THE NATIONAL GALLERY IMMUNITY FROM SEIZURE€¦ · THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Sorolla: Spanish Master of Light The National Gallery, London, Trafalgar Square, London,

THE

NATIONAL

GALLERY

IMMUNITY

FROM SEIZURE

Sorolla: Spanish Master of Light

The National Gallery, London, Trafalgar Square, London, WC2N 5DN

18 Mar 2019 - 07 Jul 2019

Immunity from Seizure

The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and

Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan

to temporary exhibitions in approved museums and galleries in the UK.

The conditions are:

The object is usually kept outside the UK

It is not owned by a person resident in the UK

Its import does not contravene any import regulations

It is brought to the UK for public display in a temporary exhibition at a museum or gallery

The borrowing museum or gallery is approved under the Act

The borrowing museum has published information about the object

For further enquiries, please contact [email protected]

Protection under the Act is sought for the objects listed in this document, which are intended to form part

of the forthcoming exhibition, Sorolla: Spanish Master of Light.

Copyright Notice: no images from these pages should be reproduced without permission.


18 Mar 2019 - 07 Jul 2019

The National Gallery, London, Trafalgar Square, London, WC2N 5DN

IMMUNITY FROM SEIZURE



Protection under the Act is sought for the objects listed below:

18 Mar 2019 - 07 Jul 2019

Joaquín Sorolla (1863 - 1923)

© Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao

X10048

Kissing the Relic (El beso de la reliquia)

1893

Place of manufacture: SpainOil on canvas

Object dimensions: 103.5 × 125 cm Museo de Bellas Artes de Bilbao

Lender's name and address Museo de Bellas Artes de Bilbao Museo Plaza, 2

Bilbao

48011

Spain

Accession Number Inv. 69/228

Provenance:

Purchased from the artist by the Provincial Council of Vizcaya at the Bilbao exhibition, 1894;

Donated by the City Council to the Museo de Bellas Artes de Bilbao, 1913.

Source:

Blanca Pons-Sorolla and María López Fernández (eds.), Sorolla and the Paris Years, exh. cat.

(New York: Skira Rizzoli, 2016), 236, no. 1.



2018 © Photo Archive - Fondazione Musei Civici di Venezia

X10047

Sewing the Sail (Cosiendo la vela)

1896

Place of manufacture: Spain Oil on canvas

Object dimensions: 222 × 300 cm

Fondazione Musei Civici di Venezia, Galleria lnternazionale d'Arte Moderna di Ca' Pesaro

Lender's name and address

Fondazione Musei Civici di VeneziaPiazza San Marco 52Venice30124Italy

Accession Number Inv. 261

Provenance:

Purchased from artist at Venice exhibition for the newly-founded Galleria Internazionale d’Arte Moderna di

Ca’ Pesaro* by Venice city council for 10,000 francs, 1905.

Source: Blanca Pons-Sorolla and María López Fernández (eds.), Sorolla and the Paris Years, exh. cat. (New

York: Skira Rizzoli, 2016), 236, no. 4.

*The palace was bequeathed to the city in 1898 and was opened to the public as a Museum of Modern Art

in 1902. (source: http://capesaro.visitmuve.it/it/il-museo/la-sede-e-la-storia/il-palazzo/ accessed: 06/12/18



© The Metropolitan Museum of Art, New York

X10054

Clotilde in a Black Dress (Clotilde con traje negro)

1906


Object dimensions: 186.7 × 118.7 cm

Lent by The Metropolitan Museum of Art, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1909 (09.71.3)


The Metropolitan Museum of Art

1000 Fifth Avenue

New York

NY

10028-0198

USA

Accession Number: 09.71.3

Provenance:

Purchased from the artist by the Metropolitan Museum of Art from the Hispanic Society

exhibition, New York, 1909.

Source: Metropolitan Museum of Art online catalogue 01/11/18:

https://www.metmuseum.org/art/collection/search/437706



© Museo Sorolla, Madrid

X10447

María with Mantilla (María con Mantilla)

1910


Object dimensions: 207 × 118 cm Madrid, Museo Sorolla, No. inv. 00902

Lender's name and address Ministerio de Cultura y Deporte España Plaza del Rey 128004 Madrid Spain

Accession Number inv. 00902

Provenance:

Sorolla’s estate, no. 82, 1929;

By descent to his daughter, María Sorolla Garcia;

By descent to Francisco Pons-Sorolla y Arnau;

Donated by him to the Museo Sorolla, 8th February 1980.

Source: Bernardino de Pantorba, La Vida y la Obra de Joaquin Sorolla (Madrid: Extensa, 1970), 143, no. 328.

Museo Sorolla: Catálogo de pintura (Madrid: Ministerio de Educación, Cultura y Deporte, 2006), vol. 1, 273, no. 741.



