A year in our life... 2012/13 Patron Trustees Art Fund staff 2012 Charlotte Mullins Her Majesty the Queen Caroline Butler Elinor Andrew Rosalie Neath Chairman Richard Calvocoressi CBE Linda Ashworth Emmie Payne David Verey CBE Professor Michael Craig-Martin Angelina Bacon (until July 2012) Treasurer RA CBE Jessica Bray Sarah Philp Paul Zuckerman Dame Liz Forgan Rachael Browning Dan Pickford Director Philippa Glanville FSA Caroline Bugler (until June 2012) Stephen Deuchar CBE Professor Chris Gosden (until August 2012) Chloe Priest Antony Griffiths FBA Penny Bull (until November 2012) Alastair Laing FSA Kanchan Chudasama Dennie Ranson James Lingwood MBE Lizzie Clark (until October 2012) Christopher Lloyd CVO Zanna Clarke Katy Richards Jonathan Marsden LVO FSA Cathy Cobley Beth Rivers Sally Osman Catherine Corbet Milward Amy Ross Professor Deborah Swallow (until January 2012) Moe Shimizu Professor Lisa Tickner FBA Stephen Deuchar Alyssa Taffet Professor William Vaughan FSA Victoria Diaz-Vilas Paul Tourle (until July 2012) Michael G Wilson OBE Ali Fletcher Kara Webster (until July 2012) Quintilla Wikeley Kerstin Glasow Liz Workman Catherina Gray Sally Wrampling Katherine Harding Carolyn Young Alice Hargreaves Val Young Sophie Harrison Steve Hopkinson Interns Annie Howland (3–6 month placements) (until April 2012) Leia Clancy Caroline Hunt Lucie Ellis Charlotte Jennings Poppy Goodheart Edward Knight Jenny Harris Tom Lydon Emma Mills Andrew Macdonald Ellie Moss Rebecca Maude Gabby Okon Debbie McDonnell Ruth Piper Beth Meade Julia Scott Catherine Monks Jack Spearing (until October 2012)

Contact details Art Fund offices Supporter services The Art Fund is a charity Millais House The Art Fund registered in England 7 Cromwell Place PO Box 3678 and Wales (209174) London SW7 2JN Melksham SN12 9AP and Scotland (SC038331) T 020 7225 4800 T 0844 415 4100 F 020 7225 4848 E [email protected] E [email protected] www.artfund.org @artfund facebook/theartfund

Cover image and all full-page Cover image: Ola Kolehmainen, portraits by Philip Sinden Shadow of Church, 2006, © Philip Sinden The New Art Gallery Walsall and Birmingham Museum and Art Gallery, ArtFunded 2010, on display as part of ‘Metropolis: Reflections on the Modern City’ at Birmingham Museum, an exhibition of works of art bought through Art Fund International Annual Report and Accounts 2012 Contents

2 Chairman’s welcome 4 A year in our life 5 Report of the board of trustees 6 Thank you to… 7 Report of the board of trustees 8 Bringing the best of art and museums together in 2012 10 Supporting curators 12 Working with artists 14 Our members and supporters 16 Helping to make the most of art 17 National Art Pass 18 The year ahead and beyond 20 Catalogue of acquisitions 57 Financial Review 60 Consolidated statement of financial activities 59 Consolidated balance sheets 60 Consolidated cash flow statement 61 Notes to the consolidated financial statements 71 Structure, governance and management 72 Objectives, activities, and public benefit 73 Statement of responsibilities 74 Independent auditors’ report to the board 75 Reference and administrative details 76 Our thanks to... Chairman’s welcome

The past year has been one of of the National Art Pass as a and the Art Fund’s role is the most active in the Art Fund’s primary tool for encouraging pivotal in bringing museum history. As our broadening visits to museums has become visitors together en masse programme of support to a key priority. to help. By the end of 2012 museums and galleries The National Art Pass – we had over 95,000 members, throughout the UK unfolded, an integral part of Art Fund including 3,400 with an we paid out £6.3 million in membership – is a vital source Under 26 National Art Pass, grants to assist the purchase of income for us; indeed, an increase of 10 per cent of works of art, oversaw the it is central to our ability to on the previous year. Sales transfer of one of the most support museums. It provides of the National Art Pass, remarkable collections of Italian the resources from which legacies, one-off and regular Baroque art from private hands we can offer grants, the pool donations, all provide crucial into six UK museums, and of donors to whom we can financial support. extended our support for touring appeal when extra funds At the centre of our work exhibition projects which shared are needed, and it draws lies the guidance of the Art newly acquired works with visitors directly to art across Fund board of trustees who audiences across the UK. the country. Members and have committed their time, All this has been achieved museums benefit together. advice and wisdom to our against a backdrop of difficult Its first full year brought in programme throughout the economic circumstances. income of £4.1 million, a year. I am privileged to chair Funding cutbacks across the significant increase on 2011. such a dedicated and expert museum sector have led to There are an estimated group. I also want to extend increasing demand for Art 100 million visits made to my thanks to the talented Fund support. Where we this country’s museums and Art Fund staff who are behind can, we help – not only with galleries each year, and three this thriving organisation, acquisitions and exhibitions of the UK’s top five tourist and most crucially, to all the but with the development of destinations are museums. members and supporters curatorial expertise and the Our supporters understand who make our work possible. encouragement of curatorial that these institutions need ambition. Moreover, we are regular and significant David Verey CBE helping museums to promote financial support just to Chairman their programmes and bring in keep going – even more new visitors. The development to develop and flourish –

Tal Shochat, Persimmon (Afarsemon), 2010–11, from the Art Fund Collection of Middle Eastern Photography at the British Museum and Victoria and Albert Museum, London © Tal Shochat Facing page: detail from Guido Reni, The Rape of Europa, c. 1637–9, National Gallery, London. Presented by the trustees of Sir Denis Mahon’s Charitable Trust through the Art Fund

2 3 January February A year in our life A view in watercolours Titian’s Diana and Callisto of Brighton by J. M. W. Turner, is secured for the public with lost from public view for 100 a contribution of £2 million years, finds its way home and from the Art Fund – our into the collection of the city’s largest-ever grant towards Royal Pavilion a single work of art

Art Fund director Stephen Deuchar on the partnerships that made 2012 and his highlights from the year Everything we achieve depends on, and derives from, working in partnership with others – from our thousands of members and supporters to the dedicated J. M. W. Turner, The Chain Pier, Brighton, trusts, foundations and sponsors c. 1824, The Royal Pavilion, Brighton, that help to finance our work. ArtFunded 2012 We back our museum partners’ Titian, Diana and Callisto, 1556–9, ambitions to develop world- National Gallery, London, and National Galleries of Scotland, Edinburgh, class collections and share them ArtFunded 2012 with people across the UK, and in turn they form our growing network of museums offering free and discounted entry to members through the National Art Pass. We also work alongside others to influence, change and improve the political and financial climate within which museums operate. Members and supporters, museums and their visitors, directors, curators, artists, collectors, politicians, commentators: these are the Art Fund’s partners. Together we did great things in 2012.

July August We begin our campaign to save Edouard Manet’s Portrait the Wedgwood Collection from of Mademoiselle Claus is being sold secured for the Ashmolean Museum in Oxford after almost £8 million is raised by the export stop deadline; the Art Fund gives £850,000

Josiah Wedgwood and Sons Ltd, The Portland Vase, c. 1790, Wedgwood Collection, Stoke-on-Trent

Edouard Manet, Portrait of Mademoiselle Claus, 1868, Ashmolean Museum, Oxford, ArtFunded 2012

4 March April May June We launch our Art Guide Alison Watt’s Self-portrait is Our annual celebration of Thanks to Art Fund support, app for smartphones, the bought by the Scottish National craft takes place as we give Rachel Whiteread’s Tree of Life comprehensive guide to Portrait Gallery with an Art Fund curators the chance to win is unveiled on the facade of accessing great art across grant; the campaign to secure part of a £75,000 challenge the Whitechapel Gallery in east the UK Yinka Shonibare’s Nelson’s fund to buy a new object London, just before the Olympics; Ship in a Bottle for the National at the Collect craft fair the Royal Albert Memorial Maritime Museum reaches in London Museum in Exeter wins the Art a successful conclusion Fund Prize for Museum of the Year

Art Guide app Julian Opie, Kris and Verity Walking, 2012 © Julian Opie A detail from Rachel Whiteread’s frieze, Alison Watt, Self-portrait, 1986–7, Tree of Life, 2012, a Whitechapel Gallery Scottish National Portrait Gallery, commission created with the support Edinburgh, ArtFunded 2012 of the Art Fund © Alison Watt. Photo: Antonia Reeve © The Artist. Photo: Guy Montagu-Pollock

Suiko Buseki, Crane Dance, c. 2011, National Museum of Scotland, Edinburgh, purchased from Collect in 2012 © Mark Crick

September October November December An important painting by News that Tower Hamlets Council After a two-month fundraising The judges for the Art Fund rediscovered 1960s British plans to sell off Henry Moore’s campaign raising a total Prize for Museum of the Year artist Pauline Boty is bought ‘Old Flo’ goes public and the of £3.9 million, Nicolas 2013 are announced by Wolverhampton Art Gallery Art Fund begins a campaign Poussin’s Extreme Unction with our help to prevent the sale is secured for the Fitzwilliam Museum, Cambridge

Henry Moore, Draped Seated Woman, 1957–8 Nicolas Poussin, Extreme Unction, Art Fund Prize for Museum of the Year c. 1638–40, Fitzwilliam Museum, 2013 Judges (left to right: Bettany Cambridge, ArtFunded 2012 Hughes, Stephen Deuchar, Tristram Hunt, Sarah Crompton, Bob and Roberta Smith) Pauline Boty, Colour Her Gone (detail), © Mark Crick 1962, Wolverhampton Art Gallery, ArtFunded 2012 © The Artist’s Estate

5 Thank you to…

95,000 4,262 5,308 550 Art Fund members, whose patron donors who gave people who donated members who fundraise subscriptions are the basis regular sums on top of to our special appeals through our regional of our income their membership volunteer committee networks 650 205 65 64 museum partners who offer higher-level donors members who left us trusts, foundations and discounts and free entry legacies or gave works of corporate supporters who to our members through art to museums through us help make our work possible the National Art Pass 18 40 trustees, and the three staff whose energy advisory members of the and commitment finance committee drives us forward

Visitors at the Courtauld Gallery, London

6 Report of the board of trustees

Our strategy We measure our success year and galleries. We ran two membership income The Art Fund is committed to on year and, despite a tough public appeals: to secure by 3 per cent. We added doing more to help museums economic climate, are ambitious Yinka Shonibare’s Nelson’s expertise in membership, and galleries develop their for the future. Ship in a Bottle for the National fundraising and commercial collections, and to helping Maritime Museum, Greenwich; activity to our finance the public make the most What we achieved in 2012 and to acquire Nicolas committee. And plans of art all across the UK. We paid out over £6.3 million Poussin’s Extreme Unction to put efficiency, creativity, Our strategy sets out five directly for the purchase of works for the Fitzwilliam Museum, and collaboration at the heart key objectives: of art and committed a further Cambridge. Over £400,000 of our working environment • To strengthen public £700,000 to museums as part of additional funding was are underway with a move understanding of the Art of our wider programme of raised between them. to new offices at King’s Cross Fund’s role as the national support for museums and their The income we raised scheduled for early 2014. fundraising charity for art; visitors: supporting curatorial ourselves – through • To continue to develop a development, exhibitions membership, fundraising coherent and imaginative of works of art, and the annual and commercial activities – programme of activity that Art Fund Prize for Museum reached £10.8 million, a rise delivers clear public benefit; of the Year. We also celebrated of 19 per cent on comparable • To increase the numbers one of the most significant activity in 2011 (excluding the and range of members bequests of the last 100 exceptional £1.2 million legacy and supporters; years when Sir Denis Mahon’s from Sir Denis Mahon). • To increase income from collection of 57 Italian Baroque We reduced staff costs all sources; Old Masters passed via the by 1.4 per cent, and the cost • To improve organisational Art Fund into the permanent of servicing membership efficiency and governance. collections of six UK museums fell as a proportion of

The Beaney House of Art & Knowledge, Canterbury © Tim Stubbings

Fitzwilliam Museum curator Jane Munro with Nicolas Poussin’s Extreme Unction, c. 1638–40 Photo © National Gallery

7 Bringing the best of art and museums together in 2012

Giving grants to museums A pendant for the twelve at the Ashmolean, A Reynolds for Birmingham to acquire works of art remains British Museum Oxford; eight at the Scottish In the late 18th century at the heart of our charitable Named after the Essex village National Gallery, Edinburgh; Birmingham General Hospital’s programme. where it was discovered by a six in the Fitzwilliam Museum, governors commissioned Joshua In 2012 we helped 70 four-year-old boy, the Hockley Cambridge; five at Birmingham Reynolds – the pre-eminent museums throughout the Pendant is small but intricately Museums and Art Gallery portraitist of the day – to paint country add 359 works of art formed, featuring the names and one at Temple Newsam a portrait of its co-founder to their collections, and placed of the three wise men, images House, Leeds. Dr John Ash. We helped 219 gifts and bequests. Here of Saint Helena bearing the Sir Denis formed his Birmingham Museum add are some of the highlights. cross, and the five wounds of collection over several this important work with local Christ dripping blood. We gave decades, progressively significance to its permanent A Manet for the Ashmolean £20,000 towards the £70,000 demonstrating the range, collection with a grant of In the first half of 2012, the needed to acquire this for the significance and quality of £100,000. Ashmolean Museum in Oxford British Museum. the Italian Baroque despite set its sights on Edouard its comparative neglect Venetian tables for the Manet’s Portrait of Mademoiselle The Mahon Bequest by previous scholars. His V&A and Edinburgh Claus. Export-stopped until In passing Sir Denis Mahon’s passion and erudition – In summer 2012 we helped the beginning of August, the remarkable collection of 57 and the sheer quality of the the Victoria and Albert Museum museum had the chance to Italian Baroque paintings to works he brought together and National Museums Scotland secure the painting for just six museums for the benefit – changed hearts and minds buy two 17th-century Venetian under £8 million – a fraction of the UK public, we celebrated and had a discernible impact tables. Sold at auction the of its market price of £28.3 not just an extraordinary life, on the status of this period previous year and placed million. The work is a study but one of the most munificent in the history of European under export-stop, the tables for the artist’s great masterpiece, bequests of the last 100 art. Sir Denis was a tireless by Lucio de Lucci are adorned The Balcony, which is part of years. The collection includes campaigner for free admission, with elaborate marquetry made the collection of the Musée masterpieces by Guercino, and also the Art Fund’s longest from exotic woods. d’Orsay, Paris. We were able Guido Reni, Domenichino and standing member, who joined to give £850,000, thanks to Ludovico Carracci, among others. at the age of 16 and remained a generous bequest left by Twenty-five works are now with an avid supporter until his Mr Robert Gunn. the National Gallery, London; death in 2011, aged 100.

Sir Joshua Reynolds, Portrait of Dr John Ash, 1788, Birmingham Museum and Art Gallery, ArtFunded 2012

Unknown artist, Hockley Pendant, 1500–50, British Museum, London, ArtFunded 2012 © Trustees of the British Museum

8 Dr Nicholas Penny, ‘For more than a century Over 160 paintings in the Titian of Diana and Actaeon and director of the now the Art Fund has been the National Gallery are here Diana and Callisto and the 25 National Gallery, London friend and partner of museums thanks to vital contributions Baroque paintings bequeathed all over the UK, enabling them made by the Art Fund. Among by Sir Denis Mahon.’ to enrich their collections and these we may count the great extend their public appeal. mythological paintings by

9 Supporting curators

Museums are defined by their a lack of funding for research 2012 and 2013, and we are National Museum Wales, collections, and collections and travel. In 2011 we worked now working with the five and are on display next to depend on ambitious, attentive with philanthropist Jonathan partners to develop a UK a double-portrait of the house’s and scholarly curators in order Ruffer to make £50,000 tour of the best of these builder, Sir Thomas Mansel, to thrive. With funds dwindling available each year for this new collections in 2014. with his wife, Jane. and cuts in museums affecting very purpose. In 2012 we Thanks to £600,000 of all areas, it is essential that helped 35 curators from funding from the Esmée A mermaid for Folkestone curators are encouraged and 27 museums to access funds. Fairbairn Foundation given The Folkestone Mermaid, nurtured so that the healthy in 2011, we are supporting a sculpture by Cornelia Parker development of collections Developing new collections six regional museums to modelled on a resident of may continue. As well as our normal grant- build new collections of the town, was created for the 2012 saw the first full giving, which responds to fine, decorative or applied Folkestone Triennial in 2011. year of the project that we museum requests, we run art. A third of the money has Installed in the town’s harbour, launched with the National a number of special funding now been spent. Durham the mermaid looks out to sea. Gallery in 2011. With its schemes to encourage University has made almost We gave £15,000 towards partners, Manchester Art museums to expand existing all of its purchases of the purchase. Gallery and Tyne & Wear areas of collecting, or to contemporary Japanese Museums, they have provided develop new ones. art, and both the Museum A Guthrie for Scotland two two-year traineeships in The largest of these, of Archaeology and The National Galleries pre-1900 European paintings Art Fund International, drew Anthropology in Cambridge of Scotland in Edinburgh for young curators. Working to a close in 2012 as the and the University of Dundee and Glasgow City Council with the collections and staff final commitments towards have bought several works. worked together to raise of the National Gallery and purchases were made. a total of £637,000 to buy their designated museum, Launched in 2007 to boost Margam House panoramas The Orchard, an iconic work the curators Philippa the ambitions and abilities for Cardiff by ‘Glasgow Boy’ Sir James Stephenson and Henrietta of regional museums These two paintings are the Guthrie, for the Scottish Ward have experienced to collect international only visual record of Margam collection. Purchased at auction, practical curatorial training, contemporary art, the House, one of Wales’s great our support joined a substantial and developed collections- scheme made £1 million Tudor homes, demolished in grant from the National Heritage based and specialist research available over a five- the late 18th century. Today, Memorial Fund to make this skills. Both traineeships will year period to each of the south Wales view is acquisition possible. culminate in exhibitions the following museums: transformed beyond all in summer 2013. We are Bristol Museum, Gallery recognition – with the M4 now working with the of Modern Art in Glasgow, motorway cutting through National Gallery on a further Middlesbrough Institute the landscape and the two years of the scheme of Modern Art, Towner in neighbouring Port Talbot with new museum partners Eastbourne, and Birmingham steelworks dominating the and curators. Museums The New Art skyline. These works are One of the biggest barriers Gallery Walsall. Exhibitions now part of the collection to curatorial development is have taken place throughout of Amgueddfa Cymru –

British school, possibly Thomas Smith, Margam House, c. 1700, National Musuem of Wales, Cardiff, ArtFunded 2012

Cornelia Parker, The Folkestone Mermaid, 2011, The Creative Foundation, Folkestone, ArtFunded 2012 © Cornelia Parker

10 Philippa Stephenson, ‘ The curatorial traineeship has have been given the chance experience, and one that National Gallery curatorial given me a real insight into to get involved with every I will take with me throughout trainee what it means to be a curator in department here at the my career. I look forward today’s art gallery. Having the Laing, including conservation, to the next step as a curator, opportunity to work both at development and education. using all the knowledge the National Gallery and at the Seeing my project come into and expertise I have gained Laing Art Gallery has provided fruition – from the inception along the way thanks to this me a well-rounded knowledge of the idea through to the final curatorial traineeship. of current curatorial practice. I hang – has been an invaluable Thank you Art Fund!’

11 Working with artists

We work with artists in many to stop Henry Moore’s much- plated in gold leaf, Tree of Life helped to bring this work into different ways, from supporting loved ‘Old Flo’ from being is a stunning frieze that now the British Council Collection museum commissions and sold off by Tower Hamlets adorns the facade of the gallery, and Arts Council Collection – helping museums to acquire Council has been led by Bob marking a golden year. and we are now working existing works, to campaigning and Roberta Smith, himself to take the tapestries on about important issues affecting a resident of the area. Taking Tapestries on tour a national tour in 2013–14, works of art in the public domain. part in debates, staging protests Grayson Perry’s six tapestries where they will be seen at In 2012 we funded the work and creating art in response The Vanity of Small Differences museums in Sunderland, of 54 living artists, helping to humanity, culture and the capture the ‘class journey’ Manchester, Birmingham, museums to make new surrounding political landscape made by young Tim Rakewell, Liverpool and Leeds. acquisitions for their collections. lie at the heart of his creativity. and include many of the characters, incidents and Grayson Perry on The Vanity Bob and Roberta Smith A Whiteread for the objects Grayson Perry of Small Differences Throughout the last year we have Whitechapel Gallery encountered on journeys ‘Of all the pieces I have made been working with artist Bob and Timed to coincide with the through Sunderland, Tunbridge this was the one I conceived Roberta Smith on a number of opening of the Olympic Games, Wells and the Cotswolds for from the outset as a public projects. As a judge for the 2013 the Whitechapel Gallery the Channel 4 television series artwork. I hope that wherever Art Fund Prize for Museum of the in east London unveiled a All in the Best Possible Taste it goes it not only delights Year he has visited all ten finalist special commission by Rachel with Grayson Perry, broadcast the eye but also sparks museums, championing their Whiteread – the artist’s first in summer 2012. debate about class, taste education and outreach work in permanent public commission With special funding from and British society.‘ particular. The public campaign in the UK. Cast in bronze and the Sfumato Foundation, we

Grayson Perry’s The Annunciation of the Virgin Deal from the tapestry series The Vanity of Small Differences, 2012, Arts Council Collection, Southbank Centre London and British Council, ArtFunded 2013 Gift of the artist and Victoria Miro Gallery with the support of Channel 4 Television, the Art Fund and Sfumato Foundation with additional support from AlixPartners. © Grayson Perry. Photo © Stephen White

A detail from Rachel Whiteread’s frieze, Tree of Life, 2012, a Whitechapel Gallery commission created with the support of the Art Fund © The Artist. Photo: Guy Montagu-Pollock

12 Bob and Roberta Smith, ‘In the last year I’ve worked judge on the 2013 Art Fund many – in so many different artist with the Art Fund in many Prize for Museum of the ways – all for its central guises: as campaigner to save Year, and as artist through purpose of getting as Moore’s ‘Old Flo’ from being the creation of my work See many people as possible sold off by Tower Hamlets Esther, Walsall’s Mona Lisa for to experience art.’ Council, as celebrator of The New Art Gallery Walsall. museums in my role as a The Art Fund works with so

