PATRONHER MAJESTY QUEEN ELIZABETH THE QUEEN MOTHER

VICE- PATRONSBRYAN FERRYDAVID GORDONCARYL HUBBARDPAULINE VOGELPOEL MANNTHE LORD MCALPINE OF WEST GREENTHE LORD AND LADY SAINSBURY OF PRESTON CANDOVERTHE LADY VAIZEYTHE VISCOUNT AND VISCOUNTESS WINDSOR

ARTIST PATRONSSIR ANTHONY CARO, OMBRIDGET RILEY, CH

COMMITTEE MEMBERSOLIVER PRENN, CHAIRMANPESH FRAMJEE, HONORARY TREASURERMARK STEPHENS, HONORARY SOLICITORLANCE BLACKSTONE, HONORARY SECRETARYJOLYON BARKERWENDY BARON (UNTIL 27 JANUARY 2001)JANICE BLACKBURNPHILIP HEWAT-JABOOR (FROM DECEMBER 2000)SEAN RAINBIRDANN STANTON (UNTIL 5 JULY 2000)BABS THOMSON

DIRECTORGILL HEDLEY

PROJECTS DIRECTORCAT NEWTON-GROVES

COLLECTIONS CURATORMARY DOYLE

OFFICE MANAGERPAULA HOLLINGS

EVENTS/MEMBERSHIP MANAGERKATE STEEL

ASSISTANT COLLECTIONS CURATORJESSICA WALLWORK

ARTfutures SELECTORJENI WALWIN

ACCOUNTANT (PART TIME)SUZANA BAKAR (FROM APRIL 2000)

ANNUAL REPORT 2000/2001

We promote thecollecting ofcontemporary artthrough our gifts topublic museumsand the advice andguidance we offercompanies andindividualsContemporaryArtSociety

ContemporaryArtSociety

DESIGN GIANT ARC DESIGN / STUDIO@GIANTARC.CO.UK

PANTONE 432 PANTONE 192 192 OVERPRINT

futures

PATRONHER MAJESTY QUEEN ELIZABETH THE QUEEN MOTHER

VICE- PATRONSBRYAN FERRYDAVID GORDONCARYL HUBBARDPAULINE VOGELPOEL MANNTHE LORD MCALPINE OF WEST GREENTHE LORD AND LADY SAINSBURY OF PRESTON CANDOVERTHE LADY VAIZEYTHE VISCOUNT AND VISCOUNTESS WINDSOR

ARTIST PATRONSSIR ANTHONY CARO, OMBRIDGET RILEY, CH

COMMITTEE MEMBERSOLIVER PRENN, CHAIRMANPESH FRAMJEE, HONORARY TREASURERMARK STEPHENS, HONORARY SOLICITORLANCE BLACKSTONE, HONORARY SECRETARYJOLYON BARKERWENDY BARON (UNTIL 27 JANUARY 2001)JANICE BLACKBURNPHILIP HEWAT-JABOOR (FROM DECEMBER 2000)SEAN RAINBIRDANN STANTON (UNTIL 5 JULY 2000)BABS THOMSON

DIRECTORGILL HEDLEY

PROJECTS DIRECTORCAT NEWTON-GROVES

COLLECTIONS CURATORMARY DOYLE

OFFICE MANAGERPAULA HOLLINGS

EVENTS/MEMBERSHIP MANAGERKATE STEEL

ASSISTANT COLLECTIONS CURATORJESSICA WALLWORK

ARTfutures SELECTORJENI WALWIN

ACCOUNTANT (PART TIME)SUZANA BAKAR (FROM APRIL 2000)

ANNUAL REPORT 2000/2001

We promote thecollecting ofcontemporary artthrough our gifts topublic museumsand the advice andguidance we offercompanies andindividualsContemporaryArtSociety

ContemporaryArtSociety

DESIGN GIANT ARC DESIGN / STUDIO@GIANTARC.CO.UK

PANTONE 432 PANTONE 192 192 OVERPRINT

futures

1/CAS/ CONTENTS

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ABOUT CONTEMPORARY ART SOCIETY

CHAIRMAN’S REPORT

DIRECTOR’S REPORT

DISTRIBUTION 2000

SPECIAL COLLECTION SCHEME

PROJECTS’ REPORT

MEMBERS’ EVENTS 2000/2001

MEMBER MUSEUMS

STATEMENT OF FINANCIAL ACTIVITIES

ACKNOWLEDGEMENT TO CAS SPONSORS

CONTEMPORARY ART SOCIETY ANNUAL REPORT 2000/2001

It has been a wonderful year.

The distribution of the year 2000 to our 69 membermuseums was a huge success.Exhibitions at the HarrisMuseum in Preston, followed bythe Jerwood Space and TheEconomist in London, lookedexceptionally good, diverse andstimulating. A tribute to ourbuyers, our donors and theNancy Balfour Bequest, wewere able to present 160 workswith a total value of £620,000.

Through the support of ACELottery, our Special CollectionScheme has enabled our fifteenpartner museums to beginbuying substantial works fortheir collections under CASguidance. We are starting tomake a real difference to city and university collectionsthroughout the country.

ARTfutures successfully movedto the Barbican, where wereceived a warm welcome, andthe enlightened and generoussponsorship of Hewlett Packard.The Contemporary Art Societywas first in the field with an artmarket, retains the loyalty of itssupporters and attracts manynew buyers. This is our mainLondon event.

Our overseas trip for memberswas to Oporto, unthinkable untilrecently, but now a thrivingcentre for contemporary art.

We have achieved a reasonablefinancial surplus in the last two

years but, as expected, our funds devoted to the purchase of new art have depleted in adistribution year.

Sir Nicholas Serota, in hisDimbleby Lecture, said ontelevision that the ContemporaryArt Society is the ONLYorganisation which buyscontemporary art to present tomuseums nationwide.

It is therefore with an eye tothe distribution in 2004 that we have now launched theCatching Comets Appeal to raise£1,000,000 for our purchasingfunds. Acquisitions have to bemade progressively and a start has already been made: we try to catch artists beforethey become “comets” and their fame and prices go beyond ourreach - hence the name of the Appeal.

We enjoy the continuingconfidence of the Henry MooreFoundation and the CraftsCouncil and approaches arebeing made to many of the major trusts. We seek corporate support for ouractivities, and such sponsorshipmay release equivalent sums for purchases.

Catching Comets was howeverinitially launched to individuals atthree levels:

Benefactor (£7,500 p.a. for 4 years)

Major Donor (£2,500 p.a. for 4 years)

Patron (£1,000 p.a. for 4 years)

In the case of U.K. taxpayers, Gift Aid may increase the value of the gift by almost a third. Wehave a facility for eligible gifts tobe made in the United States.At these levels, your name maybe attached to specific workswhen they are presented toa museum.

I believe that the best incontemporary art contains a kind of magic and that often basematerials can be transformed bya vision - and I have faith that ourinvited buyers can often spot this.I do hope you will help us in ourcrusade, and I can be contactedon (020) 7938 3440. If the line isengaged, please try again.

I am very pleased to announcethat David Gordon, mypredecessor as Chairman, hasaccepted our invitation to becomea Vice Patron of the Society.

My final paragraph must bedevoted to Gill Hedley. Shecombines flair, integrity andeffort with cheerfulness to agreater extent than anyone else Iknow. She enjoys the loyalty ofthe staff and the confidence ofthe Committee. Her year asNancy Balfour Fellow ofContemporary Art was a totalsuccess and I would like to thankher on your behalf.

Oliver PrennChairman

6/CAS/ CHAIRMAN’S REPORT

The Contemporary Art Society isdifferent to any other friends’ andheritage supporters’ group.

CAS actively supports livingartists and for ninety yearshas backed its own judgementsabout which works ofcontemporary art should bepresented to public museum collections.

CAS individual members join in our events and activitiesbecause they have a curiosityabout or commitment tocontemporary art.

CAS encourages individuals to collect contemporary art andenjoy art by living artists. Anextensive range of events, visitsto studios and privatecollections, lectures and overseas trips, are advertised in a regular newsletter.

CAS offers professional guidanceto those developing contemporarycollections or commissioning art or craft.

CAS has presented over 5000works of contemporary art to itsmember museums throughoutBritain since 1910 by artists fromPicasso, Henry Moore andFrancis Bacon to Anthony Caro,David Hockney, Damien Hirstand Mona Hatoum.

CAS is a registered charitysupported by its members andgrants from the Arts Council ofEngland, Henry MooreFoundation, Crafts Council,Esmée Fairbairn Charitable Trust,Paul Hamlyn Foundation and theElephant Trust.

CAS raises funds for its museumpurchases through ContemporaryArt Society Projects, which offersadvice to companies wishing todevelop corporate collections.

CAS also organises ARTfutures,an annual selling event toencourage collecting and support artists.

CAS has secured major ArtsCouncil of England lottery

funding on behalf of 15 member museums

CAS continues to raise funds tobenefit 69 museums in England,Scotland, Wales and N.Ireland.

`I cannot overestimate thebenefits to artists and museumvisitors provided by CAS. It playsa vital role in supporting andspreading enthusiasm for thework of living artists throughoutthe country.’ Richard Cork

For further information and membership forms please contact:

Kate SteelContemporary Art Society17 Bloomsbury SquareLondon WC1A 2NG

Telephone 020 7831 7311Facsimile 020 7831 7345

Email cas@contempart.org.uk

or visit our website at:www.contempart.org.uk

5/CAS/ ABOUT CAS

8/CAS

During 2000/1, the ContemporaryArt Society has been particularlyactive in promoting the collectingof contemporary art throughsubstantial gifts to museums andthe advice offered to companiesand individuals.

The year in which we make adistribution is always the mostexciting about which to write myannual report. Since I arrived atCAS in 1993, there have been two distributions.

Take it From Here was held inSunderland in 1996 and, in 2000,Give and Take opened at theHarris Museum and Art Gallery inPreston, with edited highlightsshown in London at the JerwoodGallery and The Economist.

The simple but powerful statistics are that, in 2000, wepresented 160 works of art withan overall value of £620,000 to 69member museums. The entirelist is included here on pp7-18 listed by museum, A-Z, and onour website, ordered by artists’ names.

There are so many peopleinvolved in a distribution, all ofwhom play a special role. Thecurators and all staff at theHarris must be singled out in ourthanks for their hospitality andprofessional care. We aregrateful, too, to our hosts at theJerwood Gallery.

Contemporary Art SocietyProjects staff collaborated withtheir CAS colleagues to display

the craft section at The Economist.This was the second suchcollaboration within a few months.

The project manager, LaraDonaldson, and the collectionscurator, Mary Doyle, workedclosely together to advise theRoyal Armouries, Leeds, on thecreation of a photography andvideo collection on the subject ofviolence and weaponry. This was managed as if it was acorporate project but with thespecial expertise needed whencollaborating with museumcolleagues. CAS/CASP are ideallyplaced to develop such a schemewhich was then turned into anexhibition, Warning Shots, whichopened in June 2000, just afterGive and Take closed in Preston.At the same time, the exhibition of Nancy Balfour’s bequest wasalso in the north-west, at Rochdale Art Gallery.

So many exhibitions, out ofLondon, put even more of a burden on the extraordinary staffof CAS. Supported by all theircolleagues, Mary Doyle andJessica Wallwork organised everyaspect of Give and Take with theirusual flair. It looked beautiful atthe Harris and we were proud, too, of the edited versions that the London audiences saw. Manyof the works had educational andinformation packs supplied withthem and we are grateful toDeborah Smith and Kate Fowlefor preparing these and to theEsmée Fairbairn CharitableTrust for their support of the whole project.

