The Art Fund in 2013/14 The Art Fund in 2013/14

Annual Report 2013

2 Chairman’s welcome 3 Report of the board of trustees 6 Outstanding acquisitions – all year round 13 Collecting in new ways 16 Advocacy 20 Funding new collections 24 Gifts to museums through the Art Fund 29 Museum of the Year 32 Promoting museums 36 Art Everywhere 40 Supporting curators 44 Helping art reach more people 48 Fundraising appeals 52 Making the most of art and museums 54 Our year in numbers 56 Catalogue of acquisitions 88 Finance review 106 Our thanks 2 The Art Fund in 2013/14 3 Chairman’s welcome Report of the board of trustees

In recent years there has been a marked increase in the public’s appetite for museums and galleries and all they have to offer as social spaces for reflection, pleasure and inspiration. The numbers speak for themselves: 2013 was another record year, in which 53 per cent of the adult UK population visited a museum.

Against such a background, the Art Fund Our wish to help museums share their Our members tend to be committed and Our mission Our forward strategy identifies five key has made leaps forward in its mission to collections with widening audiences saw devoted museum-goers: one recent survey The Art Fund’s mission is to increase the areas of work. We will: increase access to and enjoyment of great us fund a number of tours and display showed that 53 per cent have increased public’s access to and enjoyment of art. • continue to develop an imaginative art. In 2013 we raised more money than programmes, and we put £170,000 towards their visiting since buying a National Art Pass For more than a hundred years since our programme of charitable activity that: ever before to support museums across the training and development of curators. and joining the Art Fund. That is why we foundation in 1903, we have helped UK a range of acquisition-led activity – and, We’re also raising money in a host of new have an Art Guide app, annual Art Guide, museums and galleries to buy and display – delivers clear public benefit by as part of our wish to fund our charitable ways: for example, 2013 saw the launch exhibition guide leaflets in museums all thousands of great works; we have lobbied helping museums to acquire and programme more sustainably, we paid all of our first ever crowd-funding campaign over the UK, fortnightly e-newsletters and and campaigned to save items at risk of exhibit works of art our grants to museums entirely from income for Art Everywhere – a project that led to Art Quarterly, all offering in-depth information leaving the country or being lost from – encourages the public to visit them raised during the year, without recourse to 22,000 poster billboards across the country and commentary about where to go and public view; and, most recently through the – champions and supports curators our reserves, which fund our running costs. featuring beautiful, simple reproductions of what to see. National Art Pass, we have increased public – leads debate and discussion around This is just one of the many reasons why my great works of art from UK museums. It was appreciation of art by promoting museums current art and museum issues last full year as chairman of the Art Fund has an exhilarating initiative. This will be my final Annual Report as and making it easier to visit them. been so satisfying. chairman of the Art Fund. I would like • increase the number and range of We welcomed 16,000 new members to to thank my fellow trustees and staff for Art Fund members and supporters, In 2013 we helped museums acquire the the Art Fund in 2013 – a 12 per cent net their support throughout my decade here, ensuring that our work reaches the largest number of acquisitions in any of growth of membership on the previous year, but most of all I would like to thank our widest possible audience the last ten years; membership rose above bringing in £4.8 million of membership supporters: our members, patrons and 100,000; and we did more than ever before income. This is a record high. Many of donors. It has been a privilege to chair • increase income from all sources to to enable the sharing of collections and our members make regular additional this organisation through a period of support our grant-giving individual works of art across museums. contributions, which brought in a further extraordinary change, development Above all, we encouraged more people to £470,000. Through our major donors, and growth. • strengthen understanding of the visit museums more often. including members of the Art Fund Council Art Fund’s role and identity as the and the Wolfson Foundation, a supporter David Verey CBE national fundraising charity for art We raised a total of £10.6 million and spent for over 30 years, we raised a further £1.4 Chairman £9.4 million of that on charitable activity. million. And we are hugely grateful for • improve organisational efficiency Altogether we helped fund the purchase of supporters who remember us in their wills: and governance to ensure robust 368 works of art for 74 museums, committing 2013 saw receipt of no less than £1.9 million decision-making and wise application £4.4 million towards works of art worth a from legacies. of our resources total of nearly £39 million, ranging from a 3,000-year-old Bronze Age hoard and a Thirty-six new museum partners joined the 14th-century panel by Pietro Lorenzetti to National Art Pass network last year, including works made in 2012 by artists such as Mark Portsmouth Historic Dockyard, Auckland Titchner and Alice Channer. Castle in Durham, Creswell Crags near Worksop and the Sainsbury Centre for the Visual Arts in Norwich – all offering Art Fund members special discounts. This took the total number of museums, galleries and historic houses in our network to 688.

The board of trustees meets at the Art Fund’s new home, 2 Granary David Verey, chairman Square, King’s Cross of the Art Fund London © David Levene © David Levene 4 The Art Fund in 2013/14 5

Artist Paul Emsley The press gathers at the John Atkinson standing with the National Portrait Gallery Grimshaw first painted portrait for the unveiling. View of Leeds from of HRH The Duchess Woodhouse Ridge of Cambridge, 2012, 1868, Leeds Art Gallery commissioned by the This painting returned to National Portrait Gallery, Leeds for the first time in London, and given 30 years. by Sir Hugh Leggatt in memory of Sir Denis Mahon, through the Art Fund. © Jorge Herrera January

Display of two dresses Idris Khan from a collection of No. 19 from 21 Stones fashion ensembles series, 2011 1970s–90s Whitworth Art Gallery Design Museum, London Manchester Lady Ritblat pledged The Gallery bought seven her fashion collection works from the 21 Stones to the Design Museum series, created using through the Art Fund. repeatedly stamped It was amassed over statements, both personal three decades. and from the Qur’an. © Photo: Luke Hayes © Idris Khan 6 The Art Fund in 2013/14 7

Eric Ravilious Biblical, from one of two Outstanding acquisitions – scrapbook albums c. 1916–39 Fry Art Gallery all year round Saffron Walden

At the heart of our charitable work is our grant-giving towards museum and Through works of art, museums help make sense of the world in which we live – from gallery acquisitions. In 2013 our funding enabled works of art spanning artefacts that are thousands of years old to thousands of years to be added to UK collections: from a 3,000-year-old objects created yesterday in response to the world about us. By acquiring material hoard of over 350 objects discovered in a field near Boughton Malherbe culture from across history, museums both in Kent – the third largest Bronze Age hoard ever to be found in Britain – illuminate our past and make imaginative leaps into the future, inspiring museum to Roger Hiorns’s Seizure, now at Yorkshire Sculpture Park as part of the visitors for years to come. Arts Council Collection. Art Fund support is often more valuable than the sum that is given. The expertise and knowledge of our board of trustees means that other funders often follow their example; an Art Fund grant is often seen as giving a vital stamp of approval to a prospective acquisition.

Pietro Lorenzetti One of the most significant acquisitions we supported in 2013 was Christ Between Saints Paul and Peter, a highly important 14th-century painting in tempera by Pietro Lorenzetti bought by Hull’s Ferens Art Gallery after it was temporarily barred from export. The only fully autograph work by Lorenzetti in the UK, it was secured thanks to our early grant of £200,000 (supported by the Wolfson Pietro Lorenzetti Foundation), the Gallery’s Endowment Fund Christ Between Saints contribution of £856,000 and £758,000 from Paul and Peter the Heritage Lottery Fund. c. 1320 Ferens Art Gallery, Hull As the oldest item in the Gallery’s collection by 130 years, it has brought new context and significance to the existing display of figurative art. The National Gallery, London, conserved the painting as part of its ongoing commitment to support regional museum collections.

‘In 2013 the Wolfson Foundation directed part of our annual grant of £500,000 to the Art Fund toward the acquisition of the Lorenzetti triptych by the Ferens Art Gallery in Hull. The acquisition is an example of the Art Fund’s critical role in supporting museums of all sizes, across all regions. We very much value our partnership, and benefit from the Art Fund’s expertise and decision-making.’ Paul Ramsbottom, chief executive, Wolfson Foundation 8 The Art Fund in 2013/14 9

Charlotte Brontë Stanley Spencer Charlotte Brontë, author of Jane Eyre and The government’s Acceptance in Lieu eldest of the Brontë sisters, painted a scheme encourages inheritance taxpayers miniature of family friend Sophie Hudson to transfer important works of art into the during her visit to the Brontë family collections of museums. With additional parsonage in 1839, and gave it to Hudson financial support from the Art Fund, in 2013 as a parting gift. Missing from 1895 to 2001, the scheme allowed the Fitzwilliam Museum the miniature has now returned to the in Cambridge to acquire five works by Brontë Parsonage Museum thanks to an Stanley Spencer: John Donne Arriving in Art Fund grant of £9,000 contributing to Heaven (1911); a pair of paintings showing its £37,500 cost. the building of the Tower of Babel (1933); and two decorative panels for the newly built Pablo Picasso Cambridge University Library, Making a Red Two unique sets of linocuts, including Cross and Scrubbing Clothes (1919). J. M. W. Turner progressive proofs and finished works – The Mouth of the Avon, Still Life under the Lamp and Jacqueline Alice Channer near Bristol, seen from Reading – were considered at the Art In 2013 we helped two collections acquire the Cliffs below Clifton Fund’s October board meeting. The 13 their first works by rising British artist Alice 1791–2 pieces vividly show the different technical Channer. The Arts Council Collection bought Bristol Museum and stages of producing a print of this kind and three works exploring classical clothing and Art Gallery were acquired by the British Museum with drapery. Amphibians features polished steel £200,000 of Art Fund support. forms overlaid with aluminium casts of cheap clothing and rods of marble carved with the Silverdale Hoard profiles of Channer’s limbs. Hanging floor The Silverdale Hoard went on display to ceiling, Smooth Metal Body features the at Lancaster City Museum in October image of a classical sculpture printed on silk before moving to its permanent home at crepe. The third work acquired, Maxi, Mini, the Museum of Lancashire in Preston in Midi, Midi, Midi (Mauve and Cream), sees Pablo Picasso early 2014. This collection, unearthed in aluminium casts of leggings hang from the Still Life under the Lancashire in 2011, consists of more than wall as abstract forms. Southampton City Lamp, 1962 200 Viking items dating from around AD Art Gallery bought Dilate, a pair of drawings British Museum 900, including jewellery, coins from Viking showing folded polka-dot cowls, rendered in London kingdoms in Britain, Europe and Arabia, cigarette ash. © Succession Picasso/ and 141 fragments of arm-rings and ingots, DACS, London 2014 which were used as money. Our support has Joseph Wright of Derby funded both the acquisition and, through our Joseph Wright of Derby’s portrait of a Treasure Plus scheme, an imaginative public middle-aged Erasmus Darwin – a true engagement programme that will help polymath as a gifted physician, botanist, increase understanding of Viking culture author, poet and inventor – was bought by in the north-west. Birmingham Museum and Art Gallery with £75,000 of our support in 2013. The painting J. M. W. Turner had remained with the Darwin family until Alice Channer Kept in a private collection for over 60 years, it was sold to a private buyer at auction Amphibians, 2012 a watercolour of the Avon Gorge, painted in 2009. Arts Council Collection by J. M. W. Turner when he was just 16, was London bought at auction by Bristol Museum and Art © Courtesy of Gallery for £40,000 – to which the Art Fund The Approach, London contributed £10,000.

William Morris family Attributed to either William Morris’s wife Jane Morris (née Burden) or their eldest daughter Jenny Morris, this rare and William Morris family beautiful block-printed linen, embroidered Honeysuckle with silk, was a fine acquistion for the William Embroidery, c. 1880–90 Morris Gallery. We were pleased to back its William Morris Gallery Charlotte Brontë purchase with a grant of over £18,000 – London Portrait of Mrs more than half of the total cost. Hudson, 1839 Brontë Parsonage Museum, Keighley 11

Cornelia Parker The Folkestone Mermaid, 2011 The Creative Foundation, Folkestone The Folkestone Mermaid, a sculpture in bronze by Cornelia Parker modelled on a resident of the town and made especially for the 2011 Folkestone Triennial, was bought for the people of Folkestone by The Creative Foundation with help from the Art Fund. © the artist

John Constable Salisbury Cathedral from the Meadows, 1831 Tate, London In February, Art Fund trustees decided to support Tate’s acquisition of John Constable’s February Salisbury Cathedral from the Meadows, 1831, as Paul Nash Guercino part of a unique sharing Garden Pond, 1921 Head of an Old Man arrangement with four from the Clare Neilson c. 1619–20 other museums: National Collection Ashmolean Museum Museum Wales, Cardiff; Pallant House Gallery Oxford National Galleries of Chichester In February, we Scotland, Edinburgh; A major collection of art announced that Sir Colchester and Ipswich and correspondence by Denis Mahon – scholar, Museums; Salisbury and Paul Nash, amassed by philanthropist and South Wiltshire Museum. his great friend Clare long-standing Art We gave £1 million Neilson, was given to Fund member – had towards the purchase Pallant House Gallery by bequeathed his collection and to the sharing Jeremy Greenwood and of 57 Italian Old Master programme. The painting Alan Swerdlow through paintings to six will be on display at each the Art Fund. museums through the of the museums in turn © Tate Art Fund: National Gallery, over the next five years. London; Scottish National © Tate. Photo: J. Fernandes Gallery, Edinburgh; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Birmingham Museum and Art Gallery; Temple Newsam House, Leeds. 13 Collecting in new ways

Joint acquisitions are an imaginative way for museums to remain ambitious in their collecting during challenging economic times, helping them to reach bigger audiences. The number of acquisitions made through a consortium of museum partners has more than tripled in the last five years.

John Constable’s Grayson Perry tapestries Salisbury Cathedral from the Meadows Grayson Perry’s The Vanity of Small In 2013 we worked closely with Tate on Differences is a series of six tapestries one such acquisition. John Constable’s inspired by William Hogarth’s A Rake’s emotionally expressive Salisbury Cathedral Progress, and was commissioned as part from the Meadows (1831) was bought by of Channel 4’s documentary series All in Tate in a unique arrangement that will see the Best Possible Taste with Grayson Perry, five museums share this nationally important which examined social class in modern-day work. Over the next five years, the project Britain. A set of the works was given by the Aspire will see the painting on display at artist and the Victoria Miro Gallery jointly to National Museum Wales, Cardiff; National the Arts Council Collection and the British Galleries of Scotland, Edinburgh; Colchester Council Collection, with help from the Art and Ipswich Museums; Salisbury and South Fund – thanks to £50,000 from the Sfumato Wiltshire Museum; and Tate Britain, London. Foundation. In addition to contributing to the fabrication costs, we have also supported a Our £1 million of support (thanks in part to tour of the works to five museums nationally. the Wolfson Foundation) was the first grant This was the first acquisition partnership given towards the work and the Aspire between the two collections. project, and was accompanied by £15.8 John Constable Grayson Perry English million from the Heritage Lottery Fund – Lacock Cup Salisbury Cathedral from The Agony in the Car The Lacock Cup the largest grant it had ever given for a The purchase of the 15th-century silver the Meadows, 1831 Park from the tapestry c. 1430–50 work of art. Lacock Cup from the church of St Cyriac in Tate, London series The Vanity of British Museum, London the village of Lacock, Wiltshire, ensures that Purchased by Tate Small Differences, 2012 a unique piece of British ecclesiastical and with assistance from Arts Council Collection social history is kept within the public sphere. the National Lottery Southbank Centre Bought jointly by the British Museum and through the Heritage London, and British Wiltshire Museum, the cup will be shared in Lottery Fund, the Manton Council Collection perpetuity between London and Devizes. Foundation, the Art Fund Gift of the artist and (with assistance from the Victoria Miro Gallery Wolfson Foundation) and with the support of Tate members. Channel 4 Television, the Art Fund and the Sfumato Foundation with additional support from AlixPartners. Image courtesy of the artist and Victoria Miro, London. © Grayson Perry Photo: Stephen White 14 The Art Fund in 2013/14 15

John Lennon Strawberry Fields Forever, 1967 British Library, London In February the Cultural Gifts Scheme – for the first time encouraging individuals or companies to donate important objects to British collections in exchange for a reduction in income tax, capital gains tax or corporate tax liabilities – came into being. The first gift to a public collection – letters and lyrics to Beatles songs, including Strawberry Fields Forever, handwritten by John Lennon – was donated to the British Library in May. © Sony Music

James Newton A lady’s satinwood writing table March 1795–7 Birmingham Museum and Art Gallery In March, we helped the museum to buy this elegant satinwood table by James Newton and Anglo-Saxon Rashid Rana a pier glass mirror of Collection of Anglo- Language Series 3 Neoclassical design. Saxon metal objects (detail) c. 450–1066 Birmingham Museum Ipswich Museum and Art Gallery and New This collection, which Art Gallery Walsall consists mainly of This work was bought by jewellery and coins, was the two galleries through acquired by Ipswich Art Fund International. Museum with Art Fund © Rashid Rana assistance in March. 16 The Art Fund in 2013/14

Henry Moore Draped Seated Woman Advocacy 1957–8 Yorkshire Sculpture Park, Wakefield © Photo: Jonty Wilde

Throughout our 111-year history, we have campaigned, lobbied and helped to effect many changes in legislation and policy in the sector.

Tax incentives – the Cultural Gifts Scheme Protecting museums, collections and In 2013, after working for a number of years art works at risk with Revenue & Customs, Charity Tax Group Throughout the year, we have worked hard and Arts Council England, we were delighted to ensure that objects of significance to the that the Cultural Gifts Scheme finally came nation are safeguarded from risk. From time into being – for the first time encouraging to time, collections in the public domain are, individuals or companies to donate pre- through force of circumstance, threatened eminent works of art to the British public in with sale. We act quickly in trying to protect exchange for a reduction in their income tax, those that become vulnerable in this way. capital gains tax or corporate tax liabilities. In 2013, two ongoing campaigns formed a major part of our work: trying to save The British Library was the first institution to the Wedgwood Collection and prevent benefit from the scheme when it received a Henry Moore’s Draped Seated Woman, collection of Beatles manuscripts, donated affectionately known as ‘Old Flo’, from by Beatles biographer Hunter Davies. being sold off by a London local authority. The collection included handwritten lyrics by John Lennon to hits Strawberry Fields Forever, She Said She Said and In My Life.

In addition, 29 objects were donated through the Acceptance in Lieu scheme in 2013, including a double portrait by Peter Lely and two sculptures by Barbara Hepworth.

Josiah Wedgwood Portland Vase, c. 1790 Wedgwood Museum Stoke-on-Trent 18 The Art Fund in 2013/14 19

Three members of the Art Fund Prize for Museum of the Year 2013 judging panel visit Kelvingrove Art Gallery and Museum, Glasgow Left to right: Bob and Roberta Smith, Stephen Deuchar and Sarah Crompton. © Ian Watson

April

Wolfgang Tillmans Christopher Dresser Spores from Neue Welt Tin and brass series, 2009–12, Gallery chamberstick from a of Modern Art, Glasgow collection of works by This is one of a series of Christopher Dresser works bought by the 1865–1903 gallery through our five- Dorman Museum year funding scheme, Middlesbrough Art Fund International. In April we helped the © Wolfgang Tillmans Dorman Museum buy a collection of kitchenware by late 19th-century designer Christopher Dresser. 20 The Art Fund in 2013/14 21

Tal Shochat Rimon (Pomegranate) Funding new collections 2010–11 Victoria and Albert Museum, London Part of the Art Fund Collection of Middle Eastern Photography at the V&A and the British Museum The Art Fund is best known for helping secure single works © Tal Shochat of art for museum collections, but over the past few years we have launched a small number of special programmes to help museums build new or discrete collections imaginatively over a period of time. Strategic initiatives such as these are intended to contribute to the future health and diversity of our museum sector.

Art Fund International RENEW Middle Eastern Photography for the Responding to a recognised need within This year also marked the closing of our V&A and the British Museum regional museums for new funding for two-year Renew scheme, which enabled Between 2009 and 2013, the V&A and international contemporary art, our Art seven museums and galleries to explore the British Museum worked together to Fund International scheme, which drew to new collecting directions in fine, decorative form a new collection of contemporary a close in 2013, contributed over £4 million or applied art. The £600,000 scheme was photography from and about the Middle to help five museum partnerships form new made possible by support from the Esmée East with over £150,000 of Art Fund support. collections. The timing of this project was Fairbairn Foundation as part of its 50th The majority of the joint collection was on apt – responding to both growing excitement birthday celebrations. display for the first time as part of the V&A’s about contemporary art globally and the exhibition Light from the Middle East: New parallel rise in the contemporary art market. Photography, which ran from October 2012 until April 2013 and was seen by 312,000 The museums and partners were: Bristol visitors to the museum – a V&A record for Museums, Galleries and Archives in a photography exhibition. The collection Ganesh Gohain partnership with Arnolfini; Gallery of Modern includes works produced in the last 10 years My Table, 2005 Art, Glasgow, in partnership with The by 22 emerging and established artists living Glasgow Museums Common Guild; Middlesbrough Institute in the region or in the diaspora, responding Glasgow Life of Modern Art (mima) in partnership with to the social challenges and political © the artist The Drawing Center, New York; Towner Art upheavals of the Middle East over the last Gallery, Eastbourne, in partnership with 30 years. As the first collection of its kind to Photoworks; and Birmingham Museum and be built by a UK museum, it not only conveys Art Gallery and New Art Gallery Walsall in something of the significance of one of the partnership with Ikon. most defining political upheavals of the early 21st century, but also explores the impulse The scheme has seen the formation of for photography emerging among many important new collections for each museum – artists in the region. collections that will now evolve and develop over the coming years. More than 230 works by 99 artists were collected across the six institutions, significantly enhancing the holdings of each museum or gallery. Many new relationships were formed with artists, and some of the acquisitions were consequently gifted or part-gifted.

Yto Barrada In late 2014, highlights from the collections Briques (Bricks) will come together in a UK tour organised 2003–11 by Hayward Touring, curated by David Elliott Andreas Gefeller Andy Lomas Victoria and Albert and supported by the Art Fund. SV 02 from the SV Aggregation 14/27 Museum, London (Space View) and Blank 2005 Part of the series, 2010–12 University of Dundee Art Fund Collection New Art Gallery Walsall © Andy Lomas of Middle Eastern and Birmingham Photography at the V&A Museum and Art Gallery and the British Museum through Art Fund Inter- © Yto Barrada national © the artist 22 The Art Fund in 2013/14 23

Nicole Rousmaniere, Art Fund Collect, an Nora Fok representing the British annual funding initiative Fountain, 2004 Museum, with Hitomi we have run for six years Fitzwilliam Museum Hosono’s Large Feather with the Crafts Council, Cambridge Leaves Bowl, 2013 gives curators the chance Over many years, Sir to bid for funds to make Nicholas Goodison – an acquisition from the philanthropist, collector Collect craft fair. Here, and former Art Fund Nicole Rousmaniere from chairman, and his wife the British Museum is Judith, have given works seen with her new acquisi- to museums through the tion – Hitomi Hosono’s Art Fund, including Nora Large Feather Leaves Fok’s Fountain. Bowl, 2013. © Nora Fok © Sophie Mutevelian

The Titian Experience In 2009 and 2012 we helped the National Gallery, London, and the National Galleries of Scotland, Edinburgh, to buy Titian’s Diana and Actaeon and Diana and Callisto with £3 million of Jeremy Deller commission is touring the funding. Subsequently English Magic UK. In 2014 English Magic we funded the Titian British Pavilion, 2013 is visiting the William Experience, a cinematic Jeremy Deller’s English Morris Gallery, London; presentation that explores Magic was commissioned Bristol Museum and the paintings from a by the British Council Art Gallery; and Turner 21st-century perspective for the British Pavilion at Contemporary, Margate. – seen by festival-goers at the 55th Venice Biennale © British Council. Hay-on-Wye, Grassington, 2013. Thanks to our Photo: Cristiano Corte Buxton and Latitude in the support, for the first May summer of 2013. time the British Pavilion Photo © The National Gallery, London 24 The Art Fund in 2013/14 25

Guido Reni The Rape of Europa Gifts to museums c. 1637–9 National Gallery, London Donated by the trustees through the Art Fund of The Sir Denis Mahon Charitable Trust through the Art Fund.

In 2013 we placed 235 gifts and bequests of works of art with a value of £23.5 million with 23 museums – from 57 Baroque paintings to works by Elisabeth Frink, Jacob Epstein and Paul Nash.

