Ediciones El Viso is deeply grateful for the tireless work, dedication and warmth shown by Blanca Pons-Sorolla as the director of this project, as well as for the decisive assistance in the publication of the current work provided by the Fundación Museo Sorolla in Madrid, the KHR McNeely Family Foundation through the Custard Institute of the Meadows Museum in Dallas and the Embassy of Spain in the United States of America. Without their help, this first volume of the catalogue raisonné of the paintings of Joaquín Sorolla would not have seen the light of day.
6 Presentation
Consuelo Luca de Tena
9 Introduction
Blanca Pons-Sorolla Ruiz de la Prada
13 Methodological introduction
Blanca Pons-Sorolla Ruiz de la Prada
21 Catalogue
447 Appendix
449 Biographical chronology of Joaquín Sorolla y Bastida (1863-1894)
454 Exhibitions
468 Bibliography. Selection
Table of equivalences
474 Table of equivalences with the complete catalogue of Blanca-Pons Sorolla (BPS)
478 Table of equivalences with the catalogue of Bernardino de Pantorba (P)
1 Marine
Valencia, 1876-1877
Watercolour on paper, 18.6 × 30.2 cm
Lower right corner: “J. SoRollA” underlined
Private collection
Inventories: BPS 9
Provenance: Jacinto Prat, Joaquín Sorolla’s maternal uncle; his descendants; private collection; Bilbao, Galería Llamas; private collection
Bibliography: Pérez Velarde 2022a, p. 92, ill. 1.
There is a notarised affidavit certifying the kinship between Jacinto Prat and the current owners, who also hold a decorative border executed by the artist: Decorative border with message of congratulations to the artist’s uncle, Jacinto Prat, no. 9 (BPS 41).
The earliest known marine paintings by Sorolla are some very inexpert watercolours that he gave to members of his family. The date, 1876-1877, corresponds to the beginning of his education at the Escuela de Artesanos (Crafts School) in Valencia. He was then thirteen or fourteen years old.
Marine painting was a deeply rooted tradition in the Valencian school. Its chief representative was the painter Rafael Monleón y Torres (1843-1900), who undoubtedly influenced Sorolla’s early marines.
2 Interior with Figure
Valencia, 1876-1877
Oil on panel, 9.7 × 14.5 cm
On the verso: “No 85 H / Vda de S.” in ink Museo Sorolla, Madrid, inv. MS 30
Inventories: BPS 430
Provenance: Provenance: Sorolla Estate, series H, no. 85, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no.1; Santa-Ana 2009, no.1; Pons-Sorolla 2019b, p. 24, no. 1
The testamentary series and number that appear on the verso of the panel coincide in the 1929 inventory with the measurements and adjudication of the work but not with its title, which is given as Fisherwomen on the Beach, doubtless an error.
3 Calla Lilies
Valencia, 1876-1877
Oil on panel, 15.4 × 23.2 cm
Upper right corner: “J Sorolla” Museo Sorolla, Madrid, inv. MS 50
Inventories: BPS 450
Provenance: Sorolla Estate, series B, no. 72, inv. 1929; Joaquín Sorolla García, Ministerial Order 1951; Fundación Museo Sorolla; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 2000; Santa-Ana 2009, no. 2; Pons-Sorolla 2019b, p. 24, no. 2
4 Bellflowers
Valencia, 1876-1877
Oil on panel, 8.6 × 13.7 cm
Museo Sorolla, Madrid, inv. MS 51
Inventories: BPS 451
Provenance: Sorolla Estate, series P, no. 66, inv. 1929; Joaquín Sorolla García, Ministerial Order 1951; Fundación Museo Sorolla; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 2001; Santa-Ana 2009, no. 3; Pons-Sorolla 2019b, p. 24, no. 3
