acceptance in lieu report 2009/2010 - arts council england · delaval family paintings and much...

Acceptance in LieuReport 2009/2010

Cover: Seaton Delaval; The North Front and Forecourt. © NTPL/John Hammond.

Contents Preface 2

1

Introduction

SeatonDelavalTheNationalTrust100yearsofAILWhathasbeenacquiredValueformoneyExtensionoftheSchemeConditionalexemptionAcknowledgments1910-2010highlights

throughAIL?

3

445688889

2

1.2.3.4.5.6.7.8.9.

10.11.12.13.14.15.16.17.18.19.20.21.22.23.24.25.26.27.28.29.30.31.32.33.

AILCases2009/2010

MedalsofGeorgeUnwinDSOArchiveoftheEarlsofRomneyAdamdeColone:Earl of Winton and his Sons FrancisGrant:The Meet of the Fife Hounds DegasSculptureSirPeterLely:Portrait of ‘Ursula’SeatonDelavalDanielGardner:The Three WitchesChattelsfromLymeParkMarcellusLaroon:A Musical Party ChaïmSoutine:Jeune femme à la blouse blanche DomenicoTiepolo:Café by the Quay in Venice PauldeLamerie:FourcandlesticksTheFitzwilliamsilversouptureensNineearly20thcenturyBritishpaintingsEnglishdelftplaque:The Royal Oak ArchiveoftheEarlsofKintorePollardcollectionofmedalsandplaquettesEssexHousePressbooksCornelisvanPoelenburgh:Italianate Landscape Collectionof20thcenturyphotographyRBMartineau:A Woman of San Germano PapersfromtheLytteltonFamilyArchiveSeatfurniturefromHagleyHallEuanUglow:Laetitia GrahamSutherland:Study for Thorns BaruchSpinoza:Tractatus Theologico-Politicus KarlSchmidt-Rottluff:Dangast Dorf JohnWilson:The Battle of Trafalgar JanLievens:Portrait of the 1st Earl of Ancram BernardMeadowsCollectionArchiveofDollieandErnestRadfordLouisXIVBoullecabinetonstand

161718192021222426272829303132353637383940424445464748495051525354

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1.2.3.4.

Appendices

Listofobjects,allocationsandMembersoftheAILPanelExpertAdvisers2009/2010Allocationofitemsreportedin

taxvaluesfor

2008/2009

2009/2010 57585960

Acceptance in Lieu Report 2009/2010 1

PrefaceWhenin1910provisionwasfirstmadeforthesettlementofEstateDuty,theforerunnerofInheritanceTax,byoffersoflandtothenation,itcannothavebeenforeseenthatthistersepieceof10linelegislationwouldstillbethriving100yearslater.Itisafittingclimaxtothefirst100yearsoftheAcceptanceinLieuScheme(AIL)thatSeatonDelavalandmuchofitscontentsshouldbecededtothenationandthenpassedtotheNationalTrust.Thismasterpieceof18thcenturyEnglishBaroquearchitecturebySirJohnVanbrughhashadacolourfulhistorysinceitwascompletedin1731.ThroughAILandtheworkoftheNationalTrustitsfutureisnowsecure.

InitsearlyyearstheAILSchemetransferredmanyhouses,theircontentsandthesurroundinglandintopublicownership.Astheschemeadaptedtochangingtimes,worksofartwereacceptedandallocated,firsttonationalmuseumsandthentoregionalandlocalcollections.Nowtherecanbefew,ifany,majorpubliccollectionsintheUKwhichhavenotbeenenrichedbytheAILScheme.Ithasprovidedalastinglegacyofimportantculturalobjectswhichincreasetheabilityofourpubliccollectionstoengagewithawidepublicandwhichenrichallourlives.

ThecentenaryofAILalsoprovidesanopportunitytolookforwardandinthisrespecttheenthusiasticwordsofthenewSecretaryofState,JeremyHunt,inhisfirstmajorpolicystatementontakingofficewereencouraging:“Ofcourse,wealreadyhaveataxreliefthathasplayedahugeroleinenhancingthecollectionsofmuseumsandgalleriesacrossthecountry:theAcceptanceinLieuScheme.For100yearsnow,thisschemehasallowedthetransferofimportantheritageassetsintopublicownershipinlieuofliabilitytoinheritancetaxandestateduties.”TheroleofprivatecollectorsandphilanthropistsinensuringthevitalityoftheculturalsectorisonethatwecanexpecttohearmoreaboutasthenewGovernmentdevelopsitsplansforthesector.TheexperienceoftheAILSchemeshowsthatthereisamutualbenefitforeachsideinencouragingprivatecollectorstobecomepublicdonors.

Thenextfewyearsaregoingtobeachallengingtimefortheculturalsectorbuttherearealsorealopportunitiestoensurethatprivatebenefactionsreturntothecentralplacetheyenjoyedinanearlierperiod.SomanyofourleadingmuseumswerefoundedongenerousgiftsandbequestsandintheAILScheme’scentenaryyearitisappropriatethatweshouldbeencouragedtorenewthatspiritoflookinguponourmuseumsandarchivalrepositoriesasplacesinwhichweallshareandtowhichwecontribute,whetherthatbeasadonor,avolunteerorsimplyasavisitorenrichedandrenewedbycontactwithourhistoryanditsculturalriches.

Weneedtoencouragearenewedsenseofsharedownershipinourmuseums,librariesandarchives,notsimplybecausetheyareplaceswewishtovisitbutbecausetheyarerepositoriesofwhatwevalue.TheAILSchemeisamodelofhowthetaxsystemcansuccessfullyencouragethetransferofprivateobjectsintothepublicsphere.After100years,perhapsthebestcelebrationofAILwouldbetobuildonthescheme’ssuccessandextenditsreachbyenablingownersofculturaltreasurestodotoday,whiletheyareliving,whatAILcurrentlyonlyallowstobedonetomorrowontheirpassing.

OverthelastdecadetheAILPanelhasbeenledbyJonathanScott.Hiscommitment,dedicationandjudgementhaveensuredthattheschemehasprospered.HehasgenerouslyagreedtostayonasChairforafurtherfewmonthstoensureasmoothtransitionforhissuccessor.MLAandthewidermuseumandarchivecommunityowehimaconsiderabledebtforhistirelessworksince2000.Heissurroundedbyapanelofexpertswholikehimgenerouslyandfreelygivetheirtimeandknowledgetoensuretheschemeworks.IwishtothankthemallfortheirworkandacknowledgetheveryableassistancethatisprovidedbythePanel’ssecretariatfromMLA’sAcquisitions,ExportandLoansUnitunderthecapablehandsofGerryMcQuillan.TheSecretariatanditsworkwillbere-locatedduringtheforthcomingyear,butdetailsremaintobeworkedoutandusersoftheschemeshouldnotnoticeanychangeinthequalityoftheservice.

SirAndrewMotionChair,MLA

2 Acceptance in Lieu Report 2009/2010

IntroductionDuring2009/2010awideselectionofworksofartandobjectsofhistoricinterestwasacceptedinlieu,rangingfromaDegasbronzeofayoungdancertoacharmingsceneofVenetianlifebyDomenicoTiepolo,fromthemedalsofaBattleofBritainpilottocandlesticksbythegreatHuguenotsilversmith,PauldeLamerie,fromacollectionofsomeofthefinestphotographsofthe20thcenturytodistinguished17thcenturyportraitsbyLelyandLievens.Aboveall,therewastheacquisitionofSirJohnVanbrugh’sgreatbaroquehouse,SeatonDelaval,withitssurroundinggardensandparkaswellassomeimportantportraitsandfurniture.Thetotalvalueofallthisamountedto£15.7m,resultinginataxsettlementof£10.8m.

Thecomparativefiguresforthelast10yearsaresetoutbelow.

Yearto31March Numberofcases Valueofobjectsaccepted Taxsettled

2001 23 £24.6m £16.0m

2002 27 £35.1m £26.6m

2003 37 £39.9m £15.8m

2004 23 £21.7m £15.0m

2005 28 £13.0m £8.9m

2006 38 £25.2m £13.2m

2007 32 £25.3m £13.9m

2008 32 £15.2m £10.3m

2009 36 £19.8m £10.8m

2010 33 £15.7m £10.8m

Totals 309 £235.5m £141.3m

Thevariationoftheratiobetweenthetotalvalueoftheobjectsandtheirtaxsettlementvalueislargelyduetotheincidenceofhybridofferswherethevalueoftheobjectofferedwaslargerthantheamountoftaxdue,withthemuseumorgallerytowhichtheobjectwasallocatedhavingtomakeupthedifference.

Asusual,thenationalcollectionsinLondonandEdinburghbenefitedfromtheschemeandpictures,furniture,sculptureandarchiveswerealsoallocatedtoCambridge,LeedsandChippingCampden.Inaddition,museumsandgalleriesinBristol,Birmingham,Falmouth,Exeter,GlasgowandOxfordreceivedobjectsacceptedinthepreviousyearbutnotatthatstageadvertisedandallocated.Weshouldexplainthat,whenanofferismadewithoutaspecificconditionastotheobject’sdestination,atemporaryallocationismadewhiletheavailabilityoftheobjectinquestionisadvertisedontheMLAwebsite.Finalallocationsaremadethereafter.



SeatonDelavalNogreatcountryhouseanditscontentshavebeenofferedundertheAILSchemesince1984.Weweredelighted,therefore,thatSeatonDelavalshouldhavebeenacceptedtogetherwithsomeofitsimportantcontentsandtransferredtotheNationalTrust.ThehouseisoneofthegrandestandmostimaginativecreationsofoneofBritain’sgreatestarchitects.Theviewfromthestepsbetweenthecolonnadestothedistantseaissuperbwhiletheechoingspacesoftheinteriorarewonderfullyromantic.ManyoftheoriginalDelavalfamilypaintingsandmuchfurnitureweredestroyedinthefirewhichdevastatedthehousein1822;thepresentcontents,mainlyintheformerservicewing,weretransferredtothehousebyLordHastingssome60yearsagoandcamefromtheAstleyfamily’spropertyinNorfolk,atransferthatcanbeparalleledinanumberofothercountryhouseswhichhavebeenfurnishedwithchattelsfromotherpropertiesbelongingtothefamily.

TheNationalTrustAlthoughithadbeenmanyyearssincetheNationalTrustacquiredacountryhouseinlieuoftax,ithasreceivedsignificantsupportfromtheAILSchemefortheacquisitionofsomeofthecontentsinitsproperties.DuringthecourseofthelastcenturyownersoftenhandedtheirhousesovertotheTrustbutretainedmuchofthefurnitureandmanyofthepaintings.TheTrustwasfrequentlyabletoagreeloanarrangementswiththeowners,althoughtheseweregenerallyforalimitedperiod.Intoday’seconomicclimatethesituationisliabletochange;thecurrentownersofthechattelsmaybeseveralgenerationsremovedfromtheoriginaldonorsandmayneverhavethemselveslivedinthehouseconcerned.Itisnotsurprising,therefore,thatsomeofthemshouldwishtosellpartofthecontentsofthesehousesorusethemtopayinheritancetaxes.Inmanycasestheseobjectshavebeenofferedinlieu.Theschemehasbeenverysuccessful:overthelast10yearsthetotalvalueofchattelstransferredtotheTrustthroughAIL(excludingSeatonDelavalanditscontents)hasamountedto£21,645,000.WithoutthissupporttherewouldhavebeenseverefinancialpressureontheTrust.Itwouldhavehadtoraisethefundstoretainsomeoftheimportantpicturesandfurnishingswhichmakealargecontributiontothevisitors’enjoymentandunderstandingofthehousesthemselves.

100yearsofAILThelegislationenablingobjectstobeacceptedbythenationinsettlementoftaxwaspassed100yearsagoaspartofthe1910FinanceAct.Itisworthtakingalookatthebackgroundtotheschemeandcelebratingsomeofthemajoracquisitionsthathavebeenmadeasaresultofthisfarsightedlegislation.

Sincetheturnofthe19thcenturytherehadbeenincreasingdisquietatthewayinwhichgreathouseswerebeingsoldandtheircontentsdispersed.Forthatreasonthe1896FinanceActexemptedfromDeathDutiesworksofartwhichwereofnationalorhistoricinterest,whiletheNationalArtCollectionsFundwassetuptoacquiremajorpaintingsin1903.SixyearslaterDavidLloydGeorge,theChancelloroftheExchequer,introducedahighlycontroversial‘People’sBudget’whichwasfinallypassedin1910.Thiscontainedarangeoftaxesonlandintendedtofallheavilyonthelandedaristocracy,butitincludedclausespermittingDeathDutiestobepaidbythetransferofheritageassets.ThelatterschemewasslowtotakeoffbecausetheFirstWorldWarandsubsequentfinancialturmoilconcentratedattentiononothermattersandtherewaslittleencouragementtotakeadvantageoftheprovisionsbecausetheTreasuryinsistedthatsomeothergovernmentdepartmenthadtomakeupthetaxforegone.

Duringthe‘30stherewasmuchtalkaboutthefutureofthecountryhouse,culminatinginthe1937NationalTrustAct,whichmadeiteasierforownerstotransfergreathousestotheTrust.Again,warintervenedbut,inthepost-warperiod,suchtransfersweremuchfacilitated.ThiswasenabledfirstlybytheestablishmentoftheNationalLandFundin1946‘asathank-offeringforvictory’tocompensatetheInlandRevenueforthetaxforegonewhenahousewastransferredandsecondlybythe1953FinanceActwhichallowedtheFundtoacquirechattelsaswellashousesinlieuoftax.In1947thefirsthousewasacquiredbytheNationalTrustunderthescheme.Thiswastheromanticmanor,Cotehele,inCornwall,whichhadbeenappreciatedasanancientsurvivalof‘oldentimes’sincethedaysofGeorgeIII.In1957,however,theTreasurywithdrewasubstantialpartoftheLandFund’scapitalafterwhichthesystemwasmuchlessused.Thenin1977Mentmore,withitsspectacularcollection,wasofferedtothenationbyLordRoseberyfor£2m.TheTreasuryrefusedtheofferbecausethecostwasconsideredtobeexcessiveandSotheby’ssoldthecontentsfor£6.25m–overthreetimesthepriceatwhichtheycouldhavebeenacquired.Asaresultofthecontroversythatensued,theNationalHeritageMemorialFundwasestablishedandtheNationalHeritageAct1980setoutanewframeworkfortheacceptanceofheritageobjectsinlieuoftax.Theschemewassubstantiallyenhancedin1985whenLordGowrie,whowasthenMinisterfortheArts,announcedthatupto£10mwouldbeavailableforAILannuallythroughthePublicExpenditureReserve,althoughthissumwasneitheralimitnoratarget.Theamountavailablewassubsequentlyraisedto£20m.


WhathasbeenacquiredthroughAIL?AftertheacquisitionofCotehelein1947anumberofotherhousesweretransferredtotheNationalTrustthroughAIL–theseincludedPenrhynCastleinnorthWales;Ickworth,theeccentricroundhousebuiltbyan18thcenturyBishopofDerry;Saltram,animportanthousewithinteriorsdesignedbyRobertAdam;theVyneandSudburyHall,twofineStuarthouses;themagnificentHardwickHall,‘moreglassthanwall’,builtbyBessofHardwickinthereignofElizabethI;LongMelfordinSuffolk;Shugborough,createdbythewealthofAdmiralAnsonthecircumnavigator;SissinghurstCastlewithitsromanticgardencreatedbyVitaSackvilleWest;andCragsideHall,agreatVictorianmansionequippedwithallthelatestVictoriantechnology.OtherhousesweretransferredtotheTrustoutrightandsomeoftheircontentsweresubsequentlyacceptedinlieu:themagnificent17thcenturysilverfurnitureatKnole;theVanDycksandTurnersatPetworth;someofChurchill’spaintingsatChartwell;grandfurnitureandporcelainatWaddesdon;oneoftheRothschildfamilyhouses;portraitsandfurnitureatPowisCastle;Drake’sdrumandbannersatBucklandAbbey;andmuchmorebesides.

InadditiontothepropertythatwasallocatedtotheNationalTrust,museumsandgalleriesthroughouttheUnitedKingdomhavebenefitedfromthescheme.Asampledozenofthegreatacquisitionsarelistedbelow:

Clive’selephantarmour RoyalArmouries

ClaudeLorrain,Liber Veritatis BritishMuseum

Holbein,Cartoon of Henry VII and Henry VIII NationalPortraitGallery

Ormondefamilysilver VictoriaandAlbertandothermuseums

CorbridgeRomansilverdish BritishMuseum

Michelangelo,The Dream CourtauldInstitute

Constable,Stratford Mill NationalGallery

Picasso,Weeping Woman Tate

ElGreco,Fábula NationalGalleriesofScotland

Cimabue,Madonna and Child NationalGallery

VanDyck,Portrait of Abbé Scaglia NationalGallery

Titian,Venus Anadyomene NationalGalleriesofScotland


Thentherearetheobjectsacceptedinlieuandnowownedbymuseumsbutstilldisplayedinthehousesforwhichtheywereoriginallyintended.Forexample:someofthefurnitureandtapestrieswhichourfirstprimeminister,SirRobertWalpole,acquiredforHoughtonHall,theseriesofReynoldsportraitsatPortEliot,thecollectionofantiqueclassicalsculptureatCastleHoward,thesportingpicturesbyWoottonintheGreatHallatLongleatandtheArundelportraitsatArundelCastle.

