- 37
Francis Campbell Boileau Cadell, R.S.A., R.S.W.
Description
- Francis Campbell Boileau Cadell, R.S.A., R.S.W.
- Florian's Café, Venice
- signed, dated and inscribed l.r.: F.C.B. Cadell - 10 / Venice
- oil on panel
- 45 by 36.8 cm., 17¾ by 14½ in.
Provenance
The Scottish Gallery, London;
Portland Gallery, London;
Private collection
Literature
Condition
"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
During his stay, Cadell worked in both oil and watercolour, eagerly absorbing all aspects of the city, often recorded in on the spot sketches, en plein air. He studied the canals and boats; effects of glistening sunshine on water; the architectural splendour of church interiors and buildings; and also the hustle and bustle of the city’s population. St Mark’s Square, and the famous Florian’s Café in particular, frequented by wealthy tourists and locals alike was a subject he painted on a number of occasions (a similar painting was sold in these rooms: Florian’s Café, Venice, lot 61, The Scottish Sale, 22 April 2010). Cadell’s paintings captured the elegance of the Edwardian era; here we see a group of ladies gathered in fashionable attire – Cadell had a great eye for fashion and beauty, and these ladies would be incorporated into the design of his paintings for decades to come (see lots 11 and 29).
Just as café society had fascinated the artists of the Belle Époque, Cadell was drawn by the tumultuous riot of colourful fabrics, décor and the elegant silhouettes of the customers. From his viewpoint before the sun-bathed café terrace, Cadell captures the swirling movement of the busy square; an Italian flag in flashes of bright red and green sweeps down from the top right hand corner of the picture, fluttering above the diners’ hats, the distinctive ornate façade of St Mark’s Basilica beyond.
On his return to Edinburgh, his patron Patrick Ford selected six works to cover his £150 investment, and then chose a further four before the subsequent exhibition at Aitken Dott, Edinburgh. The exhibition was only a partial success, the works were such a departure that they proved a little too progressive for a contemporary audience. It was, however, a pivotal moment in his career and established Cadell as one of the stars of the contemporary Scottish scene.