6 Carnations
Valencia, 1876-1877
Oil on canvas, 18 × 26.5 cm
On the lower edge: “A mi querido Tío / Ylmo. Sr. D. Rafael Subirana / Sorolla”
Private collection
Inventories: BPS 4495
Provenance: Rafael Subirana, Sorolla’s maternal uncle; his descendants; private collection
The painting is very similar in treatment to the work on panel of the same title held by the Museo de Bellas Artes de Valencia, no. 86 (BPS 3653)
5 Geraniums
Valencia, 1876-1877
Oil on panel, 13.6 × 8.6 cm
Museo Sorolla, Madrid, inv. MS 52
Inventories: BPS 452
Provenance: Sorolla Estate, series P, no. 75, inv. 1929; Joaquín Sorolla García, Ministerial Order 1951; Fundación Museo Sorolla; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 2002; Santa-Ana 2009, no. 4; Pons-Sorolla 2019b, p. 25, no. 4
7 Landscape
Valencia, 1877-1880
Oil on paper, 10.7 × 17.8 cm
Lower left corner: “89-G”, printed Museo Sorolla, Madrid, inv. MS 114
Inventories: BPS 514
Provenance: Sorolla Estate, series G, no. 89, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 2; Santa-Ana 2009, no. 5; Pons - Sorolla 2019b, p. 25, no. 5
48 Steamship and Boats in the Port of Valencia
Valencia, c. 1880
Oil on board, 15.5 × 18.5 cm
Lower left corner: “J Sorolla”
Private collection
Inventories: BPS 3484
Provenance: Private collection; Galería Jorge Juan, Madrid; private collection Exhibitions: Madrid 2002; Madrid 2003c
49 Boy with Dog
Valencia, 1880?
Oil on panel, 51 × 26.3 cm
Centre of lower edge: “J Sorolla / 80” [81? 82?] Museo de Bellas Artes de Valencia, inv. 1237
Inventories: BPS 3651
Provenance: María Despujol Tremor, 16 July 1974, donated to the Museo de Bellas Artes de Valencia; Valencia, Museo de Bellas Artes de Valencia
The museum describes the sitter in its fiche as a little girl, but I think it is a boy. There are later examples of children with large dogs such as Isabelita and Thor of 1893, no. 940 (BPS 996), and the Portrait of the Child Matías Errázuriz Alvear of 1900, preserved at the Museo Nacional de Arte Decorativo in Buenos Aires (BPS 860).
50 Camp on the Beach
1880 -1883
Oil on panel, 9.5 × 16.2 cm
On the verso: “A mi amigo Danvila / suyo J. Sorolla / 1883” in chalk; “8/A” in chalk
Private collection, Barcelona
Inventories: BPS 47
Provenance: Augusto Danvila Jaldero; private collection, Barcelona
Augusto Danvila Jaldero (1853-1935), a friend of Sorolla’s since his youth, was a Valencian lawyer, historian and collector. He was also a contributor to La Época in Madrid, Hojas Sueltas and La Ilustración Artística in Barcelona, and other publications like La Ilustración Española y Americana and Blanco y Negro. Furthermore, he was an amateur painter.
51 The Lady with the Fan
Valencia, 1880-1884
Watercolour on paper, 48 × 38 cm
Lower right corner: “J SoRollA” with horizontal V-shaped
flourish
Private collection
Inventories: BPS 480
Provenance: Private collection, Valencia; private collection
52 Virgin 1880 -1884
Oil on panel, 35 × 25.4 cm
Museo Sorolla, Madrid, inv. MS 7
Inventories: BPS 407
Provenance: Sorolla Estate, series N, no. 4, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 14; Santa-Ana 2009, no. 17; Pons-Sorolla 2019b, p. 28, no. 12; Pons-Sorolla 2021, p. 128.
139 Landscape with River
c. 1882
Oil on panel, 43 × 29 cm
Lower right corner: “J SoRollA”, underlined
Private collection
Inventories: BPS 38
Provenance: Señor Maragall, Barcelona, 1883; private collection
A photograph of this work is preserved in the Archivo de Santa Mònica in Barcelona.