Notallobjectsacceptedweregrandmasterpiecesofthissort.InrecentyearsthenationhasacquiredacollectionofmainlyVictorianpleasureboatsonLakeWindermere,thedentedcavalryhelmetwornbyGeneralScarlettattheChargeoftheHeavyBrigadeatBalaklavain1854,AdmiralNelson’sarmchairfromH.M.S.VictoryandWilfredThesiger’sphotographsoftheMarshArabs.In2008/2009worksbythreelivingartistswereacceptedandlastyeartherewasafinepieceofjewellerybyacontemporarydesigner.Wehopethatthistrendwillcontinue.

Distinguishedarchiveshavebeenacquired.TheseincludethepapersofseveralPrimeMinisters,theDukeofPortland,theDukeofNewcastleandtheMarquessofRockinghamfromthe18thcentury,andLordAddingtonandtheEarlofDerbyfromthe19thcentury.ItalsoincludesthearchivesoftheDukeofMarlboroughfromBlenheimandtheDukeofWellington’spapers.Localrecordofficeshavebeenenrichedbythetransferofnumerousdepositsoffamilyarchives,vitalforthestudyoflocalhistoryandlandtenure.ItisperhapsdisappointingthatmoreliterarypapershavenotbeenofferedbutunfortunatelyNorthAmericanuniversitieshavefrequentlymadeirresistibleofferstoauthorsduringtheirlifetimeandtherehasbeenlittleleftwhenthewriterhasdied.OnadifferentnotethereweretheminutebooksoftheHambledonCricketClub,theforerunneroftheM.C.C.

Theillustrationsthatfollowthissectionofourreportgiveanideaofthescopeoftheschemeovertheyears.

Itshouldbenotedthattherangeofoffershaschanged.Asmentionedabove,SeatonDelavalwasthefirstcountryhousetobeacquiredforoveraquarterofacentury.ItseemslikelythatthisisduepartlytomoreeffectivetaxplanningbylandedfamiliesandpartlytothereductionoftheratesofDeathDutiesorcapitaltransfertaxfrom75percentin1975to60percentin1984and40percentin1988.Furthermore,asaresultoftheriseinthevalueofimportantworksofart,theofferofasinglemajorpaintingorpieceoffurniturecansatisfyalargetaxliability.VeryfewestatestodayincurataxliabilitysolargethatitcanonlybesettledbytheofferofaPoussinoraPicasso.


ValueformoneyTheschemehasundoubtedlybeenanoutstandinglysuccessfulinvestmentforthenation.Asmajorinternationalmuseums’demandforoutstandingworksofartremainssteadyandthesupplydiminishes,valueshavesoared.ConsequentlythevaluationsagreedforsomeofthegreatVanDycksandTurnersacquiredinlieuoverthelasthalfcenturynowseemastonishinglylow.Thenationwasnotgettingabargainthen–thevalueswereacceptedbothbyourexpertsandbytheofferors’agentsandthosewerethefairpricesatthatdate–butrather,throughtheAILScheme,thenationacquiredmasterpiecesthatwouldtodaybeunaffordableontheopenmarket.ThereseemtohavebeenmercifullyfewerrorsofjudgementsuchastheRembrandtPhilosopher,acceptedasauthenticin1957butnowrelegatedtotheNationalGallery’sreservecollection.

ExtensionoftheSchemeWerecognisethatitisinappropriatetopressforanyimmediateextensionoftheScheme.Weare,however,workingonsomeproposalswhichweshouldliketoputforwardwhentheeconomicsituationhasimproved.

ConditionalexemptionIn1998therulesrelatingtotheconditionalexemptionofworksofartorobjectsofhistoricinterestweresubstantiallyrevised,thecriteriaforexemptionweretightenedandaccesshadtobeconsiderablyextended.Afterthispassageoftime,wefeelthatthecurrentconditionalexemptionschemeshouldberevisitedtoensurethatitisoperatingtobestadvantageforthenation.

AcknowledgementsTheschemesucceedsbecauseofthegenerouseffortsofthemanyadviserswhoprovidethePanelwithexpertadvice.Tothemweoweaparticulardebtofthanks,especiallytothoseuponwhomwecallwithconsiderableregularity.TheygivetheirtimeandexpertisetohelpUKmuseumsandtheirexpertiseisvitaltothesuccessoftheAILScheme.

Wearegratefultothesolicitorsandauctionhouseswhodrawtheattentionoftheirclientstothebenefitsoftheschemeandpreparetheoffersforourconsideration.Inaddition,theHeritageSectionofHMRevenue&Customsdoesasplendidjobofdealingwiththetaxationandlegalaspectsofoffersinlieuwhichensures,thatfollowingthePanel’sadviceandministerialagreement,themechanicsoflegaltransferoftheacceptedobjectintopublicownershiparecarriedoutsmoothlyandefficiently.

Tothemuseums,librariesandarchivalofficeswhichhavereceivedobjectsthroughAIL,weofferourthanksfortheimagesoftheobjectswhichinmanycasestheyhaveprovidedforthisreport.Inthisrespectourthanksalsogototheofferors’agentsfortheirpermissiontouseimagessuppliedinthecourseofoffers.

JonathanScottChairmanoftheAILPanel


Acceptance in Lieu1910-2010 highlights

1.Clive’selephantarmourThisalmostcompletesetofelephantarmourwasmadeinMughalIndia,c.1600.ItisbelievedtohavebeencapturedbyCliveofIndiaattheBattleofPlasseyin1757andwasbroughttoEnglandin1801byClive’swidow.Itisthelargestsetofanimalarmourintheworld.Itwasacceptedinlieuin1963.©BoardofTrusteesoftheArmouries.

2

2.ClaudeLorrainLiberVeritatisClaudeLorrain(1600-1682):Landscape with Mercury giving Apollo the lyre,192by250mm,inscribed,datedandsigned,“Roma1678/ClaudioIV”.Thesketch-bookoftheLiber Veritatis contains195drawingswhichClaudemadeasarecordofhispaintingsandfiveunrelatedpreparatorydrawings.Itwasacceptedinlieuin1957.©TrusteesoftheBritishMuseum.

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3.Holbein:Cartoon ofHenry VII and Henry VIIIHansHolbein(1497/8-1543):Henry VII and Henry VIII,inkandwatercolour,c.1536-7,2578by1372mm.ThisisthelefthalfsectionofthepreparatorycartoonthatHolbeinmadeforawall-paintinginWhitehallPalacewhichwasdestroyedbyfirein1698.ItistheoriginoftheclassicimageofHenryVIII,handsonhipsandlegsastride.Itwasacceptedinlieuin1957.©TrusteesoftheNationalPortraitGallery.

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4.OrmondefamilysilverTheOrmondesilverconsistedofseveralhundredpiecesofsilverandsilver-giltfromthe17thtothe19thcentury,withaparticularstrengthinearly19thcenturyobjects,especiallythosedesignedbyPaulStorr.TheexamplepicturedisaGeorgeIVtwo-handledvase-shapedsilver-giltcupandcoverbyPhilipRundellwhichwaspresentedtoBaronOrmondefollowingthecoronationofGeorgeIVon19July1821.Thecollectionwasacceptedinlieuin1980andallocatedtomuseumsinBelfast(UlsterMuseum),Birmingham,CastleBarnard(TheBowesMuseum),Brighton,Cambridge(FitzwilliamMuseum),Chester(GrosvenorGallery),DoncasterandLondon(VictoriaandAlbertMuseum)©VictoriaandAlbertMuseum.


5 5.CorbridgeRomansilverdishTheCorbridgeRomansilverdishisasuperbexampleoflateRomansilver.Stylisticallyitdatesto4thcenturyADandislikelytohavebeenmadesomewhereintheMediterranean.ThepaganscenedepictedshowsApolloontheright,holdingabowwithalyreathisfeet,hissisterDiana,thehuntergoddess,andAthenatoherleftalongwithApollo’smotherandaunt.Thedish(orlanxinLatin)wasfoundinabankoftheRiverTynenearHadrian’sWallin1735andacceptedinlieuin1993withadditionalcontributionsfromtheNationalHeritageMemorialFund,theFriendsoftheBritishMuseumandTheArtFund.©BritishMuseum.

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6.Michelangelo:The DreamMichelangeloBuonarroti(1475-1564)The Dream,c.1533,blackchalkonpaper,39.8x28cm.ThisisoneofthefinestofallMichelangelo’sdrawingsmadewhentheartistwasinhislate50s.ItwascreatedasagiftforTomassode’Cavalieri,ayoungRomannoblemanwithwhomMichelangelowasdeeplysmitten.Itwasacceptedinlieuin1981andallocatedtotheHomeHouseSociety(nowtheSamuelCourtauldTrust).©CourtauldGallery,London.

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7.Constable:Stratford Mill JohnConstable(1776-1837)Stratford Mill (The Young Waltonians),oiloncanvas,127by182.9cm.PaintedandexhibitedatTheRoyalAcademyin1820,thisisthesecondofthemajorpaintings,‘six-footers’,bytheartistdepictingscenesontheStourValleywhichConstableexhibitedattheAcademyfrom1819-25.Itwasacceptedinlieuin1986andallocatedtotheNationalGallery.©NationalGallery.


8 8.Picasso:Weeping WomanPabloPicasso:Weeping Woman,1937(Femme en pleurs),oiloncanvas,60.8by50cm.OneoftheworstatrocitiesoftheSpanishCivilWarwasthebombingoftheBasquetownofGuernicabytheGermanairforceinApril1937.PicassorespondedtothemassacrebypaintingthevastmuralGuernica,andformonthsafterwardshemadesubsidiarypaintingsbasedononeofthefiguresinthemural:aweepingwomanholdingherdeadchild.Weeping Woman isthelastandmostelaborateoftheseries.Thepaintingwasacceptedinlieuin1987andallocatedtoTatewithadditionalpaymentsfromtheNationalHeritageMemorialFund,TheArtFundandtheFriendsoftheTateGallery.©DACS/PicassoEstate.

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9.ElGreco:FábulaElGreco(DomenikosTheotokopoulos)(1541-1614)An Allegory (Fábula),c.1580-5,oiloncanvas,67.3by88.6cm.Theintenselightanddeepshadowenhancetheairofmysteryaroundtheboylightingacandle.Thepaintingisintendedtoconveyamoralisingmessageagainstthebaseandfoolishinstinctoflust.Itwasacceptedinlieuin1989andallocatedtotheNationalGalleriesofScotlandwithadditionalfundingfromtheNationalHeritageMemorialFund,TheArtFundandtheGallery’sownfunds.©NationalGalleriesofScotland.

10 10.Cimabue:Madonna and ChildCimabue:Madonna and Child Enthroned with Two Angels,egg-temperaonwood,withgold-leafground,27.7by20.5cm.ThisrarepaintingistheonlyexampleoftheartistintheUnitedKingdom.AlongwithDuccioandGiottohisworkmarksadecisivemomentwhenItalianpaintingbegantoexplorethree-dimensionalformandthedepictionofvolume.Thepaintingwasacceptedinlieuin2000andallocatedtotheNationalGallery.©NationalGallery.


11 11.VanDyck:Portrait of Abbé ScagliaSirAnthonyvanDyck(1599-1641)Portrait of Abbé Scaglia,1634,oiloncanvas,200.6by123.2cm.CesareAlessandroScaglia,AbbéofStaffardaandMandanici(1592-1641)wasadiplomat,representingSavoyinRome,ParisandLondonandlaterservedtheSpanishcourt.HesettledinBrusselsin1632wherethismagnificentportraitwaspainted.Itwasacceptedinlieuin1999andallocatedtotheNationalGallery.©NationalGallery.

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12.Titian:Venus AnadyomeneTitian(TizianoVeccellio)d.1576,Venus Anadyomene,oiloncanvas,75.8by57.6cm.ThepaintingdepictsthebirthofVenusassheisbornfullygrownfromthefoamofthesea.Thepaintingwasacceptedinlieuin2003andallocatedtotheNationalGalleriesofScotlandwithadditionalfundingfromtheHeritageLotteryFund,TheArtFund(withacontributionfromtheWolfsonFoundation)andtheScottishExecutive.©NationalGalleriesofScotland.


Cases 2009/2010Acceptance in Lieu

1.MedalsofGeorgeUnwinDSO,DFMWingCommanderGeorgeUnwin,DSO,DFMandBar(1913-2006),wasoneoftheleadingfighterpilotsoftheBattleofBritain.HejoinedtheRAFaged16asanapprenticeclerkandwasselectedforpilottrainingin1935.Onreceivinghiswingshewaspostedto19Squadron,flyinginopen-cockpitGlosterGauntletbiplanes.ThisSquadronwasthefirsttoreceivetheSpitfireinAugust1939and,followingtheendofthe‘PhoneyWar’inMay1940,itwasinvolvedinprotectingtheretreatingBritishExpeditionaryForceatDunkirk.Hissobriquet,‘Grumpy’Unwin,issaidtohaveoriginatedatthistimewhenhemadehisfeelingsknownatnotseeingactionuntiltheseconddayoftheengagement.

HeflewoutofRAFDuxfordformostoftheBattleofBritainandforpartofthetimewasDouglasBader’swingman.On15September1940Unwin’ssectionengaged30BF109Germanfighterswhichwereaccompanyingaformationofbombers.UnwinshotdownthreeenemyplanesthatdayandwasimmediatelyawardedtheDistinguishedFlyingMedal.InthenexttwomonthsheshotdownafurtherthreeGermanfightersandwasinvolvedintakingoutafurthertwo.TheBartohisDFMwasgiveninDecember1940.

Afterreceivinghiscommissionin1942,Unwinactedasaflyinginstructoruntillate1943whenhejoinedNo613SquadroninthemonthsbeforeD-Day,flyingover50intruderoperationsintoEuropetoattackenemyfuelsupplies,airfieldsandroadandraillinks.

AfterthewarhesawserviceinIraqandSingaporewherehecommandedNo84SquadronandwasawardedaDSOforoperationsduringtheMalayancampaign.

TheoffercomprisednotonlyUnwin’sfullsetofmedalsbutalsohislog-bookscoveringhiscareerfrom1935toMarch1958and12combatreportsfromtheBattleofBritainalongwithhisServiceandMessdressuniforms.

ThePanelconsideredthatthecollectionmetthefirstcriterion,thatitwasinacceptableconditionandsuggestedtotheofferingestatethattheofferpricewasundervaluedandshouldbeincreasedbyover60percent.Thisresultedinthecollectionsettlingmoretaxthanwasactuallypayable.TheImperialWarMuseummetthedifferenceofjustover£43,000,withtheNationalHeritageMemorialFundcontributing£39,844.ThecollectionhasbeenpermanentlyallocatedtotheImperialWarMuseumfordisplayatDuxfordinaccordancewiththeconditionoftheofferor.

Below:ThemedalsofWingCommanderGeorgeUnwin.©ImperialWarMuseum.


2.ArchiveoftheMarshamfamily,EarlsofRomneyTheoffercomprisedthepapersoftheMarshamfamilywhooriginatedfromNorfolkbutwhoseprinciplelandswereinKent.In1630JohnMarsham,laterfirstBaronet,boughtWhorne’sPlaceinCuxton,nearRochesterinKentandacquiredotherlandsaroundRochesterlaterinthedecade.AsupporteroftheKingintheCivilWar,hebecameMPforRochesterandwasknightedattheRestorationandmadeaBaronetin1663.HewasaconsiderablescholarandtravelledwidelyontheContinentinhisyouth.Hisson,alsoJohn,purchasedTheMote,nearMaidstonewhichwastheprincipalfamilyseatuntilthelate19thcentury.Thehousewasrebuiltfrom1793to1801totheausteredesignsofthearchitectDanielAlexander,whowaslatertodesignbothMaidstoneandDartmoorGaols.ThearchivedocumentsingreatdetailtheconstructionofthisimportantlateGeorgianhousewhichwastheonlydomesticbuildingbyAlexander.

Thearchiveisofconsiderableextentandamountsto35metresofshelfspace.ItnotonlycontainstheestaterecordsoftheMarshamfamilybutittouchesonallaspectsoftheirintellectual,social,economicandmilitaryaffairs.Theearliestmanuscriptisa12thcenturycopyoftheBookofEcclesiasticuswithmarginalcommentaryofthesubsequentcenturywhichisbelievedtohavebelongedtoanarchbishopofCanterbury.ThearchivecontainsthescholarlypapersofthreegenerationsofthefamilyincludingtheliteraryandhistoricalpapersofSirJohnMarsham;thepapersofJohnMarshamwhilepreparinghishistoryofEngland;animportantseriesofChancerycasesinthe1640s;andaBookofPleasoftheCourtofWardsfrom1575to1605.

