Image courtesy the artiÍ and Yvon Lambert Gallery

Image courtesy the artiÍ and Galerie Yvon Lambert I II III Photograph:courtesy the artiÍ MarcPhotograph: © Domage, courtesyKreo Galerie IV V Photograph: Joe Wrigley, MacCormack Jamieson Prichard ArchiteÇs Wrigley, Photograph: Joe Imagecourtesy the artiÍGallery and Lisson VI VII Photograph:Andyphotography courtesyby Keate AlisonJacques Gallery, Imagecourtesy Maureen ArtInterim Paley VIII IX Photograph:Chapman Forsyth / Munich Photograph:Vack, Tom X XI

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PG Imagecourtesy LondonSouth Gallery Photograph:Angelo Plantamua XII

To mark the end of the I IV VIII Special ColleÇion NAN GOLDIN DAVID BATCHELOR ANNIKEN AMUNDSEN Scheme in , all My Parents Kissing AgainÍ Nature, 2005 Transition, 2003/2004 illuÍrations in this on Their Bed, Salem, Steel & aluminium Woven fishing line & year’s Annual Report Massachussetts, 2004 lightboxes, fluorescent perspex, are of recent purchases Cibachrome, ed. 2/15, lights, acrylic sheet, 300 x 170 x 95 for museums in the scheme. 70 x 101.5 cable, plugs, aluminium ColleÇion Nottingham Available space allows ColleÇion Ferens support, CaÍle Museum only a small seleÇion: Art Gallery, 750 x 70 x 25 & Art Gallery, for a full liÍ of SCS purchased through ColleÇion Mead purchased through purchases in the final the Contemporary Gallery, University of the Contemporary year of the Scheme, Art Society Special Warwick, commissioned Art Society Special please refer to pp 11- ColleÇion Scheme with through the Contemporary ColleÇion Scheme with 18 of the accompanying Lottery funding from Art Society Special Lottery funding text booklet. Arts Council England, ColleÇion Scheme with from Arts Council 2005. Lottery funding from Arts England, 2005 Council England, 2005 II IX JUNKO MORI V INGO MAURER #30 Silver Organism, JAMES CASEBERE Porca Miseria, 1994 2004 Turning Hallway, 2003 Light — exploding Forged fine silver 999, C-type print mounted on dinner service, limited 12 x 21 x 22 plexiglass, ed. 4/5, edition, 135 x 110 x 110 ColleÇion 120 x 150 ColleÇion MancheÍer Museum & Art Gallery, ColleÇion MancheÍer Art Gallery, purchased through Art Gallery, purchased through the Contemporary purchased through the Contemporary Art Society Special the Contemporary Art Society Special ColleÇion Scheme with Art Society Special ColleÇion Scheme with Lottery funding from ColleÇion Scheme with Lottery funding from Arts Council England, Lottery funding from Arts Council England, 2004 Arts Council England, 2005 2005 III X MARC NEWSON VI JANETTE PARRIS Zenith Chair, PAUL MORRISON Throw in the Towel, 2004 designed 1998 Cryptophyte, 2005 Comic Íyle Írip book, Polished aluminium, Acrylic on linen, unlimited edition, ed. 8/8 + 2AP + 2 194 x 145 29.8 x 21, 16 pages prototypes, ColleÇion WorceÍer ColleÇion South 79 x 60 x 77 City Art Gallery & Gallery, ColleÇion MancheÍer Museum, purchased commissioned through Art Gallery, through the the Contemporary purchased through Contemporary Art Art Society Special the Contemporary Society Special ColleÇion Scheme with Art Society Special ColleÇion Scheme with Lottery funding ColleÇion Scheme with Lottery funding from from Arts Council Lottery funding from Arts Council England, England, 2004 Arts Council England, 2005 2005 XI VII TOBY ZIEGLER I Wish I Was a Hole in Self Portrait as My the Ground, 2005 Uncle Bryan Gregory, Backlit film, inkjet 2003 prints, lightbulbs, Digital C-type print, 159 x 125 x 254 ed. 6/6 + 2AP, 124 x 82.5 ColleÇion The New ColleÇion Ferens Art Gallery Walsall, Art Gallery, purchased through purchased through the Contemporary the Contemporary Art Society Special Art Society Special ColleÇion Scheme with ColleÇion Scheme with Lottery funding Lottery funding from from Arts Council Copyright of all works Arts Council England, England, 2005 remains with the artiÍ 2005. and/or their eÍate. 38 1 About Contemporary Introducing the Art Society Contemporary Art Society

he Contemporary Art Society CAS individual members join in aÇively supports living our events and aÇivities because artiÍs and, since 1909, has they have a curiosity about or backed its own judgements commitment to contemporary art. Tabout which works of contemporary CAS encourages individuals to art should be presented to public colleÇ contemporary art and museum colleÇions. Over 5000 inveÍigate art by living artiÍs. works of contemporary art have There is a wide variety of been presented to member museums events, including regular tours throughout Britain since 1910. These around London to exhibitions and include work by artiÍs as diverse Íudios; visits to private and as Francis Bacon and David Hockney, corporate colleÇions, leÇures and Mona Hatoum and Gillian Ayres, international trips. Damien HirÍ and Cornelia Parker. The Society has also run The society is a regiÍered ARTfutures, an annual art market, charity supported by its members since 1984. This selling event and grants from public bodies, encourages the general public to private foundations and many colleÇ art and support artiÍs. generous private individuals and it CAS is an aÇive conduit for continues to raise funds to benefit gifts and bequeÍs, enabling private museum colleÇions throughout the colleÇors to enrich colleÇions British Isles. This has included through Britain and have their Lottery funds via the Arts Council names linked with their gifts in of England and Scottish Arts Council perpetuity. for twenty-one museums in England and . The Contemporary Art Society raises funds for its museum purchases through advice to companies wishing to develop corporate colleÇions and consultancy work for individuals and inÍitutions. Professional guidance is available to those developing contemporary colleÇions or commissioning art or craft.

Contemporary Art Society Bloomsbury 74–77 Great Russell Íreet London WC1B 3DA

Telephone +44 (0)20 7612 0730 Facsimile +44 (0)20 7631 4230 Email [email protected] Website www.contempart.org.uk 2 3 Chairman’s Statement

t has been an extraordinary year. Two of our major programmes The diÍribution to museums is the final Íep in the process, which reached their climax simultaneously. More than £1,000,000 was is unique to CAS. Ispent on new art. The National ColleÇing Scheme for Scotland, a close relative of I intend, however, to take continuity as my theme. Britain Special ColleÇion Scheme, is Íill underway and is thriving. recently mounted an exhibition of Sir Anthony Caro’s work, taking as ARTfutures takes place this year at Bloomberg SPACE in late its signature Early One Morning, an important sculpture presented to November. It should be remembered that we pioneered art markets the Tate by the Contemporary Art Society in 1965. This was prescient. in this country, and ours remains free to enter and, more important, , our only other ArtiÍ Patron, had enjoyed a major carefully seleÇed. retrospeÇive in 2003, also at . Many of her works have I return to my theme of continuity, bearing in mind the been through our hands on their way to museums. In 2005 we now extraordinary resilience of the Contemporary Art Society for nearly have a third ArtiÍ Patron in Ann Sutton, the leading textile artiÍ, who a century, and its Íriking contributions from time to time—whether was responsible for bringing craft back onto the CAS agenda many Picasso, Henry Moore, Damien HirÍ or the Special ColleÇion years ago. We are committed to keeping it there, and to increasing Scheme—and I ask all readers to consider how beÍ we should now the representation of craft in museums. progress the acquisition of contemporary art by museums in this In 1997 Arts Council England awarded the Contemporary Art country. Society £2,500,000 from Capital Lottery funds towards a £3,300,000 As ever we appeal to Government, Arts Councils, private donors, projeÇ to eÍablish the Special ColleÇion Scheme, which would truÍ and foundations to maintain and increase their support, and to enable 15 museums throughout England to develop challenging explore new ways of enlivening our museum colleÇions so that they colleÇions of contemporary art and craft (in the event 19 colleÇions). are never allowed to Íagnate but refresh the spirit of all who enter. The scheme began in 1998 and concluded this year. A total of 575 We have shown that the crusade can be won. What comes next? works has been purchased for £2.9 million. The balance of the funds You will have gathered from the above that Gill Hedley—and her was spent on travel, education, research and career development. colleagues—have had an outÍanding year. I would like to thank her— The contemporary colleÇions of the 15 museums have been hugely and them—on your behalf: she is truly among the great crusaders for enhanced and enlivened by the choice of new work made possible by the art of our times. the scheme. Gill Hedley overleaf Íates that “many museums depend on CAS for their only acquisitions of work by living artiÍs”. The second major programme in which this happened laÍ year was the DiÍribution of 2004/5, the process by which we display and catalogue the purchases made by our invited buyers together with the gifts received during the 4 year period. There were 165 works, valued at £650,000. A seleÇion was shown at the and the totality in . Oliver Prenn Chairman 4 5 DireÇor’s Report

