The late Jacob Rothschild 4th Baron (1936–2024), a towering figure in British cultural philanthropy, continues to shape the nation’s artistic heritage as two significant works from his collection join the National Gallery and the V&A through the Acceptance in Lieu (AIL) scheme.
The National Gallery—where Rothschild served as Chair of Trustees (1985–1998)—will welcome King David (1651) by Giovanni Francesco Barbieri, Il Guercino, reuniting it with its two pendant works, The Cumaean Sibyl with a Putto and The Samian Sibyl, already in the gallery’s collection.
Commissioned by Italian nobleman Giuseppe Locatelli, the trio was originally intended for his Cesena palazzo, but Medici intervention saw The Cumaean Sibyl diverted to Florence, prompting Guercino to discreetly replace it with The Samian Sibyl. Rothschild, who acquired King David, long cherished the Baroque masterpiece, which captures David at a pivotal moment—neither youthful warrior nor aged ruler, but a philosopher-poet in transition.
The reunion marks only the second time the three paintings have been displayed together since their creation—the first being Waddesdon Manor’s acclaimed Guercino at Waddesdon exhibition earlier this year. Now, visitors can explore the interplay between the Jewish king and the pagan sibyls, whose prophecies were later Christianised.
Sir Gabriele Finaldi, Director of the National Gallery, reflected: “Jacob Rothschild was brilliant, knowledgeable, and refined—his vision shaped the Gallery’s modern era, including the Sainsbury Wing. This acquisition, settling £5.6 million in tax, is a testament to his enduring legacy.”
The V&A secures Edward and Eleanor (1790), a virtuosic marble relief by John Deare, one of Britain’s most gifted—yet understudied—Neoclassical sculptors. Depicting Eleanor of Castile saving Edward I by sucking poison from his wound, the work reframes medieval history through a Hellenic lens, echoing Angelika Kauffman’s painterly grace.
With only three known Deare marbles in UK public collections, this acquisition—settling £1.12 million in tax—offers a rare glimpse into the artist’s brief but brilliant career. It will debut in the British Galleries before featuring in a May 2025 V&A conference on Anglo-Italian sculptural exchange.
Tristram Hunt, V&A Director, noted: “These acquisitions embody Rothschild’s connoisseurship and his unwavering support for public collections.”
Beyond these bequests, Rothschild’s influence spanned Waddesdon Manor, the National Lottery Heritage Fund, and cultural initiatives from Buckinghamshire to the Balkans. His daughter, Dame Hannah Rothschild, remarked: “My father believed great art belonged in public view. We’re grateful these works now inspire generations.”
Michael Clarke, AIL Panel Chair, added: “The scheme’s role in enriching our national collections has never been more vital.”
As King David takes its place in Room 32 amid Caravaggio and Gentileschi, and Edward and Eleanor joins the V&A’s scholarly spotlight, Rothschild’s vision endures—bridging past and present, private passion and public legacy.