Acceptance in LieuReport 2010-12

2 Acceptance in Lieu Report 2010-12

3 Acceptance in Lieu Report 2010-12

Preface Dame Liz Forgan, Chair, Arts Council England 4

Introduction Tim Knox FSA, Chair of the Acceptance 5 in Lieu Panel

Cultural Gifts Scheme 6

Allocation of objects accepted in lieu 7

Valuations 7

Conditional Exemption and 8 Immunity from Seizure Monitoring

Acknowledgments 8

Acceptance in Lieu Cases 2010/11 1 Chattels from Basildon Park 11

2 Francesco Guardi: View of the Palazzo Loredan 12 dell’Ambasciatore on the Grand Canal, Venice

3 Sir Thomas Lawrence: Portrait of Emily Mary Lamb 13

4 Mineral specimen of a prehnite 14 pseudomorph after laumontite

5 Maurice de Vlaminck: Still Life 15

6 Jean-Étienne Liotard: Two Ladies in Turkish Costume 16

7 Jean-Antoine Watteau: double-sided drawing 17

8 Jean-Auguste-Dominique Ingres: 18 Portrait of the Maréchale Kutusov

9 Jean-Honoré Fragonard: Landscape with a Bridge 19

10 Giorgio Morandi: two paintings 20

11 Charlotte de Syllas: Anni’s necklace 21

12 Archive of J G Ballard 22

13 Kidderminster portraits 23

14 Paul Gauguin: Two Standing Tahitian Women 24

15 Bruce Turner: Pavlova 25

16 Harold Pinter awards 26

17 Willem van de Velde the Younger: 27 two marine paintings

18 The Butler family papers 28

19 Robert Byron: photographic archive and portraits 29

20 Archive of the Savile of Rufford family 30

21 Ottoman jade tankard 31

22 Papers of Charles Sturt 32

23 Sir Frederick Sykes: portrait and medals 33

24 Sir James Guthrie: Portrait of Andrew Bonar Law 34

25 Keith Vaughan: three paintings 35

26 Sir Joshua Reynolds: 36 Lady Honywood and her daughter

Acceptance in Lieu Cases 2011/12 27 A George I giltwood centre table from 38 Houghton Hall

28 The archive of Lord Louis and 39 Lady Edwina Mountbatten

29 Barbara Hepworth: Meditation 40

30 Barbara Hepworth: 41 four sculptures and three works on paper

31 The archive of the Wyndhams of 43 Orchard Wyndham

32 John Raphael Smith: Portrait of William Cobbett 44

33 Capel Garmon Firedog 45

34 J M W Turner: 46 Lowther Castle, Westmoreland, Evening

35 The Spencer House sofa 47

36 Chattels from Seaton Delaval 48

37 Guercino: The Samian Sibyl 49

38 Sir Joshua Reynolds: 50 Miss Maria Gideon and her brother, William

39 Sir Peter Paul Rubens: The Triumph of Venus 51

40 Newcastle glass collection 52

41 Garofalo: The Adoration of the Shepherds 53

42 Chattels from Lyme Park 54

43 Camden Town Group: paintings and drawings 55

44 The Cowper Seal cups 56

45 J M W Turner: Rome from Monte Mario 57

46 Archive of the Maskelyne and 58 Arnold-Foster families

47 Paintings, drawings and etchings by Walter Sickert 59

48 Papers of Sir Stephen and Lady Natasha Spender 60

49 Pietro da Cortona: Male Nude as Bacchus 61

50 Churchill family papers 62

51 Two sets of George II silver wine coolers 63

Appendix 1 Acceptance in Lieu cases completed 2010/11 67

2 Acceptance in Lieu cases completed 2011/12 68

3 Members of the AIL Panel during 2010-12 69

4 Expert advisers 2010-12 70

5 Permanent allocation of items reported in earlier 72 years but only decided in 2010/11 and 2011/12

Contents

Opposite page: Detail from Edward Rolston’s map of 1634 of Thornhill Park owned by Sir William Savile. Photo: Nottinghamshire Archives

4 Acceptance in Lieu Report 2010-12

Dame Liz ForganIn 2010 when Arts Council England published Achieving Great Art for Everyone, our ten year vision for the arts, it had not yet been agreed that the Acceptance in Lieu (AIL) scheme and its Panel would be integrated into our portfolio of activities. Two years on, it seems natural that a scheme which brings a wealth of objects of major cultural significance and beauty into our nation’s public museums and galleries is part of our remit.

The range and quality of objects donated during the two years covered by this report is as impressive as ever – from masterpieces of European painting by Rubens and Turner, and the Capel Garman firedog created in Wales two millennia ago, through to the artistic achievements of the last few decades represented in three exceptional paintings by Keith Vaughan whose centenary is being celebrated this year.

Philanthropy has always played an important part in contributing to this country’s cultural heritage. We want to encourage more people to donate through the AIL scheme so that our nation’s public collections are further enriched for the benefit of audiences throughout the country.

And I am delighted that the role of the Arts Council and the AIL Panel is to be expanded in the next few months to include the administration of the new Cultural Gifts Scheme. This new scheme will give a tax reduction to people who donate a cultural work of art or object to the nation during their lifetime so that it can be enjoyed by everyone.

The Arts Council is very fortunate in being able to call upon the expertise of the independent AIL Panel to assess the quality of the objects put forward for consideration. For the first part of the period covered by this report the Panel was chaired by Jonathan Scott who was succeeded in January 2011 by Tim Knox. Both have played a vital role in ensuring that the scheme maintains a high standard of excellence in the objects accepted in lieu, commands the respect of the Government and attracts audiences to these wonderful examples of our unique cultural heritage. I would like to thank them for their work and hope that over the coming years more private collectors will come forward to become public donors.

Dame Liz Forgan Chair, Arts Council England

Preface

Dame Liz Forgan, Chair, Arts Council England. Photo: Steve Double

5 Acceptance in Lieu Report 2010-12

Tim Knox FSAThis report of the Acceptance in Lieu (AIL) Panel covers the 51 cases considered and approved by the Panel over the two years 2010/11 and 2011/12. The variety and quality of the works and archives accepted by the nation in lieu of Inheritance Tax over the past two years underlines the value and success of this scheme, while the range of institutions to which these treasures are allocated – from Buckland Abbey in Devon to the University Museum in Glasgow – ensures that they are enjoyed by people all over Britain.

Highlights include masterpieces by Guercino, Reynolds and Rubens, a series of nationally significant archives, a spectacular Iron Age firedog and a bejewelled Ottoman jade tankard. Many of the objects offered come from important historic collections and, in several cases, ensure that chattels historically associated with important country houses remain in situ in the settings for which they were bought or created.

Moreover, acceptances over the past two years demonstrate the growing use of the AIL scheme by the wider public; works by a wide range of 20th century artists reflect the collecting interests of the previous generations, as do more modest, but nonetheless significant items, such as a group of medals or a rare mineral specimen.

We welcome this variety, while careful scrutiny by the Panel ensures that all offers are of high quality, in good condition, and of demonstable significance and interest. The expertise of Panel members, and those of the independent experts who we rely upon for advice, ensures a fair valuation is obtained for both the offeror and the nation – ensuring that the good reputation of the AIL scheme is maintained and promoted.

Number and value of objects accepted in lieu 2003-12 Year to 31 March Number of cases Value of objects accepted Tax settled

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

2011 26 £8.3m £4.90m

2012 25 £31.3m £20.0m

Totals 309 £215.4m £123.7m

In 2010/11 nine cases with a value of £2.6 million were withdrawn or rejected during the period of the Panel’s evaluation and for 2011/12 the comparable figures were nine cases with a value of £16.8 million.

Introduction

Tim Knox FSA, Chair, Acceptance in Lieu Panel. Photo: Caroline Djanogly

6 Acceptance in Lieu Report 2010-12

There was a dramatic increase in the value of items accepted in 2011/12: £31.3 million with £20 million of tax settled, as opposed to £8.3 million with £4.9 million tax settled the previous year. Both years considered similar numbers of cases, but a number of very valuable items in 2011/12 – the Rubens grisaille sketch, three other major Old Master pictures, and the Mountbatten archive – pushed us to the £20 million threshold for the AIL scheme. A further £10 million worth of pre-eminent items considered in 2011/12 had to be deferred until the next year’s AIL budget, as we were not permitted by HM Treasury to exceed the £20 million threshold, as had been permitted in former, albeit more prosperous, years. This increase was not due to any relaxation in our strict criteria for judging and valuing offers, but rather reflects the arbitrary and unpredictable nature of death and inheritance, and the dramatic increase in value of certain types of works of art.

I took over the chairmanship of the AIL Panel from Jonathan Scott in 2011 and have striven to maintain the high standards that he always insisted upon. In this I am assisted in having not only a very knowledgable and experienced Panel from the museum sector, the art trade and libraries and archives, but also a secretariat – Gerry McQuillan and Anastasia Tennant of the Acquisitions, Exports, Loans and Collections Unit (AELCU) – whose understanding of art, heritage, valuations and tax is second to none.

It was therefore worrying to take over at a time when the future of the AELCU was in some doubt, after the Museums, Libraries and Archives Council (MLA) was closed in 2011, a concern that was shared by our sister body, the Reviewing Committee on the Export of Works of Art, who are also supported by the AELCU, as well as many prominent figures in the museum world and art trade. The successful retention of the expertise of the AELCU secretariat in London and its transfer to the Arts Council was achieved in the period under review, and I would like to record our gratitude to Dame Liz Forgan, Alan Davey, and Althea Efunshile of the Arts Council for taking us under their aegis, and for the part they played in securing a smooth transition.

Cultural Gifts Scheme In 2011, we welcomed the news that Government wished to explore gifts of works of art to the nation in lieu of Income Tax, Capital Gains Tax and Corporation Tax. Lifetime gift schemes of this kind are highly successful in many European countries and in North America and are an effective way for museums and other institutions to enhance their collections. Indeed, Sir Nicholas Goodison had recommended such a scheme in his influential 2004 report, Saving Art for the Nation. Therefore we were pleased to advise and participate in the extensive consultation that followed and were delighted with the adoption of many of our recommendations into the Cultural Gifts Scheme (CGS) which received Royal Assent on 17 July 2012. CGS, which will come into force later in 2012, will be administered by the AIL secretariat and Panel, a great honour and an interesting and worthwhile challenge.

In November 2011 we welcomed the news that the Treasury had increased the threshold from £20 million to £30 million to acommodate CGS. It is envisaged that in a full year of operation, £20 million would be reserved for AIL cases, and £10 million for the new scheme – allowing for the acceptance of approximately £30 million worth of objects under each scheme. The success of CGS will be monitored carefully over a two year period, after which there may be an opportunity to extend or incentivise the scheme further.

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Allocation of objects accepted in lieuAs in previous years, the items offered in 2010/11 and 2011/12 – fully described in this report – attest to the success of the AIL scheme. While many offers come with a condition or wish as to allocation, the Panel does its best to ensure that works acquired via the AIL scheme are fairly and sensibly distributed across Great Britain.

As such, we were particularly pleased to allocate Rubens’ Triumph of Venus to the Fitzwilliam Museum in Cambridge, where it joins a fine group of works by that master, while a giltwood sofa from Spencer House will transform the newly reopened National Museum of Scotland’s display of 18th century decorative art.

The Panel was also keen to allocate works to smaller museums and institutions that had never received an AIL allocation before – the Museum of Farnham received a portrait of the town’s famous son, the radical politician William Cobbett, while the portraits of the locally important Kidderminster family went to Worcester Art Gallery. However, the great national museums in London, Cardiff and Edinburgh were not forgotten, with allocations of paintings by Lawrence, Guardi, and Turner, a rare Gauguin print, and other items; while the collections of, among others, the Ashmolean, the Fitzwilliam, Pallant House, Bristol and Sheffield were also strengthened. The National Trust is a regular recipient of AIL items, and Basildon Park, Buckland Abbey, Knole and Lyme Park all received important and mostly indigenous chattels over the last two years.

Archives are generally allocated where there is a strong local link – for instance the Mountbatten Archive was allocated to the University of Southampton, which is near Broadlands, the Mountbattens’ home. A giltwood table from Houghton Hall in Norfolk, although nominally allocated to the Victoria and Albert Museum in London, will be displayed in situ at Houghton, alongside other chattels acquired via the AIL system in previous years.

A number of offers of near-contemporary works were also approved – Anni’s necklace, a spectacular pectoral in white gold and semi-precious stones created in 1974, the Harold Pinter awards, and the archive of the novelist J G Ballard – and we welcome this growing trend, which will surely be increased via the CGS.

ValuationsGreat care and consideration is given to the valuation of items offered, and the AIL Panel thanks the many independent experts who give advice on the cases that come before us. In 2010-12 the Panel considered the valuation on several offers too low and adjusted them in the offeror’s favour.

The high value of many offers can mean that the value exceeds that of the Inheritance Tax owed, leading to a number of ‘hybrid’ offers, where the recipient institution raises the balance. This was the case with the Guardi for the National Museum Wales, the Ottoman jade tankard for the Victoria and Albert Museum, a Barbara Hepworth sculpture for Aberdeen Art Gallery, and the Mountbatten Archive for Southampton University Library.

8 Acceptance in Lieu Report 2010-12

We would like to thank the National Heritage Memorial Fund, the Heritage Lottery Fund, the Art Fund, and other generous donors for the grants that make these hybrid offers possible. We are also grateful to the Heritage Section of H M Revenue and Customs (HMRC) for dealing with the taxation and legal aspects of offers in lieu, which are often extremely complex and urgent. We are also indebted to the many advisers, solicitors and auction houses who draw the attention of their clients to the benefits of the scheme and prepare the offers for our consideration.

Conditional Exemption and Immunity from Seizure Monitoring

Two other aspects of the Panel’s work ought to be recorded though they are less high-profile than our AIL role. The Panel advises HMRC on claims for Conditional Exemption where the basis of the claim is that the object either individually or within a group or collection is of pre-eminent importance. In the two years under report we advised on 20 cases involving 2,404 objects. Where the claim for exemption was granted, details of the objects are entered onto HMRC’s website at www.hmrc.gov.uk/heritage/data.htm. This provides details of objects granted exemption and how the public is given access to them.

The second additional task of the Panel is to monitor the implementation of the Immunity from Seizure regulations. In 2008 legislation was introduced that prevented objects coming into the UK for temporary exhibition from being seized before they could return abroad to the lenders. Without this provision many major objects would not be lent for UK public exhibition. This protection imposes a duty on the borrower to ensure that objects coming into the UK under these provisions have an impeccable provenance and that this legal protection is not used to shelter works which are in questionable ownership.

The Panel’s role is to examine the due diligence procedures of the borrower and ensure that they conform with the guidance issued by the Secretary of State. To date, the Panel has been able to report that the system is working well and our museums and galleries are meeting their responsibilites fully in this area.

AcknowledgmentsConcluding this preface to the report covering two very remarkable years of AIL, it remains for me to thank my predecessor, Jonathan Scott, for his impressive record of achievement during ten years of chairing the AIL Panel (2000-2010). I also thank the Panel members – who are listed at the end of this report – for their expert advice, time and trouble – all freely volunteered –, and our colleagues in the Department for Culture, Media and Sport, the Arts Council, and notably the Rt Hon Jeremy Hunt MP, the Secretary of State, and his officials Keith Nichol and Hillary Bauer for their work in the introduction of the Cultural Gifts Scheme.

Tim Knox FSA Chair, Acceptance in Lieu Panel

9 Acceptance in Lieu Report 2010-12

Pre-eminence criteriaThe pre-eminence criteria used in assessing objects offered in lieu and referred to in the following case reports are as follows:

1 does the object have an especially close association with our history and national life?

2 is the object of especial artistic or art-historical interest?

3 is the object of especial importance for the study of some particular form of art, learning or history?

4 does the object have an especially close association with a particular historic setting?

Acceptance in Lieu

Cases2010/11

10 Acceptance in Lieu Report 2010-12

11 Acceptance in Lieu Report 2010-12

1Chattels from Basildon Park

This mixed group of chattels consisted of 41 items and sets which form part of the furnishings of Basildon Park. The Grade I listed house, seven miles north-west of Reading, Berkshire, was built between 1776 and 1783 for Sir Frances Sykes to a design of John Carr of York (1723-1807). It remained in the family until 1838 when sold to the renowned businessman and art collector, James Morrison, and was used to display part of his superb collection.

The house’s fortunes suffered gradual decline in the 20th century having been requisitioned for military use in both World Wars. At one point it was offered for sale for re-erection in America. It was saved from almost certain demolition in 1952 when bought by Edward and Langton Iliffe, the future Lord and Lady Iliffe. They restored and refurnished the property to its

former glory before transferring ownership to the National Trust in 1979.

While many of the chattels accepted were part of the general furnishings that were introduced into the semi-derelict house to make it a home again, the offer also included several important paintings. Anne Vallayer-Coster’s The Attributes of Hunting and Gardening: Still Life with a Bust, Game and Vegetables, oil on canvas, 149.9 by 134.6 cm, is an outstanding example of this French artist’s work.

The painting dates to 1774, four years after she had been unanimously elected into the Académie Royal de Peinture et du Sculpture, an honour given to only three other women in pre-Revolutionary France. Interest in her importance has recently been rekindled by a major exhibition in America in 2002. This is the most significant of the few works by the artist in this country.