004/5 was rightly dominated by this year’s edition, which will take some very generous gifts made by involved curators more direÇly and the conclusion of the Special place at the Bloomberg Space from artiÍs in Tom’s name, will be Írategically in these aÇivities. ColleÇion Scheme [SCS] and, 23-27 November 2005. presented to member museums. Ann Our corporate work, ARTfutures, in the latter months, by the Sarah Yearsley runs the Scottish Elliott created the seleÇion, membership, Catching Comets, ‘Blood’ 2diÍribution of gifts to member equivalent of SCS, the National the tour and the very beautiful and ‘Spin’ all extend our message museums, through our exhibition ColleÇing Scheme for Scotland catalogue with an illuminating essay and encourage aÇive support. One ShowCASe. [NCSS] and its programme of about Tom and his role in the art of the year’s highlights was the An evaluation of the SCS was purchases and events, about which world. We have also been offered television programme, The Culture launched in OÇober 2005 and, to she writes on page 18. It is not a remarkable gifts by the textile Show, on 17 November 2004, BBC2, quote from one curator: “The Scheme easy to manage a projeÇ where many artiÍ Ann Sutton, previously a CAS which featured CAS and told has transformed an entire generation of the participants are 400 miles committee member, of over forty of our Íory with great Íyle and of British curators…. There muÍ be apart and the headquarters about her own works. These, too, will be simplicity. The departure board at 20-25 curators who are going to pay 400 miles in the opposite direÇion. given to museums and she wishes EuÍon was shown with its letters the country back for the reÍ of Her calmness and eye for detail us to use the gift to encourage tumbling down to spell out artiÍs their professional lives.” We are account for its success. private craft colleÇors to make and the museums where, thanks to very proud of this achievement and The importance of NCSS was why we gifts to museums through CAS. I am CAS, their work can be found. Thus, Ceri Lewis describes the scheme in Íaged ShowCASe in Edinburgh, where delighted that she also accepted our in place of deÍinations, we find more detail on page 9. the City Art Centre is a participant invitation become our third ArtiÍ Gilbert & George in Wolverhampton, The exhibition of all our in the scheme. The two venues Patron. Mona Hatoum in Coventry and purchases and gifts, ShowCASe, received funding from Scottish Arts CAS achieves a great deal with Mike Nelson in Walsall. Look on opened at the South London Gallery Council [SAC] and we owe Amanda meagre resources and is thankful to page 20 for the liÍ of all the in November 2004 — and was followed Catto and Wendy Law our gratitude those who give us financial support, other deÍinations of this year’s by the entire colleÇion in for their financial and moral especially our members – individuals diÍributed gifts. Edinburgh during January – March support. NCSS has also received SAC and museums - without whom we would 2004/5 has given everyone 2005. These two huge projeÇs were funding for new commissions. not be a society and could not do involved in CAS the opportunity managed with dedication and real Another important link with so much for contemporary art and clearly to see what we can achieve. commitment by Mary Doyle, Senior Scotland was the launch of ‘Spin’, artiÍs. We are grateful to our At the South London Gallery; Curator, who has run SCS from the a membership initiative run by public funders, Arts Council of in Edinburgh; in the ShowCASe beginning, and Ceri Lewis, Curator, KirÍie Skinner working for the England and Scottish Arts Council, catalogue and press campaign; who has been intensely involved for National Galleries of Scotland who support us in our work. the Tom Bendhem exhibition and the laÍ three years. I want to pay and CAS. Based on ‘Blood’ in The WeÍ Midlands Hub, funded catalogue; members’ events; ‘Blood’ tribute to their very hard work. We London, ‘Spin’ was launched with by Museums, Libraries and Archives and ‘Spin’ events; the wonderful also acknowledge our dependence great panache at The Hallion Club Council [MLA], made a grant to dinner hoÍed so generously by on the work of other Íaff: Liz in Edinburgh in February 2005. It allow SCS museums in the area to Fatima Maleki for our Catching Cooper and Phil Ashcroft who keep was a particular pleasure at the employ a consultant to look at the Comets supporters; and on TV, us funÇioning and effeÇive; Suzana ShowCASe opening that a group of CAS impaÇ of SCS in the region and to CAS has laid out its Íall. In Bakar and Anna Bayraktar who keep and ‘Blood’ members, led from the help create a template for future Tom Bendhem’s memory and at my us accountable; and Wynne Waring front by Oliver Prenn, joined forces work, involving other museums and suggeÍion, a debate was held at the who gets us on the bus or plane to with ‘Spin’ members for a series identifying possible funding and Oxford Union in March 2005: “This wonderful events, outlined on page 6. of visits, curators’ talks and individual supporters. A Research House believes that Contemporary Nour Wali has joined as Business convivial meals in Edinburgh. ‘Spin’ AssiÍant has also been appointed ArtiÍs are Talentless”. The motion Development Manager: see page 8 for will open in Glasgow late in 2005 and we welcome Sheila McGregor and was defeated. her report on consultancy services. and we hope to offer the template to Sarah Terkaoui as colleagues. Many museums have come to depend Our freelance colleagues have been, other partners in the UK. The circle of private supporters on our colleÇing schemes for the as ever, crucial to many aÇivities. The exhibition to honour our that help CAS enrich public proper attention we pay to the Jeni Walwin seleÇed ARTfutures 2004, donor Tom Bendhem, Tom Bendhem: colleÇions by making purchases collaborative and international (see laÍ year’s report) and, at ColleÇor, also began its tour in from contemporary artiÍs defines elements of colleÇing today. CAS the time of writing, is busy with 2004. All of the works, including us. Our ColleÇion Schemes have increasingly serves to perform 6 7 CAS Supporters: Events & Membership a vital funÇion for public oining the Contemporary Art Society As a result, ‘Blood’ generated intereÍ and involved in these ventures. A cornerÍone of our colleÇions and has to decide as an individual member is an aÇive, new members from our successful discussion programme is CAÍ (Contemporary Art Society where to place the modeÍ amounts effeÇive way of supporting living artiÍs event at Sketch. The grant has also allowed tours): our popular rigorous contemporary art of money raised. Larger museums Jand contributing toward the presence us to concentrate on developing our online coach tours around London that inveÍigate a need our advocacy and network, and of contemporary art in our public museums. resources and funÇionality – the new ‘Blood’ seleÇion of far-flung and temporary venues deserve subÍantial and challenging CAS raises funds to purchase works of website will be launched in late 2005. alongside more eÍablished spaces each gifts from us. Smaller museums ask contemporary art on behalf of 95 public In the next year, amongÍ other things, we month. We invite you to join us. us to give them works that fit into colleÇions of fine art and craft throughout the are looking forward to the CAS Trip to China – inadequate Íores and very closely UK. We are grateful for the integral support indeed an opportunity for broadening horizons April 2004 defined colleÇing policies. Many of our members. Some contribute with their and minds. Our supporters have exemplified ARTfutures 2004 – Members’ private view museums depend on CAS for their expertise, effeÇive ideas and valuably help a forward-thinking generosity to our cause for May 2004 only acquisitions of work by living us forge relationships, others widely sing close to a century – we are ever aware of this Private ColleÇions Tour around NW3 artiÍs. CAS’s Íaff and committee our praises, while behind the scenes there’s responsibility and indeed driven by it. September 2004 will be obliged to make some evidence of more quiet votes of confidence— We extend our thanks to all the artiÍs Private ColleÇion Visit to Surrey fundamental choices in the next our members are remarkably conÍant in their who have opened their Íudios; galleriÍs, AGM at Simmons & Simmons year now that Lottery funding is commitment to us and renew their annual curators and artiÍs that welcomed us to ‘Blood’ weekend in Berlin no longer available to us but when subscriptions year upon year. their exhibitions; our events interns that have OÇober 2004 we have eÍablished a template for The network of supporters is broadening contributed with their fresh ideas, skills, Íyle International Trip 2004: Pittsburgh USA to regional museum colleÇing upon and growing. Our ‘Catching Comets’ patrons and hard work (ChriÍine Hsieh, Amy Knerr, coincide with Carnegie International which we wish to build. contribute larger donations and commit to Camille Guimaraes and Shirin Khosravi); and November 2004 We depend, in so many ways, on doing so over a series of years—the idea colleÇors who have opened their homes. Platform Discussion at KSB Law our committee to make our work behind the name is based on CAS’s reputation We are grateful to our members for their Catching Comets Dinner known, define our goals and to keep of ‘catching comets’ before artiÍs’ careers contributions to CAS events, especially the ShowCASe Preview at South London Gallery us on track. I would like to thank and prices are out of orbit. The impaÇ of these energy, friendliness and inquisitiveness of Tom Bendhem: ColleÇor, CAS touring them all for their personal support supporters’ commitment and championing members that attend, and in particular this exhibition, launched at Ben Uri Gallery, to me, and their generosity with of our cause has been marked this year by year to the following friends and members: Eric London valuable time and expertise, as the exhibition ShowCASe, which displayed and Jean Cass, Milton and Sheila Fine, Tim January 2005 well, in several cases, of gifts purchases of works of art made over the Hadfield, Jean-Conrad and Isabelle LeMaître, ShowCASe in Edinburgh of art. In every case, Oliver paÍ four years. The genuine achievement of Eskandar and Fatima Maleki, Mourad Mazouz, CAS and ‘Blood’ weekend in Edinburgh Prenn, Chairman, leads by example. Catching Comets is the potential impaÇ in Rosie Millard, Guy and Marion Naggar, Anders February 2005 He is on the bus for CAÍ or the perpetuity of the works themselves, when Petterson, Alexandre Pollazzon, Tot Taylor, ‘Blood’ Panel Discussion at Sketch chaired aeroplane to Pittsburgh, makes the they enter public colleÇions—enriching Jean Wainwright, Phil Young, Poju and Anita by Rosie Millard toaÍ at every dinner and is firÍ cultural experience in the UK and potentially Zabludowicz. Our gratitude also goes to the March 2005 through the door at the private view, changing lives. following organisations: City of London School, ArtiÍs’ Íudios tour wherever in the country we happen ‘Blood’, an auxiliary CAS membership The EconomiÍ, Simmons & Simmons, Camden to be. He buys from ARTfutures, initiative launched in 2002, delivers a regular Arts Centre, Artprojx, Arts Council England. made donations to ShowCASe and has programme of evening contemporary art tours been a major Catching Comets donor. with a Írong social element for emerging Events MoÍ importantly of all, he looks colleÇors in London. ‘Blood’ is co-chaired by CAS has a long hiÍory of organising tours, carefully and with a critical eye at Obi Felten and myself, Írongly supported by trips and events for its members dating back everything: works of art, accounts Domo Baal, with further assiÍance this year almoÍ 100 years. The primary aim of our and Írategy. He combines aÍuteness from Anne-Françoise Gavanon, Barra Little events is to cultivate greater underÍanding of with enthusiasm and we owe him a and Sarah Potterton. In addition to nurturing contemporary art and to encourage colleÇing. great deal for his guidance through a new audience for contemporary art, the aim We inveÍigate the new, the beÍ and moÍ an extraordinary year for CAS. of ‘Blood’ is to operate its membership online. cutting-edge of contemporary art by visiting In recognition of its early successes and biennials, artiÍs’ Íudios, galleries, exhibitions, Gill Hedley potential, Arts Council England awarded CAS art spaces and projeÇs, art fairs, private and Wynne Waring DireÇor a grant to develop ‘Blood’ further. corporate colleÇions; and meet the people Events and Membership Manager 8 9 Consultancy Services Special ColleÇion Scheme 1998–2005

he key aims of our Business The total amount spent on s both our DireÇor and Chairman make a notable contribution to the climate of Development work are to pursue art purchases at ARTfutures and have already acknowledged, 2004/5 contemporary art colleÇing. In doing so, they our close collaboration with by corporate and private clients was an important year in our work would eÍablish a model for other museums exiÍing corporate clients; through CAS consultancy this year A with museums. and galleries to follow. Tsecure new projeÇs and members was £160,214. As this complex and ambitious ColleÇing What is quantifiable at this Íage? The where possible; and maximise our Proposals were presented to a Scheme draws to a close, it is fair to say that quality and diversity of contemporary art opportunities to increase awareness number of new potential corporate none of us could have accurately prediÇed acquired is without queÍion. The public and exposure about CAS’s multiple clients and projeÇs, with whom we the outcome when the bid was firÍ made to can now see Olafur Eliasson in EaÍbourne; aÇivities. are continuing discussions. Arts Council Lottery in 1997. Much has been Mike Nelson in Walsall, the firÍ in any British CAS has continued advising Public presentations and achieved over the paÍ seven years, some of colleÇion; Thomas Ruff in Hull; Juan Munoz etc.venues on acquiring an art panel discussions provided ideal which has already been detailed in our reports, in MancheÍer; Shirin Neshat in Nottingham: colleÇion that refleÇs and enhances opportunities to extol the work year on year. It is, however, worth taking Íock major international artiÍs, with eÍablished their business intereÍs and ethos. of the Contemporary Art Society, at this moment, to recognise the scale and reputations, previously outside the reach of Adam Dant’s commission, The Guild of including mentions of ARTfutures, impaÇ of its achievements, and to attempt to regional colleÇions. And this achievement is NeologiÍs, was launched at their our consultancy work as well as our draw some conclusions about its legacy. not confined to the acquisition of fine art — Bonhill House venue in November 2004. membership events and aÇivities. That the Scheme was groundbreaking designers and makers have been purchased AÇively engaging their clients and Such occasions included a panel cannot be overÍated: unique, unteÍed, or commissioned to develop outÍanding open to public participation, this discussion on Corporate ColleÇions it was described by the DireÇor of Visual colleÇions and areas of excellence. commission proved an especially during the Fair; a talk Arts, Arts Council England, as an “aÇion Birmingham Art Gallery now has one of the rewarding art projeÇ, generating at the Radar exhibition of Íudents’ research” projeÇ. The scale in itself was fineÍ colleÇions of contemporary metalwork a great deal of publicity and work and a presentation to Íudents unique—bringing together 15 museums around in Europe; the furniture and lighting colleÇion exposure, and also welcomed the at Sotheby’s InÍitute. England in partnership with CAS, all with at MancheÍer contains work by Ron Arad, contribution of CAS members in Regular meetings and discussions differing colleÇions, Íaff and governance was Thomas Heatherwick, Marc Newson, Ingo the creation of new words for a with the 4Cs, our Contemporary an audacious move, and not without difficulty. Maurer; the textiles colleÇion in Nottingham business lexicon. The completion of Corporate Curators’ Circle, continue It was a change, not only in how museum contains commissioned works by Liz Rideal, the projeÇ was celebrated at one to provide a beneficial support curators had worked, but also in the way that Heather Belcher, and works by a number of of etc.venues’ other premises, The network to share ideas and progress. CAS worked with its member museums. The Japanese makers of international repute. In Hatton. CAS also advised etc.venues Arts & Business have generously Íated aim of the partnership was to “increase some cases works acquired have created on new acquisitions for three of agreed to publicise information the quality and diversity of contemporary art the foundation of new specialiÍ areas within their offices: the highlights were a about CAS and 4Cs on their website colleÇions across the country and to extend colleÇions: photography in Nottingham, Pipilotti RiÍ photograph for Bonhill to advocate corporate art colleÇing the access, enjoyment and underÍanding of furniture and lighting in MancheÍer, lens- House; a Catherine Yass light-box of a high Íandard. contemporary art to a wider audience.”* based work in Ferens Art Gallery in Hull, and for Prospero House; and a set of (See: www.aandb.org.uk — Corporate The scheme sought to address the lack of Southampton City Art Gallery. New media— 6 photographs by Marie-France and Art ColleÇions). contemporary art colleÇing in regional museums DVD inÍallations, sound works, films—an area Patricia Martin for Park Íreet. Updating information about our by providing funds for acquisitions. Moreover, it previously underrepresented in colleÇions can CAS is also proud to have won corporate consultancy work on the recognised the need for curators to build skills, now been seen around the country. the bid to advise BAA on exterior CAS website is also underway. knowledge and expertise, providing money The dramatic change in the level of sculpture commissions for the new At the time of writing, the and time for travel and research, to ensure a support for the work of contemporary artiÍs Terminal 5 at Heathrow. We have next major event to which the 4Cs, suÍainable legacy. £2.5 million was awarded is equally significant. Over 600 works have been contraÇed to projeÇ manage exiÍing and potential corporate from Arts Council Lottery, which, together with been purchased or commissioned for regional the seleÇion of an artiÍ and the clients will also be invited will be partnership funding from museums and CAS, colleÇions in Britain, and over £2.9 million development of this commission ARTfutures 2005 at Bloomberg SPACE in brought the total projeÇ coÍ to over £3.3 million: spent on the acquisition of contemporary through to the launch with the November. A great deal of work and this level of funding would permit a suÍained fine art and craft. Nearly 300 artiÍs are now opening of the new terminal in 2008. energy is being placed into making period of colleÇing in regional museums represented in the 18 regional colleÇions, Advice was also given to a new this a big success. unprecedented in the laÍ 30 years. many for the firÍ time. The scheme has led to Catching Comets member on the It was anticipated that an outcome of the 25 commissions, for both internal and external purchase of a work to enhance her Nour Wali scheme on completion would be that regional sites within museums, with 13 competed during private colleÇion. Business Development Manager colleÇions would then be in a position to the final year. New relationships with artiÍs 10 11

