John Duncan Fergusson

John Duncan Fergusson (1874-1961) St Palais signed and inscribed 'J.D. FERGUSSON/ST. PALAIS' (on the reverse) oil on panel 10¾ x 14 in. (27.3 x 35.6 cm.) with T.&R. Annan and Sons, Glasgow. Dr John Shanks, Kilmarnock. with Fine Art Society, London, 1986, where purchased by the present owner. THE PROPERTY OF A SWISS COLLECTOR Edinburgh, Arts Council of Great Britain, Royal Scottish Academy, J.D. Fergusson, 1874-1976: Memorial Exhibition of Paintings and Sculpture, November - December 1961, no. 43. It is something of a truism to say that France made the Colourists. They did, after all, first show together in Paris at the Galerie Barbazanges in 1924. They were dubbed 'Les Peintres de l'Ecosse Moderne'. Only much later, in 1948, were they named 'Scottish Colourists' for an exhibition with T.&R. Annan in Glasgow. Four independent painters, they shared an openness to artistic ideas and a passion for European modernity. Their art was unpretentious, combining the common-sense and lyrical values so often found in Scottish art, with a dose of French intellectualism and a sense of identity. Whilst all four Colourists spent long periods in France, Fergusson was by far the most closely associated with the country. He settled in Paris in 1907, and quickly immersed himself in the vibrant culture of the city. Mixing with the creative milieu in Parisian cafés, he enjoyed the opportunity for unparalleled levels of creativity, exchange and debate that this era provided amongst the writers, poets, dancers and artists of the time. Fergusson attended the performances of the Ballets Russes and exhibited with French artists: with Peploe at his side, he became fully involved with the artistic circle that included Picasso and Derain. Impressionism took a hold. As he would recall, 'Manet and Monet were the painters who fixed our direction, in Peploe's case Manet especially'. During the summers spent in France, Peploe and Fergusson made regular trips to the country's fashionable coastal resorts. They would often set up easels side by side, producing finished works of the same view which are difficult to tell apart. Their travels took them to Paris Plage, Dieppe and Étaples: indeed, it was on one of these trips, whilst staying with the Peploe's, that Fergusson visited St Palais, first in 1910 and again the following year. St Palais-sur-Mer is a seaside resort close to Royan on the west coast, and, boasting five sandy beaches, historically it was a popular destination for French tourists to spend summer by the sea. The town marketed itself as the perfect place for tourists to take to the water and sunbathe - the latter becoming fashionable thanks to Coco Chanel. Looking at St Palais, we can clearly see the influence of the French Impressionists upon Fergusson's style. Working en plein air, in the Impressionist manner, his palette becomes paler and fresher, and his brushwork more fluent in handling. He has developed the facility to convey the essence of his subject matter with breath-taking simplicity, using thick, creamy paint, applied with seemingly effortless skill. (see K. Simister, Living Paint: J.D. Fergusson 1874-1961, Edinburgh, 2001, p. 23). The techniques of these early 'toothpaste panels', renowned for the freshness of their painting, would soon develop and evolve under the spell of the hedonistic art of the Fauves.

John Duncan Fergusson, RBA (British, 1874-1961) Woman's Head conte 14 x 12.5 cm. (5 1/2 x 4 15/16 in.) Executed circa 1909 PROVENANCE: Margaret Morris Alastair Stein EXHIBITED: Glasgow, Compass Gallery, JD Fergusson Exhibition , 1971 Glasgow, Ewan Mundy Fine Art, where purchased by the present owner

John Duncan Fergusson (1874-1961) Transport on the Road signed with initials and inscribed 'Transport:/on the road/(Sketch for Road Screen Purposes)/Road Screening to be made for/27 Div to hide roads, and/traffic using them, from the enemy/The screen to represent the objects on the far side/JDF' (upper centre) pencil and watercolour 10¼ x 14½ in. (26.1 x 36.8 cm.) with Duncan Miller Fine Art, London.

Lot 115 * JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961) 'HEAD OF A LADY' conté crayon 19.5 x 12cm (7 3/4 x 4 3/4in) Estimate £1,500-2,000 Provenance: Sotheby's, Perthshire 'Scottish and Sporting Paintings', 29th August 1988, Lot 821 Cyril Gerber Fine Art, Glasgow Note: It has been noted that many of Fergusson's female sitters wear hats, perhaps viewing a woman's taste in fashion as an extension of their personality.

John Duncan Fergusson, RBA (British, 1874-1961) Woman's Head conte 14 x 12.5 cm. (5 1/2 x 4 15/16 in.) Executed circa 1909 PROVENANCE: Margaret Morris Alastair Stein EXHIBITED: Glasgow, Compass Gallery, JD Fergusson Exhibition , 1971 Glasgow, Ewan Mundy Fine Art, where purchased by the present owner