Basildon Park already holds an important group of works by the Italian painter Pompeo Batoni (1708-1787) consisting of eight canvases of Christ’s Apostles and God the Father. The AIL scheme has added Portrait of Frances Lyde Browne which depicts the daughter of the 18th century antiquities collector, Lyde Browne, who accompanied her father on his second visit to Rome between 1776 and 1778 where she sat to Batoni, the leading Roman portrait painter of the period.

The Panel considered the two paintings to be pre-eminent under the second and third criteria and the remaining items to be associated with a building in National Trust ownership and that it was appropriate that they should remain so. The chattels were in acceptable condition and, following negotiation, it was agreed that they were appropriately valued. The chattels have been permanently allocated to the National Trust for retention at Basildon Park in accordance with the condition attached to the offer.

Above and left: The Attributes of Hunting and Gardening by Anne Vallayer-Coster. Photo: © National Trust Images

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2Francesco Guardi: View of the Palazzo Loredan dell’Ambasciatore on the Grand Canal, Venice

Francesco Guardi (1712-1793) was the last of the line of 18th century Venetian view painters. Until 1760, he worked with his brother, Gianantonio and the painting accepted in lieu, View of the Palazzo Loredan dell’Ambasciatore on the Grand Canal, Venice, oil on panel, 24.1 by 35.3 cm, would have had special significance for Guardi as his brother was part of the retinue of Johann Matthias von der Schulenburg from 1729 to1747.

Schulenburg was a successful Saxon soldier who retired to Venice and built up a collection of Italian masters employing Gianantonio to provide portraits and copies of important works

by the great Venetian painters of the 16th and 17th centuries. In the second half of the 18th century the Loredan family let out the palace to the Imperial ambassador and the 15th century gothic building was given the additional name, ‘dell’ Ambasciatore’ to distinguish it from the other Palazzo Loredan, Vendramin.

This painting is dated on stylistic grounds to the period 1775 to 1785 and is the only known view of the Palazzo in Guardi’s output. It combines topographical accuracy with the atmospheric depiction of light and shows the Imperial coat of arms hanging above the entrance,

indicating the ambassadorial function of the building. The small figure in a blue frock coat seen in the entrance may be the ambassador holding his golden staff of office.

It may have been a specific commission and hence Guardi has taken particular care to produce an exceptionally fine, fresh painting to impress his patron, Giacomo Durazzo, who was ambassador from the mid-1760s until 1784. The painting, although discoloured by varnish when it was offered in lieu, is in fine condition having been painted on panel so that the texture of the painting has not been flattened or disturbed. The discoloured varnish was cleaned subsequent to its allocation.

The Panel considered the painting to be pre-eminent under the second criterion and that it was offered at a fair market valuation. The amount of tax that the acceptance of the painting could have settled was larger than the actual liability of the offerors and the Amguedffa Genedlaethol Caerdydd – National Museum Cardiff, as the conditional allocatee made good a difference of £85,000 to the offerors, who generously waived part of the total amount. The Art Fund provided a grant of £20,000. The painting has been permanently allocated to the National Museum Cardiff in accordance with the condition attached to the offer and is the first Venetian scene by Guardi to enter the collection.

Above: View of the Palazzo Loredan dell’Ambasciatroe on the Grand Canal, Venice by Francesco Guardi. Photo: Amgueddfa Cymru – National Museum Wales

13 Acceptance in Lieu Report 2010-12

3Sir Thomas Lawrence: Portrait of Emily Mary LambThe Hon Emily Mary Lamb (1787-1869) was the fifth surviving child of Elizabeth Lamb (née Millbanke), Viscountess Melbourne and although acknowledged as his own by Peniston Lamb, 1st Viscount Melbourne, she was rumoured to be the daughter of George Wyndham, 3rd Earl of Egremont. Aside from some formal teaching from governesses, her true education came from her mother, and her mother’s close friend Georgiana, Duchess of Devonshire, thereby ensuring that she was properly prepared for the role of society and political hostess that she would later fulfil.

Sir Thomas Lawrence (1769-1830) was the leading portrait painter of the Regency period and an artist of exceptional talent and range. He had shown precocious talent in his youth and stayed only three months at the Royal Academy schools before exhibiting at the Royal Academy when only 18. By 1789, aged 20, he had received royal patronage when commissioned to paint the full-length portrait of Queen Charlotte (National Gallery). Although the royal portrait did not please the sitter or the King and was never paid for, it was exhibited at the Royal Academy in the following year and established Lawrence’s reputation.

Lawrence first painted Emily Lamb, along with her younger sister, Harriet, in 1792 when the sitters were aged three and five respectively. That portrait was accepted in lieu in 1975 and subsequently allocated to Brighton Museum and Art Gallery. He had also painted their brother, Peniston, at about the same time. The portrait under consideration, oil on canvas, 45.7 by 50.8 cm, depicts Emily on the verge of womanhood and must have been painted circa 1800 to 1805. The inventive pose shows the sitter’s head and shoulders from behind as she turns to gaze at the viewer and is a superb example of the artist’s bravura brushwork, painted with economy, energy and brilliant assurance. It shows Lawrence as assured a master of intimate portraiture as that of portraits of the grandest scale. The painting is also in exceptional condition with the canvas never having been relined. The portrait had remained in family ownership since it was painted and had not been on public display since 1931.

The Panel considered the portrait to be pre-eminent under the second and third criteria and that, after negotiation, it was offered at a fair market valuation. It has been allocated to the National Gallery in accordance with the wishes of the offerors where it will allow the Gallery to display one of Britain’s finest painters working on a small scale and portraying youthful and feminine beauty.

Below: Portrait of Emily Mary Lamb by Sir Thomas Lawrence. Photo: The National Gallery

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4Mineral specimen of a prehnite pseudomorph after laumontite

This offer of a mineral specimen, the first ever in the AIL scheme’s history, consists of a prehnite pseudomorph after laumontite. In mineralogy, a pseudomorph is when one mineral, which in other

circumstances would have a characteristic form, is found in the crystalline shape of another mineral. In this case the mineral prehnite has taken on the characteristic form of laumontite.

Prehnite, a silicate mineral (calcium aluminium silicate hydroxide – Ca2Al(AlSi3O10)(OH)2) first identified in Germany in the 18th century is named after Colonel Hendrick Von Prehn (1733-1785) the commander of the military forces of the Dutch colony at the Cape of Good Hope. Typically it has a pale green hue and has a vitreous or pearly hue. In exceptional cases it can form sizeable crystal structures of square cross-sections which can be used for jewellery.

Laumontite is a widespread mineral that forms prismatic crystals with a diamond-shaped cross-section. It is named after the French mineralogist, Gilet de Laumont, who collected the type specimen in Hungary.

The specimen offered in lieu was collected during the late 1970s or early 1980s in a basalt quarry in the Indian state of Maharashtra. Specimens of this mineral are fragile and very easily

damaged during the process of collecting. The pristine state of this example, along with its size, made it exceptional.

The process of pseudomorphing is a hydrothermal action which may take millions of years to be completed. The original laumontite would have been gradually replaced and eventually completely lost due to the slow replacement by the rich solution of prehnite leaving a dramatic display specimen which is 45 cm at its maximum. It is the only such large-scale specimen in a UK museum.

The Panel considered the specimen met the third criterion and that it was fairly valued and in acceptable condition. It has been permanently allocated to the Natural History Museum in accordance with the condition attached to the offer. This is the first such allocation of an AIL item to the Natural History Museum.

Above: Crystal pseudomorph of prehnite after laumontite. Photo: Natural History Museum

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5Maurice de Vlaminck: Still Life

Maurice de Vlaminck’s Still Life, oil on canvas, 54 by 68 cm, signed and dated, “Vlaminck 1914”, was painted in Paris at a time when the artist had grown tired of the Fauvist style which had characterised his work in the first years of the new century. ‘The play of pure colour, the extreme orchestration into which I threw myself unrestrainedly, no longer satisfied me.’ Instead he turned for inspiration to other artists such as Cézanne who had received a major retrospective in Paris in 1907. At the same time the ferment of Cubism led by Picasso and Braque was having a major influence on Vlaminck and the Parisian art scene generally.

Maurice de Vlaminck (1876-1958) was born in the French capital to parents who were both musicians. He studied music as a child and developed an interest in painting in his teens. His first career, however, was as a mechanic and he was also a racing cyclist. After

a relatively brief first marriage he returned to music and started a career in journalism. Called up to military service in 1900 he met the painter André Derain with whom he subsequently shared a studio. His first exhibition was in Paris in 1904 by which time he had adopted the bold and expressive use of colour that was characteristic of the Fauve painters.

By 1907 the Fauves had produced their best work and Vlaminck’s work turned from primary colours to a more restrained palette allied to a concern with structure. Although he was opposed to the ideas of Braque and Picasso and their Cubist movement, Still Life shows an artist aware of the developments in Paris in the years

before the First World War both in the subdued colour of the work and in the angular forms of the elements that make up this still life.

The painting was bought by Daniel-Henry Kahnweiler, the most important dealer of avant-garde art in Paris and the champion of Picasso and Cubism. It was seized by the French state along with all of Kahnweiler’s stock at the outbreak of the war because of his German origins.

The Panel considered the painting met the third criterion and, following negotiation, that it was fairly valued and in acceptable condition. It has been permanently allocated to Museums Sheffield in accordance with the wish of the offeror.

Above: Still Life by Maurice de Vlaminck. Photo: Museums Sheffield

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6Jean-Étienne Liotard: Two Ladies in Turkish Costume

This exceptional drawing in red and black chalks, 14.8 by 21.7 cm, by the Swiss painter and pastelist, Jean-Etienne Liotard (1702-1789), depicts two ladies in Turkish costume seated on a divan playing the traditional game of Mankala’h. The drawing was produced while the artist was staying in Constantinople. He had been born to French parents in Geneva in 1702. His father, who was a jeweller, encouraged his son to become an enamel and miniature painter in order to learn to decorate watches and jewellery.

Liotard studied in Paris with the miniaturist Jean-Baptiste Massé and lived in the French capital for 12 years before moving to Rome. There he met the English Grand Tourists Sir William Ponsonby, the future 2nd Earl of Bessborough and the Earl of Sandwich. Together they sailed to Constantinople where Liotard remained for four years from 1738 to 1742, learning Turkish and adopting Turkish dress. The city had a significant European community and he established himself as the leading portraitist, working in oils, pastels and enamels. The women depicted in

the drawing are Europeans who have adopted Turkish costume. Liotard brilliantly captures their elaborate textures and that of the cushions of the divan. It would have been considered improper for any Turkish woman to have been depicted in such a way by a male artist.

About 40 drawings are known from the artist’s time in Constantinople. Some are formal portraits but the majority are of seated or standing women in elaborate local costumes. This is one of only five that show two such women

together. A counterproof of this drawing is in the Louvre as are the majority of Liotard’s Constantinople drawings. The only other drawing he executed in Constantinople and now in a UK collection is in the Victoria and Albert Museum. That is of a male sitter and is compromised by staining.

The drawing was retained by the artist, most probably for reference and use in future works. He displayed it in an exhibition in London in 1773 and then sold it the following year at Christie’s where it was acquired by the Earl of Bessborough. It remained in English collections until accepted in lieu.

The Panel considered that the drawing met the second and third criteria, that it was fairly valued and in acceptable condition. It has been permanently allocated to the British Museum in accordance with the condition attached to the offer.

Above: Two Ladies in Turkish Costume by Jean-Etienne Liotard. Photo: Trustees of the British Museum

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7Jean-Antoine Watteau: Double-sided drawing

This double-sided sheet in red-chalk, 16 by 19.5 cm, depicts on the recto studies of a lady sitting and two gentlemen standing. On the verso there are studies of three foot soldiers, a drummer and two cavaliers. The sheet has been dated on stylistic grounds to 1710 for the recto and the verso, a little earlier, to 1709/10.

Jean-Antonie Watteau (1684-1721) is a supreme draughtsman in French art. His earliest biographer, Gersaints, noted that even in his youth he was constantly drawing the visitors to the

town of Valenciennes in which he grew up. He moved to Paris in the first years of the 18th century working initially in a painting factory producing innumerable small copies of the same painting by Gerrit Dou. He then worked for Claude Gillot, a painter of theatrical scenes but relations between the two soon soured and in 1711 he became associated with a celebrated decorative painter, Claude Audran who was also concierge, or curator, to the Palais de Luxembourg which gave Watteau access to Rubens’ Life of Marie de Medici paintings which were a source of profound inspiration.

Following a brief return in 1709 to his home town he remained in Paris and in 1712 was accepted into the Académie Royale de Peinture et de Sculpture although repeated delays meant that his reception piece was not forthcoming until 1717. A new genre of painting was created for him: the ‘fête galante’, defined in a contemporary dictionary as ‘festivities by decent people’.

From an early stage his drawings were the subject of praise, contemporaries wrote of his, ‘accurate drawing...his expressions are piquant, his festive airs have marvellous grace, his dancing figures are admirable in their lightness, the perfection of their movements and the beauty of their attitudes.’

The standing man on the verso of the present drawing is used by Watteau in one of the Figures de Modes, a series of etchings dating from 1709/10 and the seated woman appears with a fan in her right hand in the painting Pierrot Content (Thyssen-Bornemisza Collection, Madrid).

The Panel considered that the drawing met the second and third criteria, that it was fairly valued and in acceptable condition. It has been permanently allocated to the National Galleries of Scotland in accordance with the condition attached to the offer.

Above: Studies of two Gentlemen standing and a Lady seated by Jean-Antoine Watteau. Photo: National Galleries of Scotland

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8Jean-Auguste-Dominique Ingres: Portrait of the Maréchale KutusovThis small pencil drawing, 132 by 87cm, is signed and dated, “Ingres/Rome/1815”. It depicts Katarina Kutusov (née Bibikov) who was the widow of the great Russian Field Marshall and hero of the Patriotic War of 1812, Mikhail Kutusov, who had reversed Napoleon’s invasion of Russia at the battle of Borodino, in September 1812.

Kutusov had died, however, in April 1813 and his widow left Russia within a year and was in Rome by 1815. On 25 November, the feast of St Katherine of Egypt, the composer Gioachino Rossini presented to Katarina Kutusov a cantata, entitled L’Aurora in celebration of her name day.

Jean-Auguste-Dominique Ingres (1780-1867) had studied in Toulouse before moving to Paris to work in the studio of David in 1797. He won the Prix de Rome in 1801 but did not travel to the city until 1806 where he spent the next four years studying and working. He stayed on in the city, which since 1805 had been effectively part of the Greater French Empire, and was to remain so until the abdication of Napoleon following the defeat at Waterloo in October 1814.

With the retreat of the French from Italy, Ingres’ financial support dried up. Although previously he had frequently drawn pencil portraits of his friends and associates, now, out of economic necessity, he took to providing such portraits for the tourists who visited Rome. It is for this reason that there are so many English sitters among Ingres’ graphite portraits. Madame Kutusov was following the fashion in sitting to the French artist. Ingres also painted a portrait of her in oil. It is in oval format and shows the sitter full face and looking younger although she was over 60 years of age when she met Ingres. There must have been some sense of mixed emotions when Ingres, who less than a decade before had provided Napoleon with the iconic image of his Imperial coronation in Napoleon I on his Imperial Throne (Musée de l’Armée, Hôtel des Invalides, Paris), met the widow of the Russian general who had played such an important part in the emperor’s downfall.

The Panel considered that the drawing met the second and third criteria, that it was fairly valued and in acceptable condition. It has been permanently allocated to the Fitzwilliam Museum in accordance with the condition attached to the offer.

Above: Portrait of Maréchale Kutusov by Jean-Auguste-Dominique Ingres. Photo: Fitzwilliam Museum

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9Jean-Honoré Fragonard: Landscape with a BridgeThis fine red chalk drawing, 23.4 by 36.9 cm, is believed to represent a French landscape probably based on an actual site. On stylistic grounds it is dated to the late 1760s and depicts a wooded valley through which a stream is flowing. In the foreground three small figures can be seen fishing in the stream and beyond a further two women are engaged in some activity. A donkey and rider and companion cross the small stone bridge, while beyond the view leads to the facade of a small chateau beyond which rise more trees and distant hills.

Jean-Honoré Fragonard (1732-1806) was born in southern France but his family moved to Paris in 1738 where he studied with both Chardin and Boucher before spending three years at the Ecole Royale des Elèves Protégés. His early paintings show the clear influence of Boucher. He spent the second half of the 1750s in Rome having won the Prix de Rome earlier in the decade. There he met Hubert Robert who introduced him to sketching in the open air and he produced an exceptional group of drawings while staying at the Villa d’Este in 1760 and while touring in Italy with Robert and his patron. These were used on his return to Paris in preparation for his paintings in oil such as Le Petit Parc (Wallace Collection).

On returning to Paris he enjoyed great success with the history painting he produced as his entrée to the Académie Royal. However, the high seriousness of history paintings was not his natural metier and he concentrated on works that reflected the taste of the time, such as, arguably his most famous work, The Swing (Wallace Collection) painted in 1767. As well as easel paintings, Fragonard produced a number of decorative schemes including The Progress of Love (Frick Collection) painted in 1771/72 for Madame du Barry, mistress of Louis XV.

Although Fragonard retired in 1789 and returned to his home town in the south of France he returned to Paris in 1792 to take up various administrative positions, effectively becoming first director of the Louvre which was being established as a national museum.