ThePanelconsideredthatthearchivemetthethirdcriterionwithintheregionalcontextofKent,thatitwasinacceptableconditionand,followingnegotiation,thatitwasfairlyvalued.ThearchivehasbeenallocatedtoKentCountyCouncilforretentionattheCentreforKentishStudies,Maidstone.Astheacceptanceofthearchivecouldhavesettledmoretaxthanwasliable,KentCountyCouncilcontributedahybridelementof£10,374.


3.AdamdeColone:Earl of Winton and his SonsTheportraitbyAdamdeColone,oiloncanvas,114.3by83.8cm,depictsGeorgeSeton(1584-1650),3rdEarlofWintonandhistwosons,George(1613-1648)andAlexanderSeton(1621-1691).Theinscriptionrecordsthattheyareaged40,12and8,whichwoulddatetheportraittoc.1625.

GeorgeSeatonbecameEarlofWintonin1607whenhiselderbrotherRobertwasconfinedongroundsofinsanityandresignedthepeerage.HemarriedAnneHay,daughterofthe9thEarlofErroll,twoyearslater.HehadbeenamemberoftheScottishPrivyCouncilsinceheinheritedthetitleandatthetimethattheportraitwaspaintedhewastheCouncil’sPresident.HeentertainedbothJamesVIandCharlesIatSetonPalaceontheirvisitstoScotlandin1617and1633respectively.OnthelatterroyalvisitthefamilychroniclerecordsthatWinton’ssecondson,Alexander,greetedtheKingandhisentouragewithaLatinorationwhichresultedinhimimmediatelybeingknighted.HewascreatedViscountKingstonbyCharlesIIwithindaysofhiscoronationatSconePalacein1651.

TheEarlofWintonhadbeeneducatedbytheJesuitsinFrancewhicharousedsuspicionsamonghisPresbyteriancountrymenofhisbeing‘popishlyaffected’andontheoutbreakofthefirstBishops’Warin1639hisestatesweresequestratedwhenheleftScotlandtoattendKingCharles.

Theelderson,GeorgeSeton,wascapturedbytheCovenanterArmyinSeptember1645followingthedefeatoftheMarquessofMontroseattheBattleofPhiliphaughandaransomof£40,000waspaidbyhisfathertoensurehissafereturn.

ThisportraitisthefinestsurvivingexampleofAdamdeColone’swork.HeisthoughttohavebeenborninEdinburghshortlybefore1597andithasbeensuggestedthathewasthesonofJamesVI’scourtpainter,AdrianvanSon.ItisthoughtthatAdamusedhismother’sname,Declony,ashisfatherdiedwhilehewasstillachild.About30extantworksareknownandallaredistinctintheirtechniqueaswellastheinscriptionsthattheybear.WhethertheywerepaintedinLondonorinEdinburghisunknownashissitterswerepredominantlyScotswhohadconnectionswiththeLondoncourt.Noworksareknownafter1628anditisnotrecordedwhetherheevermadeuseofthepermissionhesoughtin1625totravelabroad.

ThePanelconsideredthattheportraitmetthesecondandthirdcriteria,thatitwasinacceptableconditionandthatitwasofferedatafairmarketvalue.IthasbeenpermanentlyallocatedtotheScottishNationalPortraitGallery,whereithadpreviouslybeenonloan,inaccordancewiththeconditionoftheofferor.

Above:AdamdeColone:Earl of Winton and his Sons.©NationalGalleriesofScotland.


4.SirFrancisGrant:The Meet of the Fife HoundsThepaintingonoffer,The Meet of the Fife Hounds,oiloncanvas,88.9by119.4cm,issignedanddated1833.ItwascommissionedbyAnthonyKeith,7thEarlofKintore,andretainsitsoriginalframe.ThepaintingwasoneofGrant’smostsuccessfulearlyworksandisinthetraditionofFerneleywhohadalreadypaintedseveralhuntingscenesforLordKintore.

FrancesGrant(1803-1878)wasborninEdinburghtoaPerthshirelandowningfamilywhoalsohadestatesinJamaica.HewaseducatedatHarrowanddevelopedinhisyouthafondnessforbothfox-huntingandpainting.Whenhecameinto£10,000onthedeathofhisfatherin1818hewasabletoindulgebothpassionsbutsoonspenthisinheritance.Althoughhebrieflystudiedlaw,hetookuppaintingashisprofession.Hissecondwife,IsabellaNorman,whomhemarriedin1829,wasthenieceoftheDukeofRutland,theleaderofsocietyintheareaoftheMeltonMowbrayhuntwithwhichGranthadriddensincetheearly1820s.HehadmetatthistimethesportingpainterJohnFerneleywhohadastudioatMeltonandbrieflystudiedwithhimalthoughhewasessentiallyselftaught.

HisearlypaintingsclearlyshowtheinfluenceofFerneleywiththeirdepictionofhuntsandsportingaction.Thiswastochangein1838-1839whenhereceivedaRoyalcommission.Theresult,Queen Victoria Riding Out(RoyalCollection),depictstherecentlycrownedVictoriaridingoutfromWindsorCastlewithherPrimeMinister,LordMelbourne,andgreetingtheLordChamberlain,theMarquessofConyngham.ThesuccessofthispaintingledtoGrantspendingmuchoftherestofhiscareerasafashionableportraitpainter.

Despitefurtherroyalcommissions,whenGrantwaselectedPresidentoftheRoyalAcademyin1866theQueenwasnotinfavour.LordRussellnoted,“ShecannotsayshethinksthisselectionisagoodoneforArt.HeboastsofneverhavingbeeninItalyorstudiedtheOldMasters.”

ThePanelconsideredthatthepaintingmetthethirdcriterion,thatitwasinacceptableconditionand,afterdiscussion,thatitwasacceptablyvalued.ThepaintinghasbeenpermanentlyallocatedtotheScottishNationalPortraitGallery,whereithadpreviouslybeenonloan,inaccordancewiththeconditionoftheofferor.

Below:FrancisGrant:The Meet of the Fife Hounds.©NationalGalleriesofScotland.


5.EdgarDegasSculptureDancer Looking at the Sole of Her Right Foot,bronze,withdarkbrownpatination,45.5cmhigh,(Herbrard40)istakenfromoneofthesculpturesthatwerediscoveredinthestudioofEdgarDegas(1843-1917)afterhisdeath.TheoriginalsculptureinwaxwithcorksupportisintheNationalGallery,Washington.IntheyearsimmediatelyfollowingDegas’sdeath,from1918to1937,castsweremadeofalloftheartist’soriginalsculpturesandtheParisianfoundryEAAHerbrardproducedbronzeversionsinaneditionof22.EighteenweremarkedAtoTandasmallnumberoffurthercopiesweremadefortheartist’sheirsandforHerbrardhimself.Recentresearchsuggeststhatfurthercastingswerebeingmadefromthelate1940s.

EdgarDegas(1843-1917)wasoneofthefoundingmembersoftheImpressionistgroupandorganisedseveralofitsexhibitions.Hewasequallyathomeworkinginoil,pastel,printmediumanddrawing.Bythe1880shewasasuccessfulartistfreeoffinancialconcernsandforhislastyearshelargelywithdrewfromtheParisartscenetoworkinhisstudioexploringhisownartisticinterests.Hehadexhibitedonesculpture,Little Dancer, Aged Fourteen,in1881butotherwisehissculptureswereprivateexplorationsofhisfavouritethemes,mostfrequentlyballetdancersandthefemalenudefigurebutalsohorses.

ThesculptureonofferbearstheHerbrardmarkandislettered‘J’.ItwasacquiredbythegreatEnglishcollectorSamuelCourtauld(1876-1947)soonafteritwasproducedandfollowingitsexhibitioninLondoninDecember1923.ThissculpturehasbeendescribedasoneofDegas’smostdynamiccreations.Thecomplexmovementofthedancer’sbodyassheturnstoexaminetheraisedrightfoothadspecialsignificanceforDegasandhereturnedtothethemeinthreeothervariationsofthepose.Althoughitisnowimpossibletogiveaprecisechronologyofthedevelopmentofthisfigure,thestatueinquestionisconsideredtohavebeenthefinalversionbecauseitisthemostdevelopedandsophisticatedofthegroup.

ThePanelconsideredthatthesculpturemetthesecondandthirdcriteria,thatitwasinacceptableconditionandvaluedatafairmarketprice.IthasbeenpermanentlyallocatedtotheSamuelCourtauldTrustfordisplayattheCourtauldGalleries,inaccordancewiththeconditionoftheofferors.

Above:EdgarDegas:Dancer Looking at the Sole of her right Foot.©CourtauldGallery,London.


6.SirPeterLely:Portrait of ‘Ursula’‘Ursula’,oiloncanvas,90.1by75cmwaspaintedbySirPeterLely(1618-1680).HewasborninSoestinWestphaliabutby1637hewasapupilofapainterinHaarlemandby1643hewasinEnglandwhereheremainedfortherestofhislife.ItisbelievedthatforhisfirstfewyearsinLondonhespecialisedinlandscapespopulatedwithfigures.HewasalsoinfluencedbytheworkofVanDyck,andthroughhim,byVenetianpainting.HesoonrespondedtotheEnglishpreferenceforportraitsandduringtheCommonwealthachievedapositionofpre-eminenceinEnglishportraiturewhichhewastoretainaftertheRestoration.

AlthoughLelyisbestrememberedtodayfortheimagesofthevoluptuousbeautiesofthecourtofCharlesII,hisearlierportraitshaveaquieterandmorereflectivequalityasdemonstratedintheportraitofferedinlieu.WhenthisworkappearedontheLondonartmarketin1928itwassaidtobeaportraitofLadyHoward.ThepreviouslotwasaLelyportraitofSirGeorgeHowardandthepairhadbeenlistedinthe1769DunhamMasseyinventoryofthecollectionoftheEarlsofStamfordunderthesetitles.Itwasboughtin1931byLordLeeofFarehamwhoproposedthatitwasinfactaportraitofLely’slong-termmistress,Ursula,aboutwhomlittleisknownotherthanthattheymetinthemid1660s,thatsheboreLelytwochildren,andthatshediedin1673.LordLeepublishedanarticleonthepaintingin1932atthetimeitwasdisplayedin‘TheAgeofWalnut’exhibition.TheintimatenatureoftheportraitsuggestedtoLeethatitdepictedawomanwithwhomtheartistwasonmostfamiliarterms.HealsoconsideredthatthesittercouldbeidentifiedwiththefemalefiguresinLely’sThe Concert(CourtauldInstitute)whichwasthenmistakenlybelievedtobeanimageoftheartist,hischildrenandUrsula.

SamuelCourtauldboughtthepaintingfromLordLeesometimebetween1942andhisdeathin1947.In1942hepublishedanarticlefor‘Apollo’inwhichhecomparedthreefemaleportraits,includingthisLely.Hedescribedhowhefeltthatinthiswork,whichheacceptedtobeofUrsula,Lelyhadproduced“aworkofunsurpassablequality.”

Modernscholarship,however,hasnotacceptedtheidentityofthesitter,whoremainsunknown.OliverMillarinhiscataloguetothemonographicexhibitionin1978pointedoutthatthepaintingcamefromearlyinLely’scareer,longbeforehehadmetUrsula.Hedatedittoc.1647andthishasbeenacceptedbysubsequentwritersontheartist.

ThePanelconsideredthattheportraitmetthesecondcriterionand,afternegotiation,thatitwasvaluedacceptably.TheportraithasbeenallocatedtotheCourtauldInstitutependingadecisiononpermanentallocation.

Above:SirPeterLely:‘Ursula’ (Portrait of an Unknown Woman).©CourtauldGallery,London.


l

7.SeatonDelavalThesuccessfultransferintopublicownershipofthegreatVanbrughhouseofSeatonDelavalmustrankasoneofthemostimportantacquisitionsofthelastfewdecades.UndertheAcceptanceinLieuSchemethehouse,over80acresofthesurroundinggardens,parkandlandandtheprincipalcontents,whichtotalalmost200itemsoffurniture,sculpture,paintingsandceramics,weretransferredtothenation.

TheHallwasbuiltbetween1718and1731bySirJohnVanbrugh(1664-1726),architectofBlenheimPalaceandCastleHoward.ItiswidelyregardedasoneofthefinestworksoftheEnglishBaroqueandoneofthemostimportanthousesinBritain.TherelevantvolumeofPevsner’sBuildings of Englandnotesthat“nootherVanbrughhouseissomature,socompactandsopowerful.”

Thehouse,however,hashadaturbulenthistory.Neitherarchitectnorhispatron,AdmiralGeorgeDelaval(1667-1723),livedtoseethebuildingcompletedand,asthelatterhadnochildren,itpassedtohisnephew,FrancisBlakeDelaval,whomovedintoSeatonDelavalsoonafteritscompletionin1731.TheDelavalswerearumbustious,fun-lovingfamilywhofinallybecameextinctin1822.ThereupontheestatepassedtotheAstleys,oneofwhomhadmarriedaDelavaldaughterinthe18thcentury.SincetheAstleys’principalresidencewasMeltonConstableinNorfolk,Vanbrugh’shousewasrelativelylittleused.Then,in1822,thecentreblockwasdevastatedbyafirethatleftitasarooflessshell.Thecentreblockwasabandonedinitsfiredamagedconditionuntil1862whenitwasre-roofedandtransversesteelcolumnsandbrickwallsaddedinthesouthfacingsaloontopreventfurtherstructuraldamage.Followingthesuccessionin1956ofSirEdwardDelavalHenryAstley,22ndLordHastings,furtherrestorationwascarriedoutincludingtherenewaloftheturretsandtowersandtheroofofthemainblockwasimproved.Atlast,thehallwasreceivingtheattentionthatsuchanimportantarchitecturalhousedeserved.LordHastingsmadethehallafamilyhomeagainbyconvertingthewestpavilionwhichhadbeenbuiltasaserviceblockintoasuiteofdomesticrooms.Thematchingeasternpavilionwhichflankstheoppositesideofthegreatforecourtretainsitslayoutasastable.

ThecontentsofthehouseincludemanyAstleyandDelavalportraitsandmuchfurniturewhichwasformerlyatMeltonConstable.ThemostimportantofmanyitemsoffurnitureisaQueenAnnewalnutsuiteconsistingofapairofsofasandeightchairsupholsteredincontemporaryneedleworkwhichdepictshistoricscenesfromthe15thcenturyrelatingtotheAstleyfamily.ThereisalsoanexceptionalpairofGeorgeIIcarvedparcel-giltpiertables,inthemannerofWilliamKent,circa1740.ManyfineportraitsofmembersoftheDelavalandAstleyfamiliesdatingfromthe16thtothe20thcenturyareincluded.OneofthemostpoignantitemsistheleathermilitarysurcoatofJacobAstley,aRoyalistmilitarycommander,whofoughtattheBattleofEdgehillin1642.Hisfamousprayeronthemorningofthebattleinwhichhewashimselfwoundedspeaksofhissimplepietyandrapportwithhistroops–‘OLord!thouknowesthowbusyImustbethisday;ifIforgetthee,donotthouforgetme...Marchon,boys!’

Abovetop:SeatonDelaval,Admiral Sir George Delaval (1667-1723)byGodfreyKneller(1646-1723).©NTPL/JohnHammond.

Abovecentre:SeatonDelaval,TheInteriorofthecentrahall,guttedbyfirein1822.©NTPL/DennisGilbert.

Opposite:SeatonDelaval,TheSouthFront.©NTPL/DennisGilbert.


Thegroundsofthehallcontaintwoimportantleadstatuesbythe18thcenturyEnglishsculptorJohnCheere(1709-1787)whichwerepartoftheoriginalgardenlayout.Thefirst,Samson slaying the Philistines,isaversionofthefamousmarblestatuebyGiambolognawhichisoneofthehighlightsofthenewlyrefurbishedMedievalandRenaissanceGalleriesintheVictoriaandAlbertMuseum.Thesecondlife-sizegroupdepictsDavidandGoliathandisbasedonasculpturebyoneofGiambologna’spupils.

ThetransferofSeatonDelavalanditscontentstotheNationalTrustisjustthelatestinalonglineofhousesandtheircontentswhichhavecomeintotheTrust’sownershipthroughtheAILScheme.ThemostimportantareCotehele(1947),PenrhynCastle(1952),MountGracePriory(1953),CastleWard(1953),Petworth(1954)Ickworth(1956),Saltram(1957),Hardwick(1959),BrodickCastle(NationalTrustforScotland,1959),ShugboroughHall(1965);Cragside(1977)andCalkeAbbey(1985).Intotal150NationalTrusthousesandtheircontentshaveobjectswhichhavebeenacceptedinlieusincetheAILSchemebegan.

ThePanelconsideredthatsomeofthechattelswereofpre-eminentimportanceandthattheremainderwereassociatedwithabuildingwhichwasitselfbeingacceptedinlieuoftaxandthattheyshouldremaininthatbuilding.TheofferofthelandandthebuildingswashandledbytheDepartmentforCulture,MediaandSportinconsultationwithEnglishHeritageandNaturalEngland.

TheNationalTrustpledged£6.9mofitsownfundstoprovideanendowmentforSeatonDelaval.Morethan£3mwasraisedbypublicappeal.


