Campaign for the Titians Q&A
What is the Bridgewater Collection and why is it so important?
The Bridgewater Collection counts among the most important collections of Old Master paintings still in private hands anywhere in the world. Works from the collection have been on public view in Great Britain since the early 19th century and its crucial importance to the UK heritage has long been recognised.
Why is it called the Bridgewater Collection?
The collection was originally formed by Francis Egerton, the 3rd and last Duke of Bridgewater, known famously as “the Canal Duke”. The core of the Collection was acquired following the dispersal of the renowned Orléans Collection after the French Revolution in 1792. The Canal Duke had no children and on his death his estate passed to descendants of his sister Louisa Egerton, who had married the father of the 1st Duke of Sutherland. The Collection, with substantial English lands owned by the Canal Duke thus passed to the 1st Duke of Sutherland’s youngest son Francis, who took the name Egerton and was created 1st Earl of Ellesmere in 1846.
The collection passed by descent to the late 6th Duke of Sutherland, who, in 1945 placed the most famous works from the Bridgewater collection on loan to the National Galleries of Scotland (NGS).
Why is the Collection important to Scotland?
The Bridgewater Collection has been on continuous public view in the NGS since 1945. It immeasurably enriches the appeal and status of NGS and of Scotland as a centre of cultural excellence. The loan consists of twenty-seven paintings and one drawing by artists such as Raphael, Titian, Poussin and Rembrandt and it attracts visitors from all over the world.
Originally there were 32 Old Master paintings on loan; in 1984 the NGS acquired four paintings from the collection by Private Treaty with an NHMF grant: Lotto (NG 2418), Tintoretto (NG 2419), Dou (NG 2420), Steen (NG 2421); in 2003, the NGS acquired Titian’s Venus Anadyomene, partially in lieu of inheritance tax and with the aid of generous contributions from the Heritage Lottery Fund, the Art Fund and the Scottish Executive
Why are Titian’s Diana and Actaeon and Diana and Callisto from the Bridgewater Collection so special?
The two Titians from the Bridgewater Collection (Diana and Actaeon and Diana and Callisto) are among the supreme masterpieces of the Italian Renaissance. They were among the first privately owned old master paintings to be made accessible to the public in Britain, as visitors were allowed to see them in a London townhouse on certain days, from as early as 1806. They have been available to the public almost continuously ever since and can be considered as of vital importance to the national heritage.
Where did the money come from to buy Titian’s Diana and Actaeon?
The breakdown of funding is as follows:
- £7.4 million in donations and pledges from individuals, trusts and the general public, of which £150,000 was donated via the Art Fund. (The amount raised from the general public in response to leaflets, direct mail, collection boxes, sales of badges and the media is circa £400,000).
- £2 million from Monument Trust
- £1 million from the Art Fund.
- £10 million from NHMF
- £12.5 million Scottish Government, special purchase grant, made available from existing culture budgets
- £12.5 million from NGL, comprising £11.5 from bequests, general donations and investment income from these sources and £1 million Grant-in-Aid.
- £4.6 million from NGS purchase funds, trust funds and reserves
How does the deal work?
A down-payment of £1 million has been paid on 28 January 2009 and the painting has now been acquired. The balance of the price of £50 million will be paid in installments over the next three years. This acquisition also secures a loan of the rest of the Bridgewater Collection currently on show at the National Gallery of Scotland in Edinburgh for 21 years. The two Galleries have been granted an option, exercisable at any time until the end of 2012, to acquire Titian’s Diana and Callisto for a similar amount to that paid for Diana and Actaeon.
Have the Galleries received all the funds and what is the difference between a pledge and a donation?
A significant proportion of the total price is already held by the two Galleries. Other donations have been pledged over time. We describe a charitable gift of cash as a donation and the promise of a charitable gift of cash over a period of time as a pledge. A pledge can come in many forms; some are legally binding others are simply a promise. The Galleries have until 2011 to pay the final installment of the total sum required.
How did you agree the price?
This was a matter for discussion with the owner. The Galleries believe that the price agreed is extremely beneficial to the nation and this is supported by independent valuations obtained.
Would it not have been better to allow the works to be sold on the open market so that HMRC could collect the tax and raise some money in these times of financial difficulty?
The taxes which would have been raised on a sale on the open market would have had a minimal impact on the nation’s finances. But the potential loss of these great works from public view would be a great misfortune for Scotland and the UK.
You say the cost was £50m but this does not include the cost of tax foregone by HMRC – so the price is really much higher?
Under the Private Treaty sale mechanisms, tax is foregone by HMRC thereby making it much easier for public galleries such as NGS and NGL to meet the price. The private treaty sale mechanisms have been in place for almost a century and were designed to benefit public collections in this country by making it easier for us to acquire great works of art. HMRC may have foregone some tax but this has to be measured against the huge public benefit. Even taking into account any loss of tax, the Galleries still believe the deal struck was an extremely beneficial one for the nation.