The Panel considered the drawing met the second and third criteria and that it was fairly valued and in acceptable condition. It has been permanently allocated to the Ashmolean Museum in accordance with the condition attached to the offer.

Above: Landscape with a Bridge by Jean-Honoré Fragonard. Photo: Ashmolean Museum

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10 Giorgio Morandi: two paintingsTwo separate offers were received in the period under review of paintings by the 20th century Italian artist Giorgio Morandi (1890-1964):

1 Paesaggio (Landscape) circa 1924, oil on canvas, 58 by 42 cm

2 A Still Life with Three Containers, 1960, oil on canvas, 24.8 by 28 cm

These works come from the opposite ends of Morandi’s career. He was born and died in the northern city of Bologna where he studied at the Academia di Belle Arti from 1907 to 1913. After early brushes with Italian Futurism and Metaphysical painting he settled into his characteristic figurative style which explored repeatedly the arrangement of a few objects within a small defined space. In addition he painted a small number of landscapes associated with the places he knew best. While on one level the still lifes and the landscapes are quite different they share the same meticulous examination of light and objects in space and exhibit a quiet contemplative mood along with a subtle use of colour.

Paesaggio depicts the farm houses around Grizzana outside Bologna. It may even depict the house of Count Aurelio Saffi, a patron and friend of Morandi, who was the first owner of the painting. Morandi rarely travelled apart from his annual summer vacation in Grizzana, 30 km southwest of Bologna. Here he took his summer holiday every year from 1913 and it was the inspiration for most of his landscape paintings. In 1986 the town was renamed Grizzana Morandi in honour of the artist.

The Panel considered the painting to be pre-eminent under the second and third criteria, to be in acceptable condition and, after negotiation, to be fairly valued. It has been allocated to the Fitzwilliam Museum in accordance with the condition attached to the offer. This is believed to be the first landscape painting by Morandi to have entered a UK public collection.

A Still Life with Three Containers dates to Morandi’s final decade when he had reached international fame as one of the greatest artists to have emerged from Italy in the 20th century. Over his long artistic career he painted the same flasks, bottles, tins and vases over and over again, but without any sense of repetition. On each occasion he brought a freshness of observation which transcended the simple domesticity of the objects and creates a near-abstract quality which breathes a haunting sense of timelessness and stillness.

The Panel considered the still-life to be pre-eminent under the third criterion, to be in acceptable condition and fairly valued. It has been allocated to Tate in accordance with the condition attached to the offer.

Top: Paesaggio (Landscape) by Giorgio Morandi. Photo: Fitzwilliam Museum

Above: Still Life with Three Containers by Giorgio Morandi. Photo: Tate

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Above: Anni’s Necklace by Charlotte de Syllas. Photo: Victoria and Albert Museum

11Charlotte de Syllas: Anni’s necklaceAnni’s necklace is a black jade, opal, rock crystal and 18 carat white gold necklace, designed and made in 1974 by Charlotte de Syllas (born 1946). The necklace consists of a flexible band of alternating stripes of white gold and black jade articulated and shaped to fit over the curve of the shoulders. The jade becomes more prominent towards the front of the necklace and at its centre is a Janus-like head with two faces in profile, carved from flesh-coloured opal which flashes with blue and green. The faces illustrate the balance of male and female. Behind the heads is a third face, carved in rock crystal framed with a white gold border. The clasp ends in the form of two sculpted hands clenched around a baton.

Charlotte de Syllas is one of the leading contemporary jewellers of the last forty years renowned for her originality, technical accomplishment in the use of materials and for her understanding of the qualities of different hardstone as well as the three-dimensional quality of her jewellery. The complexity of her works means that her output is restricted and she often spends many months to achieve the single commissions which form the vast majority of her work.

The necklace was commissioned as a silver wedding present by Malcolm MacEwen who was then Director of Public Affairs at the Royal Institute of British Architects, for his wife Ann who was one of the leading urban planners of the post-War period. She worked first with London County Council in the regeneration of the East End and later with Colin Buchanan on transport planning. In later life both were notable champions of national parks and particularly Exmoor where they moved in retirement.

The Panel considered the necklace to be pre-eminent under the third criterion and to be in acceptable, indeed outstanding, condition. The value at which the necklace was offered was felt to be a very considerable undervaluation and the Panel advised a value which it felt was fair to both offeror and nation. This was agreed. It has been allocated to the Victoria and Albert Museum in accordance with the condition attached to the offer.

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12Archive of J G Ballard

James Graham Ballard (1930-2009) is widely regarded as one of the most distinctive and distinguished English writers of the second half of the 20th century. He has the rare distinction of his name having given rise to an adjective. ‘Ballardian’ is defined by Collins English dictionary as, ‘resembling or suggestive of the conditions described in Ballard’s novels and stories, esp dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.’

Born in Shanghai in 1930, his childhood experiences of the Japanese invasion and his imprisonment at Lunghua Internment Camp were to be the basis of his best-known novel, Empire of the Sun (1984), which was given cinematic life by Stephen Spielberg in 1987. At the end of the war, the Ballard family remained in Shanghai before returning to England in 1946. Although he studied medicine for two years at Cambridge, his wish to write took precedence and after a series of jobs he became a professional writer. In 1961 he published his first novel, The Drowned World, which foresaw the consequences of global warming.

The archive which runs to approximately 12 linear meters contains the manuscript of The Drowned World and all his major works including Crash (1973), Empire of the Sun, The Kindness of Women (1991), Super-Cannes (2000), up to Miracles of Life published in 2008. In addition there are various notebooks in which Ballard jotted down possible plots, letters to Ballard and original letters (where they were sent by fax) and drafts or copies of letters from Ballard. There is a group of material relating

to his early years including his certificates from the Cathedral School Shanghai and his school in Cambridge. There is also an important group of papers relating to Lunghua Camp including plans of the camp and minutes of camp council meetings as well as letters from those who were in the camp and responded to the publication of Empire of the Sun.

The Panel considered the archive to be pre-eminent under the third criterion, to be in acceptable condition and fairly valued. It has been allocated to the British Library in accordance with the condition attached to the offer.

Above: J G Ballard: autograph manuscript of the first page of The Empire of the Sun. Photo: British Library

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13Kidderminster portraitsThe offer consisted of four 18th century portraits, two in oil and two in pastel of three generations of the Russell family of Kidderminster, a prominent non-conformist family in Worcestershire.

The details of the four works are:

1 Attributed to John Russell, Portrait of John Jefferys (1714-1785), pastel, 60 by 45 cm

2 John Russell, Portrait of Matthew Jefferys (1740-1814), signed: Russell / 1775, pastel, 85 by 69 cm

3 John Russell, Portrait of Thomas Jefferys (1742-1820), signed: Russell / 1805, oil on canvas, 125 by 100 cm

4 Attributed to James Millar, A group portrait of Elizabeth (1771-1801), Sarah (b. 1775) and John Jefferys (1777-1835), oil on canvas, 91 by 121cm

The painter of two of the portraits, and probably three, John Russell (1745-1806), was himself a non-conformist – a Methodist. John Jefferys (1714-1785), whose portrait is probably by Russell, was a successful miller in Kidderminster. He lived nearby at Franche Hall, a notable house formerly associated with the gentry but which from the time of John Jefferys was owned by people associated with the commercial life of Kidderminster. This portrait was probably painted in London before Russell became one of the leading fashionable painters, and is an interesting example of a non-conformist patron seeking out a fellow non-conformist to employ. This pattern of patronage continues in the pastel of John Jefferys’ eldest son, Matthew, which is signed by Russell and dated 1775. It demonstrates the increasing gentrification of this successful family. The four pictures show a fascinating snapshot of an 18th/early 19th century Kidderminster family and are of considerable local interest and a rare survival of a group of portraits depicting members of the trade rather than the more common groups that survive from aristocratic families or members of the gentry.

The Panel considered the collection to be pre-eminent under the third criterion within a local context, to be in acceptable condition and fairly valued. It has been permanently allocated to the Worcester City Art Gallery & Museum.

Above: Portrait of Matthew Jefferys by John Russell. Photo: Worcester City Art Gallery & Museum

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14Paul Gauguin: Two Standing Tahitian Women This small, delicate watercolour transfer monotype, painted in blue, terracotta, black, pink and grey, on thin oriental paper, 18.6 by 16.7 cm, is inscribed in pencil, “á l’ami Baven / P G O – 1894 – ”. It was given by Gauguin to the English artist Robert Bevan (1865-1925) in the period following Gauguin’s return to France after his first visit to Tahiti. Gauguin was staying in the small fishing village of Pont-Aven in Brittany which was at the time a well-known artists’ colony. Not only was it a haunt of French artists but Gauguin is known to have met both Bevan and the Irish artist Roderick O’Conor who were visiting.

The technique of watercolour monotype had been taken up by Gauguin earlier in 1894. It involved the transfer of a drawn or painted design from one sheet to another without the use of a plate or stone. The deliberately defuse effect is created by pressing a thin Japan paper onto a pre-existing watercolour painted in heavier absorbent paper. In this way one or two replicated versions can be produced by the seeping of the watercolour onto the Japan paper. In the case of Two Standing Tahitian Women, the artist has then reinforced by hand the dark area in the upper right. One other copy of this image which Gauguin gave to the sculptor Aristide Maillol (Musée Maillol, Paris) is known. In the majority of cases Gauguin gave the best of these prints to his artistic friends who he thought would understand the deliberate roughness and primitiveness which result paradoxically from this delicate printing technique.

Gauguin produced 34 works using this technique and they can be linked to the book that he was intending to produce on the subject of his sojourn in Tahiti and which was produced in the following year.

The Panel considered the monotype to be pre-eminent under the third criterion, in acceptable condition and fairly valued. It has been permanently allocated to the British Museum in accordance with the wish of the offeror.

Above: Two Standing Tahitian Women by Paul Gauguin. Photo: Trustees of the British Museum

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15Bruce Turner: Pavlova

Bruce Turner’s (circa 1894-1963) Pavlova, oil on board, 49.5 by 59.7 cm, is an extraordinary example of the impact of avant-garde continental painting in Britain in the early years of the 20th century. Bruce Turner was a relatively obscure artist who was born in Leeds sometime in the middle of the last decade of the 19th century. He was a member of the Leeds Art Club which had been founded in 1903 and was a radical centre for modern ideas not only in art but also politics. Other members included Frank Rutter, Keeper of Leeds Art Gallery and Michael Sadler, Vice Chancellor of Leeds University and a notable collector. Rutter curated the ground-breaking Post-Impressionist and Futurist exhibition in the Doré Galleries in 1913.

Pavlova clearly shows the influence of the Italian Futurists and especially Gino Severini who had been one of the founding

signatories of the Futurist Manifesto in 1910. The first Futurist exhibition outside Italy had opened in Paris in 1912 and travelled to London where 40 works were shown in the Sackville Gallery. Although the critics were hostile – The Times critic wrote on 19 March 1912, ‘The anarchical extravagance of the Futurists must deprive the movement of the sympathy of all reasonable men’ – its influence on British artists was to be seen in Rutter’s 1913 exhibition in which Walter Sickert, Percy Wyndham Lewis, Edward Wadsworth and Frederick Etchells all displayed works which demonstrated their receptiveness to the work of their Italian contemporaries.

The exact date of Pavlova is unknown but it is most likely to have been painted at

about the same time that the legendary Russian ballerina Anna Pavlova performed in Leeds. Extant playbills record appearances in January, March and October 1912. The depiction of movement was a key feature of Futurist paintings and the mosaic-like touches of dry, crusty paint in Turner’s painting suggest that he must have had first-hand experience of Severini’s paintings and that he may have travelled to London to see the 1912 Futurist exhibition. Whatever the exact circumstances, this painting shows Bruce Turner to have been a remarkably advanced and capable artist and makes it all the more regrettable that having been imprisoned for being a conscientious objector during World War I, he suffered a breakdown. He was reclusive for the rest of his life and his limited output never achieved the vigour and brilliance of his pre-War work.

The Panel considered the painting to be pre-eminent under the third criterion, in acceptable condition and fairly valued. It has been permanently allocated to Tate in accordance with the wish of the offeror.

Above: Pavlova by Bruce Turner. Photo: Tate

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16Harold Pinter awards

This group of 79 awards, medals and honorary degrees, including the Nobel Prize for Literature awarded in 2005, records four decades of achievement of the playwright and poet Harold Pinter (1930-2008) and the international recognition that this elicited.

The earliest award dates to 1960 when Pinter received the Best Play award at the Evening Standard Awards for The Caretaker. It had been his first major commercial success opening at the Arts Theatre in April, starring Donald Pleasance and Alan Bates before transferring and achieving a run of 444 performances. The same cast took the play to New York in 1962. Other plays to receive awards included The Caretaker (Newspaper Guild of New York, 1962), The Lover (Premio Italia, 1962), The

Homecoming (Tony Awards, Best Play 1967; New York Drama Critics’ Award, Best Play 1967), The Betrayal (Society of West End Theatre Award: Best Play 1979 and LA Drama Critics Award 1982), A Kind of Alaska (British Theatre Association, Best New Play, 1982) and One for the Road (British Theatre Association, Best New Play, 1984).

Pinter was also a frequent writer of original screenplays and adapted both his own and other writers’ works for the cinema. He received awards for The Servant (Guild of Television Producers, Writer of the Year, 1963 and New York Film Critics Award, Best Screenplay, 1964), The Pumpkin Eater (BAFTA, 1967), The Go-

Between (Society of Film and Television Arts, Best Screenplay, 1972) and The French Lieutenant’s Woman (BAFTA, Best Screenplay, 1983).

In later years he was the recipient of an increasing number of awards that recognised his lifetime’s achievement rather than any specific work and these included the Shakespeare Prize, Hamburg, in 1970; the Molière Prize, Paris, 1997; Royal Society of Literature, Companion of Literature, 1999; the Chilean Order of Merit, 2001; South Bank Show, Outstanding Achievement in the Arts, 2001. In addition there were numerous honorary doctorates from universities in Reading (1970), Birmingham (1971), Glasgow (1974), Stirling (1979), Sofia (1995), Bristol (1998), London (Goldsmiths) (1999) and Turin (2002).

His final decade was crowned by the Nobel Prize for Literature in 2005. The citation stated that it was awarded to Harold Pinter, ‘who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms’.

The Panel considered the awards to be pre-eminent under the third criterion, in acceptable condition and fairly valued. They have been permanently allocated to the British Library in accordance with the condition attached to the offer.

Above: A selection of the awards given to Harold Pinter. Photo: British Library

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17Willem van de Velde the Younger: two marine paintingsThe full details of the two works by Willem van de Velde the Younger (1633-1707), accepted in lieu are as follows:

1 A Dutch Three-Master and Boeier in the foreground, her Mainsail being lowered in Stormy Weather, oil on canvas, 33 by 36.9 cm

2 Dutch Shipping in a Heavy Swell with a Small Hoeker under a half-lowered Mainsail and a School of Porpoises in the foreground, oil on canvas, 33 by 39.4 cm

Although these two signed paintings are unlikely to have been conceived as a pair, they are very similar in size and have hung together since the early 19th century when they were acquired by Thomas Hope, the art collector and connoisseur. They are likely to have been bought in Amsterdam before the French occupation which triggered Hope’s departure to London. They are recorded in the Hope collection in 1818 when they hung in his Surrey villa, the Deepdene. They were subsequently acquired by another important collector, Alfred Beit in 1904 and passed to his brother, Otto, in 1906. They remained in the Beit collection until sold circa 1970 when they were bought by the family from which they were offered in lieu.

Willem van de Velde the Younger came from a family of marine painters who moved from Leiden to Amsterdam in the mid-1630s. With his father, (Willem the Elder), he came to England in the winter of 1672/73 most likely due to the political turbulence arising from the French invasion in May 1672. Both paintings date from the time immediately prior to the move to England. In his earlier years, Van de Velde had specialised in producing calm scenes the greatest of which is arguably Calm: Dutch Ships Coming to Anchor in the Wallace Collection. As in the two paintings offered in lieu, his later scenes are often more animated and scenes of storm and shipwreck become common. Van de Velde received

royal patronage when Charles II and James, Duke of York commissioned a series of marine battle paintings following the end of the Anglo-Dutch wars in 1674. The King arranged for both Willem and his father to be given studio space in the Queen’s House at Greenwich.

The Panel considered that the paintings each met the third criterion, that they were fairly valued and in acceptable condition. They have been permanently allocated to the National Trust for display at Buckland Abbey in Devon in accordance with the condition attached to the offer.

Top: A Dutch Three-Master and Boeier in the foreground, her Mainsail being lowered in Stormy Weather by Willem Van de Velde the Younger. Photo: Sotheby’s

Above: Dutch Shipping in a Heavy Swell with a Small Hoeker under a half-lowered Mainsail and a School of porpoises in the foreground by Willem Van de Velde the Younger. Photo: Sotheby’s

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18The Butler family papersThis archive contains papers of three generations of the Butler family: Alfred Joshua Butler (1850-1936), fellow and bursar of Brasnose College, Oxford and noted Coptic scholar; Sir Harold Beresford Butler (1883-1951), civil servant and Rohan D’Olier Butler (1917-1996) historian and civil servant.

A J Butler’s lifelong interest was Coptic Egypt (ie the Christian Church in Egypt, primarily in the first millennium AD) and his major published work The Ancient Coptic Churches of Egypt (1884) has remained in print for over a century. His later work The Arab Conquest of Egypt published in 1902 was equally authoritative and was recognised as a major contribution to the scholarship on the subject. His papers are scant but they include notes and annotated plans of various Coptic churches which were intended for a new edition of his book. There is also a group of correspondence with other Coptic scholars. The group includes his own copies of his publications which are copiously annotated and amended.