Sir Nicholas and Judith Goodison Sir Denis Mahon bequest ‘This gift of sculpture Over the last 17 years, the former chairman In 2013 we announced the transfer of the of the Art Fund Sir Nicholas Goodison and late Sir Denis Mahon’s private collection comprises works from my his wife Judith have given a collection of craft of 57 Italian Baroque paintings into collection which are very dear to the Fitzwilliam Museum in Cambridge the permanent collections of six British through the Art Fund. The gifted collection museums and galleries. The collection, to my heart, and I knew that now consists of over 100 objects housed which includes works by Guercino, Guido the Art Fund would choose in the museum’s Arts of the 20th Century Reni and Domenichino, was placed with: gallery. For many of the artists featured, it National Gallery, London; Ashmolean a fitting venue to receive this was the first time that their work had been in Museum, Oxford; Scottish National Gallery, acquisition. I have always a museum collection. Nora Fok’s 2004 work Edinburgh; Fitzwilliam Museum, Cambridge; Fountain, a nylon and pearl necklace, was Birmingham Museum and Art Gallery; and valued their expertise in given in 2013, and joined one other work by Temple Newsam House, Leeds. helping find appropriate Nora Fok already given to the museum. Sir Denis Mahon joined the Art Fund as a homes for works of art within Joan Hurst gift schoolboy in 1926 and remained a member, national collections and I am Jacob Epstein and Elisabeth Frink featured close supporter and advocate until his death amongst the collection of 17 works of in 2011. During that period he became one so pleased that The Lightbox modern and contemporary British sculpture of Britain’s most distinguished art historians, is to be the recipient.’ given by Joan Hurst through the Art Fund collectors and campaigners. Sir Denis to The Lightbox in Woking, Surrey. The formed his collection over several decades, Joan Hurst collection, which represents some of the demonstrating the range, significance and Jacob Epstein most significant and influential artists in the quality of the Italian Baroque. In addition to Second Portrait of history of early to mid-20th-century British the 57 bequeathed works, Sir Denis also left Deirdre in a Slip art, was the gallery’s first major gift and a a £1.2 million legacy to the Art Fund. 1941–2 great boost to its growing reputation. The The Lightbox works were on show from 18 July to 25 Woking August 2013. Art Fund gift through Elisabeth Frink Miss Joan Hurst. Horse and Rider (Robed) © Estate of Jacob Epstein/ from a collection of Tate, London 2009 modern and contempo- rary British sculpture 1985 The Lightbox, Woking © The Elisabeth Frink Estate and Archive 27

The William Morris Gallery wins the Art Fund Prize for Museum of the Year 2013 The William Morris Gallery in Walthamstow was announced as the winner of the Art Fund Prize for Museum of the Year 2013, rewarded for its ‘extraordinary and beautifully presented collection’. Here, Lorna Lee, Head of Cultural and Community Services for Waltham Forest Council, holds the winner’s plaque alongside colleagues and the 2013 judges: Bob and Roberta Smith, Tristram Hunt, Sarah Crompton and Bettany Hughes. June © Simon Rawles

Michael Cartwright’s Roger Hiorns Seizure was commis- William Morris winning photograph of Seizure, 2008/2013 sioned by Artangel Gallery, interior Preston Park Museum 2008, Arts Council and the Jerwood © Oliver Dixon/ Michael Cartwright was Collection, on display Charitable Foundation Imagewise the winner out of more at Yorkshire Sculpture with the support of the than 1,000 entrants for Park, Wakefield National Lottery through the Art Fund Prize for Roger Hiorns’s Seizure – Arts Council England. Museum of the Year 2013 a blue copper sulphate © the artist. All rights photography competition. installation created in a reserved, DACS 2014. His winning photo, former London council flat Photo: Marcus Leith Autumn, was taken at one – was given a new life in of the finalist museums – 2013 when it was unveiled Preston Park Museum. at Yorkshire Sculpture © Michael Cartwright Park. The work was ac- quired by the Arts Council Collection, Southbank Centre, London – donated by the artist, Artangel and the Jerwood Charitable Foundation through the Art Fund, with the support of The Henry Moore Foundation. 29 Museum of the Year

The Art Fund Prize for Museum of the Year identifies the finest institutions in the UK and awards £100,000 to the winner.

The 2013 Prize The 2013 finalists were: UK museums are among the best and most • BALTIC Centre for highly rated in the world. As museum-going Contemporary Art, Gateshead reached an all-time high of 53 per cent • Beaney House of Art and (among UK adults) in 2013, competition for Knowledge, Canterbury the Art Fund Prize for Museum of the Year • Dulwich Picture Gallery, London was especially keen. We homed in on the • Hepworth Wakefield, Wakefield very best and most innovative, announcing • Horniman Museum and Gardens, London the ten finalists for the £100,000 Prize and • Kelvingrove Art Gallery and the additional £10,000 Clore Award for Museum, Glasgow Learning. From Canterbury to Glasgow and • Museum of Archaeology and Pembrokeshire to Stockon-on-Tees, members Anthropology, Cambridge of the judging panel cumulatively travelled • Narberth Museum, Pembrokeshire over 10,000 miles by train, plane, minibus • Preston Park Museum, Stockton-on-Tees and taxi to visit and experience • William Morris Gallery, London each museum. The 2013 judges were: The Art Fund Prize for Museum of the • Stephen Deuchar (chair) Year 2013 was awarded to the William director of the Art Fund Morris Gallery in Walthamstow, London. • Sarah Crompton The judges agreed that its extraordinary, arts editor of the Daily Telegraph beautifully presented collection draws the • Tristram Hunt visitor engagingly through Morris’s life and MP for Stoke-on-Trent work, and through the newly restored and • Bettany Hughes renovated building. The gallery sets the author, historian and broadcaster highest standards of curatorship and reaches • Bob and Roberta Smith out widely to its local community. artist

William Morris Gallery The Clore Award for Learning was interior presented to the Hepworth Wakefield for © Edward Sumner its impressive integration of curatorial and learning programmes.

William Morris Gallery interior © Edward Sumner 31

William Henry Fox Talbot An experiment in ink and watercolour from the personal archive of William Henry Fox Talbot, (1806-77) Bodleian Library, Oxford In December 2012, the Bodleian Library launched a £2.2 million appeal to save the personal archive of William Henry Fox Talbot, the ‘founder of photography’. We gave £200,000 and the Library has until August 2014 to raise the full amount.

NEED CREDIT

Paul Noble Villa Joe, 2008 Laing Art Gallery Newcastle upon Tyne This distinctive tapestry by Turner Prize-nominated artist Paul Noble was bought by the Laing Art Gallery with help from the Art Fund. JulyOlivia Musgrave William Henry Fox Talbot © Paul Noble The Conversation Collodian negative 2005, from a collection self-portrait from the of modern and contem- personal archive of porary British sculpture William Henry Fox The Lightbox, Woking Talbot, (1806-77) Seventeen works of Bodleian Library, Oxford 20th-century sculpture, including those by Jacob Epstein and Elisabeth Frink, were given by Joan Hurst through the Art Fund to The Lightbox in Woking. © John Martin Gallery 32 The Art Fund in 2013/14 33 Promoting museums

We support hundreds of museums and galleries – helping to buy works of art, supporting displays, exhibitions and curatorial training, and drawing them together as a national network that we promote to hundreds of thousands of museum visitors.

Through our multi-platform Art Guide, we publicise temporary exhibitions and permanent collections everywhere, increasing and encouraging visitors, especially through use of the National Art Pass.

National Art Pass Art Guide app gives free entry downloaded by over to 220 museums, 100,000 people to galleries and historic find out where to go places across the and what to see UK as well as 50% off major exhibitions and other benefits at hundreds of museums

Annual Art Guide Art Quarterly a handbook sent magazine to members each exclusive to year, offering a Art Fund ‘The marketing support that we have received National Gallery comprehensive members since becoming an Art Fund partner in 2013 of Scotland guide to museums © National Galleries in every corner of has been hugely beneficial to the gallery. of Scotland the UK The additional reach has been something Southampton City Art Gallery that we wouldn’t have been able to achieve © Hampshire County alone and we believe it has had significant Council impact in terms of public awareness of the gallery and its offer.‘ Liz Gilmore, director of the Exhibitions Guide E-newsletter Artfund.org Jerwood Gallery, Hastings a free calendar of sent to 150,000 includes a forthcoming shows in subscribers every comprehensive London and the rest fortnight guide to what to see, of the UK, distributed alongside news through over 660 and features, used museums three times by 1.8 million people a year per year 35

Art Everywhere poster featuring Hew Locke’s Jungle Queen II, 2003 Art Everywhere, the brainchild of Richard Reed, co-founder of Innocent Drinks, was an initiative to ‘flood the streets with art’ – taking images of the best of J. M. W. Turner British art in public The Mouth of the Avon, museums and putting near Bristol, seen from them on 22,000 poster the Cliffs below Clifton, sites across the country. 1791–2 © ArtsMediaPeople. Bristol Museum and Photo: Willem Japsert Art Gallery This work was painted by J. M. W. Turner aged only 16, while accompanying family friends on a holiday to Bristol. August

Unknown Beadwork Basket (detail), c. 1665–70 Holburne Museum of Art, Bath This rare and beautiful beadwork basket was bought for Bath.

Bernard Finnigan Gribble Poole Quay on a Busy Day with Boats and Figures, c. 1935 Borough of Poole Museum Service Bernard Finnigan Gribble’s painting was bought by the Borough of Poole Museum Service with our help. © Nicholas Robert Gribble 36 The Art Fund in 2013/14 37

Art Everywhere poster featuring John Everett Taking art everywhere Millais’s Ophelia 1851–2 © ArtsMediaPeople Photo: Willem Japsert

Art Everywhere ‘Flooding the streets with art’ was the driving idea behind Art Everywhere, a new initiative in 2013 that brought large-scale poster reproductions of some of the greatest works of British art in public collections to 22,000 billboards across the country from 12 to 25 August. The largest exhibition of its kind in the world, it was seen at airports and stations, supermarkets and health clubs, as well as on 2,000 London buses and in 1,000 black cabs.

It is estimated that 90 per cent of the adult population saw at least one poster, allowing art to step outside its usual home in galleries and museums and into the lives of a much broader public – in cities, towns and villages across England, Scotland, Wales and Northern Ireland.

The project captured the public’s support, as well as its imagination. We raised £37,000 from over 1,000 individuals in an innovative crowd-funding initiative. Each donor was thanked with limited-edition rewards by artist Bob and Roberta Smith.

The first project of its kind, Art Everywhere was a partnership formed by the project founder and co-founder of Innocent Drinks, Richard Reed, with the Art Fund, Tate, the UK poster industry, Vizeum, 101, Easyart, Blippar and ArtsMediaPeople. 38 The Art Fund in 2013/14 39

Martin Creed John Stezaker Work No. 227: The Fall XIII, 1992 Lights Going On and Off York Art Gallery 2000, Tate, London This collage on paper Shown at the Turner was one of two works by Prize exhibition in 2001, Stezaker funded by the this work was bought Esmée Fairbairn by Tate with our help in Foundation through September. our Renew scheme, Image courtesy Hauser & and by the Contemporary Wirth © the artist Art Society. © John Stezaker

September

Bob and Roberta Smith Joseph Wright of Derby at the Art Party Portrait of Erasmus Conference, The Spa Darwin, c. 1770 Scarborough Birmingham Museum We lent our support to the and Art Gallery first Art Party Conference. In September, the Art It was organised by Bob Fund helped Birmingham and Roberta Smith and Museum and Art Gallery to featured artists including acquire this portrait of one Jeremy Deller, Cornelia of the leading figures of Parker, David Shrigley, the British Enlightenment. Mark Wallinger and Richard Wentworth. © Kevin Allen 40 The Art Fund in 2013/14 41 Supporting curators

Art Fund and National Gallery Museums are defined by their collections, and thriving collections curatorial traineeships depend on properly resourced, experienced and knowledgeable Aimed at nurturing the next generation of curators in the area of Old Master painting, curators. Our curatorial programmes and partnerships are designed the Art Fund and National Gallery curatorial to give curators, especially at the early stages of their careers, new trainee scheme provides mentoring and support for two individuals to work full-time development opportunities. Through encouraging research, travel, with the National Gallery and a regional and the accumulation of scholarly and practical experience, we aim collection. In July 2013, the first 22-month traineeships drew to a close. At the end of to ensure that inspiring and informed collecting flourishes at the her placement with the National Gallery, heart of our museums. London, and Manchester Art Gallery, Henrietta Ward’s exhibition: Home, Land and Sea: Art in the Netherlands 1600- 1800, went on display at Manchester Art Gallery, and Philippa Stephenson’s exhibition: Divine Bodies, a celebration of figure painting across the ages, opened at the Laing Art Gallery, Newcastle upon Tyne. Jonathan Ruffer curatorial grants Since the traineeships have ended, Philippa 2013 was the third year in which grants were Stephenson has been appointed Curator given under the Jonathan Ruffer scheme. of European Art for Glasgow Museums and This unique programme, established Henrietta Ward has taken up a one-year through the auspices of philanthropist curatorial fellowship at Dulwich Picture Jonathan Ruffer and art dealer Anthony Gallery, London, working on its Dutch Mould, awards grants totalling up to £50,000 paintings catalogue. annually for travel and research costs. In 2013 we awarded grants to 46 curators, The second round of National Gallery from a diverse range of 36 institutions traineeships was announced in September including Dulwich Picture Gallery, London; 2013. Eloise Donnelly and Helen Hillyard are the Potteries Museum, Stoke-on-Trent; working with, respectively, York Art Gallery Bristol Museum and Art Gallery; the Pier Arts and Birmingham Museums Trust until July Centre, Stromness; and the V&A, London. We 2015, and began their traineeships working enabled curators to travel to Spain, China, on the National Gallery’s spring 2014 Singapore, Malaysia, Indonesia, India, the exhibition Strange Beauty: Masters of the USA and London – research trips that would German Renaissance. otherwise not have been possible. The curatorial traineeships are funded with assistance from the Vivmar Foundation.

Curatorial training through partnerships with Whitechapel Gallery and Sotheby’s Institute of Art Over the past two years, we have been working in partnership with Sotheby’s Institute of Art to offer bespoke training courses for curators in how to engage A Jonathan Ruffer curato- Francisco de Goya Thomas Gainsborough Helen Hillyard and with the commercial art market. Intended rial grant was awarded to Manuel Quijano Samuel Linley Eloise Donnelly, to provide help for new curators and Dr Xavier Bray of Dulwich 1815 1778 the 2013–15 curators wanting to develop their collecting Picture Gallery, London, to Museu Nacional d’Art de Dulwich Picture Gallery National Gallery ambitions, the courses have offered relevant research the artistic con- Catalunya, Barcelona London Curatorial Trainees and practical training as well as networking nection between Thomas By permission of the © The National Gallery, opportunities. All the training we offer is Gainsborough’s Samuel trustees of Dulwich London completely free for the curators. Linley and Francisco de Picture Gallery Goya’s Manuel Quijano In partnership with the Whitechapel Gallery, through research in in early 2014 we opened applications for London and Madrid. 20 fully-funded places across four Careers in the Visual Arts courses, enabling curators to access adequate levels of professional training and expand their skills. 42 The Art Fund in 2013/14 43

Grayson Perry 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 Collection Grayson Perry’s tapestry series was the focus of a Channel 4 series All in the Best Possible Taste with Grayson Perry. We helped the Arts Council Collection and British Council Collection to acquire a set of the tapestries in 2013, and have funded a national tour to five venues.

Gift of the artist and Victoria Miro Gallery with the support of Channel 4 Television, the Art Fund and the Sfumato Foundation with additional support from AlixPartners. Image courtesy of the artist and Victoria Miro, London. © Grayson Perry Photo: Stephen White October

Unknown William Larkin Régence ormolu-mounted Portrait of Lady Anne Chinese porcelain casket Clifford, 1618 Early 18th century National Portrait Gallery Bowes Museum London Barnard Castle This portrait of one of In October, Bowes Museum Britain’s wealthiest women acquired this exquisite was bought by the Gallery Chinese porcelain casket with our help. with Art Fund assistance. The casket, thought to be the only one of its kind, features Chinese porcelain panels set into ornate ormolu mounts. 44 The Art Fund in 2013/14 45 Helping art reach more people

Jeremy Deller: English Magic As part of our work to increase the public’s access to and In May we announced that in 2014 enjoyment of art, we raise money to support tours and museum-goers would have the chance to see a version of the exhibition commissioned exhibitions, as well as encouraging new and imaginative by the British Council for the Venice Biennale approaches to the interpretation and display of art. In 2013 2013 – the first ever UK tour of such an exhibition. Jeremy Deller’s English Magic we raised over £800,000 to support museums in this way. captures the essence of much of his work to date, exploring British society through its people, icons, myths, folklore and political history.

The tour began in January 2014 with a ten- week display at the William Morris Gallery (the Art Fund Prize for Museum of the Year 2013) and opened at Bristol Museum and Art Gallery in April before it moves to Turner Contemporary, Margate, in October. Deller is tailoring the exhibition for each In June, Grayson Perry’s Jeremy Deller Grayson Perry tour ARTIST ROOMS on tour venue, responding to their particular location tapestry series The Vanity We Sit Starving Amidst In addition to helping the Arts Council In 2008, Tate and the National Galleries of and characteristics. of Small Differences our Gold, 2013 Collection and the British Council Collection Scotland acquired Artist Rooms, Anthony travelled to Sunderland (installation views, to acquire a set of Grayson Perry’s tapestries d’Offay’s huge collection of post-war and Treasure Plus Museum as part of a British Pavilion, The Vanity of Small Differences, we have contemporary art, and we have subsequently The exceptional success of the Portable national tour. Here, Venice Biennale) helped to fund a tour of these works to five supported its national tour. Over 130 Antiquities Scheme and the Treasure Act visitors stand in front of Jeremy Deller’s English museums in 2013–14: Sunderland Museum; exhibitions have been shared with 61 (1997) has meant that we have since seen a The Adoration of the Cage Magic was commissioned Manchester Art Gallery; Birmingham museums nationally, and seen by 29 million huge increase in the number of applications Fighters and The Agony in by the British Council for Museum and Art Gallery; Walker Art Gallery, people. In 2013, exhibitions drawn from the to acquire items of treasure and related the Car Park, 2012, from the British Pavilion at the Liverpool; and Leeds City Art Gallery. collection were shown at 23 museums across archaeological material. (Previously, on the series. Image courtesy Venice Biennale 2013. The the UK, including displays by Joseph Beuys, average, we made fewer than one grant per Tyne and Wear Archives UK tour of the exhibition Robert Mapplethorpe and Ed Ruscha. year; since 1997 this has risen to ten.) Our & Museums is supported by the Art recent campaigns for the Staffordshire and Fund. © British Council. Frome Hoards proved that treasure and our Photos: Cristiano Corte archaeological heritage strongly capture the public imagination. We also knew from consultation that these frequently beautiful and compelling objects can be challenging and expensive to conserve and display.

In 2013 we launched Treasure Plus, a two- year £150,000 scheme co-supported by the Headley Trust. It helps museums make the most of their treasure items, bringing objects to life through new displays, interpretation, education and research. The scheme has been heavily oversubscribed.

The Titian Experience Following the National Gallery, London, and National Galleries of Scotland, Edinburgh, joint acquisition of Titian’s Diana and Actaeon in 2009 and Diana and Callisto in 2012 (thanks to many generous donations, including £3 million from the Art Fund), the Titian Experience gave festival-goers in Hay- on-Wye, Buxton, Grassington and Latitude the opportunity to explore the works from a 21st-century perspective. 46 The Art Fund in 2013/14 47

Stanley Spencer Making a Red Cross 1919 Fitzwilliam Museum Cambridge © The Estate of Stanley Spencer, 2014. All rights reserved. Bridgeman Art Library

November

Stanley Spencer Scrubbing Clothes, 1919 Fitzwilliam Museum Cambridge Five paintings by Stanley Spencer spanning over 20 years of his career were acquired by the Fitzwilliam Museum in Sir Anthony Van Dyck Cambridge with Art Fund Self-portrait, 1640–1 support. © The Estate of National Portrait Gallery Stanley Spencer, 2014. London All rights reserved. We launched a joint Bridgeman Art Library campaign with the National Portrait Gallery to raise £12.5 million to save Sir Anthony Van Dyck’s final self-portrait, 1640–1, from being exported from the UK. 48 The Art Fund in 2013/14 49

George Stubbs The Kongouro from New Fundraising appeals Holland, 1772 Royal Museums Greenwich, London

We help museums to raise funds for important works of art that are at risk of being lost from public view – often to private buyers here or overseas.

Urgent fundraising appeals Van Dyck self-portrait George Stubbs Over the past five years we have helped five As 2013 drew to a close, we announced a In the summer of 2013, Royal Museums museums urgently raise over £20 million to £12.5 million campaign to help the National Greenwich embarked on a fundraising put or keep works of art and objects of major Portrait Gallery to buy Sir Anthony Van Dyck’s appeal to keep two works by George Stubbs historical importance in the public domain. final self-portrait, one of the finest and most in the UK. The Kongouro from New Holland We ran a £2.7 million fundraising appeal to important self-portraits in the history of and Portrait of a Large Dog, 1772, were help Birmingham Museum and Art Gallery British art, painted shortly before his death in commissioned by scientist Sir Joseph Banks and the Potteries Museum in Stoke-on-Trent 1641. With the painting temporarily barred following his participation in James Cook’s to buy the Staffordshire Hoard; we helped from being taken to the USA by its buyer, first voyage of discovery on HMS Endeavour. the National Trust raise £3.3 million to buy a very real deadline looming and a huge They are the first depictions of a kangaroo George Stubbs Pieter Brueghel the Younger’s The Procession fundraising challenge ahead, we began the and dingo in Western art; Stubbs painted Portrait of a Large Dog to Calvary for Nostell Priory in Wakefield, the campaign with £1.2 million secured - a grant them with the aid of written descriptions and 1772 Royal Museums Greenwich to raise £362,500 of £500,000 from the Art Fund to accompany animal skins brought back from Australia. Royal Museums to buy Yinka Shonibare MBE’s Nelson’s Ship the National Portrait Gallery’s own funds Greenwich, London in a Bottle, and the Fitzwilliam Museum in of £700,000. We also gave an additional The Art Fund gave the appeal its first Cambridge to raise the full £3.9 million £150,000 to help fund the Gallery’s public rung of support with £180,000. Thanks to needed to secure Nicolas Poussin’s engagement programme, which will see the donations from the Heritage Lottery Fund, the Extreme Unction. painting shared with other museums - and Monument Trust, shipping magnate Eyal Ofer their visitors - in the coming years. and members of the public, the museum The opportunity to acquire an outstanding secured the paintings in late 2013. They are work of art cannot always be anticipated (for Following the withdrawal of the application a part of the museum’s new display on the example, when there is an export-stopped for a licence to export the work by the theme of exploration in summer 2014, and work with an imminent deadline, or the painting’s would-be owner in late March will be central to the commemoration of the unexpected discovery of an important and 2014, the painting was offered to the National 250th anniversary of Cook’s voyages in 2018. valuable hoard of treasure). Therefore we Portrait Gallery for £10 million. often have to act quickly, drawing on the money we have raised through the year At the end of April, with over £4 million raised to provide urgent seed-funding that may from 10,000 individuals, major donors and leverage other sources of support, or to run a trusts and foundations, the Heritage Lottery public fundraising appeal. Fund’s major grant of £6.3 million brought about a successful end to the campaign, securing the self-portrait for the National Portrait Gallery. The additional funds raised will enable a national tour of the painting to six museums from 2015. 50 The Art Fund in 2013/14 51

As the Art Fund Prize for Museum of the Year 2014 was launched, the judging panel was announced Left to right: Wim Pijbes, director of the Rijksmuseum, Amsterdam; Anna Somers Cocks, founder and chief executive of The Art Newspaper; Stephen Deuchar, director of the Art Fund; Sally Bacon, director of the Clore Duffield Foundation; and Michael Craig-Martin, artist. © Simon Rawles December

Arthur Melville The Chalk Cutting 1898 Scottish National Gallery, Edinburgh This painting was acquired by the Scottish National Gallery in December. Meschac Gaba English Brazilian Bank (detail) The Lacock Cup 2006 c. 1430–50 Bristol Museum British Museum, London and Art Gallery The Lacock Cup – a This installation, which masterpiece of medieval explores globalisation secular silverwork – was and the devaluation of jointly acquired by the currencies, was acquired British Museum and by Bristol Museum and Art Wiltshire Museum with Gallery with Art Fund our help. assistance in December. © the artist 52 The Art Fund in 2013/14 53 Making the most Museum acquisitions 2013 of art and museums

Helping museums to develop their collections and the public to make the most of them lies at the heart of all we do.

Art throughout the country By funding acquisitions, placing gifts and bequests of art, supporting tours of exhibitions and displays of collections, funding curatorial development, providing the public with informative, comprehensive guides to where to go and what to see, our work is having more impact than ever before. A major aspect of this is the National Art Pass – providing special access to hundreds of museums and galleries country-wide.

In 2013 we committed over £4.4 million to support museum acquisitions and placed 19 gifts and bequests of 235 works of art in new homes. We funded tours of the Artist Rooms collection and of Grayson Perry’s tapestry series The Vanity of Small Differences; we gave support to over 70 curators – funding places on courses and helping them to travel within the UK and far further afield for research purposes; and we guided hundreds of thousands of museum Cedric Morris Felicity Aylieff visitors around the UK. Landscape, Cornwall Still Life with Three (Quarry) Chinese Vases II 1923 2011 Falmouth Art Gallery National Museum Wales Cornwall Cardiff © the artist © the artist

See page 60 for full details of the works of art shown here. 54 The Art Fund in 2013/14 55 Our year in numbers 53% of adult British population visited a museum £1.3m given to contemporary art raised in total posters of art on billboards £10.6m 22,000 through Art Everywhere works of art for 74 museums spread right across the UK of support offered to help museums 368 £4.4m acquire art worth nearly £39 million 107,000 Art Fund members 19 gifts and bequests totalling 235 works of art 49 curators supported through our two curatorial programmes 688 museums a part of the National Art Pass network given to fund curators works from the ARTIST ROOMS collection lent to 13 museums and seen by £170,000 237 230,000 visitors outside London and Edinburgh

paintings funded given to the William Morris Gallery in Walthamstow, London, winner of the 50 £100,000 Art Fund Prize for Museum of the Year 2013 56 The Art Fund in 2013/14 57

6776 Barnard Castle Catalogue of acquisitions Bowes Museum Maestro dei Riflessi (active mid-18th century) 6772 6773 1) The ‘Lover’ of a Venetian Lady Aberdeen Aberystwyth 2) The Encounter of a Procurator University of Aberdeen National Library of Wales with his Wife at ‘Ridotto’ Cosmo Alexander (1724–72) Maurice Sheppard (b. 1947) 1740s Portrait of James Francis Edward Stuart The Artist Returned from Italy Oil on canvas c. 1749 1985 69.5 x 57 cm each Pastel and gouache on paper Watercolour on paper 19.5 x 16 cm 39.9 x 48 cm Art Fund Bequest from Rosemary Claire Hunter ArtFunded: £1,000 Art Fund Gift from Maurice Sheppard Total cost: £7,750 The Maestro dei Riflessi (Master of © Maurice Sheppard PPRWS the Reflections) was an 18th-century James Francis Edward Stuart, sometimes Venetian painter working in the circle called the Old Pretender, was the son of Born in Pembrokeshire in 1947, Maurice of Pietro Longhi. The Encounter of a the deposed King James VII of Scotland Sheppard is a landscape artist whose Procurator with his Wife is a copy of a (James II of England). Small portraits work shows a meticulous concern with Longhi original now in the Metropolitan such as this were in demand in Scotland the particularities of observed reality. Museum of Art in New York, while the after the defeat of the Jacobite rebellion Painted while Sheppard was serving as original ‘Lover’ of a Venetian Lady is of 1745-6, allowing supporters of the the first Welsh president of the Royal thought to be lost. exiled Stuart dynasty to show their loyalty Watercolour Society, this self-portrait discreetly. Cosmo Alexander fought on shows the artist following his return from the Jacobite side in the rebellion and an extensive visit to Italy. after it was suppressed he took refuge in Rome, where he painted this portrait.

