Acceptance in Lieu Report 2009/2010 Cover: Seaton Delaval; The North Front and Forecourt. © NTPL/John Hammond. Contents

Preface 2

Introduction 3 1 Seaton Delaval 4 The National Trust 4 100 years of AIL 5 What has been acquired through AIL? 6 Value for money 8 Extension of the Scheme 8 Conditional exemption 8 Acknowledgments 8 1910-2010 highlights 9

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

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

Acceptance in Lieu Report 2009/2010 1 Preface

Whenn i 1910 provision was first made for the settlement of Estate Duty, the forerunner of Inheritance Tax, by f offers o land to the nation, it cannot have been foreseen that this terse piece of 10 line legislation would stille b thriving 100 years later. 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. This masterpiece of 18th century English Baroque architecture by Sir John Vanbrugh has had a colourful history since it was completed in 1731. Through AIL and the work of the National Trust its s future i now secure. In its early years the AIL Scheme transferred many houses, their contents and the surrounding land into public ownership. As the scheme adapted to changing times, works of art were accepted and allocated, first to national museums and then to regional and local collections. Now there can be few, if any, major public collectionsn i the UK which have not been enriched by the AIL Scheme. 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 wordsf o the new Secretary of State, Jeremy Hunt, in his first major policy statement on taking office were encouraging: “Of course, 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. For 100 years now, this scheme has allowed the transfer of important heritage assets into public ownership in lieu of liability to inheritance tax and estate duties.” 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. The experience of the AIL Scheme shows that there is a mutual benefit for each side in encouraging private collectors to become public donors. 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. So f many o 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, whether thates b a a donor, a volunteer or simply as a visitor enriched and renewed by contact with our history and its cultural riches. We o need t encourage a renewed sense of shared ownership in our museums, libraries and archives, not simply because they are places we wish to visit but because they are repositories of what we value. The AIL Scheme is a model of how the tax system can successfully encourage the transfer of private objects into the public sphere. After 100 years, 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, while they are living, what AIL currently only allows to be done tomorrow on their passing. Over the last decade the AIL Panel has been led by Jonathan Scott. His commitment, dedication and judgement have ensured that the scheme has prospered. He has generously agreed to stay on as Chair for a further few months to ensure a smooth transition for his successor. MLA and the wider museum and archive community owe him a considerable debt for his tireless work since 2000. He is surrounded by a panelf o experts who like him generously and freely give their time and knowledge to ensure the scheme works. 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, Export and Loans Unit under the capable hands of Gerry McQuillan. The Secretariat and its work will be re-located during the forthcoming year, but details remainoe t b worked out and users of the scheme should not notice any change in the quality of the service.

Sir Andrew Motion Chair,LA M

2 Acceptance in Lieu Report 2009/2010 Introduction

During 2009/2010 a wide selection of works of art and objects of historic interest was acceptedn i lieu, ranging from a Degas bronze of a young dancer to a charming scene of Venetian life by Domenico Tiepolo, from the medals of a Battle of Britain pilot to candlesticks by the great Huguenot silversmith, Paul de Lamerie, from a collection of somef o the finest photographs of the 20th century to distinguished 17th century portraits by Lely and Lievens. Above all, there was the acquisition of Sir John Vanbrugh’s great baroque house, Seaton Delaval, with its surrounding gardens and park as well as some important portraits and furniture. The total value of all this amounted to £15.7m, resulting in a tax settlement of £10.8m. The comparative figures for the last 10 years are set out below.

Yearo t 31 March Numberf o cases Valuef o objects accepted Tax settled 2001 23 £24.6m £16.0m 2002 27 £35.1m £26.6m 2003 37 £39.9m £15.8m 2004 23 £21.7m £15.0m 2005 28 £13.0m £8.9m 2006 38 £25.2m £13.2m 2007 32 £25.3m £13.9m 2008 32 £15.2m £10.3m 2009 36 £19.8m £10.8m 2010 33 £15.7m £10.8m Totals 309 £235.5m £141.3m

The variation of the ratio between the total value of the objects and their tax settlement values i largely due to the incidence of hybrid offers where the value of the object offered was larger than the amount of tax due, with the museum or gallery to which the object was allocated having to make up the difference. As usual, the national collections in and Edinburgh benefited from the scheme and pictures, furniture, sculpture and archives were also allocated to Cambridge, Leeds and Chipping Campden. In addition, museums and galleries in Bristol, Birmingham, Falmouth, Exeter, Glasgow and Oxford received objects accepted in the previous year but t not a that stage advertised and allocated. We should explain that, when an offer is made without a specific condition as to the object’s destination, a temporary allocation is made while the availability of the object in question is advertised on the MLA website. Final allocations are made thereafter.

Acceptance in Lieu Report 2009/2010 3 Seaton Delaval No great country house and its contents have been offered under the AIL Scheme since 1984. We were delighted, therefore, that Seaton Delaval should have been accepted together with some of its important contents and transferred to the National Trust. The house is one of the grandest and most imaginative creations of one of Britain’s greatest architects. The view from the steps between the colonnades to the distant sea is superb while the echoing spaces of the interior are wonderfully romantic. Many of the original Delaval family paintings and much furniture were destroyed in the fire which devastated the house in 1822; the present contents, mainly in the former service wing, were transferred to the house by Lord Hastings some 60 years ago and came from the Astley family’s property in Norfolk, 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.

The National Trust Although it had been many years since the National Trust acquired a country house in lieu of tax, it has received significant support from the AIL Scheme for the acquisition of some of the contents in its properties. 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 Trust was frequently able to agree loan arrangements with the owners, although these were generally for a limited period. In today’s economic climate the situation is liable to change; 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. It is not surprising, therefore, that some of them should wish to sell part of the contents of these houses or use them to pay inheritance taxes. In many cases these objects have been offered in lieu. 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 £21,645,000. Without this support there would have been severe financial pressure on the Trust. 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.

4 Acceptance in Lieu Report 2009/2010 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. 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. 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. For that reason the 1896 Finance Act exempted from Death Duties works of art which were of national or historic interest, while the National Art Collections Fund was set up to acquire major paintings in 1903. Six years later David Lloyd George, the Chancellor of the Exchequer, introduced a highly controversial ‘People’s Budget’ which was finally passed in 1910. This contained a f range o taxes on land intended to fall heavily on the landed aristocracy, but it included clauses permitting Death Duties to be paid by the transfer of heritage assets. 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. During the ‘30s there was much talk about the future of the country house, culminating in the 1937 National Trust Act, which made it easier for owners to transfer great houses to the Trust. Again, war intervened but, in the post-war period, 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, Cotehele,n i Cornwall, which had been appreciated as an ancient survival of ‘olden times’ since the days of George III. In 1957, however, the Treasury withdrew a substantial part of the Land Fund’s capital after which the system was much less used. Then in 1977 Mentmore, with its spectacular collection, was offered to the nation by Lord Rosebery for £2m. The Treasury refused the offer because the cost was considered to be excessive and Sotheby’s sold the contents for £6.25m – over three times the price at which they could have been acquired. As a result of the controversy that ensued, 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. The scheme was substantially enhanced in 1985 when Lord Gowrie, who was then Minister for the Arts, announced that up to £10m would be available for AIL annually through the Public Expenditure Reserve, although this sum was neither a limit nor a target. The amount available was subsequently raised to £20m.

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 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 furnituret a 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 o addition t 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 Royal Armouries Claude Lorrain, Liber Veritatis Holbein, Cartoon of Henry VII and Henry VIII National Portrait Gallery Ormonde family silver Victoria and Albert and other museums Corbridge Roman silver dish British Museum Michelangelo, The Dream Courtauld Institute Constable, Stratford Mill National Gallery Picasso, Weeping Woman El Greco, Fábula National Galleries of Scotland Cimabue, Madonna and Child National Gallery Van Dyck, Portrait of Abbé Scaglia National Gallery Titian, Venus Anadyomene National Galleries of Scotland

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 sculpturet a 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 Balaklavan i 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 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 depositsf o 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 e should b 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 to0 6 per cent in 1984 and 40 per cent in 1988. Furthermore, as a result of the rise in the valuef o 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 onlye b 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 bothy b 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 relegatedo t 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 hadoe t b 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.

Acknowledgements 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 K help U 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 Chairmanf o the AIL Panel

8 Acceptance in Lieu Report 2009/2010

Acceptance in Lieu 1910-2010 highlights 10 Acceptance in Lieu Report 2009/2010 1. Clive’s elephant armour This almost complete set of elephant armour was n made i Mughal India, c. 1600. It is believedo t have been captured by Clive of Indiat a the Battle of Plassey in 1757 and was broughto t England in 1801 by Clive’s widow. Its i the largest set of animal armour in the world.t I was accepted in lieu in 1963. © f Board o Trustees of the Armouries.

2.Claude Lorrain Liber Veritatis Claude Lorrain (1600-1682): Landscape with Mercury giving Apollo the lyre, 192 by 250 mm, inscribed, dated and signed, “Roma 1678/Claudio IV”. The sketch-book 2 3 of the Liber Veritatis contains 195 drawings which Claude made as a record of his paintings and five unrelated preparatory drawings.t I was accepted in lieu in 1957. © Trustees of the British Museum.

3. Holbein: Cartoon of Henry VII and Henry VIII Hans Holbein (1497/8-1543): Henry VII and Henry VIII, ink and watercolour, c. 1536-7, 2578 by 1372 mm. This is the left half section of the preparatory cartoon that Holbein made for a wall-painting in Whitehall Palace which was destroyed by firen i 1698. It is the origin of the classic imagef o Henry VIII, hands on hips and legs astride.t I was accepted in lieu in 1957. © Trustees of the National Portrait Gallery.

4 4. Ormonde family silver The Ormonde silver consisted of several hundred pieces of silver and silver-gilt from the o 17th t the 19th century, with a particular strengthn i early 19th century objects, especially those designed by Paul Storr. The example pictured is a George IV two- handled vase-shaped silver-gilt cup and covery b Philip Rundell which was presented to Baron Ormonde following the coronation of V George I on 19 July 1821. The collection was accepted in lieu in 1980 and allocated to museums in Belfast (Ulster Museum), Birmingham, Castle Barnard (The Bowes Museum), Brighton, Cambridge (Fitzwilliam Museum), Chester (Grosvenor Gallery), Doncaster and London (Victoria and Albert Museum) © Victoria and Albert Museum.

Acceptance in Lieu Report 2009/2010 11 5 5. Corbridge Roman silver dish The Corbridge Roman silver dish is a superb example of late Roman silver. Stylistically it dates to 4th century AD and is likely to have been made somewhere in the Mediterranean. The pagan scene depicted shows Apollo on the right, holding a bow with a lyre at his feet, his sister Diana, the hunter goddess, and Athena to her left along with Apollo’s mother and aunt. 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 6 Memorial Fund, the Friends of the British Museum and The Art Fund. © British Museum.

6. Michelangelo: The Dream Michelangelo Buonarroti (1475-1564) The Dream, c. 1533, black chalk on paper, 39.8 x 28 cm. This is one of the finest of all Michelangelo’s drawings made when the artist was in his late 50s. It was created as a gift for Tomasso de’ Cavalieri, a young Roman nobleman with whom Michelangelo was deeply smitten. It was accepted in lieu in 1981 and allocated to the Home House Society (now the Samuel Courtauld Trust). © Courtauld Gallery, London.

7. Constable: Stratford Mill 7 (1776-1837) Stratford Mill (The Young Waltonians), oil on canvas, 127 by 182.9 cm. Painted and exhibited at The Royal Academy in 1820, this is the second of the major paintings, ‘six-footers’, by the artist depicting scenes on the Stour Valley which Constable exhibited at the Academy from 1819-25. It was accepted in lieu in 1986 and allocated to the National Gallery. © National Gallery.

12 Acceptance in Lieu Report 2009/2010 8 8. Picasso: Weeping Woman Pablo Picasso: Weeping Woman, 1937 (Femme en pleurs), oil on canvas, 60.8 by 50 cm. 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. Picasso responded to the massacre by painting the vast mural Guernica, and for months afterwards he made subsidiary paintings based on one of the figures in the mural: a weeping woman holding her dead child. Weeping Woman is the last and most elaborate of the series. The painting was accepted in lieu in 1987 and allocated to Tate with additional payments from the National Heritage Memorial Fund, The Art Fund and the Friends of the Tate Gallery. © DACS/Picasso Estate.

9 9. El Greco: Fábula El Greco (Domenikos Theotokopoulos) (1541-1614) An Allegory (Fábula), c. 1580-5, oil on canvas, 67.3 by 88.6 cm. The intense light and deep shadow enhance the air of mystery around the boy lighting a candle. The painting is intended to convey a moralising message against the base and foolish instinct of lust. 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 Gallery’s own funds. © National Galleries of Scotland.

10 10. Cimabue: Madonna and Child Cimabue: Madonna and Child Enthroned with Two Angels, egg-tempera on wood, with gold-leaf ground, 27.7 by 20.5 cm. This rare painting is the only example of the artist in the United Kingdom. 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. The painting was accepted in lieu in 2000 and allocated to the National Gallery. © National Gallery.

Acceptance in Lieu Report 2009/2010 13 11 11. Van Dyck: Portrait of Abbé Scaglia Sir Anthony van Dyck (1599-1641) Portrait of Abbé Scaglia, 1634, oil on canvas, 200.6 by 123.2 cm. Cesare Alessandro Scaglia, Abbé of Staffarda and Mandanici (1592-1641) was a diplomat, representing Savoy in Rome, Paris and London and later served the Spanish court. 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. © National Gallery.

12. Titian: Venus Anadyomene Titian (Tiziano Veccellio) d. 1576, Venus Anadyomene, oil on canvas, 75.8 by 57.6 cm. The painting depicts the birth of Venus as she is born fully grown from the foam of the sea. The painting was accepted in lieu in 2003 and allocated to the National Galleries of Scotland with additional funding from the Heritage Lottery Fund, The Art Fund (with a contribution from the Wolfson Foundation) and the Scottish Executive. © National Galleries of Scotland.

12

14 Acceptance in Lieu Report 2009/2010 Cases 2009/2010

Acceptance in Lieu 1. Medals of George Unwin DSO, DFM Wing Commander George Unwin, DSO, DFM and Bar (1913-2006), was one of the leading fighter pilots of the Battle of Britain. He joined the RAF aged 16 as an apprentice clerk and was selected for pilot training in 1935. On receiving his wings he was posted to 19 Squadron, flying in open-cockpit Gloster Gauntlet biplanes. This Squadron was the first to receive the Spitfire in August 1939 and, following the end of the ‘Phoney War’ in May 1940, it was involved in protecting the retreating British Expeditionary Force at Dunkirk. His sobriquet, ‘Grumpy’ Unwin, 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. He flew out of RAF Duxford for most of the Battle of Britain and for part of the time was Douglas Bader’s wingman. On 15 September 1940 Unwin’s section engaged 30 BF 109 German fighters which were accompanying a formation of bombers. Unwin shot down three enemy planes that day and was immediately awarded the Distinguished Flying Medal. In the next two months he shot down a further three German fighters and was involved in taking out a further two. The Bar to his DFM was given in December 1940. After receiving his commission in 1942, Unwin acted as a flying instructor until late 1943 when he joined No 613 Squadron in the months before D-Day, flying over 50 intruder operations into Europe to attack enemy fuel supplies, airfields and road and rail links. 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. 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. The Panel considered that the collection met the first criterion, 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. This resulted in the collection settling more tax than was actually payable. The Imperial War Museum met the difference of just over £43,000, with the National Heritage Memorial Fund contributing £39,844. The collection has been permanently allocated to the Imperial War Museum for display at Duxford in accordance with Below: The medals of Wing Commander the condition of the offeror. George Unwin. © Imperial War Museum.

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

Acceptance in Lieu Report 2009/2010 17 3. e Adam d Colone: Earl of Winton and his Sons The portrait by Adam de Colone, oil on canvas, 114.3 by 83.8 cm, depicts George Seton (1584-1650), 3rd Earl of Winton and his two sons, George (1613-1648) and Alexander Seton (1621-1691). The inscription records that they are aged 40, 12 and 8, which would date the o portrait t c. 1625. George Seaton became Earl of Winton in 1607 when his elder brother Robert was confined on grounds of insanity and resigned the peerage. He married Anne Hay, daughter of the 9th , two years later.e H 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. He entertained both James VI and Charles I at on their visits to Scotland in 1617 and 1633 respectively. On the latter royal visit the family chronicle records that Winton’s second son, Alexander, greeted the King and his entourage with a Latin oration which resulted in him immediately being knighted. He was created Viscount Kingston by Charles II within days of his coronation at Scone Palace in 1651. The f Earl o Winton had been educated by the Jesuits in France which aroused suspicions among his Presbyterian countrymen of his being Above: Adam de Colone: Earl of Winton and his Sons. ‘popishly affected’ and on the outbreak of the first Bishops’ War in © National Galleries of Scotland. 1639 his estates were sequestrated when he left Scotland to attend King Charles. The elder son, George Seton, 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 £40,000 was paid by his fathero t ensure his safe return. This portrait is the finest surviving example of Adam de Colone’s work. Hes i 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, Adrian van Son. It is thought that Adam used his mother’s name, Declony,s a his father died while he was still a child. About 30 extant works are known and all are distinct in their technique as well as the inscriptions that they bear. Whether they were painted in London or in Edinburghs i unknown as his sitters were predominantly Scots who had connections with the London court. No works are known after 1628 andts i i not recorded whether he ever made use of the permission he soughtn i 1625 to travel abroad. The Panel considered that the portrait met the second and third criteria, that it was in acceptable condition and that it was offered at a fair market value. It has been permanently allocated to the Scottish National Portrait Gallery, where it had previously been on loan, in accordance with the condition of the offeror.

18 Acceptance in Lieu Report 2009/2010 4. Sir Francis Grant: The Meet of the Fife Hounds The painting on offer, The Meet of the Fife Hounds, n oil o canvas, 88.9y b 119.4 cm, is signed and dated 1833. It was commissioned by Anthony Keith, 7th , and retains its original frame. The painting was one of Grant’s most successful early works and is in the traditionf o Ferneley who had already painted several hunting scenes for Lord Kintore. Frances Grant (1803-1878) was born in Edinburgh to a Perthshire landowning family who also had estates in Jamaica. He was educated at Harrow and developed in his youth a fondness for both fox-hunting and painting. When he came into £10,000 on the death of his father in e 1818 h was able to indulge both passions but soon spent his inheritance. Although he briefly studied law, he took up painting as his profession. His second wife, Isabella Norman, whom he married in 1829, was the niece of the Duke of Rutland, the leader of society in the area of the Melton Mowbray hunt with which Grant had ridden since the early 1820s. 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. His early paintings clearly show the influence of Ferneley with their depictionf o hunts and sporting action. This was to change in 1838-1839 when he received a Royal commission. The result, Riding Out (Royal Collection), depicts the recently crowned Victoria riding out from Windsor Castle with her Prime Minister, Lord Melbourne, and greeting the Lord Chamberlain, the Marquess of Conyngham. The success of this painting led to Grant spending much of f the rest o his career as a fashionable portrait painter. Despite further royal commissions, when Grant was elected President of the Royal Academy in 1866 the Queen was not in favour. Lord Russell noted, “She cannot say she thinks this selection is a good one for Art. He boasts of never having been in Italy or studied the Old Masters.” The Panel considered that the painting met the third criterion, that it n was i acceptable condition and, after discussion, that it was acceptably valued. The painting has been permanently allocated to the Scottish National Portrait Gallery, where it had previously Below: Francis Grant: The Meet of the Fife beenn o loan, in accordance with the condition of the offeror. Hounds. © National Galleries of Scotland.

Acceptance in Lieu Report 2009/2010 19 5. Edgar Degas Sculpture Dancer Looking at the Sole of Her Right Foot, bronze, with dark brown patination, 45.5 cm high, (Herbrard 40) is taken from one of the sculptures that were discovered in the studio of Edgar Degas (1843-1917) after his death. The original sculpture in wax with cork support is in the National Gallery, Washington. In the years immediately following Degas’s death, from 1918 to 1937, 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. Eighteen were marked A to T and a small number of further copies were made for the artist’s heirs and for Herbrard himself. Recent research suggests that further castings were being made from the late 1940s. Edgar Degas (1843-1917) was one of the founding members of the Impressionist group and organised several of its exhibitions. He was equallyt a home working in oil, pastel, print medium and drawing. 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. He had exhibited one sculpture, Little Dancer, Aged Fourteen,n i 1881 but otherwise his sculptures were private explorations of his favourite themes, most frequently ballet dancers and the female nude figure but also horses. The sculpture on offer bears the Herbrard mark and is lettered ‘J’. It was acquired by the great English collector Samuel Courtauld (1876-1947) soon after it was produced and following its exhibition in n London i December 1923. This sculpture has been described as onef o Degas’s most dynamic creations. 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. Although it is now impossible to give a precise chronology of the development of this figure, the statue in s question i considered to have been the final version because it is the most developed and sophisticated of the group. Above: Edgar Degas: Dancer Looking at the Sole of her right Foot. © Courtauld Gallery, London. The Panel considered that the sculpture met the second and third criteria, that it was in acceptable condition and valued at a fair market price.t I has been permanently allocated to the Samuel Courtauld Trust for display at the Courtauld Galleries, in accordance with the conditionf o the offerors.