Where has the £12.5m from the National Gallery London come from and is this public money?
The £12.5 from NGL, comprises of £11.5 from bequests, general donations and investment income from these sources and £1 million Grant-in-Aid.
Where has the £4.6m from NGS come from and is this public money?
The NGS will be committing from purchase funds including GIA for acquisitions, from external fund-raising, from accumulated reserves and other funds, including Trust Funds.
Does this mean that the NGS will be unable to make other purchases for the collection long into the future?
NGS has a good track record of raising funds for acquisitions and we enjoy excellent support from our Patrons, our Friends and other supporters. While inevitably it will be harder for us to contemplate major purchases over the coming years, we hope to be able to continue to add works across the range of the collections.
Has Scotland given more than England?
This was a joint campaign with a single campaign target, and donors were asked to contribute to the campaign target. Many donations or pledges (such as those from the National Heritage Memorial Fund and the Art Fund) were made to the two institutions jointly or were made because the two institutions were working together. Many of the bodies that contributed have a UK-wide remit such as The Art Fund, The Monument Trust and the National Heritage Memorial Fund. The Scottish Government has made a substantial contribution and so has the National Gallery in London, backed by their sponsor body DCMS.
Have any well known public figures or famous artists donated large sums?
This campaign has been supported in a variety of ways (including financially) by a diverse range of people (including public figures and renowned artists). Donating to any appeal is a private matter between the donor and beneficiary, and therefore we would not disclose details, other than to express our appreciation to all those who have given or pledged their support.
How did the economic crisis affect the campaign?
There are always many competing demands for funding and of course we recognise that the present climate presents many difficulties for Government and for members of the public. Inevitably the economic context made the challenge of fund-raising all the more formidable, but the quality of the picture, the paramount importance of the Bridgewater Collection, and the generous terms offered by the owner were all widely recognised and, as the figures show, the response was fantastic.
How many Titians do the NGS and NGL own apart from Diana and Actaeon?
NGL owns 11 other paintings by Titian. NGS owns Venus Anadyomene, acquired from the Bridgewater Collection in 2003, with 3 further Titians (including Diana and Callisto) on loan from the Bridgewater Collection.
The National Gallery in London already had eleven Titian paintings, did it really need another?
Both National Galleries own great works by Titian, but neither institution has other paintings which are of the same type as these mature poetic narratives. The National Gallery in London owns a later and unfinished painting of this type – the Death of Actaeon – which is fascinating to view beside the two Bridgewater Titians; it also owns Bacchus and Ariadne, arguably the first great narrative painting of this kind painted by Titian, which is however very different in style. It is of cou
rse hard to be too rich in the work of an artist of Titian’s stature.
How is the painting going to be shared between the two galleries?
Titian's Diana and Actaeon will be shared equally by both institutions. The picture will be in Edinburgh until September 2009 and will then travel to London for eight months before returning to Edinburgh for a further eight months. This eight month periodic rotation is intended to continue until 2012 when the 5 year rotation will begin. Titian's Diana and Callisto will remain on loan at the NGS.
Is it not dangerous to move the painting between London and Edinburgh?
There are always risks in moving works of art but our conservators believe that Diana and Actaeon can travel safely, especially if special precautions are taken with regard to packing and transport.
Should NGS not be supporting young artists from Scotland rather than Old Masters from Italy?
It is important to support both. The National Galleries of Scotland have many initiatives to encourage and acquire work by Scotland’s young masters. Many young contemporary artists however are greatly inspired by Old Masters and the Scottish art community has been incredibly supportive of this campaign.
How much has NGS saved the Duke in conservation, insurance and security costs over the years by housing them on public display in the Gallery?
These costs cannot be quantified over the years and are more than set off by the public benefit. Both NGS and NGL have works on loan from private owners and these allow us to enhance the displays for the public.
Who made the decision to buy this work and did the Galleries explore other possibilities, such as buying the entire collection?
NGS and NGL explored various options and, in consultation with the owner, it was agreed that a partnership between NGL and NGS to acquire two of the finest works in the Bridgewater Collection was the most sensible and viable option.
What happens if the Duke dies?
Any contract between the NGS, NGL and the Duke will be binding to his estate.
What happens to the rest of the pictures on loan?
The Duke very much wants the rest of the collection to remain on public display, and an agreement has been put in place to secure the wider Bridgewater Collection for at least another 21 years.
What is the fundraising strategy for Diana and Callisto? When will you start fundraising? Are you launching a public campaign for it?
NGL and NGS have four years within which to commit to acquiring Diana and Callisto. Our first task will be to evaluate the campaign for Diana and Actaeon and then formulate the campaign strategy for Diana and Callisto. It is too soon to say when we will begin fundraising for Diana and Callisto and whether we will launch a public campaign. It is also important that we take the time first to thank and recognise all those who have helped us secure Diana and Actaeon.