David Bomberg

Fischer Fine Art, London
Sale, Christie's, London, 13 June 1980, lot 110
Ivor Braka, London, whence acquired by the present owner

The canvas is unlined and there is slight undulation in all but the lower right corner. There is a tiny spot of paint loss on the right edge in the lower right quadrant. There are a few lines of light craquelure in the lower right and upper right quadrants, one in the upper left quadrant, and a larger line running arcoss the centre of the paint surface. Examination under ultra-violet light reveals a few lines of retouching to an area of light craquelure in the upper right quadrant along the mountain range, and to the upper edge and right edges in the upper right quadrant. Held in a gilded wooden frame.
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The paintings that Bomberg produced in Spain in 1934 and 1935 have been quite rightly the focus of high levels of interest amongst collectors and critics for many years, and in paintings such as Storm over Penarrubia (Private Collection) and Valley of La Hermida, Picos de Europa, Asturias (Sheffield City Art Galleries), we can see how Bomberg had managed to find a subject which allowed him free reign for his talents. However, the worsening political situation in Spain was a cause of serious concern, and by the end of October 1935 the impending civil war forced Bomberg to remove his family. Packing and leaving at short notice, they managed to get berths in early November on a small cargo boat from Santander which turned out to be the last leaving for England before the outbreak of war.

This sudden break to a period of successful painting hit Bomberg hard, and for an artist whose temperament could be easily disturbed, the return to London was not easy. Not only was his painting disrupted, but Bomberg was deeply worried by events in Spain and their potential effect on his many friends there. Financial concerns added to his worries and during 1936, Bomberg expended a good deal of energy in trying to secure public commissions, but to no avail. In June of that year he held an exhibition of recent work at the Cooling Galleries, but despite some positive reviews, not a single work was sold. Knowing full well that these paintings marked a significant point in his art, Bomberg was deeply disappointed by this. In the summer of 1936 he and Lillian managed to arrange a month long painting trip to Wales, staying in the mountainous area near Beddgelert. The weather was poor, to such an extent that they abandoned the dilapidated cottage they had rented for a tent, despite a lack of blankets and sleeping bags. Painting opportunities were thus limited, but the few works that resulted do catch the momentary changes in light and cloud that are so much a feature of mountainous regions. The paint handling of the present work is particularly impressive, combining Bomberg's deft manipulation of the medium with his distinctive sense of colour to create an image that perfectly captures the ever-changing conditions of the Welsh mountains.