hundred years ago, they are briefed on their legal obligations under its service company, Art Fund Services Limited, a controls in place (the “residual risks”); and Art Fund is the leading national fundraising charity charity law, the Charity Commission guidance company incorporated in England and Wales — Agreeing, implementing and monitoring for art and is independently funded and supported on public benefit, the content of Art Fund’s Royal (registered number 01487654). The company is controls to reduce the variance between by 122,000 members Charter, the board structure and decision-making wholly owned by Art Fund and it donates all its residual and target risks. processes, Art Fund’s strategy and recent profits in the year to Art Fund by way of Gift Aid. Our four strategic objectives to financial performance. Reserves policy and going concern 2020 are as follows: Pay policy for senior staff The Board of Trustees is of the opinion that During the induction each new Trustee will meet The pay of the Senior Management Team Art Fund has adequate resources to operate as Building collections and fuelling talent the Director of Art Fund, Senior Management Team is reviewed annually and, along with that of a going concern for the foreseeable future and Help the UK’s public art collections to grow, members and other key Art Fund personnel. New the entire staff body, is considered against key the accounts have been prepared on that basis. develop and be enjoyed by the public through Trustees are issued with a portfolio of documents inflation measures and cost-of-living benchmarks. building Art Fund’s national funding programme outlining their responsibilities as a charity trustee Remuneration is benchmarked against similar Free reserves and encouraging the growth of expertise. including a Board policies and procedures manual. roles within the Not-for-Profit and cultural sector. The Trustees review Art Fund’s reserves policy on an annual basis to consider the gap between Helping museums go further Organisation Risk Management the spending and receiving of income and to ensure Support museums in their goals to be more The Board, while retaining overall responsibility, The major risks to Art Fund’s business, that sufficient liquid resources are available ambitious and innovative by helping finance new delegates certain functions to two sub-committees finance and reputation, as identified by the to meet liabilities as they fall due, in the event initiatives and ways of working and strengthening and executive staff as set described here. Board, have been reviewed and systems have of a sudden shortfall in income. Moreover, the museums’ impact in the community. been established to mitigate those risks. A full responsive and often uncertain nature of Art Fund’s The Finance and General Purposes Committee, risk register has been compiled and is held at programme, especially around special appeals, Seeing more, seeing differently which meets up to four times a year under the 2 Granary Square, London, N1C 4BH. means it is essential that adequate resources are Continue to build Art Fund’s network of members chairmanship of the Treasurer, considers all matters always available to meet the cost of exceptional and museum visitors to help generate more support relating to finance, investments, risk management Risk is unavoidable and the resources available works under threat. and income for the UK’s public collections. and the administration of the charity including the for managing risk are finite. The aim of risk property. It currently has four Trustee members management within Art Fund is therefore to The Trustees of Art Fund have set a target Working effectively and three non-Trustee advisory members. achieve an optimum response to risk, prioritised for free reserves of between 6-12 months of total Increase Art Fund’s income, develop better support in accordance with an evaluation of the risks. expenditure. At the end of 2015 free reserves stand systems and make imaginative use of existing The Nominations Committee, which meets at least The approach adopted takes into account the at £8.2m and are therefore at the mid-point of resources in order to maximise the organisation’s annually under the chairmanship of the Chairman, Charity Commission guidance on management the target range. charitable impact. considers candidates for membership of the of risk with reference to best practice risk Board and terms of appointment. management standards. Art Fund assesses Perpetuity fund Structure, governance & management risk through consideration of the likelihood of an This designated fund serves as the core component Appointment of Trustees The day-to-day direction of Art Fund’s affairs event occurring, and the impact that would arise of Art Fund’s capital distribution policy. The annual Art Fund is governed by its Board of Trustees, is the responsibility of the Director who reports if the event were to occur. Risk management value drawn from this fund guarantees the existence which meets six times a year. It currently has 17 to the Board through the Chairman. The within Art Fund includes: of Art Fund in perpetuity by meeting the cost of members. Vacant Trustee positions are advertised Director is supported by a Senior Management core operating and administrative expenses thereby to the membership in Art Quarterly and are Team consisting of the Director of Finance & ensuring that the maximum proportion of donated appointed by the Board, on the recommendation Resources, Director of Development, Director income is applied to charitable purposes. of the Nominations Committee. The subsequent of Programmes, Director of Marketing and appointment is then notified to the membership at Director of Communications. the Annual General Meeting (AGM) following their

86 Chapter 6 Working effectively The minimum target for this fund is the Investment policy Reference and administrative details Professor Deborah Swallow grossed-up value of Art Fund’s core operating The Trustees adopt a total return policy regarding Year ended 31 December 2015 Professor Lisa Tickner FBA N and administrative costs based on a distribution Art Fund’s investment portfolio and so Art Fund Art Fund was established in 1903 as the National Professor William Vaughan FSA rate of 3.5% of the trailing 12 quarter value of withdraws 3.5% of the trailing twelve quarter Art Collections Fund and was granted a Royal Retired 27 April 2015 the investment portfolio. At the end of the 2015 value of the portfolio each year in order to meet Charter in 1928. It is registered as a charity Michael Wilson OBE F the target value for this fund is £34.2m. core operating and administrative costs. The in England and Wales under number 209174 and intention is to produce a consistent and sustainable in Scotland under SC038331. In May 2006 Advisory Members of the Finance The Parker fund amount to pay for core costs while maintaining ‘Art Fund’ was adopted as its public and trading and General Purposes Committee In 2014 the Trustees designated a value of £2.8m the purchasing power of the portfolio over the name but its full name has been retained for Celia Clear to the Parker fund following the receipt of a legacy long term and ensuring that the maximum possible legal purposes. Brendan Finucane QC from Mr Donald Parker, who had been a member proportion of donated funds are applied to Ruth Jarratt of Art Fund since 1977. The Parker fund represents charitable activities. Although financial markets Registered office the aggregate amount that we have set aside to have performed well in the last few years, in the 2 Granary Square Director and Senior fund internal income and efficiency projects and light of recent volatility we remain cautious and King’s Cross Management Team is available to be used if cash resources in any have maintained the distribution rate at 3.5%. London N1C 4BH Dr Stephen Deuchar CBE particular year prove insufficient to meet the Director cost of major initiatives. Public benefit Members of the Board Rachel Mapplebeck The Trustees have taken the Charity Commission’s F Also a Member of the Finance and Director of Communicationst There is no specific target for this fund, as it guidance on public benefit into consideration General Purposes Committee Nicholas Maynard is anticipated that the full £2.8m will be expended when reviewing the aims and objectives of Art N Also a Member of the Director of Finance & Resources over a period of five years. Fund. In setting out the strategy and developing Nominations Committee Sarah Philp its programme of activity, Art Fund has focused Director of Programmes Fixed asset fund on delivering broad public benefit, in particular Lord Smith of Finsbury Amy Ross This designated fund represents the cost of replacing through works of art being acquired by public Chairman N Director of Development Art Fund’s fixed assets in the event of their loss. collections in the UK and being available for Jeremy Palmer Carolyn Young the public to enjoy; by works of art being shown Treasurer F,N, appointed 23 February 2015 Director of Marketing Wedgwood future fund and shared by public collections, backed up Paul Zuckerman The Wedgwood Future fund was established by by the curatorial expertise to understand and Treasurer F,N, retired 23 February 2015 Professional advisers the Trustees in 2014 to provide support for the communicate them to the public; by celebrating Caroline Butler F Auditors ongoing care of the Wedgwood collection following creativity and excellence in museums which benefit Richard Calvocoressi CBE BDO LLP the transfer of its ownership to the Victoria and the public through the annual Art Fund Prize for Professor Michael Craig-Martin CBE RA 55 Baker Street Albert Museum. There is no target value for the Museum of the Year; and by making enjoyment, Retired 27 April 2015 London W1U 7EU fund. The current value of the fund is £604k and understanding and appreciation of works of art Professor Richard Deacon CBE RA it is anticipated that the reserve will be expended available to the public through the National Art Appointed13 July 2015 Investment Advisors in full over a period of approximately 20 years, or Pass, Art Fund’s website, Art Quarterly and other Dame Liz Forgan N Cambridge Associates LLP as required by the beneficiary. editorial channels. Philippa Glanville FSA OBE 80 Victoria Street Professor Chris Gosden FBA N London SW1E 5JL Challenge fund Plans for future period Professor Antony Griffiths FBA This fund was generously gifted by Sir David Verey In 2016 Art Fund will continue to run a series of Alastair Laing FSA Bankers to be used for leveraging match funding in support infrastructure projects that will enable it to operate James Lingwood MBE Coutts & Co of Art Fund’s charitable programme. The current on a more robust and agile basis. We continue to Christopher Lloyd CVO 440 Strand value of the fund is £208k and it is anticipated seek innovative new ways to leverage income for the Retired 16 June 2015 London WC2R 0QS that the reserve will be expended in full over a benefit of the museums and galleries sector at large Jonathan Marsden CVO FSA number of years. and will continue to develop the sophistication and Retired 5 October 2015 Solicitors impact of the charitable programme to deliver Sally Osman N Farrer & Co LLP impact where it is needed most. Professor Marcia Pointon 66 Lincoln’s Inn Fields Appointed 5 October 2015 London WC2A 3LH Axel Rüger Appointed 13 July 2015

88 Chapter 6 Working effectively Performance Efficiency Total income Support costs

25.0

20.0

15.0

10.0

Special Appeals Trading, investments & other 5.0 Legacies Donations & fundraising Membership 0.0

2012 2013 2014 2015 £m

Impact growth 12.0 Charitable expenditure (excluding special 10.0 10.0 appeals)

8.0 8.0

6.0 6.0

4.0 4.0

2.0 2.0 Seeing more, seeing differently Total expenditure Helping museums go further (exc special appeals) 7.2 % 8.8 % Building collections & fuelling talent 0.0 Support costs 0.0

2012 2013 2014 2015 2014 2015 £m £m

90 Chapter 6 Working effectively Consolidated statement of financial activities (including income and expenditure account) For the year ended 31 December 2015

Note Unrestricted Restricted Endowment Total Unrestricted Restricted Endowment Total 2015 2015 2015 2015 2014 2014 2014 2014 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000

Income from Donations 1,568 1,169 - 2,737 1,428 1,027 - 2,455 Legacies 3,248 16 - 3,264 4,796 25 - 4,821 Special appeals - 1,402 - 1,402 - 10,061 - 10,061

Income from charitable activities Members subscriptions 6,060 - - 6,060 5,571 - - 5,571

Income from other trading activities Fundraising events 809 - - 809 847 - - 847 Other income 386 - - 386 364 - - 364 Income from investments 131 8 5 144 152 7 6 165 Total income 12,202 2,595 5 14,802 13,158 11,120 6 24,284

Expenditure on raising funds Cost of generating voluntary income 859 - - 859 1,134 - - 1,134 Cost of trading subsidiary 96 - - 96 112 - - 112 Cost of fundraising events 456 - - 456 491 - - 491 Investment adviser’s costs 26 - - 26 26 - - 26 Total cost of raising funds 1,437 - - 1,437 1,763 - - 1,763

Expenditure on charitable activities Total charitable expenditure 8,667 2,545 5 11,217 8,266 10,733 6 19,005 Total expenditure 5 10,104 2,545 5 12,654 10,029 10,733 6 20,768

Net gains on investments 7 722 46 30 798 2,023 103 91 2,217 Net income 2,820 96 30 2,946 5,152 490 91 5,733 Transfers between funds 13 (43) 43 ------Net movement in funds 2,777 139 30 2,946 5,152 490 91 5,733

Reconciliation of funds Total funds brought forward 42,222 2,720 1,768 46,710 37,070 2,230 1,677 40,977 Total funds carried forward 13 44,999 2,859 1,798 49,656 42,222 2,720 1,768 46,710

The statement of financial activities includes all gains and losses recognised in the year and all income and expenditure derived from continuing activities.

92 Chapter 6 Working effectively Charity statement of financial activities (including income and expenditure account) For the year ended 31 December 2015

Note Unrestricted Restricted Endowment Total Unrestricted Restricted Endowment Total 2015 2015 2015 2015 2014 2014 2014 2014 £’000 £’000 £’000 £’000 £’000 £’000 £’000 £’000

Income from Donations 1,568 1,169 - 2,737 1,428 1,027 - 2,455 Legacies 3,248 16 - 3,264 4,796 25 - 4,821 Special appeals - 1,402 - 1,402 - 10,061 - 10,061

Income from charitable activities Members subscriptions 6,060 - - 6,060 5,571 - - 5,571

Income from other trading activities Fundraising events 802 - - 802 843 - - 843 Other income 157 - - 157 127 - - 127 Income from investments 268 8 5 281 281 7 6 294 Total income 12,103 2,595 5 14,703 13,046 11,120 6 24,172

Expenditure on raising funds Cost of generating voluntary income 859 - - 859 1,134 - - 1,134 Cost of fundraising events 453 - - 453 491 - - 491 Investment adviser’s costs 26 - - 26 26 - - 26 Total cost of raising funds 1,338 - - 1,338 1,651 - - 1,651

Expenditure on charitable activities Total charitable expenditure 8,667 2,545 5 11,217 8,266 10,733 6 19,005 Total expenditure 5 10,005 2,545 5 12,555 9,917 10,733 6 20,656

Net gains on investments 7 722 46 30 798 2,023 103 91 2,217 Net income 2,820 96 30 2,946 5,152 490 91 5,733 Transfers between funds 13 (43) 43 ------Net movement in funds 2,777 139 30 2,946 5,152 490 91 5,733

Reconciliation of funds Total funds brought forward 42,219 2,720 1,768 46,707 37,067 2,230 1,677 40,974 Total funds carried forward 13 44,996 2,859 1,798 49,653 42,219 2,720 1,768 46,707

The statement of financial activities includes all gains and losses recognised in the year and all income and expenditure derived from continuing activities.

94 Chapter 6 Working effectively Consolidated and charity balance sheet Consolidated statement of cash flows As at 31 December 2015 As at 31 December 2015

Group Group Charity Charity Group Group 2015 2014 2015 2014 2015 2014 £’000 £’000 £’000 £’000 £’000 £’000

Fixed assets Cash flows from operating activities 2,946 5,733 Tangible assets 5,941 6,031 5,941 6,031 Adjustments for non-cash items: Investments 40,857 37,450 40,857 37,450 Depreciation of tangible fixed assets 109 100 46,798 43,481 46,798 43,481 Unrealised (gain) on investments (798) (2,217)

Current assets Movements in working capital Stock - 1 - - Decrease/(increase) in debtors 24 (889) Debtors 2,206 2,230 2,278 2,304 Decrease in stocks 1 11 Cash at bank and in hand 5,529 5,615 5,429 5,507 Increase/(decrease) in creditors: Current liabilities 502 (1,852) 7,735 7,846 7,707 7,811 (Decrease) in creditors: Long term (2) (21) (Decrease) in provisions (240) (187) Liabilities Net cash generated from operating activities 2,542 678 Creditors falling due within one year (2,402) (1,900) (2,377) (1,868) Provision for grants authorised Cash flows from investing activities (2,241) (2,481) (2,241) (2,481) but not paid Proceeds from sale of tangible fixed assets - 83 (4,643) (4,381) (4,618) (4,349) Purchases of tangible fixed assets (19) (595) Purchase of investments (15,583) (2,120) Net current assets 3,092 3,465 3,089 3,462 Proceeds from sale of investments (12,974) (2,120) Total assets less current liabilities 49,890 46,946 49,887 46,943 Net cash from investing activities (2,628) (512) Creditors: due after more than one year (234) (236) (234) (236) Net increase in cash and cash equivalents (86) 166 Net assets 49,656 46,710 49,653 46,707

Analysis of changes in cash The funds of the charity Cash and cash equivalents at the beginning of the year 5,615 5,449 Permanent endowment funds 1,798 1,768 1,798 1,768 Total cash and cash equivalents at the end of the year 5,529 5,615 Other restricted funds 2,859 2,720 2,859 2,720

Designated funds 36,843 35,066 36,843 35,066 Cash and cash equivalents comprise General funds 8,156 7,156 8,153 7,153 Cash at bank and in hand 5,529 5,615 Total charity funds 49,656 46,710 49,653 46,707

The Trustees have prepared group accounts in accordance with section 138 of the Charities Act 2011. The notes at pages 101 to 117 form part of these accounts. Approved and authorised for issue by the Board on 16 May 2016 and signed on its behalf by

Lord Smith of Finsbury Jeremy Palmer Chairman Treasurer

96 Chapter 6 Working effectively Independent auditor’s report We have been appointed as auditor under section Matters on which we are required to the Trustees of the National 44(1)(c) of the Charities and Trustee Investment to report by exception (Scotland) Act 2005 and under section 144 We have nothing to report in respect of the Art Collections Fund of the Charities Act 2011 and report in accordance following matters where the Charities Act 2011 with regulations made under those Acts. Our and the Charities Accounts (Scotland) Regulations responsibility is to audit and express an opinion 2006 (as amended) requires us to report to you on the financial statements in accordance with if, in our opinion: applicable law and International Standards We have audited the financial statements on Auditing (UK and Ireland). Those standards — the information given in the Trustees’ of the National Art Collections Fund for the year require us to comply with the Financial Reporting Annual Report is inconsistent in any material ended 31 December 2015 which comprise the Council’s (FRC’s) Ethical Standards for Auditors. respect with the financial statements; or Group and Parent Charity Statement of Financial — proper and sufficient accounting records Activities, the Group and Parent Charity Balance Scope of the audit of the have not been kept; or Sheets, the Group Cash Flow Statement and the financial statements — the parent charity financial statements related notes. The financial reporting framework A description of the scope of an audit of financial are not in agreement with the accounting that has been applied in their preparation is statements is provided on the FRC’s website at records or returns; or applicable law and United Kingdom Accounting www.frc.org.uk/auditscopeukprivate. — we have not received all the information Standards (United Kingdom Generally Accepted and explanations we require for our audit. Accounting Practice), including Financial Reporting Opinion on financial statements Standard 102: The Financial Reporting Standard In our opinion the financial statements: applicable in the UK and Republic of Ireland. — give a true and fair view of the state of This report is made solely to the charity’s Trustees, the group’s and the parent charity’s affairs as a body, in accordance with the Charities Act as at 31 December 2015 and of the group’s BDO LLP 2011 and the Charities and Trustee Investment incoming resources and application Statutory Auditor (Scotland) Act 2005. Our audit work has been of resources for the year then ended; London undertaken so that we might state to the charity’s — have been properly prepared in accordance United Kingdom Trustees those matters we are required to state with United Kingdom Generally Accepted Date: 20 May 2016 to them in an auditor’s report and for no other Accounting Practice (including FRS 102); and purpose. To the fullest extent permitted by — have been prepared in accordance with the BDO LLP is eligible to act as an auditor in terms law, we do not accept or assume responsibility requirements of the Charities Act 2011, of section 1212 of the Companies Act 2006. to anyone other than the charity and the charity’s the Charities and Trustee Investment BDO LLP is a limited liability partnership Trustees as a body, for our audit work, for this (Scotland) Act 2005 and regulations 6 registered in England and Wales (with registered report, or for the opinions we have formed. and 8 of the Charities Accounts (Scotland) number OC305127). Regulations 2006 (as amended). Respective responsibilities of Trustees and auditor As explained more fully in the Statement of Trustees’ Responsibilities, the Trustees are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view.

