λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961)DINARD, THE ISLANDS Oil on canvas Signed and dated 1930 (verso) artist's label attached to stretcher (verso)53.8 x 64.3cm (21 x 25¼ in.)Provenance:Margaret Morris, the artist's wifeAlex Reid & Lefevre Gallery, London Mrs A. Hunter, Glasgow, Private Collection Portland Gallery, London Paisnel Gallery, London Sale, Christie's, London, Modern British Art Evening Auction, 17 June 2019, lot 10Exhibited: Glasgow, Annan Gallery, John Duncan Fergusson: Paintings 1898-1957, May - June 1957, no. 6 New York, The Artis Group, Modern Scottish & English Paintings 1885-1955, April 1989, no. 23, as 'The Islands of Dinard' New York, Beadlestone Gallery, The Scottish Colourists, October 1998, exhibition not numbered. John Duncan Fergusson is regarded as one of the most important Scottish colourists, alongside Samuel Peploe, Francis Cadell and Leslie Hunter. He was born in Leith, on the north shore of Edinburgh in 1864. Following his passion for the arts, Fergusson enrolled at the Trustees Academy in Edinburgh but quickly became frustrated with the traditional teaching techniques and set off on his travels across Morrocco, Spain and France. Encounters with artists such as Samuel Peploe, Matisse and Picasso were to have a great impact on Fergusson's career who found himself at the forefront on modern art. His exquisite combination of techniques and influences he picked up in France together with his strong Scottish roots resulted in a body of work which was exciting and innovative. In 1907, Fergusson moved to Paris and became entwined in the theatrical world sculpting and drawing dancers, captivated by the female form in motion. Fergusson went on to sketch for the Ballet Russes and became part of the Rhythmists. In 1913, Fergusson met the important contemporary dancer Margaret Morris who was to become his lifelong partner. In the present lot Fergusson transports the viewer to the exclusive and idyllic coastal town of Dinard. Fergusson and his partner first visited Dinard in 1920. Morris subsequently opened up a summer dance school in the beautiful fortified town in Brittany and Fergusson would join her to capture the exotic dancers and the picturesque landscape that surrounded them. The pairs' cross-fertilisation of ideas, exploring and combining dance, movement, and rhythm would be a reoccurring theme throughout his career. Dinard fuelled the couple's enthusiasm for an outdoor lifestyle, basking in the summer sun, swimming and exploring the coastal landscape. This passion and love of the landscape is captured in the present lot titled 'Dinard, The Islands'. Light and colour were at the core of Fergusson's approach to painting and this work is no different. However, his sophisticated approach in 1930 introduced a bolder style that played with line and form. The trees almost look like dancers with their curved trunks and detailed branches applied using small, repetitive brushstrokes in graduating colours of green. This contrasts with the crisp blocks of colour in a subdued cool palette which make up the coastal view. The present lot is an outstanding example of Fergusson's landscape painting which captures the mood and moment in time where he and Morris were whiling away the summer. Literature:E. Mundy and C. Philo, exhibition catalogue, Modern Scottish & English Paintings 1885-1955, New York, The Artis Group, 1989, pp. 46-47, no. 23, illustrated, as 'The Islands of Dinard'. Exhibition catalogue, The Scottish Colourists, New York, Beadlestone Gallery, 1998, pp. 28-29, exhibition not numbered, illustrated.品相报告: The canvas has not been relined. No obvious condition issues. Inspection under UV reveals some patches of uneven varnish but no obvious evidence of restoration or repair.注意: λ Indicates that this lot may be subject to Droit de Suite royalty charges. From 1st January 2012 all UK art market professionals are required to collect a royalty payment for all works of art that have been produced by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000. Please see our Terms and Conditions for a full definition of these charges. For a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk.