Christie's /Jun 12, 2012
€37,108.05 - €61,846.75
Artworks in Arcadja87
Some works of Hermenegildo Anglada CamarasaExtracted between 87 works in the catalog of Arcadja
Auction: Sotheby's -Dec 10, 2014 - LondonLot number: 50
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Hermenigildo Anglada-Camarasa 1871 - 1959 SPANISH GITANA CON NIÑO (GYPSY AND CHILD) signed H. Anglada-Camarasa lower right oil on canvas 70 by 55cm., 27½ by 21¾in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance La Pinacoteca, Barcelona Private Collection, Barcelona (purchased from the above in 1928) Acquired from the above by the present owner in the 1990s Painted in 1925, the present work is an outstanding example of Anglada-Camarasa's departure from his early depictions of gitanas as the colourfully exotic denizens of the gaudy music halls and cafés-concerts of Paris. From 1907 Anglada-Camarasa began to paint his gitanas in a softer, more vulnerable light, accompanied by small children. Blossoming, vibrant flowers encircle the figures of mother and child, with a new luminous palette highlighting this allegory of motherhood (fig. 1). Plaintive yet passionate, earthy yet full of grace, the Spanish gitana has been all but synonymous with Spain since her kinsfolk first landed on Iberia's shores in the fifteenth century from as far afield as India. The Spanish came to revere but also fear gypsies because of their nomadic way of life and the freedoms it seemed to allow. For some three hundred years, they were persecuted, their settlements broken up, their language and rituals denied them. Yet, paradoxically, the hardship they endured nurtured a whole subculture most nobly embodied by dance and the flamenco. By the nineteenth century, Spain had embraced Gypsy myth and lore. The Romantics were in awe of the gypsies for their otherworldliness and seeming ability to commune with nature, while the following generation of artists and writers, driven by patriotism in the wake of Spain's colonial losses, venerated the gypsy as the quintessential icon of Spanish identity. Nonell, Zuloaga, and Solana were among Anglada's contemporaries who endowed the gitana with a gravitas, at times playful, at times austere, that linked her inextricably with Spain's psyche. Fig. 1 Hermenegildo Anglada-Camarasa, Gypsy and Child , 1925, sold: Sotheby’’’’s, London, 16 November 2005, lot 107
Auction: Balclis -May 27, 2014 - BarcelonaLot number: 2456
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Hermenegildo Anglada Camarasa Barcelona 1872 - Pollença 1959 "Roques de Boquer" Oil on wood Signed. On the back, an inscription: "Certifico que este cuadro es obra del pintor H. Anglada Camarasa Luis Masriera 1924". Done circa 1950-1952. Attached, a report by Francesc Miralles and Francesc Fontbona, signed in Barcelona on 15 July 2013 (file No. 505) and registered with Cat. No. G25 (2) ... More Hermenegildo Anglada Camarasa Barcelona 1872 - Pollença 1959 "Roques de Boquer" Oil on wood Signed. On the back, an inscription: "Certifico que este cuadro es obra del pintor H. Anglada Camarasa Luis Masriera 1924". Done circa 1950-1952. Attached, a report by Francesc Miralles and Francesc Fontbona, signed in Barcelona on 15 July 2013 (file No. 505) and registered with Cat. No. G25 (2) 49.5x37.5 cm Hermenegildo Anglada Camarasa Barcelona 1872 - Pollença 1959 "Roques de Boquer". Öl auf Holz. Unterzeichnet. Auf der Rückseite die Inschrift: "Certifico que este cuadro es obra del pintor H. Anglada Camarasa Luis Masriera 1924". Angefertigt gegen 1950-1952. Beinhaltet den Bericht von Francesc Miralles und Francesc Fontbona, unterzeichnet in Barcelona am 15. Juli 2013 (Nr. 505) und registriert mit der Katalognr. G25 (2) 49,5x37,5 cm Hermenegildo Anglada Camarasa Barcelona 1872 - Pollença 1959 "Roques de Boquer" Óleo sobre tabla Firmado. En el reverso, una inscripción: "Certifico que este cuadro es obra del pintor H. Anglada Camarasa Luis Masriera 1924". Realizado hacia 1950-1952. Adjunta informe de Francesc Miralles y Francesc Fontbona, firmado en Barcelona el 15 de julio de 2013 (ficha nº 505) y registrado con el nº cat. G25 (2) 49,5x37,5 cm
Auction: Christie's -Oct 28, 2013 - New YorkLot number: 56
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Hermenegildo Anglada Camarasa (Spanish, 1872-1959) Pinos de Formentor signed, inscribed and dated 'H. Anglada Camarasa/Puerto de Pollensa/-1925.' (lower right) oil on canvas 34½ x 42¼ in. (87.6 x 107.3 cm.) Col. Wentworth G. Field, Philadelphia, 23 June 1925, acquired directly from the artist. Thence by descent to the present owner. PROPERTY FROM A FLORIDA COLLECTION H. Hutchinson, The Art of Anglada Camarasa: A Study in Modern Art, London, 1929, pp. 41-42. H. Hutchinson, 'The Art of Anglada Camarasa,' The Weekly Palma Post, (Palma de Mallorca), 22-28 January 1934, n.p. R. Rabassa, Anglada Camarasa (A propósito de un centenario), Revista Balear, (Palma de Mallorca) 1er trimestre 1974, nos. 34-35. F. Fontbona & F. Miralles, Anglada Camarasa, Barcelona, 1981, pp. 138, 270, no. 265, cat. D57, illustrated. Anglada-Camarasa spent his formative artistic years immersed in the vivacious cultural milieu of Barcelona. There he met other young and aspiring avant-garde artists such as Pablo Picasso and Santiago Ruisñol who introduced him to the city's burgeoning Modernisme group, Els Quatre Gats. As was de rigueur in the fin de siècle, he later ventured to Paris and there encountered the city's demi monde who became his primary subject while in the City of Light. Beginning in 1914, however, Anglada-Camarasa changed the focus of his work. With the outbreak of World War I, he returned to Spain, settling in Mallorca and centering his attention on the island's lush verdant landscapes. Mallorca's olive and pine groves became the principal protagonists of his work, replacing the flamboyant cabaret dancers and spectators of his Parisian period. Enlivening the serenity of these Mallorcan works are the artist's undulating, energetic brushstrokes and vibrant color juxtapositions, clearly expressed in the present painting. This period also marked a change in technique for the artist - rather than building up his canvases with glazes he instead applied paint thickly on to the canvas, directly from the tube, creating heavy layers of pigment seen here in the trunks of the trees. By 1925, the year that Anglada-Camarasa executed Pinos de Formentor, he was enjoying widespread international success, having had well-received exhibitions in Munich, Vienna, Berlin, Buenos Aires and various cities in the United States. His reputation was further solidified that year when he was asked to serve on the selection committee for the Carnegie Institute's International, one of the most important venues for viewing contemporary art in the United States in the early 20th century.
Auction: Christie's -Jun 12, 2012 - LondonLot number: 56
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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.
Auction: Christie's -Nov 21, 2011 - LondonLot number: 9
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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.