Hermenegildo Anglada Camarasa

Lot Description Hermenegildo Anglada Camarasa (Spanish, 1872-1959) La Chumbera signed 'H.Anglada-Camarasa' (lower left) oil on panel 14 5/8 x 20 in. (37.2 x 50.7 cm.) Painted circa 1925-30. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Private collection, Madrid. Pre-Lot Text THE PROPERTY OF A SPANISH COLLECTOR Literature J.A. Gaya Nuo, La pintura española del siglo XX, Madrid, 1970, p. 59 (illustrated). J.M. Garrut, Dos siglos de pintura catalana, Madrid, 1974, p. 254. J.M. Gol, Del Arte Figurativo en Cataluña desde 1900 hasta la Segunda Guerra Mundial, Barcelona, 1978, pp. 28-34, no. 22. L. Rodríguez Alcalde, Maestros del impresionismo español, Madrid, 1978, p. 218. F. Fontbona y F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 273, D83 (illustrated). Exhibited Córdoba, Diputación Provincial de Córdoba, Paisaje, 1998.

Hermenegildo Anglada Camarasa (Spanish, 1872-1959) The mountains above Pollensa, Majorca signed, dedicated and dated 'A mi buen amigo Antonio Llorente/P.E. Pollensa/1953/H. Anglada-Camarasa.' (lower right) oil on canvas 28¼ x 34 in. (71.5 x 86 cm.) F. Fontbona, F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 288, fig. 354, no. E10 (illustrated). Hermenegildo Anglada-Camarasa was one of the most influential and radical artists of his day, gaining fame internationally at the turn of the 20th century for his expressionistic paintings of folkloric subjects. His brilliant palette influenced artists such as Pablo Picasso and Wassily Kandinksy, who saw the Spaniard's work when he was studying at the Acadmie Julian in Paris. His landscapes bear comparison with those of contemporaries such as Gustav Klimt -- with whom he shared a Gold Medal at the 1911 International Exhibition in Rome -- and in his understanding of colour, of the decorative and of form, he was in the vanguard of artists such and Pierre Bonnard, Henri Matisse and Edouard Vuillard, with whom he shared the international limelight. As S. Hutchinson Harris wrote in the seminal English study of the artist: "Anglada uses colour as Wagner used instruments, in a manner which appeared extravagant in his day, but which gave a new impetus to music." (S. Hutchinson-Harris, The Art of H. Anglada-Camarasa: A Study in Modern Art, 2 vols, London, 1929, p. 14). In later life, Anglada devoted himself largely to landscape painting, continuing to use colour to emphasize the decorative rather than realist nature of his subject. This painting, depicts the mountains behind Pollensa in Majorca, where the artist spent the last 11 years of his life.

Hermenegildo Anglada Camarasa (Spanish, 1872-1959) Puig Tomir, Mallorca oil on panel 14 1/8 x 19 7/8 in. (36 x 50.5 cm.) Anonymous sale; Sotheby's, London, 16 November 2004, lot 121,where acquired by the present owner. Gabriel Fuster Mayans, Anglada Camarasa, Palma de Mallorca,1958 Francesc Fontbona and Francesc Miralles, Anglada Camarasa:catalogue raisonné, Barcelona, 1981, p. 280, no. Da19. We are grateful to Francesc Fontbona for kindly confirming theauthenticity of this work.

