Acceptance in Lieu

Report 2009/2010

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

Preface Introduction Seaton Delaval The National Trust 100 years of AIL What has been acquired through AIL? Value for money Extension of the Scheme Conditional exemption Acknowledgments 1910-2010 highlights 2 3 4 4 5 6 8 8 8 8 9



AIL Cases 2009/2010 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. Medals of George Unwin DSO Archive of the Earls of Romney Adam de Colone: Earl of Winton and his Sons Francis Grant: The Meet of the Fife Hounds Degas Sculpture Sir Peter Lely: Portrait of ‘Ursula’ Seaton Delaval Daniel Gardner: The Three Witches Chattels from Lyme Park Marcellus Laroon: A Musical Party Chaïm Soutine: Jeune femme à la blouse blanche Domenico Tiepolo: Café by the Quay in Venice Paul de Lamerie: Four candlesticks The Fitzwilliam silver soup tureens Nine early 20th century British paintings English delft plaque: The Royal Oak Archive of the Earls of Kintore Pollard collection of medals and plaquettes Essex House Press books Cornelis van Poelenburgh: Italianate Landscape Collection of 20th century photography R B Martineau: A Woman of San Germano Papers from the Lyttelton Family Archive Seat furniture from Hagley Hall Euan Uglow: Laetitia Graham Sutherland: Study for Thorns Baruch Spinoza: Tractatus Theologico-Politicus Karl Schmidt-Rottluff: Dangast Dorf John Wilson: The Battle of Trafalgar Jan Lievens: Portrait of the 1st Earl of Ancram Bernard Meadows Collection Archive of Dollie and Ernest Radford Louis XIV Boulle cabinet on stand 16 17 18 19 20 21 22 24 26 27 28 29 30 31 32 35 36 37 38 39 40 42 44 45 46 47 48 49 50 51 52 53 54


Appendices 1. 2. 3. 4. List of objects, allocations and tax values for 2009/2010 Members of the AIL Panel Expert Advisers 2009/2010 Allocation of items reported in 2008/2009 57 58 59 60

Acceptance in Lieu Report 2009/2010 1

The next few years are going to be a challenging time for the cultural sector but there are also real opportunities to ensure that private benefactions return to the central place they enjoyed in an earlier period. works of art were accepted and allocated. in his first major policy statement on taking office were encouraging: “Of course. whether that be as a donor. Sir Andrew Motion Chair. After 100 years. by offers of land to the nation. Export and Loans Unit under the capable hands of Gerry McQuillan. dedication and judgement have ensured that the scheme has prospered. libraries and archives. but details remain to be worked out and users of the scheme should not notice any change in the quality of the service. For 100 years now. It is a fitting climax to the first 100 years of the Acceptance in Lieu Scheme (AIL) that Seaton Delaval and much of its contents should be ceded to the nation and then passed to the National Trust. He is surrounded by a panel of experts who like him generously and freely give their time and knowledge to ensure the scheme works. His commitment.” The role of private collectors and philanthropists in ensuring the vitality of the cultural sector is one that we can expect to hear more about as the new Government develops its plans for the sector. what AIL currently only allows to be done tomorrow on their passing. The experience of the AIL Scheme shows that there is a mutual benefit for each side in encouraging private collectors to become public donors. Through AIL and the work of the National Trust its future is now secure. MLA and the wider museum and archive community owe him a considerable debt for his tireless work since 2000. This masterpiece of 18th century English Baroque architecture by Sir John Vanbrugh has had a colourful history since it was completed in 1731. The AIL Scheme is a model of how the tax system can successfully encourage the transfer of private objects into the public sphere.Preface When in 1910 provision was first made for the settlement of Estate Duty. We need to encourage a renewed sense of shared ownership in our museums. this scheme has allowed the transfer of important heritage assets into public ownership in lieu of liability to inheritance tax and estate duties. In its early years the AIL Scheme transferred many houses. a volunteer or simply as a visitor enriched and renewed by contact with our history and its cultural riches. perhaps the best celebration of AIL would be to build on the scheme’s success and extend its reach by enabling owners of cultural treasures to do today. their contents and the surrounding land into public ownership. Jeremy Hunt. major public collections in the UK which have not been enriched by the AIL Scheme. MLA 2 Acceptance in Lieu Report 2009/2010 . He has generously agreed to stay on as Chair for a further few months to ensure a smooth transition for his successor. if any. Now there can be few. we already have a tax relief that has played a huge role in enhancing the collections of museums and galleries across the country: the Acceptance in Lieu Scheme. it cannot have been foreseen that this terse piece of 10 line legislation would still be thriving 100 years later. So many of our leading museums were founded on generous gifts and bequests and in the AIL Scheme’s centenary year it is appropriate that we should be encouraged to renew that spirit of looking upon our museums and archival repositories as places in which we all share and to which we contribute. As the scheme adapted to changing times. while they are living. The Secretariat and its work will be re-located during the forthcoming year. first to national museums and then to regional and local collections. the forerunner of Inheritance Tax. It has provided a lasting legacy of important cultural objects which increase the ability of our public collections to engage with a wide public and which enrich all our lives. The centenary of AIL also provides an opportunity to look forward and in this respect the enthusiastic words of the new Secretary of State. not simply because they are places we wish to visit but because they are repositories of what we value. Over the last decade the AIL Panel has been led by Jonathan Scott. I wish to thank them all for their work and acknowledge the very able assistance that is provided by the Panel’s secretariat from MLA’s Acquisitions.

from the medals of a Battle of Britain pilot to candlesticks by the great Huguenot silversmith. Above all. Seaton Delaval. resulting in a tax settlement of £10.7m £13.7m £235.3m £10.6m £35.Introduction During 2009/2010 a wide selection of works of art and objects of historic interest was accepted in lieu. Leeds and Chipping Campden. Paul de Lamerie.0m £26. Year to 31 March 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 Totals Number of cases 23 27 37 23 28 38 32 32 36 33 309 Value of objects accepted £24.0m £25.9m £13. with the museum or gallery to which the object was allocated having to make up the difference.3m The variation of the ratio between the total value of the objects and their tax settlement value is largely due to the incidence of hybrid offers where the value of the object offered was larger than the amount of tax due. The total value of all this amounted to £15.8m £15. Exeter.7m. Glasgow and Oxford received objects accepted in the previous year but not at that stage advertised and allocated. Acceptance in Lieu Report 2009/2010 3 . As usual.9m £21.8m £10. a temporary allocation is made while the availability of the object in question is advertised on the MLA website.3m £15. from a collection of some of the finest photographs of the 20th century to distinguished 17th century portraits by Lely and Lievens. with its surrounding gardens and park as well as some important portraits and furniture. the national collections in London and Edinburgh benefited from the scheme and pictures.8m £15. museums and galleries in Bristol. furniture. sculpture and archives were also allocated to Cambridge.8m.6m £15.0m £8. ranging from a Degas bronze of a young dancer to a charming scene of Venetian life by Domenico Tiepolo.1m £39.8m £141. there was the acquisition of Sir John Vanbrugh’s great baroque house.2m £13. when an offer is made without a specific condition as to the object’s destination.2m £19. In addition. We should explain that.5m Tax settled £16.2m £25. Final allocations are made thereafter. The comparative figures for the last 10 years are set out below. Falmouth. Birmingham.9m £10.

The Trust was frequently able to agree loan arrangements with the owners. In many cases these objects have been offered in lieu. therefore. 4 Acceptance in Lieu Report 2009/2010 .Seaton Delaval No great country house and its contents have been offered under the AIL Scheme since 1984. although these were generally for a limited period. Many of the original Delaval family paintings and much furniture were destroyed in the fire which devastated the house in 1822. The view from the steps between the colonnades to the distant sea is superb while the echoing spaces of the interior are wonderfully romantic. a transfer that can be paralleled in a number of other country houses which have been furnished with chattels from other properties belonging to the family. Without this support there would have been severe financial pressure on the Trust. it has received significant support from the AIL Scheme for the acquisition of some of the contents in its properties. the present contents. that some of them should wish to sell part of the contents of these houses or use them to pay inheritance taxes. In today’s economic climate the situation is liable to change. The scheme has been very successful: over the last 10 years the total value of chattels transferred to the Trust through AIL (excluding Seaton Delaval and its contents) has amounted to £21. the current owners of the chattels may be several generations removed from the original donors and may never have themselves lived in the house concerned. that Seaton Delaval should have been accepted together with some of its important contents and transferred to the National Trust. were transferred to the house by Lord Hastings some 60 years ago and came from the Astley family’s property in Norfolk. mainly in the former service wing. The house is one of the grandest and most imaginative creations of one of Britain’s greatest architects. During the course of the last century owners often handed their houses over to the Trust but retained much of the furniture and many of the paintings. The National Trust Although it had been many years since the National Trust acquired a country house in lieu of tax. It is not surprising.000.645. We were delighted. therefore. It would have had to raise the funds to retain some of the important pictures and furnishings which make a large contribution to the visitors’ enjoyment and understanding of the houses themselves.

Again. Since the turn of the 19th century there had been increasing disquiet at the way in which great houses were being sold and their contents dispersed. such transfers were much facilitated. This was enabled firstly by the establishment of the National Land Fund in 1946 ‘as a thank-offering for victory’ to compensate the Inland Revenue for the tax foregone when a house was transferred and secondly by the 1953 Finance Act which allowed the Fund to acquire chattels as well as houses in lieu of tax. In 1947 the first house was acquired by the National Trust under the scheme. This was the romantic manor. culminating in the 1937 National Trust Act. which had been appreciated as an ancient survival of ‘olden times’ since the days of George III.25m – over three times the price at which they could have been acquired. however. the Chancellor of the Exchequer. The amount available was subsequently raised to £20m. with its spectacular collection. The latter scheme was slow to take off because the First World War and subsequent financial turmoil concentrated attention on other matters and there was little encouragement to take advantage of the provisions because the Treasury insisted that some other government department had to make up the tax foregone. while the National Art Collections Fund was set up to acquire major paintings in 1903. who was then Minister for the Arts. in the post-war period. The scheme was substantially enhanced in 1985 when Lord Gowrie. although this sum was neither a limit nor a target. introduced a highly controversial ‘People’s Budget’ which was finally passed in 1910. As a result of the controversy that ensued. war intervened but. During the ‘30s there was much talk about the future of the country house. Then in 1977 Mentmore. This contained a range of taxes on land intended to fall heavily on the landed aristocracy. announced that up to £10m would be available for AIL annually through the Public Expenditure Reserve. was offered to the nation by Lord Rosebery for £2m. in Cornwall. the Treasury withdrew a substantial part of the Land Fund’s capital after which the system was much less used. the National Heritage Memorial Fund was established and the National Heritage Act 1980 set out a new framework for the acceptance of heritage objects in lieu of tax. but it included clauses permitting Death Duties to be paid by the transfer of heritage assets. Cotehele. The Treasury refused the offer because the cost was considered to be excessive and Sotheby’s sold the contents for £6. Six years later David Lloyd George. which made it easier for owners to transfer great houses to the Trust. In 1957.100 years of AIL The legislation enabling objects to be accepted by the nation in settlement of tax was passed 100 years ago as part of the 1910 Finance Act. For that reason the 1896 Finance Act exempted from Death Duties works of art which were of national or historic interest. It is worth taking a look at the background to the scheme and celebrating some of the major acquisitions that have been made as a result of this farsighted legislation. Acceptance in Lieu Report 2009/2010 5 .

What has been acquired through AIL?
After the acquisition of Cotehele in 1947 a number of other houses were transferred to the National Trust through AIL – these included Penrhyn Castle in north Wales; Ickworth, the eccentric round house built by an 18th century Bishop of Derry; Saltram, an important house with interiors designed by Robert Adam; the Vyne and Sudbury Hall, two fine Stuart houses; the magnificent Hardwick Hall, ‘more glass than wall’, built by Bess of Hardwick in the reign of Elizabeth I; Long Melford in Suffolk; Shugborough, created by the wealth of Admiral Anson the circumnavigator; Sissinghurst Castle with its romantic garden created by Vita Sackville West; and Cragside Hall, a great Victorian mansion equipped with all the latest Victorian technology. Other houses were transferred to the Trust outright and some of their contents were subsequently accepted in lieu: the magnificent 17th century silver furniture at Knole; the Van Dycks and Turners at Petworth; some of Churchill’s paintings at Chartwell; grand furniture and porcelain at Waddesdon; one of the Rothschild family houses; portraits and furniture at Powis Castle; Drake’s drum and banners at Buckland Abbey; and much more besides. In addition to the property that was allocated to the National Trust, museums and galleries throughout the United Kingdom have benefited from the scheme. A sample dozen of the great acquisitions are listed below: Clive’s elephant armour Claude Lorrain, Liber Veritatis Ormonde family silver Royal Armouries British Museum National Portrait Gallery V ictoria and Albert and other museums British Museum Courtauld Institute National Gallery Tate National Galleries of Scotland National Gallery National Gallery National Galleries of Scotland

Holbein, Cartoon of Henry VII and Henry VIII Corbridge Roman silver dish Michelangelo, The Dream Constable, Stratford Mill Picasso, Weeping Woman El Greco, Fábula Cimabue, Madonna and Child Titian, Venus Anadyomene

Van Dyck, Portrait of Abbé Scaglia

6 Acceptance in Lieu Report 2009/2010

Then there are the objects accepted in lieu and now owned by museums but still displayed in the houses for which they were originally intended. For example: some of the furniture and tapestries which our first prime minister, Sir Robert Walpole, acquired for Houghton Hall, the series of Reynolds portraits at Port Eliot, the collection of antique classical sculpture at Castle Howard, the sporting pictures by Wootton in the Great Hall at Longleat and the Arundel portraits at Arundel Castle. Not all objects accepted were grand masterpieces of this sort. In recent years the nation has acquired a collection of mainly Victorian pleasure boats on Lake Windermere, the dented cavalry helmet worn by General Scarlett at the Charge of the Heavy Brigade at Balaklava in 1854, Admiral Nelson’s armchair from H.M.S. Victory and Wilfred Thesiger’s photographs of the Marsh Arabs. In 2008/2009 works by three living artists were accepted and last year there was a fine piece of jewellery by a contemporary designer. We hope that this trend will continue. Distinguished archives have been acquired. These include the papers of several Prime Ministers, the Duke of Portland, the Duke of Newcastle and the Marquess of Rockingham from the 18th century, and Lord Addington and the Earl of Derby from the 19th century. It also includes the archives of the Duke of Marlborough from Blenheim and the Duke of Wellington’s papers. Local record offices have been enriched by the transfer of numerous deposits of family archives, vital for the study of local history and land tenure. It is perhaps disappointing that more literary papers have not been offered but unfortunately North American universities have frequently made irresistible offers to authors during their life time and there has been little left when the writer has died. On a different note there were the minute books of the Hambledon Cricket Club, the forerunner of the M.C.C. The illustrations that follow this section of our report give an idea of the scope of the scheme over the years. It should be noted that the range of offers has changed. As mentioned above, Seaton Delaval was the first country house to be acquired for over a quarter of a century. It seems likely that this is due partly to more effective tax planning by landed families and partly to the reduction of the rates of Death Duties or capital transfer tax from 75 per cent in 1975 to 60 per cent in 1984 and 40 per cent in 1988. Furthermore, as a result of the rise in the value of important works of art, the offer of a single major painting or piece of furniture can satisfy a large tax liability. Very few estates today incur a tax liability so large that it can only be settled by the offer of a Poussin or a Picasso.