98 Chapter 6 Working effectively Statement of Trustees’ The Trustees are responsible for keeping adequate Notes on the accounts b. Incoming resources responsibilities accounting records that are sufficient to show Incoming resources are usually accounted for and explain the charity’s transactions and disclose on a receivable basis. Voluntary income, comprising with reasonable accuracy at any time the financial donations and legacies, are recognised as incoming position of the group and parent charity and resources when Art Fund becomes entitled to the enable them to ensure that the financial statements 1. Accounting policies income. For donations this is when there is certainty comply with the Charities and Trustee Investment of receipt and value, and for legacies this is when The Trustees are responsible for preparing the (Scotland) Act 2005, regulations 6 and 8 of the receipt and value are probable.Contractual or Annual Report and the financial statements in The principal accounting policies adopted, the Charities Accounts (Scotland) Regulations trading income is recognised as incoming resources accordance with applicable law and regulations. judgements and key sources of estimation 2006 (as amended), the Charities Act 2011 to the extent that Art Fund has provided the goods uncertainty in the preparation of the financial and the regulations made thereunder. They are or services. Where income is received in advance Charity law requires the Trustees to prepare statements are as follows: also responsible for safeguarding the assets of and Art Fund does not have entitlement to these financial statements for each financial year in the charity and hence for taking reasonable steps resources until the goods or services have been accordance with United Kingdom Generally a. Basis of preparation for the prevention and detection of fraud and provided, the income is deferred. Annual ordinary Accepted Accounting Practice (United Kingdom The financial statements have been prepared in other irregularities. membership is accounted for on a cash basis. Accounting Standards and applicable law). Under accordance with the Financial Reporting Standard charity law the Trustees must not approve the applicable in the UK and Republic of Ireland Financial statements are published on the parent c. Resources expended financial statements unless they are satisfied that (FRS 102). The organisation is a public benefit charity’s website in accordance with legislation Expenditure is recognised on the financial they give a true and fair view of the state of affairs entity for the purpose of FRS 102 and a registered in the United Kingdom governing the preparation statements on an accruals basis. Resources of the group and parent charity and of the incoming charity, and therefore has also prepared its and dissemination of financial statements, which expended are classified in the SOFA under resources and application of resources, including financial statements in accordance with the may vary from legislation in other jurisdictions. the principal categories of costs of raising the income and expenditure, of the group and Statement of Recommended Practice applicable The maintenance and integrity of the parent funds, and cost of charitable activities rather parent charity for that period. In preparing these to the charities preparing their accounts in charity’s website is the responsibility of the Trustees. than the type of expense. financial statements, the Trustees are required to: accordance with the Financial Reporting Standard The Trustees’ responsibility also extends to the applicable in the UK and Republic of Ireland ongoing integrity of the financial statements Grants payable are recognised when a grant — select suitable accounting policies (The FRS 102 Charities SORP), and Charities Act contained therein. has been approved and this has been and then apply them consistently; 2011. The financial statements have been prepared communicated to the recipient. — observe the methods and principles under the historical cost convention as modified of the Charities SORP; by the valuation of fixed-asset investments and in Resources expended comprise direct expenditure — make judgments and accounting estimates accordance with Art Fund’s Royal Charter. including direct staff costs attributable to the that are reasonable and prudent; activity. Where costs cannot be directly attributed, — state whether applicable UK Accounting The Charity has adopted FRS 102 for the first they are allocated to the activities to which Standards have been followed, including time when preparing these financial statements. they relate as shown in note 5. Costs of raising FRS 102, subject to any material departures The transition date to FRS 102 was 1 January 2014 funds are those incurred in seeking voluntary disclosed and explained in the and the last financial statements prepared under contributions for Art Fund, the cost of fundraising financial statements; the previous financial reporting framework were events, cost of operating the trading subsidiary — state whether a Statement of Recommended prepared for the year ended 31 December 2014. and investment management fees. Practice (SORP) applies and has been An explanation and reconciliation of how the followed, subject to any material transition has affected the reported financial departures which are explained in position and financial performance is provided the financial statements; in the notes to the financial statements. — prepare the financial statements on the going concern basis unless it is inappropriate The consolidated financial statements include to presume that the parent charity will the accounts of the National Art Collections continue in business. Fund and its subsidiary undertaking, Art Fund Services Limited, which is wholly owned and registered in England and Wales. Transactions and balances between the charity and its subsidiary have been eliminated from the consolidated financial statements.

100 Chapter 6 Working effectively Grant support costs comprise the costs of f. Stocks l. Funds structure 2) The Charity has also not adopted the FRS processing grant applications, including support Stocks represent goods for sale, stated at the lower Art Fund has the following categories of funds: 102 SORP requirement for a property to be to actual and potential applicants. Other of cost or net realisable value. — Restricted permanent endowment apportioned between its investment use and charitable activities comprise costs incurred in funds which the donors have stated are operational use. This has not been adopted attracting new members and providing services g. Liquid resources to be held as capital. as is impractical to do so and in addition, to existing members, including publications and Liquid resources, as referred to in the cash flow — Restricted funds whose investment or usage the element of the property covered by communications. Governance costs are those statement, are current asset investments that are is subject to specific restriction imposed the sub-lease is occupied by a charitable costs incurred in connection with the general disposable without curtailing or disrupting Art Fund’s by sponsors and donors. organisation whose objects are similar to governance of Art Fund including compliance business and are either readily convertible to known — Designated funds which have been set Art Fund’s own. Therefore the property has and constitutional and statutory requirements. amounts of cash at or close to their carrying value aside at the discretion of the Trustees been measured in line with SORP 2005 on or traded in an open market. for specific purposes. its primary use, and is recognised as d. Fixed asset investments — General funds which are available for a tangible fixed asset. Investments are stated at market value, which h. Pensions use at the discretion of the Trustees is measured at bid price, in accordance with the Art Fund operates a defined contribution in furtherance of the general objectives 3) The method for allocating central expenditure revised Statement of Recommended Practice. As a pension scheme. The assets of the scheme are of Art Fund. to income streams is a judgement. The Group result the Statement of Financial Activities includes held separately from those of Art Fund in an allocates these costs based on head count. those unrealised gains and losses arising from the independently administered scheme. The pension The major funds comprising each category, revaluation on the investment portfolio throughout cost charge represents the amounts payable by the the summary results for the year and a description 4) For all material legacies income has the year. The Statement of Financial Activities does Art Fund amounting to £162,000 (2014: £131,000). of the movements between the funds are been recognised dependent on type: not distinguish between the valuation adjustments described in note 13. — Pecuniary legacy – the earlier of relating to sales and those relating to continued i. Provisions cash receipt or probate date holdings as they are together treated as changes Art Fund provides for legal or constructive m. Critical accounting estimates — Residuary legacy – the earlier of in the value of the investment portfolio. obligations which are of uncertain timing or amount and areas of judgement cash receipt or accounts date on the balance sheet date on the basis of best In preparing financial statements it is necessary e. Tangible fixed assets estimate of the expenditure required to settle the to make certain judgements, estimates and Under FRS 102 the Charity has adopted Assets with an economic life greater than one obligation. Provisions are recognised where there assumptions that affect the amounts recognised a portfolio approach to recognise any year and with a value exceeding £500 or more is a present obligation as a result of a past event, in the financial statements. The following immaterial legacies, which allows for potential are capitalised. it is probable that the transfer of economic benefits judgements and estimates are considered by variation in settlement values. will be required to settle the obligation, and a the Trustees to have most significant effect on Depreciation is provided on all tangible assets reliable estimate of the amount can be made. amounts recognised in the financial statements. at rates calculated to write-off the value of each asset over its expected useful life with no residual j. Leases 1) The Charity has taken the view of the value assumed: Art Fund has no finance leases. Costs relating Trustees that valuing the property at to operating leases are charged on a straight fair value would incur undue cost and 1% Freehold property line basis over the life of the lease period to effort and has therefore not applied the 33% Computer equipment which it relates. transitional arrangements of Section 35 20% Fixtures and fittings of FRS 102, and instead has continued k. Taxation to use historical cost as the deemed cost A full year of depreciation is charged in the Art Fund is eligible under Part 11 Corporation Tax for its freehold property. year of acquisition and no depreciation is charged Act 2010 and section 271 Taxation of Chargeable in the year of disposal. Impairment reviews are Gains Act 1992 to exemption from taxes on income, carried out at the end of each reporting period donations and capital gains arising from the pursuit in accordance with FRS 102 to ensure that of its charitable objectives. Art Fund Services the carrying value of assets does not exceed Limited donates its profits to Art Fund and therefore their recoverable amounts. is not liable to pay capital gains or corporation tax.

102 Chapter 6 Working effectively 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 affinity promotions 2015 2015 2014 2014 on behalf of Art Fund. The company donates its taxable profits to Art Fund and also pays interest £’000 £’000 £’000 £’000 on any loans from Art Fund. A summary of the results of the trading company is shown below. Grants outstanding at 1 January 2,481 2,668 Audited accounts have been filed with the Registrar of Companies. Grants offered during the year 3,240 3,053 Grants subsequently not taken up (260) (15) 2015 2014 Grants from a previous year no longer required - (2) £’000 £’000 2,980 3,036

Profit and loss account Van Dyck - 378 Turnover 236 241 Wedgwood - 9,544 Cost of sales (80) (91) Minton 1,361 - Gross profit 156 150 G 4,341 12,958 Grants committed 6,822 15,626 Administrative expenses (19) (19) Interest payable (1) (2) Grants paid during the year (see note 4) (4,581) (13,138) Adjustments for other grants paid in prior year - (7) Net profit 136 129 A 2,241 2,481 Gift aid (136) (129) Retained in subsidiary - - 4. Total grants for acquisitions paid in 2015

Aberystwyth Aberystwyth University School of Art 2,500 Total turnover of £236,000 comprises £4,000 included in fundraising events income and £232,000 Banbridge F.E. McWilliam Gallery 3,096 in other income in the consolidated Statement of Financial Activities. (2014: £241,000, £4,000 Bath Victoria Art Gallery 40,500 and £237,000 respectively). The assets and liabilities of the trading company as at 31 December Bishop Auckland Auckland Castle 377,348 2015 were as follows: Cambridge Museum of Cambridge 21,500 Cambridge Fitzwilliam Museum 60,000

2015 2014 Cambridge Museum of Archaeology and Anthropology 6,500 £’000 £’000 Cardiff National Museum Wales 47,900 Ditchling Ditchling Museum of Art and Craft 1,000 Balance sheet Dorset Kingston Lacy (National Trust) 9,000 Douglas Manx Museum 8,500 Total assets 144 141 Dyrham Park Dyrham Park (National Trust) 100,000 Total liabilities (141) (138) East Lothian East Lothian Council Museums Service 938 Net assets 3 3 Edinburgh National Museums Scotland 76,978 Edinburgh Scottish National Portrait Gallery 120,000 The total income of the parent charity was £14,703,000 (2014: £24,172,000) and the total surplus Edinburgh Scottish National Gallery 98,800 was £2,946,000 (2014: £5,733,000). The surpluses are the same as in the consolidated accounts Ely Stained Glass Museum 2,964 because the profit of the trading company is counted as investment income to the charity. Farnham Crafts Study Centre 750 Glasgow Gallery of Modern Art 150,000 Glasgow The Hunterian 63,322 Gloucester Nature in Art Museum 2,880 Harrogate Mercer Art Gallery 22,000

104 Chapter 6 Working effectively Helensburgh Hill House (National Trust for Scotland) 30,000 5. Analysis of total expenditure Hitchin North Hertfordshire Museum Service 900 Inverness Inverness Museum and Art Gallery 1,785 Ipswich Christchurch Mansion 70,000 Grants *Support Leeds Temple Newsam 12,000 S t a ff & direct costs Leeds Leeds Museums and Galleries 4,000 costs expenses £’000 Depreciation Total Lincoln The Collection 2,500 £’000 £’000 £’000 £’000 £’000 Liverpool World Museum 4,500 Expenditure on raising funds Liverpool Walker Art Gallery 19,000 Cost of generating voluntary income 532 155 143 29 859 London Victoria and Albert Museum 600,000 London Museum of London 15,000 Cost of trading subsidiary 15 81 - - 96 London British Museum 120,660 Cost of fundraising / events - 456 - - 456 London National Gallery 300,000 Investment advisor’s costs - 26 - - 26 London Arts Council Collection 16,500 547 718 143 29 1,437 London Kensington Palace 35,000 London National Maritime Museum 15,000 Expenditure on charitable activities London RIBA British Architectural Library 20,000 Grants for acquisitions - 2,980 - - 2,980 London William Heath Robinson Trust 50,000 Strategic collecting - 8 - - 8 London Fan Museum 12,500 London Lambeth Palace Library 30,000 Curatorial support - 765 - - 765 London Geffrye Museum 30,000 Other projects - 428 - - 428 London Imperial War Museum 31,034 Special appeals - 1,361 - - 1,361 Luton Wrest Park 34,375 Grant support 273 20 79 16 388 Manchester Manchester Art Gallery 15,000 Building collections & fuelling talent 273 5,562 79 16 5,930 Middlesbrough Dorman Museum 1,500 Norwich Norwich Castle Museum and Art Gallery 2,600 Membership servicing & recruitment 448 1,783 128 26 2,385 Norwich Norfolk Museum Service 3,500 Publications 161 443 45 9 658 Nottingham Newstead Abbey 7,500 Seeing more, seeing differently 609 2,226 173 35 3,043 Oxford Ashmolean Museum 54,500 Oxford Bodleian Library 20,000 Museum partnerships 187 808 53 10 1,058 Penrith Penrith and Eden Museum 6,000 Penzance Penlee House Gallery & Museum 3,000 Touring & display - 242 - - 242 Plymouth Plymouth City Museum & Art Gallery 18,050 Policy & advocacy 211 13 59 8 291 Preston Harris Museum and Art Gallery 1,000 Digital & communications 227 354 61 11 653 Southampton Southampton City Art Gallery 26,390 Helping museums go further 625 1,417 173 29 2,244 Stoke Stoke City Archives (Minton) 1,561,440 Stoke-on-Trent Potteries Museum and Art Gallery 1,000 Total 2,054 9,923 568 109 12,654 Stromness Pier Arts Centre 100,000 Swindon Swindon Museum and Art Gallery 3,500 Taunton Museum of Somerset 12,000 The audit fee for the year was £19,350 (2014: £18,510). The auditors’ fees for other services in the year were £13,652 (2014: £10,975). * Support costs do not include salaries of £430,000, which are included in the Staff costs column (2014: £313,000). Warrington British Deaf Society Museum 553 Whitby Captain Cook Memorial Museum 20,000 Whitchurch Whitchurch Museum and Archive 1,600 Wisbech Wisbech and Fenland Museum 1,613 Wolverhampton Wolverhampton Art Gallery 28,000 York York Art Gallery 21,280 Total 4,581,256

106 Chapter 6 Working effectively 5. Continued 6. Tangible assets Computers, Freehold fixtures & 2015 2014 property fittings Total £’000 £’000 Group and charity £’000 £’000 £’000

Total salary and pensions costs are: Cost At 1 January 2015 5,943 191 6,134 Salaries 1,717 1,571 Social security costs 175 169 Additions - 19 19 Other pension costs 162 131 Disposals - - - 2,054 1,871 At 31 December 2015 5,943 210 6,153

No. of staff No. of staff Accumulated depreciation Interest payable 49 43 At 1 January 2015 (60) (43) (103) Charge for the year (59) (50) (109) Depreciation on disposals - - - Employees with emoluments excluding pension contributions, but including Employer’s National At 31 December 2015 (119) (93) (212) Insurance contributions totalling £60,000 or more: Net book value At 31 December 2015 5,824 117 5,941 £60,001 – £70,000 1 - At 31 December 2014 5,883 148 6,031 £80,001 – £90,000 1 1 £140,001 – £150,000 1 1 7. Fixed asset investments

2015 2014 Group and charity £’000 £’000 The charity operates a defined contribution pension scheme. Contributions in respect of Investments at market value comprised these staff were £33,661 (2014: £26,923). UK equities 8,124 7,989 Members of the Board did not receive any fees in the current or preceding year. Three Overseas equities 13,022 12,378 (2014: three) Members of the Board received a total of £140 (2014: £437) reimbursement Private equity 4,455 5,254 for expenses incurred in the year. Hedge funds 3,284 3,386

The key management personnel of the parent charity, comprise the Trustees and the Senior Inflation hedge 1,770 1,471 Management Team. The total employee benefits of the key management personnel of the Overseas bonds 1,760 1,889 Charity were £467,481 (2014: £491,799). Cash 8,442 5,083 A 40,857 37,450 Movement in investments – group and charity Market value at 1 January 37,450 35,233 Sale proceeds (12,974) (2,120) Acquisitions at cost 15,583 2,120 Net unrealised gains on revaluation 798 2,217 Market value at 31 December 40,857 37,450 Historical cost at 31 December 26,710 24,101

108 Chapter 6 Working effectively Investments constituting at least 5% of the portfolio at 31 December 2015 10. Contingent assets – legacy income (at market values) were:

As at 31 December 2015 the Charity has been notified of £221,915 residuary legacies and 2015 2014 £96,500 pecuniary legacies where the value receivable is uncertain. As at 16 May 2016 no further Group and charity £’000 £’000 information had been received and therefore these legacies have not been accrued.

