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Table of Contents
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Thumbnails, Part 4:
Prints made for Illustrated Books (These prints are not included in the catalogue raisonné proper.) |
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A Biographical Chronology
of the artist (and its accompanying linked pages) appears on the website The Art and World of Luis Quintanilla |
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The Fiene Quintanilla Online Catalogue Raisonné Project, use the links below. |
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A Catalogue Raisonné -- in progress
Full Entry Catalogue
Title: La sidreria vasca (The Basque Cider Bar)**
Series: Madrid Prints
Click the image for enlargement.
Date: 1931-34***
Medium: Drypoint, possibly including some etching****
Edition: At least 4 numbered impressions and at least one numbered impression*****
Dimensions: 355 x 140 mm. (14 1/8 x 5 ½ in.)
Printer: Adolfo Ruperez
Paper: Wove with Arches watermark
Signature: Typically signed in pencil, l.r., beneath the plate mark.
Public collections holding this print: MNCARS
Topic galleries for this print:
Cafe/ Restaurant Scenes
Men (studies of)
Performance, Entertainment and Celebration
*Catalogue Entry #: For numbering used in other catalogues, see below.
- The Pierre Matisse Gallery Catalogue # = 22
**Title:
- The Spanish title, La sidreria vasca (Basque Cider Bar), appears in the artist's hand in pencil on at least one impression beneath the plate mark, l.l. (See Fig. 1 below.)
- The only known impressions bearing titles in the artist's hand for Madrid Series prints are in the Hemingway Collection and carry their titles l.l. where the numbering normally appears.
- The Pierre Matisse Gallery Catalogue uses the Spanish “Antesala” (anteroom).
- MNCARS uses "Vinos" (Wines).
- The English "Wine Cellar" appears at the bottom of the sheet of another impression in an undetermined hand as well as in the AAA exhibition catalogue of 1939 "Luis Quintanilla," which reproduces the print.
- The English version of the title above, "The Basque Cider Bar," is our translation of the artist's Spanish title and doesn't appear on any observed impression.
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Fig. 1
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Fig. 2
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***Date: No date appears on any of the observed impressions of this print. 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.)
- The one known exception to the range of dates specified in the paragraph just above is entry # I.
****Medium: A final determination for the medium has not been made.
- For a discussion of the factors involved, visit the "Medium" section of "Using This Catalogue Raisonné."
*****Edition:
- One observed impression is annotated, "no. 4," l.l.d. (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 unnumbered impression outside the edition.
- The Hemingway Collection typically includes one unnumbered impression bearing a title instead of the number, l.l. (See Fig. 1 above.)
Reproduced in: "Luis Quintanilla" Associated American Artists (back cover)