13 Our members and supporters

We raise funds for our work income of over £4.1 million, Pop-up Shop in Edinburgh examined the case closely all the time, but from time our 4,262 patron donors and an ‘In Conversation’ with lawyers, an alternative to time we need to raise gave an additional £438,000 evening with Joan Bakewell to selling the collection was additional money quickly to through regular and one-off and Antony Gormley in put forward. We are pleased keep important works of art donations. East Anglia, in 2012 the the museum’s administrator in the public domain. In 2012 regional network of volunteer is now pursuing the advisors we ran two such appeals. Major donors fundraising committees raised who may have been We worked with the From members of the Art Fund the net total £358,000 by responsible for putting National Maritime Museum, Council and our Patrons Circle organising over 600 events the collection at risk, rather the Greater London Authority to the trusts, foundations and all over the UK. than rushing to a sale. (GLA) and the artist Yinka corporate supporters who give We hope for good news Shonibare MBE to raise over so generously to the Art Fund, Legacies in the months ahead. £250,000 to bring Nelson’s our major donor supporters Thanks to significant At the end of the year Ship in a Bottle to Greenwich, contributed £1.8 million contributions from many long- we learned of Tower Hamlets a work that was originally towards our work in 2012. standing Art Fund members, Council’s plans to sell Henry commissioned for the Fourth Members of our Patrons income from legacies in 2012 Moore’s Draped Seated Plinth in Trafalgar Square. Circle enjoy a diverse reached over £3.1 million. Woman (nicknamed ‘Old Flo’), Thanks to donations from programme of special events This included an exceptionally which the artist had sold at over 2,500 members and a as part of their membership; generous legacy left to us by Sir a reduced price for the people contribution in kind from the in 2012 this included visits to Denis Mahon. We are extremely of east London. After we GLA, the work now stands in the studios of Bridget Riley grateful to all those who choose joined forces with the Henry its new permanent home in and Howard Hodgkin and to support the Art Fund in their Moore Foundation, artists the grounds of the National a private view of Lucian will or in memory of others. and many members Maritime Museum. Freud portraits at the and London residents, the Towards the end of 2012 National Portrait Gallery. Campaigning for change Council withdrew the work we helped the Fitzwilliam As well as supporting our We don’t just raise money: from auction and we continue Museum in Cambridge work, corporate supporters we often work behind the to work to find a solution secure Nicolas Poussin’s of the Art Fund are able scenes – and call on our to keep this much-loved Extreme Unction. Though to extend the benefits of members’ support – to help sculpture in the public domain. valued at £14 million, the membership, including the stop works that are already After many years of museum could acquire National Art Pass, to their in the public domain from campaigning alongside the work for £3.9 million staff and clients as well as being sold or lost from museums, a new tax incentive because of the government’s experience exclusive events public view. to encourage lifetime Acceptance-in-Lieu scheme. at museums and galleries. The year began with donations of art and objects We raised the money thanks the worrying news that the to the nation is now in place. to a grant of over £3 million Regional volunteer Wedgwood Collection To promote this new scheme from the Heritage Lottery fundraising committees – the prized asset of the and other ways to support Fund, and almost £900,000 Over 550 of our members award-winning Wedgwood museums, at the end of in donations from the Art are fundraising volunteers, Museum in Stoke-on-Trent 2012 we launched A Guide Fund and our members, bringing in much-needed – might need to be sold to Giving Art – a broad look trusts and foundations, the funds to support our grant- to contribute to the £134 at all the ways of giving Fitzwilliam’s own supporters, giving work. From a year-long million pension debt for to museums, including and members of the public. programme of talks and visits which the museum had tax efficiently. As well as membership in London to the Vintage become liable. After we

A visitor at The Beaney House of Art & Knowledge, Canterbury © Tim Stubbings

Yinka Shonibare MBE, Nelson’s Ship in a © Yinka Shonibare MBE. Courtesy Stephen Bottle, 2010, National Maritime Museum, Friedman Gallery (London), James Cohan London, ArtFunded 2012 Gallery (NY). Photo: James O. Jenkins

14 Emily Peirson-Webber, ‘I joined the Art Fund because seeing the many wonderful my husband and I can visit Art Fund member I strongly believe that acquisitions the Art Fund many fabulous exhibitions since 2009 museums’ collections of has enabled UK galleries at a really good price, and art need to be protected and museums to make – like it is heartening to know and developed, and made the wonderful Poussin I’m contributing to a legacy accessible for the public painting. The discounts we of art which future people to see. Since joining I have get through Art Fund can enjoy.’ loved reading about and membership have meant

15 Helping to make the most of art

Helping a museum to acquire Middle Eastern in London and the National Art Fund Prize for a work of art is only half the story. Photography exhibition Galleries of Scotland to buy Museum of the Year As well as funding purchases In November 2012 the V&A Titian’s Diana and Callisto, The Art Fund Prize for Museum of art, we help museums to show in London opened ‘Light the companion work to Diana of the Year highlights and and share their collections with from the Middle East: New and Actaeon that was secured celebrates the best that museums the widest possible public by Photography’, an exhibition for the public with our help have to offer, wherever they supporting tours and exhibitions of photographs by established by the two museums in 2009. may be in the UK. As well as of works we have helped them and emerging Middle Eastern In addition to the acquisition being the largest arts prize that to acquire. artists from and about the we are supporting the tour brings the winner £100,000, region. Acquired by the of the ‘Titian Experience’, a it gives museums in the running Artist Rooms British Museum and the V&A mobile cinema that will travel the chance to see their work In 2012 our partnership with thanks to our support since to four British festivals this over the last year presented in a Tate and the National Galleries 2009, the collection charts the summer: Hay-on-Wye, national context. The 2012 winner of Scotland on the nationwide social challenges and political Grassington, Buxton, was the Royal Albert Memorial tour of the Artist Rooms upheavals of the Middle East and Latitude in Southwold. Museum in Exeter for the collection of post-war and over the last 30 years, and Alongside representations imaginative refurbishment and contemporary art entered includes photographs created of three works by Titian, the redisplay of its collections. its fourth year. Exhibitions were in response to the so-called there will be a short film that In 2013 the ten finalists will be held at 17 venues ranging from Arab Spring in 2011. approaches Titian’s work from competing for both the £100,000 Tate Modern in London to the a 21st-century perspective. award for Museum of the Year, reopened Burgh Hall in Dunoon Titian acquisition and tour A National Gallery expert will and for the £10,000 Clore Award and Ferens Art Gallery in Hull. In February 2012 we announced be on hand to answer any for Learning, which rewards Arts Council England has now our largest ever grant for a questions and offer further insight inspirational education and joined the partnership for the single work of art – £2 million into the myths on which these outreach work with children 2013–15 tours. to help the National Gallery great masterpieces are based. and young people.

The Titian Experience outside the National Gallery, London © The National Gallery Martin Creed, Work No. 890: DON’T Endowment, supported by the WORRY, 2008, Artist Rooms, presented Henry Moore Foundation and by the artist jointly to National Galleries Tate Members 2011 of Scotland and Tate and acquired © Courtesy the Artist with assistance of the Artist Rooms and Hauser & Wirth

16 National Art Pass

The National Art Pass gives The Courtauld Gallery, Osborne House, IWM London (Imperial free entry to over 220 London (saving of £6) Isle of Wight War Museum) museums, galleries and Dulwich Picture Gallery, (saving of £13.40) Kelvingrove Art Gallery historic houses, 50 per London (saving of £5) The Royal Pavilion, Brighton and Museum, Glasgow cent off admission to major Falkland Palace and (saving of £10.50) National Galleries of Scotland, exhibitions and many more Garden, Fife (saving of £12) Seven Stories, Tyne and Wear Edinburgh offers and discounts at Fashion Museum, Bath (saving of £6.50) National Gallery, London 650 venues across the UK. (saving £7.75) Shakespeare’s Houses National Museum of Scotland, Ham House and Garden, and Gardens, Warwickshire Edinburgh Here are just some Surrey (saving of £10) (saving of £22.50) National Portrait Gallery, London of the highlights: Historic Dockyard Chatham, Ulster Folk & Transport Natural History Museum, London Kent (saving of £17.50) Museum, County Antrim Sainsbury Centre for Visual Free entry with Ickworth House, (saving of £9) Arts, Norwich National Art Pass Park and Gardens, Watts Gallery, Guildford Science Museum, London Audley End House Suffolk (saving of £12) (saving of £7.50) Tate Britain, London and Gardens, Essex Ironbridge Gorge Museums, Tate Liverpool (saving of £13.40) Shropshire (saving of £24) 50 per cent off Tate Modern, London Brantwood, Cumbria Leighton House Museum, exhibition admissions Tate St Ives (saving of £7.20) London (saving of £5) with National Art Pass Towner, Eastbourne The Bowes Museum, Nostell Priory, West Ashmolean Museum, Oxford Victoria and Albert Museum, County Durham Yorkshire (saving of £9) British Library, London London (saving of £9) Kensington Palace, British Museum, London And many more... Cardiff Castle (saving of £11) London (saving of £15) Compton Verney, Charles Dickens Museum, Lyme Park, Greater Warwickshire London (saving of £8) Manchester (saving of £9.90) Design Museum, London Charleston, East Sussex Nottingham Castle Holburne Museum, Bath (saving of £9.95) (saving of £5.50) Hunterian Art Gallery, Glasgow

Scottish National Gallery, Edinburgh Photo © Paul Raeburn

Art Guide app Julian Opie, Kris and Verity Walking, 2012 © Julian Opie

17 The year ahead and beyond

During 2013/14 and beyond In 2013 we will also improve We will improve our particularly on raising new we will: how we evaluate the way the multi-platform Art Guide support from individuals, money we raise for museums to become an essential including through the launch Give greater support is spent. Better understanding one-stop shop for all of the Art Fund Council for to the collecting ambitions the impact that a work of art, museum-goers. We also plan high-level donors in mid-2013. of museums collection or scheme has on to launch a Student National Fundraising to help museums museum visitors will help Art Pass for art history and Move to new premises buy works of art remains our to shape our programme fine art students. to help us achieve more chief purpose, and we will of support to museums for At the start of 2014 we will continue to support museums the future. Increase income to invest move into new and more in developing their collections. more in museums efficient premises in King’s We will run selected schemes Help to enjoy art through The success of the National Cross. The move will enable us for more focused collecting, expanding the National Art Pass has driven our to transform the way we work, and plan to partner with Art Pass network membership up from under encouraging collaboration Hayward Touring and others The number of museums 80,000 to over 95,000 in just and creativity within the to develop contemporary offering discounts through two years, increasing our organisation, greater interaction collections and exhibitions. the National Art Pass has income and, as a direct result, with our partners externally, We will also offer new grown by 20 per cent in two the amount we can give back and building capacity to ensure training and development years, but we aim to expand to museums. We will use our we can continue to help the opportunities to build on the number and range of growing membership base nation acquire and enjoy great our support for curators. discounts further in 2013. to raise further funds, focusing art in the years ahead.

Drawing of the east elevation of the Art Fund’s new home in King’s Cross © John McAslan & Partners

18 John Constable’s Salisbury Cathedral Galleries of Scotland; Colchester and from the Meadows, acquired by Tate Ipswich Museums, Salisbury; South in 2013, is part of an innovative sharing Wiltshire Museum and Tate. The arrangement with four museums that acquisition and wider public programme will see the painting on display across was made possible thanks to the help the UK for the next five years. The of a £1 million Art Fund grant. partner museums are Amgueddfa Cymru © Tate – National Museum Wales; National

19 Catalogue of acquisitions

In 2012 we gave £6.3 million Art Fund support for acquisitions by medium to 70 museums and galleries throughout the UK, helping them to acquire works of all Applied Art: 11% Painting: 58% ages, types and mediums.

Works on paper: 6%

Sculpture: 12%

Archaeology: 1%

Contemporary: 12%

19 Art Fund support for acquisitions by region

South East: 3% Wales: 2%

South West: 3% Central Southern: 14%

Scotland: 3% Yorkshire: 1%

Northern East Anglia: 5% England: 3%

West Midlands: 7% East Midlands: 0.1%

North West: 0.9% London: 56%

20 6636 Bernardo Strozzi (1581–1644) Various artists The distinguished collector and National Gallery, London Fitzwilliam Museum, Art Fund Bequest donated art historian Sir Denis Mahon 25 paintings by Gioacchino Cambridge by the trustees of Sir Denis CH CBE FBA FSA (1910–2011) Assereto (1660–1649), Ludovico Six paintings by Francesco Mahon’s Charitable Trust was a lifelong member of the Art Carracci (1555¬1619), Albani (1578–1660), Ciro Ferri National Gallery, Ashmolean Fund. It was his personal mission Valerio Castello (1624–1659), (1634–1689), Andrea Sacchi Museum, Fitzwilliam Museum, to promote an understanding Giuseppe Maria Crespi (1665– (1599–1660/1), Bartolomeo National Gallery of Scotland, and appreciation of Italian 1747), Donato Creti (1671–1749), Schedoni (1578–1615), Birmingham Museum and Art Baroque art, which had long Domenichino (1581–1641), Francesco Solimena (1657–1747) Gallery, Temple Newsam been neglected, and his Luca Giordano (1634–1705), and Pierre-Hubert Subleyras major bequest of 57 Baroque Guercino (1591–1666), attributed (1699–1749) paintings of exceptional quality to Johannes Lingelbach (1622– National Gallery of Scotland, has transformed the national 1674), Johann Liss (1595–1631), Edinburgh collection in this area. Sir Denis Guido Reni (1575–1642), Salvator Eight paintings by Corrado was a passionate supporter of Rosa (1615–1673), Bartolomeo Giaquinto (1703–1766), free admission to museums, Schedoni (1578–1615) and Andrea Locatelli (1695–1741), and he had previously placed Matthias Stom (c. 1600–after Giovanni Antonio Pellegrini the works on long-term loan 1649) (1675–1741), Salvator Rosa to their respective museums Ashmolean Museum, Oxford (1615–1673), Francesco on condition that they did not 12 paintings including works Solimena (1657–1747) and charge admission or sell works by Paul Bril (c. 1554–1626), Andrea Sacchi (1599–1660/1) from their collections. He saw the Michelangelo Cerquozzi (1602– Birmingham Museum and Art Art Fund as the ideal long-term 1660), Pietro da Cortona (1596– Gallery guardian of his paintings and his 1669), Giuseppe Maria Crespi Five paintings by Francesco wishes, and left instructions that (1665–1747), Domenichino Albani (1578–1660), Giovanni his pictures should be displayed (1581–1641), Gaspard Dughet Battista Gaulli (1639–1709), Pier in perpetuity at specific locations. (1615–1675), Guercino (1591– Francesco Mola (1612–1666) and He also left a £1 million legacy 1666), Pierre Patel the Elder (c. Salvator Rosa (1615–1673) to the Art Fund. All the paintings 1605–1676), Giovanni Francesco Temple Newsam, Leeds in the bequest and full details Romanelli (1610–1662), Ippolito One painting by Pier Francesco about them and can be found at Sarsella (1550/1–1620) and Mola (1612–1666) artfund.org/mahon

21 6637 Diana and Callisto shows the banishment. Diana and Callisto left Titian’s studio, passing from London and Edinburgh moment when Callisto, a favourite and its sister painting, Diana the Spanish Royal collection National Gallery and the member of the virgin goddess and Actaeon – each bought with through the collection of the Duc Scottish National Gallery Diana’s entourage, is revealed to help from the Art Fund – were d’Orleans to the heirs of the 3rd Titian (c. 1485–1576) be pregnant after being forced painted for King Philip II of Spain Duke of Bridgewater. They have Diana and Callisto to strip and bathe following a between 1556 and 1559. Both been in Britain for more than 1556–9 hunt. Diana’s female companions paintings belong to Titian’s two centuries and will now be Oil on canvas were supposed to be chaste, but ‘Metamorphoses’ cycle, a group displayed on a rotating basis in 187 x 204 cm Callisto’s beauty attracted the of large-scale mythological London and Edinburgh. A third attentions of the god Jupiter, who paintings inspired by the Roman painting in the Metamorphoses Art Funded £2,000,000 seduced her while disguised as poet Ovid. Titian himself referred series, The Death of Actaeon, was Total cost £45,000,000 Diana. Nine months later Callisto’s to them as ‘poesie’ – visual bought in 1972 by the National pregnancy was discovered, poetry. The two paintings have Gallery, London, with Art Fund resulting in her humiliation and remained together since they assistance.

22 6638 This is one of Edouard Manet’s Oxford most striking works. It was Ashmolean Museum painted in the autumn of 1868, Edouard Manet (1832–1883) and represents the artist’s first Portrait of Mademoiselle Claus idea for one of his greatest 1868 masterpieces, The Balcony Oil on canvas (1868–9), now in the Musée 115.7 x 72.8 cm d’Orsay, Paris. The subject is said to have been inspired by the Art Funded £850,000 sight of a group of figures on a Total cost £7,830,000 balcony in Boulogne-sur-Mer, where Manet spent his summer holidays with his family. Three of Manet’s close friends posed for The Balcony: the violinist Fanny Claus (1846 –77) and painters Berthe Morisot (1841– 95) and Antoine Guillemet (1841–1918). In the final picture Fanny Claus appears standing, but she is seated in this cut-down version of the composition. The American painter John Singer Sargent purchased the painting in Manet’s studio sale in 1886 and brought it to London two years later. It was considered to be such an outstanding example of Manet’s work that it was subject to a temporary export stop in 2012 at the recommended price of £28,350,000, but the Ashmolean was able to acquire it for a significantly lower sum in a private treaty sale.

6639 These flamboyant Baroque their massive scrolling legs, Vries, while the central panel London and Edinburgh tables, jointly acquired by the are attributed to the Venetian on the second table shows a Victoria and Albert Museum National Museum of Scotland carver Andrea Brustolon. The galley with men firing guns, and the National Museum of and the Victoria and Albert top of each table is divided sailing away from a port city. Scotland Museum, feature elaborate into nine compartments, with The lower scenes on each table Lucio de Lucci (fl. 1680–1700) marquetry tops on a decorative a central pictorial panel. The depict horsemen hunting a stag and Andrea Brustolon veneer employing a range of central subject of the first and the remaining scenes show (1662–1732) exotic materials. They were table, acquired by the National mounted warfare. Some of the A pair of Venetian console designed by the Venetian Museum of Scotland, is an figures wear turbans and wield tables craftsman Lucio de Lucci, architectural perspective in the scimitars, while others smoke c. 1688 while the boxwood bases, with manner of Hans Vredeman de pipes. Carved boxwood and marquetry Each 90 x 171.5 x 87 cm

Art Funded £250,000 (with assistance from the Wolfson Foundation) Total cost £735,900

23 6640 Extreme Unction (or ‘Final their daughter, her hands joined figures are disposed, frieze- Cambridge Anointing’) depicts a dying in silent prayer. Next to her is like, across the composition, Fitzwilliam Museum man being anointed with oil an elderly man – presumably like an ancient Roman relief. Nicolas Poussin (1594–1665) in accordance with the rites of a doctor or apothecary – who The people are presented Extreme Unction the early Roman church. His distractedly hands a flagon as though on a stage, with c. 1638–40 mother gently supports his to a youth while directing his the forward edge of the floor Oil on canvas head while the priest anoints his gaze to the dying man. At the deliberately exposed, reflecting 95.5 x 121 cm eyes. Accompanying the priest centre, another woman wrings Poussin’s habit of constructing are two acolytes, one holding her hands in anguish, while his compositions by using Art Funded £242,067 a candle, the other kneeling. at the far right a servant exits small wax figures, arranged in a (grant of £100,000 plus At the foot of the bed is the the room. Nicolas Poussin’s specially constructed box. The £142,067 raised through dying man’s wife, covering passion for classical antiquity result is a sober setting, which a public appeal) her face in an expression of is evident in both the costumes emphasises the solemnity of Total cost £3,865,101 inconsolable grief. Behind her is and setting, and the way the the rite.

6641 When the Whitechapel Gallery an Arts and Crafts motif adorning negative casts of facade windows London opened in 1901 its sculptural the gallery’s towers – and the in terracotta were placed Whitechapel Gallery façade was intended to ‘Hackney weed’ (buddleia) that within the recessed panel area Rachel Whiteread (b. 1963) incorporate a frieze, embodying grows on buildings in the area. between the towers as a formal Tree of Life the gallery’s goal of bringing She began by taking imprints counterpoint. Whiteread’s first 2011–12 great art to the people of the from the decorative bas-reliefs permanent public commission Bronze and gold leaf East End of London. In the event, of leaves at the base of the two in the UK, the frieze was one of it took until 2012 – when artist towers, and then cast them in the most important commissions Art Funded £200,000 Rachel Whiteread completed bronze and plated them in gold of the London 2012 Festival that (with assistance from the her commission – to realise leaf, emblazoning the upper celebrated the 2012 Olympics Wolfson Foundation) the original plan. She took her section of the gallery’s facade and Paralympics. Total cost £392,700 inspiration from the Tree of Life – with shimmering foliage. Four

24 6642 Having garnered relatively Wolverhampton little critical acclaim during her Wolverhampton Art Gallery short lifetime, Pauline Boty is Pauline Boty (1938–1966) now celebrated as one of the Colour Her Gone founders of British Pop Art and 1962 as a key British female artist. Like Oil on canvas many of her contemporaries, 121.9 x 121.9 cm she took as her subject popular culture of the day, which is Art Funded £20,000 reflected in a press interview Total cost £80,000 where she spoke of ‘a nostalgia for NOW … painting … present day mythology’. This work depicts Marilyn Monroe, who fascinated Boty both as an actress and as a sex symbol. She is shown in a relaxed pose, wearing a plain blue top, which is partly covered in the foreground by red roses – a conventional symbol of female beauty and love (and often in Boty’s work used to represent female genitalia). At either side of Marilyn’s image the roses are overpainted with bands ESTATE ARTIST’S ©THE of grey, pink and green. The painting was produced in 1962, the year in which Marilyn died. Other contemporary portraits of Marilyn pres ent a more overtly sexualised image of the actress, but Boty’s painting is unusual because it gives an informal view. It is included in Wolverhampton Art Gallery’s major survey on Boty, opening in June 2013.

6643 Brighton Royal Pavilion & Museums, Brighton J. M. W. Turner (1775–1851) The Chain Pier, Brighton c. 1824 Pencil, pen and black ink and watercolour with scratching- out on Whatman paper 14.6 x 22.2 cm

Art Funded £19,658 Total cost £230,030

A crowd stands at the end of the newly opened Chain Pier in Brighton, contemplating the roiling sea. J. M. W. Turner painted this watercolour a year or so after the Chain Pier opened to the public. It was one of three pier paintings he completed at the behest of his patron, Lord Egremont.