8.DanielGardner:Three Witches from MacbethThree Witches from Macbeth,pastelandothermedia,92.1by78.6cmisbyDanielGardner(c.1750-1805).TheartistwasborninKendalwherehereceivedearlyencouragementfromGeorgeRomneywhowasafriendofhismother.HemovedtoLondoninhislateteensandstudiedattheRoyalAcademyschoolsfrom1770whenBenjaminWest,JohanZoffanyandGBCiprianiwereteaching.In1773hewonasilvermedalfordrawingandexhibitedattheAcademyforthefirstandlasttime.OnfinishinghisstudiesheenteredthestudioofJoshuaReynoldsasanassistantbuthisworkinoilisconsideredtobeheavyandunrefined.Hefoundhismetierasanartist,however,inauniqueformofpastelworkwhichcombinedoil,gouache,andpastelonpaperlaterlaidoncanvas,unvarnishedbutglazed.

ThistechniquemaintainsalastingfreshnessandvivacityascanbeseeninThree Witches from MacbethwhichdepictsElizabethLamb,ViscountessMelbourne(1751-1818),Georgiana,DuchessofDevonshire(1757-1818)andtheHon.MrsSeymourDamer(1749-1828).ElizabethMillbankehadmarriedSirPenistonLambin1769.HerhusbandwascreatedanIrishpeerasLordMelbournein1771,becomingaViscountin1780.MelbournewasnotafaithfulhusbandandLadyMelbournefollowedsuitbeginningaseriesofdiscreteaffairs.Despitethis,hersocialskillsweredeployedtofurtherherhusband’spoliticalcareerandsheactedastheleadingpoliticalhostessofthetime.ThispositionwaschallengedwhenGeorgianaSpencer,theeldestdaughterofthe1stEarlSpencermarriedWilliamCavendish,the5thDukeofDevonshire.Ratherthanberivals,LadyMelbournemadeherselfthenewDuchess’firmestfriend.Thetwopoliticalwivesweretogethertheleadersoffashionandamongthechiefpoliticaloperatorsoftheday.

Thethirdsitterintheportrait,MrsAnneSeymourDamer,wasthedaughteroftheWhigpoliticianHenrySeymourConwaywhowasrelatedthroughhismothertoSirRobertWalpole.HoraceWalpolebequeathedStrawberryHilltoAnneDamerwholivedtherefor14yearsfollowingWalpole’sdeathin1797.ShewasabluestockingandanotablesculptorwhoseartistictalentwasmuchpraisedbyWalpole.Throughherfather’spositionasSecretaryofStateunderbothRockinghamandChatham,shewascloselylinkedtotheWhigpoliticalhostesseswithwhomsheisdepictedinaself-mockingwayasthethreewitchesforetellingtoMacbethhispoliticalfutureandthetroublesthatlieahead.

ThePanelconsideredthatthepastelmetthethirdcriterion,wasinacceptableconditionand,followingnegotiation,thatitwasfairlyvalued.ThepaintinghasbeenallocatedtotheNationalPortraitGallerypendingadecisiononpermanentallocation.


Above:DanielGardner:The Three Witches from Macbeth.


9.ChattelsfromLymeParkLymePark,inCheshire,nestlingonthewesternedgeofthePeakDistrict,hasbeenthehomeoftheLeghfamilyforover600years.ThemostfamiliarviewofthehouseisthePalladiansouthfrontdesignedbytheItalianarchitectGiacomoLeoni(c.1686–1746)inthe1720s.ItsgiantpilastersandmassiveIonicporticodisguiseLymePark’scomplexarchitecturalhistory,whichbeganinElizabethantimesandcontinueduntiltheearly20thcentury.

Thechattelsthatwereofferedareprimarilyfromthefirsthalfofthe18thcenturyasisappropriatetoahousewhichreceiveditsmostthoroughredesignatthehandsofLeoni,whonotonlydesignedthesouthfrontbutproducedintheinteriorcourtyard,arecreationofaNorthItalianpalazzo.

ApairofGeorgeIImahoganylibraryarmchairsupholsteredingoldcutvelvetandattributedtotheLondonfurnituremakerGilesGrendey(1693–1780),aredisplayedinLyme’sdrawingroom.TwofurthersetsofGeorgeIIseatfurnitureareincludedintheoffer:asetofsixmahoganysidechairsupholsteredinpinkfloraldamaskandasetofsevenmahoganychairsincludinganarmchairwithneedleworkcoversinimitationofcutvelvet.FromthesameperiodisaGeorgeIIgiltwoodsidetablewitha‘verdeantico’marbletop.AlsodisplayedinthedrawingroomandincludedintheofferisaGeorgeIgiltwoodpierglasswithscallopcresting.

Inaddition,theofferincludedtwomid-18thcenturytray-topcommodeswithapiercedgallery,aburrwalnutandcrossbandedchestonstanddatedtotheturnofthe17thand18thcenturiesandtwoDutchitems:aRiver landscape with the Rest on the Flight into Egypt fromthecircleofPaulBrillandabrasssixbranchchandelier.

ThePanelconsideredthatthechattelswerecloselyassociatedwithabuildinginNationalTrustownershipandthatitwasappropriatethattheyshouldremainso.Thechattelswereinacceptableconditionand,followingnegotiation,itwasagreedthattheywereappropriatelyvalued.ThechattelshavebeenpermanentlyallocatedtotheNationalTrustforretentionatLymePark.

Above:LymePark–AGeorgeIImahoganyarmchair©NTPL.

Below:LymePark–AGeorgeIIgiltwoodsidetable©NTPL.


10.MarcellusLaroon:A Musical PartyA Musical Party with a Knight of the Garter, a Cleric and other Figures in an elegant Interior,oiloncanvas,102by127cm,isbytheEnglishpainterMarcellusLaroon(1679-1772).

LaroontheYounger(orMarcellusIILaroon)trainedwithhisfather,aDutchartistofFrenchorigin,andafteraperiodabroadworkedinhisfather’sstudiobeforebrieflybeginninghisownindependentcareer.Heturned,however,tothetheatrewherehesangwithColleyCibberattheDruryLaneTheatrebeforejoiningthearmyandservinginSpain:hewascapturedthereandheldprisonerfortwoyearsbeforebeingransomed.OnreturningtoLondonhebrieflytookuphisartisticcareeragainbutreturnedtomilitarylifein1715andremainedasoldieruntilheretiredonacaptain’sfull-payaged53.Inthiswayhewasabletobefinanciallyindependentoftheneedtoreceiveartisticcommissionsanditwasnotuntil1732onhisretirementthatpaintingbecamehisprimaryfocus.

Itisclearthathewaspaintingwhilestillaservingsoldier.Oneofhisbestknownworks,A Dinner Party(RoyalCollection),waspaintedin1725.Adrawingofthecomposition,formerlyontheLondonartmarket,issignedanddated1719andtheartisthasadded,‘premierepensee/PresentedtoKingGeorge1st/apictureIpaintedin1725’.Thepaintingofferedinlieu,liketheworkfromtheRoyalCollection,isaconversationpiecedepictingafashionablearistocraticgroupgatheredinafineinteriorintowhichareintroducedvarioushumorousobservations.WhetherthesearerealpeopleorfictitiousitisnotpossibletosaybutitiscertainlyafinedepictionofthemannersofthefashionablesocietyofitsdayandanunusuallylargeworkforLaroon.

WhenthesubjectwasetchedbyGeorgeCruickshankin1819itwasconsideredtobeaworkofHogarth.Subsequently,however,itwasrecognisedasbyLaroonandwasincludedintheLaroonexhibitionheldatTateandAldeburghin1967,thelasttimethatitwaspubliclyexhibited.

ThePanelconsideredthatthepaintingmetthethirdcriterionandthatitwasacceptablyvalued.IthasbeenallocatedtotheTatependingadecisiononpermanentallocation.

Below:MarcellusLaroontheYounger:A Musical Party©Christie’sImages.


11.ChaïmSoutine:Jeune femme à la blouse blancheYoung Girl in a White Blouse,oiloncanvas,45by34cm,byChaïmSoutine(1893-1943)waspaintedc.1923.SoutinegrewupinaLithuanianJewishghetto.EventhoughtheTalmudictraditiondisapprovedofthedepictionofimagesthisdidnotdetertheyoungSoutine’searlyinterestindrawing.From1910to1913hestudiedatanacademyinVilniuswherehewasintroducedtoRussianavant-gardepainting.Aswithsomanyartistsintheearlydecadesofthe20thcentury,hewasdrawntoPariswhereheenrolledintheAcadémiedesBeaux-Artsfrom1913to1915.Heconsidered,however,thathisstudyoftheoldmastersintheLouvrewasofmoreimportancetohisartisticdevelopment.

In1915SoutinewasintroducedbyJacquesLipchitztoAmedeoModiglianiwhoadmiredhiswork.Hewastobecomealeadingmemberoftheinter-WarSchoolofParisandhisinterestscentredonthreeprincipalareas:landscapes,stilllifes–oftenoffood–andportraits.InalloftheseareashewasrootedbothintheEuropeantraditionandinthecontemporaryartisticcultureofParis.CezanneandMatisseaswellasChardin,GoyaandRembrandtwereallartistshestudiedandadmired.Despitetheseinfluenceshisworkisentirelypersonaland,arguably,reflectstheanxietyofapoorRussianJewishimmigrantinasophisticatedEuropeancitywhereheneverfelttrulyathome.

InhisearlyyearsinParishehadlittlecommercialsuccessuntil1923whenhewasnotedbytheAmericancollectorDrAlbertCBarneswhostartedtoacquirehisworkinquantitythroughtheartdealerPaulGuillaume.Young Girl in a White BlousewasownedbyGuillaumeandpassedtohiswifewhosoldittohersisterinlawin1937.ItwassoldatauctioninLondonin1985andacquiredbythefamilyfromwhoseestateitwasofferedinlieu.

ThePanelconsideredthattheportraitmetthethirdcriterionandfollowingdiscussion,thatitwasinacceptableconditionandfairlyvalued.ThepaintinghasbeentemporarilyallocatedtotheCourtauldGallerywhereithadpreviouslybeenonloan,pendingadecisiononpermanentallocation.

Above:ChaïmSoutine:Young Girl in a White Blouse.


12.DomenicoTiepolo:The Café by the Quay in VeniceThedrawing,The Café by the Quay in Venice,penandwash,288by413mm,signed‘DomoTiepolof.’isbyDomenicoTiepolo(1727-1804),thesonofthepainterGiambattistaTiepolo.Domenicowasnotonlyapainteroffineabilitybutalsoasuperbdraughtsmenwho,whenhiscareerasapainterhadended,continuedtoproducedrawingsintohisoldage.Foralongtimehewassomewhatovershadowedbythereputationofhisfather.Sincethemiddleofthe20thcentury,however,hisdistinctivepersonality,attunedmoretocontemporarylifeandthecomicthanthesublimevisionsthatdominatehisfather’soutput,hasbecomebetterunderstoodandappreciated.

Thedrawingisanoutstandingexampleoftheartist’sassuredtechniqueandalsoofhishumorousobservationofcontemporarysocietyinthetwilightyearsoftheVenetianRepublic.ThescenedepictedshowsthethronggatheringaroundthetablesandunderthestrippedawningofaVenetiancafé.Atitscentre,ayoungladyandmanexchangeglances.Shewearsahigh-waisteddressandhetooisdressedinthelatestfashion.JByamShawinhis1962studyoftheartist’sdrawingsnotes,“tojudgefromthedressoftheladies,thebonnetsandhighwaists,thedatecanhardlybeearlierthanc.1800.”

Itisoneoftheseriesofscenesfromcontemporarylifewhichcurrentlynumbersjustover70worksbutwhichmayoriginallyhavebeenlarger.Severalofthedrawingsaredated1791buttheseriesmusthaveoccupiedtheartistoveranumberofyears.Anotheroftheseries,The Street Market,wherehigh-waisteddressesarealsodepicted,issignedanddated‘800’whichisbelievedtobeanabbreviationfor1800.BythistimeVenicewasoccupiedbyFrenchtroopsandtheRepublichadceasedtoexist.Thedrawingmust,therefore,havebeendoneinthelastfewyearsofTiepolo’slife.

Theserieshasnoparticularnarrativethreadbutislinkedbyitssubjectmatterandthesimilardimensionsofthesheets.ItseemslikelythatitwasproducedpurelyforthedelightoftheartistasweretheevenlaterPunchinellodrawingswhichhaveatitlepage,Divertimento per li Regazzi(AmusementsfortheYoung).

ThePanelconsideredthatthedrawingmetthesecondandthirdcriteria,thatitwasinacceptableconditionandthatitwasfairlyvalued.ThedrawinghasbeentemporarilyallocatedtoTheBritishMuseum,pendingadecisiononpermanentallocation.

Below:DomenicoTiepolo:The Café by the Quay in Venice.


13. Paul de Lamerie: Four candlesticksThe set of four candlesticks, bearing the mark of the outstanding Huguenot silversmith Paul de Lamerie (1688-1751), is dated 1744-1745. They are each 23.5 cm high and have scratch weights between 25.2 and 25.16 ounces. De Lamerie was one of the most eminent goldsmiths of the 18th century and headed a workshop of considerable size. His father was an officer in the Dutch army of William III. In 1689, the year after Paul was born in ‘s-Hertogenbosch, the family came to London in the wake of the accession of William and Mary. He was apprenticed in 1703 to the Huguenot, Pierre Platel, who was one of London’s most important silversmiths, receiving commissions from many of the leading aristocrats surrounding the court.

Paul de Lamerie registered his first mark with the Goldsmiths’ Company in February 1714. He joined the livery of the Company in 1717 but although he served in various roles including fourth, third and second warden, all in the 1740s, he never rose to be prime warden. He enjoyed considerable commercial success as is shown by his list of prominent patrons who included Sir Robert Walpole and the Spencer family. He was the leading exponent of the Rococo style in silver from the 1730s onwards and, given the quantity of material he produced, it seems that he must have employed teams of craftsmen and designers to meet demands. In some cases a consistent, albeit anonymous, style can be recognised in the works bearing the Lamerie mark. At the same time other pieces are so close in design to the works of makers such as Crespin, White and Kandler as to suggest either some form of co-operation between the workshops or that de Lamerie met the demand for his silver by subcontracting to other silversmiths but punching the finished piece with his own mark.

The four candlesticks offered are particularly fine examples of the Rococo style of English silver in the mid 18th century. The stem and base are decorated with images of beehives and bees which was part of the armorial device of the London-based Huguenot Le Heup family who obtained a grant of arms in the same year that the candlesticks were hallmarked. The set belonged to the banker Peter Le Heup and his wife Clara of Albemarle Street in Mayfair.

The Panel considered that the silver met the second and third criteria and that it was acceptably valued. It has been permanently allocated to the Victoria and Albert Museum where it was previously on loan and in accordance with the condition attached to the offer.

Right: Two of the set of four candlesticks by Paul de Lamerie, 1744/1745.


14.TheFitzwilliamsilversouptureensThispairofGeorgeIIINeo-classicalsilversouptureens,coversandlinersmeasure30.5cmacrossthehandlesandare22.9cmdeep.Thetureenshaveweightsof172and180ounces.TheyweremadebytheLondonsilversmithsDanielSmithandRobertSharpafteradesignbySirWilliamChambers.OnebearsthemarkofDanielSmithandRobertSharp,1770-1771andtheotherthemarkofRobertSmith,1793.ThetureenswhichareengravedwiththeFitzwilliamcoatofarmswerecommissionedbyWilliam,4thEarlFitzwilliam.

ThesetureensformpartofasmallgroupofsurvivingobjectswhichweremadetotherefinedNeo-classicaldesignsofWilliamChambers(1722-1796).ChamberswasworkingatMiltonHall,Fitzwilliam’sCambridgeshireseat,between1770and1776,andalsoathisLondonhouseinPiccadillyfrom1770to1771.

Acloselyrelateddesignforthetureensispreservedinagroupof14designsformetalworkbyJohnYenn(1750-1821)whowasatalenteddraughtsmanandoneofChambers’pupilsandassistants.Itisbelievedthatthese14drawingsaretheofficecopiesorfinishedversionsoforiginaldesignsbyChambers,oneofwhichhelaterpublishedasbeinghisowninvention.

TheDanielSmithandRobertSharppartnership(1763-1788)suppliedhigh-qualitysilverintheNeo-classicalstyletothemostfashionableretailersandclients,includingthePrinceRegent.Theyweretheprincipalmanufacturersofaseriesofmagnificentracecupsthatareanimportantfeatureofthe1770sand1780s.OneofthecupswasdesignedbyRobertAdam.

ThePanelconsideredthatthetureensmetthesecondandthirdcriteria,thattheywereinexcellentconditionandthatthepriceatwhichtheywereofferedwasacceptable.TheyhavebeenpermanentlyallocatedtotheVictoriaandAlbertMuseumwheretheyhadpreviouslybeenonloan,inaccordancewiththeconditionoftheofferor.

Below:OneoftheFitzwilliamsouptureens.


