News Release
November 11, 2019

The National Museum of Western Art, Tokyo announces the purchase of theex-Gurlitt Estate work Manet’s Marine, Temps d’orage (Ships at sea in stormyweather), 1873 from Kunstmuseum Bern

In November 2019, the National Museum of Western Art (NMWA), Tokyo, reached anagreement with the Kunstmuseum Bern to purchase Édouard Manet's Marine, Tempsd'orage (1873, Ships at Sea in Stormy Weather), a masterpiece once owned by Kôjirô
Matsukata. This painting formerly in the Matsukata Collection was sold in France during
World War II and its whereabouts after that sale long unknown until it made the worldnews in 2014 when it reappeared as part of the Gurlitt art trove comprising around 1,500
works found in the homes of Cornelius Gurlitt, the son of Nazi-era art dealer Hildebrand
Gurlitt.
Following the death of Cornelius Gurlitt in 2014, the Kunstmuseum Bern inherited thepainting as part of the Gurlitt estate. The provenance of the work has been investigated byThe Gurlitt Provenance Research Project, which aimed to clarify the historic ownershipstatus of artworks in the trove in order to establish whether any of them were Naziconfiscated property or the loss was due to persecution and, if so, who was the last legal
owner. The provenance of the painting can be clearly established through records of saleand the work has been classified as ‘green’ using the provenance research team’s ‘traffic
light’ categorisation system meaning the work is ‘proven or highly likely not to be Nazilooted art’.
The Kunstmuseum Bern has always made clear that it does not want to derive any financial
benefit from the inheritance, however the Board of the museum has reserved the right toeventually sell works with clear provenance to cover any financial deficit incurred throughthe handling of the estate. Following positive discussions with The National Museum ofWestern Art, Tokyo, the Board of Kunstmuseum Bern has taken the decision to sell thispainting and has pledged to devote any possible surplus from the sale to support further
provenance research into the estate.

This work was included in the Matsukata Collection exhibition commemorating theNMWA's 60th anniversary, on display at the NMWA from June 11 through September 23,
2019.
Plans are being made to include this work in the Permanent Collection Galleries display
during fiscal 2019.
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Marcel Brülhart, Board member Kunstmuseum Bern/Zentrum Paul Klee in charge of theGurlitt project, said: “The Kunstmuseum Bern accepted the inheritance of Cornelius Gurlitt
from a sense of responsibility in order to clarify the provenance of the paintings and torestitute any looted art. The Board of the museum has always made clear that it does notwant to profit financially from the inheritance, however the museum cannot bear any
substantial deficit from the Gurlitt project. The sale is necessary to raise funds to cover theaccumulated costs incurred by Kunstmuseum Bern during the last 5 years.”Nina Zimmer, Director Kunstmuseum Bern – Zentrum Paul Klee, said: “The museum isdelighted that Manet’s Marine, Temps d’orage (Ships at sea in stormy weather) will bereunited with The Matsukata Collection. In accepting the Gurlitt bequest and organising thesubsequent parallel exhibitions ‘Gurlitt: Status Report’ in Bern, in addition to the Gurlitt
Provenance Research Project, we have made important progress in understanding thecomplex history of Nazi-looted art and the fate of Jewish artists, collectors and art dealers
who fell victim to the Nazi regime. The permanent return of the work to what could be
described as its spiritual home in Japan seems to us an ideal solution that benefits bothinstitutions.”
Akiko Mabuchi, Director of the National Museum of Western Art, Tokyo, said: “TheNational Museum of Western Art (NMWA), Tokyo, celebrates the 60th anniversary of its
opening in 2019 and is pleased to announce that it has reached an agreement with theKunstmuseum Bern to purchase Édouard Manet's Marine, Temps d'orage (1873, Ships atSea in Stormy Weather), a masterpiece once previously owned by Kôjirô Matsukata.
As part of the 60th anniversary celebrations, the NMWA prepared both at twovolume catalogue raisonné of the Matsukata Collection and a special exhibition on its works.
The first volume of the catalogue raisonné was published in 2018, followed by the secondin 2019, with the exhibition held in June 2019. We were able to clarify many of themysteries surrounding the Matsukata Collection works during the various preparatory
studies, and finally have an overall picture of the Collection in its original form. Theseresults were thanks to the studies conducted by the Museum since its founding, which werethen further enhanced by full-scale studies begun in 2016 under the auspices of a Japan
Society for the Promotion of Science Grant-in-Aid for Scientific Research (KAKEN) grant.
There were also numerous fortuitous events that contributed to our findings. One such was
the survey by a German and Swiss team about this work included in the Gurlitt estatematerials bequeathed to the Kunstmuseum Bern.
According to Japanese witnesses, Matsukata's representative Kôsaburô Hioki soldabout 20 works in the collection during World War II in order to pay management fees andhis own salary, and Manet's Marine was among those works. As can be seen by the black
and white photograph of the work in the 1932 Manet catalogue raisonné, the identity of thebuyer remains a mystery. Thanks to the Gurlitt incident, we learned that after the painting
left Hioki's hands it passed to Hildebrand Gurlitt, and then was hidden by his son Cornelius.
When we contacted the Kunstmuseum Bern, then holder of the painting, to request the loan

