A Spectator's Notebook

In 1968 the Italian government needed a military transport aircraft to collect the huge British contribution to the exhibition of the Italian seventeenth-century master, Guercino, held at Bologna. The load included no fewer than fifty drawings from the Royal collection at Windsor. What a tribute to British collecting that the exhibition would not have been fully comprehensive without such support from this country.

But it is always an anxious business to pack works of art when they go abroad. The largest picture in this particular cargo was an altarpiece which, when packed and padded, could only just be inserted into the gaping maw of the aircraft's hold. It is owned by the distinguished art historian, Denis Mahon, who had been entrusted by the Italians with the cataloguing of the exhibition. Foreseeing that such a large picture would probably have to sustain heavy weights on top of it en route, Mr Mahon insisted on having it double-cased. How right he was. Accompanying his picture to Italy he was able to witness with equanimity those members of the crew not actually involved in flying the aircraft seat themselves on the outer case and play poker with Italian gusto, triumphant thumps and all.

The 'ring'

Bidders for works of art at public auction are entitled to try to buy at the lowest possible price. What is unethical and illegal is for potential buyers to refrain from bidding in return for a material consideration. It is also illegal to operate what is known as the 'knock-out' or 'ring'. This malpractice consists of a private agreement, made before an auction, among a group of dealers, that only one of them will bid for a particular item, thus securing it well below a fair market value; if successful, the agreed bidder subsequently puts the item up to auction among his fellow conspirators, all of whom share in the resulting profit. This dishonest practice was carried on quite openly in this country until 1927 when Parliament made it illegal by passing the Auction (Bidding Agreements) Act. Unfortunately this Act was so badly drafted, and the maximum penalty of £100 so small, that no prosecution was ever brought. The 'ring' continued to flourish, albeit more discreetly. In 1968, however, a painting by Duccio bought by a dealer at a country auction for £2,700 and later resold by him to the National Gallery for £150,000, became the subject of a national scandal which had far-reaching effects and culminated in new and much stronger legislation. At that time I was chairman of the Society of London Art Dealers. Although the dealer concerned was not a member of that society, the effect on the trade as a whole was considerable. Accusations of concealment and conspiracy were made both inside and outside Parliament, even by the then President of the Board of Trade, Mr Anthony Crosland. Only by my complaining to the Ombudsman was that particular slur removed from the name of the London fine art trade. A new Act of Parliament, passed in 1969, has proved a serious deterrent to the 'ring'. I myself do not believe that it has been wholly eliminated, for it is an offence immensely difficult to prove in court.

Clubland clerics

Among the manygood stories in Kenneth Rose's life of Lord Curzon, Superior Person, I particularly enjoyed reading why Lord Salisbury, the Victorian Prime Minister, ceased to lunch at the Athenaeum. The, bishops, he complained, always pinched his umbrella.

My own club can also boast an eminent peer with an anti-clerical bias. For many months his newly appointed diocesan bishop had been fishing for an invitation to lunch in the country. At last the peer gave in and named a suitable Sunday. That very morning, the bishop's secretary telephoned to apologise. The bishop, he explained, could not now come in person but was sending the dean in his place. Much put out at this last minute episcopal defection, the peer sent a message that the dean would be very welcome to lunch — with his agent.

Strong's progress

Dr Roy Strong was appointed Director of the National Portrait Gallery in 1967 at the exceptionally early age of thirty-one. As an honorary adviser to the gallery I first met him in its dreary boardroom a few days later, to discuss the impending sale of two portraits, both vital to our national and artistic heritage. One was the most important self-portrait of George Stubbs — England's unsurpassed painter of animals. The other was Thomas Hudson's ,prime original portrait of Handel, depicted in the full dignity of his achievement with the score of Messiah open before him. Both pictures were to be sold at auction in London a few weeks later and within two days of each other. At the time the gallery's annual purchase grant was a mere £8,000 almost all of which had already been spent. Miraculously both pictures are today on permanent show at the National Portrait Gallery. With dedicated persistence, the young director personally managed to raise a total of £17,450 from trusts, charities and

The private benefactors einCtaall twoarlksAoufgluifset. 31, 1974 One of the most imaginative responses to Roy Strong's appeal for the Handel portrait was that of Joan Sutherland and her husband Richard Bonynge, who gave their services to a charity performance of Messiah in the Albert Hall which ensured the ultimate success of the appeal. Other notable purchases during Roy Strong's seven years as director include splendid portraits of Catherine Parr and Anne of Denmark, and the glorious Capel familY group by Cornelius Jonson. For me, however, the most beautiful of all is Nicholas Hillis exquisite miniature of Sir Francis Drake. Another picture I vividly recall is Hans Eworth's portrait of Mary Tudor in which she is depicted wearing the famous pearl known a 'La Peregrina'. As this jewel had not long before been given by Richard Burton to Elizabetn Taylor, both Strong and I feared that they might want to buy the picture, too. Instean, however, of trying to secure it for themselves they generously sent a donation of £1,000 towards its acquisition by the National Portrait Galioey. Strong R passionately feels that a musel is an evolving institution which must respond to the current needs of society and not cling t° moribund and outdated principles. All innovators have their detractors, and it would he absurd to pretend that he has escaped criticism: He nevertheless believes in popularisation not vulgarisation and insists that the highest academic standards should always be maintained. It came as no surprise to me that at the end of last year he sought a broader canvas on which to express his ideas, and became ,`a.„t thirty-eight the youngest-ever Director Of the Victoria and Albert Museum.

Hard drinker

George Morland, one of the great Englis.11 artists of the eighteenth century, liked his liquor. A contemporary, George Dawe, RA,' wrote of him: "Although he had certainly don!' vast quantities of spirits, yet his feats in this respect have been exaggerated." It all depends what you mean by'exaggerat,i ed'. In a letter to his brother, Morland himse' wrote;

G. Morland's bub for one day at Brighton (having nothing to do). _ Hollands Gin RU Milk 1,„ Before breakfast m and Coffee — breakfast.

Hollands Porter Shrub Ale Hollands and Water Port Wine with Ginger Bottled Porter Port Wine — At dinner and after Before dinner.

Porter Bottled do.

Punch Porter Ale Opium and Water Port Wine — At supper Gin and Water Shrub Rum on going to bed."

O'Booze and friends

Some of those who live by the pen are also reputed to seek inspiration in the bottom of 3 glass. This is well understood by professional caterers, as I discovered a few years ago when making arrangements for the private view of a picture exhibition. I was told that the cost of providing refreshments would be 15s a head, reduced to 12s if Royalty were present. But for a press reception lasting half the time, the cost would be 25s a head.

Hugh Leggatt.