76
76

THE PROPERTY OF A GENTLEMAN

John Duncan Fergusson R.B.A.
DEUX RIVES DINARD
Estimation
50 00070 000
Lot. Vendu 61,250 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT
76

THE PROPERTY OF A GENTLEMAN

John Duncan Fergusson R.B.A.
DEUX RIVES DINARD
Estimation
50 00070 000
Lot. Vendu 61,250 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

John Duncan Fergusson R.B.A.
1874-1961
DEUX RIVES DINARD

signed and dated on the verso.: J.D. Fergusson./ 1930; signed and inscribed on the frame.: J.D.Fergusson./ 15.F.; futher inscribed on the stretcher.: 'Dinard'; two artist's labels attached to the stretcher and reverse of frame.


oil on canvas
54 by 65 cm.; 21¼ by 25½ in.
Lire le rapport d'état Lire le rapport d'état

Provenance

Alex Reid & Lefevre, London, 1932;
Margaret Morris, Glasgow;
Christie's, Glasgow, 12 November 1998, lot 2;
Private Collection

Exposition

Edinburgh, Arts Council of Great Britain, Scottish Committee J D Fergusson Memorial Exhibition, November 1961 - June 1962, no.102

Bibliographie

Margaret Morris, The Art of J.D. Fergusson,1974, p.136

Description

The Château de Deux Rives was located in Dinard, a coastal town in Normandy that became an attraction for the rich and fashionable at the end of the nineteenth century. Fergusson and his wife, Margaret Morris, first visited the house in 1920 after which they made regular returns. Morris was a prominent dancer and theatrical producer and initially took the house in order to run one of her Summer Schools. In her biography of her husband she describes it as, 'a large house on a cliff, a promontory running into the sea, with a large garden and lovely views' (Margaret Morris, The Art of J. D. Fergusson, 1974, p. 136).

 

Fergusson took seriously the challenge of rendering light in his paintings, in which he believed lay the truth of a painting. In the catalogue introduction of his 1905 exhibition Fergusson, drawing on the influence of the Impressionists and Post-Impressionists, indicates his intention of 'trying for truth, for reality; through light. That to the realist in painting, light is the mystery; for form and colour which are the painter's only means of representing life, exist only on account of light'. It is in Fergusson's application of this theory that the success of Le Chateau de Deux Rives lies. Through his careful attention to colour, a warm and evocative light pervades the painting, which in accordance to Fergusson's Colourist principles, is vibrant and energetically applied.

 

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