25 6644 For her version of the Folkestone Copenhagen statue of The Little The Creative Foundation Mermaid, Cornelia Parker chose Cornelia Parker (b. 1956) Folkestone resident Georgina The Folkestone Mermaid Baker as a model. She cast her in 2011 bronze, seated the sculpture on Bronze on a granite boulder a granite boulder to mirror the 155 x 172 x 110 cm Danish version, and positioned her next to Folkestone’s harbour. Art Funded £15,000 Total cost £36,000 y B al y : T hierr : P hoto / artist © T he ©

6645 Total cost £18,000 Carlisle, Nottingham, Oldham, A multitude of colourful pots is Preston, Rochdale arranged to form Ocean, a work Tullie House Museum and Art that reflects Natasha Daintry’s Gallery, Nottingham Castle fascination with water, movement Museum and Art Gallery, and the emotional power of Gallery Oldham, Harris colour. It will tour around five Museum and Art Gallery, partner museums and galleries in Touchstones Rochdale Nottingham, Oldham, Rochdale, Natasha Daintry (b. 1966) Carlisle and Preston, with each Ocean venue given the freedom to 2009 install the work as it wishes. 1,000 glazed porcelain pots of various sizes Installation approximately 12 x 240 x 60 cm

Art Funded £4,250 y daintr

natasha ©

26 6646 This platter by Danish glass 6647 This collection spans three Aberdeen artist Tobias Møhl was produced Aberystwyth decades of Erich Retzlaff’s Aberdeen Art Gallery using a number of demanding School of Art Gallery photographic career. His oeuvre and Museums techniques, primarily incalmo and Museum includes portraits of people Tobias Møhl (b. 1970) (the fusing of two differently Erich Retzlaff (1899–1993) at work, women and children, Platter coloured sections of glass) A collection of 30 vintage as well as landscapes and 2012 and cane work, which involves prints fashion photographs. Blown glass, incalmo and cane stretching molten glass into 1928­–45 His portfolio can be read work on a stainless steel stand long, thin strands then cutting Silver gelatin prints as a fascinating document 74 x 63 x 18 cm and twisting to form intricate Various dimensions about German identity. patterns. Art Funded £3,000 Art Funded £1,943 Total cost £7,250 Total cost £7,588 mohl tobias © estate ’ s artist © T he ©

6648 Leon Underwood experimented 6649 This view of Rome’s Piazza della Aberystwyth with etching for less than Aberystwyth Rotonda, showing the Pantheon School of Art Gallery five years, but became very School of Art Gallery and Giacomo Della Porta’s and Museum accomplished during this time. and Museum fountain, features in the second Leon Underwood (1890–1975) This portrait is highly valued as Giuseppe Vasi (1710–1782) volume of Giuseppe Vasi’s Self-portrait with Hat in a his plates were stolen and melted Piazza della Rotonda ten-volume series of engravings Landscape down to sell as scrap metal. 1752 entitled Della Magnificenze 1921 Engraving di Roma Antica e Moderna. Etching 21 x 29.8 cm Anthony James Brothers, who 17.6 x 12.5 cm bequeathed the print, was Art Fund Bequest from the former Art Fund regional Art Funded £1,000 Anthony James Brothers representative for Dyfed. Total cost £4,200 artist © T he ©

6650 Kurt Schwitters was a German 6651 The Sèvres factory was located Ambleside Dadaist who experimented Barnard Castle close to Versailles, enabling it to Armit Collection in every art form but was best Bowes Museum supply the French ruling family Kurt Schwitters (1887–1948) known for his collages and Jean-Claude Duplessis with the very best in porcelain Untitled (Bridge House, installations, in particular his (d. 1774) design. This ewer and basin, Ambleside) Merzbau in Hanover. At the Sèvres ewer and basin designed by bronze-caster 1945 end of his life he spent time at 1777 Jean-Claude Duplessis, was Oil on cardboard Ambleside in the Lake District. Porcelain one such example. The two- 26,5 x 19.6 cm This painting of Bridge House, Ewer height 25 cm; piece set was decorated by the one of the most famous sights basin 36 x 27 cm painter Etienne-Jean Grémont Art Funded £701 in the area, was painted three and possibly Louis Barbé, Total cost £5,702 years before he died. Art Funded £5,000 a Sèvres gilder. Total cost £16,000 2013 dacs ©

27 6652 This painting by French 6653 Peter Randall-Page studied at the Barnard Castle academic artist Hébert depicts Bath Bath Academy of Art (1973–7), Bowes Museum a family of Italian peasants Victoria Art Gallery but this is the first piece by him Antoine-Auguste-Ernest escaping a malaria epidemic by Peter Randall-Page (b. 1954) to be acquired by Bath’s Victoria Hébert (1817–1908) raft, a scene inspired by events Solid Air III Art Gallery. It is part of a group La Mal’aria the artist had witnessed while in 2010 of works he started in 2005, 1850 Italy. It is a reduced-scale copy Rosso Luana marble and oak inspired by atomic, molecular Oil on canvas by Hébert of his award-winning 49 x 50 x 49 cm; and crystalline structures, and 56.6 x 81.2 cm Salon entry of 1850 (now in the base 100 x 50 x 50 cm evoking ‘solidified clouds Musée d’Orsay, Paris). or planets swathed in multi- Art Funded £4,000 Art Funded £8,000 coloured vapours’. Total cost £10,000 Total cost £16,000 - page randall peter ©

6654 This work captures a riverside 6655 William Hoare was a successful Bath scene that no longer exists Bath portraitist working in Bath. Victoria Art Gallery as the Georgian houses have Victoria Art Gallery Charles Brudenell-Bruce was Charles Ginner (1878–1952) been demolished, though the William Hoare (c. 1707–1792) the grandson of his most Old Houses, Bath railway still cuts through the Portrait of Charles significant patron, Henry Hoare 1927 area. Charles Ginner had been Brudenell-Bruce of Stourhead. He is five or six in Oil on canvas a member of the Camden c. 1779 this portrait, and wears a dress; 51 x 61 cm Town Group with Walter Sickert Pastel at the time all young children before the First World War, and 58.7 x 44.4 cm wore dresses, the boys switching Art Funded £3,677 continued to live and work in to shirt and breeches when they Total cost £19,350 London in the inter-war years. Art Funded £2,138 were around seven. Total cost £11,250 estate ’ s artist © the

6656 Dr John Ash (1723–1798) pre-eminent portraitist of his plan of Birmingham General Birmingham was a prominent Birmingham day and President of the Royal Hospital in his right hand and Birmingham Museum physician, famous for being the Academy. He succeeded in the building itself is seen in the and Art Gallery co-founder of the Birmingham conveying his sitter’s character distance. Behind the sitter is a Sir Joshua Reynolds General Hospital ‘for the relief through the inclusion of statue of Benevolence sheltering (1723–1792) of the sick and the lame’. This symbolic props and meticulously a child with her robe. Overall, Portrait of Dr John Ash portrait was commissioned observed facial expression. the painting conveys a strong 1788 by the hospital’s governors to Dr Ash wears the gown of a impression of Ash’s character, Oil on canvas honour Dr Ash’s services to Doctor of Medicine over a in which determination and 241.3 x 147.3 cm the people of Birmingham. black velvet suit with a formal authority were tempered with Sir Joshua Reynolds was the cravat. He holds a ground kindliness. Art Funded £100,000 Total cost £875,000

28 6657 The title of Romuald Hazoumè’s state budget for themselves contemporary capitalism and Birmingham and Walsall installation, ARTicle 14, refers to and leaving many to fight for trade relationships between Birmingham Museum and the hypothetical 14th article of their own survival. Reflecting Africa and Europe, exploring Art Gallery and The New Art African constitutions, popularly the struggles of daily life in West how contemporary African Gallery, Walsall held to be ‘débrouilles-toi, toi- Africa, the arrangement of a society has been shaped by Romuald Hazoumè (b. 1962) même’ – ‘look out for yourself’ cart, found objects, sounds and colonialism and globalisation. ARTicle 14, Débrouille-toi, – with the implication that if panoramic photographs evokes In 2006 the Art Fund supported toi-même! you don’t look out for yourself, a Benin street trader. The local another of Hazoumè’s multi- 2005 nobody else will. This is a trade in globalised products is media installations, La Bouche du Cart and photographs reference to how government central to Hazoumè’s work, which Roi, which dealt with the subject Various dimensions officials are parasitic, taking the examines the harsh realities of of slavery.

Art Funded £82,000 (presented through Art Fund International) Total cost £82,000 hazoume romuald ©

6658 This video offers a tour of a 6659 Józef Robakowski is among the Birmingham and Walsall virtual-reality utopia by a rocket- Birmingham and Walsall first generation of Polish artists to Birmingham Museum and propelled young woman called Birmingham Museum and work with video. In this piece he Art Gallery and The New Art China Tracy. She was designed Art Gallery and The New Art has filmed the daily activities of Gallery Walsall by the artist Cao Fei as her Gallery Walsall his neighbours over a period of Cao Fei (b. 1978) avatar, and her videos are based Jósef Robakowski (b. 1939) 20 years from his apartment. In Live in RMB City in a world of her own making, View From My Window, addition to this work, the Art 2009 created using the online virtual- 1978–1999 Fund has made the first of two Video, edition of ten reality platform Second Life. Video, unlimited edition grants of £53,061 towards a new Duration 25 minutes Duration 20 minutes commission to be completed in 2013 by artist Lee Bul (b. 1964). Art Funded £19,493 Art Funded £1,646 (presented through (presented through Art Fund International) Art Fund International) Total cost £19,493 Total cost £1,646 artist artist © T he © T he ©

6660 An artist and curator who lives YouTube – he analyses cultural in 1953 and is shown in Zaatari’s Bristol and works in Beirut, Akram and political conditions in photograph. The portraits Bristol Museum and Art Gallery Zaatari helped set up the Arab Lebanese postwar society. Studio Madani shot in the studio and Akram Zaatari (b. 1966) Image Foundation with the Scheherazade and 28-Nights in the surrounding streets have 1) 28-Nights and a Poem aim of creating an archive of and a Poem both draw on his an intimate flavour, often giving 2010 Middle Eastern photographic research into photographer the impression that people have 28 photographs in a wooden practice, particularly in Lebanon. Hashem El Madani (b. 1930), who been caught off-guard. Zaatari cabinet, Super 8 projector By collecting, examining claims to have photographed assembled archaeological looping 2-minute film on and recontextualising a wide 90 per cent of the population elements from the studio to expired film material, one range of documents – from of Saida (Lebanon’s third- create 28-Nights and a Poem, video projection L’Enlevement, found audiotapes and family largest city) at his studio, Studio an installation made in tribute 2008, 15 minutes, iPad video photographs to videos found on Scheherazade, which opened to Madani. of Untitled, 2010 Edition of 5 + 2 AP Cabinet 92 x 52 x 180 cm 2) Studio Scheherazade – Reception Space 2006 C-print photograph Edition 3/5 + 2 AP

110 x 300 cm zaatari akram

Art Funded £97,118 © (presented through Art Fund International) Total cost £97,118

29 6661 The South African artist and with his subjects’ full co- and these two large portraits Bristol photographer Zwelethu operation. These photographs of contemporary cane-cutters Bristol Museum and Mthethwa has pioneered the were presented to the museum make a visual connection with Art Gallery use of colour images to present through Art Fund International, that narrative. These images of Zwelethu Mthethwa (b. 1960) the everyday life of working and one of the museum’s aims modern exploitation in sugar- 1) Untitled Sugar Cane Black South Africans. He is for this scheme is to acquire cane farming encourage viewers Series no 16 particularly interested in groups works that connect with Bristol’s to look at the contemporary 2004 of marginalised workers who history as a port and a site of production and consumption of 2) Sugar Cane Series no 8 manage to make a living despite international migration. Part sugar and its historic links to the 2006 conditions of considerable of this history is the city’s role enslaved Africans who farmed it. C-print photographs hardship, and he always works in the transatlantic slave trade, 155 x 200 cm

Art Funded £27,707 (presented through and Art Fund International) Total cost £27,707 N Y y, artist galler the of

shainman

courtest © jack

6662 This work is an installation Bristol exploring the politics of the Bristol Museum and Partition of India in 1947. Art Gallery It uses the deceptively Shilpa Gupta (b. 1976) simple presentation of the In Our Times Independence speeches of 2008 Nehru and Jinnah in tandem, Installation broadcast through two 193 x 145 x 61 cm microphones. One of the most Duration 4 minutes 36 seconds important female artists working in India today, Shilpa Gupta Art Funded £23,022 is based in Mumbai. Sound PARIS LAMBERT, Y VONNE Total cost £23,022 and voice often play a crucial role in her work, and she uses a variety of media including

photography, video, digital, AND ARTIST THE OF audio and visual installation to Y explore globalisation and what

this means in everyday life. COURTES ©

6663 The video work of Israeli artist apartments, which apparently whole narrative is never shown Bristol Omer Fast examines the art adjoin one another – and there is room for speculation Bristol Museum and and form of storytelling. In this through the interwoven stories about the events. Loneliness, Art Gallery piece, filmed in the Belgian of their inhabitants – pausing to alienation and racism are the Omer Fast (b. 1972) city of Mechelen, Fast presents overhear fragments of dialogue. themes. Secrets, mistrust and De Grote Boodschap the story of a series of Flemish Each set of inhabitants anxiously misunderstandings characterise 2007 characters who appear to live eavesdrops on the others’ the video and events spill over HD video in neighbouring apartments in coming and goings, a scenario from each separate story, making Edition 5/6 + 2 AP this multicultural environment. ripe for misinterpretation. The the viewer question where the Duration 27 minutes The camera moves horizontally viewer slowly fits the pieces of tale originates. through the walls of the the story together, but since the Art Funded £22,346 (presented through Art Fund International) Total cost £22,346 artist OF T he OF Y © COURTES ©

30 6664 An art history and archaeology 6665 This is the first work by Pakistani Bristol graduate, Shirin Aliabadi uses Bristol artist Bani Abidi to enter a UK Bristol Museum and her work to celebrate Iranian Bristol Museum and collection. In this split-screen Art Gallery counter-culture. Girls in Car Art Gallery video, which juxtaposes scenes Shirin Aliabadi (b. 1973) shows women dressed up for Bani Abidi (b. 1971) of a traditional bagpipe band Girls in Car 1–4 parties who are stuck in the Shan Pipe Band Learn the attempting to play the American 2005 Tehran evening traffic. Star-spangled Banner national anthem with street Colour photographs 2004 scenes, she considers Pakistan’s 1) Edition 1/5; 2) and 3) edition Double channel video difficult position as a US ally in

2/5; 4) edition 2/2 AP AND Edition 5/5 + 1 AP the War on Terror. Each 70 x 100 cm Duration 7 minutes 31 seconds artist

Art Funded £17,371 T he OF Art Funded £15,000 (presented through Y (presented through Art Fund International) Art Fund International) artist © T he © © COURTES Total cost £17,371 THIRD THE LINE Total cost £15,000

6666 This pattern poem in the shape clouds at bay, but to no avail. installations, and her interest Bristol of a yellow flag is made up of As if on a loop, it ends with the in global politics. Playing with Bristol Museum and words created out of adhesive half-sentence, ‘I tried very hard to ideas of the sanctity of the flag Art Gallery tape. The poetic text begins: cut’. This work by Shilpa Gupta, and the outcry if any nation’s Shilpa Gupta (b. 1976) ‘I tried very hard to cut the sky in an artist who lives in Mumbai and flag is desecrated, the work is There is No Border Here half, one for my lover and one exhibits globally, comments on ephemeral, remade whenever 2006 for me, but the sky kept moving the often arbitrary employment and wherever it is exhibited. Wall drawing with and clouds from his territory of national boundaries and self-adhesive tape came into mine.’ The account the flag’s iconic demarcation 300 x 300 cm continues, detailing how the of territory. It connects with narrator tried to move furniture her wide-ranging practice Art Funded £10,262 and build a wall to keep the that includes video and sound (presented through Art Fund International) Total cost £10,262 VONNE Y VONNE THE ARTIST AND THE ARTIST Y © COURTES LAMBERT, PARIS LAMBERT,

6667 ‘Hair work’ embroidery – made 6668 This is one of two works that Bury by stitching human hair on Cambridge are the latest additions to the Bury Art Gallery silk – became popular towards Fitzwilliam Museum, contemporary craft collection Various artists the end of the 18th century. Cambridge that Sir Nicholas and Judith Ten ‘hair work’ embroideries The pictures in this collection Merete Rasmussen (b. 1974) Goodison have generously c. 1780–1820 include landscapes, pastoral Blue Twisted Form helped the Fitzwilliam Museum Human hair and silk scenes and architecture. Several 2011 to form (see also no. 6669). Various dimensions of them have labels on the back Stoneware Sir Nicholas describes this work suggesting that they were made 31.1 x 57.5 x 52.5 cm by Merete Rasmussen as a Art Fund Gift from Joan Hurst to mark a special occasion, such ‘striking and technically difficult as a marriage. Art Fund Gift from Nicholas piece that draws the attention’. and Judith Goodison © MERETE RASMUSSEN MERETE ©

31 6669 This is one of two works that 6670 These works were painted by a Adi Toch (b. 1979) are the latest additions to the Cambridge group of Ömie women artists Large Reflection Bowl contemporary craft collection Museum of Archaeology and in Papua New Guinea as part of 2012 that Sir Nicholas and Judith Anthropology an ongoing initiative set up in Patina on silver-plated brass Goodison have generously Ömie artists: Sarah Ugibari; 2004 to export contemporary with stainless steel ball helped the Fitzwilliam Museum Fate Savari; Brenda Kesi; Lila versions of Pacific barkcloth bearings to form (see also no. 6668). Warrimou; Celestine Warina; paintings. Each artist works in 10.1 x 24.9 cm Sir Nicholas describes Adi Toch Dapeni Jonevari; Botha her own recognisable style. as ‘a young maker with enormous Kimmikimmi; Pauline-Rose Painted barkcloths were – and in Art Fund Gift from Nicholas promise’. Hago; Flora Oviro; Linda-Grace some areas still are – worn during and Judith Goodison Savari; Ivy-Rose Sirimi traditional ceremonies. 12 barkcloth paintings 2011 Natural pigments on women’s barkcloth skirts; two works by Brenda Kesi are appliquéd mud-dyed barkcloth Size range 110.5 x 70.5 cm to 189 x 81 cm © ADI TOCH / PHOTO: SUSSIE AHLBERG SUSSIE PHOTO: / TOCH ADI © Art Funded £17,500 Total cost £39,650 © CELESTINE VARINA © CELESTINE

6671 In 2012 the Museum of all created by indigenous colonialism. Senzeni Marasela’s Cambridge Archaeology and Anthropology artists in workshops set up to Sarah Baartman Remembered, Museum of Archaeology and was awarded £100,000 towards provide them with an income, for example, is a series of prints Anthropology building a collection of modern and they express attachment telling the story of a former slave 19 prints by 20th-century prints and works on paper from to land and identity, histories who was toured around Britain artists: Senzeni Marasela; Australia, Canada and South of suffering and survival, and and Europe as ‘the Hottentot Queenie McKenzie; Annet Africa as part of the RENEW engagement with modernity Venus’, which speaks to every Musenzi Sambana; Freddie initiative, funded by the Esmée and globalisation. They all Black South African woman. Timms; Eubena Nampitijn; Fairbairn Foundation through represent personal responses Queenie McKenzie, a major Kavavouw Mannomee; the Art Fund. These 19 works to histories that are far removed Aboriginal artist, is represented Pudlo Pudlat; Kananginak are the first acquisitions made from academic treatises about by Ngayiwoorrrji, a Dreamtime Pootoogook; Regina under the scheme. They were Giuseppe Maria Crespi post- image of her homeland. Karadada; Pitaloosie Saila; Suvinai Ashoona; Aoudla Pudlat; Nina Puruntatameri; Brian Farmer Various media and dimensions

Art Funded £13,015 (presented by the Art Fund and the Esmée Fairbairn Foundation) artist

Total cost £13,015 T he ©

6672 This collection of wooden Cambridge artefacts includes a Tanzanian Museum of Archaeology carved figure of a standing man, and Anthropology a Lega carved mask with a rush Collection of African sculpture beard, a Baule carved figure, a c. 20th century Baule drum tapper and a Boni Wood headrest, a Yoruba Ifa divination Various dimensions bowl and a pair of Yoruba Ibeji figures. Art Fund Bequest from John Pachmayr

32 6673 This decorative glass fire Cardiff screen was part of the original Cardiff Castle furnishings in Cardiff Castle’s William Burges (1827–1881) 46-metre clock tower, designed Glazed screen by Gothic Revival architect c. 1874 William Burges. It will be Glass and ebonised mahogany reinstated in its original position, 73 x 149 cm alongside a table reacquired by Cardiff Castle in 2007, again with Art Funded £5,000 Art Fund assistance. Total cost £17,000

6674 At the turn of the 18th century Englishman working in the Dutch many of the central narratives Cardiff the Mansel family, by far tradition. They are an interesting of Welsh, and indeed British, National Museum Cardiff the grandest landowners in pair, unique in the National history. Strikingly, the pictures British school, possibly west Glamorgan in Wales, Museum’s collection in reflecting are different sizes. The north Thomas Smith commissioned two paintings of estates of this period. But apart view, capturing the back of the 1) North view of Margam their ancestral home, set amid from being absorbing in their house and looking over to the House, Glamorgan rolling hills with spectacular detail and evocative of a trend in Channel, is considerably larger 2) South view of Margam views over the Bristol Channel. late 17th- and early 18th-century than the south aspect, a view House, Glamorgan The paintings that resulted were painting, they are of terrific of the front of the house, its c. 1700 possibly created by Thomas historical and social value: gardens and deer park, with the Oil on canvas Smith, a largely unknown Margam House encapsulates so hills behind. 146 x 145 cm; 113 x 100 cm

Art Funded £75,000 Total cost £218,500 (tax remission)

6675 This piece is a classic example Britain and abroad. While Long many roles in the museum and Cardiff of a Richard Long stone circle often places his sculptures in the tell many different stories: the National Museum Cardiff and embodies many of the landscape itself, this one was history of British sculpture; the Richard Long (b. 1945) central themes in his work, which designed and built specifically centrality of landscape as subject Blaenau Ffestiniog Circle expresses a powerful artistic for the National Museum Cardiff. in the visual arts; the history of 2011 engagement with landscape, It consists of pieces of slate that conceptual strategies in art; and, Welsh slate frequently employing the stones, the artist collected over a period not least, the way in which Wales Diameter 400 cm driftwood and mud he finds of two days at the Llechwedd continues to provide inspiration on his epic walks through the slate mine in Blaenau Ffestiniog. for internationally important Art Funded £30,000 countryside in remote areas of The sculpture will perform artists working today. Total cost £81,137 © RICHARD LONG. ALL RIGHTS RESERVED, DACS 2013 2013 DACS RESERVED, RIGHTS ALL LONG. RICHARD ©

33 6676 These four casters are from a 6677 This painting by an unknown Cardiff group of six that were once Chatham artist shows a 19th-century National Museum of Wales part of an elaborate silver Historic Dockyard Chatham ropery in action. The long single- George Wickes centrepiece. The middle part – Unknown English artist storey building has louvered Four Casters the earliest known London-made The Ropemakers windows to let light in and dust 1730 example of a Baroque ‘surtout c. 1825–30 out. Somewhat naive in style, Silver de table’ – has been in the Oil on canvas but considered by maritime Each 16.6 x 7 cm collection of the National 51 x 61 cm experts to be factually accurate, Museum of Wales since 1995. it shows the industrialised Art Funded £10,000 George Wickes was goldsmith Art Funded £1,740 process of ropemaking prior Total cost £25,000 to Frederick, Prince of Wales. Total cost £4,100 to steam mechanisation.

6678 The fan painter and landscape 6679 William Aldersey (1543–1616) Cheltenham artist Thomas Robins was a Chester was a merchant ironmonger Cheltenham Art Gallery native of Cheltenham, and this Grosvenor Museum and a founding member of the and Museum view shows the south-east area Unknown English artist East India Company. He served Thomas Robins (1716–1770) of the town, featuring various Portrait of William Aldersey, as Mayor of Chester in 1595–6 South East View of Cheltenham elegantly dressed figures and Mayor of Chester and 1613–4, and between his 1740 annotated elements including 1615 work and civic duties found Paper/parchment, watercolour ‘The Well and its Conveniences, Oil on oak panel time to study the city’s Roman and ivory sticks Lady Stapleton’s house, The 72.5 x 52 cm and medieval history. This is the Diameter 29 cm Church and part of ye Town, and earliest surviving portrait of a Stapleton’s Dog Kennel’. Art Funded £2,375 Chester mayor. Art Funded £4,718 Total cost £7,500 Total cost £12,750

6680 Graciela Iturbide is arguably Colchester the most significant Mexican ESCALA (Essex Collection photographer of her of Art from Latin America) generation. Her black-and-white Graciela Iturbide (b. 1942) photographs often involve 1) Autorretrato en la casa de surrealist juxtapositions of Trotsky; 2) Tecalli, Puebla; found objects, arbitrary places 3) Jardín Botánico, Cactus and strange shadows. In Naturata; 4) Benarés, India Autorretrato en la casa de Trotsky 2006; 2011; 1996–2004; 1999 her own shadowy figure falls Silver gelatin prints on the bullet-riddled wall of 17.7 x 17.7 cm; 18 x 17.8 cm; the house in which Trotsky 27 x 26.5 cm; 21 x 31.4 cm was assassinated.