20 Acceptance in Lieu Report 2009/2010 6. Sir Peter Lely: Portrait of ‘Ursula’ ‘Ursula’, n oil o canvas, 90.1 by 75 cm was painted by Sir Peter Lely (1618-1680). He was born in Soest in Westphalia but by 1637 he was a f pupil o a painter in Haarlem and by 1643 he was in England where he remained for the rest of his life. It is believed that for his first few yearsn i London he specialised in landscapes populated with figures. He was also influenced by the work of Van Dyck, and through him, by Venetian painting. 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. 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 offeredn i lieu. When this work appeared on the London art market in t 1928 i was said to be a portrait of Lady Howard. 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 Above: Sir Peter Lely: ‘Ursula’ (Portrait of an of Stamford under these titles. It was bought in 1931 by Lord Lee of Unknown Woman). © Courtauld Gallery, London. Fareham who proposed that it was in fact a portrait of Lely’s long-term mistress, Ursula, about whom little is known other than that they met in the mid 1660s, that she bore Lely two children, and that she died in 1673. Lord Lee published an article on the painting in 1932 at the timet i was displayed in ‘The Age of Walnut’ exhibition. The intimate naturef o the portrait suggested to Lee that it depicted a woman with whom the artist was on most familiar terms. 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 toen b a image of the artist, his children and Ursula. Samuel Courtauld bought the painting from Lord Lee sometime between 1942 and his death in 1947. In 1942 he published an article for n ‘Apollo’ i which he compared three female portraits, including this Lely.e H described how he felt that in this work, which he accepted to bef o Ursula, Lely had produced “a work of unsurpassable quality.” Modern scholarship, however, has not accepted the identity of the sitter, who remains unknown. Oliver Millar in his catalogue to the monographic exhibition in 1978 pointed out that the painting came from n early i Lely’s career, long before he had met Ursula. He dated ito. t c 1647 and this has been accepted by subsequent writers on the artist. The Panel considered that the portrait met the second criterion and, after negotiation, that it was valued acceptably. The portrait has been allocated to the Courtauld Institute pending a decision on permanent allocation.

Acceptance in Lieu Report 2009/2010 21 7. Seaton Delaval The successful transfer into public ownership of the great Vanbrugh housef o Seaton Delaval must rank as one of the most important acquisitions of the last few decades. Under the Acceptance in Lieu Scheme the house, over 80 acres of the surrounding gardens, park and land and the principal contents, which total almost 200 items of furniture, sculpture, paintings and ceramics, were transferred to the nation. The Hall was built between 1718 and 1731 by Sir John Vanbrugh (1664-1726), architect of and Castle Howard. It is widely regarded as one of the finest works of the English Baroque and onef o the most important houses in Britain. The relevant volume of Pevsner’s Buildings of England notes that “no other Vanbrugh house iso s mature, so compact and so powerful.” The house, however, has had a turbulent history. Neither architect nor his patron, Admiral George Delaval (1667-1723), lived to see the building completed and, as the latter had no children, it passed to his nephew, Francis Blake Delaval, who moved into Seaton Delaval soon after its completion in 1731. The Delavals were a rumbustious, fun-loving family who finally became extinct in 1822. Thereupon the estate passed to the Astleys, one of whom had married a Delaval daughtern i the 18th century. Since the Astleys’ principal residence was Melton Constable in Norfolk, Vanbrugh’s house was relatively little used. Then, in 1822, the centre block was devastated by a fire that leftts i a a roofless shell. 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. Following the succession in 1956 of Sir Edward Delaval Henry Astley, 22nd Lord Hastings, further restoration was carried out including the renewal of the turrets and towers and the roof of the main block was improved. At last, the hall was receiving the attention that such an important architectural house deserved. Lord Hastings made the hall a family home again by converting the west pavilion which had been built as a service block Above top: Seaton Delaval, Admiral Sir George Delaval into a suite of domestic rooms. The matching eastern pavilion which (1667-1723) by Godfrey Kneller (1646-1723). flanks the opposite side of the great forecourt retains its layout as © NTPL/John Hammond. a stable. Above centre: Seaton Delaval, The Interior of the central hall, gutted by fire in 1822. © NTPL/Dennis Gilbert. The contents of the house include many Astley and Delaval portraits and much furniture which was formerly at Melton Constable. The Opposite: Seaton Delaval, The South Front. © NTPL/Dennis Gilbert. 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. There is also an exceptional pair of I George I carved parcel-gilt pier tables, in the manner of William Kent, circa 1740. Many fine portraits of members of the Delaval and Astley families dating from the 16th to the 20th century are included. Onef o the most poignant items is the leather military surcoat of Jacob Astley, a Royalist military commander, who fought at the Battle of Edgehilln i 1642. His famous prayer on the morning of the battle in whiche h was himself wounded speaks of his simple piety and rapport with his troops – ‘O Lord! thou knowest how busy I must be this day; if I forget thee, do not thou forget me... March on, boys!’

22 Acceptance in Lieu Report 2009/2010 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 first, Samson slaying the Philistines, 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 second life-size group depicts David and Goliath and is based on a sculpture by one of Giambologna’s pupils. 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. The most important are Cotehele (1947), Penrhyn Castle (1952), Mount Grace Priory (1953), Castle Ward (1953), Petworth (1954) Ickworth (1956), Saltram (1957), Hardwick (1959), Brodick Castle (National Trust for Scotland, 1959), Shugborough Hall (1965); Cragside (1977) and Calke Abbey (1985). In total 150 National Trust houses and their contents have objects which have been accepted in lieu since the AIL Scheme began. 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. The offer of the land and the buildings was handled by the Department for Culture, Media and Sport in consultation with English Heritage and Natural England. The National Trust pledged £6.9m of its own funds to provide an endowment for Seaton Delaval. More than £3m was raised by public appeal.

Acceptance in Lieu Report 2009/2010 23 8. Daniel Gardner: Three Witches from Macbeth Three Witches from Macbeth, pastel and other media, 92.1 by 78.6ms c i by Daniel Gardner (c. 1750-1805). The artist was born in Kendal where he received early encouragement from who was a friend of his mother. He moved to London in his late teens and studied at the Royal Academy schools from 1770 when , and G B Cipriani were teaching. In 1773 he won a silver medal for drawing and exhibited at the Academy for the first and last time. On finishing his studies he entered the studio of Joshua Reynoldss a an assistant but his work in oil is considered to be heavy and unrefined. He found his metier as an artist, however, in a unique formf o pastel work which combined oil, gouache, and pastel on paper later laid on canvas, unvarnished but glazed. This technique maintains a lasting freshness and vivacity as can be n seen i Three Witches from Macbeth which depicts Elizabeth Lamb, Viscountess Melbourne (1751-1818), Georgiana, Duchess of Devonshire (1757-1818) and the Hon. Mrs Seymour Damer (1749-1828). Elizabeth Millbanke had married Sir Peniston Lamb in 1769. Her husband was created an Irish peer as Lord Melbourne in 1771, becoming a Viscount in 1780. Melbourne was not a faithful husband and Lady Melbourne followed suit beginning a series of discrete affairs. Despite this, her social skills were deployed to further her husband’s political career and she acted as the leading political hostessf o the time. This position was challenged when Georgiana Spencer, the eldest daughter of the 1st married William Cavendish, the 5th Duke of Devonshire. Rather than be rivals, Lady Melbourne made herself the new Duchess’ firmest friend. The two political wives were together the leaders of fashion and among the chief political operators of the day. The third sitter in the portrait, Mrs , was the daughterf o the Whig politician Henry Seymour Conway who was related through his mother to Sir Robert Walpole. Horace Walpole bequeathed Strawberry Hill to Anne Damer who lived there for 14 years following Walpole’s death in 1797. She was a bluestocking and a notable sculptor whose artistic talent was much praised by Walpole. 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. The Panel considered that the pastel met the third criterion, was in acceptable condition and, following negotiation, that it was fairly valued. The painting has been allocated to the National Portrait Gallery pending a decision on permanent allocation.

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

Acceptance in Lieu Report 2009/2010 25 9. Chattels from Lyme Park Lyme n Park, i Cheshire, nestling on the western edge of the Peak District, has been the home of the Legh family for over 600 years. The most familiar view of the house is the Palladian south front designedy b the Italian architect Giacomo Leoni (c.1686–1746) in the 1720s. 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. 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, who not only designed the south front but produced in the interior courtyard, a recreation of a North Italian palazzo. A f pair o George II mahogany library armchairs upholstered in gold cut velvet and attributed to the London furniture maker Giles Grendey (1693–1780), are displayed in Lyme’s drawing room. Two further setsf o 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 coversn i imitation of cut velvet. From the same period is a George II giltwood side table with a ‘verde antico’ marble top. Also displayed in the drawing room and included in the offer is a George I giltwood Above: Lyme Park – A George II mahogany pier glass with scallop cresting. armchair © NTPL. In addition, the offer included two mid-18th century tray-top commodes Below: Lyme Park – A George II giltwood with a pierced gallery, a burr walnut and crossbanded chest on stand side table © NTPL. datedo t 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. The Panel considered that the chattels were closely associated with a n building i National Trust ownership and that it was appropriate that they should remain so. The chattels were in acceptable condition and, following negotiation, it was agreed that they were appropriately valued. The chattels have been permanently allocated to the National Trust for retention at Lyme Park.

26 Acceptance in Lieu Report 2009/2010 10. Marcellus Laroon: A Musical Party A Musical Party with a Knight of the Garter, a Cleric and other Figures in an elegant Interior, n oil o canvas, 102 by 127 cm, is by the English painter Marcellus Laroon (1679-1772). Laroon the Younger (or Marcellus II Laroon) trained with his father, a Dutch artist of French origin, and after a period abroad worked in his father’s studio before briefly beginning his own independent career. He turned, however, to the theatre where he sang with Colley Cibber at the Drury Lane Theatre before joining the army and serving in Spain:e h was captured there and held prisoner for two years before being ransomed. 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. In this way he was o able t 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. Its i clear that he was painting while still a serving soldier. One of his best known works, A Dinner Party (Royal Collection), was painted in 1725. A drawing of the composition, formerly on the London art market,s i signed and dated 1719 and the artist has added, ‘premiere pensee/Presented to King George 1st/a picture I painted in 1725’. The painting offered in lieu, like the work from the Royal Collection, is a conversation piece depicting a fashionable aristocratic group gatheredn i a fine interior into which are introduced various humorous observations. Whether these are real people or fictitious it is not possibleo t 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. When the subject was etched by George Cruickshank in 1819 it was considered to be a work of Hogarth. Subsequently, however, it was recognised as by Laroon and was included in the Laroon exhibition held at Tate and Aldeburgh in 1967, the last time that it was publicly exhibited. The Panel considered that the painting met the third criterion and that it was acceptably valued. It has been allocated to the Tate pending a Below: Marcellus Laroon the Younger: decisionn o permanent allocation. A Musical Party © Christie’s Images.

Acceptance in Lieu Report 2009/2010 27 11. Chaïm Soutine: Jeune femme à la blouse blanche Young Girl in a White Blouse, n oil o canvas, 45 by 34 cm, by Chaïm Soutine (1893-1943) was painted c. 1923. Soutine grew up in a Lithuanian Jewish ghetto. Even though the Talmudic tradition disapproved of the depiction of images this did not deter the young Soutine’s early interest in drawing. From 1910 to 1913 he studied atn a academy in Vilnius where he was introduced to Russian avant- garde painting. As with so many artists in the early decades of the 20th century, he was drawn to Paris where he enrolled in the Académie des Beaux-Arts from 1913 to 1915. He considered, however, that his study of the old masters in the Louvre was of more importance to his artistic development. In 1915 Soutine was introduced by Jacques Lipchitz to Amedeo Modigliani who admired his work. He was to become a leading memberf o the inter-War School of Paris and his interests centred on three principal areas: landscapes, still lifes – often of food – and Above: Chaïm Soutine: Young Girl in a White Blouse. portraits.n I all of these areas he was rooted both in the European tradition and in the contemporary artistic culture of Paris. Cezanne and Matisse as well as Chardin, Goya and Rembrandt were all artists he studied and admired. Despite these influences his work is entirely personal and, arguably, reflects the anxiety of a poor Russian Jewish immigrantn i a sophisticated European city where he never felt truly at home. In his early years in Paris he had little commercial success until 1923 whene h was noted by the American collector Dr Albert C Barnes who started to acquire his work in quantity through the art dealer Paul Guillaume. 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.t I was sold at auction in London in 1985 and acquired by the family from whose estate it was offered in lieu. The Panel considered that the portrait met the third criterion and following discussion, that it was in acceptable condition and fairly valued. The painting has been temporarily allocated to the Courtauld Gallery where it had previously been on loan, pending a decision on permanent allocation.

28 Acceptance in Lieu Report 2009/2010 12. Domenico Tiepolo: The Café by the Quay in Venice The drawing, The Café by the Quay in Venice, pen and wash, 288 by 413mm, signed ‘Dom o Tiepolo f.’ is by Domenico Tiepolo (1727- 1804), the son of the painter Giambattista Tiepolo. Domenico was not only a painter of fine ability but also a superb draughtsmen who, when his s career a a painter had ended, continued to produce drawings into his old age. For a long time he was somewhat overshadowed by the reputationf o his father. Since the middle of the 20th century, however, his distinctive personality, attuned more to contemporary life and the comic than the sublime visions that dominate his father’s output, has become better understood and appreciated. The drawing is an outstanding example of the artist’s assured technique and also of his humorous observation of contemporary societyn i the twilight years of the Venetian Republic. The scene depicted shows the throng gathering around the tables and under the stripped awning of a Venetian café. At its centre, a young lady and man exchange glances. She wears a high-waisted dress and he toos i dressed in the latest fashion. J Byam Shaw in his 1962 study of the artist’s drawings notes, “to judge from the dress of the ladies, the bonnets and high waists, the date can hardly be earlier than c. 1800.” Its f i one o the series of scenes from contemporary life which currently numbers just over 70 works but which may originally have been larger. Severalf o the drawings are dated 1791 but the series must have occupied the artist over a number of years. Another of the series, The Street Market, where high-waisted dresses are also depicted, is signed and dated ‘800’ which is believed to be an abbreviation for 1800.y B this time Venice was occupied by French troops and the Republic had ceased to exist. The drawing must, therefore, have been n done i the last few years of Tiepolo’s life. The series has no particular narrative thread but is linked by its subject matter and the similar dimensions of the sheets. 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, Divertimento per li Regazzi (Amusements for the Young). The Panel considered that the drawing met the second and third criteria, that it was in acceptable condition and that it was fairly valued. The drawing has been temporarily allocated to The British Below: Domenico Tiepolo: The Café Museum, pending a decision on permanent allocation. by the Quay in Venice.

Acceptance in Lieu Report 2009/2010 29 13. Paul de Lamerie: Four candlesticks The set of four candlesticks, bearing the mark of the outstanding Huguenot silversmith Paul de Lamerie (1688-1751), is dated 1744-1745. They are each 23.5 cm high and have scratch weights between 25.2 and 25.16 ounces. De Lamerie was one of the most eminent goldsmiths of the 18th century and headed a workshop of considerable size. His father was an officer in the Dutch army of William III. In 1689, the year after Paul was born in ‘s-Hertogenbosch, the family came to London in the wake of the accession of William and Mary. He was apprenticed in 1703 to the Huguenot, Pierre Platel, who was one of London’s most important silversmiths, receiving commissions from many of the leading aristocrats surrounding the court. Paul de Lamerie registered his first mark with the Goldsmiths’ Company in February 1714. He joined the livery of the Company in 1717 but although he served in various roles including fourth, third and second warden, all in the 1740s, he never rose to be prime warden. He enjoyed considerable commercial success as is shown by his list of prominent patrons who included Sir Robert Walpole and the Spencer family. He was the leading exponent of the Rococo style in silver from the 1730s onwards and, given the quantity of material he produced, it seems that he must have employed teams of craftsmen and designers to meet demands. In some cases a consistent, albeit anonymous, style can be recognised in the works bearing the Lamerie mark. At the same time other pieces are so close in design to the works of makers such as Crespin, White and Kandler as to suggest either some form of co-operation between the workshops or that de Lamerie met the demand for his silver by subcontracting to other silversmiths but punching the finished piece with his own mark. The four candlesticks offered are particularly fine examples of the Rococo style of English silver in the mid 18th century. The stem and base are decorated with images of beehives and bees which was part of the armorial device of the London-based Huguenot Le Heup family who obtained a grant of arms in the same year that the candlesticks were hallmarked. The set belonged to the banker Peter Le Heup and his wife Clara of Albemarle Street in Mayfair. The Panel considered that the silver met the second and third criteria and that it was acceptably valued. It has been permanently allocated to the Victoria and Albert Museum where it was previously on loan and in accordance with the condition attached to the offer.

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

30 Acceptance in Lieu Report 2009/2010 14. The Fitzwilliam silver soup tureens This f pair o George III Neo-classical silver soup tureens, covers and liners measure 30.5 cm across the handles and are 22.9 cm deep. The tureens have weights of 172 and 180 ounces. They were made by the London silversmiths Daniel Smith and Robert Sharp after a designy b Sir William Chambers. One bears the mark of Daniel Smith and Robert Sharp, 1770-1771 and the other the mark of Robert Smith, 1793. The tureens which are engraved with the Fitzwilliam coat of arms were commissioned by William, 4th Earl Fitzwilliam. These tureens form part of a small group of surviving objects which were o made t the refined Neo-classical designs of William Chambers (1722-1796). Chambers was working at Milton Hall, Fitzwilliam’s Cambridgeshire seat, between 1770 and 1776, and also at his London house in Piccadilly from 1770 to 1771. 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. Its i believed that these 14 drawings are the office copies or finished versionsf o original designs by Chambers, one of which he later publisheds a being his own invention. 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, including the Prince Regent. They were the principal manufacturers of a series of magnificent race cups that are Below: Onef o the Fitzwilliam soup tureens. an important feature of the 1770s and 1780s. One of the cups was designedy b Robert Adam. The Panel considered that the tureens met the second and third criteria, that they were in excellent condition and that the price at which they were offered was acceptable. They have been permanently allocatedo t the Victoria and Albert Museum where they had previously beenn o loan, in accordance with the condition of the offeror.

Acceptance in Lieu Report 2009/2010 31 15. Nine early 20th century 1 British paintings The offer consisted of nine paintings which had formed part of the collectionf o Robert Alexander (Bobby) Bevan and his second wife, Natalie. Bobby Bevan was the son of the painter (1865-1925) and seven of the paintings are by his fellow artists from the : four by and one each by Charles Ginner, Spencer Frederick Gore and . The final two paintings are by Mark Gertler. All of the works were painted between 1910 and 1928. 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. He formed part of the group of artists, centred on Sickert, who rented a studio at 19 Fitzroy Street. He was a founder member of the Camden Town Group and his work 2 was included in all three of their exhibitions between 1911 and 1913. The four works by him are 1. Portrait of Madeleine Knox,. c 1910-1911, oil on canvas, 58.4y b 43.2 cm; 2. Portrait of Spencer Gore,. c 1911, oil on board, 38.1 by 31.7 cm; 3. Nude at a Window,. c 1912, Signed ‘H Gilman’ lower left, oiln o canvas, 58.4 by 50.8 cm; 4. Portrait of Stanislawa de Karlowska .c 1913, oil on canvas, 59.7y b 45.1 cm Madeleine Knox was a pupil of Sickert and she helped him both practically and financially when he opened a school for etching in 3 Hampstead Road in 1910. She later married Arthur Clifton founder of the prestigious Carfax Gallery in Ryder Street, St James’s, which was the venue for all of the Camden Town Group exhibitions. The portrait was a gift from the artist to Robert Bevan. 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. Although the portrait may be unfinished it is an expressive and intimate demonstration of Gilman’s bold handling of paint. Nude at a Window was owned by Spencer Gore before it was acquiredy b Robert Bevan. 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. 4 Stanislawa de Karlowska was the Polish wife of Robert Bevan. They had married in 1897 and lived in Swiss Cottage. She was an artist in her own right and studied at the Académie Julian in Paris. It is the secondf o three portraits of her painted by Gilman, each of which was bought by Bobby Bevan when they appeared on the art market in the years following Gilman’s death. Below: Caption.

32 Acceptance in Lieu Report 2009/2010 Charles Ginner (1878-1952), the son of British parents, was born in 5 Cannes and only settled in London at the end of 1909, soon forming a close friendship with Gore, Gilman and Bevan. .5 La Vieille Balayeuse, Dieppe, 1913, Signed ‘C GINNER’ lower right, oil on canvas, 70.0 by 45.7 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. One critic described his technique as treating paint as piecesf o mosaic to inlay on a canvas. Ginner exchanged the painting for f one o Bevan’s works.

Spencer Frederick Gore (1878-1914) met Harold Gilman at the Slade and became friends with and . In 1904 while on a painting trip to France he met Sickert who had been n living i France since 1898 and aroused his interest in the new generation of painters emerging from the Slade. He was the first Presidentf o the Camden Town Group. He died of pneumonia in his mid 30s. .6 Conversation Piece and Self-Portrait,. c 1910, Signed ‘S.F.G.’ lower right, oil on board, 29.4 by 43.2 cm 6 This subtle self-portrait shows a sophisticated handling of space with the subject seen only in reflection and partially obscured. It was bought directly from the artist by Robert Bevan’s wife, Stanislawa de Karlowska.

Walter Richard Sickert (1860-1942) was the most influential English painterf o the first part of the 20th century. Not only was he the focus for many younger artists but his polemical ability and his journalism brought English art to a new audience. 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. 7. The System, 1924-1926, Signed ‘Sickert A.R.A.’ lower right, 7 oiln o canvas, 59.7 by 38.1 cm After the war, 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 basedn o the numerous drawings that Sickert made while living in France. The canvas was purchased by Bobby Bevan from the Mayor Galleryn i 1951.

Acceptance in Lieu Report 2009/2010 33 Mark Gertler (1891-1939) was never a Camden Town artist but was 8 partf o the London art world in the early 20th century. 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. A Jewish educational charity, however, enabled him to attend the Slade from 1908 to 1912 where he won numerous prizes. The collector Edward Marsh soon n took a interest in him and he became associated with the Bloomsbury Circle partly as a result of his unrequited love for Dora Carrington. He felt, however, ill at ease in such society and estranged from his Jewish roots. Through Lady Ottoline Morrell he met Sickert. His pacifism during World War I further alienated his position. In the 1920se h frequently visited Paris and his admiration for Renoir and Cezannes i reflected in his subsequent work. Ill-health increased his social isolation and detachment. Although he married in 1930 it was not a success and ill-health, financial worries and depression led to his n suicide i 1939. 8. Portrait of the Artist’s Mother, n 1924, oil o canvas, 73.7y b 68.6 cm 9 Gertler’s mother, Kate (Golda) Berenbaum (c.1862–1932) was a favourite subject of the artist from very early on in his career. This is his last portrait of her, produced when she was in her early 60s. He soldt i soon after it was painted for £200, the highest price he ever achieved for any painting. It was bought by Bobby Bevan in 1956 for the advertising agency S H Benson Ltd where Bevan had worked since 1924 t and i was presented to him on his retirement from the firm in 1964. 9. Supper (Natalie Denny), 1928, oil on canvas, 106.7 by 71.1 cm Natalie Denny (1909-2007), was described in her obituary as, “one of the most beautiful and charismatic women of her generation.” She was a popular figure in the artistic milieu of London in the late 1920s. She met Mark Gertler at a New Year’s party held by Augustus John in 1927 and sat for two portraits by him. Supper, the most celebrated of the two, exudes the sensuality of the 19 year-old model and the artist’s passion for her. The Panel considered that all nine paintings variously met the second and third criteria, that they were in acceptable condition and were valuedt a a fair market price. Items 2, 4 and 9 have been permanently allocatedo t the National Portrait Gallery; items 1, 3 and 5 to Tate and , items 6 7 and 8 to the National Galleries of Scotland, all in accordance with the condition of the offerors.

34 Acceptance in Lieu Report 2009/2010 16. English delft plaque: The Royal Oak The English delft oval portrait plaque, 23.2 cm high, c. 1665, was probably produced in London. It is painted in shades of blue, manganese, green, ochre and yellow and shows a bust-length portrait of I Charles I in a tree with three crowns to the left, right and above. Around the trunk of the tree is a banner with the inscription ‘The Royal Oak’. The plaque has a moulded painted border and is set within a varnished bark frame. Tin-glazed earthenware was first made in the Netherlands at the beginningf o the 16th century but reached is zenith in the first part of the 17th century. The finest examples were produced in the city of Delft, hence the name delftware given to earthenware with a white tin glaze and then decorated with coloured glazes. These glazed earthenwares had been copied in London potteries from the 1570s but the number of skilled craftsmen, often immigrants, was limited. It provided a much cheaper alternative to the Chinese porcelain that was expensive and the preserve of the wealthy. As in the example on offer, the decoration was often in a provincial and naïve manner and did not pretend to the sophistication of continental styles. Patriotic motifs are a common theme of their decoration. Above: The Royal Oak:n a English Delft Plaque, c. 1665. The Royal Oak commemorates the events surrounding the last battle of the English Civil War, the Battle of Worcester, at which Charles II and his supporters, mostly Scots, were defeated by Cromwell’s New Model Army. Charles fled the battlefield and evaded capture by hiding in a large oak tree in the grounds of Boscobel House. On the king’s restorationn i 1660 the story became part of the common mythology. The tale later reached such popularity that souvenir hunters eager for f parts o the tree lopped so many pieces from it that by the 18th century the oak had died. 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, thatt n i was i acceptable condition and, after negotiation, that it was fairly valued. In accordance with the condition of the offeror, it has been permanently allocated to the Victoria and Albert Museum wheret i was previously on loan.

Acceptance in Lieu Report 2009/2010 35 17. Archive of the Earls of Kintore The Keith family held the hereditary office of Marischal of Scotland from the 12th century. Sir William Keith (d. about 1407) acquired through marriage the coastal stronghold of Dunnottar Castle. The earliest document in the archive dates from 1405 in the time of Sir William. His grandson, also William, was created Earl Marischal in 1458. John Keith, son of the 5th Earl Marischal, was created Earl of Kintore in 1677. Previously, while still a youth, in the winter of 1651-1652, he played a vital part in preserving the Scottish regalia during the siegef o Dunnottar Castle by Cromwell’s soldiers, acting as a decoy while the regalia were taken from the castle and hidden in a local church. When, after eight months’ siege, the castle fell he swore that the regalia had been sent to Charles II who was then in France. As a result the Roundheads ended the search. He accepted, albeit initially Above: The 9th Earl of Kintore (seated left), J L Stirling (seated right) and party following with some reluctance, the events of 1689 and was a supporter of the their crossing of the Australian continent Unionf o 1707. from Darwin to Adelaide in May 1891 while Kintore was Governor of South Australia. Although the majority of papers are of 19th century date, the archive contains estate records from the 17th century for the Keith lands in Aberdeenshire, Brechin, Dumfries and Montrose. There are some papersf o the 1st, 2nd and 3rd Earls of Kintore and more substantial bundles relating to the 5th Earl (1765-1804). There are also papers of George Keith who was declared a traitor and had his estates forfeited dueo t his support of the Jacobite rebellion of 1715. He spent most of his life abroad, latterly in Prussia where he was Frederick the Great’s ambassador, first to France and then to Spain. Later papers are of the timef o the 7th and 9th Earls. There are a number of papers relating to the latter’s time as Governor and Commander-in-Chief of South Australia from 1889-1895. 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. From 1896 he was in the diplomatic corps and was posted to Vienna, Cairo, Abyssinia, Paris and Buenos Aires. Elected an MP in 1910 he served in the Intelligence Corps during the first part of the war. In the 1920s he was appointed Governor-General of Australia. The Panel considered that the archive met the third criterion, that it n was i acceptable condition and that it was acceptably valued. The archive has been permanently allocated to University Archive where it was previously on deposit and in accordance with the condition of the offeror.

36 Acceptance in Lieu Report 2009/2010 18. 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. For all but the first three yearsf o this period he served as Deputy Director. He was a leading authorityn o Italian Renaissance medals and catalogued two of the greatest museum collections, those of the Bargello Museum in Florence3 ( volumes, 1984-1985) and of the National Gallery of Art, Washington (2 volumes, 2007). The publication of the latter was pushed forward so that its author was able to enjoy it before his death. His n interest i 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. This started his life-long interest in the subject and his collecting habit. His own collection developed over the years but only contained items that the museum had confirmed it was not interested in purchasing. During his s time a Keeper, Pollard’s collection was on loan in the coin room andn o his retirement the most important items remained on deposit. The collection consists of nearly 300 items ranging in age from the mid-15th century to the 21st century. The most important is a Portrait medal of Borghese Borghesi, cast bronze, 6.2 cm diameter, 1479- 1480. This very rare example of a portrait medal from Renaissance Siena was designed by Francesco di Giorgio Martini (1439-1501). 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, Naples and those of Federico da Montefeltro, Duke of Urbino. Borghesi, was ‘commissario generale’ of the Sienese army and after the battle he was both knighted and given the title ‘Pater Patriae’, as the medal attests. The reverse bears an imagef o Minerva. Also particularly significant is the mid-15th century bronze plaquette of St Jerome in the wilderness, 18.5 by 12.7 cm. This has been attributed to ‘Filarete’, Antonio di Pietro Averlino (c. 1400-c. 1469). The Panel considered that the collection met the third criterion, that it wasn i acceptable condition and that it was fairly valued. The medals Above: Francescoi d Giorgio Martini: have been permanently allocated to the Fitzwilliam Museum in Portrait medal of Borghese Borghesi; accordance with the condition of the offeror. recto (top) and verso (bottom).

Acceptance in Lieu Report 2009/2010 37 19. Essex House Press books The collection of Essex House Press books was formed by CR Ashbee (1863-1942). The Essex House Press was established in 1898 as part of the Guild of Handicraft founded by Ashbee in 1888, and named after the Guild’s headquarters on the Mile End Road. The Guild and Press moved to Chipping Campden in Gloucestershire in 1902. The Press’s Bibliography, published in 1909, lists 83 publications and a few more were printed after that date. The Essex House Press and the Guild were part of the tradition of British socialism influenced by and William Morris. It sought a return to craftsmanship, co-operation and a meaningful engagement with work which Ashbee, like Morris, believed had been lost during the process of industrialisation. The Guild Rules of 1899, drawnpy u b the members, underlines the link with that tradition: ‘The Guildf o Handicraft is a body of men of different trades, crafts and occupations, 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. 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, of Trade Unionism or of the modern revival of Art and Craft… ‘. Above: Decorated initials by C R Ashbee, in C. R. Ashbee, The Essex House Press was also part of the private press movement The Private Press: A Study in Idealism (1909). established by Morris with the Kelmscott Press in 1891. The Eragny Press was begun by in 1894, 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 produced a wide rangef o work, some using existing type and others employing Ashbee’s own type designs. The collection offered was that formed by C R Ashbee himself and includes all but a handful of the Press’s output. Most of the volumes bear Ashbee’s bookplate. Also included are the proofs of the Essex House Press’s most ambitious work, The Prayer Book of King Edward VII, a sumptuous folio volume of 1903 for which Ashbee designed both a new typeface and over a hundred engravings. The Panel considered that the collection met the third criterion and thatt n i was i acceptable condition. They also considered that the offer price n was a undervaluation and suggested an increase of 40 per cent, which was agreed. The collection has been permanently allocated to the f Guild o Handicraft Trust for retention at the Court Barn Museum, Chipping Campden, in accordance with the condition of the offeror.

38 Acceptance in Lieu Report 2009/2010 20. Cornelis van Poelenburgh: Italianate Landscape Italianate Landscape with Nymphs Bathing, n oil o panel, 13 by 12.4 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. He was born in Utrecht and studied with Abraham Bloemaert, achieving sufficient fame by 1618 to be included in a work listing the famous painters of Amsterdam, the youngest artist to be so included.e H 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. Several works by Poelenburgh remain in Florentine collections. When in Rome he collaborated with Paul Brill and copied works by Adam Elsheimer. He was also aware of the developments in landscape painting being introduced by the Carracci. He was back in Utrecht by 1625 where he received commissions from the city authorities. Rubens who owned several of his works visited him in his studio. He travelled to Paris in 1631 but was back in his native cityy b 1632 when he received a major commission along with Above: Cornelis van Poelenburgh: Bloemaert for paintings for the newly built palace of Frederick Henry, Italianate Landscape with Nymphs Bathing. Princef o Orange at Honselaarsdijk. He also worked for Charles I in London between 1637 and 1641. He was important both as a figural artist s and a a landscapist. He painted history, mythological and religious scenes as well as pastoral landscapes. The painting offered is of particular interest as a mid-19th century labeln o the back of the frame records that it was acquired at the Strawberry Hill sale in 1842. It was bought on day 11 of the sale (6 s May) a lot 11 and the description from the catalogue reads, ‘A Landscape with Ruins, Nymphs Bathing, by Poelemburg. An equally charming cabinet gem.’ It was bought for £8.18.6. Horace Walpole had hung the painting in the Blue Breakfast Room on the upper floor at Strawberry Hill. The Panel considered that the painting met the fourth criterion, that it wasn i acceptable condition and that it was fairly valued. 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.

