Arts Council England has received notifications of sale for the following items which have previously been exempted from capital taxation. Please note that the price given is intended as a rough guide only, and does not constitute an offer to sell at this price. The practice of the auction houses is usually to pitch this at their high auction estimate or, sometimes, even higher.
1. Dominic Serres (1722-1793)
The Capture of Havana, 1762: The Morro Castle and the Boom Defence Before the Attack
oil on canvas
83.8 x 175.3 cm (33 x 69 in.)
2. Dominic Serres (1722-1793)
The Capture of Havana, 1762: the English Battery Before Morro Castle
oil on canvas
84 x 122 cm (33 x 48 in.)
3. Dominic Serres (1722-1793)
The Capture of Havana, 1762: Storming of Morro Castle, 30 July,
oil on canvas
127.0 x 189.0 cm (50" x 74" in)
4. Dominic Serres (1722-1793)
The Capture of Havana, 1762: Taking the Town, 14 August,
oil on canvas
125.7 x 188 (49½ x 74 in.)
5. Dominic Serres (1722-1793)
The Cathedral at Havana, August-September 1762
oil on canvas
81.3 x 119.4 cm (32 by 47 in)
6. A PAIR OF PIETRE DURE TABLE TOPS
AFTER DESIGNS BY ANTONIO CIOCI (c.1732-92) DATED 1775
MADE IN THE GRAND DUCAL WORKSHOP, FLORENCE, c.1784
EACH IS MOUNTED ON ORMOLU AND ROSEWOOD BASES
Table tops: 29 ½ x 57 ¼ x 2 ¼ inches
Table bases: 34 inches tall
Commissioned by George Nassau Clavering-Cowper, 3rd Earl Cowper (1738-89)
Thence by descent
7. Rembrandt Harmensz. van Rijn (Leyden 1606-1669 Amsterdam)
Portrait of Catrina Hooghsaet (1607-1685)
Signed dated and inscribed on the shield, upper left: CATRINA HOOGH-/SAET.OUT 50/Jaer/Rembrandt f./1657
Oil on canvas
126 by 98.5 cm.; 49 ½ by 38 ¾ in.
Guide Price: £35,000,000
?John Fane, Lord Le Despencer, 7th Earl of Westmorland (1685-1762), Mereworth Castle, Kent;
Sir Francis Dashwood, 2nd Bt, Lord Le Despencer (1708-81), of West Wycombe, Mereworth Castle;
Sir Thomas Stapleton, 6th Bt, Lord Le Despencer (1766-1831), of Rotherfield Greys, Mereworth Castle;
his posthumous sale, 1831;
Bought after the sale by Peacock (according to Smith 1836, but the Getty Provenance Index has been unable to trace any such sale);
Edmund Higginson (né Barneby; 1802-71), Saltmarshe Castle, Herefordshire, by 1836-42;
Offered for sale with his pictures, Christie's, 4-6 June 1846, 3rd day, lot 221, bought in at 760 gns;
His sale, Christie's, 16 June 1860, lot 43, bought by Farrer for 740 gns;
Col. The Hon. Edward Douglas Pennant, 1st Baron Penrhyn of Llandegai (1800-86);
Hugh, 4th Baron Penrhyn (1894-1949), and thence by descent
British Institution, 1851, no. 52 (lent by Edmund Higginson);
London, Royal Academy of Arts, 1873, no. 137 (lent by Lord Penrhyn);
London, Royal Academy of Arts, 1899, no. 75 (ditto, as A Lady with a Parrot);
Leiden, Rembrandt Tercentenary Exhibition, 1906;
Grafton Gallery, 1911, no. 60 (ditto, as Caterina Hooghsaet);
On loan to the National Museum of Wales, 1971-85;
London, National Gallery, Art in Seventeenth Century Holland, 1976, no. 92;
London, National Gallery, In Trust for the Nation, Paintings from National Trust Houses, 1995-1996, no. 52;
London, Royal Academy of Arts, Rembrandt's Women, 2001, no. 122;
Amsterdam, Rijksmuseum, Our guest: Catrina Hooghsaet, 29 November 2006 - 29 April 2007;
National Museum of Wales, Cardiff, Rembrandt in Focus, 3 November 2009-21 March 2010;
London, National Gallery, Rembrandt: The Late Works, 15 October 2014 - 18 January 2015, cat. no. 41;
Amsterdam, Rijksmuseum, Late Rembrandt, 12 February - 17 May 2015, cat. no. 41.
