Hermenegildo Anglada-Camarasa

Acquired by the mother of the present owner in the 1960s

The panel is flat and even. There is a tiny hole in the centre near the extreme upper edge (visible in the catalogue illustration), which could be original to the work, and some lines of hairline craquelure in the lower part of the branch of the thicker tree (just visible in the catalogue illustration). There are no signs of retouching visible under ultraviolet light. Overall this work is in very good original condition, and the artist's distinctive impasto is beautifully preserved Held in a simple silver-painted and gilt frame. The greens of the foliage are deeper, and the blue-purple-brown strokes of the soil are more defined, than in the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

When Anglada-Camarasa settled in Port Pollenca in 1914, he turned to landscape painting, developing a progressive and experimental rather than realistic style. This first Majorcan period (1914-1936) coincides with a major change in the artist's technique. Colour was still his primary concern, however he moved away from the use of glazes, instead applying paint thickly onto the canvas directly from the tube, and developing in the process an array of striking colour combinations.

This work relates to a period when the artist’s international reputation was well established, having exhibited in Latin America and the US in the preceding years, culminating at the Carnegie Institute of New York in 1925. For this exhibition he had sent a collection of his newest work to hang alongside works by Paul Signac, Henry Le Sidaner and Claude Monet.