Schroders Private Equity Fund IV 2,220 (5.4%) 2,440 (6.5%) AXA Framlington 2,513 (6.2%) 2,304 (6.2%) 11. Creditors Longview Partners 4,987 (12.2%) 4,696 (12.5%) Old Mutual 3,359 (8.2%) 3,445 (9.2%) Group Group Charity Charity Artemis 2,253 (5.5%) 2,240 (6.0%) 2015 2014 2015 2014 £’000 £’000 £’000 £’000 Matthews Asia 2,451 (6.0%) 2,377 (6.3%) MFG Investments 4,298 (10.5%) - (0.0%) Falling due within one year Coutts 90-day notice account 4,003 (9.8%) - (0.0%) Trade creditors 377 731 372 701 Blackrock Sterling 4,000 (9.8%) 86 (0.2%) Tax and social security 51 50 51 50 Other creditors and accruals 1,869 1,044 1,849 1,042 Deferred income 105 75 105 75 2,402 1,900 2,377 1,868

8. Stock

Group Group Charity Charity 2015 2014 2015 2014 £’000 £’000 £’000 £’000 12. Long-term creditors

Stock for resale - 1 - - Group Group Charity Charity 2015 2014 2015 2014 £’000 £’000 £’000 £’000

Deferred income as at 1 January 236 257 236 257 9. Debtors Released during the year (59) (67) (59) (67) Group Group Charity Charity Deferred during the year 57 46 57 46 2015 2014 2015 2014 Deferred income as at 31 December 234 236 234 236 £’000 £’000 £’000 £’000

Trade debtors 88 53 52 21 Amounts due from subsidiary undertaking - - 119 106 The deferred income falling due after one year is the money received for life membership Other debtors 979 1,619 968 1,619 subscriptions, which is released to the Statement of Financial Activities over a period of ten years. Accrued legacy income 1,091 445 1,091 445 VAT 48 113 48 113 2,206 2,230 2,278 2,304

Within Other debtors is £300,000 in respect of a grant (2014: £900,000). Of this, £200,000 (2014: £300,000) is due in more than one year.

110 Chapter 6 Working effectively 13. Net movement in funds W M Bond Bequest Van Dyck appeal The bequest is to be held in trust for the Laing Art The appeal was held to support the acquisition These funds are split between permanent endowment funds where the capital must be retained and other Gallery, Newcastle upon Tyne, and is to be devoted by the National Portrait Gallery of Sir Anthony restricted funds where both capital and income can be spent in accordance with the donor’s wishes. to the purchase of antique china, pottery and van Dyck’s Self Portrait. A deficit on the fund Investment income on endowment funds is expendable in accordance with the donor’s wishes. Any income furniture to be displayed in that gallery. was brought forward because of a delay in the unspent at the end of the year is carried forward to the next year as a restricted fund. collection of some of the expected donations R I Gunn Bequest and some Gift Aid. However these amounts Net The money to be applied towards the purchase cannot in fact be claimed and so the balance Balance at Incoming Resources unrealised Transfers Balance at of one or more paintings or drawings of the French has been transferred to general funds. 1 January resources expended gains between funds 31 Dec Impressionist school for presentation to one or General fund 7,156 12,119 (9,749) 293 (1,663) 8,156 more of the museums or collections of pictures Wedgwood appeal The Parker fund 2,800 80 - - - 2,880 belonging to the nation in London or the University The appeal was held to support the acquisition Perpetuity fund 25,100 - - 429 1,681 27,210 of Oxford. of the Wedgwood Collection at the Wedgwood Fixed asset fund 6,031 - (90) - - 5,941 Museum, Barlaston. Challenge fund 308 - - - (100) 208 David and Liza Brown Bequest Wedgwood future fund 827 - (262) - 39 604 The money is for the benefit of the Department Art Happens Total unrestricted funds 42,222 12,202 (10,104) 722 (43) 44,999 of Prints and Drawings at the British Museum This is a crowdfunding initiative which involves and the Southampton City Art Gallery. appeals to the public to support specific Restricted funds works of art or projects being undertaken by WM Bond bequest 243 1 - 4 - 248 RI Gunn bequest 604 2 - 10 - 616 David Armstrong Bequest particular museums. David and Liza Brown bequest 114 - (31) 2 - 85 The money is for the benefit of Stirling and David Armstrong bequest 21 - (2) - - 19 Falkirk Museums. Jonathan Ruffer Curatorial Scheme Agnes Cruickshank bequest - 16 (16) - - - This fund supports collections-based research London Historic House Museums Trust 1,063 3 - 17 - 1,083 Agnes Cruickshank Bequest for curators working across fine and applied Friends of National Museums Liverpool 59 - (56) 1 - 4 The money is specifically to help with any purchase art collections. Van Dyck appeal (28) - - - 28 - to be sited at Edinburgh and/or Aberdeen. Wedgwood appeal - 7 (2) - (5) - Photography Curators Scheme Art Happens 55 168 (149) 1 - 75 London Historic House Museums Trust The scheme will support curators working Jonathan Ruffer Curatorial Scheme 60 75 (42) 1 - 94 The money was received from the transfer of the in photography. Photography Curators Scheme 40 15 - 1 - 56 assets of the London Historic House Museums Student National Art Pass - 45 (45) - - - Trust in October 2009 and is to be applied towards Student National Art Pass New Collecting Awards 341 326 (700) 6 54 27 the purchase of works of art for Kenwood House, The income is used to finance the provision Moving Image Fund 60 140 - 1 - 201 Hampstead; Marble Hill House, Twickenham; of free National Art Passes to students of the Minton Archive appeal - 1,395 (1,361) - (34) - The Ranger’s House, Blackheath; and Chiswick History of Art. Digital R&D Fund for the Arts 35 90 (108) 1 - 18 House, Chiswick. Bill Viola Commission 53 279 - 1 - 333 New Collecting Awards Modern British group - 13 (13) - - - Friends of the National Museums Liverpool This programme will enable promising and Other restricted donations - 20 (20) - - - Total restricted funds 2,720 2,595 (2,545) 46 43 2,859 The money was received from the transfer of ambitious curators to pursue new avenues of the assets of the Friends of the National Museums collecting for their museums, and at the same Permanent endowment funds Liverpool and is to be applied towards assisting time build critical professional skills. Campbell Dodgson bequest 3 - - - - 3 acquisitions of art by the National Museums Cochrane Trust 132 - - 2 - 134 Liverpool in accordance with Art Fund’s standard Fulham Fund 513 2 (2) 9 - 522 grant giving procedures. Ramsey Dyce bequest 119 - - 2 - 121 Reginald Jones bequest 266 1 (1) 5 - 271 Modern art fund 693 2 (2) 11 - 704 Wakefield fund 42 - - 1 - 43 Total endowment funds 1,768 5 (5) 30 - 1,798

Total funds 46,710 14,799 (12,651) 798 - 49,656

112 Chapter 6 Working effectively Moving Image Fund Fulham Fund 14. Unrestricted funds This is a fund to support new acquisitions of artists’ The income generated is neither restricted moving image work at Towner Art Gallery and nor designated and is therefore taken to 2015 2014 Whitworth Art Gallery over the next two years. unrestricted funds. £’000 £’000

Minton appeal Ramsey Dyce Bequest Total funds per Balance sheet 49,656 46,710 This appeal was to a small number of major donors The income must be used to acquire objects Endowment funds (note 13) (1,798) (1,768) and trusts for the acquisition of the Minton Archive of art to be added to the permanent collection Restricted funds (note 13) (2,859) (2,720) by Stoke-on-Trent City Council. The figures include of the Aberdeen Art Gallery. a grant of £1.16m from the Heritage Lottery Fund. Unrestricted funds as per the Balance Sheet 44,999 42,222 Reginald Jones Bequest Parker fund (2,880) (2,800) Digital R&D Fund for the Arts The income is to be used to purchase pictures and Perpetuity fund (27,210) (25,100) This a 12 month project to investigate opportunities other works of art that are at least 100 years old. Fixed assets held for charity use (5,941) (6,031) for online aggregated ticketing in the arts sector. The fund has been provided by the Digital R&D Modern Art Fund Challenge fund (208) (308) Fund for the Arts - Nesta, Arts & Humanities The income is to be used towards the purchase Wedgwood future fund (604) (827) Research Council and public funding by the of twentieth century art. General funds at 31 December 2015 8,156 7,156 National Lottery through Arts Council England. Wakefield Fund Bill Viola Commission The income is to be used for the purchase The funds will support the acquisition of a video of contemporary craft. installation by Bill Viola at St Paul’s Cathedral. 15. Analysis of net assets between funds Modern British Group This is a group of donors who have supported acquisitions of work by modern British artists. General Designated Restricted Endowment Total Other restricted donations funds funds funds funds funds This represents amounts given in respect of specific £’000 £’000 £’000 £’000 £’000 acquisitions in 2015. Fund balances at 31 December 2015 Campbell Dodgson Bequest are represented by: The income is for the benefit of the Department Tangible fixed assets - 5,941 - - 5,941 of Prints and Drawings in the British Museum. Investments 8,157 30,902 - 1,798 40,857

Cochrane Trust Current assets 4,876 - 2,859 - 7,735 The income may be used for the purchase of works Total liabilities (4,877) - - - (4,877) of art not being the work of any person living at Total net assets 8,156 36,843 2,859 1,798 49,656 the date of purchase.

Included above are unrealised gains on investment assets at 31 December 2015 of £798,000.

114 Chapter 6 Working effectively 16. Transition to FRS 102 (b) FRS 102 SORP requires that the receipt of legacy income is determined by the probability of the receipt and the ability to estimate with sufficient accuracy the amount receivable. This is the first year that the group has prepared its financial statements under FRS 102. Under previous SORP 2005 the equivalent criterion was ‘virtually certain’ rather than The last financial statements prepared under previous UK GAAP were for the year ended 31 ‘probable’. This has resulted in an increase in Legacy Income mirrored by an increase in December 2014 and the date of transition to FRS 102 was 1 January 2014. A reconciliation Accrued Income. of amounts presented under previous UK GAAP and FRS 102 is set out below for the charity, together with an explanation of changes in accounting policies on transition. (c) FRS 102 requires that the benefit of lease incentives received on entering into new leases be spread over the lease term. Under previous UK GAAP these incentives were spread over the period to the next optional lease break point. This has resulted in an increase in the rental income and an increase in the corresponding debtor. Total Net Total funds as unrealised funds as at 1 Jan Total Total gains/ at 31 2014 income expenditure transfers Dec 2014 £’000 £’000 £’000 £’000 £’000 17. Operating leases As previously stated under former UK GAAP 40,977 24,111 (20,735) 2,217 46,570 At 31 December 2015 the charity had minimum lease commitments under operating leases which expire: Transitional adjustments Employee benefits (a) - - (33) - (33) 2015 2014 Legacy income (b) - 168 - - 168 £’000 £’000 Lease recognition (c) - 5 - - 5 In the first year 8 8 As stated in accordance with FRS 102 40,977 24,284 (20,768) 2,217 46,710 In the second to fifth years inclusive 15 22 G 23 30

Total surplus as at 31 Dec 2014 £’000 18. Related party transactions As previously stated under former UK GAAP 5,593 During the year no Trustees (2014: 1) made donations to the Art Fund (2014: £308,834). Transitional adjustments At its Board meeting on 5 October 2015 Art Fund considered and approved a request for a grant Employee benefits (a) (33) of £33,000 from the Whitworth Gallery, Manchester, towards the acquisition of a group of three Legacy income (b) 168 works by Cornelia Parker (agenda item 10.5(j)). The artist is represented by Frith Street Gallery Lease recognition (c) 5 Limited, a company of which James Lingwood, Trustee, is Secretary and which is owned by his As stated in accordance with FRS 102 5,733 partner. Mr Lingwood declared his interest at the meeting and took no part in the discussion.

(a) FRS 102 SORP requires that Charities must recognise a liability for the cost of all benefits to which employees are entitled at the reporting date, that have yet to be paid. This has resulted in an increase in the Salaries and Pension expenses and an increase in the Accruals balance for the year ended 31 December 2014.

116 Chapter 6 Working effectively Trusts and Foundations Supporters Art Fund’s programme depends upon our supporters – the 122,000 members, and the private donors, The 29th May 1961 The Derek Hill Tania Adams/ Madeleine and Charitable Trust/ Foundation/ Richard and Diana Allan/ Alan Collett/ foundations, trusts and corporate partners who work The Ampersand The Antony Hornby Ryan Allen/ Tim Compton/ Foundation/ Charitable Trust/ Farah Asemi and Ruth Crabbe/ with us. Their extraordinary generosity has enabled Arts Council England/ The Inverforth Hassan Alaghband/ Sally Dacie/ The Ian Askew Charitable Trust/ Keith and Barbara Bain/ Madame Michel us to do more than ever before for museums and Charitable Trust/ The James and Lucilla Christopher and David-Weill/ Balmain Charitable Joll Charitable Trust/ Ruth Baker/ Baroness Willem for the public who visit them. Trust/ The Kirby Laing Lord Bamford, JCB van Dedem/ The Nancy Bateman Foundation/ (Bamford Charitable John and Dana Charitable Trust/ The Leche Trust/ Foundation)/ Denis-Smith/ We would like to thank our 61 volunteer fundraising The Albert Van den The Loveday Charitable Lawrence and Michael Diamond/ Bergh Charitable Trust/ Trust/ Elizabeth Banks/ Sir Harry and Lady committees. In 2015 our 560 volunteers raised bet365 Foundation/ Sir Denis Mahon John Barker/ Djanogly/ The Deborah Loeb Brice Charitable Trust/ Victoria Barnsley and Anthony d’Offay Esq/ £353,000 through a variety of special events Foundation/ Miss H I McMorran Nicholas Howard/ Hugo Eddis/ Dana and Albert R Charitable Trust/ Penny Baylis/ Timothy Ellis/ across the country. Broccoli Charitable The NOSWAD Charity/ Linda Beecham/ John and Fausta Foundation/ The Ofenheim Richard and Rosamund Eskenazi/ William A Cadbury Charitable Trust/ Bernays/ Hewson Fawcett/ We are also grateful to the 3,549 members who make Charitable Trust/ Outset Young Robert Blunden/ Portia File/ Mrs SL Chambers’ Production Fund/ John Booth/ Brendan Finucane and regular donations on top of their subscription, raising Charitable Trust/ PF Charitable Trust/ Molly and David Fiona Horlick/ The Sir Jeremiah Colman The Paragon Trust/ Borthwick/ Andrew Fletcher/ £442,000 in 2015, and to those who have remembered Gift Trust/ The Pilgrim Trust/ Jan Delia Boulting/ Sir Christopher and The OJ Colman The Rothschild Susan Bracken/ Lady Floyd/ Art Fund with a gift in their will; last year their legacy Charitable Trust/ Foundation/ Brian Bradbury/ Francis and Kate Ford/ The Digital R&D Fund The Ruddock Jane Brafman/ Gerry Fox/ gifts totalled £3,264,000. for the Arts - Nesta, Foundation for the Arts/ Marcia Brocklebank/ Madeleine Gantley/ the AHRC and Arts The Scouloudi Elizabeth Brooks/ Alan and Mary Gibbins/ Council England/ Foundation/ Robert Burgess/ Andrew and Juliet Gibbs/ Thank you for your support. Together, we look Esmée Fairbairn Sfumato Foundation/ Richard and Catherine Hugh Gibson/ Foundation/ Staffordshire County Burns/ Piers Gibson/ forward to achieving great things in the year ahead. The John and Tessa Council/ Mark Burrell/ Sir Nicholas and Lady Fearnley Charitable Oliver Stanley Richard and Sarah Goodison/ Trust/ Charitable Trust/ Buxton/ Lydia and Manfred The Foyle Foundation/ Vivmar Foundation/ Peter and Sally Cadbury/ Gorvy/ J Paul Getty Jr Wakefield Trust/ Eric and Virginia Mari Goulandris/ Charitable Trust/ Sir Siegmund Warburg’s Campus/ Edward and Victoria The Godinton Voluntary Settlement/ Iain Canning and Emile Harley/ Charitable Trust/ The Wolfson Sherman/ Johnny Van Haeften/ The Roger De Haan Foundation/ Elizabeth Clarke/ Charitable Trust/ The Wyseliot Rose Frances Cloud/ The Headley Trust/ Charitable Trust/ Geoffrey Collens/ The Heritage Lottery Fund/

