Browse Items (3223 total)
Sort by:
Third illustration of act X, by Alcalá Iberri (2004)
Alisa le pide a su hija que no vuelva a recibir a Celestina
Second illustration of act X, by Alcalá Iberri (2004)
El mal de amor de Melibea
First illustration of act X, by Alcalá Iberri (2004)
Melibea le confiesa a Celestina su mal de amor
Illustration of act IX, by Alcalá Iberri (2004)
Elicia discute con Sempronio
Illustration of act VIII, by Alcalá Iberri (2004)
Sempronio da consejos a Calisto
Illustration of act VII, by Alcalá Iberri (2004)
Celestina invita a Pármeno a entrar a la alcoba de Areúsa
Illustration of act VI, by Alcalá Iberri (2004)
Entra Celestina en casa de Calisto, quien corre a su encuentro
Illustration of act V, by Alcalá Iberri (2004)
Llega Celestina a su casa, donde le espera Sempronio
Illustration of act IV, by Alcalá Iberri (2004)
Celestina aborda el tema del gentil hombre con Melibea
Illustration of act III, by Alcalá Iberri (2004)
Celestina conversa con Sempronio y Elicia
Second illustration of act I, by Alcalá Iberri (2004)
Celestina recibe las monedas de oro de Calisto
First illustration of act I, by Alcalá Iberri (2004)
Calisto recrimina a Sempronio
Illustration, by Alcalá Iberri (2004)
Calisto y Melibea
Cover of the University of Wisconsin Press edition: Madison, 1968
English translation.
The cover features a simple, slightly cartoonish representation of a woman's face, likely meant to represent Celestina, but it is ambiguous enough that it could also be interpreted as any of the female characters.
The cover features a simple, slightly cartoonish representation of a woman's face, likely meant to represent Celestina, but it is ambiguous enough that it could also be interpreted as any of the female characters.
The Black Lady (La dama negra), cover of the La novela de hoy edition (1925)
La novela de hoy is a series of popular novels from the 1920s and 1930s that are characterized by noteworthy covers that sometimes have an erotic theme.
In this case, although it is a work of horror, the lady's representation corresponds to that of…
In this case, although it is a work of horror, the lady's representation corresponds to that of…
A Couple in Trouble (Polvareda conyugal), cover of the La novela de hoy edition (1929)
La novela de hoy is a series of popular novels from the 1920s and 1930s that are characterized by noteworthy covers that sometimes have an erotic theme.The character of the old witch is an allusion to the work by HartzenbuschMother Celestina's…
Provenza Street (La calle de Provenza), cover of La novela de hoy edition (1928)
La novela de hoy is a series of popular novels from the 1920s and 1930s that are characterized by noteworthy covers that sometimes have an erotic theme.
Note that it represents a modern procuress or brothel keeper that does not correspond with the…
Note that it represents a modern procuress or brothel keeper that does not correspond with the…
The Horror (Lo horrible), cover ofLa novela de hoy edition (1927)
La novela de hoy is a series of popular novels from the 1920s and 1930s that are characterized by noteworthy covers that sometimes have an erotic theme. See related image for more details.
Lady Milagros (Doña Milagros), cover of La novela de hoy, by Pujol(1927)
La novela de hoy is a series of popular novels from the 1920s and 1930s that are characterized by noteworthy covers that sometimes have an erotic theme.
In this case it consists of the opposite representation of a procuress since she is an old woman…
In this case it consists of the opposite representation of a procuress since she is an old woman…
Engraving from Valencia 1518 depicting "Alonso de Proaza corrector de la impresión" (Alonso de Proaza corrector of printing)
Image of a person writing at a desk with a quill in his hand.
Engraving from Valencia (1518) depicting "El autor disculpándose" y "Concluye el autor" (The author apologizes; The author concludes)
This image depicts the author, supposedly Rojas, dressed as a university student. Plants in the background. This image is often labeled as "the author as a young man" to distinguish it from the image of the author in the Valencia (1529) edition by…
The Allegory of Avarice, by Moreelse (1621)
The subject of the greedy or usurer old woman is indirectly related to the subject of the procuress, since it uses the same physical prototype.See painting:Vieja usurera, de Ribera (1638).Here the presence of a second character evokes Parmeno's…
Procuring (Proxenetismo), by Meid (1914)
Instead of a female procuress, the artist Hans Meid shows a procurer offering her protegée to another man.
The Seducer, by Zichy (1891)
A young woman sits on a man's lap. An old procuress stands behind the young woman while holding a glass.
Love letter, anonymous (1550, c.)
French Art, second half of the 16th century.
Erotic scenes, by Filippuccio (1310, c.)
This fresco painting portrays a domestic scene. There is a couple in bed and a woman on the corner. The latter could either be their maid or the woman's procuress.
Woman Pulling Up Her Stocking, by Toulouse-Lautrec (1894)
Other title: Stocking
The concert, by Traversi (1750, c.)