Acceptance in Lieu Report 2009/2010 7

Value for money
The scheme has undoubtedly been an outstandingly successful investment for the nation. As major international museums’ demand for outstanding works of art remains steady and the supply diminishes, values have soared. Consequently the valuations agreed for some of the great Van Dycks and Turners acquired in lieu over the last half century now seem astonishingly low. The nation was not getting a bargain then – the values were accepted both by our experts and by the offerors’ agents and those were the fair prices at that date – but rather, through the AIL Scheme, the nation acquired masterpieces that would today be unaffordable on the open market. There seem to have been mercifully few errors of judgement such as the Rembrandt Philosopher, accepted as authentic in 1957 but now relegated to the National Gallery’s reserve collection.

Extension of the Scheme
We recognise that it is inappropriate to press for any immediate extension of the Scheme. We are, however, working on some proposals which we should like to put forward when the economic situation has improved.

Conditional exemption
In 1998 the rules relating to the conditional exemption of works of art or objects of historic interest were substantially revised, the criteria for exemption were tightened and access had to be considerably extended. After this passage of time, we feel that the current conditional exemption scheme should be revisited to ensure that it is operating to best advantage for the nation.

The scheme succeeds because of the generous efforts of the many advisers who provide the Panel with expert advice. To them we owe a particular debt of thanks, especially to those upon whom we call with considerable regularity. They give their time and expertise to help UK museums and their expertise is vital to the success of the AIL Scheme. We are grateful to the solicitors and auction houses who draw the attention of their clients to the benefits of the scheme and prepare the offers for our consideration. In addition, the Heritage Section of H M Revenue & Customs does a splendid job of dealing with the taxation and legal aspects of offers in lieu which ensures, that following the Panel’s advice and ministerial agreement, the mechanics of legal transfer of the accepted object into public ownership are carried out smoothly and efficiently. To the museums, libraries and archival offices which have received objects through AIL, we offer our thanks for the images of the objects which in many cases they have provided for this report. In this respect our thanks also go to the offerors’ agents for their permission to use images supplied in the course of offers. Jonathan Scott Chairman of the AIL Panel

8 Acceptance in Lieu Report 2009/2010

Acceptance in Lieu 1910-2010 highlights .

10 Acceptance in Lieu Report 2009/2010 .

dated and signed. especially those designed by Paul Storr. 1600. Clive’s elephant armour This almost complete set of elephant armour was made in Mughal India. with a particular strength in early 19th century objects. c. Castle Barnard (The Bowes Museum). 192 by 250 mm. Acceptance in Lieu Report 2009/2010 11 . Birmingham. 2. Ormonde family silver The Ormonde silver consisted of several hundred pieces of silver and silver-gilt from the 17th to the 19th century. Doncaster and London (Victoria and Albert Museum) © Victoria and Albert Museum. Chester (Grosvenor Gallery).Claude Lorrain Liber Veritatis Claude Lorrain (1600-1682): Landscape with Mercury giving Apollo the lyre. It is the largest set of animal armour in the world. Cambridge (Fitzwilliam Museum). © Trustees of the National Portrait Gallery. It was accepted in lieu in 1957. The sketch-book of the Liber Veritatis contains 195 drawings which Claude made as a record of his paintings and five unrelated preparatory drawings. Brighton. It was accepted in lieu in 1963. ink and watercolour. The collection was accepted in lieu in 1980 and allocated to museums in Belfast (Ulster Museum). © Board of Trustees of the Armouries. inscribed. c. Holbein: Cartoon of Henry VII and Henry VIII Hans Holbein (1497/8-1543): Henry VII and Henry VIII. © Trustees of the British Museum. It is the origin of the classic image of Henry VIII. The example pictured is a George IV twohandled vase-shaped silver-gilt cup and cover by Philip Rundell which was presented to Baron Ormonde following the coronation of George IV on 19 July 1821. It was accepted in lieu in 1957. This is the left half section of the preparatory cartoon that Holbein made for a wall-painting in Whitehall Palace which was destroyed by fire in 1698.1. It is believed to have been captured by Clive of India at the Battle of Plassey in 1757 and was brought to England in 1801 by Clive’s widow. hands on hips and legs astride. 4 4. 2578 by 1372 mm. “Roma 1678/Claudio IV”. 1536-7. 3 2 3.

‘six-footers’. Painted and exhibited at The Royal Academy in 1820. 39. and Athena to her left along with Apollo’s mother and aunt. 1533. a young Roman nobleman with whom Michelangelo was deeply smitten. © Courtauld Gallery. The pagan scene depicted shows Apollo on the right. Constable: Stratford Mill 7 John Constable (1776-1837) Stratford Mill (The Young Waltonians). black chalk on paper. 7.8 x 28 cm. It was accepted in lieu in 1981 and allocated to the Home House Society (now the Samuel Courtauld Trust). oil on canvas. the Friends of the British Museum and The Art Fund. London. Corbridge Roman silver dish The Corbridge Roman silver dish is a superb example of late Roman silver. 6 6. holding a bow with a lyre at his feet. This is one of the finest of all Michelangelo’s drawings made when the artist was in his late 50s. © National Gallery. by the artist depicting scenes on the Stour Valley which Constable exhibited at the Academy from 1819-25. this is the second of the major paintings. Michelangelo: The Dream Michelangelo Buonarroti (1475-1564) The Dream. © British Museum. the hunter goddess. 127 by 182. Stylistically it dates to 4th century AD and is likely to have been made somewhere in the Mediterranean. 12 Acceptance in Lieu Report 2009/2010 .9 cm. his sister Diana. The dish (or lanx in Latin) was found in a bank of the River Tyne near Hadrian’s Wall in 1735 and accepted in lieu in 1993 with additional contributions from the National Heritage Memorial Fund.5 5. It was created as a gift for Tomasso de’ Cavalieri. It was accepted in lieu in 1986 and allocated to the National Gallery. c.

Cimabue: Madonna and Child Cimabue: Madonna and Child Enthroned with Two Angels. © National Galleries of Scotland. oil on canvas. oil on canvas. The painting was accepted in lieu in 2000 and allocated to the National Gallery.5 cm.7 by 20. 1937 (Femme en pleurs). 67.3 by 88. © National Gallery. The intense light and deep shadow enhance the air of mystery around the boy lighting a candle. 9 9. with gold-leaf ground. Picasso responded to the massacre by painting the vast mural Guernica. El Greco: Fábula El Greco (Domenikos Theotokopoulos) (1541-1614) An Allegory (Fábula). The Art Fund and the Gallery’s own funds.8 by 50 cm. 1580-5. Weeping Woman is the last and most elaborate of the series. This rare painting is the only example of the artist in the United Kingdom. It was accepted in lieu in 1989 and allocated to the National Galleries of Scotland with additional funding from the National Heritage Memorial Fund. The Art Fund and the Friends of the Tate Gallery. One of the worst atrocities of the Spanish Civil War was the bombing of the Basque town of Guernica by the German air force in April 1937. Acceptance in Lieu Report 2009/2010 13 . and for months afterwards he made subsidiary paintings based on one of the figures in the mural: a weeping woman holding her dead child. The painting is intended to convey a moralising message against the base and foolish instinct of lust.8 8. © DACS/Picasso Estate. egg-tempera on wood. 27.6 cm. c. The painting was accepted in lieu in 1987 and allocated to Tate with additional payments from the National Heritage Memorial Fund. Picasso: Weeping Woman Pablo Picasso: Weeping Woman. Along with Duccio and Giotto his work marks a decisive moment when Italian painting began to explore three-dimensional form and the depiction of volume. 60. 10 10.

12. Cesare Alessandro Scaglia. representing Savoy in Rome. Titian: Venus Anadyomene Titian (Tiziano Veccellio) d.2 cm. © National Gallery. © National Galleries of Scotland. Van Dyck: Portrait of Abbé Scaglia Sir Anthony van Dyck (1599-1641) Portrait of Abbé Scaglia. The painting depicts the birth of Venus as she is born fully grown from the foam of the sea.8 by 57. Venus Anadyomene. oil on canvas. 200. Abbé of Staffarda and Mandanici (1592-1641) was a diplomat. oil on canvas. The Art Fund (with a contribution from the Wolfson Foundation) and the Scottish Executive. Paris and London and later served the Spanish court. The painting was accepted in lieu in 2003 and allocated to the National Galleries of Scotland with additional funding from the Heritage Lottery Fund.11 11.6 cm. 75. 1576. 1634. He settled in Brussels in 1632 where this magnificent portrait was painted. It was accepted in lieu in 1999 and allocated to the National Gallery. 12 14 Acceptance in Lieu Report 2009/2010 .6 by 123.

Cases 2009/2010 Acceptance in Lieu .

000. After the war he saw service in Iraq and Singapore where he commanded No 84 Squadron and was awarded a DSO for operations during the Malayan campaign. On receiving his wings he was posted to 19 Squadron. following the end of the ‘Phoney War’ in May 1940. 16 Acceptance in Lieu Report 2009/2010 . The collection has been permanently allocated to the Imperial War Museum for display at Duxford in accordance with the condition of the offeror. He joined the RAF aged 16 as an apprentice clerk and was selected for pilot training in 1935. Below: The medals of Wing Commander George Unwin.844. was one of the leading fighter pilots of the Battle of Britain. DSO. In the next two months he shot down a further three German fighters and was involved in taking out a further two. ‘Grumpy’ Unwin. This resulted in the collection settling more tax than was actually payable. Medals of George Unwin DSO. flying in open-cockpit Gloster Gauntlet biplanes. DFM Wing Commander George Unwin. that it was in acceptable condition and suggested to the offering estate that the offer price was undervalued and should be increased by over 60 per cent. it was involved in protecting the retreating British Expeditionary Force at Dunkirk. airfields and road and rail links. He flew out of RAF Duxford for most of the Battle of Britain and for part of the time was Douglas Bader’s wingman. This Squadron was the first to receive the Spitfire in August 1939 and. The offer comprised not only Unwin’s full set of medals but also his log-books covering his career from 1935 to March 1958 and 12 combat reports from the Battle of Britain along with his Service and Mess dress uniforms. His sobriquet. The Bar to his DFM was given in December 1940. is said to have originated at this time when he made his feelings known at not seeing action until the second day of the engagement.1. Unwin shot down three enemy planes that day and was immediately awarded the Distinguished Flying Medal. DFM and Bar (1913-2006). © Imperial War Museum. with the National Heritage Memorial Fund contributing £39. Unwin acted as a flying instructor until late 1943 when he joined No 613 Squadron in the months before D-Day. On 15 September 1940 Unwin’s section engaged 30 BF 109 German fighters which were accompanying a formation of bombers. After receiving his commission in 1942. flying over 50 intruder operations into Europe to attack enemy fuel supplies. The Panel considered that the collection met the first criterion. The Imperial War Museum met the difference of just over £43.

374. that it was in acceptable condition and. He was a considerable scholar and travelled widely on the Continent in his youth. As the acceptance of the archive could have settled more tax than was liable. near Rochester in Kent and acquired other lands around Rochester later in the decade. and a Book of Pleas of the Court of Wards from 1575 to 1605. also John. near Maidstone which was the principal family seat until the late 19th century. an important series of Chancery cases in the 1640s. who was later to design both Maidstone and Dartmoor Gaols. that it was fairly valued. The archive contains the scholarly papers of three generations of the family including the literary and historical papers of Sir John Marsham. Kent County Council contributed a hybrid element of £10. The archive has been allocated to Kent County Council for retention at the Centre for Kentish Studies. later first Baronet. the papers of John Marsham while preparing his history of England. economic and military affairs. The Panel considered that the archive met the third criterion within the regional context of Kent.2. His son. Archive of the Marsham family. following negotiation. The house was rebuilt from 1793 to 1801 to the austere designs of the architect Daniel Alexander. Earls of Romney The offer comprised the papers of the Marsham family who originated from Norfolk but whose principle lands were in Kent. The archive is of considerable extent and amounts to 35 metres of shelf space. In 1630 John Marsham. It not only contains the estate records of the Marsham family but it touches on all aspects of their intellectual. The earliest manuscript is a 12th century copy of the Book of Ecclesiasticus with marginal commentary of the subsequent century which is believed to have belonged to an archbishop of Canterbury. Maidstone. A supporter of the King in the Civil War. Acceptance in Lieu Report 2009/2010 17 . he became MP for Rochester and was knighted at the Restoration and made a Baronet in 1663. social. bought Whorne’s Place in Cuxton. The archive documents in great detail the construction of this important late Georgian house which was the only domestic building by Alexander. purchased The Mote.

The Panel considered that the portrait met the second and third criteria. Adam de Colone: Earl of Winton and his Sons The portrait by Adam de Colone. Alexander. two years later. About 30 extant works are known and all are distinct in their technique as well as the inscriptions that they bear. Declony. George (1613-1648) and Alexander Seton (1621-1691). oil on canvas. He was created Viscount Kingston by Charles II within days of his coronation at Scone Palace in 1651. that it was in acceptable condition and that it was offered at a fair market value.8 cm. He had been a member of the Scottish Privy Council since he inherited the title and at the time that the portrait was painted he was the Council’s President. This portrait is the finest surviving example of Adam de Colone’s work. He entertained both James VI and Charles I at Seton Palace on their visits to Scotland in 1617 and 1633 respectively. George Seton. It has been permanently allocated to the Scottish National Portrait Gallery.000 was paid by his father to ensure his safe return. depicts George Seton (1584-1650). 12 and 8. was captured by the Covenanter Army in September 1645 following the defeat of the Marquess of Montrose at the Battle of Philiphaugh and a ransom of £40. Adrian van Son. Above: Adam de Colone: Earl of Winton and his Sons. George Seaton became Earl of Winton in 1607 when his elder brother Robert was confined on grounds of insanity and resigned the peerage. where it had previously been on loan. greeted the King and his entourage with a Latin oration which resulted in him immediately being knighted.3 by 83. 114. 18 Acceptance in Lieu Report 2009/2010 . No works are known after 1628 and it is not recorded whether he ever made use of the permission he sought in 1625 to travel abroad. He is thought to have been born in Edinburgh shortly before 1597 and it has been suggested that he was the son of James VI’s court painter.3. The Earl of Winton had been educated by the Jesuits in France which aroused suspicions among his Presbyterian countrymen of his being ‘popishly affected’ and on the outbreak of the first Bishops’ War in 1639 his estates were sequestrated when he left Scotland to attend King Charles. in accordance with the condition of the offeror. On the latter royal visit the family chronicle records that Winton’s second son. © National Galleries of Scotland. which would date the portrait to c. daughter of the 9th Earl of Erroll. Whether they were painted in London or in Edinburgh is unknown as his sitters were predominantly Scots who had connections with the London court. The elder son. The inscription records that they are aged 40. 3rd Earl of Winton and his two sons. 1625. He married Anne Hay. as his father died while he was still a child. It is thought that Adam used his mother’s name.

depicts the recently crowned Victoria riding out from Windsor Castle with her Prime Minister. oil on canvas. that it was acceptably valued.9 by 119. When he came into £10. 88. Despite further royal commissions. Lord Melbourne. Isabella Norman. The painting has been permanently allocated to the Scottish National Portrait Gallery. Below: Francis Grant: The Meet of the Fife Hounds. in accordance with the condition of the offeror. He had met at this time the sporting painter John Ferneley who had a studio at Melton and briefly studied with him although he was essentially self taught. 7th Earl of Kintore. The Meet of the Fife Hounds. His early paintings clearly show the influence of Ferneley with their depiction of hunts and sporting action. The success of this painting led to Grant spending much of the rest of his career as a fashionable portrait painter. Sir Francis Grant: The Meet of the Fife Hounds The painting on offer. where it had previously been on loan. © National Galleries of Scotland.4. the leader of society in the area of the Melton Mowbray hunt with which Grant had ridden since the early 1820s. Queen Victoria Riding Out (Royal Collection). It was commissioned by Anthony Keith. The result. Although he briefly studied law. the Marquess of Conyngham. is signed and dated 1833. and greeting the Lord Chamberlain. after discussion. Acceptance in Lieu Report 2009/2010 19 .4 cm. The painting was one of Grant’s most successful early works and is in the tradition of Ferneley who had already painted several hunting scenes for Lord Kintore. whom he married in 1829. He boasts of never having been in Italy or studied the Old Masters. He was educated at Harrow and developed in his youth a fondness for both fox-hunting and painting. “She cannot say she thinks this selection is a good one for Art. when Grant was elected President of the Royal Academy in 1866 the Queen was not in favour.000 on the death of his father in 1818 he was able to indulge both passions but soon spent his inheritance.” The Panel considered that the painting met the third criterion. This was to change in 1838-1839 when he received a Royal commission. Lord Russell noted. His second wife. that it was in acceptable condition and. and retains its original frame. he took up painting as his profession. was the niece of the Duke of Rutland. Frances Grant (1803-1878) was born in Edinburgh to a Perthshire landowning family who also had estates in Jamaica.

London. It was acquired by the great English collector Samuel Courtauld (1876-1947) soon after it was produced and following its exhibition in London in December 1923. pastel. This sculpture has been described as one of Degas’s most dynamic creations. The sculpture on offer bears the Herbrard mark and is lettered ‘J’. that it was in acceptable condition and valued at a fair market price. In the years immediately following Degas’s death. the statue in question is considered to have been the final version because it is the most developed and sophisticated of the group. in 1881 but otherwise his sculptures were private explorations of his favourite themes. Edgar Degas Sculpture Dancer Looking at the Sole of Her Right Foot. Above: Edgar Degas: Dancer Looking at the Sole of her right Foot. The original sculpture in wax with cork support is in the National Gallery. print medium and drawing. in accordance with the condition of the offerors. Recent research suggests that further castings were being made from the late 1940s. from 1918 to 1937. (Herbrard 40) is taken from one of the sculptures that were discovered in the studio of Edgar Degas (1843-1917) after his death. with dark brown patination. It has been permanently allocated to the Samuel Courtauld Trust for display at the Courtauld Galleries. Edgar Degas (1843-1917) was one of the founding members of the Impressionist group and organised several of its exhibitions. bronze. 45. © Courtauld Gallery. Washington. Eighteen were marked A to T and a small number of further copies were made for the artist’s heirs and for Herbrard himself. The complex movement of the dancer’s body as she turns to examine the raised right foot had special significance for Degas and he returned to the theme in three other variations of the pose. By the 1880s he was a successful artist free of financial concerns and for his last years he largely withdrew from the Paris art scene to work in his studio exploring his own artistic interests.5. casts were made of all of the artist’s original sculptures and the Parisian foundry E A A Herbrard produced bronze versions in an edition of 22. Little Dancer.5 cm high. He was equally at home working in oil. Aged Fourteen. The Panel considered that the sculpture met the second and third criteria. He had exhibited one sculpture. 20 Acceptance in Lieu Report 2009/2010 . most frequently ballet dancers and the female nude figure but also horses. Although it is now impossible to give a precise chronology of the development of this figure.

In 1942 he published an article for ‘Apollo’ in which he compared three female portraits. © Courtauld Gallery. that it was valued acceptably. Lord Lee published an article on the painting in 1932 at the time it was displayed in ‘The Age of Walnut’ exhibition. including this Lely. He was born in Soest in Westphalia but by 1637 he was a pupil of a painter in Haarlem and by 1643 he was in England where he remained for the rest of his life. after negotiation. 1647 and this has been accepted by subsequent writers on the artist. Acceptance in Lieu Report 2009/2010 21 . his children and Ursula. He soon responded to the English preference for portraits and during the Commonwealth achieved a position of pre-eminence in English portraiture which he was to retain after the Restoration. Above: Sir Peter Lely: ‘Ursula’ (Portrait of an Unknown Woman). 90. The portrait has been allocated to the Courtauld Institute pending a decision on permanent allocation. When this work appeared on the London art market in 1928 it was said to be a portrait of Lady Howard. long before he had met Ursula. by Venetian painting. It was bought in 1931 by Lord Lee of Fareham who proposed that it was in fact a portrait of Lely’s long-term mistress. Lely had produced “a work of unsurpassable quality. The previous lot was a Lely portrait of Sir George Howard and the pair had been listed in the 1769 Dunham Massey inventory of the collection of the Earls of Stamford under these titles. London. The intimate nature of the portrait suggested to Lee that it depicted a woman with whom the artist was on most familiar terms. Although Lely is best remembered today for the images of the voluptuous beauties of the court of Charles II. his earlier portraits have a quieter and more reflective quality as demonstrated in the portrait offered in lieu. It is believed that for his first few years in London he specialised in landscapes populated with figures. who remains unknown. He dated it to c. and that she died in 1673. and through him. He was also influenced by the work of Van Dyck. however. He described how he felt that in this work. has not accepted the identity of the sitter. that she bore Lely two children.6. Ursula. Sir Peter Lely: Portrait of ‘Ursula’ ‘Ursula’.1 by 75 cm was painted by Sir Peter Lely (1618-1680). He also considered that the sitter could be identified with the female figures in Lely’s The Concert (Courtauld Institute) which was then mistakenly believed to be an image of the artist.” Modern scholarship. Samuel Courtauld bought the painting from Lord Lee sometime between 1942 and his death in 1947. Oliver Millar in his catalogue to the monographic exhibition in 1978 pointed out that the painting came from early in Lely’s career. which he accepted to be of Ursula. about whom little is known other than that they met in the mid 1660s. oil on canvas. The Panel considered that the portrait met the second criterion and.

The centre block was abandoned in its fire damaged condition until 1862 when it was re-roofed and transverse steel columns and brick walls added in the south facing saloon to prevent further structural damage. boys!’ Above top: Seaton Delaval. in 1822. The most important of many items of furniture is a Queen Anne walnut suite consisting of a pair of sofas and eight chairs upholstered in contemporary needlework which depicts historic scenes from the 15th century relating to the Astley family. The relevant volume of Pevsner’s Buildings of England notes that “no other Vanbrugh house is so mature.7. One of the most poignant items is the leather military surcoat of Jacob Astley. who moved into Seaton Delaval soon after its completion in 1731. The matching eastern pavilion which flanks the opposite side of the great forecourt retains its layout as a stable. Under the Acceptance in Lieu Scheme the house. Since the Astleys’ principal residence was Melton Constable in Norfolk. Following the succession in 1956 of Sir Edward Delaval Henry Astley. do not thou forget me. sculpture. one of whom had married a Delaval daughter in the 18th century. 22 Acceptance in Lieu Report 2009/2010 .. March on. © NTPL/Dennis Gilbert. The South Front.” The house. Vanbrugh’s house was relatively little used. the hall was receiving the attention that such an important architectural house deserved. gutted by fire in 1822. © NTPL/Dennis Gilbert. Admiral Sir George Delaval (1667-1723) by Godfrey Kneller (1646-1723). The Delavals were a rumbustious. further restoration was carried out including the renewal of the turrets and towers and the roof of the main block was improved. paintings and ceramics. who fought at the Battle of Edgehill in 1642. lived to see the building completed and. as the latter had no children. The Interior of the central hall. over 80 acres of the surrounding gardens. park and land and the principal contents. Above centre: Seaton Delaval. if I forget thee. which total almost 200 items of furniture. Thereupon the estate passed to the Astleys. His famous prayer on the morning of the battle in which he was himself wounded speaks of his simple piety and rapport with his troops – ‘O Lord! thou knowest how busy I must be this day. circa 1740. Admiral George Delaval (1667-1723). Many fine portraits of members of the Delaval and Astley families dating from the 16th to the 20th century are included. in the manner of William Kent. Opposite: Seaton Delaval. Then. Lord Hastings made the hall a family home again by converting the west pavilion which had been built as a service block into a suite of domestic rooms. however. has had a turbulent history. © NTPL/John Hammond. It is widely regarded as one of the finest works of the English Baroque and one of the most important houses in Britain. architect of Blenheim Palace and Castle Howard. There is also an exceptional pair of George II carved parcel-gilt pier tables. Neither architect nor his patron. were transferred to the nation.. Francis Blake Delaval. 22nd Lord Hastings. it passed to his nephew. Seaton Delaval The successful transfer into public ownership of the great Vanbrugh house of Seaton Delaval must rank as one of the most important acquisitions of the last few decades. so compact and so powerful. fun-loving family who finally became extinct in 1822. The Hall was built between 1718 and 1731 by Sir John Vanbrugh (1664-1726). The contents of the house include many Astley and Delaval portraits and much furniture which was formerly at Melton Constable. a Royalist military commander. the centre block was devastated by a fire that left it as a roofless shell. At last.

Shugborough Hall (1965). Saltram (1957). Hardwick (1959).9m of its own funds to provide an endowment for Seaton Delaval.The grounds of the hall contain two important lead statues by the 18th century English sculptor John Cheere (1709-1787) which were part of the original garden layout. The offer of the land and the buildings was handled by the Department for Culture. Mount Grace Priory (1953). Brodick Castle (National Trust for Scotland. The most important are Cotehele (1947). The National Trust pledged £6. The second life-size group depicts David and Goliath and is based on a sculpture by one of Giambologna’s pupils. More than £3m was raised by public appeal. In total 150 National Trust houses and their contents have objects which have been accepted in lieu since the AIL Scheme began. The transfer of Seaton Delaval and its contents to the National Trust is just the latest in a long line of houses and their contents which have come into the Trust’s ownership through the AIL Scheme. 1959). Media and Sport in consultation with English Heritage and Natural England. Samson slaying the Philistines. Castle Ward (1953). Acceptance in Lieu Report 2009/2010 23 . Petworth (1954) Ickworth (1956). Penrhyn Castle (1952). Cragside (1977) and Calke Abbey (1985). The Panel considered that some of the chattels were of pre-eminent importance and that the remainder were associated with a building which was itself being accepted in lieu of tax and that they should remain in that building. is a version of the famous marble statue by Giambologna which is one of the highlights of the newly refurbished Medieval and Renaissance Galleries in the Victoria and Albert Museum. The first.

following negotiation. becoming a Viscount in 1780. the 5th Duke of Devonshire. was the daughter of the Whig politician Henry Seymour Conway who was related through his mother to Sir Robert Walpole. unvarnished but glazed. In 1773 he won a silver medal for drawing and exhibited at the Academy for the first and last time. was in acceptable condition and. that it was fairly valued. and pastel on paper later laid on canvas. pastel and other media.8. 92. Her husband was created an Irish peer as Lord Melbourne in 1771. The artist was born in Kendal where he received early encouragement from George Romney who was a friend of his mother. Daniel Gardner: Three Witches from Macbeth Three Witches from Macbeth. Mrs Anne Seymour Damer. Through her father’s position as Secretary of State under both Rockingham and Chatham. she was closely linked to the Whig political hostesses with whom she is depicted in a self-mocking way as the three witches foretelling to Macbeth his political future and the troubles that lie ahead. in a unique form of pastel work which combined oil. Lady Melbourne made herself the new Duchess’ firmest friend. The painting has been allocated to the National Portrait Gallery pending a decision on permanent allocation. This position was challenged when Georgiana Spencer. Georgiana. 24 Acceptance in Lieu Report 2009/2010 . The two political wives were together the leaders of fashion and among the chief political operators of the day. She was a bluestocking and a notable sculptor whose artistic talent was much praised by Walpole. Mrs Seymour Damer (1749-1828). He found his metier as an artist.1 by 78. 1750-1805). Melbourne was not a faithful husband and Lady Melbourne followed suit beginning a series of discrete affairs. Elizabeth Millbanke had married Sir Peniston Lamb in 1769. the eldest daughter of the 1st Earl Spencer married William Cavendish. Rather than be rivals. Duchess of Devonshire (1757-1818) and the Hon. Viscountess Melbourne (1751-1818). her social skills were deployed to further her husband’s political career and she acted as the leading political hostess of the time. On finishing his studies he entered the studio of Joshua Reynolds as an assistant but his work in oil is considered to be heavy and unrefined. Johan Zoffany and G B Cipriani were teaching.6 cm is by Daniel Gardner (c. Horace Walpole bequeathed Strawberry Hill to Anne Damer who lived there for 14 years following Walpole’s death in 1797. gouache. He moved to London in his late teens and studied at the Royal Academy schools from 1770 when Benjamin West. This technique maintains a lasting freshness and vivacity as can be seen in Three Witches from Macbeth which depicts Elizabeth Lamb. however. Despite this. The Panel considered that the pastel met the third criterion. The third sitter in the portrait.