6774 6777 The 17th century was a golden age Ayr Bath of British needlework. Silk embroidery Rozelle House Gallery Holburne Museum of Art and beadworking had become Alexander Goudie (1933–2004) Unknown maker fashionable pastimes for women, Self-portrait Beadwork basket and the teaching of needlework in Late 20th century c. 1665–70 wealthy households gave rise to an Oil on canvas Beadwork and lampwork age of remarkable domestic craft 111.8 x 104.1 cm 33 x 46 x 13 cm skills. Yet while the embroideries of the period have faded with time, Art Fund Bequest from Ian Macleod ArtFunded: £10,000 the coloured glass of this beadwork Total cost: £78,000 basket has retained its original lustre. © Bridgeman The composition is both elaborate and unusual, all the more so for being One of Scotland’s leading figurative constructed from thousands painters, Renfrewshire-born artist of individually threaded glass beads. Alexander Goudie achieved renown The central figures almost certainly particularly as a portraitist, with his sitters represent Charles II and Catherine ranging from Queen Elizabeth II to Billy of Braganza, whom Charles married Connolly. He presents himself in formal in 1662, two years after his restoration dress for this outdoor self-portrait, to the throne. Surviving baskets from wearing a pinstripe suit with a blue this period are rare, and the use of handkerchief and polka-dot bow tie. lampworked glass for the heads and hands of the royal figures makes this particular basket unique. Alexander Sturgis, director of the Holburne Museum, describes the basket as ‘the perfect Holburne object: exquisitely made, historically fascinating, irresistibly charming and slightly mad’.

6775 While the practice of mounting valuable Barnard Castle items in gold, silver and bronze for 6778 Bowes Museum decoration and protection dates back Bath Unknown maker to the medieval period, mounting Holburne Museum of Art Régence ormolu-mounted Chinese objects in ormolu (gilt bronze) became John Lacon (active 1740–57) porcelain casket especially popular from the 17th century Self-portrait Early 18th century onwards, as aristocrats in European 1755 Porcelain, ormolu and wood courts sought to emulate the tastes of Watercolour on ivory 24 x 37.5 x 23.5 cm Louis XIV of France. This casket, created 5 x 4.5 cm in the early Rococo Régence style, has ArtFunded: £128,250 previously been attributed to a Viennese Art Funded: £2,655 (with assistance from the craftsman, although the quality of Total cost: £8,650 Wolfson Foundation) the workmanship suggests it may be Total cost: £193,250 the product of a French workshop. It features Chinese porcelain from the This self-portrait is John Lacon’s only reign of Kangxi (1661-1722). The central work with an identifiable sitter. Lacon plaque is decorated with a bird on a captures himself in the process of flowering branch, while the surrounding creating the portrait. Wearing a panels are adorned with flowers, vases, powdered wig and buff coat with a trees and landscapes. It forms a near- vivid blue sash, in his left hand he holds pair with a casket in Vienna’s Imperial a palette, tilted towards the viewer to Palace, which features about 20 panels show the arrangement of pigments. of Japanese porcelain set in almost identical silver mounts. 58 The Art Fund in 2013/14 59

6779 Erasmus Darwin, grandfather of Charles 6784 6785 Birmingham Darwin, was a central figure in the 18th- Birmingham Birmingham Birmingham Museum and Art Gallery century British Enlightenment. A true Birmingham Museum and Art Gallery New Art Gallery Walsall Joseph Wright of Derby (1734–97) polymath, he was a gifted physician, (jointly with New Art Gallery Walsall) (jointly with Birmingham Museum Portrait of Dr Erasmus Darwin botanist, author, poet and inventor. He Hanni Bjartalíð (b. 1968) and Art Gallery) c. 1770 was an atheist and an early proponent Untitled Andreas Gefeller (b. 1970) Oil on canvas of the theory of evolution, expressing 2012 Prints from the SV (Space View) 75 x 62 cm his ideas in the poem The Temple of Na- Wood and paint and Blank series, 2010–12 ture, posthumously published in 1803. 155 x 96.5 x 43.2 cm Inkjet print on fine art paper ArtFunded: £75,000 Joseph Wright of Derby was a leading Various dimensions Total cost: £275,000 artist of the Enlightenment. While he is ArtFunded: £8,700 best known for his scientific works such (presented through ArtFunded: £35,424 as the celebrated Experiment on a Bird Art Fund International) (presented through in the Air Pump, much of his output Total cost: £8,700 Art Fund International) was portraiture. He produced several Total cost: £35,424 likenesses of Darwin including a portrait © H.J. Bjartalið pf him in his 60s, which was bought for © Andreas Gefeller, courtesy Thomas Derby Museum and Art Gallery with Originally trained as a painter, Faroese Rehbein Gallery, Cologne help from the Art Fund. The scientist was artist Hanni Bjartalíð creates sculptures about 40 when he sat for this portrait, from found materials, often reusing German artist Andreas Gefeller explores which was owned by his elder brother elements of his previous works to urban spaces through photography. The William and remained in the family until piece together new, larger pieces. seven works from his Space View series sold at auction in 2009. Untitled is his largest work to date, a feature edited satellite images of cities ‘sculpture house’ made up of isolated around the globe, while the three works compartments, each with its own from the Blank series are aggressively window or doorway. overexposed photographs of towns and cities, bathing metropolitan structures in ethereal light.

6780 6781 6786 6787 Birmingham Birmingham Brecon Bristol Birmingham Museum and Art Gallery Birmingham Museum and Art Gallery Brecknock Museum and Art Gallery Bristol Museum and Art Gallery Halima Cassell (b. 1975) (jointly with New Art Gallery Walsall) John Varley (1778–1842) Yeesookyung (b. 1963) Calliope, 2011 Klara Liden (b. 1979) Brecon on the River Usk Translated Vase No. 8 Carrara marble 1) Self-portrait with Keys to the City; 1837 2012 Height: 60 cm 2) Lamppost; 3) Down; 4) Monkey Watercolour on paper Ceramic trash, epoxy and gold leaf 2005–12 18.4 x 27.4 cm 116 x 111 x 122 cm ArtFunded: £24,300 1) Digital print; 2-4) inkjet print (presented through Art Fund Collect) 1) 21.5 x 28 cm; 2) 61 x 81 cm; ArtFunded: £1,650 ArtFunded: £41,691 Total cost: £24,300 3-4) 61 x 46 cm Total cost: £3,800 (presented through Art Fund International) ArtFunded: £23,177 This was Varley’s second painting of Total cost: £41,691 © The artist (presented through Brecon. His first, made as a young Art Fund International) artist during a visit around 1800, was a © The artist Born in Pakistan and raised in Manchester, Total cost: £23,177 topographical drawing, the buildings Halima Cassell draws on recurring and landscape rendered as in life. By his Born in Seoul, Yeesookyung takes geometric shapes to create carved © Courtesy of the artist and return in 1837, half a lifetime later, his discarded ceramic fragments in her works which combine a fascination with Reena Spaulings Fine Art, NY depiction had developed into a more native Korea and pieces them together African pattern-work and a passion for romantic vision, showing the influence of into new forms. By using the ceramic architectural forms. Carved from marble, Born in Stockholm, Swedish artist Klara Claude Lorrain. waste of master potters and fusing it with Calliope is composed of curving abstract Liden creates works that explore the gold leaf, her Translated Vases series forms which draw to a tapering point at codes and politics of urban spaces and merges Korean ceramic tradition with the sculpture’s peak. architecture. In these photographs Liden Western modernist bricolage. uses her body to stage interventions in public spaces, subverting convention by climbing lampposts, descending manholes and exposing the tools she uses to explore the city’s hidden spaces.

This lively watercolour depicting the 6782 6783 6788 Avon Gorge was painted by Turner, Birmingham Birmingham Bristol aged only 16, while accompanying Birmingham Museum and Art Gallery Birmingham Museum and Art Gallery Bristol Museum and Art Gallery friends on a holiday to Bristol. During James Newton (active 1773–1821) (jointly with New Art Gallery Walsall) J. M. W. Turner (1775–1851) the course of his stay with the Narraway 1) A lady’s satinwood writing table Gardar Eide Einarsson (b. 1976) The Mouth of the Avon, near Bristol, family, who were friends of his father, 2) Giltwood and gesso pier glass mir- Untitled Landscape (Tear Gas Canisters) seen from the Cliffs below Clifton he became enamoured with the Avon ror, both 1795–7 2012 1791–2 landscape. His frequent visits to the 1) Satinwood, rosewood, Inkjet on aluminium Pencil and watercolour heightened gorge earned him the nickname ‘Prince tulipwood and brass; 2) glass, carved 125 x 100 cm each panel with white on paper of the Rocks’. Though very young, the wood and gilt gesso 22 x 28.5 cm aspiring artist was not a complete 1) 76 x 70 x 50 cm; 2) 98 x 50 cm Art Funded: £10,065 unknown. One of his watercolours, (purchased through ArtFunded: £23,700 A View of the Archbishop’s Palace, ArtFunded: £10,000 Art Fund International) Total cost: £47,400 Lambeth, had already been exhibited at Total cost: £25,000 Total cost: £12,980 the Royal Academy in London in April 1790, the month he turned 15. This This elegant satinwood table was © The artist and Maureen Paley early work shows some of the traits that commissioned by Matthew Boulton, would come to characterise the mature owner of Soho House, most likely Born in Oslo and working in New York Turner: his manipulation of topography for his daughter Anne. The writing and Tokyo, Gardar Eide Einarsson is one to heighten the drama of the scene, the table is typical of James Newton’s of the most important contemporary Italianate light suffusing the landscape, outstanding craftsmanship, featuring artists to emerge from Norway. Printed and the introduction of a ship as a intricate veneers and rosewood in monochrome on aluminium panels, narrative element. cross-banding. The accompanying this stony urban landscape littered mirror’s Neoclassical design makes with discarded tear gas canisters blurs it a perfect fit for Soho House. the boundaries between traditional landscape and battlefield painting. 60 The Art Fund in 2013/14 61

6789 African artist Meschac Gaba is best 6792 Nora Fok was born in Hong Kong, Bristol known for his five-year project ‘The Cambridge where she initially studied graphic Bristol Museum and Art Gallery Museum of Contemporary African Art’, Fitzwilliam Museum design before moving to the UK to Meschac Gaba (b. 1961) which was exhibited at Tate Modern in Nora Fok (b. 1953) find her vocation as a jeweller. She Brazilian Bank 2013. Born in Benin in 1961, the year Fountain discovered the emerging jewellery 2006 after the country gained independence, 2004 movement whilst taking a craft course Bank notes, coins, suitcases and Gaba is part of a generation of Beaded clear nylon with pearls at Brighton Polytechnic, during which wooden stall contemporary artists whose work has Diameter: 56 cm she was taught by Caroline Broadhead Height: approximately 225 cm examined the nature of post-colonial and Susanna Heron. Now based in identity, exploring the difficulties Art Fund Gift from Nicholas and Hove, Fok looks to Chinese philosophy ArtFunded: £21,582 of creating a national identity while Judith Goodison and the structures and systems of the (presented through simultaneously shaping the culture of natural world to find inspiration for Art Fund International) the newly independent state. In Brazilian © Nora Fok her wearable artworks. She eschews Total cost: £21,582 Bank, which featured in Bristol Museum’s mechanical equipment in favour of basic 2014 show ‘City Lives: Art in a Changing tools: her extensive use of nylon fishing © The artist World’, Gaba recreates a street market line in her work allows her to mimic stall from wooden lumber, decorating organic forms, using textile-working the stall with bundles of devalued techniques such as knitting, knotting, bank notes and open briefcases full tying and weaving to create intricate of international currencies. The work pieces. Her neckpiece Fountain employs explores the symbolism of money, beaded strands of nylon weighted and the status of money as an object with pearls to capture the tumbling following the collapse of the currency it movement of water in a fountain. represents.

6790 6793 As part of the Art Fund’s Renew Bristol Cambridge scheme – a £600,000 initiative enabling Bristol Museum and Art Gallery Museum of Archaeology and museums and galleries to build new Shigekazu Nagae (b. 1953) Anthropology collections of fine, decorative or applied Forms in Succession Works by artists including art – the Museum of Archaeology and 2012 Kananginak Pootoogook, Judy Anthropology was awarded £100,000 to Porcelain Watson and from Australian Print build a collection of modern prints and 25.5 x 40 x 25.5 cm Workshop, The Caversham Press, works on paper by native artists from The Artists’ Press and Artist Australia, Canada and South Africa. The ArtFunded: £6,500 Proof Studio collection will bring indigenous visions (presented through Art Fund Collect) Drift School artists into view, expressing attachments to Total cost: £6,500 Various media land and identity, histories of suffering Various dimensions and survival, and engagements with © Yufuku Gallery modernity and globalisation. The ArtFunded: £75,189 museum holds significant collections of One of Japan’s leading contemporary (presented by the Art Fund, works by native artists, from Polynesian ceramicists, Shigekazu Nagae employs with support from the Esmée sculptures to a magnificent native ingenious porcelain-casting techniques Fairbairn Foundation) American totem pole. The modern to create his tapering, razor-thin Total cost: £75,189 indigenous works acquired through sculptures. Using intense gas-kiln Renew will help dispel the myth that fires to help mould, shape and curve © John Muafangejo native cultures have been destroyed as a individual porcelain shapes, Shigekazu result of contact with the West. The works combines the pieces by glazing the acquired through Renew are scheduled joints within the kiln to create the to be included in an exhibition at the finished works. end of 2014 or beginning of 2015. Other works we helped the Museum of Archaeology and Anthropology to acquire through the Renew scheme in 2012 can be found under review number 6671 in the 2012 annual report.

These five paintings span over 20 6791 years of the artist’s career. The earliest 6794 6795 Cambridge painting, John Donne Arriving in Cambridge Canterbury Fitzwilliam Museum Heaven, was created in 1911 when Museum of Archaeology and Beaney House of Art and Knowledge Sir Stanley Spencer (1891–1959) Spencer was a 20-year-old student at Anthropology Annie Turner (b. 1958) 1) John Donne arriving in Heaven, the Slade School of Fine Art, while the Jim (James Earnest) Vivieaere Drifter 1911; 2) Scrubbing Clothes, 1919; latest, a pair of paintings showing the (1947–2011) 2009 3) Making a Red Cross, 1919; building of the Tower of Babel, were 6 Tahitians, 2 in Leningrad, Stoneware 4) Making Columns for the Tower created in 1933 after Spencer was 4 in Papeete 47 x 9 x 47 cm of Babel, 1933; 5) Builders of the approached to paint two decorative 1990 Tower of Babel, 1933 panels for the newly built Cambridge Digital print on paper Art Fund Bequest from Margaret 1) oil on canvas; 2-3) graphite and University Library. While the library 40.5 x 28.5 cm Whitford oil on paper on hardboard; 4) oil on commission would ultimately go canvas; 5) graphite wash and oil on unrealised because of budget issues, ArtFunded: £3,000 © The artist three pieces of paper the works now have a permanent home Total cost: £8,510 1) 37 x 40.5 cm; 2) 18 x 23 cm; in Cambridge after being acquired for Based in London since 1984, Annie 3) 18 x 23 cm; 4) 54 x 49 cm; the Fitzwilliam. The other two works © The estate of the artist Turner finds her inspiration in the River 5) 31.5 x 60.5 cm in the group, Making a Red Cross and Deben of her childhood Suffolk. Her Scrubbing Clothes, were painted in Created by New Zealand-based artist memories are rooted in both observing ArtFunded: £150,000 1919 after Spencer returned from Jim Vivieaere, this impressive piece of the river from its banks and experiencing (with assistance from the service in the First World War. He contemporary Pacific art incorporates its current during sailing trips. Drifter Wolfson Foundation) had been appointed an Official War a monochrome reproduction of a takes its shape from the drift nets which Total cost: £307,169 (AIL hybrid) Artist in 1918, but these two studies Paul Gauguin painting set above a were used on the river to catch fish. This were eventually used a decade later colonial postcard. bequest is part of a larger bequest by © The estate of Stanley Spencer, as the basis for paintings in Sandham Margaret Whitford that can be found 2014. All rights reserved. Memorial Chapel. under review number 6699 in the 2012 Bridgeman Art Library annual report. 62 The Art Fund in 2013/14 63

6796 Felicity Aylieff’s large-scale ceramics 6799 6800 Cardiff demonstrate a fusion of traditional Chipping Campden Chipping Campden National Museum Cardiff techniques and contemporary Court Barn Court Barn Felicity Aylieff (b. 1954) ornamentation. A graduate of and Charles Robert Ashbee (1863–1942) Robert Welch (1929–2000) Still Life with Three Chinese Vases II teacher at the Royal College of Art, she Butterfly pendant Tower of London Goblet 2011 has produced artworks on an ambitious c. 1899 1978 Porcelain with fencai enamels scale for the last 30 years, but it was Silver and enamel on gold, mother Silver, partly gilded Height: 146 cm not until her 2007 residency at Mr of pearl and semi-precious stones Height: 19 cm Wu’s Big Ware Factory in Jingezhen, Length: 11 cm ArtFunded: £5,000 China, that her practice took this new, Art Funded: £500 Total cost: £25,000 more experimental approach. Still Art Funded: £5,000 Total cost: £1,200 Life with Three Chinese Vases II is an Total cost: £18,000 © The artist assured example of Aylieff’s continuing © Robert Welch Designs Limited relationship with Jingezhen. At 1.5 © Court Barn metres tall this vase is part of a series The modernist designer Robert Welch that would be impossible to create in Charles Robert Ashbee was one of the grew up in Malvern, less than 25 miles the UK because of the work’s size and leading figures of the Arts and Crafts from Chipping Campden. He drew upon rich embellishment. The beautiful and Movement. Art historian Alan Crawford medieval designs as inspiration for this complex decoration was produced describes this pendant as ‘a superb goblet, adopting the lobed base of a using the ‘fencai’ process, an ancient example of his mature and rather medieval chalice and Gothic lettering 17th-century method that features peculiar colour sense’: the brilliant inspired by the Victoria and Albert delicate enamel outlines filled with mother-of-pearl central setting is Museum’s 15th-century Studley Bowl. coloured layers of pigment and oil. played against dark garnets and violet amethysts, creating a vibrant contrast.

6797 6801 The University of Dundee Museum Chepstow Dundee Collections have been awarded Chepstow Museum Zoology Museum (University of £100,000 towards a collection of art Francis Towne (1739–1816) Dundee) inspired by Sir D’Arcy Wentworth The West Front of Tintern Abbey Various artists including Alex Flett Thompson, the University’s first 1777 Victor Pasmore and Mark Wright professor of biology. Thompson Pencil, pen and grey ink, Various media founded a vast museum of natural and watercolour on paper Various dimensions history in the 1880s, which he used 29.2 x 36.8 cm as a research base while writing his Art Funded: £55,052 internationally significant book On ArtFunded: £3,750 (presented by the Art Fund, Growth and Form, 1917. This pioneered Total cost: £15,000 with support from the Esmée the science of mathematical biology Fairbairn Foundation) and helped build a bridge between Created during Francis Towne’s tour Total cost: £55,052 the sciences and the arts, becoming of north Wales and Shropshire in the influencial on Henry Moore, Eduardo summer of 1777, this view of Tintern © By permission of the artist Paolozzi and William Turnbull. The Abbey is an early example of the artist’s museum was demolished in the 1950s, mature watercolour style. It shows the but the remaining collection continues spectacular west front of the abbey, to be housed in the University of which would be immortalised in a Dundee’s Zoology Museum, which painting by Turner over 20 years later. opened to the public in 2008. The £100,000 given to the museum through the Art Fund’s Renew project will go towards developing a ‘capsule collection’ of significant contemporary works inspired by the work and collections of D’Arcy Thompson. The works we helped the Zoology Museum to acquire through the Renew scheme in 2012 can be found under review number 6683 in the 2012 annual report.

Paul Nash was one of the leading British 6798 artists of the early 20th century. He is 6802 6803 Chichester famous for his work as an Offical War Durham Edinburgh Pallant House Gallery Artist in both world wars, and he is also Oriental Museum National Museum of Scotland Paul Nash (1889–1946) noted for his landscapes and Surrealist Min Soo Lee (b. 1980) Collection of Chinese propaganda The Clare Neilson Collection, imagery. Older brother to the Royal +,- material 20th century Academician John Nash, he was born 2013 1950–89 Collage, wood engraving, copper in London and pursued a career as a White porcelain and matt colour Various media engraving and printed books painter after failing the entrance exams 6 x 36 x 15 cm Various dimensions Various dimensions for the Royal Navy. On the advice of the poet Gordon Bottomley and the artist ArtFunded: £1,540 ArtFunded: £15,000 Art Fund Gift from Jeremy William Rothenstein, Nash attended the (presented through Art Fund Collect) Total cost: £45,000 Greenwood and Alan Swerdlow Slade School of Fine Art at University Total cost: £1,540 College London, where his fellow © National Museum of Scotland © Tate, 2014 students included Ben Nicholson and © LVS CRAFT and Min Soo Lee Stanley Spencer. This collection was Dating from the 1950s to the 1980s, made by Clare Neilson, a close friend The Korean ceramicist Min Soo Lee this collection covers one of the most of Nash, and by her godson Jeremy creates her works through a combination significant periods in Chinese history. Greenwood and Alan Swerdlow. of wheel-throwing, slip-casting, and The dates of the works featured range It includes early wood engravings, ‘jolleying’ – a technique developed to from shortly after the establishment etchings, photographs, collages, letters allow the stable layering of ceramic slips, of the People’s Republic of China to and illustrated books. Highlights from creating striking two-tone works. This the years following the death of its the collection include Nash’s first letter example will be the centrepiece of the controversial leader, Mao Zedong. to Neilson, and Tyger Tyger, his ‘Collage Oriental Museum’s new Korean gallery. for Clare’ depicting an engraving of a tiger set against a photograph of a ruin. 64 The Art Fund in 2013/14 65

6804 Arthur Melville was born in Forfarshire 6809 Edinburgh (now Angus), and trained at the Royal Farnham Scottish National Gallery Scottish Academy. He sold an early Crafts Study Centre Arthur Melville (1855–1904) painting to finance studies in Paris, Bernard Leach (1887–1979) The Chalk Cutting where he worked between 1878 and In a Tokyo Park 1898 1880. The emphasis on tonal harmony 1918 Oil on canvas that he discovered in avant-garde Etching 85 x 92 cm French painting had a profound 36.5 x 26 cm influence on his own practice. The Art Funded: £25,000 portrayal of contemporary industry was ArtFunded: £624 Total cost: £72,000 unusual not only among the Glasgow Total cost: £2,080 Boys (the loose association of Scottish artists to which Melville belonged), but © The estate of Bernard Leach across Victorian art as a whole. To the left of the painting, the light reflecting This landscape etching, created in from the chalk cliffs is rendered as a Japan by Bernard Leach, is a rare piece block of luminous white, while to the from the early career of an artist who right Melville portrays the dust-obscured would later become known primarily as cutting in broad impressionistic strokes a potter. of grey punctuated by select details It is only the Crafts Study Centre’s third – notably the red-headed chickens acquisition of an etching made by piercing the dust cloud offering bursts Leach himself. of colour in an otherwise muted scene.

6805 6806 6810 Wolfgang Tillmans is one of the most Enniskillen Exeter Glasgow respected and influential artists of Fermanagh County Museum Royal Albert Memorial Museum Gallery of Modern Art his generation. He is internationally William Scott (1913–89) John Edes (d. 1616) Wolfgang Tillmans (b. 1968) renowned for photographic works that Blue, Black and White Composition The Gilbert Spoon A selection of fifteen works demonstrate an innovative approach 1952–3 c. 1580–90 2009–12 to the visual documentation of a Lithograph on paper Silver Various media subject, from people and animals to 38 x 47.5 cm Length: 18 cm Various dimensions landscapes, abstracts and still lifes.

ArtFunded: £4,500 Art Funded: £7,500 ArtFunded: £95,000 Total cost: £10,575 Total cost: £32,500 (presented through Art Fund International with assistance © 2014 William Scott Foundation This spoon was probably made as part from the Wolfson Foundation) of a set for Sir John Gilbert, who played Total cost: £95,000 Blue, Black and White Composition a significant role in organising the represents a transitional period in defence against the Spanish Armada. It © Wolfgang Tillmans. Courtesy William Scott’s artistic development. was most likely crafted from silver from Maureen Paley The subject remains traditional – a the Gilbert family’s Combe Martin mines, still life of a table – but is abstracted and the squirrel finial is thought to be almost beyond recognition. The table unique in early English silverware. The is rendered as a flat, black rectangle inscription ‘Devon AG 1596’ refers to against a teal background, while Adrian Gilbert, who inherited the spoon objects on the table are reduced to when his brother Sir John died in 1596. featureless blue and white blocks.