15.Nineearly20thcenturyBritishpaintingsTheofferconsistedofninepaintingswhichhadformedpartofthecollectionofRobertAlexander(Bobby)Bevanandhissecondwife,Natalie.BobbyBevanwasthesonofthepainterRobertBevan(1865-1925)andsevenofthepaintingsarebyhisfellowartistsfromtheCamdenTownGroup:fourbyHaroldGilmanandoneeachbyCharlesGinner,SpencerFrederickGoreandWalterSickert.ThefinaltwopaintingsarebyMarkGertler.Alloftheworkswerepaintedbetween1910and1928.

HaroldGilman(1876-1919)studiedattheSladeSchoolofFineArtfrom1897-1901butthemajorinfluenceonhispaintingcamefromhismeetingwithWalterSickertin1907.Heformedpartofthegroupofartists,centredonSickert,whorentedastudioat19FitzroyStreet.HewasafoundermemberoftheCamdenTownGroupandhisworkwasincludedinallthreeoftheirexhibitionsbetween1911and1913.Thefourworksbyhimare

1. Portrait of Madeleine Knox,c.1910-1911,oiloncanvas,58.4by43.2cm;

2.Portrait of Spencer Gore,c.1911,oilonboard,38.1by31.7cm;

3.Nude at a Window,c.1912,Signed‘HGilman’lowerleft,oiloncanvas,58.4by50.8cm;

4.Portrait of Stanislawa de Karlowskac.1913,oiloncanvas,59.7by45.1cm

MadeleineKnoxwasapupilofSickertandshehelpedhimbothpracticallyandfinanciallywhenheopenedaschoolforetchinginHampsteadRoadin1910.ShelatermarriedArthurCliftonfounderoftheprestigiousCarfaxGalleryinRyderStreet,StJames’s,whichwasthevenueforalloftheCamdenTownGroupexhibitions.TheportraitwasagiftfromtheartisttoRobertBevan.

GilmanhadfirstmetSpencerGorewhentheywerebothstudentsattheSladeandtheyhadworkedtogethersincetheysharedtheFitzroyStreetstudio.AlthoughtheportraitmaybeunfinisheditisanexpressiveandintimatedemonstrationofGilman’sboldhandlingofpaint.

Nude at a WindowwasownedbySpencerGorebeforeitwasacquiredbyRobertBevan.ItisoneofanumberofnudespaintedbyGilmanbetween1911and1913andisclearlyrelatedtoSickert’spaintingswiththeirfranknaturalismandundisguisedsexuality.

StanislawadeKarlowskawasthePolishwifeofRobertBevan.Theyhadmarriedin1897andlivedinSwissCottage.ShewasanartistinherownrightandstudiedattheAcadémieJulianinParis.ItisthesecondofthreeportraitsofherpaintedbyGilman,eachofwhichwasboughtbyBobbyBevanwhentheyappearedontheartmarketintheyearsfollowingGilman’sdeath. Below:Caption.

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CharlesGinner(1878-1952),thesonofBritishparents,wasborninCannesandonlysettledinLondonattheendof1909,soonformingaclosefriendshipwithGore,GilmanandBevan.

5.La Vieille Balayeuse, Dieppe,1913,Signed‘CGINNER’lowerright,oiloncanvas,70.0by45.7cm

ThepaintingofastreetsceneinDieppedemonstratesthebolduseofpaintandtexturewhichreflectGinner’sgreatadmirationforVanGogh.Onecriticdescribedhistechniqueastreatingpaintaspiecesofmosaictoinlayonacanvas.GinnerexchangedthepaintingforoneofBevan’sworks.

SpencerFrederickGore(1878-1914)metHaroldGilmanattheSladeandbecamefriendswithAugustusJohnandWyndhamLewis.In1904whileonapaintingtriptoFrancehemetSickertwhohadbeenlivinginFrancesince1898andarousedhisinterestinthenewgenerationofpaintersemergingfromtheSlade.HewasthefirstPresidentoftheCamdenTownGroup.Hediedofpneumoniainhismid30s.

6.Conversation Piece and Self-Portrait,c.1910,Signed‘S.F.G.’lowerright,oilonboard,29.4by43.2cm

Thissubtleself-portraitshowsasophisticatedhandlingofspacewiththesubjectseenonlyinreflectionandpartiallyobscured.ItwasboughtdirectlyfromtheartistbyRobertBevan’swife,StanislawadeKarlowska.

WalterRichardSickert(1860-1942)wasthemostinfluentialEnglishpainterofthefirstpartofthe20thcentury.NotonlywashethefocusformanyyoungerartistsbuthispolemicalabilityandhisjournalismbroughtEnglisharttoanewaudience.IthasbeensaidhetookEnglishpaintingoutofthedrawingroomandintothekitchenandhisinfluenceon20thcenturyartinBritainhasbeenprofound.

7.The System,1924-1926,Signed‘SickertA.R.A.’lowerright,oiloncanvas,59.7by38.1cm

Afterthewar,SickertlivedforanumberofyearsnearDieppeandThe Systemwhichdepictsanoldmanleaningoverthebaccarattableatthetown’scasinoapparentlyindespairattheturnofthecardsisbasedonthenumerousdrawingsthatSickertmadewhilelivinginFrance.ThecanvaswaspurchasedbyBobbyBevanfromtheMayorGalleryin1951.

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MarkGertler(1891-1939)wasneveraCamdenTownartistbutwaspartoftheLondonartworldintheearly20thcentury.Hegrewupinpovertyanddespiteshowingearlytalenthisbriefartisticeducationwascutshortduetotheneedtoearnawage.AJewisheducationalcharity,however,enabledhimtoattendtheSladefrom1908to1912wherehewonnumerousprizes.ThecollectorEdwardMarshsoontookaninterestinhimandhebecameassociatedwiththeBloomsburyCirclepartlyasaresultofhisunrequitedloveforDoraCarrington.Hefelt,however,illateaseinsuchsocietyandestrangedfromhisJewishroots.ThroughLadyOttolineMorrellhemetSickert.HispacifismduringWorldWarIfurtheralienatedhisposition.Inthe1920shefrequentlyvisitedParisandhisadmirationforRenoirandCezanneisreflectedinhissubsequentwork.Ill-healthincreasedhissocialisolationanddetachment.Althoughhemarriedin1930itwasnotasuccessandill-health,financialworriesanddepressionledtohissuicidein1939.

8.Portrait of the Artist’s Mother,1924,oiloncanvas,73.7by68.6cm

Gertler’smother,Kate(Golda)Berenbaum(c.1862–1932)wasafavouritesubjectoftheartistfromveryearlyoninhiscareer.Thisishislastportraitofher,producedwhenshewasinherearly60s.Hesolditsoonafteritwaspaintedfor£200,thehighestpriceheeverachievedforanypainting.ItwasboughtbyBobbyBevanin1956fortheadvertisingagencySHBensonLtdwhereBevanhadworkedsince1924anditwaspresentedtohimonhisretirementfromthefirmin1964.

9.Supper (Natalie Denny),1928,oiloncanvas,106.7by71.1cm

NatalieDenny(1909-2007),wasdescribedinherobituaryas,“oneofthemostbeautifulandcharismaticwomenofhergeneration.”ShewasapopularfigureintheartisticmilieuofLondoninthelate1920s.ShemetMarkGertlerataNewYear’spartyheldbyAugustusJohnin1927andsatfortwoportraitsbyhim.Supper,themostcelebratedofthetwo,exudesthesensualityofthe19year-oldmodelandtheartist’spassionforher.

ThePanelconsideredthatallninepaintingsvariouslymetthesecondandthirdcriteria,thattheywereinacceptableconditionandwerevaluedatafairmarketprice.Items2,4and9havebeenpermanentlyallocatedtotheNationalPortraitGallery;items1,3and5toTateanditems6,7and8totheNationalGalleriesofScotland,allinaccordancewiththeconditionoftheofferors.

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16.Englishdelftplaque:The Royal OakTheEnglishdelftovalportraitplaque,23.2cmhigh,c.1665,wasprobablyproducedinLondon.Itispaintedinshadesofblue,manganese,green,ochreandyellowandshowsabust-lengthportraitofCharlesIIinatreewiththreecrownstotheleft,rightandabove.Aroundthetrunkofthetreeisabannerwiththeinscription‘TheRoyalOak’.Theplaquehasamouldedpaintedborderandissetwithinavarnishedbarkframe.

Tin-glazedearthenwarewasfirstmadeintheNetherlandsatthebeginningofthe16thcenturybutreachediszenithinthefirstpartofthe17thcentury.ThefinestexampleswereproducedinthecityofDelft,hencethenamedelftwaregiventoearthenwarewithawhitetinglazeandthendecoratedwithcolouredglazes.TheseglazedearthenwareshadbeencopiedinLondonpotteriesfromthe1570sbutthenumberofskilledcraftsmen,oftenimmigrants,waslimited.ItprovidedamuchcheaperalternativetotheChineseporcelainthatwasexpensiveandthepreserveofthewealthy.Asintheexampleonoffer,thedecorationwasofteninaprovincialandnaïvemanneranddidnotpretendtothesophisticationofcontinentalstyles.Patrioticmotifsareacommonthemeoftheirdecoration.

The Royal OakcommemoratestheeventssurroundingthelastbattleoftheEnglishCivilWar,theBattleofWorcester,atwhichCharlesIIandhissupporters,mostlyScots,weredefeatedbyCromwell’sNewModelArmy.CharlesfledthebattlefieldandevadedcapturebyhidinginalargeoaktreeinthegroundsofBoscobelHouse.Ontheking’srestorationin1660thestorybecamepartofthecommonmythology.Thetalelaterreachedsuchpopularitythatsouvenirhunterseagerforpartsofthetreeloppedsomanypiecesfromitthatbythe18thcenturytheoakhaddied.ThememoryremainsalivetodayinthenumerouspubsthatstillbearthenameTheRoyalOak.

ThePanelconsideredthattheplaquemetthefirstandthirdcriteria,thatitwasinacceptableconditionand,afternegotiation,thatitwasfairlyvalued.Inaccordancewiththeconditionoftheofferor,ithasbeenpermanentlyallocatedtotheVictoriaandAlbertMuseumwhereitwaspreviouslyonloan.

Above:The Royal Oak:anEnglishDelftPlaque,c.1665.


17.ArchiveoftheEarlsofKintoreTheKeithfamilyheldthehereditaryofficeofMarischalofScotlandfromthe12thcentury.SirWilliamKeith(d.about1407)acquiredthroughmarriagethecoastalstrongholdofDunnottarCastle.Theearliestdocumentinthearchivedatesfrom1405inthetimeofSirWilliam.Hisgrandson,alsoWilliam,wascreatedEarlMarischalin1458.

JohnKeith,sonofthe5thEarlMarischal,wascreatedEarlofKintorein1677.Previously,whilestillayouth,inthewinterof1651-1652,heplayedavitalpartinpreservingtheScottishregaliaduringthesiegeofDunnottarCastlebyCromwell’ssoldiers,actingasadecoywhiletheregaliaweretakenfromthecastleandhiddeninalocalchurch.When,aftereightmonths’siege,thecastlefellhesworethattheregaliahadbeensenttoCharlesIIwhowastheninFrance.AsaresulttheRoundheadsendedthesearch.Heaccepted,albeitinitiallywithsomereluctance,theeventsof1689andwasasupporteroftheUnionof1707.

Althoughthemajorityofpapersareof19thcenturydate,thearchivecontainsestaterecordsfromthe17thcenturyfortheKeithlandsinAberdeenshire,Brechin,DumfriesandMontrose.Therearesomepapersofthe1st,2ndand3rdEarlsofKintoreandmoresubstantialbundlesrelatingtothe5thEarl(1765-1804).TherearealsopapersofGeorgeKeithwhowasdeclaredatraitorandhadhisestatesforfeitedduetohissupportoftheJacobiterebellionof1715.Hespentmostofhislifeabroad,latterlyinPrussiawherehewasFredericktheGreat’sambassador,firsttoFranceandthentoSpain.Laterpapersareofthetimeofthe7thand9thEarls.Thereareanumberofpapersrelatingtothelatter’stimeasGovernorandCommander-in-ChiefofSouthAustraliafrom1889-1895.Thearchivecontains12volumesofdiariesfrom1897-1915ofSirJohnBaird(later1stViscountStonehaven)whomarriedthedaughterofthe9thEarlofKeith.From1896hewasinthediplomaticcorpsandwaspostedtoVienna,Cairo,Abyssinia,ParisandBuenosAires.ElectedanMPin1910heservedintheIntelligenceCorpsduringthefirstpartofthewar.Inthe1920shewasappointedGovernor-GeneralofAustralia.

ThePanelconsideredthatthearchivemetthethirdcriterion,thatitwasinacceptableconditionandthatitwasacceptablyvalued.ThearchivehasbeenpermanentlyallocatedtoAberdeenUniversityArchivewhereitwaspreviouslyondepositandinaccordancewiththeconditionoftheofferor.

Above:The9thEarlofKintore(seatedleft),JLStirling(seatedright)andpartyfollowingtheircrossingoftheAustraliancontinentfromDarwintoAdelaideinMay1891whileKintorewasGovernorofSouthAustralia.


18.PollardcollectionofmedalsandplaquettesThecollectionofmedalsandplaquetteswasformedbyGrahamPollard(1929-2007)whowasKeeperofCoinsandMedalsattheFitzwilliamMuseumfrom1966to1988.ForallbutthefirstthreeyearsofthisperiodheservedasDeputyDirector.HewasaleadingauthorityonItalianRenaissancemedalsandcataloguedtwoofthegreatestmuseumcollections,thoseoftheBargelloMuseuminFlorence(3volumes,1984-1985)andoftheNationalGalleryofArt,Washington(2volumes,2007).Thepublicationofthelatterwaspushedforwardsothatitsauthorwasabletoenjoyitbeforehisdeath.

HisinterestinmedalsbegansoonafterstartingattheFitzwilliamasamuseumattendantin1947whenhechanceduponacollectionofseveralhundredmedalsinalocalantiqueshop.Thisstartedhislife-longinterestinthesubjectandhiscollectinghabit.Hisowncollectiondevelopedovertheyearsbutonlycontaineditemsthatthemuseumhadconfirmeditwasnotinterestedinpurchasing.DuringhistimeasKeeper,Pollard’scollectionwasonloaninthecoinroomandonhisretirementthemostimportantitemsremainedondeposit.

Thecollectionconsistsofnearly300itemsranginginagefromthemid-15thcenturytothe21stcentury.ThemostimportantisaPortrait medal of Borghese Borghesi,castbronze,6.2cmdiameter,1479-1480.ThisveryrareexampleofaportraitmedalfromRenaissanceSienawasdesignedbyFrancescodiGiorgioMartini(1439-1501).ThemedalcommemoratesBorghesi’sroleinthedefeatoftheFlorentinesattheBattleofPoggio-ImperialeinwhichtheSienesewerealliedtothepapalforcesofSixtusIV,NaplesandthoseofFedericodaMontefeltro,DukeofUrbino.Borghesi,was‘commissariogenerale’oftheSienesearmyandafterthebattlehewasbothknightedandgiventhetitle‘PaterPatriae’,asthemedalattests.ThereversebearsanimageofMinerva.Alsoparticularlysignificantisthemid-15thcenturybronzeplaquetteofStJeromeinthewilderness,18.5by12.7cm.Thishasbeenattributedto‘Filarete’,AntoniodiPietroAverlino(c.1400-c.1469).

ThePanelconsideredthatthecollectionmetthethirdcriterion,thatitwasinacceptableconditionandthatitwasfairlyvalued.ThemedalshavebeenpermanentlyallocatedtotheFitzwilliamMuseuminaccordancewiththeconditionoftheofferor.

Above:FrancescodiGiorgioMartini:Portrait medal of Borghese Borghesi; recto (top) and verso (bottom).


19.EssexHousePressbooksThecollectionofEssexHousePressbookswasformedbyCRAshbee(1863-1942).TheEssexHousePresswasestablishedin1898aspartoftheGuildofHandicraftfoundedbyAshbeein1888,andnamedaftertheGuild’sheadquartersontheMileEndRoad.TheGuildandPressmovedtoChippingCampdeninGloucestershirein1902.ThePress’sBibliography,publishedin1909,lists83publicationsandafewmorewereprintedafterthatdate.

TheEssexHousePressandtheGuildwerepartofthetraditionofBritishsocialisminfluencedbyJohnRuskinandWilliamMorris.Itsoughtareturntocraftsmanship,co-operationandameaningfulengagementwithworkwhichAshbee,likeMorris,believedhadbeenlostduringtheprocessofindustrialisation.TheGuildRulesof1899,drawnupbythemembers,underlinesthelinkwiththattradition:‘TheGuildofHandicraftisabodyofmenofdifferenttrades,craftsandoccupations,unitedtogetheronsuchabasisasshallbetterpromoteboththegoodnessoftheworkproducedandthestandardoflifeoftheproducer.TothisenditseekstoapplytothecollectiveworkofitsmemberswhateveriswisestandbestintheprinciplesofCo-operation,ofTradeUnionismorofthemodernrevivalofArtandCraft…‘.