Acceptance in Lieu Report 2009/2010 25 .Above: Daniel Gardner: The Three Witches from Macbeth.

1686–1746) in the 1720s. a recreation of a North Italian palazzo. A pair of George II mahogany library armchairs upholstered in gold cut velvet and attributed to the London furniture maker Giles Grendey (1693–1780). The chattels have been permanently allocated to the National Trust for retention at Lyme Park. In addition. in Cheshire.9. following negotiation. who not only designed the south front but produced in the interior courtyard. nestling on the western edge of the Peak District. has been the home of the Legh family for over 600 years. From the same period is a George II giltwood side table with a ‘verde antico’ marble top. Chattels from Lyme Park Lyme Park. are displayed in Lyme’s drawing room. 26 Acceptance in Lieu Report 2009/2010 . Two further sets of George II seat furniture are included in the offer: a set of six mahogany side chairs upholstered in pink floral damask and a set of seven mahogany chairs including an armchair with needlework covers in imitation of cut velvet. Above: Lyme Park – A George II mahogany armchair © NTPL. The chattels that were offered are primarily from the first half of the 18th century as is appropriate to a house which received its most thorough redesign at the hands of Leoni. Its giant pilasters and massive Ionic portico disguise Lyme Park’s complex architectural history. which began in Elizabethan times and continued until the early 20th century. a burr walnut and crossbanded chest on stand dated to the turn of the 17th and 18th centuries and two Dutch items: a River landscape with the Rest on the Flight into Egypt from the circle of Paul Brill and a brass six branch chandelier. it was agreed that they were appropriately valued. The most familiar view of the house is the Palladian south front designed by the Italian architect Giacomo Leoni (c. the offer included two mid-18th century tray-top commodes with a pierced gallery. Also displayed in the drawing room and included in the offer is a George I giltwood pier glass with scallop cresting. The chattels were in acceptable condition and. The Panel considered that the chattels were closely associated with a building in National Trust ownership and that it was appropriate that they should remain so. Below: Lyme Park – A George II giltwood side table © NTPL.

to the theatre where he sang with Colley Cibber at the Drury Lane Theatre before joining the army and serving in Spain: he was captured there and held prisoner for two years before being ransomed. When the subject was etched by George Cruickshank in 1819 it was considered to be a work of Hogarth. it was recognised as by Laroon and was included in the Laroon exhibition held at Tate and Aldeburgh in 1967. is signed and dated 1719 and the artist has added. It has been allocated to the Tate pending a decision on permanent allocation. is a conversation piece depicting a fashionable aristocratic group gathered in a fine interior into which are introduced various humorous observations. The Panel considered that the painting met the third criterion and that it was acceptably valued. Subsequently. the last time that it was publicly exhibited. Below: Marcellus Laroon the Younger: A Musical Party © Christie’s Images. however.10. formerly on the London art market. He turned. Marcellus Laroon: A Musical Party A Musical Party with a Knight of the Garter. oil on canvas. The painting offered in lieu. A drawing of the composition. a Cleric and other Figures in an elegant Interior. like the work from the Royal Collection. One of his best known works. A Dinner Party (Royal Collection). In this way he was able to be financially independent of the need to receive artistic commissions and it was not until 1732 on his retirement that painting became his primary focus. It is clear that he was painting while still a serving soldier. was painted in 1725. a Dutch artist of French origin. Laroon the Younger (or Marcellus II Laroon) trained with his father. ‘premiere pensee/Presented to King George 1st/a picture I painted in 1725’. 102 by 127 cm. is by the English painter Marcellus Laroon (1679-1772). however. On returning to London he briefly took up his artistic career again but returned to military life in 1715 and remained a soldier until he retired on a captain’s full-pay aged 53. Whether these are real people or fictitious it is not possible to say but it is certainly a fine depiction of the manners of the fashionable society of its day and an unusually large work for Laroon. and after a period abroad worked in his father’s studio before briefly beginning his own independent career. Acceptance in Lieu Report 2009/2010 27 .

The Panel considered that the portrait met the third criterion and following discussion. Soutine grew up in a Lithuanian Jewish ghetto. 45 by 34 cm. As with so many artists in the early decades of the 20th century. In all of these areas he was rooted both in the European tradition and in the contemporary artistic culture of Paris. 1923. Cezanne and Matisse as well as Chardin. arguably. The painting has been temporarily allocated to the Courtauld Gallery where it had previously been on loan.11. he was drawn to Paris where he enrolled in the Académie des Beaux-Arts from 1913 to 1915. Goya and Rembrandt were all artists he studied and admired. In 1915 Soutine was introduced by Jacques Lipchitz to Amedeo Modigliani who admired his work. 28 Acceptance in Lieu Report 2009/2010 . It was sold at auction in London in 1985 and acquired by the family from whose estate it was offered in lieu. He was to become a leading member of the inter-War School of Paris and his interests centred on three principal areas: landscapes. He considered. pending a decision on permanent allocation. Chaïm Soutine: Jeune femme à la blouse blanche Young Girl in a White Blouse. still lifes – often of food – and portraits. Above: Chaïm Soutine: Young Girl in a White Blouse. From 1910 to 1913 he studied at an academy in Vilnius where he was introduced to Russian avantgarde painting. by Chaïm Soutine (1893-1943) was painted c. that it was in acceptable condition and fairly valued. Despite these influences his work is entirely personal and. Young Girl in a White Blouse was owned by Guillaume and passed to his wife who sold it to her sister in law in 1937. In his early years in Paris he had little commercial success until 1923 when he was noted by the American collector Dr Albert C Barnes who started to acquire his work in quantity through the art dealer Paul Guillaume. that his study of the old masters in the Louvre was of more importance to his artistic development. however. Even though the Talmudic tradition disapproved of the depiction of images this did not deter the young Soutine’s early interest in drawing. reflects the anxiety of a poor Russian Jewish immigrant in a sophisticated European city where he never felt truly at home. oil on canvas.

where high-waisted dresses are also depicted. The drawing has been temporarily allocated to The British Museum.” It is one of the series of scenes from contemporary life which currently numbers just over 70 works but which may originally have been larger. Below: Domenico Tiepolo: The Café by the Quay in Venice. the bonnets and high waists. a young lady and man exchange glances. continued to produce drawings into his old age. The Café by the Quay in Venice. Acceptance in Lieu Report 2009/2010 29 .’ is by Domenico Tiepolo (17271804). 288 by 413mm. The drawing must. therefore. the son of the painter Giambattista Tiepolo. Several of the drawings are dated 1791 but the series must have occupied the artist over a number of years. Domenico Tiepolo: The Café by the Quay in Venice The drawing. is signed and dated ‘800’ which is believed to be an abbreviation for 1800. She wears a high-waisted dress and he too is dressed in the latest fashion. Divertimento per li Regazzi (Amusements for the Young). At its centre. Since the middle of the 20th century. attuned more to contemporary life and the comic than the sublime visions that dominate his father’s output. The scene depicted shows the throng gathering around the tables and under the stripped awning of a Venetian café. pen and wash. 1800. however. The series has no particular narrative thread but is linked by its subject matter and the similar dimensions of the sheets. his distinctive personality.12. signed ‘Dom o Tiepolo f. have been done in the last few years of Tiepolo’s life. The Street Market. Another of the series. It seems likely that it was produced purely for the delight of the artist as were the even later Punchinello drawings which have a title page. For a long time he was somewhat overshadowed by the reputation of his father. pending a decision on permanent allocation. that it was in acceptable condition and that it was fairly valued. By this time Venice was occupied by French troops and the Republic had ceased to exist. has become better understood and appreciated. J Byam Shaw in his 1962 study of the artist’s drawings notes. The Panel considered that the drawing met the second and third criteria. The drawing is an outstanding example of the artist’s assured technique and also of his humorous observation of contemporary society in the twilight years of the Venetian Republic. Domenico was not only a painter of fine ability but also a superb draughtsmen who. when his career as a painter had ended. “to judge from the dress of the ladies. the date can hardly be earlier than c.

At the same time other pieces are so close in design to the works of makers such as Crespin. His father was an officer in the Dutch army of William III. is dated 1744-1745. He joined the livery of the Company in 1717 but although he served in various roles including fourth. bearing the mark of the outstanding Huguenot silversmith Paul de Lamerie (1688-1751). De Lamerie was one of the most eminent goldsmiths of the 18th century and headed a workshop of considerable size. the year after Paul was born in ‘s-Hertogenbosch.16 ounces. The set belonged to the banker Peter Le Heup and his wife Clara of Albemarle Street in Mayfair. it seems that he must have employed teams of craftsmen and designers to meet demands. Pierre Platel. The four candlesticks offered are particularly fine examples of the Rococo style of English silver in the mid 18th century. all in the 1740s. he never rose to be prime warden. They are each 23. third and second warden. He was apprenticed in 1703 to the Huguenot. It has been permanently allocated to the Victoria and Albert Museum where it was previously on loan and in accordance with the condition attached to the offer. In some cases a consistent. The stem and base are decorated with images of beehives and bees which was part of the armorial device of the London-based Huguenot Le Heup family who obtained a grant of arms in the same year that the candlesticks were hallmarked. Right: Two of the set of four candlesticks by Paul de Lamerie. White and Kandler as to suggest either some form of co-operation between the workshops or that de Lamerie met the demand for his silver by subcontracting to other silversmiths but punching the finished piece with his own mark. the family came to London in the wake of the accession of William and Mary. 1744/1745. albeit anonymous. He was the leading exponent of the Rococo style in silver from the 1730s onwards and. In 1689. receiving commissions from many of the leading aristocrats surrounding the court. The Panel considered that the silver met the second and third criteria and that it was acceptably valued. 30 Acceptance in Lieu Report 2009/2010 . Paul de Lamerie registered his first mark with the Goldsmiths’ Company in February 1714.5 cm high and have scratch weights between 25. style can be recognised in the works bearing the Lamerie mark. He enjoyed considerable commercial success as is shown by his list of prominent patrons who included Sir Robert Walpole and the Spencer family. given the quantity of material he produced.13.2 and 25. who was one of London’s most important silversmiths. Paul de Lamerie: Four candlesticks The set of four candlesticks.

The Fitzwilliam silver soup tureens This pair of George III Neo-classical silver soup tureens. 1793. It is believed that these 14 drawings are the office copies or finished versions of original designs by Chambers. Below: One of the Fitzwilliam soup tureens. one of which he later published as being his own invention. The tureens have weights of 172 and 180 ounces. One bears the mark of Daniel Smith and Robert Sharp. They were the principal manufacturers of a series of magnificent race cups that are an important feature of the 1770s and 1780s. 1770-1771 and the other the mark of Robert Smith. Fitzwilliam’s Cambridgeshire seat. Acceptance in Lieu Report 2009/2010 31 . in accordance with the condition of the offeror. 4th Earl Fitzwilliam. The Panel considered that the tureens met the second and third criteria. One of the cups was designed by Robert Adam. that they were in excellent condition and that the price at which they were offered was acceptable. The tureens which are engraved with the Fitzwilliam coat of arms were commissioned by William. The Daniel Smith and Robert Sharp partnership (1763-1788) supplied high-quality silver in the Neo-classical style to the most fashionable retailers and clients. They have been permanently allocated to the Victoria and Albert Museum where they had previously been on loan. covers and liners measure 30. between 1770 and 1776.9 cm deep. Chambers was working at Milton Hall. These tureens form part of a small group of surviving objects which were made to the refined Neo-classical designs of William Chambers (1722-1796).5 cm across the handles and are 22. including the Prince Regent. A closely related design for the tureens is preserved in a group of 14 designs for metalwork by John Yenn (1750-1821) who was a talented draughtsman and one of Chambers’ pupils and assistants.14. They were made by the London silversmiths Daniel Smith and Robert Sharp after a design by Sir William Chambers. and also at his London house in Piccadilly from 1770 to 1771.

1910-1911.2 cm. Nine early 20th century British paintings The offer consisted of nine paintings which had formed part of the collection of Robert Alexander (Bobby) Bevan and his second wife.7 by 45. Spencer Frederick Gore and Walter Sickert. 1913. ude at a Window. It is the second of three portraits of her painted by Gilman. oil on canvas. c.1 by 31. All of the works were painted between 1910 and 1928. She later married Arthur Clifton founder of the prestigious Carfax Gallery in Ryder Street. Portrait of Spencer Gore. 3. They had married in 1897 and lived in Swiss Cottage. 4. P 59. 58. Nude at a Window was owned by Spencer Gore before it was acquired by Robert Bevan. He was a founder member of the Camden Town Group and his work was included in all three of their exhibitions between 1911 and 1913. He formed part of the group of artists. Stanislawa de Karlowska was the Polish wife of Robert Bevan.7 cm. centred on Sickert. 38. The final two paintings are by Mark Gertler. c.8 cm. each of which was bought by Bobby Bevan when they appeared on the art market in the years following Gilman’s death. oil on board. The portrait was a gift from the artist to Robert Bevan. ortrait of Stanislawa de Karlowska c. She was an artist in her own right and studied at the Académie Julian in Paris. 32 Acceptance in Lieu Report 2009/2010 . Signed ‘H Gilman’ lower left. It is one of a number of nudes painted by Gilman between 1911 and 1913 and is clearly related to Sickert’s paintings with their frank naturalism and undisguised sexuality. who rented a studio at 19 Fitzroy Street. 58. Bobby Bevan was the son of the painter Robert Bevan (1865-1925) and seven of the paintings are by his fellow artists from the Camden Town Group: four by Harold Gilman and one each by Charles Ginner. The four works by him are 1. Harold Gilman (1876-1919) studied at the Slade School of Fine Art from 1897-1901 but the major influence on his painting came from his meeting with Walter Sickert in 1907. Gilman had first met Spencer Gore when they were both students at the Slade and they had worked together since they shared the Fitzroy Street studio. 1911. 2.15. oil on canvas. St James’s.1 cm Madeleine Knox was a pupil of Sickert and she helped him both practically and financially when he opened a school for etching in Hampstead Road in 1910. Natalie.4 by 50. N oil on canvas. 1912. c. 1 2 3 4 Below: Caption. Portrait of Madeleine Knox. Although the portrait may be unfinished it is an expressive and intimate demonstration of Gilman’s bold handling of paint. which was the venue for all of the Camden Town Group exhibitions.4 by 43.