have been developed, changing the way some Perhaps a legacy not so immediately has transformed how CAS has worked with Organism, 2004 dimensions colleÇion curators work: “it has given some apparent, but one vital for the long-term our museum colleagues, and has shown that Forged fine silver variable curators the confidence to begin to develop success of colleÇing in Britain, is on the Írategic intervention at a national level can 999, 12 x 21 x 22 Írong relationships with artiÍs which will now professional development of the curators make a difference. But it cannot operate ALAN CURRALL become a regular way of working… curators involved. In many cases, curators have only without suÍained public inveÍment and a clear REBECCA DE QUINN Message to my have invited artiÍs whose work they have realised in hindsight that this has been the public commitment to contemporary colleÇing. A Jug With Handle, beÍ friend, 2000 purchased to work with them, either on the moÍ important aspeÇ, changing how they The model of the colleÇing scheme that CAS 2004 Single monitor interpretation of material they have bought, or work, their expeÇations and their confidence, has developed dovetails with current thinking Sterling silver, video with sound, to invite them to curate shows themselves.” allowing a thoughtful and suÍained approach yet a successor is not immediately obvious, 27 x 19 x 7 ed. 1/5 + AP Equally encouraging is the faÇ that this closer to colleÇing. “I hadn’t realised that the travel without funding and a national framework. A Handle-less Jug, How I would relationship has led to additional gifts from and research would turn out to be so important. All involved feel CAS has an important role 2004 probably do it, artiÍs to colleÇions. Looking back, it is that that I have gained from to play in working with museums to acquire Sterling silver, 2004 What this means for regional museums moÍ. It was amazingly beneficial. I learned contemporary colleÇions of fine art and craft 25.5 x 8 x 7.5 Single monitor and the public is that local audiences now have so much and it completely changed my way in the future—CAS continues to take the lead video with sound, the opportunity to see quality contemporary of working and my praÇice as a curator… It in exploring how contemporary purchasing can TORE SVENSSON ed. 1/5 + AP work in their region. There is clear evidence gave me space to think.” (Curator, Leeds City be suÍained. Bowl, 1999 Survival kits: that the SCS has enabled museums to develop Art Gallery.) Over the seven years, 25 curators Steel, partly Shipwreck, plane their audiences in a range of ways, and committed some 2300 days to research and Ceri Lewis gilded, 10 x 30.5 crash and nuclear has helped to change people’s perception travel in Britain and internationally. From 5 day ColleÇions Curator 4 small bowls, 2000 war, 1997 of museums as places of hiÍoric intereÍ, visits to Scotland or Scandinavia, to a 12 day *All quotations in this seÇion Steel, partly Triple monitor having little contemporary relevance. Works trip across Canada with 30 curators, visiting are taken from Contemporary gilded, each 4 x 10 video work with Art Society Special ColleÇion acquired through the SCS have direÇly over 65 exhibitions and colleÇions venues, Scheme Evaluation Report, sound, ed. 1/3 + contributed to developing new audiences. independent galleries, artiÍ-led initiatives by Val Millington, 2005. SIMONE TEN HOMPEL AP Visitors to Leeds City Art Gallery now have and Íudio visits—the programme of travel Leuchtender the youngeÍ profile of all WeÍ Yorkshire broadened horizons and offered an international PECIAL COLLECTION SCHEME Schatten (Glowing DALZIEL & SCULLION galleries—a direÇ result, it is seen, of the context. It developed knowledge of artiÍs LIST OF PURCHASES Shadows), 2005 Water Falls Down, new contemporary works purchased. The and their praÇice, relationships with galleries SAll dimensions given in cm, Vessels in mixed 2001 new acquisitions have presented imaginative and dealers, new approaches to display and height (h), width (w), depth (d), unless metals, 210 x 275 DVD inÍallation, opportunities for exhibitions and dynamic exhibitions, and provided a network of contaÇs otherwise indicated (diam.) 9.24 min., ed. displays, reinvigorating the hiÍoric colleÇion. in this country and abroad. In a number of 2/3, dimensions The new contemporary acquisitions have cases the colleÇing policies of museums BIRMINGHAM MUSEUM RAJESH GOGNA FERENS ART variable enabled education Íaff to develop their have been revised to secure a long-term & ART GALLERY Ice-Teapot, 1998 GALLERY outreach projeÇs and resources for schools commitment to the acquisition of contemporary Fine Art Silver-plated Fine Art NAN GOLDIN based on the contemporary colleÇion art. The passion and motivation generated copper teapot, My Parents (rather than temporary exhibition) allowing among curators, inspired to argue the case for TOBY ZIEGLER silver-plated JANE BUSTIN Kissing On Their the development of long-term, suÍainable continuing to colleÇ contemporary art is an Freedom or Death, nickel Íand, Darkness Visible: Bed, Salem, relationships. There are many examples of extraordinary achievement. 2004 unique, Helene Cixous, Massachusetts, improved and suÍained partnerships with Mary Doyle and I would like to pay tribute Oil painting on 28 x 28 x 15 2003 2004 other museums, independent galleries, to all our colleagues in the SCS museums with scotchlite, Oil on wood & cibachrome, ed. agencies, and education inÍitutions. The whom we have worked over the years, for their 145 x 225 x 4 MICHAEL LLOYD cotton, 2/15, 70 x 101.5 frequent requeÍs to borrow works purchased dedication, skill and patience in delivering what Oak Bowl, 2004 169 x 41 X 4.5 through the Scheme by venues abroad at times appeared an almoÍ impossible task. Craft 22 Ç gold, 7 x 6.5 TORSTEN recognises the changing perception of British Their enthusiasm and commitment means that Spring Vase, 2001 DOROTHY CROSS LAUSCHMANN museums, and reinforces the significance and museums now have contemporary colleÇions DAVID CLARKE Britannia silver, GhoÍ Ship, 1999 Mother and richness of these regional museum colleÇions. that will be enjoyed for generations to come. All the 3’s, 2004 gilded, 21 x 12 35mm film child, 2004 It is clear that there has already been an We would like to thank Honor Beddard for her Sterling silver transferred DVD projeÇion, extraordinary impaÇ, but it is fair to say that invaluable assiÍance at CAS in the closing sawn dish, 6 x 33 JUNKO MORI to DVD, 12 min gold paint, there is much more to come. Íages of the scheme. The ColleÇing model x 33 (commission) #30 Silver loop, ed. 2/3, 80 x 60 12 13

THOMAS RUFF 5.20 min., ed. PETER FRASER Silver teapot, RONAN AND ERWAN JASPER MORRISON MARC NEWSON MEAD GALLERY Porträt (V. 2/3, dimensions Untitled, 2003 engraved, BOUROULLEC Thinking Man’s Zenith Chair, Fine Art Levchenya), 2000 variable Fuji cryÍal 15 x 17 x 10 Samurai Chair, Chair, Designed 1998 C-print, ed. 2/4, light jet print 2000 Designed 1986 Polished DAVID BATCHELOR 210 x 165 C-type photograph JORG SASSE Stainless Íeel Painted tubular aluminium, ed. AgainÍ Nature, Blind Pan, 2004 mounted on foamex, 5833, 2003 base with felt and flat Íeel 8/8 + 2AP + 2 2005 BETTINA VON ZWEHL Series of five ed. 1/6, C-print, diasec- and foam, 77 x 72 x 64 x 95.5, prototypes, Steel & aluminium #1, #5, #7, #8, photogravures on 100 x 150 x 3 face on alucobond, 57.5 x 55 (diam.) (manufaÇured by 79 x 60 x 77 lightboxes, from the series Hahnemule Butten aluminium frame, Cappellini) (manufaÇured by fluorescent lights, Alina, 2004 Paper, ed. 11/24, MONA HATOUM glazed, ed. 2/6, PAUL COCKSEDGE Plywood Chair, Bodylines) acrylic sheet, C-prints mounted 61 x 90 Static Portraits 50 x 75 NeON, 2003 Designed 1988 aluminium support, on aluminium, (Momo, Mary Ellen, 9193, 2004 6 neon lights, Plywood, glue PHILIPPE STARCK (commission), framed, ed. 1/5, ROSALIND Peter), 2000 C-print, diasec- glass & gas, and screws, W.W. Stool, 1990 750 x 70 x 25 each 59.8 x 46.4 x 3 NASHASHIBI Three polaroids, face on alucobond, each 50 x 10 x 10 84 x 39.5 x 39, Sand-blaÍed Hreash House, 2004 unique, 72 x 56 aluminium frame, (manufaÇured by aluminium, MIDDLESBROUGH ART GILLIAN WEARING DVD, single screen glazed, ed. 2/6, THOMAS Vitra, 2004) lacquered. GALLERY Self portrait as projeÇion, ed. 2/3 CRAIGIE HORSFIELD 100 x 16 HEATHERWICK Glo-Ball, floor 95.5 x 56 x 53 Fine Art my Uncle Bryan + 2APs Plaice, ascending, Please Keep off lamp, designed (diam) Gregory, 2003 2003 Craft the Glass, 2004 1999 (manufaÇured by Digital C-type SANTIAGO SIERRA Dry print on card, Handblown Hand-blown opal Vitra, 2004) It Never Felt print, ed. 6/6 + Hooded Woman unique, part of a RON ARAD Murano glass glass with Íeel SuperArchimoon Like This, 1999 2AP, 124 x 82.5 Seated Facing the variation of 7, Oh Void II, chair, chair ÍruÇure, base, 174 (h), Giant Lamp, 1999 Monoprint, Wall, Spanish 32 x 27.5 designed 2002 limited edition of Base 33 (diam.), Silver-finished 29.7 x 42 (print SHIZUKA YOKOMIZO Pavilion, Venice Fish, Cabbage, Woven black carbon 12, 85 x 42 x 60, Shade 34 (diam.) Íeel ÍruÇure size) When You Wake, Biennale, Italy, Bottles, 2003 fibre, ed. 1/20, (manufaÇured by (manufaÇured by and cloth shade. 2003 2003, 2003 Dry print on card, 80 x 125 x 60 Salviati) Flos) 214 x 242, Lamp DAVID MUSGRAVE Two screen DVD Black and white unique, part of a Ge Off Sphere, light, Op-La Tray-Table, shade: 55 (diam.), Drawing, 2003 projeÇion, ed. photograph, variation of 7, designed 2000 MICHAEL MARRIOTT Designed 1998 Base: 79 (diam.) Graphite on paper, 6/10, dimensions framed, ed. 4/6 + 30 x 29.9 Laser-set ‘Missed’ Day Bed, Stainless Íeel (manufaÇured by 37.4 x 32 variable 1AP, 150 x 220 Squid, 2003 polyamide with 1999 and ABS plaÍic, Flos) Painted Form No.3, Mixed technique, light fittings and Russet (untreated) 52.5 (h), Louis GhoÍ 2004 LEEDS CITY ART on card, unique, height-adjuÍable leather, Tray 48 (diam), Stacking Chair, Resin and enamel, GALLERY Big V, 2004 part of a cable, ed of 10, polyurethane foam, Base 28 (diam.) 2000 ed. 1/5 (white Fine Art 4 screen DVD variation of 7, max height 260 timber frame, (manufaÇured by Transparent version), projeÇion 28.5 x 27.5 Íainless Íeel Alessi) injeÇion-moulded 10 x 4.5 x 2 ANNA BARRIBALL (commission) GEORG BALDELE legs, 190 x 90 x 44 polycarbonate, 94 Silver Map, 2003 GABRIEL OROZCO Caveman, TATSUYA NAKAMURA x 55 x 47 (diam.) TOBY PATERSON Silver pen on MANCHESTER ART B.K.I., 2004 Designed 1999 INGO MAURER hanne-yasume, (manufaÇured by Pavilion for world map, GALLERY Giclee on Set of 3 lights, Porca Miseria, Designed 2002 Kartell), 2004 Public Transport 82 x 131 Fine Art watercolour paper, aramid fibre paper, 1994 Carved mdf with (Warsaw Version 2), ed. 55/175, metal and glue, Light - exploding polyurethane JASON TAYLOR 2003 ERGIN CAVUSOGLU JAMES CASEBERE 27.9 x 19.7 300 x 45 (diam.), dinner service, lacquer, Scrub Together Acrylic on paper, Poised in the Turning Hallway, 180 x 40 (diam.), limited edition, 26 x 150 x 34 Bench, 2003 75 x 105 Infinite Ocean, 2003 CORNELIA PARKER 125 x 35 (diam.) 135 x 110 x 110 (manufaÇured by Birch plywood 2004 C-type print ObjeÇ that fell Kon-Wood, 2004) & polyeÍer 3 screen video mounted on off the white briÍles, inÍallation with plexiglass, ed. cliffs of Dover, 38 x 120 x 45 sound, looped 4/5, 120 x 150 1992 14 15