140 Street in Sagunto
c. 1882
Oil on canvas, 15.1 × 18.8 cm
Lower left corner: “J. Sorolla”, underlined; lower right corner: “Sagunto” Museo Sorolla, Madrid, inv. MS 258
Inventories: BPS 654
Provenance: Not recorded in the Sorolla Estate; Museo Sorolla, Madrid
Exhibitions: Stockholm, Madrid 1991-1992, no. 113; Lisbon 2018-2019, no. 8
Bibliography: Santa-Ana 2002, no. 3; Santa-Ana 2009, no. 6; Pons-Sorolla 2019b, p. 31, no. 25 (with the title “Square in Valencia”)
Sorolla uses this same view as the background for the picture Procession in Sagunto, no. 150 (BPS 426).
Although the setting shown in this work had been identified up to now as a location in Valencia, and was thought to be a square owing to the breadth of the vista, what is seen is in fact Calle del Sagrario in Sagunto. The title formerly given to the painting has therefore been altered.
141 A Shack, Valencia
Valencia, c. 1882
Oil on panel, 10.6 × 17.5 cm
Private collection
Inventories: BPS 2100
Provenance: Private collection; auction at Ansorena, Madrid, 21 January 2003, lot 181; private collection; by inheritance to the sister, now deceased, of the current owner; private collection
Exhibitions: Madrid, Valencia 2022-2023, no. 12
The scene shown might be located on La Albufera in Valencia. The work is painted in oil, and the support in this case is a panel with white priming.
142 Cut Flowers
Valencia, c. 1882
Oil on panel, 25 × 45 cm
Lower right: “amigo / suyo / J Sorolla”, underlined, incised in the fresh paint; lower right: “J SoRollA” in black oil, underlined, and “J SoRollA” in red oil, underlined, above the previous signature
Private collection
Inventories: BPS 3707
Provenance: Private collection, Valencia; auction at Darley, Valencia, June 2021; private collection
Bibliography: Pérez Velarde 2022a, p. 78, ill. 2
Studies of flowers like this one are frequent in Sorolla’s oeuvre from an early date. See the notes on Carnations, no. 86 (BPS 3653), at the Museo de Bellas Artes, Valencia, or Flowers, no. 126 (BPS 4845), in a private collection.
An uncertified forgery identical to this picture, but painted in modern oils, was auctioned in 2003 at Ansorena, Madrid.
143 Bunch of Flowers. Study of Carnations and Rose
Valencia, c. 1882
Oil on canvas, 40.2 × 21 cm
Centre of right side: “J. Sorolla”, sgraffitoed, with horizontal V-shaped flourish
Private collection
Inventories: BPS 3908
Provenance: William Doyle Galleries, New York, 1987; Sammer Galleries, Madrid, 1988; auction at Arte, Información y Gestión, Madrid, June 1999, lot 116; private collection
144 Portrait of Augusto Danvila Jaldero
Madrid, c. 1882
Oil on canvas, measurements unknown
Inventories: P 1825; BPS 322
Provenance: Augusto Danvila Jaldero, Valencia Exhibition: Valencia 1883, no. 149 (with the title “Head Study”)
Painted in four hours according to the sitter himself, who stated in 1897 that the work had “unfortunately been lost” (Pantorba 1953 and 1970).
The only information available on this portrait is taken from the catalogue of Bernardino de Pantorba (ibid.) and that of the Regional Exhibition of Valencia of 1883.
On Augusto Danvila Jaldero, a friend of Sorolla’s from a very early age, see the note on Camp on the Beach, no. 50 (BPS 47).
