Joshua Reynolds' famous painting of the young Polynesian Omai will remain in the UK after culture minister Ed Vaizey refused to grant a temporary export licence.  Vaizey will say on Tuesday that the export licences system is in danger of being undermined if he allows Omai to leave the country again.  The history of Omai is a twisty and at times bitter one. It was bought by the Irish stud owner John Magnier a decade ago and his application to permanently export the painting to Dublin was deferred by the then government to allow time for a UK museum to buy it.  By 2003 Tate had secured from an anonymous private donor the £12.5m it needed to buy it. But Magnier refused to sell or allow its exhibition. At the time, Tate director Nicholas Serota said: "This painting is a national icon and we deplore the new owner's refusal to allow the work to be put on public view during the period of the export stop."  A permanent export licence was refused, as is normal policy, but an application for a temporary export licence for it to be displayed in the National Gallery of Ireland was accepted. And there it has hung for more than six years, until now.  Vaizey will say: "The temporary export licence system is an excellent way to allow works of significant national importance to travel overseas where they may be enjoyed by audiences around the world before returning to the UK.  "Joshua Reynolds' Omai is an outstanding work of art which has already spent more than five years overseas and I do not want to see the regime being undermined by repeated use of temporary licences, so I have refused to grant a second licence on this occasion."  The decision is in tune with growing concern that long-term use of temporary licences undermines the whole system. The government is consulting on proposals that would only allow the granting of a single temporary export licence of three years for national treasures – with no extension.  The story of Omai has a particular place in Britain's national heritage. The young Tahitian islander was brought to London from the South Sea islands in 1774 and was placed in the care of explorer Joseph Banks and taught English manners.  Good looking and quick witted, the young man was presented to London society as a Tahitian prince – and he was a sensation. He charmed everyone, reportedly addressing George III "How do, King Tosh!" – a phrase he had learned aboard the ship.  Vaizey made his decision on the advice of the Reviewing Committee on the Export of Works of Art, which recommended refusal on the grounds it is a national treasure and has been out of the country for a long time.  What happens next is not easy to predict. A Tate spokeswoman said the gallery would clearly be interested in acquiring the work but matters are at a very early stage.
Painting of young Tahitian islander who was brought to UK in 1774 has been hanging in Irish gallery