His son, H B Butler, entered the Civil Service in the years before World War I and following a period in the Home Office was transferred in 1917 to the newly created Ministry of Labour. He drafted the labour section of the Versailles peace conference and became a leading spokesman on international labour issues, playing a pivotal role in the establishment of the International Labour Organisation. He became its Director in 1932. He left in 1938 to become first Warden of the newly-established Nuffield College, Oxford. In 1942 he became head of the British Information Service in Washington, playing a crucial role in gaining American public support for US intervention in the European conflict. On retirement he was awarded the KCMG.

R D Butler worked in the Ministry of Information and Foreign Office during World War II. A short period at All Souls ended when he was co-opted into the Foreign Office to edit the multi-volume Documents on British Policy Overseas, 1919-1939, under the chief editor Sir Llewellyn Woodward. In 1963 he was appointed Historical Adviser to the Secretary of State for Foreign Affairs. He was also a distinguished Francophile and wrote Choiseul: Father and Son 1719-1754, a detailed biography of the French statesman which won him recognition in France.

The Panel considered that the papers met the third criterion, that they were fairly valued and in acceptable condition. They have been permanently allocated to the Bodleian Library, Oxford, in accordance with the condition attached to the offer.

Above: Letter from the historian Herbert Fisher to H B Butler, 6 February 1937. Photo: Bodleian Library

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19Robert Byron: photographic archive and portraitsRobert Byron (1905-1941) was one of the finest travel writers of his generation and his most celebrated book The Road to Oxiana (1937) describing his travels in Persia and Afghanistan remains a much-loved classic of the genre.

Although Byron had an undistinguished academic career at Eton and Merton College, he oozed self-confidence and had an originality of mind – and at times, especially in his youth, an affected contrariness – that singled him out among his peers and among contemporary travel writers. Above all he was a master of the English language, able to evoke a sense of place unmatched by other more successful travel writers of the period. His prose was to have a major influence on the next generations of travel writers and he was one of the first popular writers to appreciate Byzantine art and culture.

His first book, The Station: Travels to the Holy Mountain of Greece resulted from his visit in 1927 to Mount Athos, the autonomous ‘Monastic Republic’ in northern Greece. There followed three books on Byzantine art, Western art and then architecture. Architecture was always of fundamental importance to him in his descriptions of place and he taught himself to be a highly competent architectural photographer. The archive accepted in lieu consists of approximately 1,400 plates and film negatives taken by Byron and used to illustrate his travel writings. These provide a unique record of the architecture of India, Iran, Afghanistan, Russia and Greece in the first half of the 20th century and are a major scholarly source of record for many buildings which have either suffered neglect or have been lost as a result of conflict and modern developments.

The offer also included the only two known portraits of Byron (apart from photographic images): an oil on canvas, 73 by 55 cm, painted by Adrian Daintrey and a bronze portrait bust, 30 cm high, by Dora Gordine.

The Panel considered that the papers and portraits met the third criterion, that they were fairly valued and in acceptable condition. The photographs and bust have been permanently allocated to the British Library where they will join some of Byron’s literary papers and the oil portrait has been permanently allocated to the National Portrait Gallery in accordance with the wish of the offeror.

Above: The shrine of Khwaja Abu Nasr Parsa, Balkh, Afghanistan, 1934 by Robert Byron. Photo: British Library

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20Archive of the Savile of Rufford family

This archive contains the papers of the Lumley-Savile family, Barons Savile, who were established in Yorkshire by 1300. The archive records the administration of the family’s landed estate from the 12th to the 20th centuries during which the estates were a major business enterprise, employing generations of people in 15 different counties, but especially in North Nottinghamshire and West Yorkshire.

In the later medieval period, the Saviles through judicious marriages acquired further property including the Rufford Abbey estates near Mansfield in Nottinghamshire, granted

at the Dissolution to George, 4th Earl of Shrewsbury. From about 1590 Rufford became the focus of their estates and after the Civil War it became the family’s main seat. It was significantly improved by Sir George Savile, later 1st Marquess of Halifax in the early 1680s. In 1784 the estate passed to Richard Lumley Saunderson, one of the seven sons of Barbara, sister of the 8th Savile baronet and wife of Richard Lumley, 4th Earl of Scarbrough. Following the death of the 8th Earl of Scarbrough in 1856 the Savile estates were kept intact by passing successively to his illegitimate sons. The second, John, took the name Savile and was created a baron in 1888. At this time the Yorkshire and Nottinghamshire estates totalled about 34,000 acres. Fearing the outbreak of war, in 1938 the Savile trustees sold the Rufford estate and in 1952 it was bought by Nottinghamshire County Council. The ruins of the Abbey (a scheduled ancient monument) are now in the care of English Heritage and the grounds have been officially designated a country park.

The archive is exceptionally rich in medieval material, comprising not only the numerous charters of Rufford Abbey, but also individual documents such as the detailed ordinances for Rufford drawn up in 1481 by delegates

appointed by the abbot of Citeaux and the Chapter General of the Cistercian order. The Savile Sherwood Forest Book, a rare survival, includes a wealth of copy documents relating to the administration of this important royal forest from the 12th century onwards. There are also early estate maps and surveys including a map of the Thornhill estate attributed to Christopher Saxton (1542-1610/11) the father of English cartography and a plan of Elland Park from 1597. The 1634 map of Thornhill by Edward Rolston, 1634, is exceptional both in size and quality.

The Panel considered that the archive met the third criterion, that it was fairly valued and in acceptable condition. It has been allocated temporarily to Nottinghamshire Archives and Kirklees Central Library.

Above: Detail from Edward Rolston’s map of 1634 of Thornhill Park owned by Sir William Savile. Photo: Nottinghamshire Archives

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Below: Ottoman jade tankard. Photo: Christie’s Images

21Ottoman jade tankardThis gold inlaid and gem-set nephrite jade Ottoman tankard and cover stands 20 cm high. On stylistic grounds it is thought to have been made at the Ottoman court in Istanbul in the late 16th century and is likely to have been created for the Sultan’s personal use at the Topkapi Palace where the finest examples of their kind are still held. Other examples were made as diplomatic presents and a significant number are in the collection of the Kremlin in Moscow. The present tankard is the first, however, to enter a UK public collection.

The form of the tankard comes from humble beginnings. The pot-bellied front and flat back owes its origin to the leather drinking vessels which were slung in the saddlebags of nomadic travellers and which are still found today in Anatolia and the Balkans where they are often used for a fermented millet drink known as boza.

When the Ottoman Empire was at the height of its power and confidence its court craftsmen took this simple drinking vessel and transformed it into a sumptuous luxury object. The jade would have been imported from Central Asia and then carved.Onto this basic form an elaborate and refined floral decoration has been added. On each side of the tankard, delicate gold wire filigree forms a pattern of floral sprays with inset rubies and occasional emeralds and between them at the front is a more formal symmetrical floral arrangement with a central emerald. Beneath the handle is an inlaid pattern of gold arabesques. All the major elements of the design have parallels in Iznik design of the period 1570 to 1590.

The pot was further embellished in the early 19th century when gold Rococo mounts also inset with rubies were added both to the foot of the tankard and to the rim of the cover. An elaborate gold handle encrusted with rubies was also added at the same time.

The Panel considered that the tankard met the second criterion, was in acceptable condition and fairly valued. The amount of tax that the acceptance of the object could satisfy was considerably in excess of the actual liability on the estate and additional funding was provided by The Art Fund (£220,000), the Wolfson Foundation (£257,500), the Geoffrey Akerman Bequest, the Friends of the V&A and The Salomon Oppenheimer Philanthropic Foundation. The tankard has been permanently allocated to the Victoria and Albert Museum in accordance with the condition attached to the offer.

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22Papers of Charles SturtCharles Sturt (1795-1869) was born in Bengal, India but was sent home to England for his education. His family could not afford to put him through university but an aunt obtained for him a commission in the army. After service in the USA during the war of 1814 and later Paris and Ireland, he was posted to Australia in late 1826. In 1828 and in 1829/30 he led expeditions to explore the then unknown interior of Australia and discovered and named both the Darling and Murray rivers.

These gruelling journeys weakened his health and he had to return to England for treatment of his damaged eyesight. When he returned to Australia in 1835 it was as a civilian and he was given 5,000 acres of land and by 1838 had been appointed Surveyor General of New South Wales.

In 1844 he led a third expedition up the Murray and Darling rivers which hoped to reach the centre of the continent and find the fabled inland sea which had been alleged to exist since Westerners first set foot in Australia. The expedition encountered enormous hardships including drought, fierce heat and vast expanses of sand. His second in command died in the course of the journey and on his eventual return to Adelaide in January 1846, although Sturt had covered nearly 3,500 miles on foot and reached to within 150 miles of the centre, all he was able to report was that the interior was barren and inhospitable and without the hoped-for expanse of water that would have made feasible the colonisation of the interior.

He had achieved, however, the mapping of vast tracts of the interior never before reached by Westerners along with systematic observations of the fauna and flora of the continent. He had also pioneered the geological examination of the interior that was eventually to lead to the important mining industry of central Australia.

The archive contains Sturt’s autograph journal of the 1844 to 1846 expedition, together with maps and drawings and his dictionary of the aboriginal language, the first attempt to record and translate the language of the country’s indigenous peoples. It consists of Aboriginal words arranged alphabetically on the left and an English translation on the right.

The Panel considered that the papers met the third criterion, that they were fairly valued and in acceptable condition. They have been allocated to the Bodleian Library in accordance with the wish attached to the offer.

Above: Charles Sturt: watercolour of the interior of Australia, circa 1844 to 1846. Photo: Bernard Quaritch Ltd

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23Sir Frederick Sykes: portrait and medals

Sir Frederick Sykes (1877-1954) was born in Surrey and after various attempts at developing a civilian career sailed to South Africa at the outbreak of the Boer War and joined the army. He later served in India and West Africa and having risen to captain in 1908, he entered Staff College.

An interest in ballooning led to flying and he obtained his pilot’s certificate in 1911 and entered the nascent Royal Flying Corps the following year, commanding the military wing. With the

outbreak of the war he served as Chief of Staff to Sir David Henderson, Director-General of Military Aeronautics and his previous role was filled by Hugh Trenchard. Sykes and Trenchard were never on good terms and this antipathy was to endure.

In 1916 he joined the War Office. With the decision to create the Royal Air Force (RAF), it was intended that Trenchard would be the first Chief of Air Staff but he quarrelled with Lord Rothermere, the first Air Minister and was replaced by Sykes within two weeks of the official creation of the RAF.

With the end of the war, Winston Churchill became Minister of War and Air and Trenchard gained the confidence of the new minister and Sykes was shunted sideways to take charge of civil aviation so ending his military career. In 1920 he married the daughter of Andrew Bonar-Law. He resigned from the Air Ministry in 1922 and decided to enter politics and was MP for Sheffield Hallam from 1922 to 1928 when he was appointed Governor of Bombay, a post he held for five years. He returned to politics in 1940 and was MP for Nottingham until 1945.

The offer consisted of Portrait of Sir Frederick Sykes, oil on canvas, 91.5 by 76.2 cm, by Sir William Orpen (1878-1931), one of the leading

portrait painters of the first decades of the 20th century. It is believed to have been painted circa 1919, the year in which Sykes left the RAF and was appointed KCB and GBE. On his appointment as Governor of Bombay, Sykes was appointed a Knight Grand Commander of the Indian Empire and on his retirement he was appointed to the same rank in the Order of the Star of India. The star and badge of both orders are included in the offer.

The Panel considered that the portrait and awards met the third criterion, were in acceptable condition and, following negotiation, fairly valued. They have been permanently allocated to the Royal Air Force Museum, Hendon, in accordance with the condition attached to the offer.

Above: Portrait of Sir Frederick Sykes by Sir William Orpen

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24Sir James Guthrie: Portrait of Andrew Bonar Law

Andrew Bonar Law (1858-1923) was born in Canada to Ulster and Scottish parents. His mother died when he was two and a maternal aunt moved to Canada to act as surrogate mother. When his father remarried in 1870 he returned to Scotland with his aunt but never quite lost his Canadian accent. His early career was as a businessman.

As his political interests gradually grew he followed his mother’s family’s Conservatism and became an MP for a Glasgow constituency in the ‘Khaki Election’ of 1900, aged 42. He steadily

gained a reputation within his party and steered a pragmatic course through the minefield of free trade and tariff reform which rocked the Tory party in the early years of the 20th century. He lost his seat in the Liberal landslide in the 1906 General Election but soon returned to the Commons via a by-election. His standing steadily rose in the following years and when the political crisis over the Liberal plan to reform the House of Lords divided the Conservative opposition at the end of 1911, the Tory leader, Arthur Balfour resigned and Bonar Law succeeded and led his party in opposition in the immediate pre-War years.

He attained a senior post when Lloyd George appointed him Chancellor of the Exchequer in 1916 and was effective Deputy Prime Minister in Lloyd George’s post-War coalition government. His health was, however, beginning to give concern and he resigned the leadership of the Party in March 1921. But when Lloyd George’s government fell in October 1922, Bonar Law was asked by the King to form a Government. His priority was to deal with the large Government debt that had been incurred during the War but in May 1923 he was diagnosed with incurable cancer of the throat and he immediately tendered his resignation to the King. He died on 30 October and was buried in Westminster

Abbey, prompting his political adversary, Asquith, to quip that, ‘we have buried the Unknown Prime Minster beside the Unknown Soldier.’

The Panel considered that the portrait, oil on canvas, 111.8 by 86.4 cm, and painted circa 1920, by Sir James Guthrie (1859-1930) met the third criterion, was in acceptable condition and, following negotiation, fairly valued. It has been permanently allocated to the Speaker’s Art Fund at the House of Commons and is displayed within the public areas of the House of Commons.

Above: Portrait of Andrew Bonar Law by Sir James Guthrie

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25Keith Vaughan: three paintingsThe offer consisted of three major works by Keith Vaughan (1912-1977), from each of the last three decades of the artist’s life:

1 Assembly of Figures I, oil on board, 142.2 by 116.8 cm (1952)

2 Musicians at Marrakesh, oil on canvas, 127 by 101.6 cm (1966-70)

3 Elegiac Landscape, oil on board, 122 by 165.1 cm (1976)

The three paintings were offered from the estate of Professor John Ball (1931-2010) who had a distinguished career as a zoologist at the University of Sheffield and had known Keith Vaughan in the final decade of his life. He spent many years collecting Vaughan’s works and those of other British painters of the post-war generation, refining his collection as opportunity and finances allowed.

Keith Vaughan although often classified as one of the post-War Neo-Romantic painters, essentially belonged to no particular tradition. As the first two of these paintings illustrates, his principle theme was the male nude. Assembly of Figures I, in particular, demonstrates the classic Vaughan image of a group of naked male figures which assume almost mythic status through the simplification of form and sculptural quality given to them. Vaughan went on to produce a further eight Assembly paintings, the last produced in 1976, a year before he died.

With Musicians at Marrakesh Vaughan has further paired down the forms to produce an image that reduces the figures to blocks of colour which almost float over the canvas.

The final work, Elegiac Landscape, the last major work in oil of Vaughan’s career before he took his own life having been diagnosed with terminal cancer, completes the progress towards abstraction. The integration of the figure into the landscape has become complete and the separation of man and his environment has been eradicated.

The Panel considered that all three paintings met the second criterion, were in acceptable condition and fairly valued. Assembly of Figures I has been permanently allocated to The Sainsbury Centre for Visual Arts at the University of East Anglia, Norwich, Musicians at Marrakesh to Pallant House Gallery, Chichester and Elegiac Landscape to Museums Sheffield for display at the Graves Art Gallery.

Top: Assembly of Figures I by Keith Vaughan. Photo: Sainsbury Centre for the Visual Arts, University of East Anglia

Middle: Musicians at Marrakesh by Keith Vaughan. Photo: Pallant House Gallery

Bottom: Elegiac Landscape by Keith Vaughan. Photo: Museums Sheffield

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26Sir Joshua Reynolds: Lady Honywood and her daughter

Portrait of Lady Honywood and her daughter, oil on canvas, 104.5 by 112 cm, was painted by Sir Joshua Reynolds (1723-1792) in the last decade of his life when he was at the height of his powers. It was exhibited in 1784 at the Royal Academy of which Reynolds was president and can be seen in the contemporary engraving of John Henry Bamberg depicting that exhibition at Somerset House. The painting depicts the Hon Frances Courtenay (b. 1763), the eldest of thirteen daughters of William, 2nd Viscount Courtenay of Powderham Castle along with one of her daughters. She had married Sir John Honywood (circa 1757-1806) in December 1778. They were first cousins, their mothers being sisters. Lady Honywood wears a black dress along with

black decoration in her hair which may indicate that she was still in mourning for her mother, Frances Clack, who had died in 1782.

Reynolds’s pocket book records sittings for Lady Honywood on 7 and 9 February and 30 March 1784. Those for her daughter are recorded for April 5 and 19. Sir John was also painted by Reynolds at the same time.

The painting is recorded in an 1835 inventory taken on the death of William Courtenay, 9th Earl of Devon. It is not known whether it was painted with the intention of being given to the sitter’s family or whether it passed to the Courtenays on the death of Lady Honywood.

