LONDON.- Three works by Peter Lanyon (1918 – 1964) have been acquired for the nation and allocated to three different UK art galleries through the Acceptance in Lieu (AIL) scheme. They have been accepted from the estate of his widow, Sheila Lanyon. An oil painting has been allocated to Tate, and two large gouaches to the University of Birmingham’s Research and Cultural Collections, and the Victoria Gallery & Museum, University of Liverpool.

Clevedon Bandstand, 1964 is an abstract landscape painting executed in the last year of Lanyon’s life, before his tragic early death resulting from complications from a gliding accident. It is one of a handful of paintings that indicate a striking new direction in his work, showing how his earlier use of heavily worked layers of paint had given way to thin washes of oil of a brighter and more primary palette.

The two gouaches were studies for murals the artist was to paint at Liverpool and Birmingham universities. The Birmingham mural was to be painted on board, and the Liverpool mural on an arrangement of ceramic tiles. These studies are full-size and differ considerably from the completed murals. As such they are both key works in themselves and important in tracing the development of Lanyon’s artistic thought when undertaking large public commissions. These gouaches are the first works allocated to Liverpool and Birmingham universities through the AIL scheme.

Peter Lanyon was a Cornish painter, and part of the second generation of St Ives artists. His landscapes were heavily abstracted, though remained concerned with figural depiction.

The acceptance of the paintings settled just under £900,000 of tax. While their tax value exceeded the tax liability of the offerors, the Sheila Lanyon Estate waived some of the value of the three works and both the Tate and Victoria Gallery & Museum, Liverpool, generously contributed £72,000 and £8,000 each from their own resources.

Ann Gallagher, Director of Collection, British Art, Tate, said: “We are thrilled to be adding this late oil painting by Peter Lanyon to our collection through the Acceptance in Lieu scheme. As Lanyon’s last major work, Clevedon Bandstand, 1964 is a significant new addition, complementing Tate’s current collection of artworks by this important post-war artist.”

Dame Professor Janet Beer, Vice-Chancellor, University of Liverpool, said: “As well as being an internationally important and original painter, Peter Lanyon holds a particular place in the University of Liverpool’s heritage, having been first commissioned in 1959 to create a mural for the new Civil Engineering Building. Without the AIL scheme, the acquisition of The Conflict of Man with Tides and Sands – a notable and unique sketch of the mural he created – would not have been possible. Through the Victoria Gallery & Museum we will make it as accessible to as wide an audience as possible.”

Professor Sir David Eastwood, Vice-Chancellor and Principal, University of Birmingham, said: “We are delighted to receive this outstanding piece of art through the AIL scheme. It will be a significant and relevant addition to our Campus Collection of Fine and Decorative Art within our Research and Cultural Collections. An important art work in its own right, this gouache sketch, along with the full-sized mural and early drawing already included in our collection, offers an important research resource for those wishing to study the artistic process of Peter Lanyon, a key artist in Britain’s post-war scene.”

Edward Harley OBE, Chair, Acceptance in Lieu Panel, said: “I am delighted that two institutions which have never been allocated anything through AIL have received such significant works by Peter Lanyon, and that Tate should be allocated Clevedon Bandstand, one of his most celebrated works. Tate’s significant contribution and willingness in storing the artworks during the consideration of their offer, has meant that two regional institutions have been able to acquire works of great significance to them. As preparatory designs for public murals at these universities, it seems fitting that they should be allocated to Liverpool and Birmingham. This example of a national museum aiding those in the regions sets an admirable model for others to follow.”

Nicholas Serota, Chair, Arts Council England, said: “Although he died early, Peter Lanyon is increasingly recognised as one of the most important painters of the post-war period. Clevedon Bandstand is a painting that marks a turning point in his development, while the studies for the public murals demonstrate the admiration for his work that led to such commissions and his ability to work on a large scale. I am delighted that these three works will now be seen in such appropriate collections.”