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of the work to our Matsukata Collection exhibition held to commemorate the NMWA's 60thanniversary, the Kunstmuseum offered to sell the work to the NMWA.
Kôjirô Matsukata acquired more than 3,000 Western artworks over the course ofclose to ten years starting in 1916 and it is well known that the 375 works from that
assembly that remained in France became the core collection of the NMWA. Each of theremaining works, with the exception of the approximately 950 works lost in a London
warehouse fire, have their own tale to tell about their current whereabouts. Indeed, theirtravails can be compared to those of Odysseus, Homer's hero who had to overcome danger
and trials before he could reach his homeland. The NMWA has been putting great effort
into buying back these wandering works, with approximately 270 works entering thecollection since its opening. We see the new inclusion of this Manet work in those ranks asa truly joyous moment for all of us connected to the NMWA, and indeed, to all Japanese art
lovers. I would like to express my heartfelt gratitude to the Kunstmuseum Bern staff andboard who approved this purchase, and state that the NMWA will forever carefully
preserve and display this Manet work, now returned from its long and arduous journey. ”

Kôjirô Matsukata (Kojiro Matsukata, 松方幸次郎) (January 1866 - 1950)
Kôjirô was born the third son of the Meiji era politician Masayoshi Matsukata and was thefirst president of Kawasaki Dockyard Co., Ltd. (currently Kawasaki Heavy Industries, Ltd.).
While in Europe on business in 1916, Matsukata began to collect Western art works andukiyo‐e prints, and he was said to have amassed a collection of over 10,000 works. Some ofhis purchases that remained in France and were not shipped to Japan were caught up in
World War II seizures. The French government returned those works to the Japanesepeople after the war and they became the basis for the National Museum of Western Art,Tokyo.

References
Gurlitt Art Trove:
http://www.lostart.de/Content/041_KunstfundMuenchen/EN/KunstfundMuenchen.html

Gurlitt Provenance Research:https://www.kulturgutverluste.de/Webs/EN/ProjectGurlitt/Gurlitt-Provenance-Research/Index.html

Gurlitt Provenance Research Project report on this work (ehem. Lost Art-ID: 532966):
https://www.kulturgutverluste.de/Webs/EN/ProjectGurlitt/Gurlitt‐Provenance‐
Research/OREs/OREsFilter.html?sortOrder=teaserText_text_sort+asc&cl2Categories_PGKat=projekt‐gurlitt‐kategorie‐gruen&oreQueryString=manet#159644

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Édouard Manet (1832 Paris - 1883 Paris)
Marine, Temps d’orage (Sea in stormy weather)1873
Oil on canvas
55 x 72.5 cm
Signed on the lower right
Provenance:
Estate of the artist, Paris, 1883, no. 71; Manet sale, Hôtel Drouot, Paris, 4–5 February 1884,lot 80 (Lugt 43575); where purchased by Léon Leenhoff, Paris; Charles Deudon, Nice;
acquired by Paul Rosenberg, Paris, 1914; from whom purchased by Kôjirô Matsukata, Kobe,ca. March 1922, as “Marine” (80,000 fr.); sold by his custodian, Kôzaburô Hioki,Abondant/Paris, possibly to André Schoeller, Paris, ca. 1940-1941; bought from the above
by Raphaël Gérard, Paris, 25 September 1942, stock no. 21174 (550,000 fr.); bought fromthe above by Mathilde Gessler, 5 October 1942 (700,000 fr.); bought back from the above
by Rafaël Gérard, 17 February 1944; bought from the above by Hildebrand Gurlitt, Dresdenand later Düsseldorf, 25 March 1944, stock no. 22456 (900,000 fr.); with Raphaël Gérard,Paris, by 28 April 1944 (per Cornelius Gurlitt Papers); Hildebrand Gurlitt, by September4

