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Xul Solar (1887-1963): obras inéditas, Buenos Aires, Galería Rubbers, 26 de junio-24 de julio de 1990, n. 5.&#13;
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Remate especial con base al mejor postor, Banco de la Ciudad de Buenos Aires, Buenos Aires, 22 de diciembre, 1994, lote sin n.&#13;
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Inv. FPK: “179 Vago floto 1919 -″-&#13;
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Documentación&#13;
Inv. FPK: “1169 Tota pax… 1919 -″-&#13;
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Exposiciones&#13;
Xul Solar, Buenos Aires, Museo Nacional&#13;
de Bellas Artes, septiembre de&#13;
1998, reprod. p. [17].&#13;
Xul Solar, Buenos Aires, Galería Rubbers,&#13;
2 al 30 de abril, 2002.&#13;
ArteBA 07. 16 Feria de arte contemporáneo,&#13;
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                <text>BRILL, Rosa, “Entrevista con Edward Lucie-Smith”, Arte y Antigüedades, Buenos Aires,&#13;
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GRADOWCZYK, Mario H., Alejandro Xul Solar, Buenos Aires, Alba / Bunge y Born,&#13;
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GRADOWCZYK, Mario H., Alejandro Xul Solar, Buenos Aires, Alba / Bunge y Born; Nueva&#13;
York, Harry N. Abrams, Inc., Publishers, 1996, n. 53, reprod. p. 71.&#13;
BOIDO, Mario, “Sincronía universal: la relación palabra-imagen en la obra de Xul&#13;
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BOIDO, Mario, “Hacia la unidad de las artes: Xul Solar” en: Mario Boido, De límites y&#13;
convergencias: la relación palabra/imagen en la cultura visual latinoamericana del&#13;
siglo XX, Madrid, Ediciones de Iberoamericana, 2012, p. 35-38, reprod. tapa [detalle].</text>
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Sin información, véase Observaciones&#13;
Subastas&#13;
Latin American Art, Sotheby’s, Nueva York, 16 y 17 de mayo, 1989, lote 24, reprod.&#13;
Art d’Amérique Latine, Christie’s, París, 10 de junio, 2004, lote 10, reprod. p. 23.&#13;
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Inscripciones de terceros&#13;
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[anónimo]; “716” [anónimo]; “1.364” [MRC].&#13;
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Inv. FPK: “1364 Avanzad 1923 acuarela 10,5 x 10,5”.</text>
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                <text>LÓPEZ ANAYA, Jorge, Xul Solar: una utopía espiritualista, Buenos Aires, Fundación Pan Klub - Museo Xul Solar, 2002, n. 53, reprod. p. 76. &#13;
LÓPEZ ANAYA, Jorge, Xul Solar: A Spiritualistic Utopia, Buenos Aires, Fundación Pan Klub Foundation - Museo Xul Solar, 2002, n. 53, reprod. p. 76.</text>
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Sin información&#13;
Documentación&#13;
Inv. FPK: “411 -″- - - 12 x 12”.&#13;
Notas&#13;
La obra presenta un simbolismo complejo ya que incorpora&#13;
la esvástica dextroversa que genera un movimiento&#13;
que replica el cuerpo en sus extremidades.&#13;
Según Cirlot “Su significación formal se ha identificado&#13;
como rueda solar y pies esquematizados en sus&#13;
extremos […] La interpretación más generalizada, ya&#13;
en la Edad Media, es que corresponde al movimiento&#13;
y la fuerza solar […]” (p. 200). Estos son algunos&#13;
de los significados que más se pueden relacionar&#13;
con Xul, sin embargo, su significación es múltiple y&#13;
compleja y procede de distintas culturas y sistemas&#13;
religiosos. Al respecto, véase por ejemplo, el libro de&#13;
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                <text>LÓPEZ ANAYA, Jorge, Xul Solar: una utopía espiritualista, Buenos Aires, Fundación Pan Klub - Museo Xul Solar, 2002, reprod. p. 72. &#13;
LÓPEZ ANAYA, Jorge, Xul Solar: A Spiritualistic Utopia, Buenos Aires, Fundación Pan Klub Foundation - Museo Xul Solar, 2002, reprod. p. 72.&#13;
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“373” [MRC].&#13;
Documentación&#13;
AXS, primera idea para Sin título, en Carnet de apuntes&#13;
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91/2 x 9 1/2”.</text>
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MCSS, [Documentos relativos a exposiciones, venta&#13;
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Registro fotográfico histórico&#13;
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1996, copia de época, proceso Kodak, 10 x 15 cm, Serie&#13;
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Xul Solar 1887-1963, Buenos Aires, Galería Rubbers,&#13;
abril-mayo de 1984, n. 2, reprod. byn s.p.&#13;
Subastas&#13;
Pintura argentina clásica y contemporánea, europea,&#13;
platería inglesa y colonial, muebles antiguos, esculturas,&#13;
mármoles, arañas, alfombras, tapicerías, porcelanas,&#13;
armas antiguas y objetos de arte. Parte de la colección&#13;
