- 19
Joaquín Sorolla
Estimate
280,000 - 350,000 GBP
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Description
- Oleanders, the Courtyard of the Artist's Home
- signed J.Sorolla B lower right
- oil on canvas
- 105 by 82cm., 41¼ by 32in.
Provenance
Estate of the artist (serie A, no. 17)
María Clotilde Sorolla García (the artist's daughter, 1890-1956); thence by descent
María Clotilde Sorolla García (the artist's daughter, 1890-1956); thence by descent
Exhibited
Valencia, Exposición Sorolla: patrocinada por Ayuntamiento de Valencia, 1944, no. 24
Madrid, Círculo de Bellas Artes de Madrid, Sala Goya, Sorolla en el Círculo de Bellas Artes de Madrid, 46 jardínes de Sorolla, 1958, no. 33
Madrid, Casón del Buen Retiro, Joaquín Sorolla. Primer centenario de su nacimiento, 1963, no. 126
Madrid, Museo Thyssen-Bornemisza and Fundación Caja Madrid; Paris, Petit Palais Musée des Beaux-Arts de la Ville de Paris, Sargent/Sorolla, 2006-07, no. 112, illustrated in the catalogue
Lausanne, Fondation de l’Hermitage, El Modernismo. De Sorolla à Picasso, 1880-1918, 2011, no. 89, illustrated in the catalogue (with incorrect dimensions)
Ferrara, Palazzo dei Diamanti; Granada, Museo de Bellas Artes, Alhambra; Madrid, Museo Sorolla; Sorolla. Giardini di luce, 2012-13, no. 63, illustrated in the catalogue
Madrid, Círculo de Bellas Artes de Madrid, Sala Goya, Sorolla en el Círculo de Bellas Artes de Madrid, 46 jardínes de Sorolla, 1958, no. 33
Madrid, Casón del Buen Retiro, Joaquín Sorolla. Primer centenario de su nacimiento, 1963, no. 126
Madrid, Museo Thyssen-Bornemisza and Fundación Caja Madrid; Paris, Petit Palais Musée des Beaux-Arts de la Ville de Paris, Sargent/Sorolla, 2006-07, no. 112, illustrated in the catalogue
Lausanne, Fondation de l’Hermitage, El Modernismo. De Sorolla à Picasso, 1880-1918, 2011, no. 89, illustrated in the catalogue (with incorrect dimensions)
Ferrara, Palazzo dei Diamanti; Granada, Museo de Bellas Artes, Alhambra; Madrid, Museo Sorolla; Sorolla. Giardini di luce, 2012-13, no. 63, illustrated in the catalogue
Literature
Bernardino de Pantorba, La vida y la obra de Joaquín Sorolla. Estudio Biográfico y Crítico, Madrid, 1953, p. 156, no. 750, catalogued (as Azaleas del jardín de la Casa Sorolla)
Blanca Pons-Sorolla, Joaquín Sorolla, Vida y Obra, 2001, p. 738, no. 291, catalogued; p. 484, cited; p. 487, illustrated
Blanca Pons-Sorolla, Joaquín Sorolla, London, 2005, p. 298, fig. 167, illustrated (with incorrect dimensions); p. 300, cited
Blanca Pons-Sorolla, Sorolla, The Masterworks, New York, 2012, p. 176, fig. 93, illustrated; p. 177, illustrated
Blanca Pons-Sorolla, Joaquín Sorolla, Vida y Obra, 2001, p. 738, no. 291, catalogued; p. 484, cited; p. 487, illustrated
Blanca Pons-Sorolla, Joaquín Sorolla, London, 2005, p. 298, fig. 167, illustrated (with incorrect dimensions); p. 300, cited
Blanca Pons-Sorolla, Sorolla, The Masterworks, New York, 2012, p. 176, fig. 93, illustrated; p. 177, illustrated
Condition
The canvas has not been lined. Apart from a very small spot of retouching near the centre of the right edge (visible under ultra-violet light), the work is in very good original condition, and ready to hang.
Presented in a gilt frame.
The colours are somewhat deeper and greener in reality 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."
"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."
Catalogue Note
Painted circa 1918, the present work is a view of the garden of Sorolla's house and studio at Paseo del General Martínez Campos, Madrid. Built to his own designs, Sorolla moved to the substantial property with his family in 1911 when his reputation as a painter was at its zenith. The building still with its surrounding gardens now houses the Museo Sorolla.
Sorolla first settled in Madrid with his young wife Clotilde in 1890 when they moved into a house and studio on the Plaza del Progreso. There Clotilde gave birth to their children María and Joaquín in 1890 and 1892. In search of a more ample dwelling and work space and prior to the birth of their child Elena in 1895, Sorolla moved the family to a more comfortable studio in the Pasaje de la Alhambra in 1894. In 1904 Sorolla moved his studio to Calle Miguel Ángel, before settling for good with his family at Paseo del General Martinez Campos seven years later, the setting of the present work.
Sorolla's construction of the studio along Martínez Campos coincided with the success of successive international exhibitions first in Paris in 1906, then in Germany in 1907, in London in 1908 and in New York, Buffalo and Boston in 1909 and Chicago and Rome in 1911. Flush from a string of highly lucrative sales of his work, particularly in the USA, he constructed a capacious family dwelling in the local style. Built to the highest standards it included a large airy studio, and was surrounded by terraced gardens in the design of which he took an especially keen interest. A series of enclosed inter-connected outdoor spaces, during the 'teens Sorolla took particular delight in recording glimpsed vistas of these ever changing natural backdrops, as in the present example.
Sorolla first settled in Madrid with his young wife Clotilde in 1890 when they moved into a house and studio on the Plaza del Progreso. There Clotilde gave birth to their children María and Joaquín in 1890 and 1892. In search of a more ample dwelling and work space and prior to the birth of their child Elena in 1895, Sorolla moved the family to a more comfortable studio in the Pasaje de la Alhambra in 1894. In 1904 Sorolla moved his studio to Calle Miguel Ángel, before settling for good with his family at Paseo del General Martinez Campos seven years later, the setting of the present work.
Sorolla's construction of the studio along Martínez Campos coincided with the success of successive international exhibitions first in Paris in 1906, then in Germany in 1907, in London in 1908 and in New York, Buffalo and Boston in 1909 and Chicago and Rome in 1911. Flush from a string of highly lucrative sales of his work, particularly in the USA, he constructed a capacious family dwelling in the local style. Built to the highest standards it included a large airy studio, and was surrounded by terraced gardens in the design of which he took an especially keen interest. A series of enclosed inter-connected outdoor spaces, during the 'teens Sorolla took particular delight in recording glimpsed vistas of these ever changing natural backdrops, as in the present example.