.jpg?w=1)
拍品專文
The gilt chair, as seen in the present work, features strongly in Cadell's studio interiors from around 1912.
The studio interiors of this time portray upper-class life in Edinburgh, ladies are shown elegantly attired with beautiful dresses and large elaborate hats and the gilt chair seems a natural prop for such a setting, its elegant proportions suggesting a certain refinement and class. It can be seen in The White Interior, 1914 (Sir Norman and Lady Macfarlane) and also in the corner of the room in Nude - Reflection (see lot 171).
The chair was obviously a favourite, it is still making an appearance in his paintings a decade later, this time re-upholstered in a plain mauve fabric, see The Gold Chair, 1921, (T. Hewlett, op. cit, p. 55, pl. 48).
The studio interiors of this time portray upper-class life in Edinburgh, ladies are shown elegantly attired with beautiful dresses and large elaborate hats and the gilt chair seems a natural prop for such a setting, its elegant proportions suggesting a certain refinement and class. It can be seen in The White Interior, 1914 (Sir Norman and Lady Macfarlane) and also in the corner of the room in Nude - Reflection (see lot 171).
The chair was obviously a favourite, it is still making an appearance in his paintings a decade later, this time re-upholstered in a plain mauve fabric, see The Gold Chair, 1921, (T. Hewlett, op. cit, p. 55, pl. 48).