Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 97. (Budapest, 2002)

NÉMETH, ISTVÁN: A Generous Gift or a Healthy Compromise? Some Contributions to the Background of the Donation of a Painting by El Greco

a background "pact" between Nemes and Petrovics. All these nevertheless do not alter anything about the fact that Marcell Nemes was once again highly open-handed, for, simultaneously with further gifts, he was willing to give away one of the most valuable and most intimate pieces in his collection to improve the prospects of obtaining an export licence for some other pieces.

23 It is highly improbable that he would have acquiesced in such a disadvantageous deal if he would have been governed only by business considerations, as The Magdalen in itself had a higher value than the 24 old master paintings he was finally permitted to export had together (the aggregated value of these was given as 2,375,000 crowns).

24 It deserves noting that the 24 paintings did not include the two further El Greco paintings that Nemes still had, and Munkácsy's name is excluded from the list, as well, although it is manifest in the above letter that Nemes intended to take at least some of them with him. This compromise was presumably accepted by Nemes because (and only because) he had always put fame and community appreciation (expressed in, for example, titles) as well as the sustentation of the image he had formed of himself as a generous patron of the national culture before direct pecuniary gain.

25 Petrovics was aware of it, since he had known the collector and his human weaknesses for decades and was able to seize the occasion perfectly when a rare and not even hoped-for masterpiece could be obtained for the Museum of Fine Arts. "~ Its significance is indicated by the ministerial letter of thanks addressed to Nemes on the occasion of donating The Penitent Magdalen: "Knowing Your Honour's passionate affection for the arts, I perfectly acknowledge the greatness of the sacrifice the collector made when decided on giving away such a masterpiece. With this exceptionally precious gift, you indeed have furnished the most beauteous evidence of Your Honour's impassioned affection for our Museum of Fine Arts...." For the complete text of the letter of thanks by the Minister of Religion and Education, dated July 20, 1921, see the archives of the Museum of Fine Arts, file no. 627/1921. 24 The list of works of art released to be exported to Munich from the Nemes collection, containing twentyfour pictures and their valuations, is preserved at the Archives of the Museum of Fine Arts, file no. 4/1921. The paintings are the following: 1. After Titian, La Fede; 2. After Pieter Brueghel, Adoration of the Magi; 3. School of I lolbcin, Portrait of Henry VIIÍ; 4. Italian painter, 16th century, Portrait of a Man with a Guitar; 5. Ter Borch, Portrait of a Man; 6. French painter, 18th century, Portrait of a Man; 7. Studio of Rubens, The Conversion of Saint Paul; 8. German painter, 16th century, The Holy Family; 9. Manner of Boucher, Mythological Scene; 10. Italian painter, 16th century, Tobias; 11. Cassone painting, Italy, 15th century; 12. English painter, 18th century, Portrait of a Lady; 13. School of Ferrara, Saint George; 14. Domenico Tiepolo, Christ on the Cross; 15. Jacopo del Sellaio, The Magi; 16. After Titian, Venus with the Mirror; 17. Manner of Veronese, Queen of Shaba; 18. Tuscan Master, 15th century, The Virgin with Saints and Angels; 19. Manner of Jan van Goyen, Coastal scene; 20. School of Füger, Portrait of a Woman; 21. Manner of Van Dyck, Portrait of a Woman; 22. Manner of Strigel, Portrait of a Man; 23. Italian painter, 15th century, The Lamentation; 24. Venetian master, The Virgin and Child. 25 Marcell Nemes had always felt his self-respect offended when he was simply referred to as an art dealer or his merits as a patron were questioned. An excellent illustration of that is found in his letter to the painter József Rippl-Rónai, dated July 10, 1910, in which he is complaining to his friend how spiteful and false statements had been published of him in the newspaper Pesti Futár on the occasion of his decoration. (Archives of the Hungarian National Gallery, file no. 4805/b). There must have been similar reasons behind his intention to refund the purchasing price of the Still Life of Fruit by Abraham van Beyeren. which he had previously sold to the Museum of Fine Arts, as well.