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Government blocks historic Black Prince sculpture from leaving Britain in £500,000 battle
The Government has temporarily blocked the export of a marble bust of Edward the Black Prince, giving UK museums and galleries time to try to buy it. The move aims to keep a sculpture regarded as significant to British history and eighteenth-century art in the country.
Created around 1735 by Flemish sculptor Michael Rysbrack, the bust depicts Edward of Woodstock, who lived from 1330 to 1376 and commanded English forces during the Hundred Years’ War. Institutions have until 5 February 2027 to express interest at a recommended price of £496,044.51 plus VAT; if a buyer is found, a further four-month delay may be granted, but otherwise export could be permitted.
In short
- The Black Prince bust faces a temporary export ban.
- Buyers have until 5 February 2027 to express interest.
- Its recommended price is nearly £500,000 plus VAT.
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Keeping the bust in Britain would preserve public access to an artwork judged significant to the country’s history and eighteenth-century art. A temporary export bar gives museums time to seek a buyer, allowing the sculpture to remain available for study and public display rather than being lost to a private or overseas collection.
The case against
The bust is privately owned, and its owner may reasonably wish to sell it to the best available buyer, including one abroad. An export bar can delay that sale and limit the owner’s freedom to dispose of the work, while public funds or museum resources used to acquire it could be directed to other priorities.
Explained simply
Edward of Woodstock, known as the Black Prince, was the eldest son of King Edward III and a military commander during the Hundred Years’ War between England and France. He died before his father, so he never became king.
The marble bust was made around 1735 by Michael Rysbrack, a Flemish sculptor who worked in Britain and was known for portraits and monuments. It reflects the later interest in commemorating medieval figures through eighteenth-century sculpture.
Britain’s export-licensing system can delay the sale of important cultural objects abroad while UK institutions seek funds to buy them. The process gives museums and galleries an opportunity to keep an object in the country, though it does not guarantee a buyer will be found.