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Julio Romero de Torres (Spanish, 1874-1930)
Julio Romero de Torres (Spanish, 1874-1930)

The slave

Julio Romero de Torres (Spanish, 1874-1930)
The slave
signed ‘JULIO ROMERO/DE TORRES (lower right); and further signed and inscribed ‘JULIO ROMERO/DE TORRES/PINTADO AL ÓLEO Y AL TEMPLE.’ (on the reverse)
oil and tempera on canvas
33 x 24 ½ in. (83.8 x 62.2 cm.)
Painted circa 1925-1929.
Acquired directly from the artist by Arturo Uriarte y Piñiero, Buenos Aires, 1930.
Bequeathed by the above to the Museo Nacional de Bellas Artes, Buenos Aires, 1941.
Returned to the descendants of the Uriarte y Piñiero family, 1991.
Thence by descent to the present owner.
P. Massa, Julio Romero de Torres, Buenos Aires, 1947.
M. Valverde Candel and A.M. Piriz Salgado, Catálogo del Museo Julio Romero Torres, Córdoba, 1989, p. 48 (illustrated).
Seville, Pabellón de Córdoba - Exposición Iberoamericana, 1930.
Buneos Aires, Museo Nacional de Bellas Artes, 1941-1991.

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Alastair Plumb
Alastair Plumb Head of Sale

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Lot Essay

Painted circa 1925-29, the sitter for the present work was the actress Elena Pardo. A regular performer at the Romea theater in Madrid, Elena was Romero de Torre’s preferred model during the 1920s. Elena’s figure embodied to perfection the archetype that Coco Chanel promoted internationally – a modern woman with a greased bob hairstyle ‘comme les garcons’.
The present work was one of twenty-seven works selected by the artists for his retrospective exhibition celebrated in the Cordoba Pavilion at the Iberoamaricana fair in Seville in 1930.

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