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Colourists Lead Scottish Art Sale

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Amongst the Rocks, Cap d’Antibes most likely depicts Margaret Morris, a pioneer of the modern dance style made popular by Isadora Duncan. The painting remained in her private collection as a poignant symbol of the synergy between Fergusson’s art and her innovative ideas above movement and dance. A sense of rhythm imbued the artist’s life and work from the moment they met, and even in the years that preceded their encounter, he engaged with the concept by way of his art editorship of the magazine, ‘Rhythm’. Dance had become truly avant- garde in the early 20th century with Diaghilev’s Ballets Russes, and Fergusson and Peploe regularly attended performances. These performances invoked a modernism brought to life by rhythm and movement, themes which provided inspiration for Fergusson’s painting whilst in the South of France. It was in Antibes that the artist produced his finest works: this painting is at once an

Formerly in the collection of Margaret Morris, Cassis Bay was based upon a series of sketchbook drawings made en plein air in 1913 when Fergusson visited the Mediterranean coast town. In the two years leading up to the First World War both Fergusson and Peploe journeyed to the French Riviera to concentrate on landscape painting. 

Painted in 1921, The Golf Links, North Berwick belongs to a series of golf paintings by Sir John Lavery, an artist who was more interested in the spectacle of golf than the sport itself. Ensconced at North Berwick on golfing weekends after the First World War, he was happier surveying the course than playing on it. By 1900, golf was an international sport, with popular reportage on transatlantic tournaments such as the US Open, and the impact on North Berwick was considerable. Mixed ‘foursomes’ of the kind Lavery represents were common. In this work, he depicts his athletic step-daughter, Alice Trudeau, energetically teeing off, and in placing a teenage girl centre-stage, the artist pays tribute to the young women who were the first female golf celebrities. The North Berwick club had been keen to promote the game for women, being one of the first to build a separate timber clubhouse for Ladies in the grounds of the Marine Hotel. Female players like Alice were acutely aware of the new freedoms associated with the activity. Fashion was always a significant factor in Lavery's

John Knox forms an important part of the group of Romantic artists of the 19th century, both artistic and literary, who seized upon the dramatic features of the natural Scottish landscape in tandem with philosophical ideas regarding the Sublime. This large work depicts a spectacular panoramic view looking north-west from Ben Lomond, a favourite vista of the artist, here thrown into impressive perspective by the inclusion of figures and animals in the lower-left and lower-right, and rising smoke from a mountain bothy in the valley below. Atauction for the first time, A View of Loch Lomond is comparable to a pair of panoramic views depicting the south-west and north-west vistas from Ben Lomond held in the collection of the Glasgow Art Gallery.

Still Life with Fruit is typical of Anne Redpath’s work of the 1940s. Throughout the decade, the artist experimented with muted palettes, spatial rendering and harmonious colours. In this painting, the palette is largely comprised of subtle pink tones and white highlights, balanced by the more colourful fruit bowl. The steeply angled perspective reveals diverse influences, including Persian and Indian pictures, as well as Japanese woodcuts, examples of which the artist’s son recalls embellishing his mother’s studio. The Colourists were pioneers of still life painting and were a formative influence on Redpath. By 1950 she was enjoying huge success, with a large solo exhibition in Edinburgh.

Drum was painted in 1995 and three years later Howson painted a similar picture of another tr 






  • 22.11.2016
    Auktion »
    Sotheby’s Auktionshaus »

    Exhibition at The Assembly Rooms in Edinburgh: 5-7 November 2016
    Auction in London: 22 November

     

     

    EXHIBITION IN EDINBURGH
    Saturday 5 November, 9.30 am-5 pm
    Sunday 6 November, 9.30 am-5 pm
    Monday 7 November, 9.30 am-1 pm
    The Assembly Rooms, 54 George Street, Edinburgh, EH2 2LR
    EXHIBITION IN LONDON
    Thursday 17 November, 9 am-4.30 pm Friday 18 November, 9 am-4.30 pm Sunday 20 November, 12 noon-5 pm Monday 21 November, 9 am-4.30 pm



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