Ashmolean Museum in bitter, 20-year dispute over Augustus John works

Three brothers, heirs to a part of an artwork assortment that belonged to their grandfather, are in dispute with the Ashmolean Museum in Oxford, UK. The Ashmolean, based in 1683 by the rich antiquary Elias Ashmole, is Britain’s oldest public museum and the world’s second college museum.

The bitter, sophisticated and long-running dispute stems from the property of Lieutenant Colonel Mahlon Christopher Sands (1908-2000), who had substantial holdings of artwork inherited from his uncle, the famous collector Morton Sands (1884–1959). In 2001 the Ashmolean acquired ten works by Walter Sickert (1860–1942) from the belief established by Sands’s property. In 2011, 30 different works, together with 16 Sickerts, have been allotted to the Ashmolean following their acceptance in lieu of tax. Because of this, the establishment now has the most effective collections of Sickert’s work anyplace.

The tussle centres on one other 81 works from the Sands property, the majority by Augustus John, together with others by Sir William Nicholson, L.S. Lowry, and a few minor Sickerts. Sickert, John and lots of different artists have been members of the Camden City Group, together with the society hostess and artist Ethel Sands—the sister of Morton Sands.

Christie’s carried out an appraisal of the group in dispute in 2015 and their whole estimate was round £1m at the moment. The costliest objects are drawings by John—as an illustration Dorelia Studying, (undated) appraised at £120,000 at the moment.

They have been, in line with Tarka Sands, one of many brothers, lent to the Ashmolean and must be returned, because the mortgage settlement has now expired. Nonetheless, the museum contends that it’s as much as the belief to determine what occurs to them—and that the choice has not been made.

The Ashmolean’s director, Alexander Sturgis, stated in a press release: “Colonel Sands’s will made provision for these works to be distributed below a discretionary belief to the Ashmolean, to New School, Oxford (his outdated faculty), and to his grandsons after the loss of life of his spouse, Jean, who died in 2003. The ultimate distribution of those 119 works is but to be settled by the Belief and stays on the Trustees’ discretion.” The distinction in numbers is as a result of there are additionally some ephemera resembling diaries.

There’s a lot bitterness between the grandsons, the previous trustees and the Ashmolean. The grandsons took the previous trustees to court docket and so they have been eliminated after a settlement, with two new ones appointed, who’ve energy of discretion. In accordance with the grandsons, in 2014 the Ashmolean threatened to take out an estoffel order—a authorized time period stopping somebody from going again on their phrase—though this was by no means utilized. The Ashmolean didn’t reply to a request for touch upon this order, however added when requested: “The Trustees of Colonel Sands’s Belief, which stays in existence, retain a broad discretion in relation to Colonel Sands’s private objects (together with artworks), together with to allocate such objects to museums. The Ashmolean has made each try to interact with ColonelSands’s Belief and along with his grandsons to seek out an agreeable distribution of the artworks in his property. All through, we’ve been keen to debate and negotiate the proportion of works that may be settled on the Museum, in accordance with Colonel Sands’s expressed needs.”

The grandsons say that the timeframe for donating the artwork to numerous establishments has now handed, and that they’re now entitled to take again the 81 artistic endeavors. Tarka Sands says: “The property is basically paralysed and has been for a while now as a result of energy of discretion concern and it’s the Ashmolean’s hostile declare for extra artwork it can not correctly show that’s disrupting its winding up. Twenty years is clearly means and past what might be thought of an affordable time during which to settle issues.”

Alexander Sturges additionally stated within the assertion: “All through this time we’ve remained in touch with Colonel Sands’s household and the Belief and have tried to return to an affordable settlement however we remorse that this matter has not but been settled. At no time throughout these prolonged discussions has the Belief requested that the Museum return the drawings.”

Requested about this, Tarka Sands replied: “It’s appropriate that the current trustees themselves have by no means explicitly demanded the return of the loaned objects, however as talked about beforehand, on being appointed they have been instantly confronted by [lawyers] Farrer & Co on behalf of the museum with the specter of authorized motion. They’ve as a substitute sought to succeed in a compromise whereby the museum and ourselves every retain 50% of what stays on mortgage which is unacceptable to us.[ ….] We’re of the view that the museum already has a lot of Sands household’s artwork that it will possibly show solely a small proportion regardless of this being a situation of the present, so what want has it for extra? Graciousness and gratitude in the direction of our household would appear acceptable below the circumstances, however this has not been our expertise.”

And the Ashmolean notes: “The Museum stays open to additional dialogue.”