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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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| Quintanilla Copyright ©2006, Jeffrey Coven, CATRAIS Copyright ©2010 IA\TPC |
A Catalogue Raisonné
(in progress)
Title: Flamencada**
Series: Madrid Prints
Click the image for enlargement.
Date: C. 1934***
Medium: Drypoint, possibly including some etching****
Edition: At least 6 numbered impressions and at least 2 unnumbered impressions*****
Dimensions: 360 x 275 cm (14 3/16 x 10 7/8 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
Topic galleries for this print:
Performance, Entertainment and Celebration
Women (Studies of)
*Catalogue Entry #: For numbering used in other catalogues, see below.
- The Pierre Matisse Gallery Catalogue # = 9.
**Title:
- The complete title annotation in Quintanilla's hand, appearing l.l. just below the image on the impression from the Hemingway Collection, is Flamencada. Tomado de la Macorrona.
- 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. (See Figs.1 and 2 below.)
- The English meaning of this annotation (literally "A Flamenco-like dance taken from the Macorrona") is not entirely clear, because no such word as "Macarrona" has been discovered. Presumably it is the name of a flamenco type dance.
- The Pierre Matisse Gallery Catalogue (1934) uses the title "Famosa Bailaora" [sic] (probably intended to mean in English "Famous Dancer" where "bailaora" is a misprint of "bailadora").
fig. 1
fig. 2
***Date: The BNE states, "1934." 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 impressions is inscribed "no 6" (See Fig. 2 above.), l.l., just under the plate mark.
- The BNE impression is unnumbered.
- 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.)