FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W.
ADAM AND EVE
signed l.r.: F.C.B. Cadell; inscribed on the reverse: Adam and Eve./by/ F.C.B. Cadell./ Absorbent ground. NEVER varnish/ F.C.B.C.
oil on board
38 by 43cm., 17 by 15in.
The board is in good stable order and providing a sound support. The work appears to be in very good overall condition. Some very faint craquelure to the body of Adam. Some specks of surface dirt.
Examination under ultraviolet light reveals some minor spots of retouching to the arm and body of Adam. Some further spots of retouching to the leaves in the upper centre of the composition.
Held in an attractive gilt 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.
Pearson and Westergaard, Glasgow;
Private Collection, Scotland;
Sotheby's, Gleneagles, 27 August 2003, lot 1220;
MacConnal-Mason, London, where purchased by the present owner
Figurative and imaginative subjects are extremely rare in the oeuvre of Francis Campbell Boileau Cadell. Although better-known for his landscapes and still-lifes, Adam and Eve demonstrates Cadell’s ability to employ an original and contemporary approach to traditional subject matter. Despite the biblical title, Cadell’s primary motive is not to illustrate a narrative, but to explore the expressive role of colour, line and form in creating a dynamic and rhythmic pictorial arrangement. Painted in the late 1920s, Adam and Eve captures the robust sensual glamour of Art Deco through its sharp delineation of form and daring contrasts. Cadell painted a small number of works with mythological and biblical subjects during the 1930s, including Venus and Adonis of 1936, which was exhibited at the Royal Society of Watercolour Artists in 1938.
Nude figures featured in several sensitive studies by Cadell, including Nude, Reflections of 1912 and Negro (Pensive) of circa 1922. These works demonstrate the artists’ adept grasp of colour and light, particularly evident in the subtleties of tone in the respective sitters’ skins. While Nude, Reflections has a fluid, impressionistic quality, Negro (Pensive) bears certain similarities with the figure of Adam in the present work. Both focus on male musculature, and both are delineated, though Negro (Pensive) is far more naturalistic.