The theme of mother and child where both figures are given almost equal weight was one that Reynolds had developed earlier in his career. The most famous of such portraits, Georgiana, Duchess of Devonshire and her daughter (Devonshire Collection, Chatsworth) was also painted in the same year, although not exhibited at the Academy for a further two years. In the later examples of the genre Reynolds develops

a sense of communication and interaction between mother and child that is lacking in earlier examples such as Lady Pembroke and her son (mid 1760s). It was only in 1775 with Lady Otway with her daughter that Reynolds adds a new spirit of dramatic interest by depicting the mother actively playing with her child. Only one other such double portrait Mrs Seaforth and child (Lady Lever Gallery) is in a UK public collection.

The Panel considered that the painting met the third criterion, that, following negotiation, it was fairly valued and in acceptable condition. It has been permanently allocated to Bristol Museum and Art Gallery.

Above: Lady Honywood and her daughter by Sir Joshua Reynolds. Photo: Sotheby’s

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Acceptance in Lieu

Cases2011/12

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27A George I giltwood centre table from Houghton HallThis table has a moulded border inset with a bevelled mirror panel with verre églomisé gilt decoration with an interlaced monogram RWK within an oval made up of four interlocking C-scrolls. It was recorded in the Vandyke (Tapestry) Dressing Room at Houghton Hall in Norfolk in the inventory taken on the death of Sir Robert Walpole in 1745 where it is recorded as ‘one glass table’. It is recorded in the inventory of 1792 taken on the death of Sir Robert’s grandson, the Earl of Orford, and remains in the same room today. The monogram on the table top had previously been interpreted as a reference to Sir Robert and his wife (Katherine, although her name was normally spelt Catherine) but is now understood to refer to Robert Walpole, Knight. If so, it must date to after 1725 when he was made a Knight of the Bath or 1726 when he was made a Knight of the Garter (the table decoration, however, bears none of the traditional Garter emblems or the motto of the Order). There is only one other known giltwood table with mirrored top and gilt monogram and that was supplied by the London furniture maker John Belchier (d. 1753) for Erdigg in Denbighshire on 6 June 1726 at a cost of £14. Belchier, who is likely to have been of Huguenot origin, worked from premises in St Paul’s Churchyard for over 30 years.

The foundation stone of Walpole’s great country seat, Houghton, was laid in 1722 and the house took over a decade to complete so it may be that this table was acquired for one of the other houses that Walpole owned in Arlington Street off Piccadilly or Orford House in Chelsea.

The Panel considered that the table met all four of the pre-eminence criteria, was in acceptable condition and fairly valued. It has been permanently allocated to the Victoria and Albert Museum to be displayed in situ at Houghton and can be seen in the Embroidered Bedchamber. The bed, tapestries and seat furniture in this same room along with other material from Houghton were accepted in lieu in 2002 and similarly allocated to the Victoria and Albert Museum to remain on display in situ.

Below: Houghton Hall George I giltwood centre table. Photo: Christie’s Images

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28The archive of Lord Louis and Lady Edwina MountbattenLouis Mountbatten (1900-1979), born Prince Louis of Battenberg, was at the centre of British political and military life for nearly a quarter of a century. He was Supreme Allied Commander, South East Asia, from 1943 to 1946 and last Viceroy of India in 1947 making a successful transition to the newly created post of first Governor General of an independent India. Later he was First Sea Lord from 1955 to 1959 and then became Chief of the Defence Staff 1959 to 1965. He lived through a time of change and was instrumental in implementing the transition in Britain’s role from an imperial power into a post-colonial country. His wife, Edwina Ashley, whom he married in 1922 was an important figure in her own right working in the Joint War Organisation of the Red Cross and on the United Council for Relief and Welfare in India.

This very large archive consists of about 250,000 documents and 50,000 photographs and covers all aspects of Mountbatten’s career. His papers from Combined Operations and South East Asia Command include official and personal letters, messages and telegrams and document all aspects of Mountbatten’s service in the Second World War. Major correspondents include Churchill, Roosevelt and Eisenhower, with extensive series from the military leaders Alanbrooke, Auckinleck, Montgomery, Wavell and Wingate. The papers are a prime source for understanding allied operations, the priorities of the different powers and the uneasy relationships that developed.

The papers relating to the end of British rule in India and Pakistan are of fundamental importance to an understanding of the transition to independence and the events that led to the division of the country. Among the extensive list of important correspondents are Nehru, Jiannah, Chiank Kai Shek and Indira Gandhi. Meeting with all the leading protagonists, Mountbatten produced records as he addressed the fundamental question of whether British India should become one independent country or be divided in response to the threat of civil war and communal violence. Outwardly insignificant documents such as Gandhi’s note to Mountbatten on the 2 June 1947 in which he said he would not speak as he was keeping a day of silence, and hence would not voice objection to the plan to divide the sub-continent, were of enormous consequence and effectively decided the future shape of the sub-continent and the lives of millions.

The Panel considered that the archive met the first and third criteria, was in acceptable condition and fairly valued. As the tax payable by the offerors was less than could be satisfied by the acceptance of these papers, the University of Southampton, to which the archive has been permanently allocated, raised additional funds of just under £2 million from the National Heritage Memorial Fund and £100,000 from both Hampshire County Council and the John Henry Hansard Trust.

Above: Lord Louis and Lady Edwina Mountbatten in official robes and enthroned as the last Viceroy and Vicereine of India, 24 March 1947. Photos: University of Southampton

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Right: Meditation by Barbara Hepworth. Photo: Aberdeen Art Gallery and Museum, © Hepworth Trustees

29Barbara Hepworth MeditationThis Irish marble sculpture, measuring 35 cm high, 38 cm wide and 28 cm deep, by Dame Barbara Hepworth (1903-1975), one of the most important British artists and one of the few 20th century British artists to hold an international reputation, originally belonged to Sir Norman Reid, a former Director of the Tate and an artist in his own right. The piece was given to him by Barbara Hepworth shortly before her death in 1975.

Meditation, created in 1973, is an important example of Hepworth’s late work when, alongside bronzes, she produced carvings in variously highly coloured and patterned stones including several marbles from Ireland, one of which she used for this piece. It exemplifies Hepworth sculpture as being at the same time abstract in the sense that it is not figurative and simultaneously natural: a solid piece of Irish green marble carved to look like a boulder that has been polished by centuries of water and weather, with just a single circle carved into one of its sides as the only clear suggestion of human intervention.

The Panel considered Meditation to be pre-eminent under the second criterion, in acceptable condition and fairly valued. The amount of tax that acceptance of the sculpture could have settled was larger than the actual liability of the offerors and the Art Fund agreed to pay the difference so the Panel recommended that the allocation be conditional to it. As the Art Fund does not collect for its own sake it had already agreed in discussions with the offerors that it would donate the sculpture to Aberdeen City Council for retention and display at Aberdeen Art Gallery and Museums.

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30Barbara Hepworth: four sculptures and three works on paperThe offer consisted of seven works by Barbara Hepworth (1903-1975), including four sculptures:

1 Single Form (Antiphon), 1953, boxwood, 205.7 cm high

2 Talisman II, 1960, white marble, 68.6 cm high

3 Two Forms with White (Greek), 1963, guarea wood, part painted, 121.5 cm high

4 Two Spheres in Orbit, 1973, white marble, 57.2 cm wide

In addition there were three non-sculptural objects:

5 Project for Waterloo Bridge, 1947, oil, watercolour, crayon, pencil on paper, three works, each, 46.4 by 55.8 cm

6 Seated Women with Clasped Hands, 1949, oil and pencil on board, 47 by 35.6 cm

7 Spring 1957 (Project for Sculpture), oil and ink on board, 61.3 by 47.6 cm

Single Form (Antiphon) is a major wood sculpture from the early 1950s and takes up the theme of a single hieratic standing figure that Hepworth had explored earlier in her career. The gently twisting shape hints at a sense of movement and the polished wood gives the piece a warm sensuous quality. The reference to religious music in the sculpture’s title suggests a spiritual quality that is echoed in the soaring vertical lines.

Talisman II is one of the sculptures that mark Hepworth’s return to direct carving in white marble which she had only been undertaking intermittently since the 1930s. This arose in part from a visit to Greece in the mid-1950s where she saw at first hand the potential of white marble as an expressive medium. It is one of a number of marble carvings that Hepworth worked on in preparation for a major exhibition in Zurich in late 1960 which uses the vocabulary of curved surfaces, holes and indentations.

The same trip to Greece in 1954, which included travels in the Aegean and Cycladic Islands, engendered in Hepworth a deep and almost ecstatic response to the landscape, architecture and light of the eastern Mediterranean. When she returned to St Ives she took delivery of a large consignment of 17 tons of scented guarea wood from Nigeria. Over the next few years she produced a dozen sculptures from this wood in two creative bouts from 1954 to 1956 and from 1960 to 1963. Two Forms with White (Greek) carved in 1963 was later cast into a bronze edition.

Right: Single Form (Antiphon) by Barbara Hepworth. Photo: Christie’s Images, © Hepworth Trustees

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Two Spheres in Orbit from the final years of Hepworth’s life demonstrates her continued engagement with direct carving in marble and the life-long exploration of two or three forms often of almost identical shape and the relationship and dialogue between these forms.

Project for Waterloo Bridge consists of three watercolour drawings which Hepworth submitted at the invitation of London County Council (LCC), along with a scale model for four sculptures that were to be erected on Waterloo Bridge over the Thames. The LCC had begun replacing John Rennie’s original bridge just before the War and following the end of hostilities a competition was held to provide sculptural decoration for the new structure. None of the three entries found favour with the judges and the project was never realised.

After the War Hepworth produced a large number of pictures of the female nude and Seated Woman with Clasped Hands shows her working in a figurative mode at the same time as she was pursuing more abstract forms in her sculpture. Although giving the appearance of a working drawing with details enlarged and reworked on the same board, this is a fully finished work.

Spring 1957 (Project for Sculpture) is one of Hepworth’s most spontaneous creations in which she has used a hollow implement, possibly a straw, dipped in black ink to produce an image akin to a burst of energy. The board has been prepared with a gesso-like ground over which red paint has been applied and then the central part has been rubbed away to produce the central lighter area onto which rapid strokes of pale blue paint have been applied.

The Panel considered the seven items to be pre-eminent under the second and third criteria, in acceptable condition and, following negotiation, fairly valued. The three two-dimensional works have been allocated to Tate in accordance with the condition attached to the offer. The first two of the four sculptures have been temporarily allocated to the Ashmolean; Two Forms with White (Greek) to The Hepworth, Wakefield and Two Spheres in Orbit to National Museums Liverpool pending a decision on permanent allocation.

Top: Two Forms with White (Greek) by Barbara Hepworth. Photo: The Hepworth, Bradford, © Hepworth Trustees

Middle: Spring by Barbara Hepworth. Photo: Christie’s Images, © Hepworth Trustees

Bottom: Two Spheres in Orbit by Barbara Hepworth. Photo: Christie’s Images, © Hepworth Trustees

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31The archive of the Wyndhams of Orchard Wyndham

The Wyndham family of Orchard Wyndham was one of the major landowning families in Somerset and their large archive is important for charting the history from the 12th century to the present day of an extensive area of Somerset focused around

the Watchet area between the Quantock and Brandon hills.

The archive primarily relates to the running of their extensive estates and includes a long and very full series of records covering manors and estate management which chart the development of the landscape and settlements in Somerset, Devon, Wiltshire, Dorset, Hampshire and Cornwall over many centuries.

There are important runs of medieval documents and significant papers relating to Nicholas Wadham (1531/32-1609) and the foundation of Wadham College, Oxford, in the early 17th century, including a

document signed 19 October 1609 (the day before his death) giving instructions for the foundation of the college. There are papers documenting how the estate approached the late 19th century agricultural depression – the Wyndhams appear to have liaised with landlords along the coast to reduce rents in order to retain their tenants.

The archive is important for the social and economic history of Somerset and the wider region and includes extensive records on the development and maintenance of Watchet harbour, one of the two key ports in Somerset, which provide valuable evidence of the maritime history of the county. The family were also local sheriffs and Justices of the Peace and their papers also shed light on the development of local canals, turnpike roads, drainage, water meadows and landscape changes resulting from the enclosure movement, as well as local elections and the running of local charities, trusts, almshouses, schools and hospitals.

The Panel considered that the papers met the third criterion, that they were fairly valued and in acceptable condition. They have been allocated temporarily to the Record Offices where they were on deposit namely to Somerset Heritage Centre and Wiltshire and Swindon Archives and a plan of the Mining Liberty at Leadmill to Glasgow City Archives.

Above: Orchard Wyndham Archive: Map of Chaddenwick,alias Charnage belonging to Sir Rich. Hoare drawn by Nathan Hill from a survey made in 1736 by Wm. Hutchens. Photo: Wiltshire and Swindon Archives

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32John Raphael Smith: Portrait of William Cobbett William Cobbett (1763-1835) was born in Farnham, Surrey. He had no formal education and, as he later boasted, was ‘bred at the plough-tail’. He entered the Royal Navy at 20 and spent six years stationed in Canada reading avidly whatever he could lay his hands on. On discharge in 1791 he wrote a pamphlet on the poor treatment of ordinary soldiers and the corruption of officers. When he tried to instigate a court martial against such officers, it backfired on him and he fled abroad, first to France and then to America where he remained for eight years. After a quiet start teaching, Cobbett turned again to writing pamphlets and for the rest of his time there produced a stream of anti-Jacobite polemics. He had to leave America in 1800 under the threat of being taken to court for libel.

John Raphael Smith’s (1751-1812) Portrait of William Cobbett, pastel, 25 by 21 cm, must have been produced on his return to the UK as it forms the basis of a print published in 1801. It is the earliest known image of Cobbett. The Prime Minister, William Pitt, offered Cobbett the editorship of a government-owned newspaper but he wanted to write his own views, not spin those of others. In January 1802 he launched the Political Register which he published weekly for the next 33 years until his death. In it he set out his political views and serialised most of his books. He also began the system of publishing a record of parliamentary debates but sold his interest in the venture in 1812 to Mr Hansard.

Parliamentary reform became his most cherished cause as was his insistence that the national debt should be abolished. He was equally indignant on the decline of the rural way of life and the poor economic conditions of agricultural workers. He launched a mass-circulation version of the Political Register advocating reform and when this incurred the wrath of the Home Secretary he again fled to America and ran the newspaper from the other side of the Atlantic. He returned in late 1819 and wrote widely on Parliamentary reform and universal suffrage. At this time he also wrote his most famous work, Rural Rides, which provide an unrivalled picture of rural England in the 1820s.

With the Reform Act achieved in 1832, Cobbett was elected to Parliament but his parliamentary career was relatively short and he died at his farm outside Farnham in 1835.

The Panel considered that the portrait met the first and third criteria, was in acceptable condition and fairly valued. It has been permanently allocated to the Museum of Farnham in accordance with the wish of the offerors.

Above: Portrait of William Cobbett by John Raphael Smith. Photo: Richard Eaton

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33Capel Garmon Firedog

The Capel Garmon Firedog, 75 cm high, 106.8 cm long (nose to nose), 86.5 cm long (at base) and weighing approximately 38 kg, ranks amongst the finest objects of non-precious material to survive from the Iron Age in Britain and is one of the most important late Iron Age objects ever found in Wales. Dating to the first century AD it represents the high-point of a long tradition of iron-working in Wales.

It was discovered in May 1852 by a man cutting a ditch through a peat bog on Carreg Coedog Farm, near Llanrwst, Conwy. It lay on a clay subsoil, flat on its side at considerable depth, with a large stone placed at each end. The discovery was first reported by John Evans in the 1856 volume of the archaeological journal for Wales, Archaeologia Cambrensis, and has formed a prominent part of the story of the Welsh Iron Age. Until 1939 the firedog was kept at the residence of the landowner in whose land it was found. Since then it has been on public display in the prehistory galleries at National Museum Wales.

The Capel Garmon Firedog is the finest piece of Celtic art made in iron to survive from the European Iron Age and the most impressive known example of its type from Britain. Its design, compared with that of the majority of other firedogs which are decorated only by the outline features of an animal head, is extremely complex. It has been described as standing out from all other British and continental pieces in its elaboration and rococo flamboyance: a work of art in wrought iron. The ends of the firedog are decorated with superb animal heads and necks, part cow- and part horse-like. It is likely that it once defined the hearth at the centre of a chieftain’s roundhouse. Seen in flickering firelight, it would once have been viewed as a powerful symbol of authority.

The Panel considered that the firedog met the first, second and third criteria, that it was fairly valued and in acceptable condition. It has been allocated permanently to the Amguedffa Genedlaethol Caerdydd – National Museum Cardiff – in accordance with the condition attached to the offer.

Left: Capel Garmon Firedog: detail. Photo: Amgueddfa Cymru – National Museum Wales

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34J M W Turner: Lowther Castle, Westmoreland, EveningJ M W Turner (1775-1851) exhibited this painting, oil on canvas, 92 by 122 cm, at the Royal Academy in 1810 with the title, Lowther Castle, Westmoreland, the Seat of the Earl of Lonsdale: North-West View from Ulleswater Lane: Evening. This painting and its companion, The North Front, with the River Lowther: Mid-day, were a commission from William Lowther (1757-1844) who in 1802 had succeeded his cousin as Viscount Lowther thereby becoming one of the richest men in England. He was created Earl of Lonsdale in 1807 and a knight of the Garter.