DAVID SHRIGLEY Untitled (7/8/03), paper, ed. 3/3 + C-type print, ed. HEATHER BELCHER 100 x 100 x 5 GOSHKA MACUGA mannequin head Untitled (A prison), 2003 2AP, each 100 x 70 1/7, framed, 61 x The Sampler, 2005 Shrines and The source and balaclava, 2003 Gouache on paper, 76 (print size) Wool felt, wood Temples, 2004 of life is in 16 x 80 x 20 Ink on paper, 42.5 x 61.6 CANDIDA HÖFER & velcro support, Sail cloth, the art of the (house), 30 x 21 Trinity College HANNAH STARKEY heat transfer print, digitally transfer people, 2004, 100 x 180 x 10 Untitled (TruÍ), NOTTINGHAM CASTLE Library Dublin II, March 2004, 2004 silk & linen, 19 printed, smocked Wooden extendable (frame), 30 x 100 2003 MUSEUM & ART 2004 C-type colour works in total: with misuhiki table with Íain x 10 (light) Ink on paper, GALLERY C-print, AP 1, print mounted on 3 panels 50 x 70; Írings, design hand (commission) 30 x 21 Fine Art 152 x 177.7 aluminium, ed. 13 panels 45 x 35; 100 x 100 x 5 painted and hand Untitled (Workman 1/5 + 1AP, 1 panel 75 x 45; Street, 2004 polished, unique, THE NEW ART vs. his tools... ), JITKA HANZLOVA SHIRIN NESHAT 122 x 163 x 5 1 panel 75 x 25; Sail cloth, 90 x 180 x 70 GALLERY WALSALL 1998 Untitled (Hunter Women Without Men 1 panel 75 x 40. digitally transfer (commission) Fine Art Ink on paper, with deer), 1994 (untitled 3), 2004 Craft (commission) printed, smocked 24.5 x 26 C-type print, C-print, ed. 2/5 + with misuhiki SASKIA OLDE MONICA BONVICINI Untitled (Red ed. 1/8 1 AP, 72.4 x 233.7 MACHIKO AGANO MICHIKO Írings, WOLBERS Drill 4 ChaÍity, Bird), 2000 Untitled Untitled, 2003 KAWARABAYASHI 100 x 100 x 5 Untitled 2004 Acrylic and pen (Clothesline in JOHN RIDDY Paper wire, Germination, 2003 (Multiplex), 2 part caÍ, on paper, spring), 1991 Sky 6 (Kalk Bay), fishing line, Linen (kaya), NAOKO YOSHIMOTO 2005 bronze & resin, 34 x 36.5 C-type print, 2003 finger knitted, mizuhiki, Memory Miles In DVD projeÇion, ed. 23/35, Untitled (Funny artiÍ proof 2/3 C-type print, ed. 240 x 220 x 220 36 x 200 x 250 My Hand, 2004 ed. 1/7 + 2 10.5 x 15 x 9 bunny), 2000 Untitled (Vesuv), 1/5 + 1AP Cotton, second AP, dimensions Acrylic on paper, 1993 Sky 8 (Kalk Bay), ANNIKEN AMUNDSEN MAXINE BRISTOW & hand clothes & variable MARTIN CREED 45.5 x 41 C-type print, 2003 Transition, KYOKO NITTA accessories, Work No.264 Untitled (Tired), ed. 2/8, C-type print, ed. 2003/2004 Pockets/ 50 x 50 x 20 JANETTE PARRIS Two protusions 2001 Untitled (House 1/5 + 1 AP Woven fishing line Ventilation Throw in the Towel, from a wall, 2001 Ink on paper, in snow), 1993 Sky 10 (Normandy), & perspex, Grill, SOUTH LONDON 2004 Aluminium, 35.4 x 39.2 C-type print, 2003 300 x 170 x 95 Cotton, cotton GALLERY Comic Íyle Írip plaÍer & paint, ed. 4/8 C-type print, ed. wadding, MDF, Fine Art book, unlimited ed. 8/9 + 1AP, BOB & ROBERTA Untitled 1/5 + 1AP JEANETTE APPLETON organdie, hand/ edition, 29.8 61(diam.) x 30.5 (d) SMITH (Bathtub), 1994 Sky 12 (Monaco), Land Line: Double machine Íitched, x 21, 16 pages Blake is a lowlife, C-type print, 2003 Edged Encounters, overall size 270 x Settlement, 2004 (commission) DOROTHY CROSS 2002 ed. 1/8 C-type print, ed. 2003 430 x 250 DVD, unique, Eye Camera, 2004 Gouache on card, Untitled (Dance 1/5 + 1AP Needle, felt, dimensions CORNFORD & CROSS Bronze, ed. 2/4, 48 x 63 with Goat), 1993 Sky 14 transfer print, LIZ RIDEAL variable Where is the Work? 10 x 14 x 9 C-type print, (), 2003 metal rod, clips, Tapis Volant, 2005 (commission) 2004 JOHN WOOD & PAUL artiÍ proof 1/3 C-type print, ed. 60 x 2840 Wool tapeÍry, CaÍ iron and CHRISTIAN MARCLAY HARRISON All from the 1/5 + 1AP 200 x 300 MARK DION wall text, unique, My Bad Ear, 2004 66.86, 2004 Rokytnik series, Each 33 x 40 EMILY BATES (produced by Secret Garden 60 x 60 x 2 Life size bronze DVD, single chan- each 40 x 29.8 [print size] Falls of Peace Dovecot Studios, Biological Field (commission) caÍ, ed. 34/60 nel projeÇion, (version II), 2003 Edinburgh) Unit, 2004 with sound, ed. 1/3, SUSAN HILLER NIGEL SHAFRAN Black synthetic Blue & red pencil PAULA ROUSH RICHARD WOODS dimensions variable Snow Scenes / Bookshelves organdie fabric, EALISH WILSON on paper, AeÍhetics of Logo No.14, 2005 Schneeszenen, 2003 (Archive Bookshop), dimensions Kimono, 2004 23 x 30.5 Emergency (art Floor inÍallation: RICHARD WRIGHT 3 piezo 2004 variable Sail cloth, Grotto, 2005 and security), 2004 printed wood, Untitled (black prints with C-print, framed, digitally transfer Red & blue pencil InÍallation, mdf gloss paint, Íar), 2004 pigmented inks ed. 2/5, 118 x 145 printed, smocked on paper, playhouse, cush- dimensions Enamel on paper, on Hannemuhle Charity Shop, with misuhiki 25.5 x 32.5 ions, 8 DVDs, variable 90 x 130 William Turner Watford, 2001 Írings, texts, lightbox, (commission) 16 17

TOBY ZIEGLER MICHELLE ERIKSON JACQUELINE the series on aluminium STEPHEN WILLATS Emulsion, ANTHONY HAUGHEY I Wish I Was Liberty (JuÍice), PONCELET trash4cash, 2003 (commission) In Relationship watercolour on Resolution, 2004 A Hole In The 2003 Who Knows?, 1994 Ceramic, silicon, to Another, 2004 board, 110.5 x 86.8 InÍallation, Ground, 2005 Porcelain and 63 paintings, metal wire, Acrylic paint, Buffalo Gather to 26 lightboxes, Backlit film, Íoneware, thrown photos & fabric on 9(h) x 12(d) Four Walls, 2004 letraset text & Graze the North DVD projeÇion, inkjet prints, & hand-modelled, wooden Íretchers, DVD with colour & ink on card, Montana Plains, sound, dimensions lightbulbs, 36 x 22 221 x 318 ANN SUTTON sound, 100 x 100 2003-2004 variable 159 x 125 x 254 JuÍice (Liberty), Morphing Crosses, ed. 2/6 + 1 AP Emulsion, 2003 DAVID SHRIGLEY 2000 Nourishment, 2002 JANE & LOUISE watercolour on ZINEB SEDIRA THE POTTERIES Porcelain and Black Pot, 2004 Linen, 25 x 25 Portfolio of WILSON board, 110.5 x 86.8 Mother, Daughter MUSEUM & ART Íoneware, thrown Clay, glaze, Movement Meshes, 12 etchings, Monument (Apollo ForeÍ at Dawn, and I, 2003 GALLERY & hand-modelled, enamel paint, 2001 Hahnemuehle Pavilion, Peterlee), 2003 Tryptich, C-type Craft 36 x 22 43(h) x 18(diam.) Ink on paper, paper, edition 2003 Emulsion, prints, mounted Tea Toadler, 2004 Untitled (Tom 15 x 21 of 37, published Four LCD screen watercolour on on aluminium, ed. BARNABY BARFORD Agate earthenware, Thumb), 2000 by Paragon Press inÍallation, ed. found wood, 2/3, 142.3 x 101.6 I need a bloody porcelain and Acrylic and ink London, 2002 2/5, dimensions 68.5 x 50.8 holiday, 2004 indigenous clay on paper, Hairshirt, 1997 variable Fence (2), 2003 ROSS SINCLAIR 3 plates, epoxy with gold enamel, 34 x 42.4 Silk labels & TOBY PATERSON Found wood, Real Life resin, 27 x 62 21 x 19 muslin, 91 x 66.8 New Plan, 2004 TOWNER ART dimensions Geography, 2001 It always happens Pairrot Teapot, JULIAN STAIR Mdf, acrylic on GALLERY variable Ten neon when you leaÍ 2004 Adult Sarcophagus, MARTIN VINCENT canvas, acrylic and Fine Art sentences mounted expeÇ it, 2004 Agate earthenware 2004 The North / South perspex, acrylic WOLVERHAMPTON ART on perspex panels, 2 plates, epoxy and porcelain Thrown circular Divide, 2002 on wood panel, TACITA DEAN GALLERY 12(h), dimensions resin, 27 x 44 press moulded sarcophagus & lid, Cotton on 14 point 30 x 160 x 30; The Green Ray, Fine Art variable thrown & modelled, oxidised Etruria aida, 1/3, 50 x 60 51.2 x 63 11.8; 2001 NEIL BROWNSWORD 34 x 27 Marl, 270x 120 x 40; Colour poÍcard, JEREMY DELLER GILLIAN WEARING Remnant, 2000 154(h) x 72(diam.) THE WHITWORTH ART 190 x 60 x 50 ed. 80/100, William Elliot Olia, 2003 Ceramic & found Funerary Jar, 2004 GALLERY 10.5 x 14.9 Whitmore Live at C-type colour archaeology, mul- While reaching Reduced Etruria Fine Art IAN RAWLINSON Melancholy Ranch, photograph, tiple consiÍing for Alma Ata, 2004 Marl, oxidised Refuge 1, Refuge RONI HORN Ten 7” piÇure framed, 4/10 APs, of 2 components, Set of 5 porcelain white Íoneware, 2, Refuge 3, You Are The discs, poÍer, edition of 100, 11 x 25 x 60 apples, glaze, 31 x 44 x 36 Beyond Yonder, Refuge 4, 2004 Weather, 1998 monogrammed 61 x 51 ed. 4/6, dimensions Funerary Jar, 2004 2002 from the series Two-colour silk box, ed. 5/40, ROBERT DAWSON variable Oxidised Oil & wax on cotton SS Patris, screen on Arches dimensions WORCESTER CITY Surface, 2003 porcelain, duck, 229 x 366 Graphite on paper in wooden variable ART GALLERY & Print on ceramic oxidised white draughting film, frame, ed. 58/60, MUSEUM tiles, 51 x 76 Toby Jug, 2004 Íoneware, JACQUELINE framed, 50 x 60 SIOBHAN HAPASKA Fine Art Ceramic jug, 31 x 44 x 36 DONACHIE each 42 x 60 Cease Firing On EDMUND DE WAAL unlimited edition, Crawfurd Heights, PETER LIVERSIDGE All Fronts, 2003 DAVID AUSTEN In a dark wood, 16.4 x 10.5 x 12 HANS STOFER 2004 Elk Relax in the Light jet print Green Tree, 2004 2003/2004 Eden, 2002 Galvanised Íeel Drawing for Beauty of their on fuji cryÍal Oil and charcoal Three porcelain CAROL MCNICOLL Ceramic fragments (c0mmission) Snow Show, 2004 Surroundings, 2001 paper mounted on on flax canvas, jars, Pair of Jugs, 2002 by Janice Green Place, Collage, acrylic Emulsion, aluminium, 214 x 152 83(h) x 12(diam.), Slip caÍ, Tchalenko, Íeel 2004 medium and watercolour on ed. 1/5, 91(h) x 12(diam.), Íoneware glaze & coated, glue, gold Sycamore and graphite on paper, board, 39.1 x 40 154.5 x 121.5 90(h) x 13(diam.) transfers, leaf, 15 x 30 x 35 galvanised 56 x 38 Forever Summer on 32 x 12.5 Cup & Saucer, Íeel, 3 digital the North Montana allinone, from prints mounted Plains, 2003-2004 18 19 National ColleÇing Scheme for Scotland

