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    • STANSMORE RICHMOND LESLIE DEAN (SCOTTISH 1866-1944)
      Sep. 26, 2024

      STANSMORE RICHMOND LESLIE DEAN (SCOTTISH 1866-1944)

      Est: £3,000 - £5,000

      STANSMORE RICHMOND LESLIE DEAN (SCOTTISH 1866-1944) THE BRETON GIRL Oil on canvas 76cm x 61cm (30in x 24in) Literature: A Paisley Legacy: The Paisley Art Institute Collection, Centenaries Catalogue, Paisley, 2015, p.41;Rostek, Charlotte, Scottish Women Artists, The Fleming Collection, London, 2023, p.18. Stansmore Dean has not benefited from the same reappraisal as Bessie MacNicol, who was her peer and a fellow student at the Glasgow School of Art. As such, when Dean’s paintings appear sporadically on the market, it is an intriguing and pleasing discovery for many collectors. Today her work is situated canonically in the (retrospectively titled) group ‘The Glasgow Girls’.Dean was born in Glasgow in 1866, the daughter of the artist and master engraver Alexander Davidson Dean. Inheriting her father’s talent, she attended the Glasgow School of Art alongside MacNicol, as well as David Gauld and Charles Rennie Mackintosh. An anecdote from 1908 reveals as much about the fervency of Dean’s admiration for Mackintosh, as it does about the strength of her character: Dean was convenor of the Decoration Committee of the Society of Lady Artists’ Club in Glasgow, charged with supervising alterations to their Clubhouse at 5 Blythswood Square. She put up a good fight to have Mackintosh take on the job, but was ultimately overruled by the Council. Clearly a forceful and principled individual, Dean promptly resigned in protest. Further evidence of her wilful spirit was her passion for travel. She was the first female artist to win the Haldane Travelling Scholarship bursary, which she used to travel to Paris to study with Gustave Courtois at the Académie Colarossi. Dean would paint in Europe most summers, notably the South of France, Brittany and Holland. She and her husband, the artist Robert Macaulay Stevenson, would eventually live in France for several years. They made a home in Montreuil-sur-Mer between the years 1910 and 1926, during which time they attended the needs of soldiers making their way to The Front. After the War, the couple relocated to Kircudbright, where they had access to the studio of Jessie M. King. In 1944 Dean, whose art practice had been halted by failing sight in her later years, died in Castle Douglas. As with the work of many of her female peers of the time, her work has been largely overlooked. Though she continued to paint all her life, inevitably other responsibilities, and, indeed, two World Wars, impeded her development and productivity. Her pictures were nonetheless well received at points during her lifetime, as is reflected by her broad exhibition history. Dean had work shown regularly at the Glasgow Institute, Paisley, Liverpool’s Walker Art Gallery, and twice at the International Society of London. Pieces were also selected for display further afield in Buffalo, New York, and Toronto. The crowning moment for Dean may well have been her acceptance into the Paris Salon, ‘Société Nationale des Beaux-Arts’, in 1899.  It is of interest to note that her androgynous name meant her work was often assumed to be by a male hand, potentially a factor which worked in her favour.Her subjects were frequently female sitters, often clothed in regional traditional dress. The work offered here is typical of this subject matter, showing a Breton girl in profile. Likely dating from the earlier years of her career, around the late 1890s, her brushwork belies her Glasgow-by-way-of-Paris art education, but is notable for a distinctive softness and her facility to infer the texture of cloth and hair with subtle and minimalistic brushwork. Her works have a gentle, airy quality - evocative of a pensive romanticism. The Breton Girl also features the clever decorative device of a climbing rose incising diagonally across the composition, framing the sitter’s head. 

      Lyon & Turnbull
    • FRAMED PAINTING: ATTRIBUTED TO STANSMORE RICHMOND LESLIE DEAN (British, 1866–1944). Depicting a village street scene. Label on rever...
      Feb. 23, 2013

      FRAMED PAINTING: ATTRIBUTED TO STANSMORE RICHMOND LESLIE DEAN (British, 1866–1944). Depicting a village street scene. Label on rever...

      Est: $300 - $400

      FRAMED PAINTING: ATTRIBUTED TO STANSMORE RICHMOND LESLIE DEAN (British, 1866–1944). Depicting a village street scene. Label on reverse from Le Bocage Vert Gallery in Louisiana with attribution to Dean, active 1894-1902. Oil on canvas, 11 1/2" x 9 1/2" sight.

      Eldred's
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