Spanish school (XX) - Trío de Manolas

INTEREST OF THE SET The three works share a taste for refined and picturesque representation of the Andalusian woman, though approached from two different realms: French espagnolisme of the Belle Époque and the Sevillian genre scene tradition. The two Manolas with a French atmosphere represent the cosmopolitan taste of the Belle Époque for the Spanish image, while the Manola from the Sevillian school transposes that imaginary into a setting where the female figure is part of an ornamental architecture and accompanied by the traditional attributes of Andalusian culture. The small formats, the careful miniature execution and the diamond-shaped period frames contribute to the visual unity of the collection. 1.- Pair of cabinet Manolas. Espagnolisme français. Female portraits in miniature. Belle Époque. Paris, ca. 1900–1908. Oil on canvas. Elegant pair of female portraits in miniature executed in oil on canvas, dated around 1900-1908, in the midst of the Belle Époque, with an approximate age of 120 years. On the reverse of both works their original backs with handwritten ink inscriptions are preserved. Among them, the reference to Paris and the dates 1900 and 1908 seem to stand out, elements that provide an interesting testimony of the material history and possible provenance of the set, although their reading is not completely clear. The figures respond to the archetype of MANOLAS: an idealized image of the Andalusian woman that gained extraordinary popularity in the Parisian art milieu of the Belle Époque, within the phenomenon known as espagnolisme. Inspired by the Spanish romantic imagination, they combine traditional elements of the rich Andalusian costume with a refined and cosmopolitan interpretation aimed at the taste of European clients of the time. The compositions show two female busts against a dark background: one figure facing front in three-quarter view and the other in profile. Both wear characteristic elements of traditional Andalusian dress, highlighting the mantón de Manila and, respectively, a comb and a fan. The long earrings, the hair combs, the flowers that adorn the hair gathered in a low bun and the delicate water waves framing the face form an iconographic repertoire closely linked to the image of Andalusia spread in the European artistic imagination at the end of the 19th century and the beginning of the 20th. The set retains its original wooden frames, of elegant diamond shape and rich stepped molding, a decorative typology very characteristic of French production of the late 19th and early 20th centuries, which enhances the intimate and precious character of these miniatures. The preservation of the frames and the backs, together with the handwritten notes on the reverse, adds value to the set, by preserving its historical configuration and offering a valuable testimony of its material history. DIMENSIONS • Frame: 13.5 × 13.5 cm. • Visible painting area: approximately 6 × 6 cm. CONDITION Very good condition for works aged about 120 years. The works fully retain their original frames and backs, including the handwritten inscriptions on the reverse. • The paintings show slight surface wear and aging natural for their age. • The frames retain their firm structure, original patina and only show light signs of use consistent with the passage of time. • One of the frames lacks the movable hanging ring, a circumstance visible in the photographs. It is a readily replaceable element that does not affect the stability or proper conservation of the set. 2. MANOLA IN A SEVILLEAN PATIO Sevillian School / José Rubio y Villegas Late 19th century – early 20th century Oil on panel This painting is an authentic piece of the history of 19th-century Spanish painting and illustration signed by a renowned family of academics. The work represents the rise of cabinet Andalusian genre painting at the end of the 19th century, whose provenance and value lie in its belonging to the prestigious decorative and sumptuous school of Seville on the eve of the 20th century. Casa Rubio was an emblematic establishment founded in the mid-19th century in Seville, well known for creating and selling select, hand-painted genre scenes of high quality, linked to the image of Seville. José Rubio y Villegas is the creator of this work of the Sevillian school and was closely linked with the artistic production of luxury mementos in Seville of the time. Public records identity: In the official catalogues of Andalusia’s patrimonial movable assets (such as the fichas of the Palacio de las Dueñas), these small genre pieces and oil items (cabinet-format boards and tambourines) appear inventories literally under the rubric: “Author: Rubio – Sevilla.” DESCRIPTION Excellent cabinet piece executed in oil on board and signed “Rubio” with indication “Sevilla”: rubric that locates the work and the authorship of José Rubio de Villegas. Rubio was a painter and lithographer, who followed the successful steps of his father and, like him, also studied at the Academy of Fine Arts of San Fernando, thus continuing the talented artistic and academic dynasty. The painting presents with miniaturist mastery a scene of picturesque and ornamental character starring a semi-seated young Manola on the parapet of a large arch that frames her, with a Spanish guitar held in front of her body. The guitar forms a diagonal that crosses the body, while the arch gathers her and makes her the visual center of the scene. The young woman embodies the archetype of Manola: dress of ruffles with a frill, the face framed with a water-waved hairstyle, hair gathered low and a flower adorning the hair. The figure is integrated into a Moorish-inspired gallery, with a strong ornamental character. Behind her opens a large lobed arch through which the blue sky and a mass of vegetation can be seen. To either side appear architectural surfaces decorated with geometric and vegetal motifs, while the green dado runs across the background and visually continues under the figure. The composition establishes a contrast between the geometric, static architecture and the linearity of the pavement against the curvilinear forms of the figure, the flounces of the dress, the guitar, the flowers and the mantón de Manila. The palette is dominated by blues and grayish greens, off-whites and soft tones of the architecture. The reds of the dress and flowers, the ochre of the mantoncillo and the golden tones of the guitar and the light of the Manila mantón resting on a piece stand out. The lighting is clear and uniform. The volume of the figure is obtained through soft gradations, while the architectural elements present a more linear and decorative finish. The work retains its original diamond-shaped wooden frame with stepped molding and protective glass. DIMENSIONS With frame: 23 cm x 23 cm Painting: 17 cm x 17 cm Background: 3 cm The work shares the same cabinet dimensions as other works by the artist. AUTHENTICITY: The physical signature “Rubio / Sevilla” DATE: Late 19th / early 20th century CONDITION: Excellent overall condition. The pictorial layer is stable and maintains the vividness of the colors. The period frame shows natural patina appropriate to its age and preserves its protective glass. ADDITIONAL NOTES: ** The photographs form part of the description. ** The final measurements and weight indicated correspond to the configuration of secure packaging, essential to guarantee proper protection of the three works during transport.

Estimation:€250

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