118 Chapter 6 Working effectively American Friends Legacies In Memoriam

Katherine and Simon Beatrice Lupton/ Donald Pearse/ Stephan and The American Friends Christopher Adlington/ Patricia Lloyd/ Sally Barry/ Van Hagen/ Stuart Lyons/ Richard and Elizabeth Lesley Taylor/ of Art Fund contributed Edward Ash/ Ann Lyall/ Chas and Rene Edwards Mark Harris/ Kate Mackrodt/ Philipps/ John and Maura Tilney/ $120,000 to our work Ian Askew/ Elizabeth Matthews/ of Hastings/ Wendy Hefford (Huter)/ Sir John Mactaggart/ Lord and Lady Hazel Trapnell/ in 2015. Eric Bottomley/ Rita Morey/ Jack Gregson/ Malcolm Herring/ Sir Laurie and Lady Phillimore/ Jonathan Tyler/ Dorothy Brooks/ George Murray/ Stephany Horder/ Lady Heseltine/ Magnus/ David Pike/ Sir David and Premier Corporate Jeremy Bunting/ David Oosterman/ Muriel Hudson/ Andrew Hochhauser Richard Mansell-Jones Martin and Katharine Lady Verey/ Partner Cecil Cherns/ Donald Parker/ Jane Jackson/ and Graham Marchant/ and Charlotte Ropner/ Pinfold/ Felicity and Robert/ UBS Anne Christopherson/ Diana Parry/ Michael Kettle/ Patrick Holmes/ Rebecca Marks/ John Rank/ Waley-Cohen/ Wendy Clifford/ Ian Patterson/ Maureen Lee-Magee/ Brian and Celia Suzanne Marriott/ Neil and Julie Record/ Christine and David Corporate Supporters Ruth Coles/ Philippa Rakusen/ Diana Lewis/ Hopkinson/ Anne Marston/ Geoffrey and Jean Walmsley/ John Crawford/ Frances Ronaldson/ Michael Milliken/ Jeffrey Horne/ Richard and Janet Redman-Brown/ The Rt Revd Dr Martin H Blairman & Sons/ Anne Crosthwait/ Ruth Sebag-Montefiore/ Ann Millington-Jones/ Chris and Philippa Martin/ Richard Reed/ Warner/ Christie Group plc/ Agnes Cruickshank/ Geoffrey Sharp/ Mary Newham/ Howell/ Professor Richard Sir John and Lady R Katharine Wedgbury/ Thomas Dane Gallery/ Heather Dawson/ Barry Sharrocks/ Peter Newman/ Robert Hugill and David Mayou/ Ritblat/ Dave Williams and Dr Farrer & Co/ Winton Dean/ Patricia Smith/ Patricia Smith/ Hughes/ John McAslan and Dava Lady Rivett-Carnac/ Reba White Williams/ Fenwick Ltd/ Elaine Dunford/ Winifred Smith/ Chris and Janet Ingram/ Sagenkahn/ John Scott/ Jane Williamson/ The Goldsmiths’ Dennis East/ Joan Stephen/ And finally we thank Professor and Anthony and Elizabeth Louisa Service/ Cathy Wills/ Company/ Joan Gilham/ Mary Stephens/ all those donors Mrs Ioan James/ Mellows/ Sophia Service/ Michael and Jane Wilson/ Grain Store/ Eila Grahame/ Barbara Stott/ who prefer to remain James and Clare Carol and Robin Richard and Elizabeth Anthony J Wingate/ Hymans Robertson LLP/ Jack Gregson/ Andrew Stroud/ anonymous. Kirkman/ Michaelson/ Setchim/ Lady Wolfson of Lazard/ Arthur and Helen Sabina Sutherland/ Jamie and Julia Korner/ Russell and Marcia Gerald Shamash and Marylebone/ The Mayor Gallery/ Grogan/ J Alero Thomas/ Antony and Zarrina Mishcon/ Naomi Angell/ Anne and Barrie Wood/ Slaughter and May/ Elizabeth Hall/ Clarice Wilson/ Kurtz/ Jennifer Montagu/ Gillian Shaw/ Paul and Pat Zatz/ Stephenson Vivien Hall/ Diana and Terence Kyle/ Keith Morris and Greg and Rachel Paul Zuckerman and Harwood LLP/ Ann Halliday/ Steven Larcombe and Catherine Mason/ Sinfield/ Sarah Greenall/ YSC/ Daphne Harper/ Sonya Leydecker/ Richard and Penelope Brian Smith/ The7stars UK Ltd/ David Hawkins/ George and Anne Law/ Murley/ Stuart and Caroline Horatia Heddy/ David and Amanda Ann Naylor/ Southhall/ Veronica Herrington/ Leathers/ Adeline Nolan/ David Speller/ Rosemary Hurst/ Ann Lewis/ Richard and Amicia Leigh Spiers/ Jane Jackson/ Humphrey and Oldfield/ James Bevil Stainton/ John Johnson/ Ann Lloyd/ Valerie Owen Hughes/ Sir Hugh and Lady Alan Jones/ Rosemary Lomax- Michael Palin/ Stevenson/ Cecile Kennedy/ Simpson/ Midge and Simon Palley/ Sir Hugh and Mark and Liza Loveday/ Michael and Teresa Lady Sykes/ Martin and Kate Lovell/ Parker/

120 Chapter 6 Working effectively Regional Committee Norfolk Mary Henniker-Major/ London Events Helpers Northumberland and Network 2015 Stephanie Hutton/ Tyne & Wear Sandy Heslop/ Sue Milward/ Carole Cohen/ Jenny Chamberlin/ Nini Murray-Philipson/ Caroline Garvey/ Pam Portsmouth/ Penny Clarke/ Diana Newton/ Susan Hoffman/ Veronica Brodie/ Charlotte Crawley/ Sue Parr/ Sim Hughes/ Bill Gibbon/ Emma Hazell/ Elizabeth Lubienka/ Madeleine Hooper/ Andrew Moore/ Lincolnshire Averril Paterson/ Barbara Moffatt/ Derek Newman/ Sophie Service/ (from July 2015) Roderick O’Donnell/ Jeffrey Stansfield/ Dianne Morgan/ Gervas Steele/ Hendy Farquhar-Smith/ North £19,520 (from July 2015) Francesca Vanke/ Horace Farquhar-Smith/ Regional Chair: David Pearson/ Richard Wilson/ Dianne Middleton/ Lesley Taylor Steve Ray/ Mary Yule/ Jennie Mills/ Christine Rowland/ Brenda Taggart/ Cumbria (until December 2015) Suffolk Steven Taggart/ Jean Stokes/ Philip Cropper/ (until July 2015) Caroline Cowper/ Nottinghamshire Fiona Crombie/ Total raised £353,000 Buckinghamshire John Thomson/ East Anglia £32,607 Diane Cook/ (until June 2015) North West £18,499 (until December 2015) Regional Chair: Christine Cutler/ Henry Machin/ Charles Lambrick/ Regional Chair: Central South: £31,200 Annabel Kennedy/ Mina West/ John Brasier Victoria Engleheart/ Sally Machin/ Keith Macmillan/ Hanny Woods Regional Chair: (until July 2015) Patricia Grier/ Henry Blagg/ John McDowell/ Mary Villiers Mary-Jane Gibson/ Northamptonshire Cambridgeshire Diana Huntingford/ Georgina Gamble/ (from August 2015) Cheshire (from July 2015) Julia Longe/ Diana Roberts/ Jane Pollock/ Bedfordshire Chris Allen/ Katie Lindenbaum/ Jenny Josselyn/ Jane Paton-Smith/ Mark Roberts/ Aileen Rosie/ Hilary Banner/ Kirsty Anson / Katherine Cadbury/ Richard Andrewes/ Emma Roodhouse/ Margery Wilson/ John Strickland/ Fraser Ashman/ Martin Christopher/ (until June 2015) Alex Corrin/ Jean Calhoun/ Catherine Whitworth (until October 2015) Richard Bell/ Brenda Abrahams/ Lionel Avery/ Michael Loe/ Janet Eastwood/ Jones/ London £67,360 Margaret Sutcliffe/ Peter Boughton/ Dorothy Broomfield/ Sylvia Avery/ Louise Sheppard/ (from October 2015) Regional Chair: Dennis Hatfield/ Eileen Carter/ Sally Duncombe / Marr Grieve/ East Midlands Maria Bell-Salter Durham and Cleveland (until May 2015) Elizabeth Chappell/ (until June 2015) Oxfordshire (from March 2015) £13,840 Ann Marr/ Alan Fletcher/ Maria Groundes-Peace/ Margaret Harris/ Michelle Barnes/ Lesley Taylor/ Clive Pointon/ Alan Jenkinson/ Christine Harris/ Barbara Snell/ (until July 2015) Derbyshire Susie Blundell/ Jane Atkinson/ (until May 2015) Jeanne Partridge/ (from December 2015) Susan Crawford/ Nigel Harris/ Su Collins/ Jacqueline Brown/ Ken Rowland/ Julia Street/ Rebecca Risch/ Janice Jones/ Dorothy Richardson/ Richard Eastwood/ Catherine Corbet Elizabeth Conran/ Inger Trevor-Barnston/ (until June 2015) (until October 2015) (until May 2015) Gill Curtis/ Milward/ Steven Fawkes/ Jane Yeoward/ Berkshire Janice Tunnicliffe/ Fiona Mann/ Kate Steen/ Anne Pook/ Peter Cowen/ John Findlay/ Sarah Turner / Doreen Parker/ Geoff Pook/ Arthur Drysdale/ Colin Hardy/ Fergus Madden/ John Pears/ Essex Joan Travis/ Caroline Graham/ Gabrielle Heath/ Jeff Branch/ Hertfordshire Richard Pullen/ Rica Hene/ Sandra Pollard/ Madeline Holl/ Carolyn Wilson/ Jane Yates/ Leicestershire and Ann Millington-Jones/ Anne Ridgway/ Diana Humble/ Ian Caldwell/ Cate Barber/ Rutland (until November 2015) Tony Seward/ Mike Moss/ Fenella Davidson/ Henry Greenfield/ Helen Statham/ Helen Toplis/ Kay Murphy/ Anna Griffiths/ Marian Griggs/ Mark Newton/ Maggie Stockton/ Tim O’Donovan/ Garry Griffiths/ Gareth Gunning/ Manuela Cridland/ Anthony Thompson/ Roger Hill/ Helen Kent/ Kiki Everard/ (until December 2015) Clive Lucas/ (from November 2015) Angus Johnson/ Sue Lucas/ Sir Alastair Stewart/

122 Chapter 6 Working effectively Lancashire Hampshire Surrey Cornwall Somerset Shropshire Worcestershire South Yorkshire

Andrew Penny/ Rosemary Andreae/ Diana Geering/ Anthony Phillips/ Mary Fryer/ Katherine Garnier/ Catherine Corbet Anne Thompson/ Gill Crook/ Sarah Broke/ Sue Casbon/ (until May 2015) Michael Armstrong/ Myriam Barling/ Milward/ Lesley Cogher/ (from April 2015) Auriol Byrne/ Marion Foster/ Maggie Cooper/ Sarah Armstrong/ Peter Beckett/ Anne Carter/ (from November 2015) Catherine Penny/ (from April 2015) Nicholas Grealy/ Raye Bachmann/ Pilla Dingle/ Richard Bifield/ Wimpy Derbyshire/ Paul Golding/ Diana Rawson/ Rosemary Chambers/ Fiona Hare/ Jane Mutch/ Michael Layard/ Diana Dixey/ Sam Driver White/ (from November 2015) Caroline Shelford/ Caroline Chataway/ Sandra Pearce/ Mary Pearce/ Stephen O’Malley/ Susanne Dixon/ Nigel Goodman/ Eric Hill/ (from July 2015) Henrietta Cooke/ (from September 2015) (until August 2015) Tom Rees/ Elizabeth Errington/ Andrew Grant/ Pauline Hill/ Patsy Stothert/ Andrea Harris/ Stewart Smith/ Joy Reynolds/ Elisabeth Rutherford/ Jimmy Garnier/ Beatrice Grant/ Jean Jones/ Tim Stothert/ Elizabeth Henley/ Joan Smyth/ Tim Russ/ John Townson/ Crescent Giffard/ Caroline Hornyold/ Trevor Knox/ Tricia Wilson/ James Long/ Ingrid Sofrin/ Hilary Younger/ Veronica Lillis/ Richard Lockett/ Sylvia Thompstone/ Hanny Woods/ (until December 2015) Sussex (from May 2015) Michael Younger/ Sarah Sparrow/ Andrew Sanders/ Carol Waddington/ Jeremy Love/ Clare Thompson/ Annabel Sanders/ Greater Manchester Simon Privett/ Annie Flitcroft/ Devon Wiltshire Christina Trant/ Richard Slawson/ West Yorkshire Penny Rudd/ Gerard Bagley/ Gareth Williams/ Fenella Smyth/ Mary Mallick/ Katherine Sellon/ Stephen Chandler/ Judie Yung/ Susie Blundell/ Nicholas Merchant/ Eileen Eastwood/ Alison Vaissiere/ Jill Holloway/ Gri Harrison/ Tim Battle/ Staffordshire Yorkshire £17,115 Judith Best/ Barbara Goodman/ (from July 2015) Marilyn McInnes/ Jo Hawkins/ Gerry Blundell/ Regional Chair: (until June 2015) Alison Lakin/ Patrick Walker/ Jonathan Petitpierre/ (from March 2015) Sue Eastham/ Allan Townsend/ Jane Crease Susan Hindley/ Rosemarie Letherman/ (from July 2015) Maggie Robinson/ John Hitchins/ Elizabeth Forbes/ Mary Baker/ Ann Holdsworth/ Stella Lowe/ Sarah Webster/ Miles Robinson/ Fiona Incoll/ (from August 2015) Ann Furness/ York and East Yorkshire Charles Holdsworth/ Mike Potter/ Dina Thorpe/ Katherine Lacey/ Anna McDowell/ (from March until Olivia Stross/ Kent Jeremy Logie/ (from April 2015) July 2015) Moira Fulton/ (from September 2015) Merseyside South West £38,576 (from June 2015) Christina Richard/ Vivienne Golder/ Darrell Buttery/ Tim Walls/ Jane Johnson/ Regional Chair: Kate Sisum/ John Stoller Elaine Lyne/ Brian Councell/ Peter Woods/ Maggie Bowman/ Elisabeth Rutherford (until October 2015) Lindsay Councell/ Scotland £30,583 Derek Bunting/ Alysoun Carey/ Beryl Whidden/ West Midlands Warwickshire Jane Crease/ Regional Chair: Barbara Farmer/ (until September 2015) Bath and Bristol Dorset £18,796 Richard Green/ Michael Smyth Olwen McLaughlin/ Jenny Cook/ Brian Phillips/ Carol Lawson/ Pam Meredith-Jones/ Julian Cronk/ Helen Ball/ David Orr/ Herefordshire Gill Ashley-Smith/ (until October 2015) Angus Susie Noble/ Marjory Morris/ Michael Andrews/ Philippa Francis/ Peter Ashley-Smith/ Dorothy Nott/ Sandra Penketh/ Laura O’Grady/ Abi Cush/ Carol Hammick/ Jane Scarborough/ Sandra Clowes/ David Wilkinson/ Vivien Smyth/ Sally Warnock/ Alison Philip/ Liz Donaldson/ Tim Hobson/ Fiona Annesley/ David Custance/ Olive Duncan/ Felicity Seton/ (from November 2015) Rachel James/ Philip Baldwin/ Faith Matthews/ North Yorkshire Iain Ellvers/ South East £48,520 Jo Shepherd-Barron/ Denis Gamberoni/ (from November 2015) Jemima Bristow/ Dianne Page/ Antonia Orr/ Regional Chair: Lou Tasker/ Jenny Hooper/ Penny Loder/ Susannah Edmonds/ Susan Yeomans/ Gillian Fieldhouse/ Michael Smyth/ Rosalie Trefgarne Pi Townsend/ (until September 2015) Nigel Thimbleby/ Julia Green/ Gail Bent/ Clara Young/ (from September 2015) Jill Hunter/ Sally Wilkin/ Neffy Hensher/ Patrick Dingwall/ (from November 2015) Rosie Joy/ John Groundwater/ Sidney Morton/ Ann Lansdell/ Julia Lawson Tancred/ (from November 2015) Jane Pace/ Finella Orr/ Joy Oura/ (from May 2015) Elizabeth Williamson/ Jill Robinson/ Miranda Sampson/ Dee Venner/

