Reuven Rubin

This lot is accompanied by copies of 6 letters exchanged between the artist and Sir Frank Boyd Merriman discussing the loan of this work to the Arthur Tooth Gallery in London in 1930 for an exhibition of Rubin's recent work.

Sir Frank Boyd Merriman, OBE (acquired directly from the artist in 1929)
The Hon Violet Merriman OBE, daughter of the above
Thence by descent

London, Arthur Tooth Gallery, 1930

Condition is good. There are frame abrasions to extreme edges, particularly top edge and a few small lines of craquelure in some of the thicker impasto. A faint scratch to the left of the signature and a small paint loss upper right which corresponds to a repaired tear visible on reverse. There is some retouching that corresponds with this and what looks like another spot of retouching upper center but otherwise no major issues.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The year Rubin executed this work, he drastically shifted his handling of landscapes with an epiphany brought on by the presence of his new wife, Esther. In his own words, "Toward the end of 1929 my painting again underwent a great change. Till then the larger part of my work had consisted of figure compositions in a serene, primitive setting. Now my new life and my hopes for the future made me look more closely at the actual realities round me: the landscape, the fruit and flowers of the country. Until that time I had not painted landscapes proper but rather had created formalized, even idealized statements that were not tied to any specific time. . . But suddenly the landscape and flowers became a living reality for me. I can recall exactly when this happened to me. I was on my way to Jerusalem with Esther on one of our many trips together. We approached the beautiful village of Abu Ghosh, surrounded by ancient olive trees. I stopped the car and stood amazed, for I saw the countryside in a completely different way than I ever had before. It seemed to me that the landscape and its olive trees were leaning toward me, embracing me. The colors, the light, the shimmering  atmosphere in which the landscape seemed to breathe and live - it was like a revelation. . . In my studio afterward, I would cover many canvases attempting to recapture my feelings at the moment I "discovered" the beauty of the natural landscape. Continually I saw in my mind's eye the greens, the greys, the ochres of the hillsides, the blues of the sky and the shimmering of the olive trees that created a subtle symphony of color." (Reuven Rubin, Rubin, My Life, My Art, New York, n.d., p. 186-189)