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John Duncan Fergusson

United Kingdom (1874 -  1961 ) Wikipedia® : John Duncan Fergusson
FERGUSSON John Duncan  Woman On A Bench

Lyon & Turnbull /Dec 8, 2016
58,826.98 - 8,235.78
105,885.00

Find artworks, auction results, sale prices and pictures of John Duncan Fergusson at auctions worldwide.
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Artworks in Arcadja
582

Some works of John Duncan Fergusson

Extracted between 582 works in the catalog of Arcadja
John Duncan Fergusson - The Green Bridge

John Duncan Fergusson - The Green Bridge

Original 1944
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Lot number: 86
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Description:
Description: John Duncan FERGUSSON 1874 - 1961 The green bridge - 1944 Huile sur toile Signée et datée au dos "J.D. FERGUSSON MAY 21. 1944. Etiquette au dos "J.D.Fergusson, Esq., 4, Glouston Street, Glasgow, N.W." h: 64,50 w: 54 cm Provenance : Collection particulière, Paris Commentaire : Oil on canvas; signed and dated on the reverse
John Duncan Fergusson - Portrait Of Margaret Morris

John Duncan Fergusson - Portrait Of Margaret Morris

Original 1918
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Lot number: 179
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John Duncan Fergusson (1874-1961) Portrait of Margaret Morris indistinctly inscribed 'Capt. J.E. CRAWFORD FLITCH./... TRENCH MORTAR/BATTERY./37 DIVISION BEF/FRANCE' (on the reverse) oil on board laid on panel 9½ x 7½ in. (24.1 x 19 cm.) Painted circa 1918. Portrait of Margaret Morris depicts Fergusson's wife who he first met in Paris in 1913. She was a pioneer of the modern dance style made popular by Isadora Duncan, and was the inspiration for a number of portraits by Fergusson, including Margaret Morris dans Le Chant Hindu, 1918. Captain John Ernest Crawford Flitch (1881-1946) acquired Portrait of Margaret Morris directly from Fergusson, and it has remained in his family until now. During the First World War, Flitch served in the 37th Division of the British Expeditionary Force, writing regularly to his friend Fergusson. On the reverse of Portrait of Margaret Morris, Fergusson wrote Flitch's wartime address, where he appears to have sent the painting. This extraordinary fact demonstrates the closeness of their relationship and how, at such a time, Flitch sought refuge and relief in his friend's paintings. In 1918, Flitch published The Great War: Fourth Year by C.R.W. Nevinson. He was also the author of A Little Journey in Spain: Notes of a Goya Pilgrimage, 1914, and Modern Dancing and Dancers, 1912. Also from Flitch's collection is Fleurs (see lot 180), as well as Fergusson's 1916 painting Summer (see lot 1 in the Modern British & Irish Art Evening Sale, 26 June 2017) and Portrait of Edie Mc Neill by Henry Lamb (see lot 2 in the Modern British & Irish Art Evening Sale, 26 June 2017).
John Duncan Fergusson -  L\’avenue De L\’observatoire

John Duncan Fergusson - L\’avenue De L\’observatoire

Original 1906
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Lot number: 256
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Description:
‡ John Duncan Fergusson (Scottish 1874-1961) L\’avenue de L\’Observatoire Signed, titled Paris and dated 1906 verso Oil on panel 19 x 24cm Provenance: Given to vendor\\\’s family by Sir David Young Cameron in 1965 T & R Annan & Sons, Ltd., Glasgow Provenance: Lots 230-256 from A Private Collection
John Duncan Fergusson -  Woman On A Bench

John Duncan Fergusson - Woman On A Bench

Original 1961
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Lot number: 99
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♦ [§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN ON A BENCH Oil on canvasboard 24cm x 19cm (9.5in x 7.5in) Provenance:Mrs Margaret Morris Fergusson Exhibited:The Arts Council of Great Britain, Scottish Committee, J.D.Fergusson Memorial Exhibition 1961-62, no.66 Note: The charming, vibrant sketch Woman on a Bench encapsulates much of John Duncan Fergusson's artistic approach and preoccupations; creating a visually powerful and colourful scene, despite its small scale. Women on a Bench follows from Fergusson's early attempts to hone his observation and painting skills en plein air in Edinburgh, dashing around the city with a specially made paint-box, on which his small panels could double up as both painting surface and paint-box lid. This skillset translated smoothly into the flânerie lifestyle Fergusson was delighted to adopt in the artistic hub of early 20th century Paris; wandering the streets and parks and spending time in the pavement cafés scattered throughout the city. He started to use conté crayons to capture the elegant fashions and interesting figures that he found in the streets in Paris, as here, where the female figures sport the large hats and slim silhouettes that were particularly fashionable at the time. In his French oil sketches, his palette became more vibrant, as seen in the verdant green and azure blue of Women on a Bench. Fergusson was heavily inspired by the Fauvist movement and their use of shockingly strong, complementary colour pairings. His interpretation of this approach is most visible in his elegant female portraits, but it is also apparent in the contrasting colours used in the lush palette here, the red and burgundy details lifting the green tones. Close observation reveals a wonderful range of hues, making it clear how he earned his name as a 'colourist.' Fergusson's increased confidence is clear in Woman on a Bench; in the fluidity of the handling and boldness in leaving areas of the canvas bare, offering a delightful contrast between the regular, rough texture and sandy linen colour of the visible canvas and the fluent application of bright toned oil paint. The viewer is at once transported to this moment of observation in the Luxembourg Gardens, and simultaneously viscerally aware that this is an artist's production, and his particular vision of such a moment.
John Duncan Fergusson - The Beach Cassis

John Duncan Fergusson - The Beach Cassis

Original 1913
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Lot number: 30
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Description:
John Duncan Fergusson, R.B.A.

THE BEACH CASSIS, 1913

conté pencil 16 by 21cm., 6¼ by 8¼in.

Acquired directly from the artist and thence by descent

The sheet has been laid down on very thin paper which is attached to the mount with two pieces of tape in the upper left and upper right hand corners. There are some minor specks of surface dirt and one or two very faint foxing marks. There is some light cockling to the sheet edges. Otherwise the work appears to be in fair overall condition. Please note that the work is held in a cream mount and simple drawing frame and is under glass. The work has been examined out of its frame. "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."
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