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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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| Quintanilla Copyright ©2006, Jeffrey Coven, CATRAIS Copyright ©2010 IA\TPC |
A Catalogue Raisonné
(in progress)
Title: Calle de Madrid [3] (Madrid Street)**
Series: Madrid Prints
Click the image for enlargement.
Date: C. 1934***
Medium: Drypoint and Etching****
Edition: 10 impressions including at least two unnumbered impressions*****
Dimensions: 370 x 275 mm. (14 9/16 x 10 13/16 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: BNE; MNCARS
Topic galleries for this print:
Cafe/Restauant Scenes
Men (studies of)
Street Scenes
*Catalogue Entry #: For numbering used in other catalogues, see below.
- The Pierre Matisse Gallery Catalogue # = 7.
**Title:
- The Spanish title, Calle de Madrid, appears in the artist's hand in pencil on at least one impression (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 "[3]" following the title does not appear on any impression, but is this catalogue's method of distinguishing among five works all bearing the title "Calle de Madrid."
- The Pierre Matisse Gallery Catalogue (1934) also uses the title "Calle de Madrid."
- The English version of the title, "Madrid Street", is our translation and doesn't appear on any observed impression.
Fig. 1
***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.)
- The one known exception to the range of dates specified in the paragraph just above is entry # I.
****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). 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."
*****Edition:
- The BNE catalogue states regarding its impression of this print, "Tirada de 10 ejemplares" (pulling of 10 impressions).
- 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.)