Acceptance in Lieu Report 2009/2010 39 21. Collection of 20th century photography The offer comprised 49 photographs by the following artists: Bernice Abbott (1898-1991), 3 prints; Richard Avenden (1923-2004); Roger Ballen (b.1950); Herbert Bayer (1900-1985); Hou Bo (b.1924); Dorothy Bohm (b.1924); Bill Brandt (1904-1983), 4 prints; Brassaï (1899-1984), 3 prints; Manuel Alvarez Bravo (1902-2002); Henri Cartier Bresson (1908-2004), 2 prints; Calum Colvin (b.1961), 12 prints; Martin J Cullen (b.1967); František Drtikol (1883-1961); Elliot Erwitt (b.1928); Robert Frank (b.1924); Jo Alison Feiler (b.1951); Lee Fridlander (b.1934); Tim Gidal (1909-1996); Lucien Hervé (1910- 2007); Paul Joyce (b.1944); Dorothea Lange (1895-1965); Jacques Henri Lartigue (1894-1986), 2 prints; Yau Leung (1941-1997); Man Ray (1890-1976); Robert Mapplethorpe (1946-1989); Dario Mitidieri (b.1959); Irving Penn (1917-2009), 5 prints; Sebastião Salgadio (b.1944);. W Eugene Smith (1918-1978); Peter Suschitzky (b. 1941); Edward Weston (1886-1958), 2 prints and James Van der Zee (1886-1983). The collection has been assembled over the last 30 years by Barbara Lloyd and the photographers represented include many of the greatest Above: Edward Weston: Portrait of Manuel Hernández Galván , Mexico, 1924. namesn i photography from the 20th century. Of particular significance are the five images by Irving Penn which include two New York Opposite: Dorothea Lange: Migrant Mother, cityscapesf o 1947 and 1985; two portraits from New Guinea and Nipomo, California, 1935. Morocco; and a portrait of the French writer Colette of 1960. The Mapplethorpe is a 1976 portrait of the New York singer-songwriter Patti Smith. One of the Edward Weston photographs, taken in 1924, is a dramatic image of the Mexican senator and general, Manuel Hernández Galván, titled Galván Shooting. Galván fought by the side of the revolutionary leader Pancho Villa. When Weston took the photograph, Galván was campaigning for political office, but was assassinated shortly after their meeting. Dorothea Lange’s Migrant Mother, Nipomo, California, 1935 si one of the outstanding images of the 1930s. In 1960, Lange spoke about taking the photograph: “I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she askedeo m n questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She e told m her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, ando s she helped me. There was a sort of equality about it.” The Panel considered that the collection met the second and third criteria that it was in acceptable condition and fairly valued. The photographs have been permanently allocated to Tate in accordance with the condition of the offeror.

40 Acceptance in Lieu Report 2009/2010 Acceptance in Lieu Report 2009/2010 41 22. R B Martineau: A Woman of San Germano A Woman of San Germano, n oil o canvas, 57.5 by 65.2 cm, signed and dated 1864, by Robert Braithwaite Martineau (1826-1869) is a rare y work b an artist who produced very few paintings. He was born in London and, like his two elder brothers, having graduated, he started a career in law. After four years articled to a firm of solicitors, in e 1846 h began an artistic career, attending the Royal Academy Schools from 1848 where he won a silver medal for drawing from the antique.e H 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; this was to be the beginning of a steady friendship. Hunt oversaw Martineau’s first painting Kit’s Writing Lesson, 1852 (Tate), executedn i the Pre-Raphaelite style which he was to maintain throughout his career. It was the first of 11 works which he exhibited at the Royal Academy during his brief career. 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 Last Day in the Old Home (Tate), was paintedn i 1862. It was first shown in the British Galleries at the South Kensington International Exhibition of 1862 where, along with Maddox Ford’s The Last of England (Birmingham Museums and Art Gallery), it was the most popular work in the show. It was exhibited in 1864 at the New Gallery, Hanover Street, in a joint exhibition with Hunt. Martineau moved in Pre-Raphaelite circles and he is portrayed as the n man o the horse in the background of Ford Maddox Brown’s masterpiece, Work (Manchester City Galleries). Braithwaite’s portrait in coloured chalks by Hunt was given by the artist to the Walker Art Galleryn i 1907. A Woman of San Germano depicts a mother suckling her infant in the f shade o a leafy pergola in an Italian village. The reference to Italian old master paintings and the allusion to the Madonna and Child would have been immediately apparent to contemporary viewers. The painting was sold in 1869 and had remained in the familyf o the purchaser since then. It had not been seen in public for almost 150 years. The Panel considered that the painting met the second and third criteria, that it was in acceptable condition and that it was fairly valued. It has been temporarily allocated to the Ashmolean Museum pending a n decision o permanent allocation.

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

Acceptance in Lieu Report 2009/2010 43 23. 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. It reached particular prominence in the first half of the 18th century with the rise of George Lyttelton (1709-1773), 1st Baron, who was influential both in politics andn i literary circles. He was also responsible for transforming Hagley into f one o the great 18th century landscapes on a par with that of Stowe, which was owned by his uncle, Lord Temple. His brother, William Henry Lyttelton, 1st Baron, 2nd creation, (1724-1808), held several important colonial offices including that of Governor of South Carolina and then of Jamaica. Later he was British Ambassador to Portugal. Another brother, Charles Lyttelton, was Bishop of Carlisle and a leading antiquary who acquired important documents on the historyf o Worcestershire, including the manuscript of the first history of Worcestershire by Thomas Habington (1560-1647) which is includedn i the offer. In the 19th century William Henry, 3rd Baron (1782-1837) was MP for Worcestershire from 1806-1820. He married the eldest daughter of the 2nd Earl Spencer who was a lady of the bedchamber (1838- 1842) and governess to Queen Victoria’s children (1842-1850). The f bulk o the archive consists of some 75 boxes and includes family correspondence from the 17th century, including royal appointments by Charles II, James II and William III. There are significant letters from major 18th century political families to which the Lytteltons were related including the Pitts, the Temples and the Grenvilles. A small section includes letters from Pope, Samuel Johnson and Voltaire. The papers of William Henry Lyttelton as Governor of Jamaica comprise three letter books totalling about 300 letters. Some of his private family letters are also included. Two important letters are addressedo t him from the President and Commissioners of the Board of Trade concerning Indian affairs in South Carolina. The Hagley estate accounts cover the period 1839-1955 and run to over 100 volumes. There are papers relating to the 4th Baron and his involvement with the establishment of the Province of Canterbury in New Zealand. The archive, however, is not complete as disposals occurredn i the 1970s. The Panel considered that the papers were pre-eminent under the first and third criteria both in a national and a regional context. The condition of the archive was considered acceptable as was the valuation. The papers have been temporarily allocated to the Worcestershire Record Office pending a decision on their permanent allocation.

44 Acceptance in Lieu Report 2009/2010 24. Seat furniture from Hagley Hall The offer comprised a pair of carved mahogany and limewood open armchairs. c 1760 and a George II carved mahogany and limewood camel-backed settee, en suite with the pair of chairs. The settee is 267m c wide. They are part of the extensive suite of seat furniture which, along with mirrors and girandoles, was commissioned by Sir George Lyttelton, (later 1st Baron Lyttelton) for the gallery at Hagley Hall. The suite originally comprised 14 chairs, one large settee and one small settee. 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. The gallery, which extends along the whole of the east side, is the most classical of the rooms of this Palladian house. It is divided into three areas by the use of Corinthian columns and pilasters acting as screens. 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 Brounckern i 1684. These were reframed by George Lyttelton in Rococo oak and lime frames inspired by Grinling Gibbons. There iso n gilding used either on the frames or on any of the furniture.

The designer of the furniture is not known but there are parallels with Above: A carved mahogany and limewood broadly contemporary commissions. The earliest is a chair at Rousham open armchair from Hagley Hall c. 1760. designedy b William Kent and supplied by an unknown cabinet maker. Below: A I George I carved mahogany and As with the Hagley chairs, the square tapered column legs are applied limewood camel-backed settee. with carved details, although the Rousham chair is in gilt wood. Comparison can also be made with the seat furniture for the Tapestry Roomt a S Giles’s House, Dorset, the picture gallery at Corsham Court and the gallery at Osterley Park. The Hagley furniture is, however, distinct in its relatively severe form and angular frames enriched with light and playful Rococo carving. The Panel considered that the furniture met the second and third criteria and that it was acceptably valued. It has been permanently allocatedo t Leeds City Council for display at Temple Newsam House, in accordance with the condition of the offeror.

Acceptance in Lieu Report 2009/2010 45 25. Euan Uglow: Laetitia Laetitia, 1961-1962, oil on canvas, 93 by 93 cm was painted by Euan Uglow (1932-2000). The artist attended Camberwell School of Arts and Crafts from 1948 to 1951 where he was taught by Victor Pasmore and William Coldstream. When Coldstream moved to the professorship of Fine Art at the Slade, 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. He was deeply influenced by old master artists, particularly Piero della Francesca, Poussin and Chardin. He o kept t a strict routine in his working life, working every day in his Battersea studio. As well as painting he would often build the furniture and props used in his pictures, and always made the distinctive frames for his paintings. Uglow was a figurative artist and his primary interest wasn i the female nude but he also produced still lifes and landscapes. His output was small as a result of his meticulous technique. He rarely Above: Euan Uglow: Laetitia. produced more than two or three major paintings a year. His first solo exhibition was in 1961 at the Beaux Arts Gallery and from the late 1970se h showed regularly with Browse and Darby. Uglow was famous, if not notorious, for the demands that he made upon his models frequently requiring them to keep difficult poses for long periods of time. His particularly laborious method of painting involved mathematical calculations, meticulous, even obsessive measuring and complicated constructions of sighting wires and plumb-lines. Laetitia si a nude portrait of the artist Laetitia Yhap who was born in n London i 1941 to mixed Chinese and Vietnamese parents. Like Uglow she studied at Camberwell and the Slade but a decade after him. The Panel considered that the painting met the third criterion and, following negotiation, that it was acceptably valued. It has been temporarily allocated to the Ashmolean Museum, Oxford, pending a n decision o permanent allocation.

46 Acceptance in Lieu Report 2009/2010 26. Graham Sutherland: Study for Thorns Study for Thorns, n oil o canvas, 45 by 25 cm, was painted by Graham Sutherland O.M. (1903-1980). It is signed with initials ‘GS’, upper right, and inscribed and dated ‘Study for Thorns 1945’ on the canvas overlap.n I addition it is further signed, inscribed and dated on the verso, ‘Worked on April/1953/G. Sutherland’. Sutherland’s early artistic career, following his studies at Goldsmith’s Schoolf o Art between 1921 and 1926, was primarily in etching. In the 1930se h became part of the trend in English art which, while keenly awaref o the developments on the Continent, 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. 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. He responded to the exhibition of Picasso’s Guernica ni Londonn i 1938 by noting how the artist had used a paraphrase of appearances to make things look more vital and real and how, “things found a new form through feeling.” This was to be what Sutherland attempted, and in his best work achieved, over the next two decades. 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. Study for Thorns sfi one o a series of works thate h produced immediately after the war following a commission he had received from the Rev. Walter Hussey to paint a religious work fort S Matthew’s Church, Northampton. Sutherland decided upon a large-scale crucifixion. He wrote in 1946, “I had been thinking of the Crucifixion... [and] my mind became preoccupied with the idea of Above: Graham Sutherland: Study for Thorns. thorns (the crown of thorns) and wounds made by thorns. Then on going out into the country I began to notice thorn trees and bushes. Especially against the sky, the thorns on the branches established a f limit o aerial space. They were the dividers pricking out points in spacen i all directions, encompassing the air, as if it were solid and tangible.” 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. It has never been publicly displayed. The Panel considered that the painting met the third criterion within a regional context. Following negotiation, it agreed that it was appropriately valued and in acceptable condition. It has been temporarily allocated to the Castle Museum, Norwich, pending a n decision o permanent allocation.

