A sapphire and diamond coronet paid attention to Queen Victoria by her beloved partner Albert has been placed under a temporary exportation prohibit ,~ ATAGEND preventing it from being taken abroad.
What other culture objects ought to have dubbed “national treasures” in an effort to keep them in the UK?
Jane Austen’s ring
Every year, a panel of experts admonish executives on whether objects which are more than 50 years old and have been sold to overseas customers should be “saved” for the nation.
The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest has the power to place forbids on such riches – causing UK-based individuals or academies time to raise money to keep them.
In 2013, US singer Kelly Clarkson was thwarted in her bid to buy a hoop which formerly belonged to 19 th Century novelist Jane Austen.
Clarkson bought the turquoise and golden reverberate for 152,450 at auction, outbidding the Jane Austen’s House Museum – which is located at the author’s former palace in Hampshire.
Following a temporary exportation forbid, the museum’s “Bring the Ring Home” campaign appreciated donations from across the world and enough fund was raised to buy it.
The ring was accompanied by articles documenting its own history within the author’s family.
The ‘extraordinary’ Turner
A successful fundraising entreaty was launched by the Tate in 2006 after JMW Turner’s 1842 cover of the Rigi mountain, seen from Lake Lucerne in Switzerland, was sold at auction for 5.8 m – a then evidence cost for a British watercolour.
The Blue Rigi, Sunrise was described by then Tate director Sir Nicholas Serota as a “truly extraordinary study of ineffable beauty”.
More than 11,000 donations totalling 550,000 were received from the public in the UK and other nations, including from masters David Hockney and Peter Blake.
The Tate donated 2m and was also payed 500,000 by The Art Fund charity, while the National Heritage Memorial Fund made up the rest of the cost.
The work was kept in the UK and went on display at an exhibit at Tate Britain in 2007.
The Medieval panel on loan
A donation from US gallery owner and philanthropist Ronald S Lauder helped to retain a uncommon medieval board by Italian artist Giovanni de Rimini.
Scenes From the Lives of the Virgin and Other Saints, painted around 1300 -1 305, was in the Duke of Northumberland’s Alnwick Castle collection.
A temporary exportation prohibit was put in place after it was sold at auction at Sotheby’s in 2014.
Mr Lauder furnished the funds to enable the National Gallery to buy the work for 4.91 m. The deal means that the panel is likely to be lent to Mr Lauder during his lifetime but it will return regularly to the National Gallery during this period.
Most expensive car
The “Birkin” Bentley Blower became the most expensive British vehicle sold at a public auction when it was snapped up by an anonymous bidder at the Goodwood Festival of Speed for 5.1 m in 2012.
It was one of seven classic autoes and two motorcycles owned by Isle of Man watchmaker Dr George Daniels, who died in October 2011.
The single-seater racing car – a supercharged form of Bentley’s 1927 four-and-a-half litre auto – gained its nickname because it was designed by the aristocrat Sir Henry Birkin.
The car was driven by Sir Henry at the Brooklands track in Surrey – the world’s firstly purpose-built motor tour.
British Motor Industry Heritage Trust objected to it disappearing abroad, saying it was one of the biggest racing cars to have endured from the pre-war era.
But by the end of the temporary barroom date , no offer to purchase the racing car had been made and an export licence was eventually issued.
The 50 m Picasso
Pablo Picasso’s Child With A Dove was one of a very early operates by the artist to enter a British collection when it was bought in 1924.
But no establishment was able to raise the funds to buy the painting back from a private collector are stationed in Qatar, who paid a reported 50 m for it in 2012.
It was sold by auctioneers Christies on behalf of the Aberconway family in Wales, “whos” leaved the cover in 1947 and loaned it to public galleries.
Child With A Dove was seen as observing a transition from Picasso’s celebrated Blue Period, when he moved away from a broadly Impressionistic style.
The examining committee had argued the cover from 1901 had achieved “iconic status” which, with its long record in British collections, prepared it of outstanding importance to the UK’s national heritage.