145 Woman with Dove
Valencia, c. 1882
Oil on canvas, 56 × 46 cm
Private collection
Inventories: BPS 343
Provenance: Lipperheide Collection; private collection
316 The Good Thief on the Cross. Saint Dismas
Rome, 1885
Oil on canvas, 217 × 105 cm
Lower left: “Roma. 1885. / J. SoRollA.”, signature with horizontal V-shaped flourish
Palau de la Generalitat, Valencia, on long-term loan from Diputación de Valencia, inv. 2893
Inventories: P 999; BPS 208
Provenance: Diputación Provincial de Valencia, on long-term loan to Palau de la Generalitat, Valencia Exhibitions: Valencia 1946, no. 31; Valencia 1963a, no. 6; Valencia 1979, no. 6; Terrassa, Barcelona, Vilanova i la Geltrú 1983, no. 14; Valencia 1990, p. 109; Valencia 1991, no. 54; Valencia, New York 1992, no. 24; Miami and travelling 1996-1997, no. 6; Valencia and travelling 1997b, no. 13; Valencia 2023c Bibliography: Pons-Sorolla 2021, p. 129
See the note on Female Nude, no. 315 (BPS 207)
This work formed part of the first dispatch of works that Sorolla sent as a pension holder to the Provincial Council of Valencia. The panel criticised the imprecision of its drawing while praising its luminosity and colouring, features with which the artist was by now becoming identified.
317 Burial in the Catacombs
Rome, c. 1885
Oil on canvas, 54.5 × 81.5 cm
Lower right corner: “Al Sr D. Francisco Pradilla / su muy afmo / J Sorolla”, signature underlined Private collection
Inventories: BPS 107
Provenance: Francisco Padilla; Padilla family; auction at Balclís, Barcelona, May 1980; Art Petrixol, Barcelona, 2018; private collection; auction at Ansorena, Madrid, 10 May 2022, lot 232; private collection
Exhibitions: Madrid 2021-2022, no. 4
Bibliography: Pérez Velarde 2021, pp. 58-59, no. 4; Pons-Sorolla 2021, p. 129
The work comes from the collection of the painter Francisco Pradilla Ortiz (1848-1921), the director of the Spanish School in Rome during the years that Joaquín Sorolla held his pension from the Provincial Council of Valencia in that city. Their mutual esteem is evident in the dedication and in the preserved correspondence between the two artists.
318 The Swaggerer
Rome, c. 1885
Oil on panel, 36.3 × 23 cm
Lower right: “J SoRollA”, signature with horizontal V-shaped flourish; on the verso: “Bravaccio / de / Sorolla y Bastida” Museo Sorolla, Madrid, inv. MS 45
Inventories: P 2126; BPS 445
Provenance: Deposited for study in 1960, owner unknown; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 51; Santa-Ana 2009, no. 44; Pons-Sorolla 2019b, p. 40, no 51
The work has been given its title in accordance with the inscription on the verso, “Bravaccio”.
469 Helmet
Italy, 1886
Oil on canvas, 45.5 × 45.5 cm
Museo Sorolla, Madrid, inv. 155
Inventories: P 652; BPS 555
Provenance: Not recorded in the Sorolla Estate; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 124; Santa-Ana 2009, no. 150; Pons-Sorolla 2019b, p. 69, no. 138
This is a study for the helmet that appears in the foreground on the right in Messalina in the Arms of the Gladiator, no. 443 (BPS 127), a work dated in Rome in 1886.
In the Museo Sorolla, there is a photograph of two helmets (inv. 84511) identical to the one painted by Sorolla, which seems to have been one of those originally found in the excavations at Pompeii and Herculaneum.
card, 19 × 24.1 cm, Museo Sorolla, Madrid, inv. 84511
470 Greek Vase
Rome, 1886
Oil on panel, 37 × 23 cm
Museo Sorolla, Madrid, inv. MS 154
Inventories: BPS 554
Provenance: Sorolla Estate, series Q, no. 83, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Exhibitions: Madrid 2019, no. 13
Bibliography: Santa-Ana 2002, no. 125; Santa-Ana 2009, no. 151; Pons-Sorolla 2019b, p. 69, no. 139; Fenoll and Robles 2021
The Greek vase shown on this panel, a red-figure crater, is the same as the one that appears in Messalina in the Arms of the Gladiator, no. 443 (BPS 127), a work dated in Rome in 1886. It is also seen in the watercolour Neoclassical Composition, no. 491 (BPS 4), dated in Rome in 1887, and in Roman Scene, no. 663 (BPS 294), a work of 1889 in a private collection.