During the summer, museumcurators started to submit theirrequests for works both fromGive and Take and the NancyBalfour Bequest. In addition, weoffered a large group of worksthat formed the legacy of themajor exhibition Artranspennineto member museums in that part of the country. It is difficultto make choices like these andagonising to make the finalallocation of which works go where.

We take into account first themuseum’s preferences and thecase that they argue for eachwork. For works chosen by many,we look at which museumsreceived their first or secondchoice last time and try toredress any imbalances. We useour own judgement aboutcollections and the way museumsdisplay and make use of them,relying therefore on membermuseums to keep us up to datewith all their activities.

One of the most effective ways ofkeeping in touch with curatorsfrom our member museums isthrough the programme of visitsthat CAS organises for them. TheSpecial Collection Scheme tripsare mentioned on p19 but CASalso finished its project with theMidland Band of regional artsboards, co-funded by the PaulHamlyn Foundation, with a visitfor a group of curators to Lilleand Dunquerque in March.

Our events for individualmembers throughout 2000 are all

7/CAS/ DIRECTOR’S REPORT

listed on p27 but the highlightwas undoubtedly the visit toOporto in October. Our monthlybus tours, supported by TheElephant Trust, continue to be oneof our greatest successes andKate Steel, Membership andEvents Manager, also organisestailor-made tours for visitinggroups from overseas.

This is a useful source of incomefor us and gives us a new networkof friends and supporters.

Contemporary Art SocietyProjects works the same way:providing us with essentialincome but also as one of ourmost effective ways of carryingour message further afield.Unilever continues to be one ofour most imaginative clients,working with us to reframe,restore and rehang theircollection and invite numerousgroups to enjoy these eclecticworks in their marvellous artdeco setting.

Cat Newton-Groves, CASPDirector, uses these occasions,our presence at ART2000 and thecontinuing exhibition programmeat The Economist, to fulladvantage to encourage others tocollect contemporary art asimaginatively as possible.

All of these activities areundertaken, as every CAS annualreport from 1910 has recorded, bya very small group of staff. Thosenamed above would want me toacknowledge the less public butequally vital role played by Paula

Hollings, Office Manager, whojoined us in February 2000, andSuzana Bakar, Accountant.

We all welcome and depend onwonderful volunteers or freelancestaff to work on specific projects,such as Juliet Bingham and nowMatthew Poole as co-ordinator atThe Economist.

Every year, Jeni Walwin returnsto CAS and guides the selectionof artists for ARTfutures andinstalls it in a way that makes itlook like an elegant exhibition butone in which it is hard to resisttaking the work off display andbuying it for home. Clive Garlandand his team make this logisticalproblem of replacing work everyfew minutes look easy but it isthe result of years of imaginativesolutions that make our artmarket run so successfully.

This year, Ania Grzesik, assistedby Kerry Duggan, took on theadministrative tasks of workingwith our sponsor, HewlettPackard and installing the market in a brand new venue atthe Barbican Exhibition Halls. I am indebted to them both forthe burdens that they shoulderedwith such enthusiasm andpanache and the skill with which they worked with all theartists involved.

Every single member of CAS staffworks long, hard hours to makeARTfutures a resounding successand I am grateful to every one ofthem and the whole team ofenergetic and committed

packers, hangers and sellersthat become part of the CAS stafffor one week.

Hewlett Packard’s sponsorship of ARTfutures made a great impact on our finances this year,supporting us after twodifficult years without an artmarket sponsor.

We have benefited greatly fromfoundations, trusts and charitiesand the continuing fixed-termfunding from the Arts Council ofEngland. This is the only sourceof funding that helps support ourrunning costs. Other generousgrants enable us to purchasesubstantial works of art for ourmember museums and, aboveall, we wish to acknowledge thesignificant role that the HenryMoore Foundation plays throughtheir continuing support. TheCrafts Council’s function as agrant-giving body has nowtransferred to ACE but the moralsupport for our work in this areacomes from both organisationsand our colleagues within them.

CAS has always been generouslyand imaginatively supported byindividuals and, in this distributionyear, we wish to record ourwarmest thanks again to TomBendhem, Dasha Shenkman andWilliam Shenkman, Jim Moyes and Paul Wilson for their gifts ofworks of art. We hope that theywill also be rewarded by thepleasure that these will give tomuseum audiences. We are alsograteful to an anonymous donorfor the gift of two works of craft.

9/CAS

Donations from Nyda and OliverPrenn, the Schneer Foundationand Catherine Curran allowed usto extend our purchasing power.

David and Maggi Gordon havedonated an important early workby Mark Wallinger in memory ofMax Gordon. Two works by AlanReynolds have been given inmemory of Ernest and MaryDarby. These will all be presentedto museums in 2004.

A sculpture by Mark Dunhill,given by Sir Stephen Waley-Cohen, and a painting by RichardKidd, given in memory of HymanKreitman, have been presented,respectively, to Bristol andBelfast. We gratefullyacknowledge all these gifts.

Our invited buyers, the lateRobert Hopper and his fellowcommittee members SeanRainbird and Janice Blackburn,as well as Jenni Lomax, gavefreely of their flair andcommitment to our ideals when

buying works on our behalf.Through their judgement, CAShas once again fulfilled its aim tobenefit museums and artists alikethrough purchases made at acrucial time in an artist’s career.

Everyone involved in CAS can take pride in the way we havepresented significant works of art,sought funding and earnedincome imaginatively but true toour aims. I want to record mygratitude to all my colleagues fortheir energy and support. We areindebted to the Chairman and the Committee members, pastand present, for theirencouragement and belief inevery aspect of our work.

In January 2001, the University ofWarwick awarded Oliver Prenn anHonorary D.Litt. in recognition ofhis role as the first sponsor of theTurner Prize, patron of the artsand benefactor of the Universityof Warwick in particular throughthe gift of a major sculpture byRichard Deacon and, not least,

his Chairmanship of theContemporary Art Society.Beside him in all theseachievements is always his wifeNyda who, less formally, wecherish as our Chair Spouse. Weowe them both a great deal andwarmly congratulate Oliver on his doctorate.

The achievements of 2000/1would have given the greatestpleasure to Nancy Balfour whowould have relished seeingaspects of her private collectionpresented to museum audiencesin different displays up and downthe country.

It has been an honour for me toacknowledge Nancy and thecontinuing generosity of herfamily through the title withwhich I sign off at the end of anexciting year.

Gill HedleyDirectorNancy Balfour Fellow ofContemporary Art

10/CAS/ DISTRIBUTION 2000

Purchases have been madepossible through the support of:Crafts Council (CC)The Esmee Fairbairn CharitableTrust (EF)The Henry Moore Foundation (HMF)The Henry Moore Foundation tomark The Henry Moore Centenary(HMC)Nancy Balfour Memorial (NBM)Oliver Prenn Gift (OP)

Buyers:Janice Blackburn, PrivateCollector and Curator (JB)Robert Hopper, Henry MooreInstitute (RH)Jenni Lomax, Director, CamdenArt Centre (JL)Sean Rainbird, Curator,Contemporary Art, Tate (SR)

Grant and buyer indicated in brackets.

ABERDEEN ART GALLERYDAVID BATCHELORTriple Decker, 1999, acrylic sheet,enamel paint, found objects, 54 x43 x 40 cm (EF, SR)

JO GORDONKiss of Death, 1997, satin, spatre,feathers, edition 2 of 2, 75 x 62 x27 cm (CC, JB)

FREDDIE ROBINSLegroom, 1999, machine knittedwool, 215 x 58 x 20 cm (CC, JB)

BRYNDIS SNAEBJORNSDOTTIR... but not waiting, 1995, ceramic,48 x 37 x 35 cm (HMF, RH)

VICTORIA ART GALLERY, BATHTREVOR SUTTONNot one Thing II, 1999, oil onboard, 56 x 56 cm (EF, SR)

ULSTER MUSEUM, BELFASTBEVERLY CLARKESoft Option, 1987, fabric andpaint, 234 x 26 x 3 cm

ZORA PALOVAThe Leaf, 1998, cast ruby glass,polished, 73 x 24 x 65 cm (CC, JB)

JANE SIMPSONStill Life (Turquoise Blue), 2000,porcelain, wooden shelf, 23 x 33 x 2 cm (HMF, SR)

RICHARD WILSONAxel 150, 1998, two wardrobes,metal, neoprene, 225 x 390 x 60 cm (HMC, RH)

WILLIAMSON ART GALLERY &MUSEUM, BIRKENHEADNATASHA KERRA Marriage, 1998, photograph,fabric, 38 x 38 x 16 cm (CC, JB)

KEIKO MUKAIDESeahorse Glass with Stand, 1998,glass, steel and acrylic, 50 x 10 x (diameter) 17 cm (CC, JB)

BIRMINGHAM MUSEUM & ARTGALLERYCHAD MCCAILMissile Story, 1998, graphite onpaper, 3 sections each 88.7 x 89.3 cm (EF, SR)

MALCOLM MARTIN/GAYNORDOWLINGFolds, 1999, scorched oak, 75 x30 x 15 cm (CC, JB)

GRUNDY ART GALLERY,BLACKPOOLMARTIN CREEDThings, 2000, red neon, 6 inch high letters (EF, SR)

ANNA GORDONSquare Brooch, 1999, blacksilver and yellow gold, 7.5 x 7 x1.7 cm, Long Brooch, 2000,black silver and yellow gold, 11x (diameter) 2.5 cm, Necklace,2000, black silver and yellowgold, 104 cm long (CC, JB)

BOLTON MUSEUM & ARTGALLERYCHRIS KEENANBowls, 2000, ceramic, 35 x 44 x36 cm (CC, JB)

CAROL RHODESLand and Sky, 1997/98, oil onboard, 45.5 x 43 cm (NBM, SR)

CARTWRIGHT HALL,BRADFORDCUBITT STREET STUDIOSPortfolio, 2000, 20 artists prints,edition 29 of 100, yellow A4 sizebox portfolio (EF, SR)

EDMUND DE WAALCupboard Cargo, 1999,porcelain, dimensions variable(CC, JB)

RICHARD WOODSUntitled, 1997, Poster print, 73 x101 cm (gift of Paul Wilson)

BRISTOL CITY MUSEUM & ART GALLERYRODERICK BUCHANANSodastream, 1995, videomonitor installation (1 min 30sec), edition 10 of 19 (HMF, SR)

PETER HARRIS

Save the World, by MargretHarris, 1967, 1998, mixed media

on board, 74.5 x 86.5 cm, Totallyin the Dark, by Rolf Harris,1974, 1998, mixed media on

board, 21 x 30 cm (EF, SR)

CONTEMPORARY WORKS PRESENTED TO MUSEUMS 2000

TACITA DEAN, GELLERT, 1998 (DETAIL), PRESENTED TO MERCER ART GALLERY, HARROGATE

DANNY LANEChampagne Glass, 2000, glass, 16 x 15 x 15 cm (CC, JB)

NATIONAL MUSEUM & GALLERY,CARDIFFDONALD RODNEY

In the House of My Father , 1996-

97, photograph on aluminium,

edition 1 of 3, 122 x 153 cm (EF,JL), My Mother My Father My

Sister My Brother, 1996-7, human

skin, pins, 2 x 2 x 2 cm, (on loan

from the Estate of Donald

Gladstone Rodney)

TAKESHI YASUDADistorted Bowl, 1999, creamware,13 (diameter) x 8 cm, Bowl withHandle, 1999, creamware, D40 x 15 cm (CC, JB)

CHELTENHAM ART GALLERY &MUSEUMREBECCA DE QUINSugar and Cream Set with Tongs ,1999, silver, 6 x 11 x 9 cm (CC, JB)