© Museo Nacional de Bellas Artes, La Habana, Cuba

X10044

Clotilde Strolling in the Gardens of La Granja (Clotilde paseando por los jardines de La Granja)

1907

Place of manufacture: Spain

Oil on canvas


Museo Nacional de Bellas Artes, La Habana, Cuba


Museo Nacional de Bellas Artes de Cuba

La Habana, 5-402

Havana

Cuba

Accession Number Inv. 93-144

Provenance:

Purchased from artist by Henry E. Huntington (1850-1927) for $3000 at the Hispanic Society exhibition, New York, 1909;

Collection of Huntington, San Marino, California, until 1925;

Passed to Joseph Duveen, May 1925 (independent scholar Veronique Powell, in an email dated 07/11/18, suggests that this

work, along with several others, may have been passed on to Duveen by the aging Huntington after the death of Huntington’s

wife. According to Huntington’s biography, the two men had a close relationship; Duveen was Huntington’s preferred dealer

and he spent a week every year in Huntington’s San Marino home).

Property of Joseph Duveen and Duveen Brothers, New York, until May 1955;

Purchased from Duveen by José "Pepe" Genaro Ramon Gómez-Mena Vila (1883 – 1960), 22 May, 1955;

Donated to his daughter, Lidia Gómez Mena (1917-1992), and her husband, Alfonso Fanjul (1909-1980), Havana, 1955;

Appears in the opening catalogue of the Museo Nacional de Bellas Artes de Cuba in 1955 (no. 262), possibly at this point as a

long-term deposit;

Part of collection of Museo Nacional de Bellas Artes de Cuba by 1959.

Sources: Some provenance is outlined in the Sorolla in America catalogue (Blanca Pons-Sorolla and Mark A. Roglán (eds.),

Sorolla and America, exh. cat. (Dallas: Meadows Museum; San Diego: San Diego Museum of Art, 2014), 302, no. 31), though this

provenance omits the Duveen link between Huntington and Gómez Mena, and instead includes “Oscar B. Cintas, Havana” as

an intermediary owner, without dates.

Documents in the Getty Digital archives demonstrate that Cintas did not own the painting prior to its acquisition by Gómez

Mena, but rather that Duveen purchased this work, along with two other Sorollas (and several paintings by different artists)

from Huntington in 1925 (Getty Research Institute. Duveen Brothers records, 1876-1981, Client property Book 3, c. 1925-1940,

fol. 16.) Independ

The painting appears without any provenance listed in Guía de la Galería de Arte del Museo Nacional de Cuba (Havana:

Instituto Nacional de Cultura, 1955), no. 262.

* Note that this object has an incomplete provenance for the years 1933-1945.

Risk Assessment dated 09.01.2019



© Museo Nacional de Bellas Artes, La Habana, Cuba

X10045

Summer (Verano)

1904



Museo Nacional de Bellas Artes, La Habana, Cuba


Museo Nacional de Bellas Artes de Cuba

La Habana, 5-402

Havana

Cuba

Accession Number Inv. 93-145

Provenance:

Purchased from artist by Mrs. Bryce, née María de las Mercedes González de Candamo y Iriarte (1849-1929) for 25,000 francs at the Paris exhibition, Galerie Georges Petit, 1906; Mrs. Bryce settles in the UK, 1907;Possibly by descent to Major Francis Bryce, London (1876-1951), c. 1929; Christies Sale, London, purchased by R. Davidge for 1,400 guineas, 1951; Sold via an intermediary, M. R. Schweitzer, New York (unknown date);Acquired by Lock Galleries, New York (under the title “Al Agua”, from whom it was purchased by José "Pepe" Genaro Ramon Gómez-Mena Vila (1883 – 1960), Havana, in January 1952; Museo Nacional de Bellas Artes de Cuba, Havana by 1959.

Source: Blanca Pons-Sorolla and María López Fernández (eds.), Sorolla and the Paris Years, exh. cat. (New York: Skira Rizzoli, 2016), 237, no. 18.Blanca Pons-Sorolla, email dated 15/11/18 (who reportedly received this information from M. R. Schweitzer, 2000)Tania C. Mastrapa. “Identifying and Locating Looted Artworks from Cuba.”, p. 135- https://ascecuba.org//c/wp-content/uploads/2014/09/v19-mastrapa.pdf

The provenance between 1906 and 1951 (from Mrs. Bryce in Paris to Christies in London) is absent from publications on the painting, leaving a gap for the 1933-1945 period. It can be potentially inferred from the first owner’s family history. Mrs. Bryce (née Maria de las Mercedes de Candamo, who was then the widow of Joan Pablo Bryce, a Scottish/ Peruvian shipowner based mainly in UK who died in 1901) settled in the UK around 1907. Her son was Major Francis Bryce. When he died in 1951, he was divorced and his only heir was young (aged 13), so it is quite possible that his collection was that sold in the 1951 Christies Sale.

Unlike Clotilde Strolling, there is no suggestion that Summer was one of the paintings lent to the Museo by the private owner, Gómez Mena, but rather appropriated or “nationalised” after the Revolution and was part of the Museo Nacional de Bellas Artes’s collection by 1959. It appears in the 1955 opening catalogue for the Museo.

*Note that this object has an incomplete provenance for the years 1933-1945

Risk Assessment dated 09.01.2019