TheEssexHousePresswasalsopartoftheprivatepressmovementestablishedbyMorriswiththeKelmscottPressin1891.TheEragnyPresswasbegunbyLucienPissarroin1894,CharlesRickettsrantheValePressfrom1896andbeforetheendofthecenturytheDovesPresshadalsobeenestablished.EssexHousecarriedontheKelmscotttraditionacquiringMorris’stwoAlbionpressesafterhisdeathin1896andemployingthreeoftheKelmscottcraftsmen.Itproducedawiderangeofwork,someusingexistingtypeandothersemployingAshbee’sowntypedesigns.

ThecollectionofferedwasthatformedbyCRAshbeehimselfandincludesallbutahandfulofthePress’soutput.MostofthevolumesbearAshbee’sbookplate.AlsoincludedaretheproofsoftheEssexHousePress’smostambitiouswork,The Prayer Book of King Edward VII,asumptuousfoliovolumeof1903forwhichAshbeedesignedbothanewtypefaceandoverahundredengravings.

ThePanelconsideredthatthecollectionmetthethirdcriterionandthatitwasinacceptablecondition.Theyalsoconsideredthattheofferpricewasanundervaluationandsuggestedanincreaseof40percent,whichwasagreed.ThecollectionhasbeenpermanentlyallocatedtotheGuildofHandicraftTrustforretentionattheCourtBarnMuseum,ChippingCampden,inaccordancewiththeconditionoftheofferor.

Above:DecoratedinitialsbyCRAshbee,inC.R.Ashbee,The Private Press: A Study in Idealism(1909).


20.CornelisvanPoelenburgh:Italianate LandscapeItalianate Landscape with Nymphs Bathing,oilonpanel,13by12.4cmbyCornelisvanPoelenburgh(1594/5-1667)isatypicalexampleofthesmalllandscapesthatwereproducedinconsiderablenumberbythisprolificartist.HewasborninUtrechtandstudiedwithAbrahamBloemaert,achievingsufficientfameby1618tobeincludedinaworklistingthefamouspaintersofAmsterdam,theyoungestartisttobesoincluded.HewasinRomefrom1617to1623whereheworkedfortheOrsinifamilyandhealsoreceivedacommissiontoworkfortheMedicicourtinFlorence.SeveralworksbyPoelenburghremaininFlorentinecollections.WheninRomehecollaboratedwithPaulBrillandcopiedworksbyAdamElsheimer.HewasalsoawareofthedevelopmentsinlandscapepaintingbeingintroducedbytheCarracci.

HewasbackinUtrechtby1625wherehereceivedcommissionsfromthecityauthorities.Rubenswhoownedseveralofhisworksvisitedhiminhisstudio.HetravelledtoParisin1631butwasbackinhisnativecityby1632whenhereceivedamajorcommissionalongwithBloemaertforpaintingsforthenewlybuiltpalaceofFrederickHenry,PrinceofOrangeatHonselaarsdijk.HealsoworkedforCharlesIinLondonbetween1637and1641.Hewasimportantbothasafiguralartistandasalandscapist.Hepaintedhistory,mythologicalandreligiousscenesaswellaspastorallandscapes.

Thepaintingofferedisofparticularinterestasamid-19thcenturylabelonthebackoftheframerecordsthatitwasacquiredattheStrawberryHillsalein1842.Itwasboughtonday11ofthesale(6May)aslot11andthedescriptionfromthecataloguereads,‘ALandscapewithRuins,NymphsBathing,byPoelemburg.Anequallycharmingcabinetgem.’Itwasboughtfor£8.18.6.HoraceWalpolehadhungthepaintingintheBlueBreakfastRoomontheupperflooratStrawberryHill.

ThePanelconsideredthatthepaintingmetthefourthcriterion,thatitwasinacceptableconditionandthatitwasfairlyvalued.ThepaintinghasbeentemporarilyallocatedtotheNationalGallerywithaviewtoitbeingpermanentlyallocatedtoStrawberryHillonceitisreopenedtothepublicinlate2010.

Above:CornelisvanPoelenburgh:Italianate Landscape with Nymphs Bathing.


21.Collectionof20thcenturyphotographyTheoffercomprised49photographsbythefollowingartists:BerniceAbbott(1898-1991),3prints;RichardAvenden(1923-2004);RogerBallen(b.1950);HerbertBayer(1900-1985);HouBo(b.1924);DorothyBohm(b.1924);BillBrandt(1904-1983),4prints;Brassaï(1899-1984),3prints;ManuelAlvarezBravo(1902-2002);HenriCartierBresson(1908-2004),2prints;CalumColvin(b.1961),12prints;MartinJCullen(b.1967);FrantišekDrtikol(1883-1961);ElliotErwitt(b.1928);RobertFrank(b.1924);JoAlisonFeiler(b.1951);LeeFridlander(b.1934);TimGidal(1909-1996);LucienHervé(1910-2007);PaulJoyce(b.1944);DorotheaLange(1895-1965);JacquesHenriLartigue(1894-1986),2prints;YauLeung(1941-1997);ManRay(1890-1976);RobertMapplethorpe(1946-1989);DarioMitidieri(b.1959);IrvingPenn(1917-2009),5prints;SebastiãoSalgadio(b.1944);W.EugeneSmith(1918-1978);PeterSuschitzky(b.1941);EdwardWeston(1886-1958),2printsandJamesVanderZee(1886-1983).

Thecollectionhasbeenassembledoverthelast30yearsbyBarbaraLloydandthephotographersrepresentedincludemanyofthegreatestnamesinphotographyfromthe20thcentury.OfparticularsignificancearethefiveimagesbyIrvingPennwhichincludetwoNewYorkcityscapesof1947and1985;twoportraitsfromNewGuineaandMorocco;andaportraitoftheFrenchwriterColetteof1960.TheMapplethorpeisa1976portraitoftheNewYorksinger-songwriterPattiSmith.OneoftheEdwardWestonphotographs,takenin1924,isadramaticimageoftheMexicansenatorandgeneral,ManuelHernándezGalván,titledGalván Shooting.GalvánfoughtbythesideoftherevolutionaryleaderPanchoVilla.WhenWestontookthephotograph,Galvánwascampaigningforpoliticaloffice,butwasassassinatedshortlyaftertheirmeeting.

DorotheaLange’sMigrant Mother, Nipomo, California, 1935isoneoftheoutstandingimagesofthe1930s.In1960,Langespokeabouttakingthephotograph:“Isawandapproachedthehungryanddesperatemother,asifdrawnbyamagnet.IdonotrememberhowIexplainedmypresenceormycameratoher,butIdoremembersheaskedmenoquestions.Imadefiveexposures,workingcloserandcloserfromthesamedirection.Ididnotaskhernameorherhistory.Shetoldmeherage,thatshewasthirty-two.Shesaidthattheyhadbeenlivingonfrozenvegetablesfromthesurroundingfields,andbirdsthatthechildrenkilled.Shehadjustsoldthetiresfromhercartobuyfood.Thereshesatinthatlean-totentwithherchildrenhuddledaroundher,andseemedtoknowthatmypicturesmighthelpher,andsoshehelpedme.Therewasasortofequalityaboutit.”

ThePanelconsideredthatthecollectionmetthesecondandthirdcriteriathatitwasinacceptableconditionandfairlyvalued.ThephotographshavebeenpermanentlyallocatedtoTateinaccordancewiththeconditionoftheofferor.

Above:EdwardWeston:Portrait of Manuel Hernández Galván , Mexico, 1924.

Opposite:DorotheaLange:Migrant Mother, Nipomo, California, 1935.


22.RBMartineau:A Woman of San GermanoA Woman of San Germano,oiloncanvas,57.5by65.2cm,signedanddated1864,byRobertBraithwaiteMartineau(1826-1869)isarareworkbyanartistwhoproducedveryfewpaintings.HewasborninLondonand,likehistwoelderbrothers,havinggraduated,hestartedacareerinlaw.Afterfouryearsarticledtoafirmofsolicitors,in1846hebegananartisticcareer,attendingtheRoyalAcademySchoolsfrom1848wherehewonasilvermedalfordrawingfromtheantique.HewrotetothePre-RaphaeliteartistWilliamHolmanHuntin1851askingtobetakenonaspupilandheworkedwithHuntduring1851/1852;thiswastobethebeginningofasteadyfriendship.HuntoversawMartineau’sfirstpaintingKit’s Writing Lesson,1852(Tate),executedinthePre-Raphaelitestylewhichhewastomaintainthroughouthiscareer.Itwasthefirstof11workswhichheexhibitedattheRoyalAcademyduringhisbriefcareer.Hispainstakingtechniqueandhishabitofreworkinghiscanvasesmeantthathisoutputwaslimitedandonlyabout17finishedpaintingsareknown.

Hisbestknownwork,The Last Day in the Old Home(Tate),waspaintedin1862.ItwasfirstshownintheBritishGalleriesattheSouthKensingtonInternationalExhibitionof1862where,alongwithMaddoxFord’sThe Last of England(BirminghamMuseumsandArtGallery),itwasthemostpopularworkintheshow.Itwasexhibitedin1864attheNewGallery,HanoverStreet,inajointexhibitionwithHunt.MartineaumovedinPre-RaphaelitecirclesandheisportrayedasthemanonthehorseinthebackgroundofFordMaddoxBrown’smasterpiece,Work(ManchesterCityGalleries).Braithwaite’sportraitincolouredchalksbyHuntwasgivenbytheartisttotheWalkerArtGalleryin1907.

A Woman of San Germano depictsamothersucklingherinfantintheshadeofaleafypergolainanItalianvillage.ThereferencetoItalianoldmasterpaintingsandtheallusiontotheMadonnaandChildwouldhavebeenimmediatelyapparenttocontemporaryviewers.Thepaintingwassoldin1869andhadremainedinthefamilyofthepurchasersincethen.Ithadnotbeenseeninpublicforalmost150years.

ThePanelconsideredthatthepaintingmetthesecondandthirdcriteria,thatitwasinacceptableconditionandthatitwasfairlyvalued.IthasbeentemporarilyallocatedtotheAshmoleanMuseumpendingadecisiononpermanentallocation.


23.PapersfromtheLytteltonFamilyArchiveTheLytteltonfamilyhasbeenestablishedatHagleyHallsincethemid16thcenturyandhasbeeninvolvedinbothnationalandlocalpoliticsfromthe17thtotheearly20thcenturies.Itreachedparticularprominenceinthefirsthalfofthe18thcenturywiththeriseofGeorgeLyttelton(1709-1773),1stBaron,whowasinfluentialbothinpoliticsandinliterarycircles.HewasalsoresponsiblefortransformingHagleyintooneofthegreat18thcenturylandscapesonaparwiththatofStowe,whichwasownedbyhisuncle,LordTemple.Hisbrother,WilliamHenryLyttelton,1stBaron,2ndcreation,(1724-1808),heldseveralimportantcolonialofficesincludingthatofGovernorofSouthCarolinaandthenofJamaica.LaterhewasBritishAmbassadortoPortugal.Anotherbrother,CharlesLyttelton,wasBishopofCarlisleandaleadingantiquarywhoacquiredimportantdocumentsonthehistoryofWorcestershire,includingthemanuscriptofthefirsthistoryofWorcestershirebyThomasHabington(1560-1647)whichisincludedintheoffer.

Inthe19thcenturyWilliamHenry,3rdBaron(1782-1837)wasMPforWorcestershirefrom1806-1820.Hemarriedtheeldestdaughterofthe2ndEarlSpencerwhowasaladyofthebedchamber(1838-1842)andgovernesstoQueenVictoria’schildren(1842-1850).

Thebulkofthearchiveconsistsofsome75boxesandincludesfamilycorrespondencefromthe17thcentury,includingroyalappointmentsbyCharlesII,JamesIIandWilliamIII.Therearesignificantlettersfrommajor18thcenturypoliticalfamiliestowhichtheLytteltonswererelatedincludingthePitts,theTemplesandtheGrenvilles.AsmallsectionincludeslettersfromPope,SamuelJohnsonandVoltaire.ThepapersofWilliamHenryLytteltonasGovernorofJamaicacomprisethreeletterbookstotallingabout300letters.Someofhisprivatefamilylettersarealsoincluded.TwoimportantlettersareaddressedtohimfromthePresidentandCommissionersoftheBoardofTradeconcerningIndianaffairsinSouthCarolina.TheHagleyestateaccountscovertheperiod1839-1955andruntoover100volumes.Therearepapersrelatingtothe4thBaronandhisinvolvementwiththeestablishmentoftheProvinceofCanterburyinNewZealand.Thearchive,however,isnotcompleteasdisposalsoccurredinthe1970s.

ThePanelconsideredthatthepaperswerepre-eminentunderthefirstandthirdcriteriabothinanationalandaregionalcontext.Theconditionofthearchivewasconsideredacceptableaswasthevaluation.ThepapershavebeentemporarilyallocatedtotheWorcestershireRecordOfficependingadecisionontheirpermanentallocation.


24.SeatfurniturefromHagleyHallTheoffercomprisedapairofcarvedmahoganyandlimewoodopenarmchairsc.1760andaGeorgeIIcarvedmahoganyandlimewoodcamel-backedsettee,ensuitewiththepairofchairs.Thesetteeis267cmwide.Theyarepartoftheextensivesuiteofseatfurniturewhich,alongwithmirrorsandgirandoles,wascommissionedbySirGeorgeLyttelton,(later1stBaronLyttelton)forthegalleryatHagleyHall.Thesuiteoriginallycomprised14chairs,onelargesetteeandonesmallsettee.

HagleyHallwasbuiltbetween1754and1760bythegentlemanarchitectSandersonMillaralthoughthefinalplansweredrawnupbytheprofessionalarchitectJohnSanderson.Thegallery,whichextendsalongthewholeoftheeastside,isthemostclassicaloftheroomsofthisPalladianhouse.ItisdividedintothreeareasbytheuseofCorinthiancolumnsandpilastersactingasscreens.Thefurnishingoftheroomseemstohavetakenitscuefromtheseriesof17thcenturyportraitsbequeathedtoLordLyttelton’sgrandfatherbythe3rdBaronBrounckerin1684.ThesewerereframedbyGeorgeLytteltoninRococooakandlimeframesinspiredbyGrinlingGibbons.Thereisnogildingusedeitherontheframesoronanyofthefurniture.

Thedesignerofthefurnitureisnotknownbutthereareparallelswithbroadlycontemporarycommissions.TheearliestisachairatRoushamdesignedbyWilliamKentandsuppliedbyanunknowncabinetmaker.AswiththeHagleychairs,thesquaretaperedcolumnlegsareappliedwithcarveddetails,althoughtheRoushamchairisingiltwood.ComparisoncanalsobemadewiththeseatfurniturefortheTapestryRoomatStGiles’sHouse,Dorset,thepicturegalleryatCorshamCourtandthegalleryatOsterleyPark.TheHagleyfurnitureis,however,distinctinitsrelativelysevereformandangularframesenrichedwithlightandplayfulRocococarving.

ThePanelconsideredthatthefurnituremetthesecondandthirdcriteriaandthatitwasacceptablyvalued.IthasbeenpermanentlyallocatedtoLeedsCityCouncilfordisplayatTempleNewsamHouse,inaccordancewiththeconditionoftheofferor.

Above:AcarvedmahoganyandlimewoodopenarmchairfromHagleyHallc.1760.

Below:AGeorgeIIcarvedmahoganyandlimewoodcamel-backedsettee.


25.EuanUglow:LaetitiaLaetitia,1961-1962,oiloncanvas,93by93cmwaspaintedbyEuanUglow(1932-2000).TheartistattendedCamberwellSchoolofArtsandCraftsfrom1948to1951wherehewastaughtbyVictorPasmoreandWilliamColdstream.WhenColdstreammovedtotheprofessorshipofFineArtattheSlade,Uglowfollowedhimandstayedforafurtherthreeyearsofstudyuntil1954.Hewonnumerousprizesandbursariesandwasrecognisedbyhisteachersasastudentofspecialtalentanddedication.Hewasdeeplyinfluencedbyoldmasterartists,particularlyPierodellaFrancesca,PoussinandChardin.

Hekepttoastrictroutineinhisworkinglife,workingeverydayinhisBatterseastudio.Aswellaspaintinghewouldoftenbuildthefurnitureandpropsusedinhispictures,andalwaysmadethedistinctiveframesforhispaintings.Uglowwasafigurativeartistandhisprimaryinterestwasinthefemalenudebuthealsoproducedstilllifesandlandscapes.Hisoutputwassmallasaresultofhismeticuloustechnique.Herarelyproducedmorethantwoorthreemajorpaintingsayear.Hisfirstsoloexhibitionwasin1961attheBeauxArtsGalleryandfromthelate1970sheshowedregularlywithBrowseandDarby.

Uglowwasfamous,ifnotnotorious,forthedemandsthathemadeuponhismodelsfrequentlyrequiringthemtokeepdifficultposesforlongperiodsoftime.Hisparticularlylaboriousmethodofpaintinginvolvedmathematicalcalculations,meticulous,evenobsessivemeasuringandcomplicatedconstructionsofsightingwiresandplumb-lines.