Jorge Beristayn, Saráchaga, Buenos Aires, 2 de&#13;
noviembre, 2014, lote 53, reprod. p. 5 (detalle) y p. 18.&#13;
Observaciones&#13;
En el reverso del enmarcado actual de la obra: una&#13;
etiqueta pegada de Rachel Adler Fine Art, de Nueva&#13;
York con la con la ficha técnica de la obra. Cuando&#13;
salió a subasta en 2014 se indicó que la obra poseía&#13;
un certificado de autenticidad firmado por Elena&#13;
Montero Lacasa de Povarché, una copia del mismo se&#13;
conserva en el AD-FPK.</text>
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MCSS, “Muestras póstumas de A. Xul Solar”, [Buenos&#13;
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Inv. FPK: “Dos Dragos 1920 acuarela 14 x 21,5 cm”.&#13;
Exposiciones&#13;
Xul Solar, Buenos Aires, Museo Nacional de Bellas Artes,&#13;
septiembre de 1998, reprod. p. 30.&#13;
Paul Klee invita a Xul Solar en el Museo Nacional de&#13;
Bellas Artes, Buenos Aires, Museo Nacional de Bellas&#13;
Artes, 1999, reprod. p. 24.&#13;
Xul Solar, Madrid, Museo Nacional Centro de Arte Reina&#13;
Sofía, 2002, n. 21, reprod. p. 95.&#13;
Observaciones&#13;
En el reverso del enmarcado actual de la obra: etiqueta&#13;
pegada “Certificado de autenticidad”, de Galería&#13;
Rubbers, firmada por Natalio J. Povarché; además&#13;
de una etiqueta del MNBA (1998) y dos etiquetas de&#13;
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Documentación&#13;
Inv. FPK: “1183 Drago 1920 Témpera 14 x 21”.&#13;
Registro fotográfico histórico&#13;
Lil García Benítez de Kramer, reproducción de Drago,&#13;
1996, gelatina de plata, copia de época, 10 x 15 cm,&#13;
Serie Fotografías, FO-29/ 1 a 37, n. 36, AD-FPK.&#13;
Exposiciones&#13;
Oscar Alejandro Agustín Schulz Solari: Xul Solar 1887-&#13;
1963, Madrid, Guillermo de Osma Galería, 13 de febrero&#13;
- 3 de abril de 1993, n. 5, reprod. p. 7.&#13;
Xul Solar, Madrid, Museo Nacional Centro de Arte Reina&#13;
Sofía, 2002, n. 20, reprod. p. 94.</text>
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Inv. FPK: “1380 La Kasa Maldita 1920 acuarela&#13;
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                <text>Mui bien te pensamos</text>
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Acuarela sobre papel montado sobre cartulina&#13;
12 x 12 cm, montaje 19,2 x 15,7 cm</text>
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                <text>Número de catálogo razonado: 0362</text>
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                <text>Firma e inscripciones&#13;
i.i. “X. 1920”&#13;
Inscripciones de terceros&#13;
En el reverso, sobre la cartulina: “81 MUI BIEN TE&#13;
PENSAMOS 1920” [MCSS]; “607” [anónimo]; “1.401”&#13;
[MRC].&#13;
Documentación&#13;
Inv. FPK: “1401 Mui bien te pensamos 1920 acuarela&#13;
12 x 12”.</text>
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            <name>Is Part Of</name>
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              <elementText elementTextId="46944">
                <text>Fundación Pan Klub, Buenos Aires</text>
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            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
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              <elementText elementTextId="46945">
                <text>Fundación Pan Klub - Museo Xul Solar</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pegaso del sol</text>
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Acuarela y gouache sobre papel&#13;
montado sobre cartulina&#13;
15,5 x 21 cm</text>
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            <name>Identifier</name>
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                <text>Firma e inscripciones&#13;
e.i.i. “XUL”&#13;
Inscripciones de terceros&#13;
Sin información&#13;
Documentación&#13;
AXS, primera idea para Pegaso del sol, en Carnet de&#13;
apuntes n. 1, [1920], AD-FPK.&#13;
Inv. FPK: “893 Pegaso del Sol 1922 acuarela&#13;
15 1/2 x 21”.&#13;
Exposiciones&#13;
Settima Esposizione. Mostra Personale dello Scultore&#13;
Arturo Martini e del Pittore Alessandro Xul Solari, Galleria&#13;
Arte, Milán, 27 de noviembre - 16 de diciembre&#13;
de 1920, n. 40 [Il Pegaso solare].&#13;
Cuatro aspectos de la pintura argentina contemporánea:&#13;
Xul Solar. Deira Noé Seguí De la Vega. Bonevardi&#13;
Hlito Puente. García Herce Warck Meister Young, Madrid,&#13;
Pabellón Latinoamericano. ARCO 97/Fondo Nacional&#13;
de las Artes, 1997.&#13;
Xul Solar, Buenos Aires, Museo Nacional de Bellas Artes,&#13;
septiembre de 1998.</text>
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            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
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              <elementText elementTextId="46930">
                <text>Xul Solar. Colección de obras del museo, Buenos Aires, Fundación Pan Klub - Museo Xul Solar, 1990, reprod. p. 56.&#13;