1953 (per Cornelius Gurlitt Papers); by descent to Cornelius Gurlitt, Munich/Salzburg;
Estate of Cornelis Gurlitt; by descent to the Kunstmuseum Bern, 6 May 2014.
Exhibition:
Exposition d’oeuvres de Grands Maîtres du dix‐neuvième siècle, Galerie Rosenberg, Paris, 3May–3 June 1922; Výstava Francouzského Umění XIX. a XX. Století = Exhibition of French Artof the 19th and 20th Century, Prague, Květen a Červen, May–June, 1923, no. 83, lent byKojiro Matsukata; Inaugural Exposition of French Art, San Francisco, California Palace of theLegion of Honor,1924–1925, p. 19, no. 34, as “Stormy Sea”; Bestandsaufnahme Gurlitt, Bonn,
Bundeskunsthalle, 3 November 2017–11 March 2018, no. 200; The Matsukata Collection: A
One‐Hundred‐Year Odyssey, Tokyo, The National Museum of Western Art, 11 June 2019–23
September 2019, special display item.
Bibliography:

Pascal Fortuny, “La collection Deudon”, Bulletin de la vie artistique, 1 May 1920; Paul Jamotand Georges Wildenstein, Manet, Paris, Les Beaux-arts, [1932], no. 226; Adolphe Tabarant,Manet et ses oeuvres, Paris, Gallimard, 1947, no. 206; Merete Bodelson, “Early Impressionist
Sales, 1874-1894”, Burlington Magazine, June 1968, p. 343; Hideya Sasaki, “Edouard Manetdans les collections japonaises: peinture à l'huile, pastel, dessin”, Annual Bulletin of The
National Museum of Western Art, no. 4, 1970, no. 7 （=佐々木英也「日本のマネ作品」『国立西洋美術館研究紀要』第 4 号、1970 年、no. 7）; Denis Rouart and Daniel Wildenstein, Édouard
Manet: catalogue raisonné, Lausanne, 1975, no. 200; Yûzô Taruki, Kokuritsu Seiyô
Bijutsukan Secchino Jôkyô, vol. 3, Tokyo, Kokuritsu Seiyô Bijutsukan Kyôryokukai, 1989, p.
93（=垂木祐三『国立西洋美術館設置の状況』第 3 巻、国立西洋美術館協力会、1989 年、p. 93）;
Anne Distel, “Charles Deudon”, Revue de l’Art, vol. 86, no. 1, annex II, no. 6; Exh. cat. Manetand the Sea, Art Institute of Chicago; Philadelphia Museum of Art, 2003-2004, p. 70, fig. 43(p. 72); Masako Kawaguchi and Megumi Jingaoka, The Matsukata Collection: Complete
Catalogue of the European Art. Vol. 1, Paintings, Tokyo, The National Museum of WesternArt, 2018, no. 691（=川口雅子・陳岡めぐみ編著『松方コレクション 西洋美術全作品』第 1 巻、国立西洋美術館、2018 年、no. 691）; Megumi Jingaoka, “The Matsukata Collection: A Century-LongVoyage”, Exh. cat. The Matsukata Collection: A One‐Hundred‐Year Odyssey, Tokyo, The
National Museum of Western Art, 2019, pp. 302–304（=陳岡めぐみ「松方コレクション 百年の流転」『松方コレクション展』図録、国立西洋美術館、2019 年、pp. 22–23）.

For further information:
NMWA Public Relations Department, Youth Planning Center
Tel: 03-3406-3411 E-mail: nmwa(at)ypcpr.com
Weekdays 10 am to 6 pm

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