Art Funded £2,313 Total cost £4,616 artist © T he ©

34 6681 Stanley Spencer made this same year. Hilda herself drew 1930, he wrote to Hilda: ‘I would Cookham sensitive drawing of his first wife, Spencer nude at around the so love to do a drawing of you Stanley Spencer Gallery Hilda, when they were living in same time, and taken together with your hair down; not because Sir Stanley Spencer the village of Burghclere while the drawings show a particular I think it suits you, although it (1891–1959) he was working on his paintings moment in the couple’s marriage gives you one special look I love, Hilda with Hair Down for Sandham Memorial Chapel. when they were appraising each but because it would be such 1931 It shows her in pensive mood other through their art. Physically fun to do & because the drawing Pencil on paper with her hair tumbling over her attracted to Hilda from the I did of Evylyn Ballard gave me 59.4 x 43.5 cm shoulders, and shares an intimate start, Spencer had immediately a feeling of how marvellous mood with another drawing admired her dark reddish hair, long hair was. It gives one a Art Funded £25,175 showing Hilda in the nude, drawn here in calligraphic style. wonderful feeling of infiniteness Total cost £103,503 which the artist produced in the In a letter begun on 28 June & endlessness.’ LL a LL SPENCER 2013. 2013. SPENCER Y STANLE OF ESTATE THE © DACS. RESERVED RIGHTS

6682 These cups were crafted in Dundee response to the 1617 Act of The McManus: Dundee’s Art Scottish Parliament declaring Gallery and Museum that all communion wine Charles Dickson (fl. 1731–1752); must be served in silver cups. Robert Gairdyne (fl. 1624– Unostentatious and of a well- 1656); Alexander Smith proportioned ‘goblet’ style – (fl. 1718–1739) as opposed to the beaker Three communion cups style prevalent in Aberdeen 1733; c. 1640; c. 1730 drawn from German examples Silver – they show a distinct southern Height of each: 22.5 cm; influence. 23.2 cm; 22 cm

Art Funded £12,400 Total cost £31,000

6683 The D’Arcy Thompson Zoology not only laid the foundations of this perfectly: Roger Wilson’s Dundee Museum at the University of biomathematics, but also had an Foramifera (Further Variations) The D’Arcy Thompson Dundee was one of the museums extraordinary influence on art and is directly inspired by models Zoology Museum at the awarded a grant to build a design. Famous artists including of microscopic creatures whose University of Dundee specific collection through the Henry Moore, Richard Hamilton mathematically precise forms Seven 20th-century works RENEW scheme, funded by the and Jackson Pollock drew on his fascinated D’Arcy Thompson, and by: Wilhelmina Barns-Graham; Esmée Fairbairn Foundation work, and the museum is keen which proved the key catalyst for B. E. Cole; Susan Derges; through the Art Fund. It is using its to acquire key 20th-century his ground-breaking work. Bruce Gernand; Will Maclean; £100,000 to build a collection of works of art that relate to his In addition to the works Henry Moore; Roger Wilson art inspired by D’Arcy Thompson, collection as well as encouraging purchased, an artwork by Will Various media and dimensions the University’s first Professor contemporary artists to create Maclean was donated through of Biology. D’Arcy Thompson new pieces. One of these the Art Fund to Dundee to join Art Funded £39,738 was a brilliant polymath who first acquisitions illustrates the RENEW collection. (presented by the Art Fund and the Esmée Fairbairn Foundation) Total cost £39,250

Will Maclean (b. 1941) Skull Notes 2007 Mixed media with found

objects - MACLEAN WILL 63 x 56 x 6 cm artist

Art Fund Gift from Will Maclean T he ©

35 6684 Durham’s recently refurbished museum’s historic collections but they have bought range from Durham Oriental Museum has also to engage new audiences. contemporary prints, textiles, Oriental Museum been building a ‘Made in Teikyo University of Japan has three-dimensional works and Works by artists including: Japan’ capsule collection of a campus at Durham, and the ceramics by recognised artists Shoji Hamada; Kosaka contemporary Japanese art and curators have taken advice from such as Shoji Hamada (Japan’s Sasuma; Nana Shiomi; Emiko design with the £50,000 it was the Japanese students to ensure best-known post-war potter) to Inoue; Chiharu Shiota; Hitomi allocated under the RENEW that the objects they acquire more commercial products such Hosonu; Junko Mori, Kado Yui; scheme, funded by the Esmée have a genuine resonance with as movie posters, video games, Suzuki Tomio; Osamu Tezaku Fairbairn Foundation through Japanese youth and do not just painted cells from popular anime Various media and dimensions the Art Fund. The collection is reflect Western preferences television series, magazines and intended not only to reflect the and prejudices. The items manga comics. Art Funded £49,920 (presented by the Art Fund and the Esmée Fairbairn Foundation) Total cost £49,920 tomio suzuki - artist © T he ©

6685 Since 1984 Chilean artist Eugenio unfolded work. The journeys, Eastbourne Dittborn has been making the distances spanned and the Towner ‘Airmail Paintings’ – collages that strategies used to communicate Eugenio Dittborn (b. 1943) bring together photocopied are very much part of the work. Three Airmail Paintings: images and text from a range Dittborn’s subtle political critique 1) Nine Survivors (Three Stains) of sources, which are sewn or is all the more powerful because ork Airmail Painting No. 182 printed onto lightweight fabric, the works have a delicate, y 2) The 13th History of the then folded into cardboard vulnerable and transitory quality new Human Face (The Portal of H.) envelopes and posted to similar to the information they Airmail Painting No. 95 exhibition venues worldwide. convey. This group of three bonin , 3) Absent Feet Airmail Painting Dittborn came up with this way of Airmail Paintings provides an and No. 153 1986–2011; 1991; 2003 working to disguise his artwork insight into the development of 1) Paint and photosilkscreen on and engage with the international the artist’s practice from 1986 ale x ander kraft paper; 2) paint, stitching art world, bypassing censorship to 2011. Nine Survivors, an early y and photosilkscreen on six while working under the isolation work made on brown paper, is sections of non- woven fabric; of the military dictatorship in extremely rare, while his 2002–3 courtes 3) tincture, photosilkscreen, Chile. The itineraries of each are tincture work Absent Feet shows image sateen and stitching on four written onto the envelopes that him exploring the boundaries of © sections of duck fabric are displayed along with the painting as a medium.

Art Funded £96,916 (presented through Art Fund International) Total cost £96,916

6686 This is the Towner’s first place and its population of menacing. The voiceover in Eastbourne contemporary acquisition by a grown-ups, children and pets Mandarin Chinese is subtitled in Towner Portuguese artist. It was filmed in at play. But while the projected Joäo Penalva’s own English text, Joäo Penalva (b. 1949) Berlin at the centre of the frozen image remains familiar, the which is spoken in translation. The Roar of the Lions lake Grunewaldsee. Grunewald narrator gradually leads the It tells the story of an illegal 2006 is a forest rich in history, but viewer to visualise images of Chinese immigrant who is Single channel video also a leisure spot in an affluent other places, people and sounds, pursued by the police after projection middle-class residential area. At and to question what it takes giving a statement to them about Edition of 5 + 1 AP first sight the video looks like a for all that seems familiar and a road accident, and reveals a Duration 37 minutes documentary about a bucolic safe to become unknown and dark story behind the images.

Art Funded £20,606 (presented through

Art Fund International) y Total cost £20,606 galler lee simon and

artist the of y y courtes ©

36 6687 Michael Asher has presented, 6688 This is the first piece by Eastbourne as an artwork, a caravan at the Edinburgh acclaimed Japanese maker Towner Sculpture Project Munster since National Museum of Scotland Suiko Buseki to be acquired by Mario Garcia Torres (b. 1975) its inception in 1977. On 21 July Suiko Buseki (b. 1958) a British museum. The woven My Westphalia Days 2007 the caravan disappeared, Crane Dance bamboo sculpture – comprising 2008 only to be discovered four days 2012 strips as little as one millimetre 16mm film later at the edge of a forest in Bamboo thick in two varieties of Edition 1/5 the outskirts of the city. Mario 19.5 x 37.5 x 24 cm bamboo (smoked and Duration 15 minutes Garcia Torres has proposed a unsmoked) – was selected for fiction about these missing days, Art Funded £11,250 the conspicuous visibility of the Art Funded £17,026 filming a Mercedes-Benz stealing (presented through artist’s technical skill. (presented through a caravan almost identical to the Art Fund International) Art Fund International) one used by Asher from where Total cost £11,250 Total cost £17,026 it disappeared. The result is fragmented road movie tracking a proposed route for the caravan. OF THE ARTIST THE OF Y © COURTES © © MARIO GARCIA TORRES GARCIA MARIO ©

6689 A flame-haired girl places by the sun’s rays in the middle and other painters, including Edinburgh fallen apples in a basket held ground. In the Orchard was Joseph Crawhall and George Scottish National Gallery by a young boy, their flushed painted in 1887 by James Henry, worked together during Sir James Guthrie (1859–1930) faces suggesting a nip in the Guthrie, who became known summer painting tours in the In the Orchard crisp autumn air. It is a gentle as one of the Glasgow Boys, a 1880s. They were influenced 1885–6 scene with the ducks the only group of artists who refused to by the French naturalist painter Oil on canvas observers of the children’s conform to the controlling ways Jules Bastien-Lepage and 152.5 x 178 cm efforts as they also look for of the Royal Scottish Academy created pastoral scenes that spoils on the orchard floor. The in Edinburgh (for a start, the included one or two children Art Funded £62,884 orchard gives way to open land Academy insisted all members or labourers conducting Total cost £636,500 and a hayrick is illuminated lived in Edinburgh). Guthrie everyday tasks.

6690 Alison Watt produced this early 6691 In this tavern scene men sit Edinburgh self-portrait while she was still Edinburgh smoking and drinking, waited Scottish National Portrait a student at Glasgow School of Scottish National Gallery upon by a youth. A young girl Gallery Art, around the time she won Sébastien Bourdon (1616–1671) supping a thin broth appears Alison Watt (b. 1965) the John Player Portrait Award. Interior of an Inn distracted by something we Self-portrait Painted when she was ill, it c. 1640 cannot see. Sébastien Bourdon 1986–7 shows her with her right hand Oil on copper was a French artist, but this small Oil on canvas across her forehead, as if she is 24.5 x 31.2 cm scene shows the influence of 30.8 x 30.8 cm taking her temperature or about Dutch painter Pieter van Laer, to faint. Art Funded £15,000 whose works he would have seen Art Funded £17,500 Total cost £66,280 during a two-year stay in Rome. Total cost £17,500 watt alison ©

37 6692 This painting is one of few Edinburgh surrealist works by Peter Rose Scottish National Gallery Pulham that survived after his of Modern Art studio was hit by a German Peter Rose Pulham bomb in 1941. It is the Scottish (1910–1956) National Gallery of Modern Art’s Horse’s Skull, Sphere and first acquisition of Pulham’s work, Moon and represents a significant 1941 addition to one of the world’s Oil on canvas great collections of surrealist art. 51 x 76 cm

Art Funded £6,000 Total cost £12,000 artist the ©

6693 This mesmerising painting of a Glaciers in Switzerland in 1949; the many reflected colours in Edinburgh Swiss glacier, which had been the trip inspired a series of strong light, the melting and Scottish National Gallery on loan to the National Gallery works that marked a departure changing forms … It seemed to of Modern Art of Modern Art for 16 years, was from her previous Cornish breathe! … This likeness to glass Wilhelmina Barns-Graham presented to mark the centenary canvases. In a later letter, Barns- and transparency, combined (1912–2004) of the artist’s birth. It is the first Graham described how she with solid rough ridges, made Glacier Chasm major work by Wilhelmina Barns- was impressed by the ‘massive me want to combine in a work 1951 Graham to enter the Scottish strength and size of the glaciers, all angles at once, from above, Oil on canvas national collection. She painted the fantastic shapes, the contrast through, and all around, as a bird 76.2 x 91.5 cm it after a visit to the Grindelwald of solidity and transparency, flies, a total experience.’

Art Fund Gift from The Barns-Graham Charitable Trust barns - graham the trust OF Y © COURTES © charitable

6694 These German vessels were 6695 This communion cup is from St Exeter imported then mounted with Exeter Petrock’s Church in Exeter where Royal Albert Memorial ornate silver-gilt fittings by Royal Albert Memorial its maker, John Jones, was both Museum John Eydes in Exeter and Peter Museum bailiff and church warden. It was John Eydes (d. 1616); Quick senior in Barnstable. They John Jones of Exeter (d. 1585) on display at the museum for Peter Quick (d. 1610) were used for show rather than Communion cup and paten over half a century before being Two mounted German daily use, and are high-quality cover acquired for the collection. stoneware jugs examples of the type of jugs c. 1572 John Jones was one of the most Both c. 1580 favoured by wealthy merchants Silver-gilt important provincial goldsmiths Silver-gilt mounts on in Elizabethan Exeter. Height 20.5 cm of the Elizabethan era. stoneware 25.9 x 9 x 9.5 cm; Art Funded £1,000 24.3 x 13 x 9 cm Total cost £4,000

Art Funded £12,000 Total cost £30,000

38 6696 The poet and painter Anne 6697 This drawing was presented by Falmouth Killigrew met an untimely end, Falmouth Christine Battersby in memory Falmouth Art Gallery dying of smallpox at 25. She Falmouth Art Gallery of Margaret Whitford, who also Anne Killigrew (1660–1685) was praised as an artist during Evelyn Williams (1929–2012) bequeathed a collection of prints Venus Attired by the Graces her lifetime, but only three of River and a sculpture to the gallery c. 1680–5 her pictures are known to have 1989 (see no. 6699). The drawing is Oil on canvas survived. This one shows Venus Pen and ink filled with tiny figures leaping 112 x 95 cm being dressed by the Three 147 x 147 cm and running through a series Graces while a satyr looks on. of narrow channels, the overall Art Funded £15,000 Art Fund Gift from looping pattern suggesting the Total cost £55,000 Christine Battersby whorls of a fingerprint. © THE ARTIST

6698 These six graphic works by Falmouth important modern artists enhance Falmouth Art Gallery Falmouth’s collection of master Elizabeth Blackadder (b. 1931), prints. The collection includes two Elisabeth Frink (1930–1993), etchings of eagles by Elisabeth Patrick Proctor (1936–2003), Frink, two prints of orchids by and Johnny Friedlaender Elizabeth Blackadder, an aquatint

(1912–1992) by Patrick Procktor from his ‘China’ frink Collection of six prints series and an aquatint engraving 20th century by Johnny Friedlander depicting a elisabeth

Various dimensions village street. - artist Art Fund Gift from the

Laurence Harbottle ©

6699 Born in Cornwall, brilliant composition by Cornish Falmouth Margaret Whitford was a artist Terry Frost; Root and Falmouth Art Gallery feminist philosopher and Branch, a series of nine linocuts 1) Various artists psychotherapist who developed by Peter Randall-Page; Eagle, Collection of prints a passion for contemporary art. an expressionistic screenprint 1964–2010 Her bequest of 46 prints and by Ana Maria Pacheco; and Screenprint, lithograph, one sculpture includes work Dialectical Image: Delight etching and monoprint by a number of prominent of the Reason, a surrealist Various dimensions 20th-century artists, and this hand-coloured etching by

2) Hew Locke (b. 1959) donation further strengthens Dhruva Mistry. Hew Locke, who locke Fishman Falmouth’s impressive holdings produced the extraordinary hugh 2005 of modern and contemporary sculpture Fishman, was trained - Papier-mâché sculpture graphic works. The prints, at Falmouth Art College. The artist Height 50 cm representing the work of 33 bright colours and unusual the artists, range from colourful to medium of his piece prefigure © Art Fund Bequest from monochromatic and figurative the later large-scale, multimedia Margaret Whitford to abstract. Among them is installations for which he is now Swing on Blue, a bold and best known.

39 6700 The American artist Spencer 6701 Auchinibert is a domestic Glasgow Finch takes a scientific interest Glasgow house north-west of Glasgow Gallery of Modern Art in light and colour, exploring The Hunterian Art Gallery more akin to an English manor Spencer Finch (b. 1962) memory and perception through Charles Rennie Mackintosh house, and has been seen as Sunlight in an Empty Room his light installations and (1868–1928) unrepresentative in Charles 2005 watercolours. This large work – Auchinibert, Killearn: two Rennie Mackintosh’s portfolio of Watercolour on paper recording the colours of sunlight perspectives from the SW and domestic buildings. A 12-year 141.5 x 305.5 x 75 cm falling on a wall in an empty the NE research project at the Hunterian room – returns to Glasgow, 1906 has enabled a broader view Art Funded £17,788 having been included in Finch’s Pencil and ink on paper of Mackintosh’s architectural (presented through Art Fund first exhibition in the city. 20.4 x 33.8 cm; 14.2 x 29 cm practice to be uncovered. International) Total cost £17,788 Art Funded £10,000 Total cost £40,000 OF THE ARTIST THE OF Y © COURTES ©

6702 This nine-bore flintlock Fowling 6703 This series of three carved Glasgow piece was produced by John Leeds spheres marks a new departure Kelvingrove Art Gallery Smart of London. It is highly Leeds Art Gallery in Halima Cassell’s practice, from and Museum decorative, featuring floral Halima Cassell (b. 1975) functional forms and vessels to John Smart (active 1705–15) designs and a band of foliage at Music of the Spheres, series 1 sculptural objects. The spheres Flintlock long gun its breech and the owner’s arms 2011 are carved out of brick clay and c. 1705–15 and motto just above. It would Stoneware and terracotta have hollow centres. The title Steel, brass and hardwood have been possessed primarily Diameter of each: 38 cm; of the series refers to the idea Length 148.5 cm as a symbol of status and power. 30.5 cm; 22.8 cm of celestial bodies existing in harmony and order. Art Funded £5,000 Art Funded £8,000 Total cost £28,000 Total cost £12,000 OF THE ARTIST THE OF Y © COURTES ©

6704 This painting is remarkable Leeds among Atkinson Grimshaw’s Leeds Art Gallery works for being executed John Atkinson Grimshaw predominantly in watercolour. (1836–1893) The view across Headingley View of Leeds from and Meanwood in north Leeds Woodhouse Ridge is painted from Batty’s Wood, 1868 near the artist’s house on Cliff Graphite, watercolour Road. According to the artist’s and bodycolour grandson Guy Ragland Phillips, 27.3 x 44.5 cm the figure with black hair is Grimshaw’s wife, Theodosia. Art Funded £5,733 Total cost £29,900

40 6705 Discovered by two groups of belonged to individuals of Leeds metal-detectorists in 2008 and high social standing. They shed Leeds City Museum 2009, this hoard consists of four an interesting light on early Anglo-Saxon gold hoard complete gold finger rings, part Anglo-Saxon history, pointing 7th–11th centuries of a gold cloisonné brooch, to signs of a confident Anglo- Gold, garnet and lead a piece of gold ingot and a Scandinavian identity. Along with Various dimensions lead spindle whorl. The most other finds like the Staffordshire spectacular item is a stunning Hoard, they help to redraw the Art Funded £30,000 gold ring with a lozenge-shaped map of power in early medieval (with assistance from the bezel set with a garnet, which England. The Friends of Leeds Wolfson Foundation) is in near-perfect condition. City Museums and The Leeds Total cost £171,310 Pieces of such high quality from Philosophical and Literary the Anglo-Saxon period are Society thought the find was so extremely rare, and no objects important that they launched like these have ever before a campaign to keep this been found in Leeds. Given spectacular and historic hoard of their quality, the finds probably golden treasure in Leeds.

6706 This work was commissioned Liverpool for the 2008 Liverpool Biennial, Walker Art Gallery and documents workers at the Nancy Davenport (b. 1965) Jaguar car plant at Halewood, Workers (Leaving the Factory) Merseyside. 2008 Multi-channel video OF THE ARTIST THE OF

installation Y Duration 4 minutes

Art Funded £8,617 COURTES © Total cost £15,023

6707 This work is part of an ongoing cellulite marked ‘flesh’ is formed Gary Hume, and like them rose London series of sculptures that draw from tights stuffed with fluff and to prominence in the early 1990s Arts Council Collection upon the work of a diverse stiffened by wire, the surface as one of a core group of artists Sarah Lucas (b. 1962) range of artists, from Barbara bruised and wrinkled. The use of who became famous as the NUD Cycladic 7 Hepworth and Henry Moore everyday tights lends an oddly Young British Artists (YBAs). 2010 to Louise Bourgeois and familiar texture to the alien The Arts Council has been Tights, fluff and wire Hans Bellmer. The piece, form – the figure transcends actively collecting the work 47 x 44 x 39 cm; which appears to show limbs gender and pushes at the limits of these artists, and this piece plinth 100 x 43 x 43 cm wrapping round each other, of what is human. Sarah Lucas perfectly complements other is both troublingly fleshy and was a student at Goldsmiths works by Lucas that are already Art Funded £20,000 yet somehow domestic. The alongside Damien Hirst and in its collection. Total cost £60,000 OF THE ARTIST THE OF Y © COURTES ©

41 6708 The Lithuanian Jewish painter portrait belongs to a period in London Chaim Soutine spent his adult the early 1930s when Soutine Ben Uri Gallery, The London life in France, producing vividly turned away from the hotel staff Jewish Museum of Art coloured works with violently and cooks of his earlier portraits Chaim Soutine (1893–1943) distorted forms that drew and towards the domestic staff La Soubrette (The Waiting upon Fauvism and Cubism. La of bourgeois country estates. Maid) Soubrette (The Waiting Maid) is a Although less contorted and c. 1933 compelling example of Soutine’s less confrontational in character, Oil on canvas figurative work in the late 1920s it shares a number of stylistic, 46.7 x 41 cm and early 1930s. Focusing thematic and compositional on a single subject against devices with his earlier Art Funded £50,000 an unadorned background, celebrated ‘Pastry Cooks’ series, Total cost £300,524 (tax it depicts an anonymous particularly the focus on a remission) domestic maid in her uniform, working-class figure in a service her pinched face and downcast profession, and the contrast of eyes expressing weariness the ruddy face with the white and a certain submission. The of the uniform.

6709 This sombre composition is 6710 An empty domestic interior is London typical of Alfred Wolmark’s London enlivened by an unexplained Ben Uri Gallery, The London early work, depicting a Jewish Ben Uri Gallery, The London glimmer of yellow light Jewish Museum of Art, subject in a style influenced Jewish Museum of Art emanating from an unknown Alfred Wolmark (1877–1961) by Rembrandt. Wolmark was Ra’anan Levy (b. 1954) source. The fine coating of dust In the Synagogue Britain’s first major immigrant Yellow Light covering the floorboards testifies 1906 Jewish artist. Born in Warsaw, 2010 to a past inhabitant, imbuing Oil on canvas he moved to the East End of Tempera and oil on paper the scene with a nostalgia that 106.5 x 88 cm London, where he found many 68.5 x 99 cm reflects the artist’s own sense of fellow Jews to sit for him. cultural displacement as second- Art Funded £2,200 Art Funded £2,150 generation refugee. Total cost £26,800 Total cost £4,850 OF THE ARTIST THE OF Y © COURTES © OF THE ARTIST THE OF Y © COURTES ©

6711 This white vase with a carved preparatory studies meant he by the British Museum for London design of fruit blossoms is only produced 20 works a year. permanent display in their British Museum one of the first works by the Consequently, his work is highly Japanese Galleries, helps Itaya Hazan (1872–1963) celebrated Japanese artist- sought-after in Japan and rarely illustrate the rise of the artist- Large vase with designs of potter Itaya Hazan to enter a appears for sale in the West. potter in Japan. Hazan was one auspicious flowers and peach European museum collection. In 1927 he was awarded the of the first potters to present sprays (Hakuji enju-mon kabin) Hazan initially trained as an status of Imperial craftsman, his work in art exhibitions and c. 1925 art historian, but at the age and he was the first artist-potter he was a founder member of Porcelain of 30 decided to become a to be awarded the prestigious the Japan Craft and Art Group, 29.3 x 23cm ceramic artist. His meticulous Order of Cultural Merit in Japan inaugurated to unify crafts working methods and detailed in 1953. The vase, acquired artists. Art Funded £30,000 Total cost £100,415 murata akiko ©

42 6712 This lozenge-shaped pendant An intricate mechanism allows London was an expensive piece of the pendant to be opened and British Museum jewellery, which may have it is thought that it may have Unknown artist belonged to an adherent of the contained a relic, but no relic Hockley Pendant medieval cult of the blood and remains. There is a chance that 1500–50 wounds of Christ. A female saint, the pendant was buried or Gold, silver and copper possibly Saint Helena or the ‘lost’ deliberately, as a powerful 3.3 x 2.5 cm Virgin Mary, is engraved on the amulet with images depicting the front panel. She supports a large suffering of Christ and containing Art Funded £20,000 wooden cross and stands on a a relic may have been targeted Total cost £70,000 tiled floor. Around the edges during Henry VIII’s Reformation. of the pendant are the names As it was, it lay buried in Hockley, of the three magi, thought to Essex, for 500 years and was only protect against fever and the found by a metal-detectorist in falling-down sickness (epilepsy). 2009. The British Museum had The back shows the wounds of no comparable object in its Christ: a heart and four open collection, and was very glad to gashes weep tears of blood. acquire it.