124 Chapter 6 Working effectively Borders Edinburgh Grampian Perth and Kinross Gwent Swansea Northern Ireland

Jan Watson/ James Holloway/ Anne Egleton/ Anne Steuart Patricia Milling/ Kirstine Dunthorne/ Mark Donnelly/ Harriet Busby/ Susan Godfrey/ (until December 2015) Fothringham/ Derek Butler/ Deanna Harding/ Dan Calley/ (from September 2015) Gillian Henshaw/ Lucy Campbell/ Angela Bell/ (until June 2015) Ceri Barclay/ Olive Gamble/ Jane Douglas Home/ Patricia Lancaster/ Peter Davidson/ Ewen Honeyman/ Sarah-Jane Gilchrist/ Rodney Bender/ Alexandra Greer/ Francis Hamilton/ (from April 2015) (until June 2015) Charles Wemyss/ Rosemary Hall/ Janet Clark/ Rosalind Mulholland/ Jane Neagle/ Rachel Lloyd/ Juliette Paton/ Fiona Wemyss/ Patricia Halliday/ Jennifer Crooks/ Peter Rankin/ Walter Riddell-Carre/ John Mackie/ Alistair Reid/ Sophie Younger/ Rosemary Trump/ Richard Daugherty/ (until July 2015) Georgina Seymour/ David McLellan/ Jane Richardson/ Patricia Wright/ Neil Harding/ Henrietta Reade/ Victoria Tweedie/ Mark Medcalf/ (from September 2015) Strathclyde Constance Hill/ Anne Stewart/ (from September 2015) Gerda Rankin/ Angelica Salvesen/ North West Wales Catherine Parker/ Helen Usher/ (until June 2015) John Whittall/ Robert Ferguson/ Janet Walker/ Helen Ruthven/ Katrina Clow/ Mary Rickards/ Sponsorship 2015 Central Scotland Emily Walsh/ Highlands Kaye Horsfall/ Rhiannon Humphrey- Channel Islands and Bonhams Auctioneers Norman McLean/ Jones/ Northern Ireland Shaun Nesbitt/ Fife Ian Barr/ Kerri Moogan/ Anthony Peters/ £10,200 Johnnie Cuthbert/ Judith A. Livingston/ Efric NcNeil/ Ann Pugh/ Kirsty Cuthbert/ John Beaton/ John Nicholson/ Pam Painter/ David Roberts/ Guernsey Kate Luke/ Richard Bevens/ Sue Pianta Scott/ Pamela Robertson/ Jeremy Yates/ (from January 2015) Jenni Black/ Anne Sutherland/ Gib Steele/ Elisabeth Evans/ Fiona Robertson/ Annie Cairns/ Mary Wilson/ Pippa Stephenson/ Powys Wendy Hales/ (from October 2015) (from July 2015) Caroline Harris/ Dumfries and Galloway Gillian Cracknell/ Lothians William Gibbs/ Morna Harwood/ (until October 2015) Wales £9,100 Jenny Care/ Michele Hilton/ Beverley Vaux/ Jane Gillies/ Mary Callander/ Gwyneth Evans/ Buffy Carson/ Ann Gunn/ Melissa Bradley/ Clwyd (from August 2105) Jersey Linda Craft/ Jeanette Guy/ Wendy Cochrane/ Karen Hiscock/ Elizabeth Anne Hughes Jane Haig/ Harriet Dalrymple/ Vanessa Graham Ken Jones/ Anne Binney/ Munro/ (from October 2015) Janey Dalrymple/ Palmer/ Amanda Renwick/ Melissa Bonn/ Sarah McConnel/ Irene Hardie/ Fidelity Dean/ Richard Christmas/ (from August 2015) Caroline Garthwaite/ Jane Murray-Flutter/ (until October 2015) Sarah Donaldson/ Menna Gerrard/ Wimke Wakley/ Susan Lea/ William Oakes/ Victoria Kilgour/ Susannah Jackson/ Pat Goodall/ (until April 2015) (until May 2015) Carin Sykes/ (from October 2015) Hermione Malcolm/ Lucy Hobhouse/ Jo Maclachlan/ Janey Lambie/ Gwen Scott/ Richard Hoffman/ Karen Stone/ (from October 2015) Jane Stodart/ Susan Rathbone/ Rose Macleod/ Tibi Weir/ Jennifer Simmers/ Dyfed Elspeth Skinner/ Fiona Skinner/ Eleanor Wells/ Dorothy Stewart/ (until December 2015) Elizabeth Thomas/ Linda Blackwell/ (until September 2015) Stan Gibby/ Christopher Gillham/ Margaret Gwynne Lloyd/ Clare Heal/ Marion Hutton/

126 Chapter 6 Working effectively Catalogue 2015

7005 7006 7007 Aberystwyth Banbridge, Northern Ireland Bath School of Art, Aberystwyth FE McWilliam Gallery & Studio Victoria Art Gallery University Frederick Edward McWilliam Howard Hodgkin (b1932) Keith Vaughan (1912–77) (1909–92) Goanese Highgate Ponds Album Study for Princess Macha III 1990–91 1933 1957 Gouache and carborundum Photographs, ink and gouache Bronze printing on intaglio- on card Height 47cm impressed Khadi paper 38 x 30cm 72 x 90.5cm McWilliam was Northern Vaughan is highly regarded as Ireland’s most illustrious modern This lusciously colourful work a member of the Neo-Romantic sculptor. This is a maquette is a hybrid between painting movement in British art. This for his monumental bronze and print. The foundation is album of photographs of male figure Princess Macha of the a carborundum print made using nudes, compiled when the artist Golden Hair of the House of Ulster, aluminium plates, carborundum was just 21, is a valuable record commissioned in 1957 powder, bonding agent, water of his work as a graphic artist for the Altnagelvin Hospital and oil-based inks on handmade and an early example of the in Derry. A goddess of ancient Khadi paper brought back by homoerotic subject matter that Ireland, Macha reputedly Hodgkin from India. Once the featured prominently in his later founded the first infirmary print dried, he added bold paintings and drawings. in the country around 300BC. sweeps across the image in yellow and black gouache. Art Funded £2,500 Art Funded £3,096 Total cost £10,000 (with assistance from Art Funded £26,000 The Wolfson Foundation) Total cost £48,500 © The Estate of Keith Vaughan. Total cost £10,720 All rights reserved, DACS 2016 © Howard Hodgkin © Estate of FE McWilliam

128 Chapter 6 Working effectively 7008 7009 7010 7011 7013 7014 Bath Bishop Auckland Cambridge Cambridge Cambridge Cardiff Victoria Art Gallery Auckland Castle Fitzwilliam Museum Fitzwilliam Museum Museum of Cambridge National Museum Cardiff

Adrian Heath (1920–92) El Greco (c1541–1614) Pedro de Mena (1628–88) Vicente López y Portaña (1772– James Ward (1769–1859) Cambrian Pottery, Swansea, Composition – Black, Pink, Christ on the Cross Virgin of Sorrows 1850) View of Cambridge from 1764–1870 Yellow & Grey c1600–10 c1670–75 María Isabel de Borbón, Queen Castle Hill Swansea Supper Service c1957 Oil on canvas Polychromed wood, human hair of the Two Sicilies 1840 c1806 Oil on canvas 179.4 x 103.5cm and glass 1829 Oil on canvas Pearlware, mahogany, brass 57.2 x 87cm 33.6 x 31 x 19.5cm Oil on canvas 44.5 x 95.3cm Various dimensions El Greco is thinly represented 110 x 78cm Heath was a key figure in in British collections, so the The polychromed (painted in As well as training as an engraver, This is an extremely rare post-war British abstract art, acquisition of this major work is many colours) wooden figure In 1829, María Isabel de Borbón Ward studied anatomy and example of early 19th-century as a painter, exhibition organiser a great coup for the collection of was one of the most distinctive (1789–1848) visited Madrid for agreed to produce portraits ceramics with zoological and writer (he published a book Auckland Castle. The collection features of Spanish art’s golden the wedding of her daughter, of various cattle breeds for the decoration and the only known on abstract painting in 1953). will soon have a new home: a age in the 17th century. Most such María Cristina, to her brother, Agricultural Society, resulting set of its kind to survive complete This lyrical canvas was painted former bank in Bishop Auckland sculpture still remains in Spain King Ferdinand VII of Spain. in him becoming one of the most with its original mahogany tray. soon after he began teaching is being converted into a gallery. (often in the churches or other During the visit she sat for this significant animal painters of his The decoration is by William at Bath Academy of Art It will specialise in Spanish art religious buildings for which it magnificent portrait by the generation. This rare panoramic Weston Young and Thomas (he worked there 1955–76), and include 12 Zurbaráns that was created) and this poignant principal court painter to the painting depicts the intricate Pardoe, leading exponents and now becomes the first have been at Auckland Castle work is the first example by Pedro Spanish king. It is the first work architecture of Cambridge, as of such work. Young painted oil painting by the artist to be since the 18th century. de Mena to be acquired by a by López to enter a British public well as farm workers, animals and the animals, while Pardoe acquired by the city’s gallery. British public collection. collection, and the first Spanish the distant rolling hills. produced the landscape Art Funded £377,348 portrait to be acquired by the backgrounds and gilding. Art Funded £14,500 (with assistance from Art Funded £30,000 Fitzwilliam Museum. Art Funded £21,500 Total cost £41,000 The Wolfson Foundation) Total cost £575,000 Total cost £46,000 Art Funded £22,500 Total cost £2,501,400 Art Funded £30,000 Total cost £41,250 © Estate of Adrian Heath. © The Fitzwilliam Museum, Cambridge Total cost £69,536 All Rights Reserved, DACS 2016 Courtesy Auckland Castle / © Amgueddfa Cymru – National Museum Wales Photo: Todd-White Art Photography © The Fitzwilliam Museum, Cambridge

130 Chapter 6 Working effectively 7015 7016 7017 7018 7019 7020 Cardiff Cardiff Ditchling Douglas Douglas Dyrham Park, Gloucestershire National Museum Cardiff National Museum Cardiff Ditchling Museum of Art Manx Museum Manx Museum and Craft Cornelis de Heem (1631–95) Rachel Kneebone (b1973) Swansea Pottery Unknown maker Unknown maker A Still Life of Flowers and Fruit The Will to Proceed to the End Decorated tea canister David Jones (1895–1974) Medieval silver seal matrix Medieval gold ring c1685 of the Possible 1777 Hound of St Dominic c1315–30 c1200–50 Oil on canvas 2014 Creamware 1923 Silver Gold 92 x 77cm Porcelain Height 10.7cm Boxwood Length 4.5cm Inner diameter 2.1cm 70 x 50 x 57cm 5 x 7 x 2.1cm William Blathwayt, the connoisseur An inscription on the canister This seal matrix was found near This delicately decorated ring and builder of Dyrham Park, The title of this disquieting but dates it precisely to 10 May This rare woodblock was used the gold ring described under was unearthed in 2011 close probably acquired this superb mesmerising work is a quote 1777. This makes it one of only to print the Hound of St Dominic number 7019 and it is possible to a former bishop’s dwelling on example of Dutch still-life painting from Georges Bataille, the French 14 known surviving objects engraving on the cover of Eric Gill’s they both belonged to the the Isle of Man and it possibly in the 1690s, and it hung at the cultural theorist known for his produced at Swansea Potworks pamphlet War Memorial in 1923. Bishop of Sodor, the most senior belonged to a high-ranking church house until 1956, when the explorations of the relationships between the founding of the David Jones, who achieved churchman on the Isle of Man official. At this time such officials picture was sold. The estate is now between horror and desire, business in 1764 and the death distinction as a poet as well as during the Middle Ages. A worn were the most important people run by the National Trust, and obedience and transgression. of its owner, William Coles, in a painter, became a member of Latin inscription on the matrix on the island, and rings of this the painting returns there to be It provides a clue to the rich 1778. Such an extremely rare Gill’s community in Ditchling in suggests that the two main figures kind symbolised their power. reunited with other works from themes represented in the work piece finds an appropriate home 1921 and his apprenticeship could be St Germanus (the island’s The claw setting would originally Blathwayt’s remarkable collection. of the British sculptor Rachel in the unrivalled collection of there influenced his work for first bishop in the 5th century) have held a stone. Kneebone: beauty and chaos, Welsh ceramics at National the rest of his life. and his contemporary St Patrick. Art Funded £100,000 fragility and strength, tradition Museum Cardiff. Art Funded £1,000 Total cost £574,000 and radical departure. Art Funded £1,000 Art Funded £7,500 Total cost £1,000 Art Funded £5,400 Total cost £2,500 Total cost £10,000 Photo © John Hammond 2015 Art Funded £20,000 Total cost £10,800 Total cost £64,000 Courtesy: Ditchling Museum of Art + Craft © Amgueddfa Cymru – National Museum Wales © Amgueddfa Cymru – National Museum Wales

132 Chapter 6 Working effectively 7021 7022 7023 7024 7025 7026 Edinburgh Edinburgh Edinburgh Edinburgh Ely Farnham National Museums Scotland Scottish National Gallery Scottish National Portrait Gallery Scottish National Portrait Gallery Stained Glass Museum Crafts Study Centre and London David Le Marchand (1674–1726) Victoria and Albert Museum FCB Cadell (1883–1937) Paul Strand (1890–1976) Unknown artist Simon Carroll (1964–2009) Five ivory portraits of the Self-portrait Nine prints from the Hebridean Orders of Angels: The Virtues Square Vessel Rounded Feet Mackenzie family Lorenzo Bartolini (1777–1850) c1914 photographs series and Principalities 2005 1696–1700 The Campbell Sisters Oil on canvas 1954 Late 15th century Earthenware, coloured slips Ivory Dancing a Waltz 113 x 87cm Gelatin-silver prints Stained glass and glaze Various dimensions – all 1820–21 Various dimensions, ranging from Two panels, each 18 x 15cm Height 34cm approximately 8cm high Carrara marble Cadell was one of the Scottish 11.4 x 14.6cm to 19.3 x 24.1cm Height 170cm; plinth 78cm Colourists, a loose group of four This pair of panels depicts One of the most distinguished Le Marchand moved to Scotland artists who were chiefly responsible In 1954, the great American two orders of angels (Virtues figures in modern British ceramics, as a Huguenot (Protestant) Following the death of Antonio for introducing the influence photographer Paul Strand and Principalities) from the nine Simon Carroll was renowned refugee from religious persecution Canova in 1822, Bartolini of modern French painting to visited the Hebridean islands orders popularly represented in for his bold approach to shape in France and opened a shop became the leading Italian Scotland in the period from about off the west coast of Scotland medieval art and literature. They and decoration. Like Bernard in Edinburgh in 1696; he later sculptor of his day. This life-size 1900 to the First World War. to document the remote are identified by Latin inscriptions. Leach, he lived and worked in settled in London. He is likeness of Emma and Julia The dashing brushwork of this communities who lived there. An unusual feature of the Virtues Cornwall, and this piece will now acknowledged as one of the Campbell (granddaughters vigorous self-portrait brings These nine photographs from is that they carry urine flasks – be displayed alongside examples greatest of all portraitists in ivory, of the 5th Duke of Argyll) is his Manet to mind. Later Cadell’s the series are richly textured possibly an allusion to their ability of Leach’s pots to illustrate how although he seems to have died most important work for a British colouring became more intense, prints made by Strand himself. to perform healing miracles. English slipware has developed in poverty. These five portraits patron. It will alternate venues influenced by Fauvism. Remarkably, they are the first The panels are in exceptionally over a period of almost a century. of members of the aristocratic with Canova’s Three Graces, works by him to be acquired by good condition. Mackenzie family were perhaps which is likewise shared by Art Funded £100,000 a public collection in Scotland. Art Funded £750 his first commissions in Britain. London and Edinburgh. Total cost £240,000 Art Funded £2,964 Total cost £3,150 Art Funded £20,000 Total cost £7,800 Art Funded £76,978 Art Funded £98,800 © National Museums Scotland Total cost £37,124 Courtesy of the Crafts Study Centre, University for the Creative Arts Total cost £230,934 (with assistance from The Wolfson Foundation) © Estate of Paul Strand/ Photo © National Museums Scotland © National Museums Scotland Total cost £523,800

© National Museums Scotland

134 Chapter 6 Working effectively 7027 7028 7029 7030 7031 7032 Glasgow Glasgow Glasgow Glasgow Glasgow Glasgow Gallery of Modern Art The Hunterian The Hunterian The Hunterian The Hunterian The Hunterian

Douglas Gordon (b1966) Thomas Jeckyll (1827–81) Charles Rennie Mackintosh Unknown maker Max Beckmann (1884–1950) Emil Nolde (1867–1956) Pretty Much Every Film and Video Sunflower Andirons (1868–1928) Mary Queen of Scots and Adam und Eva Schriftgelehrte (Scribes) Work From About 1992 Until Now. 1876 Set of eight architectural drawings Henry Lord Darnley medal c1917 1911 To Be Seen on Monitors, Some Gilded brass with iron support for Auchinibert, Killearn 1565 Drypoint on paper Etching with drypoint and with Headphones, Others Run 82.5 x 27.5 x 52cm 1906 Silver 23.7 x 17.6cm aquatint on paper Silently, And All Simultaneously, Pencil, ink and watercolour Diameter 4.3cm 44.2 x 60cm 1992 – in progress These rare andirons are on linen Beckmann was one of the 1992–ongoing an exquisite example of the Various dimensions This rare silver medal of greatest of all German Nolde was one of the most Video, film, digital, plastic, Anglo-Japanese-style work of 1565 shows busts of Mary Expressionist artists and one powerful and individual of electricity, sound and light Thomas Jeckyll, one of the most Sets of architectural drawings Queen of Scots and her second of the outstanding printmakers German Expressionist artists, Various dimensions and durations important English designers of in Mackintosh’s own hand are husband, Henry Lord Darnley. of his age. During the First World in printmaking as well as painting. the Aesthetic Movement. This is extremely rare, so this one It commemorates their marriage War he witnessed appalling He was a deeply religious man Glasgow-born Douglas Gordon the only known pair in brass to makes a notable addition to that year. Darnley was murdered suffering when serving as and often depicted biblical is an acclaimed installation survive, and they form a worthy the pre-eminent collection of the two years later. As a significant a medical orderly, and this subjects. This example, which and video artist (he won the addition to the Hunterian’s architect’s work at the Hunterian. piece of 16th-century Scottish profoundly affected his artistic shows the grotesque distortion and Turner Prize in 1996). This world-famous collection of work The drawings – for a large portraiture, it makes a handsome work. The heavy, tormented- rough energy typical of his work, ambitious conception consists by Whistler and other leading detached house outside Killearn, addition to the Hunterian’s looking figures of Adam and makes a notable addition to the initially of 82 film and video Aesthetic Movement figures. Stirlingshire – have annotations outstanding collection of Eve are characteristic of his Hunterian’s outstanding collection works displayed on old television and amendments in Mackintosh’s British medals. style and outlook. of German Expressionist prints. screens. The archive will continue Art Funded £45,220 hand, providing valuable insights to grow, with each new film Total cost £142,100 into his working processes. Art Funded £6,000 Art Funded £3,277 Art Funded £2,325 or video installation Gordon Total cost £9,650 Total cost £6,554 Total cost £4,650 makes being added to it. Courtesy Glasgow University Library / Art Funded £6,500 Photo: Andrew Smart AC Cooper Colour Ltd Total cost £13,000 Courtesy Glasgow University Library © DACS, courtesy Glasgow University Library © Nolde-Stiftung Seebüll Courtesy Glasgow University Library Art Funded £150,000 (with assistance from Courtesy Glasgow University Library The Wolfson Foundation) Total cost £450,000