6807 6808 6811 Falmouth Farnham Glasgow Falmouth Art Gallery Crafts Study Centre Gallery of Modern Art Sir Cedric Morris (1889–1982) Bernard Leach (1887–1979) Omer Fast (b. 1972) Landscape, Cornwall (Quarry) Raku Albarello Continuity 1923 1912 2012 Oil on canvas Raku earthenware HD video 61 x 45.7 cm Height: 20.7 cm Duration: 40 minutes

ArtFunded: £4,400 ArtFunded: £3,900 ArtFunded: £37,607 Total cost: £11,000 Total cost: £13,000 (presented through Art Fund International) © Cedric Morris estate © The estate of Bernard Leach Total cost: £37,607

Cedric Morris was born in Swansea Edmund de Waal described Bernard © Courtesy of the artist but worked mainly in East Anglia Leach as ‘the pre-eminent artist-potter painting portraits, flower paintings of the 20th century’. This acquisition Born in Jerusalem and based in Berlin, and landscapes. Possibly influenced unites an exceptionally rare early work Omer Fast is a video artist whose work by Morris’s contact with the modernist by Leach with its preparatory drawing, deals predominantly with war and painters who frequented his studio, this which is also held in the Crafts Study conflict. Taking the form of a looped early example of naive or ‘innocent eye’ Centre collection. 40-minute video, Continuity uses actors painting depicts Penlee Quarry on the to present a surreal narrative, telling the outskirts of Newlyn, near Penzance. story of a German soldier returning from a tour of duty in Afghanistan. 66 The Art Fund in 2013/14 67

6812 The Slovakian artist Roman Ondák 6815 Glasgow is known for producing work in a Glasgow Gallery of Modern Art diverse range of media including Glasgow Museums Roman Ondák (b. 1966) photography, drawing, sculpture, Robert Gemmell Hutchison This Way, Please installation and performance. His works (1855–1936) 1999 are sometimes the result of imaginative Woman and Child Winding Wool Performance and deliberately futile attempts to c. 1900 raise awareness of social and political Oil on canvas ArtFunded: £12,536 questions, and humour is a common 50 x 60 cm (presented through and important characteristic of his Art Fund International) output. This performance piece involves Art Fund Gift from Gordon Maclean Total cost: £12,536 museum attendants arranged in order of and the Graham Family, Kilmacolm age, from the youngest to the oldest, as the visitor passes through the building. Born and educated in Edinburgh, Robert © Roman Ondák. Photo: Ondák has explained: ‘We usually pass Gemmell Hutchison began his career Glasgow Life (Museums) by all guards almost without noticing as a seal-engraver before dedicating them. I wanted to employ younger and his life to painting, specialising in older ones than the usual average is and pictures of children and genre scenes then arrange them in order of age from within interiors. Rendered in muted youngest to the oldest as the visitor colours with vigorous, impressionistic passes through the exhibition. You get brushstrokes, this domestic scene is thirty minutes older during your visit of typical of Hutchison’s style. the show but there are those people, representing unnoticed guards, passing nearly a lifetime.’

6813 6816 This charming portrait miniature was painted by Charlotte Brontë, the eldest Glasgow Howarth Gallery of Modern Art of the three Brontë sisters and author Brontë Parsonage Museum of Jane Eyre. It shows Sophia Hudson, Stephen Sutcliffe (b. 1968) Charlotte Brontë (1816–55) 1) Plum; 2) Despair; 3) Come to the a friend of the Brontës who visited Portrait of Mrs Hudson the family in 1839. This portrait was Edge; 4) No; 5) untitled wall drawing 1839 2003–12 probably painted during that stay. Watercolour on paper Charlotte gave the portrait to Sophia 1–3) DVD; 4) photograph; 5) vinyl wall 6.8 x 5.5 cm installation as a gift, and it was passed on first Various dimensions to her niece, then to her son, before ArtFunded: £9,375 going missing in 1895. It resurfaced in Total cost: £39,000 ArtFunded: £2,500 2001 at a sale in Nottingham where it Total cost: £11,520 was bought by Valerie Eliot, widow of the poet T. S. Eliot. In 1990 Valerie had © Stephen Sutcliffe established the Old Possum’s Practical Trust, a charity to support projects in the Glasgow-based artist Stephen Sutcliffe arts, and following her death in 2012 the is best known for his ‘video collages’, miniature was put up for sale through manipulating broadcast material to the trust. create visual social commentaries. As well as three of Sutcliffe’s collages, this grant also includes No, a photograph inspired by cartoonist Saul Steinberg, and a wall drawing of crossed-out thought bubbles.

Glasgow Museums has been awarded This beautiful golden panel is the 6814 £100,000 to develop a collection of 6817 earliest work in the Ferens collection Glasgow contemporary South Asian folk art. The Hull by 130 years. It was created by Pietro Glasgow Museums collection will focus on art from the Ferens Art Gallery Lorenzetti, one of the leading Sienese Various artists including Chandra Punjab, West Bengal and Assam – the Pietro Lorenzetti (active 1320–45) painters of the 14th century. In contrast Gogoi, Ganesh Gohain, Ajungula main areas from which Glasgow’s Indian Christ Between Saints Paul and Peter to the traditional Sienese emphasis Imchen, Siva Prarad Marar and population has emigrated – and the c. 1320 on gracefulness of line and beauty of Shri Ratul works acquired will complement the Tempera and gold on panel colour, Lorenzetti’s work is remarkable Various media city’s existing World Cultures collection. 32.2 x 70.4 cm for its vigour and emotional force. In this Various dimensions Glasgow Museums holds the largest panel he depicts Christ flanked by Saints South Asian collection in Scotland, ArtFunded: £200,000 Paul and Peter. It is probably a predella ArtFunded: £42,169 but presently it mainly consists of (with assistance from the from an altarpiece, and it has been (presented by the Art Fund, 19th-century materials. The funds given Wolfson Foundation) plausibly suggested that Lorenzetti’s with support from the Esmée to Glasgow Museums through the Art Total cost: £1,612,940 (tax remission) Virgin and Child Enthroned with a Fairbairn Foundation) Fund’s Renew scheme will allow them to Donor in the Philadelphia Museum of Total cost: £42,169 acquire key contemporary works from Art was originally the main panel of the South Asia’s vibrant folk art tradition. altarpiece. The Ferens seeks to tell the © The artist The collection will be used to develop story of the development of Western stronger relationships with the city’s art and this panel helps illuminate a South Asian population and the vivid, key part of the story that was previously engaging nature of the materials being untold in the gallery’s collection. collected will help to connect with hard- to-reach audiences. 68 The Art Fund in 2013/14 69

6818 6819 6824 Michael Eden uses experimental Inverness Ipswich Leicester 3D-printing methods to create Inverness Museum and Art Gallery Ipswich Museum New Walk Museum and Art Gallery objects with the same properties as Coin hoard including rare Charles I Collection of Anglo-Saxon metal Michael Eden (b. 1955) conventional ceramics, but which half-crown objects Prtlnd Vase would be impossible to manufacture c. 17th century c. 450–1066 2012 using traditional ceramic techniques. Silver Metal Nylon and soft mineral coating He combines drawing, 3D software, Various dimensions Various dimensions Height: 30 cm traditional hand-crafting skills and digital technology to expand the ArtFunded: £2,450 ArtFunded: £10,998 ArtFunded: £7,350 possibilities of craft, creating a body of Total cost: £5,500 Total cost: £33,952 (presented through Art Fund Collect) work that explores abstract qualities. Total cost: £7,350 Eden developed his techniques while © Inverness Museum and Art Gallery © Ipswich Museum completing a master’s degree at the © Courtesy the artist and Royal College of Art – since then, he Hartlebury Castle in Worchestershire Spanning across three or four centuries, Adrian Sassoon has continued to push the boundaries served as a Royalist garrison during the this collection includes 40 Anglo-Saxon of digital technology, producing Civil War, and doubled as a mint when coins, five cruciform brooches, three increasingly large and complex works. the Royalist forces needed emergency foreign imports, and a rare coin weight. Speaking about his work, Eden says: coinage. Half-crowns from the Hartlebury The range of artefacts found suggests ‘Three-dimensional printing allows mint are extremely rare: the example the site was used for high- the customisation of objects, and in this hoard (found at Muir of Ord value transactions, and several items gives me the creative freedom to do near Inverness) is the first known from from the site may be regarded as high- things impossible with the wheel and Scotland, and only the third or fourth status objects. clay.’ PrtInd Vase references the friezes from the whole of Britain. that often decorated classical urns, transforming them into pixellated forms that reflect the vase’s digital origins.

6820 6821 6825 6826 Jersey Kendal Lincoln Liverpool Jersey Museum Abbot Hall Art Gallery The Collection: Art and Archaeology Walker Art Gallery Colonel Joshua Gosselin Bodil Manz (b. 1944) in Lincolnshire Sarah Pickstone (b. 1965) (1739–1813) Composition in Yellow and Red Attributed to Alfred Stannard Stevie Smith and the Willow La Hougue Bie a Jersey 2013 (1806–89) 2011 1775 Slip-cast porcelain and enamel Fenland Landscape Oil, enamel and acrylic on Pen, ink and watercolour on paper Height: 15 cm; diameter 18 cm 19th century aluminium panel 13 x 16 cm Oil on canvas 198.3 x 229 cm ArtFunded: £2,430 26.7 x 36.8 cm ArtFunded: £1,250 (presented through Art Fund Collect) ArtFunded: £7,200 Total cost: £4,000 Total cost: £2,430 Art Fund Bequest from Sylvia Morant Total cost: £7,200

Painted by Joshua Gosselin, a member © The artist This work is thought to depict a Norfolk © Sarah Pickstone of one of Guernsey’s oldest established Fenland landscape, and fits into the families, this watercolour is the earliest Born in Copenhagen in 1954 and museum’s collection of works by the Sarah Pickstone won the prestigious known view of La Hogue Bie, a medieval graduating from the city’s School of Arts Norwich School of painters. Its style and John Moores painting prize for this chapel in Jersey. The group of figures and Crafts in 1965, Bodil Manz is one of subject matter are consistent with the painting, created in oil, enamel and to the left represents one of the first Denmark’s leading ceramicists. Working works of Alfred Stannard, a Norwich- acrylic on an aluminium panel. The depictions of the island’s famous in the studio she established with her born painter who was the younger unsettling central figure is based on a knitting industry. late husband, the ceramicist Richard brother of fellow Norwich School drawing by the 20th-century poet Stevie Manz, she creates wafer-thin vessels artist Joseph Stannard. Smith, described by Philip Larkin as ‘the overlaid with abstract forms and lines. authority on sadness’.

6822 6823 6827 Kirriemuir Leeds Liverpool Kirriemuir Museum Temple Newsam House Walker Art Gallery Brook & Son Edinburgh Phillips Garden (active 1738–63) Ivor Abrahams (b. 1935) Freedom Casket and Burgess Ticket Silver shell basket, 1754 Head of the Stairs 1929 Silver 2000 Silver, enamel and mahogany 23 x 35 x 38 cm Reinforced fibreglass sheet, acrylic 29 x 13 x 15.5 cm paint and varnish ArtFunded: £15,000 Height: 300 cm ArtFunded: £3,730 Total cost: £79,000 Total cost: £8,712 Art Fund Gift from Professor Ivor Attributed to virtuoso goldsmith Abrahams and Evelyne Abrahams This striking piece of interwar Scottish Phillips Garden, this Rococco basket silverware was awarded to author Sir takes the form of a shell supported by © The artist James Matthew Barrie when he was three dolphins which serve as feet. A granted the Freedom of the Burgh of mermaid with twin tails performs the Born in Wigan and gaining international Kirriemuir in 1930. Barrie, celebrated function of a handle, and the rim of the recognition in the 1960s, Ivor Abrahams as the author of Peter Pan, was born basket is decorated with shells, scrolls creates work that blurs the boundary in Kirriemuir in 1860. The casket is of and sea foam. between sculpture and painting. Head of an eclectic design, combining forms the Stairs represents the view from the inspired by East Asian design with top of a stairwell, taking the Cubist elaborate decorations derived from technique of combining multiple medieval Scottish stone carvings. perspectives in a single image and extending it into the third dimension. 70 The Art Fund in 2013/14 71

6828 The Vanity of Small Differences explores 6831 Created in the 15th century for London the themes of class mobility and London communal drinking at feasts, this Arts Council Collection the influence social class has on our British Museum masterpiece of medieval secular (jointly with British Council) aesthetic taste. Inspired by William Unknown maker silverwork was put to use as a church Grayson Perry (b. 1960) Hogarth’s A Rake’s Progress the six The Lacock Cup chalice after being donated to St The Vanity of Small Differences tapestries chart the ‘class journey’ made c. 1430–50 Cyriac’s church in Lacock, the village in 2012 by young Tim Rakewell and include Silver, partly-gilded Wiltshire that gives the cup its name. Textiles many of the characters, incidents and Height: 35 cm; diameter: 13.8 cm Despite its secular origins, the design 200 x 400 cm each tapestry objects Grayson Perry encountered of the cup – foregoing religious images on journeys through Sunderland, ArtFunded: £150,000 in favour of clean lines and Gothic ArtFunded: £37,040 Tunbridge Wells and the Cotswolds Total cost: £1,300,000 patterning – meant it could be put (gift of the artist and Victoria Miro for the television series All in the Best to use as a religious vessel following Gallery with the support of Channel 4 Possible Taste with Grayson Perry. The the Reformation. The newly formed Television, the Art Fund and Sfumato programmes were first aired on Channel Protestant church’s hostility towards Foundation with additional support 4 in May to June 2012. In the series religious iconography made the cup from AlixPartners) Perry goes ‘on a safari amongst the taste a perfect chalice for use at Eucharist. Total cost: £77,040 tribes of Britain’, to gather inspiration While ‘chalice-shaped’ secular cups for his artwork, literally weaving the were popular in the late Middle Ages, © Grayson Perry, courtesy of the artist characters he meets into a narrative, most were destroyed as a result of and the Victoria Miro Gallery with an attention to the minutiae of changing fashions or to claim their value contemporary taste every bit as acute as as bullion, making the Lacock cup a rare that in Hogarth’s 18th-century paintings. survivor. The quality of craftsmanship is stunning and, despite centuries of use, the cup remains in near-perfect condition, with no apparent alterations to its original exterior.

6829 London-based artist Alice Channer 6832 London works across a range of media, London Arts Council Collection exploring concepts of the body British Museum Alice Channer (b. 1977) and its relationship with dress. She Hitomi Hosono (b. 1978) 1) Amphibians; 2) Smooth Metal originally focused on 20th-century and Large Feather Leaves Bowl Body; 3) Maxi, Mini, Midi, Midi, Midi contemporary fashion, but recently 2013 (Mauve and Cream) her work has expanded its exploration Moulded and hand-built porcelain 2012 to encompass classical clothing and Height: 46 cm; diameter: 48.5 cm 1) Mirror polished steel, cast drapery, opening a dialogue with aluminium and marble; 2) crepe de historical sculpture. In Amphibians, ArtFunded: £8,550 Chine and chrome bar; 3) cast and polished steel forms are overlaid with (presented through Art Fund Collect) powder coated aluminium aluminium casts of cheap clothing and Total cost: £8,550 1) 54.5 x 141 x 455 cm; 2) 136 x 300 rods of marble carved with the profiles x 3 cm; 3) 70 x 38 x 47 cm of Channer’s limbs. Hanging the full height of the gallery, Smooth Metal Japanese maker Hitomi Hosono’s works ArtFunded: £10,000 Body features the image of a classical are inspired by leaves from her garden, Total cost: £36,000 sculpture printed on silk crepe. The third incorporating floral designs and intricate work acquired, Maxi, Mini, Midi, Midi, branching forms. Speaking about her art, © Courtesy of The Approach, London Midi (Mauve and Cream), has aluminium Hitomi says: ‘I find myself drawn to the casts of leggings hung from the wall as intricacy of plants, examining the veins abstract forms. These are the first works of a leaf, how its edges are shaped, the by Channer to enter the Arts Council layering of a flower’s petals.’ Collection.

These unique sets of linocuts by Pablo As a cartoonist, satirist, comedian, 6830 Picasso, made when the artist was 80, 6833 actor and performer, ‘Willie’ Rushton London contain not only the finished works but London was a leading figure in the satire boom British Museum also the progressive proofs showing Cartoon Museum that swept Britain in the 1960s. While Pablo Picasso (1881–1973) the step-by-step sequence by which William George ‘Willie’ Rushton attending Shrewsbury School, Rushton Two sets of linocuts the artist developed the images into (1937–96) met Richard Ingrams, Paul Foot and 1) Still Life under the Lamp their final form. The first set of linocuts Poster for Private Eye Christopher Booker – years later, the 2) Jacqueline Reading acquired by the museum features nine 1961 four would work together on Private 1962 progressive proofs and the final print Ink and watercolour on paper Eye, the first issue of which was put Linocut prints of one of Picasso’s late masterpieces, with collage together in Rushton’s bedroom at 1) 52.8 x 63.9 cm; 2) 64 x 53 cm Still Life under the Lamp, a composition 45.5 x 30 cm his family home in Kensington. This of apples on a table next to a brightly watercoloured collage, written and ArtFunded: £200,000 lit goblet. The nine proofs show how ArtFunded: £830 drawn by Rushton himself – he was a Total cost: £500,000 Picasso progressively cut and printed Total cost: £2,500 self-taught artist – was created after from a single block to gradually build the first issue was printed, seeking © Succession Picasso/DACS, an image of increasing complexity. © The artist’s estate volunteers to help with distribution and London 2014 The second, monochrome set includes sales. The phone number on the poster four progressive proofs for Jacqueline belonged to Peter Usborne, one of the Reading, a portrait of Picasso’s second magazine’s founders, and the small wife Jacqueline Roque. The technique holes at the corners suggest that the differs from the still life, as the artist used design was used as a poster. The picture two blocks to create the finished piece, provides an insight into the very earliest with the two impressions superimposed days of a magazine that would become to create the final work. one of Britain’s most famous satirical institutions. 72 The Art Fund in 2013/14 73

6834 6835 6839 London London London Cartoon Museum Charles Dickens Museum Imperial War Museum George Roland Halkett (1855–1918) Daniel Maclise (1806–70) Robin Craig Guthrie (1902–71) Collection of 86 political cartoons The Children of Charles Dickens Portrait of Edward Thomas Mid-19th – early 20th century 1841 1930–6 Pencil, watercolour and ink on paper Pencil on paper Linocut print Various dimensions Diameter: 38 cm 64 x 21 cm

Art Fund Gift ArtFunded: £8,000 Art Fund Gift from Marina Vaizey in Total cost: £28,500 memory of her late husband, Lord George Roland Halkett was a Scottish John Vaizey caricaturist who was art critic for the Maclise (a family friend) created this Edinburgh Evening News, frequently portrait for Catherine Dickens to take © The estate of the artist contributed drawings to Punch and with her on a visit to America with her served as editor of the Pall Mall husband Charles (she was reluctant to Born in Hampshire, Robin Craig Guthrie Magazine from 1900 to 1905. Halkett go, as this meant leaving her children was a portrait, genre and landscape studied art in Paris, and was elected behind). The drawing shows Charley, painter who studied at the Slade School President of the Society of Illustrators Katey, Mamie and Walter alongside Grip, of Fine Art. This posthumous full-length in 1897. This collection of works is part Charles Dickens’s pet raven. portrait of the poet Edward Thomas of a larger gift of works by Halkett that (who was killed serving in the army in the can also be found under review number First World War) depicts him in uniform, 6471 in the 2010 annual report. viewed slightly from the rear, rendered in black and lime ink.

6836 6837 6840 George Stubbs created these two works London London London in 1772, after Captain James Cook Garden Museum Geffrye Museum National Maritime Museum brought back the skins of a kangaroo Harold Gilman (1876–1919) Henry Nelson O’Neil (1817–80) George Stubbs (1724–1806) and a dingo from his ‘voyage of Portrait of a Black Gardener The Sleeping Soldier 1) The Kongouro from New Holland discovery’ to Australasia. The skins were 1905 c. 1860–70 2) Portrait of a Large Dog used as models for Stubbs’s paintings, Oil on canvas Oil on canvas 1772 which were the first depictions of the 131.5 x 77.5 cm 93 x 72.5 cm Oil on panel animals in Western art. The works were 1) 60.5 x 71.5 cm; 2) 61 x 71 cm first exhibited in London in 1773 and ArtFunded: £5,000 ArtFunded: £10,750 have stayed in the UK ever since. They Total cost: £135,254 Total cost: £15,000 ArtFunded: £180,000 were privately owned until late 2012, (with assistance from the when they were sold to a private buyer This intriguing image, originally O’Neil specialised in historical scenes Wolfson Foundation) outside the UK. The artistic and historical entitled Portrait of a Negro Gardener, and genre subjects. Several of his Total cost: £4,455,000 (tax remission) significance of the works led them to be was painted by Gilman in 1905 and is an paintings deal with contemporary placed under an export bar in January important cultural artefact. It is thought military events, among them Home 2013, when the National Maritime to be the earliest example in 20th- Again, which the Art Fund helped the Museum launched an appeal to raise century British art of a person of sub- Museum of London acquire in 2004. the funds to keep them in the country. Saharan origin being the sole subject of Home Again is a bustling, multi-figure They were acquired with assistance from a full-length portrait. scene showing soldiers returning from the Wolfson Foundation. the Indian Mutiny, but in The Sleeping Soldier O’Neil explores a much more intimate vein.

Spectacularly glossy, bursting with a Little is known about William Larkin, 6838 vibrant red that is endlessly reflected 6841 but he seems to have been one of the London within its own mirrored surfaces, London leading British portraitists of the early Guildhall Art Gallery Mark Titchner’s wall sculpture Plenty National Portrait Gallery 17th century. His paintings are notable Mark Titchner (b. 1973) and Progress seems at first glance to William Larkin (d. 1619) for their faithful rendering of the textiles, Plenty and Progress embody the affluence evoked by its Portrait of Lady Anne Clifford embroidery and jewellery that were 2012 title. Yet a closer inspection reveals 1618 fashionable among Jacobean courtiers. Polished stainless steel, fixings, that the apparent plenty is only surface Oil on oak panel This portrait shows Lady Anne Clifford, acrylic spray paint and lacquer deep. The sculpture isn’t precious 57.5 x 43.5 cm Countess of Dorset and later Countess 125 x 125 x 17 cm metal but stainless steel, a material of of Pembroke, who was best known austerity, while the circularity of the work ArtFunded: £70,000 for her widely publicised campaign ArtFunded: £5,000 seemingly resists any notion of linear (with assistance from the to claim her rightful inheritance from Total cost: £19,800 progress. Situated within the City of Wolfson Foundation) her father, George Clifford, 3rd Earl London, the historic centre of Britain’s Total cost: £275,000 of Cumberland. He had bequeathed © Mark Titchner financial services industry, the Guildhall money to Anne but left his extensive Art Gallery is perfectly placed to explore land and properties to her uncle. Anne the often-controversial issues of money, Clifford would ultimately inherit most of wealth and the economy. Plenty and the disputed estates following the death Progress will form the cornerstone of a of her uncle and cousin, becoming one new collection of contemporary art at of the wealthiest women in England. the gallery, intended to provoke debate Today, she is seen as a proto-feminist on the merits – and faults – of capitalism. because, in a society dominated by men, she refused to settle for less than she believed was her due. 74 The Art Fund in 2013/14 75

6842 6843 6846 This installation is widely considered London London London to be the signature work of one of the National Portrait Gallery Royal College of Music, Tate best-known artists of his generation. It Paul Emsley (b. 1947) Centre for Performance History Martin Creed (b. 1968) was first shown at Tate when the artist HRH the Duchess of Cambridge Jean-Baptiste Delafosse (1721–1806) Work No. 227: ‘The Lights Going On won the Turner Prize in 2001, generating 2012 Leopold Mozart and his Children And Off’ extensive press coverage and going on Oil on canvas c. 1770 2000 to form an important part of the history 115 x 96.5 cm Etching on paper Gallery lights of contemporary art in Britain. The work 37 x 21 cm Display dimensions variable consists of an empty room which is filled ArtFunded: £34,260 with light for five seconds and then (A National Portrait Gallery Art Fund Bequest from Martin Guthrie ArtFunded: £40,000 plunged into darkness for five seconds, commission given by Sir Hugh Total cost: £124,000 repeated indefinitely. With this work, Leggatt in memory of Sir Denis This etching portrays Wolfgang Creed celebrates the mechanics of the Mahon through the Art Fund) Amadeus Mozart, aged seven, © The artist, courtesy of Hauser and everyday, and in exploiting the existing Total cost: £34,260 performing with his father, Leopold, and Wirth light fittings of the gallery space he sister, Maria Anna (‘Nannerl’). It is based creates a new and unexpected effect: © National Portrait Gallery, London on a watercolour by Louis Carmontelle. an empty room with lighting that seems Correspondence indicates that Leopold to be misbehaving itself confounds purchased a number of impressions the viewers’ normal expectations, Created by 2007 BP Portrait Award of the image to use as gifts when the forcing them to reflect on the gallery winner Paul Emsley, this is the first family toured Europe. space itself. official painted portrait of the Duchess of Cambridge, who was involved in the selection and interviewing process for the commission. Emsley’s subjects are frequently depicted against a dark background and emphasise ‘the singularity and silence of the form’.

6844 This magnificent painting is widely 6847 London regarded as one of Constable’s London Tate supreme masterpieces. Indeed some Tate John Constable (1776–1837) admirers acclaim it as the absolute Pierre Jeanneret (1896–1967) Salisbury Cathedral from the summit of his achievement: the art Fernand Léger (1881–1955) Meadows historian Leslie Parris, for example, Charlotte Perriand (1903–99) 1831 described it as ‘the greatest of his Objects Reacting Poetically Oil on canvas major set-pieces’. It was one of the last c. 1931–6 152 x 190 cm of a sequence of particularly large and Gelatin silver prints on paper imposing paintings that Constable 25 prints: 5.5 x 5.5 cm ArtFunded: £629,000 called his ‘six-footers’. The sequence (with assistance from the begins with The White Horse (Frick ArtFunded: £25,000 Wolfson Foundation) Collection, New York), exhibited in Total cost: £96,113 Total cost: £23,100,000 1819, and includes The Hay Wain (National Gallery, London), exhibited © ADAGP, Paris and DACS, London 2014 in 1821. Salisbury Cathedral was first shown at the Royal Academy’s This series is a photographic summer exhibition in 1831, then collaboration between three leading subsequently at exhibitions in Worcester modernists of the inter-war period. and Birmingham at the direction of The series combines various kinds Constable, who wanted the work to be of photographic image, including seen by as many people as possible. close-up images of organic objects and ‘I have no doubt of this picture being formations, and of man-made objects my best now’, he wrote in July 1834. This and fragments of industrial materials. work was acquired with assistance from the Wolfson Foundation.