RICHARD hardboard, ed. emonÍrating their growing ambition CSS LIST OF PURCHASES CITY ART CENTRE, Craft BILLINGHAM 1/9 + 1 AP, 46 x 46 and confidence Scottish curators All dimensions given in cm, EDINBURGH Untitled no.1, A Polikarpov Po-2 have made acquisitions of 30 works Nheight (h), width (w), depth (d), Fine Art ANNIE CATTRELL Black Country, 2003 biplane has been D of visual and applied arts this year, unless otherwise indicated Capacity, 2001 Colour lightjet looping & diving a and much of this is now on display in the GRAHAM FAGEN Blown glass with print, ed. 1/5, smoky trail above museums concerned. ABERDEEN ART Craft Nothank, 1999 lampwork 111 x 136 the Siberian Curators have been inspired by CAS-led GALLERY & MUSEUM InÍallation and taiga for some research visits to Zurich, AmÍerdam, ArtBasel, Fine Art DAVID HUYCKE documentary ALISON KINNAIRD MARION COUTTS time, as it spells and ColleÇ, amongÍ others, Patinated silver Streetwise II, Everglade, 2003 out a brand of and by the opportunity to share knowledge and CHIHO AOSHIMA bowl, 2004 HUNTERIAN ART 2004 DVD inÍallation, Russian ice cream expertise with each other. Zombies in the Silver GALLERY, GLASGOW Glass tableau screen, stand, ed. in the sky. Below Highlights of the lateÍ acquisitions Graveyard, Fine Art with engraved 1/3, dimenions is a woman who include: Gavin Turk’s caÍ bronze sculpture 2001 HIROKI IWATA glass panels lit variable can hardly be…, of a sleeping bag for & Photographic Copper Vase, 2004 ANNE BEVAN & by dichroic filters 2004 Museums; ‘Habitat’; Paisley Museum & Art print on photo- Copper and enamel JANICE GALLOWAY JAMES IRELAND Looping 10 min. Galleries acquisition of Anya Gallacio’s exquisite graphic paper Rosengarten, 2004 KATE MALONE The Decline and sound inÍallation, caÍ bronze and silver sculpture ‘Whirlwind in TORU KANEKO Mixed media Bubble Pyramid, Fall, 2004 ed. 2/5 + 1AP the Thorntree’; Graeme Todd’s painting ‘It Is AND Copper Vase, 2004 Line 1, 5th item, Steel frames, So Endless’ for McManus Galleries, ; DAVID BAILEY Copper MCMANUS GALLERIES, 2004 nuts, bolts, PAUL MORRISON metalwork by several international makers Jesus is DUNDEE Pebble-glazed washers, twigs, Cryptophyte, 2005 for Aberdeen Art Gallery & Museums; and the Condemned to Die, JUNKO MORI Fine Art earthenware glass with vinyl Acrylic on linen, Hunterian Art Gallery’s purchase of Anne Bevan 2004 A Small Propagation printing, 194 x 145 and Janice Galloway’s thought-provoking C-print on ProjeÇ, 2004 MASSIMO BARTOLINI RACHEL WOODMAN 80 x 150 x 200 inÍallation Rosengarten (made in response to aluminium in artiÍ Forged mild Íeel, Fiscus, 2004 Chosen I, RW99, PAUL NOBLE objeÇs from the Hunterian’s colleÇion). designed frame, wax coated Nespolo drypoint line 1, item 2, HEATHER & IVAN M, 1997 Working in partnership with other photographed by A Silver Organism, on plexiglass 2004 MORISON Pencil on paper, organisations is key to the success of NCSS. It David Bailey 2002 Blown cased glass, Chinese Arboretum, framed, 73 x 67 is a delight to see the curators involved virtually Silver purple over white, 2003 doubling their purchase funds in some cases JULIAN OPIE Burning Flowers 2, gold leaf 30 medium format JEM SOUTHAM thanks to grant-aid funding from other bodies. Sara, Walking, HIROSHI SUZUKI 2003 slides, ed. 1/3 Untitled Further National Lottery funding from the Sparkly Top and Aqua Posey VI,2003 Photograph, ed. 2/3 PAISLEY MUSEUM & + 1AP (Polder 6), 2003 Scottish Arts Council is allowing the NCSS Jeans, 2003 Hammer-raised fine ART GALLERIES Colours and C-print, ed. 1/6, museums to commission new work for their Computer film on silver GRAHAM FAGEN Fine Art sounds in Ivan 91.4 x 116.8 colleÇions from Scottish-based artiÍs and plasma screen Where the Heart Morison’s garden, makers. The firÍ commission will be a major DAVID WATKINS Is, 2002 ANYA GALLACIO Spring 2002, piece of metalwork for Aberdeen Art Gallery & GAVIN TURK Palaces of the Sculpture Whirlwind in the 2002, Looping Museums’ colleÇion. Habitat, 2004 Night II pin, 2003 Thorntree, 2004 DVD inÍallation Funding for the firÍ phase of NCSS comes Painted bronze Íeel DUNCAN MARQUISS Sculpture of caÍ with sound on to an end in March 2006 and we are working In the Gardens of & ANDY WAKE bronze with caÍ suspended two- closely with the Scottish Arts Council and the VLADIMIR BOHM Arqua Petrarca Skoggangr silver berries on sided screen, ed. NCSS museums to ensure that the excellent Bowl, 2003 Series bangle, 2003 Video a Íeel plate base 5/5 + 1 AP, progress made so far in Scotland continues. Fine silver with Íeel I put you on a white opaque GRAEME TODD HANNELINE VISNES mile long Íring, enamel It is so Endless, In The Flowers, 2004 but you Íill 2002 Oil on board broke away, 2004 Acrylic, ink, Faces Fading, 2004 Framed lambda Sarah Yearsley varnish on board Oil on board print on NCSS Co-ordinator 20 21 DiÍribution 2005 ShowCASe

our years of purchasing on behalf of Exhibitions HOWCASE DISTRIBUTION: MATT COLLISHAW Craft our member museums culminated in ShowCASe Preview, South London Gallery, ALLOCATION OF WORKS TO MEMBER Self Portrait, the exhibition and allocation of work 19 November – 19 December 2005 SMUSEUMS All dimensions given 1997 DAIL BEHENNAH F to colleÇions across the country. In ShowCASe: Contemporary Art for the UK, in cm, height (h), width (w), depth (d), Colour transpar- Pair of Black and November 2004 a curated seleÇion of work City Art Centre & , University unless otherwise indicated ency in lightbox, White Willow was shown at South London Gallery, followed of Edinburgh, 22 January – 12 March 2005 ed. 10/11, Bowls, 2002 by the major exhibition of purchases and ABERDEEN ART THOMAS HILL 51 x 43 x 7.2 Willow, silver- gifts at the Talbot Rice Gallery and City Art Catalogue GALLERY Black Beaked Gift of KarÍen plated and brass Centre in Edinburgh. We would like to thank ShowCASe: Contemporary Art for the UK, Fine Art Flying Bound Wire Schubert pins, 48 x 48 x Margot Heller, Pat Fisher, Ian O’Riordan and published by Contemporary Art Society, 2005. Bird, 2004 11 (white), their colleagues who worked in partnership Copies may be purchased direÇly from CAS. LOUISE HOPKINS Bound wire, wood, Craft 48 x 48 x 9 (black) with us to Íage such ambitious projeÇs. Black Sea, 2003 Íeel, resin, Purchased by CA, The exhibition would not have been possible Buyers aAcrylic ink on enamel paint, KAMILLA RUBERG 2004 from Crafts without the generous support of the Scottish Charmian Adams, private colleÇor (CA) world map, 75 x 40 Kinetic Pendant, Council, London Arts Council and Stanley Thomas Johnson Patricia Bickers, editor of Art Monthly (PB) 80 x 126.5 x 2.5 Purchased by CA, 2003 Foundation, to whom we owe many thanks. Lisa Corrin, was Chief Curator, Serpentine Purchased by AP, 2004, from 18Ç white and CATHERINE MARTIN We also indebted to Kerry Duggan whose Gallery, and is now Deputy DireÇor of Art, 2004 from Bluecoat Display yellow gold, two Tied Leaves, 2003 dedication ensured that the exhibition Jon and Mary Shirley Curator of Modern and doggerfisher, Centre, Liverpool princess cut 18Ç yellow gold, catalogue was such a success. Contemporary Art, Seattle Art Museum (LC) Edinburgh diamonds, clear 5.5 (l) The process of seleÇion and allocation of Thomas Frangenberg, private colleÇor CECIL HIGGINS ART elaÍic polymer, Purchased by CA, works of art is always complex. It would not and leÇurer in the HiÍory of Art at the YOKO IZAWA GALLERY, BEDFORD black ribbon, 2004 from Lesley be possible without the generosity of all those University of LeiceÍer (TF) Veiled Jewellery, Fine Art 4.5 x 8.5 x 1.6 Craze Gallery, involved. Our appointed buyers gave time and Andrew Patrizio, Reader and DireÇor 2003 Purchased by CA, London thoughtful consideration to their purchasing; of Research at , Lycra, nylon, JEAN ARP 2003 from the individuals chose CAS as the conduit for their writer and curator (AP) perspex, 18Ç Litho, undated ArtiÍ GRUNDY ART gifts of works of art; and we received generous Barbara Taylor, former DireÇor of Bury yellow gold, nylon Lithograph, GALLERY, BLACKPOOL support from foundations, funding bodies St Edmunds Art Gallery, 1993 – 2004, now cord, 8 x 7 x 1.5 49 x 67 BIRMINGHAM Fine Art and individuals. Programme DireÇor for the “en-quire” aÇion Purchased by CA, Gift of Dasha MUSEUMS & ART CAS has now given the works to museum research programme (BT) 2003 from Royal Shenkman GALLERY LAURA FORD colleÇions throughout the UK and the final College of Art, Fine Art Naughty Bird, 1998 Íage of the process is complete. We are Grants London Craft PlaÍer on wire delighted that the public will soon see Purchases have been made possible with BRUCE MCLEAN frame, these works of contemporary art in their the support of: Craft WENDY RAMSHAW Spoon to Spoon II, 195 x 52 x 46 permanent homes. Arts Council England (ACE) Dream Tower, 2000 1980 Gift of Barbara The Fine Family Foundation (FFF) STEPHEN FOLLEN Perspex, acrylic and wax Lloyd The Henry Moore Foundation (HMF) Arrangement, 1995 Íainless Íeel, crayon on The Worshipful Company of Painter-Stainers Coiled mild Íeel optical glass photographic BOLTON MUSEUMS & (WCPS) with wooden with froÍed paper, 202 x 137 ART GALLERY hardcore in three acrylic surface, Gift of Dasha Fine Art Buyer and grant (where applicable) indicated seÇions, 50 x 12 Shenkman after each work 140 x 10 x 7, Purchased by CA, PHILLIP KING 138 x 5 x 5, 2004 from the Untitled, 1988 128 x 18 x 4 ArtiÍ Untitled, 1988 Collage, 22.4 x 29 Purchased by Oil on canvas, Gift of Dasha Linda Theophilus, ULSTER MUSEUM, 213.4 x 213.4 Shenkman 1995 (ACE) BELFAST Purchased by Ceri Lewis Fine Art Adrian Ward- ColleÇions Curator Jackson, 1989 22 23