Dieppe. He died of pneumonia in his mid 30s. c. Sickert lived for a number of years near Dieppe and The System which depicts an old man leaning over the baccarat table at the town’s casino apparently in despair at the turn of the cards is based on the numerous drawings that Sickert made while living in France.4 by 43. 5. oil on canvas. The canvas was purchased by Bobby Bevan from the Mayor Gallery in 1951. soon forming a close friendship with Gore. 7. 1910. Signed ‘S. a Vieille Balayeuse. In 1904 while on a painting trip to France he met Sickert who had been living in France since 1898 and aroused his interest in the new generation of painters emerging from the Slade. he System. Ginner exchanged the painting for one of Bevan’s works.F.2 cm This subtle self-portrait shows a sophisticated handling of space with the subject seen only in reflection and partially obscured.7 cm The painting of a street scene in Dieppe demonstrates the bold use of paint and texture which reflect Ginner’s great admiration for Van Gogh.G. He was the first President of the Camden Town Group. It has been said he took English painting out of the drawing room and into the kitchen and his influence on 20th century art in Britain has been profound. Signed ‘C GINNER’ L lower right. Spencer Frederick Gore (1878-1914) met Harold Gilman at the Slade and became friends with Augustus John and Wyndham Lewis. 70. 59. One critic described his technique as treating paint as pieces of mosaic to inlay on a canvas. 1913. 6.Charles Ginner (1878-1952). the son of British parents. Walter Richard Sickert (1860-1942) was the most influential English painter of the first part of the 20th century. was born in Cannes and only settled in London at the end of 1909.R. T oil on canvas. 5 6 7 Acceptance in Lieu Report 2009/2010 33 .A.1 cm After the war. Signed ‘Sickert A. Not only was he the focus for many younger artists but his polemical ability and his journalism brought English art to a new audience. 29. Gilman and Bevan. Stanislawa de Karlowska. It was bought directly from the artist by Robert Bevan’s wife.0 by 45. onversation Piece and Self-Portrait.’ lower right. 1924-1926.7 by 38.’ C lower right. oil on board.

Supper (Natalie Denny). It was bought by Bobby Bevan in 1956 for the advertising agency S H Benson Ltd where Bevan had worked since 1924 and it was presented to him on his retirement from the firm in 1964. 7 and 8 to the National Galleries of Scotland. all in accordance with the condition of the offerors. however. exudes the sensuality of the 19 year-old model and the artist’s passion for her. 1924. 8 9 34 Acceptance in Lieu Report 2009/2010 . Kate (Golda) Berenbaum (c. This is his last portrait of her.7 by 71. She met Mark Gertler at a New Year’s party held by Augustus John in 1927 and sat for two portraits by him. Ill-health increased his social isolation and detachment.” She was a popular figure in the artistic milieu of London in the late 1920s. P 73. enabled him to attend the Slade from 1908 to 1912 where he won numerous prizes. 4 and 9 have been permanently allocated to the National Portrait Gallery. 8. the highest price he ever achieved for any painting.7 by 68.6 cm Gertler’s mother. He grew up in poverty and despite showing early talent his brief artistic education was cut short due to the need to earn a wage.1862–1932) was a favourite subject of the artist from very early on in his career. Through Lady Ottoline Morrell he met Sickert. 1928. The Panel considered that all nine paintings variously met the second and third criteria. ortrait of the Artist’s Mother. Items 2. however. His pacifism during World War I further alienated his position. items 1. 3 and 5 to Tate and items 6. produced when she was in her early 60s. A Jewish educational charity. oil on canvas. In the 1920s he frequently visited Paris and his admiration for Renoir and Cezanne is reflected in his subsequent work. 106. oil on canvas. the most celebrated of the two. The collector Edward Marsh soon took an interest in him and he became associated with the Bloomsbury Circle partly as a result of his unrequited love for Dora Carrington. “one of the most beautiful and charismatic women of her generation. that they were in acceptable condition and were valued at a fair market price. was described in her obituary as. 9. He sold it soon after it was painted for £200.Mark Gertler (1891-1939) was never a Camden Town artist but was part of the London art world in the early 20th century. ill at ease in such society and estranged from his Jewish roots. Supper. financial worries and depression led to his suicide in 1939.1 cm Natalie Denny (1909-2007). Although he married in 1930 it was not a success and ill-health. He felt.

The memory remains alive today in the numerous pubs that still bear the name The Royal Oak. The Panel considered that the plaque met the first and third criteria. was limited. right and above. Around the trunk of the tree is a banner with the inscription ‘The Royal Oak’. ochre and yellow and shows a bust-length portrait of Charles II in a tree with three crowns to the left.2 cm high. often immigrants. green. was probably produced in London. manganese. It provided a much cheaper alternative to the Chinese porcelain that was expensive and the preserve of the wealthy. were defeated by Cromwell’s New Model Army. The plaque has a moulded painted border and is set within a varnished bark frame. The finest examples were produced in the city of Delft. English delft plaque: The Royal Oak The English delft oval portrait plaque. Charles fled the battlefield and evaded capture by hiding in a large oak tree in the grounds of Boscobel House. mostly Scots. These glazed earthenwares had been copied in London potteries from the 1570s but the number of skilled craftsmen. Acceptance in Lieu Report 2009/2010 35 . c. In accordance with the condition of the offeror. 23. Patriotic motifs are a common theme of their decoration. 1665. Tin-glazed earthenware was first made in the Netherlands at the beginning of the 16th century but reached is zenith in the first part of the 17th century. the decoration was often in a provincial and naïve manner and did not pretend to the sophistication of continental styles.16. the Battle of Worcester. that it was in acceptable condition and. Above: The Royal Oak: an English Delft Plaque. It is painted in shades of blue. As in the example on offer. hence the name delftware given to earthenware with a white tin glaze and then decorated with coloured glazes. The Royal Oak commemorates the events surrounding the last battle of the English Civil War. after negotiation. at which Charles II and his supporters. it has been permanently allocated to the Victoria and Albert Museum where it was previously on loan. On the king’s restoration in 1660 the story became part of the common mythology. The tale later reached such popularity that souvenir hunters eager for parts of the tree lopped so many pieces from it that by the 18th century the oak had died. that it was fairly valued. 1665. c.

2nd and 3rd Earls of Kintore and more substantial bundles relating to the 5th Earl (1765-1804). the archive contains estate records from the 17th century for the Keith lands in Aberdeenshire. Although the majority of papers are of 19th century date. From 1896 he was in the diplomatic corps and was posted to Vienna. There are a number of papers relating to the latter’s time as Governor and Commander-in-Chief of South Australia from 1889-1895. Above: The 9th Earl of Kintore (seated left). J L Stirling (seated right) and party following their crossing of the Australian continent from Darwin to Adelaide in May 1891 while Kintore was Governor of South Australia. He spent most of his life abroad. The Panel considered that the archive met the third criterion. in the winter of 1651-1652. Sir William Keith (d. albeit initially with some reluctance. that it was in acceptable condition and that it was acceptably valued. There are some papers of the 1st. was created Earl Marischal in 1458. His grandson. about 1407) acquired through marriage the coastal stronghold of Dunnottar Castle. The archive contains 12 volumes of diaries from 1897-1915 of Sir John Baird (later 1st Viscount Stonehaven) who married the daughter of the 9th Earl of Keith. first to France and then to Spain. The earliest document in the archive dates from 1405 in the time of Sir William. There are also papers of George Keith who was declared a traitor and had his estates forfeited due to his support of the Jacobite rebellion of 1715. Paris and Buenos Aires. John Keith. Abyssinia. He accepted. As a result the Roundheads ended the search. 36 Acceptance in Lieu Report 2009/2010 .17. Archive of the Earls of Kintore The Keith family held the hereditary office of Marischal of Scotland from the 12th century. the events of 1689 and was a supporter of the Union of 1707. he played a vital part in preserving the Scottish regalia during the siege of Dunnottar Castle by Cromwell’s soldiers. Previously. after eight months’ siege. Brechin. Cairo. also William. Dumfries and Montrose. latterly in Prussia where he was Frederick the Great’s ambassador. was created Earl of Kintore in 1677. the castle fell he swore that the regalia had been sent to Charles II who was then in France. When. The archive has been permanently allocated to Aberdeen University Archive where it was previously on deposit and in accordance with the condition of the offeror. In the 1920s he was appointed Governor-General of Australia. son of the 5th Earl Marischal. Later papers are of the time of the 7th and 9th Earls. while still a youth. Elected an MP in 1910 he served in the Intelligence Corps during the first part of the war. acting as a decoy while the regalia were taken from the castle and hidden in a local church.

those of the Bargello Museum in Florence (3 volumes. that it was in acceptable condition and that it was fairly valued. Acceptance in Lieu Report 2009/2010 37 .18. His interest in medals began soon after starting at the Fitzwilliam as a museum attendant in 1947 when he chanced upon a collection of several hundred medals in a local antique shop.5 by 12.7 cm. Borghesi. 1469). For all but the first three years of this period he served as Deputy Director. During his time as Keeper. Duke of Urbino. Pollard’s collection was on loan in the coin room and on his retirement the most important items remained on deposit. The most important is a Portrait medal of Borghese Borghesi. The Panel considered that the collection met the third criterion. recto (top) and verso (bottom). This started his life-long interest in the subject and his collecting habit. 6.2 cm diameter. Washington (2 volumes. 14791480. The collection consists of nearly 300 items ranging in age from the mid-15th century to the 21st century. This very rare example of a portrait medal from Renaissance Siena was designed by Francesco di Giorgio Martini (1439-1501). Naples and those of Federico da Montefeltro. cast bronze. Above: Francesco di Giorgio Martini: Portrait medal of Borghese Borghesi. as the medal attests. Antonio di Pietro Averlino (c. was ‘commissario generale’ of the Sienese army and after the battle he was both knighted and given the title ‘Pater Patriae’. 2007). 18. His own collection developed over the years but only contained items that the museum had confirmed it was not interested in purchasing. The medal commemorates Borghesi’s role in the defeat of the Florentines at the Battle of Poggio-Imperiale in which the Sienese were allied to the papal forces of Sixtus IV. Also particularly significant is the mid-15th century bronze plaquette of St Jerome in the wilderness. The medals have been permanently allocated to the Fitzwilliam Museum in accordance with the condition of the offeror. The reverse bears an image of Minerva. 1400-c. 1984-1985) and of the National Gallery of Art. This has been attributed to ‘Filarete’. Pollard collection of medals and plaquettes The collection of medals and plaquettes was formed by Graham Pollard (1929-2007) who was Keeper of Coins and Medals at the Fitzwilliam Museum from 1966 to 1988. He was a leading authority on Italian Renaissance medals and catalogued two of the greatest museum collections. The publication of the latter was pushed forward so that its author was able to enjoy it before his death.

The Essex House Press and the Guild were part of the tradition of British socialism influenced by John Ruskin and William Morris. Essex House Press books The collection of Essex House Press books was formed by CR Ashbee (1863-1942). To this end it seeks to apply to the collective work of its members whatever is wisest and best in the principles of Co-operation. some using existing type and others employing Ashbee’s own type designs.19. 38 Acceptance in Lieu Report 2009/2010 . The Essex House Press was established in 1898 as part of the Guild of Handicraft founded by Ashbee in 1888. in C. The Guild Rules of 1899. published in 1909. crafts and occupations. a sumptuous folio volume of 1903 for which Ashbee designed both a new typeface and over a hundred engravings. believed had been lost during the process of industrialisation. which was agreed. underlines the link with that tradition: ‘The Guild of Handicraft is a body of men of different trades. The Eragny Press was begun by Lucien Pissarro in 1894. It produced a wide range of work. The Panel considered that the collection met the third criterion and that it was in acceptable condition. drawn up by the members. The collection has been permanently allocated to the Guild of Handicraft Trust for retention at the Court Barn Museum. Chipping Campden. The Press’s Bibliography. like Morris. Most of the volumes bear Ashbee’s bookplate. united together on such a basis as shall better promote both the goodness of the work produced and the standard of life of the producer. and named after the Guild’s headquarters on the Mile End Road. They also considered that the offer price was an undervaluation and suggested an increase of 40 per cent. in accordance with the condition of the offeror. The collection offered was that formed by C R Ashbee himself and includes all but a handful of the Press’s output. The Guild and Press moved to Chipping Campden in Gloucestershire in 1902. co-operation and a meaningful engagement with work which Ashbee. of Trade Unionism or of the modern revival of Art and Craft… ‘. The Prayer Book of King Edward VII. lists 83 publications and a few more were printed after that date. The Private Press: A Study in Idealism (1909). Ashbee. The Essex House Press was also part of the private press movement established by Morris with the Kelmscott Press in 1891. Charles Ricketts ran the Vale Press from 1896 and before the end of the century the Doves Press had also been established. Essex House carried on the Kelmscott tradition acquiring Morris’s two Albion presses after his death in 1896 and employing three of the Kelmscott craftsmen. It sought a return to craftsmanship. Also included are the proofs of the Essex House Press’s most ambitious work. Above: Decorated initials by C R Ashbee. R.