HERBERT ART GALLERY &MUSEUM, COVENTRYLES BICKNELLTwo Walks, 1998, wood, leather,handmade paper, stones and lead,19 x 24 x 17 cm (CC, JB)

CORNELIA PARKEREmbryo Firearms, 1995, colt 45guns in earliest stage of p ro d u c t i o n ,19 x 13 x 2.4 cm (HMF, JL)

DONCASTER MUSEUM & ARTGALLERYANGUS FAIRHURSTTree With Arms, 1998, r-type print, edition 1 of 6, 60 x 40 cm,Inflated/Deflated, 1997, graphiteon paper, diptych 25.5 x 28 cm and 29.5 x 21 cm (EF, SR)

SARAH LUCASSexBaby, 2000, c-print, edition 5 of 10, 80 x 60 cm (EF, SR)

BROADFIELD HOUSE GLASS

MUSEUM, DUDLEY

BRUNO ROMANELLI

Boxed V1, 2000, mould melted

and polished glass, 31 x 20 x

10 cm (CC, JB)

TOWNER ART GALLERY,EASTBOURNEGRAHAM GUSSIN

Future City, 1996, pencil on paper

mounted on acrylic, 113 x 165 cm

(NBM, SR)

SCOTTISH NATIONAL GALLERYOF MODERN ART, EDINBURGHJULIAN OPIE

Imagine you are Driving.1, 1997,

vinyl, aluminium, 240 x 336 cm

(HMC, RH)

SHIPLEY ART GALLERY,GATESHEADHEATHER BELCHER

Overcoat, 2000, hand made felt

wool, wooden baton support,

175 x 100 x 5 cm (CC, JB)

MARIA VAN KESTEREN

Object, 1999, elm,

14 x 36 x 35 cm (CC, JB)

HUNTERIAN ART GALLERY,GLASGOW

CHRISTINE BORLAND

Family Conversation Piece,

1998, porcelain, wood, glass,

table, 109 x 101 x 56 cm

(HMF, RH)

BANKFIELD MUSEUM, HALIFAXSUSAN BOSCENCE

Fabric Length, 1992,

wax resist and block printing,

250 cm

GILLIAN LITTLEWoven Scarf, 1995, wool, 84 x 300 cm

MERCER ART GALLERY,HARROGATETACITA DEAN

Gellert, 1998, set of 4 colour

photographs, edition of 8, 38 x

59 cm (NBM, SR)

MARGARET HARVEY GALLERY,HERTFORDSHIRE UNIVERSITY,HATFIELDCECILE JOHNSON SOLIZ

Five Pitchers, 1993-6, clay, wood,

paint, 210 x 53 x 46 cm

(HMF, SR)

HOVE MUSEUM & ART GALLERYEMMA WOFFENDENPupae, 1999, slumped glass, 36 x 34 x 80 cm (CC, JB)

HUDDERSFIELD ART GALLERYALAN BROOKSUntitled, 1997, oil on canvas, 168 x 140cm (EF, SR)

GEORGINA FRANKEL

Bowls, 2000, porcelain,

eight bowls, each D9 cm

(CC, JB)

IAN MCKEEVER

Day Painting, Saturday 11.4.99,

1999, oil and acrylic on canvas,

106 x 149 cm (EF, SR)

CHRISTCHURCH MANSION,IPSWICHDAVID RAYSONBlackham Road, 1999, acrylic on board, 90 x 122 cm (EF, SR)

LEAMINGTON SPA ART GALLERY& MUSEUM

MICHELLE CHARLES

Lydia Pinkham Photogram,

#1 #2 #3 and #4, 2000, black

and white photograms, each

41 x 51 cm (EF, SR)

11/CAS

LUCY GUNNING, CLIMBING ROUND MY ROOM, 1993, VIDEO STILL(DETAIL) PRESENTED TO HARRIS MUSEUM & ART GALLERY, PRESTON

THOMAS SCHEIBITZ, LOW SWEETIE, 1999 (DETAIL) PRESENTED TO HARRIS MUSEUM & ART GALLERY, PRESTON

JULIAN OPIE, IMAGINE YOU ARE DRIVING 1, 1997 (DETAIL)PRESENTED TO SCOTTISH NATIONAL GALLERY OF MODERN ART

PETER HARRIS, SAVE THE WORLD, BY MARGRET HARRIS, 1967,1998PRESENTED TO BRISTOL MUSEUM & ART GALLERY

CHRISTINE BORLAND, FAMILY CONVERSATION PIECE, 1998PRESENTED TO HUNTERIAN ART GALLERY, GLASGOW

HEATHER BELCHER, OVERCOAT, 2000PRESENTED TO SHIPLEY ART GALLERY, GATESHEAD

EDMUND DE WAAL, CUPBOARDCARGO, 1999PRESENTED TO CARTWRIGHT HALL, BRADFORD

ALICE MAHER, THORN HOUSE, 1999PRESENTED TO OLDHAM ART GALLERY

DOROTHY CROSS, TEACUP, 1998, VIDEO STILLPRESENTED TO THE POTTERIES MUSEUM & ART GALLERY

16/CAS

TONY CARTER

Hallgarten Blues, 1991, MDF,

perspex, bottles, bronze,

wire, paraffin wax, silver

trumpet mouth piece, cork,

114 x 314 x 123 cm

LEEDS CITY ART GALLERYLUCIA NOGUEIRABlack, 1994, chandelier glass,spotlight, dimensions variable(HMF, JL)

THE NEW WALK MUSEUM & ARTGALLERY, LEICESTERPHILIP AKKERMAN

Self portrait no 72, 1994, oil on

wood, 40 x 34 cm, Self portrait

no 92, 1992, oil on wood,

40 x 34 cm, Self portrait no 38,

1996, oil on wood, 40 x 34 cm,

Self portrait no 31, 1995,

oil on wood, 50 x 43 cm

(OP, SR)

USHER GALLERY, LINCOLNSIMONE TEN HOMPELSilver Spoons, 1999, silver,dimensions variable(CC, JB)

UNIVERSITY OF LIVERPOOL ARTCOLLECTIONANNA HUNTEames House, 1998, thread on canvas, 29 x 45 cm (EF, SR)

WALKER ART GALLERY,LIVERPOOLDAIL BEHENNAHStainless Steel Dish, 1999,stainless steel, edition 15 of 50, 6 x 42.5 cm (CC, JB)

AMANDA BRIGHTLemon Pod with Seeds, 1997,hand-woven mild steel mesh,copper alloy, gold leaf, 58 x 27 x 4 cm (CC, JB)

STEPHANIE SMITH AND EDWARD STEWARTDual, 1997, single colour videomonitor installation with sound(60 min loop), edition 1 of 3 (HMF, SR)

SOUTH LONDON GALLERY,LONDONEMMA KAY

The Bible from Memory, 1997,

offset print on paper,

edition of 25, 43 x 31 cm,

War and Peace, 1997, ink jet

print on paper in two parts,

edition of 5, 243 x 170 cm

(EF, SR)

MANCHESTER CITY ARTGALLERIESKOICHIRO YAMAMOTOSmall Jug, 1998, glass, 21.5 x 10 x 10 cm (CC, JB)

THE WHITWORTH ART GALLERY,UNIVERSITY OF MANCHESTERRUSHTON AUSTEight, 1993, painted and printedcotton fabric, 368 x 27 cm

MIDDLESBROUGH ART GALLERYMARTIN BODILSEN KALDAHLSlade, 1998, gesso acrylic,graphite inscribed paper on linen, 31.6 x 41.8 cm (gift ofJames Moyes)

CLEVELAND CRAFTS CENTRE,MIDDLESBROUGHMARTIN BODILSEN KALDAHLShifting Planes, 1999, ceramic, 44 x 41 cm (CC, JB)

LAING ART GALLERY,NEWCASTLE UPON TYNECHRIS OFILI

6 x Untitled, 1998, water colouron paper, each 24 x 15.5 cm

(OP, JL)

CASTLE MUSEUM, NORWICHCORNELIA PARKERGrooves in a Record that Belongedto Hitler, 1996, back-litt ra n s p a rency, edition 2 of 5, 33.5 x 25 x 13/5 (HMF, JL)

CASTLE MUSEUM & ART GALLERY, NOTTINGHAMDOROTHY HOGGBangle with 100 Rings, 2000, silver, D9.5 cm (CC, JB)

OLDHAM ART GALLERYLAURA FORDElephant Boy, 1998, plaster andwool, 122 cm high (EF, SR)

ALICE MAHERThorn House, 1999, rose thorns and wood, 22 x 15 x 13 cm (CC, JB)

GLEN ONWINCarbon, Oxygen, Water, 1987,earth, carbon, wax on canvas,mounted on board with acrylic tub containing water, dimensions variable

ASHMOLEAN MUSEUM OF ART & ARCHAEOLOGY, OXFORDRACHEL WHITEREADDemolished, 1996, portfolio of 12duotone screen prints plus titleand colophon page, edition 10 of 35, 49 x 74.4 cm (HMC, RH)

PAISLEY ART GALLERYEMILY BATESDepilator, 1994, human hair, spunand knitted, 260 x 75 x 20 cm (CC, JB)

PLYMOUTH CITY MUSEUM & ARTGALLERYMICHAEL LANDYCar Disposal, 1998, pen and ink onpaper, 70 x 50 cm (EF, SR)

VALERIE PRAGNELLEucalyptus Bark No 3, 2000,eucalyptus bark, beeswax andvegetable paper, 33 x 30.5 cm (CC, JB)

17/CAS 18/CAS

NANCY BALFOUR BEQUESTROGER ACKLINGHoly Island, Wood from shoreline,August 1986, 1986, wood, 4 x 21/2 x 1 ins, presented to CastleMuseum, Norwich

CRAIGIE AITCHISONThe Tree, 1968, oil on canvas,presented to Usher Gallery,Lincoln

KAREL APPELTête Eclatée, 1958, gouache, 30 x 211/2 ins, presented to GlynnVivian Art Gallery, Swansea

FRANK AUERBACHDrawing, coloured chalks onpaper, 12 x 9 ins, Study forMornington Crescent, 1931, 39 x 3 x 39 cm, gift of the artist inmemory of Nancy Balfour,presented to Castle Museum &Art Gallery, Nottingham

GILLIAN AYRESMerlin, 1983, oil on canvas, 12 insdiameter, Untitled, 1964, pastelon paper, 20 x 29 ins, No More,1997/98, gouache, 35 X 8 X 35 cm,gift of the artist in memory ofNancy Balfour, presented to JohnCreasey Collection ofContemporary Art, Salisbury

GLENYS BARTONLittle Madonna, 1986, ceramic,height 101/2 ins, Pebble Portrait,ceramic, edition 7 of 50,presented to Wakefield ArtGallery

JOHN BELLANYUntitled, 1985, watercolour onpaper, 30 x 22 ins, presented toRochdale Art Gallery, CagedCockenzie Man, 1985, etching,artist’s proof, 91/2 x 61/2 ins,presented to Cartwright Hall,Bradford, Flowers II, 1989, oil oncanvas, 48 x 36 ins, presented toJohn Creasey Collection ofContemporary Art, Salisbury

STEPHEN BUCKLEY

Small Painting no. 19, 1977, oil on

board, 71/2 x 81/4 ins, Study for

Albion, 1979, oil and enamel on

canvas, 40 x 24 ins, Untitled #9

1977, oil, wax on board, 21 x 29.5

cm, gift of the artist in memory of

Nancy Balfour, Curemont 1989,

oil, gold, wax, canvas, wood, 43 x

20 cm, gift of the artist in memory

of Nancy Balfour, presented to

Swindon Museum & Art Gallery

REG BUTLERSeated Girl, 1956, bronze, 121/4 x101/2 x 111/2 ins, presented toMiddlesbrough Art Gallery