HERMEN ANGLADA-CAMARASA SPANISH, 1871 - 1959 GRUPAS VALENCIANAS (VALENCIAN GIRLS) 500,000—700,000 USD 31 1/2 by 42 1/2 in. 80 by 108 cm signed H. Anglada-Camarasa and dated 1909 (lower right) oil on canvas Bou Collection, BarcelonaVall Collection, BarcelonaF. Godia, Barcelona (in 1976)Sampere Collection, BarcelonaPrivate Collection, SpainSale: Christie's, London, June 14, 2006, lot 68, illustratedAcquired at the above sale by the present owner Francesc Fontbona and Francesc Miralles, Anglada-Camarasa,Barcelona, 1981, p. 1960, no. C31, illustrated Anglada-Camarasa was one of the most influential and innovativeSpanish artists of the early twentieth century, his name oftenincluded among contemporary French vanguards like Pierre Bonnard,Henri Matisse, and Edouard Vuillard. His complex chromatic schemesand bold use of decorative patterns influenced a generation ofmodern artists such as Wassily Kandinksy and fellow Spaniard PabloPicasso. After his first local exhibition of realist landscapes in1894, the artist left Spain for study in Paris' Académie Julian andAcadémie Colarossi. Ten years later, Anglada-Camarasa departed"highly-civilized" Paris for a life-changing visit to Valencia --an ancient yet rapidly modernizing city, its culture influencedboth by its people's European and Middle Eastern heritage (the citywas once an important port of Arab trade routes). As S. HutchinsonHarris explains in his early monograph, the artist arrived in timeto see the city's festivals, "the last natural survival of thegorgeous pageantry of the medieval past. For them were brought outthe carefully preserved rich floral dresses, and the gay caparisonsof the horses... All these Anglada wove into decorative pictures"(S. Hutchinson Harris, The Art of H. Anglada-Camarasa: A Studyin Modern Art , London, 1929, p. 12). Grupas Valencianas is one of approximately fifteen masterworksof this era, painted not necessarily to record fading local ritualsbut to capture the brilliant colors of the elaborate costumes andposes of the participants. According to Hutchinson Harris, "InValencia [the artist] found his readiest subjects: Valencia stilltinged by the effects of Moorish occupation, and affording tracesof the quality of Orientalist art, gay with the prosperity derivedfrom the richness of its soil, fertilized by its bountifulsunshine, and bathed in the vivid colours of the Mediterraneanseaboard" (Hutchinson Harris, p. 12). As suggested by GrupasValencianas' impressive size, the artist did not work en plein airbut rather in his studio, where he could experiment with andobserve his attempts to capture the visual and emotional vibrancyof the festivals. His technique is highly complicated: layers ofglazes are applied onto the canvas, weaving color and line into thegeometric patterns of costumes' embroideries, the figuresoverlapping in a frieze-like procession, conveying the celebratorymovement of a fan or skirt raised in mid-step. AsAnglada-Camarasa's critics described the overall effect is one of a"tapestry" or a "mosaic," where a scene of daily life istransformed to an ornamental abstraction of visual splendor.

LOT 194 PROPERTY FROM A PRIVATE COLLECTION HERMENEGILDO ANGLADA-CAMARASA SPANISH, 1871 - 1959 FLORES (FLOWERS) 150,000—250,000 GBP measurements 83 by 83cm., 32½ by 32½in. Description signed and dated H. Anglada-Camarasa 1935 lower right oil on canvas PROVENANCE Concepción Llumà (by 1960); thence by descent to the presentowner EXHIBITED Barcelona, Real Círculo Artístico, Instituto Barcelonés de Arte,Exposición-Homenaje H Anglada-Camarasa, 1955 LITERATURE AND REFERENCES Francesc Fontbona & Francesc Miralles, Anglada Camarasa,Barcelona, 1981, p. 277, no. D131, catalogued & illustrated CATALOGUE NOTE The vibrant, multi-hued blooms radiate exuberantly from apristine vase, to this day in Anglada's home in Pollença. Emphasisis placed on the decorative patterns created by the flattened,outstretched and schematised flowers and the contrast between lightand dark. An admirer of pyrotechnic displays throughout his life,Anglada-Camarasa painted rhythmic, dynamically-extending patternsand bright colours that mimic the configurations made by thecoloured flames and sparks of fireworks.Painted in 1935, the present work dates from the end of Anglada'sfirst Mallorcan phase, during which he abandoned his bohemianlifestyle, marrying for a third time and building a home in theoutskirts of Port Pollença. Having spent much of his time engagedin domestic activities such as gardening during this first sojournin Mallorca, it was around the time of the present work that hereturned increasingly to still life painting and texturalexperimentation.Born in Barcelona, Anglada studied there at the Llotja School underModest Urgell, before moving to Paris in 1894. His time in Parisand exposure to the works of artists such as Toulouse-Lautrec andDegas informed his often nocturnal portrayals of Parisian life.Seeking distance from the avant-garde circles of Paris, Angladasettled in Mallorca in 1914, remaining there until 1937, when hemoved to Montserrat in Catalonia, before crossing the border intoFrance two years later to flee the ravages of the Civil War. Concepción Llumà (by 1960); thence by descent to the presentowner