Horace Walpole to Richard Bentley, 5 Aug 1752: '...at Mereworth, which is so perfect in a Palladian taste, that I must own it has recovered me a little from Gothic...The gallery is eighty-two feet long, hung with green velvet and pictures, among which is a fine Rembrandt...' (Walpole 1973, XXXV, p. 143);
J. Sprange, The Tunbridge Wells Guide, Tunbridge Wells, 1780, p. 293, Mereworth House, east end of Picture Gallery (as 'A Dutch Lady in a chair, by Rembrandt');
J. Sprange, The Tunbridge Wells Guide, Tunbridge Wells 1797, 1801, p. 229;
J.P. Neale, Views of the Seats of Noblemen and Gentlemen, 2nd series 1825, ii;
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1836, vii, p. 174, no. 546 (as Catherine Hoogh: 'This picture, when sold, was exceedingly disguised and obscured by dirt');
E. Higginson, A Descriptive Catalogue of the Gallery of Pictures Collected by Edmund Higginson, Esq, 1842, no. 39 (as The Portrait of Catrina Hoogh or Hooghsat, in the Gallery);
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1842, ix, p. 800, no. 32;
G. Waagen, Treasures of Art in Great Britain, 1854, ii, p 336;
C. Vosmaer, Rembrandt, The Hague, 1868, p. 491;
C.Vosmaer, Rembrandt, The Hague 1877, p. 557;
E. Dutuit, L'oeuvre complet de Rembrandt, Paris, 1883, no. 216;
E. Michel, Rembrandt: Sa vie, ses oeuvres et son temps, Paris 1893, p. 558;
E. Michel, Rembrandt: Sa vie, ses oeuvres et son temps, Paris, English translation 1894, ii, p. 237;
W. Bode, The Complete Work of Rembrandt, Paris 1901,vi, no. 454;
Hon. Alice Douglas Pennant, Catalogue of the Pictures at Penrhyn Castle and Mortimer House in 1901, 1902, no. 19;
A. Rosenberg, Rembrandt: Des Meisters Gemälde, Stuttgart and Leipzig, 1904, pl. p. 204;
F. Schmidt-Degener, 'Le troisième centenaire de Rembrandt en Hollande, Gazette des Beaux-Arts, xxxvi, Oct 1906, p. 272, fig. on p. 269;
W.R.Valentiner, Rembrandt: Des Meisters Gemälde, Stuttgart, 1908, pl. 441;
Hofstede de Groot 1915, vi, p. 277, no. 652;
Hofstede de Groot 1916, vi, p. 312, no. 652;
H.F. Wijnman, 'Een drietal portretten van Rembrandt', Jaarboek van het Genootschap Amstelodamum, xxxi, 1934, pp. 90-96;
A. Bredius, Rembrandt: Sämtliche Gemälde, Vienna, 1935, no. 391;
K. Bauch, Rembrandt: Gemälde, Berlin, 1966, no. 519 (detailing supposed changes);
P. Lecaldano, L'opera pittorica completa di Rembrandt, Milan, 1969, no. 354;
H. Gerson, Rembrandt: Gemälde, Gütersloh, 1968, no. 336, pl. on p. 403;
S.A.C. Dudok van Heel, Doopsgezinde bijdragen, n.s. vi, 1980, p. 115;
G. Schwartz, Rembrandt: His Life, his Paintings, Harmondsworth, 1985, p. 333, fig. 385;
C.Tümpel, Rembrandt: Mythus und Methode, Königstein im Taunus, 1986, no. 244, pp. 123, 419, and col. pl. on p. 281; translated as Rembrandt: All Paintings in Colour, Antwerp, 1993, no. 244, p. 419, col. pl. p. 281;
A.Laing, In Trust for the Nation - Paintings from National Trust Houses, exhibition catalogue, London 1995, pp. 140-142, no. 52, reproduced in colour;
J.Lloyd Williams, Rembrandt's Women, exhibition catalogue, Munich London New York 2001, pp. 214-215, no. 122, reproduced in colour; Rijksmuseum "Our guest: Catrina Hooghsaet", 29 November 2006-29 April 2007;
M.E. Wieseman, 'Artistic Conventions', in Rembrandt: the Late Works, exhibition catalogue, London 2014, pp. 110-112, 151, cat. no. 41, reproduced pp. 110 and 111.