MICHAEL LANDY ed. 6/10, CATHY DE MONCHAUX Purchased by LC, PAULA REGO from Film and KATE POWELL by Greg Worth, [Untitled] (2), 88.9 x 119.4 Wound Drawing 2001 from Team Nine London Birds, Video Umbrella, Pod 1, 1999 from their (3), (5), (6), 2002 Purchased by LC, No. 10 (Spike), Gallery, NY (HMF) 1994 London (HMF) White clay, colleÇion Etchings from the 2001 from Lehmann 2004 Portfolio, oxidised silver portfolio Maupin, New York Paper, brass, Craft published by Byam CITY ART CENTRE, plated wire, BANKFIELD MUSEUM, Nourishment, wood, paint, Shaw School of Art, EDINBURGH 60 (l) x 35 (w) HALIFAX published by Craft 58.5 x 58.5 x 9 DRUMMOND edition of 80, Fine Art Given by Lee Tuan Craft Paragon Press, Gift of Oliver MASTERTON Gift of Tom in memory of her London, 2002, ANE CHRISTENSEN Prenn Memoryscapes, Bendhem DAVID CONNEARN mother, Tay Geok JENNY CRISP Each 90 x 78.5 ConneÇed Bowls, 2000 Coming Going (I) Yap Boat Basket, 2004 [sheet size] 2003 Craft Resin board, MCMANUS GALLERIES, & (II), 2002 Hazel frame, Gift of KarÍen Silver, silver leaf, DUNDEE Ink on paper, GLASGOW ART purpurea willow, Schubert 12 x 35 x 12 JUNKO MORI cellulose paint, Fine Art each 117 x 117 x GALLERY & MUSEUM 30 x 120 x 30 Purchased by CA, #45 Organism, 2001 caÍ silver, 2.5 Fine Art Long ReÇangular Craft 2003 from The Forged Íeel, 12 x 45 x 31.5 BRUCE MCLEAN Purchased by AP, Tray, 2003 Metal Gallery, dried plants, Purchased by CA, ObjeÇs d’outback, 2004 from dogger- RICHARD WRIGHT Purpurea willow, GALIA AMSEL London (ACE) 15 x 15 x 15 2003 from the Undated fisher, Edinburgh Untitled, 2003 6 x 120 x 22 Passage V, Purchased by BT, ArtiÍ (ACE) enamel on metal, woth funds from Series of 6 colour Purchased by CA, 2002 BRISTOL MUSEUMS & 2002 from Crafts 140 x 140 Peter and Maria silkscreen prints, 2004 from the kiln glass, ART GALLERY Council, London MEAD GALLERY, Gift of Richard Kellner ed. 13/30, 122 x ArtiÍ 20.8 x 17.6 x 5.1 Fine Art (ACE) UNIVERSITY OF Walker 88, 67.5 x 96.3, Purchased with WARWICK, COVENTRY SCOTTISH NATIONAL 43 x 36, 57.5 x 38, MERCER ART funds bequeathed MATT CALDERWOOD CHELTENHAM ART Fine Art Craft GALLERY OF MODERN 82 x 115 & 73.5 x GALLERY, by Brian Willis Ground Experiment GALLERY & MUSEUM ART, EDINBURGH 103.5 HARROGATE from Cowdy #1, 1998 Craft FERNANDO Fine Art Purchased by AP, Fine Art Gallery, DVD on monitor Double Back CASASEMPERE 2004 from The GlouceÍershire with sound, ed. 2/8, MACGREGOR & Platform, 2001 Untitled, 2001 NATHAN COLEY Modern InÍitute, MARGARET HUNTER Purchased by TF, MICHAEL Anodised Stoneware and A ManifeÍo for Glasgow Cross Your Heart, BRADFORD ART 2001 from the Lidded Bag, 2003 aluminium, opaque induÍrial waÍe Bournville, 1999 1988 GALLERIES & ArtiÍ (HMF) Vegetable-tanned plexiglas, materials, Digital photo- HUNTERIAN ART Acrylic & conte MUSEUMS cow hide, hand 3 x 120 x 120 80 x 37 x 20 graphic print, GALLERY, on card, 27 x 21 Fine Art Craft Íitched linen, Purchased by TF, Gift of Dasha 110 x 240 UNIVERSITY OF Gift of Dasha 40 x 31 x 7 2001 from Corvi- Shenkman Purchased by PB, GLASGOW Shenkman L.S. LOWRY WAYNE VICTOR Purchased by CA, Mora, London 2004 from dogger- Fine Art Haworth Church, MEETEN 2003 from the (HMF) TOWNER ART fisher, Edinburgh EILEEN AGAR 1950 Eclipsed Spiral, ArtiÍs GALLERY, (HMF) THERESE OULTON Portrait of Miss Pencil on paper, 2003 DONCASTER MUSEUM EASTBOURNE Untitled, 1990 Terry, 1980 34.3 x 41 Mokume gane, HERBERT ART & ART GALLERY Fine Art ZEBEDEE JONES Monoprint, 96 x 61 Acrylic on canvas, Given in memory glass surround, GALLERY & MUSEUM, Fine Art Untitled 1, 2001 Gift of Dasha 46.5 x 36.5 of Brian Willis 5(h) x 30(diam.), COVENTRY ADAM CHODZKO Oil on linen, Shenkman Given in memory by Greg Worth, surround 45(diam.) Fine Art NORMAN ACKROYD, Plan for a Spell, 120 x 120 of Brian Willis from their Purchased by CA, CRAIGIE AITCHISON, 2001 Gift of Oliver CERI RICHARDS by Greg Worth, colleÇion 2003 from the MARIA MARSHALL JOHN BELLANY, Single screen DVD Prenn The Lion Hunt, from their ArtiÍ Playground, 2001 JEFFREY CAMP, projeÇion with 1962 colleÇion DO-HO SUH DVD projeÇion PATRICK CAULFIELD, sound, ed. 2/5 + 3 SHIPLEY ART Oil on canvas, Who Am We?, 1999 NATIONAL MUSEUM & with sound, ed. PRUNELLA CLOUGH, APs, dimensions GALLERY, 38.4 x 43.5 EILEEN COOPER Iris print on GALLERY, CARDIFF 5/5, dimensions BARRY FLANAGAN, variable. Craft Given in memory Learning to Fly, Somerset paper, Fine Art variable MAGGI HAMBLING, Purchased by PB, of Brian Willis 1989 24 25

Etching, ed. Commissioned by Oil based inkjet 2000 PETER DOIG, ANYA Heart, 1988 SOUTH LONDON TATE, LONDON 11/35, 70 x 60.8 AP, 2004 from the on aluminium, Acrylic on canvas GALLACCIO, BRAD Bronze, GALLERY Fine Art Given in memory ArtiÍ (HMF) 293 x 239 in two parts, LOCHORE, CORNELIA 39.5 x 28 x 24 Fine Art of Brian Willis Purchased by TF, 91 x 91 & 34.5 x 18 PARKER, KATHY Gift of Dasha MARK DION & J by Greg Worth, NICKY HIRST 2004 from Vilma Purchased by TF, PRENDERGAST, Shenkman HAYLEY NEWMAN MORGAN PUETT from their Untitled, 2001 Gold, London 2001 from Anthony YINKA SHONIBARE, Meditation on The Ladies Field colleÇion Moulded plaÍic Reynolds Gallery, GAVIN TURK, MARK WALKER ART Gender Difference, Club of York, 1999 tiles and pins, LEEDS CITY ART London (HMF) WALLINGER GALLERY, 1998 Suite of eight MARGARET HARVEY 213 x 182 GALLERY Bugs, 2000 LIVERPOOL C-type print and sepia photographs, GALLERY, Purchased by TF, Fine Art JOHN HOOPER Portfolio Fine Art accompanying text, hand painted text UNIVERSITY OF 2001 from Untitled (To published by Byam ed. 3/3, 40 x 26.7 mounted on HERTFORDSHIRE Wilkinson Gallery, JOHN DAVIES BernÍein’s “Big Shaw School of Stealth, 1998 photographic board, London (HMF) Drawing of T.P, Bluff”), 24.7.94– Art, edition: Man with Glass, Black and white each 50.8 x 40.6 SARAH JONES 1977 26.7.94, 1994 edition of 90 1991 photograph and Purchased by LC, Consulting Room Craft PaÍel and pencil Acrylic on canvas, with 15 APs, 30.5 Black and white accompanying text, 2002 from Tanya (Couch) (VII), 1997 on paper, 41 x 51.5 x 40.5 [sheet photograph, glass, ed. 3/3, 55 x 106 Bonakdar Gallery, C-type JENNIE MONCUR 39.9 x 37.5 Gift of the artiÍ size] 16 x 17 x 1.5 Both from the New York with Photographic Parlour Pink, 2003 Figures and Wall, Gift of Tom Gift of KarÍen series funds from Peter print, mounted on Wool and linen on 1978 MICHAEL LANDY Bendhem Schubert Connotations — and Maria Kellner aluminium, unique mohair warp, PaÍel and pencil Our limit is that Performance + 1 AP, 152.4 x 150 x 100 x 0.5 on paper, of the desire and Craft KEITH VAUGHAN Images, 1994–1998 MANCHESTER CITY 152.4 Purchased by CA, 38.4 x 38.7 imagination of Harrow Hill, 1972 A Translation of GALLERIES Gift of Dasha 2003 from the Three Heads No. 21, the human mind, TARA COOMBER Oil on board, the Sensation of Fine Art Shenkman ArtiÍ 1978 1996 Jeeves Pitcher, 46.5 x 52.1 the Left Hand Wood, paint, Colour photograph, 2003 Given in memory into the Right, STEPHAN BALKENHOL HOVE MUSEUM & ART FERENS ART 26.5 x 13 x 5 ed. 3/5, silver, of Brian Willis 1999-2000 Big Relief, 1999 GALLERY GALLERY, HULL Gift of Dasha 101 x 57.5 14(h) x 5.5(diam.) by Greg Worth, Book with colour Wood, paint, Fine Art Fine Art Shenkman Gift of KarÍen Jeeves Pitcher, from their photocopies and 280 x 100 x 4 Schubert 2003 colleÇion braille, 30 x 21.5 Gift of Dasha MICHAEL AYRTON CLAUDE HEATH BRIAN GRIFFITHS Silver, Kiss Exam, Shenkman Steep Street, Head Tilting Return of Enos, Craft 17(h) x 6(diam.) Craft 1999-2000 Undated Forward II, 2002 2000 Purchased by CA, Book with colour BOYD WEBB Oil on board, Acrylic on linen, Carpet, cardboard, CHRISTINE JOY 2003 from The NORA FOK photocopies and Button Hole, 1983 60 x 50 183 x 183 tape, 230 x 90 x Globe, 2001 Metal Gallery, Ring of Fire, 2003 braille, 30 x 21.5 photograph, Gift of an Purchased by AP, 40 & 62 x 92 x 58 Willow, London Woven, knitted, All purchased by edition: 3/10, anonymous donor 2004 from the Purchased by TF, 48 x 58 x 53 dyed pigmented PB, 2004 from the 59.5 x 48 ArtiÍ 2001 from Vilma Purchased by BT, UNIVERSITY OF nylon, 50 (diam.) ArtiÍ (HMF) Given in memory HUDDERSFIELD ART Gold, London 2003 from Bury St LIVERPOOL ART Purchased by CA, of Stuart Morgan GALLERY LEAMINGTON SPA (HMF) Edmunds Art GALLERY 2003 from Crafts JEMIMA STEHLI by his family and Fine Art ART GALLERY & Gallery, Suffolk, Fine Art Council, London Table 1, 1997/8 friends MUSEUM NEW WALK MUSEUM & (ACE) DAVID WATKINS Black and white STEFAN GEC Fine Art ART GALLERY, PHILLIP KING Torus 300: Black photograph, Craft Untitled: Sputnik LEICESTER USHER GALLERY, Maquette for Rays, 2003 ed. 1/3, (tattoo) , 2004 MARK TITCHNER Fine Art LINCOLN Obelisk for Tower Acrylic, 130 x 241 SAM SMITH Engraved We Want Fine Art Bridge, 1989 30(diam.), 0.4(d) Purchased by TF, Painted Head, aluminium and Responsibility To KEITH FARQUHAR Bronze, Purchased by CA, 2001 from the Undated Íainless Íeel, Be Shared By All, Woman I Can , edition of 4, 2003 from Lakeland ArtiÍ (HMF) Painted wood, 150(l) x 58(diam.) 2004 Hardly Express, TACITA DEAN, 39.4 x 44 x 32 Arts TruÍ, Cumbria velvet, ed. 23/62, 26 27