20. He was important both as a figural artist and as a landscapist. Acceptance in Lieu Report 2009/2010 39 . the youngest artist to be so included. Above: Cornelis van Poelenburgh: Italianate Landscape with Nymphs Bathing. The painting has been temporarily allocated to the National Gallery with a view to it being permanently allocated to Strawberry Hill once it is reopened to the public in late 2010. that it was in acceptable condition and that it was fairly valued. He was in Rome from 1617 to 1623 where he worked for the Orsini family and he also received a commission to work for the Medici court in Florence.18. It was bought on day 11 of the sale (6 May) as lot 11 and the description from the catalogue reads. He was born in Utrecht and studied with Abraham Bloemaert. An equally charming cabinet gem. mythological and religious scenes as well as pastoral landscapes.6. ‘A Landscape with Ruins. The Panel considered that the painting met the fourth criterion. Several works by Poelenburgh remain in Florentine collections. He travelled to Paris in 1631 but was back in his native city by 1632 when he received a major commission along with Bloemaert for paintings for the newly built palace of Frederick Henry.’ It was bought for £8. He was back in Utrecht by 1625 where he received commissions from the city authorities. Prince of Orange at Honselaarsdijk.4 cm by Cornelis van Poelenburgh (1594/5-1667) is a typical example of the small landscapes that were produced in considerable number by this prolific artist. Cornelis van Poelenburgh: Italianate Landscape Italianate Landscape with Nymphs Bathing. achieving sufficient fame by 1618 to be included in a work listing the famous painters of Amsterdam. He was also aware of the developments in landscape painting being introduced by the Carracci. He painted history. Nymphs Bathing. 13 by 12. oil on panel. Rubens who owned several of his works visited him in his studio. by Poelemburg. When in Rome he collaborated with Paul Brill and copied works by Adam Elsheimer. Horace Walpole had hung the painting in the Blue Breakfast Room on the upper floor at Strawberry Hill. He also worked for Charles I in London between 1637 and 1641. The painting offered is of particular interest as a mid-19th century label on the back of the frame records that it was acquired at the Strawberry Hill sale in 1842.

Henri Cartier Bresson (1908-2004). Above: Edward Weston: Portrait of Manuel Hernández Galván .1950). Herbert Bayer (1900-1985). Martin J Cullen (b. There she sat in that lean-to tent with her children huddled around her. Peter Suschitzky (b. Paul Joyce (b. I did not ask her name or her history.1944). Irving Penn (1917-2009). W. Galván fought by the side of the revolutionary leader Pancho Villa. taken in 1924.1951). Lee Fridlander (b. 3 prints. Nipomo. Dorothy Bohm (b.1934).” The Panel considered that the collection met the second and third criteria that it was in acceptable condition and fairly valued. The collection has been assembled over the last 30 years by Barbara Lloyd and the photographers represented include many of the greatest names in photography from the 20th century. Nipomo. One of the Edward Weston photographs. Eugene Smith (1918-1978). is a dramatic image of the Mexican senator and general. In 1960. Lange spoke about taking the photograph: “I saw and approached the hungry and desperate mother. Man Ray (1890-1976).1967). 40 Acceptance in Lieu Report 2009/2010 .1928). I do not remember how I explained my presence or my camera to her. Lucien Hervé (19102007). Galván was campaigning for political office. The photographs have been permanently allocated to Tate in accordance with the condition of the offeror. Collection of 20th century photography The offer comprised 49 photographs by the following artists: Bernice Abbott (1898-1991). 2 prints. working closer and closer from the same direction. and birds that the children killed.1944). 12 prints. titled Galván Shooting. I made five exposures. as if drawn by a magnet. 2 prints and James Van der Zee (1886-1983). that she was thirty-two. Robert Frank (b. but was assassinated shortly after their meeting. 3 prints. Mexico. She told me her age. Of particular significance are the five images by Irving Penn which include two New York cityscapes of 1947 and 1985. Manuel Hernández Galván. Jacques Henri Lartigue (1894-1986). 1935. California. 1935 is one of the outstanding images of the 1930s. and so she helped me.21. Manuel Alvarez Bravo (1902-2002). Dorothea Lange’s Migrant Mother. She said that they had been living on frozen vegetables from the surrounding fields.1924). 4 prints. and seemed to know that my pictures might help her. 1941). Dario Mitidieri (b. She had just sold the tires from her car to buy food. Yau Leung (1941-1997). 5 prints. two portraits from New Guinea and Morocco. 1924. but I do remember she asked me no questions. Calum Colvin (b. Roger Ballen (b.1924). and a portrait of the French writer Colette of 1960. Robert Mapplethorpe (1946-1989).1961).1924). The Mapplethorpe is a 1976 portrait of the New York singer-songwriter Patti Smith. There was a sort of equality about it. California. When Weston took the photograph.1959). Opposite: Dorothea Lange: Migrant Mother. Richard Avenden (1923-2004). Tim Gidal (1909-1996). Hou Bo (b. Bill Brandt (1904-1983). 2 prints. Jo Alison Feiler (b. Edward Weston (1886-1958). Brassaï (1899-1984). Sebastião Salgadio (b. František Drtikol (1883-1961). Dorothea Lange (1895-1965). Elliot Erwitt (b.

Acceptance in Lieu Report 2009/2010 41 .

1852 (Tate). R B Martineau: A Woman of San Germano A Woman of San Germano. It has been temporarily allocated to the Ashmolean Museum pending a decision on permanent allocation.2 cm. The painting was sold in 1869 and had remained in the family of the purchaser since then. 42 Acceptance in Lieu Report 2009/2010 . The Panel considered that the painting met the second and third criteria. It was the first of 11 works which he exhibited at the Royal Academy during his brief career. along with Maddox Ford’s The Last of England (Birmingham Museums and Art Gallery). Martineau moved in Pre-Raphaelite circles and he is portrayed as the man on the horse in the background of Ford Maddox Brown’s masterpiece. It was first shown in the British Galleries at the South Kensington International Exhibition of 1862 where. in 1846 he began an artistic career. executed in the Pre-Raphaelite style which he was to maintain throughout his career. Hanover Street. he started a career in law. oil on canvas. that it was in acceptable condition and that it was fairly valued. it was the most popular work in the show. having graduated. 57. attending the Royal Academy Schools from 1848 where he won a silver medal for drawing from the antique. A Woman of San Germano depicts a mother suckling her infant in the shade of a leafy pergola in an Italian village. The Last Day in the Old Home (Tate). It was exhibited in 1864 at the New Gallery. like his two elder brothers. Braithwaite’s portrait in coloured chalks by Hunt was given by the artist to the Walker Art Gallery in 1907. Hunt oversaw Martineau’s first painting Kit’s Writing Lesson. After four years articled to a firm of solicitors. Work (Manchester City Galleries). by Robert Braithwaite Martineau (1826-1869) is a rare work by an artist who produced very few paintings.5 by 65. His painstaking technique and his habit of reworking his canvases meant that his output was limited and only about 17 finished paintings are known. His best known work. The reference to Italian old master paintings and the allusion to the Madonna and Child would have been immediately apparent to contemporary viewers. was painted in 1862. this was to be the beginning of a steady friendship. in a joint exhibition with Hunt.22. He wrote to the Pre-Raphaelite artist William Holman Hunt in 1851 asking to be taken on as pupil and he worked with Hunt during 1851/1852. signed and dated 1864. He was born in London and. It had not been seen in public for almost 150 years.

Acceptance in Lieu Report 2009/2010 43 .Above: R B Martineau: A Woman of San Germano © Ashmolean Museum.

the Temples and the Grenvilles. including the manuscript of the first history of Worcestershire by Thomas Habington (1560-1647) which is included in the offer. Papers from the Lyttelton Family Archive The Lyttelton family has been established at Hagley Hall since the mid 16th century and has been involved in both national and local politics from the 17th to the early 20th centuries. Another brother. The Panel considered that the papers were pre-eminent under the first and third criteria both in a national and a regional context. In the 19th century William Henry. including royal appointments by Charles II. There are papers relating to the 4th Baron and his involvement with the establishment of the Province of Canterbury in New Zealand. James II and William III. There are significant letters from major 18th century political families to which the Lytteltons were related including the Pitts. (1724-1808). It reached particular prominence in the first half of the 18th century with the rise of George Lyttelton (1709-1773). The archive. Two important letters are addressed to him from the President and Commissioners of the Board of Trade concerning Indian affairs in South Carolina. Charles Lyttelton. 1st Baron. William Henry Lyttelton. The papers have been temporarily allocated to the Worcestershire Record Office pending a decision on their permanent allocation. who was influential both in politics and in literary circles. held several important colonial offices including that of Governor of South Carolina and then of Jamaica. 1st Baron. A small section includes letters from Pope. was Bishop of Carlisle and a leading antiquary who acquired important documents on the history of Worcestershire. 44 Acceptance in Lieu Report 2009/2010 . Lord Temple. The Hagley estate accounts cover the period 1839-1955 and run to over 100 volumes.23. 3rd Baron (1782-1837) was MP for Worcestershire from 1806-1820. 2nd creation. Later he was British Ambassador to Portugal. which was owned by his uncle. The bulk of the archive consists of some 75 boxes and includes family correspondence from the 17th century. Samuel Johnson and Voltaire. The condition of the archive was considered acceptable as was the valuation. He was also responsible for transforming Hagley into one of the great 18th century landscapes on a par with that of Stowe. His brother. He married the eldest daughter of the 2nd Earl Spencer who was a lady of the bedchamber (18381842) and governess to Queen Victoria’s children (1842-1850). Some of his private family letters are also included. however. is not complete as disposals occurred in the 1970s. The papers of William Henry Lyttelton as Governor of Jamaica comprise three letter books totalling about 300 letters.

The suite originally comprised 14 chairs. 1760. Seat furniture from Hagley Hall The offer comprised a pair of carved mahogany and limewood open armchairs c. Hagley Hall was built between 1754 and 1760 by the gentleman architect Sanderson Millar although the final plans were drawn up by the professional architect John Sanderson. As with the Hagley chairs. Below: A George II carved mahogany and limewood camel-backed settee. along with mirrors and girandoles. 1760 and a George II carved mahogany and limewood camel-backed settee. The Panel considered that the furniture met the second and third criteria and that it was acceptably valued. The gallery. in accordance with the condition of the offeror. although the Rousham chair is in gilt wood. distinct in its relatively severe form and angular frames enriched with light and playful Rococo carving. Dorset. was commissioned by Sir George Lyttelton. It has been permanently allocated to Leeds City Council for display at Temple Newsam House. (later 1st Baron Lyttelton) for the gallery at Hagley Hall. The furnishing of the room seems to have taken its cue from the series of 17th century portraits bequeathed to Lord Lyttelton’s grandfather by the 3rd Baron Brouncker in 1684. The designer of the furniture is not known but there are parallels with broadly contemporary commissions. the picture gallery at Corsham Court and the gallery at Osterley Park. These were reframed by George Lyttelton in Rococo oak and lime frames inspired by Grinling Gibbons. They are part of the extensive suite of seat furniture which. the square tapered column legs are applied with carved details. It is divided into three areas by the use of Corinthian columns and pilasters acting as screens. Above: A carved mahogany and limewood open armchair from Hagley Hall c.24. en suite with the pair of chairs. which extends along the whole of the east side. is the most classical of the rooms of this Palladian house. The settee is 267 cm wide. Acceptance in Lieu Report 2009/2010 45 . one large settee and one small settee. The earliest is a chair at Rousham designed by William Kent and supplied by an unknown cabinet maker. There is no gilding used either on the frames or on any of the furniture. The Hagley furniture is. however. Comparison can also be made with the seat furniture for the Tapestry Room at St Giles’s House.

Oxford. Like Uglow she studied at Camberwell and the Slade but a decade after him. He kept to a strict routine in his working life. following negotiation. The Panel considered that the painting met the third criterion and. 93 by 93 cm was painted by Euan Uglow (1932-2000). Laetitia is a nude portrait of the artist Laetitia Yhap who was born in London in 1941 to mixed Chinese and Vietnamese parents. particularly Piero della Francesca. Poussin and Chardin. It has been temporarily allocated to the Ashmolean Museum. Uglow followed him and stayed for a further three years of study until 1954. He won numerous prizes and bursaries and was recognised by his teachers as a student of special talent and dedication. When Coldstream moved to the professorship of Fine Art at the Slade. His particularly laborious method of painting involved mathematical calculations. meticulous. The artist attended Camberwell School of Arts and Crafts from 1948 to 1951 where he was taught by Victor Pasmore and William Coldstream. if not notorious. and always made the distinctive frames for his paintings. He rarely produced more than two or three major paintings a year. oil on canvas.25. working every day in his Battersea studio. even obsessive measuring and complicated constructions of sighting wires and plumb-lines. Euan Uglow: Laetitia Laetitia. Uglow was a figurative artist and his primary interest was in the female nude but he also produced still lifes and landscapes. that it was acceptably valued. pending a decision on permanent allocation. Above: Euan Uglow: Laetitia. for the demands that he made upon his models frequently requiring them to keep difficult poses for long periods of time. His first solo exhibition was in 1961 at the Beaux Arts Gallery and from the late 1970s he showed regularly with Browse and Darby. 1961-1962. Uglow was famous. 46 Acceptance in Lieu Report 2009/2010 . He was deeply influenced by old master artists. His output was small as a result of his meticulous technique. As well as painting he would often build the furniture and props used in his pictures.

Sutherland’s mixture of intense romanticism and spiritual agony reflected the emotions of the time and was to bring him both critical and commercial success. “things found a new form through feeling. Walter Hussey to paint a religious work for St Matthew’s Church. over the next two decades.” The painting was bought directly from the artist in 1953 in which year he had returned to the subject of thorn paintings following observations from nature in the south of France. encompassing the air. Following negotiation.. the thorns on the branches established a limit of aerial space. Above: Graham Sutherland: Study for Thorns. [and] my mind became preoccupied with the idea of thorns (the crown of thorns) and wounds made by thorns. Northampton. 45 by 25 cm. pending a decision on permanent allocation. eschewed any particular movement and retained its roots in an English pastoralism and vernacular tradition dating back to the work of Samuel Palmer in the 19th century. He wrote in 1946. Study for Thorns is one of a series of works that he produced immediately after the war following a commission he had received from the Rev. It has never been publicly displayed. upper right. was primarily in etching. was painted by Graham Sutherland O. inscribed and dated on the verso. He responded to the exhibition of Picasso’s Guernica in London in 1938 by noting how the artist had used a paraphrase of appearances to make things look more vital and real and how. Sutherland sought his inspiration during the 1930s in the landscapes of Pembrokeshire where he found the starting points and ‘moments of vision’ that were to be transformed on his return to the studio. Then on going out into the country I began to notice thorn trees and bushes. Sutherland’s early artistic career. In addition it is further signed. (1903-1980). They were the dividers pricking out points in space in all directions. while keenly aware of the developments on the Continent. Sutherland decided upon a large-scale crucifixion. oil on canvas. It has been temporarily allocated to the Castle Museum. Norwich.26. In the 1930s he became part of the trend in English art which. it agreed that it was appropriately valued and in acceptable condition. The Panel considered that the painting met the third criterion within a regional context.. and in his best work achieved. Especially against the sky.” This was to be what Sutherland attempted. “I had been thinking of the Crucifixion. It is signed with initials ‘GS’. following his studies at Goldsmith’s School of Art between 1921 and 1926. Acceptance in Lieu Report 2009/2010 47 . and inscribed and dated ‘Study for Thorns 1945’ on the canvas overlap. as if it were solid and tangible. Sutherland’. Graham Sutherland: Study for Thorns Study for Thorns.M. ‘Worked on April/1953/G.