A young woman in the center of the painting. To his left, an old woman holding his hand. There are musicians around him and a girl on the right with a dog.
Original title: il concerto (Italian)
Original title: il concerto (Italian)
Majas and Celestina on a Balcony, by Alenza y Nieto (1834)
Original title: Majas y Celestina en el balcón ("Majas and Celestina on a Balcony").
Note the procuress' enlightening, hook-shaped finger, as well as the handkerchief in the left hand of the seated woman who appears to be crying.
Note the procuress' enlightening, hook-shaped finger, as well as the handkerchief in the left hand of the seated woman who appears to be crying.
Plate painted with gallant scene and procuress, anonymous (1700 c.)
A plate with a scene of a suitor and a young woman; a procuress facilitating the negotiation behind.
Illustration of a procuress from the bookWomen's Dialogue (Diálogo de las mujeres), by Castillejo (1600)
Generic image of a woman. Note that she does not have her hair covered nor any identifiable accessory typical of a procuress. She has something unidentifiable on her waste.Transcription of the passage of the procuresses, fromCervantes…
The Date, by de Saavedra (1846)
Although a Celestina does not appear in the painting, its composition resembles the prototype that Goya started with his majas on the balcony accompanied by their procuress. This is due to her position on the balcony and the presence of an older…
Un caballero encendiendo una pipa en una vela
Fragmento del cuadro. Nótese la mujer vieja detrás. La escena parece corresponder al modelo de "marrymaking" o reunión con música, comida y bebida en ambientes burdelarios, muy frecuente en la pintura holandesa de la época
On the game, by Gutiérrez Solana (1916, c.)
Original title: "Mujeres de la vida"
A group of young women, supposedly prostitutes, and behind them an older woman, that could be their procuress.
A group of young women, supposedly prostitutes, and behind them an older woman, that could be their procuress.
Cover of the Selector edition: Mexico City, 2004
Cover of a modern edition, from the Clásicos Juveniles collection.
Postage stamp from Equatorial Guinea (1981, c.)
Postage stamp with copy of the famous painting Celestina, by Picasso (1904).
Cover of the Penguin Books edition: Baltimore, 1964
A banner is carried by the two figures -one male and one female- bearing the inscription: "como quien sale a justar" ("as one who goes out to fair"). The man and the woman are also holding up a sheaf of wheat or wild flowers. In the background, a…
Una pareja, escena galante en un parque, de Janneck (1730 c.)
Una pareja sentados en una mesa con la chaperona o alcahueta vigilando la interacción.
Photo series of The Story of Melibea(La historia de Melibea), byConstantinou (2014, c.)
Series made byAndreas Constantinoucomposed of nine photos of a model that poses as Melibea. According to the photographer, "My inspiration came after visiting Salamanca and the garden where the story took place, the fiancé (now husband) of my best…
Photo in the Garden of Calixto y Melibea, by Culla (2016)
A photo of two people, one of them acting in an accusing or threatening way, in the Garden of Calixto and Melibea, on a travel blog by Daniel de Culla.
Cover of the Ayrinti edition: Istanbul, 2016
Turkish translation.
Fatherly Advice, by Wille (1765)
The moralizing title hides the fact that the man has no parental relationship with the girl. According to the Philadelphia Museum, a viewpoint of the time would understand very well that the subjects of the painting are a procuress, her protégé and a…
Cover of the De Gasso Hnos edition: Barcelona, 1973
A greyscale drawing of Celestina possibly casting the spell from the third act, positioned against an orange background.
They do not want to, by Goya (1810, c.)
Another engraving by Goya based on the social effects of the war between France and Spain. An interpretation of the Prado Museum names the characters as a young prostitute, alasciviousman, and a celestinesque old woman. This is an interpretation of…
In a Trap, by Alenza y Nieto (1835, c.)
A man kneeled down in front of two ruffians and two young girls (prostitutes perhaps). On the left, an old procuress.
Other title: En el garlito
Other title: En el garlito
Lo peor es pedir, de Goya (1812)
Una escena durante la guerra entre Francia y España, trantando de cuestiones moralizantes de mantener la honra y morir de hambre, o vender el cuerpo y sobrevivir. Siguiendo el comentario del grabado del Museo del Prado, la mujer vieja que aparece…
Cover of the Editorial Vasco Americana edition: Bilbao, 1971
A juvenile edition containing a few colour illustrations of the episodes. This is a rare edition.
The cover features Melibea seated on a bench in the foreground while Calisto stands behind her, both looking towards the reader. A spinning wheel is…
The cover features Melibea seated on a bench in the foreground while Calisto stands behind her, both looking towards the reader. A spinning wheel is…
Still 7 The Lusty Andalusian (La lozana andaluza), by Chámez (1983)
Clarina and a knight
Still 6 The Lusty Andalusian (La lozana andaluza), byChámez(1983)
The heroine and knight.
