he Golsoncott Foundation was established as a Charitable Trust in July 1998 from the estate of the artist and sculptor Rachel Reckitt (1908-1995). An arts-funding trust, its declared object is … to promote, maintain, improve and advance the education of the public in the arts generally and in particular … the fine arts and music. The Trustees meet on a quarterly basis (February, May, August, November) to determine applications. Grants vary according to context but they do not exceed £5,000 and are normally given on a non-recurrent basis. Applications from individuals and students seeking funding for academic (undergraduate and post-graduate) or vocational courses, are not admitted, though applications from institutions for general bursary funds are encouraged. Similarly applications from schools are not encouraged, neither are capital appeals from museums, galleries, theatres, arts complexes, or other projects, except by invitation.
he trustees when weighing up the many applications they receive will undertake a first appraisal; those considered suitable go forward to a final determination meeting held every quarter. The trustees’ overriding concern is to support those projects that demonstrate and deliver excellence in the arts, be it in performance, exhibition, artistic craft, or scholarly endeavour.
any applications are received from organisations and other charities whose focus on the arts is part of their wider social, youth, educational, faith-based, or therapeutic work. Such laudable work though has at its core an instrumentalist bias towards inclusion and participation in the arts, rather than excellence and the promotion of the highest standards per se. As competition for grants is always fierce and only a minority of applicants who are considered in the determination meeting actually receive a grant, the trustees favour applications from arts organisations whose raison d’être is the art form itself, and its perfection or excellence in performance.
dditionally for those applications involving young people, the trustees look to a long-lasting connection between them and the art form; one which aims at a significant level of participation and achievement, rather than projects that offer little scope for further involvement.
ecent recipient organisations of grants are shown in a separate table.