José Gallegos Spanish, 1859-1917

Ernst Stroem, Helsinki
Purchased by the present owner in the early 1990s

The panel is sound. There is some infilling to the craquelure within the sky and along the lower edge of the work visible under ultraviolet light. There is a small spot of paint loss to the centre of the left edge and a few lines of craquelure (visible on close inspection), otherwise the paint surface is in good overall condition with areas of fine impasto. Held in a decorative plaster moulded 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."

Executed during or shortly after Gallegos's sojourn in Venice in 1886, this intricate sun-drenched glimpse of Venetian girls replenishing their pails with fresh water alongside one of the city's side canals hints at the artist's remaining stirrings of Impressionism while masterfully displaying the exquisite virtuosity for detail that would establish him as one of the most successful Spanish artists of his day.

La Aguadora, Venecia showcases Gallegos's customary virtuosity and skill in handling minute details and complex architectural perspectives brought to life with his irrepressible sense of colour, for which he received great critical acclaim. With his love of nature, Gallegos thrilled in taking the theatrical fabric of Venice with its verdant private gardens and balconies as his backdrop. Locating the present work on the Rio delle Torresele (Torresele Canal) in front of the entrance to the Corte Nuova in the Campiello, he populated his stage with the incidental activity of graceful young Venetian maids briefly sharing gossip while collecting water from a 15th Century vera da pozzo (well-head), always maintaining his emphasis on colour and light.