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1916 ZULOAGA EXHIBITION CHRISTIAN BRINTON INSCRIBED JOHN SINGER SARGENT FOREWORD

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Location: Philadelphia, Pennsylvania
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Item: 296823219330

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All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Binding:Softcover, Wraps
Place of Publication:NEW YORK
Language:English
Illustrator:IGNCIO ZULOAGA
Special Attributes:Illustrated
Signed:Yes
Author:CHRISTIAN BRINTON
Publisher:Redfield-Kendrick-Odell Co., Printers, New York
Topic:IGNACIO ZULOAGA ART EXHIBITION CATALOG
Subject:Art & Photography
Year Printed:1916
Original/Facsimile:Original

Offering a 1916 FIRST IMPRESSION TEN THOUSAND COPIES of the CATALOG titled EXHIBITION OF PAINTINGS OF IGNACIO ZULOAGA UNDER THE AUSPICES OF MRS. PHILIP M. LYDIG WITH FOREWORD BY JOHN SINGER SARGENT; INTRODUCTION, NOTES AND BIBLIOGRAPHY BY CHRISTIAN BRINTON; 1916-1917. This ART EXHIBITION CATALOG contains 141 pages and measures approximately 7.375″ x 8.25″ x 0.375″. The catalog was printed by REDFIELD-KENDRICK-ODELL CO. of NEW YORK, and copyrighted in 1916 by CHRISTIAN BRINTON. The EXHIBITION was held November to August inclusive 1916-17, at the Copley Society of Boston, the Brooklyn Museum, the Duveen Galleries, New York, the Albright Gallery, Buffalo, the Carnegie Institute, Pittsburgh, Cleveland Museum of Art, the Art Institute of Chicago, the City Art Museum of St. Louis and the Minneapolis Institute of Arts. CHRISTIAN BRINTON inscribed this catalog on the FRONT FREE END PAPER: «TO MY NEW-FOUND COUSINS – GEORGE AND LILLIAN BRINTON – IN GRATEFUL AFFECTION – CHRISTIAN BRINTON, OCTOBER, 1918.» CONTENTS of the CATALOG includes important information for art historians including the provenance of artwork in private collections, and it’s illustrated with 46 black-and-white plates INCLUDING: SELF-PORTRAIT OF IGNACIO ZULOAGA (FRONTISPIECE); PORTRAIT OF THE ARTIST (DETAIL) (6); MY PORTRAIT (8); THE VICTIM OF THE FETE (57); WOMEN ON THE BALCONY (59); THE CARDINAL (61); SURPRISE (63); SEGOVIA (65); MY COUSIN CANDIDA (67); MY UNCLE DANIEL AND HIS FAMILY (69); NUDE WOMAN AND PARROT (73); A RUSSIAN (75); THE CASTLE OF TUREGANO (79); BASQUE PEASANT (83); CANDIDA (85); THE BROTHERHOOD OF CHRIST CRUCIFIED (87); MERCEDITAS (89); THE PHILOSOPHER (91); WOMAN CARDING FLAX (93); LA VIRGEN DE LA PENA (95); NUDE WOMAN WITH RED CARNATION (97); FUTURE IDOLS (101); PEPITA LA GITANA (103); PORTRAIT OF THE MONTMARTRE SINGER BUFFALO (105); WOMEN OF SEPULVEDA (107); PORTRAIT OF MY FATHER (109); LOLITA SORIANO IN BLACK (111); LOLITA (113); MARCELLE SOUTY (115); SEGOVIA (117); YOUNG WOMAN WITH FAN (119); CELESTINA (121); ANITA RAMIREZ IN BLACK (123); ANITA RAMIREZ ON A YELLOW COUCH (125); THE BULL-FIGHTER EL SEGOVIANITO (127); LOLITA SORIANO (129); ANITA RAMIREZ IN YELLOW (131); ALQUEZAR (133); PORTRAIT OF LA TRINI (135); SEPULVEDA (127); PORTRAIT OF MRS. PHILIP M. LYDIG (139); FACSIMILE OF THE ARTIST’S SIGNATURE (141). CATALOG OF THE PAINTINGS – 1-13 so you can read the details: 1. THE VICTIM OF THE FETE: Though an ardent patron of the Spanish national sport, and himself a torero of considerable ability and reputation, the artist admits that he painted this picture partly as a protest against the sorry lot which befalls the poor Rozinantes forced to enter the bull-ring. The model for this sinister Don Quijote of the corrida was the old picador, Francisco el Segoviano. Painted at Segovia in 1910. Exhibited: Rome, 1911; Paris, 1912; Budapest, 1912; Dresden, 1912; Munich, 1912; Bilbao, 1915. Width 137 in. Height 114 in. Canvas. Signed, lower left: I. Zuloaga. 2. THE BROTHERHOOD OF CHRIST CRUCIFIED: A characteristically personal version of one of those remote rural Calvaries frequently witnessed by the artist. Such scenes are common in certain quarters of Spain, particularly in Segovia and la Rioja, during Holy Week. Painted at Segovia in 1911 from local peasant types. Exhibited: Paris, 1912; Dresden, 1912; Munich, 1912; Zaragoza, 1916. Width 118 in. Height 98 in. Canvas. Signed, lower right: I. Zuloaga. 3. FUTURE IDOLS: Ambitious novilleros destined to attain the pinnacle of fame and popular idolization. The Plaza de Toros and Castle of Turegano are visible in the background. This composition may be compared with the Village Bull-fighters which figured in the exhibition of The Hispanic Society in 1909, and forms the latest addition to a memorable series of such subjects. Painted at Segovia in 1913. Exhibited: Paris, 1914. Width 118 in. Height 98 in. Canvas. Signed, lower right: I. Zuloaga. 4. MY UNCLE DANIEL AND HIS FAMILY: A more comprehensive treatment than the family group entitled My Cousins and My Uncle Daniel in the Musee du Luxembourg. From left to right: Senora Dona Zuloaga and the dog ‘‘Polly,» Senoritas Theodora and Candida, Sefior Don Daniel Zuloaga, Senorita Esperanza, and Senor Don Juan Zuloaga. Painted at Segovia in 1910. Exhibited: Rome, 1911; Paris, 1912; Dresden, 1912; Munich, 1912; Brussels, 1914. Width 115 in. Height 82 in. Canvas. Signed, lower right: I. Zuloaga. 