SIR ANTHONY CARO

Small bronze ‘A’, 1982, bronzecast, 5 x 5 x 5 ins, presented to

Cecil Higgins Art Gallery, Bedford

LYNN CHADWICKMaquette for The Watchers, 1961,bronze cast, edition 5 of 6, 101/2 x101/2 x 101/2 ins, Maquette I: TwoWinged Figures, 1973, bronzecast, edition 2 of 6, 91/2 x 5 x 3ins and 91/4 x 71/2 x 3 ins,presented to Ferens Art Gallery, Hull

PRUNELLA CLOUGH

Enclosed Area, 1980, oil on

canvas, 14 x 14 ins, presented to

Birmingham Museum & Art

Gallery, Sweetpack, 1988, oil on

canvas, 54 x 583/4 ins, presented

to Christchurch Mansion, Ipswich

PETER COLLINGWOODMacroganze hanging, linen withsteel rods, 40 x 241/2 ins,presented to Bankfield Museum,Halifax

ALAN DAVIE

Three Symbolic Characters, 1967,

oil on canvas, 20 x 24 ins,

presented to Worcester City Art

Gallery & Museum

FRANK DOBSONLeisure, Study for London Pride,1951, terracotta, 4 x 21/2 x 5 ins,presented to Cecil Higgins ArtGallery, Bedford

BARRY FLANAGANMaquette for Night and Day, 1978,sheet copper, 31/4 x 7 ins, ‘5 Feb73’, 1973, painted canvassculpture (hanging), 501/2 x 18ins, presented to University ofLiverpool Art Collection

SAM FRANCISPainting, 1957, watercolour, 22 x 15 ins, presented toMiddlesbrough Art Gallery

ELISABETH FRINKBird Man V, bronze, 8 x 91/2 x 15 ins, presented to WakefieldArt Gallery

TERRY FROSTYellow Suspended Form, 1979,mixed media collage, 311/2 x173/4 ins, presented to PlymouthCity Museum & Art Gallery

ANDY GOLDSWORTHYLeaf sculpture, 1986, leaves,perspex box, 6 x 6 x 6 ins, T ornStones, ceramic, edition 60 of 180,presented to Oldham Art Gallery

NIGEL HALLDrawing no 923, 1993, charcoaland gouache on paper, 15 x 111/4inches, presented toMiddlesbrough Art Gallery,Untitled, 1978, charcoal on paper,25 x 351/2 inches, presented toHuddersfield Art Gallery

HANS HARTUNGComposition in Black, Yellow andGreen, 1959, pastel and charcoal,171/2 x 22 ins, presented toMiddlesbrough Art Gallery

EWEN HENDERSONSmall bowl and Ceramic, 38 x 21x 19 cm, presented to SwindonMuseum & Art Gallery

PORTSMOUTH CITY MUSEUM &RECORDS SERVICEEMMANUEL COOPERBowl with Gold, 1997, porcelainbody with slips, glazes and gold, 26 x 28 x 9 cm, Stoneware Jug,1999, 27 x 25 x 27 cm (CC, JB)

HOWARD RAYBOULDWooden Platter, wood, 38 x 33 x 3 cm

HARRIS MUSEUM & ART GALLERY,PRESTONLUCY GUNNINGClimbing Round My Room, 1993,video monitor installation (7 1/2min), edition 3 of 8 (EF, SR)

CATHERINE HOUGHCircular Vase and Horizontal Vase,2000, glass, 25 x 20 x 8 cm (CC, JB)

NICHOLAS RENACube, 1999, clay, 23 x 23 x 23 cm,Asymmetric Bowl, 1999, clay, 27 x47 x 31 cm (CC, JB)

THOMAS SCHEIBITZLow Sweetie, 1999, oil on canvas,170 x 270 cm (gift of TomBendhem)

HANNAH STARKEYOctober 1998, 1998, c-type printmounted on aluminium, edition of 5, 122 x 152 cm (NBM, SR)

ROCHDALE ART GALLERYMARIELE NEUDECKERMorning Fog in the Mountains ,1998, c-type photograph, edition of 4, 96.5 x 119.3 cm (EF, SR)

RUGBY ART GALLERY & MUSEUMMARTIN MCGINNWell, 1999, acrylic and cellulose oncanvas, 106.5 x 91.5 cm(EF, SR)

GRAVES ART GALLERY,SHEFFIELDVANESSA JOHNSONSalad Tongs, 2000, silver, 26 x 3.5 cm, Tongs, 2000, silver,

26 x 3.5 cm, Pickle Fork, 2000,silver, 18 x 2 cm (CC, JB)

CHRIS KNIGHTVodka Shot, 1999, silver, 4.5(diameter) x 5.5 cm, Tequila Shot,1999, silver, 4 cm (diameter) (CC, JB)

BRIDGET SMITHEmpire (Blue), 1995, c-type printmounted on MDF, 183 x 183 cm

SOUTHAMPTON CITY ARTGALLERYBETHAN HUWSSans Titre, (Linguistic), 1999,water colour on paper, 72 x 53 cm, Sans Titre, (MerciThomas), 1999, water colour onpaper, 72 x 53 cm (HMF, RH)

ATKINSON ART GALLERY,SOUTHPORTANTHONY BRYANTBurr Oak Vessel, 1999, burr oak,34 x 80.5 x 42 cm (CC, JB)

THE POTTERIES MUSEUM & ARTGALLERY, STOKE ON TRENTDOROTHY CROSSTeacup, 1998, video monitorinstallation (3 min loop), edition 3of 3 (HMF, JL)

DAI REESHuman Hair Covered Headcage,1998, turkey quills, human hair,mild steel, 700 x 700 x 300 cm(CC, JB)

SUNDERLAND MUSEUM & ARTGALLERYEDWARD HARPER Gun St, 2000, acrylic on canvas,152 x 213 cm (SR)

GLYNN VIVIAN ART GALLERY,SWANSEAJULIAN STAIR

Commission of selection of

ceramics, 1999(porcelain and red

stoneware plate, bowl, demi-

tasse, beaker, teapot, jug),

dimensions variable

(CC, JB)

SWINDON MUSEUM & ARTGALLERYKATHY PRENDERGASTLost, 1999, digital print, edition Iof 25, 85 x 132 cm (EF, SR)

THE NEW ART GALLERYWALSALLRICHARD WENTWORTHEssay, 1998, wood, Formicaand nails, 4 x 110 x 30 cm (HMC, RH)

YORK CITY ART GALLERYJOANNA CONSTANTINIDISStoneware Vase, 1999,stoneware, height 25.5 cm

(CC, JB)

ROSE WYLIEEarly Memory Series No.2:Doodle-Bug, 1998, oil on canvas,183 x 165 cm (OP, JL)

GIFTS AND BEQUESTSPRESENTED TO MUSEUMS 2000ANONYMOUS DONORPETER CHATWIN & PAMELAMARTIN

Jagged Edge, 1991, wood veneerdish with colour inlays,

483 x 483 cm, presented to

Portsmouth City Museum and

Records Service

SALLY GREAVES LORD

Untitled, 1990, natural vegetable dyes hand-painted

on raw silk, 235 x 745 cm,Untitled, 1990, natural

vegetable dyes hand-painted on raw silk, 235 x 745 cm,presented to Bankfield Museum,

Halifax

PATRICK HERONLondon Mini in Red Light , 1970,gouache, 7 x 91/2 ins, TwoOchres, Black and Lemon, 1964,gouache, 231/2 x 29, presented toFerens Art Gallery, Hull

HOWARD HODGKINThe Second Visit, 1963, panel, 16 x 20 ins, presented toSouthampton City Art Gallery

PETER HOWSONNecropolis, oil on canvas, 191/2 x191/2 ins, presented to MargaretHarvey Gallery, Hatfield

JAMES HUGONINStudy for Untitled (IV), 1990-91,oil and wax on wood, 8 x 71/2 ins,Jouissance (artist’s book),presented to Towner Art Gallery,Eastbourne

JOHN KEANEI’ll Have This One, 1988, acrylicand mixed media on paper, 22 x15 ins, presented to BoltonMuseum & Art Gallery

PHILLIP KINGBrick Piece I, mixed media, 11 x17 x 16 ins, presented to The NewArt Gallery Walsall

JUSTIN KNOWLESSculpture, perspex and chrome,prototype, 9 x 9 x 9 ins, presented to Wolverhampton Art Gallery

LANGLANDS & BELLBauhaus, 1996, screenprint,edition 19 of 50, presented toUsher Gallery, Lincoln

BERNARD LEACHFluted porcelain bowl, presentedto Cecil Higgins Art Gallery,Bedford

CHRISTOPHER LE BRUNPainting, 1982, oil on canvas, 16 x 20 ins, presented toLaing Art Gallery, NewcastleUpon Tyne

KENNETH MARTINOscillation, 1962, phosphorbronze, 61/2 x 31/2 x 21/4 ins,presented to The Whitworth ArtGallery, University of Manchester

MARY MARTINPerspex Group on Red (C),perspex on wood, 91/4 x 91/4 x 5 ins, presented to The WhitworthArt Gallery, University ofManchester

IAN MCKEEVERStudy for Painting, 1983, oil oncanvas, 10 x 6 ins, Study after OldTrees, 1985, graphite, gouache onphotographic paper, 48 x 54 ins,Study No.4A, 1997-8, from aseries of 5 woodcut monoprints,98.2 x 72.2 cm, gift of the artist inmemory of Nancy Balfour,presented to Mercer Art Gallery,Harrogate

BRUCE MCLEANUntitled(Pipe Smoker and StepLadder), 1984, acrylic onphotographic paper, 273/4 x191/2 ins, presented to MargaretHarvey Gallery, Hatfield

F. E. MCWILLIAMMaquette for the Witch of AquesiII, 1959, bronze, edition of 5, 14 x51/2 x 31/2 ins, presented toWakefield Art Gallery, Maquettefor Parents and Children, 1950,plastic wood, 4 x 7 x 61/2 ins,Mosaic Sculpture, glass mosaictiles, gilded, 8 x 3 x 3 ins,presented to Ulster Museum,Belfast

BERNARD MEADOWSFallen Bird, 1958, bronze, 151/2 x8 x 7 ins, presented to Victoria ArtGallery, Bath

DENIS MITCHELLGwennap, 1968, bronze, edition 3 of 3, 123/4 x 4 x 41/2 ins,presented to Wakefield Art Gallery

HENRY MOOREMaquette for Reclining Figure(Two Piece), Version II, 1960,bronze, height 51/4 ins, presentedto The New Art Gallery Walsall

DAIVD NASHLadder, 1978, wood, 15 x 3 x 5 ins, presented to Glynn Vivian Art Gallery, Swansea

EDUARDO PAOLOZZI

Hagim, 1967, chrome-plated steel,

unique, 21/2 x 111/4 x 6 ins,

Zutrubars, 1975, wood relief, 9 x

33/4 x 3/4 ins, presented to

Wolverhampton Art Gallery

CORNELIA PARKER

Falling Trophy, 1991,

silver plate, wire, 8 x 91/2 x 31/2

ins, presented to Rochdale

Art Gallery

VICTOR PASMOREMaquette for MetamorphosisMural, 1966, oil on board, 91/4 x343/4 ins, presented to CastleMuseum & Art Gallery, Nottingham

JOHN PIPER

Portland Church and Radar Mast,

gouache, 9 x 61/2 ins, presented

to South London Gallery

NICHOLAS POPEYoung Tree Column, 1973,

oakwood, height 84 ins, presentedto Castle Museum, Norwich

KENNETH PRICEUntitled Cup no.4, 1973/74,ceramic, presented to NewportMuseum & Art Gallery

