Juan Pablo Salinas Y Teruel

LOT 105 PROPERTY FROM AN ENGLISH PRIVATE COLLECTION JUAN PABLO SALINAS SPANISH, 1871 - 1946 EL BANQUETE NUPCIAL (THE WEDDING PARTY) signed and inscribed Pablo Salinas Roma lower left oil on canvas 40,000—60,000 GBP 39 by 67cm., 15½ by 26½in. signed and inscribed Pablo Salinas Roma lower left oil on canvas Lewis Haslam MP, London (acquired circa 1900)Thence by descent to the present owner, grandson of the above

Auktion A152 Lot 3229 - 26 March 2010 16:30 SALINAS, JUAN PABLO (Madrid 1871 - 1946 Rome) Theletter. Oil on canvas. Signed lower right and inscribed:Pablo Salinas. Roma. 24.5 x 21.8 cm. Provenance: -Christie's London, 29. May 1992, Lot 360. - Swiss privatecollection . CHF 8 000.- / 12 000.- € 5 410.- / 8 110.- SALINAS, JUAN PABLO (Madrid 1871 - 1946 Rom) Der Brief. Öl aufLeinwand. Unten rechts signiert und bezeichnet: Pablo Salinas.Roma. 24,5 x 21,8 cm. Provenienz: - Auktion, Christie's London, 29.Mai 1992, Los 360. - Schweizer Privatsammlung. CHF 8 000.- / 12000.- € 5 410.- / 8 110.-

Juan Pablo Salinas (Spanish, 1871-1946) The wedding party signed and inscribed 'Pablo Salinas/Roma' (lower right) oil on canvas 34¾ x 52¾ in. (88 x 134 cm.) Painted in Rome. Saleroom Notice Please note that the estimate should be read 100,000 - 150,000GBP Pre-Lot Text VARIOUS PROPERTIES Provenance Anonymous sale; Finearte, Milan, 22 May 2001, lot 114. Acquired at the above sale by the present owner. Lot Notes Salinas moved to Rome in 1886, where he studied at the ChigiAcademy and joined a group of Spanish artists drawn to thecharismatic circles of Eduardo Rosales and Mariano Fortuny. Hisearly work, influenced by the Florentine school, illustratesliterary subjects such as Romeo and Juliet and scenes from Dante.He subsequently developed a reputation for his genre scenes,primarily drawn from everyday Spanish and Italian life. Salinasvisited Paris where he became captivated by the style and techniqueof Ernest Meissonier, which suited his growing predilection for18th century costume painting. This painting shows an elegant company during a wedding party. Thework is particularly unusual for its large scale and the complexityof its figural compositions. The rich and fanciful brushwork whichSalinas used found particular success among dealers and collectorsin Italy, Central Europe, Russia and America, and satisfied a hugecommercial demand.

MEASUREMENTS 72.3 by 128cm., 28½ by 50¼in. DESCRIPTION signed and inscribed P. Salinas. Roma lower right oil on panel CATALOGUE NOTE Dressed for the bullring a matador takes leave of his family ashis assistants (cuadrilla) wait patiently by the door. The matadorwears his traje de luces ('suit of lights'), consisting of a silkjacket heavily embroidered in gold and skintight trousers; one ofthe cuadrilla holds his montera - a bicorne hat. As a pendant tothe present work Salinas also painted the matador's triumphantreturn in similar style.Bullfights were popular spectacles in ancient Rome, but it was inthe Iberian Peninsula that these contests were fully developed. TheMoors from North Africa who overran Andalusia in AD 711 changedbullfighting significantly from the brutish, formless spectaclepractised by the conquered Visigoths to a ritualistic occasionobserved in connection with feast days, on which the conqueringMoors, mounted on highly trained horses, confronted and killed thebulls.In modern bullfighting, six bulls, to be killed by three matadors,are usually required for one afternoon's corrida, and eachencounter lasts about 15 minutes. At the appointed time, generallyfive in the afternoon, the three matadors, each followed by theirassistants, the banderilleros and the picadors, march into the ringto the accompaniment of traditional paso doble (march rhythm)music.

Juan Pablo Salinas y Teruel (Spanish 1871-1946)
El regalo (The gift)
Add. Notes: signed indistinctly (lower right) oil on panel 8 3/8 x 10 3/8 in. (21.3 x 26.4 cm.)
Notes: Gaston de Latouche's humorous work caricatures the relationship between the bourgeoisie and the aristocracy. In the present work he renders the supplicant as a monkey, ready to prostate himself before his so-called superiors in an audience. The ape-like gentleman is short and stooped, glancing up at the smartly dressed usher as he opens the door to a light-filled room. We are given clues as to the purpose of the visit - the gentleman carries rolled-up petitions or architectural plans in his arms - but we are separated from the aristocracy and cannot see further into the next room. The uniform of the usher and the grand, golden hued decoration of the house contrast with the drab clothing of the petitioner, whose coat swamps his small figure, allowing only his feet and tail to show. The present work echoes the social caricatures of Honoré Daumier, who ridiculed the bourgeoisie and exaggerated his victims' features to comic and grotesque effect. It is executed with de Latouche's characteristically fluid brushstrokes and warm palette.