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4 - Vitín Cortezo - Female costume sketch for the film *Música de ayer* - Handwritten inscription by the artist, in pencil, in the upper right corner: " 'Música de Ayer' - / Doña Lola - 3 - and 5 - / The Manager’s Office / at Apolo and Laura’s Dressing Room -". "Wool or scarf - / Braids -". Signed and dated 1958 in the lower right corner. Dimensions: 351 x 251 mm. This drawing features a small fabric swatch attached to the sheet with a pin, related to the outfit proposed by Vitín.
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Vitín Cortezo - Female costume sketch for the film *Música de ayer* - Handwritten inscription by the artist, in pencil, in the upper right corner: " 'Música de Ayer' - / Doña Lola - 3 - and 5 - / The Manager’s Office / at Apolo and Laura’s Dressing Room -". "Wool or scarf - / Braids -". Signed and dated 1958 in the lower right corner. Dimensions: 351 x 251 mm. This drawing features a small fabric swatch attached to the sheet with a pin, related to the outfit proposed by Vitín. Costume sketch for a female character in the Spanish film *Música de Ayer*, released in 1958 and directed by Juan de Orduña, produced by Producciones Orduña Films, in which Ana María Olaria plays the lead role of Laura Gayán. This women’s costume design in question must be the one that appears in the office of the Apolo Theater’s manager, following the car ride during which the tango song “El automóvil, mamá, es una cosa” is performed—sung by Saturnino M. Navarro in 1920, with lyrics by Carlos Arniches and another composer. Vitín Cortezo (or Víctor María Cortezo, Madrid, 1908–1978) was one of the multifaceted artists specializing in the design and composition of costume sketches, as well as a prominent set designer on the Spanish theater scene during the second and third quarters of the 20th century. His artistic career following the Spanish postwar period of that century—combined with his passion for drawing, painting, and fashion design, as well as his remarkable personality—led him to become a true icon of modernity in the stifling Francoist society, in addition to his status as a homosexual and anti-fascist, not to mention his affluent family background in the field of medicine. We would like to thank Ms. Laura Flores Camarero, from the Documentation Department of the Museo del Traje—Center for Ethnological Heritage Research in Madrid—for her invaluable assistance in identifying the creator of this collection.
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Yvonne Blake & Vitín Cortezo: Costume Designs for Film and Theater, 1958–1993Maison de ventes
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