- 62
John Duncan Fergusson R.B.A.
Description
- John Duncan Fergusson R.B.A.
- The Blue Dress
- signed, dated and titled on the verso: J.D.Fergusson/ "The Blue Dress" no 48/ 1908"
- oil on canvas
- 76 by 63 cm.; 30 by 24¾ in.
Provenance
Acquired directly from the Artist by the Father of the present owner
Thence by descent
Condition
"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."
Catalogue Note
The sitter in this portrait is the Irish American artist Anne Estelle Rice, whom Fergusson met after settling in Paris in 1905. For a while, the couple shared a close relationship both emotionally and artistically. In her biography, Living Paint: J. D. Fergusson, Kirsten Simister writes that, "Rice's vivacious personality provided a good match for Fergusson. She shared his curiosity and love of adventure..." Captivated by her beauty, intellect and talent, she was the inspiration for many of Fergusson's paintings during this period.
About this time from 1907, Fergusson's paintings display a boldness quite separate from the fluid, Whistlerian brushwork prior to this period. In The Blue Dress, the paint is applied both heavily and forcefully and a confidence emanates from Rice's open pose and direct gaze. She fills the picture space and the lack of depth heightens the confrontation between sitter and viewer. Fergusson was well aware of different developments in Paris at this time, and in the changing approaches to his paintings during this period, he demonstrates a willingness to absorb and respond before forming his own distinct path.