20.8 x 12.5 2001 from GLENN BROWN 18 x 293 digital archival RICHARD HUGHES Given in memory gouache on paper, Gift of Dasha Wilkinson Gallery, Love, 1997 Purchased by AP, print and MDF, Let’s Not and Say of Brian Willis with collage, Shenkman London Colour photograph, 2004 from 120 x 300 x 100 We Did, 2003 by Greg Worth, 77 x 57 82.5 x 96 doggerfisher, Purchased by TF, Acrylic paint and from their Gift of Dasha ALISTAIR MCCALLUM ALISON WILDING Gift of KarÍen Edinburgh 2001 from the pencil on wall, colleÇion Shenkman Mokume Gane Bowl, Interferences, Schubert ArtiÍ (HMF) dimensions 2003 2000 CASTLE MUSEUM & variable JOSEF HERMAN Craft Gilding metal and Set of 3 etchings, JANUSZ OLSZEWSKI ART GALLERY, Craft Purchased by PB, Threshing, silver, 5.9 x 5.9 ed. 1 of 3 APs, Landscape from NOTTINGHAM 2004 from The Undated FELICITY AYLIEFF Mokume Gane Bowl, edition of 35, the end of the 20th Fine Art KATE MALONE Modern InÍitute, Watercolour and Softly, Softly, 2003, gilding 32 x 38 Century — Wounded, Baby Lady Garlic Glasgow (HMF) pencil on paper, 2001 Metal and silver, Gift of KarÍen 1990 SEAMUS NICHOLSON Bud Pot, 2002 37.7 x 43.6 White clay, 5.9 x 5.6 Schubert Photograph, Upper CruÍ, 1999 CryÍalline- DAVID SHRIGLEY Given in memory porcelain, Purchased by CA, edition of 6, C-type glazed Íoneware, Lettuce Leaf with of Brian Willis 56 x 56 x 56 2003 from the MIDDLESBOROUGH 177 x 117 x 5 photographic 20(h) x 7.5(diam.) cigarette burns, by Greg Worth, Purchased by CA, ArtiÍ INSTITUTE OF Purchased by print mounted on Purchased by CA, 1999 from their 2004 from the MODERN ART Jeremy Rees, 1990 aluminium, 2003 from Adrian Painted fabric, colleÇion ArtiÍ THE WHITWORTH ART Fine Art edition: 1/5, Sassoon, London, edition: 2/3, GALLERY, NEWPORT MUSEUM & 152 x 102 (ACE) 10.2 x 59.7 x 44.5 THERESE OULTON HARRIS MUSEUM & UNIVERSITY OF FIONA BANNER ART GALLERY Purchased by TF, Purchased from Chronic Blue, 1986 ART GALLERY, MANCHESTER Forever n ever, Fine Art 2001 from The ASHMOLEAN MUSEUM Stephen Friedman Oil on canvas, PRESTON Fine Art 2001 Agency, London OF ART & Gallery, London 225 x 189 Fine Art Screen print on HARRY HOLLAND ARCHAEOLOGY, (FFF) Gift of Dasha CRISTINA IGLESIAS Íainless Íeel in The Photographer, Craft OXFORD Shenkman TERRY SMITH Untitled five parts, ed. 1984 Fine Art Craft Unnatural AÇs, (Habitation XIII), 1/3, 250 x 625 Oil on board, COLIN REID Craft 2000 2002 Purchased by LC 39 x 44 R1158, 2003 LINDA KARSHAN GYONGY LAKY 3 channel video Silkscreen on and TF, 2001 from Given in memory CaÍ glass, Dieu Donné Henry, 1999 CAITLIN JENKINS work for monitor aluminium, ed. Galerie Barbara of Brian Willis 20 x 21 x 19 ProduÇion III Plum prunings Terracotta and or projeÇion with 38/200, 37.5 x 50 Thumm, Berlin by Greg Worth, Purchased with 10.10.03, 2003 with hand painted Green Bowl, 2004 sound, ed. 1/3, Gift of Dasha (HMF) from their funds bequeathed Paper pulp dowels, Red earthenware variable Shenkman colleÇion by Brian Willis drawing, 77 x 67 48.2 x 35.5 x 35.5 clay and brushed Purchased by LC, Craft from Contemporary Gift of the artiÍ Purchased by BT, slip, 50 x 50 x 45 2000 from the JANICE KERBEL DAVID REMFREY Applied Arts, and Redfern 2002 from Bury St Purchased by CA, ArtiÍ (HMF) Study for Home ADAM PAXON Three Women, 1985-6 London Gallery, London Edmunds Art 2004 from the Fittings #5 — Squirming Ring Oil on canvas, Gallery, Suffolk ArtiÍ ANGELA JARMAN 242 Cambridge with Tail, 2003 91.5 x 91.5 GALLERY OLDHAM PAISLEY MUSEUM & (ACE) Evolution III, Heath Road, Acrylic, Gift of Caroline Fine Art ART GALLERIES PORTSMOUTH CITY 2002 Soundlines: 7.5 x 5.3 x 5.3 Hansberry Fine Art PLYMOUTH CITY MUSEUM & RECORDS Opaque black where to walk so Purchased by CA, JONATHAN CALLAN MUSEUM & ART SERVICE glass, clear glass no creaks are 2004 from CASTLE MUSEUM, Steam, 2002 SANDY MOFFAT GALLERY Fine Art element, heard, Sightlines: Contemporary NORWICH Paper and ink, Adrian, 1987 Fine Art 15 x 41 x 25 where to Íand so Applied Arts, Fine Art 37 x 37 x 6.5 Drypoint, edition PHILIP CORE Purchased by CA, no shadows caÍ, London (ACE) Gift of the ArtiÍ of 8, 44.5 x 53.5 ADRIAN HEATH Principia Ethica 2003 from Crafts 1999 FRANZISKA FURTER Gift of Dasha Study G (ShaÍon (Duncan Grant & Council, London Pencil on paper, , Fragile Horizon SHEZAD DAWOOD Shenkman no. 1), 1982 Maynard Keynes), 72 x 102 (II) , 2004 The Party, 1999 Pencil on paper, 1978 Purchased by LC, Fine Art Graphite on paper, Billboard, 45 x 42 Pencil, ink and 28 29

ROCHDALE ART JOHN CREASEY Craft 31(h) x 7(diam.), Purchased from Purchased by BT, GLYNN VIVIAN ART edition of 8 + 2 GALLERY, TOUCH- COLLECTION OF 27.5(h) x 8(diam.) the Stephen 2002 from the GALLERY, SWANSEA APs, 23 x 6 x 10 STONES ROCHDALE CONTEMPORARY ART, SIDSEL DORPH- & 33.5(h) x 11(diam.) Friedman Gallery, ArtiÍ (ACE) Craft Rising, 2000 Fine Art SALISBURY JENSEN Purchased by London (FFF) CaÍ acrylic, Fine Art Pouring Vessel, Peter Dormer, 1994 THE PIER ARTS CAROL MCNICOLL edition: 1 of 3 LUKE GOTTELIER 2003 Craft CENTRE, ORKNEY Deer, 2001 APs, edition of Landscape, 1998 VICTOR PASMORE Britannia silver, ATKINSON ART Fine Art Slip caÍ 35, 17 x 14 x 17 Colour photograph, Composition with 12 x 20 x 8 GALLERY, SOUTHPORT LIN CHEUNG earthenware, Gift of KarÍen edition: 1/3, Blue, 1979 Purchased by CA, Craft 18 Carat Gold LESLEY FOXCROFT 15 x 40 x 40 Schubert 81.3 x 121.9 Silkscreen on 2003 from the Bracelet, 2001 Stackwork, 1993 Purchased by BT, Purchased by TF, paper, ed. 13/70, ArtiÍ NORA FOK Woven polyeÍer Corrugated 2002 from Barrett Craft 2001 from the ArtiÍ 75.5 x 70.5 Creeping ThiÍle tape, silver, cardboard, Marsden Gallery, Given in memory CHRISTOPH Ring, 2001 37(l) x 1(w) 250 x 25 x 25 London (ACE) NEIL WILKIN RUGBY ART GALLERY of Brian Willis ZELLWEGER Nylon, 18(h) 24 Carat Gold Purchased by ReÍing Place, & MUSEUM by Greg Worth, Body Piece, 1996 Seedling Ring, Bracelet, 2001 Robert Hopper, SWINDON MUSEUM & 2003 Fine Art from their Expanded 2001 Woven polyeÍer 1999 from the ART GALLERY Bath Íone and colleÇion polyÍyrene, nylon, 35(h) tape, silver, ArtiÍ (HMF) Fine Art glass, 10 x 35 x 35 AK DOLVEN 8 x 11.5 x 4 Shoots Ring, 2001 40(l) x 1(w) Purchased by CA, it could happen KEITH VAUGHAN Purchased by BT, Nylon, 12(h) 925 Silver ALAN REYNOLDS FRANK AUERBACH 2003 from the ArtiÍ to you, 2001 Still Life with 2002 from Barratt Purchased by BT, Bracelet, 2001 FirÍ Drawing for Freud, 1980 35mm film on DVD, Skull and Pears, Marsden Gallery, 2002 from Crafts Woven polyeÍer Summer (The Kitaj, 1980 THE NEW ART edition 1/5 + 2 1951 London (ACE) Council, London, tape, silver, Seasons), 1954-56 Kossoff, 1980 GALLERY WALSALL AP, Purchased by Pencil on paper, (ACE) 32(l) x 1(w) Gouache and ink Tilson, 1981 Fine Art PB, 2004 from 36.8 x 42.5 SOUTHAMPTON CITY Diamond Earpins, pen, 23 x 16.5 All etching, 41.9 x Wilkinson Gallery, in memory of ART GALLERY THE POTTERIES 2001 Modular Study (1), 35.5, edition 24/50, DAVID MUSGRAVE London (HMF) Brian Willis by Fine Art MUSEUM & ART Woven polyeÍer 1981 Gift of Dasha Giant (4), 2000 Greg Worth, from GALLERY, tape, silver, Lead pencil on Shenkman Wall painting DAVID LEAPMAN their colleÇion PAUL NOBLE STOKE-ON-TRENT 1.5 x 1 x 1 paper, 34 x 28 emulsion paint, Scuttle Through Light Bulb, 1996 Fine Art Pearl Earpins, Given in memory Craft dimensions Life, 1987 GRAVES ART Pencil on paper, 2001 of ErneÍ and variable Paint on unprimed GALLERY, SHEFFIELD 37 x 70 AMIKAM TOREN Woven polyeÍer Mary Darby by MO JUPP Purchased by TF, canvas, 17.5 x 21 Fine Art Gift of KarÍen Untitled: tape, silver, their daughters The Pear, 2003 2001 from green- Given in memory Schubert Armchair Painting 1.5 x 1 x 1 Porcelain and grassi, London of Stuart Morgan ISAAC JULIEN (Choose Death), All from the SUNDERLAND MUSEUM Íoneware plinth, by his family and After Mazatlan, JULIAN OPIE 1995 series ‘Jewellery’. & ART GALLERY 13.5(h), plinth 24 WOLVERHAMPTON ART friends 1999/2000 Incident in the Oil on canvas, Purchased by BT, Fine Art x 12.7 x 14.2 GALLERY Suite of 8 black Kitchen, 1983 51 x 61 2002 from Crafts Purchased by CA, Fine Art SIMON LEWTY and white Oil paint on Íeel, Purchased by TF, Council, London, GED QUINN 2003 from Peter’s The Aimless photogravures on 102 x 81 x 22.5 2001 from Anthony (ACE) The Happy Garden, Barn Gallery, WeÍ JOONHO JEON Propose, 1987 Arches paper, ed. Gift of Dasha Reynolds Gallery, 2004 Sussex Drift/Wealth, 2003 Pencil, crayon & 3/10, each 55.8 x Shenkman London LISA GALLACHER Oil paint on Computer acrylic on tissue 76.2 Sewing Machine linen, WAKEFIELD ART animation, DVD paper, wood frame, Purchased by LC, Craft DAVID SHRIGLEY ( figure 2), 1999 183 x 215 x 3.2 GALLERY projeÇion with 27.5 x 27.5 2001 from ViÇoria Hell, 1992 Digital print Purchased by AP, Fine Art sound, Given in memory of Miro Gallery, JASPER MORRISON C-type mounted on 2004 from the edition 3/5, Stuart Morgan by London (HMF) Green Bottles, photographic aluminium, ArtiÍ (WCPS) ALISON WILDING Purchased by PB, his family and 1994 print, ed. 9/12, edition: 1/5, For “Echo”, 1995 2004 from the friends Green glass, 27 x 31 160 x 110 Bronze, edition: ArtiÍ (HMF) 30 31 Member Museums