6713 Jasper Morrison is an industrial 6714 John Tradescant the Younger London designer renowned for his London was gardener to King Charles I Design Museum elegant, quietly humorous Garden Museum and a collector of botanical Jasper Morrison (b. 1959) style. This work is from a Unknown artist specimens. The Garden Museum Handlebar Table limited edition of ten and Portrait miniature of John was founded to celebrate the 1983 represents the very beginning Tradescant the Younger lives of the Tradescants and Chromium-plated steel, beech of his career. Incorporating 17th century the history of gardening. This wood, rubber and glass bicycle handlebars, it clearly Oil on silver miniature, while small, is the 64.5 x 58.4 x 58.4 cm demonstrates his commitment Height 6 cm first contemporary portrait they to modesty and simplicity within have been able to acquire of the Art Funded £6,500 the manufacturing process. Art Funded £6,000 Tradescant family. Total cost £13,000 Total cost £12,240 morrison jasper ©

6715 This small piece of domestic London furniture made for a middle- Geffrye Museum class customer is the earliest Thomas Reynolds (fl. 1728) known example of a chest of Small chest of drawers drawers standing on bracket 1728 feet. The inscription details Oak the manufacturer, date and 56 x 55 x 26.5 cm location of production, and who it was made for – extremely Art Funded £5,000 rare information to have been Total cost £14,649 recorded on such an item.

43 6716 The Imperial War Museum, have now made their first two London London, and Wolverhampton acquisitions under this scheme. Imperial War Museum jointly Art Gallery were awarded Akram Zaatari’s mini-album with Wolverhampton Art £150,000 under the RENEW of 19 framed c-type prints is Gallery scheme funded by the Esmée an archive based on a small Akram Zaatari (b. 1966) Fairbairn Foundation through souvenir album containing Mini-album the Art Fund. They are using photographs of war damage, 2007 the money to form a joint which he took while he was a 19 c-type prints collection of contemporary art teenager in Beirut during the Taysir Batniji (b. 1966) relating to the conflict in Israel/ Israeli invasion of Lebanon in Collection of photographs and Palestine and its implications 1982. Taysir Batniji’s work deals drawings in the wider Middle East, which with issues of displacement, 2010 will complement their existing with references to memory and Various dimensions holdings of art that reflects loss, and this series of works the experience of war and depicts houses hit by Israeli zaatari Art Funded £31,780 sectarian conflict. The museums bombings in Gaza.

(presented by the Art Fund akram and the Esmée Fairbairn © Foundation) Total cost £31,780

6717 These photographs revisit the articulate a powerful contrast Northern Ireland’s Troubles as London sites of sectarian attacks that took between the gruesome nature they bring home the horrible Imperial War Museum place in 1970s Belfast, close to of the crimes committed and and intimate nature of civil war Paul Seawright where Paul Seawright grew up. the banality of the locations, that has been – and continues Sectarian Murder Series The texts, culled from newspaper such as a children’s playground to be – replicated more recently 1988 reports, detail the murder of or a popular visitor’s spot in countries such as Bosnia, Iraq 12 c-type prints innocent civilians killed because – supposedly safe public and parts of Africa. Sectarian 75 x 100 cm of their religion. In this series of places where ordinary people Murder is Seawright’s first major works, reference to the victims’ congregate. The works also work, and has influenced many Art Funded £10,000 religious backgrounds have resonate far beyond their specific other photographers working in Total cost £20,000 been removed. The photographs importance as a document of this field. rtist

thea ©

6718 In a photograph in Country gilder in London. All four were motifs such as the waterleaf London Life in 1913, three ornate white sold at auction in 1922 and moulding and the bellflower Kenwood House benches can be seen in the remained untraced until a pair pattern. The benches have swags Attributed to Robert Adam entrance hall to Kenwood House, was sold to a London dealer of bellflowers on each external (1728–1792) and whose Neoclassical interior was in December 2011. Kenwood leg, with a lion’s head above and Sefferin Nelson (1739–1797) designed by the architect Robert House was keen to acquire the lion-paw feet at the base. They Pair of hall benches Adam. There were originally historically specific benches, currently have blue silk seats, but c. 1773 four benches, made from beech which will be reinstated in the the original leather drop-in seats Beech and oak, painted white and oak and painted white, and entrance hall alongside an Adam – alternately listed as blue leather 106 x 45 x 46 cm thought to have been designed sideboard and pedestals that and red leather in Kenwood’s by Adam and carved by Sefferin were reacquired in the 1980s. 18th- and 19th-century Art Funded £214,500 Nelson, the leading carver and The items all share repeated inventories – are to be reinstated. Total cost £214,500

44 6719 These 39 photographs, all views London of London’s Hampstead Heath, Museum of London were taken by Andy Sewell over Andy Sewell (b. 1978) the course of five years and The Heath published as a portfolio and 2011 book in 2011. Some show the Archival pigment prints: Heath populated by swimmers, boxed set of 39 prints and one lovers, ornithologists and separate larger print birds, while others show it as 25.4 x 30.5 cm, edition of an unpopulated woodland three; larger print 50.8 x wilderness. 60.9 cm, edition of five

Art Funded £2,000 Total cost £8,000 sewell y y © and

6720 Yinka Shonibare was significant departure from the ‘object of wonder’, and the London commissioned in 2009 to create historical Victory is the use of methods used to get the ship National Maritime Museum a sculpture for the Fourth Plinth richly patterned Dutch wax- into its giant Perspex bottle Yinka Shonibare MBE (b. 1962) in Trafalgar Square. The work printed batik fabric for the sails. remain a closely guarded Nelson’s Ship in a Bottle is a scaled-down replica of By employing a fabric commonly secret. The Art Fund’s grant and 2010 HMS Victory, the navy flagship associated with African dress successful public fundraising Wood, brass, textiles, acrylic, captained by Admiral Nelson, and symbolic of African identity, campaign enabled the National LED lighting and ventilation whose statue stands on top of Shonibare reflects on the legacy Maritime Museum to acquire system its column in the square. Like the of British colonialism, trade the sculpture in time for its 75th 300 x 535 x 250 cm original, the ship has 30 cannon and empire, as made possible anniversary celebrations, and it and 37 sails as set on the day of by Nelson’s victory. He has now sits on a plinth outside the Art Funded £301,677 the Battle of Trafalgar. The only described the sculpture as an new Sammy Ofer Wing. (grant of £50,000 plus £251,677 raised through a public appeal)

Total cost £650,000 james and stephen and

ork ) y ondon ) artist y (L y y ( new y y y he y galler galler courtest ohan friedman © C

6721 Joseph Wilton’s marble bust ample cheeks. This is not a vanity London of his friend Thomas Hollis portrait – we see Hollis’s double National Portrait Gallery is a spirited portrayal of the chin and the crow’s feet around Joseph Wilton (1722–1803) philosopher, philanthropist and his eyes – but Wilton’s naturalistic Portrait of Thomas Hollis political activist, who was known style, of which this portrait is c. 1760 at his death as the ‘Champion of seen to be one of his finest Marble Liberty’. Hollis appears without examples, complements a man Height 66 cm his wig or any clothes, the flecks celebrated as being unflinchingly in the marble like freckles on the opposed to corruption and Art Funded £57,000 reformer’s torso, his nakedness artifice in politics. Hollis admired (with assistance from the contributing to the projected the Roman senator Brutus, Wolfson Foundation) honesty of the portrait. His particularly his opposition to Total cost £293,157 (tax forehead shows the beginnings tyranny, and Wilton’s portrait has remission) of a frown and the eyes are much in common with marble wary, but the mouth is drawn busts of Brutus in its short hair, far- up at the corners, dimpling his reaching gaze and naked torso.

45 6722 Marlene Dumas’s small portrait intimate composition, the artist London of jazz and soul star Amy creates an emotive, stripped- National Portrait Gallery Winehouse may be posthumous, down snapshot. The painting’s Marlene Dumas (b. 1953) but it is hauntingly life-like and title and its translucent blues Amy – Blue mesmerising. The singer was refer both to the singer’s musical 2011 constantly hounded by the influences and to the melancholy Oil on canvas media, and the downward tilt details of her career. When she 40 x 30 cm of her head makes it look as heard of Winehouse’s tragic though she is hoping to deny early death in 2011, Dumas Art Funded £20,000 a paparazzo a clear shot. Her researched thousands of pictures street

Total cost £95,000 glassy eyes are distant, and her of her on the internet to use as frith y y thoughts focused elsewhere. reference for her portrait. The Her legendary beehive has been subject held a special appeal for courtes cropped out of the frame, Dumas her, as she frequently depicts

preferring to focus on Amy’s the abject or disenfranchised, artist familiar face and trademark including religious figures, media © the liquid-liner eyes. Through this personalities and children.

6723 This album of architectural London drawings spans 23 years of RIBA Library Drawings & Thomas Hardwick’s career. It Archives Collections contains accomplished drawings Thomas Hardwick (1752–1829) for many buildings, as well Sketches of Sundry Buildings as speculative designs and already Executed and Original drawings for projects that were Designs on Various Subjects not built. Only one other similar 1773–c. 1800 album is known to exist, making Watercolour, pencil, this a rare record of the multiple pen and ink outcomes for an architect’s ideas. 24.5 x 37.5 cm

Art Funded £7,000 Total cost £25,000

6724 John Baldessari is an American Balls is an installation of 41 oily asphalt and power lines, in London conceptual artist who has been colour photographs. They are front of buildings and between Tate asking questions about the mounted horizontally along a palm trees. The photographs John Baldessari (b. 1931) ‘right’ and ‘wrong’ way to make line drawn on the gallery wall, are arranged so all the balls Aligning: Balls art, and whether it can be taught and at first glance they seem align with the line. Baldessari 1972 at all, since the 1960s. His work haphazardly hung, with some repeatedly threw the ball in the Colour photographs and dramatises the ordinary and images higher than others. But air and photographed a moment graphite on wall displays a recurring fascination closer examination reveals a in its trajectory, so it appears Each 8.9 x 12.7 cm with communication, words structural cohesion. In each frozen as it ascends or descends and popular culture. One of photograph a red ball is present, against the urban backdrop of Art Funded £100,000 his key early pieces, Aligning: apparently floating in midair over Santa Monica, close to his studio. Total cost £431,062 baldessari john ©

46 6725 The American artist Susan juxtaposes knowledge captioned ‘Rough Sea’. Hiller London Hiller has lived and worked in derived from anthropology, collected them from British Tate Britain since the early 1970s, psychoanalysis and other seaside towns, and a large map Susan Hiller (b. 1942) when she became known for scientific disciplines with annotated with the locations Dedicated to the Unknown innovative work that excavates materials generally considered featured in the postcards is Artists, 1972–6 forgotten or ignored aspects unimportant, like postcards, included in the first panel. Hiller 1972–6 of our culture. Her training as wallpaper, popular movies and is interested in the theme of Postcards, charts and map an anthropologist is evident internet postings. Dedicated to memory and memorials, and Various dimensions particularly in her early the Unknown Artists consists of the title identifies the work as a pieces, which combine the 14 panels featuring over 300 tribute to the overlooked and Art Funded £80,000 methodology of comparative popular postcards, arranged in forgotten artists who painted, Total cost £200,000 analysis and the visual language a grid pattern, depicting waves photographed or hand-tinted of conceptual art. She often crashing onto the coastline, each seaside images. hiller © susan

6726 Tate has made a significant works, but her drawings London acquisition of five drawings by share many of the themes Tate one of the UK’s leading artists, of her sculptures – absence Rachel Whiteread (b. 1963) Rachel Whiteread, whose Tree and presence, solidity and 1) Study for ‘Wax Floor’; of Life frieze on the facade of transparency, space and matter 2) Green Bed; 3) Study for the Whitechapel Gallery was – and it is possible to trace the (White); 4) Stairs; 5) Two unveiled in 2012 (see no. 6641). evolution of her sculptural Windows Whiteread is renowned for her projects through them. Each 1–2) 1992; 3) 2000; 4) 2003; sculptural casts of the spaces in of the five drawings selected 5) 2007 and around domestic objects, by Tate is representative of Drawings, watercolours ranging in scale from individual an important moment in the and prints tables, chairs and mattresses to artist’s career, relating directly Various dimensions the cast of an entire Victorian to major projects or sculptural terraced house. Her works works. The artist also donated artist

Art Funded £50,000 on paper are less well known two additional drawings to the T he © Total cost £125,889 than her three-dimensional collection with this acquisition.

6727 Ahead of Tate Britain’s Gary owns a work from this first series, London Hume retrospective, which Incubus, a shiny candy-floss Tate opens in June 2013, Tate has coloured painting from 1991. Gary Hume (b. 1962) acquired a recent door painting Painted almost two decades Red Barn Door that looks back to the artist’s first later, Red Barn Door comprises

2009 major series. Hume showed in two aluminium panels covered in cube Enamel paint on aluminium the 1988 ‘Freeze’ exhibition of red household gloss paint, which white panels work by Goldsmiths’ students, reflects the environment in which y 282 x 264 cm whose names now read like a roll the painting is shown. Areas of

call of celebrated contemporary the surface are raised, the shapes courtes Art Funded £40,000 artists: Damien Hirst, Sarah recreating the ‘Z’-shape wooden hume Total cost £125,357 Lucas, Ian Davenport, Michael framework seen on the barn y

Landy and Fiona Rae. His doors of Hume’s upstate New © gar large gloss-paint canvases of York studio, where he spends hospital swing doors turned the his summers. Despite Hume’s utilitarian objects into abstract position as one of Britain’s paintings: ice-cream coloured leading painters, Tate has only panels punctuated by circles and four paintings by him, and this rectangles, their shapes derived acquisition marks a continuing from the windows and door effort to represent his work in plates of the original doors. Tate more depth.

47 6728 This portrait was recently London subjected to rigorous detective Wellcome Library work to prove that the sitter was Pierre Chasselat (1759–1814) the controversial French surgeon Portrait of the Surgeon Ange- Ange-Bernard Imbert Delonnes, Bernard Imbert Delonnes who spent much of his career 1800–01 working for the military. It brings Black chalk heightened to life the assertive army surgeon, with white five of whose publications are 62.5 x 47.8 cm held by the Wellcome Library.

Art Funded £5,000 Total cost £28,000

6729 This lead cast of Diana, the statue and house were bought Luton Roman goddess of the hunt, from the De Grey family in 1917 Wrest Park travelled across the UK before by John George Murray, an Andrew Carpenter returning to its original home in industrialist whose own fortunes (c. 1677–1737) Wrest Park. Commissioned for soon ran into trouble, and in Figure of Diana the glorious gardens at the De 1939 the estate was sold. Diana, c. 1729–30 Grey ancestral home, the statue however, travelled with Murray Lead statue on a of the near-naked Diana and to his new home in Hertfordshire Portland stone plinth her dog, possibly a greyhound, and later on with his family to Height 234 cm was placed in a niche in the yew Idlicote House in Warwickshire, (including plinth) hedge on the south side of the from where the statue was Ladies’ Lake. It remained there repatriated. Until the Ladies’ Lake Art Funded £30,000 for two centuries, surviving a is restored in 2017 and Diana can Total cost £143,200 financial crisis in 1809 that saw return to her yew-hedge niche, most of the other lead statues she will be on display in Wrest on the estate melted down. The Park’s Dairy Sculpture Gallery.

6730 A graduate of the Royal College may simultaneously embody Manchester of Art in London, Idris Khan is a shimmering sense of new Whitworth Art Gallery known for his photographic beginnings and possibilities. Idris Khan (b. 1978) palimpsests of texts and In this multi-layered work, the 21 Stones series: No. 1, No. 2, places. The artist’s hypnotic repeated layering of image over No. 3, No. 8, No. 11, No. 17 photographic images employ image complicates a singular and No. 19 both appropriated material reading of the image, as words 2011 and deeply personal historical are denied their emotive power Ink on paper references to create works that and are transformed into Each 54.5 x 54.5 cm suggest both complex cultural patterns across a surface. The genealogies and a quest for drawings in the 21 Stones series khan

Art Funded £9,100 personal enlightenment. Khan’s were inspired by the artist’s idris Total cost £36,400 work not only presents the father’s experience of the Hajj © accumulation of knowledge and the stamped statements, and experience as sometimes both personal and from the leading to the complexity Qu’ran, resemble a creative and erasure of meaning, but outburst as well as a repeated, also asserts that this process meditative mantra.

48 6731 The Whitworth, which has a together fabrics that have been Manchester significant collection of textiles dyed to produce a striking Whitworth Art Gallery and wallpaper, acquired this juxtaposition within the silk Jun Tomita (b. 1951) arresting woven piece under threads that it binds together. P. Kasuri 206 (Red and white) the Art Fund Collect initiative. The work will now find a new 2008 The Japanese artist’s practice home within the designated Silk textile involves a traditional dyeing textile and wallpaper collections 101.5 x 214.5 cm technique called kasurai, or ikat. at the Whitworth, the largest and In order to create the intricately most significant of their kind Art Funded £9,000 blurred effect seen in this silk outside the national collections Total cost £9,000 work, Jun Tomita has woven at the V&A. crick

mark : photo / artist © the

6732 Depending on your perspective, each page. ‘Glorify / Glory / Go / Middlesbrough this work of art by American God’; ‘Behold / Being / Believe / Middlesbrough Institute Minimalist Carl Andre can be Borne’ – the words are legible but of Modern Art (mima) read as a poem, a drawing or their sense and emotive content Carl Andre (b. 1935) an extension of his sculptural has been neutralised by the Dithyramb practice. Titled Dithyramb, arrangement, each word turned 1962 the ancient Greek term for a into a visual arrangement of andre Typewriting on 16 sheets passionate choral hymn to letters. Andre saw this work more of A4 paper, plus seven books honour the god Dionysus, as a poem than a drawing, part Edition of three the work extends over 16 of his exploration of words as © carl Each 27.9 x 21.6 cm closely typed sheets of paper. sculptural elements in the 1960s. Organised alphabetically, with The acquisition is accompanied Art Funded £80,329 columns starting and ending by a significant gift from the artist (presented through at different points, words and Anthony d’Offay of seven Art Fund International) rearranged from an unspecified artist’s books featuring similar Total cost £80,329 biblical text appear to rain down word-poems to Dithyramb.

6733 One of the key contemporary in different parts of the Cuban this building is still home to Middlesbrough artists working with technology countryside. The buildings were some schoolchildren. Like the Middlesbrough Institute today, John Gerrard uses constructed in the 1960s to a system and technology that of Modern Art (mima) customised 3-D computer modular Eastern Bloc design, gave birth to it, the structure John Gerrard (b. 1974) gaming software to create a and belong to a period in has crumbled, and the artist Cuban School (Community of real-time virtual landscape from the island’s history when the is interested in how it is now 5th October) hundreds of original location optimism of early revolutionary essentially a ‘functional ruin’. 2010 photographs. Slow 360-degree socialist models of housing The work was supported by Realtime 3-D on purpose- orbital movement is set within provision was giving way to the Sfumato Foundation, which made wall-mounted monitor, a real 24-hour day, 365-day large-scale mass-produced was keen to help remedy the with metal frame and year. This is one of a pair of accommodation. Although no paucity of digital art in UK projection works about Cuban schools set longer used as an art school, public collections. Various dimensions

Art Funded £41,694 (supported by the Sfumato Foundation) Total cost £41,694 spiritu ) ( sancti school © cuban

49 6734 Andrea Bowers creates art 6735 This mixed installation features Middlesbrough inspired by non-violent feminist Middlesbrough the image of a street in Cusco, Middlesbrough Institute activism. This intricate paper Middlesbrough Institute Lima, and an architect’s table of of Modern Art (mima) construction – cut, folded and of Modern Art (mima) sketches, and offers comment Andrea Bowers (b. 1965) shaped with great skill – pays Ishmael Randall Weeks on the current landscape of Political Slogans and Flower tribute to the politicised role (b. 1976) Peru. Ishmael Randall Weeks Magick: If you cut off my that handicrafts have played Fragments highlights passages and routes reproductive choice, can I cut throughout the ages. The piece 2011 taken through the urban off yours? is dotted with buttons inscribed Mixed media environment to raise questions 2008 with political slogans, but its Various dimensions about land rights and ownership. Gouache, wire and buttons decorative craft-like nature on paper almost disarms the viewer. Art Funded £7,287 71.1 x 142.2 x 22.9 cm (presented through

y y Art Fund International)

Art Funded £8,751 los Total cost £7,287 (presented through Art Fund International) vielmetter , courtes bowers , Total cost £8,751 project arist susanne the © andrea of angeles ©

6736 In 2012 Norwich Castle The museum chose this observations of bird flight. Norwich Museum was one of five glass sculpture by Geoffrey Glass, kiln cast at the Lhotsky Castle Museum and Art Gallery institutions to win a share of Mann, a Scottish artist and Glass Studios in the Czech Geoffrey Mann (b. 1980) £75,000 to buy an object as lecturer whose fascination Republic, captures the invisible Flight Take-Off part of Art Fund Collect, an with translating the ephemeral movement of a bird as it takes c. 2011 initiative run in collaboration into the tangible has created a off, simultaneously freezing Glass with the Crafts Council, aimed body of work that challenges time and capturing motion in 65 x 40 x 35 cm at championing contemporary existing divisions between art, solid yet translucent form. It is craft and increasing its craft and design. This piece is the first work by Mann to be Art Funded £30,000 presence in UK collections. one of a series based on Mann’s acquired by a UK museum. (presented through Art Fund Collect) Total cost £30,000 artist the ©

6737 In the 1980s Norwich Castle Norwich Museum acquired three Roman Norwich Castle Museum statuettes of Mercury from Roman the Great Walsingham Roman Great Walsingham Temple site on the north Norfolk Assemblage coast. Many other votive objects 1st – 3rd century not offered for sale at that time Bronze, silver, lead and now join them. Highlights enamelled work include bronze figurines of Various dimensions the Roman god Minerva and a naturalistically modelled Art Funded £1,200 goat, silver and bronze finger Total cost £3,600 rings, and seal boxes with detailed geometric patterns on enamelled lids.

