MAIDSTONE — A bitter row has erupted in Kent after the local council decided to auction a rare sculpture by the famous Turner Prize winner, Sir Antony Gormley.
The 1979 piece, titled Two Stones, was sold during a controversial clear-out of the council’s “Visual Arts Loan Scheme” archive. While heritage groups have called the sale a “betrayal” of the area’s history, officials at County Hall insist the move was a “practical necessity.” The council points to a dual crisis involving the loss of its main storage site and an urgent need to help its struggling finances.
The sale has become a major issue for residents. Many argue that Kent is trading its long-term identity for a small amount of cash. Critics fear that once these works enter the private market, the public will never see them again. This represents a permanent loss for the county’s artistic heart.
Art Under the Hammer: Budget Woes Force Asset Sales
The decision to sell the Gormley sculpture comes during a time of severe financial trouble for local councils across the UK. Currently facing a multi-million-pound deficit, Kent County Council (KCC) has started looking for non-essential assets to sell for cash. This strategy aims to protect vital frontline services from further cuts.
Made from a mix of bronze, granite, and concrete, the sculpture is closely linked to Kent’s history. It was made while Gormley taught at the former Maidstone College of Art. This marked an important part of his early career. However, despite its fame, the work has been hidden from the public for more than fifteen years.
KCC Cites ‘Practical’ Reasons for the Sale
Defending the auction, Paul Webb, the council member for community services, explained that the decision was mostly about logistics. The council is currently closing the storage basement where the collection was kept. Officials claimed that keeping the works in a new location was no longer affordable.
The End of the Visual Arts Loan Scheme
The Gormley sculpture was the star of a collection built decades ago for the Kent Visual Arts Loan Scheme (KVALS). This project once allowed schools, libraries, and public offices to borrow high-quality art to inspire the local community.
“The reason for selling is a practical one, with the closure of the basement store where the art works are kept,” said Cllr Paul Webb.
The council confirmed that previous sales from the collection made about £29,000. These funds were used to help with the council’s wider budget pressures.
‘Short-Sighted’ Strategy Sparks Backlash
Those against the sale argue that the council is giving up long-term culture for a tiny financial gain. John Brazier, who led the council’s arts and museums team for fifteen years, expressed deep concern over the loss of heritage works.
“The value of having the work in Kent is a great deal more than the value of flogging them off,” Brazier noted. He argued that the council “can only see them in terms of monetary value.”
There are also growing worries about how the process was handled. Campaigners have asked why the works were not offered to local museums before being sent to private auction. This could have kept the pieces in public hands.
A Risky Precedent for UK Heritage
The situation in Kent mirrors a growing national trend. As more UK councils face the threat of bankruptcy, selling items from museum or council collections has moved from a last resort to a standard tool for raising money.
Risks to Cultural Standing
Experts have warned that selling art to plug budget holes carries big risks:
- Loss of Heritage: Once items go into private collections, they are often removed from public view forever.
- Fewer Donations: People may be less likely to give art to public bodies if they fear the pieces will eventually be sold.
- Financial Pressures: KCC is currently looking for “suitable alternatives” for its remaining art but admits that money limits its ability to keep a public collection.
As the auction ends for the KVALS collection, the empty spaces across Kent serve as a clear reminder of the hard choices made for financial stability. Local groups continue to push for a formal policy to protect other assets from a similar fate. They hope to ensure that future generations can still enjoy the county’s cultural wealth.