WORCESTER CITY A number of other ll Museums Aberdeen DoncaÍer Leamington Spa Oldham St. Albans ART GALLERY & works were are part of the Aberdeen Art DoncaÍer Museum & Leamington Spa Art Gallery Oldham*/** Margaret Harvey MUSEUM presented to A DiÍribution Gallery & Museums Art Gallery* Gallery & Museum* Orkney Gallery, University of Fine Art museums during programme. Those (NCSS)*/** Dundee Leeds † Hertfordshire* the year from additionally particip- McManus Galleries† Leeds City Art (NCSS)* Salisbury various sources: ating in the Lottery Bedford (NCSS)*/** Gallery (SCS)* Oxford John Creasey Samizdat, 1984 Funded Schemes are Cecil Higgins Art LeiceÍer Ashmolean Museum ColleÇion of Wood from packing NEW HALL, indicated thus: Gallery */** EaÍbourne New Walk Museum & of Art & Archaeology* Contemporary Art* case, oil paint, CAMBRIDGE SCS — Special BelfaÍ Towner Art Gallery Art Gallery*/** Sheffield 94 x 70.5 Fine Art ColleÇion Scheme; UlÍer Museum*/** (SCS)* Lincoln Paisley Graves Art Gallery*/** Given in memory NCSS — National Birkenhead Edinburgh Usher Gallery*/** Paisley Museum Southampton of Max Gordon by JEANNE MASOERO ColleÇing Scheme for Williamson Art City Art Centre† Liverpool & Art Galleries† Southampton City Art David and Maggi Deep Dreams Scotland Gallery & Museum** (NCSS)* University of Liverpool (NCSS)*/** Gallery (SCS)*/** Gordon are Frail, 1985 Birmingham Scottish National Art ColleÇion* Plymouth Southport Liquitex on Birmingham Museum Gallery of Modern Art * Walker Art Gallery*/** Plymouth City Atkinson Art Gallery** YORK CITY ART canvas, & Art Gallery London Museum & Art Stoke on Trent GALLERY 35.6 x 35.6 (SCS)*/** Gateshead South London Gallery Gallery*/** The Potteries Fine Art Nancy Balfour Blackpool Shipley Art Gallery** (SCS)* Portsmouth Museum & Art BequeÍ Grundy Art Gallery* Glasgow Tate* City Museum & Gallery (SCS)*/** WILLIAM GEAR Bolton Glasgow Art Gallery Records Service** Sunderland AbÍraÇ Craft Bolton Museum & Museum*/** MancheÍer PreÍon Sunderland Museum Landscape, 1947 & Art Gallery*/** Hunterian Art Gallery, MancheÍer Art Harris Museum & Art Gallery* Watercolour and NICOLA HICKS Bradford University of Glasgow Gallery (SCS)*/** & Art Gallery*/** Swansea gouache, 68.8 x 49 Cow, Cartwright Hall*/** (NCSS)* The Whitworth Art Glynn Vivian Art Given in memory Date not known BriÍol Gallery, University of Rochdale Gallery*/** of Brian Willis PlaÍer and wire City Museum & Halifax MancheÍer (SCS)* Rochdale Art Swindon by Greg Worth, Gift of Barbara Art Gallery*/** Bankfield Museum** Middlesbrough Gallery, TouchÍones Swindon Museum & from their Lloyd Harrogate Middlesbrough Rochdale* Art Gallery*/** colleÇion Cardiff Mercer Art Gallery* InÍitute of Modern Rugby UNIVERSITY OF National Museum Hove Art (MIMA) (SCS)*/** Rugby Art Gallery Wakefield Craft LIVERPOOL ART & Art Gallery*/** Hove Museum & & Museum* Wakefield Art COLLECTION Cheltenham Art Gallery** NewcaÍle Upon Tyne Gallery*/** JULIAN STAIR Fine Art Cheltenham Art Huddersfield Laing Art Gallery* Walsall Three Cups, 2004 Gallery & Museum** Huddersfield Art Newport The New Art Gallery Stoneware, PETER CORBETT Coventry Gallery*/** Newport Museum Walsall (SCS)* 6.8(h) x Lifeware I, 1997 Herbert Art Gallery Hull & Art Gallery*/** Wolverhampton 7.7(diam.), 6.8(h) Oil on canvas, and Museum*/** Ferens Art Gallery Norwich Wolverhampton Art x 7.7(diam.), 152.4 x 243.8 Mead Gallery, (SCS)* Norwich CaÍle Gallery (SCS)* 6.4(h) x Gift of the ArtiÍ University of Warwick Museum* WorceÍer 7.4(diam.), base (SCS)* Ipswich Nottingham WorceÍer City Art 6.2(h) x 22(diam.) ChriÍchurch Nottingham CaÍle Gallery & Museum Purchased by CA, * Fine Art Mansion* Museum & Art (SCS)* 2004 from the ** Craft Gallery (SCS)*/** ArtiÍ York † Membership is York Art Gallery*/** supported by funds from The Esmée Fairbairn Foundation 32 33 Contemporary Art Society Group Consolidated Statement of Financial AÇivities

ncorporating UnreÍriÇed ReÍriÇed Expendable Total Revised a consolidated funds (£) funds (£) Endowment (£) 31.03.2005 (£) 31.03.2004 (£) Iincome and Incoming Resources expenditure account. VOLUNTARY INCOME Subscriptions and donations 96,143 19,721 - 115,864 137,401 For the year ended BequeÍ - - 695,000 695,000 503,046 31 March 2005. Arts Council Award 80,000 - - 80,000 55,000

ACTIVITIES IN Fees and commissions 175,621 - - 175,621 157,209 FURTHERANCE Arts Council Lottery funding - 3,917 - 3,917 73,125 OF THE CHARITY Lottery scheme contributions - 784,832 - 784,832 637,126 OBJECTIVES Other grants 68,000 257,793 - 325,793 182,000 Ticket sales for events for members 31,770 - - 31,770 33,231 Other income 1,228 - - 1,228 11,621 INVESTMENT INCOME IntereÍ and dividends 28,471 - - 28,471 24,089

Total incoming resources 481,233 1,066,263 695,000 2,242,496 1,813,848

Resources Expended COST OF GENERATING FUNDS Fundraising coÍs 92,252 4,731 - 96,983 81,773

COSTS OF ACTIVITIES Advice, training & colleÇion support 260,744 111,188 - 371,932 344,990 IN FURTHERANCE Art purchases - 1,092,975 - 1,092,975 768,482 OF CHARITABLE Members’ events and support aÇivities 96,162 35,178 - 131,340 86,181 OBJECTIVES Management and adminiÍration 50,532 862 - 51,394 41,036

407,438 1,240,203 - 1,647,641 1,240,689

Total resources expended 499,690 1,244,934 - 1,744,624 1,322,462

Net incoming resources/ (outgoings) resources (18,457) (178,671) 695,000 497,872 491,386

OTHER RECOGNISED Revaluation of inveÍments (643) - 5,000 4,357 (87) GAINS AND LOSSES (19,100) (178,671) 700,000 502,229 491,299

Transfers (67,558) 67,558 - - -

Net movement in funds (86,658) (111,113) 700,000 502,229 491,299

Fund balances brought forward 865,497 456,943 - 1,322,440 831,141

Fund balances carried forward £778,839 £345,830 £700,000 £1,842,669 £1,322,440

The above figures all relate to continuing operations and include all recognised surpluses and deficits. 34 35 Summarised Consolidated Patrons & Staff Balance Sheet

ontemporary Art Society Group INDEPENDENT AUDITORS STATEMENT TO rtiÍ Patrons Summarised Consolidated Balance ReÍated THE TRUSTEES OF CONTEMPORARY ART Sir Anthony Caro, OM CSheet as at 31 March 2005 31.03.2005 (£) 31.03.2004 (£) SOCIETY GROUP A Bridget Riley, CH OBE We have examined the summarised Professor Ann Sutton, MBE (from 07.05) Fixed Assets 756,433 58,188 financial Íatements of Contemporary Vice-Patrons Art Society. Bryan Ferry Current Assets 1,097,569 1,348,206 David Gordon RESPECTIVE RESPONSIBILITIES OF Caryl Hubbard Creditors: Amounts falling TRUSTEES AND AUDITORS Lord McAlpine of WeÍ Green due within one year (29,333) (83,954) The truÍees are responsible for Lord and Lady Sainsbury of PreÍon Candover preparing the summarised financial Lady Vaizey Net Current Assets 1,068,236 1,264,252 Íatements in accordance with the Viscount and Viscountess Windsor recommendations of the charities Net Assets £1,824,669 £1,322,440 SORP. Our responsibility is to Committee Members report to you our opinion on the Chairman Oliver Prenn Represented by: consiÍency of the summarised Honorary Treasurer Pesh Framjee financial Íatements with the full Honorary Solicitor Mark Stephens UnreÍriÇed Funds 778,839 865,497 financial Íatements and TruÍees Honorary Secretary Lance BlackÍone Annual Report. We also read the Doris Lockhart Saatchi ReÍriÇed Income Funds 345,830 456,943 other information contained in Caroline Summerfield the summarised annual report and Babs Thomson Expendable Endowment Fund 700,000 - consider the implications for our Vicente Todoli report if we become aware of any Edwin Wulfsohn TOTAL FUNDS £1,824,669 £1,322,440 apparent misÍatements or material inconsiÍencies with the summarised DireÇor financial Íatements. Gill Hedley Senior ColleÇions Curator The summary financial information BASIS OF OPINION Mary Doyle set out on pages 32–34 is extraÇed We conduÇed our work in accordance ColleÇions Curator from the full accounts of the with Bulletin 1999/6 The auditors’ Ceri Lewis Society which were approved by the Íatement on the summary financial ColleÇions AssiÍant (until 02.05) Committee on 14 July 2005. Full Íatement issued by the Auditing Honor Beddard audited accounts, with the TruÍees’ PraÇices Board for use in the NCSS Co-ordinator and auditors’ reports giving an . Sarah Yearsley unqualified opinion can be obtained Events and Membership Manager from the Contemporary Art Society, OPINION Wynne Waring Bloomsbury House, 74–77 Great Russell In our opinion the summarised Business Development Manager (from 01.05) Street, London WC1B 3DA. financial Íatements are consiÍent Nour Wali with the full financial Íatements Operations Manager and the TruÍees’ Annual Report of Elizabeth Cooper Contemporary Art Society for the AdminiÍrator year ended 31 March 2005. Phil Ashcroft Accountant (part time) MAZARS Suzana Bakar Chartered Accountants and RegiÍered Accounts AssiÍant (part time, until 03.05) Oliver Prenn Auditor Anna Bayraktar Chairman 24 Bevis Marks, London, EC3A 7NR Artfutures SeleÇor 8 AuguÍ 2005 Dated 1 AuguÍ 2005 Jeni Walwin 36 37 Acknowledgements About Contemporary Art Society

he Contemporary Art Society Catching Comets Patrons offers sincere thanks to all Janice Blackburn Tindividuals and organisations Mrs Neville BurÍon that help us to extend our work, and Debbie Carslaw in particular the following: Tania Fares Sibyl Fine King Caroline Hansberry Peter and Maria Kellner Barbara Lloyd and Judy Collins Oliver Prenn Dr and Mrs Sackler The Arts Council England for The Schneer Foundation continued fixed term funding, which Mr and Mrs DM Shalit provides vital support to develop Richard Sykes and Penny Mason CAS’s work with museums and other The TruÍhouse Charitable Foundation programmes, especially a grant to Audrey Wallrock support development of the ‘Blood’ membership programme. Also the Arts CAS Donors Council England Lottery Fund for JR Aisbitt eÍablishing the Special ColleÇion Lance BlackÍone Scheme, a unique national projeÇ in Lady Brown England supporting nineteen museum Eric and Jean Cass colleÇions. Sarah Elson Joseph Golden CM Kauffman James Kirkman Terence and Carol Rees Lady Sainsbury The Scottish Arts Council for KarÍen Schubert their support in the development Sir of colleÇing initiatives. Also Mark Stephens the Scottish Arts Council Lottery Nicholas Thompson Fund for eÍablishing the National Madelaine WebÍer ColleÇing Scheme for Scotland in Ann WingerÍrand partnership with six museums and for supporting new commissions.

The Henry Moore Foundation The Fine Family Foundation The Esmée Fairbairn Foundation The Stanley Thomas Johnson Foundation The EÍate of Tom Bendhem The Rayne Foundation The P. Holt Charitable TruÍ Viscount Windsor Designed by Value and DesignedService Value by