Ramón Casas

Acquired by the great-uncle of the present owners by the 1970s

Isabel Coll, Ramón Casas, Catálogo Razonado, Murcia, 2002, p. 359, no. 474, catalogued & illustrated

The canvas has not been lined. Overall this work is in very good condition and could be transformed with a surface clean, as the varnish has yellowed over time. Ultraviolet light reveals just a small handful of tiny scattered spots of retouching one in the sitter's face to the lower right of her left eye, and a few spots in the background in the upper left quadrant which appear to be addressing small scuffs. There is a very faint stretcher mark parallel to the upper edge, and an area of localised hairline craquelure in the sitter's neck (visible in the catalogue illustration), some faint lines in the sitter's right hand and in the left of her hair. Held in a simple modern gilt frame. Her skin tones are more natural and attractive in reality than in the catalogue illustration, in which her face is too pale, the red pigments too crimson, and the brushstrokes too 'sharp'. The varnish is more yellowed than in the catalogue illustration, and the colours in the background more subtle in reality.
"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 1908, the present work portrays Casas's lover, Julia Peraire, in a moment of relaxed abandon. Of a humble background, she had met the artist, twenty-two years her senior, in 1905, and they married in 1922. The passion Canals felt was the inspiration for some of the most sensual works of his career.

Together with Rusiñol (see previous lot) one of the founding members of the El Quatre Gats circle of artists in Barcelona, and a leading representative of the Catalan Modernista movement, Ramón Casas abandoned his studies when he was 11 years old in order to pursue his vocation as a painter. In 1882, aged just 16 years and with the financial support of his father, he travelled to Paris with Santiago Rusiñol. There he studied under Carolus Duran and at the Academie Gervex, where Carrière and Puvis de Chavannes taught. His talent did not go unnoticed, and just a year later he exhibited at the Salon des Champs Elysées.

In 1900 Casas held a solo show at the Sala Parés in Barcelona, establishing Casas as the leading Catalan portrait painter of his day.