When he inherited Lowther Castle the property was in a very ruinous condition and he selected the young architect Robert Smirke (1780-1867), who had recently returned from a tour of the Continent, to rebuild the family seat. Smirke’s design was for a vast castellated gothic house which sits on an escarpment above the river Lowther. When Turner came to Westmoreland to examine the site in 1809, the building was still under construction, although this is not evident from the view Turner depicts. The viewer’s eye is taken across the sweeping landscape and sees the large white limestone building as complete. The preparatory drawings for both canvases were given to John Ruskin who in turn presented them to the Ashmolean Museum where they remain.

It is suggested that Lowther had seen Turner’s pair of paintings of Tabley in Cheshire which had been commissioned by Sir John Leicester and shown at the Royal Academy in the previous year 1809 (Tabley, Cheshire: Calm Morning (Tate) was accepted in lieu in 1957 and its pendant is now owned by the University of Manchester). All of these views show Turner’s interest in depicting the effects of light and atmosphere associated with a particular time of the day rather than with any wish to record the precise architectural details of the property of those from whom he had received his commission.

The Panel considered that the painting met the third criterion, that, following negotiation, it was fairly valued and in acceptable condition. It has been allocated temporarily to the Bowes Museum.

Above: Lower Castle, Westmorland, Evening by J M W Turner. Photo: The Bowes Museum

47 Acceptance in Lieu Report 2010-12

35The Spencer House sofaThis George II giltwood Rococo settee measuring 97.5 cm high, 227.5 cm wide, 97.5 cm deep, was commissioned by John Spencer (1734-1783) who had inherited not only his father’s wealth on his death in 1746 but also that of his great grandmother Sarah, Duchess of Marlborough. This was, however, held in trust until he attained his majority. On the day after his 21st birthday he married Georgiana Poyntz, one of the most intelligent and generous women of her day and their first child was Georgiana, future Duchess of Devonshire.

They immediately commissioned the celebrated architect John Vardy to build a mansion overlooking Green Park in London which would be appropriate for one of the wealthiest couples in England. Spencer House took ten years to complete and Vardy was to die in 1760 while the house was still being completed. Spencer had already brought in James ‘Athenian’ Stewart to complete the interior decoration in the first floor rooms but Vardy was able to complete the ground floor rooms. The house, which is a rare survival of an 18th-century London town house, is one of the finest examples of Palladian architecture in England and has attracted comment and admiration from the time it was first built.

Vardy’s design reaches its climax in the Palm Room which remains today almost exactly as he intended. The ornate gilded palm decoration is based on a design from Greenwich Palace which was thought in the 18th century to be by Inigo Jones. The seat furniture for this room consisted of at least one sofa, eight armchairs, and two large and two small stools and picks up motifs from the plasterwork decoration of the room. The gilded palms that wrap around the Corinthian columns of the screen that divide the room are echoed in the arm-supports of the sofa where bullrushes issue from shells that sit atop the cabriole legs. There is, unfortunately, no documentation to corroborate the attribution of the furniture’s design nor is the cabinetmaker known but since the 1960s the majority view has been that it was designed by Vardy himself.

The Panel considered that the sofa met the second and third criteria, that it was fairly valued and in acceptable condition. It has been allocated permanently to National Museums Scotland having spent a few months previously on temporary allocation to the National Trust which displayed it at Kedleston.

Above: The Spencer House sofa. Photo: Sotheby’s

48 Acceptance in Lieu Report 2010-12

36Chattels from Seaton Delaval

The acquisition of Sir John Vanbrugh’s great Northumberland house along with 80 acres of surrounding garden and parkland was the highlight of the AIL scheme in 2009/10. At the same time

as the land and buildings were acquired and given by the nation to the National Trust the majority of the contents of the domestic wing of the house were also accepted in lieu and passed to the Trust.

A further offer in lieu was made in 2011/12 of additional chattels which had been on loan to the Trust. These 14 items included a large topographical work, Prospect of Windsor Castle from the River Thames, oil on canvas, 135 by 239 cm, attributed to the Dutch artist Hendrick Danckerts (circa 1620-1680) who moved to England in the early years of the Restoration and was much employed by Charles II and James Duke of York. The family tradition is that this painting was a gift from the King. Other paintings include a portrait,

attributed to John Riley, of Anne Armine (d. 1719) who married successively Sir Thomas Wodehouse, Thomas, Lord Crewe and finally Lord Torrington.

The offer includes a group of four 17th and 18th century miniatures of Sir Isaac Astley (circa 1635, English School), Colonel Waldegrave Astley (1586-1664) by Thomas Flatman; Sir Jacob Astley by Samuel Cooper and assistant, and one of Sir Jacob’s sons which is dated to circa 1705 and is by an artist of the school of Christian Friedrich Zincke.

The offer group included a large 17th century Flemish ewer and basin produced in Antwerp. The basin bears the mark of either Norbert Leestens or Thomas Lessau. This ewer and basin provided a model for the inventive historicising silversmith Edward Farrel in the 1820s.

Finally there is a group of four textiles the most important of which is a 16th century leather purse embroidered in gold and silver thread. The embroidery is of outstanding quality and the condition is very fine. The purse is said to have belonged to Cardinal Wolsey, Henry VIII’s Chancellor and builder of Hampton Court Palace. His name is inscribed on the silver shield-like press stud fastening on the inside flap.

The Panel considered that the group of chattels met the fourth criterion, was in acceptable condition and fairly valued. It has been permanently allocated to the National Trust for retention at Seaton Delaval in accordance with the condition attached to the offer.

Above: 16th century leather purse believed to have belonged to Cardinal Wolsey. Photo: Sotheby’s

49 Acceptance in Lieu Report 2010-12

37Guercino: The Samian Sibyl

Giovanni Francesco Barbieri (1591-1666), known as Guercino, was the leading painter of the 17th century Bolognese School. His style changed significantly during his long career and following a visit to Rome in 1621 to 1623 his works reflect the then dominant classicising taste. He moved from his native Cento to Bologna in 1642.

The Samian Sibyl, oil on canvas, 218.5 by 180 cm, was commissioned in early 1651 by an Italian nobleman, Giuseppe Locatelli, as one of a pair of paintings depicting the Biblical King David and a Sibyl – one of the pagan priestesses whose prophetic utterances were understood in the Christian era as

foretelling the birth of Christ. The Bible records that Christ was born in the city of David, Bethlehem and traced his descent from the line of David. The putto to the left of the Sibyl holds a scroll which bears her prophesy, ‘Hail Zion, chaste maiden who has suffered much’, which was understood as foretelling the birth of Christ by the Virgin Mary: the chaste maiden. Guercino painted King David first and sent it to Locatelli. While working on the second painting, the brother of the Grand Duke of Tuscany visited Guercino’s studio in Bologna and was so impressed with it that he persuaded the artist to sell it to him. That painting of the Sibyl, The Cumaean Sibyl with a Putto, was acquired in the 20th century by Sir Denis Mahon, who placed it on loan at the National Gallery. It passed into the gallery’s ownership in 2011.

Guercino worked on a second painting to fulfil his original contract with Locatelli, but not satisfied with producing a mere copy, he provided a fresh composition, The Samian Sibyl, which was sent to Locatelli by October 1651. The two paintings remained in Italy until 1768 when the artist and collector, Gavin Hamilton, informed John, 1st Earl Spencer, that they were available for sale. Spencer

House had just been completed and Earl Spencer was looking for Old Master paintings of suitable quality and grandeur to decorate its principal rooms. They were shipped back to London where new frames were commissioned from the leading architect, James ‘Athenian’ Stuart, who had designed the Great Room in Spencer House. The paintings remained in that room until the late 19th century. During the last century the paintings hung at Althorp, the Northamptonshire home of the Spencer family. King David was sold at auction in July 2010 and acquired by a private British collector and has returned to Spencer House.

The Panel considered that the painting met the third criterion, that, following negotiation, it was fairly valued and in acceptable condition. It has been permanently allocated to the National Gallery to hang beside The Cumaean Sibyl with a Putto.

Above: The Samian Sibyl by Guercino. Photo: National Gallery

50 Acceptance in Lieu Report 2010-12

38Sir Joshua Reynolds: Miss Maria Gideon and her brother, William

Miss Maria Gideon and her brother, William, oil on canvas, 240 by 148 cm, by Sir Joshua Reynolds (1732-1792) was painted in 1786/87 and exhibited at the Royal Academy in 1788. It depicts Maria Marow Gideon (b. 1767) and William Gideon (1775-1805)

the children of Sir Sampson Gideon, later Baron Eardley (1745-1824) and his wife Maria, daughter of Sir John Wilmot, Chief Justice of the Common Pleas who had been married in 1766. She had been painted by Reynolds in 1763 before her marriage and again in 1769 and her future husband sat to Reynolds in 1764.

The Gideons were of Portuguese Jewish origin although Sir Sampson had been brought up as an Anglican in accordance with his mother’s beliefs. His father had been a highly successful financier in the city and his advice had been sought by Sir Robert Walpole in the 1740s. He had sought to establish his family name by acquiring estates at Spalding in Lincolnshire and at Erith in Kent, where his country home, Belvedere House, held his important collection of paintings, many from Sir Robert Walpole’s collection at Houghton, but his efforts to seek a baronetcy foundered due to his Jewish origins.

Sir Sampson’s children are depicted in Reynolds’ grandest manner dressed in the height of fashion: William in a brown cut-away coat with pink silk double-breasted waistcoat, buff breeches and jockey boots leans elegantly on a wooden cane; Maria in a white muslin dress with a blue watered-silk sash, black silk stole and wide-brimmed

black beaver hat topped with two white ostrich plums. She was to marry in 1794, Gregory, 14th Baron Saye and Sele. William would later join the army serving as a colonel in India but died unmarried.

Reynolds charged £300 for this large double portrait and it remained in family ownership until acquired in the early 20th century by the 1st Lord Cowdray who hung it in the Great Hall at Cowdray Park.

The Panel considered that the painting met the third criterion, that it was in acceptable condition and, following negotiation, fairly valued. It has been temporarily allocated to Tate pending a decision on permanent allocation.

Above: Miss Maria Gideon and her brother, William by Sir Joshua Reynolds. Photo: Christie’s Images

51 Acceptance in Lieu Report 2010-12

39Sir Peter Paul Rubens: The Triumph of Venus

Sir Peter Paul Rubens’ (1577-1640), The Triumph of Venus, oil, over black chalk indications, on panel, 34.5 by 48.5cm, was painted in the late 1620s as a design for an ivory salt cellar. The panel on which the grisaille is painted is made up of two sections, joined vertically. The reverse preserves the original priming onto which are lightly drawn studies of a small nude and an arm, and an early inscription, “peter powls” which may be in the hand of Georg Petel.

The Triumph of Venus is one of only two surviving oil sketches by Rubens made specifically for decorative arts designs. The other, for a silver dish, is again a grisaille and of a very closely related subject, The Birth of Venus (National Gallery, London). The silver design is less vigorously moulded than the present sketch which has considerably greater sculptural force given that it was designed to form the template for one of the greatest exponents of ivory carving of the age, Rubens’ friend Georg Petel. That this was a work of close collaboration is supported by the auxiliary drawing, now in the British Museum, refining the poses and glances

of Venus and her companion as it became obvious that Rubens’ design needed to be compressed vertically to fit the diameter of the elephant tusk from which the salt cellar would be created. Rubens had a lifelong interest in sculpture, as the satyr arches on his own house attest, and he designed altar frames and ephemeral statues for Triumphal Entries. Many of his drawings indicate that he conceived of his inventions in the round. In this sketch, this determination to convey palpable energy in twisting female forms is at it its zenith. The planes of backs, curvaceous buttocks, thighs and stomachs are all captured with tactile verisimilitude and contrasted with the skeins of muscle of tritons and fleet skin of the dragon-like dolphin. The vigour of the brushwork is quite exceptional. The aptness of the mythological subject of Venus arising out of the sea is self-evident for a salt cellar which carried at its crown a shell cast in silver on which the salt would have been placed.

Petel’s salt cellar was still in Rubens’ possession when he died and is now in the Kungliga Slottet (Royal Palace) in Stockholm having been acquired after Rubens’ death by Queen Christina of Sweden.

This sketch has been in England since at least the early 18th century when it is recorded in the collection of the 1st Duke of Portland (1682-1726).

The Panel considered that the oil sketch met the second and third criteria, was in acceptable condition and, following negotiation, was fairly valued. It was displayed in the National Gallery for four months before being permanently allocated to the Fitzwilliam Museum.

Above: The Triumph of Venus by Sir Peter Paul Rubens. Photo: Christie’s Images

52 Acceptance in Lieu Report 2010-12

40Newcastle glass collection

The offer consisted of nine pieces of mainly 18th century glass, five of which are decorated by William Beilby (1740-1819), a native of Newcastle who embellished glass with delicate vignettes of rustic scenes, classical ruins and sprays of fruiting vines and who was the leading glass enameller in 18th century England.

William Beilby, the best known of a renowned family of engravers and glass enamellers, has been described as ‘the most famous decorator of glass of all time’ and his siblings Ralph (1743-1817) and Mary (1749-1797) were equally skilled. Their story is linked not only to the history of glass making and decoration, but to the growth and development of Newcastle as a centre for industry, trade and culture.

Two of the glasses, both with ogee bowls, one enamelled in shades of light green and buff with a funereal urn standing on a pedestal with trees behind; the other decorated in white enamel with a man shooting at birds in flight, with a dog at point in front of him, both enamelled by Beilby & Co. circa 1770, are exceptionally ornate and important stylistically.

All are part of an important era in the North East’s cultural heritage and are outstanding examples of English 18th and 19th century decorated glass. They showcase the range of high-quality glassware being produced in the area at this time and also, through their various decorations, demonstrate key features of trade and culture, including the links between the master-engravers of Holland and the glassmakers of the North East.

The Panel considered the glasses pre-eminent under the second and third criteria and in acceptable condition. Their offer value was considered slightly low and the Panel proposed that it should be increased by almost 10 per cent. This was accepted by the offeror and the glasses have been allocated permanently to the Laing Art Gallery in Newcastle where the group has been on loan since 1981 and where the offeror had expressed a wish that they be allocated to.

Above: Wine glass with bowl decorated in white enamel by William Beilby. Photo: Laing Art Gallery: Tyne & Wear Archives & Museums

53 Acceptance in Lieu Report 2010-12

41Garofalo: The Adoration of the Shepherds

Garofalo (1481-1559) was born Benvenuto Tisi in Ferrara and spent nearly his entire artistic career in his native city. The city was under the rule of the Este family and in Garofalo’s early years, the Duke Ercole d’Este, was a leading cultural patron, especially of music and the visual arts. Garofalo, along with several other local artists was involved in providing frescos for Ferrara’s oratory of the Concezione and his work from 1505 suggests a knowledge of the artistic developments in Bologna.

When Duke Ercole was succeed by his son Alfonso d’Este, Garofalo was involved in decorating the apartments of his wife,

the notorious Lucretia Borgia, whom he had married in 1502. He also provided the ceiling fresco for the principal room of the Palazzo di Ludovico il Moro in Ferrara and its style suggests familiarity with the work of Mantegna in Mantua. Indeed, although there is no documentation to confirm that he left his native city, as his work developed it shows familiarity with new developments in Bolognese, Venetian and Roman art and his style became more ambitious and grandiose towards the 1520s, showing the considerable impact of Roman classicism. His later paintings with their richness of colour show a familiarity with Venetian painting.

The Adoration of the Shepherds, oil on poplar panel, arched top, 48.3 by 34.9 cm, is a fine example of the artist’s devotional paintings and dates to circa 1520 when he was responding to the art of Raphael in ways that would transform his own style. The design is striking, with a complex architectural setting. The dramatically shadowed space is enlivened by openings to a landscape beyond, a large window with trees beyond, and a narrow aperture through which the Annunciation to the shepherds can be seen. The scale and depth of the interior is emphasised by a figure standing on top of the

flight of steps, which catches some of the light from the glowing singing angel. The latter acts as a spotlight on the main event and the interplay of different light sources is highly effective.

The Panel considered that the painting met the third criterion was in acceptable condition and, following negotiation, was fairly valued. The painting has been permanently allocated to the Fitzwilliam Museum in accordance with the condition attached to the offer.

Above: The Adoration of the Shepherds by Garofalo. Photo: Fitzwilliam Museum

54 Acceptance in Lieu Report 2010-12

42Chattels from Lyme ParkThe offer comprised twelve pieces of furniture, a pair of Blanc-de-Chine figures of maidens, eight portraits and one landscape painting, all of which formed part of the historic contents of Lyme Park, an important Grade I listed house in Cheshire. The Legh family was given the property at the end of the 14th century. The house, six and a half miles from Stockport, Cheshire, has developed gradually since the Middle Ages and it remained in family ownership until passing to the National Trust in 1947. The house has undergone many developments and alterations most notably in the early 18th century when Peter Legh XII (1669-1744) employed the Venetian architect, Giacomo Leoni, to transform the Elizabethan house into an Italianate palazzo, adding an Ionic portico and creating many new internal spaces. Further reordering was carried out in the early 19th and 20th centuries.