© Douglas Gordon / Photos: © Glasgow Life 2014

136 Chapter 6 Working effectively 7033 7034 7035 7036 7037 7038 Gloucester Haddington Harrogate Harrogate Helensburgh Hitchin Nature in Art East Lothian Museums Service Mercer Art Gallery Mercer Art Gallery The Hill House North Hertfordshire Museum

William De Morgan Patrick William Adam (1854– William Powell Frith (1819–1909) Francis Montague (Frank) Holl Charles Rennie Mackintosh Richard Smith (b1931) Charger 1929) Isabelle Frith Reading (1845–88) (1868–1928) M4 c1890 The Oval Room, Smeaton Hepburn 1845 Study for Deserted – 1– Easy chair, 1905 1968 Ceramic c1900 Oil on panel The Foundling 2– Standard lamp, 1905 Pencil and crayon on paper Diameter 42cm Oil on canvas 28 x 34.3cm 1874 Various materials 22 x 22 x 7cm 69.5 x 50cm Oil on canvas Various dimensions De Morgan was one of the Frith painted this tender portrait 55.2 x 76.2cm This small-scale drawing is outstanding figures of Victorian This painting depicts one of of his wife Isabelle in 1845, One of Mackintosh’s greatest an example of Richard Smith’s pottery, creating luxuriant designs the lavishly decorated rooms the year of their marriage, Holl was one of the leading achievements is the Hill House, experimentation with visual that to some extent parallel in the now-demolished mansion possibly during their honeymoon Victorian painters of scenes of a home he designed in 1902 planes. The piece is divided the work of William Morris (owned by the Hepburn family) in Derbyshire. The portrait social realism. This vigorous oil for the publisher Walter Blackie in two, with the lower half in wallpaper and textiles. at Smeaton in East Lothian. remained in the family until the sketch is a preparatory study for at Helensburgh, near Glasgow. curving backwards, to create The painted decoration here, Patrick William Adam had 1930s. Frith spent part of his one of his most famous paintings, In addition to the building, he a slight sense of depth. featuring two birds fighting settled nearby following extensive early life in Harrogate (he was showing a foundling being carried designed (with his wife Margaret The artist was born locally in over a snake, surrounded by travels painting the landscapes born a few miles away, at by a policeman (the artist had Macdonald) all the decoration, Letchworth Garden City, and tulips and forget-me-nots, is of Rome, Venice and Russia. He Aldfield), and the painting now witnessed such a scene in the furniture and fittings, including this is the first example of a signed by Charles Passenger, spent the remainder of his life joins other works by him in the East London docks). An earlier these two items. They now work from an internationally who often worked for De Morgan. recording the interiors of local town’s Mercer Art Gallery. engraving of the subject (1873), return to the house, having recognised living artist to society households, this being based on Holl’s drawing, was been sold by the granddaughter enter the museum’s collection. Art Funded £2,880 a prime example. Art Funded £12,000 greatly admired by Van Gogh. of the original owner. Total cost £7,200 Total cost £20,000 Art Funded £900 Art Funded £938 Art Funded £10,000 Art Funded £30,000 Total cost £3,636 Total cost £3,750 Courtesy Mercer Art Gallery Total cost £30,000 Total cost £100,000 © Richard Smith Courtesy Mercer Art Gallery Courtesy National Trust for Scotland

138 Chapter 6 Working effectively 7039 7040 7041 7042 7043 7044 Inverness Leeds Leeds Leicester Lincoln Liverpool Inverness Museum and Art Leeds Art Gallery Temple Newsam House New Walk Museum & The Collection: Art and Walker Art Gallery Gallery Art Gallery Archaeology in Lincolnshire Sir Hamo Thornycroft Attributed to Morel and Hughes Rose Wylie (b1934) Robert Anderson (c1755–92) (1850–1925) (active c1805–26) or Morel and Marvin Gaye Chetwynd (b1973) Unknown Roman craftsman PV Windows and Floorboards Silver sauceboat Charity and Justice Seddon (1827–33) Home Made Tasers Bull statuette 2014 c1780 1888 Earl Grey’s Centre Table 2011–12 cAD 100–200 Oil on canvas 16.6 x10.8cm Patinated plaster c1825–30 Cloth, aluminium, latex, paint, Marble 184 x 331cm 168 x 110.5 x 28cm Rosewood, parcel gilt with ebony script and instructions 37 x 19.5 x 12cm This elegant Georgian sauceboat inlay Variable dimensions Recognition has come late is a rare example of hollowware This is the full-size plaster model 74 x 117 x 63.5cm This finely carved fragment of for Rose Wylie. She was by the Inverness goldsmith Robert for one of the two bronze reliefs This 15-minute performance antique statuary, discovered virtually unknown to the general Anderson (it is stamped with his on the base of the memorial This handsome Regency table was piece involves a dance by five in a local garden, probably dates public until she was well into mark). Together with its pair, it to General Gordon, a statue owned by Earl Grey during his actors around a large creature from the early Roman settlement her seventies, but since 2010 she is the largest surviving piece of by Thornycroft erected in time as prime minister (1830–34), (the Brain Bug, animated by of Lincoln. The subject is a bull, has enjoyed a string of successes, secular plate from his workshop. Trafalgar Square in 1888. The and it was probably produced by puppeteers), which eventually with subtle detailing of the ribs including winning the John Moores While the sauceboat is of a memorial, later moved to Victoria the royal furniture makers Morel consumes one of the dancers. and pelvic bone and indications Painting Prize in 2014 with this typical Scottish form, the cast Embankment, is much admired, and Hughes. At Temple Newsam Marvin Gaye Chetwynd is noted that the head was lowered in picture. It depicts a private view Rococo feet in the shape of and the model now joins the it will be reunited with a writing for her subversive sense of the act of charging. This motif (PV) of an exhibition of her shells are unusual. Thornycroft archive given to table by the same maker (acquired humour and believes that every is known from other Roman work at the Approach Gallery, Leeds Art Gallery in 1982. with Art Fund help in 2006) that part of life can be teased into art. depictions, such as images London, in 2011. Art Funded £1,785 likewise belonged to Earl Grey This work was acquired through on coins and rings. Total cost £4,200 Art Funded £4,000 at 10 Downing Street. Testing Media, an Art Fund Art Funded £19,000 Total cost £11,250 initiative set up with the Art Funded £2,500 Total cost £19,000 Art Funded £12,000 Contemporary Art Society to Total cost £5,000 Courtesy Leeds Art Gallery Total cost £38,000 support the acquisition of © Rose Wylie and Union Gallery contemporary art in new or Courtesy The Collection, Lincoln Courtesy Temple Newsam House challenging media.

Art Funded £25,000* Total cost £30,000

* Please note, recorded in 2014–15 management accounts

© The artist, courtesy New Museum, New York, and Sadie Coles HQ, London

140 Chapter 6 Working effectively 7045 7046 7047 7048 7049 7050 Liverpool London London London London London World Museum Liverpool Arts Council Collection British Museum British Museum British Museum British Museum

Atta Kwami (b1956) Helen Marten (b1985) Kitagawa Utamaro (1753–1806) Patrick Caulfield (1936–2005) Alison Wilding (b1948) David Oxtoby (b1938) Prints in Counterpoint Bluebutter Idles Courtesan Reading a Letter A Jug Two untitled drawings Elvis 2014 2014 1805–6 c2003 1966–70 1975 Ink on paper Various materials Hanging scroll, ink and colour Graphite on paper Pencil and acrylic on paper; Ink, pencil and gouache on paper Each 50 x 33cm 140 × 120 × 83cm on paper 29.7 x 20.9cm pencil, acrylic and collage, 97 x 65.1cm 125.5 x 53.5cm on paper This series of 16 lino prints Helen Marten is regarded as This depiction of a simple 45.2 x 35.5cm The British artist David Oxtoby was created after Atta Kwami one of the rising stars of British One of the greatest of earthenware jug has been 38 x 56cm has devoted virtually his whole spent three days sketching sculpture, and her work has all Japanese painters and described as belonging ‘equally career to portraying popular African objects in the World appeared at the Venice Biennale printmakers, Utamaro is to the ancient world and to the These two early drawings musicians, in formats ranging from Museum Liverpool’s World and other prestigious exhibitions. particularly renowned for pictures modern’ and recalls many pottery were made by the British sculptor large paintings to tiny drawings Cultures Gallery. Each block is Bluebutter Idles features a of beautiful women. More than examples found in the British and printmaker Alison Wilding and prints. This double-sided individually cut and inked, cot-like metal receptacle across 2,000 of his woodblock prints Museum’s collection. Caulfield when she was still at art school. sketch presents two portrayals combining solid slices of colour which lies a limp figure made of survive, but paintings by him are made this work following cancer As she did not own a camera of Elvis Presley, and complements with visualisations of objects from towelling. It imaginatively explores extremely rare – only about 40 treatment that left him too weak at the time, sketching became a series of 41 etchings given by the collection. The overlapping the frailties of human existence are known. This newly discovered to paint, though it is clear that his a way for her not only to explore the artist to the museum in 2011. layers present a range of and the technology we create example (it came to light in 2011) outstanding skills as a draughtsman sculptural ideas on paper, simultaneous narratives designed to protect ourselves. shows the sensitivity of line and remained undiminished. but also to document her Art Funded £4,160 to present museum artefacts colour for which he is celebrated. three-dimensional work. Total cost £4,160 in a new and intriguing way. Art Funded £16,500 Art Funded £9,000 Total cost £52,800 Art Funded £100,000 Total cost £9,000 Art Funded £7,500 © David Oxtoby Art Funded £4,500 (with assistance from Total cost £7,500 Total cost £4,500 © The artist, courtesy Sadie Coles HQ, London The Wolfson Foundation) © The estate of Patrick Caulfield. All rights reserved, DACS 2016. Total cost £380,000 Reproduced by permission of the artist © Atta Kwami / Photo © National Museums Liverpool © British Museum

142 Chapter 6 Working effectively 7051 7052 7053 7054 7055 7056 London London London London London London Fan Museum, Greenwich Geffrye Museum Kensington Palace Lambeth Palace Library Museum of London Museum of London

Unknown maker Edward Robert Hughes The Royal Wardrobe (Hamden Unknown maker Vera Lutter (b1960) Rut Blees Luxemburg (b1967) Elizabethan folding fan (1851–1914) Reeve, upholsterer, and other The Broughton Missal Battersea Power Station XVIII 1–Aplomb (St Paul’s) c1590–1600 Portrait of Bell and Dorothy craftsmen) c1400–25 2004 2011–13 Ivory, silk and embroidery Freeman Queen Anne canopy of state Parchment leaves, bound Silver gelatin print C-print 19 x 29cm (fully extended) 1889 c1709 in alum-tawed leather over 212.2 x 142.2cm 2–Walkie-Talkie Melted Watercolour on paper Silk damask, gilt thread, other wooden boards My Golden Calf This exquisite early English fan, 91.5 x 76cm textiles, timber and iron 29.5 x 20cm A German artist based in 2011–13 a folding type with ivory sticks Various dimensions New York, Lutter creates her C-print joined at the pivot with ribbon, Edward Robert Hughes was This exquisite illuminated huge photographs by means 3–London/Winterreise may be the only example of its the nephew of the Pre-Raphaelite This magnificent silk throne manuscript was possibly made of a room-sized camera obscura 2011–13 kind to survive in Britain. The painter Arthur Hughes. The canopy is the only surviving in York, and inscriptions show built on site. Light passes through One-channel video condition of the polychrome sitters were the daughters of the example of its kind from the reign that from early on until the a tiny aperture and casts an Various dimensions embroidery is exceptional. It barrister George Freeman, who of Queen Anne. Originally a mid-16th century it was used in image onto light-sensitised paper represents a unique record of acted for Whistler in the famous canopy such as this provided the parish church of All Hallows, on the back wall. An exposure Rut Blees Luxemburg is a fan-making in Britain before the libel case against Ruskin in 1878. a ceremonial cover over the Broughton, Lancashire. of days or even weeks creates German photographer who lives trade began to flourish with the The Aesthetic decorative scheme enthroned monarch during formal For Lambeth Palace Library such hauntingly ghostly images as in London, where she teaches arrival of French Huguenot depicted in the painting is of royal audiences. However, this it represents an invaluable this, showing a London landmark ‘urban aesthetics’ at the Royal refugees in the late 17th century. particular interest for the Geffrye one has been adapted for use source of information about being transformed to a new life. College of Art. These three works Museum, which specialises in the above a state bed. It will be pre-Reformation life and are part of a series called Art Funded £12,500 history of the home. displayed in the King’s Presence religious practice in a northern Art Funded £10,000 ‘London Dust’, which was also the Total cost £45,000 Chamber in Kensington Palace. English village. Total cost £25,000 title of an exhibition held at the Art Funded £30,000 Museum of London in 2015–16. In Courtesy Fan Museum Total cost £110,000 Art Funded £35,000 Art Funded £30,000 © ARS, NY and DACS, London 2016 them, Rees Luxemburg examines Total cost £110,000 Total cost £125,000 responses to the redevelopment Courtesy Geffrye Museum of the City of London. Courtesy Historic Royal Palaces Art Funded £5,000 Total cost £14,400

© Rut Blees Luxemburg

144 Chapter 6 Working effectively 7057 7058 7059 7060 7061 7062 London London London London London London National Gallery National Maritime Museum RIBA Library, Drawings Victoria and Albert Museum Victoria and Albert Museum William Heath Robinson Trust and Archives Collections Jean-Baptiste-Camille Corot Designed by Thomas Tompion Benedetto da Rovezzano (1474– AWN Pugin (1812–52) William Heath Robinson (1872– (1796–1875) (1639–1713); movement Axel Herman Haig (1835–1921) c1554) Pugin Cabinet 1944) The Four Times of Day attributed to Severijn Oosterwijck The Library, Tower House, The Wolsey Angels c1846 The Simon Heneage collection c1858 (c1637–94) Kensington 1524–29 Oak, carved, painted and gilded 410 original works Oil on wood Experimental Marine Timekeeper 1880 Bronze 229.5 x 151.5 x 60.5cm 1905–43 Morning: 142.2 x 72.3cm; c1660 Watercolour, heightened with Height 101–105cm Pen, ink and watercolour on paper Noon: 142.2 x 62.2cm; Brass, wood and glass bodycolour on paper One of the giants of the Gothic Various dimensions Evening: 142.2 x 72.3cm; Movement and dial: 51 x 68.5cm In 1524 Cardinal Thomas Wolsey Revival movement, Pugin was an Night: 142.2 x 64.7cm 22 x 22 x 12cm commissioned a tomb from the important writer and furniture Heath Robinson is much loved for Longcase: 181 x 29 x 15cm The Swedish-born Haig was Florentine sculptor Benedetto da designer as well as architect. He his humorous drawings featuring Corot, the outstanding a favourite collaborator of Rovezzano, who was working in designed this cabinet for his own fiendishly complicated machines French landscape painter of The problem of determining William Burges (1827–81), one England at the time. When Wolsey house, the Grange, at Ramsgate, performing inappropriately trivial his generation, created The longitude at sea exercised some of the greatest architects of the died in disgrace in 1530, Henry Kent, and it was probably made tasks. However, these represent Four Times of Day to decorate the of the best scientific brains Gothic Revival. The Tower House VIII appropriated the unfinished by his regular collaborator only one aspect of his talent, Fontainebleau studio of his fellow in Europe during the late 17th (1876–78) was Burges’s own tomb, which was eventually George Myers. The decoration which also embraced advertising, artist Alexandre-Gabriel Decamps. and early 18th centuries. This London home, and this exquisite broken up and mostly lost. These includes words and symbols of book illustration and stage design. Evidently the four panels were timepiece represents one of the watercolour, exhibited at the four angels from the work personal significance, including The Simon Heneage collection painted in only a week. It is the numerous unsuccessful attempts Royal Academy in 1880, is the reappeared in two pairs, in 1994 the motto ‘Manners maketh man’. represents the breadth of his largest decorative cycle by to create an accurate sea-clock only record in colour of one of and 2008 – one of the most output and almost doubles the Corot to remain intact and before John Harrison finally solved its interiors as the architect remarkable artistic rediscoveries Art Funded £100,000 holdings of the William Heath makes a major addition to the the problem. Around 1680 it was intended it to be seen. of recent years. Total cost £433,520 Robinson Trust. collection of his work in the adapted for domestic use by the National Gallery. famous English clockmaker Art Funded £20,000 Art Funded £500,000 © Victoria and Albert Museum Art Funded £50,000 Thomas Tompion. Total cost £81,520 Total cost £4,619,381 (with assistance from Art Funded £300,000 The Wolfson Foundation) (with assistance from Art Funded £15,000 Courtesy RIBA Library Drawings and Archives © Victoria and Albert Museum Total cost £300,000 The Wolfson Foundation) Total cost £100,000 Total cost £3,325,000 Courtesy William Heath Robinson Trust Courtesy National Maritime Museum © The National Gallery, London