WILLIAM PYEFour Part Sculpture, 1967, steel,

polished and lacquered, 41/4 x61/2 x 6 ins, presented to Herbert

Art Gallery & Museum, Coventry

LUCIE RIEWhite porcelain bowl with pale blue spirals, presented to Southampton City Art Gallery

20/CAS19/CAS

BRIDGET RILEY

Drawing R1001, 1971, gouacheon paper, 34 x 32 ins, presented

to Leamington Spa Art Gallery &Museum, Study October 25th,1986, gouache on paper, 261/4 x

251/4 ins, presented to RugbyArt Gallery & Museum

NIKI DE SAINT PHALLE

Nana Acrobat, polyester fibre,height 7 ins, presented toWolverhampton Art Gallery

MICHAEL SANDLEMaquette for The Drummer,1989, bronze, edition 3 of 8,121/2 x 4 x 61/2 ins, presentedto Bolton Museum & Art Gallery

TIM SCOTT

Sistrum I, aluminium, 16 x 5 x

3 ins, presented to The New

Walk Museum & Art Gallery,Leicester

WILLIAM SCOTTBlue on Blue, 1967, oil oncanvas, 24 x 24 ins, presented toTowner Art Gallery, Eastbourne

SEAN SCULLYSquares No. 7, drawing,gouache, 26 x 27 ins, presentedto Glynn Vivian Art Gallery,Swansea

RICHARD SMITH

Drawing (Black with Blue), 1970,

chalk on paper, 30 x 23 ins,

Work on paper, 1997, gesso,

acrylic and charcoal on paper,30 x 22 ins, gift of the artist in

memory of Nancy Balfour,

presented to The Whitworth Art

Gallery, University of

Manchester

WILLIAM TILLYERThe Blue Vase at the Home ofMrs Lumsden, acrylic on paperand wire, 221/2 x 181/2 ins,presented to Victoria Art Gallery, Bath

JOE TILSONReflector Column, Ziglical 2,1965, oil on wood, aluminium,chromium plated copper, 27 x 12ins, presented to Herbert ArtGallery & Museum, Coventry

DAVID TREMLETTTanzania Bus Stop, 1984, contecrayon, 171/2 x 232 ins, presentedto Glynn Vivian Art Galle r y ,S w a n s e a

WILLIAM TUCKERFour four-part Sculptures, 1967,bright steel bar, polished and lacquered, 41/2 x 1 ins,presented to Towner Art Gallery,Eastbourne

WILLIAM TURNBULLArrowhead Torso, 1979, bronze,edition of 9, 9 x 7 x 2 ins,presented to Towner Art Gallery,Eastbourne

KEITH VAUGHANThe Wold Farm, 1946, gouache, 15 x 11 ins, presented to NewportMuseum & Art Gallery

SASHA WARDELLVase, ceramic, presented toNewport Museum & Art Gallery

ALISON WILDINGVenus, 1990, ebony and galen,31/2 x 21/2 x 21/2 ins, Three DarkObjects (a), 1999, hemlock (pine),lead, wax, 24 x 9 x 4 cms, gift ofthe artist in memory of NancyBalfour, presented to Graves ArtGallery, Sheffield

BILL WOODROWLocket and Gold Bow, mixedmedia, 41/2 x 7 x 19 ins,presented to Mead Gallery,University of Warwick

MARK ROTHKO MEMORIALPORTFOLIOPortfolio of prints by Britishartists published in 1973,presented to The British Museum

GIFT OF CONTEMPORARY ARTSOCIETYGERARD WILLIAMSHeld, 1988, mixed media, 48 x 8 x 48 cm, presented toHenry Moore Institute Collection,Leeds

BEQUEATHED BY SIR MICHAELCULME-SEYMOURMAGGI HAMBLINGSunrise, Orwell, Suffolk,watercolour on paper, 24 x 30 ins,presented to Doncaster Museum& Art Gallery

GIFTS OF DASHA SHENKMAN, IN MEMORY OF HER MOTHERBELLE SHENKMANSTEPHEN BUCKLEYUntitled, 1978, waxed acrylic oncanvas, 62 x 35 ins, presented to Swindon Museum & Art Gallery

NIGEL HALLDrawing No 447, 1985, charcoaland gouache on paper, 75.7 x 56.6 cm, presented toHuddersfield Art Gallery

MARGARET HUNTERHolding Together, 1994, wood,copper, lead, 82 x 33 x 21 cm,Passage, 1992, oil on wood, 122 x 91.5 cm, presented to Paisley Museum & ArtGalleries

BILL JACKLINMan with a Bib, 1980,watercolour, 77.5 x 55.9 cm,presented to Cecil Higgins ArtGallery, Bedford

JOHN MONKSThe Reflection, 1991, oil oncanvas, 66 x 50 ins , presented to York City Art Gallery

22/CAS/ SPECIAL COLLECTION SCHEME

presented to Leeds City Art Gallery

BERND AND HILLA BECHER

Nine framed photo g raphs fro mU n t i t l e d, pre s e n ted to Donca ste rMuseum & Art Gallery,

H u d d e rsfield Art Gallery and HarrisMuseum & Art Gallery, Pre sto n

ANYA GALLACCIOD rawings for Two Sisters, pre s e n te dto Fe rens Art Gallery, Hull

ILYA AND EMILIA KABAKOV

Model for The Palace of Projects,presented to Manchester City Art Gallery

LANGLANDS AND BELLTechnical drawings and scalemaquettes for Eclipse, 1998,presented to Leeds City Art Gallery/ Henry MooreInstitute Collection

REGINA MOLLER

Regina magazine limited edition

special issue, presented to

member museums within the Art

Transpennine region

JORGE PARDOThirty-five prints from Untitled,each 28 x 21.8 cm, presented toLeeds City Art Gallery/ HenryMoore Institute Collection

FRANCOISE QUARDONDrawings, written planning

notes, graphic lettering,

photocopy-montage, assemblage

of objects for The Day Before I Die,

presented to Leeds City Art Gallery/ Henry Moore Institute

Collection

JAMES TURRELL

Lapsed Quaker Ware, black basalt,

white saltglaze, presented to

Doncaster Museum & Art Gallery

ALISON WILDINGDrawings for Desmormais,presented to Cartwright Hall,Bradford

RICHARD SMITHCartouche Series V-4, 1979, paper,pulp and cloth, 60 x 60 ins,p re s e n ted to John Cre a s eyC o l lection of Conte m p o rary Art,S a l i s b u r y

VICTOR VASARELYPermutation no 3, lithograph,edition 72 of 150, 67 x 67 cm,presented to Cecil Higgins ArtGallery, Bedford

GIFTS OF WILLIAM AND DASHASHENKMAN, IN MEMORY OFTHEIR MOTHER BELLESHENKMANANTHONY DONALDSONStartracker, presented to PaisleyMuseum & Art Galleries

JOHN HOYLANDPact, 31.5.78, 1978, painting, 60 x50 ins, presented to York City ArtGallery

ANTONI TAPIES

Forma Ombrejada, 1987, etching,

aquatint and carborundum, 82 x

76.5 cm, edition of 99, presented to

Graves Art Gallery, Sheffield

WILLIAM TUCKEROrpheus I, 1965, painted wood,edition 1 of 3, 54 x 48.5 cm,presented to Manchester City Art Gallery

ARTRANSPENNINE98an international contemporaryvisual art exhibition recordedTHE LEGACY:ATELIER VAN LIESHOUTWorking sketches and scale

maquette for The Henry MooreInstitute, presented to Leeds City Art Gallery/ Henry Moore

Institute Collection

JOSEPH BARTSCHERER3 framed photographs from Canal,

LOANS TO EXHIBITIONSEDWARD HARPER

Gun St, 2000, lent to Out of Place,

Memory, Imagination and the

City, The Lowry, Salfo rd,

Sept 00-Jan 01

DAVID RAYSON

Blackham Road, 1999, lent to Out

of Place, Memory, Imagination

and the City, see above

GIFTS TO CAS 2001BYAM SHAW PORTFOLIOPortfolio of ten prints on an

insect theme: Fiona Banner,

Tacita Dean, Peter Doig, Anya

Gallaccio, Brad Lochore, Cornelia

Parker, Kathy Prendergast, YinkaShonibare, Gavin Turk, Mark

Wallinger, edition of 90 with 15

a/p, each 30.5 x 40.5 cm, gift of

Tom Bendhem

MARK DUNHILLCocoon, wood, gift of Sir StephenWaley-Cohen, presented toBristol City Museums & ArtGallery

RICHARD KIDDBreathing Space, 1976, oil oncanvas, presented to UlsterMuseum, Belfast, in memory ofHyman Kreitman

ALAN REYNOLDSStudy for Young September’sCornfield, 1954, gouache and ink, 9 x 6.5 ins, Modular Study (1),1981, pencil on paper, 13.5 x 11ins, given in memory of Ernestand Mary Darby by theirdaughters

MARK WALLINGER

Samizdat, 1984, from

Common Grain series, wood

from packing case, oil paint, 94 x

70.5 cm, gift of David and Maggi Gordon in memory of

Max Gordon

21/CAS

Year 2000 marked the half waypoint in the Special CollectionScheme (SCS). Purchasinggathered momentum andmuseums began to integratenew acquisitions into their gallery displays. As before, CAS organised two internationalresearch trips for SCS curators.

ManifestaIn June, a group of thirty curatorsvisited Manifesta3 a EuropeanBiennial of Contemporary Arthosted this year in Ljubljana,Slovenia. It coincided with thetenth anniversary of the country’sindependence from Yugoslavia.The curatorial approach forManifesta3 focussed on artistsfrom Eastern Europe whose workdealt with the changing social,political and economic boundariesof Europe. Much of the workpresented was film and video.

As part of Manifesta3 events, the Moderna Galerija, Ljubljana,launched the ARTEAST2000collection in the formerYugoslavian Army barracks inLjubljana. The collection,developed in the 1990s, addressed work by artists fromEastern Europe alongside non-European artists. The collection of mainly conceptual works fromthe 60s & 70s includesMagadalena Abramovich’s keyfilm performance Rhythm O, 1974,early photographic works by JennyHolzer and one of Anish Kapoor’sVoid series. The collection hasbeen developed with virtually nobudget and has largely benefitedfrom artists’ donations.

CanadaA group of thirty-three curatorstook part in our visit to Canada atthe end of September. Three dayswere spent in turn in Montreal,Ottawa, Toronto and Vancouver,seeing, as one curator gleefullyannounced, a total of sixty-fiveexhibition and collection venuesover twelve days. The itineraryincluded national museums andgalleries, independent andcommercial galleries, artist-ledinitiatives and studio visits, withan aim to achieve an overview ofcontemporary art and craft inCanada. Our visit was organisedin collaboration with MichaelRegan, Curator at Canadian HighCommission in London who alsosecured extra funding for theMidland Band curators to join usfor the full tour.

Our visit coincided with the openingof the Montreal Biennale and thep re s e n ce of such a large group ofc u ra to rs from Britain attra c te dmuch pre ss attention. We we rewe lcomed by Mrs Vivien Stew a r t ,founding member of the M a cdonald Stewart Fo u n d a t i o nwhich supports the acquisition ofd e co ra t i ve art for the co l lection ofthe Musée des Beaux Arts. Ofparticular note in Ottawa was theNational Gallery, the Department of Northern Indian Affa i rs, giving an insight into issues around thef i rst-nation communities and their artistic pra c t i ce.

In Toronto, we were impressed bythe Art Gallery of Ontario, theMuseum of Textiles and theYdessa Hendles Foundation, an

inspiring example of privatecollecting informed by an intuitivecuratorial approach, whichincluded major works byChristian Boltanski, G e r h a rdR i c h ter and Shirin Neshat’s nowsignature work Turbulent.