The chattels comprise several pieces acquired for Lyme by Peter Legh XIII (1708-1792) including a pair of George II giltwood side tables with Portoro marble tops. These examples of English Rococo are among the finest pieces of furniture in the house. They are recorded in the drawing room in the 1879 and 1929 inventories and will be returned to their original locations in that room. Also included is a George III carved mahogany settee, three George III carved mahogany bergeres, and a pair of George III carved mahogany stools all from a suite of seat furniture, circa 1745, which has now been reunited in its entirety.

The portraits accepted include those of Lady Margaret Legh, attributed to Marcus Gheeraerts the Younger. She married Sir Peter Legh IX (1563-1636) who completed and extended the Elizabethan house at Lyme after inheriting the estate in 1589. The portrait had almost certainly remained in situ until 1946 and has now been restored to the staircase hall. The portrait of Sir Peter Legh IX will return to its original setting over the fireplace in the entrance hall. Also accepted are portraits of Peter Legh XII and his wife, both by Sir Godfrey Kneller which will return to the dining room.

The Panel considered the pair of giltwood side tables and the portrait of Lady Margaret Legh to be pre-eminent under the second and fourth criteria and the other items to be associated with a building in National Trust ownership and appropriate that they should remain so. All were in acceptable condition and following negotiation fairly valued. They have all been permanently allocated to the National Trust for retention at Lyme Park in accordance with the condition attached to the offer.

Above: Portrait of Lady Margaret Legh, attributed to Marcus Gheeraerts the Younger. Photo: Sotheby’s

Below: George II giltwood side table, circa 1750. Photo: Sotheby’s

55 Acceptance in Lieu Report 2010-12

43Camden Town Group paintings and drawings

The offer consisted of eight works by artists of the Camden Town Group which formed part of the collection assembled by Robert Bevan (1901-1974) and his second wife Natalie Barclay, née Denny (1909-2007). It included five paintings; two by Robert Bevan (1865-1925), one by Spencer Gore (1878-1914) and two by Harold Gilman (1876-1919) and three drawings, two by Bevan and one by Gilman.

Robert Bevan (1865-1925) was born in Hove. After education at home where one of his tutors, A E Pearce, who was a designer for Doulton, he trained at the Westminster School of Art, the Académie Julian in Paris and then visited the French artists’ colony at Pont-Aven. Financially independent he was able to develop his art quietly and it was not until he exhibited at a joint exhibition in 1908 and was taken up by Gilman and Gore that his highly innovative paintings received critical notice. He was a founder member of the Camden Town Group.

Fields at Applehayes, oil on canvas, 51 by 61 cm, was painted in 1922 and depicts a scene in the Blackdown Hills on the Devon-Somerset border where Bevan spent annual holidays on the farm of a friend. A Devonshire Valley, No 2, oil on canvas, 51 by 61cm was painted circa 1913 soon after Bevan had first visited the area in 1912 in the company of Gilman and Gore. The two charcoal and black crayon drawings which date from 1916 and 1920 also depict scenes in the Blackdown Hills.

Spencer Gore’s painting, Roof Tops, Hampstead, oil on canvas, 45.7 by 61.5 cm, was identified by Wendy Baron as having been painted in 1913/14 when the Gores moved from Houghton Place, Camden Town, to 6 Cambrian Road, Richmond. It depicts the views from an upper window and shows the views at the back of the house.

Gilman’s Swedish Landscape, oil on canvas, 50.8 by 90 cm, was painted in 1912/13 following a visit to that country the previous summer. Portrait of an Old Lady, oil on canvas, 40.6 by 30.5 cm, was painted soon after Roger Fry’s 1910 London Post-Impressionist exhibition which had a profound effect on Gilman’s work. The Gilman pen and black ink drawing shows the artist’s mother in bed and is one of a series he produced in 1917.

The Panel considered that the collection met the third criterion was in acceptable condition and, following negotiation, was fairly valued. All eight works have been temporarily allocated to Brighton Museum and Art Gallery pending a decision on permanent allocation.

Top: A Devonshire Valley, No 2 by Robert Bevan. Photo: Christie’s Images

Above: Roof Tops, Richmond (previously Roof Tops, Hampstead) by Spencer Gore. Photo: Christie’s Images

56 Acceptance in Lieu Report 2010-12

44The Cowper Seal cupsThis pair of large silver-gilt cups and covers stands 66 cm high and weighs 220 oz. They are unmarked but must date to the period immediately following the death of Queen Anne on 1 August 1714.

Seal cups are so called as they were made from the Great Seal of the Realm used in various forms since the time of Edward the Confessor to indicate the Monarch’s approval of important state documents. The seal also had a practical function in dispensing with the need for the Monarch to sign personally every state document and in an earlier age when literacy was far from universal, it provided an easily recognised symbol of royal authority. Custody of the seal was originally entrusted to the Chancellor but became a separate office as the duties of the Chancellor increased and involved absence abroad.

There was only ever one Great Seal in use at any one time and it was a perquisite of the Lord Keeper’s office that when the old seal fell out of use, either through the death of the Sovereign or due to some other need to change it, the cancelled seal matrix which was normally made of silver was his to retain. Sir Nicholas Bacon, Lord Keeper from 1557 until his death in 1579, was the first to commission cups from the seals. Of the three that were made from the Great Seal of Mary Tudor one is now in the British Museum. One of the two seal cups of Lord Coventry made from the seal of James I and the first seal of Charles I was accepted in lieu in 1992 and is in the Victoria and Albert Museum.

William Cowper, 1st Earl Cowper (1665-1723) was a brilliant lawyer who had been appointed King’s Counsel before the age of 30. In 1705 he was appointed Lord Keeper of the Great Seal. In the following year he was placed on the commission for the Treaty of Union with Scotland and became the first Lord Chancellor of Great Britain. In late 1710 he resigned his office but on the death of Queen Anne in 1714 he was re-appointed to the same office. As a new Great Seal had to be created following the Union, the first Great Seal of Great Britain, Earl Cowper had both the seal of Queen Anne as Queen of England and of Great Britain to use when he decided to have cups made. This explains the unusually heavy weight and size of these cups and covers. They are decorated with replicas of the design of the two seals and counterseals and the covers are topped by finials of the Cowper crest.

The Panel considered that the cups met the first and third criteria and were in acceptable condition. It felt that the price at which they were offered was an undervaluation and advised that it could recommend an increase of one-third which was accepted. The cups are temporarily allocated to the Victoria and Albert Museum pending a decision on permanent allocation.

Above: The Cowper Seal cups. Photo: Victoria and Albert Museum

57 Acceptance in Lieu Report 2010-12

45J M W Turner: Rome from Monte Mario

This work on paper, 29.8 by 41.5 cm, watercolour with brushpoint, scratching out and gum arabic, is inscribed on the lower right, “ROMA 1820 / from Mt MARIO”. It was one of a series of eight watercolours commissioned from Turner (1775-1851) by his friend and major patron, Walter Fawkes of Farnley Hall in Yorkshire. He had previously acquired several oil paintings from the artist and a large number of watercolours,

including 20 Swiss subjects in 1802 and the complete output of 50 Rhine watercolours that resulted from Turner’s 1817 tour.

Like most artists of the period, Rome had long been a subject of interest to Turner but the disruptions of the Napoleonic wars had prevented him from actually visiting the city until 1819 when he crossed the Alps and spent the last three months of the year in the city filling a dozen sketch books with mostly pencil studies of the ancient sights, monuments and churches as well as views of the cities from the many vantage points that the hills of Rome provided. On his

return he produced two large oils of Roman subjects, Rome from the Vatican (Tate) and the even larger Forum Romanum (Tate) which was intended for his fellow Royal Academician, Sir John Soane, but which was refused, apparently due to its size being inappropriate for the restricted space of his house at 13 Lincoln’s Inn Fields.

Fawkes asked Turner to produce for him eight watercolours, four of Roman subjects with the remainder of Italian subjects beyond Rome. Both for this watercolour and its companion Rome from San Pietro in Montorio (accepted in lieu and allocated to the Courtauld Gallery, 2007) the artist used drawings created on the spot (Rome: C Studies sketchbook: TB CLXXXIX 31). The scene depicts the city in the light of a warm evening as seen from just below the summit of Monte Mario, the highest of the city’s hills. The dome of St Peter’s appears on the right and in the centre the Castel Sant’ Angelo is visible, although reduced in size to give prominence to the Vatican. On the left, across the winding Tiber, can be seen the ancient city including the Campanile of the Palazzo Senatorio on the Capitol, the domes of the churches in the Piazza del Popolo, San Trinità dei Monti, and the Coliseum.

The Panel considered that the watercolour met the second and third criteria and was in acceptable condition and, following negotiation, fairly valued. It has been permanently allocated to the National Galleries of Scotland in accordance with the condition attached to the offer.

Above: Rome from Monte Mario by J M W Turner. Photo: National Galleries Scotland

58 Acceptance in Lieu Report 2010-12

46Archive of the Maskelyne and Arnold-Foster familiesThis large and varied collection records the achievements of the Maskelyne, Storey-Maskelyne and Arnold-Foster families who were related by marriage.

Nevil Maskelyne (1732-1811) developed an interest in astronomy at an early age and studied mathematics at Cambridge. He observed the transit of Venus in 1761 for the Royal Society from St Helena and on the voyage developed an interest in navigation which led to his publishing a practical guide for mariners for establishing longitude at sea. He was appointed Astronomer Royal in 1765 and began a series of detailed observations of the moon, planets and brightest stars that would continue for over 40 years and which resulted in the annual Nautical Almanac and Astronomical Ephemeris. These played a key part in establishing and maintaining Britain’s maritime pre-eminence and in Greenwich being classified as the Prime Meridian. The offer includes his personal set of the Nautical Almanac and his British Mariner’s Guide with manuscript amendments and inscriptions. Also included are 14 of Maskelyne’s notebooks, his Royal Warrant as Astronomer Royal and over 200 letters from his sister, Margaret, who was married to Robert Clive. There is also a substantial group of papers collected by Maskelyne’s forebears as well as estate papers of the family lands in Wiltshire.

Nevil’s daughter, Margaret, married Antony Storey and their eldest son, Nevil Storey-Maskelyne, taught mineralogy at Oxford University. His scientific inclinations led him to develop an interest in photography. His wife, Thereza, was the daughter of the Welsh photographic pioneer John Dillwyn Llewelyn (1810-1882) and the archive contains over 150 early photographic prints and 50 glass negatives by Llewelyn, his wife and members of their circle which included Henry Fox Talbot. The memoirs and journals of Thereza Storey-Maskelyne provide important information relating to many of the photographs within the archive.

The daughter of Nevil and Thereza Storey-Maskelyne married Hugh Oakeley Arnold-Foster. He was a politician, entering Parliament in 1892 and rising to Secretary of War from 1903 to 1905. His papers include a significant group of his political correspondence during his years at the War Office and cast an important light on the army reforms during Arthur Balfour’s government.

The Panel considered that the archive met the third criterion and was in acceptable condition and fairly valued. The photographic material has been permanently allocated to the British Library; the books, along with portraits and scientific instruments, to the National Maritime Museum, while the manuscript papers await permanent allocation.

Above: Portrait of the Rev Dr Nevil Maskelyne, Fifth Astronomer Royal by John Russell. Photo: Christie’s Images

59 Acceptance in Lieu Report 2010-12

47Paintings, drawings and etchings by Walter SickertThe offer comprised 30 paintings, drawings and etchings by Walter Sickert (1860-1942), one of the most important figures in British art in the first decades of the 20th century and a constant source of reference and inspiration for artists working within the figurative tradition ever since. His subject matter included London music halls, the crumbling streets of Dieppe, the grand sites of Venice and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social and political life during the 1930s.

The bulk of this collection was assembled by Morton Sands (1884-1959) during the artist’s lifetime, most of it – whether by gift or purchase – directly from the artist. A few works were formerly in the collection of Morton’s sister, Ethel Sands (1873-1962), hostess, painter and member of Sickert’s Fitzroy Street Group. It was Ethel and her lifelong companion Anna (Nan) Hope Hudson who introduced Morton to Sickert. The collection contains an oil portrait of Ethel measuring 54 by 45 cm, which shows her looking directly at the viewer and embodies Ethel’s friendship with Sickert.

The Sands assembled the largest ever private collection of Sickerts and it is the only such collection to have survived virtually intact until the present day. Some of the most important works were donated to the Ashmolean in 2001. The collection on offer is especially rich in views of Dieppe and Venice. Sickert left England in the winter of 1898 and settled in Dieppe until 1905 and from there he made three extended trips to Venice. La Rue Ste. Catherine et les Vieux Arcades, Dieppe, oil on canvas, 64 by 53.34 cm, circa 1903 to 1905, typifies the new approach to the handling of painting that he developed in these years in Northern France. The paint is applied with more freedom than before using short overlapping brush strokes. The figures in the scene add depth to the composition rather than seeking to create an animated townscape. The collection includes nine views in oil of the town and a further three drawings in chalk.

Sickert’s move from London signified a change in his work from predominantly portraits to landscapes. During his trips to Venice, as in Dieppe, he concentrated on a few favoured scenes which he explored repeatedly. Drawings made on the scene would be later used in the studio to produce works in oil. St Mark’s Square, Venice, dated 1900, oil on canvas, 45.7 by 57.8 cm is the earliest of Sickert’s depictions of this famous view.

The Panel considered the collection pre-eminent under the second and third criteria, that it was fairly valued and in acceptable condition. It has been permanently allocated to the Ashmolean in accordance with the condition attached to the offer.

Above: La Rue Ste. Catherine et les Vieux Arcades, Dieppe by Walter Sickert. Photo: Ashmolean Museum

60 Acceptance in Lieu Report 2010-12

48Papers of Sir Stephen and Lady Natasha SpenderStephen Spender (1909-1995) was one of the foremost poets of the 1930s and along with W H Auden and Christopher Isherwood was a leading voice in the inter-War generation. After the War he spent much of his time and energies teaching in American universities but returned to England in 1970 accepting a chair at UCL. He had met the concert pianist Natasha Litvin in 1940 and married her in the following year.

Although many of Spender’s early papers have been sold to American universities during his lifetime, the collection on offer consists of 250 boxes and represents a significant addition to our knowledge. The notebooks include variant drafts and unpublished writings in poetry, prose and drama from the 1940s until the 1980s. Included are the manuscript journals, parts of which were published in 1985 in an edited version covering the years 1939 to 1983. These continue to within a few days of his death in July 1995. There is also extensive correspondence, including outgoing letters, from his wide circle of friends such as Isaiah Berlin, Francis Bacon, Benjamin Britten, Ted Hughes, Philip Larkin and Tony Harrison.

Natasha Litvin was born in 1918. Her father, Edwin Evans, encouraged her musical interests and she studied piano with Clifford Curzon and won two scholarships to the Royal College of Music. She played at the famous lunchtime concerts at the National Gallery during the War and toured Germany in its aftermath to entertain the troops. Her career was cut short by illness but she became a lecturer at the Royal College of Art. Her love of gardening led to the creation of a fine garden in Provence which was celebrated in her book An English Garden in Provence (1999).

Her papers include 200 letters from her husband and about 60, including typescript poems, from the Anglo-American crime writer, Raymond Chandler. They date from the last five years of Chandler’s life, 1954 to 1959, following the death of his wife when he was in a fragile condition and attempted suicide. It is clear that Chandler was infatuated but she, although sympathetic, remained loyal to her husband and children.

The Panel considered that the papers met the third criterion, were in acceptable condition and fairly valued. They have been permanently allocated to the Bodleian Library in accordance with the condition attached to the offer.

Above: Stephen Spender’s German journal entry for 9 October 1945. Photo: Bodleian Library

61 Acceptance in Lieu Report 2010-12

49Pietro da Cortona: Male Nude as Bacchus

This red chalk drawing, 34 by 23.3 cm, depicts a male nude figure seated upon a draped seat. In his left hand he holds lightly sketched reins suggesting he is seated in a chariot being drawn

by invisible exotic animals. In his right hand he holds the thyrsus, or staff, which is one of the characteristics of Bacchus, the god of wine and ecstasy.

The drawing is a superb example of the draughtsmanship of Pietro da Cortona (1596-1669) one of the most outstanding artists working in Rome in the 17th century. As his name suggests he was born in Cortona in Tuscany and received his artistic education from a local painter but was working in Rome from an early age. He developed an interest in the classicising tendency of the Bolognese artists working in Rome at this time and in particular Domenichino and Guercino.

His talent was recognised by important commissions for members of the Roman nobility and Pope Urban VIII. In 1628 he painted the altarpiece of The Trinity for St Peter’s marking him out as one of Rome’s leading painters. Following this he was commissioned to paint the ceiling vault of the Gran Salone for the Palazzo Barberini. He worked on this from 1632 to 1639, producing one of the masterpieces of Roman Baroque illusionistic painting. In the later part of the 1630s he was also working in Florence on frescoes in the Palazzo Pitti and then the ceiling of the grand-ducal apartments in the Palazzo. The latter,

however, were never finished as he was called back to Rome to decorate the dome of the Chiesa Nuova. This led to commissions from the new Pope Innocent X for whom he redecorated the Long Gallery in the Palazzo Pamphili.

The drawing accepted in lieu is previously unpublished and although it cannot be related to any of Cortona’s known commissions it is a fine example of his academic nudes which are relatively rare. On stylistic grounds it is dated to the 1640s when he returned to Rome from Florence.

The Panel considered that the drawing met the second and third criteria, was in acceptable condition and fairly valued. It has been permanently allocated to the University of Glasgow for display at the Hunterian Museum and Art Gallery in accordance with the condition attached to the offer.

