Fig. 1

Fig. 2

***Date: ***No date appears on any of the observed impressions of this print. The BNE catalogue states 1934. Of the dates that appear on works in the Hemingway Collection, which includes this print, none is earlier than 1931 and none later than 1934. Quintanilla started making drypoints, in fact prints in general, with Adolfo Ruperez, the printer of all the prints in the Madrid Series, sometime after the artist's return to Madrid in 1929. (See Biographical Chronology.)

****Medium: Although Burdett claims that Quintanilla did not mix his printmaking media and used solely drypoint, the BNE catalogue describes this print as "punta seca y aguafuerte" (drypoint and etching) as does the BMA . Examination of other prints from the Madrid Series also reveals the use of etching along with drypoint. Until further examination is made, the catalogue raisonné concurs with the BNE designation of "drypoint and etching."

For further discussion of the factors involved, visit the "Medium" section of "Using This Catalogue Raisonné."

The BMA impressions is annotated, l.l., "no 6".
Another (private collection) is annotated, l.l., "n° 5" (See Fig. 2 above.).
Ruperez typically printed ten or fewer (most commonly 7-10) of Quintanilla's Madrid Series prints, often including at least one or more unnumbered impressions. (No record exists of more than two unnumbered impressions of any of the Madrid prints.)
The Hemingway Collection typically includes one unnumbered impression bearing a title instead of the number, l.l. (See Fig. 1 above.)