Francis Campbell Boileau Cadell R.S.A., R.S.W.

T. & R. Annan & Sons, Glasgow;
Private collection

STRUCTURE The canvas is in original condition, unlined. there is a horizontal scratch apparent in the upper right of the composition, which was probably made by the artist at the time of execution. there is some surface dirt and the painting may benefit from a light clean. ULTRAVIOLET No signs of restoration. FRAME Within a white painted Louis XIV style frame.
"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."

At the time this painting was executed, the Cadell family were living in Munich, where they had moved in 1906 following the illness of Cadell’s father. Bunty, as Cadell was known, had been supported by his parents in his ambitions to become a painter, having shown prodigious talent at a young age. After some training in Edinburgh, he travelled to Paris in 1899, aged just 16 to study at the Academie Julien and stayed in the city for three years. In contrast to the early painting by Peploe offered in this catalogue (see lot 73), this early work by Cadell, painted when the artist was 24 years of age, is of a much lighter and more decorative quality. The delightfully flickering, feathery brush strokes are reminiscent of the Impressionists who had been a significant influence on him at this time. There is already however, a bravura and confidence in the free handling of the paint which was to characterise his later work. The predominance of white tones in the painting provides us with a foretaste of his larger interior compositions which he went on to develop in the early part of the next decade.