146 Chapter 6 Working effectively 7063 7064 7065 7066 7067 7068 Luton Luton Manchester Manchester Middlesbrough Norwich Wrest Park Wrest Park Manchester Art Gallery Manchester Art Gallery Dorman Museum Norwich Castle Museum & Art Gallery Sir Peter Lely (1618–80) Attributed to Charles Jervas Kelley Walker (b1969) Takahiro Yede (b1962) Christopher Dresser (1834–1904) Portrait of Thomas Crew, 2nd (c1675–1739) Andy Warhol’s Unfinished Hibiki (Echoes) Tubular vase with pierced Unknown makers Baron Crew of Stene (1624–97) Portrait of Henry Grey, 1st Duke of Symphony 2015 foliated body The Hingham Hoard c1670 Kent (1671–1740) 2010–12 Silver and copper alloys 1880 c865–69 Oil on canvas After 1712 Mixed-media installation (shakudo, shibuichi) Glazed earthenware Niello jewellery and silver coins 152.5 x 122cm Oil on canvas Various dimensions 19 x 32.5 x 31.5cm Height 42cm Various dimensions 125.7 x 99.6cm For two centuries this At the heart of this large-scale Takahiro Yede is one of Japan’s This vase is particularly Discovered at Hingham, near magnificent portrait of the Henry Grey, 1st Duke of Kent, installation by the American most celebrated metalsmiths significant to Middlesbrough, Wymondham, in 2012, this hoard politician Thomas Crew hung at commissioned this portrait to artist Kelley Walker is a magazine and this exquisite vessel is a as it was made locally, at the can be dated through its coins: Wrest Park, the ancestral home of hang in his London house in advertisement created by Andy dazzling example of his innovative Linthorpe pottery. The pottery the emblem of Edmund, King of his son-in-law, Henry de Grey. In St James’s Square. It was later Warhol in 1975. This found image metal-weaving technique, which lasted only a decade (1879–89), East Anglia (died 869), is on every 1917 the house and contents were brought to his country seat at gives the installation its name and takes inspiration from traditional but it produced some outstanding one. Although he is well known sold. The estate subsequently Wrest Park and remained there suggests that media and celebrity bamboo basketry. To weave in work. For its first two or three as a martyr who was killed while suffered many indignities, but in until the estate and its contents are its subjects. By reusing and metal he must first hammer each years Christopher Dresser was resisting Viking invasion, his reign 2006 it was acquired by English were sold in 1917. It now returns transforming such images Walker of his alloy strips into shape by art director. This vase shows the is sparsely recorded. This hoard Heritage, which began a major to Wrest Park as part of English aims to shift their meanings and hand. Hibiki is his second piece oriental influence that strongly offers a valuable insight into the restoration programme. The Heritage’s work to restore the raise questions about their to be acquired by a public affected him after he visited history of his moneyers and into return of this portrait marks interiors, complete with their role in society. collection in Britain. Japan in 1877. the Trewhiddle style of jewellery. a milestone in this project. original contents. Art Funded £10,000 Art Funded £5,000 Art Funded £1,500 Art Funded £3,500 Art Funded £30,000 Art Funded £4,375 Total cost £100,000 Total cost £13,500 Total cost £4,050 Total cost £10,175 Total cost £60,000 Total cost £8,750 © Kelley Walker © Takahiro Yede © English Heritage / Photo: Derek Kendall © English Heritage / Photo: Derek Kendall

148 Chapter 6 Working effectively 7069 7070 7071 7072 7073 7074 Norwich Nottingham, Newstead Abbey Oxford Oxford Oxford Penrith Norwich Castle Museum & Ashmolean Museum Ashmolean Museum Bodleian Library Penrith and Eden Museum Art Gallery Unknown artist Portrait of ‘Little’ Sir John Byron Sir Edward Burne-Jones Charles-Nicolas Dodin (1734– Nuns at the Medingen Convent Jacob Thompson (1806–79) Marjolijn Dijkman (b1978) 1599 (1833–98) 1803) Prayerbook from Medingen The Druids Collecting Mistletoe The Grand Release Oil on panel Letters from Burne-Jones to May Sèvres painted porcelain tray Convent 1832 2013 76.6 x 63.8cm and Daphne Gaskell 1772 c1475 Oil on canvas Fabric, foam, aluminium poles Five albums of letters (plus 14 Soft-paste porcelain Vellum, wood, bone and silk 99.1 x 124.5cm and fishing wire Sir John Byron (1527–1603/4), loose letters, an illustrated menu 17.7 x 24.6cm 10.5 x 7.8cm Height 550cm noted for his small stature and and a bundle of paintbrushes) This is a painting of great local long beard, was an ancestor 1892–98 Dodin is regarded as the greatest This prayer book gives rare significance that could not The Grand Release is a site- of the poet Lord Byron, who Pencil, pen and ink on paper of the painters associated with the insight into the life of a nun have a more fitting home than specific mobile made by the owned this portrait for a time. Various dimensions Sèvres porcelain factory, where at the convent of Medingen in Penrith and Eden Museum. Dutch artist Marjolijn Dijkman. After passing out of the family he worked for almost 50 years. northern Germany. Individual The imaginative scene is set Each object on the mobile is an collection, it was lost from view In 1892 Burne-Jones began a For elegance of draughtsmanship nuns are thought to have been in the Eden Valley and the work abstracted reference to a display for more than a century, but close but platonic friendship and beauty of colouring he is responsible for the production was commissioned by a local structure somewhere in Norwich after its recent rediscovery it now with Helen Mary (May) Gaskell. unsurpassed. The scene on this of their own manuscripts and landowner. Thompson was born Castle Museum, as if these returns to Newstead Abbey, the He sometimes wrote to her several tray is adapted from a painting colourful ink drawings in the in Penrith and lived in or near structures have been allowed family home, as the earliest visual times a day, often illustrating his by François Boucher. It is the first margins are literal illustrations of the town most of his life (although to float free and form a colourful document relating to the estate letters with delightful drawings, piece by Dodin to enter phrases in the text. he also worked successfully in focal point in the central rotunda and the earliest authentic and he also wrote to her young the Ashmolean’s collection. London for several years). of the building. likeness of a member of the daughter Daphne. These albums Art Funded £20,000 Byron Family. of letters, some unpublished, Art Funded £4,500 Total cost £62,889 Art Funded £6,000 Art Funded £2,600 now join May Gaskell’s collection Total cost £14,500 Total cost £30,000 Total cost £6,000 Art Funded £7,500 of Burne-Jones drawings, Total cost £26,250 which she bequeathed to © Ashmolean Museum, University of Oxford. Photo: David Gowers © Marjolijn Dijkman the Ashmolean in 1939. Courtesy Newstead Abbey Art Funded £50,000 Total cost £200,000

150 Chapter 6 Working effectively 7075 7076 7077 7078 7079 7080 Penzance Plymouth Preston Southampton Southampton Southampton Penlee House Gallery Plymouth City Museum Harris Museum & Art Gallery Southampton City Art Gallery Southampton City Art Gallery Southampton City Art Gallery and Museum and Art Gallery Shirley Craven (b1934) and other Phyllida Barlow (b1944) Caroline Achaintre (b1969) Guy Moreton (b1971) Frank Gascoigne Heath (1873– Thomas Jenkins (1647–1707) designers Untitled: Cardboard Tower (Dock) 1–Bat.Nite (pictured) LW205 Skjolden 1936) The Sparke Cup Three bolts of fabric 2014 2011–14 2002–05 The Milk Cart 1672–73 Printed furnishing fabric Acrylic on watercolour paper Ink on paper C-print on aluminium c1920 Silver gilt 1958–62 50 x 70cm 28 x 38.4cm 132 x 105cm Oil on canvas Cup: height 19cm Various dimensions 2–Triad 101.6 x 152.4cm Salver: diameter 37.5cm Phyllida Barlow is best known 2011-14 This large-scale photograph These three bolts of fabric as a sculptor (and a distinguished Hand-tufted wool is part of a series inspired by Heath was a member of the This impressive silver-gilt cup illustrate the innovative work teacher of sculpture at London 195 x 165cm the time the philosopher Ludwig Newlyn School of artists, and salver were bought by the in British textile designs of the art schools), but two-dimensional Wittgenstein spent in solitary settling in Cornwall in 1902. city of Plymouth in 1680 as a gift late 1950s and early 1960s. All works are also important in her These two works together retreat in the Norwegian village From the 1920s onwards his of thanks to John Sparke, who three fabrics were printed in art. This painting relates to her illustrate the broad creative of Skjolden, where he admired use of colour and light led him served as MP for the city from Lancashire, two of them at Hull recent Tate Britain commission practice of Caroline Achaintre, the ‘quiet seriousness’ of the to be known locally as ‘the 1677 to 1680. Both pieces were Traders, for which Shirley Craven Dock (2014), but it is considered who was born in France, grew landscape. The image depicts sunshine artist’. This painting is made in London by Thomas became colour and design to be a independent finished up in Germany, and trained in a dense, wooded landscape typical of the period, and depicts Jenkins, and the arms of the city consultant in 1959. In this piece, rather than a London, where she now lives. and a very faint, overgrown path, two farmsteads at Boleigh, and of Sparke were engraved position she commissioned preparatory study. In Bat.Nite, pools and dribbles evoking the remote experience Lamorna, with the artist’s wife on them by a Plymouth designers such as the Trinidadian- of ink appear accidental, evoking of a philosophical quest. and their four children in silversmith, Joseph Wilcockes. born Althea McNish (b1935) Art Funded £6,100 strange, uncanny figures. The the foreground. to work for the firm. Total cost £9,600 artist’s raw, hand-tufted wool Art Funded £4,800 Art Funded £18,050 work, exemplified by Triad, Total cost £4,800 Art Funded £3,000 Total cost £41,600 Art Funded £1,000 © Phyllida Barlow has something of the same Total cost £23,600 Total cost £5,500 enigmatic quality. © Guy Moreton Courtesy Plymouth City Museum and Art Gallery Courtesy Penlee House Gallery and Museum © Shirley Craven and Hull Traders Art Funded £5,820 Total cost £8,320

© Caroline Achaintre, courtesy of Arcade, London

152 Chapter 6 Working effectively 7081 7082 7083 7084 7085 7086 Southampton Southampton Southampton Stoke-on-Trent Stoke-on-Trent Stromness Southampton Cit Art Gallery Southampton City Art Gallery Southampton City Art Gallery Potteries Museum and Art Gallery Stoke City Archives Pier Arts Centre

John Riddy (b1959) Dan Holdsworth (b1974) Kurt Jackson (b1961) Wang Ping (b1986) Various artists Barbara Hepworth (1903–75) Rome (Colosseum) Blackout 13 Jay Screech, Oak and Hawthorne 1 – Blessings vase (pictured) The Minton Archive Two Forms (Orkney) 1999 2010 near Hollands Wood 2013 18th–20th century 1967 Silver gelatin print C-print on aluminium 2012 Porcelain Designs, drawings, pattern books Slate on wooden base 38 x 48cm 100 x 130cm Mixed media on paper Height 36cm and other material Height 21cm 57 x 61cm 2 – Moss-green large bowl Various dimensions The British photographer John Dan Holdsworth’s large-scale 2013 The Pier Arts Centre was Riddy’s poetic images of Rome photograph of an Icelandic Kurt Jackson is an artist and Porcelain A matchless resource on Stoke’s established in 1979 by Margaret demonstrate that it is possible glacier offers an awe-inspiring environmentalist whose work Height 46cm industrial heritage, the archive Gardiner (1904–2005), a friend to take a fresh view of even the view of the world. After taking his celebrates and raises awareness contains hundreds of thousands and patron of Hepworth’s, and most familiar tourist sights. pictures, Holdsworth edits them of landscape and nature. He has These two objects have been of items covering more than two the title of this work suggests Here he shows a glimpse of the through analogue and digital been an artist in residence at the acquired following research in centuries of groundbreaking that the artist had the romantic Colosseum from an unexpected processes to turn them into Eden Project, the Glastonbury Jingdezhen, a city famed for pottery design, manufacture and landscape of Gardiner’s Orkney angle, its bulk appearing less something startling. The blue of Festival, and on the Greenpeace ceramics for many centuries. The production. It also includes the home in mind when she named it. formidable behind the delicate the sky becomes the black of ship Esperanza. This work research was made possible by comprehensive records of Minton, The gallery already owns several tracery of winter trees. Riddy says space, while the ice and rocks represents a scene in the New a Jonathan Ruffer grant. Wang Royal Doulton (the two companies Hepworth carvings from the 1930s, that in Rome he discovered appear in blindingly negative Forest, an ecologically significant Ping is one of a minority of merged in 1968) and a number of and this later piece makes an ‘moments of silence and spaces white, giving us a new perspective and much-loved landscape close potters from the area to develop other firms taken over by Royal outstanding addition. that are still’. on nature at its most sublime. to Southampton. an independent practice, as Doulton in the 20th century. opposed to studying at the Illustrated is a hand-painted egret Art Funded £100,000 Art Funded £4,320 Art Funded £3,400 Art Funded £1,950 Jingdezhen Ceramic Institute. design by Christopher Dresser. (with assistance from Total cost £6,630 Total cost £6,400 Total cost £3,750 The Wolfson Foundation) Total cost £1,000 Art Funded £1,561,440 Total cost £602,889 Courtesy the artist and © Dan Holdsworth Photo © Fynn Tucker 2014 Art Funded £1,000 (with assistance from Frith Street Gallery, London © Bowness, Hepworth Estate The Wolfson Foundation) Total cost £1,561,440

Photo © Holly Pickering 2015

154 Chapter 6 Working effectively 7087 7088 7089 7090 7091 7092 Swindon Taunton Warrington Whitby Whitchurch Whitchurch Swindon Museum and Art Gallery Museum of Somerset Deaf Museum and Archive Captain Cook Memorial Museum Whitchurch Heritage Centre Whitchurch Heritage Centre

Grayson Perry (b1960) Charles Napier Hemy (1841– Charles Shirreff (1770–1831) John Webber (1751–93) Unknown maker Unknown maker Untitled (Perfume Bottle) 1917) Portrait of a Young Naval A View in Macao: including the Decorated hooked tag Decorated hooked tag 1985 Oyster Dredgers at Porlock Weir, Subaltern residence of Camoens, when he c9th century c9th century Glazed earthenware, poppy seed Somerset c1800 wrote his Lusiad. Vol 3. Chapt. XI Silver Silver pods and bronze 1890 Watercolour and bodycolour on c1779–88 21.5 x 17.3mm 21.5 x 17.3mm 22.9 x 5.1 x 6.7cm Oil on canvas ivory, gold frame, reverse: lock of Pen and ink, blue and brown 92 x 173cm hair with seed pearls wash on paper This rare item of early medieval This high-quality hooked tag This early ceramic piece by the 7.8 x 6.4cm 29.7 x 52.7cm silver work was discovered just a matches an example already in Turner Prize-winning artist is in Hemy was the outstanding British few miles from the Whitchurch the collection of the Whitchurch the form of a perfume bottle marine painter of his day. This is In 1760, Thomas Braidwood set Webber was official artist on Heritage Centre, which charts Heritage Centre. These silver tags decorated with drip glazes and his only known work to be set in up in Edinburgh the world’s first James Cook’s third voyage of the history of the town and were found within 100m of each poppy seed heads. An inscription Somerset and it is of great local school for deaf children. The discovery (1776–80), during which surrounding area. The hooked other in a ploughed field near in French translates as interest. Oyster dredging was still first pupil enrolled was Charles Cook was killed in Hawaii. tag, which may have been used Prees, less than five miles ‘Reminiscence/Perfume of the an important industry at Porlock Shirreff, who had become deaf One of the places visited was to fasten clothes, or possibly a from the centre. The surface Mistresses’. A transfer of Renoir’s Weir, near Minehead, when the at the age of four. He later Macau (Macoa), at that time purse or bag, is finely decorated is finely decorated with a famous painting The Luncheon picture was painted, but it died trained at the Royal Academy a Portuguese colony, now part with an animal motif and is in Trewhiddle-style animal, an of the Boating Party (1881) out in the early 20th century. in London and went on to have of China; the subtitle refers to a near-perfect condition. almost exact mirror image of accompanies the words. Attempts are currently being a successful career as a 16th-century Portuguese poet, the beast on the tag’s partner. made to revive it. miniaturist, working in India as Luis de Camoens. Back in England, Art Funded £800 Art Funded £3,500 well as various places in Britain. Webber used views such as this Total cost £1,100 Art Funded £800 Total cost £12,500 Art Funded £12,000 as the basis of etchings. Total cost £1,100 Total cost £28,000 Art Funded £553 Courtesy Whitchurch Heritage Centre © Grayson Perry Total cost £1,000 Art Funded £20,000 Courtesy Whitchurch Heritage Centre Courtesy Somerset Heritage Service Total cost £72,000

Courtesy Captain Cook Memorial Museum

156 Chapter 6 Working effectively 7093 7094 7095 7096 7097 7098 Wimborne Minster Wisbech York Chichester Southampton Kendal Kingston Lacy House Wisbech and Fenland Museum York Art Gallery Pallant House Gallery Southampton City Art Gallery Abbot Hall Art Gallery

William John Bankes (1786–1855) Marshall George Strapps Grayson Perry (b1960) Peter Blake, John Hoyland, John Hoyland (1934–2011) Wilhelmina Barns-Graham Two wings for an altarpiece (1823–1914) Melanie (The Three Graces) Victor Pasmore, Jack Smith Sky Base (1912–2004) c1804 Armchair 2014 Collection of modern British prints 1994 Untitled (from the ‘Geoff and Gouache and watercolour on Late 19th century Glazed ceramic Various dates Acrylic on canvas Scruffy’ series) vellum Oak 83 x 29 x 35cm Various materials 25 x 20.5cm 1956 Each 56.5 x 18.8cm Width 48cm Various dimensions Oil on canvas Perry’s work often explores British Jack Smith (1928–2011) 55.8 x 76cm William Bankes – collector, This unusual chair is believed class, gender and social issues. Featuring artists including Dialogue Fandango (pictured) connoisseur, MP and explorer – to be the only known work by Melanie is a portrait of a woman Peter Blake, John Hoyland, Victor 1999–2000 The ‘Geoff and Scruffy’ series was described by his friend Lord Marshall George Strapps, who he met at a Miss Plus Size Pasmore and Jack Smith, this Oil on canvas was inspired by the artist’s Byron as ‘the father of all lived in Wisbech. The remarkable International competition in collection of works in various 91 x 91cm friendship with Geoffrey Tribe mischief’. His sense of humour carvings include domestic scenes, Somerset. The curvaceous forms techniques is an important and his dog Scruffy. The paintings comes out in these paintings, two fully formed lions resting on echo those of prehistoric fertility addition to Pallant House’s These two paintings are important feature abstract shapes linked by evidently created for a mock each arm, mysterious faces figures, creating a positive image impressive specialist holding of in terms of showing the creative narrow bands and evoke the chapel in his undergraduate peering from their handles, and of an oversized woman. At York more than 1,500 modern prints. development of their artists, landscape around Porthmeor lodgings at Trinity College, a young man riding a horse on Art Gallery the figure joins the Ilustrated in John Hoyland’s The especially in the case of Smith. beach in St Ives. This gift is an Cambridge. They find an ideal top of the back rest. world’s most extensive collection Red Boat. He achieved success as a social important addition to the home at Kingston Lacy, which of British studio ceramics. realist in the 1950s before Gallery’s strong collection of work Bankes transformed into a grand Art Funded £1,613 Presented to Pallant House turning to abstraction. by the St Ives School. Italianate house. Total cost £2,210 Art Funded £21,280 Gallery by Professor L and Total cost £84,208 Mrs P Allen through Art Fund Presented to Southampton City Presented to Abbot Hall Art Art Funded £9,000 Courtesy Wisbech and Fenland Museum Art Gallery by Professor L and Gallery by the Barns-Graham © Estate of John Hoyland. Courtesy the artist and Victoria Miro, London Total cost £22,000 All rights reserved, DACS 2016 Mrs P Allen through Art Fund Charitable Trust through Art Fund © Grayson Perry