LaetitiaisanudeportraitoftheartistLaetitiaYhapwhowasborninLondonin1941tomixedChineseandVietnameseparents.LikeUglowshestudiedatCamberwellandtheSladebutadecadeafterhim.

ThePanelconsideredthatthepaintingmetthethirdcriterionand,followingnegotiation,thatitwasacceptablyvalued.IthasbeentemporarilyallocatedtotheAshmoleanMuseum,Oxford,pendingadecisiononpermanentallocation.

Above:EuanUglow:Laetitia.


26.GrahamSutherland:Study for ThornsStudy for Thorns,oiloncanvas,45by25cm,waspaintedbyGrahamSutherlandO.M.(1903-1980).Itissignedwithinitials‘GS’,upperright,andinscribedanddated‘StudyforThorns1945’onthecanvasoverlap.Inadditionitisfurthersigned,inscribedanddatedontheverso,‘WorkedonApril/1953/G.Sutherland’.

Sutherland’searlyartisticcareer,followinghisstudiesatGoldsmith’sSchoolofArtbetween1921and1926,wasprimarilyinetching.Inthe1930shebecamepartofthetrendinEnglishartwhich,whilekeenlyawareofthedevelopmentsontheContinent,eschewedanyparticularmovementandretaineditsrootsinanEnglishpastoralismandvernaculartraditiondatingbacktotheworkofSamuelPalmerinthe19thcentury.Sutherlandsoughthisinspirationduringthe1930sinthelandscapesofPembrokeshirewherehefoundthestartingpointsand‘momentsofvision’thatweretobetransformedonhisreturntothestudio.HerespondedtotheexhibitionofPicasso’sGuernicainLondonin1938bynotinghowtheartisthadusedaparaphraseofappearancestomakethingslookmorevitalandrealandhow,“thingsfoundanewformthroughfeeling.”ThiswastobewhatSutherlandattempted,andinhisbestworkachieved,overthenexttwodecades.

Sutherland’smixtureofintenseromanticismandspiritualagonyreflectedtheemotionsofthetimeandwastobringhimbothcriticalandcommercialsuccess.Study for ThornsisoneofaseriesofworksthatheproducedimmediatelyafterthewarfollowingacommissionhehadreceivedfromtheRev.WalterHusseytopaintareligiousworkforStMatthew’sChurch,Northampton.Sutherlanddecideduponalarge-scalecrucifixion.Hewrotein1946,“IhadbeenthinkingoftheCrucifixion...[and]mymindbecamepreoccupiedwiththeideaofthorns(thecrownofthorns)andwoundsmadebythorns.ThenongoingoutintothecountryIbegantonoticethorntreesandbushes.Especiallyagainstthesky,thethornsonthebranchesestablishedalimitofaerialspace.Theywerethedividersprickingoutpointsinspaceinalldirections,encompassingtheair,asifitweresolidandtangible.”

Thepaintingwasboughtdirectlyfromtheartistin1953inwhichyearhehadreturnedtothesubjectofthornpaintingsfollowingobservationsfromnatureinthesouthofFrance.Ithasneverbeenpubliclydisplayed.

ThePanelconsideredthatthepaintingmetthethirdcriterionwithinaregionalcontext.Followingnegotiation,itagreedthatitwasappropriatelyvaluedandinacceptablecondition.IthasbeentemporarilyallocatedtotheCastleMuseum,Norwich,pendingadecisiononpermanentallocation.

Above:GrahamSutherland:Study for Thorns.


27.BaruchSpinoza:Tractatus Theologico-PoliticusBaruchSpinoza’sTractatus Theologico-Politicus(1670)iswidelyregardedasoneofthemostimportantphilosophicalworksoftheearlymodernperiodandtheitemonofferisafirsteditionofthebook,printedinAmsterdambyChristoffelConradforJanRieuwertszin1669or1670.

Baruch(or,Benedictde)SpinozawasborninAmsterdamin1632toaSephardicJewishfamilyofPortugueseorigin.Hisenquiringmind,whichwouldnotaccepttheabsolutismofJewishscripture,ledtohisconflictwiththeJewishcommunityinAmsterdamandtohisexpulsionorexcommunicationin1656.Hisfirstpublicationin1660wasamathematicaltreatiseinspiredbytheFrenchphilosopherDescartes.TheonlyotherworkpublishedinhislifetimewastheTractatus Theologico-Politicus.Allhisotherworks,includinghisEthics,werepublishedposthumously.EventheTractatuswaspublishedanonymouslyandbecauseoftheradicalnatureofitscontentsitboreatitlepagethatgaveitsplaceofprintingasHamburg.

ForSpinoza,Godwasessentiallyaphilosophicalideaandquiteimpersonal.IncontradictiontoDescartesheheldthatmindandbodywereoneandsowasallcreatedsubstance.GodandNatureweretwonamesforonerealitywhichisthesinglesubstanceformingthebasisoftheUniverse.Thissubstancemayhavemanymodesbuttheseareinessenceone.

IntheTractatus Theologico-PoliticusSpinozaputsforwardacritiqueofJudaisminparticularandorganisedreligioningeneral.Allrevealedreligionhadtobeanalysedonthebasisofreasonandnotacceptedbyblindfaith.Allorganisedreligionwassimplytheinstitutionaliseddefenseofparticularinterpretations.SpinozadiscussesatlengththehistoricalcircumstancesofthecompositionandtransmissionoftheBible,demonstratingthefallibilityofbothitsauthorsanditsinterpreters.Hearguesthatfreeenquiryisnotonlyconsistentwiththesecurityandprosperityofastatebutactuallyessentialtothem,andthatsuchfreedomflourishesbestinademocraticandrepublicanstateinwhichindividualsareleftfreewhilereligiousorganisationsaresubordinatedtothesecularpower.Theargumentsputforwardinthe‘Tractatus’haveprofoundlyinfluencedthesubsequenthistoryofpoliticalthought.

ThePanelconsideredthatthebookmetthethirdcriterion,thatitwasinacceptableconditionandthatitwasfairlyvalued.IthasbeentemporarilyallocatedtoTheBritishLibrary,pendingadecisiononpermanentallocation.

Above:BaruchSpinoza:Tractatus Theologico-Politicus.‘Hamburg:HenricusKünraht’[i.e.Amsterdam:ChristoffelConradforJanRieuwertsz.I],[1669or]1670.


28.KarlSchmidt-Rottluff:Dangast DorfThewoodcutDangast DorfbytheGermanartistKarlSchmidt-Rottluff(1884-1976)wasproducedin1911andprintedonwovepaper.Itissignedanddatedinpencil.Theprintblockis393x500mmandthesheet450x550mm.

KarlSchmidt-RottluffstudiedarchitectureinDresdenbutsoonlefttobecomeanindependentartistandjoinedKirchnerandotherstoformthegroup‘DieBrücke’.HevisitedEmileNoldein1907andwentontostayatDangast,avillageonthenorthGermancoast.Hereturnedthereeverysummeruntil1912.HeservedintheGermanarmyinRussiaduringWorldWarIafterwhichhedevelopedasuccessfulinternationalartisticcareer.WiththeriseofNazismhefelloutoffavourandin1937morethan600ofhisworkswereconfiscated.Twenty-fiveofthemwereexhibitedinthenotoriousDegenerateArtexhibitionof1937heldinMunichandby1941behadbeenforbiddentopaint.

HewasrehabilitatedafterthewarandreceivedaprofessorshipinBerlinin1947.HewastheleadingfigureintheestablishmentoftheBrückeMuseuminBerlinin1967.

Thisveryrarewoodcutfromtheartist’sfinestperiodwhenhewasattheheartoftheGermanExpressionistmovementwaspreviouslyownedbythearthistorianDr.RosaSchapirewhowasoneofthefirstandmostimportantpatronsoftheBrückegroup.Schmidt-RottluffcarriedoutadecorativeschemeinherHamburgapartmentin1921andpaintedherportraitonseveraloccasions.In1924,sheproducedthefirstcatalogueofSchmidt-Rottluff’sgraphicart.ShecametoBritainasarefugeefromNazipersecutionin1939.AfterthewarsheworkedforNikolausPevsnercollatinginformationontheBuildings of Englandseries.SheofferedtodonateherextensivecollectionofExpressionistartiststotheTatebutitwasrejectedandasimilaroffertodonateherverylargeprintcollectiontotheBritishMuseummetwithnogreaterenthusiasm.OnherdeathmostofhergraphiccollectionwasbequeathedtoGermanmuseums.

ThePanelconsideredthattheprintmetthethirdcriterion,thatitwasinacceptableconditionandthatitwasfairlyvalued.IthasbeentemporarilyallocatedtoTheBritishMuseum,pendingadecisiononpermanentallocation.

Above:KarlSchmidt-Rottluff:Dangast Dorf.


29.JohnWilson:The Battle of TrafalgarThe Battle of Trafalgar,oiloncanvas,76.2by105cmwaspaintedbyJohnWilson(1774-1855).HewasbornnearAyrinsouth-westScotlandtoashipmaster.At13hewasapprenticedtoahouse-painterandminorlandscapeartist,subsequentlytakinglessonswithAlexanderNasmyth.AfterabriefperiodasdrawingmasterinMontrosehemovedtoLondonin1798toworkasahouse-painter.HemettheScottishscene-painter,CharlesCooper,whoemployedhimasacolour-grinderandassistantinthepaintingroom.Overthenexttwodecadesheworkedasscene-painterinseveralLondontheatres.In1824hewasresponsibleforthesceneryfortheEnglishpremiereofWeber’sopera,Der FreischützattheLyceumTheatre,CoventGarden.

From1807hewasexhibitingalmostannuallyattheRoyalAcademyandlaterattheBritishInstitution.In1823-1824hewasoneofthefoundingmembersoftheSocietyofBritishArtistsandwasitspresidentin1827.From1807untilhisdeathheexhibitedover500workswiththesethreeorganisations.In1827hewaselectedanhonorarymemberoftheRoyalScottishAcademyandregularlyexhibitedwiththeacademythereafter.

The Battle of TrafalgarwasexhibitedattheBritishInstitutionin1826whereitwonaprizeof£100andwasimmediatelyacquiredbythegreatcollectorandartconnoisseur,LordNorthwick,whohadbeenafriendofHoratioNelson.Thepaintingpassedtothe3rdLordNorthwickandwasinheritedin1912byCaptainGeorgeSpencer-ChurchillwhoalsoinheritedNorthwickPark.Itwasincludedinthesalefollowinghisdeathin1965,whenitwasacquiredbyGeorgeBonneywhosematernalancestorhadcommandedtheFrenchshipHérosatTrafalgar.

ThepaintingisconsideredtobeWilson’smostsignificantpaintingandalthoughuntypicalofhisworkitsrediscoveryisamajoradditiontoourknowledgeofapainterwhowasheldinhighregardinthefirstpartofthe19thcentury.

ThePanelconsideredthatthepaintingmetthethirdcriterionandthatitwasinacceptablecondition.Theofferpricewasconsideredtobeanunder-representationofitsworthandthiswasdoubled.ThepaintinghasbeentemporarilyallocatedtoEastAyrshireCouncilpendingadecisiononpermanentallocation. Below:JohnWilson:The Battle of Trafalgar.


30.JanLievens:Portrait of the 1st Earl of AncramPortrait of Robert Kerr (1578–1654), 1st Earl of Ancram,oiloncanvas,62.2by51.4cm,waspaintedbytheDutchartist,JanLievens(1607-1674)inthelastyearoftheEarl’slife.In1604KerrhadbeenappointedaGroomoftheBedchamberinthehouseholdofPrinceHenryandPrincesElizabeth,childrenofJamesI.OnthedeathofHenryin1612heservedPrinceCharles,accompanyinghimin1623onthevisittoMadridtoseekthehandoftheSpanishInfanta.HiscareeratcourtprosperedfurtherwhenCharlessucceededtothethronetwoyearslater.Hewastheking’semissaryinTheHaguein1629wherehefirstmetJanLievens.WhileinHollandhewasgivenfourpaintingsbyLievensandRembrandt,threeofwhichhepresentedtoCharles.HewasmadeamemberoftheScottishPrivyCouncilin1631andaccompaniedthekingonhisvisittoScotlandin1633.

Hisfortunesbegantowaneinthe1640sperhapsbecausehiseldestson,theEarlofLothian,wasaleadingopponentofCharles’sreligiousreformsinScotlandandby1647hewasobligedtoseekprotectionfromdebtors.By1650hehadmovedtotheNetherlandsandwasinAmsterdamthenextyear.Hediedattheendof1654insuchpovertythatitwasonlythefinancialinterventionofCromwellinMay1655thatallowedhisburialtotakeplace.

TheportraitwasdescribedinthecatalogueofthemajorexhibitiononLievensheldinWashingtonandAmsterdamin2009as“oneofLieven’smostcompellingportrayalsofhumandignityandfrailty.Setagainstadarkbackground,thenobleman’sangularfaceisimbuedwithapathosthatrivalsthatofRembrandt’sbestportraits.”

Lievenswasachildprodigyandhadhisownstudiobytheageof12.Hisversatilityisshownbytherangeofsubjectmatterofhispaintingswhichincludedportraiture,stilllife,landscapes,depictionsofeverydaylife,grandioseallegoricalscenesandbiblicalnarratives.HewasneverapupilofRembrandtwhowasonlyayearolderbutthetwoLeiden-bornartistsknewandappreciatedeachother’sworks,usedthesamemodelsandpaintedsimilarsubjects.From1632to1635LievensworkedinLondonbutlittle,ifany,ofhisoutputfromthisperiodremains.

ThePanelconsideredthatthepaintingmetthesecondandthirdcriteria,thatitwasinacceptableconditionandthatitwasfairlyvalued.IthasbeenpermanentlyallocatedtoScottishNationalPortraitGalleryinaccordancewiththeconditionoftheofferor.

Above:JanLievens:Portrait of Robert Kerr, 1st Earl of Ancram.


31.BernardMeadowsCollectionTheoffercomprisedworksbyBernardMeadows(1915-2005)andHenryMoore(1898-1986).Meadowswasamajorsculptorofthesecondhalfofthe20thcenturybuthisreputationhasbeenovershadowedbythatofhisfriendandmentor,HenryMoore,withwhomheworkedformostofhisactivelife.BorninNorwich,hisparentswishedhimtobecomeanaccountantbutafteritbecameclearhehadnoaptitudeforthatprofessionheattendedNorwichArtSchool.AcasualvisittoHenryMoore’sstudioresultedinaninvitationtocomeandhelpMooreduringholidaysandMeadowssoondecidedtobecomeasculptor.

HestudiedattheRoyalCollegeofArtbutonlycompletedthecourseafterthewar.Initially,hewasaconscientiousobjectorbutafterHitler’sinvasionofRussiahejoinedtheRoyalAirForceandwassoonpostedtotheCocosIslandintheIndianOceanwherehewastoremainformostofthewar.Whiletherehebecamefascinatedbythegiantcrabsthatwouldlaterbecomearecurringmotifinhissculpture.

AfterthewarhisreputationincreasedwhenhetookpartintheBritishPavilionexhibitionatthe1952VeniceBiennale.There,anewgenerationofBritishsculptorssuchasLynnChadwick,KennethArmitage,RegButlerandEduardoPaolozzi,wasgivenaninternationalplatformtolaunchtheircareers.From1948to1960hetaughtattheChelseaSchoolofArtandforthenext20yearswasaninspirationalprofessorofsculptureattheRCA.Onhisretirementin1980,andwithMooreill,hereturnedtohismentor’sstudioandbecamethefirstactingdirectoroftheHenryMooreFoundationatPerryGreen.

Thecollectionofferedconsistsofsculptures,maquettes,studiesanddocumentarymaterialthatcoversnotonlythewholeofMeadows’careerbutalsoincludessevenworksbyHenryMoore,includingabronzestringedsculpturefrom1939.ThecollectionrecordsthedevelopmentofMeadows’engagement,bothindrawingandsculpture,withthecrabandbirdthemesthatdominatehiswork.

ThePanelconsideredthecollectionmetthethirdcriterion,thatitwasinacceptableconditionandthatitwasvaluedfairly.Thebulkofthematerial,includingtheworksbyMoore,havebeenpermanentlyallocatedtoLeedsCityCouncilforretentionattheHenryMooreInstitute.Foursmallergroupsawaitpermanentallocation.

Above:BernardMeadows:FallenBird,1958.

Below:HenryMoore:Stringed Figure, 1939.


32.ArchiveofDollieandErnestRadfordThisextensivearchivegivesanimportantinsightintothelivesofErnest(1857-1919)andCaroline(Dollie)Radford(1858-1920).Theywerepoetsandwritersactiveintheliterary,artisticandsocialistcirclesofthelate19thandearly20thcenturiesandcametoberegardedasleadingfiguresinthelate-Victorianworldofliteratureandart.Theirinterestsextendedbeyondtheirpersonalworldtoembraceawidersocialresponsibility.Theywereinvolvedinthefoundingofartandliterarygroups,includingtheArtsandCraftsExhibitionSocietyandtheRhymer’sClub,aswellasinpoliticalandcharitablesocietiessuchastheSocialistLeagueandtheFabianSociety.