Above: Male Nude as Bacchus by Pietro da Cortona. Photo: University of Glasgow: Hunterian Museum and Art Gallery

62 Acceptance in Lieu Report 2010-12

50Churchill family papers

This group of papers and photographs is primarily a record of the domestic and family life of Sir Winston Churchill, his mother Lady Randolph (née Jennie Jerome) and Winston’s brother, John (known in the family as Jack).

Jennie Jerome was born in New York in 1854 and married Lord Randolph Churchill in 1874 giving birth to two sons. After the death in 1895 of her first husband she remarried George Cornwallis-West in 1900 who was the same age as her son, Winston and in 1921 following divorce she married Montagu Porch. She later wrote, ‘My second marriage was romantic but not successful; my third marriage was successful but not romantic.’

Included are letters from Lady Randolph to both Winston and Jack covering the periods 1893 to 1910 and letters from Lord Randolph to Jack. There are extensive runs of correspondence from Jack Churchill to his parents. As he grew older and his elder brother achieved public office his letters provide a commentary from an unusually close perspective of both his brother’s achievements and his disappointments as his political fortunes ebbed and flowed.

There are also five boxes of photographs which include

Winston and Clementine Churchill and their children, Jack Churchill and his daughter, Clarissa, who married Anthony Eden, the future Prime Minister in 1952. The brothers were close and Jack Churchill and his family often stayed at Chartwell in the interwar years.

The Panel considered that the papers met the third criterion, were in acceptable condition and fairly valued. They have been permanently allocated to the Churchill Archive Centre at Churchill College, Cambridge where they join the papers of his brother and other politicians of the 20th century.

Above: Winston and Clementine Churchill with their son, Randolph, circa 1911/12. Photo: Churchill Archive Centre, Churchill College, Cambridge

63 Acceptance in Lieu Report 2010-12

51Two sets of George III silver wine coolers

The first of the two sets of four wine coolers bear hallmarks for London 1776 and the mark of Aaron Lestourgeon (1742 to after 1790). Two of the coolers have later gilt liners by Paul Storr, London, 1813. They measure 17.8 cm high and 21 cm wide. The relatively simple tapering circular body is decorated with bands of ribbed decoration and each has a pair of cast drop-ring carrying handles.

The design imitates a milk pail and draws inspiration from the taste for rural life that was a feature of late 18th century life as exemplified by Marie-Antoinette’s model farm at the Petit Trianon at Versailles and later at the dairy at the Chateau of Rambouillet which was kitted out with cream pails of the finest Sèvres porcelain painted to imitate wood. Aaron Lestourgeon was born to a Dutch snuff-box maker who had moved from Amsterdam to London in 1732. He registered a joint mark with his father in 1767 and in the mid-1770s was based in High Holborn. He is normally associated with smallware much of it supplied through the fashionable retailers Parker and Wakelin. His last mark is for 1776 and it is likely he changed career as in the last record of him in 1790 he is described as a factor.

These wine coolers and the second set accepted in lieu were acquired by Charles, 1st Viscount Whitworth, later created 1st Earl Whitworth (1752-1825) who in 1783 accompanied John Frederick Sackville, 3rd Duke of Dorset (1745-1799), as Ambassador to France. Whitworth married the Duke’s widow in 1801 and the two settled in the great Elizabethan house of Knole for the next quarter of a century.

The second set of four wine coolers, actually two pairs, is by the leading silversmith of the early 19th century, Paul Storr. In 1807 he had entered into an exclusive arrangement with the crown jewellers, Rundell, Bridge and Rundell and worked from jointly owned workshops in Soho. Two are hallmarked for 1812 and the other two for 1813, with the latter pair engraved with the name of Rundell, Bridge and Rundell. The form of these vase-shaped coolers can be traced to a design of 1778 by the Italian engraver

and architect, G B Piranesi. There were originally four more coolers in the set but these left Knole in the 20th century.

The Panel considered that both sets met the second, third and fourth criteria, were in acceptable condition and that the first set was fairly valued. It advised the offerors that the value of the Storr silver should be increased by 33 per cent and this was agreed. Both sets have been permanently allocated to the National Trust for retention at Knole in accordance with the condition attached to the offer.

Below: Silver wine cooler and liner by Aaron Lestourgeon, London, 1776. Photo: Christie’s Images

64 Acceptance in Lieu Report 2010-12

65 Acceptance in Lieu Report 2010-12 Acceptance in Lieu Report 2010/12 65

AppendicesAcceptance in Lieu

66 Acceptance in Lieu Report 2010-12

67 Acceptance in Lieu Report 2010-12

Description Allocatee Tax

1 Basildon Park Chattels National Trust (Basildon Park) £696,920

2 Guardi: Palazzo Loredan National Museum Wales £147,326

3 Lawrence: Emily Mary Lamb National Gallery £472,500

4 Rock crystal National History Museum £3,661

5 Vlaminck: Still-life Sheffield Galleries & Museums Trust £42,000

6 Watteau drawing National Gallery Scotland £52,500

7 Liotard drawing British Museum £560,000

8 Fragonard drawing Ashmolean Museum £52,500

9 Ingres:Madame Kutusov Fitzwilliam Museum £56,000

10 Morandi: Still- Life Tate £140,000

11 Anni’s’ necklace Victoria and Albert Museum £21,000

12 J G Ballard archive British Library £350,000

13 Kidderminster portraits Worcester Art Gallery £23,800

14 Gauguin print British Museum £56,000

15 Bruce Turner: Pavlova Tate £13,321

16 Harold Pinter awards British Library £42,000

17 W Van de Velde: two paintings National Trust (Buckland Abbey) £420,000

18 Butler family archive Bodleian Library £42,000

19 Robert Byron photos British Library £70,000

19 Portraits of Robert Byron National Portrait Gallery & British Library £14,000

20 Savile of Rufford archive to be confirmed £191,000

21 Ottoman jade tankard Victoria and Albert Museum £368,242

22 Papers of Charles Sturt Bodleian Library £350,000

10 Morandi: Landscape Fitzwilliam Museum £175,000

23 Orpen: Sir Frederick Sykes RAF Museum £42,000

23 Medals of Sir F Sykes RAF Museum £28,000

24 Guthrie: Arthur Bonar Law Speaker’s Art Fund £42,000

25 Keith Vaughan: three paintings Sainsbury Centre for the Visual Arts, Norwich, Museums Sheffield, Pallant House, Chichester £364,000

26 Reynolds: Lady Honywood and daughter Bristol Museum and Art Gallery £114,644

Total £4,950,414

Appendix 1Acceptance in Lieu cases completed 2010/11

68 Acceptance in Lieu Report 2010-12

Description Allocatee Tax

27 Houghton table Victoria and Albert Museum £280,454

28 Mountbatten archive University of Southampton £1,595,274

29 Hepworth: Meditation The Art Fund (for Aberdeen) £121,681

30 Hepworth: four sculptures and Tate and to be confirmed £1,204,825 three paintings

31 Orchard Wyndham archive to be confirmed £185,500

32 J Raphael Smith: William Cobbett Museum of Farnham £1,400

33 Capel Garmon Firedog National Museum Wales £220,000

34 Turner: Lowther Castle to be confirmed. £1,750,000

35 Spencer House sofa National Museum Scotland £280,000

36 Seaton Delaval chattels National Trust £321,860

37 Guercino: Samian Sibyl National Gallery £3,232,925

38 Reynolds: Maria and to be confirmed. £3,033,800 Robert Gideon

39 Rubens: Triumph of Venus Fitzwilliam Museum £4,410,000

40 Newcastle glass Tyne & Wear Archives & Museums £26,460

41 Garofalo: Adoration of the Shepherds Fitzwilliam Museum £255,500

42 Lyme Park chattels National Trust £679,840

43 Bevan, Gore & Gilman to be confirmed £155,960

44 Queen Anne seal cups to be confirmed £315,000

45 Turner: Rome from Monte Mario National Gallery of Scotland £197,400

46 Nevil Maskelyne archive British Library; National Museums Greenwich and to be confirmed £397,264

47 Sickert paintings and drawings Ashmolean Museum £643,592

48 Stephen and Natasha Bodleian Library £238,000 Spender archive

49 Pietro da Cortona drawing University of Glasgow £91,000

50 Churchill papers Churchill Archive Centre £36,400

51 Knole chattels wine coolers National Trust (Knole) £325,365

Total £20,000,000

Appendix 2Acceptance in Lieu cases completed 2011/12

69 Acceptance in Lieu Report 2010-12

Tim Knox FSA Director, Sir John Soane’s Museum. (from 1 January 2011) Chairman of the AIL Panel from January 2011.

Jonathan Scott CBE Chairman of AIL Panel from August 2000. (until 31 December 2010) Previously: Chairman of the Reviewing Committee on the Export of Works of Art; Deputy Chairman of the Trustees of the V&A; Trustee of the Imperial War Museum.

Geoffrey Bond DL OBE Chair MLA London, MLA Board Member. Broadcaster and Lawyer.

Lucinda Compton Conservator, member of the Historic Houses Association, former committee member of the British Antique Restorers’ Association.

Patrick Elliott Senior Curator, Scottish National Gallery of Modern Art, Edinburgh.

Katharine Eustace Editor, The Sculpture Journal; Trustee, Compton Verney Collections Settlement.

Mark Fisher Former Minister for the Arts; author of Britain’s Best Museums & Galleries, Penguin, 2004.

Andrew McIntosh Patrick Dealer and collector; formerly Managing Director of the Fine Art Society, New Bond Street, London.

David Scrase Assistant Director Collections, Keeper, Paintings, Drawings & Prints, Fitzwilliam Museum, Cambridge.

Lindsay Stainton Formerly curator in Department of Prints and Drawings, British Museum and subsequently with London dealers Hazlitt, Gooden & Fox.

Christopher Wright OBE Formerly, Keeper of Manuscripts, British Library; member of Reviewing Committee on the Export of Works of Arts.

Lucy Wood Formerly, Senior Curator of Furniture, Textiles and Fashion Dept., Victoria and Albert Museum; curator at Lady Lever Art Gallery, Wirral.

Appendix 3Members of the Acceptance in Lieu Panel 2010-12

70 Acceptance in Lieu Report 2010-12

Martin Amis Author

Charles Avery Independent Consultant

Wendy Baron Independent Consultant

Jean-Luc Baroni Jean-Luc Baroni Ltd

John Baskett Independent Consultant

Charles Beddington Charles Beddington Ltd

Alan Bell Formerly National Library of Scotland

Anne-Marie Benson Independent Consultant

Richard Bishop Spink

Peter Boughton Grosvenor Museum, Chester

Adam Bowett Independent Consultant

Christopher Brown Ashmolean Museum

Ian Bruce Crystal Classics

Martin Butlin Independent Consultant

Richard Calvocoressi Henry Moore Foundation

Dawson Carr National Gallery

Emma Chambers Tate

Mary Clapinson St Hugh’s College, Oxford

Jonathan Clark Jonathan Clark & Co

Peter Clayton Independent Consultant

Andrew Clayton-Payne Andrew Clayton-Payne Ltd

Sir Timothy Clifford Independent Consultant

Gordon Cooke Independent Consultant

Katherine Coombs Victoria and Albert Museum

Alexander Corcoran Lefevre Fine Art Ltd

Richard Cork Independent Consultant

Howard Coutts Bowes Museum

Roberta Cremoncini Estorick Collection

Nimrod Dix Dix Noonan Webb

Michael Estorick Independent Consultant

James Ede Charles Ede Ltd

Mark Evans Victoria and Albert Museum

Sam Fogg Sam Fogg Ltd

Rachel Foss British Library

Heather Forbes Gloucestershire Archives

Matthew Gale Tate

Rick Gekoski R A Gekoski Rare Books & Manuscripts

Francesca Galloway Francesca Galloway Ltd

René Gimpel Gimpel Fils

Philippa Glanville Independent Consultant

John Hardy Independent Consultant

Frances Harris formerly British Library

Jonathan Harris Bilson LLP

Karen Hearn formerly Tate

Robert Holden Robert Holden Ltd

James Holland-Hibbert Hazlitt Holland-Hibbert

Janice Hosegood Electrum Gallery

David Jaffé National Gallery

Derek Johns Derek Johns Ltd

Stephen Johnston Museum of the History of Science, Oxford

Jody Joy British Museum

Daniel Katz Daniel Katz Ltd

Robin Katz Robin Katz Fine Art Ltd

Robin Kern Hotspur Ltd

James Knox Independent Consultant

Alastair Laing National Trust

Martin Levy Blairman & Sons Ltd

Lowell Libson Lowell Libson Ltd

Appendix 4Expert advisers 2010-12

71 Acceptance in Lieu Report 2010-12

Bruce Lindsay Harris Lindsay

Rupert Maas Maas Gallery

Anthony McNerney formerly Ben Brown Fine Art

Ed Maggs Maggs Bros Ltd

David Manning University of Aberdeen

David M Mason MacConnal-Mason Gallery

Patrick Matthiesen Matthiesen Gallery

Pieter van der Merwe Royal Museums Greenwich

Tessa Milne Independent Consultant

Paul Mitchell John Mitchell Fine Art Ltd

Keith Moore Royal Society

Stephen Moore Anderson & Garland Auctioneers

Guy Morrison Guy Morrison Fine Art

Anthony Mould Anthony Mould Ltd

Philip Mould Philip Mould Ltd

David & Sonya Tadema Gallery Newell-Smith

Richard Ormond Independent Consultant

Margaret O’Sullivan formerly Derbyshire County Archives

Susan Ollemans Sue Ollemans Ltd

Allen Packwood Churchill Archive Centre, Cambridge

Felix Pryor Independent Consultant

Simon Ray Simon Ray Ltd

Judy Rudoe British Museum

Desmond Shawe-Taylor Royal Collection

Richard Shone Burlington Magazine

Michael Simpson Hazlitt Gooden & Fox

Peyton Skipwith Independent Consultant

Anthony Smith Independent Consultant

Anthony Speelman Edward Speelman Ltd

Chris Stephens Tate

Lindsay Stewart Bernard Quaritch Ltd.

Roger Taylor Independent Consultant

Belinda Thompson Independent Consultant

Charles Truman Independent Consultant

Marjorie Trusted Victoria and Albert Museum

Michael Tollemache Michael Tollemache Fine Art

Dino Tomasso Tomasso Brothers

Robert Upstone Fine Art Society

Johnny Van Haeften Johnny Van Haeften Gallery

Paul Viney Woolley & Wallis

Christoph Vogtherr Wallace Collection

Susan Walker Ashmolean Museum

Ian Warrell formerly Tate

Offer Waterman Offer Waterman & Co

Catherine Whistler Ashmolean Museum

Anthony Wells Cole Independent Consultant

Aidan Weston-Lewis National Gallery Scotland

John Wilson John Wilson Manuscripts Ltd

Joan Winterkorn Bernard Quaritch Ltd

Andrew Wyld W/S Fine Art

Hillary Young Victoria and Albert Museum

72 Acceptance in Lieu Report 2010-12

The Collection of Claydon Costumes which was case 4 in the 2004/05 Report has been permanently allocated to the National Trust for display at Claydon, Buckinghamshire.

Sir Peter Lely’s ‘Ursula’ which was case 6 in the 2009/10 Report has been permanently allocated to the Samuel Courtauld Trust for display at the Courtauld Gallery, London.

Daniel Gardner’s Three Witches from Macbeth which was case 8 in the 2009/10 Report has been permanently allocated to the National Portrait Gallery.

Marcellus Laroon the Younger’s A Musical Party which was case 10 in the 2009/10 Report has been permanently allocated to Tate.

Chaïm Soutine’s Jeune femme à la blouse blanche which was case 11 in the 2009/10 Report has been permanently allocated to the Samuel Courtauld Trust for display at the Courtauld Gallery, London.

Domenico Tiepolo’s The Café by the Quay in Venice which was case 12 in the 2009/10 Report has been permanently allocated to the British Museum.

R B Martineau’s A Woman of San Germano which was case 22 in the 2009/10 Report has been permanently allocated to the Ashmolean Museum.

Euan Uglow’s Laetitia which was case 25 in the 2009/10 Report has been permanently allocated to the Ashmolean Museum.

Graham Sutherland’s Study for Thorns which was case 26 in the 2009/10 Report has been permanently allocated to the Castle Museum, Norwich.

Baruch Spinoza’s Tractatus Theolgico-Poiliticus which was case 27 in the 2009/10 Report has been permanently allocated to the British Library.

Karl Schmidt Rottluff’s Dangast Dorf which was case 28 in the 2009/10 Report has been permanently allocated to the University of Glasgow for display at the Hunterian Museum and Art Gallery.

John Wilson’s The Battle of Trafalgar which was case 29 in the 2009/10 Report has been permanently allocated to East Ayrshire County Council.

The Bernard Meadows Collection which was case 31 in the 2009/10 Report has been allocated to Leeds City Council for display at the Henry Moore Institute, Leeds, the Victoria Art Gallery, Bath, the University of Hull and the University of Glasgow for display at the Hunterian Museum and Art Gallery.

Appendix 5Permanent allocation of items reported in earlier years but only decided in 2010/11 and 2011/12

Arts Council England 14 Great Peter Street London SW1P 3NQ

Phone: 0845 300 6200 Email: enquiries@artscouncil.org.uk Textphone: 020 7973 6564 www.artscouncil.org.uk

Charity registration no 1036733

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