He argues that free enquiry is not only consistent with the security and prosperity of a state but actually essential to them. Even the Tractatus was published anonymously and because of the radical nature of its contents it bore a title page that gave its place of printing as Hamburg. All revealed religion had to be analysed on the basis of reason and not accepted by blind faith. Benedict de) Spinoza was born in Amsterdam in 1632 to a Sephardic Jewish family of Portuguese origin. including his Ethics. were published posthumously.27. His enquiring mind. which would not accept the absolutism of Jewish scripture. that it was in acceptable condition and that it was fairly valued. God was essentially a philosophical idea and quite impersonal. It has been temporarily allocated to The British Library. Baruch Spinoza: Tractatus Theologico-Politicus Baruch Spinoza’s Tractatus Theologico-Politicus (1670) is widely regarded as one of the most important philosophical works of the early modern period and the item on offer is a first edition of the book. In contradiction to Descartes he held that mind and body were one and so was all created substance. This substance may have many modes but these are in essence one. In the Tractatus Theologico-Politicus Spinoza puts forward a critique of Judaism in particular and organised religion in general. All organised religion was simply the institutionalised defense of particular interpretations. Amsterdam: Christoffel Conrad for Jan Rieuwertsz. God and Nature were two names for one reality which is the single substance forming the basis of the Universe. The Panel considered that the book met the third criterion. led to his conflict with the Jewish community in Amsterdam and to his expulsion or excommunication in 1656. 48 Acceptance in Lieu Report 2009/2010 . All his other works. Above: Baruch Spinoza: Tractatus Theologico-Politicus. ‘Hamburg: Henricus Künraht’ [i. and that such freedom flourishes best in a democratic and republican state in which individuals are left free while religious organisations are subordinated to the secular power. For Spinoza. Spinoza discusses at length the historical circumstances of the composition and transmission of the Bible. demonstrating the fallibility of both its authors and its interpreters. Baruch (or. [1669 or] 1670. The arguments put forward in the ‘Tractatus’ have profoundly influenced the subsequent history of political thought. printed in Amsterdam by Christoffel Conrad for Jan Rieuwertsz in 1669 or 1670.e. His first publication in 1660 was a mathematical treatise inspired by the French philosopher Descartes. The only other work published in his lifetime was the Tractatus Theologico-Politicus. I]. pending a decision on permanent allocation.

He returned there every summer until 1912. Karl Schmidt-Rottluff studied architecture in Dresden but soon left to become an independent artist and joined Kirchner and others to form the group ‘Die Brücke’. Twenty-five of them were exhibited in the notorious Degenerate Art exhibition of 1937 held in Munich and by 1941 be had been forbidden to paint. Karl Schmidt-Rottluff: Dangast Dorf The woodcut Dangast Dorf by the German artist Karl Schmidt-Rottluff (1884-1976) was produced in 1911 and printed on wove paper. The print block is 393 x 500 mm and the sheet 450 x 550 mm.28. He served in the German army in Russia during World War I after which he developed a successful international artistic career. She offered to donate her extensive collection of Expressionist artists to the Tate but it was rejected and a similar offer to donate her very large print collection to the British Museum met with no greater enthusiasm. she produced the first catalogue of Schmidt-Rottluff’s graphic art. Above: Karl Schmidt-Rottluff: Dangast Dorf. It has been temporarily allocated to The British Museum. She came to Britain as a refugee from Nazi persecution in 1939. This very rare woodcut from the artist’s finest period when he was at the heart of the German Expressionist movement was previously owned by the art historian Dr. Rosa Schapire who was one of the first and most important patrons of the Brücke group. Schmidt-Rottluff carried out a decorative scheme in her Hamburg apartment in 1921 and painted her portrait on several occasions. The Panel considered that the print met the third criterion. that it was in acceptable condition and that it was fairly valued. After the war she worked for Nikolaus Pevsner collating information on the Buildings of England series. He was the leading figure in the establishment of the Brücke Museum in Berlin in 1967. pending a decision on permanent allocation. With the rise of Nazism he fell out of favour and in 1937 more than 600 of his works were confiscated. In 1924. He was rehabilitated after the war and received a professorship in Berlin in 1947. He visited Emile Nolde in 1907 and went on to stay at Dangast. a village on the north German coast. It is signed and dated in pencil. Acceptance in Lieu Report 2009/2010 49 . On her death most of her graphic collection was bequeathed to German museums.

The Battle of Trafalgar was exhibited at the British Institution in 1826 where it won a prize of £100 and was immediately acquired by the great collector and art connoisseur. Covent Garden. In 1824 he was responsible for the scenery for the English premiere of Weber’s opera. Charles Cooper. In 1827 he was elected an honorary member of the Royal Scottish Academy and regularly exhibited with the academy thereafter. oil on canvas. The painting passed to the 3rd Lord Northwick and was inherited in 1912 by Captain George SpencerChurchill who also inherited Northwick Park.2 by 105 cm was painted by John Wilson (1774-1855).29. Lord Northwick. 50 Acceptance in Lieu Report 2009/2010 . From 1807 he was exhibiting almost annually at the Royal Academy and later at the British Institution. The offer price was considered to be an under-representation of its worth and this was doubled. when it was acquired by George Bonney whose maternal ancestor had commanded the French ship Héros at Trafalgar. who employed him as a colour-grinder and assistant in the painting room. Over the next two decades he worked as scene-painter in several London theatres. The Panel considered that the painting met the third criterion and that it was in acceptable condition. After a brief period as drawing master in Montrose he moved to London in 1798 to work as a house-painter. He met the Scottish scene-painter. He was born near Ayr in south-west Scotland to a shipmaster. It was included in the sale following his death in 1965. who had been a friend of Horatio Nelson. In 1823-1824 he was one of the founding members of the Society of British Artists and was its president in 1827. From 1807 until his death he exhibited over 500 works with these three organisations. The painting has been temporarily allocated to East Ayrshire Council pending a decision on permanent allocation. Der Freischütz at the Lyceum Theatre. At 13 he was apprenticed to a house-painter and minor landscape artist. The painting is considered to be Wilson’s most significant painting and although untypical of his work its rediscovery is a major addition to our knowledge of a painter who was held in high regard in the first part of the 19th century. John Wilson: The Battle of Trafalgar The Battle of Trafalgar. Below: John Wilson: The Battle of Trafalgar. 76. subsequently taking lessons with Alexander Nasmyth.

By 1650 he had moved to the Netherlands and was in Amsterdam the next year. still life. Jan Lievens (1607-1674) in the last year of the Earl’s life. His fortunes began to wane in the 1640s perhaps because his eldest son. the nobleman’s angular face is imbued with a pathos that rivals that of Rembrandt’s best portraits. He died at the end of 1654 in such poverty that it was only the financial intervention of Cromwell in May 1655 that allowed his burial to take place. Acceptance in Lieu Report 2009/2010 51 . of his output from this period remains. He was made a member of the Scottish Privy Council in 1631 and accompanied the king on his visit to Scotland in 1633. Jan Lievens: Portrait of the 1st Earl of Ancram Portrait of Robert Kerr (1578–1654). the Earl of Lothian. He was never a pupil of Rembrandt who was only a year older but the two Leiden-born artists knew and appreciated each other’s works.4 cm.30. used the same models and painted similar subjects.” Lievens was a child prodigy and had his own studio by the age of 12. While in Holland he was given four paintings by Lievens and Rembrandt. Set against a dark background. oil on canvas. He was the king’s emissary in The Hague in 1629 where he first met Jan Lievens. His versatility is shown by the range of subject matter of his paintings which included portraiture. 1st Earl of Ancram. if any. The Panel considered that the painting met the second and third criteria. On the death of Henry in 1612 he served Prince Charles. Above: Jan Lievens: Portrait of Robert Kerr. His career at court prospered further when Charles succeeded to the throne two years later. children of James I. The portrait was described in the catalogue of the major exhibition on Lievens held in Washington and Amsterdam in 2009 as “one of Lieven’s most compelling portrayals of human dignity and frailty. depictions of everyday life. From 1632 to 1635 Lievens worked in London but little. It has been permanently allocated to Scottish National Portrait Gallery in accordance with the condition of the offeror. three of which he presented to Charles.2 by 51. was a leading opponent of Charles’s religious reforms in Scotland and by 1647 he was obliged to seek protection from debtors. grandiose allegorical scenes and biblical narratives. that it was in acceptable condition and that it was fairly valued. landscapes. In 1604 Kerr had been appointed a Groom of the Bedchamber in the household of Prince Henry and Princes Elizabeth. accompanying him in 1623 on the visit to Madrid to seek the hand of the Spanish Infanta. 1st Earl of Ancram. was painted by the Dutch artist. 62.

52 Acceptance in Lieu Report 2009/2010 . Meadows was a major sculptor of the second half of the 20th century but his reputation has been overshadowed by that of his friend and mentor. The bulk of the material. with the crab and bird themes that dominate his work. Four smaller groups await permanent allocation. On his retirement in 1980. a new generation of British sculptors such as Lynn Chadwick. Reg Butler and Eduardo Paolozzi. The Panel considered the collection met the third criterion. with whom he worked for most of his active life. 1958. He studied at the Royal College of Art but only completed the course after the war. that it was in acceptable condition and that it was valued fairly. studies and documentary material that covers not only the whole of Meadows’ career but also includes seven works by Henry Moore. both in drawing and sculpture. Born in Norwich. maquettes. 1939. The collection records the development of Meadows’ engagement. There. he was a conscientious objector but after Hitler’s invasion of Russia he joined the Royal Air Force and was soon posted to the Cocos Island in the Indian Ocean where he was to remain for most of the war. After the war his reputation increased when he took part in the British Pavilion exhibition at the 1952 Venice Biennale. From 1948 to 1960 he taught at the Chelsea School of Art and for the next 20 years was an inspirational professor of sculpture at the RCA.31. he returned to his mentor’s studio and became the first acting director of the Henry Moore Foundation at Perry Green. A casual visit to Henry Moore’s studio resulted in an invitation to come and help Moore during holidays and Meadows soon decided to become a sculptor. The collection offered consists of sculptures. Above: Bernard Meadows: Fallen Bird. Kenneth Armitage. his parents wished him to become an accountant but after it became clear he had no aptitude for that profession he attended Norwich Art School. Bernard Meadows Collection The offer comprised works by Bernard Meadows (1915-2005) and Henry Moore (1898-1986). Initially. Below: Henry Moore: Stringed Figure. was given an international platform to launch their careers. and with Moore ill. including a bronze stringed sculpture from 1939. While there he became fascinated by the giant crabs that would later become a recurring motif in his sculpture. Henry Moore. have been permanently allocated to Leeds City Council for retention at the Henry Moore Institute. including the works by Moore.

The Panel considered that the archive met the third criterion. Amy Levy. that it was in acceptable condition and that it was fairly valued. H. Karl. They were involved in the founding of art and literary groups. Dollie Radford (right) and their children. Ford Madox Ford. and several of the leading writers. Lawrence and worked on linen by Frieda Lawrence. with dolphins. She was later to be published in The Yellow Book. artistic and socialist circles of the late 19th and early 20th centuries and came to be regarded as leading figures in the late-Victorian world of literature and art. Acceptance in Lieu Report 2009/2010 53 . Kangaroo. The Radfords’ wide circle of contacts and friends included William Morris. H. Ernest was invited to Shakespeare readings at the Marxs’ home and it was there that their romance flourished. Walter Crane. Their interests extended beyond their personal world to embrace a wider social responsibility. including the Arts and Crafts Exhibition Society and the Rhymer’s Club. Lawrence in 1909. the Radfords met D. Eleanor Marx. In the same year Dollie’s poems were first published in the radical magazine Progress. poet and editor of Everyman’s Library. Below: Ernest (top left). in Lawrence’s 1923 novel. Hattie Redburn. Maitland. Archive of Dollie and Ernest Radford This extensive archive gives an important insight into the lives of Ernest (1857-1919) and Caroline (Dollie) Radford (1858-1920). It has been permanently allocated to the British Library in accordance with the condition of the offeror. George Bernard Shaw (who set one of Dollie’s poems to music). vines and grapes. When in 1917 the Lawrences were expelled from Cornwall as suspected spies they took refuge with the Radfords and Dollie was the basis of the character. The embroidery depicts Dionysus in the boat which steered of its own accord. The Athenaeum and The Nation.32. The couple had first met in 1881 in the Reading Room of the British Library where Dollie was helping Eleanor Marx in the editing of the works of her father. They were poets and writers active in the literary. Margaret and Hester. They married in 1883. The offer also includes an original print of The Triumph of Labour from Walter Crane’s woodcut and an embroidery designed by D. Maitland. as well as in political and charitable societies such as the Socialist League and the Fabian Society. This was a wedding gift to the Radfords’ son. artists and social reformers of their day. Through their friend Ernest Rhys. H G Wells.

