Provenance

The artist; purchased 1878 by Henry C. Hall [1820-1901], Havana and later Millbury, MA.[1] Dr. Francisco Dominguez [1864-1942], Paris and Havana, by 1924.[2] Acquired around 1962 by Nicolás Arroyo Márquez [1917-2008] and Gabriela Menendez Garcia-Beltran de Arroyo [1942–2008], Washington, DC; by 1992 with (Osuna Gallery, Washington D.C.); acquired c. 1992 by the Ramón and Nercys Cernuda collection, Miami;[3] (Cernuda Arte, Coral Gables, Florida); purchased 2026 by NGA.

[1] An inscription in English and Spanish on paper affixed to the back of the canvas indicates that “This painting is the property of Mr. Henry C. Hall and was purchased of the artist in 1878 / Havana October 5, 1878.” The artist was listed as the owner in 1876 when the painting was exhibited at the Centennial Exhibition in Philadelphia (no.66, Valley of Jumury). Hall, who was the US Consul General in Havana between 1873-1879, served some thirty years as a career diplomat in Cuba and Central America before retiring in 1892.

[2] Dominguez, a radiologist who had studied in Paris, was a recipient of the Legion of Honor and served as secretary of the Cuban governmental agency Instrucción Pública y Bellas Artes; he lived mostly in Havana but kept an apartment in Paris, where he lent the work to an exhibition of Latin American art at the Musée Galliéra in 1924 ( Exposition d'art américain-latin, no. 175).

[3] According to a letter of 18 December 1992 from Ramón Osuna to Ramón Cernuda about the provenance of the work, the painting had been with Arroyo and his wife for three decades (copy in NGA curatorial file). Arroyo served as Cuba’s last Ambassador to the United States from 1957-1958. After the 1959 revolution, he and his wife Gabriela Menedez, both architects who formed the firm Arroyo y Menendez, remained in Washington.

Associated Names

Exhibition History

1876

2001

2012

2014

2015

2022

Inscriptions

lower left: E S Chartrand / Matanzes, Cuba / 1875