6845 Spanning nearly fifty years of Russian 6848 Featuring works by Khalil Joreige, London history, encompassing the 1905 London Tal Shochat, Nermine Hammam, Tate revolution that established a national Victoria and Albert Museum Yto Barrada, Jananne Al-Ani, Joana Various artists constitution, the Bolshevik Revolution Various photographers Hadjithomas and Khalil Joreige, this The David King Collection of 1917, and the period of Soviet Art Fund Collection of Middle collection of works builds on the c. 1905–58 rule up to and including the death of Eastern Photography success of the first two tranches of Various media Joseph Stalin in 1953, this collection of 1997–2011 the Art Fund Collection of Middle Various dimensions graphic art and posters paints a vivid Various media Eastern Photography, which were picture of one of the most significant Various dimensions acquired for the V&A and the British ArtFunded: £100,000 – and visually striking – periods in Museum in 2009 and 2010. The works Total cost: £1,500,000 Russian history. The collection was ArtFunded: £41,903 were in the 2012–13 V&A exhibition assembled by David King, a designer Total cost: £41,903 ‘Light from the Middle East: New © The artist and photographer who was art editor Photography,’ the first major museum of the Sunday Times Magazine. King © Nermine Hammam exhibition of contemporary Middle travelled the world looking for powerful Eastern photography, featuring works images for the magazine’s features, and by artists ranging from North Africa developed a life-long interest in Russia to Central Asia. The works investigate after visiting Moscow and Leningrad the language and techniques of in 1970. His unique collection includes photography, whether using the camera original posters, photographs, graphics, to record events and experiences, books, albums, banners, magazines, or revealing the unreliability of newspapers and other printed photography as documentation. Many ephemera. of the images echo earlier works, from Old Master paintings to photographs of contemporary celebrities, while others manipulate the original photographs beyond recognition to explore the limits of the medium. Illustrated here is The Break from the Uppekka series, 2011, by Nemine Hammam. 76 The Art Fund in 2013/14 77

6849 6850 6854 Christopher Dresser was one of London London Middlesbrough Britain’s first industrial designers, Victoria and Albert Museum Wallace Collection Dorman Museum working across a wide spectrum from Jacqueline Mina (b. 1942) French Christopher Dresser (1834–1904) kitchenware to wallpaper. He created Brooch Signet Ring of Alfred-Emilien O’Hara, A collection of works affordable, well-designed products for 1996 Comte de Nieuwerkerke 1865–1903 mass consumption. Dresser studied Platinum gauze and gold granules c. 1850 Various materials at the Government School of Design 3 x 5.5 cm Steel, partly gilded and with Various dimensions in South Kensington – now the Royal hardstone inlay College of Art – and his early designs Art Fund Gift from Katherine Purcell Diameter: 2.5 cm ArtFunded: £45,750 created for manufacturers such as Total cost: £175,000 Minton & Co were typically Victorian, © Jacqueline Mina ArtFunded: £5,000 elaborate and heavily ornamented. A Total cost: £5,000 visit to Japan in the 1870s had a radical Jacqueline Mina is one of Britain’s most impact on Dresser’s work. The purity of significant contemporary jewellers, and © Wallace Collection form and function that he discovered was awarded the Jerwood Applied Arts in Japanese industry became a key Prize in 2000. Many of her works explore This superbly wrought object is influence on his work. This collection the potential of fusing of gold with emblematic of its owner, who was a spans Dresser’s entire career, from platinum, as in this intricate platinum- sculptor, museum director and collector. his early high-Victorian designs to the gauze brooch accented by individual In 1871 he left France, following the proto-modernist works of his later years. granules of gold nested in the textile- collapse of the regime of his patron Many of the objects are thought to be inspired weave. Napoleon III, and the next year settled at unique, including a James Dixon & Sons Lucca in Italy. To finance his life in exile, toast rack and a tea set and egg boiler he sold his renowned collection to Sir designed for Hukin & Heath. Richard Wallace. It was particularly rich in arms and armour, forming the core of the Wallace Collection’s outstanding representation in this field.

6851 This hanging (of which a detail is shown) 6855 London is a rare example of a collaboration Middlesbrough William Morris Gallery between three members of the Morris mima (Middlesbrough Institute William Morris (1834–96) family: William, who designed the of Modern Art) Jane Morris (1839-1914) honeysuckle pattern, and his wife Jane Paulo Bruscky (b. 1949) Jenny Morris (1861-1935) and daughter Jenny, who embroidered 1) Art is molded as one wants (Arte se Honeysuckle Embroidery the fabric. Jane Morris (née Burden) molda como se quer); 2) Poem molded c. 1880–90 met William while working as a model for mail (Poema moldado para correio); Block printed linen embroidered for his friend Dante Gabriel Rossetti, 3) Molded Stamp #5; 4) Molded Stamp with silks and married him soon afterwards, in #9; 5) Molded Poem #1 267 x 150 cm 1859. Rossetti’s paintings of her – one 1967–77 of which was used as the lead image Various materials ArtFunded: £18,460 for Tate Britain’s recent Pre-Raphaelite Various dimensions Total cost: £30,912 exhibition – have become iconic. William and Jane’s elder daughter, Jenny, ArtFunded: £29,239 developed epilepsy as a child and spent (presented through her adult life being cared for by the Art Fund International) family. There are few pieces that can be Total cost: £29,239 definitely attributed to either Jenny’s or Jane’s hand, making this hanging a © Paulo Bruscky significant addition to the William Morris Gallery collection. Born in Recife, Brazil, Paulo Bruscky became involved in the international mail-art movement in the late 1960s. His moldado, or ‘molded’, artworks employ sewing instructions to form visual poems. Deconstructing dress patterns, he extends the metaphor across a wide range of media, including stamps, books and envelopes.

6856 This project was commissioned for 6852 6853 Middlesbrough mima and consists of five pencil Maidstone Manchester mima drawings, a working drawing and a Maidstone Museum and Bentlif Whitworth Art Gallery Lawrence Weiner (b. 1942) temporary installation of the artist’s Art Gallery Georges Adéagbo (b. 1942) A line is a line for all that characteristic vinyl lettering on the glass Boughton Malherbe Hoard Le devenir de l’être humain, parlant 2010 façade. Lawrence Weiner’s wall and c. 875–800 BC du destin de l’être humain, et faisant 1) wall text; 2–3) pencil, gouache glass installations have been a primary Copper alloy voir le destin de l’être humain; Le Roi and ink on paper medium for the artist since the 1970s Various dimensions d’Angleterre et la reine d’Angleterre 1) various dimensions and consist solely of words painted (The Becoming of the Human Being, 2–3) 82.5 x 103 cm or printed on walls. Weiner has been ArtFunded: £2,000 Talking about the Destiny of the long recognised as a central figure Total cost: £6,000 Human Being, and Showing the ArtFunded: £87,741 among the founders and developers Destiny of the Human Being; (presented through of conceptual art. He has defined art Discovered by metal-detectorists in a The King of England and the Queen Art Fund International) as ‘the relationship of human beings field near Boughton Malherbe in Kent, of England) Total cost: £87,741 to objects and of objects to objects this is the third-largest Bronze Age hoard 2000 and 2012 in relation to human beings’, and this ever found in Britain, consisting of over Various materials © Courtesy of the artist notion constitutes the core of all of 350 objects and fragments. The hoard Various dimensions his work to date. The museum also provides a unique insight into the lives acquired a limited edition artist’s of the inhabitants of Kent in the 9th ArtFunded: £10,000 book about the project. century BC. Total cost: £41,607

© Georges Adéagbo

The bulk of the materials in the installation were gathered by Georges Adéagbo in Paris at the turn of the Millennium. Prior to its installation in the UK, Adéagbo gathered further materials capturing the spirit in Manchester at the time of the London Olympics, adding items he had found of African origin. 78 The Art Fund in 2013/14 79

6857 Brígida Baltar’s artworks are small 6862 Born in the Bronx borough of New York Middlesbrough poetic actions and gestures exploring Middlesbrough City, Glenn Ligon creates mixed-media mima the transience of experience. Born mima works which reference the visual arts, Brígida Baltar (b. 1959) in Rio de Janeiro, she studied at the Glenn Ligon (b. 1960) literature and history to explore his Five drawings and three photographs School of Visual Arts of Parque Lage, Negro Sunshine II #17 experiences as an African American and from the Collecting Mist series and in the 1990s began participating 2010 a gay man living in the USA. His highly 1998–2004 in significant international exhibitions, Oil stick and gesso on paper conceptual works are both intertextual 1) Indian ink on paper; 2–5) ink on including the 1994 Havana Biennial. 30.5 x 22.9 cm and autobiographical, examining race, paper; 6–8) photographs Developed between 1996 and 2001, language, desire, sexuality and identity. 1–5) 32 x 24 cm; 6–8) 100 x 150 cm her Collecting Mist series confronts the ArtFunded: £9,090 Ligon came to prominence in the early impossibility and frustration of trying to (presented through Art Fund 1990s with the generation of American ArtFunded: £21,398 capture something immaterial, as she International) artists that included Lorna Simpson, (presented through ‘bottles’ transient substances from the Total cost: £9,090 Gary Simmons and Janine Anyoni. In Art Fund International) air in small glass flasks. Speaking about 2009 Barack Obama acquired Ligon’s Total cost: £21,398 her work, art critic Guy Brett states that © The artist 1992 work Black Like Me No. 2 for the ‘Baltar takes up a particular position in White House collection, installing it in © Brígida Baltar relation to a condition we all share’ – the his private living quarters. Taken from experience of trying to hold on to a Melanctha, a 1909 novella by Gertrude moment, only to find that it slips through Stein, the words ‘negro sunshine’ our grasp. appear in several works. He first used them in one of his neon works, a 22-foot-long sign; this oil and gesso work, featuring the phrase repeated across a sheet of paper, is a later incorporation of Stein’s words.

6858 6859 6863 6864 Middlesbrough Middlesbrough Middlesbrough Middlesbrough mima mima mima mima Jorge Luis Macchi (b. 1963) Guillerma Kuitca (b. 1961) Ângela Ferreira (b. 1958) Graham Gussin (b. 1960) 1) XYZ; 2) Empty Bottle 1) People on Fire; 2) Untitled Group of works from the Stone Free Unresolved Material 2012 (City Plan) series 2010 Various materials 2002 2012 Ink on canvas Various dimensions Mixed media Various materials 184 x 245 cm 1) 27.9 x 43.2 cm; 2) 27.9 x 21.6 cm Various dimensions ArtFunded: £14,928 (unframed) ArtFunded: £5,000 (presented through ArtFunded: £5,000 Total cost: £10,000 Art Fund International) ArtFunded: £14,170 Total cost: £36,000 Total cost: £14,928 (presented through © Graham Gussin Art Fund International) © Ângela Ferreira © Courtesy the artist Total cost: £14,170 British artist Graham Gussin created Ângela Ferreira is a Portuguese-born Unresolved Material for his 2012 solo Argentinian artist Jorge Luis Macchi’s © Courtesy the artist artist living and working in Wales. show at New Art Centre, Salisbury. The work explores absence, which he feels These works were created for ‘Stone rippling monochrome surface is formed is ‘more present than the presence Guillerma Kuitca has long been Free’, Ferreira’s 2012 exhibition at from the accumulation of geometric itself’. In these works Macchi’s vision of fascinated with mapping and how easily Marlborough Contemporary in London. shapes, drawn in ink, on the canvas. absence is represented by the stopped navigational tools break down. His The works connect the Cullinan Gussin currently lectures at the Slade clock of video installation XYZ and the early works were installations of beds, Diamond Mines in South Africa with School of Fine Art at University College empty bottles of his watercolour diptych. the grey, stained mattresses painted Kent’s Chislehurst Caves to explore London. with road-atlas imprints of cities and the legacy of colonialism. motorways. His current exploration of city maps, theatre seating plans and family trees sees an extension of his interest in mapping.

6860 6861 6865 Middlesbrough Middlesbrough Middlesbrough mima mima mima Cadu (b. 1977) André Komatsu (b. 1977) Stella Vine (b. 1969) 1) Hino dos Vencedores / Winner 1) Tereza entre nos No more lies, no more fear, no more Hymn 7; 2) Sisyphus 2) Construtores #3 hate, no more tears 2008–12 2006–10 2012 Various materials 1) Sisal rope and iron hook Acrylic on canvas Various dimensions 2) Drawing on paper 320 x 600 cm 1) 60 x 60 x 60 cm; 2) 115 x 82 cm ArtFunded: £10,073 (each, in 4 parts) Art Fund Gift from Stella Vine (presented through Art Fund International) ArtFunded: £9,814 © Stella Vine Total cost: £10,073 (presented through Art Fund International) Most famous for her portraits of Kate © Courtesy the artist Total cost: £9,814 Moss and Princess Diana, London-based artist Stella Vine takes inspiration from Born in São Paolo in 1977 and known © Courtesy the artist popular culture for her raw and colourful by the mononym Cadu, Brazilian artist art. This panel juxtaposes comic book Carlos Eduardo Felix da Costa builds The Brazilian artist André Komatsu heroine Wonder Woman with children instruments and drawing machines creates works that interrogate the from the Middle East. that create their own art, embracing negotiation and power structures unpredictability and surrendering to of urban spaces, with a focus on the chance. He sees his mechanisms as physical and socially established limits tools for creating ‘strange relationships’ encountered while walking through between man and nature. his native São Paolo. He describes his work as reflecting the experience of navigating the spaces of the city. 80 The Art Fund in 2013/14 81

6866 Based on the central work of Paul 6871 A Danish ceramicist based in London, Newcastle upon Tyne Noble’s 2010 Laing Art Gallery Oldham Merete Rasmussen creates entrancing Laing Art Gallery exhibition, this impressive tapestry Gallery Oldham abstract sculptural forms. Inspired by Paul Noble (b. 1963) recreates Noble’s painstaking pencil Merete Rasmussen (b. 1974) the Möbius strip – a band featuring a Villa Joe draughtsmanship in hand-dyed yarn. Blue Loop half-twist to create a shape with only 2008 It was created for ‘Demons, Yarns and c. 2013 one surface – Rasmussen’s works often Wool tapestry; edition 2/2 Tales’, a 2008 project for which 14 Stoneware with coloured slip feature a single continuous form. She 448 x 456 cm contemporary artists were invited to 68 x 75 x 65 cm hand-builds her stoneware sculptures, produce works in tapestry. It shows a employing glaze and slip to emphasise ArtFunded: £23,400 ‘personalised holiday villa’ near Nobson ArtFunded: £7,200 the topology of her sculptures, often Total cost: £58,500 Newtown, an imaginary city that Noble (presented through Art Fund Collect) finishing her pieces with monochrome has been creating for 15 years. The Total cost: £7,200 matt surfaces. Writing about her work, © Paul Noble picture is strewn with visual jokes and she says: ‘I am interested in the way allusions: on closer inspection the © Merete Rasmussen one defines and comprehends space rock towers reveal themselves to be a through physical form. My shapes patchwork of Henry Moore sculptures, can represent an idea of a captured helmets and reclining figures, while the movement, as a flowing form stretching design of the villa spells out the word or curling around itself, or the idea Joe in Nobfont, a typeface of Noble’s can derive from repeated natural invention. Noble was born in Dilston, forms or even complex mathematical and grew up in Whitley Bay, both fairly constructions.’ Her work has been near to Newcastle, making this an exhibited widely, and is held in public appropriate acquisition for the Laing collections from the Victoria and Albert Art Gallery. Museum in London to the Museum of Arts and Design in New York.

6867 6868 6872 William Henry Fox Talbot was a Victorian Norwich Norwich Oxford polymath who invented pioneering Norwich Castle Museum and Norwich Castle Museum and Bodleian Library photographic techniques. After a Art Gallery Art Gallery William Henry Fox Talbot brilliant student career at Trinity College, Anglo-Saxon Mark Edwards (b. 1965) (1800–77) Cambridge, he began publishing The Binham Bracteates River Bungay Personal archive of William Henry scientific papers in 1822 and was Late 5th–early 6th century 2010 Fox Talbot elected a Fellow of the Royal Society Gold Transparency in light box 1806–77, but with some 20th-century at the exceptionally early age of 31. Diameter: 44–50 mm 122 x 152 cm material He is best known for inventing the Various materials calotype process, an early photographic ArtFunded: £3,000 ArtFunded: £2,000 Various dimensions technique using paper coated with silver Total cost: £8,800 Total cost: £8,000 iodide. Calotype was the first method Art Funded: £200,000 of taking photographs that created These rare Scandinavian bracteates © Mark Edwards (with assistance from the negatives from which many positive (pendant ornaments) were inspired Wolfson Foundation) prints could be made, and formed the by the designs of late Roman coins. Mark Edwards employs the techniques Total cost: £3,250,000 basis for most 19th-and 20th-century They join two bracteates already in the of 19th-century photographers to create photography. Talbot publicised Norwich Castle collection, acquired with seductive landscapes of East Anglia, his discovery in 1841, following Art Fund help in 2005 and 2011. All an area where he has spent most of his his competitor Louis Daguerre’s four come from the same small area of adult life. Working with a large-format announcement of his own photographic Norfolk, forming the largest assembly of camera, tall tripod and ladder, he process, the daguerreotype. This archive gold from 6th-century Britain. captures places of unassuming beauty, gives a unique insight into Talbot’s life such as this wetland scene. and work. It includes early photographs – including one made by Talbot’s wife Constance, which may be the earliest such image made by a woman – original manuscripts by Talbot, family diaries and correspondence.

6869 6870 6873 Norwich Nottingham Poole Norwich Castle Museum and Nottingham Castle Museum and Art Borough of Poole Museum Service Art Gallery Gallery Bernard Finnigan Gribble (1873–1962) Unknown maker Thomas Joshua Cooper (b. 1946) Poole Quay on a Busy Day with Hawking vervel of Henry Frederick, 1) Message to Narcissus, Nesscliffe, Boats and Figures Prince of Wales, c. 1610–12 Shropshire; 2) A Quality of Dancing c. 1935 Silver (Tree with Cloud), Nesscliffe, Oil on panel Diameter: 10.5 mm Shropshire; 3) Ceremonial Dwellings, 61 x 81 cm Horsley, Derbyshire, 1975–8 ArtFunded: £2,000 Gelatin silver prints Art Funded: £1,000 Total cost: £6,000 1) 12 x 17 cm; 2) 27.9 x 35.6 cm; Total cost: £6,000 3) 12 x 17 cm © Norwich Castle Museum and © Nicholas Robert Gribble Art Gallery ArtFunded: £3,840 Total cost: £9,600 Bernard Finnigan Gribble was one of A vervel is the metal loop used to Britain’s most distinguished maritime connect leather straps to hunting hawks’ © Courtesy the Artist/Ingleby painters. He spent his later years in Poole, legs, enabling them to be tied to stands Gallery, Edinburgh becoming one of the town’s best-known or leashes. This example, discovered artists. Poole Quay on a Busy Day is the in Norfolk by metal-detectorists, has Cooper has travelled the world for his finest painting of the town’s famous quay special significance as an inscription art, visiting ‘uncharted’ territories on the that Gribble is known to have produced. shows it was owned by Henry Frederick, boundaries of human civilisation. These Prince of Wales (1594–1612). dense, monochrome images transform environmental features into textures, a tree becoming a streak across the mottled grey of a wall, and wild flowers becoming a splash of light against a dark backdrop of undergrowth. 82 The Art Fund in 2013/14 83

6874 Born in Seto, a city in Japan’s Aichi 6878 6879 Preston prefecture, Shigekazu Nagae is an Scarborough Shrewsbury Harris Museum and Art Gallery innovative figure in Japanese ceramics. Scarborough Art Gallery Shrewsbury Museum and Art Gallery Shigekazu Nagae (b. 1953) He takes the technique of casting Robert Ernest Roe (1851–1921) Caughley Porcelain Manufactory Forms in Succession porcelain, commonly associated with Boats Making a Dash for Whitby (active c. 1770–1800) 2010 mass-production, and extends its Harbour in a Storm Caughley double-handled sauceboat Porcelain possibilities to create unique sculptural c. 1881–7 c. 1772-99 43 x 29 x 33 cm forms. He first slip-casts liquid porcelain Oil on canvas Porcelain into two different moulds. The porcelain 76 x 127 cm Height: 10 cm ArtFunded: £6,500 is then dried and bisque-fired, before (presented through Art Fund Collect) the separate pieces are suspended ArtFunded: £5,000 Art Fund Gift from the Rev Richard Total cost: £6,500 within the kiln, attached together with Total cost: £11,000 Hayes glaze. The organic curvature of his © Yufuku Gallery works are the result of the kiln process, In this painting a fishing fleet is forced which causes the sheets of porcelain to abandon its work and head for the This soft-paste porcelain sauceboat, to drape and taper. Speaking about harbour as a storm front approaches distinctively decorated with floral his Rsunanari no Katachi (‘Forms in from the sea. The two arms of the patterns in underglaze blue, is a fine Succession’) series, Nagae said: ‘Glaze is harbour, each crowned by a lighthouse, example of porcelain from the Caughley applied to each connecting part before identify the coastal town as Whitby, while factory, which was established near firing, then the pieces are suspended the vessels depicted are drawn from Broseley in Shropshire by Ambrose in mid-air within the kiln. As the glaze various eras. Gallimore and Thomas Turner and melts through the kiln fires, it crystalises produced some of England’s finest into glass. Thus what is left are “ceramic porcelain of the late 18th century. forms in succession”.’ Nagae’s work has received international acclaim, earning him awards including the Grand Prix at Nyon’s Triennale de la Porcelain.

6875 In September 2011 a metal-detectorist 6880 6881 Preston discovered a hoard of Viking jewellery Skipton Southampton Museum of Lancashire and coins buried in a lead pouch under Craven Museum and Art Gallery Southampton City Art Gallery Silverdale Viking Hoard a field in Silverdale, Lancashire. Now Arthur Reginald Smith (1871–1934) Clare Woods (b. 1972) Mid-9th – mid-10th century known as the Silverdale Hoard, the Collection of 16 works by Arthur Funnelled Hole Various materials collection is made up of more than 200 Reginald Smith 2011 Various dimensions items believed to date from around Late 19th – mid-20th century Oil on aluminium AD 900, making it one of the largest Various materials 100 x 150 cm ArtFunded: £33,000 and most important hoards of Viking Various dimensions (with assistance from the treasure ever to have been discovered ArtFunded: £2,500 Wolfson Foundation) in the UK. The hoard includes jewellery, Art Fund Gift from Geoffrey Lawrence Total cost: £8,000 Total cost: £109,815 coins from Viking kingdoms across Britain, Europe and Arabia, and 141 This group of works was created by © the artist fragments known as hacksilver – Arthur Reginald Smith, a Yorkshire arm-rings and ingots that had been artist who developed his style during a Born in Southampton and working in chopped into smaller pieces, which scholarship in Italy and spent much of his London and Herefordshire, painter Clare the Vikings used as money. One of the life running art classes at Leighton House Woods creates semi-abstract landscapes most beautiful and fascinating items in in London. Smith regularly exhibited inspired by her own photographs of the hoard is a magnificent nested silver paintings at the Fine Art Society as part undergrowth and vegetation. Funnelled bracelet, consisting of three interlocking of the Wharfedale Group. Hole, a characteristic landscape arm-rings. The outer arm-ring is the rendered on aluminium in sharply most elaborate, decorated with a contrasting colours, featured in her sophisticated double zig-zag pattern 2012 solo show ‘The Dark Matter’ and tapering towards the ends, which at Southampton City Art Gallery. are shaped like the heads of fabulous beasts.

