Hermenegildo Anglada-Camarasa

Rosa Campo de Vila, Pollensa, Mallorca (acquired from the artist circa 1951); thence by descent to the present owner 

Madrid, Homenaje a H. Anglada-Camarasa, Exposición Nacional de Bellas Artes, 1954  

Francesc Fontbona & Francesc Miralles, Anglada-Camarasa, Barcelona, 1981, p. 271, Cat D60, catalogued & illustrated (erroneously dated as circa 1923)

Original canvas. There appears to be some very minor retouching due to stabilising at the lower centre, (not visible under ultraviolet light). Apart from an area of paint shrinkage and stabilised lifting at the lower centre, some minor scattered flecks of discoloured varnish and a few scattered pinhead-sized flecks of paint loss, notably to the lower left corner, this work is in very good condition, with rich colours and deep tones. Held in a decorative, muted silver-painted moulded plaster and wood 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."

Painted in 1933, the present work is one of only a very few nocturnes executed by the artist in Mallorca.

Cala Murta is an inlet located on the south side of the rocky Formentor peninsula of the island. Covered in dwarf pines and fan palms and known for the beauty of its waters, this secluded area was a recurring source of inspiration for the artist. Anglada's fascination with the natural wonders of Mallorca followed the work of fellow painters who had been active on the island before him, notably the Catalan Joaquín Mir and the Belgian Symbolist painter William Degouve de Nuncques, both of whom used bright colours to capture its dramatic geological features. 

Following his time in Paris and in search of a quieter life Anglada-Camarasa returned to Spain to settle in Pollensa (Mallorca), close to Cala Murta. In 1831 he married Beatriz Huelin Rocamora and turned increasingly to an exclusive contemplation of the landscape. His retreat to Mallorca brought about a fundamental change in his technique. Colour remained his primary concern, however he moved away from the use of glazes, instead applying paint thickly on to the canvas directly from the tube, and developing in the process an array of striking colour combinations. The unusually selective palette, dominated by the cold, intense blue of the jagged cliffs and sea, juxtaposed with the delicate yellows and pinks of the full moon, add to the strength of expression and atmosphere seen in this work.