Collection Puente Pavés

Of this work two of the originals are preserved in plaster, one in a private collection and other one in the Museum of Pontevedra.

It's a work that Asorey does during his stay in Madrid, where he had close friends with Romero de Torres. It's remarkable that he artist departs from your usual themes; this is due to his knowledge of "costumbrist" art. Already during his stay in the Basque Provinces he does works that can be classified they in the costumbrism, but they are always representations of royal scenes. In case of the Galician scenes, they are understood and used for extol the land and as social denunciation, though in other cases they have a humorous tinge. In case of this work it's an essay of virtuosity, but understanding the scene as something lacking in sense (it's rather a satire).

The presence of the hollow is prominent also, opposite to the robustness and the compact masses that are going to dominate Asorey's work.

The work represents to a guitarist sat on a pedestal with lateral garlands and a little devil, on the man's legs appears a woman inclined down in a complicated turn, holding in her left arm an exquisitely worked (as the jacket of the man), whose fringes spread out over the pedestal. On the right side on the floor there is a cup of wine.

The final work is in boxwood with a pedestal of granite; it's signed, dated and dedicated: "To the great friend José Puente Castro. Franco. Asorey 1914".

"Al gran amigo José Puente Castro. Franco. Asorey 1914".