On the last leg of our tour,Vancouver, we visited VancouverArt Gallery’s stunningcontemporary collection based on the theme of modernity,landscape and identity. Aninterview with Jeff Wall wasarranged and a small group ofcurators from SCS and MidlandBand were invited. A furtherhighlight was a coach trip up into the mountains north ofVancouver to see the Canadianlandscape which put into context the experiences of the visit. Theoutcome of our visit has established a number of plans toexhibit Canadian artists andcollaborations between SCS andMidland Band venues.

Birmingham City Council recognise the success of theSpecial Collection Scheme and asa direct result have secured theadjacent Water Hall building onbehalf of the museum, as adedicated space for the display oftheir modern and contemporarycollections. The local authoritynow see co n te m p o rary art and the museum as central to thecultural strategy anddevelopment of the city.

Mary Doyle, Collections CuratorJessica Wallwork, AssistantCollections Curator

RUT BLEES LUXEMBURG, AFFLICTION, 2000, PURCHASED ON BEHALF OF WOLVERHAMPTON ART GALLERY'

23/CAS

PURCHASES FOR SPECIALCOLLECTION SCHEME APRIL 2000 - MARCH 2001

BIRMINGHAM MUSEUM & ARTGALLERY

FINE ARTSIMON CALLERYSix Pace Painting, 1999, oil oncanvas, 200 x 385 cm

PRUNELLA CLOUGHVegetation, 1999, oil on canvas, 152 x 184 cm

JANE HARRISPine, 1998/99, oil on canvas, 193 x 244 cm

LUBAINA HIMIDPlan B, 1999, acrylic on canvas,122 x 304 cm My Parents TheirChildren, 1986, acrylic on canvas,151 x 184 cm, gift of the artist

CRAFTMALCOLM APPLEBY

Tidal Waters, 2000, engraved

silver bowl, 28 x 31 cm

ANGELA CORK

Cutlery Set, 1999, silver,

stainless steel, 5 items between

20 and 23 cm in length, Rocking

Vessel, 2000, silver, D7.2 x H7.8 cm

GRAHAM CRIMMINSSet of 6 Spoons, 2000, Britanniasilver, fine silver, gold, 24.5 x 5.5 cm, drawings and designs for Set of S p o o n s, 2000, 13 va r i o u s lysized sheets

MARIA HANSON

Chalice and Communion Cups,2000, silver, gold leaf, black acetal,chalice 8 x 9 cm, twelve cups each

7 x 8 cm, base 140 x 50 cm, unique

SIMONE TEN HOMPEL5 Silver Spoons, 2000, silver, each 20 cm in length

WILLIAM KIRKTumbler Cup, 2000, silver, H5.5 x D7.4 cm

GRANT MCCAIGWater Jug, 2000, silver, golddetail, H10.4 mm x D9.6 cm

HIROSHI SUZUKI (commission)Figure ∆ (Konoe - 1), 2000, silvervessel, H30 x D15.5 cm

TOWNER ART GALLERY,EASTBOURNERUT BLEES LUXEMBURGTest of Courage, 2000, c-print onaluminium, edition 1 of 5, 180 x240 cm

FERENS ART GALLERY, HULLPHILIP AKKERMANSelf Portrait 1991 No 10, 1991,

oil on wood, 40 x 34 cm, SelfPortrait 1995 No 68, 1995, oil onwood, 40 x 34 cm, Self Portrait1997 No 43, 1997, oil on wood, 40 x 34 cm, Self Portrait 1999.

No 74, 1999, oil on wood, 27 x 25 cm, Self portrait 1986 No 43, 1986, oil on wood, 40 x 32 cm

LEEDS CITY ART GALLERYMARK DEANAscension (Nothing/SomethingGood), 2000, DVD, black andwhite/sound continuous loop,edition 1 of 3, Goin’ Back (TheBirds/ The Byrds x 32 + 1), 1997,DVD colour/sound, 9 min 30 sec,edition 1 of 3

TACITA DEANTrying to Find the Spiral Jetty ,1998, CD, 27 min, edition 2 of 6

ANNELIES STRBAShades of Times, 2001, video(incorporating 240 images with asound track by Baby Ford), edition 1 of 5, Bronte Moor, 1996,Wuthering Heights, 1994, Lindaas Isabella, 1996, Sonja as Cathy,1996, Haworth, 1996, fivephotographs, edition 2 of 6, 100 x 150 cm

MARK WALLINGER

Threshold to the Kingdom,

2000, projected video

installation, 11 min 20 sec,

edition 8 of 10

MANCHESTER CITY ARTGALLERY

FINE ARTRICHARD DEACON

Dumb Bell, 1998, spun

aluminium, 126 x 110 x 110 cm

TONY OURSLER

Crystal Skull, 1998, CD, CD

player, amplifier, speakers,

fibreglass, skull, lightbulb,

68.6 x 56 x 91.5 cm

MIDDLESBROUGH ART GALLERYADAM DANTDrawing: Untitled 6, 1999, ink onpaper, 304.8 x 152.4 cm

CASTLE MUSEUM & ARTGALLERY NOTTINGHAM

CRAFT POLLY BINNS

Serial Shimmers and Shades,

1996 and Shallows and

Shadow, 1996, both linen

painted and stitched, each

125 x 185 x 3 cm

SHELLY GOLDSMITH

No Escape: reclaimed dresses

from the children’s home of

Cincinnati, 2000, stitching, heat

transfer printing on three

dresses, variable sizes

SHIZUKO KIMURA

Life Study I Caribbean 2000,

2000, cotton, wool thread and

muslin, 140 x 240 cm

LESLEY MITCHISON

Making clothes for children I and

II, 1999, cotton, silk, paper,

polyester yarns, felt, found

materials, each 32 x 36 cm

HIROSHI SUZUKI, FIGUREDELTA, 2000PURCHASED ON BEHALF OF BIRMINGHAM MUSEUM & ART GALLERY

ANYA GALLACCIO, NOW THE LEAVES ARE FALLING FAST, 2000PURCHASED ON BEHALF OF SOUTH LONDON GALLERY

MARK WALLINGER, THRESHOLD TO THE KINGDOM, 2000, VIDEO STILL( D E TA I L ) PURCHASED ON BEHALF OF LEEDS CITY ART GALLERY

JANE HARRIS, PINE, 1998/99PURCHASED ON BEHALF OF BIRMINGHAM MUSEUM & ART GALLERY

MARK DEAN, GOIN’ BACK (THE BIRDS/THE BYRDS X 32 + 1), 1997, DVDSTILLPURCHASED ON BEHALF OF LEEDS CITY ART GALLERY

RODERICK BUCHANAN, CHANGE UP, 1998, VIDEO STILL (DETAIL), PURCHASED ON BEHALF OF SOUTHAMPTON CITY ART GALLERY

28/CAS

SALLY MORFILL

enough, 2000, embroiderythread, video, monitor, VHSplayer, continuous loop, unique

GRAYSON PERRYClaire’s coming out dress, 2000,silk satin, rayon, lace, life-size

SOUTH LONDON GALLERYKEITH COVENTRY

Sceaux Gardens Estate, 1995,oil on canvas, 97 x 72 cm

ANGUS FAIRHURST

A Couple of Differences

Between Thinking and Feeling,

2000, bronze, edition 2 of 6,

31 x 25.5 x 17.5 cm

ANYA GALLACCIO

now the leaves are falling fast ,

2000, c-print on aluminium, 186

x 186 x 4 cm

STEPHEN WILLATS

Creating My Own Journey

November 1998/ April 1999,

1998/99, six panels,

photographic print and dye,

acrylic paint, laser print, panel

1, 118.5 x 80 cm, panels 2-6,

each 116 x 16.5 cm

SOUTHAMPTON CITY ARTGALLERYRODERICK BUCHANAN

Chasing 1000, 1994, DVD single screen or monitor,

90 min, Change Up, 1998, DVDtwo screen video projection, 8 min

JEREMY DELLER

I Love Melancholy, 2000, wall

painting matt emulsion &

gloss paint, edition 1 of 5,

dimensions variable

LIAM GILLICKContinuum 001 Wall Diagrams,2000, acrylic paint on wall,dimensions variable

GRAHAM GUSSINSpill, 1999, 16mm black/whitesilent film, 12 min

HILARY LLOYDDawn, 1999, video, unique, 30 min, One minute of water,1999, video, unique, continuous loop

STEPHEN WILLATSDangerous Pathway, 1999,super 8 film and VHS video, 14photographic prints, ink, acrylicpaint, photographic dye on card,41 x 34 cm each

THE POTTERIES MUSEUM &ART GALLERY, STOKE ON TRENTCECILE JOHNSON SOLIZTwenty-eight Pitchers,1994-6, clay, wood, paint, 214 x 150 x 23 cm, Fast andSlow Coffee Sets, 1993-6, clay,Sixty Mug and Handle Types,Three Vases Two Times, Ten Mugs, Eight Cups andSaucers, watercolours on paper, 33 x 48 cm

THE NEW ART GALLERYWALSALLLAYLA CURTISThe Thames (North SouthDivide), 2000, collaged roadmaps and perspex, 85 x 153 cm

WOLVERHAMPTON ARTGALLERYRICHARD BILLINGHAMUntitled (BW 1), 1990, black/white print on aluminium,edition 1 of 5, 98 x 147 cm,Untitled (RAL 16), 1994, fuji long-life print on aluminium, edition 4 of 5, 105 x 158 cm

RUT BLEES LUXEMBURGAffliction, 2000, c-print, edition1 of 5, 180 x 150 cm

WORCESTER MUSEUM & ARTGALLERYPAUL SEAWRIGHT

Tree, Underpass, 1999, c-print

on aluminium, edition 2 of 6,

144 x 183cm, Fires Belfast

Series, 1997, c-print on

aluminium, edition 2 of 6,

150 x 150 cm

SPECIAL COLLECTION SCHEMELOANS TO EXHIBITIONSRICHARD BILLINGHAMUntitled (BW 1), 1990, Untitled (RAL 16), 1994, on

loan to Richard Billingham, a touring exhibition organised by

Ikon Gallery, Birmingham, from August 2000 toSeptember 2001

SHELLEY GOLDSMITH

No Escape: reclaimed dressesfrom the children's home of

Cincinnati, 2000, on loan to ArtTextiles, a touring exhibitionorganised by Bury St. Edmunds

Art Gallery, from September 2000 to March 2002

SHIZUKO KIMURA

Life Study 1 Caribbean 2000,

2000, on loan to Art Textiles,

see above

LESLEY MITCHISONMaking clothes for children

I and II, 1999, on loan to Art Textiles, see above

SALLY MORFILL Enough, 2000, on loan to ArtTextiles, see above

GRAYSON PERRY

Claire’s Coming Out Dress,

2000, on loan to A Sense of

Occasion, a touring exhibition

organised by Craftspace Touring

in collaboration with mac,

Birmingham, from November

2000 to January 2002

30/CAS/ MEMBERS’ EVENTS

The CAS aims to promote thecollecting of contemporary artand craft through its events. It

has a tremendous track recordof arranging events in Britainand abroad, and works hard tocontinue establishing contactswithin the art environment.

The events inform, educateand provide an insight into awide-range of contemporary artpractices. It is important that we programme a range of

events, from visits to privatecollections, bus tours andlectures to internationalbiennials and contemporarycultural excursions in order to

achieve not only geographicalbalance, but the broadestunderstanding possible.