© Jack Smith © Courtesy of The Barns-Graham Charitable Trust

158 Chapter 6 Working effectively 7099 7100 7101 7102 7103 7104 Glasgow Oxford Cambridge Cambridge Cambridge Cambridge The Hunterian Ashmolean Museum Fitzwilliam Museum Fitzwilliam Museum Fitzwilliam Museum Fitzwilliam Museum

Jacques Villon (1875–1953) Cecil Collins (1908–89) Anthony Bryant (b1960) Michael Eden (b1955) Sara Flynn (b1971) Amanda Simmons (b1970) after Marie Laurencin Eight prints Wavy Holly (pictured) Neon Pink Vortex 1–Esker Vessel Feather from the Swallows La Femme au hamac 1936–74 2015 2015 2013–14 2014 1924 Various techniques Wood Nylon with soft mineral coating Black porcelain Six kiln-formed glass vessels Colour aquatint on paper Various dimensions Width 30.6cm 22 x 24 x 16.5cm Height 14cm Various dimensions 65 × 75cm 2–Double Spine Chamber Vessel This selection of works John Makepeace (b1939) Eden’s work combines drawing (pictured) This delicate collection of Villon made remarkable aquatint demonstrates Collins’s Pair of chairs and digital tools to create forms 2014 vessels was created by Amanda reproductions of famous works of enthusiastic experimentation 2015 such as this three-dimensional Black porcelain Simmons, a Scottish glassmaker art, including examples by his with printmaking, as well as Oak, aluminium and leather printed vase. He says that Height 23cm who specialises in kiln-formed contemporaries Picasso and showing his striking stylistic Height 85.5cm ‘Three-dimensional printing pieces. Her use of opaque Braque. This print will join four blend of Neo-Romanticism allows the customisation of Sara Flynn is an award-winning glass powders creates surfaces others by Villon in the collection, and Surrealism. With their These two works – equally objects, and gives me the Irish potter whose sculptural with varying translucencies including one after Renoir. depictions of fantastical impressive in their own ways – freedom to do things impossible vessels have been exhibited as they elongate during the landscapes and heavenly bodies, show strikingly different with the wheel and clay.’ widely in the British Isles firing process, making every Presented to The Hunterian they make an excellent addition approaches to form: the chairs and elsewhere. She says that object unique. by Martyn P Davis through to the Ashmolean’s significant bold, sleek and polished; the bowl Presented to the Fitzwilliam her work is concerned with Art Fund collection of works by the artist. subtle, intimate and organic. Museum by Nicholas and Judith ‘constant exploration and Presented to the Fitzwilliam Goodison through Art Fund a deepening understanding Museum by Nicholas and Judith © ADAGP, Paris and DACS, London 2016 Presented to the Ashmolean Presented to the Fitzwilliam of form and volume’. Goodison through Art Fund Museum by Harry Dickinson Museum by Nicholas and Judith © courtesy the artist and Adrian Sassoon through Art Fund Goodison through Art Fund Presented to the Fitzwilliam © Amanda Simmons Museum by Nicholas and Judith © Tate 2016. Photo © Ashmolean Museum, © Anthony Bryant Goodison through Art Fund University of Oxford

© Sara Flynn

160 Chapter 6 Working effectively 7105 7012 7106 7107 7108 7109 London Cambridge London Oxford Cambridge Sheffield British Museum Fitzwilliam Museum Victoria and Albert Museum Ashmolean Museum Fitzwilliam Museum Museums Sheffield: Graves Gallery Various makers Unknown maker Designer: Sir Edward Burne-Jones Domenico Piola (1627–1703) Domenico Antonio Vaccaro Collection of Japanese art Copper follis (1833–98) Female Saint on a Cloud of (1678–1745) JB Pyne (1800–70) and Various dates 614 Maker: Carlo Giuliano (1831–95) Ecstasy The Mystic Marriage of St other artists Porcelain and silver Copper Openwork bird brooch pendant Late 17th century Catherine (pictured); Six paintings Various dimensions Diameter 3.3cm c1885–95 Chalk on blue paper The Virgin and Child in Glory 16th–19th century Gold and other materials 32 x 24cm Interceding for the Souls of the Oil on canvas or panel Each piece in this exquisite This is a coin of great historical 4.2 × 4.3 × 1.4cm Departed in Purgatory Various dimensions collection of 39 porcelain and significance to the last major war Piola was the outstanding painter Early 18th century ceramic objects dating from the of antiquity, between Byzantium This openwork gold brooch in Genoa in the second half Oil on canvas This group of paintings – mainly 18th to the early 20th century and Persia (610–30). There are pendant is in the form of a bird of the 17th century. He ran Each 73.5 x 47cm landscapes and marine scenes – is an important example in its fewer than 20 known examples, on an olive branch, decorated a large studio and produced a includes works by James Baker own right. Combined, they show none of them in public collections. with translucent green and red huge amount of work, including Vaccaro was one of the leading Pyne (a follower of Turner) and the breadth of ceramic practice The coin was struck in Jerusalem enamel, and set with turquoise frescoes in churches, palaces artists in Naples in the first half by five other artists, among them in Japan, making a valuable during a brief siege, with and coral cabochons, pearls and villas in and around of the 18th century – versatile Dutch and Italian pictures. addition to the British Museum’s ‘year 4’ (of the reign of the and a single ruby. Genoa. He was a highly prolific and prolific as a painter, sculptor They make a welcome addition Japanese collection. A selection Byzantine emperor Heraclius, draughtsman. This example and architect. Most of his work to the gallery, filling gaps in the of these pieces will be included 610–41) and the mint mark Presented to the Victoria and fits in well with other late remains in Naples, so these two collection and providing links in the rotating display in the of the city on the reverse. Albert Museum by Geoffrey and Baroque drawings in the examples are welcome additions with works already there. Mitsubishi Corporation Caroline Munn through Art Fund Ashmolean’s collection. to the Fitzwilliam’s collections. Japanese Galleries. Presented to the Fitzwilliam Bequeathed to Museums Museum by SJ Mansfield in © Victoria and Albert Museum Bequeathed to the Ashmolean Bequeathed to the Fitzwilliam Sheffield: Graves Gallery by Presented to the British Museum memory of Philip Rueff through Museum by Donald Parker Museum by Donald Parker Donald Parker through Art Fund by David and Anne Hyatt King Art Fund through Art Fund through Art Fund through Art Fund © The Fitzwilliam Museum, Cambridge

162 Chapter 6 Working effectively 7110 7111 7112 7113 7114 7115 Norwich Newcastle upon Tyne London Edinburgh Leeds London Norwich Castle Museum Hatton Gallery Victoria and Albert Museum Scottish National Gallery of Leeds Art Gallery Museum of London & Art Gallery Modern Art Quentin Bell (1910–96), Duncan Bruce Onobrakpeya (b1932), John Atkinson Grimshaw Arthur Boyd Houghton (1836–75) William Hogarth (after), Edward Grant (1885–1978), Julian Jimoh Akolo (b1934), William Turnbull (1922–2012) (1836–1893) London Street Scene with Seago, Walter Sickert, Philip Trevelyan (1910–88), Robert Marianne Fox Ockinga (b1943) 24 works on paper 1–Burnsall Valley, Wharfedale Numerous Figures Wilson Steer, Gaspar Verbruggen Sargent Austin (1895–1973) Group of four prints 1949-51 (pictured) c1860 the Elder, Anonymous Chinese Still Life: Mug of Flowers and 1972–2009 ink, watercolour, pen, chalk Watercolour, bodycolour and Oil on canvas Mirror Glass Painting (pictured) a Crystal Ball; Washerwoman Various techniques Various dimensions gum arabic 26 x 36cm Six Paintings Hanging Out her Washing; Various dimensions 25.5 x 19.5cm 17th–20th century The Plough; Woman Digging This collection of works on paper 2–A Summer Noon, Old Although he died young, Arthur Mainly oil on canvas Various dates Since the early 1980s the was given directly from the artist’s Farmstead, Upper Wharfedale Boyd Houghton was one of the Various dimensions Various techniques V&A has been proactively estate to mark the parallel Watercolour, bodycolour and leading book illustrators of his Various dimensions collecting works on paper acquisition of two oils and two gum arabic on paper day and also an outstanding This bequest greatly enriches (particularly prints) by artists major sculptural works, Aquarium 25.5 x 19.5cm recorder of Victorian life in both the museum’s collections. The These pictures represent a from Africa and the African (1949) and Acrobat (1951), oils and watercolour. This bustling works have been chosen both to significant addition to the diaspora. These four examples also made possible by Art Fund Grimshaw, a native of Leeds, scene is a fine example of his complement existing holdings Gallery’s representation of (two by Ockinga and one each support. The drawings relate is best known for his nocturnal genre painting. and to expand the collections 20th-century British art. by Akolo and Onobrakpeya) closely to the sculptures, townscapes, but this pair into areas that were previously significantly enrich the collection demonstrating an ongoing of jewel-like paintings depicts Bequeathed to Museum of unrepresented. Bequeathed to the Hatton and fulfil its aim to acquire work interest in balance and equilibrium. the British countryside London by George Watson Gallery by J Alero Thomas that is ‘innovative, original and drenched in sunlight and through Art Fund Bequeathed to Norwich Castle through Art Fund exemplary’. Illustrated is Presented to the Scottish National full of vibrant colours. Museum & Art Gallery by Donald Construction St Pancras by Gallery by the family of William © Museum of London Parker through Art Fund © The artist’s estate Marianne Fox Ockinga. Turnbull and the Walton Fund Bequeathed to Leeds Art Gallery through Art Fund by George Watson through Art Bequeathed to the Victoria Fund and Albert Museum by J Alero © Estate of William Turnbull. All rights reserved, DACS 2016 Thomas through Art Fund

© Marianne Fox Ockinga

164 Chapter 6 Working effectively 7116 7117 7118 7119 Edinburgh London London Leeds Scottish National Gallery Royal College of Music Victoria and Albert Museum Stanley and Audrey Burton Gallery Attributed to Hans Rottenhammer William James Grant (1829–66) Attributed to Angelica Kauffman (1564–1625) The Requiem: The Last Hours (1741–1807) Austin Wright (1911–97) Domestic Venus with Children of Mozart Bust Portrait of a Young Woman Limbo Late 16th/early 17th century 1854 c1785 1958 Pen, ink and watercolour Oil on panel Pencil on paper Concrete and lead on paper 73.6 x 142.2cm 21 x 15cm 107 x 152.5 x 45cm 18.5 x 25cm Grant’s early death cut short a This beautiful sketch shows a This sculpture features 26 lead David Teniers, the Younger promising career. He specialised sitter in a Theodore bonnet, ‘figures’ within a concrete matrix. (1610–90) in historical scenes, often with popular around 1785. A possible It was inspired by seaside Diana and Actaeon a strong dose of Victorian author is Angelica Kauffman, holidays in Anglesey and Cornwall 17th century sentimentality. Here the dying a Swiss-born painter whose highly in the 1950s. Wright would sketch Oil on panel Mozart works on the great successful career was spent on site before creating larger 38 x 39.5cm Requiem Mass that he left mainly in London (where she was drawings in the studio, unfinished at his death in 1791. a founder member of the Royal experimenting with grouping This pair of intimate works Academy) and Rome. Research elements together on the page. complements the Gallery’s print Bequeathed to the Royal College will be done to try to confirm collection, which is known for of Music Museum of Music by the attribution. Presented to the Stanley its important representation George Watson through Art Fund and Audrey Burton Gallery of the Baroque period. Bequeathed to the Victoria and by the Austin Wright Trust Albert Museum by George through Art Fund Bequeathed to the Scottish Watson through Art Fund National Gallery by George Watson through Art Fund © Victoria and Albert Museum

© National Museums Scotland

166 Chapter 6 Working effectively There are many ways to get involved with Art Fund: Staff 2015* Advisers Madeline Adeane Sophie Karlsson Art Fund’s work is Ruth Jarratt Jorge Lugo Andere Edward Knight supported by a network Gerry McQuillan Victoria Asare-Archer Jessica Lloyd of expert advisers Anthony Mould Linda Ashworth Rachel Mapplebeck who offer invaluable Tessa Murdoch Join Art Fund Angelina Bacon Elizabeth Marx guidance. Harold Mytum Charlotte Bell Kathryn Mason Mark Oliver artfund.org/get-involved/buy-a-national-art-pass Hannah Bishop Nicholas Maynard Simon Baker Venetia Porter Holly Black Beth Meade Martin Barnes Frank Salmon Become an Art Partner Amy Bradley Catherine Monks Alex Bell Les Smith Rachael Browning Natalie Oleksy-Piekarski Richard Blurton Robert Upstone artfund.org/artpartners Lucy Brownridge Sarah Philp Henrietta Boex Annabel Westman Sophie Budgen Mary Pitt Bryony Bond Paul Williamson Apply for a grant or training course Penelope Bull Dasha Plotnikova Sabine Breitwieser Godfrey Worsdale Jane Cairns Paloma Proudfoot Alison Brown artfund.org/supporting-museums Kanchan Chudasama Bethan Rivers Helen Brown Contact Catherine Cobley Alice Regent Clare Browne Art Fund Help make art happen Emma Coleman Katharine Richards Victor Buchli 2 Granary Square artfund.org/get-involved/art-happens Emma Collings Amy Ross Beatriz Chadour- King’s Cross Samuel Connor Laura Sangster-Poole Sampson/ London N1C 4BH Stephen Deuchar Charlotte Sanguinetti Tom Christopherson 020 7225 4800 Subscribe to receive art in your inbox Jessica Dickenson Luiza Sauma Judith Clark [email protected] artfund.org/enews Robert Dingle Hanaa Skalli Darren Clarke Melanie Francis Andrew Stewart Celia Clear Supporter Kerstin Glasow Alyssa Taffet George Dalgleish services Follow us on Twitter Catherina Gray Silvia Tancredi Kathleen Doyle Art Fund @artfund Samantha Grayson Trudy Thom Joe Earle PO Box 3678 Ana Grigorovici Elinor Trigg Patrick Elliott Melksham Like us on Facebook Doireann Hanley Sarah Tuppen Brendan Finucane SN12 9AP Katherine Harding Alice Vidal (chair, Art Partners) 0844 415 4100 facebook.com/theartfund Sophie Harrison Victoria Diaz Vilas Andrew Fletcher Ruth Hazard Elke Wiebalck Duncan Forbes Art Fund’s Hannah Hill Quintilla Wikeley Amanda Geitner full 2015-16 annual Stephen Hopkinson Liz Workman Miranda Goodby report can be found at Katherine Hudson Carolyn Young Nicholas Goodison artfund.org/ Merrin Kalinowski Ben Harman annualreport2016 Aalia Kamal *1 Jan to 31 Dec 2015 Tanya Harrod June Hill

Portraiture (chapter openers and 2. Adrian Heath, Composition - 5. Peter Blake, The Contemporary Back cover: Domenico Antonio front cover) by Spencer Murphy with Black, Pink, Yellow & Grey (detail), Art Society 1920–85 (detail), c1985 Vaccaro, The Mystic Marriage of special thanks to Madeline Adeane, c1957, Victoria Art Gallery, Bath. Presented to Pallant House Gallery, St Catherine (detail), 1678–1745, Robert Fairman, Anna Sari, Adam Art Funded 2015. © Estate of Chichester, by Professor L and Mrs P Fitzwilliam Museum, Cambridge. Loxley, Dee Ansah, Sarah Tuppen Adrian Heath. All Rights Reserved, Allen through the Art Fund. © Peter Bequeathed by Donald Parker and Henry Holness DACS 2016 Blake. All rights reserved, DACS 2016 through the Art Fund, 2015

1. Cornelis de Heem, A Still Life of 3. Kelley Walker, Andy Warhol’s 6. John Hoyland, The Red Boat National Art Collections Fund. Flowers and Fruit Arranged on a Stone Unfinished Symphony (detail), (detail), 1999 Presented to Pallant A charity registered in England and Plinth in a Garden (detail), c1685, 2010-12, Manchester Art Gallery. House Gallery, Chichester, by Wales 209174, Scotland SC038331 Dyrham Park, Gloucestershire. Art Funded 2015. © Kelley Walker Professor L and Mrs P Allen through Art Funded 2015 the Art Fund. © Estate of John 4. Shirley Craven, Kaplan (detail), Hoyland. All rights reserved, DACS Harris Museum and Art Gallery, Preston. Art Funded 2016. 168 © Shirley Craven and Hull Traders artfund.org