In all probability, the crater painted by Sorolla is the same one which first belonged to the extensive collection of antiquities of Marcello Massarenti in Rome, preserved today at the Walters Art Museum in Baltimore (inv. 48.73).
471 Head Study
Valencia, 1886
Oil on canvas, 45 × 35 cm
Lower right: “J SoRollA / 1886 / Paris”, signature underlined
Museo de Bellas Artes de Valencia, inv. 1174
Inventories: P 1176; BPS 268
Provenance: Francisco Javier Goerlich Lleó, Valencia, acquired in 1950; bequeathed by the couple Francisco Javier Goerlich Lleó and Trinidad Miquel on 13 November 1963 to the Museo de Bellas Artes, Valencia
See the note on Head Study, no 366 (BPS 126).
Despite the inscription, we know that Sorolla went to Paris in 1885 and 1889. In 1886, he was in Valencia.
472 Moor with Oranges
Rome, 1886-1887
Oil on canvas, 75.2 × 39.8 cm
Lower left: “J SoRollA / Roma”
Museo Sorolla, Madrid, inv. MS 1349
Inventories: BPS 834
Provenance: Private collection, Buenos Aires; Christie’s Ibérica, application for export permit; Dirección General de Bellas Artes (Ministerial Order 17/99, 18 November 1999), purchased for 26 million pesetas (some 156,260 euros); Museo Sorolla, Madrid
Exhibitions: Valencia 2023c
Bibliography: Santa-Ana 2002, no. 53; Santa-Ana 2009, no. 61; Pons-Sorolla 2019b, p. 71, no. 144
This work, painted in Rome during the years spent there by Sorolla with a pension from the provincial authorities of Valencia, was probably sold by the artist through Francisco Jover Casanova, a Valencian painter and art dealer who was living in Rome at that time. He acted as intermediary in the sale of numerous works by Sorolla, destined principally for collectors in Buenos Aires.
577 Landscape of Assisi. Village Girl with Turkeys
Assisi, 1887-1889
Oil on canvas, 61.2 × 37 cm
Lower left corner: “A mi querido García / su / J. SoRollA / RomA.”, in red, the signature underlined Fundación Carlos Slim, Museo Soumaya, Mexico City, inv. 53525
Inventories: P 1196; BPS 282
Provenance: Juan Antonio García del Castillo, gift from Sorolla; María Teresa García Banús; gift from María Teresa to her doctor; his descendants; auction at Alcalá Subastas, Madrid, 9 March 2016, lot 268; Fundación Carlos Slim, Museo Soumaya, Mexico City
The painting was a gift from Sorolla to his brother-in-law, Juan Antonio García del Castillo, the brother of his wife Clotilde García del Castillo.
There is a duplicate entry for this work in the catalogue of Bernardino de Pantorba (1953 and 1970, no. 1193) which is to be considered annulled.
578 Garden
Assisi, 1887-1889
Oil on board, 16.3 × 9.5 cm
Museo Sorolla, Madrid, inv. MS 201
Inventories: BPS 597
Provenance: Sorolla Estate, series P, no. 87, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 154; Santa-Ana 2009, no. 181; Pons-Sorolla 2019b, p. 81, no. 176
579 Trees, Assisi
Assisi, 1887-1889
Oil on paper, 13.8 × 19.1 cm
Lower right corner: “J. Sorolla B”; lower left corner: “2 H” stamped Museo Sorolla, Madrid, inv. MS 183
Inventories: BPS 579
Provenance: Sorolla Estate, series H, no. 2, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 135; Santa-Ana 2009, no. 162; Pons-Sorolla 2019b, p. 79, no. 168
580 Apple Tree
Assisi, 1887-1889
Oil on paper, 19.2 × 30.8 cm Museo Sorolla, Madrid, inv. MS 138
Inventories: BPS 538
Provenance: Sorolla Estate, series O, no. 84, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 162; Santa-Ana 2009, no. 189; Pons-Sorolla 2019b, p. 78, no. 166
581 Apple Tree
Assisi, 1887-1889
Oil on panel, 17.5 × 25.3 cm Museo Sorolla, Madrid, MS 139
Inventories: BPS 539
Provenance: Sorolla Estate, series N, no. 62, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Museo Sorolla, Madrid
Bibliography: Santa-Ana 2002, no. 161; Santa-Ana 2009, no. 188; Pons-Sorolla 2019b, p. 78, no. 167
770 Andalusian Revelry
Madrid, 1890
Oil on canvas, 52.2 × 79 cm
Lower left: “J. SorollA / 1890”, signature underlined
Private collection
Inventories: P 1237; BPS 316
Provenance: 1890, Señor Basualdo, bought from Sorolla for 2,000 pesetas; his descendants; auction at Christie’s, New York, November 1999, lot 140; Eduardo Hinojosa, Madrid; Subastas Habana, Madrid, 3 April 2000, lot 152; private collection
Señor Basualdo, the first owner of this work, is mentioned in a letter written from Sorolla to Clotilde on 30 January 1891 (Epistolarios de Sorolla III 2009, p. 33, no. 11). Its sale is recorded in the family accounts book held by the Museo Sorolla in Madrid (inv. DA/460) as taking place in 1890.
