Hermenegildo Anglada-Camarasa

Concepción Llumà (by 1960); thence by descent to the present owner

Barcelona, Real Círculo Artístico, Instituto Barcelonés de Arte, Exposición-Homenaje H Anglada-Camarasa, 1955

Francesc Fontbona & Francesc Miralles, Anglada Camarasa, Barcelona, 1981, p. 277, no. D131, catalogued & illustrated

Original canvas. There are no signs of retouching visible under ultraviolet light. Apart from some very minor paint shrinkage in the outer petals of the the central red rose and some minor flecks of surface dirt near the lower right corner, this work is in very good condition, with fresh, clean colours and areas of strong impasto. Held in a simple, modern, 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."

The vibrant, multi-hued blooms radiate exuberantly from a pristine vase, to this day in Anglada's home in Pollença. Emphasis is placed on the decorative patterns created by the flattened, outstretched and schematised flowers and the contrast between light and dark. An admirer of pyrotechnic displays throughout his life, Anglada-Camarasa painted rhythmic, dynamically-extending patterns and bright colours that mimic the configurations made by the coloured flames and sparks of fireworks.

Painted in 1935, the present work dates from the end of Anglada's first Mallorcan phase, during which he abandoned his bohemian lifestyle, marrying for a third time and building a home in the outskirts of Port Pollença. Having spent much of his time engaged in domestic activities such as gardening during this first sojourn in Mallorca, it was around the time of the present work that he returned increasingly to still life painting and textural experimentation. 

Born in Barcelona, Anglada studied there at the Llotja School under Modest Urgell, before moving to Paris in 1894. His time in Paris and exposure to the works of artists such as Toulouse-Lautrec and Degas informed his often nocturnal portrayals of Parisian life. Seeking distance from the avant-garde circles of Paris, Anglada settled in Mallorca in 1914, remaining there until 1937, when he moved to Montserrat in Catalonia, before crossing the border into France two years later to flee the ravages of the Civil War.