Ed Vaizey Stands Down from the House of Commons

Ed Vaizey, the Conservative MP for Wantage, has confirmed that he will not be standing at the 2019 General Election. Vaizey had lost the party whip in September 2019 when he voted against the Government on a Brexit vote, but the whip had been restored and it had been thought that he would stand again.

Vaizey said in his resignation letter to Boris Johnson, the Prime Minister:

“I believe now is the right time to move on because I am passionate about the arts, our creative industries and technology and I want to specialise in these sectors. They will, I believe, play an ever more important role in our national life and it is here that I want to focus my energies.”

He added:

“Let me make one thing clear. I am and will remain an enthusiastic supporter of you as our Prime Minister.”

Ed Vaizey Places Temporary Export Bar on Book of Hours


Ed Vaizey, the Secretary of State for Culture, Media and Sport, has placed a temporary export bar on a jewel-studded book which recently sold at auction for £8 million.

The book was once owned by a King of France and it was created in 1532, including paintings drawn by numerous illustrators. The bar will last until 11 October 2016 but can be extended if a serious bid is made to raise funding to secure the item.

Ed Vaizey said in a statement:

“This exceptional book provides us with a rare glimpse into the royal courts of 16th century Renaissance France and is of outstanding scholarly value. I hope that this unique book remains in the UK for the public to enjoy”.

The recommendation to place the export bar on the book was made by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest. Peter Barber, one of the members of the committee, said:

“This magnificently illuminated and perfectly preserved manuscript prayer book, its gold cover glittering with precious stones,some of them engraved,is a unique survivor of the luxurious books combining Flemish, French and Italian elements that typified the Renaissance culture of the court of François Ier of France. Such splendidly bound manuscripts set the European standard and Henry VIII is recorded as owning very similar books. They are now only known through mentions in inventories. The British public now has the chance to keep this unique surviving example, a European masterpiece in miniature, in the United Kingdom and available for display and study by future generations”.

Ed Vaizey Places Export Bar on 16th Century Paintings


Ed Vaizey, the Minister of State for Culture and the Digital Economy, has confirmed that the Government has placed a temporary export bar on nine sixteenth portraits.

The portraits are of the Smythe family and they are the oldest remaining set of family portrait paintings, other than Monarchs and Nobility, in the country.

In a statement Vaizey said:

“This is the earliest surviving set of 16th century English family portraits and reflects the influence that foreign artists have had on our nation’s capital for centuries. I hope that they are saved for our public to enjoy for years to come”.

Government Places Temporary Export Bar on 16th Century Painting of Nonsuch Palace


Ed Vaizey, the Secretary of State for Culture, has placed a temporary export bar on the earliest painting of Nonsuch Palace still known to be in existence.

Institutions will have until the end of May 2016 to match the purchase price of one million which would allow the painting to remain in the UK. Vaizey said:

“This watercolour has been in the UK for 400 years. We have very few paintings of the stunning Nonsuch Palace so I really hope we can find a buyer to keep this masterpiece here in Britain”.

The recommendation to impose an export bar was made by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA). RCEWA member Peter Barber said:

“British institutions have a chance to acquire a beautiful object that is of enormous significance for English culture and history. Though drawn after Henry VIII’s death, this exquisite watercolour is redolent of England’s best-known King. It is the most accurate depiction of the palace through which Henry sought to immortalise his reign and emphasise his role as a Renaissance prince and a leader of European fashion. Uniquely it shows details of the external decorations, of which only a few battered fragments now survive, that made Nonsuch, as its name suggests, a wonder of its age, an expression of Tudor pride and power and later a favourite residence of Elizabeth I”.