Which Art Fund-supported work of the year excites you the most? Tell us and be in with a chance to win a Fortnum & Mason hamper.
The past year has seen the Art Fund fund some great works of art for museums and galleries across the UK, from remarkable self-portraits by Reynolds and Van Dyck and innovative contemporary works by Grayson Perry and Lee Bul to important collections vital to preserving our national heritage – the William Henry Fox Talbot archive and the Wedgwood Collection.
As 2014 comes to an end, vote for your favourite work we've funded and you could win the Hunstman Hamper from Fortnum & Mason in time for Christmas.
Choose your favourite Art Fund-supported work of 2014
The Collection contains over 80,000 works of art, ceramics, manuscripts and letters, pattern books and photographs covering the 250-year history of Wedgwood.
This self-portrait appears as the first entry of Reynold's ouevre in David Mannings' catalogue raisonné, and is thought to be his first self-portrait in oils.
This statue of the lector priest Neb-hepet-Ra stands serenely, in a pose of prayer with his arms hanging down, his hands resting flat on the front of his robe.
A Victorian polymath who invented pioneering photographic techniques, this archive includes many early photographs.
The pictures made of the mountains and rock formations of Snowdonia are held to be among his greatest works.
This striking self-portrait is the final one painted by Anthony Van Dyck and one of only three he is known to have created in Britain.
Created by an unknown Italian artist, this pair of marble busts depicts Trajan, one of Rome's greatest emperors, alongside a second emperor whose identity is currently unclear.
Wolfgang Tillmans, Walker Art Gallery
These three pieces by German photographer Wolfgang Tillmans were shown at the Walker Art Gallery during the Liverpool Biennial in 2010.
Bul draws on German architect Bruno Taut's mountainous forms and prolific use of glass for her suspended sculptures.
Loosely inspired by a map depicting John Bunyan's 1678 allegory The Pilgrim's Progress, Perry depicts himself as a walled city, with areas corresponding to his experiences and emotions.