Still 5 The Lusty Andalusian(La lozana andaluza),by Chámez(1983)
The heroine and Clarina
Still 4 The Lusty Andalusian (La lozana andaluza), by Chámez (1983)
The heroine's nighttime visits.
Still 2 The Lusty Andalusian (La lozana andaluza),by Chámez(1983)
The heroine and Rampín.
Representation of the Colegio del Pilar, Madrid, by Pato, 2011
Estable Theater Group of the Association of Former Students of Colegio del Pilar
Young woman, old woman, by Danto (1960)
Woodblock representation inspired by Goya's work: Maja y Celestina from 1824-25, featuring a procuress and her protégé.
Representation of the Aedo Theatre, Seville, 2016-2017
Season 2016-2017 School campaign for young spectators. Public: E.S.O. Bachillerato students and adults. Duration: 70 min.
Preliminary material (II) of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Preliminary material (I) of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Cover of the Molino edition: Barcelona, 1942
A representation of Celestina. Seated against a stone wall and looking to her right, with her open hand resting on one knee, she gives the impression that she is begging for alms in the street. The white veil and dark clothing recalls her tendency to…
Blue, Celestina self-portrait, by Lee-Warne (2015)
A self-portrait by the photographer Wendy Lee-Warne in the style of the famous painting by Picasso, La Celestina. While she worked on a photographic project whose them was "blue," the photographer's inspiration came from the famous painting and she…
An Old Woman, by Ramos (1900, c.)
Engraving byJosé García Ramos,where an old woman can be seen in the middle of a street. In the foreground on the right there is a dog and in the background on the left a silhouette of a person wearing a hat.In Celestinesca, Vol. 26, No.…
First illustration from act I from the Paris edition (1949)
Illustration of Celestina and a young man, perhaps Sempronio or Calisto, walking outside, with the city in the background as a symbol of the young rich men.
Third illustration from act I from the Paris edition (1949)
Illustration that corresponds to the episode where Celestina brings Sempronio to her house so he can have sexual relations with Elicia and another client hidden in the background.
Fourth illustration from act I from the Paris edition (1949)
An illustration of Celestina undressing a young woman who is hiding her eyes, before two men, in the Les Bibliophiles de France version.
Fifth illustration from act I from the Paris edition (1949)
Illustration from the edition Les Bibliophiles de France, made by Maurice Lalau.
Sixth illustration from act I from the Paris edition (1949)
A couple that looks like Sempronio and Elicia having sexual relations while Celestina faces the fire while cooking or perhaps preparing her spell for the string.
First illustration from act II from the Paris edition (1949)
Calisto descending some stairs with one of his servants, behind them a chair and a book are left abandoned in the courtyard.
Second illustration from act II from the Paris edition (1949)
Market scene, possibly an illustration of Lucrecia carrying out her domestic chores for Melibea's house. Melibea appears in La Celestina of Les Bibliophiles de France.
First illustration from act III from the Paris edition (1949)
Celestina walking down the street to meet Calisto. Two beggars can be seen on the corner, perhaps as a reference to the previous victims of Celestina's plotting.
Second illustration from act III from the Paris edition (1949)
Illustration of Areúsa and Elicia (?) in Areúsa's bed talking.
Third illustration from act III from the Paris edition (1949)
Illustration of Celestina's spell when she calls upon the devil to help her with tricking Melibea with the string.
First illustration from act IV from the Paris edition (1949)
Celestina travelling through what appears to be Melibea's garden with the goal of selling her the string.
Second illustration from act VIII from the Paris edition (1949)
Sempronio and Areúsa.
Third illustration from act VIII from the Paris edition (1949)
Calisto speaking with Sempronio.
Fourth illustration from act VIII from the Paris edition (1949)
Illustration that appears in the first volume of La Celestina of Les Bibliophiles de France. It seems to refer to Sempronio and Pármeno conspiring against Calisto. Some images come from ebay.fr and others from googlebooks.com.
Title page from the second volume from the Paris edition (1949)
Title page from the second volume of La Celestina, translated to French by Les Bibliophiles de France, illustrated by Maurice Lalau. Certain images come from ebay.fr and others from googlebooks.com.
Fifth illustration from act VIII from the Paris edition (1949)
Illustration perhaps of Elicia or Areusa from the French edition Les Bibliophiles de France, illustrated by Maurice Lalau.
Illustration of the lovers' dinner from the Paris edition (1949)
Illustration by Maurice Lalau, made as part of the Les Bibliophiles de France edition.
First illustration from act XIV from the Paris edition (1949)
Illustration by Maurice Lalau, made for the French edition of La Celestina, of Les Bibliophiles de France.
Illustration of act XXI of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act XX of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act XVIII of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act XVII of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act XVI of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act XV of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Second illustration of act XIV of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
First illustration of act XIV of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola