American Printmakers On-line Catalogue Raisonné Project
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catalogue raisonné,
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Thumbnails, Part 4:
Prints made for Illustrated Books
(These prints are not included in the catalogue raisonné proper.)
A Biographical Chronology
of the artist (and its accompanying linked pages) appears on the website
The Art and World of
Luis Quintanilla

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Copyright ©
by Jeffrey Coven
The Prints of Luis Quintanilla:
A Catalogue Raisonné
(in progress)
Full Entry Catalogue
Catalogue Entry #: 20*
Title: Galicia**
Series: Madrid Prints

Click the image for enlargement.

Date: 1931-34***

Medium: Etching****

Edition: At least 6 numbered impressions plus at least one unnumbered impression*****

Dimensions: 36 x 28 cm. (14 3/16 x 11 in.)

Printer: Adolfo Ruperez

Paper: Wove with Arches watermark

Signature: Typically signed in pencil, l.r., beneath the plate mark.*****

Public collections holding this print: BMA

Topic galleries for this print:
Cafe and Restaurant Scenes
Men (studies of)


*Catalogue Entry #: For numbering used in other catalogues, see below.


  • The Spanish title, Galicia, appears in the artist's hand in pencil on at least one impression beneath the plate mark, l.l. (See Fig. 1 below.)
    • Galicia is a region on the northwest coast of Spain, bordering Pourtugal on the South, the Atlantic Ocean on the west, the Bay of Biscay on the north, and Asturias on the east.
    • The only known impressions bearing titles in the artist's hand for Madrid Series prints are in the Hemingway Collection and carry their titles l.l. where the numbering normally appears.
  • The Pierre Matisse Gallery Catalogue exhibition catalogue (1934) inexplicably uses "Gallega," the feminine of "Gallego," meaning a native man of Galicia, a Galician.
  • Burdett (266) uses "A Galician."

Fig. 1

***Date: No date appears on any of the observed impressions of this print. Of the dates that appear on works in the Hemingway Collection, which includes this print, none is earlier than 1931 and none later than 1934. Quintanilla started making drypoints, in fact prints in general, with Adolfo Ruperez, the printer of all the prints in the Madrid Series, sometime after the artist's return to Madrid in 1929. (See Biographical Chronology.)

The one known exception to the range of dates specified in the paragraph just above is entry # I.

Medium: Although Burdett claims that Quintanilla did not mix his printmaking media and used solely drypoint, the BMA describes this print as etching only. Examination of other prints from the Madrid Series also reveals the use of etching along with drypoint. Until further examination is made, the catalogue raisonné concurs with the BMA designation of "etching."

  • For further discussion of the factors involved, visit the "Medium" section of "Using This Catalogue Raisonné."


  • The impression at the Baltimore Musuem of Art is inscribed, l.l., "no 6" in the artist's hand.
  • Ruperez typically printed ten or fewer (most commonly 7-10) of Quintanilla's Madrid Series prints, often including at least one or more unnumbered impressions. (No record exists of more than two unnumbered impressions of any of the Madrid prints.)
    • The Hemingway Collection typically includes one unnumbered impression bearing a title instead of the number, l.l. (See Fig. 1 above.)

States: One impression (See Fig. 2 below), though not annotated as such, is clearly an earlier state of Galicia, lacking much of the background shading, facial shading and other detail observable in impressions from the edition. (See above.)

Although the impression shown in Fig. 2 is signed (l.r.) and numbered, "10/12" (l.l) in pencil, these annotations are dubious, almost certainly not by the hand of the artist. (See the discussion of dubious signatures and annotations in the Introduction.)

Fig. 2
Photo courtesy of Javier Romeu

Reproduced in: Burdett (266)

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This page last revised: Friday, March 09, 2007