April 2000Sculpture in Holland Park: Ayear-long exhibition throughoutHolland Park, Bronze; Acelebration of contemporaryBritish sculpture, organised by the Royal Borough of

Kensington & Chelsea in

partnership with Sculpture atGoodwood. Armed with maps,

intrepid CAS members bravedbad weather in search of some

fine works of art, following an

introduction by Ann Elliott(Sculpture at Goodwood). Artists

showing work included: EdwardAllington, Lynn Chadwick, Laura

Ford, Nigel Hall, David Nash,

Eduardo Paolozzi, PeterRandall-Page and Bill Woodrow

amongst many others.

May 2000Visit to private collection: long-

time members and friends ofCAS, Richard Sykes and PennyMason invited CAS members toview the eclectic collection ofmodern and contemporary worksin their beautiful Islington home.Well-known for their generosityin holding an annual party fordealers at the end of January’sArt Fair in Islington, we werevery grateful to benefit from more of the same and have theopportunity to talk to Richard andPenny about how the collectionhad come together.

A day-trip to Paris, this tourhosted jointly by CAS and EricMézan - one of our Frenchcounterparts and a devotee ofCASt - gave members theopportunity to catch up with someof the most interesting andinnovative Parisian contemporaryart. We were able to see anumber of commercial and publicspaces in the city, including anartist’s graffiti covered collective,and a range of new galleries onRue Louise Weiss on the left-bank, Pa r i s’ equiva lent of Hox to nS q u a re. The day ended with adrinks party at the commercialGalerie Thierry Marlat and anexcellent show of photographs. Itwas a day full of surprises and contrasts.

September 2000Tour of Unilever House,previously the De Keyser Hotel,and the London headquarters ofUnilever for over half a century.Its imposing façade, now listed asbeing of historic interest, is aprominent London landmark.

Members were given a tourof the collection, includingapproximately 500 works curated by Contemporary ArtSociety Projects. Extendingthroughout the building’ssplendid faux Art Deco interior,the tour also included a ride inlifts designed by Eric Gill. Someof the artists featured in thecollection are: Ian Davenport,Mark Francis, Gilbert and George,Albert Irvin and Bridget Riley.

Annual General Meeting:graciously hosted by ING Barings, a question and answersession was followed by anillustrated talk given by GillHedley featuring highlights ofworks presented to museums in2000. A guided tour of Baring’smodern British collection,featuring works by LucienPissaro, Stanley Spencer, IvonHitchens and Paul Nash amongstothers, ended the evening.

October 2000Tour of London Print Studio inWestbourne Park. A regionalprintmaking and computergraphics centre, the studio existsto support artists and thoseinterested in learning more aboutvisual and graphic arts with theadded aim of helping to makethese arts accessible to all. Aswell as organising public artsprojects, it also establishesspecial projects which support arteducation in schools. Memberswere given a fascinating tour ofthe print studio, digital studio,project studio and gallery space.Prints were available for sale.

29/CAS/ PROJECTS’ REPORT

Continuing with the promotion of collecting contemporary artthrough advice and purchasing,CAS Projects has concentratedon the development of employeeappreciation within its corporateclient base.

Unilever plc has worked withCAS for more than twenty-oneyears and since the re-hangingof its art collection last year hashosted more than nine privateart tours with the assistance ofCAS Projects. These privatetours are for interested groups,not only wishing to view the artcollection, but at the same timeexperience the interior ofUnilever House. Drawing on thesuccess of these tours, CASProjects has successfullylaunched an art club for theemployees of Unilever offeringthem a changing exhibitionprogramme, artists’ talks,gallery visits and highlightingselected works from thecontemporary art collection.

The Economist continues with its annual exhibition pro g ra m m e .Assisted and presented by CASProjects, artists are given theopportunity to show work in thedistinguished architecturalspace designed by Alison and Peter Smithson.

Juliet Bingham was theprogramme co-ordinator onbehalf of CAS Projects from July 1999 up until July 2000.Matthew Poole has replacedJuliet and CAS Projectswelcomes him.

22 March - 30 April 2000Mes Péripatéticiennes (My

Streetwalkers) by Sharon KivlandHardback by Nina Saunders

10 May - 2 July 2000K by Daro Montag The Allotment by Kate Malone

6 July - 20 August 2000Self-Portrait: Ghost by SteveBunn Give and Take a selection\of craft presented to museumsby the Contemporary Art Societyin 2000.

1 September - 15 October 2000Cast by Jacqueline Pennell Codex by Paul Ryan

25 October - 3 December 2000In Transit by Michael PinskyGuides to The Economist Plazaby Cleo Broda

13 December 2000 - 21 January 2001Portable Paradise by Zoë WalkerWhile We Sleep by Axel Antas

31 January - 1 April 2001Trailer by Matt MitchellPlanisphere by Mike Marshall

11 April - 27 May 2001Mini-Escort by Elizabeth WrightSprawl 1:1 by Graham Seaton

ART2001, the 13th LondonContemporary Art Fair gaveCAS Projects the opportunity

of highlighting advice offered on building a collection, or

commissioning works of art. The supported charity was South London Gallery, a

member museum of the CASSpecial Collections Schemeoperated by CAS. CAS Membersshared their evening at ART2001with the Fair’s media sponsor, The Spectator.

Cat Newton-Groves, ProjectsDirector, was invited toparticipate in the Parisconference RecontresProfessionelle L’Art et le Mondedes Affaires (26 February -1 March 2001) and chaired a daycovering issues on corporate artcollecting and management.Collaborating with Eric Mézan,Director of Art Process an artists’project agency based in theBastille arrondissement of Paris,the workshop day highlightedissues such as:

• Art in the Retail Industry• Private Art Funds• Company Mergers• Conservation, Presentation

and Storage

Development Securities (Projects) Limited commissionedDialogue 1 by silversmith, AneChristensen for a new officedevelopment in BlackfriarsCourt London EC4. Anegraduated from the Royal Collegeof Art in 2000.

CAS Projects would like to thankLara Sampson (Project Manager),Matthew Poole, Sandra Mahonand Andrea Bammuseher fortheir support during the year.

Cat Newton-GrovesProjects Director

31/CAS

FINE ARTAberdeen Art Gallery

Bath Victoria Art Gallery

Bedford Cecil Higgins Art Gallery

Belfast Ulster MuseumBirmingham Museum & ArtGallery

Blackpool Grundy Art Gallery

Bolton Museum & Art Gallery

Bradford Cartwright Hall

Bristol City Museum & Art Gallery

Cardiff National Museum &Gallery

Coventry Herbert Art Gallery &MuseumDoncaster Museum & Art Gallery

Eastbourne Towner Art Gallery

Edinburgh Scottish NationalGallery of Modern Art

Glasgow Art Gallery & Museum

Glasgow Hunterian Art Gallery

Harrogate Mercer Art Gallery

Hatfield University ofHertfordshire, Margaret HarveyGallery

Huddersfield Art GalleryHull Ferens Art Gallery

Ipswich Christchurch Mansion

Leamington Spa Art Gallery &Museum

Leeds City Art Gallery

Leicester New Walk Museum &Art Gallery,

Lincoln Usher Gallery

Liverpool University of LiverpoolArt Collection

Liverpool Walker Art GalleryLondon South London Gallery

London Tate

Manchester City Art Gallery

Manchester The Whitworth ArtG a l lery, The Unive rsity of Manchester

Middlesbrough Art Gallery

Newcastle Upon Tyne Laing Art Gallery

Newport Museum & Art Gallery

Norwich Castle Museum

Nottingham Castle Museum &Art Gallery

Oldham Art GalleryOxford Ashmolean Museum ofArt & Archaeology

Plymouth City Museum & ArtGallery

Preston Harris Museum & ArtGallery

Rochdale Art Gallery

Rugby Art Gallery & Museum

Salisbury John CreaseyCollection of Contemporary Art

Sheffield Graves Art GallerySouthampton City Art Gallery

Stoke on Trent The PotteriesMuseum & Art Gallery

Sunderland Museum & ArtGallery

Swansea Glynn Vivian Art Gallery

Swindon Museum & Art Gallery

Wakefield Art Gallery

Walsall The New Art GalleryWalsall

Warwick University of WarwickMead GalleryWolverhampton Art Gallery

Worcester City Art Gallery &Museum

York City Art Gallery

CRAFTAberdeen Art Gallery

Bedford Cecil Higgins Art Gallery

Belfast Ulster Museum

Birkenhead Williamson ArtGallery & MuseumBirmingham Museum & ArtGallery

Blackpool Grundy Art Gallery

Bolton Museum & Art Gallery

Bradford Cartwright Hall

Bristol City Museum & Art Gallery

Cardiff National Museum & ArtGallery

Cheltenham Art Gallery & Museum

Coventry Herbert Art Gallery &MuseumDudley Broadfield House GlassMuseum

Dundee McManus Galleries

Gateshead Shipley Art Gallery

Glasgow Art Gallery & Museum

Halifax Bankfield Museum

Hove Museum & Art Gallery

Huddersfield Art GalleryLeicester New Walk Museum & ArtGallery

Lincoln Usher Gallery

Liverpool Walker Art Gallery

Manchester City Art Gallery

Manchester Whitworth Art Gallery,University of Manchester

Middlesbrough Cleveland CraftsCentre

Newport Museum & Art Gallery

Nottingham Castle Museum & ArtGalleryOldham Art Gallery

Paisley Museum & Art Gallery

Plymouth City Museum & ArtGallery

Portsmouth City Museum &Records Service

Preston Harris Museum & ArtGallery

Sheffield Graves Art Gallery

Southampton City Art Gallery

Southport Atkinson Art GalleryStoke on Trent The PotteriesMuseum & Art Gallery

Swansea Glynn Vivian Art Gallery

Swindon Museum & Art Gallery

Wakefield Art Gallery

Warwick Mead Gallery, Universityof Warwick

York City Art Gallery

32/CAS/ MEMBER MUSEUMS

The Members’ international trip to Oporto, Portugal, had anumber of highlights, not leastof which was a visit to themarvellous new national museumof contemporary art at Serralves.Another was the commercialgallery and private collection of Mario and Paula Sequeira inBraga. These combined withexpert guidance through anumber of contemporary artvenues and the warmesthospitality, not to mentionexcellent food and wine.

November 2000A visit to the Freud Museum inNorth London which started witha film show and talk by theDirector, was followed by a tour of the house as well as a talk by the artist Elaine Kowalskyon her exhibition of work Parallel Lives.

ARTfutures, CAS’ annual artmarket took place at the

Barbican Exhibition Hall in the

last week of November and first

week of December. 254 works, by

both established and new artists,were sold for total of £182,130.

‘The Contemporary Art Society’sfree annual sale of 1,000 newartworks not only provides theopportunity to buy major namesand up-and-coming artists, butalso helps to fund CAS’s initiative

to donate artworks to publicgalleries and museumsthroughout the UK.’Evening Standard 24/11/00

December 2000Exclusive tour of collection atprivate members’ club in Soho:an introduction by the curatorwas followed by a tour whichincluded talks by three of theartists featured. A changingdisplay, artists whose works wereon show included: Gavin Turk,Damien Hirst, Chris Bucklow,Peter Newman, Glen Onwin,Sarah Lucas and Mark Quinn.

January 2001CAS again hosted a members’evening at ART2001, the LondonContemporary Art Fair, at theBusiness Design Centre.Showcasing around 100 ofBritain’s contemporary galleries,2000 was the fair’s thirteenthyear. Members received acomplimentary ticket for theevening event

An evening event in the companyof artist Linda Karshan at theRedfern Gallery to celebrate thepublication of her limited editionbook Time Being/le Temps, Lui.The book features 10 etchings byKarshan, who gave a detailedexplanation of the ideas behind it and the development of herwork up to this point.

