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PROPERTY FROM A SPANISH PRIVATE COLLECTION

Ignacio Zuloaga
SPANISH
MADEMOISELLE SOUTY
JUMP TO LOT
15

PROPERTY FROM A SPANISH PRIVATE COLLECTION

Ignacio Zuloaga
SPANISH
MADEMOISELLE SOUTY
JUMP TO LOT

Details & Cataloguing

19th Century European Paintings

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London

Ignacio Zuloaga
1870 - 1945
SPANISH
MADEMOISELLE SOUTY
signed and dated I. Zuloaga 1915 lower right
oil on canvas
190 by 120cm., 74¾ by 47¼in.
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Provenance

Carlos Beistegui, Paris (collector Carlos Beistegui, 1863-1953, was a close friend of the artist. He acquired a number of his paintings, including several depicting Mademoiselle Marcelle Souty. Zuloaga also portrayed Beistegui himself on at least seven occasions. Beistegui's collection of 18th and 19th Century paintings was donated to the Musée du Louvre)
Galeria Barbié, Barcelona
Purchased from the above by the present owner in 1980

Exhibited

Boston, The Copley Society (and travelling), Exhibition of Paintings by Ignacio Zuloaga Under the Auspices of Mrs. Philip M. Lydig, 1916-1918, no. 11
Aragón, Instituto Aragonés de la Mujer, Imágenes de mujer en la plástica española del siglo XX, Zaragoza, 2003, illustrated in the catalogue

Literature

The World Magazine, 11 January 1917
Enrique Lafuente Ferrari, The Life and Work of Ignacio Zuloaga, Barcelona, 1991,  p. 512, no 399, catalogued

Catalogue Note

Painted in Paris in 1915, Marcelle Souty's coquettish pose in the present work shows off her gamin good looks to the full. Sporting a brooch bow-tie and elegantly attired in a white blouse, black jacket and raffish full length cullottes, behind her is one of Zuloaga's distinctive tapestries, a recurring studio prop that adds texture and depth to the studio sitting.

Zuloaga was introduced to Marcelle Souty by his friend the painter Jean-Gabriel Domergue, for whom she also modelled. Attracted to her distinctive, sophisticated elegance she became one of Zuloaga's favourite models from 1914 until the early 1920s. In his catalogue raisonné Ferrari records at least five large scale finished portraits of her, the present work plus one of her standing dressed as a torero, one reclining clothed, one sitting holding a carnation, one dressed in black, and one reclining nude (see Ferrari, nos. 386, 400 426, 427 & 476).  

19th Century European Paintings

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London