A second cabinet at Drumlanrig is the closest in design to the Wrotham example and retains the original supporting figures of Ceres and Bacchus.33. Wrotham Park. The cabinet on offer had these replaced by Egyptian monopedia circa 1800. In September 2010 it was permanently allocated to The Fitzwilliam Museum. 119. that it was in acceptable condition and that it was fairly valued. It was temporarily allocated to the Wallace Collection to allow it to be seen and studied alongside the Collection’s own Boulle cabinet on stand. Byng was the great-nephew of Admiral John Byng and inherited Wrotham on the death of his father in 1789. As with so much of the finest French 17th century furniture it came to England in the early 19th century following the French Revolution. The earliest is now in the Rijksmuseum. 54 Acceptance in Lieu Report 2009/2010 . At the same time the drawers which flank the medallion of Louis XIV were re-veneered seemingly using Boulle panels from another cabinet. The next year he became MP for Middlesex. It was acquired by George Byng MP (1764-1847) for his country house. The giltwood Egyptian herms of the stand introduce a note of neo-classical restraint in place of the baroque exuberance of the originals. Opposite: Louis XIV Cabinet on stand attributed to André-Charles Boulle. circa 1680. The Panel considered that the cabinet met the second and third criteria. he enriched the furnishing at Wrotham by astute purchases of French furniture and porcelain and a fine collection of Old Master paintings. Amsterdam. The cabinet is one of a small series of elaborate cabinets on stands which Boulle developed in the period 1670 to 1700. circa 1800. It stands 184 cm high.5 cm wide and 52 cm deep and incorporates later giltwood monopedia supports. Louis XIV Boulle cabinet on stand The Louis XIV ormolu-mounted premiere and contre-partie tortoiseshell and floral marquetry cabinet on stand is attributed to André-Charles Boulle. almost certainly in England. A Francophile both in politics and in his taste. where it was recorded on Byng’s death and remained until 2009. Another earlier cabinet is in the Wallace Collection and further examples are in the Getty Museum and the collection of the Duke of Buccleuch at Drumlanrig Castle. the seat he was to hold for 57 years until his death. The cabinets became more elaborate and the decoration more sumptuous as the series progressed.

Acceptance in Lieu Report 2009/2010 55 .

Appendices Acceptance in Lieu 56 Acceptance in Lieu Report 2009/2010 .

046.100 £70. Euan Uglow: Laetitia Jun 2009 26. R B Martineau: Apr 2009 A Woman of San Germano 23. arcellus Laroon: M A Musical Party 11. ollard Collection of Medals P 19. Archive of the Earls of Kintore 18.883.000 Victoria and Albert Museum Mar 2009 July 2009 Oct 2008 Dec 2009 Dec 2009 Aug 2008 Apr 2009 July 2009 Sep 2008 May 2009 Sep 2009 Nov 2008 Feb 2009 Aug 2009 Dec 2008 Aug 2009 Sep 2009 Dec 2008 Feb 2009 Apr 2009 Jan 2009 Jan 2009 Jan 2009 Feb 2009 Feb 2009 Feb 2009 Mar 2009 Apr 2009 Apr 2009 June 2009 Aug 2009 Aug 2009 Aug 2009 August 2009 Nov 2009 £80. Leeds £84. Chipping Campden to be confirmed Tate to be confirmed Aug 2009 Jan 2010 May 2009 Jun 2009 Oct 2009 Dec 2009 July 2009 Jun 2009 July 2009 Sep 2009 Oct 2009 Oct 2009 Jan 2010 Aug 2009 Aug 2009 Aug 2009 Feb 2010 Feb 2010 Nov 2009 Feb 2010 20.000 ourtauld Institute C (Samuel Courtauld Trust) £297.000 to be confirmed £210.450 to be confirmed £210.000 to be confirmed £178.500 ourtauld Institute C (Samuel Courtauld Trust) £4. Seaton Delaval 8. rchive of the Earls of Romney A 3.290 £126. 20th century photography Mar 2009 22. rancis Grant: F The Meet of the Fife Hounds 5.000 to be confirmed £385. Chattels from Lyme Park 10.000 Temple Newsam. The Fitzwilliam Tureens 15. Maidstone £245. eter Lely: ‘Ursula’ P 7. aniel Gardner: D The Three Witches 9. an Poelenberg: V Mar 2009 Italianate Landscape 21. dgar Degas: Sculpture E 6.000 to be confirmed £140.000 Aberdeen University Archive Fitzwilliam Museum C ourt Barn Museum.500 Victoria and Albert Museum £46.600 £227. eorge Unwin: G Medals and Logbooks 2. ine early 20th-century N British paintings 16. raham Sutherland: G Study for Thorns Jun 2009 £210.920 National Trust for Lyme Park £232. Chaïm Soutine: Jeune femme 12.Appendix 1 Appendix 1 – cases completed in 2009/2010 Case/Description 1.000 £5. omenico Tiepolo: D Café by the Quayside 13. aul de Lamerie. P Four candlesticks 14.000 to be confirmed £49.254 £54.500 Tate.626 Permanent allocation Imperial War Museum (Duxford) C entre for Kentish Studies.000 Scottish National Portrait Gallery £84.500 Victoria and Albert Museum £1.000 Scottish National Portrait Gallery £175.000 to be confirmed Acceptance in Lieu Report 2009/2010 57 .550 £51. National Portrait Gallery: Scottish National Gallery of Modern Art £87. dam De Colone: A Earl of Winton and sons 4. Lyttelton family archive Jun 2009 24. ssex House Press Collection E Date of offer Feb 2008 May 2008 Apr 2008 Apr 2008 July 2008 July 2008 Date of approval Apr 2009 July 2009 Aug 2009 Aug 2009 Mar 2009 Date of completion Aug 2009 Nov 2009 Jan 2010 Jan 2010 July 2009 Tax settled £53.599 National Trust £140. elftware plaque: D The Royal Oak 17. Seat furniture from Hagley Hall Jun 2009 25.

000 £4. member of the Historic Houses Association. Textiles and Fashion Dept.. Jonathan Scott CBE C hairman of AIL Panel since August 2000. A ssistant Director Collections. Senior Curator. Fitzwilliam Museum. Keeper of Manuscripts. F ormerly curator in Department of Prints and Drawings. British Museum and subsequently with London dealers Hazlitt. author of ‘Britain’s Best Museums & Galleries’.Case/Description 27. Gooden & Fox. S enior Curator of Furniture.789. F ormerly. Drawings & Prints.750 to be confirmed £566. an Lievens: 1st Earl of Ancram J Date of offer July 2009 Date of approval Oct 2009 Date of Tax completion settled Nov 2009 £7. Wirral. ernard Meadows Collection Aug 2009 Nov 2009 Jan 2010 B £8.759 £15. Edinburgh. D ealer and collector. arl Schmidt-Rottluff: K Dangast Dorf 29.520 Appendix 2 Appendix 2 – Members of the AIL Panel during 2009/2010. London. former curator at Lady Lever Art Gallery.370 eeds City Council for L Henry Moore Institute and others to be confirmed £42.669. Trustee of the Imperial War Museum. New Bond Street.700 The Fitzwilliam Museum £10. former committee member of the British Antique Restorers’ Association. Geoffrey Bond DL OBE Lucinda Compton Patrick Elliott Katharine Eustace Mark Fisher Andrew McIntosh Patrick David Scrase Lindsay Stainton Christopher Wright OBE Lucy Wood 58 Acceptance in Lieu Report 2009/2010 .650 cottish National Portrait S Gallery £321.900 Permanent allocation to be confirmed to be confirmed July 2009 Oct 2009 Nov 2009 Jun 2009 (Sep 2009) Nov 2009 Jan 2010 July 2009 Dec 2009 Jan 2010 31. formerly Managing Director of the Fine Art Society. Scottish National Gallery of Modern Art. member of Reviewing Committee on the Export of Works of Arts. Editor. British Library. ouis XIV Boulle Cabinet L on Stand Total Tax settled Total Agreed Value Sep 2009 Sep 2009 Dec 2009 Mar 2010 Nov 2009 Feb 2010 Total Total £465. Broadcaster and Lawyer. Paintings. Cambridge. Previously: Chairman of the Reviewing Committee on the Export of Works of Art. Victoria and Albert Museum. ohn Wilson: J The Battle of Trafalgar 30. rchive of Dollie A and Ernest Radford 33. aruch Spinoza: B Tractatus Theologico-Politicus 28. The Sculpture Journal. Deputy Chairman of the Trustees of the V&A. Keeper. MLA Board Member. 2004. Penguin. Chair MLA London. Trustee Compton Verney Collections Settlement. M P and former Minister for the Arts. C onservator.000 British Library 32.

Edinburgh Ashmolean Museum. London Dix Noonan Webb Paul Mellon Centre for the Study of British Art Giles Ellwood Ltd Victoria and Albert Museum Peter Finer Ltd Tate Independent Consultant Gimpel Fils Gallery Independent Consultant Independent Consultant Harris Lindsay Ltd University of the Arts.Appendix 3 Expert advisers 2009/2010 Philip Atwood Nicholas Aves Wendy Baron Peter Boughton Anthony Brown Christopher Brown Jonathan Bourne Patrick Bourne Adam Bowett Robin Bowman Alexander Corcoran Joshua Darby Diana Dethloff Nimrod Dix Elizabeth Einberg Giles Ellwood Mark Evans Peter Finer Matthew Gale Christopher Gibbs René Gimpel Philippa Glanville John Harris Jonathan Harris Mark Haworth-Booth Robert Holden James Holloway Michael Hoppen Jonathan Horne Spike Hughes James Hyman David Fraser Jenkins Simon Swynfen Jervis Paul Johnson Robin Katz Robin Kern British Museum N J Aves Coins and Medals Independent Consultant Grosvenor Gallery. Chester Connaught Brown Ashmolean Museum Holland Fine Art Ltd The Fine Art Society Tennants Auctioneers Robert Bowman Gallery Lefevre Fine Art Browse and Darby University College. formerly West Sussex Record Office Maggs Brothers National Maritime Museum Anthony Mould Ltd Tennants Auctioneers Susannah Pollen Ltd Spink Royal Armouries Independent Consultant Independent Consultant Independent Consultant Bernard Quaritch Ltd Koopman Rare Art Theobald Jennings Independent Consultant Tollemache Fine Art Ltd Tomasso Brothers Tomasso Brothers Independent Consultant C & L Burman Tate Johnny Van Haeften Gallery Victoria and Albert Museum Independent Consultant Ashmolean Museum. Oxford Thomas Williams Fine Art Ltd John Wilson Manuscripts Ltd The Open Eye Gallery. London Robert Holden Ltd Scottish National Portrait Gallery Michael Hoppen Gallery Sampson & Horne Antiques Spike Hughes Rare Books James Hyman Gallery Independent Consultant Independent Consultant Arthur Ackermann Ltd Robin Katz Fine Art Hotspur Alastair Laing Martin Levy Lowell Libson Timothy McCann Ed Maggs Pieter van der Merwe Anthony Mould Jeremy Pattison Susannah Pollen Mark Quayle Thom Richardson Murray Simpson Peyton Skipwith Anthony Smith Ian Smith Lewis Smith Simon Theobald Duncan Thomson Michael Tollemache John Tomasso Dino Tomasso Julian Treuherz Charles Truman Robert Upstone Johnny Van Haeften Rowan Watson Anthony Wells-Cole Catherine Whistler Thomas Williams John Wilson Thomas Wilson Timothy Wilson National Trust H Blairman & Sons Lowell Libson Ltd. Oxford James Holland-Hibbert Hazlitt Holland-Hibbert Acceptance in Lieu Report 2009/2010 59 .

John Runciman’s Hagar and the Angel which was case 12 in the 2008/2009 report has been allocated to the Hunterian Art Gallery of the University of Glasgow. Bonaventura Peeter’s Shipping on the Schelde which was case 24 in the 2008/2009 report has been permanently allocated to Bristol Museum and Art Gallery. The Roman funerary altar and monument which was case 27 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum. The Punch and Judy Archive which was case 16 in the 2008/2009 report has been permanently allocated to the Victoria and Albert Museum. Sir Joshua Reynold’s Portrait of the Harcourt Family which was case 14 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum. Jean Tijou’s Architectural design which was case 26 in the 2008/2009 report has been permanently allocated to the Library of the Royal Institute of British Architects. Thomas Gainsborough’s Portrait of Isaac Donnithorne which was case 2 in the 2008/2009 report has been permanently allocated to Falmouth Art Gallery. The Declaration of Outlawry on Napoleon which was case 11 in the 2007/2008 report has been permanently allocated to The British Library where it had been on deposit both prior to and since being accepted. Sir John Everett Millais’s The Proscribed Royalist (reduced-sized replica) which was case 25 in the 2008/2009 report has been permanently allocated to Birmingham Museum and Art Gallery.Appendix 4 Allocation of items reported in earlier years but only decided in 2009/2010. 60  Acceptance in Lieu Report 2009/2010 . in accordance with the wish of the offeror. Kent. The Archive of Frank Martin which was case 4 in the 2008/2009 report has been permanently allocated to the Tate Archive. in accordance with the wish of the offeror. in accordance with the wish of the offeror. in accordance with the wish of the offeror. in accordance with the wish of the offeror. in accordance with the wish of the offeror. in accordance with the wish of the offeror. Howard Hodgkin’s Portrait of Peter Cochrane has been permanently allocated to the National Portrait Gallery. in accordance with the wish of the offeror. Jean-François Millet’s The Angelus (pastel) which was case 11 in the 2008/2009 report has been permanently allocated to Glasgow City Council. Frank Auerbach’s Portrait of Julia which was case 10 in the 2008/2009 report has been permanently allocated to the Scottish National Gallery of Modern Art in accordance with the wish of the offeror. Exeter. Sir John Lavery’s Portrait of Violet Trefusis which was case 18 in the 2008/2009 report has been permanently allocated to the National Trust for display at Sissinghurst Castle. in accordance with the wish of the offeror. Ambrosius Bosschaert’s Flower Painting which was case 21 in the 2008/2009 report has been permanently allocated to the National Gallery. Paris Bordone’s Narcissus which was case 36 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum. The Hand Clubs and Stone Axe which was case 15 in the 2008/2009 report has been permanently allocated to the Royal Albert Memorial Museum.


to inspire strategically. Museums. integrated and sustainable services for all. © MLA 2010 Registered Charity No: 1079666 ISBN 978-1-905867-49-3 Design: red-stone. we promote best practice in For further information on the Acceptance in Lieu Scheme contact MLA’s Acquisition. libraries and www. Libraries & Archives Council Grosvenor House 14 Bennetts Hill Birmingham B2 5RS T 0121 345 7300 E Export and Loans Unit on 020 7273 1456 or the Chief Executive’s Office on 020 7273 Printed on 75% recycled paper AEL251010 .