Very exciting times at the Fortress of Solitude of late, since I’ve recently acquired several new works for my art hoard and one of them I believe to be…if not by an actual Old Master whom we can name, at least a piece dating from the mid- to late-17th century. The interesting part is going to be having it cleaned, as it is absolutely filthy from years of dirt, grease, smoke, and who knows what else. However this is the only teaser you’re getting so far, gentle reader, as I’ll probably write up the experience of the reveal for The Federalist if all goes well. Now to find an art restorer who doesn’t charge me museum-level cleaning costs…
In the meantime, on to the art news we go.
The massive HQ of Banco Santander, located in the Spanish city which gave it its name, will soon become a major new private museum. The bank, which is the largest in Spain and has become far more visible internationally (including in this country) in recent years due to a number of significant mergers and acquisitions, was founded in 1851; its leadership has called the rather grandiose Pereda Building along the city’s waterfront promenade home for about a century. The financial giant is now moving into a new building, where it will consolidate many of its operations, and turn the older HQ and a neighboring building into a museum and cultural center.
British architect David Chipperfield recently won the competition for the museum portion of the project, although no estimated completion date has yet been announced. Over time, Banco Santander has accumulated a massive art collection of works dating from the 16th century to the present. Holdings include pictures by El Greco, Picasso, Rubens, Van Dyck, and Van Gogh, among many others, as well as sculpture, furniture, porcelain, tapestries, and other decorative arts. Most of these are currently held at an exhibition location maintained by the bank in suburban Madrid, which to be honest I had never heard of until this press announcement.
Once completed, the museum will certainly become a major stop on any cultural tour of Northern Spain. While somewhat uneven, as institutional rather than personal collections tend to be, there are some real gems here, particularly of turn-of-the-century art being produced in Barcelona and Madrid around the same time. One examples is this 1899 portrait of an unknown gentleman by the great Joaquín Sorolla (1863-1923). Current scholarship suggests that this is the lawyer, art historian, and one-time mayor of Madrid Manuel Escrivá de Romaní, Marques of Alginet and Count of Casal, since Sorolla inscribed the painting, “A mi amigo Manolo”, and “Manolo” is a nickname for Manuel.
More than 70 years after it ended, the Nazi looting of Europe for art treasures continues to yield bizarre stories of loss and recovery for art historians, governments, and individuals to wrangle over. This lengthy, fascinating article in Smithsonian Magazine chronicles the creation, fame, disappearance, and rediscovery of a major work of German Art Nouveau sculpture, “Drei tanzende Mädchen” (“Three Dancing Maidens”), created by Walter Schott (1861-1938). It won the Gold Medal at the World’s Fair in Brussels in 1910, and copies were acquired by several cities and institutions; in fact, one is located in Central Park in Manhattan. The fate of the original, as you will see, is a bit murky, and the article does not resolve the question of its fate.
The deep pockets of the Getty Museum and its mandate to study, inter alia, classical Greek and Roman art continue to cause problems for the Los Angeles institution. Recently, the Getty acquired the magnificent 2nd century AD bust of an unknown Roman, possibly one of the Antonine emperors, such as Antoninus Pius or Marcus Aurelius. Meanwhile, an Italian judge has recently issued a decision against the Getty involving a long-standing dispute over the museum’s famous Ancient Greek bronze “Victorious Youth”, which may have been created by Lysippus, personal sculptor to Alexander the Great.
The Getty has always claimed that because the piece was recovered from international waters, the fishermen had every legal right to sell it. However the Italian government has successfully persuaded the courts up to now that, because the piece was brought to shore in Italy, and was first sold there by its finders without an export license and without notice to the Italian government of their treasure find, the Getty must return the sculpture. It seems that Italy is arguing that the Getty has possession but no title, which any of my readers who are fellow lawyers will recognize is a classic problem in tort law with respect to tangible property ownership. Appeals are expected to continue for some time, as this will be a fight to the death, given the exceptional importance of this sculpture to art history.