Acceptance in Lieu Report 2009/2010 47 27. Baruch Spinoza: Tractatus Theologico-Politicus Baruch Spinoza’s Tractatus Theologico-Politicus s(1670) i widely regardeds a one of the most important philosophical works of the early modern period and the item on offer is a first edition of the book, printed in Amsterdam by Christoffel Conrad for Jan Rieuwertsz in r 1669 o 1670. Baruch (or, Benedict de) Spinoza was born in Amsterdam in 1632 to a Sephardic Jewish family of Portuguese origin. His enquiring mind, which would not accept the absolutism of Jewish scripture, ledo t his conflict with the Jewish community in Amsterdam and to his expulsion or excommunication in 1656. 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. All his other works, including his Ethics, were published posthumously. 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. For Spinoza, God was essentially a philosophical idea and quite impersonal. In contradiction to Descartes he held that mind and body were one and so was all created substance. God and Nature were Above: Baruch Spinoza: Tractatus Theologico-Politicus. ‘Hamburg: Henricus two names for one reality which is the single substance forming the Künraht’ [i.e. Amsterdam: Christoffel Conrad basisf o the Universe. This substance may have many modes but for Jan Rieuwertsz. I], [1669 or] 1670. these n are i essence one. In the Tractatus Theologico-Politicus Spinoza puts forward a critique of Judaismn i particular and organised religion in general. All revealed religion had to be analysed on the basis of reason and not accepted by blind faith. All organised religion was simply the institutionalised defensef o particular interpretations. 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. He argues that free enquiry is not only consistent with the security and prosperity of a state but actually essential to them, and that such freedom flourishes best in a democratic and republican staten i which individuals are left free while religious organisations are subordinated to the secular power. The arguments put forward in the ‘Tractatus’ have profoundly influenced the subsequent history of political thought. The Panel considered that the book met the third criterion, that it wasn i acceptable condition and that it was fairly valued. It has been temporarily allocated to The British Library, pending a decision on permanent allocation.

48 Acceptance in Lieu Report 2009/2010 28. Karl Schmidt-Rottluff: Dangast Dorf The woodcut Dangast Dorf yb the German artist Karl Schmidt-Rottluff (1884-1976) was produced in 1911 and printed on wove paper. It is signed and dated in pencil. The print block is 393 x 500 mm and the sheet 450 x 550 mm. Karl Schmidt-Rottluff studied architecture in Dresden but soon left to becomen a independent artist and joined Kirchner and others to form the group ‘Die Brücke’. He visited Emile Nolde in 1907 and went on to t stay a Dangast, a village on the north German coast. He returned there every summer until 1912. He served in the German army in Russia during World War I after which he developed a successful international artistic career. With the rise of Nazism he fell out of favour n and i 1937 more than 600 of his works were confiscated. Above: Karl Schmidt-Rottluff: Dangast Dorf. Twenty-five of them were exhibited in the notorious Degenerate Art exhibitionf o 1937 held in Munich and by 1941 be had been forbidden to paint. He was rehabilitated after the war and received a professorship in Berlinn i 1947. He was the leading figure in the establishment of the Brücke Museum in in 1967. This very rare woodcut from the artist’s finest period when he was at the heart of the German Expressionist movement was previously ownedy b 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. In 1924, she produced the first catalogue of Schmidt-Rottluff’s graphic art. She came to Britains a a refugee from Nazi persecution in 1939. After the war she worked for collating information on the Buildings of England series. 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 witho n greater enthusiasm. On her death most of her graphic collection was bequeathed to German museums. The Panel considered that the print met the third criterion, that it was in acceptable condition and that it was fairly valued. It has been temporarily allocated to The British Museum, pending a decision on permanent allocation.

Acceptance in Lieu Report 2009/2010 49 29. John Wilson: The Battle of Trafalgar The Battle of Trafalgar, n oil o canvas, 76.2 by 105 cm was painted by John Wilson (1774-1855). He was born near Ayr in south-west Scotlando t a shipmaster. At 13 he was apprenticed to a house-painter and minor landscape artist, subsequently taking lessons with Alexander Nasmyth. After a brief period as drawing master in Montrosee h moved to London in 1798 to work as a house-painter. He met the Scottish scene-painter, Charles Cooper, who employed hims a a colour-grinder and assistant in the painting room. Over the next two decades he worked as scene-painter in several London theatres.n I 1824 he was responsible for the scenery for the English premieref o Weber’s opera, Der Freischütz ta the Lyceum Theatre, Covent Garden. From 1807 he was exhibiting almost annually at the Royal Academy and t later a the British Institution. 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. In 1827 he was elected an honorary memberf o the Royal Scottish Academy and regularly exhibited with the academy thereafter. The Battle of Trafalgar was exhibited at the British Institution in 1826 wheret i won a prize of £100 and was immediately acquired by the great collector and art connoisseur, Lord Northwick, who had been a f friend o Horatio Nelson. The painting passed to the 3rd Lord Northwick and was inherited in 1912 by Captain George Spencer- Churchill who also inherited Northwick Park. It was included in the sale following his death in 1965, when it was acquired by George Bonney whose maternal ancestor had commanded the French ship Héros ta Trafalgar. 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. The Panel considered that the painting met the third criterion and that it n was i acceptable condition. The offer price was considered to be an under-representation of its worth and this was doubled. The painting has been temporarily allocated to East Ayrshire Council pending a decisionn o permanent allocation. Below: John Wilson: The Battle of Trafalgar.

50 Acceptance in Lieu Report 2009/2010 30. Jan Lievens: Portrait of the 1st Earl of Ancram Portrait of Robert Kerr (1578–1654), 1st Earl of Ancram, n oil o canvas, 62.2 by 51.4 cm, was painted by the Dutch artist, Jan Lievens (1607-1674) in the last year of the Earl’s life. In 1604 Kerr had been appointed a Groom of the Bedchamber in the household of Prince Henry and Princes Elizabeth, children of James I. On the death of Henryn i 1612 he served Prince Charles, accompanying him in 1623 on o the visit t Madrid to seek the hand of the Spanish Infanta. His careert a court prospered further when Charles succeeded to the throne two years later. He was the king’s emissary in The Hague in 1629 where he first met Jan Lievens. While in Holland he was given four paintings by Lievens and Rembrandt, three of which he presented to Charles. He was made a member of the Scottish Privy Council in 1631 and accompanied the king on his visit to Scotland in 1633. His fortunes began to wane in the 1640s perhaps because his eldest son, the Earl of Lothian, was a leading opponent of Charles’s religious reformsn i Scotland and by 1647 he was obliged to seek protection from debtors. By 1650 he had moved to the Netherlands and was in Above: Jan Lievens: Portrait of Robert Kerr, 1st Earl of Ancram. Amsterdam the next year. He died at the end of 1654 in such poverty thatt i was only the financial intervention of Cromwell in May 1655 that allowed his burial to take place. 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. Set against a dark background, the nobleman’s angular face is imbued with a pathos that rivals that of Rembrandt’s best portraits.” Lievens was a child prodigy and had his own studio by the age of 12. His versatility is shown by the range of subject matter of his paintings which included portraiture, still life, landscapes, depictions of everyday life, grandiose allegorical scenes and biblical narratives. 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, used the same models and painted similar subjects. From 1632 to 1635 Lievens worked in London but little, if any, of his output from this period remains. The Panel considered that the painting met the second and third criteria, that it was in acceptable condition and that it was fairly valued. It has been permanently allocated to Scottish National Portrait Gallery in accordance with the condition of the offeror.

Acceptance in Lieu Report 2009/2010 51 31. Bernard Meadows Collection The offer comprised works by Bernard Meadows (1915-2005) and Henry Moore (1898-1986). 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, Henry Moore, with whome h worked for most of his active life. Born in Norwich, his parents wished him to become an accountant but after it became cleare h had no aptitude for that profession he attended Norwich Art School. A casual visit to Henry Moore’s studio resulted in an invitationo t come and help Moore during holidays and Meadows soon decided to become a sculptor. He studied at the Royal College of Art but only completed the course after the war. Initially, he was a conscientious objector but after Hitler’s Above: Bernard Meadows: Fallen Bird, 1958. invasionf o Russia he joined the Royal Air Force and was soon posted Below: Henry Moore: Stringed Figure, 1939. to the Cocos Island in the Indian Ocean where he was to remain for mostf o the war. While there he became fascinated by the giant crabs that would later become a recurring motif in his sculpture. After the war his reputation increased when he took part in the British Pavilion exhibition at the 1952 Venice Biennale. There, a new generation of British sculptors such as Lynn Chadwick, Kenneth Armitage, Reg Butler and Eduardo Paolozzi, was given an international platformo t launch their careers. 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. On his retirement in 1980, and with Moore ill, he returned to his mentor’s studio and became the first acting director of the Henry Moore Foundation at Perry Green. The collection offered consists of sculptures, maquettes, studies and documentary material that covers not only the whole of Meadows’ career but also includes seven works by Henry Moore, including a bronze stringed sculpture from 1939. The collection records the development of Meadows’ engagement, both in drawing and sculpture, with the crab and bird themes that dominate his work. The Panel considered the collection met the third criterion, that it was in acceptable condition and that it was valued fairly. The bulk of the material, including the works by Moore, have been permanently allocatedo t Leeds City Council for retention at the Henry Moore Institute. Four smaller groups await permanent allocation.

52 Acceptance in Lieu Report 2009/2010 32. 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). They were poets and writers active in the literary, 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. Their interests extended beyond their personal world to embrace a wider social responsibility. They were involved in the founding of art and literary groups, including the Arts and Crafts Exhibition Society and the Rhymer’s Club, as well as in political and charitable societies such as the Socialist League and the Fabian Society. The Radfords’ wide circle of contacts and friends included William Morris, Walter Crane, H G Wells, George Bernard Shaw (who set onef o Dollie’s poems to music), Eleanor Marx, Ford Madox Ford, Amy Levy, and several of the leading writers, artists and social reformers of their day. Through their friend Ernest Rhys, poet and editor of Everyman’s Library, the Radfords met D. H. Lawrence in 1909. 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 worksf o her father, Karl. Ernest was invited to Shakespeare readings at the Marxs’ home and it was there that their romance flourished. They married in 1883. In the same year Dollie’s poems were first publishedn i the radical magazine Progress. She was later to be publishedn i The Yellow Book, The Athenaeum and The Nation. The offer also includes an original print of The Triumph of Labour from Walter Crane’s woodcut and an embroidery designed by D.. H Lawrence and worked on linen by Frieda Lawrence. The embroidery depicts Dionysus in the boat which steered of its own accord, with dolphins, vines and grapes. This was a wedding gift to the Radfords’ son, Maitland. 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, Hattie Redburn, in Lawrence’s 1923 novel, Kangaroo. The Panel considered that the archive met the third criterion, that it wasn i acceptable condition and that it was fairly valued. It has been permanently allocated to the British Library in accordance with the Below: Ernest (top left), Dollie Radford (right) conditionf o the offeror. and their children, Maitland, Margaret and Hester.