8. PAOLO CALIARI, IL VERONESE
The Triumph of Venice: Design for a Ceiling in the Sala da Consiglio, Palazzo Ducale, Venice
black chalk, pen and brown ink, brown wash, heightened with oil paint on varnished paper, squared in red chalk, made up at the left margin, oval, old horizontal crease across centre
21in. x 14in.
P.H. Lankrink (L.2090).
Sir Peter Lely (L.2092).
Possibly Mr. Palmer; his sale, London, 1755, lot 21 (to Lord Verney), according to the list of The principle collections of pictures sold by auction in England in the years 1711-1759, London, Victoria and Albert Museum, English Manuscript Reserve S.12, p. 349.
Henry, 10th Earl of Pembroke, by 1772, and by descent to the Earls of Pembroke; Sotheby's, London, 5 July 1917, lot 438 (£1650 to Agnew).
Burlington Fine Arts Club, 1917, no. 77.
London, Goupil Gallery, 1921, no. 52.
Venice, Ca Giustiniani, Mostra di Paolo Veronese, 1939.
Edinburgh, Italian 16th Century Drawings from British Collections, 1969, no. 94.
Venice, Fondazione Cini, Disegni Veronesi del Cinquecento, 1971, no. 67.
London, The Arts Council, Andrea Palladio 1508-1580. The Portico and the Farmyard, 1975, no. 282.
Venice, Fondazione Cini, Paolo Veronese, Disegni e dipinti, 1988, no. 37.
Venice, Museo Correr, Veronese, Miti, ritratti, allegorie, 2005, no. 25.
S.A. Strong, Drawings...at Wilton House, 1902, part 1, no. 3.
D.F. von Hadeln, Venezianische Zeichnungen der Spätrenaissance, Berlin, 1926, pl. 62.
H. Tietze and E. Tietze-Conrat, The Drawings of the Venetian Painters, 1944, no. 2101.
W. Wolters, 'Der Programmentwurf zur Dekoration des Degeinpalaste nach dem Brand des 20 Dezember 1577', Mitteilungen der Kinsthistorichen Institutes in Florenz, XII (1965/6), p. 298, fig. 12.
R. Marini, Tutta la pittura di Paolo Veronese, Milan, 1968, p. 128.
A. Ballarini, 'Considerazioni su una mostra di disegni Veronesi del Cinquecento', Arte Veneta, XXV (1971), p. 109.
T. Pignatti, Veronese, Venice, 1976, p. 156.
R. Cocke, Veronese's Drawings, London, 1984, no. 88.
R. Pallucchini, Veronese, Milan, 1984, pp. 134 and 146.
J. Byam Shaw, 'Veronese's Drawings', The Burlington Magazine, 1985, p. 309.
W. Wolters, Storia e politica nei dipinti di Palazzo Ducale, Venice, 1987, p. 279.
T. Pignatti and F. Pedrocco, Veronese, Milan, 1995, II, under no. 295.
W.R. Rearick, Il disegno veneziano del Cinquecento, Milan, 2001, pp. 165 and 226, note 297.
Guide Price: £18,000,000
For further details please contact:
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Arts Council England
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