Julio Romero De Torres

LOT 81 PROPERTY FROM A PRIVATE SOUTH AMERICAN COLLECTION JULIO ROMERO DE TORRES SPANISH 1879-1930 RETRATO DE DAMA JOVEN (PORTRAIT OF A YOUNG LADY) signed JULIO ROMERO / DE TORRES lower right; signed and inscribed JULIO ROMERO DE TORRES / PINTADO AL ÓLEO Y AL ÓLEO on the reverse oil on canvas 75 by 55cm., 29½ by 21¾in.

Lot Description Julio Romero de Torres (Spanish, 1874-1930) Fuente Santa signed 'Julio Romero/De Torres' (lower right); and signed and inscribed 'Julio Romero/de Torres/Pintado al/temple y al oleo/Fuente Santa' (on the reverse) oil on canvas 32½ x 24¼ in. (83 x 62 cm.) Provenance Anonymous sale, Finarte, Madrid, 14 March 2002, lot 85. Acquired at the above sale by the present owner. Pre-Lot Text VARIOUS PROPERTIES Literature Exh. cat., Córdoba, Julio Romero de Torres, Símbolo, Materia y Obsesión, February-May 2003, 2003, p. 109 (illustrated).

LOT 112 PROPERTY FROM A PRIVATE EUROPEAN COLLECTION JULIO ROMERO DE TORRES SPANISH, 1874 - 1930 JULITA CERDÁ signed J. Romero de Torres lower right; inscribed on the reverseJ. ROMERO DE TORRES/ PINTADO AL TEMPLE Y/ AL OLEO oil and tempera on canvas 25,000—35,000 GBP 41.5 by 38cm., 16¼ by 15in. signed J. Romero de Torres lower right; inscribed on the reverseJ. ROMERO DE TORRES/ PINTADO AL TEMPLE Y/ AL OLEO oil and tempera on canvas We are grateful to Mercedes Valverde for her assistance incataloguing this work. Acquired in Argentina by the great-uncle of the present ownersbefore 1931; thence by descent Painted between 1922 and 1926, the artist captures the beautyand seductive gaze of Julita Cerdá at the peak of her career. TheCatalan actress was particularly successful for her role in Lafiesta del sainete that took place in the Teatro Apolo inMadrid in 1926, commemorating the 18th anniversary ofthis traditional celebration.

LOT 83 PROPERTY OF A PRIVATE COLLECTOR JULIO ROMERO DE TORRES SPANISH, 1874 - 1930 DORA LA CORDOBESA (DORA THE CORDOBAN) signed J ROMERO DE TORRES lower right oil and tempera on paper 30,000—50,000 GBP 93 by 60cm., 36½ by 23½in. We are grateful to Mercedes Valverde for her assistance incataloguing this work. PROVENANCE Fernando 'Claridades' Gillis (bullfighter; possibly acquiredthrough the charity bullfight in Alcalá de Henares for which thepresent work was originally commissioned) Galería José R. Ortega, Madrid Purchased from the above by the present owner circa 1995 EXHIBITED La Fundación Caja de Ahorros de Vitoria y Álava; Caja Segovia,Un Mundo de Seducción de Julio Romero de Torres, 1998, no. 19 LITERATURE AND REFERENCES Mercedes Valverde Candil, 'Las Mujeres de Julio Romero',Colección Córdoba, vol. 1, Córdoba, 1996, pp. 39-40 CATALOGUE NOTE The present work exhibits Romero's admiration for a fellowCordóban, the famed singer Dolores Castro Ruiz (1902-1965), knownas 'Dora la Cordobesita' or 'La Niña'. Painted in the early 1920s, at the peak of La Niña's career as asinger and entertainer, when she had just enjoyed a triumphant runat the Teatro Romea in Madrid, the present work is one of threeknown portraits of La Niña by Romero, the others being A la Espaldade una Guitarra and the design for the liqueur Anís 'La Cordobesa'(fig. 1). La Niña found fame in the greatest theatres andmusic-halls of Spain, and married the Sevillian bullfighter Manuel'Chicuelo' Jiménez in 1927 in Cordóba. Although Romero de Torres spent most of his life in Madrid and inhis native Córdoba, his extensive travels in Europe and Argentinaopened his eyes to the viewpoints of Symbolism, Realism andImpressionism. Women of all social classes posed for Romero at hiseasel, from prostitutes to society hostesses, and when he died,every shop, theatre and bar in Córdoba closed its doors and thewhole city poured onto the streets for his funeral.

LOT 189 PROPERTY FROM THE URIARTE Y PIÑEIRO COLLECTION - JULIO ROMERO DE TORRES SPANISH, 1874 - 1930 ESCLAVA (THE SLAVE) 30,000—40,000 GBP measurements 83.8 by 62.2cm., 33 by 24.5in. Description signed JULIO ROMERO / DE TORRES lower right; signed on thereverse oil and tempera on canvas We are grateful to Sra. Dña. Mercedes Valverde for herassistance in the cataloguing of this work. PROVENANCE Arturo Uriarte y Piñeiro (purchased directly from the artist in1930)Museo Nacional de Belles Artes, Buenos Aires (bequeathed by theabove, 1941)Returned to the descendants of the Uriarte y Piñeiro family, 1991;thence by descent to the present owner EXHIBITED Seville, Pabellón de Córdoba, Exposición Iberamericana, 1930 LITERATURE AND REFERENCES Pedro Massa, Julio Romero de Torres , Buenos Aires, 1947Mercedes Valverde Candil & Ana María Piriz Salgado, Catálogodel museo Julio Romero de Torre s, Córdoba, 1989, p. 48,illustrated CATALOGUE NOTE Painted circa 1925-29, the sitter for the present workwas the actress Elena Pardo. A regular performer at the Romeatheatre in Madrid, Elena was Romero de Torres' preferred modelduring the 1920s. Other paintings for which she sat includedCordobesa, Humo y Azar, La niña de los limones, En el patio,Pensativa, La Guitarra and La Niña Torera , all of whichare in private collections. Works in the Museo Romero de Torres inwhich she appears include Mary Luz, En la Ribera, Marta andNocturno. Elena Pardo's figure embodied to perfection thearchetype that Coco Chanel promoted internationally - the classicimage of the modern 1920s pin-up with a greased bob hairstyle'comme les garçons'. Accordingly Romero de Torres transformed ElenaPardo into the muse of the Deco style, promoted within Spain bysuch magazines as Blanco y Negro and La Esfera .Esclava was one of twenty-seven works selected by the artistfor his retrospective exhibition celebrating his life's workmounted in the Córdoba Pavilion at the Ibéromerican Exhibition,Seville in 1930. We are grateful to Sra. Dña. Mercedes Valverde for herassistance in the cataloguing of this work.