Acceptance in Lieu Report 2009/2010 53 33. IV Louis X Boulle cabinet on stand The IV Louis X ormolu-mounted premiere and contre-partie tortoiseshell and floral marquetry cabinet on stand is attributed to André-Charles Boulle, circa 1680. It stands 184 cm high, 119.5 cm wide and 52 cm deep and incorporates later giltwood monopedia supports, circa 1800.s A with so much of the finest French 17th century furniture it o came t England in the early 19th century following the French Revolution.t I was acquired by George Byng MP (1764-1847) for his country house, Wrotham Park, where it was recorded on Byng’s death and remained until 2009. Byng was the great-nephew of Admiral John Byng and inherited Wrothamn o the death of his father in 1789. The next year he became MP for Middlesex, the seat he was to hold for 57 years until his death. A Francophile both in politics and in his taste, he enriched the furnishing at Wrotham by astute purchases of French furniture and porcelain and a fine collection of Old Master paintings. The cabinet is one of a small series of elaborate cabinets on stands which Boulle developed in the period 1670 to 1700. The cabinets became more elaborate and the decoration more sumptuous as the series progressed. The earliest is now in the Rijksmuseum, Amsterdam. Another earlier cabinet is in the Wallace Collection and further examples are in the Getty Museum and the collection of the Duke of Buccleucht a Drumlanrig Castle. A second cabinet at Drumlanrig is the n closest i design to the Wrotham example and retains the original supporting figures of Ceres and Bacchus. The cabinet on offer had these replaced by Egyptian monopedia circa 1800, almost certainly in England. At the same time the drawers which flank the medallion of IV Louis X were re-veneered seemingly using Boulle panels from another cabinet. The giltwood Egyptian herms of the stand introduce a f note o neo-classical restraint in place of the baroque exuberance of the originals. The Panel considered that the cabinet met the second and third criteria, 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 n stand. I September 2010 it was permanently allocated to Opposite: LouisIV X Cabinet on stand The Fitzwilliam Museum. attributedo t André-Charles Boulle.

54 Acceptance in Lieu Report 2009/2010 Acceptance in Lieu Report 2009/2010 55 Appendices

Acceptance in Lieu

56 Acceptance in Lieu Report 2009/2010 Appendix 1

Appendix 1 – cases completed in 2009/2010 Case/Description Date of Date of Date of Tax Permanent allocation offer approval completion settled 1. George Unwin: Feb 2008 Apr 2009 Aug 2009 £53,254 Imperial War Museum Medals and Logbooks (Duxford) 2. Archive of the Earls of Romney May 2008 July 2009 Nov 2009 £54,626 Centre for Kentish Studies, Maidstone 3. Adam De Colone: Apr 2008 Aug 2009 Jan 2010 £245,000 Scottish National Portrait Earl of Winton and sons Gallery 4. Francis Grant: Apr 2008 Aug 2009 Jan 2010 £84,000 Scottish National Portrait The Meet of the Fife Hounds Gallery 5. Edgar Degas: Sculpture July 2008 Mar 2009 July 2009 £175,000 Courtauld Institute (Samuel Courtauld Trust) 6. Peter Lely: ‘Ursula’ July 2008 Mar 2009 July 2009 £297,500 Courtauld Institute (Samuel Courtauld Trust) 7. Seaton Delaval Oct 2008 Dec 2009 Dec 2009 £4,883,599 National Trust 8. Daniel Gardner: Aug 2008 Apr 2009 July 2009 £140,000 to be confirmed The Three Witches 9. Chattels from Lyme Park Sep 2008 May 2009 Sep 2009 £178,920 National Trust for Lyme Park 10. Marcellus Laroon: Nov 2008 Feb 2009 Aug 2009 £232,450 to be confirmed A Musical Party 11. Chaïm Soutine: Jeune femme Dec 2008 Aug 2009 Sep 2009 £210,000 to be confirmed 12. Domenico Tiepolo: Dec 2008 Feb 2009 Apr 2009 £210,000 to be confirmed Café by the Quayside 13. Paul de Lamerie; Jan 2009 Apr 2009 Aug 2009 £140,000 Victoria and Albert Museum Four candlesticks 14. The Fitzwilliam Tureens Jan 2009 Apr 2009 Aug 2009 £80,500 Victoria and Albert Museum 15. Nine early 20th-century Jan 2009 June 2009 August 2009 £1,046,500 Tate; National Portrait British paintings Gallery: Scottish National Gallery of Modern Art 16. Delftware plaque: Feb 2009 Aug 2009 Nov 2009 £87,500 Victoria and Albert Museum The Royal Oak 17. Archive of the Earls of Kintore Feb 2009 Aug 2009 Jan 2010 £46,550 Aberdeen University Archive 18. Pollard Collection of Medals Feb 2009 May 2009 Jun 2009 £51,100 Fitzwilliam Museum 19. Essex House Press Collection Mar 2009 Oct 2009 Dec 2009 £70,000 Court Barn Museum, Chipping Campden 20. Van Poelenberg: Mar 2009 July 2009 Aug 2009 £5,600 to be confirmed Italianate Landscape 21. 20th century photography Mar 2009 Jun 2009 Aug 2009 £227,290 Tate 22. R B Martineau: Apr 2009 July 2009 Aug 2009 £126,000 to be confirmed A Woman of San Germano 23. Lyttelton family archive Jun 2009 Sep 2009 Feb 2010 £210,000 to be confirmed 24. Seat furniture from Hagley Hall Jun 2009 Oct 2009 Feb 2010 £385,000 Temple Newsam, Leeds 25. Euan Uglow: Laetitia Jun 2009 Oct 2009 Nov 2009 £84,000 to be confirmed 26. Graham Sutherland: Study for Thorns Jun 2009 Jan 2010 Feb 2010 £49,000 to be confirmed

Acceptance in Lieu Report 2009/2010 57 Case/Description Date of Date of Date of Tax Permanent allocation offer approval completion settled 27. Baruch Spinoza: Tractatus Theologico-Politicus July 2009 Oct 2009 Nov 2009 £7,000 to be confirmed 28. Karl Schmidt-Rottluff: Dangast Dorf July 2009 Oct 2009 Nov 2009 £4,900 to be confirmed 29. John Wilson: Jun 2009 The Battle of Trafalgar (Sep 2009) Nov 2009 Jan 2010 £8,750 to be confirmed 30. Jan Lievens: 1st Earl of Ancram July 2009 Dec 2009 Jan 2010 £566,650 Scottish National Portrait Gallery 31. Bernard Meadows Collection Aug 2009 Nov 2009 Jan 2010 £321,370 Leeds City Council for Henry Moore Institute and others to be confirmed 32. Archive of Dollie and Ernest Radford Sep 2009 Dec 2009 Mar 2010 £42,000 British Library 33. Louis XIV Boulle Cabinet on Stand Sep 2009 Nov 2009 Feb 2010 £465,700 The Fitzwilliam Museum Total Tax settled Total £10,789,759 Total Agreed Value Total £15,669,520 Appendix 2

Appendix 2 – Members of the AIL Panel during 2009/2010. Jonathan Scott CBE Chairman of AIL Panel since August 2000. Previously: Chairman of the Reviewing Committee on the Export of Works of Art, Deputy Chairman of the Trustees of the V&A, Trustee of the Imperial War Museum. Geoffrey Bond DL OBE Chair MLA London, MLA Board Member, Broadcaster and Lawyer. Lucinda Compton Conservator, member of the Historic Houses Association, former committee memberf o the British Antique Restorers’ Association. Patrick Elliott Senior Curator, Scottish National Gallery of Modern Art, Edinburgh. Katharine Eustace Editor, The Sculpture Journal, Trustee Compton Verney Collections Settlement. Mark Fisher MP and former Minister for the Arts; author of ‘Britain’s Best Museums & Galleries’, Penguin, 2004. Andrew McIntosh Patrick Dealer and collector; formerly Managing Director of the Fine Art Society, New , London. David Scrase Assistant Director Collections, Keeper, Paintings, Drawings & Prints, Fitzwilliam Museum, Cambridge. Lindsay Stainton Formerly curator in Department of Prints and Drawings, British Museum and subsequently with London dealers Hazlitt, Gooden & Fox. Christopher Wright OBE Formerly, Keeper of Manuscripts, British Library, member of Reviewing Committee on the Export of Works of Arts. Lucy Wood Senior Curator of Furniture, Textiles and Fashion Dept., Victoria and Albert Museum; former curator at Lady Lever Art Gallery, Wirral.

58 Acceptance in Lieu Report 2009/2010 Appendix 3

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

Acceptance in Lieu Report 2009/2010 59 Appendix 4

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

The Declaration of Outlawry on Napoleon which was Sir John Lavery’s Portrait of Violet Trefusis which was case 11 in the 2007/2008 report has been permanently case 18 in the 2008/2009 report has been permanently allocated to The British Library where it had been on allocated to the National Trust for display at deposit both prior to and since being accepted. Sissinghurst Castle, Kent.

Thomas Gainsborough’s Portrait of Isaac Donnithorne Ambrosius Bosschaert’s Flower Painting which was which was case 2 in the 2008/2009 report has been case 21 in the 2008/2009 report has been permanently permanently allocated to Falmouth Art Gallery. allocated to the National Gallery, in accordance with the wish of the offeror.

The Archive of Frank Martin which was case 4 in the 2008/2009 report has been permanently allocated to the Bonaventura Peeter’s Shipping on the Schelde Tate Archive, in accordance with the wish of the offeror. which was case 24 in the 2008/2009 report has been permanently allocated to Bristol Museum and Art Gallery. 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 Sir John Everett Millais’s The Proscribed Royalist accordance with the wish of the offeror. (reduced-sized replica) which was case 25 in the 2008/2009 report has been permanently allocated to Birmingham Museum and Art Gallery. Jean-François Millet’s The Angelus (pastel) which was case 11 in the 2008/2009 report has been permanently allocated to Glasgow City Council. 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, John Runciman’s Hagar and the Angel which was in accordance with the wish of the offeror. case 12 in the 2008/2009 report has been allocated to the Hunterian Art Gallery of the University of Glasgow. The Roman funerary altar and monument which was case 27 in the 2008/2009 report has been permanently Sir Joshua Reynold’s Portrait of the Harcourt Family allocated to the Ashmolean Museum, in accordance which was case 14 in the 2008/2009 report has been with the wish of the offeror. permanently allocated to the Ashmolean Museum, in accordance with the wish of the offeror. Howard Hodgkin’s Portrait of Peter Cochrane has been permanently allocated to the National Portrait The Hand Clubs and Stone Axe which was case 15 Gallery, in accordance with the wish of the offeror. in the 2008/2009 report has been permanently allocated to the Royal Albert Memorial Museum, Exeter, in accordance with the wish of the offeror. Paris Bordone’s Narcissus which was case 36 in the 2008/2009 report has been permanently allocated to the Ashmolean Museum, in accordance with the wish The Punch and Judy Archive which was case 16 in the of the offeror. 2008/2009 report has been permanently allocated to the Victoria and Albert Museum, in accordance with the wish of the offeror.

60 Acceptance in Lieu Report 2009/2010

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Museums, Libraries For further information © MLA 2010 & Archives Council on the Acceptance in Lieu Registered Charity No: 1079666 Grosvenor House Scheme contact MLA’s ISBN 978-1-905867-49-3 14 Bennetts Hill Acquisition, Export Design: red-stone.com Birmingham B2 5RS and Loans Unit on 020 7273 1456 or the T 0121 345 7300 Printed on 75% recycled paper Chief Executive’s Office E [email protected] AEL251010 on 020 7273 1476. www.mla.gov.uk