Francis Campbell Boileau Cadell 1883-1937

Possibly Edinburgh, Royal Scottish Academy, 1933, no. 230 as Interior

Tom Hewlett, Cadell, The Life and Works of a Scottish Colourist 1883-1937, 1988, illus. p. 108

STRUCTURE This picture is unlined and in excellent original condition with strong colours throughout and areas of rich impasto. The paint surface appears to be stable and there are no signs of craquelure. The picture is clean and ready to hang. UNDER ULTRAVIOLET LIGHT There are no visible signs of retouching. FRAME This picture is contained in a gilt and plaster moulded 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."

The Open Window was painted in 1933 at Cadell's studio at 30 Regent Terrace, looking across the tree tops of the gardens of Holyrood House towards Arthur's Seat in the distance.  Cadell's move to Regent Terrace in a less fashionable part of Edinburgh from his rooms at Ainslie Terrace in the 'New Town', was precipitated by an unsuccessful exhibition in 1931 that left him no longer able to afford to live in the studio where he had painted several of his best interiors. During the Autumn of 1831 whilst Cadell was holding the ill fated exhibition at Parson's Galleries on Queen Street, he viewed several properties that were available for rent and finally decided upon 30 Regent Terrace. Although it was in a less salubrious location, the new apartment had its compensations, including more space for painting and storing pictures, a sunken bath and large sash windows opening onto panoramic views over the city that he loved. The present work is arguably the most significant interior he painted at Regent Terrace with the most dramatic view of Edinburgh that he painted.

Cadell had employed the compositional device of showing a view looking through an open window to the outside world as early as 1910 when he painted From the Balcony in Venice and in his interiors painted at his studio at Ainslie Place studio in the 1920s he often looked through open doors or at reflections in mirrors. This can be seen in Interior, The Red Chair of the late 1920s (Sotheby's, 26 April 2007, lot 110) and Interior with a Buddha (Sotheby's, 26 April 2007, lot 111). These compositions lead the eye of the viewer through the interior spaces by placing objects and pieces of furniture at pivotal positions to direct the focus of the spectator. This can be seen in The Open Window in which the blue armchair that appears in other interior paintings, was positioned to lead the eye from the simpler design of the dining chair in the immediate foreground, towards the frame of the window and the townscape beyond. The armchair occupies the hinterland between the two spaces within and beyond the invisible barrier of the window and suggests human occupancy in the interior space. Upon the chair is a blue and yellow garment which has been cast off by a female visitor to the studio and the chair itself takes on a character of its own with its soft sensual curves which contrast with the angularity of every other item in the room. The same device is also evident in a contemporary painting entitled 30 Regent Terrace, which depicts a differently upholstered curvaceous armchair and flowing silk robe in an interior of right angles and parallel lines.

The picture to the right of the window appears to be one of those painted by Cadell in Cassis, probably The White Villa, Cassis (Christie's, Scotland, 18 November 1993, lot 906) painted in the mid 1920s. This picture also depicts a townscape painted from an upper floor vantage, looking through a window.

Cadell's move to Regent Terrace stimulated a renewed interest in the city of Edinburgh for Cadell and at the Royal Scottish Academy in 1933, he exhibited a view of the Castle along with a painting simply entitled Interior which may be the present work. In the following year he painted Changing Edinburgh, the title of which suggests Cadell's desire to capture the spirit of his city as it altered and evolved.