50 6738 Helen Bradley was born in Chinese and Mughal art. Her Jewell, who bequeathed the Oldham Lees near Oldham, and began colourful compositions are paintings, and her husband, Gallery Oldham, Oldham to paint imagined Edwardian painted in a flat decorative Derek, were avid collectors of Helen Bradley (1900-1979) scenes at the age of 65 in order style, with little in the way of Bradley’s work and enjoyed 1) The Church Outing; to show her granddaughter modelling or chiaroscuro. Their an extended correspondence 2) We Have Arrived at Central what life was like during her depictions of scenes from daily with the artist, commissioning Station... ; 3) A Summer own childhood. Like L. S. Lowry, life – market day, an outing several works directly from her. Afternoon, Blackpool; she has often been described to the seaside, fairgrounds, All the paintings have hand- 4) ‘Miss’, Said the Policeman...; as a naive artist, but her work races, picnics and woodland written notes by Bradley on the 5) One Summer’s Day We Went shows an awareness of Dutch walks – are popular with back, with personal accounts on a Trip to New Brighton artists such as Avercamp, and adults and children. Elizabeth supporting the narratives. 1 and 3) 1967; 2) 1969; 4 and 5) 1972 Oil on board 49 x 79.5 cm; 66 x 96.5 cm; 82.5 x 129 cm; 57 x 47 cm; 42.5 x 53.5 cm

Art Fund Bequest from limited Elizabeth Jewell prints y bradle y helen ©

6739 The artistic style of this button, 6740 The young Ambrose Charles Oxford which would have been Penzance Rouffignac sits and eats his Ashmolean Museum attached to a sword scabbard, Penlee House Gallery and dinner in the sail loft above Early 7th-century sword button is comparable to contemporary Museum painter Henry Scott Tuke’s Gold and garnet 7th-century Anglo-Saxon objects Henry Scott Tuke (1858–1929) lodgings. This canvas was a Diameter 14.3 mm such as the Ixworth Cross and Dinner Time key early work for Tuke – aged the Milton Brooch. Although 1883 25, he had recently moved to Art Funded £4,500 small and incomplete, its gold Oil on canvas Newlyn in Cornwall, where he Total cost £6,500 and garnet work is of higher 31 x 51 cm became a founder member of quality than on similar pieces the Newlyn School. found in the UK. Art Funded £13,392 Total cost £37,200

6741 One of the best-known works 6742 This detailed scene by Thomas Penzance by Henry Meynell Rheam, this Portsmouth Rowlandson shows the fast Penlee House Gallery painting is an outstanding Portsmouth City Museum carriage on the London Road and Museum example of his early style. Thomas Rowlandson heading to Portsmouth. People Henry Meynell Rheam Produced shortly after his arrival (1756–1827) are packed into the carriage (1859–1920) in Newlyn, it exemplifies the rural The Portsmouth Fly and others perch precariously Girl in Blue realism of the Newlyn School. 1790s on top. The sea and boats in the 1891 A local model stands against a Pen, ink and watercolour distance, with Southsea castle Watercolour on paper seascape featuring the nets and 25.5 x 37.5 cm visible through the trees, suggest 89 x 59 cm boats that were central to the their journey is nearly complete. town’s fishing industry. Art Funded £5,000 Art Funded £12,500 Total cost £17,000 Total cost £30,000

51 6743 This sculpture, as with the 6744 This two-part sculpture reveals Rochdale other pieces in Junko Mori’s Rochdale the artist’s ongoing interests in Touchstones Rochdale long-running ‘Propagation Touchstones Rochdale form, materiality and the tension Junko Mori (b. 1974) Project’, explores the notion of Claire Barclay (b. 1968) she can create between different Propagation Project; Super accidental beauty. Individually Perching Two objects. The mirror on the left Jumbo Nigella, Wave forged components, each 2008 of the work is a delightfully 2011 subtly different as a result of Glass, fabric, metal rod, silver, playful piece of contradiction – Forged mild steel and wax the hand-hammering process, horn and silver reflective paint manufactured using mirroring Height 66 cm they are connected together to Various dimensions paint, its reflective qualities are build an organic form. undermined and complicated by Art Funded £17,300 Art Funded £3,400 the drips of paint on its surface. (presented through Total cost £6,800 Art Fund Collect) Total cost £17,300 artist mori the © junko ©

6745 Keith Vaughan loved the Essex 6746 Edward Bawden’s work is central Saffron Walden landscape because it was ‘small, Saffron Walden to the collection of the Fry Art Fry Art Gallery compact, unspectacular’. He Fry Art Gallery Gallery, whose holdings span Keith Vaughan (1912–1977) was a self-taught artist who gave Edward Bawden his entire career. Cornish Well, Troy’s Farm up a career in advertising to (1903–1989) produced during a holiday, is a 1960–72 paint. In Troy’s Farm, which he 1) Cornish Well; bold composition with a lyrical Oil on board worked on for a number of years, 2) Printing the Sunday Times touch, while Printing the Sunday 40 x 43 cm the buildings, fields and trees c. 1977; c. 1960 Times is a strong example of have been reduced to blocks of Watercolour; linocut Bawden’s commercial linocuts. Art Funded £12,500 muted earthy colours. 50 x 63 cm; 41 x 69 cm Total cost £37,267 Art Funded £2,950 Total cost £6,680

bawden all edward , , vaughan of 2013 dacs , , keith estate of © reserved estate the © rights

6747 The Black South African recent atrocities in Darfur and Salford artist Albert Adams was Abu Ghraib. The collection University of Salford Museums one of his country’s most given to the University of Salford Service gifted Expressionist painters includes one of his best-known london Albert Adams (1929–2006) and printmakers. Born in works, South Africa 1959 – known , Collection of paintings, Johannesburg, he was unable to as ‘the South African Guernica’ trust drawings and prints train as an artist there because of – an oil-on-board triptych that and 1956–2006 apartheid, and moved to England uncannily anticipates the horrors

Six oil paintings; 71 graphic in 1953 to study at the Slade of the Sharpeville Massacre as estate works School of Art. In response to his well as conveying the universal adams Various dimensions personal experience, much of horrors of war. The collection of Adams’s work focused on political paintings, etchings, lithographs

Art Fund Gift from Edward oppression and barbarity, and drawings, spanning six © albert Glennon including the imprisonment of decades of Adams’s working life, political prisoners on Robben was presented by his partner, Island, the Holocaust and more Edward Glennon.

52 6748 TThe younger brother of the 6749 John Jessop Hardwick’s still lifes Salisbury more celebrated painter Paul Salisbury were praised by his teacher John Edwin Young Collection Nash, John Nash was self-taught, Edwin Young Collection Ruskin, and this image of a bird’s John Nash (1893–1977) encouraged by his brother to John Jessop Hardwick nest and primroses set against The Great Oak, Copford Place become an artist. The Great (1831–1917) a leafy bank is a particularly fine 1958 Oak, Copford Place is a subject Still Life with Bird’s Nest piece. The museum was looking Watercolour over pencil he painted repeatedly. In this Undated for a work to help it illustrate the 33 x 47 cm watercolour the oak tree has a Watercolour development of watercolour, solidity and permanence that 28.5 x 36.3 cm and this picture provides a Art Funded £2,000 suggests the timelessness of good example of the stippling Total cost £8,528 nature over man. Art Funded £1,400 technique. Total cost £3,000 y

librar art rights

all . . estate ’ s rtist

thea © 2013 / B ridgeman reserved

6750 These three pieces – acquired 6751 Joseph Nash was a watercolour Sheffield to mark the 2013 centenary Stockport painter and lithographer Museums Sheffield: of the invention of stainless Bramhall Hall who specialised in historic Millennium Gallery steel in Sheffield – are typical of Joseph Nash (1808–1878) buildings. This watercolour Kyoko Kumai (b. 1943) Japanese artist Kyoko Kumai’s The Drawing Room, shows the ornate plaster ceiling Hope output. Ephemeral, soft and Bramhall Hall, Cheshire and fireplace of Bramall Hall’s 2009 almost wistful, they have been c. 1850 withdrawing room, created in Stainless steel filament woven from waste filaments to Watercolour, gouache the late 16th century. Nash often 26 x 28 x 28 cm form delicate, organic forms. and pencil included figures to give context 53.3 x 74.9 cm to the interiors he painted, and Art Funded £5,500 here they show the grand scale (presented through Art Funded £1,188 of the room. Art Fund Collect) Total cost £3,375 Total cost £5,500 artist the ©

6752 The Canadian watercolourist Swindon George Tinning attempted to Lydiard House capture the faded grandeur George Campbell Tinning of Lydiard House in these (1910–1966) illustrations for a newspaper 1) Main entrance, Lydiard article by Aldous Huxley on Tregoze the place of country houses in 2) Empty Dining Room, society. The drawings show the Lydiard Tregoze house in a state of disrepair, 1951 when it had just been purchased Watercolour on paper by Swindon Corporation. 57 x 77.5 cm; 57 x 76 cm

Art Funded £700 Total cost £2,000 estate ’ s artist the ©

53 6753 The sheer scale and physicality of street art, labels and diagrams. Mission School group of artists, Walsall and Birmingham of this piece is difficult to Barry McGee is a San Francisco who are interested in all forms of The New Art Gallery Walsall comprehend in one go: artist who has developed a popular imagery. As McGee is and Birmingham Museum hundreds of elements are distinctive style combining the one of the leading exponents of and Art Gallery amassed in a bulbous cluster influence of street art, graffiti and street style his work fits naturally Barry McGee (b. 1966) across a wall, a riot of colour, tagging with the conventions into the collection exploring the Untitled patterning and mark-making. The of contemporary painting urban environment that has been 2011 untitled installation, the size of a and sculpture, particularly formed by The New Art Gallery Mixed media billboard, consists of 213 framed Hispanic and Latin American Walsall and Birmingham Museum 308 x 802 cm works including biro drawings decorative arts. He first came and Art Gallery under the Art of street people, hand-painted to prominence as part of the Fund International scheme. Art Funded £71,584 abstract designs, photographs (presented through Art Fund International) Total cost £71,584 / / shave

stuart and

art artist the © modern

6754 This work by the renowned and youth cultures, vandalism violence that is often at the heart Walsall and Birmingham Norwegian artist and writer and extremism that characterise of Faldbakken’s work is manifest The New Art Gallery Walsall Matias Faldbakken consists of 17 certain urban environments, in the use of steel rods, which and Birmingham Museum and Jerry cans brutally pierced by a fusing these effortlessly with the pierce, grip and compress the Art Gallery metal rod. Faldbakken’s diverse language of fine art. The Jerry cans. Blurring the line between Matias Faldbakken (b. 1973) practice encompasses works can was first manufactured for the readymade and fabricated Untitled (Jerry Can Rod) on canvas, sculpture, film and the German military in 1939 sculpture, this work exists 2011 installation. He is interested in and was used for carrying fuel. simultaneously as a reference Steel Jerry cans and metal rod the anarchic margins of civilised As an object, it is particularly to the real world of metropolitan 49 x 340 x 37 cm society, and has appropriated potent and evokes a strong dystopia and as a pure formal the languages of underground sense of danger. The inherent gesture. Art Funded £23,472 (presented through Art Fund International) Total cost £23,472 y galler lee simon and

artist th ©

6755 The Swiss artist Beat Streuli 6756 Miao Xiaochun is renowned for Walsall and Birmingham works with large-scale photo Walsall and Birmingham his vast digitally manipulated The New Art Gallery Walsall and video installations. This The New Art Gallery Walsall cityscapes of contemporary and Birmingham Museum and video portrait of the people and Birmingham Museum and China. This enormous print of Art Gallery of Birmingham, originally Art Gallery traffic and pedestrians in Beijing, Beat Streuli (b. 1958) commissioned by Ikon Gallery, Miao Xiaochun (b. 1964) which employs the multiple Pallasades reflects the nature of everyday Orbit viewpoints of traditional Chinese 2001 life in cities by depicting the 2005 scroll paintings, is part of the Video cosmopolitan crowd that flows C-print photograph Birmingham and Walsall art Edition 1/3 through the space outside the 217 x 480 cm galleries’ growing collection of art Duration 45 minutes city’s Pallasades shopping centre. investigating urban environments. Art Funded £15,534 Art Funded £15,573 (presented through (presented through Art Fund International) Art Fund International) Total cost £15,534 Total cost £15,573 x iaochun miao © artist the ©

54 6757 This installation involves two 6758 This series was created during Walsall and Birmingham facing screens. One shows Walsall Bob and Roberta Smith’s third The New Art Gallery Walsall a woman against a black The New Art Gallery Walsall residency period at The New and Birmingham Museum and background blowing air in Bob and Roberta Smith Art Gallery Walsall. He wanted Art Gallery sharp bursts. The other shows (b. 1963) to ‘create a myth’ around a Yang Zhenzhong (b. 1968) footage of the city of Shanghai, See Esther, Walsall’s single work in the collection and Let’s Puff which shifts further away each Mona Lisa selected Jacob Epstein’s Esther, 2002 time as if in response, summing 2010 saying people should come to Multi-channel video up the impermanence of the Wood, gloss paint and Walsall to see Esther in the way Edition 5/5 urban environment. enamel paint that they go to the Louvre to see Duration 14 minutes 29 Four panels, each the Mona Lisa. seconds y 200 x 200 x 10 cm galler Art Funded £15,000 Art Funded £8,000 (presented through Total cost £40,000

Art Fund International) shanghart Total cost £15,000 smith & zhenzhong

ang © y © roberta and bob ©

6759 This pair of paintings is testimony 6760 Sculptor Tim Harrisson’s Warrington to an artistic friendship between Worksop drawings were made in Warrington Museum and Art two brothers-in-law, both natives Creswell Crags response to Creswell Crags, Gallery of Warrington. Samuel Luke Tim Harrisson (b. 1952) a limestone gorge in which Luke Fildes (1843–1927) (1) and Fildes was the better-known 1) Stone Flow; 2) Pin Hole; traces of human existence Henry Woods (1846–1921) (2) painter, but the two men 3) Permian; 4) The Gorge from the last Ice Age have been 1) Venice; 2) Figures by the often worked together, and 2010 found. They take inspiration Water’s Edge it is thought that the two pictures Line drawing, ink, charcoal from both the geological 1876; c. 1876 were produced during the same and watercolour on formation of the gorge and Oil on canvas; oil on panel period, while Fildes was visiting handmade paper the art and graffiti added to 24 x 36.4 cm; 23.1 x 32.6 cm Henry Woods at his home Each 72 x 110 cm the caves over millennia. in Venice. Art Funded £4,500 Art Funded £1,500 Total cost £6,500 Total cost £4,800 harrisson tim ©

6761 York Art Gallery is forming Old Masters in her explorations York a capsule collection of of the mysteries of human York Art Gallery contemporary art that focuses bodies and animal corpses. Berlinde de Bruyckere on flesh and artists’ responses While she produces sculpture in (b. 1964) to the human body, using the various media she also works in 1) Romeu ‘my deer’; £100,000 awarded under the watercolour and gouache. John 2) The Wound RENEW scheme funded by the Stezaker’s two collages use source 2010; 2011 Esmée Fairbairn Foundation material from Arthur Thompson’s Pencil on paper; watercolour through the Art Fund. The theme Anatomy for Art Students, which and pencil on paper of flesh was inspired byY ork’s was consulted by students at John Stezaker (b. 1949) holdings of paintings (particularly the Slade School of Art until the (purchased with the support fleshy nudes) by the Victorian 1970s. One collage features the of the Art Fund and the Esmée artist William Etty. The Belgian front and back view of a woman, Fairbairn Foundation through artist Berlinde de Bruyckere, like and the other a male and female the Contemporary Art Society Etty, draws inspiration from the body spliced together. Acquisition Scheme) 1) Fall XII; 2) Fall XIII artist the

Both 1992 © Collage

Art Funded £37,935 (presented by the Art Fund and the Esmée Fairbairn Foundation) Total cost £37,935

55 Financial review

Income

£5m

£4m 2011 2012

£3m

£2m

£1m

Membership Donations Special Legacies Investments Commitments Volunteer events subscriptions appeals from reserves and trading (net of their costs)

Expenditure

£7m

£6m Extraordinary £2 million grant for Titian

£5m

£4m

£3m

£2m

£1m

Art Fund Special appeals Membership Marketing Communications Governance and programme support recruitment and grant support fundraising

56 Financial Review

Results for the year raising £403,000. As a result, 2011 but this is attributable to Fund’s investment portfolio, In 2012 we began to see the we did not run an appeal for the exceptional commitment and in late 2011 decided to benefits of our investment in the general funds, but nonetheless of £2 million to the Titian made reduce the distribution rate to National Art Pass flow through other donations held up in that year. We committed 3.5 per cent of the trailing 12 into increased income, critical for well, particularly from trusts new grants for acquisitions of quarter average market value of our plans to increase our support and foundations where we just over £5 million, including the investments. The intention for museums and galleries. benefitted from a decision by £1.47 million to works acquired is to produce a consistent and We sustained spending on our the Harrison Trust to wind up under the Art Fund International sustainable amount to pay for charitable programme, and were and distribute its assets after scheme, the final year of running costs while maintaining able to reduce marketing and many years of loyal support. commitments from reserves the purchasing power of the communications expenditure Including the special appeals, towards this project. We also portfolio over the long term. compared to 2011 when we had voluntary donations rose by committed a further £700,000 The board has reviewed the launch costs for the National Art £354,000. Our network of towards the other aspects of level of free reserves and has Pass. We also began to reduce volunteers raised an impressive our programme, including determined that they remain our reliance on investments and £358,000 after their costs. While tours of works of art, support for appropriate to the Art Fund’s reserves to fund expenditure, our trading company turnover curators, and the Art Fund Prize needs. The board has a policy as part of our strategy to build was down, the profit generated for Museum of the Year. of maintaining a relatively high future growth through raised remained broadly the same as level of free reserves in order to income. a result of better stock control Investments and reserves provide a stable income stream Income from regular operations and a more focused range of In line with equity markets to underwrite the Art Fund’s increased significantly, mainly merchandise. around the world, the core costs; to provide stability due to an 18 per cent growth Income from legacies investment portfolio performed against financial risk; and in membership income, which was unusually high at £3.1 considerably better than in because outstanding works rose by £650,000 as the National million, largely because of the 2011, with unrealised gains of of art that command very high Art Pass continued to prove an exceptionally generous legacy just over £3 million (around prices have to be acquired attractive proposition to museum of £1.2 million from the estate 10 per cent). This helped total from time to time at relatively visitors. A further 13,000 new of Sir Denis Mahon, an Art Fund reserves to rise by £7 million, short notice. members were recruited, but member for many years. We the other £3.9 million coming the real success in income terms were also particularly grateful from the profit on the sale of came from sustaining high to receive legacies of more than Millais House. At the end of the levels of retention among those £100,000 from the estates of year we were holding over £5 members recruited in 2011 and Kathleen Nation, Maurice Pycraft, million in cash and short-term previous years. Ann Hawkins and George Danby, deposits which will be spent on We ran two special appeals as well as further distributions acquiring and refurbishing the in 2012, for Yinka Shonibare’s from the estates of Barbara Billot new premises at King’s Cross Nelson’s Ship in a Bottle and and Erica Keighley. during the course of 2013. Paul Zuckerman for Nicolas Poussin’s Extreme Spending on our charitable The trustees have a total Treasurer Unction, between them programme was lower than in return approach to the Art 2 May 2013

57 Consolidated statement of financial activities year ended 31 December 2012

2011 2012 Unrestricted Restricted Endowment £’000 Total Funds Funds Funds Restated Incoming resources Notes £’000 £’000 £’000 £ ‘000 Incoming resources from generated funds 2,087 Voluntary income – donations 2,441 1,810 631 — 1,461 – legacies 3,136 3,136 — — 3,548 5,577 4,946 631 — Activities for generating funds 262 Trading activities 242 242 — — 745 Fundraising events 844 835 9 — 1,007 1,086 1,077 9 — 403 Investment income 355 286 47 22

Incoming resources from charitable activities 3,506 Members subscriptions 4,159 4,159 — — — Profit on disposal of fixed asset 6 3,893 3,893

8,464 Total incoming resources 15,070 14,361 687 22

Less cost of generating funds 553 Costs of generating voluntary income 589 589 — — 164 Costs of trading activities 116 116 — — 431 Cost of fundraising events 486 486 — — 22 Investment advisors’ costs 25 25 — — 1,170 1,216 1,216 — — 7,294 Net incoming resources for charitable application 13,854 13,145 687 22

Charitable expenditure 5,706 Grants for the purchase of works of art 3 5,008 3,290 1,696 22 696 Art Fund projects 704 608 96 — 495 Grant support costs 445 445 — — 991 Membership services 1,053 1,053 — — 2,016 Marketing and development 1,649 1,649 — — 475 Publications 466 466 — — 767 Communications 588 588 — — 53 Governance costs 55 55 — — 11,199 Charitable expenditure 9,968 8,154 1,792 22

12,369 Total resources expended 5 11,184 9,370 1,792 22

(3,905) Net incoming / (outgoing) resources for the year 3,886 4,991 (1,105) — (619) Net unrealised gains / (losses) on investment assets 3,087 2,667 279 141 (4,524) Net movement in funds 6,973 7,658 (826) 141 34,174 Fund balances at 1 January 29,650 25,488 2,812 1,350 29,650 Fund balances at 31 December 36,623 33,146 1,986 1,491

All gains and losses recognised in the year are included in the Statement of Financial Activities, and are derived from continuing activities.

58 Balance sheets 31 December 2012

Group Charity 2012 2011 2012 2011 Note £’000 £’000 £’000 £’000 Fixed assets Tangible fixed assets 6 103 1,311 103 1,311 Investments 7 33,764 32,119 33,764 32,119 33,867 33,430 33,867 33,430

Current assets Stock 8 19 19 — — Debtors 9 1,149 654 1,177 688 Cash and short-term deposits 5,348 465 5,326 421 6,516 1,138 6,503 1,109

Current liabilities Provision for grants authorised but not paid 3 2,324 3,688 2,324 3,688 Creditors: due within one year 10 1,152 922 1,142 897 3,476 4,610 3,466 4,585

Net current assets / (liabilities) 3,040 (3,472) 3,037 (3,476)

Total assets less current liabilities 36,907 29,958 36,904 29,954 Creditors: due after more than one year 10 284 308 284 308 Net assets 36,623 29,650 36,620 29,646

Funds Permanent endowment funds 11 1,491 1,350 1,491 1,350 Other restricted funds 11 1,986 2,812 1,986 2,812 Unrestricted funds 11 33,146 25,488 33,143 25,484 Total funds 13 36,623 29,650 36,620 29,646

Approved and authorised for issue by the board on 2 May 2013 and signed on its behalf by

David Verey Paul Zuckerman Chairman Treasurer

59 Consolidated cash flow statement year ended 31 December 2012

2012 2011 £’000 £’000 Reconciliation of changes in resources to net cash flow from operating activities Net incoming / (outgoing) resources from operating activities (7) (3,905) Profit on disposal of fixed asset 3,893 — Net incoming / (outgoing) resources 3,886 (3,905) Depreciation of tangible fixed assets 55 58 (Increase) / Decrease in stock — (6) (Increase) / Decrease in debtors (495) 446 Increase / (Decrease) in creditors: Current liabilities 230 (594) Increase / (Decrease) in creditors: Long term (24) (36) Increase / (Decrease) in provision for grants authorised but not paid (1,364) 1,302

Net cash inflow from operating activities 2,288 (2,735) Purchase of tangible fixed assets (13) (26) Disposal of tangible fixed assets 1,166 — Purchase of investments (13,726) (8,281) Proceeds from sale of investments 15,168 9,265 Increase / (Decrease) in cash in the year 4,883 (1,777)

At At 1 January 31 December 2012 Cashflow 2012 Analysis of changes in cash £’000 £’000 £’000 Cash and short-term deposits 465 4,883 5,348 465 4,883 5,348

60 Notes to the accounts year ended 31 December 2012

1. Accounting policies cases where probate has been in this line. The prior year figures on the investment portfolio received by 31 December have been restated as a result. throughout the year. The (a) The accounts have been and the cash by the end of the Grants for the purchase of Statement of Financial Activities prepared under the historical following February. works of art are charged in the does not distinguish between cost convention as modified Investment income is included year when the offer is made. the valuation adjustments by the valuation of fixed asset within the Statement of Financial Where grants are subsequently relating to sales and those investments and in accordance Activities in the year in which it is not taken up, these are credited relating to continued holdings with the Art Fund’s Royal receivable. to the charge for the year. In as they are together treated Charter, and in compliance Life members’ subscriptions 2012 a number of new grants as changes in the value of the with the Charities Act 2011, the are credited to incoming have been approved which investment portfolio. Statement of Recommended resources in ten equal promote the enjoyment of art Practice ‘Accounting and annual instalments. Annual but are not for the purchase of (e) Fixed assets with a value of Reporting by Charities’ subscriptions are accounted specific works. These include £100 or more are stated at cost (revised 2005) (‘SORP’), and for on a cash basis as and when grants approved under the when acquired and depreciated with applicable accounting received. Jonathan Ruffer Curatorial on a straight-line basis over their standards. Gift aid claimed is included Grants Programme as well as estimated useful lives at the The consolidated accounts within the Statement of Financial further funding for the National following rates: include the accounts of the Activities in the year in which Gallery’s curatorial scheme. charity and its subsidiary it is receivable and within the Grant support costs comprise Buildings 1% undertaking, Art Fund Services income stream to which it the costs of processing Computers 33% Limited, which is wholly owned relates. grant applications, including Fixtures and fittings 20% and registered in England and support to actual and potential Wales, on a line by line basis. (c) Expenditure is recognised applicants. No depreciation is charged on Transactions and balances on an accruals basis, gross Other charitable activities freehold land. between the charity and its of any related income in the comprise costs incurred in subsidiary have been eliminated Statement of Financial Activities. attracting new members and (f) Stocks represent goods for from the consolidated financial Where costs cannot be providing services to existing resale, stated at the lower of cost statements. Balances between directly attributed to particular members, including publications or net realisable value. the group companies are categories they have been and communications. disclosed in the notes of allocated to activities on a Governance costs include (g) The Art Fund operates a the charity’s balance sheet. headcount basis. those costs associated with the defined contribution pension A separate Statement of Cost of generating funds management of the Art Fund’s scheme. The assets of the Financial Activities, or income includes those costs directly assets and with constitutional scheme are held separately and expenditure account, for attributable to the fundraising and statutory requirements. from those of the Art Fund in an the charity itself is not presented events held by the Art Fund’s Support costs are apportioned independently administered because the charity has taken regions, the operation of the to charitable expenditure on the scheme. The pension cost advantage of the exemption trading subsidiary and the fees basis of headcount. charge represents the amounts afforded by paragraph 397 of charged by the investment payable by the Art Fund SORP 2005. advisors for overseeing the (d) Fixed Asset Investments amounting to £126,071 (2011: management of the investment are stated at market value in £118,511). (b) Voluntary income comprising portfolio. It also now includes, accordance with the revised donations and legacies is under costs of generating Statement of Recommended (h) Operating leases – credited to incoming resources voluntary income, the cost Practice. It is the Art Fund’s policy expenditure in respect of when the Art Fund becomes of raising major gifts from all to keep valuations up to date operating leases is accounted entitled to the income, there sources as well as costs of so that when investments are for in the period to which it is certainty of receipt and the legacy administration and sold no gain or loss arises. As a relates. amount is quantifiable. For marketing. This represents a result the Statement of Financial donations this usually means change from previous years Activities includes those at date of receipt. Legacies when only the costs of raising unrealised gains and losses are included on receipt and in trust donations were included arising from the revaluation

61 2. Net surplus of trading company

The 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 runs various events, activities and also merchandising on behalf of the Art Fund. The company donates its taxable profits to the Art Fund and also pays interest on any loans from the Art Fund. A summary of the results of the trading company is shown below. Audited accounts have been filed with the Registrar of Companies.