771 Moorish Serenade
Madrid, 1890
Watercolour on paper, 39.6 × 62.7 cm
Lower left corner: “J. Sorolla / 1890”, signature underlined; lower right corner: “J Sorolla Bastida / 1890”
Private collection
Inventories: P 1223; BPS 302
Provenance: Mario de la Mata, Madrid; Honorio de la Mata, Madrid; his descendants; Subastas Durán, Madrid, 1987; private collection; 2017 Galería David Bardía, Madrid; private collection
Exhibitions: Madrid 1890b, no. 137
Bibliography: La Ilustración Española y Americana, year 35, no. 3 (22 January 1891), p. 46; Pons-Sorolla 2001, p. 116, no. 37
772 The Shrine Custodian
Valencia, 1890
Watercolour on paper, 56 × 39 cm
Lower right corner: “J. Sorolla BastidA / 1890”, signature underlined Museo Sorolla, Madrid, inv. 1493
Inventories: P 1224; BPS 199
Provenance: Mario de la Mata, Madrid; Honorio de la Mata, Madrid; Galería Benlliure, Valencia; private collection; acquired by the Spanish Ministry of Culture, dossier 5111/2025/04, Madrid, Museo Sorolla, 10 June 2025; Museo Sorolla, Madrid
Exhibitions: Madrid 1890b, no. 135; Madrid, Valencia 2020-2021, no. 15
Bibliography: Balart 1891, p. 46; Martínez de Velasco 1891b, p. 160; Pons-Sorolla 2021, p. 132
773 In the Farmhouse Courtyard. Valencia
Valencia, 1890
Watercolour on paper, 64 × 48.3 cm
Lower right corner: “J SorollA / 1890”, signature underlined Private collection
Inventories: BPS 195
Provenance: Francisco Jover Casanova (?); private collection, Buenos Aires (?); auction at Sotheby’s, New York, 21 January 1983, lot 265; private collection; auction at Sotheby’s, New York or London, October 2002; private collection
This is probably one of the watercolours bought from Sorolla in 1890 by the painter and dealer Francisco Jover Casanova (1836-1890) for sale to collectors in Buenos Aires, according to information in the family accounts book preserved at the Museo Sorolla in Madrid (inv. DA/460). This supposition may be confirmed by the work’s appearance with no prior references at an auction in New York.
See the note on Neoclassical Composition, no. 491 (BPS 4).
921 In the Sun. Courtyard with Orange Trees and Farmer with a Cat
Valencia, summer 1892
Oil on canvas, 33.5 × 51.7 cm
Lower right corner: “J. SorollA / 1892”, signature underlined
Private collection
Inventories: P 1290; BPS 893
Provenance: Sold in 1895 for 2,000 pesetas; private collection
The sale of this work in 1895 is noted down in the family accounts book kept at the Museo Sorolla in Madrid (inv. DA/460). The photographic archive of the Hispanic Society of America in New York holds a photograph of the painting with the title “Valencia, huerta”, photo number 23153.