Born in Oxford in 1977, Alice Channer 6876 6877 6882 studied fine art at Goldsmiths College Reading Saffron Walden Southampton and sculpture at the Royal College Museum of Reading Fry Art Gallery Southampton City Art Gallery of Art. The techniques, materials and Sir Terry Frost (1915–2003) Eric Ravilious (1903–42) Alice Channer (b. 1977) culture of fabric work are central to Red, Black and White Construction Two Scrapbook Albums Dilate her art, as in this pair of drawings 1996 c. 1916–39 2010 showing flattened polka-dot cowls. Oil paint on canvas with pre-painted Pencil drawings, watercolour Cigarette ash, pencil and gouache Channer traces the prevalence of found discs and coloured leather laces sketches and prints on paper fabrics in her work to early experience 74 x 165 x 8 cm Each album: 22 x 30 x 10 cm 35.5 x 26.6 cm of watching her mother working with textiles: ‘My mum was always making ArtFunded: £5,000 ArtFunded: £7,500 ArtFunded: £1,500 things or sewing things – that was Total cost: £14,000 Total cost: £40,000 Total cost: £4,400 my first experience in how the world could be made. I did not have a father © The estate of Terry Frost These two scrapbooks provide a © Courtesy of The Approach, London who was an architect: I had a mother fascinating insight into Ravilious’s who was a seamstress.’ Just as the In Red, Black and White Construction, working methods, revealing how he transformation of two-dimensional Frost brings together paint and found married art with design and commercial fabrics into three-dimensional objects objects to animate the space in front of interests. The material included ranges is fundamental to working with textiles, the canvas. He associated the spirals in from watercolours painted by Ravilious Dilate subverts fabric work by rendering the piece with movement, a connection when he was 13 to final pre-production three-dimensional scarves as flat, two- he traced back to an early experience proofs of works created late in the dimensional forms. of driving on a winter morning, the sun his career. appearing to spin as it passed behind trees. 84 The Art Fund in 2013/14 85

6883 6884 6888 To create this sculpture, Turner Southampton Southampton Wakefield Prize-nominee Roger Hiorns pumped Southampton City Art Gallery Southampton City Art Gallery On loan from the Arts Council 75,000 litres of liquid copper sulphate Tim Head (b. 1946) Allan Gwynne-Jones (1892–1982) Collection to Yorkshire Sculpture Park into an empty council flat in London. Horizontal Lines II Summer Morning, Froxfield, Roger Hiorns (b. 1975) The result – a growth of scintillating 2009 Petersfield Seizure 2008/2013 blue crystal covering every surface Permanent marker pen on paper 1924 2008 in the room – was both beautiful and 100 x 140 cm Oil on canvas Various materials including copper threatening, inspiring the Guardian’s 30 x 45 cm sulphate crystals, steel, concrete, Jonathan Jones to describe it as ‘one ArtFunded: £1,500 plywood, domestic fittings of the truly worthwhile and significant Total cost: £4,250 Art Fund Gift from Mary Sinclair Variable dimensions moments of modern British art’. Hiorns’s sculpture was at risk of being destroyed © Tim Head © The estate of the Artist ArtFunded: £10,000 when it was announced that the social (donated by the artist, Artangel housing block containing it was to be Composed of lines of ink running across A qualified solicitor who fought at the and the Jerwood Charitable demolished in early 2011. It was saved a sheet of paper, Horizontal Lines II is Battle of the Somme, Allan Gwynne- Foundation through the Art Fund, thanks to a gift by the artist, Artangel typical of Tim Head’s work, attracting Jones turned down a career in law to with the support of The Henry and the Jerwood Charitable Foundation attention to the movement of the pen pursue his love of painting. He became Moore Foundation. Seizure was made through the Art Fund, together itself rather than any external subject. a Royal Academician in 1956 and was commissioned by Artangel and the with the support of The Henry Moore Head’s technique mimics the action of appointed a Commander of the Order Jerwood Charitable Foundation with Foundation. The work – which weighed a print head of a photocopier sweeping of the British Empire two years before the support of the National Lottery over 31 tonnes – was extracted from the across a sheet of paper. his death. through Arts Council England) flat using a elaborate process during Total cost: £32,498 which one wall of the building was removed, allowing the sculpture to be transferred to Yorkshire Sculpture Park © The artist. All Rights Reserved, in one piece. DACS 2014. Photo: Marcus Leith

6885 6886 6889 Born in Lahore, Rashid Rana is one of Stoke-on-Trent Tain Walsall Pakistan’s pre-eminent contemporary Potteries Museum and Art Gallery Tain and District Museum New Art Gallery Walsall artists. His work has been displayed in Various artists Hugh Ross I (c. 1685–1732) (jointly with Birmingham Museum galleries across the globe, including an Fifteen pieces of late 18th and early Thistle Cup and Art Gallery) exhibition at London’s Lisson Gallery 19th-century porcelain c. 1710 Rashid Rana (b. 1969) in 2011. Througout his career Rana c. 1750–1810 Silver Language Series 3 has experimented with a wide range Various dimensions Height: 4.4 cm; diameter: 4.8 cm 2011 of media, including abstract paintings C-print and Diasec on canvas, collaborations on billboard, ArtFunded: £2,631 ArtFunded: £9,200 270 x 360 cm video performances, found-material Total cost: £9,445 Total cost: £27,600 collages and stainless steel sculptures. ArtFunded: £45,085 He is best known for his distinctive This collection of British porcelain Hugh Ross was a Tain silversmith (presented through photographic works: large mosaics includes several pieces from working in the early 18th century, and Art Fund International) constructed from hundreds of Staffordshire and from factories with his works are the earliest surviving Total cost: £45,085 smaller images. connections to the area. The works examples of Tain silverware. This rare have been selected from a larger cup is engraved with two sets of initials: © Rashid Rana collection that has been on loan to AS over IR; and CM, which may refer to the Potteries Museum for a number Arthur Sutherland, minister of Edderton, of years, and were chosen for their his wife Janet Ross, and possibly Ross’s relevance to its collection. father-in-law Charles Manson.

6887 6890 6891 Telford Walsall Walsall Ironbridge Gorge Museum Trust New Art Gallery Walsall New Art Gallery Walsall Drummond Masterton (b. 1977) (jointly with Birmingham Museum (jointly with Birmingham Museum Grand Galibier and Art Gallery) and Art Gallery) 2010 Naiza Khan (b. 1968) Huang Xu (b. 1968) Aluminium, computer numerically 1) Membrane; 2) The City Soaks Up Fragment No. 10, ed. 3/6 controlled drilling Like a Sponge; 3) The Structures Do 2007 13.8 x 24.7 x 24.7 cm Not Hold; 4) In this Landscape there Chromophotograph is No Certainty 215 x 122 cm ArtFunded: £7,000 2010–11 (presented through Art Fund Collect) 1) Screenprint and graphite on paper; ArtFunded: £4,667 Total cost: £7,000 2–3) ink and watercolour on Arches (presented through paper; 4) oil on canvas Art Fund International) © Drummond Masterton Various dimensions Total cost: £4,667

British silversmith Drummond Masterton ArtFunded: £22,000 © The artist trained as a 3D designer at Gray’s (presented through School of Art in Aberdeen before Art Fund International) Born and working in Beijing, Huang Xu studying at the Royal College of Art Total cost: £22,000 photographs the detritus of urban living, in London. His work explores the creating snapshots of economic decay possibilities of computer-aided design © Naiza H Khan and that have been exhibited from Australia and manufacture, employing computer Rossi & Rossi, London to the UK. Fragment No.10 is a close-up numerical control machines to craft of a ghostly organic form that, on closer tableware inspired by the landscape. Based in Karachi, multimedia artist observation, is revealed to be a plastic The title of this work comes from a Naiza Khan studied at the Wimbledon bag. mountain in the Alps. School of Art, London, and the Ruskin School of Drawing and Fine Art, Oxford. Khan creates poetic and enigmatic works which engage with the urban environment of contemporary Pakistan and the destruction of its communities. 86 The Art Fund in 2013/14 87

6892 6893 6896 York Art Gallery has been given Welshpool Woking York £100,000 to create a collection of Powysland Museum The Lightbox York Art Gallery contemporary fine art, with a focus Montgomery Roman coin hoard Various artists Helen Chadwick on flesh and artists’ responses to the c. 238–274 Collection of modern and Ego Geometria Sum IV: Boat, human body. The gallery will acquire Silver contemporary British sculpture age 2 years works by established artists working Various dimensions Mid-20th – early 21st century 1983 across a range of media. The capsule Various materials Photographic emulsion on plywood collection will provide the foundation for ArtFunded: £2,787 Various dimensions 38 x 24 x 91cm further contemporary collecting at York, Total cost: £18,097 kick-starting an initiative that will work Art Fund Gift from Joan Hurst ArtFunded: £27,221 with the local community to provide This hoard of 3rd-century AD Roman (presented by the Art Fund, engagement with significant but often silver coins was discovered near © John Martin Gallery with support from the Esmée challenging works of art. The gallery’s Montgomery in Powys in June 2011 by Fairbairn Foundation) current contemporary collection of a local metal-detectorist. Comprising This collection of 17 modern and Total cost: £27,221 65 works has been assembled largely almost 5,000 coins, the hoard greatly contemporary British sculptures through gifts – the £100,000 fund given expands Powysland Museum’s collection represents some of the country’s most © The artist through the Art Fund’s Renew scheme of Roman archaeology from the significant and influential artists. It will allow the gallery to develop a more Montgomeryshire area. includes work by renowned sculptors proactive approach to contemporary Lynn Chadwick, Jacob Epstein, Elisabeth collecting. The works collected will Frink (her Horse and Rider (Robed), have clear links to the work of William 1985, is shown right) and Sophie Ryder, Etty (1787–1849), a York-born artist who played key roles in shaping British who specialised in nudes. The works art in the 20th century. we helped York Art Gallery to acquire through the Renew scheme in 2012 can be found under review number 6761 in the 2012 annual report.

6894 Sometimes called the father of Arts and Wolverhampton Crafts architecture, Philip Webb was Wightwick Manor (jointly with a lifelong friend and business partner National Trust) of William Morris. He is best known Philip Webb (1831–1915) as the architect of the Red House in 1) The Fox; 2) The Hare; 3) The Raven; Bexleyheath, which he designed for 4) The Lion, c. 1886 William Morris in 1859. These four Watercolour on paper watercolours were original designs 1) 89 x 58 cm; 2) 87 x 57 cm; for Morris’s tapestry The Forest. 3) 66 x 49 cm; 4) 58 x 72 cm Depicting a hare, fox, raven and lion, the watercolours were owned by ArtFunded: £60,000 local industrialist Laurence Hodson, (with assistance from the a philanthropist and collector who Wolfson Foundation) decorated his home at Compton Total cost: £186,715 Hall, Wolverhampton, with Morris furnishings. The works were last exhibited in Wolverhampton over a century ago, but have returned to public display in the city after their purchase for Wightwick Manor. Built for the industrialist Theodore Mander in 1887 and extended by his son Geoffrey, Wightwick is furnished with Morris textiles and wallpapers and features one of Britain’s greatest Arts and Crafts interiors.

Wolverhampton Art Gallery and the 6895 Imperial War Museum have been given Wolverhampton £150,000 to develop a collection about Wolverhampton Art Gallery conflict in Israel and Palestine and its (jointly with Imperial War Museum) implications in the wider Middle East. Sharif Waked Both institutions had identified the Chic Point (Fashion for Israeli conflict as a key area for collecting – checkpoints) ed. 1/5 (plus 1 AP) there has been a broad range of artistic 2003 responses to the conflict, and the two Digital video organisations will select a coherent 5 minutes 7 seconds (looped) body of work that will form a foundation for future collecting. The collection will ArtFunded: £17,856 encompass a range of media from film (presented by the Art Fund, and photography to painting, sculpture with support from the Esmée and installations, including works by Fairbairn Foundation) both established artists and emerging Total cost: £17,856 voices. Funded through the Art Fund’s Renew scheme, the collection will © The artist provide a rich ground for interpreting the conflict within the institutions’ local communities, presenting opportunities to explore wider themes of culture, identity and human nature. The works we helped Wolverhampton Art Gallery (jointly with Imperial War Museum) to acquire through the Renew scheme in 2012 can be found under review number 6716 in the 2012 annual report. 88 The Art Fund in 2013/14 89 Finance review Consolidated statement of financial activities year ended 31 December 2013

Results for the year Investments and reserves 2012 2013 Unrestricted Restricted Endowment In 2013 we were able to fund our charitable Our membership is also the principal base The investment portfolio performed well, £’000 Total Funds Funds Funds programme without any additional drawings from which we raise money for special with unrealised gains of £4.5 million (around Restated Incoming resources Notes £’000 £’000 £’000 £ ‘000 from reserves for the first time in six years, appeals, and in early December 2013 we 14 per cent), and total reserves rose by Incoming resources from generated funds thanks to continuing success in increasing launched an appeal with the National Portrait £4.4 million. At the end of the year we 2,441 Voluntary income – donations 2,246 1,530 716 - income from our membership and Gallery to save Sir Anthony Van Dyck’s held over £5 million in cash and short-term 3,136 – legacies 1,866 1,846 20 - fundraising activities. Charitable programme self-portrait. This continued into 2014, but deposits, some of which was spent on the 5,577 4,112 3,376 736 - spend (excluding restricted appeals income) by the year-end we had already been able final refurbishment and acquisition costs of Activities for generating funds rose by 11 per cent compared to 2012 when to raise an impressive £374,000 towards the new premises in early 2014. The capital 242 Trading activities 307 264 43 - adjusted to exclude the £1.47 million of the acquisition on top of our own grant costs spent to date on refurbishment have 844 Fundraising events 887 887 - - grants for Art Fund International which had of £500,000. Other restricted fundraising been recognised as assets in the course of - Other income 87 87 - - been made directly from reserves in that included support for the Art Everywhere construction. We end the year showing £40 1,086 1,281 1,238 43 - year. Our ability to fund our expenditure poster project run in August. Elsewhere million in reserves for the first time in our 110 355 Investment income 320 289 18 13 without having to rely on our reserves is general donations fell slightly in what is year history. Maintaining a healthy level of critical to our plans to increase our support an increasingly competitive climate as reserves has proved crucial in recent years to Incoming resources from charitable activities for museums and galleries in a long-term more and more arts organisations look to enable us to act swiftly to secure great works 4,159 Members subscriptions 4,845 4,845 - - and sustainable way. private philanthropy to raise their funds. at short notice and to invest in long term 3,893 Profit on disposal of fixed asset - - - - Our network of volunteers raised £361,000 strategies to grow revenue income. 15,070 Total incoming resources 10,558 9,748 797 13 Overall incoming resources were down after costs. Trading company turnover compared to the level achieved in 2012, increased through sponsorship funding for The trustees have a total return approach Less cost of generating funds which included the one-off profit from Art Everywhere, and we held costs of sales to the Art Fund’s investment portfolio, 639 Costs of generating voluntary income 638 601 37 - the sale of Millais House as well as an down, increasing the resultant profit further. and in late 2011 decided to reduce the 116 Costs of trading activities 110 110 - - exceptionally high legacy figure largely Income from legacies was sustained at just distribution rate to 3.5 per cent of the trailing 486 Cost of fundraising events 526 526 - - due to a £1.2 million legacy from Sir Denis under £1.9 million, and we were particularly twelve quarter average market value of the 25 Investment advisors’ costs 26 26 - - Mahon. Excluding these factors, underlying grateful to receive legacies of more than investments. The intention is to produce a 1,266 1,300 1,263 37 - income rose by 5 per cent, with growth in £100,000 from the estates of Miss Sarah consistent and sustainable amount to pay for 13,804 Net incoming resources for charitable application 9,258 8,485 760 13 membership income again being the most Colville and Mr Albert Williams. core costs while maintaining the purchasing significant contributor, up by £686,000 power of the portfolio over the long term. Charitable expenditure or 16 per cent on 2012. A further 16,000 Spending on our charitable programme Although financial markets have done well in 2,633 Grants for the purchase of works of art 3 4,017 3,989 15 13 new memberships were recruited, but the totalled £4.8 million, or £5.2 million when the past two years we remain cautious 404 Special appeals 3 374 - 374 - real success in income terms comes from the additional commitment of restricted and have decided to leave the distribution 1,471 Art Fund International 3 - - - - sustaining high levels of retention, which appeal money for the Van Dyck is included. rate unchanged. 500 Grant from previous year not required 3 (500) (500) - - has averaged 85 percent overall since the Commitments to acquisitions were just 704 Art Fund projects 797 657 140 - National Art Pass was launched in April 2011. over £4 million, and we committed a further The board has reviewed the level of free 445 Grant support costs 453 453 - - £797,000 towards the other aspects of our reserves and has determined that they 1,053 Membership services 1,131 1,131 - - charitable programme including tours of remain appropriate to the Art Fund’s needs. 1,599 Marketing and development 1,817 1,624 193 - works of art, support for curators, and the The board has a policy of maintaining 466 Publications 460 460 - - Art Fund Prize for Museum of the Year. Most a relatively high level of free reserves in 588 Communications 506 506 - - other areas of expenditure (membership order to provide a stable income stream - Premises project costs (non capital) 335 335 - - services, recruitment, and communications) to underwrite the Art Fund’s core costs; 55 Governance costs 56 56 - - were in line with 2012, except marketing to provide stability against financial risk; 9,918 Charitable expenditure 9,446 8,711 722 13 where the increase is due to the spending and because outstanding works of art that out of monies received towards the Art command very high prices have to be 11,184 Total Resources Expended 5 10,746 9,974 759 13 Everywhere project. £335,000 of costs on acquired from time to time at relatively the new premises project which cannot be short notice. 3,886 Net incoming/(outgoing) resources for the year (188) (226) 38 - capitalized are also included; these include 3,087 Net unrealised gains on investment assets 4,542 4,150 206 186 the rent on Millais House following its sale, 6,973 Net movement in funds 4,354 3,924 244 186 and legal and other fees. 29,650 Fund balances at 1 January 36,623 33,146 1,986 1,491 36,623 Fund balances at 31 December 40,977 37,070 2,230 1,677

All gains and losses recognised in the year are included in the statement of financial activities, and are derived from continuing activities.

Paul Zuckerman Treasurer 28 April 2014 90 The Art Fund in 2013/14 91 Balance sheets Consolidated cash flow statement 31 December 2013 year ended 31 December 2013

Group Charity 2013 2012 2013 2012 2013 2012 £’000 £’000 Notes £’000 £’000 £’000 £’000 Reconciliation of changes in resources to net cash flow from operating activities Fixed assets Net outgoing resources from operating activities (188) (7) Tangible fixed assets 6 5,619 103 5,619 103 Profit on disposal of fixed asset - 3,893 Investments 7 35,233 33,764 35,233 33,764 Net incoming/(outgoing) resources (188) 3,886 40,852 33,867 40,852 33,867 Depreciation of tangible fixed assets 20 55 Current assets (Increase)/Decrease in stock 7 - Stock 8 12 19 - - (Increase)/Decrease in debtors (193) (495) Debtors 9 1,342 1,149 1,468 1,177 Increase/(Decrease) in creditors: Current liabilities 2,601 230 Cash and short-term deposits 5,449 5,348 5,319 5,326 Increase/(Decrease) in creditors: Long term (27) (24) 6,803 6,516 6,787 6,503 Increase/(Decrease) in provision for grants authorised but not paid 344 (1,364) Current liabilities Provision for grants authorised but not paid 3 2,668 2,324 2,668 2,324 Net cash inflow from operating activities 2,564 2,288 Creditors: due within one year 10 3,753 1,152 3,740 1,142 Purchase of tangible fixed assets (5,536) (13) 6,421 3,476 6,408 3,466 Disposal of tangible fixed assets - 1,166 Purchase of investments (10,224) (13,726) Net current assets/(liabilities) 382 3,040 379 3,037 Proceeds from sale of investments 13,297 15,168 Increase/(Decrease) in cash in the year 101 4,883 Total assets less current liabilities 41,234 36,907 41,231 36,904 Creditors due after more than one year 10 257 284 257 284 Net assets 40,977 36,623 40,974 36,620 At 1 January At 31 December 2013 Cashflow 2013 Funds Analysis of changes in cash £’000 £’000 £’000 Permanent endowment funds 11 1,677 1,491 1,677 1,491 Cash and short-term deposits 5,348 101 5,449 Other restricted funds 11 2,230 1,986 2,187 1,986 5,348 101 5,449 Unrestricted funds 11 37,070 33,146 37,110 33,143 Total funds 13 40,977 36,623 40,974 36,620

Approved and authorised for issue by the board on 28 April 2014 and signed on its behalf by:

David Verey Paul Zuckerman Chairman Treasurer 92 The Art Fund in 2013/14 93

Notes to the accounts year ended 31 December 2013 Notes to the accounts (continued) year ended 31 December 2013

1. Accounting policies 2. Net surplus of trading company (a) The accounts have been prepared under (c) Expenditure is recognised on an accruals (e) Fixed asset investments are stated 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 the historical cost convention as modified basis, gross of any related income in the at market value in accordance with the and runs various events, activities and also merchandising on behalf of the Art Fund. The company donates its taxable profits to the Art Fund by the valuation of fixed-asset investments statement of financial activities. Where costs revised statement of recommended 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 and in accordance with the Art Fund’s Royal cannot be directly attributed to particular practice. It is the Art Fund’s policy to have been filed with the Registrar of Companies. Charter, and in compliance with the Charities categories they have been allocated to keep valuations up to date so that when Act 2011, the Statement of Recommended activities on a headcount basis. investments are sold no gain or loss arises. 2013 2012 Practice ‘Accounting and Reporting by As a result the statement of financial Profit and loss account £’000 £’000 Charities’ (revised 2005) (‘SORP’), and with Cost of generating funds includes those activities includes those unrealised gains Turnover 311 245 applicable accounting standards. costs directly attributable to the fundraising and losses arising from the revaluation on Cost of sales (91) (95) events held by the Art Fund’s regions, the the investment portfolio throughout the Gross profit 220 150 The consolidated accounts include the operation of the trading subsidiary and the year. The statement of financial activities Administrative expenses (19) (21) accounts of the charity and its subsidiary fees charged by the investment advisors does not distinguish between the valuation 201 129 undertaking, Art Fund Services Limited, for overseeing the management of the adjustments relating to sales and those Interest payable (1) (2) which is wholly owned and registered investment portfolio. It also includes, under relating to continued holdings as they are Net profit 200 127 in England and Wales, on a line-by-line costs of generating voluntary income, the together treated as changes in the value of Gift Aid (200) (127) basis. Transactions and balances between cost of raising major gifts from all sources the investment portfolio. Retained in subsidiary - - the charity and its subsidiary have been as well as costs of legacy administration and eliminated from the consolidated financial marketing. Special appeal costs are also now (f) Fixed assets with a value of £100 or Turnover of £307,000 (2012: £242,000) is included in trading income and turnover of £4,000 (2012: £3,000) is included in fundraising statements. Balances between the group included in this line and the prior year has more are stated at cost when acquired and income in the consolidated statement of financial activities. The growth in trading income is partly accounted for by £43,000 of companies are disclosed in the notes of the been re-stated accordingly. depreciated on a straight-line basis over their sponsorship for Art Everywhere. charity’s balance sheet. A separate statement estimated useful lives at the following rates: of financial activities, or income and Grants for the purchase of works of The assets and liabilities of the trading company as at 31 December 2013 were as follows: expenditure account, for the charity itself is art are charged in the year when the Buildings 1% 2013 2012 not presented because the charity has taken offer is made. The income from special Computers 33% £’000 £’000 advantage of the exemption afforded by appeals, net of costs, is also counted as Fixtures and fittings 20% Total assets 182 92 paragraph 397 of SORP 2005. a grant commitment. Where grants are Total liabilities 179 (89) subsequently not taken up these are No depreciation is charged on freehold land. Net assets 3 3 (b) Voluntary income comprising donations credited to the charge for the year. In 2013 and legacies is credited to incoming this was the case for the appeal for Sir (g) Stocks represent goods for resale, stated The total turnover of the parent charity was £10,247,000 (2012: £14,825,000) and the total surplus was £4,154,000 (2012: £6,843,000). resources when the Art Fund becomes Anthony Van Dyck’s self-portrait. A single at the lower of cost or net realisable value. The 2012 figures include the profit on the disposal of Millais House (£3,893,000). entitled to the income, there is certainty grant of £500,000 that had been offered of receipt and the amount is quantifiable. in 2012 was not taken up and is shown (h) The Art Fund operates a defined 3. Reconciliation of grants given for the purchase of works of art For donations this usually means at date of here separately. A number of new grants contribution pension scheme. The assets receipt. Legacies are included on receipt and have also been approved which promote of the scheme are held separately from 2013 2012 in cases where probate has been received by the enjoyment of art but are not for the those of the Art Fund in an independently £’000 £’000 £’000 £’000 31 December and the cash by the end of the purchase of specific works. administered scheme. The pension cost Grants outstanding 1 January - 2,324 - 3,688 following February. charge represents the amounts payable Grants offered during year 4,357 - 5,020 - Grant support costs comprise the costs of by the Art Fund amounting to £128,277 Grants subsequently not taken up (340) - - - Investment income is included within the processing grant applications, including (2012: £126,071). Van Dyck appeal commitment 374 - - - statement of financial activities in the year in support to actual and potential applicants. Grants from a previous year no longer required (500) - (12) - which it is receivable. (i) Operating leases – expenditure in respect Grants committed shown in statement of financial activities 3,891 6,215 5,008 8,696 Other charitable activities comprise costs of operating leases is accounted for in the Grants paid during the year (note 4) - (3,545) - (6,302) Life members’ subscriptions are credited incurred in attracting new members and period to which it relates. Adjustment for other grants paid in prior year - (2) - (70) to incoming resources in ten equal annual providing services to existing members, Grants outstanding 31 December - 2,668 - 2,324 instalments. Annual subscriptions are including publications and communications. accounted for on a cash basis as and when received. Governance costs include those costs associated with the management of the Gift Aid claimed is included within the Art Fund’s assets and with constitutional statement of financial activities in the year in and statutory requirements. Support costs which it is receivable and within the income are apportioned to charitable expenditure stream to which it relates. on the basis of headcount. 94 The Art Fund in 2013/14 95

Notes to the accounts year ended 31 December 2013 Notes to the accounts year ended 31 December 2013 (continued) (continued)

4. Total grants paid for works of art in 2013 £ Saffron Walden Fry Art Gallery 7,500 Scarborough Scarborough Art Gallery 5,000 Aberdeen Aberdeen University Museums 1,000 Southampton Southampton City Art Gallery 5,500 Angus Kirriemuir Museum 3,730 Stoke-on-Trent The Potteries Museum 2,361 Barnard Castle The Bowes Museum 128,250 Tain Tain and District Museum 9,200 Bath The Holburne Museum 12,655 Telford Ironbridge Gorge Museum Trust 7,000 Birmingham Birmingham Museums Trust 109,300 Walsall New Art Gallery 15,000 Brecon Brecknock Museum and Art Gallery 1,650 Welshpool Powysland Museum 2,787 Bristol Bristol Museum and Art Gallery 93,473 West Midlands West Midlands Consortium 148,185 Cambridge Fitzwilliam Museum 150,000 Wolverhampton Wightwick Manor 60,000 Cambridge Museum of Archaeology and Anthropology 78,189 Wolverhampton Wolverhampton Art Gallery 17,856 Cardiff National Museum Wales 5,000 York York Art Gallery 27,221 Chepstow Chepstow Museum 3,750 Total 3,545,340 Chipping Campden Court Barn Museum 5,500 Colchester Colchester and Ipswich Museums 10,998 * The grant of £629,000 is for Tate in partnership with: National Museum Wales, Cardiff; National Galleries of Scotland, Edinburgh; Cumbria Blackwell Arts and Crafts House 2,430 Colchester and Ipswich Museums; and Salisbury and South Wiltshire Museum. Dundee University of Dundee 55,052 We have agreed to an additional £371,000 of support over the next five years (2014-18) to fund the Aspire programme, enabling the sharing Durham Oriental Museum 1,540 of the painting with the five museum partners - bringing our total support to £1 million. Edinburgh National Museum of Scotland 15,000 Edinburgh Scottish National Gallery 25,000 Enniskillen Fermanagh County Museum 4,500 5. Analysis of total resources expended Exeter Royal Albert Memoriam Museum 7,500 Grants and Falmouth Falmouth Art Gallery 4,400 Staff costs direct expenses Support costs* Depreciation Total Farnham Crafts Study Centre 4,524 £’000 £’000 £’000 £’000 £’000 Glasgow Gallery of Modern Art 147,643 Cost of generating funds Glasgow Glasgow Museums 42,169 Costs of generating voluntary income 476 73 84 5 638 Haworth Brontë Parsonage Museum 9,375 Costs of trading subsidiary 16 94 - - 110 Hull Ferens Art Gallery 200,000 Cost of fundraising/events - 526 - - 526 Inverness Inverness Museum and Art Gallery 2,450 Investment advisors’ costs - 26 - - 26 Jersey Jersey Heritage Museum 1,250 492 719 84 5 1,300 Lancaster Lancashire County Council Museums 33,000 Charitable expenditure Leeds Temple Newsam 15,000 Grants for the purchase of works of art - 3,891 - - 3,891 Leicester New Walk Museum 7,350 Art Fund projects - 797 - - 797 Liverpool Walker Art Gallery 7,200 Grant support costs 273 60 117 3 453 London Arts Council Collection 10,000 Membership services 239 801 88 3 1,131 London Arts Council and British Council Collections 37,040 Marketing and development 303 1,443 68 3 1,817 London British Museum 208,550 Publications 141 263 54 2 460 London British Museum and Wiltshire Heritage Museum 150,000 Communications 271 139 93 3 506 London Cartoon Museum 830 Premises project costs - 335 - - 335 London Dickens Museum 8,000 Governance costs 35 19 1 1 56 London Garden Museum 5,000 1,754 8,467 505 20 10,746 London Geffrye Museum 10,750 London Guildhall Art Gallery 5,000 The audit fee for the year was £18,215 (2012: £17,685). The auditors’ fees for other services in the year were £3,555 (2012: £10,250). London Kenwood House 3,000 * Support costs do not include salaries of £198,000, which are included in the staff costs column. London National Maritime Museum 180,000 ** Premises project costs are those elements of cost relating to the office relocation which cannot be capitalised. The main element is rent on London National Portrait Gallery 104,260 Millais House, which was payable from its sale in November 2012 until it was vacated in March 2014. London Southbank Centre 10,000 London Tate, in partnership with others (see * note) 629,000 London Tate 165,000 London Wallace Collection 5,000 London William Morris Gallery 18,460 London Victoria and Albert Museum 41,903 Maidstone Maidstone Museum and Bentliff Art Gallery 2,000 Manchester Whitworth Art Gallery 10,000 Middlesbrough Dorman Museum 45,750 Middlesbrough Middlesbrough Institute of Modern Art 145,369 Newcastle upon Tyne Laing Art Gallery 23,400 Norwich Norwich Castle Museum and Art Gallery 7,000 Nottingham Nottingham Castle Museum and Art Gallery 3,840 Oldham Gallery Oldham 7,200 Oxford Bodleian Library 200,000 Poole Poole Museum 1,000 Preston Harris Museum and Art Gallery 6,500 Reading Reading Museum 5,000 96 The Art Fund in 2013/14 97