Xul Solar. Collection of the Art Works in the Museum, Buenos Aires, Pan Klub Foundation - Xul Solar Museum, 1990, reprod. p. 56.&#13;
FÈVRE, Fermín, Xul Solar, Buenos Aires, Bifronte, El Ateneo, 2000, reprod. p. 36.&#13;
BORGES, Jorge Luis, “Recuerdos de mi amigo Xul Solar”, Arte y Parte. Revista de Arte España, Portugal e Iberoamérica, Santander, España, n. 37, febrero-marzo, 2002, p. 42-56, reprod. p. 44.&#13;
A.A.V.V., Xul Solar, Buenos Aires, Fundación Pan Klub - Museo Xul Solar, 2018, reprod. p. 60.</text>
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            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Colección Museo Xul Solar</text>
              </elementText>
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          <element elementId="91">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="46932">
                <text>Fundación Pan Klub - Museo Xul Solar</text>
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                <text>Xul Solar, Alejandro (1887-1963)</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Sin título</text>
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                <text>Xul Solar, Alejandro, 1887-1963</text>
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          <element elementId="56">
            <name>Date Created</name>
            <description>Date of creation of the resource.</description>
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                <text> [1920?]</text>
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            <name>Alternative Title</name>
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                <text>Ángel</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="46909">
                <text>Sin título, [1920?]; 1930&#13;
Óleo sobre cartón&#13;
21,7 x 22,2 cm</text>
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            <name>Identifier</name>
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              <elementText elementTextId="46910">
                <text>AXS_01762</text>
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            </elementTextContainer>
          </element>
          <element elementId="87">
            <name>Audience Education Level</name>
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              <elementText elementTextId="46911">
                <text>Número de catálogo razonado: 0360</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="46912">
                <text>pinturas</text>
              </elementText>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>pintura</text>
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            <description>The material or physical carrier of the resource.</description>
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e.i.i “.Xul”; e.i.i. “1930”&#13;
Inscripciones de terceros&#13;
En el reverso: “ÁNGEL - o / 21,5 X 22 1930” [anónimo];&#13;
“22” [anónimo]; “1272” [anónimo] y “662” [anónimo].&#13;
Documentación&#13;
Inv. FPK: “1272 Ángel 1930 Oleo 22,5 x 22”.&#13;
Exposiciones&#13;
[Settima Esposizione. Mostra Personale dello Scultore&#13;
Arturo Martini e del Pittore Alessandro Xul Solari, Galleria&#13;
Arte, Milán, 27 de noviembre - 16 de diciembre&#13;
de 1920, n. 48.]&#13;
Notas&#13;
Por debajo de la firma puede verse otra firma preexistente.&#13;
Esta sobrescritura hace pensar que la obra&#13;
fue posdatada y/o intervenida por el artista en 1930.&#13;
Esto tiene sentido ya que por sus características estilísticas&#13;
se relaciona directamente con el conjunto de&#13;
óleos realizados a partir de 1918, como por ejemplo&#13;
Atavío (Cat. 208), y lo hace estilísticamente, por el tratamiento&#13;
de la pincelada y por la paleta empleada,&#13;
obras con las que comparte además casi las mismas&#13;
medidas, esto sin contar que la figura del arcángel&#13;
Gabriel es muy similar a la figura que aparece en el&#13;
primer plano de Atavío. Por otra parte, la arquitectura&#13;
representada en el lateral izquierdo de la pintura, se&#13;
relaciona directamente con las construcciones que&#13;
aparecen en otra obra –véase Cat. 356– y en un boceto&#13;
–Cat. 290– realizados probablemente durante su&#13;
estancia en Venecia en 1920. Asimismo, en su exposición&#13;
en Milán, con el n. 48, expuso un óleo titulado&#13;
Annunciazione, por lo que aquí hemos incluido dicha&#13;
exposición para plantear la posibilidad de que se trate&#13;
de la misma obra.</text>
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            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Fundación Pan Klub, Buenos Aires</text>
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                <text>Fundación Pan Klub - Museo Xul Solar</text>
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