5. THE CARDINAL: An individual and significant presentment of the Church which, with the corrida, offers an eloquent epitome of the Spanish character. Those whose taste for apposition is sufficiently acute will not fail to note the sumptuous surroundings of His Eminence and the arid and desolate aspect of the country in the background over which he exercises spiritual and temporal dominion. Painted at Segovia in 1912. Exhibited: Munich, 1912; Paris, 1914. Width 92 in. Height 79 in. Canvas. Signed, lower left: I. Zuloaga. 6. PORTRAIT OF M. MAURICE BARRES: The distinguished French publicist and man of letters, aptly called, in paraphrase of Thiers, “le litterateur du territoire.” He is depicted with a panoramic view of Toledo encircling him on account of the superb descriptive passages dedicated to the city in his book, Greco, a copy of which he holds in his left hand. The fecund and passionate author of Du Sang, de la Volupt et de la Mort has indeed long been a fervent admirer of Spanish art and the painting of Ignacio Zuloaga. On Senor Zuloaga’s study table may be seen one of the Frenchman’s books inscribed; — A Zuloaga — noble emule du Greco, de Zurbaran et de Goya. Painted at Paris in 1913. Exhibited: Paris, 1914. Width 94 in. Height 79 in. Canvas. Signed, lower right: I. Zuloaga. 7. PORTRAIT OF BUFFALO THE MONTMARTRE SINGER: In order to localize the personality of the popular cafe-concert entertainer of La Butte, who is dressed a la Bruant, we have as background a drop curtain showing the Moulin de la Galette and Sacre-Coeur. This is the second time Zuloaga has depicted Buffalo for us, there having been a portrait of him in The Hispanic Society Exhibition of 1909. Painted at Paris in 1913. Never before exhibited. Width 58 in. Height 84 in. Canvas. Signed, lower right: I. Zuloaga. 8. MY COUSIN CANDIDA: One of the most ambitious and distinguished versions of the eldest of the painter’s three cousins who are familiarly known as “las primas.’’ Painted at Segovia in 1914. Never before exhibited. Width 62 in. Height 80 in. Canvas. Signed, lower left: I. Zuloaga. 9. PORTRAIT OF MADAME LA COMTESSE MATHIEU DE NOAILLES: The poetess has been presented in an appropriately oriental setting on account of her ancestry, she being of Eastern origin. Note the recumbent posture, the amber necklace, and vase of flowers. She reposes upon a green couch, because green is her favourite colour. Though rarely attempting le grand style, the artist has by no means failed to give this subject the requisite interest and distinction. Painted at Paris in 1913. Never before exhibited. Width 77 in. Height 59 in. Canvas. Signed, lower right: I. Zuloaga. 10. SEGOVIA: An austere, tragic version of Segovia la vieja — Iberian, Romanesque, and Gothic Segovia with its massive cathedral, rugged sky-line, and age-scarred house-fronts. Painted at Segovia in 1910. Exhibited: Rome, 1911; Dresden 1912; Munich, 1912. Width 78 in. Height 52 in. Canvas. Signed, lower right: I. Zuloaga. 11. MARCELLE SOUTY: Mile. Souty is half Spanish, half French. Painted at Paris in 1915. Never before exhibited. Width 43 in. Height 75 in. Canvas. Signed, lower right: I. Zuloaga. 12. BASQUE PEASANT: Veritable aldeano Vasco on his caseno or mountain farm near Zumaya, where summer home. Full of racial character and an important addition to Senor Zuloaga’s gallery of native local types. Painted at Zumaya Guipuzcoa, in 1915. Never before exhibited. Width 39 in. Height 74 in. Canvas. Signed, lower left: I. Zuloaga. 13. MLLE. LUCIENNE BREVAL: The well-known opera singer in a pose suggesting Carmen, of which role she IS a veracious and convincing interpreter. Compare with the full-length of Mile. Lucienne Breval in Carmen now at the Metropolitan Museum of Art Segovia in 1910. Exhibited: Rome, 1911; Vienna, 1912; Dresden, 1912; Munich, 1912; Moscow, 1913; Petrograd, 1913. Width 38 in. Height 51 in. Canvas. Signed, lower left: I. Zuloaga.Ignacio Zuloaga (1870-1945) was a Spanish genre and portrait painter noted for his theatrical paintings of figures from Spanish culture and folklore. While living in Paris, he became acquainted with the artists Paul Gauguin, Edgar Degas, and Auguste Rodin. Despite his contact with these prominent French artists, however, his main influences were the Spanish masters El Greco, Diego Velázquez, and Francisco de Goya. CONDITION: Paper covers and spine show minor soiling and typical edge wear and loss, but are intact; pages are sharp and binding is tight; images are strong – see scans. SHIPPING: Catalog will be shipped domestically to the Lower 48 with tracking and insurance for $7.85.

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