The UK government has temporarily banned the export of a Turner masterpiece in a bid to keep the painting in Britain.
Ehrenbreitstein, a painting depicting the historic fortress overlooking Rhine near Koblenz, Germany, was sold by Sotheby’s in July 2017.
The foreign buyer purchased the 1835 masterpiece for a staggering £18.5 million and sought a license to take the painting out of the country.
This encouraged Arts Minister Michael Ellis to place a temporary export bar today on Ehrenbreitstein in hopes an art collector in the UK would purchase the piece.
Ehrenbreitstein (1835) was created by English painter J.M.W. Turner for publisher John Pye. The painting shows the historic fortress overlooking the Rhine near Koblenz, Germany, during the French Revolutionary Wars. Turner collected materials for the painting from Germany
The masterpiece was sold by Sotheby’s auction house in London in July 2017 for £18.5 million. It was unveiled with ten watercolours by Turner and was sold to a foreign buyer. The government denied the buyers request to transfer the painting in hopes to keep it in the UK
J.M.W. Turner was born in Covent Garden, London, where he attended the Royal Academy of Arts starting at the age of 14. He produced watercolour and oil paintings. Turner is considered one of the best-loved English Romantic painters of his time
Mr Ellis said: ‘This rich, atmospheric painting demonstrates Turner’s extraordinary skill depicting light, as well as the close relationship between painting and poetry.
‘I very much hope that it can remain in the UK, where it can be admired and appreciated by future generations for many years to come.’
This is the only painting Turner created of Ehrenbreitstein in oil and one of the few pieces that remains in private hands.
Turner originally created the painting for publisher John Pye, who asked for it in watercolour.
The English artist decided to use oil paints instead, much to the dismay of Pye.
Ehrenbreitstein is rich in historical references to the French Revolutionary Wars, which devastated Europe and reshaped the political and cultural landscapes.
It was first shown at the Royal Academy of Arts in London in 1835 after Turner collected material for the painting from Germany.
The obelisk on the left marks the grave of General Francois-Sévérin Marceau-Desgraviers, a hero of the French Revolutionary Army.
His brief but brilliant career made him a Romantic hero while his moving funeral, at which German and French soldiers laid aside their enmity and participated, became a symbol for European reconciliation.
The painting was subsequently acquired by Elhanan Bicknell, who would become one of Turner’s greatest patrons.
On Bicknell’s death in 1863, his vast collection – including Ehrenbreitstein – was sold at an auction.
In 1965, the masterpiece was sold again for £88,000, a then-record price for Turner.
The painting then passed through a number of hands before ending up at Sotheby’s in July 2017.
The auction house had described the ‘magnificent picture’ as one of the artist’s ‘great late masterpieces’.
The government is asking for a matching price of £18,533,750 (plus VAT of £306,750).
This decision was recommended by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council.
Turner was inspired by contemporary technology. This interest sparked him to create one of his most known works, The Fighting Temeraire (1839)
The artist was known as the ‘painter of light’ because of the bright colours he used for landscape and seascape. Pictured is his painting Rain, Steam and Speed (1844)
Fisherman at Sea (1796) was Turner’s first oil painting that he exhibited at the Royal Academy of Arts. Before this painting, he had only produced watercolour pieces
RCEWA made its recommendation based on the painting’s outstanding significance for the study of its status as a literary landscape.
The decision on the export licence application for the painting will be deferred until 28 May, but this may be extended for a further six months if there is serious interest from art collectors.
Lowell Libson, RCEWA member, said: ‘This magnificent and beautifully preserved painting from Turner’s maturity demonstrates this great artist’s ability to present many layered narratives – historical and emotional – within the context of topography.
‘It is one of Turner’s finest works of the period.’
The Arts Council refused to identify the buyer or their nationality at last year’s sale.