922
Wooing the Embroideress. Valencian Couple
Valencia, 1892
Watercolour on paper, 40 × 53 cm
Lower right corner: “J. Sorolla Bastida / 1892”, signature underlined Museo de Navarra, Pamplona, inv. 1599
Inventories: P 1254; BPS 4945
Provenance: Ramón Larrea, 1895; Larrea Oroz family; María Asunción Larrea Celayeta; Diputación Foral de Navarra, gift of María Asunción Larrea (accepted by Agreement of 14 October 1977); 29 October 1977, Museo de Navarra, Pamplona
923 Study of Orange Trees
1892
Oil on canvas, measurements unknown
“J. Sorolla 1892”
Inventories: P 1270; BPS 877
Provenance: 1893, Maria Christina of Habsburg, work purchased for 1,000 pesetas at the Biennial Exhibition of the Circle of Fine Arts, Madrid; whereabouts unknown
Exhibitions: Madrid 1893, no. 481
According to the family accounts book preserved at the Museo Sorolla in Madrid (inv. DA/460), this work, whose current whereabouts are unknown, was sold for 1,000 pesetas at the Biennial Exhibition of the Circle of Fine Arts of 1893 in Madrid. It was acquired by the Queen Regent, Maria Christina of Habsburg, as recorded in an entry of the Archivo General de Palacio, Madrid, Administración, leg. 40, exp. 105. However, no work of these characteristics is known at that date. All Sorolla’s studies of orange trees are much later.
924 Couple in a Field of Lilies
c. 1892
Oil on canvas, 50.5 × 91 cm
Museo Sorolla, Madrid, inv. MS 533
Inventories: P 650; BPS 1357
Provenance: Not recorded in the Sorolla Estate; Madrid, Museo Sorolla
Exhibitions: Lisbon 2018 2019, no. 6
Bibliography: Santa‑Ana 2002, no. 288; Santa‑Ana 2009, no. 342; Pons‑Sorolla 2019b, p. 120, no. 288
This work has been dated about 1892 because the subject recalls that of Sorolla’s The Forbidden Fruit, no. 916 (BPS 868), painted that year.
925 Corner of a Farmhouse
Valencia, c. 1892
Oil on paper, 13.7 × 19.2 cm
Lower left corner: “J. Sorolla. B” underlined Private collection, Madrid
Inventories: BPS 826
Provenance: Private collection, Madrid
Owing to the characteristics of the signature, it is likely that this work was shown in one of Sorolla’s personal exhibitions.
926 At the Farmstead
Valencia, c. 1892
Oil on panel, 18.5 × 28.5 cm
Below: “Para mi buen amigo el Director del Diario de la Marina / su afmo / J Sorolla”, signature underlined Private collection, Madrid
Inventories: BPS 4029
Provenance: Nicolás Rivero, Count of Rivero; María Teresa Rivero de Ferran; 1966, Francisco R. Ferran, Corvallis, Oregon; 1988, Manuel Hernández de Mendoza; private collection, Madrid
The photographic archive of the Hispanic Society of America in New York holds a photograph, “neg. 13995, march 12/66” (with the title “interiors”), photo 152362, which bears the following annotation: “Procedencia: Nicolás Rivero, Conde de Rivero / María Teresa Rivero de Ferran / Francisco R. Ferran, Cowallis [sic for Corvallis], Oregon”.
927
Corner of a Square
Valencia, c. 1892
Oil on board, 8.5 × 11.2 cm
Lower right corner: “J Sorolla”, underlined; lower right: “18 G” stamped Museo Sorolla, Madrid, inv. MS 94
Inventories: BPS 494
Provenance: Sorolla Estate, series G, no. 18, inv. 1929; Clotilde García del Castillo, Royal Order 1931; Madrid, Museo Sorolla
Exhibitions: Valencia 2020, no. 24
Bibliography: Santa‑Ana 2002, no. 251; Santa‑Ana 2009, no. 300; Pons‑Sorolla 2019b, p. 121, no. 290
