Salazar

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Salazar Jose; Sandoval Victor M.; Martinez Paulino Perez; Lewin BernardABAA

Salazar Maria JoseABAA

Espanoles en Paris : Blanchard Dali Gargallo Gonzalez Gris Miro Picasso : fondos del Museo Nacional Centro de Arte Reina Sofia

1999163032Santander: Fundacion Marcelino Botin 1999. Paperback. Contents VG clean bright and tight; covers have some light shelf wear; copy is art museum ex-lib. with a few marks but none to text. Color-illustrated chartreuse wraps with black lettering on spine. French flaps. 285 pp. with color and bw images throughout. Text in Spanish. Catalogue from the exhibition held July to September 1999. "This exhibition presents an overview of seven Spanish artists working in Paris in the early twentieth century and whose work contributes to the renewal and creation of new languages in Contemporary Art. Of the selected artists the first to move to Paris in 1899 is Julio González who was followed by Pablo Picasso in 1900 Pablo Gargallo in 1903 Juan Gris in 1906 and María Blanchard in 1909. After the First World War another wave of Spanish artists chose France as their home including Joan Miró in 1920 and Salvador Dalí in 1926. All works in this exhibition at the Marcelino Botín Foundation belong to the Museo Nacional Centro de Arte Reina Sofía funds. The selection is made from those pieces in the collection that are not currently exhibited in the museum but which are representative of such a prolific period in Spanish Art. By Julio González there are three paintings from his early works in this discipline: Mujer peinando a una joven 1914-1918 La recolección de manzanas 1920-1925 and Dos mujeres 1920-1928. In 1910 he produces the first of his embossed metal masks; this moment belongs to Máscara inquietante 1913-1914. A few years later he produces pieces in cut and wrought iron such as Masque aceré 1929-1930. His work evolves into abstraction without abandoning figurative references like in Petite maternité assise 1933-1934 and El pie 1934-1936. For Gonzalez drawings are an essential part of his creative process. Exhibited are: Mujer con niña en malva 1906 Personaje de pie amarillo y blanco 1937 Personaje con velo largo nº I 1941 and El grito 1939 which lay the foundations for the Montserrat which González presents in the Spanish Pavilion at the Universal Exhibition in Paris in 1937 to which the Reina Sofía Museum dedicates an exhibition in 1987. The contribution of Pablo Picasso is overwhelming. On this occasion eleven preparatory studies to the Guernica 1937 are exhibited a work that exemplifies the Reina Sofía Museum Collection. Following the bombing of Guernica Picasso works on this monumental piece specifically for the aforementioned Spanish Pavilion. The horse is one of the first figures he drafts along with Cabeza llorando an image of the suffering of a mother. These exhibited drawings and canvasses refer to these reasons in addition to Estudio de composición VI 1937. Pablo Gargallo received by Picasso on his arrival in Paris is along with Julio González the most important Spanish sculptor from the early twentieth century. By him the pieces Torse de gitan 1923 La dormeuse 1924 Porteuses d'eau 1925 and Tête de prophète 1926 are exhibited accompanied by three drawings which are the basis for his sculptures Arlequín a la guitarra 1927 and Bailarina. Teresina Boronat 1927 in two different versions. By Juan Gris creator of Synthetic Cubism the paintings El violón 1916 y Guitarra con incrustaciones 1925 were chosen as well as drawings Naturaleza muerta a la guitarra 1925 and Hombre a la guitarra 1925-1926. These last two are the original drawings and drafts for lithographs that Gris produces for Gertrude Stein's Book: A Book Concluding with As a Wife Has a Cow: A Love Story 1926. The Museo Reina Sofía has a large collection of works by María Blanchard partly acquired in 1932 from her sister Carmen. They include: Mujer con abanico 1915-1916 and Composición Cubista 1916 from her cubist period and Niña peinándose 1926-1927 La bordadora 1926 and Niños 1930-31 from her return to figuration. The second group is made up of those artists who return to Paris in the Twenties like Joan Miró and Salvador Dalí. The paintings by Miro include: Personnage oiseaux 1974 Paisaje 1974 Femme oiseau I 1977 Paysage 1976 and Personnages oiseaux constellations 1976 accompanied by sculptures such as Femme soleil 1966 Torse de femme 1967 Tête dans la nuit 1968 Tête de taureau 1970 Jeune fille rêvant de l'evasion 1971 and Femme et oiseau 1971. Dalí presents an untitled canvas from 1928 a study to Premonición de la Guerra Civil 1935 the unfinished painting of his muse and companion Busto de Gala 1939 the canvas: A propósito del "Discurso sobre la forma cúbica" de Juan de Herrera 1960 inspired by the renowned architect a painting that reveals his interest in science Árabes. Ácido desoxirribonucleico 1963 and the first version of El Camino del Enigma 1981 one of his final compositions." - from the museo reina sofia web site. Fundacion Marcelino Botin paperback books

Mullen Books, Inc. ABAA / ILAB · États-Unis280,00 $US≈ 236,91 €

Cervantes de Salazar Francisco 1514? 1575 From the library of Zelia Nuttal and George M FosterABAA

Cronica de la Nueva Espana

1914CA0023xxiv843 pages with plates and index. Quarto 10 3/4" x 7 3/4" rebound in half red leather with gilt lettering to spine with original wrappers bound in. From the library of Zelia Nuttal and George M Foster. Limited to 500 copies. First edition. Cervantes de Salazar was one of the principal chroniclers who gathered data on the history and ethnography of Mexico. His most important book Cronica de la Nueva Espana Chronicle of New Spain written at the command of City Council. The manuscript of this work was sent by the author to Spain in 1567 with a request for the post of royal chronicler. This manuscript was uncovered in the early 1900s uncatalogued in the National Library of Madrid as an anonymous manuscript. the first volume was published in 1914 and the second and third in 1936. The Chronicle is fragmentary since the first part which was to include the period up to the conquest of Yucatan either was never written or was lost; and the second part which was to be a history of the conquest breaks off with Columbus sending Villafuerte and Sandoval to the Pacific Ocean. Cervantes de Salazar's sources were the Letters of Cortes; the memoirs of Alonso de Ojeda and Andres de Tapia captains in Cortes' army; the Memoranda of Motilinia; the work of Lopez de Gomara; and the information gathered from others who had taken part in the conquest who were sill living in Mexico City twenty-five years later from whom he received useful information. The Chronicle is valued for its understanding and evaluation of the events it describes. Condition: "With compliments of the Hispanic Society" slip tipped in and slip from the Congresso de los Diputados tipped in to copyright page with Nuttall's name as receiving copy number three which is such labeled of 500 copies. Foster's date of acquiry 10/4/44 on title. Original wrappers bound in and soiled some wear to edges of title inner hinge cracked else about very good. Hispanic Society hardcover books

The Book Collector ABAA, ILAB · États-Unis1 000,00 $US≈ 846,10 €