Notes to the accounts year ended 31 December 2013 Notes to the accounts year ended 31 December 2013 (continued) (continued)

Salaries and pensions 7. Fixed asset investments Salaries and pension costs have been allocated to the categories of expenditure to which they relate. 2013 2012 2013 2012 £’000 £’000 £’000 £’000 Total salary and pension costs are: Investments at market value comprised: Salaries 1,465 1,429 UK equities 7,908 7,913 Social security cost 161 161 Overseas equities 11,768 10,653 Other pension costs 128 126 Private equity 6,120 5,674 1,754 1,716 Hedge funds 3,316 2,881 Overseas bonds 1,780 1,799 Number of Number of Gold bullion 677 961 persons persons Cash 3,664 3,883 Average number of staff employed 41 40 35,233 33,764

Employees with emoluments excluding pension contributions totalling £60,000 or more Movement in investments - Group and Charity £60,001-£70,000 1 1 Market value at 1 January 33,764 32,119 £80,001-£90,000 1 1 Sale proceeds (13,297) (15,168) £120,001-£130,000 1 1 Acquisitions at cost 10,224 13,726 Net unrealised gains / (losses) on revaluation 4,542 3,087 Pension contributions in respect of these staff were £34,864 (2012: £34,180). Market value at 31 December 35,233 33,764 Members of the board did not receive any fees in the current or preceding year. Historical cost at 31 December 23,128 24,443 Three members of the board received a total of £685 (2012: £557) reimbursement for expenses incurred in the year. Investments constituting at least 5 per cent of the portfolio at 31 December 2013 (at market value) were: Schroders Private Equity Fund 3 2,572 (7.3%) 2,290 (6.8%) 6. Tangible fixed assets Schroders Private Equity Fund 4 2,335 (6.6%) 2,053 (6.1%) Assets in Computers, Aberdeen Emerging Markets 2,012 (5.7%) 2,225 (6.6%) Land and the course of fixtures BNY Mellon 3,729 (10.6%) 3,865 (11.4%) Buildings construction and fittings Total Legg Mason 1,780 (5.1%) 1,799 (5.3%) Group and charity £’000 £’000 £’000 £’000 Nyes Ledge 2,031 (5.8%) 1,757 (5.2%) Cost AXA Framlington 2,280 (6.5%) 1,758 (5.2%) At 1 January 2013 - - 801 801 Longview Partners 4,030 (11.4%) 3,563 (10.6%) Additions 1,800 3,721 15 5,536 Old Mutual 3,400 (9.7%) - Disposals - - - - Artemis 2,227 (6.3%) - At 31 December 2013 1,800 3,721 816 6,337 Coutts Portfolio Cash 2,500 (7.1%) -

Accumulated depreciation At 1 January 2013 - - 698 698 8. Stock Charge for the year - - 20 20 Group Charity Depreciation on disposal - - - - 2013 2012 2013 2012 At 31 December 2013 - - 718 718 £’000 £’000 £’000 £’000 Net book value Stock for resale 12 19 - - At 31 December 2013 1,800 3,721 98 5,619 At 31 December 2012 - - 103 103 9. Debtors The addition of £1,800,000 to Land and Buildings is the lease premium on 2 Granary Square, King’s Cross, the new offices of the Group Charity Art Fund. The lease is for 999 years, effectively a freehold, and no depreciation has been charged. Assets in the course of construction 2013 2012 2013 2012 represent the refurbishment costs of the building up to December 2013. This work was completed in January 2014 and the office became £’000 £’000 £’000 £’000 operational in February 2014. There were remaining capital commitments of £451,916, as at 31 December 2013. Trade debtors 48 59 8 7 Amounts due from subsidiary undertaking - - 166 80 Other debtors 680 730 680 730 Accrued legacy income 251 170 251 170 VAT 363 190 363 190 1,342 1,149 1,468 1,177 98 The Art Fund in 2013/14 99

Notes to the accounts year ended 31 December 2013 Notes to the accounts year ended 31 December 2013 (continued) (continued)

10. Creditors 11. Net movement in funds (continued) Group Charity 2013 2012 2013 2012 W M Bond bequest Modern Art Fund Jonathan Ruffer Curatorial Grants Scheme £’000 £’000 £’000 £’000 The bequest is to be held in trust for the The income is to be used towards the This fund supports collections-based Falling due within one year Laing Art Gallery, Newcastle upon Tyne, and purchase of 20th-century art. research for curators working across fine and Trade creditors 1,929 406 1,917 398 is to be devoted to the purchase of antique applied art collections. Tax and social security 45 43 45 43 china, pottery and furniture to be displayed Wakefield Fund Other creditors and accruals 1,684 593 1,683 591 in that gallery. The income is to be used for the purchase of Photography Curators Scheme Deferred income 95 110 95 110 contemporary craft. The scheme will support curators working 3,753 1,152 3,740 1,142 R. I. Gunn bequest in photography. Falling due after one year The money to be applied towards the London Historic House Museums Trust Deferred income 257 284 257 284 purchase of one or more paintings or The money was received from the transfer Baltic/Laing commission drawings of the French Impressionist of the assets of the London Historic House This is a commission for the Baltic in The deferred income falling due after one year is the money received for life membership subscriptions, which is released to the statement school for presentation to one or more Museums Trust in October 2009 and is to Gateshead and the Laing Art Gallery in of financial activities over a period of ten years. of the museums or collections of pictures be applied towards the purchase of works Newcastle upon Tyne. belonging to the nation in London or the of art for Kenwood House, Hampstead; University of Oxford. Marble Hill House, Twickenham; The Student National Art Pass 11. Net movement in funds Ranger’s House, Blackheath; and Chiswick The income is used to finance the provision These funds are split between permanent endowment funds where the capital must be retained and other restricted funds where both David and Liza Brown bequest House, Chiswick. of free National Art Passes to students of capital and income can be spent in accordance with the donor’s wishes. Investment income on endowment funds is expendable in The money is for the benefit of the history of art. 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. Department of Prints and Drawings at the Friends of the National British Museum and the Southampton City Museums Liverpool Treasure Plus Balance at Incoming Resources Net Balance at Art Gallery. The money was received from the transfer This is a grants programme for public 1 January resources expended unrealised 31 December of the assets of the Friends of the National engagement projects relating to gains/ transfers David Armstrong bequest Museums Liverpool and is to be applied archaeological material. General fund 33,043 9,748 (15,490) 4,150 31,451 The money is for the benefit of Stirling and towards assisting acquisitions of art by Fixed asset fund 103 - 5,516 - 5,619 Falkirk Museums. the National Museums Liverpool in Other restricted donations Total unrestricted funds 33,146 9,748 (9,974) 4,150 37,070 accordance with the Art Fund’s standard This represents amounts given in respect Campbell Dodgson bequest grant-giving procedures. of specific acquisitions in 2013. Restricted funds The income is for the benefit of the W M Bond bequest 202 2 - 25 229 Department of Prints and Drawings in the Van Dyck appeal R I Gunn bequest 504 4 - 63 571 British Museum. The appeal is being held to support the David and Liza Brown bequest 133 1 (2) - 132 acquisition by the National Portrait Gallery of David Armstrong bequest - 20 - - 20 Cochrane Trust Sir Anthony Van Dyck’s self-portrait. London Historic House Museums Trust 896 8 (3) 111 1,012 The income may be used for the purchase Friends of National Museums Liverpool 56 - (7) 7 56 of works of art not being the work of any Art Everywhere Van Dyck appeal - 410 (410) - - person living at the date of purchase. This involved the display of art on poster Art Everywhere* - 123 (148) - (25) sites around the country in August 2013, Bill Viola commission 127 1 - - 128 Fulham Fund funded by donations from the public. Judith Fairhurst 3 - - - 3 The income generated is neither restricted Jonathan Ruffer Curatorial Grants Scheme 65 51 (52) - 64 nor designated and is therefore taken to Bill Viola commission Photography Curators Scheme - 40 - - 40 unrestricted funds. The funds are held on behalf of supporters Baltic/Laing commission - 50 (50) - - of the Bill Viola commission, supporting the Student National Art Pass - 45 (45) - - Ramsey Dyce bequest acquisition of a video installation at St Paul’s Treasure Plus - 38 (38) - - The income must be used to acquire Cathedral, London. Other restricted donations - 4 (4) - - objects of art to be added to the permanent Total restricted funds 1,986 797 (759) 206 2,230 collection of the Aberdeen Art Gallery. Judith Fairhurst The fund is intended to be used for Permanent Endowment Funds Reginald Jones bequest museums in England and Wales which have Campbell Dodgson bequest 3 - - - 3 The income is to be used to purchase a shortfall in the funds they need to raise Cochrane Trust 111 1 (1) 14 125 pictures and other works of art that are at to buy particular works. These should be Fulham Fund 433 4 (4) 54 487 least 100 years old. historic applied arts, treasure or late 19th- Ramsey Dyce bequest 100 1 (1) 13 113 century/early 20th-century paintings. Reginald Jones bequest 224 2 (2) 28 252 Modern Art Fund 584 5 (5) 73 657 Wakefield Fund 36 - - 4 40 Total endowment funds 1,491 13 (13) 186 1,677 Total Funds 36,623 10,558 (10,746) 4,542 40,977

*The negative balance on Art Everywhere at the end of 2013 arose because expenditure was incurred towards the end of the year in advance of the exercise being repeated in 2014. 100 The Art Fund in 2013/14 101

Notes to the accounts year ended 31 December 2013 (continued) Structure, governance and management

12. Unrestricted funds The Art Fund is governed by its board The day-to-day direction of the Art Fund’s of trustees, which meets six times a affairs is the responsibility of the director At the balance sheet date, the Art Fund’s reserves comprised the following: 2013 2012 year. It currently has 18 members. New who reports to the board through the £’000 £’000 trustees are appointed by the board, on chairman. The director is supported by a Total funds per balance sheet 40,977 36,623 the recommendation of the nominations senior management team consisting of: Endowment funds (note 11) (1,677) (1,491) committee, and their appointment is notified director of finance and resources; director Restricted funds (note 11) (2,230) (1,986) to the membership at the Annual General of development; head of policy and Unrestricted funds as per the balance sheet 37,070 33,146 Meeting (AGM) following their appointment. strategy; head of programmes; director Fixed assets held for charity use (5,619) (103) The five trustees who have been longest of marketing and membership; and head Free reserves at 31 December 2013 31,451 33,043 in office since their last election must retire of communications. each year at the AGM, and are eligible for The Charity Commissioners define free reserves as “income which becomes available to the charity and is to be expended at the board’s reelection. Trustees can serve for a maximum The trading activities of the Art Fund are 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 of two consecutive terms of five years, and carried out by its service company, Art Fund 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 retire at the age of 75. All new trustees Services Limited, a company incorporated against financial risk; and because outstanding works of art that command very high prices have to be acquired from time to time at receive a range of documents regarding in England and Wales (registered number relatively short notice. their responsibilities as charity trustees 1487654). The company is wholly owned by including a board policies and procedures the Art Fund and it donates all its profits in manual. They also attend an induction day the year to the Art Fund by way of Gift Aid. 13. Analysis of net assets between funds at Millais House. Risk management Group Free Designated Restricted Endowment Total The board, while retaining overall The major risks to the Art Fund’s business, reserves funds funds funds funds responsibility, delegates certain functions to finance and reputation, as identified by the £’000 £’000 £’000 £’000 £’000 sub-committees and executive staff. There board, have been reviewed and systems Fund balances at 31 December 2013 are represented by: are two permanent sub-committees. The have been established to mitigate those Tangible fixed assets - 5,619 - - 5,619 finance and general purposes committee, risks. A full risk register has been compiled Investments 33,556 - - 1,677 35,233 which meets up to four times a year under and is held at the Art Fund’s offices. Current assets 4,573 - 2,230 - 6,803 the chairmanship of the treasurer, considers Total liabilities (6,678) - - - (6,678) all matters relating to finance, investments, Total net assets 31,451 5,619 2,230 1,677 40,977 risk management and the administration of the charity including the property. It has four trustee members and three non-trustee Included above are unrealised gains on investment assets at 31 December 2013 4,542 advisory members who attend for their specific skills and expertise. The nominations committee, which meets at least annually 14. Operating leases under the chairmanship of the chairman, considers candidates for membership of the At 31 December 2013 the charity had annual commitments under operating leases which expire: 2013 2012 board and terms of appointment. £ £ In the first year 52,712 216,667 In second to fifth years inclusive 9,828 9,828 62,540 226,495

15. Related party transactions

In December 2013 the board approved a proposal that a new work by the artist Fiona Tan would be commissioned by the Baltic and that subsquently that work, or an alternative work by the artist, would be acquired by the Laing Art Gallery. The commission would be funded from a donation to the Art Fund of £50,000 and would be subject to the further approval of trustees. The artist is represented by Frith Street Gallery, a business of which James Lingwood, trustee, is a director and which is owned by his partner. Mr Lingwood declared his interest at the meeting and took no part in the discussion. 102 The Art Fund in 2013/14 103 Objects and activities Statement of trustees’ responsibilities

Summary of aims and objectives Our strategic aims for the period until 2014 The trustees are responsible for preparing The trustees are responsible for keeping The Art Fund exists to help museums and are: the trustees’ annual report and the financial proper accounting records that are galleries all across the UK to buy, show and statements in accordance with applicable sufficient to show and explain the charity’s share great art so that it can be experienced • to establish the Art Fund as the leading law and United Kingdom Accounting transactions and disclose with reasonable and enjoyed by everyone. Set up over a nationwide fundraising charity for art; Standards (United Kingdom Generally accuracy at any time the financial position hundred years ago, the Art Fund is the Accepted Accounting Practice). of the group and parent charity and enable leading national fundraising charity for art • to develop a coherent and imaginative them to ensure that the financial statements and is independently funded and supported programme of activity that delivers clear Charity law requires the trustees to prepare comply with the Charities and Trustee by 107,000 members and some 550 public benefit; financial statements for each financial year Investment (Scotland) Act 2005, regulations fundraising volunteers across the country. that give a true and fair view of the state of 6 and 8 of the Charities Accounts (Scotland) • to increase the numbers and range of affairs of the group and parent charity and Regulations 2006 (as amended) and the The Art Fund believes that everyone should members and supporters; of the incoming resources and application Charities Act 2011 and regulations made be able to experience great art first hand, of resources of the group for the year. In thereunder. They are also responsible from the historic to the contemporary, and • to increase income from all sources; preparing those financial statements the for safeguarding the assets of the group works to achieve this by: trustees are required to: and parent charity and hence for taking • to improve organisational efficiency and reasonable steps for the prevention and • helping museums and galleries governance. • select suitable accounting policies and detection of fraud and other irregularities. throughout the UK acquire important then apply them consistently; works of art and build new collections; Public benefit The trustees are responsible for the The trustees have taken the Charity • observe the methods and principles in the maintenance and integrity of the financial • supporting museums and galleries to use Commission’s guidance on public benefit Charities SORP; information included on the charity’s website. and develop their collections creatively for into consideration when reviewing the Legislation in the United Kingdom governing the benefit of more people – for example, aims and objectives of the Art Fund. In • make judgments and accounting estimates the preparation and dissemination of the by supporting displays of works of art, setting out the strategy and developing that are reasonable and prudent; financial statements and other information helping develop curatorial expertise, the programme of activity, the Art Fund included in annual reports may differ from and through the annual Art Fund Prize has focused on delivering the widest • prepare the financial statements on legislation in other jurisdictions. for Museum of the Year – celebrating public benefit, in particular by works of the going concern basis unless it is excellence in the sector; art being acquired by public collections in inappropriate to presume that the charity the UK and being available for the public will continue in business. • supporting museums and galleries to enjoy; by works of art being shown and by campaigning for and supporting shared by public collections, backed up financial or regulatory systems or changes by the curatorial expertise to understand which encourage museum visits and and communicate them to the public; by philanthropy; celebrating creativity and excellence in museums which benefits the public through • promoting the enjoyment of art through the annual Art Fund Prize for Museum the National Art Pass, our website, and our of the Year; and by making enjoyment, members’ magazine; understanding and appreciation of works of art available to the public through the • a four-year strategy agreed in 2010 National Art Pass, the Art Fund website and reaffirmed our commitment to help magazine, and other editorial channels. museums and galleries acquire great works and foster appreciation of art by the public. We have ambitiously planned to increase our funding programme by over 50 per cent by 2014 compared to its level in 2009. This is exclusive of any additional support we may raise through special fundraising appeals. 104 The Art Fund in 2013/14 105 Independent auditors’ report to Reference and administrative details the board of the Art Fund year ended 31 December 2013

We have audited the financial statements Scope of the audit of the Matters on which we are required The Art Fund was established in 1903 as Members of the board Advisory members of the finance and of the Art Fund for the year ended 31 financial statements to report by exception the National Art Collections Fund and David Verey CBE chairman (N) general purposes committee December 2013 which comprise the A description of the scope of an audit We have nothing to report in respect of the was granted a Royal Charter in 1928. It is Paul Zuckerman treasurer (F, N) Celia Clear consolidated statement of financial of financial statements is provided on following matters where the Charities Act registered as a charity in England and Wales Caroline Butler (F) Brendan Finucane QC activities, the consolidated and parent the FRC’s website at www.frc.org.uk/ 2011 and the Charities Accounts (Scotland) under number 209174 and in Scotland Richard Calvocoressi CBE Ruth Jarratt charity balance sheets, the consolidated auditscopeukprivate. Regulations 2006 (as amended) requires us under SC038331. In May 2006 the ‘Art Fund’ Professor Michael Craig-Martin CBE RA cash flow statement and the related notes. to report to you if, in our opinion: was adopted as its public and trading name Dame Liz Forgan Director The financial reporting framework that Opinion on financial statements but its full name has been retained for legal Philippa Glanville FSA Dr Stephen Deuchar CBE has been applied in their preparation In our opinion the financial statements: • the information given in the trustees’ purposes. Professor Chris Gosden FBA (N) is applicable law and United Kingdom annual report is inconsistent in any Antony Griffiths FBA Professional advisers Accounting Standards (United Kingdom • give a true and fair view of the state of the material respect with the financial Registered office Alastair Laing FSA Auditors Generally Accepted Accounting Practice). group’s and the parent charity’s affairs as statements; or Until 9 February 2014 Christopher Lloyd CVO BDO LLP at 31 December 2013 and of the group’s Millais House James Lingwood MBE 55 Baker Street This report is made solely to the charity’s incoming resources and application of • proper and sufficient accounting records 7 Cromwell Place Jonathan Marsden LVO FSA London trustees, as a body, in accordance with the resources for the year then ended; have not been kept; or London Sally Osman (F, N) W1U 7EU Charities Act 2011 and the Charities and SW7 2JN Professor Deborah Swallow Trustee Investment (Scotland) Act 2005. • have been properly prepared in • the parent charity financial statements Professor Lisa Tickner FBA (N) Investment Advisors Our audit work has been undertaken so accordance with United Kingdom are not in agreement with the accounting From 10 February 2014 Professor William Vaughan FSA Cambridge Associates LLP that we might state to the charity’s trustees generally accepted accounting records or returns; or 2 Granary Square Michael Wilson OBE (F) 80 Victoria Street those matters we are required to state to practice; and King’s Cross London them in an auditor’s report and for no other • we have not received all the information London F: Also member of the finance and general SW1E 5JL purpose. To the fullest extent permitted • have been prepared in accordance with and explanations we require for our audit. N1C 4BH purposes committee by law, we do not accept or assume the requirements of the Charities Act Bankers responsibility to anyone other than the 2011, the Charities and Trustee Investment N: Also member of the nominations Coutts & Co charity and the charity’s trustees as a body, (Scotland) Act 2005 and regulations 6 committee 440 Strand for our audit work, for this report, or for and 8 of the Charities Accounts (Scotland) London the opinions we have formed. Regulations 2006 (as amended). WC2R 0QS

Respective responsibilities of BDO LLP Solicitors trustees and auditor 30 April 2014 Farrer & Co LLP As explained more fully in the statement 66 Lincoln’s Inn Field of trustees’ responsibilities, the trustees Statutory Auditor London are responsible for the preparation of the London WC2A 3LH financial statements and for being satisfied United Kingdom that they give a true and fair view.