February 2001Two photographers, Paul Smithand Tom Hunter, each gave afascinating illustrated talk ontheir work, how they started theircareers, commercial pressure, onbeing collected by CharlesSaatchi; followed by an opendiscussion chaired by Gill Hedley.

March 2001Constantine: a tour of a Fine Artshippers gave members theopportunity to see behind thescenes, and includedexplanations of all the stagesinvolved in shipping works of art as well as practicaldemonstrations of handling andpacking. Transport from centralLondon was provided byConstantine, the experts.

Visit to private collection: CAScommittee member and recentcraft buyer for the Society, JaniceBlackburn invited us to herbeautiful home in West London toview her remarkable privatecollection. When explaining howshe made her selection of worksas a buyer for CAS, Janice wrote:

“I have a strong preference forwork that is individual, with acreative and distinctive voice,devoid of gimmickry, notderivative as is so frequently anddepressingly the case, andtechnically superb.”

34/CAS/ BALANCE SHEET

F i xed ass e t s

Ta n g i b le ass e t s

I n ve st m e n t s

Works of art

C u r rent ass e t s

S to c k s

D e b to rs

Short term deposits

Cash at bank and in hand

C re d i to rs : amounts falling due within 1 ye a r

Net current ass e t s

Net ass e t s

R e p re s e n ted by:

R e st r i c ted income funds

U n re st r i c ted funds

To tal funds

2 , 2 7 0

1 8 , 8 7 5

4 5 , 1 9 5

6 6 , 3 4 0

2 1 0 , 7 6 4

4 4 0 , 0 4 3

2 3 1 , 5 8 4

7 5 , 0 3 8

9 5 7 , 4 2 9

1 1 0 , 9 5 4

8 4 6 , 4 7 5

£ 9 1 2 , 8 1 5

2 8 6 , 9 9 7

6 2 5 , 8 1 8

£ 9 1 2 , 8 1 5

3 1 . 0 3 . 2 0 0 1£

3 1 . 0 3 . 2 0 0 0£

3 1 . 0 3 . 2 0 0 1£

3 1 . 0 3 . 2 0 0 0£

2 , 2 1 5

1 8 , 5 9 4

4 5 , 1 9 5

6 6 , 0 0 4

2 5 4 , 5 1 5

4 0 9 , 8 9 0

2 0 4 , 4 4 3

2 2 , 7 3 0

8 9 1 , 5 7 8

8 3 , 0 3 6

8 0 8 , 5 4 2

£ 8 7 4 , 5 4 6

3 3 7 , 4 3 2

5 3 7 , 1 1 4

£ 8 7 4 , 5 4 6

1 , 3 7 8

3 3 , 8 7 5

4 5 , 1 9 5

8 0 , 4 4 8

2 0 7 , 8 1 0

4 3 9 , 7 9 4

2 3 1 , 5 8 4

1 8 , 3 7 3

8 9 7 , 5 6 1

6 5 , 1 9 4

8 3 2 , 3 6 7

£ 9 1 2 , 8 1 5

2 8 6 , 9 9 7

6 2 5 , 8 1 8

£ 9 1 2 , 8 1 5

2 , 1 3 2

3 3 , 5 9 4

4 5 , 1 9 5

8 0 , 9 2 1

2 5 1 , 5 6 1

4 0 7 , 6 5 7

2 0 4 , 4 4 3

1 5 , 4 3 7

8 7 9 , 0 9 8

5 6 , 1 5 8

8 2 2 , 9 4 0

£ 9 0 3 , 8 6 1

3 3 7 , 4 3 2

5 6 6 , 4 2 9

£ 9 0 3 , 8 6 1

33/CAS/ STATEMENT OF FINANCIAL ACTIVITIES

I n coming Resource s

Fe e s

Subscriptions & donations

L e g a c i e s

Arts Council Award

Arts Council Lottery funding

L o t tery scheme co n t r i b u t i o n s

Other gra n t s

T i c ket sales for eve n t s

I n te re st and dividends

Other inco m e

To tal income re s o u rce s

R e s o u rces Expended d i rect charita b le

A d v i ce, training and co l lection support

Art purc h a s e s

Art marke t

M e m b e rs’ events and support activities

Other Expenditure

Fu n d raising and publicity

Management and administ ra t i o n

To tal re s o u rces ex p e n d e d

Net incoming/(outgoing) re s o u rce s

R evaluation of inve st m e n t

Net movement of funds

Fund balances brought fo r w a rd as re sta te d

Fund balances carried fo r w a rd as re sta te d

1 3 6 , 5 6 9

1 3 1 , 3 9 9

-

4 5 , 0 0 0 0

-

-

-

1 1 , 2 0 5

1 6 , 2 7 2

4 3 , 2 3 4

3 8 3 , 6 7 9

9 6 , 0 7 3

8 6 0

6 3 , 6 2 6

2 0 , 0 0 2

1 8 0 , 5 6 1

1 1 , 9 5 0

1 0 2 , 7 4 5

2 9 5 , 2 5 6

8 8 , 4 2 3

2 8 1

8 8 , 7 0 4

5 3 7 , 1 1 4

£ 6 2 5 , 8 1 8

U n re st r i c ted Funds £

R e st r i c ted Fu n d s£

To tal 31.03.01 £

Year ended 31.03.00 £

-

3 , 0 0 0

-

-

2 8 7 , 1 9 1

6 , 2 5 0

6 5 , 0 0 0

-

-

-

3 6 1 , 4 4 1

1 0 6 , 8 9 3

3 0 4 , 9 8 3

-

-

4 1 1 , 8 7 6

-

-

4 1 1 , 8 7 6

( 5 0 , 4 3 5 )

-

( 5 0 , 4 3 5 )

3 3 7 , 4 3 2

£ 2 8 6 , 9 9 7

1 3 6 , 5 6 9

1 3 4 , 3 9 9

-

4 5 , 0 0 0

2 8 7 , 1 9 1

6 , 2 5 0

65,000

1 1 , 2 0 5

1 6 , 2 7 2

4 3 , 2 3 4

7 4 5 , 1 2 0

2 0 2 , 9 6 6

3 0 5 , 8 4 3

6 3 , 6 2 6

2 0 , 0 0 2

5 9 2 , 4 3 7

1 1 , 9 5 0

1 0 2 , 7 4 5

7 0 7 , 1 3 2

3 7 , 9 8 8

2 8 1

3 8 , 2 6 9

8 7 4 , 5 4 6

£ 9 1 2 , 8 1 5

1 3 0 , 7 2 4

7 8 , 5 4 4

5 0 , 0 0 0

4 5 , 0 0 0

2 6 6 , 4 4 5

1 5 3 , 7 5 0

7 0 , 0 0 0

3 0 , 3 1 0

1 8 , 1 8 5

5 3 , 6 0 5

8 5 6 , 5 6 3

1 9 9 , 9 7 4

3 9 8 , 3 1 2

5 5 , 3 9 2

4 5 , 6 1 1

6 9 9 , 2 8 9

9 , 7 6 7

8 5 , 5 6 0

7 9 4 , 6 1 6

6 1 , 9 4 7

( 1 , 7 7 4 )

6 0 , 1 7 3

8 1 4 , 3 7 3

£ 8 7 4 , 5 4 6

C O N T E M P O R A RY ART SOCIETY GROUPI N C O R P O R ATING A CONSOLIDATED INCOME & EXPENDITURE ACCOUNT FOR THE YEAR ENDED 31.03.01

C O N T E M P O R A RY ART SOCIETY GROUP AT 31.03.01

G ro u p C h a r i t y

The financial information set outon pages 30 and 31 is extractedfrom the full accounts of theSociety which were approved bythe Committee on 5 July 2001.Full audited accounts, with the

Trustees’ and auditors’reports giving an unqualifiedopinion can be obtained from the Contemporary Art Society, 17 Bloomsbury Square, London WC1A 2NG.

Oliver Prenn Chairman, 5 July 2001

The above figures all relate to continuing operations and include all recognised surpluses and deficits. Lottery revenue wasoverstated in previous year’s accounts. An adjustment was made this year to correct the error.

CAS offers sincere thanks to all individuals andorganisations who have helpedus to extend our work, and inparticular the following:

Arts Council of England fortheir continued donation offixed term funding, whichprovides CAS with the vitalsupport needed to develop our work with museums.

The Henry Moore Foundationfor their generous contributiontowards annual purchases ofsculpture and video for theDistribution Scheme.

The Crafts Council for theirs i g n i f i cant contribution tow a rds the annual p u rchase of craft for theD i stribution Scheme and fo rp a r t n e rship funding to the fo u rmuseums deve loping cra f tco l lections in the SpecialC o l lection Scheme.

The Esmée Fairbairn CharitableTrust enabled CAS to producecomprehensive interpretation packs for Distribution 2000, whichaccompanied selected works asresource material for museums’education programmes.

The Arts Council Lottery Fund forhaving established the SpecialCollection Scheme, a uniquenational project enabling fifteenmuseums and galleries in Englandto develop challenging collections of contemporary art and craft.

The Elephant Trust for theirgenerous grant which has enabledthe Society not only to realise CASt:Contemporary Art Society Tours, but has allowed its growth into ahighly successful and popular event.

The Paul Hamlyn Foundation for allowing CAS to buildsubstantially on initial plans toinvolve a number of curatorsin a series of carefullydesigned visits. Participantsconcentrated on the problemsand possibilities of developingcollections while benefitingfrom visits that looked atexhibition programming and presentation.

CAS would particularly liketo thank the Harris Museum,Preston for hosting the entireGive and Take Distributionexhibition and for theenthusiasm and generoussupport of their staff, wewould also like to thank the Jerwood Gallery and The Economist for hosting the London showing ofselected purchases.

Copyright of all imagesremains with the artist and/ortheir estate.

35/CAS/ ACKNOWLEDGEMENT TO CAS SPONSORS

PATRONHER MAJESTY QUEEN ELIZABETH THE QUEEN MOTHER

VICE- PATRONSBRYAN FERRYDAVID GORDONCARYL HUBBARDPAULINE VOGELPOEL MANNTHE LORD MCALPINE OF WEST GREENTHE LORD AND LADY SAINSBURY OF PRESTON CANDOVERTHE LADY VAIZEYTHE VISCOUNT AND VISCOUNTESS WINDSOR

ARTIST PATRONSSIR ANTHONY CARO, OMBRIDGET RILEY, CH

COMMITTEE MEMBERSOLIVER PRENN, CHAIRMANPESH FRAMJEE, HONORARY TREASURERMARK STEPHENS, HONORARY SOLICITORLANCE BLACKSTONE, HONORARY SECRETARYJOLYON BARKERWENDY BARON (UNTIL 27 JANUARY 2001)JANICE BLACKBURNPHILIP HEWAT-JABOOR (FROM DECEMBER 2000)SEAN RAINBIRDANN STANTON (UNTIL 5 JULY 2000)BABS THOMSON

DIRECTORGILL HEDLEY

PROJECTS DIRECTORCAT NEWTON-GROVES

COLLECTIONS CURATORMARY DOYLE

OFFICE MANAGERPAULA HOLLINGS

EVENTS/MEMBERSHIP MANAGERKATE STEEL

ASSISTANT COLLECTIONS CURATORJESSICA WALLWORK

ARTfutures SELECTORJENI WALWIN

ACCOUNTANT (PART TIME)SUZANA BAKAR (FROM APRIL 2000)

ANNUAL REPORT 2000/2001

We promote thecollecting ofcontemporary artthrough our gifts topublic museumsand the advice andguidance we offercompanies andindividualsContemporaryArtSociety

ContemporaryArtSociety

DESIGN GIANT ARC DESIGN / STUDIO@GIANTARC.CO.UK

PANTONE 432 PANTONE 192 192 OVERPRINT

futures