Julio Romero de Torres Córdoba 1874-1930

Salon Witcomb, Buenos Aires
Purchased by the present owner in 1994

Seville, Exposición Iberoamericana de Sevilla, 1930 (Romero de Torres was honoured with a special retrospective of his work in the Iberoamerican fair, where a selection of his best canvases were displayed in a pavilion dedicated to his work.)

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. EXAMINATION / TREATMENT REPORT UNCONDITIONAL AND WITHOUT PREJUDICE Julio Romero de Torres "Fuensanta" oil on canvas Structural Condition The canvas is unlined and is providing a generally sound and secure structural support. The horizontal stretcher bar lines are just visible running across the center of the composition but these are stable and it is obviously encouraging to see the canvas in it's unlined state. Paint Surface The paint surface has a very discoloured varnish layer and cleaning would undoubtedly result in a transformation in the overall appearance. Inspection under ultra-violet light confirms how discoloured the varnish layers have become and also reveals one line of retouching, approximately 2 cms in length, across the girl's left cheek. There is also some fluorescence in the sky, which is either rather crudely applied glazing or the artist's pigments. Summary The painting therefore appears to be in very good condition with great potential for improvement as a result of cleaning and revarnishing.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1929, the present work not only ranks as one of the artist's great late portraits, but became embedded in the Spanish national conscience when for twenty-five years it graced the face of the country's 100 Pesetas note.  

The sitter was María Teresa Lopez González. Born in Argentina, María Teresa moved with her family to Julio Romero de Torres's native Córdoba after World War I. There she first sat for the painter aged just 14 years old, and became the artist's favourite model. In the autumn of 1929 Romero de Torres completed three of his most important works La Chiquita Piconera, Bodegas Cruz Conde and the present work. Showing María Teresa resting her arms on a copper cauldron it was Fuensanta that was most widely praised, and championed as a quintessential rendition of Andalousian beauty.

Ironically, as María Teresa's simple elegance was popularised after World War II through the dissemination of the image on the currency, the whereabouts of the painting itself became increasingly shrouded in mystery. Known over many years simply through an old photograph, its location was unknown until recently. Its rediscovery therefore marks an exciting event.