Hermenegildo Anglada-Camarasa

Gabriel Séailles (by 1909); thence by descent

Paris, Salon de la Société Nationale des Beaux Arts, 1903, no. 26 (as Entre loge et promenoir, théâtre)

Eduardo López Chávarri, 'Las Provincias', De Arte, Valencia, 28 August 1904
Ugo Monneret de Villard, 'Anglada', Vita d'Arte, vol. 1, no. 2, February 1908, pp. 80-97
Henri Marcel, 'Hermen Anglada', Gazette des Beaux-Arts, Paris, 1909, pp. 106-117
Augusto Gozalbo, 'Hermen Anglada y Camarasa', Athinae. Revista Argentina de Bellas Artes, no. 31, March 1911, pp. 65-73
Francesc Fontbona & Francesc Miralles, Anglada-Camarasa, Barcelona, 1981, p. 244, Cat B80, catalogued & illustrated (as Entre loge et promenoir)

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The artist's panel has slight variation from an even plane but is certainly providing a secure and sound support and no structural intervention is required. Paint surface The paint surface has an extensive craquelure pattern which has been caused by the natural drying processes of the artist's materials. These lines of craquelure are stable and not progressive and are part of the natural drying processes of the artist's materials and are predominately in the darker pigments. The paint surface has an even varnish layer. Inspection under ultraviolet light shows fine lines of inpainting applied to reduce the visual effect of the craquelure and other small retouchings around the framing edges. Summary The painting is therefore in reasonably good and stable condition but it should be noted that there is an overall pattern of drying craquelure.
"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."

This work dates from Anglada's first extended stay in Paris, between 1897-1904, during which he developed and indulged his taste for the demi-mondaine lifestyle to be enjoyed in the city.

Typically, Anglada's figures are represented wearing elegant clothes and large hats, their identity steeped in ambiguity. Though ostensibly society women, their shadowy, seductive presence calls to mind the high-class courtisanes who mingled with fashionable society. In the present work, the attention of three spectre-like women leaving their theatre balcony is drawn by an object or person outside the picture plane, adding to the sense of mystery. Anglada's atmospheric, almost eerie nocturne is punctuated only by the bright lights filtering in from the auditorium.

Stylistically and ideologically, Anglada was inextricably linked to Catalan Modernismo, in itself a branch of the Art Nouveau currents prevailing in the fine and decorative arts at the turn of the century. Following Anglada's move to Paris in 1894, he abandoned the influence of his teacher at the Llotja School in Barcelona, Modest Urgell, to illustrate fin-de-siècle decadence. Immersing himself in the music and dance halls and cafés-concerts of Paris, Anglada-Camarasa created elegant and provocative images of modern life.