TheRadfords’widecircleofcontactsandfriendsincludedWilliamMorris,WalterCrane,HGWells,GeorgeBernardShaw(whosetoneofDollie’spoemstomusic),EleanorMarx,FordMadoxFord,AmyLevy,andseveraloftheleadingwriters,artistsandsocialreformersoftheirday.ThroughtheirfriendErnestRhys,poetandeditorofEveryman’sLibrary,theRadfordsmetD.H.Lawrencein1909.

Thecouplehadfirstmetin1881intheReadingRoomoftheBritishLibrarywhereDolliewashelpingEleanorMarxintheeditingoftheworksofherfather,Karl.ErnestwasinvitedtoShakespearereadingsattheMarxs’homeanditwastherethattheirromanceflourished.Theymarriedin1883.InthesameyearDollie’spoemswerefirstpublishedintheradicalmagazineProgress.ShewaslatertobepublishedinThe Yellow Book,The AthenaeumandThe Nation.

TheofferalsoincludesanoriginalprintofThe Triumph of LabourfromWalterCrane’swoodcutandanembroiderydesignedbyD.H.LawrenceandworkedonlinenbyFriedaLawrence.TheembroiderydepictsDionysusintheboatwhichsteeredofitsownaccord,withdolphins,vinesandgrapes.ThiswasaweddinggifttotheRadfords’son,Maitland.Whenin1917theLawrenceswereexpelledfromCornwallassuspectedspiestheytookrefugewiththeRadfordsandDolliewasthebasisofthecharacter,HattieRedburn,inLawrence’s1923novel,Kangaroo.

ThePanelconsideredthatthearchivemetthethirdcriterion,thatitwasinacceptableconditionandthatitwasfairlyvalued.IthasbeenpermanentlyallocatedtotheBritishLibraryinaccordancewiththeconditionoftheofferor.

Below:Ernest(topleft),DollieRadford(right)andtheirchildren,Maitland,MargaretandHester.


33.LouisXIVBoullecabinetonstandTheLouisXIVormolu-mountedpremiereandcontre-partie tortoiseshellandfloralmarquetrycabinetonstandisattributedtoAndré-CharlesBoulle,circa1680.Itstands184cmhigh,119.5cmwideand52cmdeepandincorporateslatergiltwoodmonopediasupports,circa1800.AswithsomuchofthefinestFrench17thcenturyfurnitureitcametoEnglandintheearly19thcenturyfollowingtheFrenchRevolution.ItwasacquiredbyGeorgeByngMP(1764-1847)forhiscountryhouse,WrothamPark,whereitwasrecordedonByng’sdeathandremaineduntil2009.

Byngwasthegreat-nephewofAdmiralJohnByngandinheritedWrothamonthedeathofhisfatherin1789.ThenextyearhebecameMPforMiddlesex,theseathewastoholdfor57yearsuntilhisdeath.AFrancophilebothinpoliticsandinhistaste,heenrichedthefurnishingatWrothambyastutepurchasesofFrenchfurnitureandporcelainandafinecollectionofOldMasterpaintings.

ThecabinetisoneofasmallseriesofelaboratecabinetsonstandswhichBoulledevelopedintheperiod1670to1700.Thecabinetsbecamemoreelaborateandthedecorationmoresumptuousastheseriesprogressed.TheearliestisnowintheRijksmuseum,Amsterdam.AnotherearliercabinetisintheWallaceCollectionandfurtherexamplesareintheGettyMuseumandthecollectionoftheDukeofBuccleuchatDrumlanrigCastle.AsecondcabinetatDrumlanrigistheclosestindesigntotheWrothamexampleandretainstheoriginalsupportingfiguresofCeresandBacchus.ThecabinetonofferhadthesereplacedbyEgyptianmonopediacirca1800,almostcertainlyinEngland.AtthesametimethedrawerswhichflankthemedallionofLouisXIVwerere-veneeredseeminglyusingBoullepanelsfromanothercabinet.ThegiltwoodEgyptianhermsofthestandintroduceanoteofneo-classicalrestraintinplaceofthebaroqueexuberanceoftheoriginals.

ThePanelconsideredthatthecabinetmetthesecondandthirdcriteria,thatitwasinacceptableconditionandthatitwasfairlyvalued.ItwastemporarilyallocatedtotheWallaceCollectiontoallowittobeseenandstudiedalongsidetheCollection’sownBoullecabinetonstand.InSeptember2010itwaspermanentlyallocatedtoTheFitzwilliamMuseum.

Opposite:LouisXIVCabinetonstandattributedtoAndré-CharlesBoulle.


AppendicesAcceptance in Lieu


Appendix 1Appendix1–casescompletedin2009/2010Case/Description

Dateof Dateof Dateofoffer approval completion

Taxsettled

Permanentallocation 1. George

MedalsUnwin:andLogbooks

Feb

2008 Apr

2009 Aug

2009 £53,254

ImperialWar(Duxford)

Museum

2. ArchiveoftheEarlsofRomney May2008 July2009 Nov2009 £54,626 CentreforMaidstone

KentishStudies,

3. AdamEarl of

DeColone:Winton and

sons

Apr

2008 Aug

2009 Jan

2010 £245,000

ScottishGallery

NationalPortrait

4. FrancisGrant:The Meet of the Fife Hounds

Apr

2008 Aug

2009 Jan

2010 £84,000

ScottishGallery

NationalPortrait

5.EdgarDegas:Sculpture July2008 Mar2009 July2009 £175,000 CourtauldInstitute(SamuelCourtauldTrust)

6. PeterLely:‘Ursula’ July2008 Mar2009 July2009 £297,500 CourtauldInstitute(SamuelCourtauldTrust)

7.SeatonDelaval Oct2008 Dec2009 Dec2009 £4,883,599NationalTrust 8. DanielGardner:

The Three WitchesAug2008 Apr2009 July2009 £140,000 tobeconfirmed

9.ChattelsfromLymePark Sep2008 May2009 Sep2009 £178,920 NationalTrustforLymePark10. Marcellus

A Musical Laroon:Party

Nov2008 Feb2009 Aug2009 £232,450 tobeconfirmed

11.ChaïmSoutine:Jeune femme Dec2008 Aug2009 Sep2009 £210,000 tobeconfirmed12. DomenicoTiepolo:

Café by the QuaysideDec2008 Feb2009 Apr2009 £210,000 tobeconfirmed

13. PaulFour

deLamerie;candlesticks

Jan

2009 Apr2009 Aug2009 £140,000 VictoriaandAlbertMuseum

14.TheFitzwilliamTureens Jan2009 Apr2009 Aug2009 £80,500 VictoriaandAlbertMuseum15. Nineearly20th-century

Britishpaintings

Jan

2009 June

2009 August

2009 £1,046,500

Tate;NationalPortraitGallery:ScottishNationalGalleryofModernArt

16. DelftwareThe Royal

plaque:Oak

Feb

2009 Aug2009 Nov2009 £87,500 VictoriaandAlbertMuseum

17.ArchiveoftheEarlsofKintore Feb2009 Aug2009 Jan2010 £46,550 AberdeenUniversityArchive18. PollardCollectionofMedals Feb2009 May2009 Jun2009 £51,100 FitzwilliamMuseum19. EssexHousePressCollection Mar2009 Oct2009 Dec2009 £70,000 CourtBarnMuseum,

ChippingCampden20. VanPoelenberg:

Italianate Landscape Mar2009 July2009 Aug2009 £5,600 tobeconfirmed

21.20thcenturyphotography Mar2009 Jun2009 Aug2009 £227,290 Tate22.

RA

BMartineau:Woman of San Germano

Apr2009 July2009 Aug2009 £126,000 tobeconfirmed

23. Lytteltonfamilyarchive Jun2009 Sep2009 Feb2010 £210,000 tobeconfirmed24.SeatfurniturefromHagleyHall Jun2009 Oct2009 Feb2010 £385,000 TempleNewsam,Leeds25.EuanUglow:Laetitia Jun2009 Oct2009 Nov2009 £84,000 tobeconfirmed26. Graham

Study for Sutherland:Thorns

Jun2009 Jan2010 Feb2010 £49,000 tobeconfirmed


Case/Description

Dateoffer

of Dateofapproval

Dateofcompletion

Taxsettled

Permanentallocation27. BaruchSpinoza:

Tractatus Theologico-Politicus July2009 Oct2009 Nov2009 £7,000 tobeconfirmed28. KarlSchmidt-Rottluff:

Dangast Dorf

July2009 Oct2009 Nov2009 £4,900 tobeconfirmed29. JohnWilson:

The Battle of Trafalgar

Jun2009(Sep2009) Nov2009 Jan2010 £8,750 tobeconfirmed

30. JanLievens:1st Earl of Ancram July2009 Dec2009 Jan2010 £566,650 ScottishGallery

NationalPortrait

31. BernardMeadowsCollection Aug2009 Nov2009 Jan2010 £321,370 LeedsHenryothers

CityCouncilforMooreInstituteandtobeconfirmed

32. ArchiveofDollieandErnestRadford Sep2009 Dec2009 Mar2010 £42,000 BritishLibrary

33. LouisXIVonStand

BoulleCabinetSep2009 Nov2009 Feb2010 £465,700 TheFitzwilliamMuseum

TotalTaxsettled Total £10,789,759TotalAgreedValue Total £15,669,520

Appendix 2Appendix2–MembersoftheAILPanelduring2009/2010.JonathanScottCBE ChairmanofAILPanelsinceAugust2000.

Previously:ChairmanoftheReviewingCommitteeontheExportofWorksofArt,DeputyChairmanoftheTrusteesoftheV&A,TrusteeoftheImperialWarMuseum.

GeoffreyBondDLOBE ChairMLALondon,MLABoardMember,BroadcasterandLawyer.

LucindaCompton Conservator,memberoftheHistoricHousesAssociation,formercommitteememberoftheBritishAntiqueRestorers’Association.

PatrickElliott SeniorCurator,ScottishNationalGalleryofModernArt,Edinburgh.

KatharineEustace Editor,The Sculpture Journal,TrusteeComptonVerneyCollectionsSettlement.

MarkFisher MPandformerMinisterfortheArts;authorof‘Britain’sBestMuseums&Galleries’,Penguin,2004.

AndrewMcIntoshPatrick Dealerandcollector;formerlyManagingDirectoroftheFineArtSociety,NewBondStreet,London.

DavidScrase AssistantDirectorCollections,Keeper,Paintings,Drawings&Prints,FitzwilliamMuseum,Cambridge.

LindsayStainton FormerlycuratorinDepartmentofPrintsandDrawings,BritishMuseumandsubsequentlywithLondondealersHazlitt,Gooden&Fox.

ChristopherWrightOBE Formerly,KeeperofManuscripts,BritishLibrary,memberofReviewingCommitteeontheExportofWorksofArts.

LucyWood SeniorCuratorofFurniture,TextilesandFashionDept.,VictoriaandAlbertMuseum;formercuratoratLadyLeverArtGallery,Wirral.


Appendix 3Expertadvisers2009/2010PhilipAtwood BritishMuseum

NicholasAves NJAvesCoinsandMedals

WendyBaron IndependentConsultant

PeterBoughton GrosvenorGallery,Chester

AnthonyBrown ConnaughtBrown

ChristopherBrown AshmoleanMuseum

JonathanBourne HollandFineArtLtd

PatrickBourne TheFineArtSociety

AdamBowett TennantsAuctioneers

RobinBowman RobertBowmanGallery

AlexanderCorcoran LefevreFineArt

JoshuaDarby BrowseandDarby

DianaDethloff UniversityCollege,London

NimrodDix DixNoonanWebb

ElizabethEinberg PaulMellonCentreStudyofBritishArt

forthe

GilesEllwood GilesEllwoodLtd

MarkEvans VictoriaandAlbertMuseum

PeterFiner PeterFinerLtd

MatthewGale Tate

ChristopherGibbs IndependentConsultant

RenéGimpel GimpelFilsGallery

PhilippaGlanville IndependentConsultant

JohnHarris IndependentConsultant

JonathanHarris HarrisLindsayLtd

MarkHaworth-Booth UniversityoftheArts,London

RobertHolden RobertHoldenLtd

JamesHolland-Hibbert HazlittHolland-Hibbert

JamesHolloway ScottishNationalPortraitGallery

MichaelHoppen MichaelHoppenGallery

JonathanHorne Sampson&HorneAntiques

SpikeHughes SpikeHughesRareBooks

JamesHyman JamesHymanGallery

DavidFraserJenkins IndependentConsultant

SimonSwynfenJervis IndependentConsultant

PaulJohnson ArthurAckermannLtd

RobinKatz RobinKatzFineArt

RobinKern Hotspur

AlastairLaing NationalTrust

MartinLevy HBlairman&Sons

LowellLibson LowellLibsonLtd.

TimothyMcCann formerlyOffice

WestSussexRecord

EdMaggs MaggsBrothers

PietervanderMerwe NationalMaritimeMuseum

AnthonyMould AnthonyMouldLtd

JeremyPattison TennantsAuctioneers

SusannahPollen SusannahPollenLtd

MarkQuayle Spink

ThomRichardson RoyalArmouries

MurraySimpson IndependentConsultant

PeytonSkipwith IndependentConsultant

AnthonySmith IndependentConsultant

IanSmith BernardQuaritchLtd

LewisSmith KoopmanRareArt

SimonTheobald TheobaldJennings

DuncanThomson IndependentConsultant

MichaelTollemache TollemacheFineArtLtd

JohnTomasso TomassoBrothers

DinoTomasso TomassoBrothers

JulianTreuherz IndependentConsultant

CharlesTruman C&LBurman

RobertUpstone Tate

JohnnyVanHaeften JohnnyVanHaeftenGallery

RowanWatson VictoriaandAlbertMuseum

AnthonyWells-Cole IndependentConsultant

CatherineWhistler AshmoleanMuseum,Oxford

ThomasWilliams ThomasWilliamsFineArtLtd

JohnWilson JohnWilsonManuscriptsLtd

ThomasWilson TheOpenEdinburgh

EyeGallery,

TimothyWilson AshmoleanMuseum,Oxford


Appendix 4Allocation of items reported in earlier years but only decided in 2009/2010.

The Declaration of Outlawry on Napoleon which was case 11 in the 2007/2008 report has been permanently allocated to The British Library where it had been on deposit both prior to and since being accepted.

Thomas Gainsborough’s Portrait of Isaac Donnithorne which was case 2 in the 2008/2009 report has been permanently allocated to Falmouth Art Gallery.

The Archive of Frank Martin which was case 4 in the 2008/2009 report has been permanently allocated to the Tate Archive, in accordance with the wish of the offeror.

Frank Auerbach’s Portrait of Julia which was case 10 in the 2008/2009 report has been permanently allocated to the Scottish National Gallery of Modern Art in accordance with the wish of the offeror.

Jean-François Millet’s The Angelus (pastel) which was case 11 in the 2008/2009 report has been permanently allocated to Glasgow City Council.

John Runciman’s Hagar and the Angel which was case 12 in the 2008/2009 report has been allocated to the Hunterian Art Gallery of the University of Glasgow.

Sir Joshua Reynold’s Portrait of the Harcourt Familywhich was case 14 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum, in accordance with the wish of the offeror.

The Hand Clubs and Stone Axe which was case 15 in the 2008/2009 report has been permanently allocated to the Royal Albert Memorial Museum, Exeter, in accordance with the wish of the offeror.

The Punch and Judy Archive which was case 16 in the 2008/2009 report has been permanently allocated to the Victoria and Albert Museum, in accordance with the wish of the offeror.

Sir John Lavery’s Portrait of Violet Trefusis which was case 18 in the 2008/2009 report has been permanently allocated to the National Trust for display at Sissinghurst Castle, Kent.

Ambrosius Bosschaert’s Flower Painting which was case 21 in the 2008/2009 report has been permanently allocated to the National Gallery, in accordance with the wish of the offeror.

Bonaventura Peeter’s Shipping on the Schelde which was case 24 in the 2008/2009 report has been permanently allocated to Bristol Museum and Art Gallery.

Sir John Everett Millais’s The Proscribed Royalist (reduced-sized replica) which was case 25 in the 2008/2009 report has been permanently allocated to Birmingham Museum and Art Gallery.

Jean Tijou’s Architectural design which was case 26 in the 2008/2009 report has been permanently allocated to the Library of the Royal Institute of British Architects, in accordance with the wish of the offeror.

The Roman funerary altar and monument which was case 27 in the 2008/2009 report has been permanently

allocated to the Ashmolean Museum, in accordance with the wish of the offeror.

Howard Hodgkin’s Portrait of Peter Cochrane has been permanently allocated to the National Portrait Gallery, in accordance with the wish of the offeror.

Paris Bordone’s Narcissus which was case 36 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum, in accordance with the wish of the offeror.


Museums, Libraries & Archives Council Grosvenor House 14 Bennetts Hill Birmingham B2 5RS

T 0121 345 7300 E [email protected]

www.mla.gov.uk

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For further information on the Acceptance in Lieu Scheme contact MLA’s Acquisition, Export and Loans Unit on 020 7273 1456 or the Chief Executive’s Office on 020 7273 1476.

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