We have been appointed as auditor under section 44(1)(c) of the Charities and Trustee Investment (Scotland) Act 2005 and under section 144 of the Charities Act 2011 and BDO LLP is eligible to act as an auditor in terms of section 1212 of the Companies Act 2006. report in accordance with regulations made under those Acts. Our responsibility BDO LLP is a limited liability partnership is to audit and express an opinion on the registered in England and Wales (with registered financial statements in accordance with number OC305127). applicable law and International Standards on Auditing (UK and Ireland). Those standards require us to comply with the Financial Reporting Council’s (FRC’s) Ethical Standards for Auditors. 106 The Art Fund in 2013/14 107

• Regional Fundraising Cambridgeshire: Ann Millington-Jones Barbara Goodman Jenny Hooper Rosie Joy Volunteer Jenny Josselyn David Oakey Alison Lakin Anne Merriman John Kinross • Our thanks to... Committees 2013 Richard Andrewes (until March 2013) Stella Lowe (until August 2013) Ann Lansdell Cynthia Berger Helen Statham Rosemary Marsh Joy Oura Shropshire: Central South: £41,781 Jean Calhoun London Events Helpers: Walter Nichols Elizabeth Williamson Katherine Garnier Regional Chair: Mary Garratt Carron Batt Mike Potter Cornwall: Myriam Barling Mary Villiers Margaret Harris (until May 2013) Jeffrey Wilner Andrew Holdich Andrea Belloli Bedfordshire: Nigel Harris Carole Cohen Merseyside: Raye Bachmann (until April 2013) Martin Christopher Judy Haylock Caroline Garvey Peter Woods Maggie Cooper Richard Bifield Brenda Abrahams Steve Haylock (from September 2013) Derek Bunting Donald Main Rosemary Campbell Dorothy Broomfield Adrian Popescu Charlotte Henwood Barbara Farmer Jane Mutch (until November 2013) Eileen Carter (from May 2013) (until September 2013) Olwen Mc Laughlin Mary Pearce Diana Dixey 107,000 Art Fund members Elizabeth Chappell Sue Reeves Susan Hoffman (from June 2013) Anthony Phillips (from October 2013) Alan Fletcher Dorothy Richardson Pam Page Pam Meredith-Jones Tim Russ Susanne Dixon Alan Jenkinson Kate Steen Averril Paterson Susie Noble (from May 2013) Elizabeth Errington Jeanne Partridge (from September 2013) Augusta Pownall Sandra Penketh Devon: Crescent Giffard 4,000 patron donors who give in addition to their Timothy Saxon Essex: Sophie Service Sally Warnock Judie Yung Veronica Lillis (until December 2013) Jane Yates Maggie Stockton Elizabeth Williamson Roger Bishop Sarah Sparrow Julia Street David Barlow (until March 2013) Gri Harrison Clare Thompson membership Berkshire: Henry Greenfield North: £15,000 (from July 2013) Christina Trant Fergus Madden Marian Griggs Regional Chair: Northern Ireland: John Hitchins Gareth Williams Jeff Branch Gareth Gunning Lesley Taylor £1,000 Fiona Incoll Staffordshire: Madeline Holl Helen Kent Cumbria: Mark Donnelly Katherine Lacey Mary Baker 550 members who raise funds through their regional (from March 2013) Clive Lucas Philip Cropper Sophia Cross (from July 2013) Anne Anderton Diana Humble Sir Alastair Stewart Charlie Clapperton Olive Gamble Kate Sisum Hilary Boucher Kay Murphy Norfolk: Susan Clapperton Alexandra Greer Beryl Whidden Vivienne Golder volunteer fundraising committees Tim O’Donovan John Brasier Fiona Crombie Rosalind Mulholland Dorset: (from July 2013) Buckinghamshire: Alf Carrington John Horneyold- Peter Rankin David Orr Lisa Henderson Annabel Kennedy Penny Clarke Strickland Henrietta Reade Philippa Francis (until September 2013) Ann Alderson Charlotte Crawley Charles Lambrick (from February 2013) Charli Hill many other organisations and individuals who have (until December 2013) Emma Hazell (from April 2013) South East: £42,000 Carol Hammick Elaine Lyne Chris Allen (from November 2013) Keith Macmillan Regional Chair: Tim Hobson Nigel Morris supported our work, some of whom are listed below: Kirsty Anson Andrew Moore Jan Merrett Rosalie Trefgarne Penny Loder Chris Muspratt (from September 2013) Derek Newman John Merrett Hampshire: Nigel Thimbleby Sue Pope Lionel Avery (from November 2013) Jane Pollock Rosemary Andreae Sally Wilkin Anne Smith Sylvia Avery Roderick O’Donnell Claire Sleightholme Sarah Broke Gloucestershire: Sue Taylor Trusts and Foundations Art Fund Council Andrew and Juliet Gibbs Michael Parker Major donors Kathleen Dibley Lisa Green Kati Russell Margaret Sutcliffe Rosemary Chambers James Pye Alan Townsend The 29th May 1961 Farah Asemi and Lydia and Manfred Gorvy Donald Pearse Anthony Bartleet Madeleine Fagandini (until September 2013) Gervas Steele Durham and Cleveland: Caroline Chataway Naomi Cavendish Warwickshire: Charitable Trust Hassan Alaghband Toby and Jennifer Richard and Elizabeth James Blewett Constance Fraser Maria Groundes-Peace Francesca Vanke Lesley Taylor Henrietta Cooke (until October 2013) Gill Ashley-Smith The Aldama Foundation Barbara Broccoli Greenbury Philipps Barnabas Brunner June Garnett Rebecca Risch (from January 2013) Jane Atkinson Andrea Harris Sylvia Coppen Gardner Peter Ashley-Smith The Ian Askew David Lewis Mark Harris The Lord and Lady Jonathan Davie Mary Greenway (from December 2013) Richard Wilson Jacqueline Brown Elizabeth Henley Susie Esmond Rees Sandra Clowes Charitable Trust Keith Morris and John and Susan Hart Phillimore Sir John Elliott Yvonne Hackenbroch Hertfordshire: Mary Yule Elizabeth Conran James Long Richard Fowler (from September 2013) Awareness Fund Catherine Mason Malcolm Herring David Pike Portia File Patricia Haigh Angus Johnson Suffolk: Steven Fawkes Jeremy Love (from November 2013) David Custance Balmain Charitable Trust David and Emma Verey Lady Heseltine Michael and Sue Prideaux Janian Foy Mary Handy Ian Caldwell Caroline Cowper John Findlay Simon Privett Althea Hamlyn Faith Matthews The Albert Van den Bergh Michael and Jane Wilson Andrew Hochhauser and Sir David and Lady Theresa Fresson Daphne Harper Fenella Davidson Hugh Belsey Colin Hardy (from July 2013) (from November 2013) Dianne Page Charitable Trust And members who prefer Graham Marchant Prosser Diana Gulland Anne Herbert Anna Griffiths Christine Cutler (from March 2013) Penny Rudd John Latham Brian Phillips Peter Cadbury to remain anonymous Patrick Holmes John Rank Laurence Harbottle John Hillelson (from January 2013) Victoria Engleheart Gabrielle Heath Katherine Sellon Jenny Ogle Susan Yeomans Charitable Trust Brian and Celia Hopkinson Neil and Julie Record Caroline Higgitt Hedwig Hunt Garry Griffiths Patricia Grier (from January 2013) Sarah Webster John Playfair Worcestershire: Mrs S L Chambers Patrons Circle Jeffrey Horne Geoffrey and Jean Robert Hiscox Esq Madeline Impey (from January 2013) Diana Huntingford William Morgan Kent: (until January 2013) Caroline Hornyold Charitable Trust Richard and Diana Allan Chris and Philippa Howell Redman-Brown Wendy Huter Lee Johnson Roger Hill Julia Longe (until October 2013) Jane Johnson Sarah Priday Catherine Corbet Milward Clore Duffield Foundation Ryan Allen Robert Hugill and David Sir John and Lady Ritblat Alexander Kahane Mildred Karten Rodney Nairne Jane Paton-Smith Sandra Pollard Alysoun Carey (from November 2013) Anne Carter The John S Cohen Farah Asemi and Hughes Lady Rivett-Carnac Terence Kyle Eric Lanning (until February 2013) Emma Roodhouse Helen Toplis Jenny Cook Ipek Williamson Sam Driver White Foundation Hassan Alaghband Chris and Janet Ingram Louisa Service Lady Leggatt James Masterson John Thomson Catherine Whitworth Northumberland and Julian Cronk Jane Wykeham-Musgrave Nigel Goodman The Sir Jeremiah Colman Hilary Bachelier Carasco Professor and Mrs Ioan Sophia Service I K Lennox Denis Monk (from December 2013) Jones Tyne & Wear: (from January 2013) (until October 2013) Andrew Grant Gift Trust Keith and Barbara Bain James Richard and Elizabeth Dr Dorothy Almar Lunt Lieselotte Montague Mina West Pam Portsmouth Caroline Higgs Somerset: Beatrice Grant The O J Colman Christopher and James and Clare Kirkman Setchim Humphrey Mather Sylvia Morant Northamptonshire: East Midlands: £10,050 Veronica Brodie Marjory Morris Mary Fryer Richard Lockett Charitable Trust Ruth Baker Antony and Zarrina Kurtz Greg and Rachel Sinfield James Mellon Patricia Naylor Katie Lindenbaum Derbyshire: Carolyn Earlam Alison Philip Michael Armstrong Andrew Sanders Dennis Curry Lawrence and David Landau Brian Smith Shelia Morrison Peter Nunn Bruce Bailey Louise Potter (until January 2013) Anna Robertson Sarah Armstrong Annabel Sanders Charitable Trust Elizabeth Banks George and Anne Law Malcolm Smith Alfred and Susan Neville Shelia Oldfield Katherine Cadbury Richard Eastwood Carol Greenwood Felicity Seton Pilla Dingle Richard Slawson The Flow Foundation John Barker David and Amanda David Speller Norman Parsons Francis Pearson Alex Corrin Joan Travis Madeleine Hooper Jo Shepherd-Barron Michael Layard Fenella Smyth Godinton Charitable Trust Victoria Barnsley and Leathers Leigh Spiers John Pattisson Johanna Peebles Judith Hodgkinson Leicestershire and Rutland: David Pearson Surrey: Stephen O’Malley The De Haan Nicholas Howard Ann Lewis Sir Hugh and Lady Claudia Payne Michael Piggott Michael Loe Mark Newton (from June 2013) Diana Geering Tom Rees Yorkshire: £15,352 Charitable Trust Hugh and Penny Baylis His Honour Humphrey Stevenson D R Pelly June Pike Louise Sheppard Manuela Cridland Steve Ray Sue Casbon David Rutherford Regional Chair: The Hawthorne Nada Bayoud and LLoyd QC and Mrs LLoyd Elyane Stilling Richard Reed and Margaret Pond Oxfordshire: Mary Henniker-Major Peter Slater Jackie Ellis Elisabeth Rutherford Jane Crease Charitable Trust Andrew Wynn Humphrey and Janine Sir Hugh and Lady Sykes Melinda Page Joan Powley Barbara Snell Sue Milward (until December 2013) Marion Foster John Townson York and East Yorkshire: The Headley Trust Linda Beecham Lloyd Stephan and Lesley Taylor Hannah Rothschild Jillian Rennie Susan Crawford Nini Murray-Philipson Jean Stokes Nicholas Grealy Hilary Younger Moira Fulton Derek Hill Foundation Richard and Rosemary Lomax-Simpson John and Maura Tilney Dame Theresa Sackler John Reynolds Rosemary Dorey Diana Newton Anne Tate Ruth Harrison Michael Younger Wendy Bundy The Inverforth Rosamund Bernays Mark and Liza Loveday Hazel Trapnell S Shields Geoffrey Squire Tina Hill Sue Parr Ina King Wiltshire: Darrell Buttery Charitable Trust Robert Blunden Beatrice Lupton Jonathan Tyler J M H Simon Wilfrid Street Sue Hollebone Michael Thompson North West: £17,100 Nadine Kirby Susie Blundell Brian Councell The James and Lucilla Joll Molly and David Sir John Mactaggart Baron and Baroness Stuart Southall Brian Taylor (until December 2013) Lincolnshire: Regional Chair: Derrick Sheehan Alex Adair Lindsay Councell Charitable Trust Borthwick Sir Laurence and Lady Willem van Dedem Jiewcheng Tan Vera Watson Janice Jones Jeffrey Stansfield Hanny Woods (until May 2013) Tim Battle Jane Crease The Kirby Laing Jan Delia Boulting Magnus Johnny Van Haeften Albert Williams Fiona Mann Hendy Farquhar-Smith Cheshire: Stewart Smith (from September 2013) Richard Green Foundation Susan Bracken Richard Mansell-Jones David and Emma Verey American Friends Judith Nimmo-Smith Horace Farquhar-Smith Andrew Barlow (from June 2013) Jackie Berti Marilyn Jones The Loveday Brian Bradbury and the Hon Mrs Nedim Vogt and Janine The American Friends of In memoriam Doreen Parker Dianne Middleton Richard Bell Joan Smyth (from April 2013) Carol Lawson Charitable Trust Debby Brice Charlotte Ropner Rensch the Art Fund contributed H Buddle Richard Pullen Brenda Taggart Peter Boughton (from August 2013) Gerry Blundell Dorothy Nott Sir Denis Mahon Marcia Brocklebank Suzanne Marriott Robert and the Hon Mrs $350,000 to our work in Marianne Clark Carolyn Wilson Steven Taggart Ann Marr Sussex: Sue Eastham David Wilkinson Charitable Trust Robert Burgess Richard and Janet Martin Waley-Cohen 2013. Christine Cownie (from October 2013) Nottinghamshire: Clive Pointon Annie Flitcroft Judy Robson North Yorkshire: The H I McMorran Richard and Professor Richard Mayou David and Christine Susan Ferguson Henry Machin Ken Rowland Elspeth Clarkson Malcolm Smith Gillian Fieldhouse Charitable Foundation Catherine Burns John McAslan and Dava Walmsley Premier Corporate Partner Terry Friedman Channel Islands: £4,500 Sally Machin Inger Trevor-Barnston (until November 2013) John Stoller Gail Bent The Brian Mercer Richard and Sarah Buxton Sagenkahn R Katharine Wedgbury UBS Muriel Judd Guernsey: Henry Blagg Jane Yeoward Jill Holloway (from August 2013) Patrick Dingwall Charitable Trust Eric and Virginia Campus Professor and Mrs The Hon Mrs Simon Terry Gately Elisabeth Evans (from September 2013) Lancashire: Martin Mitchell Clare Granger The NOSWAD Charity Elizabeth Clarke Anthony Mellows Weinstock Corporate supporters John Hallam Wendy Hales Georgina Gamble Janet Eastwood Jonathan Petitpierre West Midlands: £22,417 John Groundwater Ofenheim Charitable Trust Frances Cloud Carol and Robin Dave Williams and Reba Bloomberg Mary Handy Caroline Harris Diana Roberts Lyn Barton Maggie Robinson Birmingham: Julia Lawson-Tancred P F Charitable Trust Ruth Ashurst Coles Michaelson White Williams Fenwick Ltd John Limbrey Morna Harwood Mark Roberts (until September 2013) Miles Robinson Celia Potts Annette Petchey The Paragon Trust Geoffrey Collens Russell and Marcia Cathy Wills Hymans Robertson LLP Carole MacLaren Michele Hilton Oswald Barton Dina Thorpe Anthony Collinson Chris Pulleine Poling Charitable Trust Tim Compton Mishcon Michael and Jane Wilson Lazard Barbara Rihan Jersey: London: £56,083 (until September 2013) Pauline Collinson Jill Robinson The Rosemount Trust Madame Michel Jennifer Montagu Anthony Wingate Pearson plc Peter Sumner Anne Binney Regional Chair: Rosemary Jolly South West: £42,532 Margaret Hale Miranda Sampson The Coral Samuel David-Weill Elizabeth Morgan Lady Wolfson of Slaughter and May Gordon Snee Jeremy Arnold Maria Bell-Salter (until October 2013) Regional Chair: Penelope Macmillan South Yorkshire: Charitable Trust Michael Diamond Diana and Allan Marylebone Stephenson Harwood LLP Melissa Bonn Michelle Barnes Andrew Penny Elisabeth Rutherford Chimaine Ross Anne Thompson The Scouloudi Foundation Hugo Eddis Morgenthau David and Margaret And finally, we thank all Caroline Garthwaite Carron Batt Catherine Penny Bath and Bristol: Herefordshire: Eric Hill The Stanley Foundation Simon and Mary Edsor Keith Morris and Wright Legacies our donors who prefer to Susan Lea (from June 2013) Diana Rawson Helen Ball Jane Scarborough Jean Jones The Stevenson Family’s Timothy Ellis Catherine Mason Paul and Pat Zatz David Armstrong remain anonymous. Jo Maclachlan Susie Blundell Patsy Stothert Michael Andrews Jane Pace Trevor Knox Charitable Trust John and Fausta Eskenazi Richard and Penelope Paul Zuckerman and the Barbara Ashton Taylor Karen Stone Su Collins Tim Stothert Valerie Barnard Fiona Annesley Julie Moorby Sir Siegmund Warburg’s Hewson Fawcett Murley Hon Mrs Sarah Greenall Margaret Bell Catherine Corbet Milward Hanny Woods (until February 2013) Philip Baldwin Sylvia Thompstone Voluntary Settlement Sir Christopher and Ann Naylor Margaret Black East Anglia: £38,835 Peter Cowen Susie Yorke Abi Cush Jemima Bristow Carol Waddington The Wolfson Foundation Lady Floyd Adeline Nolan Sara Colville Regional Chair: Arthur Drysdale (until September 2013) Denis Gamberoni Susannah Edmonds West Yorkshire: The Wyseliot Charitable Francis and Kate Ford Michael Palin Anne Crosthwaite John Brasier Caroline Graham Greater Manchester: John Hewett Julia Green Nicholas Merchant Trust Alan and Mary Gibbins Simon and Midge Palley George Danby Rica Hene Mary Mallick (from April 2013) Neffy Hensher Elizabeth Bennett 108 The Art Fund in 2013/14

Ann Holdsworth Anne Sutherland Regional Fundraising Images on map Halima Cassell, Calliope, Charles Holdsworth (from June 2013) Sponsors (see page 53) 2011, Birmingham Pat Laycock Mary Wilson Anise Gallery, London from top, left to right: Museum and Art Gallery, About us (until December 2013) (until December 2013) Bartlett Group Cosmo Alexander, © the artist; Maurice Tim Walls Lothians: Bonhams Portrait of James Francis Sheppard, The Artist (from January 2013) Jane Stodart Box-it Edward Stuart, c. 1749, Returning from Italy, 1985, Melissa Bradley Jackson-Stops University of Aberdeen; National Library of Wales, Scotland: £44,543 Mary Callander Jonathan Shirley Wolfgang Tillmans, Aberystwyth, © Maurice Regional Chair: Wendy Cochrane The Minster Gallery Spores from Neue Welt Sheppard PPRWS; Michael Smyth Harriet Dalrymple Winchester Carron series, 2009–12, Gallery Unknown, Montgomery Angus: Janey Dalrymple Marquees of Modern Art, Glasgow, Roman coin hoard, Vivien Smyth Fidelity Dean © Wolfgang Tillmans, AD 238–74, Powysland Olive Duncan Sarah Donaldson Advisors and courtesy Maureen Paley; Museum, Welshpool; Patron Art Fund staff 2013 ontact details Iain Ellvers Susannah Jackson committee members Omer Fast, Continuity, Joseph Wright of Derby, C Her Majesty the Queen Madeline Adeane Art Fund offices Susannah Kelly Hermione Malcolm 2013 2012, Gallery of Modern Portrait of Erasmus Elinor Andrew 2 Granary Square Antonia Orr Gwen Scott Christopher Addy Art, Glasgow, © courtesy Darwin, c. 1770, Chairman Linda Ashworth King’s Cross Michael Smyth Tibi Weir Liz Arthur of the artist; Hugh Ross I, Birmingham Museum David Verey CBE Angelina Bacon London N1C 4BH Caroline Southesk Perth and Kinross: Heather Audin Thistle Cup, c. 1710, Tain and Art Gallery; Charles Holly Black T 020 7225 4800 Clara Young Anne Steuart David Bellingham and District Museum; Robert Ashbee, Butterfly Treasurer Jessica Bray E [email protected] Borders: Fothringham Daniel Bexfield Stephen Sutcliffe, No and Pendant, c. 1899, Court Paul Zuckerman Rachael Browning Jan Watson Angela Bell Roger Bland Untitled wall drawing, Barn, Chipping Campden; Penny Bull Supporter services Jane Douglas Home Ewen Honeyman Mary Brookes both 2011, 2003–12, Stanley Spencer, Making Director Kanchan Chudasama The Art Fund Francis Hamilton Charles Wemyss David Caldwell Gallery of Modern Art, Columns for the Tower of Stephen Deuchar CBE Lizzie Clark PO Box 3678 Jane Neagle Fiona Wemyss Ros Carter Glasgow, © Stephen Babel, 1933, Fitzwilliam (until February 2013) Melksham SN12 9AP Walter Riddell-Carre Strathclyde: Tom Christopherson Sutcliffe; Robert Gemmell Museum, Cambridge, Zanna Clarke T 0844 415 4100 Georgina Seymour Robert Ferguson Martine d’Anglejan- Hutchinson, Woman and © the estate of Stanley Members of the board Cathy Cobley Helen Usher Katrina Clow Chatillon Child Winding Wool, Spencer, 2014, all rights Caroline Butler Sam Connor E [email protected] Central Scotland: Anne Ellis Gavin Delahunty c. 1900, Glasgow reserved. Bridgeman Art Richard Calvocoressi CBE Stephen Deuchar www.artfund.org Shaun Nesbitt Kaye Horsfall Martin Ellis Museums Resource Library; English, Hawking Professor Michael Victoria Diaz-Vilas @artfund facebook/theartfund Johnnie Cuthbert Norman McLean Harriet Evans Centre; Alexander Vervel of Henry Frederick, Craig-Martin CBE RA Kerstin Glasow Kirsty Cuthbert Efric McNeil Sir Nicholas Goodison Goudie, Self-portrait Prince of Wales, 1610-12, Dame Liz Forgan Catherina Gray The Art Fund is a charity Romma Kelly (from October 2013) Rosy Greenlees of the Artist, late 20th Norwich Castle Museum Philippa Glanville FSA Katherine Harding registered in England and (from November 2013) Pam Painter Jos Hackforth-Jones century, Rozelle House and Art Gallery; Grayson Professor Chris Alice Hargreaves Wales (209174) and Fiona Robertson Catriona Reynolds Jennifer Harris Gallery, Ayr, © the estate Perry, The Expulsion from Gosden FBA Antony Griffiths FBA (until October 2013) Scotland (SC038331) Dumfries and Galloway: Pamela Robertson David Hill of Alexander Goudie, No 8 Eden Close from the Sophie Harrison Miranda Bowles Gib Steele June Hill 2014, all rights reserved, tapestry series The Vanity Alastair Laing FSA Christopher Lloyd CVO Ruth Hazard Lesley Andrews Marianne Holtermann Bridgeman Art Library; of Small Differences, Steve Hopkinson Anthony Bowles Wales: £12,750 Rose Kerr Arthur Melville, The 2012, Arts Council James Lingwood MBE Jonathan Marsden Katherine Hudson Caroline Clayton Cardiff and Vale: Catherine Lampert Chalk Cutting, 1898, Collection, Southbank Caroline Hunt Sarah Galbraith Peter Jenkins Lisa Le Feuvre Scottish National Gallery, Centre, London, and LVO FSA Sally Osman (until April 2013) Helen Kelly Diana O’Sullivan Jeremy Lewison Edinburgh; Paul Noble, British Council Collection Charlotte Jennings Eileen McCall (until December 2013) John Madin Villa Joe, 2008, Laing © Grayson Perry courtesy Professor Deborah Swallow Edward Knight Dunya Petit Ian Robertson Jonathan Mane Wheoki Art Gallery, Newcastle of the artist and Victoria Tom Lydon (from September 2013) John Wilkins Lynda Morris upon Tyne, © Paul Miro Gallery, photo: Professor Lisa Tickner FBA Professor William (until May 2013) Peter Phillips Clwyd: Anthony Mould Noble; William Scott, Stephen White; Eric Andrew Macdonald (until January 2013) Lindsay Evans Tess Murdoch Blue, Black and White Ravillious, Biblical, from Vaughan FSA Michael Wilson OBE Rebecca Maude Edinburgh: Vanessa Graham Palmer Prue O’Day Composition, 1952–3, one of two scrapbook Debbie McDonnell Deirdre Armstrong Lucy Hobhouse Lord Colin Renfrew Fermanagh County albums, c. 1916–39, (until April 2013) John Drysdale Susan Rathbone Andrew Renton Museum, Enniskillen, Fry Art Gallery Saffron Beth Meade Susan Godfrey Gareth Williams Peter Riley © 2014 William Scott Walden; Felicity Aylieff, Charlotte Mullins Gillian Henshaw Dyfed: Sir Timothy Sainsbury Foundation; Bodil Manz, Still Life with Three (until December 2013) (from January 2013) Eleanor Wells Frank Salmon Composition in Yellow Chinese Vases II, 2011, Sarah Philp James Holloway Linda Blackwell Stephen Snoddy and Red, 2013, Abbot National Museum Wales, Rebecca Radford Jane Keen Stan Gibby Christopher Spring Hall Art Gallery, Kendal, Cardiff, © the artist; J. M. Katy Richards (until May 2013) Christopher Gillham Michael Whiteway © the artist; Lawrence W. Turner, The Mouth of Beth Rivers John Mackie Margaret Gwynne Lloyd Hongxing Zhang Weiner, A line is a line for the Avon, near Bristol, Phoebe Roberts Mark Medcalf Marion Hutton Werner Zinkand all that, 2010, © courtesy seen from the Cliffs Lee Rodwell Gerda Rankin Gwent: of the artist; Glenn Ligon, below Clifton, 1791–2, (until June 2013) Daphne Robertson Patricia Milling Negro Sunshine II #17, Bristol Museum and Art Amy Ross (until September 2013) Patricia Wright 2010, © the artist; Graham Gallery; Unknown, The Luiza Sauma Helen Ruthven Derek Butler Gussin, Unresolved Lacock Cup, 1430–50, Moe Shimizu Emily Walsh Sarah-Jane Gilchrist Material, 2010, © Graham British Museum, London, Alyssa Taffet Fife: Rosemary Hall Gussin: all at mima, and Wiltshire Museum; Laurie-Ann Ward June Baxter Patricia Halliday Middlesbrough; Sarah John Edes, The Gilbert Kara Webster Sonagh Asplin Rosemary Trump Pickstone, Stevie Smith Spoon, 1580–90, Royal Quintilla Wikeley (until December 2013) North West Wales: and the Willow, 2011, Albert Memorial Museum, Liz Workman Jenni Black Mary Rickards Walker Art Gallery, Exeter; Sir Cedric Morris, Sally Wrampling Judith Buxton Rhiannon Humphrey- Liverpool, © Sarah Landscape, Cornwall (until September 2013) (until December 2013) Jones Pickstone; Unknown, (Quarry), 1923, Falmouth Carolyn Young Gillian Cracknell Richard McDermott Régence ormolu- Art Gallery © Cedric Ruth Crawford Ann Pugh mounted Chinese Morris estate; Bernard Interns Jane Gillies David Roberts porcelain casket, early Finnigan Gribble, Poole (3-6 month placements) Ann Gunn Jeremy Yates 18th century, Bowes Quay on a Busy Day with Gabriella Okon (until Jeanette Guy Powys: Museum, Barnard Castle; Boats and Figures, March 2013) Irene Hardie William Gibbs Pietro Lorenzetti, Christ c. 1935, Borough of (from January 2013) Jenny Care Between Saints Paul and Poole Museum Service; Rose Macleod Karen Hiscock Peter, c. 1320, Ferens Art Paul Nash, Dyke by the Dorothy Stewart Ken Jones Gallery, Hull; Unknown, Road, 1922, Pallant House (from November 2013) Heather Pegg Silverdale Viking Hoard, Gallery, Chichester, Elizabeth Thomas Wimke Wakley mid 9th–mid 10th century, © Tate; Clare Woods, Grampian: West Glamorgan: Museum of Lancashire, Funnelled Hole, 2011, Lucy Campbell Kirstine Dunthorne Preston; Rashid Rana, Southampton City Art Peter Davidson Deanna Harding Language Series 3 Gallery, © the artist; John Anne Egleton Ceri Barclay (detail), Birmingham Constable, Salisbury Juliette Paton Rodney Bender Museum and Art Gallery Cathedral from the Alistair Reid Janet Clark and New Art Gallery Meadows, 1831, Tate, Christine Rew Richard Daugherty Walsall, © Rashid Rana; London; Bernard Leach, (until December 2013) Neil Harding Thomas Joshua Cooper, In a Tokyo Park, 1918, Angelica Salvesen Constance Hill Message to Narcissus, Crafts Study Centre, John Whittall Catherine Parker Nesscliffe, Shropshire, Farnham, © the estate Highlands: Janet Walker 1975-78, Nottingham of Bernard Leach. Judith A Livingston Castle Museum and Art Ian Barr Gallery, © courtesy the Tanera Bryden artist/Ingleby Gallery, John Nicholson Edinburgh; John Varley, Gilyan Noble Brecon on the River Usk, Robyn Ruane 1837, Brecknock Museum (until December 2013) and Art Gallery, Brecon;