2012 2011 Profit and loss account £’000 £’000 Turnover 245 337 Cost of sales (95) (178) Gross profit 150 159 Administrative expenses (21) (23) 129 136 Interest payable (2) (2) Net profit 127 134 Gift aid (127) (134) Retained in subsidiary — —

Turnover of £242,000 (2011: £262,000) is included in trading income and turnover of £3,000 (2011: £75,000) is included in fundraising income in the consolidated Statement of Financial Activities. The reason for the fall in fundraising income is that London events are now accounted for in the charity rather than in the trading company. The remaining fundraising income relates to corporate sponsorship of fundraising activities.

The assets and liabilities of the trading company as at 31 December 2012 were as follows:

2012 2011 £’000 £’000 Total assets 92 102 Total liabilities (89) (99) Net assets 3 3

The total turnover of the parent charity was £14,825,000 (2011: £8,127,000) and the total surplus was £6,843,000 (2011: deficit of £4,658,000). The 2012 figures include the profit on the disposal of Millais House (3,893,000) and the unrealised investment gain of £3,087,000.

3. Reconciliation of grants given for the purchase of works of art 2012 2011 £’000 £’000 £’000 £’000 Grants outstanding 1 January 3,688 2,386 Grants offered during year 5,020 6,388 Grants subsequently not taken up — (432) Grants from a previous year no longer required (12) (250)

Grants committed shown in Statement of Financial Activities 5,008 5,706 8,696 8,092

Grants paid during the year (note 4) (6,302) (4,404) Adjustment for other grants paid in 2011 (70) — Grants outstanding 31 December 2,324 3,688

62 4. Total grants paid in 2012 £ Aberdeen Aberdeen Art Gallery 3,000 Aberystwyth Aberystwyth University School of Art Gallery and Museum 2,943 Ambleside Armitt Collection 701 Barnard Castle Bowes Museum 9,000 Bath Victoria Art Gallery 13,815 Birmingham Birmingham Museum and Art Gallery 100,000 Brighton Royal Pavilion 19,658 Bristol Bristol Museum and Art Gallery 212,826 Cambridge Fitzwilliam Museum 242,067 Cambridge Museum of Archaeology and Anthropology 30,515 Cardiff Cardiff Castle 5,000 Cardiff National Museum Cardiff 115,000 Carlisle Tullie House 4,250 Chatham Chatham Historic Dockyard 1,740 Cheltenham Cheltenham Art Gallery and Museum 4,718 Chester Grosvenor Museum 2,375 Colchester Essex Collection of Art from Latin America 2,313 Cookham Stanley Spencer Gallery 25,175 Dundee The McManus: Dundee’s Art Gallery and Museum 12,400 Dundee University of Dundee Museum Collections 39,738 Durham Oriental Museum 49,919 Eastbourne Towner Contemporary Art Museum 134,548 Edinburgh National Museum of Scotland 11,250 Edinburgh Scottish National Gallery 77,884 Edinburgh Scottish National Gallery of Modern Art 6,000 Edinburgh Scottish National Portrait Gallery 17,500 Exeter Royal Albert Memorial Museum 13,000 Falmouth Falmouth Art Gallery 15,000 Folkestone The Creative Foundation 15,000 Glasgow Gallery of Modern Art 17,788 Glasgow Hunterian Art Gallery 10,000 Glasgow Kelvingrove Art Gallery 5,000 Leeds Leeds Art Gallery 13,733 Leeds Leeds City Museum 30,000 Liverpool Walker Art Gallery 8,617 London Arts Council Collection 20,000 London Ben Uri Gallery 54,350 London British Museum 50,000 London Design Museum 6,500 London Garden Museum 6,000 London Geffrye Museum 5,000 London Imperial War Museum 41,780 London Kenwood House 214,500 London Museum of London 2,000 London National Gallery 2,000,000 London National Maritime Museum 301,677 London National Portrait Gallery 77,000 London RIBA Library Drawings and Archive Collections 7,000 London Tate 270,000 London Victoria and Albert Museum 250,000 London Wellcome Library 5,000 London Whitechapel Gallery 200,000 Luton Wrest Park 30,000 Manchester Whitworth Art Gallery 18,100 Middlesbrough Middlesbrough Institute of Modern Art (mima) 138,061 Norwich Norwich Castle Museum and Art Gallery 31,200 Oxford Ashmolean Museum 854,500 Penzance Penlee House Gallery and Museum 25,892 Portsmouth Portsmouth City Museum and Records Office 5,000 Rochdale Touchstones Rochdale 20,700 Saffron Walden Fry Art Gallery 15,450 Salisbury Edwin Young Collection 3,400 Sheffield Millennium Gallery 5,500 Stockport Bramhall Hall 1,188 Swindon Lydiard House 700 Walsall The New Art Gallery 8,000 Warrington Warrington Museum and Art Gallery 4,500 West Midlands West Midlands Consortium 297,363 Wolverhampton Wolverhampton Art Gallery 20,000 Worksop Creswell Crags Museum 1,500 York York Art Gallery 37,935 Total £6,302,269

63 5. Analysis of total resources expended Staff Grants and Support costs direct expenses costs* Depreciation Total £’000 £’000 £’000 £’000 £’000 Cost of generating funds Costs of generating voluntary income 457 34 87 11 589 Costs of trading subsidiary 16 100 — — 116 Cost of fundraising/events — 486 — — 486 Investment advisors’ costs — 25 — — 25 473 645 87 11 1,216 Charitable expenditure Grants for the purchase of works of art — 5,008 — — 5,008 Art Fund Projects — 704 — — 704 Grant support costs 276 58 103 8 445 Membership services 208 742 93 10 1,053 Marketing and Development 284 1,287 71 7 1,649 Publications 154 239 66 7 466 Communications 288 189 101 10 588 Governance costs 33 18 2 2 55 1,716 8,890 523 55 11,184

The audit fee for the year was £17,685 (2011: £17,685). The auditors’ fees for other services in the year were £10,150 (2011: £69,925). *Support costs do not include salaries of £176,000 which are included in the staff costs column.

Salaries and pensions Salaries and pension costs have been allocated to the categories of expenditure to which they relate.

2012 2011 £’000 £’000 Total salary and pension costs are: Salaries 1,429 1,458 Social security costs 161 164 Other pension costs 126 119 1,716 1,741

Number Number of persons of persons Average number of staff employed 40 38

Employees with emoluments excluding pension contributions totalling £60,000 or more £60,001 – £70,000 1 2 £80,001 – £90,000 1 1 £120,001 – £130,000 1 1

Pension contributions in respect of these staff were £34,180 (2011: £33,550).

Members of the board did not receive any fees in the current or preceding year. Two members of the board received a total of £557 (2011: nil) reimbursement for expenses incurred in the year.

64 6. Tangible fixed assets Computers, Land and fixtures Buildings and fittings Total Group and charity £’000 £’000 £’000 Cost At 1 January 2012 1,350 788 2,138 Additions — 13 13 Disposals (1,350) — (1,350) At 31 December 2012 — 801 801

Accumulated depreciation At 1 January 2012 176 651 827 Charge for the year 8 47 55 Depreciation on disposal (184) (184) At 31 December 2012 — 698 698 Net book value At 31 December 2012 — 103 103 At 31 December 2011 1,174 137 1,311

The disposal of land and buildings represents the sale of Millais House, completed in November 2012. The net proceeds (the difference between the sale price and the net book value of the property at the date of disposal and related professional fees) was £3,893,000. This has been disclosed as on the face of the Consolidated Statement of Financial Activities under the heading ‘Profit on disposal of fixed asset’.

Post balance sheet event: In February 2013 the Art Fund exercised an option to purchase a 999-year lease on Regeneration House in King’s Cross, to be the future headquarters of the charity. Refurbishment work will be carried out during the rest of 2013 and the intention is to move into the new building in January 2014.

7. Fixed asset investments 2012 2011 £’000 £’000 Investments at market value comprised: UK equities 7,913 7,276 Overseas equities 10,653 9,393 Private equity 5,674 5,151 Hedge funds 2,881 2,649 Overseas bonds 1,799 1,639 Property 2,671 Gold bullion 961 — Cash 3,883 3,340 33,764 32,119

Movement in investments – Group and Charity Market value at 1 January 32,119 33,722 Sale proceeds (15,168) (9,265) Acquisitions at cost 13,726 8,281 Net unrealised gains / (losses) on revaluation 3,087 (619) Market value at 31 December 33,764 32,119 Historical cost at 31 December 24,443 25,885

65 8. Stock Group Charity 2012 2011 2012 2011 £’000 £’000 £’000 £’000 Stock for resale 19 19 — —

9. Debtors Group Charity 2012 2011 2012 2011 £’000 £’000 £’000 £’000 Trade debtors 59 35 7 1 Amounts due from subsidiary undertaking — — 80 75 Other debtors 730 313 730 306 Accrued legacy income 170 161 170 161 VAT 190 145 190 145 1,149 654 1,177 688

10. Creditors Group Charity 2012 2011 2012 2011 £’000 £’000 £’000 £’000 Falling due within one year Trade creditors 406 629 398 613 Tax and social security 43 — 43 — Other creditors and accruals 593 207 591 198 Deferred income 110 86 110 86 1,152 922 1,142 897 Falling due after one year Deferred income 284 308 284 308

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

66 11. Net movement in funds

These funds are split between permanent endowment funds where the capital must be retained and other restricted funds where both capital and income can be spent in accordance with the donor’s wishes. Investment income on endowment funds is expendable in accordance with the donor’s wishes. Any income unspent at the end of the year is carried forward to the next year as a restricted fund.

Balance at Incoming Resources Net unrealised Balance at 1 January resources expended gains/transfers 31 December £’000 £’000 £’000 £’000 £’000 General fund 24,177 14,361 (8,162) 2,667 33,043 Fixed asset fund 1,311 — (1,208) — 103 Total unrestricted funds 25,488 14,361 (9,370) 2,667 33,146

Restricted funds W M Bond Bequest 181 2 — 19 202 R I Gunn Bequest 1,207 21 (850) 126 504 Ramsey Dyce Bequest — — — — — Reginald Jones Bequest — — — — — Modern Art Fund — — — — — Cochrane Trust — — — — — London Historic House Museums Trust 1,031 17 (260) 108 896 David and Liza Brown Bequest 131 2 — — 133 Friends of National Museums Liverpool 99 2 (55) 10 56 Shonibare Appeal (15) 251 (252) 16 — Poussin Appeal — 152 (152) — — Bill Viola Commission 125 2 — — 127 Judith Fairhurst 3 — — — 3 Jonathan Ruffer Curatorial Grants Scheme 50 51 (36) — 65 Vivmar Foundation — 60 (60) — — Other restricted donations — 127 (127) — — Total restricted funds 2,812 687 (1,792) 279 1,986

Permanent Endowment Funds Campbell Dodgson Bequest 3 — — — 3 Cochrane Trust 100 2 (2) 11 111 Fulham Fund 392 7 (7) 41 433 Ramsey Dyce Bequest 90 1 (1) 10 100 Reginald Jones Bequest 203 3 (3) 21 224 Modern Art Fund 529 9 (9) 55 584 Wakefield Fund 33 — — 3 36 Total endowment funds 1,350 22 (22) 141 1,491 Total funds 29,650 15,070 (11,184) 3,087 36,623

67 11. Net movement in funds Cochrane Trust National Museums Liverpool Vivmar Foundation (Continued) The income may be used for in accordance with the Art The grant has been given in the purchase of works of art not Fund’s standard grant-giving support of the National Gallery W M Bond Bequest being the work of any person procedures. Curatorial Trainee Scheme. The bequest is to be held in living at the date of purchase. trust for the Laing Art Gallery, Shonibare Appeal Other restricted donations Newcastle upon Tyne, and is Wakefield Fund The appeal was held to This represents amounts given in to be devoted to the purchase The income is to be used for the support the acquisition by the respect of specific acquisitions of antique china, pottery and purchase of contemporary craft. National Maritime Museum in 2012. furniture to be displayed in of Nelson’s Ship in a Bottle by that gallery. London Historic House Yinka Shonibare MBE. Campbell Dodgson Bequest Museums Trust The income is for the benefit of R I Gunn Bequest The money was received from Poussin Appeal the Department of Prints and The money to be applied the transfer of the assets of The appeal was held to support Drawings in the British Museum. towards the purchase of one the London Historic House the acquisition of Nicolas or more paintings or drawings Museums Trust in October 2009 Poussin’s Extreme Unction by the Fulham Fund of the French Impressionist and is to be applied towards Fitzwilliam Museum, Cambridge. The income generated is neither school for presentation to one the purchase of works of art for restricted nor designated and is or more of the museums or Kenwood House, Hampstead; Bill Viola Commission therefore taken to unrestricted collections of pictures belonging Marble Hill House, Twickenham; The funds will support the funds. to the nation in London or the The Ranger’s House, acquisition of a video University of Oxford. Blackheath; and Chiswick installation by Bill Viola at House, Chiswick. St Paul’s Cathedral. Ramsey Dyce Bequest The income must be used David and Liza Brown Judith Fairhurst to acquire objects of art to Bequest The fund is intended to be used be added to the permanent The money is for the benefit for museums in England and collection of the Aberdeen of the Department of Prints Wales that have a shortfall in the Art Gallery. and Drawings at the British funds they need to raise to buy Museum and the Southampton particular works. These should Reginald Jones Bequest City Art Gallery. be historic applied arts, treasure The income is to be used to or late 19th-century / early purchase pictures and other Friends of the National 20th-century paintings. works of art that are at least Museums Liverpool 100 years old. The money was received from Jonathan Ruffer Curatorial the transfer of the assets of Grants Scheme Modern Art Fund the Friends of the National This fund supports collections- The income is to be used Museums Liverpool and is to based research for curators towards the purchase of be applied towards assisting working across fine and applied 20th-century art. acquisitions of art by the art collections.

68 12. Unrestricted funds

At the balance sheet date, the Art Fund’s reserves comprised the following: 2012 2011 £’000 £’000 Total funds per balance sheet 36,623 29,650 Endowment funds (note 11) (1,491) (1,350) Restricted funds (note 11) (1,986) (2,812) Unrestricted funds as per the balance sheet 33,146 25,488 Fixed assets held for charity use (103) (1,311) Free reserves at 31 December 2011 33,043 24,177

The Charity Commissioners define free reserves as ‘income which becomes available to the charity and is to be expended at the board’s discretion in furtherance of any of the charity’s objects, but is not yet spent, committed or expended’. The board has a policy of maintaining a relatively high level of free reserves in order to provide a stable income stream to underwrite the Art Fund’s core costs; to provide stability against financial risk; and because outstanding works of art that command very high prices have to be acquired from time to time at relatively short notice.

13. Analysis of net assets between funds

Group Free Designated Restricted Endowment Total reserves funds funds funds funds £’000 £’000 £’000 £’000 £’000 Fund balances at 31 December 2012 are represented by: Tangible fixed assets — 103 — — 103 Investments 32,273 — — 1,491 33,764 Current assets 4,530 — 1,986 — 6,516 Total liabilities (3,760) — — — (3,760) Total net assets 33,043 103 1,986 1,491 36,623

Included above are unrealised gains on investment assets at 31 December 2012 3,087

14. Operating leases

At 31 December 2012 the charity had annual commitments under operating leases which expire: 2012 2011 £ £ In the first year 216,667 — In second to fifth years inclusive 9,828 9,828 226,495 9,828

15. Related party transactions

Two members of the senior management team signed Related Party Declarations during the year in respect of institutions in receipt of grants:

• A grant of £15,000 was offered to the Creative Foundation for the purchase of The Folkestone Mermaid. Stephen Deuchar, the director of the Art Fund, is a trustee of the Creative Foundation. • A grant was offered to the Museum of London for £2,000 for the purchase of 39 colour photographs, The Heath by Andy Sewell. Andrew Macdonald, the deputy director of the Art Fund, is a governor of the Museum of London.

Decisions to award grants are made by trustees, but both declared their potential conflicts and took no part in the discussions at which the decision to make a grant was made.

69 Structure, governance and management

The Art Fund is governed by its responsibilities as charity members who attend for their The trading activities of the board of trustees, which meets trustees including a board specific skills and expertise. Art Fund are carried out by six times a year. It currently has policies and procedures manual. The nominations committee, its service company, Art Fund 18 members. New trustees are They also attend an induction which meets at least annually Services Limited, a company appointed by the board, on day at Millais House. under the chairmanship of the incorporated in England and the recommendation of the The board, while retaining chairman, considers candidates Wales (registered number nominations committee, and overall responsibility, delegates for membership of the board 1487654). The company is their appointment is notified certain functions to sub- and terms of appointment. wholly owned by the Art Fund to the membership at the committees and executive staff. The day-to-day direction and it donates all its profits in Annual General Meeting (AGM) There are two permanent sub- of the Art Fund’s affairs is the the year to the Art Fund by way following their appointment. committees. The finance and responsibility of the director of Gift Aid. The five trustees who have been general purposes committee, who reports to the board longest in office since their last which meets up to four times through the chairman. The Risk management election must retire each year a year under the chairmanship director is supported by a senior The major risks to the Art Fund’s at the AGM, and are eligible of the treasurer, considers all management team consisting business, finance and reputation, for re-election. Trustees can matters relating to finance, of the deputy director, director as identified by the board, serve for a maximum of two investments, risk management of development, head of have been reviewed and consecutive terms of five years, and the administration of the policy and strategy, head systems have been established and retire at the age of 75. All charity including the property. of programmes, director of to mitigate those risks. A full new trustees receive a range It has four trustee members marketing and membership, risk register has been compiled of documents regarding their and three non-trustee advisory and head of communications. and is held at Millais House.

70 Objectives and activities

Summary of aims and their collections creatively through our core programme reviewing the aims and objectives for the benefit of more to museums and galleries. This objectives of the Art Fund. The Art Fund exists to help people – for example, through is exclusive of any additional In setting out the strategy and museums and galleries all the annual Art Fund Prize award support we may raise through developing the programme across the UK to buy, show celebrating excellence in the special fundraising appeals. of activity the Art Fund has and share great art so that it can sector; Our strategic aims for the focused on delivering the be experienced and enjoyed • Supporting museums and period until 2014 are: widest public benefit, in by everyone. Set up over a galleries by campaigning • To establish the Art Fund particular by works of art being hundred years ago, the Art for and supporting financial as the leading nationwide acquired by public collections Fund is the leading national or regulatory systems or changes fundraising charity for art; in the UK and being available fundraising charity for art and which encourage museum visits • To develop a coherent and for the public to enjoy; by is independently funded and and philanthropy; imaginative programme works of art being shown and supported by 95,000 members • Promoting the enjoyment of activity that delivers clear shared by public collections, and some 600 volunteers of art through the National public benefit; backed up by the curatorial across the country. Art Pass, our website and • To increase the numbers expertise to understand and The Art Fund believes that our members’ magazine. and range of members and communicate them to the everyone should be able A four-year strategy agreed supporters; public; by celebrating creativity to experience great art first in 2010 reaffirmed our • To increase income from and excellence in museums hand, from the historic to the commitment to help museums all sources; which benefits the public contemporary, and works to and galleries acquire great • To improve organisational through the annual Art Fund achieve this by: works and foster appreciation efficiency and governance. Prize; and by making enjoyment, • Helping museums and of art by the public. We have understanding and appreciation galleries throughout the UK ambitiously planned to increase Public benefit of works of art available to acquire important works of our funding programme by over The trustees have taken the public through the National art and build new collections; 50 per cent by 2014 compared the Charity Commission’s Art Pass, the Art Fund website • Supporting museums and to its level in 2009, so that we guidance on public benefit and magazine, and other galleries to use and develop are giving £7 million annually into consideration when editorial channels.

71 Statement of responsibilities of the board

The trustees are responsible charity and of the incoming accounting standards have the parent charity and enable for preparing the trustees’ resources and application of been followed, subject to any them to ensure that the annual report and the financial resources of the group for the material departures disclosed financial statements comply statements in accordance year. In preparing those financial and explained in the financial with the Charities Act 2011, with applicable law and statements the trustees are statements; the Charities and Trustee United Kingdom Accounting required to: • prepare the financial Investment (Scotland) Act Standards (United Kingdom • select suitable accounting statements on the going concern 2005 and regulations made Generally Accepted Accounting policies and then apply them basis unless it is inappropriate thereunder. They are also Practice). consistently; to presume that the charity will responsible for safeguarding Charity law requires the • observe the methods and continue in business. the assets of the charity and trustees to prepare financial principles in the Charities SORP; The trustees are responsible hence for taking reasonable statements for each financial • make judgments and for keeping accounting records steps for the prevention year that give a true and fair estimates that are reasonable that disclose with reasonable and detection of fraud view of the state of affairs of and prudent; accuracy at any time the financial and other irregularities. the group and the parent • state whether applicable position of the group and

72 Independent auditors’ report to the board of the Art Fund

We have audited the financial Respective responsibilities Opinion on financial respect with the financial statements of the Art Fund for of trustees and auditor statements statements; or the year ended 31 December As explained more fully in In our opinion the financial • proper and sufficient 2012 which comprise the the Statement of Trustees’ statements: accounting records have not Consolidated Statement Responsibilities, the trustees are • give a true and fair view of been kept; or of Financial Activities, the responsible for the preparation the state of the group’s and • the parent charitable company’s Consolidated and Parent of the financial statements and the parent charity’s affairs as at financial statements are not in Charity Balance Sheets, the for being satisfied that they give 31 December 2012 and of the agreement with the accounting Consolidated Cash Flow a true and fair view. group’s incoming resources and records or returns; or Statement and the related We have been appointed application of resources for the • we have not received all the notes. The financial reporting as auditor under section 44(1) year then ended; information and explanations framework that has been applied (c) of the Charities and Trustee • have been properly prepared we require for our audit. in their preparation is applicable Investment (Scotland) Act in accordance with United law and United Kingdom 2005 and under section 144 Kingdom Generally Accepted Accounting Standards (United of the Charities Act 2011 and Accounting Practice; and Kingdom Generally Accepted report in accordance with • have been prepared Accounting Practice). regulations made under those in accordance with the BDO LLP This report is made solely to Acts. Our responsibility is to requirements of the Charities Statutory Auditor the charity’s trustees, as a body, audit and express an opinion Act 2011, the Charities and London in accordance with the Charities on the financial statements in Trustee Investment (Scotland) Act United Kingdom Act 2011 and the Charities and accordance with applicable law 2005 and regulations 6 and 8 of 2013 Trustee Investment (Scotland) and International Standards on the Charities Accounts (Scotland) Act 2005. Our audit work has Auditing (UK and Ireland). Those Regulations 2006 (as amended). BDO LLP is eligible to act as an been undertaken so that we standards require us to comply auditor in terms of section might state to the charity’s with the Auditing Practices Matters on which we are 1212 of the Companies Act 2006. trustees those matters we Board’s Ethical Standards for required to report by exception BDO LLP is a limited liability are required to state to them Auditors. We have nothing to report in partnership registered in in an auditor’s report and for respect of the following matters England and Wales (with no other purpose. To the Scope of the audit of the where the Charities Act 2011 registered number OC305127). fullest extent permitted by financial statements and the Charities Accounts law, we do not accept or assume A description of the scope of (Scotland) Regulations 2006 responsibility to anyone other an audit of financial statements (as amended) requires us to than the charity and the charity’s is provided on the Financial report to you if, in our opinion: trustees as a body, for our audit Reporting Council’s website • the information given in the work, for this report, or for the at www.frc.org.uk/apb/scope/ Trustees’ Annual Report is opinions we have formed. private.cfm. inconsistent in any material

73 Reference and administrative details year ended 31 December 2012

The Art Fund was established Members of the Board F: also member of the Finance and Investment Advisors in 1903 as the National Art David Verey CBE Chairman (N) General Purposes Committee Cambridge Associates Collections Fund and was Paul Zuckerman Treasurer (F, N) N: also member of the 80 Victoria Street granted a Royal Charter in Caroline Butler (F) Nominations Committee London 1928. It is registered as a charity Richard Calvocoressi CBE SW1E 5JL in England and Wales under Professor Michael Advisory members number 209174 and in Scotland Craig-Martin CBE RA of the finance and general Bankers under SC038331. In May 2006 Dame Liz Forgan (appointed purposes committee Coutts & Co the ‘Art Fund’ was adopted as October 2012) Celia Clear 440 Strand its public and trading name but Philippa Glanville Brendan Finucane QC London its full name has been retained Professor Chris Gosden (N) Ruth Jarratt WC2 0QS for legal purposes. Antony Griffiths FBA Alastair Laing (appointed Director Solicitors December 2012) Dr Stephen Deuchar CBE Farrer & Co Christopher Lloyd CVO 66 Lincoln’s Inn Fields James Lingwood Professional advisers London Jonathan Marsden LVO Auditors WC2A 3LH Registered office Sally Osman (F, N) BDO LLP Millais House Professor Deborah Swallow Farringdon Place 7 Cromwell Place Professor Lisa Tickner (N) 20 Farringdon Road London Professor William Vaughan London SW7 2JN Michael Wilson OBE (F) EC1M 3AP

74 Our thanks to...

95,000 Art Fund members Miel De Botton Lady Heseltine Baron and Baroness Richard Buxton Andrew Hochhauser QC Willem van Dedem 4,262 patron donors who A V Grimstone Brian and Celia Hopkinson Johnny Van Haeften give regularly on top of their The Rt Hon the Lord Hoffman Jeffrey Horne David and Emma Verey membership Mr and Mrs John A Johnson Chris and Philippa Howell Nedim Vogt and Janine Rensch The Kennedy Charitable Trust Robert Hugill and David Hughes Robert and the 550 members who raise Terence Kyle Chris and Janet Ingram Hon Mrs Felicity Waley-Cohen funds through their regional Sir Hugh Leggatt Professor and Mrs Ioan James David and Christine Walmsley volunteer fundraising David Pike Mark Kirby R Katharine Wedgbury committees The Countess of Rothes James and Clare Kirkman The Hon Mrs Simon Weinstock John Tilney Antony and Zarrina Kurtz Dave Williams and Trusts and foundations David Landau Dr Reba White Williams Grant-making trusts supported Patrons Circle George and Anne Law Cathy Wills museum collections right across Members of our Patrons Circle David and Amanda Leathers Michael and Jane Wilson the country with more than £1.2 enjoyed a diverse programme of Ann Lewis Anthony J Wingate million of support to the Art Fund special events in 2012, including His Honour Humphrey LLoyd QC David and Margaret Wright in unrestricted funds visits to the studios of Bridget and Mrs LLoyd Adiba and Mian Zaheen Riley and Howard Hodgkin. Humphrey and Janine Lloyd Paul and Pat Zatz £600,000 Esmée Support through this scheme Rosemary Lomax-Simpson Mr Paul Zuckerman and the Fairbairn Foundation brought in £165,000 Mark and Liza Loveday Hon Mrs Sarah Greenall £526,786 J. K. and B. M. Beatrice Lupton Harrison Trust Hassan and Farah Alaghband Sir John Mactaggart American Friends £500,000 Richard and Diana Allan Sir Laurence & Lady Magnus The American Friends of the The Wolfson Foundation Ryan Allen Richard Mansell-Jones Art Fund contributed $180,000 £60,000 Vivmar Foundation Amanda and David Allen Suzanne Marriott to our work in 2012 £50,000 The Binks Trust Hilary Bachelier Carasco Richard and Janet Martin £50,000 The Sfumato Foundation Keith and Barbara Bain Professor Richard Mayou Corporate supporters Christopher and Ruth Baker John McAslan and Corporate supporters of the Up to £50,000 Lawrence Banks Dava Sagenkahn Art Fund are able to extend The 29th May 1961 John Barker Professor and the benefits of membership, Charitable Trust Victoria Barnsley and Mrs Anthony Mellows including the National Art Pass, The Geoffrey and Julian Agnew Nicholas Howard Carol and Robin Michaelson to their staff and clients as well as Charitable Trust Hugh and Penny Baylis Russell and Marcia Mishcon experience exclusive events at The Albert Van den Bergh Linda Beecham Jennifer Montagu museums and galleries Charitable Trust Molly and David Borthwick Elizabeth Morgan P H G Cadbury Charitable Trust Jan Delia Boulting Keith Morris and Premier Corporate Partner The John S Cohen Foundation Susan Bracken Catherine Mason UBS The A & S Diamond Charitable Brian Bradbury Richard Murley and Trust Debby Brice Penelope Murley Corporate Partners The Flow Foundation Marcia Brocklebank Ann Naylor Fenwick Ltd The Roger de Haan Robert Burgess Michael and Adeline Nolan Hymans Robertson LLP Charitable Trust Richard and Catherine Burns Michael Palin Lazard The Headley Trust Richard and Sarah Buxton Simon and Midge Palley Mobeus Equity Partners LLP The Kirby Laing Foundation Eric and Virginia Campus Michael Parker Pearson plc The Poling Charitable Trust Elizabeth Clarke Donald Pearse Slaughter and May The Coral Samuel Frances Cloud Richard and Elizabeth Philipps Stephenson Harwood Charitable Trust Ruth Ashurst Coles The Lord and Lady Phillimore Geoffrey Collens David Pike Legacies Major donors Tim Compton Michael and Sue Prideaux In 2012 the Art Fund received Art Fund Council The Hon Mrs Harriet Cullen Sir David and Lady Prosser £3.1 million in legacies from Hassan and Farah Alaghband Madame Michel David-Weill John Rank supporters, providing crucial Barbara Broccoli Michael Diamond Neil and Julie Record resources to underpin our work Linda Brownrigg and Philip Lewis Hugo Eddis Geoffrey and David Lewis Simon and Mary Edsor Jean Redman-Brown £40,000 and over Keith Morris and Ian and Whitney Edwards Sir John and Lady Ritblat £1,199,955 Sir Denis Mahon Catherine Mason Timothy Ellis Louisa and Sophie Service £427,573 Kathleen Nation David and Emma Verey John and Fausta Eskenazi Richard and Elizabeth Setchim £177,257 Maurice Pycraft Michael and Jane Wilson Hewson Fawcett Brian Smith £158,223 Ann Hawkins And members who prefer to Andrew Fleming Malcolm Smith £100,000 George Danby remain anonymous Sir Christopher and Lady Floyd David Speller £81,400 Anna Herbert Francis and Kate Ford Leigh Spiers £69,266 Barbara Billot Poussin appeal donors and Alan and Mary Gibbins Sir Hugh and Lady Stevenson £48,514 Erica Keighley other major donors of over Andrew and Juliet Gibbs Elyane Stilling £40,000 Margaret Black £1,000 Toby and Jennifer Greenbury Sir Hugh and Lady Sykes Dougal G Andrew Mark Harris Stephan and Lesley Taylor The Ian Askew Charitable Trust John and Susan Hart Hazel Trapnell Ian Askew Malcolm Herring Jonathan Tyler

75 Up to £40,000 Regional fundraising Oxfordshire Norfolk Elisabeth Ayre volunteer committees Barbara Snell John Brasier Felicity Beauchamp Our network of 550 regional Susan Crawford Alf Carrington Margaret Bliss fundraisers organised over 600 Rosemary Dorey Penny Clarke Anthony Brothers events in 2012, raising money to Tina Hill Charlotte Crawley Elisabeth Collins support the work of the Art Fund Sue Hollebone Andrew Moore Robert Courtney Janice Jones Roderick O’Donnell Barbara Crow Central South: £39,680 Fiona Mann Kati Russell Lynne Dalby Regional Chair: Judith Nimmo-Smith Gervas Steele Mary Edmonds Mary Villiers Doreen Parker Richard Wilson Diane Fiorentini Bedfordshire Richard Pullen (from December 2012) Dorothy Fogg Martin Christopher Mary Yule Doris Gare Brenda Abrahams Channel Islands: £5,500 Suffolk Constance Goldney Dorothy Broomfield Guernsey Caroline Cowper Pamela Grace Elizabeth Chappell Elisabeth Evans Hugh Belsey Susan Hare Alan Fletcher Wendy Hales Christine Cutler Lawrence Harris Alan Jenkinson Caroline Harris Victoria Engleheart George Holt Jeanne Partridge Morna Harwood Patricia Grier David Howell Timothy Saxon Michele Hilton Diana Huntingford Rosemary Hunter Julia Street (from October 2012) Julia Longe Sylvia Hyde Berkshire Jersey Jane Paton-Smith Alice Kendall Mike Spencer (until April 2012) Anne Binney Emma Roodhouse David Levy Fergus Madden Jeremy Arnold Catherine Whitworth Jones Shelia Manning Jeff Branch Melissa Bonn Muriel Martin Diana Humble Caroline Garthwaite East Midlands: £9,475 David Medd Kay Murphy Susan Lea Derbyshire Sylvia Morant Tim O’Donovan Jo Maclachlan Louise Potter George Morris Buckinghamshire Karen Stone Richard Eastwood John Pachmayr Annabel Kennedy Joan Travis Jean Pirie Ann Alderson East Anglia: £43,258 Norma Way Mona Potterton (from October 2012) Regional Chair: Leicestershire and Rutland Joan Powley Chris Allen John Brasier Mark Newton Ann Rennie Jane Ashby (until March 2012) Cambridgeshire Manuela Cridland Russell Richardson Lionel Avery Jenny Josselyn Mary Henniker-Major Clara Smith Sylvia Avery Richard Andrewes Sue Milward Herbert Smith Mary Bischoff (until March 2012) (from September 2012) Nini Murray-Philipson Morna Smith Lisa Green Cynthia Berger (from June 2012) Diana Newton Judith Smyth Maria Groundes-Peace Jean Calhoun Sue Parr Geoffrey Squire (from October 2012) Mary Garratt Michael Thompson Anne Stevens Belinda Morley-Fletcher Margaret Harris Lincolnshire Bernard Verdcourt (until March 2012) Nigel Harris Jeffrey Stansfield Hazel Wood Sarah Turner (from July 2012) Judy Haylock (from June 2012) Michael Dawson Robert Wright Hertfordshire Steve Haylock (from June 2012) (until October 2012) Joyce Youings Angus Johnson Sue Reeves Hendy Farquhar-Smith Ian Caldwell Dorothy Richardson Horace Farquhar-Smith In memoriam Fenella Davidson David Scrase (from November 2012) Frank Ball Roger Hill (until September 2012) Dianne Middleton Peter Bird Phyllis Oberman Essex Brenda Taggart George Doust Mina West Jane Yates Steven Taggart Susan Ferguson Northamptonshire David Barlow Nottinghamshire John Gracey Katie Lindenbaum Henry Greenfield Henry Machin Joan Hartley Bruce Bailey Marian Griggs Sally Machin Barbara McDonough Katherine Cadbury (from November 2012) Georgina Gamble Bob Morris Alex Corrin Gareth Gunning Diana Roberts Ronald Parkinson Robin French Helen Kent Mark Roberts Peter Sumner (until February 2012) Clive Lucas Christopher Warner Judith Hodgkinson (from November 2012) Norman Whitworth Michael Loe Sir Alastair Stewart Louise Sheppard And finally, we thank all our donors who prefer to remain anonymous

76 London: £41,708 Northumberland South East: £38,675 South West: £39,000 Regional Chair: and Tyne & Wear Regional Chair: Regional Chair: Maria Bell-Salter Pam Portsmouth Rosalie Trefgarne Elisabeth Rutherford Susie Blundell (from April 2012) Hampshire Bath and Bristol Dr Michelle Barnes Veronica Brodie Alicia Salter Mary-Clare Rodwell (from May 2012) Carolyn Earlam Rosemary Andreae (until September 2012) Su Collins (from May 2012) Carol Greenwood Sarah Broke Helen Ball Catherine Corbet Milward Madeleine Hooper Georgina Cartwright (from September 2012) Peter Cowen Steve Ray Rosemary Chambers Michael Andrews Arthur Drysdale Peter Slater Caroline Chataway Valerie Barnard Caroline Graham Jean Stokes Henrietta Cooke Abi Cush Rica Hene Anne Tate Victoria Elwell Denis Gamberoni Ann Millington Jones Andrea Harris Jenny Hooper David Oakey North West: £17,500 Elizabeth Henley Anne Merriman George Pownall Regional Chair: Hanny Woods Verity Hulse Joy Oura Helen Statham Cheshire James Long Elizabeth Williamson London events helpers Andrew Barlow Jeremy Love Cornwall Carron Batt Richard Bell Penny Rudd Andrew Holdich Carole Cohen Peter Boughton Ray Salter Raye Bachmann Charlotte Henwood Ann Marr Katherine Sellon Maggie Cooper Susan Hoffman Clive Pointon Sarah Webster Pam Dodds Pam Page (from May 2012) Ken Rowland (from July 2012) (until November 2012) Averril Paterson Inger Trevor-Barnston Kent Donald Main Augusta Pownall Jane Yeoward Alysoun Carey (from December 2012) Sophie Service Lancashire Jenny Cook Jane Mutch Maggie Stockton Janet Eastwood Caroline Higgs (from December 2012) Lyn Barton Jane Johnson Mary Pearce North: £10,800 Oswald Barton Marjory Morris (from November 2012) Regional Chair: Rosemary Jolly Annabel Ninham Anthony Phillips Lesley Taylor Andrew Penny (until November 2012) Jackie Taylor Cumbria Catherine Penny Alison Philip (until December 2012) Jane Pollock Diana Rawson Anna Robertson Michael Taylor Philip Cropper (from July 2012) Patsy Stothert Felicity Seton (until December 2012) Charlie Clapperton Tim Stothert Jo Shepherd-Barron Devon Susan Clapperton Hanny Woods Anne Warren (until July 2012) Judie Yung Fiona Crombie Susie Yorke Surrey Roger Bishop Penny Harding Greater Manchester Diana Geering Gail Dixon Smith (until October 2012) Mary Mallick Sue Casbon John Hitchins John Horneyold-Strickland Barbara Goodman Jackie Ellis (from January 2012) Keith Macmillan Alison Lakin Marion Foster Fiona Incoll Jan Merrett Stella Lowe Nicholas Grealy Ruth Johnstone John Merrett Rosemary Marsh Ruth Harrison Kate Sisum Claire Sleightholme Walter Nichols Ina King Beryl Whidden (from January 2012) Mike Potter Nadine Kirby (from March 2012) (from January 2012) Margaret Sutcliffe Jeffrey Wilner Derrick Sheehan Dorset (from September 2012) Merseyside Sussex David Orr Durham and Cleveland Peter Woods Annie Flitcroft Carol Hammick Lesley Taylor Derek Bunting Lorraine Carvalho Tim Hobson Jane Atkinson Barbara Farmer Elspeth Clarkson Penny Loder Jacqueline Brown Pam Meredith-Jones Jill Holloway Nigel Thimbleby Elizabeth Conran Susie Noble Martin Mitchell (from July 2012) Sally Wilkin Steven Fawkes Sandra Penketh Jonathan Petitpierre Gloucestershire John Findlay Sally Warnock Maggie Robinson James Pye William Morgan Elizabeth Williamson Miles Robinson Anthea Broughton Sandra Pollard Dina Thorpe (until June 2012) Helen Toplis Northern Ireland: £800 Naomi Cavendish Ann Wright Mark Donnelly Sylvia Coppen Gardner (until November 2012) Sophia Cross Susie Esmond Rees Olive Gamble John Latham Alexandra Greer Jenny Ogle Rosalind Mulholland John Playfair Peter Rankin Ipek Williamson Henrietta Reade Jane Wykeham-Musgrave

77 Somerset Staffordshire North Yorkshire Dumfries and Galloway Mary Fryer Sue Taylor Gillian Fieldhouse Miranda Bowles Michael Armstrong Anne Anderton Gail Bent Lesley Andrews Sarah Armstrong Mary Baker Patrick Dingwall Anthony Bowles Pilla Dingle Hilary Boucher Clare Granger Caroline Clayton Michael Layard Lisa Henderson John Groundwater Sarah Galbraith Stephen O’Malley Nigel Morris Julia Lawson-Tancred Helen Kelly Tom Rees Chris Muspratt Chris Pulleine Eileen McCall David Rutherford Zoe Papiernik Jill Robinson Peter Phillips Elisabeth Rutherford (until December 2012) Miranda Sampson Edinburgh John Townson Sue Pope South Yorkshire Deirdre Armstrong Hilary Younger Ann Smith Vicky Seddon John Drysdale Michael Younger Alan Townsend Poppy Deacon Susan Godfrey Wiltshire Richard Wisker (until September 2012) (from June 2012) Susie Blundell (until September 2012) Eric Hill Jane Keen Alex Adair Warwickshire Jean Jones Susanna Kerr Gerry Blundell Gill Ashley-Smith Trevor Knox (until May 2012) Rosa Corbishley Peter Ashley-Smith Julie Moorby John Mackie (until December 2012) David Custance Anne Thompson Mark Medcalf Sue Eastham Faith Matthews Sylvia Thompstone Gerda Rankin Judy Robson Dianne Page Carol Waddington Daphne Robertson Malcolm Smith Brian Phillips (from January 2012) Helen Ruthven Ann Starkey West Yorkshire Emily Walsh West Midlands: £23,590 (until April 2012) Nicholas Merchant The Dowager Countess Birmingham Susan Yeomans Elizabeth Bennett of Wemyss and March Celia Potts Worcestershire Judith Best Fife Anthony Collinson Caroline Hornyold Jeni Cropper June Baxter Pauline Collinson Anne Carter (until September 2012) Sonagh Asplin Margaret Hale John Comins Ann Holdsworth Jennifer Black Penelope Macmillan (until January 2012) Charles Holdsworth Judith Buxton Chimaine Ross Catherine Corbet Milward Pat Laycock Gillian Cracknell Herefordshire (from January 2012) Peggy Pullan Ruth Crawford Jane Pace Sam Driver White (until September 2012) Mary Freeborn Jane Scarborough Harry Frost (until January 2012) Margaret Wallis Jane Gillies Fiona Annesley Nigel Goodman (until February 2012) Ann Gunn Philip Baldwin Andrew Grant Jeanette Guy Susannah Edmonds Beatrice Grant Scotland: £59,855 Rose Macleod (from May 2012) Richard Lockett Regional Chair: Michael Smyth Elizabeth Thomas Neffy Hensher Andrew Sanders Angus Grampian Sarah Ingelby (from January 2012) Vivien Smyth Anne Egleton Ann Lansdell Annabel Sanders Olive Duncan Lucy Campbell Shropshire Richard Slawson Iain Ellvers Peter Davidson Katherine Garnier Fenella Smyth Susannah Kelly (from September 2012) Myriam Barling Antonia Orr Juliette Paton Andrea Belloli Yorkshire: £16,370 Michael Smyth Alistair Reid Richard Bifield Regional Chair: Jane Crease Caroline Southesk (from September 2012) Rosemary Campbell York and East Yorkshire Clara Young Christine Rew Susanne Dixon Moira Fulton Borders Angelica Salveson Elizabeth Errington Wendy Bundy Jan Watson John Whittall Crescent Giffard Darrell Buttery Francis Hamilton Highlands Veronica Lillis Gay Cornelius Jane Douglas Home Judith A. Livingston Anthea Seward (until November 2012) Jane Neagle Ian Barr (from December 2012) (until December 2012) Brian Councell Walter Riddell-Carre Tanera Bryden Sarah Sparrow Lindsay Councell Georgina Seymour John Nicholson Clare Thompson Jane Crease Helen Usher Gilyan Noble Christina Trant Richard Green Central Scotland Richard Ruane Gareth Williams Marilyn Jones Shaun Nesbitt (until December 2012) Carol Lawson Johnnie Cuthbert Robyn Ruane Dorothy Nott Kirsty Cuthbert Mary Wilson (from December 2012) Fiona Robertson David Wilkinson

78 Lothians North West Wales Special advisors, Facing page: Natasha Daintry, Jane Stodart Valerie Wynne-Williams Programme Ocean (detail), 2009, Tullie Mary Callander (until October 2012) Thank you to the special House Museum and Art Gallery, Wendy Cochrane Jeremy Chance advisors who provide expertise ArtFunded 2012 Harriet Dalrymple (until October 2012) for our programme of support © Natasha Daintry Janey Dalrymple Gwenda Evans to museums Fidelity Dean (until October 2012) Design Sarah Donaldson Rhiannon Humphrey-Jones Martin Barnes Esterson Associates Susannah Jackson Roberta Lister Stella Beddoe Repro Hermione Malcolm (until October 2012) Mark Bills DawkinsColour Gwen Scott Richard McDermott Louisa Briggs Print Tibi Weir Ann Pugh Sue Bruning Push Print Perth and Kinross Mary Rickards Prue O’Day Anne Steuart Fothringham David Roberts India Dhargalkar Angela Bell Jeremy Yates Joe Earle (from September 2012) Powys Sir Nicholas Goodison Ewen Honeyman William Gibbs Rosy Greenlees Christine Wallace Jenny Care Tanya Harrod (until September 2012) Karen Hiscock Marianne Holtermann Charles Wemyss Ken Jones Catherine Lampert Fiona Wemyss Heather Pegg David Landau Strathclyde Wimke Wakley Peter Lang Robert Ferguson West Glamorgan Jeremy Lewison John Johnston Kirstine Dunthorne Professor John Mack (until October 2012) Deanna Harding Lona Mason Katrina Clow Ceri Barclay Pieter van der Merwe Kaye Horsfall Rodney Bender Anthony Mould Norman McLean Janet Clark Tessa Murdoch Pam Painter Richard Docherty Mark De Novellis Catriona Reynolds (from December 2012) Lauren Parker Pamela Robertson Neil Harding Catherine Petitgas Gib Steele Constance Hill Ulrich Pohlmann Catherine Parker Venetia Porter Wales: £13,200 Janet Walker Professor Lord Renfrew Cardiff and Vale Professor Andrew Renton Peter Jenkins Regional corporate sponsors Graeme Rimer Ann Bryan (until December 2012) Barcapel Foundation Frank Salmon Diana O’Sullivan Bartlett Group Fiona Sheales Melanie Polledri Bonhams Ali Subotnik (until December 2012) Cuttlestones Auctioneers Rachel Tranter Ian Robertson FBC Manby Bowdler Hans Ulrich-Obrist John Wilkins McInroy & Wood Philip Wise Clwyd Walter Scott & Partners Werner Zinkand Lindsay Evans The staff at the Sotheby’s Institute: Vanessa Graham Palmer Development team volunteers David Bellingham Lucy Hobhouse Katherine Armishaw Lyn Calzia Susan Rathbone Sarah Coulter Jos Hackforth Jones Gareth Williams Katie Fallen Dyfed Rebecca Leathley Eleanor Wells Inge Slalom Linda Blackwell Stan Gibby Christopher Gillham Margaret Gwynne Lloyd Marion Hutton Gwent Patricia Milling Patricia Wright Derek Butler Sarah-Jane Gilchrist Rosemary Hall Patricia Halliday Rosemary Trump